Reel Reviews

Concussion -- Solid, earnest, and convincing in its premise that the NFL knew and didn’t care. Will Smith really does give a tremendous performance; if you remember back to some of his earlier works, it can be hard to reconcile those performances with the portrayal presented here. And that’s a good thing. As for the moral, maybe some of the viewers will have reservations about watching football in the future; I suspect, however, that it won’t change anything, or at least not that much. You should still see this film anyway, just so you know what you’re supporting.

Reel Reviews

Cabin Fever (2016) -- A reboot? More like a boot to the head, specifically one that damages the brain. It’s like someone collected every horror movie cliche into a gigantic vat, added an industrial amount of stupid, cooked it down to a thick reduction, and then vomited it onto a screen. This is quite possibly the stupidest, ugliest, worst movie I’ve ever seen. And it’s not even the original, let alone “original” in any sense. Not even so bad it’s good--just insultingly, cynically bad.

Reel Reviews

Captain America: The Winter Soldier -- I really wanted to give this flick a positive review, and intended to do so up till the moment I sat down at the keyboard. This film brings likeable qualities to the screen: Chris Evans does a good job of conveying Cap's earnestness, many of the action sequences are typically audacious (a trait shared with its predecessor), the plot even takes a stab at some serious philosophical questions. But...this doesn't seem like a very well thought out movie. The surprises aren't all that surprising, the major reveal doesn't make a great deal of sense (and why "The Winter Soldier"? I don't recall that ever being explained), and the ending largely devolves into the same orgy of destruction we saw in the first Avengers flick. If you're big on the whole Marvel universe, you probably want to watch this one for completeness, if nothing else--just don't pay for it; get it from the library or TV. If they want your dollars, the producers need to do better than this.

Reel Reviews

Captain Phillips -- Predictability is not always a bad thing. Knowing the outcome, as with this story, actually helps get the viewer through a pretty intense film. Even so, this movie is loaded with surprises that help make it an engrossing experience: the surprising vulnerability of a giant cargo ship; the filmmakers’ treatment of the Somalis (who are not portrayed as cardboard cutouts, but have depth, humanity, and real character here); the hints that this problem (piracy) may be the unexpected by-product of other problems (including environmental degradation, specifically our collapsing fisheries). Lots of stuff to think about here, but that comes afterward, when all the gripping, gut-wrenching stuff has reached its denouement. Posted 4/27/14.

Reel Reviews

The Cabin In The Woods -- Oh, shit. The Initiative lives, and it’s way more fucked up than anyone ever imagined. Whedon probably deserves a markdown for cribbing from himself, but the results justify the recursiveness. Because man, once this thing gets going, it really gets going--with enough gusto to overcome the horror genre cynicism of even the most jaded and skeptical viewer. Definitely worth a look. Posted 8/21/13.

Reel Reviews

Captain America: The First Avenger (+) -- This may very well be the most comic book of all comic book movies ever made; you can practically see the panels and the block lettering. Some of the action sequences are among the most audacious I've ever laid eyes on, and that helps; so too does the almost atomic perfection of the recreation of the period setting. The script even pokes fun at what is obviously a fairly ridiculous, propagandistic character, and then takes all the right steps to redeem him and make him worth cheering for. Nice work. Posted 3/24/13.

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.

Reel Reviews

Casino Royale -- The operative word here is "shrewd." The owners of the Bond franchise made a shrewd choice to reinvent the series by taking their main character back to the beginning; the post-Cold War series had grown rudderless. They made another shrewd choice in bringing in Daniel Craig to play Bond; he is immediately the most hardass 007 since Connery's heyday. And they made the shrewdest choice of all in opting for a very professional execution of this, the first installment of the new Bond series--the production is first rate, the hallmarks remain with the campiness dialed back, and there's a serious tone that tells you everyone present means business. Like many, I had lost interest in the franchise, but I recommend this one, and I'm geared up for the next installment, at the very least. Posted 2/10/08. ETA on re-viewing: It is, perhaps, even better on a second viewing, and more appreciable--less a reboot of the series than a total re-imagination of the franchise. Easily a top five entry in the series.

Reel Reviews

Captains Courageous -- Kipling without the raging imperialism. It starts slow, but once the waves start rolling so does the movie. The relationship between Spencer Tracy's poor Portuguese fisherman Manuel (a great, Oscar-winning performance) and Freddie Bartholomew's stranded spoiled brat forms the core of what is ultimately an effective tale. Worth a look. Posted 11/28/07.

Reel Reviews

The Caine Mutiny -- When it sticks to its core story--a clash between captain and crew, with subsequent court-martial, during WWII--this is a very good film. When it fools around with a dull and dreary romantic subplot, it really drags. Fortunately, the ship-bound stuff dominates, and that makes it worth a look, along with a cast stacked with heavy-duty actors giving professional performances. Enjoy. Posted 11/15/05.

Reel Reviews

Captain Blood -- You've got lots of plot getting in the way of the movie in the beginning, but once it gets rolling, man does it roll! Errol Flynn at his swashbuckling best, in what amounts to the definitive pirate movie. Truly a classic. Posted 9/9/05.