Reel Reviews -- T

Tadpole (~) -- So what ruined this movie for me? The fact that the object of the young protagonist's affection (obsession, even) is Sigourney Weaver. Sorry, but ol' Sig is not hot stuff in my book. This ostensible comedy, about a 15-year-old's crush on his stepmother, is at its best when events are spinning out of the young lover's control--almost screwball in tone. But then it gets a little heavy, and then it's not as interesting. A tough call--probably leaning more toward no than yes. Posted 12/1/05.

The Tailor Of Panama (+) -- Bond, depraved Bond. It's impossible to watch this movie without making the 007 comparison, what with Pierce Brosnan playing the flip side of his franchise role. The difference is quite instructive; instead of screwing around with razzle-dazzle horseshit, this one sets the special effects aside and plays up the intelligence--and a touch of sleaze--giving you a nittier, grittier look at the world of spying. Geoffrey Rush, always the pro, provides more than capable backup. Posted 1/8/03.

The Tale of Despereaux (+) -- A beautifully made movie, with plenty of visual and directorial artistry. It seems to diverge quite a bit from the book--it's been forever since I read the original--but in this case that may not be a bad thing. Like all animation today, this one suffers from "familiar voice syndrome," but not as much as other animated movies. (There's no Chris Rock doing a jive-turkey routine here.) And there's enough quirky, individualistic charm to overcome any flaws. All in all, a satisfying viewing experience. Posted 1/5/12.

The Talented Mr. Ripley (+) -- Actually, this movie's full of talent, beyond the title character. The featured players--Damon, Paltrow, Law--are talented actors, and the setting is (mostly) that most talented of cities, Venice. And it's based on a best-selling thriller. With all that, it's hard not to be entertained.

The Tao Of Steve (+) -- It wears its indie-film pedigree like a cheap suit, but this little film has the goods. Amusing, and a bit thoughtful too.

Tape (+) -- Very much an "anti-movie"; it watches like a filmed play, which in fact is exactly what it is. Its "story" consists of nothing more than one long scene in a motel room, with two old school buddies delving into the truth of one past incident. But as skimpy as it is, that thin framework provides a tense and engrossing film. Another interesting film by director Richard Linklater, with great work by Ethan Hawke, Robert Sean Leonard, and Uma Thurman (the cast in its entirety). Posted 1/23/03.

Tarzan (~) -- A shrug-of-the-shoulders movie. Not great, but nothing special. It keeps you interested, and I suppose that's enough. And Phil Collins--despite being everyone's favorite musical whipping boy--actually did a pretty good job on the songs.

Ted (+) -- A ‘yeah, but...’ movie. It’s a lot of fun, most of the time; it’s more brazen in its humor than most movies you’ll see, and that’s very respectable. So yeah, it’s good. But, it does start to take itself a little too seriously at a certain point. I might have enjoyed it more if it was just flat out, balls out, crazy shit all the way through, but it kind of pussies out in the end. Still, it would be nitpicking to downgrade it just for that. It’s more than good enough, and we’ll leave it at that. Posted 8/21/13.

Temptress Moon (~) -- Probably one of those cases where something was lost in the translation; all of the subtle story elements disappear for a non-Chinese audience. This English-only viewer found it confusing and slow, great reviews notwithstanding. Posted 11/5/02.

10 Things I Hate About You (+) -- I can't really justify it, but I actually did like this movie. I guess I'm just a sucker for Shakespeare in any form (it's based on The Taming Of The Shrew).

Terminator: Salvation (~) -- The machine in question, with this movie franchise, may as well be a copier--an old copier with a lot of worn parts and an overused imager. What do you get out of that sort of machine? A copy, yes, but a faded facsimile, one that resembles your original piece, but is tough to read, loses parts of its original whole, and often isn't good enough to get the job done. So it is with the Terminator films: there's some good stuff here, and you never get a bad performance from Christian Bale. But we've seen this premise, these themes, those iconic symbols (and even specific lines of dialogue) too many times before. Their impact has faded. Posted 7/9/11.

Thank You For Smoking (+) -- A good satire that doesn’t bog down too much in delivering its message. The numbers are there, figures on cigarette deaths and all that--but the data is delivered so smoothly that you never feel like you’re being preached at. And, despite the evident progress made against smoking (in this country, at least) this film’s message still remains relevant today (especially for the broader picture about the incest between death merchants, their lobbyists, and our government). Posted 3/9/13.

There Will Be Blood (+) -- You go in thinking this will be one of those ponderous, slow, boring "important" films--and then you glance at your watch and you're surprised that an hour has already passed. Every scene of this film is so compelling, contains such riveting visuals, presents such an unusual tableaux of score and sound editing, and wraps itself so tightly around another astounding performance by Daniel Day-Lewis, that the cumulative effect is a movie so mesmerizing you can't take your eyes off the screen. It's a marvel, a provocative and challenging film that is better than you think it will be, better than you think it could be. A must see. Posted 4/16/09.

The Thief of Baghdad (+) -- Holy shit: how did Disney get away with ripping this movie off for Aladdin? Seriously, the latter is in some ways a shot for shot remake of this old chestnut; it’s so unoriginal that even many of the names are the same. Well, considering how great the rip-off is, the original must be brilliant, right? Not quite, to be honest; some parts of this flick are really cheesy. But then again, it’s also wildly entertaining, and it gets points for being sincere in its occasional cheesiness. The thing works, and this film reminds us of why the world came to love the movies in the first place, oh those so many years ago. Posted 8/21/13.


The Thin Man (~) -- The Nick and Nora repartée holds up, even after all these years. But the rest of the movie is a muddle, especially at the beginning. Probably not to be missed for true movie aficionados, but if you're not that deep in, you can probably skip it. Posted 5/30/05.

The Thin Red Line (--) -- Wow--they made Guadalcanal boring. Almost a twin to Saving Private Ryan--another ponderous, pretentious WWII epic that had virtually no real story to speak of. Oh well--at least it looked nice. Posted 11/14/02.

The Third Miracle (+) -- Somewhat timely, given the recent events in Rome. This is not about a Pope dying, but it's the story of a doubtful priest--expertly played by Ed Harris--and his investigation into the case for a possible new saint. There's some shaky romance--of all things--between Harris's priest and the daughter of the saint-to-be (Anne Heche), and that part of the story rings false. But, as a sincere and thoughtful exploration of faith, faith lost, faith regained, and just plain living, the movie has depth and real appeal. A word of warning for the denominationally rigid: this one is very Catholic in its outlook. Posted 4/18/05.

Thirteen Days (~) -- Not great, not bad. The historical accuracy is questionable, but some interesting points about power and moral authority are raised, ideas that continue to have practical relevance. Posted 5/13/02.

This Film Is Not Yet Rated (+) -- Not a lot to say--the thing speaks for itself, as a documentary about the film ratings system should. Anyone who has even a passing interest in movies should see this, if only so folks can make up their own minds about the relationship between ratings and censorship. There's certainly enough evidence here to send that case to the jury. Posted 12/9/08.

This Is The End (+) -- Here’s a wildly terrific concept for a movie: famous funny people, playing themselves, get stranded together when the shit goes down. And I mean, when the shit really goes down. The results are great, in places howlingly funny, and seriously entertaining throughout (though the very very end comes across as weak, especially compared with the rest of the show). Highly recommended. Posted 3/9/13.

The Thomas Crown Affair (+) -- A good time is had by most. Pierce Brosnan practically ODs on suavity, Rene Russo gets a little too wild, and Denis Leary provides the stable base. It's not particularly meaningful, but it's well done and entertaining. Posted 1/9/02.

Three Kings (+) -- Morbidly funny, except when it's gut-wrenchingly intense, and it doesn't shy away from asking the tough questions about one of the defining events of our times (the 1991 Gulf War). Special props must go to George Clooney, Mark Wahlberg, Ice Cube and Spike Jonze for their remarkable performances as American soldiers caught between their own avarice and the palpable need to use their positions and power to do what's right. Very highly recommended. (Note: this would be a "Best Of All" inductee, except the standard criterion for BOA--a movie you want to watch again and again--can't apply here; Three Kings is great, but just too intense to want to watch again and again. Otherwise, it's in.) Posted 3/28/04.

Thor (+) -- I heard this film being trashed so vigorously that I was fully prepared to just watch and appreciate it for camp value alone. Imagine my surprise when I took a look and found this movie wasn't all that bad. In fact, I kind of dug it. The story holds together reasonably well, though some of the villain's plotting is unnecessarily complicated. But the visuals are fine, the look and feel are somewhat different from other comic book movies, and the cast has plenty of fun with it. So what's the problem? Nothing you can't handle, I say. Posted 3/24/13.

Thor: The Dark World (+) -- Total bubble-gum fluff entertainment. So this is a negative review? Absolutely not. I’m simply acknowledging that this movie aims to be nothing more than a crowd-pleasing diversion, without pretensions of being anything important or significant. And it succeeds. The viewer doesn’t need to think any big thoughts, can let the hokum just pass by without comment, and can enjoy the entertaining visuals and the work by a cast of actors who are clearly having a very good time. More films should be so self-aware; sometimes, mere fun itself can be a lofty goal--and that’s what you get here. Enjoy. Posted 8/20/14.

3:10 To Yuma (+) -- For all the shooting and other assorted noise, this powerful film is subtle and nuanced--almost philosophical--when it counts. Wonderful performances by Crowe and Bale as polar opposite characters--on different poles, separated by the entire globe, yet still different sides of the same planet--lay the foundation for the story's stunning climax. Not to be missed. Posted 12/9/08.

Tinker, Tailor, Soldier, Spy (~) -- See, here’s the thing about spies: if they’re doing their jobs right, you’re not supposed to know what they’re up to. Seems that the spies in this movie are on that ball; for a good stretch of the flick’s running time, I couldn’t tell what was going on. Despite that handicap, and almost in spite of itself, the film does eventually grow into an engrossing viewing experience. By the end, when Oldman’s George Smiley has worked through the problem, you care about how it all plays out. This is clearly not everyone’s kind of film, but if you’ve got a thing for the spy genre and a high tolerance for opacity, you might enjoy this one. Posted 7/20/13.

To Have And Have Not (+) -- I didn't really find myself getting sucked in by this one when I watched it. The story, some humbug about WWII intrigue in the Caribbean, did little to hold my interest. And you know how I feel about Faulkner (one of the screenwriters). So why the positive recommendation? Because you just can't go wrong watching Bogart do his insolent, tough guy shtick. That's always worth a look. Posted 6/19/05.

To Kill A Mockingbird (+) -- A profound, touchingly emotional telling of Harper Lee's classic novel. Whether you've read the book or not, this presentation--including Gregory Peck's masterful performance--reminds you that Atticus Finch is the father every child should have. Posted 3/30/05.

Topper (--) -- Of course it's a comedy--what's funnier than rich, dead alcoholics? This is supposed to be a classic, but really it's a major disappointment. The humor has not aged well; the supposedly sophisticated comedic hijinx come off as mere shallow silliness. All in all, the story just never really catches fire, and even the presence of the great Cary Grant can't save it. Forget this one. Posted 10/30/05.

The Town (+) -- Apparently, that Affleck boy can make a movie. With the newly crowned Best Picture Argo still hanging in the award-season air, I watched this other, earlier case in point. What the man offered here was a well-crafted film, one with a good visual sense and excellent pacing, both of which served well an otherwise pedestrian story. A lot of what's in that story has already been well covered in other films, though I do appreciate the touch of ambiguity in the ending. One bit of absurdity, or at least a questionable choice: would any Bostonians, even Charlestown bank robbers, actually try to rip off the Red Sox? Seems highly implausible. But that doesn't spoil the movie--it's still worth a look. Posed 3/3/13.

Toy Story 3 (+) -- Yes, it is a tear-jerker. But at least it comes by its emotional impact honestly, unlike some other Pixar efforts. This presumed denouement of the series charts some of the same territory as the last chapters of The House at Pooh Corner--a rumination on growing up and leaving childhood behind, and how the echoes of those younger days stay with us while also being passed down to another generation at the same time. The movie is nuanced, complex, well-thought out and well-written, and it's hard to imagine anyone not liking this movie, or at least not finding it effective and entertaining. The hardcore cynic inside may nag at you, but his voice is weak compared with this film's loud and clear statements. Posted 8/7/11.

Traffic (~) -- Tough to watch, thanks to the fact that this film is about total wretchedness and the cancerous evil that inhabits the soul of a nation (and that nation is not Mexico, kiddos). The extensive cast gives good performances, but Soderbergh's directorial gimmickry--tinted lighting, grainy textures, self-conscious editing--considerably detracts from the overall movie. Posted 5/25/02.

Training Day (+) -- Intense, troubling and all too real. Good work by Denzel Washington, but Ethan Hawke should not be overlooked here--he certainly holds his own against the award-winner. This is the sort of movie that gets you thinking about the state of society for many days after viewing, and the thoughts are not comforting. Posted 8/20/02.

The Tree of Life (~) -- This may be the most Malickian of Terence Malick movies. The first 45 minutes of this (long) film are utter bullshit--a barrage of half-baked "grand vision" executed through weird, impressionistic story set-up, a stock footage festival that comes across as outtakes from 2001 and Jurassic Park, and a preposterous set of scenes showing Sean Penn doing nothing except brooding. (He does little more throughout his scenes in the movie.) The last 15 minutes almost replicates that first 45. So, bad movie, right? Well...in fact, the middle section of the film, a substantially more straightforward telling of a family's story (featuring a great performance from Brad Pitt) is fascinating, almost mesmerizing film making. Is it a yes or a no? I can't say; it depends on your tolerance for overly artistic vision. If you're at home in the art house, go for it. If you prefer the googolplex, maybe stay away. Your call. Posted 10/13/12.

The Triplets of Belleville (~) -- Maybe everyone's right about the French. This movie was a critical darling when it played in the theaters. Now that I've seen it, I'm not so impressed. There are some charming and entertaining moments here, but there's also weirdness and something strangely opaque in the presentation of the story. The decision to tell the tale mostly through actions and music--not through dialogue, which would have needed subtitles--comes across as a bad move for this viewer; the characters seem to have little definition without any explicit motivations. That sounds like I want the film dumbed down; I don't. I just feel that, in this case, the director did not give his flatly drawn characters enough depth. Posted 1/18/05.

12 Monkeys (+) -- The future of the world rests in Bruce Willis's hands. Oh, well…it wasn't worth all that much anyway. Nevertheless, this is an interesting and inventive movie--exactly the sort of work you'd expect from director Terry Gilliam. Worth a look.

12 Years a Slave (+) -- An artfully crafted and masterfully executed film. This movie achieves exactly what you would hope and expect from a film on this subject: the viewer must watch this story and think to himself, “How would I react to being treated this way?”--precisely the kind of empathy required to prevent such madness. And ‘madness’ is the proper term; in some ways, this film serves as a meditation on how big a role insanity played in creating, justifying, and propping up slavery as an institution. (Not to mention religion, of course.) It’s worthy of its awards, and certainly worthy of your attention. Posted 8/20/14.

28 Days Later (~) -- Strangely unengaging for an apocalypse movie. Not to say it doesn't hold the interest, but I really didn't find anything particularly special in this. Plus there's enough seeming inconsistency to make suspension of disbelief that much harder. (I say "seeming" inconsistency, because let's face it, how would you know what such a calamity would really be like?) If you really dig this sort of movie, then go ahead and enjoy. But otherwise, you can skip it. Posted 12/19/04.

25th Hour (+) -- Probably the best movie Spike Lee has ever made, and that's saying a mouthful. Not one of the movie's characters--particularly Edward Norton's busted drug dealer--would normally generate much sympathy, yet the presentation of the story is so effective that the viewer can't help but go through the emotional wringer with them. Add to the effective story and wonderful performances a brilliant, haunting score, as well as the raw-nerve backdrop of immediate post-9/11 New York City, and the sum yields a magnificent piece of cinema. A "Best Of All" inductee. Posted 1/20/04.

Two Weeks Notice (~) It's tough to say anything truly negative about this movie, beyond the fact that it's not really trying--for anything. Everything here is standard issue, off the assembly line romantic comedy. But that doesn't mean it's awful--just not very ambitious. As it is, it's competently done, the actors are appealing, and everything ends up exactly as you'd expect. It's good for Sandra Bullock and Hugh Grant fans; they won't be disappointed. The rest of us? You'll forget it almost as soon as the credits roll, but it won't haunt your dreams, either. I guess that's a push. Posted 2/21/05.