This fall looks to be a smashingly good year for the western. James Mangold's "3:10 To Yuma" looks to kick all kinds of ass (just like "Open Range" did a few years back). Compare that with the contemplative images and mood of Andrew Dominik's upcoming Jesse James film (which is reportedly a 3 hour meditation on the Old West, sparing not a single dreamy image) and I think we're in for a treat. Plus, let's not forget Paul Thomas Anderson's "There Will Be Blood" which very well may qualify as a time period piece that gives the western a run for its money. This trailer was just released today. Now that I've gotten my "post video" problems worked out on You Tube, I intend to include more trailers periodically.
Thursday, August 23, 2007
Monday, August 20, 2007
HD DVD review: The 40 Year Old Virgin
This is probably an underrated choice to test my new-found limits of HD DVD, but what better way to determine the parameters of new technology than with a film that shouldn't pop on screen. Well, even in HD, "The 40 Year Old Virgin" is a complete visual surprise. I'm learning that HD creates stunning clarity in the background of films. Judd Apatow's comic masterpiece only benefits from the crisp colors of HD, drawing out the cluttered sets of action figures and busy backdrops of the electronics store or speed dating locale. Two of the most impressive scenes in this film (due not only to the sharp writing, of course) include the following: 1) the scene when Paul Rudd and his buddies take Andy (Steve Carell) to a night club towards the beginning of the film. I'm not sure if I just never looked for the blend of colors before or if Hi Def 'heightens' my sense of picture quality, but the way the neon lights illuminates the screen feels intoxicating, like we're watching a Shaw Brothers picture. It was probably meant to be campy, but in HD, it becomes something altogether different, adding to the giddiness of the scene. 2) the Elizabeth Banks seduction scene. I mean, really, we don't need much more than Elizabeth Banks tearing up the scenery in this succession of images to create a memorable moment, but in HD, the campy backdrop of her apartment come bustling towards you. There's the fluorescent fish tank, the multi-colored pillows on her bed, the green light emanating from her bathroom- it all feels as carefully constructed and as painstakingly lit as a Stanley Kubrick film. Okay, maybe I'm waaay off base here, using first the Shaw Brothers and now Kubrick in my description for a Judd Apatow comedy, but the bottom line is that colors of movies have never felt so vivid. Hi Def leaves nothing non-descript in the background, opening us up to 3-D worlds on screen. That, so far, is the biggest win of this technology.
Enough gushing about that. The disc itself is loaded, but nothing different from the standard disc. The one advantage to HD-DVD is it's easy pop up menu function. Unlike standard DVD's, you don't have to exit out of the film to access the menu. It also features a great round table commentary track with the film's stars, and if you expect the "in this scene I used an anamorphic lens to frame everything...", think again. It's commentary just as loose, nasty, and anecdotal as the film.
Enough gushing about that. The disc itself is loaded, but nothing different from the standard disc. The one advantage to HD-DVD is it's easy pop up menu function. Unlike standard DVD's, you don't have to exit out of the film to access the menu. It also features a great round table commentary track with the film's stars, and if you expect the "in this scene I used an anamorphic lens to frame everything...", think again. It's commentary just as loose, nasty, and anecdotal as the film.
Thursday, August 16, 2007
Not Always the Best Medicine
I've been writing alot about comedy lately. First, there was my previous post ranking the Top 50 comedies of all time and now this. Is it because I'm growing more and more wearied at the increasingly violent quagmire we've gotten ourselves into in Iraq? Nah, I'm not that politically minded. I just don't usually fall hard for comedies. While all of my friends eagerly anticipate the next served laugh, I've always been the one anticipating something else. Comedies rarely get me to the theater. The recent exception, of course, being "Hot Fuzz". And fyi.. you have to hear the commentary on this one- did you know that Cate Blanchett was the mask-covered woman who breaks up with Simon Pegg in the beginning, or the 1 second clip of a Santa Clause shanking Pegg was Peter Jackson? The entire commentary is simply movie-drunk and a fascinating listen.
So, what got me out to see the new comedy, "Hot Rod", was it's slightly amusing trailer and amiable word of mouth on Aint It Cool News. What got me out to see "The Simpsons Movie" was its seventeen year history of generating enormous laughs through visual puns and carefully constructed situations. These two films couldn't be further apart as far as comedies go- one is the granddaddy of animated art, still emanating a heartbeat after all these years and reflecting laughs off current events and pop culture iconography, and the other is a mildly diverting comedy featuring Saturday Night Live alum Adam Samberg and espousing that oh-so hip manner of dead pan filmmaking combined with non-sequiter humor. Both of these films represent modern comedy, although they score wildly different results.
"Hot Rod", in and of itself, is not a terrible movie. I laughed a few times. But it's the manner in which it goes about its laughs that's disturbing. It belongs in that camp of comedy that I'm guessing originated with the films of Will Ferrell; or perhaps even further back with other Saturday Night Live spin-offs such as "A Night At the Roxbury" and "The Ladies Man", or dare I say "The Coneheads". Then again, I could be wrong and the blame lies at the feet of David Zucker with his 1980 "Airplane" (which is a great comedy by the way). Simply put, these are sketch comedy films, stretched out to feature length proportion through odd, humorous tangents. When you watch a film such as "Hot Rod", or "Talledega Nights", or "Dodgeball", or most certainly "Anchorman", it feels like an insider's club; you can imagine the cast and crew sitting around thinking up improvisational bits to levy the unsubstantial structure of the script. Think of the cameos that come flying at you in "Anchorman", or the prolonged riot that breaks out, or the scenes that carry on long after they should end as a character laughs or suffers (specifically the images of Ferrell running around the racetrack in his undies). In "Hot Rod", there are so many I lost count, including the scene where our hero trips and rolls.... and rolls... and rolls down the side of a mountain for what feels like 3 minutes. There's another moment when Rod Kimble, stuntman extraordinaire, summons the spirits of a dolphin, a wolf, and a house cat before he proceeds to jump. If that bit of outer space humor fails to register with the audience, we're given quick insets with pictures of the mentioned animals circling his head. Or there's the character who desperately wants to help Rod and his crew, and anytime he's on screen, he breaks into an 80's type thrust dance (you have to see it to believe it). And if that's not enough, when Rod visits heaven briefly, we're entertained by the images of a stuffed taco and grilled cheese sandwich fighting (don't even ask, it'd take waaay to long to explain). Yes, it's all there along with the kitchen sink. Where did this type of humor come from? Why does it often stop a comedy dead in its tracks when I see such an out-of-body comedy moment? In "Hot Rod", that's all the film has going for it. You watch because you just can't believe what writer Pam Brady may throw at you next. This may work in films such as "Napolean Dynamite", which I consider a personal favorite and the film that "Hot Rod" has been unjustly coupled with, but only because writer-director Jared Hess earns my respect for his characters. It's also probably unfair to mention the comedic canon of Judd Apatow at this point, but if one wants to see how comedy should be done right, then go watch "Knocked Up" or, even better, his 1999 television series "Freaks and Geeks". Not only do his characters make us laugh at them, but certainly laugh with them. His films (and writing) surface something human in their comedy which Will Ferrell, Adam Samberg and Adam Sandler don't understand.
Then you temper that with "The Simpsons Movie". This, in all essence, shouldn't work. It shouldn't garner the amount of laughs it ultimately draws from the audience. Alot of its success depends on its zeitgeist cult following (a following that Fox's "The Family Guy" is slowly eroding with much more tawdry humor). The amazing thing about "The Simpsons Movie" is that, after 17 years, it still packs a humorous wallop. Maybe even more so due to the fact that we've grown up with these characters. We feel for them in a way. And, like the best of the Simpsons episodes, it begins in one place and ends a world apart, defying our expectations in glorious ways. Like "Hot Rod", it relies on tangential laughs- Homer and a pig, Homer whipping a pack of dogs, even the cut to a picture inside Homer's head as a monkey plays while Marge talks. This is not far removed from the sense of humor that received a resounding "thud" in a similar scene in "Hot Rod". Does the animation, illicitly reminding us this not the 'real world', make excuses for laughs found in "The Simpsons Movie"? I'd wager that "Hot Rod" feels less 'real world' than The Simpsons. The humor there feels forced upon us while in "The Simpsons Movie", it settles into a routine that feels familiar. I'm not sure how much of a slam that is to "Hot Rod", but its never good when you take away more emotive connection from an animated film than with a flesh and bone acted movie. Both films intend to make us laugh, but only one really succeeds.
So what does this tell us about the comedy genre itself? Nothing. This is a genre that will always succeed and continually make money. I'm not sure if I care to see Adam Samberg in another comedy, but the next big breakthrough will be supported by Saturday Night Live and more comedy 'thuds' will be heard in theaters. As long as we have plenty of Judd Apatow films and "The Simpsons" to curb those moments, we'll probably be ok.
So, what got me out to see the new comedy, "Hot Rod", was it's slightly amusing trailer and amiable word of mouth on Aint It Cool News. What got me out to see "The Simpsons Movie" was its seventeen year history of generating enormous laughs through visual puns and carefully constructed situations. These two films couldn't be further apart as far as comedies go- one is the granddaddy of animated art, still emanating a heartbeat after all these years and reflecting laughs off current events and pop culture iconography, and the other is a mildly diverting comedy featuring Saturday Night Live alum Adam Samberg and espousing that oh-so hip manner of dead pan filmmaking combined with non-sequiter humor. Both of these films represent modern comedy, although they score wildly different results.
"Hot Rod", in and of itself, is not a terrible movie. I laughed a few times. But it's the manner in which it goes about its laughs that's disturbing. It belongs in that camp of comedy that I'm guessing originated with the films of Will Ferrell; or perhaps even further back with other Saturday Night Live spin-offs such as "A Night At the Roxbury" and "The Ladies Man", or dare I say "The Coneheads". Then again, I could be wrong and the blame lies at the feet of David Zucker with his 1980 "Airplane" (which is a great comedy by the way). Simply put, these are sketch comedy films, stretched out to feature length proportion through odd, humorous tangents. When you watch a film such as "Hot Rod", or "Talledega Nights", or "Dodgeball", or most certainly "Anchorman", it feels like an insider's club; you can imagine the cast and crew sitting around thinking up improvisational bits to levy the unsubstantial structure of the script. Think of the cameos that come flying at you in "Anchorman", or the prolonged riot that breaks out, or the scenes that carry on long after they should end as a character laughs or suffers (specifically the images of Ferrell running around the racetrack in his undies). In "Hot Rod", there are so many I lost count, including the scene where our hero trips and rolls.... and rolls... and rolls down the side of a mountain for what feels like 3 minutes. There's another moment when Rod Kimble, stuntman extraordinaire, summons the spirits of a dolphin, a wolf, and a house cat before he proceeds to jump. If that bit of outer space humor fails to register with the audience, we're given quick insets with pictures of the mentioned animals circling his head. Or there's the character who desperately wants to help Rod and his crew, and anytime he's on screen, he breaks into an 80's type thrust dance (you have to see it to believe it). And if that's not enough, when Rod visits heaven briefly, we're entertained by the images of a stuffed taco and grilled cheese sandwich fighting (don't even ask, it'd take waaay to long to explain). Yes, it's all there along with the kitchen sink. Where did this type of humor come from? Why does it often stop a comedy dead in its tracks when I see such an out-of-body comedy moment? In "Hot Rod", that's all the film has going for it. You watch because you just can't believe what writer Pam Brady may throw at you next. This may work in films such as "Napolean Dynamite", which I consider a personal favorite and the film that "Hot Rod" has been unjustly coupled with, but only because writer-director Jared Hess earns my respect for his characters. It's also probably unfair to mention the comedic canon of Judd Apatow at this point, but if one wants to see how comedy should be done right, then go watch "Knocked Up" or, even better, his 1999 television series "Freaks and Geeks". Not only do his characters make us laugh at them, but certainly laugh with them. His films (and writing) surface something human in their comedy which Will Ferrell, Adam Samberg and Adam Sandler don't understand.
Then you temper that with "The Simpsons Movie". This, in all essence, shouldn't work. It shouldn't garner the amount of laughs it ultimately draws from the audience. Alot of its success depends on its zeitgeist cult following (a following that Fox's "The Family Guy" is slowly eroding with much more tawdry humor). The amazing thing about "The Simpsons Movie" is that, after 17 years, it still packs a humorous wallop. Maybe even more so due to the fact that we've grown up with these characters. We feel for them in a way. And, like the best of the Simpsons episodes, it begins in one place and ends a world apart, defying our expectations in glorious ways. Like "Hot Rod", it relies on tangential laughs- Homer and a pig, Homer whipping a pack of dogs, even the cut to a picture inside Homer's head as a monkey plays while Marge talks. This is not far removed from the sense of humor that received a resounding "thud" in a similar scene in "Hot Rod". Does the animation, illicitly reminding us this not the 'real world', make excuses for laughs found in "The Simpsons Movie"? I'd wager that "Hot Rod" feels less 'real world' than The Simpsons. The humor there feels forced upon us while in "The Simpsons Movie", it settles into a routine that feels familiar. I'm not sure how much of a slam that is to "Hot Rod", but its never good when you take away more emotive connection from an animated film than with a flesh and bone acted movie. Both films intend to make us laugh, but only one really succeeds.
So what does this tell us about the comedy genre itself? Nothing. This is a genre that will always succeed and continually make money. I'm not sure if I care to see Adam Samberg in another comedy, but the next big breakthrough will be supported by Saturday Night Live and more comedy 'thuds' will be heard in theaters. As long as we have plenty of Judd Apatow films and "The Simpsons" to curb those moments, we'll probably be ok.
Monday, August 13, 2007
Welcome to the New Generation
So I went ahead and did it. I purchased the Toshiba HD DVD player today. It was a measured decision- I know HD and Blu ray are still fighting it out for format supremacy, but for $299, its an investment I decided to make. Pretty much everything I've read (and boy have I read alot over the past 6 months) seems to feel that no clear cut winner will emerge for the next year or two. If I can get the most out of this player for 2 years, then that'll suit me. This player makes standard DVD's look INCREDIBLE. I popped in Malick's "The New World" and Michael Mann's "Miami Vice". This is the way movies were intended to be watched. You can see when someone blushes or the color goes out of their face. You can pick up little signs on bus stops, read street signs and differentiate the color patterns in clothes. My eyes were continually darting around the edges of the screen trying to decipher images that I hadn't noticed before. Amazing. And like I said, that's just for standard DVD's. Upconvert is ok, but even if this format loses out, it still crispens my old DVDs like never before.
I did purchase 1 HD-DVD movie, "Goodfellas". My old copy is one of the first generation DVD's and it was time to upgrade. Holy shit.... this is a Scorsese film like you've never seen, full of deep blacks and shadows that cascade around the characters faces. Honestly, HD opens up the world beyond the characters on screen, fulfilling the setting around them with vivid clarity. I'm not trying to talk anyone into a rash decision (like I may have done), but HD quality is the way to go. Do the research for yourself and if $299 is affordable, then I recommend it.
Stay tuned for HD DVD reviews and thoughts.
I did purchase 1 HD-DVD movie, "Goodfellas". My old copy is one of the first generation DVD's and it was time to upgrade. Holy shit.... this is a Scorsese film like you've never seen, full of deep blacks and shadows that cascade around the characters faces. Honestly, HD opens up the world beyond the characters on screen, fulfilling the setting around them with vivid clarity. I'm not trying to talk anyone into a rash decision (like I may have done), but HD quality is the way to go. Do the research for yourself and if $299 is affordable, then I recommend it.
Stay tuned for HD DVD reviews and thoughts.
Saturday, August 11, 2007
Will the Real Nuke LaLoosh Please Stand Up?
This is an amazing story for the major leagues.
I doubt many will remember pitcher Rick Ankiel from the late 90's and early 00's. A pitching phenom in every sense of the word, Ankiel finally got his start in the bigs with the St. Louis Cardinals. After a great season of 11-7 and a strikeout percentage of almost 10 batters per 9 ininngs, he pitched the first game of the 2000 NLDS and the wheels came off. He threw numerous wild pitches and walked several batters. Even though they still won the game (thanks to a 6 run first couple of innings), Ankiel didn't look like a major league pitcher. In his second outing during the NLCS, he didn't make it out of the second inning, throwing 20 total pitches, walking two and throwing 2 wild pitches. The Cards lost that series to the Amazing Mets. After being sent down to the minors, his troubles continued. In one game he walked 24 batters in only 4 innings, settling with an ERA of over 20. Ankiel then had season ending Tommy Johns surgery in 2003. So, what does a down and out pitcher suffering from surgery do? He switches to the outfield, comes back to the majors 4 years later and smacks a 3 run homer in his first game with the Cardinals this week. The Cardinals have had a tremendously tough year and even though I'm not a Cards fan, it's stories like these that continue to fuel my enduring passion for our greatest sport.
UPDATE: Just watched Baseball Tonight and learned that Ankiel went 3-4 today with 2 more home runs. Plus, he made an incredible over the shoulder catch. They stated it best, saying, "This guy is the natural."
I doubt many will remember pitcher Rick Ankiel from the late 90's and early 00's. A pitching phenom in every sense of the word, Ankiel finally got his start in the bigs with the St. Louis Cardinals. After a great season of 11-7 and a strikeout percentage of almost 10 batters per 9 ininngs, he pitched the first game of the 2000 NLDS and the wheels came off. He threw numerous wild pitches and walked several batters. Even though they still won the game (thanks to a 6 run first couple of innings), Ankiel didn't look like a major league pitcher. In his second outing during the NLCS, he didn't make it out of the second inning, throwing 20 total pitches, walking two and throwing 2 wild pitches. The Cards lost that series to the Amazing Mets. After being sent down to the minors, his troubles continued. In one game he walked 24 batters in only 4 innings, settling with an ERA of over 20. Ankiel then had season ending Tommy Johns surgery in 2003. So, what does a down and out pitcher suffering from surgery do? He switches to the outfield, comes back to the majors 4 years later and smacks a 3 run homer in his first game with the Cardinals this week. The Cardinals have had a tremendously tough year and even though I'm not a Cards fan, it's stories like these that continue to fuel my enduring passion for our greatest sport.
UPDATE: Just watched Baseball Tonight and learned that Ankiel went 3-4 today with 2 more home runs. Plus, he made an incredible over the shoulder catch. They stated it best, saying, "This guy is the natural."
Saturday, August 04, 2007
Posters I Love
Along with a new trailer, James Gray's fall release "We Own The Night" also gets a fresh poster. It's not the fairly average placement of Phoenix and Whalburg within the poster that creates its aura, but the black and white facade of the image. It fits Gray's sense of classicism perfectly. As pointed out in an earlier post, I'm a huge fan of Gray. He makes crime films that feel out of place in today's modern market. They're slower, more disciplined, and certainly more textured than other crime films. I'm hoping "We Own the Night" follows suit. Still, it's one helluva poster.
Friday, August 03, 2007
What's In the Netflix Queue #8
There actually is a trend in this queue. Not only am I going back and re-watching every film of the splendid Arthur Penn, but I'm digging into a certain type of cinema that often divides viewing audiences. I'm not quite sure how to define these films, but perhaps this review will give you some insight. Cult Japanese cinema, maybe? Anyway, read some of the synopsis of films within this queue selection and you'll get the idea. I'm either about to explore some intense examples of cult cinema or pure trash. Either way, half the fun is finding out. And, back to the esteemed Mr. Penn, I'm pissed off that the only film of his not available on DVD is "Mickey One" starring Warren Beatty. This movie played incessantly on Bravo back in the day, but I can't stand watching a movie edited for TV, so never gave it a shot.
1. Four Friends- One of Penn's later efforts, a shift in tone from his more intense films, this charts the relationship between 3 men and the woman they're all attracted to in the late 60's.
2. Organ- Taken directly from the synopsis: Tokyo cops investigate the black market in human organs, only to find themselves on the wrong end of the surgeon's knife! Director Kei Fujiwara's disturbing horror film ignited a wave of controversy in its native Japan. Organ -- which may feature the most graphic depictions of vivisection in cinematic history -- was subsequently censored, though the full version has been restored for release on DVD.
3. House On the Edge of the Park- Director Ruggero Deodoto (the "Cannibal Holocaust" films!) directs this early 80's splatterfest that has received some acclaim. "Sleazoid Express" writers highly enjoyed this one.
4. Dead of Winter- Mary Steenburgen and Roddy McDowall chew up the scenery in Arthur Penn's 1987 film. I remember seeing this one as a kid. It'll be interesting to see how it holds up with a more mature eye and by assessing it within the confines of Penn's ouevre.
5. Vibrator- Director Ryuichi Hiroki earned some critical favor with this 2003 road drama that moves at its own pace. Three other Hiroki films are on this list.
6. Alice's Restaurant- How can one not love the film that the TV show "Alice" was based on? Yes, Arthur Penn was there.
7. I Am An S&M Writer- More Hiroki.
8. Evil Dead Trap- In this Japanese cult horror film, talk show hostess Nami (Miyuki Ono) receives an anonymous videotape in the mail. When she plays it, she's shocked to view what looks like a murder -- that is, a snuff film. With the help of her faithful crew, she discovers that the tape originated in an abandoned ex-military base in the middle of nowhere. As the team splits up to investigate, they're drawn deeper into a deadly nightmare.
9. Bullet Ballet- Director Shinya Tsukamoto is largely responsible for this crop of Japanese cult films after he released the highly influential "Tetsuo" movies in the late 80's. "Bullet Ballet" is more of the same and I'm looking forward to stepping back into Tsukamoto's extremely fucked up vision of our world.
10. Mouchette- Wow. This one's outta left field after the above selections, huh? If nothing, you can't say I'm not eclectic.
1. Four Friends- One of Penn's later efforts, a shift in tone from his more intense films, this charts the relationship between 3 men and the woman they're all attracted to in the late 60's.
2. Organ- Taken directly from the synopsis: Tokyo cops investigate the black market in human organs, only to find themselves on the wrong end of the surgeon's knife! Director Kei Fujiwara's disturbing horror film ignited a wave of controversy in its native Japan. Organ -- which may feature the most graphic depictions of vivisection in cinematic history -- was subsequently censored, though the full version has been restored for release on DVD.
3. House On the Edge of the Park- Director Ruggero Deodoto (the "Cannibal Holocaust" films!) directs this early 80's splatterfest that has received some acclaim. "Sleazoid Express" writers highly enjoyed this one.
4. Dead of Winter- Mary Steenburgen and Roddy McDowall chew up the scenery in Arthur Penn's 1987 film. I remember seeing this one as a kid. It'll be interesting to see how it holds up with a more mature eye and by assessing it within the confines of Penn's ouevre.
5. Vibrator- Director Ryuichi Hiroki earned some critical favor with this 2003 road drama that moves at its own pace. Three other Hiroki films are on this list.
6. Alice's Restaurant- How can one not love the film that the TV show "Alice" was based on? Yes, Arthur Penn was there.
7. I Am An S&M Writer- More Hiroki.
8. Evil Dead Trap- In this Japanese cult horror film, talk show hostess Nami (Miyuki Ono) receives an anonymous videotape in the mail. When she plays it, she's shocked to view what looks like a murder -- that is, a snuff film. With the help of her faithful crew, she discovers that the tape originated in an abandoned ex-military base in the middle of nowhere. As the team splits up to investigate, they're drawn deeper into a deadly nightmare.
9. Bullet Ballet- Director Shinya Tsukamoto is largely responsible for this crop of Japanese cult films after he released the highly influential "Tetsuo" movies in the late 80's. "Bullet Ballet" is more of the same and I'm looking forward to stepping back into Tsukamoto's extremely fucked up vision of our world.
10. Mouchette- Wow. This one's outta left field after the above selections, huh? If nothing, you can't say I'm not eclectic.
Saturday, July 28, 2007
Picks and Pans
Sunshine
With all respect to Danny Boyle's newest genre-bending experience "Sunshine", it's going to die a slow, unprofitable death at the box office. Not only is there no marketing push for this film, but the theater I saw it at today had only 25 seats or so filled. That doesn't bode well for an opening weekend strategy. Is it because the studio doesn't fully understand how to campaign for such a well-crafted, eye-popping science fiction thriller in the midst of the remainder of the summer shallowness? Either way, I can only do my duty and use this meager space to shout to the heavens that everyone should see "Sunshine" immediately. It's the most visually arresting and emotionally charged thing you've seen in the theater all year long.
The plot, even though its often caught up in technological science-fiction babble, remains lucid when it comes to the characterization. Cillian Murphy plays Robert Capa, a physicist on board space station Icarus 2. Along with seven other astronauts (featuring a largely international cast including Cliff Curtis, Michelle Yeoh, Hiroyuki Sanada, Rose Byrne and Chris Evans), their mission is to travel to the sun and implode a nuclear device in order to save Earth from an enveloping solar freeze. Of course, this is 50 years in the future and the majority of Alex Garland's script deals with the psychological fissures that develop as the crew mates descend further and further into space. The sun (and mission) pale in comparison to the internal explosions of the characters' psyche. While "Sunshine" borrows alot from previous cinematic forays into science-fiction, it also distinguishes itself from its predecessors by tripping in and out of genres with courage. What begins as a typical space thriller (featuring the ubiquitous repairing the outer ship panels and computer malfunction) soon evolves into a nightmarish collision of slasher flick and psychological thriller.
Heightening the perfection of mood is not only Alwin Kuchler's daring cinematography, which feels like an Edvard Munch painting in the way it bends light and reflection to maximum effect, but also the contagious scoring of John Murphy and the band Underworld. "Sunshine" is that rare blend of science-fiction fantasy entertainment that intermingles loftier ideas with varying degrees of success. For the art house fans, there's Tarkovsky's "Solaris" (and to some extent Soderbergh's remake that hits alot of the same notes for modern audiences) and no doubt "Sunshine" will be paired with that achievement. Some will be turned off from "Sunshine's" final act, but for me, it invigorated an already competent film. Not only do writer Alex Garland and director Boyle handle the wild shift in genres well, but they amp up the tension to undeniable degrees. This is one of my favorite films this year.
Transformers
Why did I pay to see "Transformers"? Because nothing these days beats seeing a movie in digital projection, and what better movie to see than the big summer action blockbuster? Even in digital projection, I want my money back. There's probably not enough space here to define my dislike for Michael Bay's latest..... but I"ll try. Transformers are certainly within my generation. I had them as a kid and played with them everyday. Honestly, I liked my G.I Joes better, but that's a minor quibble. I can see some of my generation enjoying this film, but this is not a film for adults. Not when you have shallow and insulting stereotypes; the high school teacher is a sweater wearing geek, every black person in this film screams and acts foolish, such as when they yell at their 'grandmammy', and the fathers are all uptight white guys concerned about their yards and pools. Even when the Transformers themselves are given voices, they're relegated to stereotypical sounds that murmur childish things and bellow empty things such as "we are here now, and we are waiting". "Transformers" is a colossal disappointment for me. The heart gets racing a little when the Autobots and Decepticons finally meet in a grand finale battle that teats apart a city and utilizes some nifty CGI, but the heart of this thing is empty. This is an assembly-line production that exists solely for marketing and children under the age of 13. And even though I'm usually not affected by the depiction of US soldiers on the screen, I was a bit disturbed by the film's universal unacknowledgement of the consequences of violence. I guess that's how it got its PG-13 rating. Terrible, insulting stuff here.
DVD Pick 'o' the Week- The Missouri Breaks
There are very few things that can usurp the performance of Jack Nicholson in the 70's, but Marlon Brando does just that in Arthur Penn's magnificent 1976 western, "The Missouri Breaks". The story follows Tom Logan (Nicholson) as he and his gang of horse thieves buy a farm next to their sworn enemy, Braxton (John McLiam). In addition to stealing his cattle, Nicholson also steals the affection of his daughter, played with loving precision by Kathleen Lloyd. In retaliation, Braxton hires a contract killer and from the first time he arrives on screen, Brando embraces his performance like an un-performance. I'm not sure if we're witnessing acting or the personification of Brando doing anything he can to turn acting inside out. He wears dresses, mutters off-the-cuff lines of dialogue that could never be scripted, and waifs through the film with a deadly sense of perverse fun. And it all makes sense. Director Penn holds the entire affair together and manages to make some nifty conceits about violence as well. This is new on DVD as part of the Brando set released late last year. Put this high in your Netflix queue.
With all respect to Danny Boyle's newest genre-bending experience "Sunshine", it's going to die a slow, unprofitable death at the box office. Not only is there no marketing push for this film, but the theater I saw it at today had only 25 seats or so filled. That doesn't bode well for an opening weekend strategy. Is it because the studio doesn't fully understand how to campaign for such a well-crafted, eye-popping science fiction thriller in the midst of the remainder of the summer shallowness? Either way, I can only do my duty and use this meager space to shout to the heavens that everyone should see "Sunshine" immediately. It's the most visually arresting and emotionally charged thing you've seen in the theater all year long.
The plot, even though its often caught up in technological science-fiction babble, remains lucid when it comes to the characterization. Cillian Murphy plays Robert Capa, a physicist on board space station Icarus 2. Along with seven other astronauts (featuring a largely international cast including Cliff Curtis, Michelle Yeoh, Hiroyuki Sanada, Rose Byrne and Chris Evans), their mission is to travel to the sun and implode a nuclear device in order to save Earth from an enveloping solar freeze. Of course, this is 50 years in the future and the majority of Alex Garland's script deals with the psychological fissures that develop as the crew mates descend further and further into space. The sun (and mission) pale in comparison to the internal explosions of the characters' psyche. While "Sunshine" borrows alot from previous cinematic forays into science-fiction, it also distinguishes itself from its predecessors by tripping in and out of genres with courage. What begins as a typical space thriller (featuring the ubiquitous repairing the outer ship panels and computer malfunction) soon evolves into a nightmarish collision of slasher flick and psychological thriller.
Heightening the perfection of mood is not only Alwin Kuchler's daring cinematography, which feels like an Edvard Munch painting in the way it bends light and reflection to maximum effect, but also the contagious scoring of John Murphy and the band Underworld. "Sunshine" is that rare blend of science-fiction fantasy entertainment that intermingles loftier ideas with varying degrees of success. For the art house fans, there's Tarkovsky's "Solaris" (and to some extent Soderbergh's remake that hits alot of the same notes for modern audiences) and no doubt "Sunshine" will be paired with that achievement. Some will be turned off from "Sunshine's" final act, but for me, it invigorated an already competent film. Not only do writer Alex Garland and director Boyle handle the wild shift in genres well, but they amp up the tension to undeniable degrees. This is one of my favorite films this year.Transformers
Why did I pay to see "Transformers"? Because nothing these days beats seeing a movie in digital projection, and what better movie to see than the big summer action blockbuster? Even in digital projection, I want my money back. There's probably not enough space here to define my dislike for Michael Bay's latest..... but I"ll try. Transformers are certainly within my generation. I had them as a kid and played with them everyday. Honestly, I liked my G.I Joes better, but that's a minor quibble. I can see some of my generation enjoying this film, but this is not a film for adults. Not when you have shallow and insulting stereotypes; the high school teacher is a sweater wearing geek, every black person in this film screams and acts foolish, such as when they yell at their 'grandmammy', and the fathers are all uptight white guys concerned about their yards and pools. Even when the Transformers themselves are given voices, they're relegated to stereotypical sounds that murmur childish things and bellow empty things such as "we are here now, and we are waiting". "Transformers" is a colossal disappointment for me. The heart gets racing a little when the Autobots and Decepticons finally meet in a grand finale battle that teats apart a city and utilizes some nifty CGI, but the heart of this thing is empty. This is an assembly-line production that exists solely for marketing and children under the age of 13. And even though I'm usually not affected by the depiction of US soldiers on the screen, I was a bit disturbed by the film's universal unacknowledgement of the consequences of violence. I guess that's how it got its PG-13 rating. Terrible, insulting stuff here.
DVD Pick 'o' the Week- The Missouri Breaks
There are very few things that can usurp the performance of Jack Nicholson in the 70's, but Marlon Brando does just that in Arthur Penn's magnificent 1976 western, "The Missouri Breaks". The story follows Tom Logan (Nicholson) as he and his gang of horse thieves buy a farm next to their sworn enemy, Braxton (John McLiam). In addition to stealing his cattle, Nicholson also steals the affection of his daughter, played with loving precision by Kathleen Lloyd. In retaliation, Braxton hires a contract killer and from the first time he arrives on screen, Brando embraces his performance like an un-performance. I'm not sure if we're witnessing acting or the personification of Brando doing anything he can to turn acting inside out. He wears dresses, mutters off-the-cuff lines of dialogue that could never be scripted, and waifs through the film with a deadly sense of perverse fun. And it all makes sense. Director Penn holds the entire affair together and manages to make some nifty conceits about violence as well. This is new on DVD as part of the Brando set released late last year. Put this high in your Netflix queue.
Thursday, July 26, 2007
Sex, Drugs and Movies.. Ok, No Sex
It must be the hot July air that's making all these movie types go ballistic and snort up all the cocaine available in New York and L.A. The next to get caught with drugs (no, NOT Tom Sizemore) is one of my favorite actors, Peter Greene . According to this story, actor Greene was arrested in New York on Tuesday evening in posession of crack-cocaine. Greene is no stranger to addiction. He struggled with dependency all through the 90's while making himself visible in films like "Clean, Shaven", "Pulp Fiction", "The Rich Man's Wife", "Permanent Vacation" and my personal favorite, the amazing 1992 indie "Laws of Gravity". You can see, in that performance, he's not far removed from the glaze of hangover, which works pretty well for the story of a two-bit criminal gliding through New York city with his rag-tag crew. Still, I always hoped he would eventually kick his habit. I've seen him pop up in a few bit parts in the last couple years, but nothing substantial. Looks like he may be away for awhile now. We can only hope he makes a resurgent come-back ala Robert Downey Jr. Why are two of my favorite actors drug-addicted burnouts? OK, that's harsh for Downey Jr, but there must be something to the nature of fueled obsession with a substance that translates into raw performance shifting.
Tuesday, July 24, 2007
Pop Quiz
Whose job would you rather have right now?
1. Bud Selig
2. David Stern
3. Roger Goodell
I think I'll choose none of the above and sign my application for the commissioner of the Argentinian water polo league. This is all going to be very, very interesting. Call it Sportsgate '07.
1. Bud Selig
2. David Stern
3. Roger Goodell
I think I'll choose none of the above and sign my application for the commissioner of the Argentinian water polo league. This is all going to be very, very interesting. Call it Sportsgate '07.
Sunday, July 22, 2007
The Power of Laughter
Over at The House Next Door blog, they've linked up with yet another list. This time, the British publication The Guardian has posted their top 50 comedy films of all time list comprised from reader ballots. It's actually a pretty conclusive selection, naming "The Big Lebowski", "Blazing Saddles" and "Young Frankenstein" in their top ten. There's still some elitism going on (i.e. "Some Like It Hot" and the I-just-personally-never-understood-it "This Is Spinal Tap" clocking in at numbers 3 and 4 respectively), but it's a nice list. They even go so far as to include recent hits such as "Shaun of the Dead" and there's much love for my John Hughes fav, "Planes, Trains and Automobiles". The problems? Well, "Anchorman" earns a spot at number twenty, beating out classic laugh-fests like "The Blues Brothers" and "The Naked Gun", but the inclusion of maverick favorites "Team America: World Police" and "South Park The Movie" make up for some of that. The whole affair is a distinctively British affair, as evident by Monty Python's "The Life of Brian" earning the top spot as well as the inclusion of very-English works like "Alexander MacKendrick's "The Ladykillers", "A Fish Called Wanda" and "Withnail and I"???! Still, I'm a little jealous that I never recieved MY ballot. Granted, I don't live in the U.K. or subscribe to the Guardian, but they could've reached out a little more. Still, its a very fun list.
So, because I missed out on the Top 100 Films thing that was going around the blog-o-sphere a couple weeks ago, this is my attempt to make up for that. I invite everyone within this next week to post their Top 50 Comedies of all Time list. If I were more adventurous, I'd conduct a ballot of my own, but, hey, we're all adults here and can post our own lists. You can either link to them or post in the comments section or display them on your own blog. Laughter makes the world go round!
UPDATED: Here's a brief list. Creating 50 of my favorite comedies became a chore, sort of. I never have given comedies the preference over drama or other genres, so this tested me a bit. I have about 40 or so, so my ballot would've looked like this, in no particular order after the first:
The Big Lebowski (Coen Brothers)
Blazing Saddles (Brooks)
Young Frankenstein (Brooks)
Monty Python and the Holy Grail
Swingers (Liman)
The Royal Tenenbaums (Anderson)
Super Troopers (Chandrasekhar)
Planes, Trains and Automobiles (Hughes)
Dr Strangelove (Kubrick)
Bob Roberts (Robbins)
Bull Durham (Shelton)
Austin Powers Goldmember (Roach)
Hott Fuzz (Wright)
Shaun of the Dead (Wright)
Ghostbusters (Ramis)
Waiting For Guffman (Guest)
Harold and Kumar Go To Whitecastle (Leiner)
Napolean Dynamite (Hess)
Airplane (Abrahams)
Office Space (Judge)
National Lampoons Christmas Vacation (Chechik)
Knocked Up (Apatow)
The Jerk (Reiner)
A Christmas Story (Clark)
Army of Darkness (Raimi)
The Princess Bride (Reiner)
Top Secret (Abrahms)
Quick Change (Franklin)
The Life Aquatic (Anderson)
The Blues Brothers (Landis)
Funny Farm (Hill)
Curb Your Enthusiasm, Rescue Me, Freaks and Geeks, Seinfeld?
So, because I missed out on the Top 100 Films thing that was going around the blog-o-sphere a couple weeks ago, this is my attempt to make up for that. I invite everyone within this next week to post their Top 50 Comedies of all Time list. If I were more adventurous, I'd conduct a ballot of my own, but, hey, we're all adults here and can post our own lists. You can either link to them or post in the comments section or display them on your own blog. Laughter makes the world go round!
UPDATED: Here's a brief list. Creating 50 of my favorite comedies became a chore, sort of. I never have given comedies the preference over drama or other genres, so this tested me a bit. I have about 40 or so, so my ballot would've looked like this, in no particular order after the first:
The Big Lebowski (Coen Brothers)
Blazing Saddles (Brooks)
Young Frankenstein (Brooks)
Monty Python and the Holy Grail
Swingers (Liman)
The Royal Tenenbaums (Anderson)
Super Troopers (Chandrasekhar)
Planes, Trains and Automobiles (Hughes)
Dr Strangelove (Kubrick)
Bob Roberts (Robbins)
Bull Durham (Shelton)
Austin Powers Goldmember (Roach)
Hott Fuzz (Wright)
Shaun of the Dead (Wright)
Ghostbusters (Ramis)
Waiting For Guffman (Guest)
Harold and Kumar Go To Whitecastle (Leiner)
Napolean Dynamite (Hess)
Airplane (Abrahams)
Office Space (Judge)
National Lampoons Christmas Vacation (Chechik)
Knocked Up (Apatow)
The Jerk (Reiner)
A Christmas Story (Clark)
Army of Darkness (Raimi)
The Princess Bride (Reiner)
Top Secret (Abrahms)
Quick Change (Franklin)
The Life Aquatic (Anderson)
The Blues Brothers (Landis)
Funny Farm (Hill)
Curb Your Enthusiasm, Rescue Me, Freaks and Geeks, Seinfeld?
Thursday, July 19, 2007
Summertime Blues
In the past 2 weeks, I've been unfortunate enough to sit through some mind-numbingly bad films:
Live Free or Die Hard- I know I'm getting jaded when I start looking for plausibility and consistency in a summer action blockbuster, but "Live Free or Die Hard" does a tremendous dis-service to the Die Hard trilogy. How would one actually drive a car through an office building by accessing the parking lot garage??? Why would all those cars be abandoned for hours and hours just because the traffic lights aren't working.. other than to save the costs of requiring extras? And the list of plot holes goes on and on... not to mention horrible characterizations, lazy pleas on emotions and a Bruce Willis who truly has gotten too old to portray a believable action hero.
The Hills Have Eyes 2- Detestable sequel to the first Wes Craven remake that situates itself somewhere between the slasher films of the 80's and 2006 torture porn. Not only does it roll out a sickening rape scene, but indulges in eye-gougings, severed limbs and a man being put inside a portable toilet?! Like that character, the rest of the film is just as full of shit.
Police Beat- Robinson Devor's 2006 indie that charts the week in the life of A Muslim Seattle bicycle cop. Desperately wanting to imitate some type of Terrence Malick art film, it never finds a tone or tempo.
Shooter- I have to give this film a few props for its imaginative shoot-out scene on a snow-capped mountain, but its hamfisted politics, unbelievable character archs and mumbling performance by Mark Whalburg don't add up to much of anything.
The 1 bright spot during my recent disc-watching: seeing "Freaks and Geeks" for the first time on DVD. So good. I'm in love with Linda Cardellini.
Live Free or Die Hard- I know I'm getting jaded when I start looking for plausibility and consistency in a summer action blockbuster, but "Live Free or Die Hard" does a tremendous dis-service to the Die Hard trilogy. How would one actually drive a car through an office building by accessing the parking lot garage??? Why would all those cars be abandoned for hours and hours just because the traffic lights aren't working.. other than to save the costs of requiring extras? And the list of plot holes goes on and on... not to mention horrible characterizations, lazy pleas on emotions and a Bruce Willis who truly has gotten too old to portray a believable action hero.
The Hills Have Eyes 2- Detestable sequel to the first Wes Craven remake that situates itself somewhere between the slasher films of the 80's and 2006 torture porn. Not only does it roll out a sickening rape scene, but indulges in eye-gougings, severed limbs and a man being put inside a portable toilet?! Like that character, the rest of the film is just as full of shit.
Police Beat- Robinson Devor's 2006 indie that charts the week in the life of A Muslim Seattle bicycle cop. Desperately wanting to imitate some type of Terrence Malick art film, it never finds a tone or tempo.
Shooter- I have to give this film a few props for its imaginative shoot-out scene on a snow-capped mountain, but its hamfisted politics, unbelievable character archs and mumbling performance by Mark Whalburg don't add up to much of anything.
The 1 bright spot during my recent disc-watching: seeing "Freaks and Geeks" for the first time on DVD. So good. I'm in love with Linda Cardellini.
Sunday, July 15, 2007
Flesh and Bone
In the May-June issue of Film Comment, Brynn White writes of Lee Marvin, "Marvin wanted the audience to grimace and stiffen, but he always wanted them to look back, captivated by what they had seen, gradually finding poignancyin human nature's initially repellent capacities." In Michael Ricthie's "Prime Cut" (1972), Marvin does just both- creating a silent hunter who makes us grimace when he dispatches Gene Hackman's henchman as well as stirring a few gentle emotions in the way he resurrects the empty childhood of a girl (Sissy Spacek) sold into sexual slavery. "Prime Cut", along with "Point Blank", are the best renderings of a man on a quest for something greater. Although they're both fairly straight-forward examples of the strong, silent type that made Marvin a star, they're also the quintessential types of filmmaking that earmarked their respective eras. While "Point Blank" cashes in on the late 60's feel and mood, "Prime Cut" is loose and spirited in a way that only the best films of the 70's captured. While Michael Ritchie would go on to make other classic examples of the period (namely "Smile" and "The Bad News Bears"), "Prime Cut" stands out for its efficient, focused, and nasty way of telling a very ordinary story.
From the opening credits, "Prime Cut" establishes itself as an attack on good manners; a man's body is seen laying inside a Kansas City meat factory converyor belt. The belt starts up, and we're given glimpses of the process that creates our daily beef intake. The camera follows as the body is eventually turned into sausage links. The links are packages up and mailed to a mob boss in Chicago, courtesy of 'Mary Ann' (Gene Hackman) as an affront to the big city boys who sent someone to his small town to collect money. The idea of disposing of a body within a meat packing plant seems elementary today (think of the passion that would've stirred up in a film like "Fast Food Nation"!), but it seems especially grotesque in 1972, which only begins the heated and bloody collisions that stack up in "Prime Cut".
It's not long before the Chicago boss sends his toughest henchman in to negotiate with Mary Ann. Enter Lee Marvin. Upon arriving in Kansas City, Marvin walks right into the barn of Mary Ann, who's in the middle of an auction for beef and drugged, nubile young girls. One of these girls catches Marvin's eye, but not for the same sexual reasons that other men are lined up. Marvin takes the young girl (played with sensual abandon by Sissy Spacek) and makes his intentions clear to Mary Ann. Pay or consequences (and most undoubtedly hell) will be coming. From there, "Prime Cut" explodes into a frenzy of single, efficient vision. It continually subverts the suspense and film noir genre, creating 2 setpieces that feel terrifying in their mundaneness. The first occurs when Marvin and Spacek run from Mary Ann's blond-cloned henchmen from a small town carnival. They end up in a wheatfield where a combine begins to chase after them. Hitchcock watch out. The second, a setpiece that acts as the thrilling finale, places Marvin in the middle of a sunflower field, automatic machine guns blazing. Not only does Richie nail the logistics of the gun battle with great audacity, but he manages to make it feel like anyone (even Lee Marvin) could fall at any minute. Marvin stalks through the battles with great confidence, but what differs from this melee and the ones he surrounded himself during "Point Blank" is the fact that he's fighting for something greather than himself. The undercurrents of father-child relationship between Marvin and Spacek echo loudly throughtout the final few minutes. Which, again, makes the bloodshed all the more palpable.
"Prime Cut" is a film that's hardly ever mentioned when 70's classics are thrown around, but it's a masterwork that demands to be seen. Recently released on video for the first time, maybe now is the perfect chance for everyone to seek out an unheralded gem.
From the opening credits, "Prime Cut" establishes itself as an attack on good manners; a man's body is seen laying inside a Kansas City meat factory converyor belt. The belt starts up, and we're given glimpses of the process that creates our daily beef intake. The camera follows as the body is eventually turned into sausage links. The links are packages up and mailed to a mob boss in Chicago, courtesy of 'Mary Ann' (Gene Hackman) as an affront to the big city boys who sent someone to his small town to collect money. The idea of disposing of a body within a meat packing plant seems elementary today (think of the passion that would've stirred up in a film like "Fast Food Nation"!), but it seems especially grotesque in 1972, which only begins the heated and bloody collisions that stack up in "Prime Cut".
It's not long before the Chicago boss sends his toughest henchman in to negotiate with Mary Ann. Enter Lee Marvin. Upon arriving in Kansas City, Marvin walks right into the barn of Mary Ann, who's in the middle of an auction for beef and drugged, nubile young girls. One of these girls catches Marvin's eye, but not for the same sexual reasons that other men are lined up. Marvin takes the young girl (played with sensual abandon by Sissy Spacek) and makes his intentions clear to Mary Ann. Pay or consequences (and most undoubtedly hell) will be coming. From there, "Prime Cut" explodes into a frenzy of single, efficient vision. It continually subverts the suspense and film noir genre, creating 2 setpieces that feel terrifying in their mundaneness. The first occurs when Marvin and Spacek run from Mary Ann's blond-cloned henchmen from a small town carnival. They end up in a wheatfield where a combine begins to chase after them. Hitchcock watch out. The second, a setpiece that acts as the thrilling finale, places Marvin in the middle of a sunflower field, automatic machine guns blazing. Not only does Richie nail the logistics of the gun battle with great audacity, but he manages to make it feel like anyone (even Lee Marvin) could fall at any minute. Marvin stalks through the battles with great confidence, but what differs from this melee and the ones he surrounded himself during "Point Blank" is the fact that he's fighting for something greather than himself. The undercurrents of father-child relationship between Marvin and Spacek echo loudly throughtout the final few minutes. Which, again, makes the bloodshed all the more palpable.
"Prime Cut" is a film that's hardly ever mentioned when 70's classics are thrown around, but it's a masterwork that demands to be seen. Recently released on video for the first time, maybe now is the perfect chance for everyone to seek out an unheralded gem.
Sunday, July 08, 2007
What's In the Netflix Queue #7
Another round. Here goes:
1. The Booth- J horror film that I rented one time from my local BLockbuster, got thrugh 20 minutes and couldn't hear any sound. From what I saw, it was pretty creepy.
2. Runaway Train- Jon Voight and Eric Roberts on a train with a conductor who suffers a heart attack. Like the description says, if you think this is "corny action fare", Roberts and Voight both got Oscar noms for this film.
3. Siberiade- Aint It Cool News raved about this film; 2 discs, five hours spanning the lives of 2 families from the Bolshevik revolution to the 70's. After watching the 5 hour and 37 minute "1900" this week sometime, I'll need to change the cushions on the couch....
4. Charlotte Gray- This is one Cate Blanchett film I've never seen. Anyone who vistis this blog knows my love for Cate runs deep.
5. There Was A Crooked Man- Western starring Kirk Douglas and a host of great supporting character actors. Can't remember where this one comes recommended from.
6. The Assassination of Trotsky-Joseph Losey film in which Alain Delon is sent into the inner circle to kill Trotsky (obviously!). I have a very hard time turning down any Delon film in which he plays a contract killer. Add to that political intrigue, and I'm so there.
7. Savage Cinema from Down Under: Stained- Australian director Mark Savage (whose other films were listed earlier) crafts some pretty unnerving exploitation flicks and this is another. Once I get through a few more, I may write up something on him. He's an interesting one if you like experimental exploitation films.
8. The Bounty- I may have seen this early Mel Gibson flick back in the day, but it sounds interesting. Director Roger Donaldson's film tracks the mutiny on board a ship commanded by Anthony Hopkins. Should be some great scene-chewing.
9. My Left Foot- With actor Daniel Day Lewis co-starring in "The Bounty", so begins my exploration of the few films of his I haven't seen. I still believe he's one of the 5 greatest actors of the past 20 years, so I need to see everything he's done.
10. The Boxer- Daniel Day Lewis, director Jim Sheridan. They made magic before.
1. The Booth- J horror film that I rented one time from my local BLockbuster, got thrugh 20 minutes and couldn't hear any sound. From what I saw, it was pretty creepy.
2. Runaway Train- Jon Voight and Eric Roberts on a train with a conductor who suffers a heart attack. Like the description says, if you think this is "corny action fare", Roberts and Voight both got Oscar noms for this film.
3. Siberiade- Aint It Cool News raved about this film; 2 discs, five hours spanning the lives of 2 families from the Bolshevik revolution to the 70's. After watching the 5 hour and 37 minute "1900" this week sometime, I'll need to change the cushions on the couch....
4. Charlotte Gray- This is one Cate Blanchett film I've never seen. Anyone who vistis this blog knows my love for Cate runs deep.
5. There Was A Crooked Man- Western starring Kirk Douglas and a host of great supporting character actors. Can't remember where this one comes recommended from.
6. The Assassination of Trotsky-Joseph Losey film in which Alain Delon is sent into the inner circle to kill Trotsky (obviously!). I have a very hard time turning down any Delon film in which he plays a contract killer. Add to that political intrigue, and I'm so there.
7. Savage Cinema from Down Under: Stained- Australian director Mark Savage (whose other films were listed earlier) crafts some pretty unnerving exploitation flicks and this is another. Once I get through a few more, I may write up something on him. He's an interesting one if you like experimental exploitation films.
8. The Bounty- I may have seen this early Mel Gibson flick back in the day, but it sounds interesting. Director Roger Donaldson's film tracks the mutiny on board a ship commanded by Anthony Hopkins. Should be some great scene-chewing.
9. My Left Foot- With actor Daniel Day Lewis co-starring in "The Bounty", so begins my exploration of the few films of his I haven't seen. I still believe he's one of the 5 greatest actors of the past 20 years, so I need to see everything he's done.
10. The Boxer- Daniel Day Lewis, director Jim Sheridan. They made magic before.
Tuesday, June 26, 2007
Is The Day After Tomorrow Really Happening?
The snapshot below was taken from local WFAA Local 8 weather radar about an hour ago. This low pressure trough of rain has been sitting over my area for 2 days now, plummeting the area with rain and causing widespread flood evacuations across the metroplex. And it's not going anywhere until probably late Friday or Saturday, moving south to north, which means more locally heavy rain and flooding. 
And even though we desperately need the rain after the severe droughts of '05 and '06, we've officially reached our breaking point here in the metroplex, exceeding our entire year's rainfall amount of last year in the first 6 months. Dallas set a record in May with 21 out of 31 days with measured rain, plus we've yet to reach a high over 94 this year, which is exceptionally rare. Right now, its 76 degrees outside and with the clouds, not going to reach over 85 until the weekend. Again, weird. Add to that, North Texas measured 2 inches of SNOW over Easter weekend. People I've talked to here in Dallas that've lived here all their lives say they've never seen such a thing. I guess I shouldn't be complaining, after all this IS a much COOLER summer, more rain, and I'm yet to personally suffer any ramifications of high water. So there's that. Call it or El Nino or whatever you like, but I'm watching for the end of the world to occur in Dallas any day now.....
And even though we desperately need the rain after the severe droughts of '05 and '06, we've officially reached our breaking point here in the metroplex, exceeding our entire year's rainfall amount of last year in the first 6 months. Dallas set a record in May with 21 out of 31 days with measured rain, plus we've yet to reach a high over 94 this year, which is exceptionally rare. Right now, its 76 degrees outside and with the clouds, not going to reach over 85 until the weekend. Again, weird. Add to that, North Texas measured 2 inches of SNOW over Easter weekend. People I've talked to here in Dallas that've lived here all their lives say they've never seen such a thing. I guess I shouldn't be complaining, after all this IS a much COOLER summer, more rain, and I'm yet to personally suffer any ramifications of high water. So there's that. Call it or El Nino or whatever you like, but I'm watching for the end of the world to occur in Dallas any day now.....
Monday, June 25, 2007
5 Things I've Loved in Movies So Far This Year
In lieu of a mid-year 'best of' list like I usually do in various places, I thought I'd use the blog forum to open up conversation on what everyone else thinks are the best images they've encountered in film so far in '07. It's not that I couldn't make up a list so far, but the idea of using vivid pictures and other conversations just seems more stimulating. Listed below are 5 images from several films this year that have struck me a certain way; whether it be a face, a scene or a motif. So, I invite everyone to participate, post answers on their own blog and look forward to the other 6 months left in this film going year. In no numerical order:
1. Leslie Mann in "Knocked Up"- I really think I kinda fell in love with actress Leslie Mann after seeing her in this movie. I recognized her as the psycho drunk that almost scores with the 40 Year Old Virgin (and she was hysterical there as she is here) but she brings something new to her role in Apatow's latest. The interaction between her and Paul Rudd is priceless, and when things get a little real (such as when she's not allowed into a night club because she's "old") her humor gives way to some precise emotions about growing older.
2. The first image of The Host rising out of the river- Nothing compares to this stunning 4 minute sequence in Bong Joon-Ho's "The Host" as the 'thing' rises out of the water and wrecks havoc on the passer-bys. Joon-Ho graces the whole event in a long tracking shot that's elegant, chaotic and intense at the same time. And, this is probably the first monster movie in history to reveal the creature in its first appearance, and in broad daylight no less. It speaks volumes about the film's pretentiousness.
3. Actress Imogen Poots in "28 Weeks Later"- For the first time in the history of zombie movies, actress Imogen Poots took the focus away from the zombies and gave us a fully realized and fierce performance as the heroine. Reminiscent of a young Rebecca Gayheart but with acting chops, Poots held my attention every time she was on screen. She has some of the most intense eyes on an actress I've ever seen. I look forward to whatever she does next.
4. The swan in "Hott Fuzz"- There's alot to be said for a running gag in a comedy, but when it works quite as well as it does in "Hot Fuzz", it becomes comedy gold.
5. Actress Carice van Houten in "Black Book"- If the above image doesn't sell you on the genuine beauty of actress Carice van Houten, then you're blind. And like every other actress on this list, they earned their spot here. In "Black Book", Verhoeven manages to expose van Houten to every possible type of degradation and deceit during her campaign as a Jewish spy during World War 2. But, she holds up well and manages to portray her character with style and dignity.
So... what are your top 5.....
1. Leslie Mann in "Knocked Up"- I really think I kinda fell in love with actress Leslie Mann after seeing her in this movie. I recognized her as the psycho drunk that almost scores with the 40 Year Old Virgin (and she was hysterical there as she is here) but she brings something new to her role in Apatow's latest. The interaction between her and Paul Rudd is priceless, and when things get a little real (such as when she's not allowed into a night club because she's "old") her humor gives way to some precise emotions about growing older.
2. The first image of The Host rising out of the river- Nothing compares to this stunning 4 minute sequence in Bong Joon-Ho's "The Host" as the 'thing' rises out of the water and wrecks havoc on the passer-bys. Joon-Ho graces the whole event in a long tracking shot that's elegant, chaotic and intense at the same time. And, this is probably the first monster movie in history to reveal the creature in its first appearance, and in broad daylight no less. It speaks volumes about the film's pretentiousness.
3. Actress Imogen Poots in "28 Weeks Later"- For the first time in the history of zombie movies, actress Imogen Poots took the focus away from the zombies and gave us a fully realized and fierce performance as the heroine. Reminiscent of a young Rebecca Gayheart but with acting chops, Poots held my attention every time she was on screen. She has some of the most intense eyes on an actress I've ever seen. I look forward to whatever she does next.
4. The swan in "Hott Fuzz"- There's alot to be said for a running gag in a comedy, but when it works quite as well as it does in "Hot Fuzz", it becomes comedy gold.
5. Actress Carice van Houten in "Black Book"- If the above image doesn't sell you on the genuine beauty of actress Carice van Houten, then you're blind. And like every other actress on this list, they earned their spot here. In "Black Book", Verhoeven manages to expose van Houten to every possible type of degradation and deceit during her campaign as a Jewish spy during World War 2. But, she holds up well and manages to portray her character with style and dignity.
So... what are your top 5.....
Friday, June 22, 2007
Music Makes the World Go Round
The following is my addition to the Film Music Blogathon at Windmills of My Mind.
We all understand the importance of music to films. Hell, the idea behind soundtracks now exists in every facet of our daily lives. Who doesn't have an Ipod stuck in their back pocket so we can instantly change the soundtrack of our hum-drum days? The fact that music presents us with a varied catalog of emotions and feelings speaks directly to the innate ability of movies to reach us on a basic level. We've all watched a movie where the soundtrack is often more involving than the film itself. And, when a soundtrack is REALLY good, it not only punctuates the strength of the moment, but it rattles around in our heads for days, refusing to loosen its grip. The music of Georges Delerue has been rattling in my head for several years now.
First off, a quick list of some films that Delerue has composed the soundtracks for: "Platoon", "Salvador", "Contempt", "The Conformist", "Silkwood", virtually all of Truffaut's films, "Beaches", "The Black Robe" and "True Confessions", plus over 300 other various film and television projects dating back to the early 50's. Prodigious, yes, but not well known, even though he won an Oscar in 1980 for his score to "A Little Romance" and was nominated 4 other times for "Julia", "Day of the Dolphin", "Agnes of God" and "Anne of a Thousand Days". The lack of recognition shouldn't be surprising. With the exception of James Horner, Bernard Herrmann, John Williams and possibly Howard Shore, there aren't that many composers who break into the global limelight unless they pen a true honest to God classic (think Williams and "Jaws"). Delerue, like so many other composers, harbor a deep passion for relating images to sound and they often go about their business in relative anonymity. But for me, Delerue burst into my global limelight about thirteen years ago.
Being the Godard nut I am, I was quickly burning through his oeuvre of playful, revolutionary 60's films when I rented 1963's "Le Mepris" aka "Contempt") from the local Blockbuster. I turned it on and from the opening moments, Delerue's theme wafts across the images with such a stunning clarity. I re-watched "Contempt" 3 times that weekend, falling in a deep obsession with the film's soundtrack. I quickly checked out this French composer, born in 1925, and saw that he worked largely with French filmmaker Francois Truffaut. So, Truffaut films it was. I think this was the first time in my formative years as a movie lover that I was guided through the images of certain films by a composer rather than the true auteur, the director. From there, I traveled back to Oliver Stone who employed Delerue on two of his films, "Platoon" and "Salvador". I was slowly being seduced by Delerue's lyrical and haunting music. It seemed to hit a pitch perfect harmony with the brutal images of death and destruction presented by Stone. Then there came Delerue's arrangement of Samuel Barber's Adaggio For Strings in "Platoon" that defies words. This was a man who understands the powerful suggestions music can have on the human soul. I was hooked. There was no looking back. Georges Delerue was and is my favorite composer and his music often deepens my appreciation for the images they accompany. That can't be said for many. But the theme that, in my humble opinion, defines the nature of Georges Delerues is known as "Theme de Camille" from "Contempt". It's a hypnotic, lush tune that replays itself over and over during Godard's exploration of a marriage disintegrating between two very beautiful people (Michel Piccoli and Brigitte Bardot). "Theme de Camille" has no other mission in the film than to play as a backdrop against the pulling and tearing of emotions and conversations that exist between the feuding couple. In one instance, it serves as a poignant exclamation of sincerity as Piccoli (and Godard for that matter) lingers over the naked body of Bardot, telling her that he loves each and every inch of her. Later in the film, the theme acts as a mournful elegy as Godard's camera tracks around the wreckage of a vehicle. Like the best of Delerue's theme songs, his music is a multi-purpose, not content to point the listener (and viewer) in one direction. His music takes on a variety of purpose. It's mood music at its best.
The enduring legacy of "Theme de Camille" has surfaced over the years, resurrecting itself in commercials for Chanel, compilation movie clips, and even sampled in the soundtrack of Martin Scorsese's "Casino" in 1995, no less during an emotional high point that corresponds with the violent outburst between man (DeNiro) and woman (Sharon Stone) as their marriage disintegrates. It's a sly nod to Godard's earlier use.
Delerue would go on to create other masterpieces (as evident above when I listed just a few of his credits) but "Contempt" is something altogether different. Delerue died in Los Angeles in 1992 and he's a composer who never really got his due. Was it because he worked largely in France? Still, placing the musical framework to 90% of Truffaut's films should earn him something. Or have we, as a collective group, become somewhat indifferent to the accomplishments and additions of the film composer? Quite often, a film's score will put it over the top for me. Is there a better modern soundtrack than Jon Brion's expressionistic layers in "Magnolia"? Or the music of Michael Nyman (and I'm thinking specifically of his work in "Wonderland", "The Claim" and especially "Gattaca"). Or what about the oft-hated build ups of sound produced by Philip Glass, a composer whose work often threatens to overtake the film's actual drama but feel so perfect to me? These are just a few examples of the brilliance inherent in film today. Delerue is in a class all by himself. He wasn't showy or pretentious. His music is crystal clear, rendering the many emotions of film viable through sound. Instead of just adding a soundtrack, he often added heart and complexity. And that's the greatest compliment a composer can receive, whether he's popular or not.
We all understand the importance of music to films. Hell, the idea behind soundtracks now exists in every facet of our daily lives. Who doesn't have an Ipod stuck in their back pocket so we can instantly change the soundtrack of our hum-drum days? The fact that music presents us with a varied catalog of emotions and feelings speaks directly to the innate ability of movies to reach us on a basic level. We've all watched a movie where the soundtrack is often more involving than the film itself. And, when a soundtrack is REALLY good, it not only punctuates the strength of the moment, but it rattles around in our heads for days, refusing to loosen its grip. The music of Georges Delerue has been rattling in my head for several years now.
First off, a quick list of some films that Delerue has composed the soundtracks for: "Platoon", "Salvador", "Contempt", "The Conformist", "Silkwood", virtually all of Truffaut's films, "Beaches", "The Black Robe" and "True Confessions", plus over 300 other various film and television projects dating back to the early 50's. Prodigious, yes, but not well known, even though he won an Oscar in 1980 for his score to "A Little Romance" and was nominated 4 other times for "Julia", "Day of the Dolphin", "Agnes of God" and "Anne of a Thousand Days". The lack of recognition shouldn't be surprising. With the exception of James Horner, Bernard Herrmann, John Williams and possibly Howard Shore, there aren't that many composers who break into the global limelight unless they pen a true honest to God classic (think Williams and "Jaws"). Delerue, like so many other composers, harbor a deep passion for relating images to sound and they often go about their business in relative anonymity. But for me, Delerue burst into my global limelight about thirteen years ago.
Being the Godard nut I am, I was quickly burning through his oeuvre of playful, revolutionary 60's films when I rented 1963's "Le Mepris" aka "Contempt") from the local Blockbuster. I turned it on and from the opening moments, Delerue's theme wafts across the images with such a stunning clarity. I re-watched "Contempt" 3 times that weekend, falling in a deep obsession with the film's soundtrack. I quickly checked out this French composer, born in 1925, and saw that he worked largely with French filmmaker Francois Truffaut. So, Truffaut films it was. I think this was the first time in my formative years as a movie lover that I was guided through the images of certain films by a composer rather than the true auteur, the director. From there, I traveled back to Oliver Stone who employed Delerue on two of his films, "Platoon" and "Salvador". I was slowly being seduced by Delerue's lyrical and haunting music. It seemed to hit a pitch perfect harmony with the brutal images of death and destruction presented by Stone. Then there came Delerue's arrangement of Samuel Barber's Adaggio For Strings in "Platoon" that defies words. This was a man who understands the powerful suggestions music can have on the human soul. I was hooked. There was no looking back. Georges Delerue was and is my favorite composer and his music often deepens my appreciation for the images they accompany. That can't be said for many. But the theme that, in my humble opinion, defines the nature of Georges Delerues is known as "Theme de Camille" from "Contempt". It's a hypnotic, lush tune that replays itself over and over during Godard's exploration of a marriage disintegrating between two very beautiful people (Michel Piccoli and Brigitte Bardot). "Theme de Camille" has no other mission in the film than to play as a backdrop against the pulling and tearing of emotions and conversations that exist between the feuding couple. In one instance, it serves as a poignant exclamation of sincerity as Piccoli (and Godard for that matter) lingers over the naked body of Bardot, telling her that he loves each and every inch of her. Later in the film, the theme acts as a mournful elegy as Godard's camera tracks around the wreckage of a vehicle. Like the best of Delerue's theme songs, his music is a multi-purpose, not content to point the listener (and viewer) in one direction. His music takes on a variety of purpose. It's mood music at its best.
The enduring legacy of "Theme de Camille" has surfaced over the years, resurrecting itself in commercials for Chanel, compilation movie clips, and even sampled in the soundtrack of Martin Scorsese's "Casino" in 1995, no less during an emotional high point that corresponds with the violent outburst between man (DeNiro) and woman (Sharon Stone) as their marriage disintegrates. It's a sly nod to Godard's earlier use.
Delerue would go on to create other masterpieces (as evident above when I listed just a few of his credits) but "Contempt" is something altogether different. Delerue died in Los Angeles in 1992 and he's a composer who never really got his due. Was it because he worked largely in France? Still, placing the musical framework to 90% of Truffaut's films should earn him something. Or have we, as a collective group, become somewhat indifferent to the accomplishments and additions of the film composer? Quite often, a film's score will put it over the top for me. Is there a better modern soundtrack than Jon Brion's expressionistic layers in "Magnolia"? Or the music of Michael Nyman (and I'm thinking specifically of his work in "Wonderland", "The Claim" and especially "Gattaca"). Or what about the oft-hated build ups of sound produced by Philip Glass, a composer whose work often threatens to overtake the film's actual drama but feel so perfect to me? These are just a few examples of the brilliance inherent in film today. Delerue is in a class all by himself. He wasn't showy or pretentious. His music is crystal clear, rendering the many emotions of film viable through sound. Instead of just adding a soundtrack, he often added heart and complexity. And that's the greatest compliment a composer can receive, whether he's popular or not.
Wednesday, June 20, 2007
I've Been Tagged (The Thinking Blogger Award)
Over the weekend, something interesting began happening across the blog universe. Dennis at Sergio Leone and the Infield Fly Rule mentioned a few blogs that make him think. This was in response to a seperate blog naming Dennis as a blog they often read. The whole affair can be traced back to its humble beginnings here, but the idea is simple- its yet another way for the community of blog-o-spheres to call out niches of interest in this ever-expanding and exciting forum. And it's been virusing all across blogs ever since. So, I'm pleased to announce that this little blog has been mentioned in the list of Jim's at his Talking Moviezzz blog and the activity will be reciprocated with my own list.
The rules are as such:
1) If, and only if your blog is one that is tagged on a list, you must write a post with links to five other blogs you like that consistently make you think (hence, the Thinking Blogger’s Award).
2) Link to the original blog so people will know whose good idea all this was, found here
3) Proudly display the “Thinking Blogger Award” logo with a link to the post you wrote.
So, here goes, in no particular order:
Drifting- Not only is the writer of this blog, David Lowery, a Dallas native such as myself, but also an accomplished short film maker and writer in these parts. But, he doesn't wallow in self serving enterprises, instead shifting the focus of his blog onto other filmmakers, such as when he posted a lengthy interview with director Charles Burnett or posts the latest P.T. Anderson clip. Drifting is essential reading.
Better Than Fudge- Writer Josh Horowitz has a real life writing about films for MTV and other publications, and his blog is a great diversion for film related matters, You Tube posts and some of the funniest pictures you'll surf across on the web. If you don't want to take things to seriously, Better Than Fudge is just what the doctored ordered.
Noel Vera blog- Writer Noel Vera brings us reviews from all over the world, and none as entertaining as his recent dispatches from the Jeonju Film Festival, including thoughts on the festival as well as pictures from his experiences (as a jurt member). This is why I read blogs- to open myself up to places and people that, otherwise, I'd never know. And Vera does a fantastic job of giving us glimpses into foreign worlds with texture and prose.
Coffee Coffee and More Coffee- Another writer who often brings us excerpts from foreign worlds (as he used to reside in Taiwan), Peter Nellhaus has been writing about film for major publications for years now, but none as intimately as within his blog. Everyday there's a new found gem on his blog, reviews from films I've never heard of and screengrabs that jump off the page. Another invalubale source of great info.
Trashcan Odorous Jr blog- Though his posts are infrequent, one of my best friends and one who can shed some insightful thoughts on everything from politics to TV. And I imagine he's working on some great posts about "Deadwood" and "Carnival" right now since he finally discovered the unlimited joys of Netflix.
So, there's 5. Link and enjoy and carry on the "Thinking Blogger" torch. And thanks Jim for the mention!
Monday, June 18, 2007
Capsule Reviews
Bug
While watching William Friedkin's psychological thriller, "Bug", it's clear to see why he's such a maligned director. He never goes for the easy pass or commercial venture. In a certain way, he's still stuck in the 70's and 80's (as visual and audio references to both Sergio Leone's "Once Upon a Time In America and Coppola's "Apocalypse Now" reveal in the first 5 minutes). And while I don't fully accept "Bug" as a terrific movie, I do admire the thematic and dramatic pose of the film. In a few words, this is one mentally damaged piece of work that has great potential of being a midnight movie in the years to come. Even though the first hour is painfully slow, Friedkin picks up the pace dramatically in the second half and begins to create a bipolar narrative that's as weirdly divided as the protaganists. Written by Tracy Letts and based on his play, "Bug" clearly identifies its minimal setting (the motel room and 2 minutes in a bar) and director Friedkin does his best to open things up when possible. There are several startling moments when the entire location begins to vibrate and explode as outside danger (basically meaning real people knocking on their motel room door) threatens Peter and Agnes' confined dementia. "Bug" is not for all audiences, but it does offer up a diverse offering for anyone wanting something a little more cerebral than that Pirate movie playing on 12 of the 16 multiplex screens. And don't forget to stay through some of the credits which features a quick shot that forces the viewer to re-imagine everything they've just seen and analyze what's real and what's not.
Knocked Up
Judd Apatow's "Knocked Up" carries forward his adult sense of humor with even more warmth and comic brevity than his previous film, "The 40 Year Old Virgin". Focusing on the unexpected woes of childbirth and impending adulthood rather than the simple idea of getting laid, Apatow chronicles the whole ordeal with a mature perspective. Amongst all the fart and bong jokes, there's a clearly defined, complex structure of men AND women that exceeds the (sometimes) juvenile offerings. I guess in this competitive film generation, one has to draw both age group audiences for a film to be successful, so alot of Apatow's less than intelligent laughs can be forgiven. But, I still believe adults will be far more entertained than teenagers. There's a few too many truthful moments here that only those who've lived it can appreciate them, none moreso than the scene where Heigl and her sister played, by Leslie Mann who STEALS this movie, are denied access to a hot night club because one is old and the other is pregnant.This is a film for any 30-something still feeling their way through life, unsure if they've made the right decisions and dealing with their mistakes the best way they know how. It's not only a magnificent comedy, but a pretty damn good representation of MY age group.
Ocean's Thirteen
I'm not sure what I expect out of a sequel (the third) from a remake of a movie made in the 60's. Yes, you read that right. And the criticism that was leveled against the first 2 modern Rat Pack movies holds true with "Ocean's Thirteen"- it most certainly looks like it was more fun to make than to watch. If getting the opportunity to see George Clooney, Brad Pitt, Matt Damon, Don Cheadle and Casey Affleck wear funny costumes intertwined amongst $1000 suits, then "Oceans Thirteen" is for you- and not all that different from the first 2 lackluster Ocean pictures. This time the motivating factor is revenge. William Bank (played by Al Pacino who appears to be sleepwalking through his flamboyant role) has double crossed one of Danny Ocean's (Clooney) partners. The boys team up to scam the casino on opening night in both inventive (timed slot machines and rigged dice ala a lighter) and extravagant (i.e. ludicrous) methods. And that's it. For the remainder of the film's 2 hour and 5 minute running time, we get the prvilage of being in on the joke with the Ocean crew as they toss out sprinkly dialogue ("I'll do the McGilroy" and "Told you it's always a Susan B. Anthony") and cruise around Vegas looking ultra cool. I'm probably not hiding my disdain for "Ocean's Thirteen" that well, but the fact of the matter remains "why?" Why does director Steven Soderbergh feel the need to toss off another wacky commercial venture with a high profile cast? Is it to complete his cycle of financing indie projects with the stakes of his more Hollywood fare? Or is there some other reason, as I stated in the first sentence? Is "Ocean's Thirteen" the boys' expensive way of getting together, throwing back drinks and spending 25 days in Las Vegas? Either way, they could've done that without producing such a boring picture in the process.
New On DVD: Straight Time
First, a little backstory here. If you've seen "Reservoir Dogs", then you might notice the face of the one criminals in that film (I believe it's "Mr Blue") has a supporting role in "Straight Time". Tarantino was an avid admirer of "Straight Time" and plucked this actor, Eddie Bunker, out of thin air and gave him the small supporting role in that 1992 film. Bunker, a career criminal, wrote the book that "Straight Time" is based on, and while its an engrossing character study, its also a very tough and knowing look at what it must feel like to be institutionalized from a precinct of life (i.e. prison). Hoffman is a method actor and while his style tends to be a little cynical at times, he nails the performance in "Straight Time", as does every other actor who graces the film with their presence (namely Harry Dean Stanton, Gary Busey, M. Emmett Walsh and a stunningly beautiful and young Teresa Russell). "Straight Time" is a hard-edged look at criminals and the uphill battle to stay sober and straight, creating an ironic title. Not only does the film chart the lead characters slow descent back into a life of crime, but it creates an anti-hero that we sorta feel sorry for, mis-trusted by the system and shoved aside from normal life. This is one of the great unheralded gems of the 70's.
Christ Stopped At Eboli- This is one terrific film by Francesco Rosi. I've seen 4 of his films now, and I'm beginning to understand that no Italian director comes close to the understated beauty he presents with each film. His is a proletarian view, often giving much more empathy with the peasants who mill around in his films rather than larger figures. In "Christ Stopped At Eboli", Rosi follows the life of exiled writer Levi as he takes residence in a small Southern Italy town. There's no real plot to speak of, only following Levi as he listens and makes friends with the townspeople. They dazzle him with stories about history, expose him to small town rituals (in themselves VERY fascinating tidbits about a lifestyle that no longe exists) and accept him as an outsider and eventual town doctor. This is minimal filmmaking, on par with the quiet, studied films of Manuel Oliveria, and another one of the best films of the 70's. Rosi is due for a MOMA re-discovery, at the very least so films such as "The Mattai Affair", "Illustrious Corpses" and "Lucky Luciano" will get a DVD release.
While watching William Friedkin's psychological thriller, "Bug", it's clear to see why he's such a maligned director. He never goes for the easy pass or commercial venture. In a certain way, he's still stuck in the 70's and 80's (as visual and audio references to both Sergio Leone's "Once Upon a Time In America and Coppola's "Apocalypse Now" reveal in the first 5 minutes). And while I don't fully accept "Bug" as a terrific movie, I do admire the thematic and dramatic pose of the film. In a few words, this is one mentally damaged piece of work that has great potential of being a midnight movie in the years to come. Even though the first hour is painfully slow, Friedkin picks up the pace dramatically in the second half and begins to create a bipolar narrative that's as weirdly divided as the protaganists. Written by Tracy Letts and based on his play, "Bug" clearly identifies its minimal setting (the motel room and 2 minutes in a bar) and director Friedkin does his best to open things up when possible. There are several startling moments when the entire location begins to vibrate and explode as outside danger (basically meaning real people knocking on their motel room door) threatens Peter and Agnes' confined dementia. "Bug" is not for all audiences, but it does offer up a diverse offering for anyone wanting something a little more cerebral than that Pirate movie playing on 12 of the 16 multiplex screens. And don't forget to stay through some of the credits which features a quick shot that forces the viewer to re-imagine everything they've just seen and analyze what's real and what's not.
Knocked Up
Judd Apatow's "Knocked Up" carries forward his adult sense of humor with even more warmth and comic brevity than his previous film, "The 40 Year Old Virgin". Focusing on the unexpected woes of childbirth and impending adulthood rather than the simple idea of getting laid, Apatow chronicles the whole ordeal with a mature perspective. Amongst all the fart and bong jokes, there's a clearly defined, complex structure of men AND women that exceeds the (sometimes) juvenile offerings. I guess in this competitive film generation, one has to draw both age group audiences for a film to be successful, so alot of Apatow's less than intelligent laughs can be forgiven. But, I still believe adults will be far more entertained than teenagers. There's a few too many truthful moments here that only those who've lived it can appreciate them, none moreso than the scene where Heigl and her sister played, by Leslie Mann who STEALS this movie, are denied access to a hot night club because one is old and the other is pregnant.This is a film for any 30-something still feeling their way through life, unsure if they've made the right decisions and dealing with their mistakes the best way they know how. It's not only a magnificent comedy, but a pretty damn good representation of MY age group.
Ocean's Thirteen
I'm not sure what I expect out of a sequel (the third) from a remake of a movie made in the 60's. Yes, you read that right. And the criticism that was leveled against the first 2 modern Rat Pack movies holds true with "Ocean's Thirteen"- it most certainly looks like it was more fun to make than to watch. If getting the opportunity to see George Clooney, Brad Pitt, Matt Damon, Don Cheadle and Casey Affleck wear funny costumes intertwined amongst $1000 suits, then "Oceans Thirteen" is for you- and not all that different from the first 2 lackluster Ocean pictures. This time the motivating factor is revenge. William Bank (played by Al Pacino who appears to be sleepwalking through his flamboyant role) has double crossed one of Danny Ocean's (Clooney) partners. The boys team up to scam the casino on opening night in both inventive (timed slot machines and rigged dice ala a lighter) and extravagant (i.e. ludicrous) methods. And that's it. For the remainder of the film's 2 hour and 5 minute running time, we get the prvilage of being in on the joke with the Ocean crew as they toss out sprinkly dialogue ("I'll do the McGilroy" and "Told you it's always a Susan B. Anthony") and cruise around Vegas looking ultra cool. I'm probably not hiding my disdain for "Ocean's Thirteen" that well, but the fact of the matter remains "why?" Why does director Steven Soderbergh feel the need to toss off another wacky commercial venture with a high profile cast? Is it to complete his cycle of financing indie projects with the stakes of his more Hollywood fare? Or is there some other reason, as I stated in the first sentence? Is "Ocean's Thirteen" the boys' expensive way of getting together, throwing back drinks and spending 25 days in Las Vegas? Either way, they could've done that without producing such a boring picture in the process.
New On DVD: Straight Time
First, a little backstory here. If you've seen "Reservoir Dogs", then you might notice the face of the one criminals in that film (I believe it's "Mr Blue") has a supporting role in "Straight Time". Tarantino was an avid admirer of "Straight Time" and plucked this actor, Eddie Bunker, out of thin air and gave him the small supporting role in that 1992 film. Bunker, a career criminal, wrote the book that "Straight Time" is based on, and while its an engrossing character study, its also a very tough and knowing look at what it must feel like to be institutionalized from a precinct of life (i.e. prison). Hoffman is a method actor and while his style tends to be a little cynical at times, he nails the performance in "Straight Time", as does every other actor who graces the film with their presence (namely Harry Dean Stanton, Gary Busey, M. Emmett Walsh and a stunningly beautiful and young Teresa Russell). "Straight Time" is a hard-edged look at criminals and the uphill battle to stay sober and straight, creating an ironic title. Not only does the film chart the lead characters slow descent back into a life of crime, but it creates an anti-hero that we sorta feel sorry for, mis-trusted by the system and shoved aside from normal life. This is one of the great unheralded gems of the 70's.Christ Stopped At Eboli- This is one terrific film by Francesco Rosi. I've seen 4 of his films now, and I'm beginning to understand that no Italian director comes close to the understated beauty he presents with each film. His is a proletarian view, often giving much more empathy with the peasants who mill around in his films rather than larger figures. In "Christ Stopped At Eboli", Rosi follows the life of exiled writer Levi as he takes residence in a small Southern Italy town. There's no real plot to speak of, only following Levi as he listens and makes friends with the townspeople. They dazzle him with stories about history, expose him to small town rituals (in themselves VERY fascinating tidbits about a lifestyle that no longe exists) and accept him as an outsider and eventual town doctor. This is minimal filmmaking, on par with the quiet, studied films of Manuel Oliveria, and another one of the best films of the 70's. Rosi is due for a MOMA re-discovery, at the very least so films such as "The Mattai Affair", "Illustrious Corpses" and "Lucky Luciano" will get a DVD release.
Friday, June 08, 2007
What's In the Netflix Queue #6
This selection is pretty random. I"m not working through the oeuvre of any particular director right now, so the films are varied. Comment if you have any suggestions or thoughts on the mentioned flicks:
1. Chan Is Missing- One of Wayne Wang's first films that just came out on DVD a little while back. I've been looking for this one for quite a while so I'm excited to finally catch a glimpse.
2. The Man Who Never Was- Intriguing sounding British WW2 film about a conspiracy to mislead the Germans about a military landing in Greece. A friend recently re-counted the entire true history of this story and it sounded fascinating.
3. The Dam Busters- Another British war film that documents the conception, building and eventual use of "bouncing bombs" that were used to hit Nazi reservoirs and flood portions of their cities. British war films are usually a grab-bag... but this one has a nice angle. It should be a nice companion piece to the previous film on this list.
4. Crazed Fruit- Yashushi Nakahari's nouvelle vague look at disaffected youth in postwar Japan. I know nothing about this film except for a stellar write-up from Aint It Cool News a long time ago.
5. Prime Cut- Michael Ritchie's 70's exploitation flick.
6. Loud Quiet Loud, A Film About the Pixies- Being a huge Pixies fan, I don't see how this documentary can go wrong.
7. Savage Cinema: Defenceless-Another odd ball choice that came recommended from a couple of Netflix friends. Directed by a man named Mark Savage, I've got 4 films of his in my queue. They're supposedly pretty raw and tough exploitation films that have grown a cult following in their native Australia. Once again, the joys of Netflix can bring home some unheralded gems or utter trash. The jury is still out on this one. I'll keep everyone updated!
8. 1900- Bertolucci's epic film (i.e. clocking in at 5 hours) has finally made its way out of the basement of edited versions and given a proper release on DVD. I watched part of this film when I was much younger and going through a Robert DeNiro phase, but didn't appreciate the style and grandeur of Bertolucci's vision. It's time to give this film another shot.
9. Sensitive New Age Killers- Another Mark Savage flick.
10. This Film Is Not Yet Rated- I've heard mixed views about Kirby Dick's controversial attack on the MPAA system. My local Blockbuster didn't carry it, so he must've pissed off someone.....
1. Chan Is Missing- One of Wayne Wang's first films that just came out on DVD a little while back. I've been looking for this one for quite a while so I'm excited to finally catch a glimpse.
2. The Man Who Never Was- Intriguing sounding British WW2 film about a conspiracy to mislead the Germans about a military landing in Greece. A friend recently re-counted the entire true history of this story and it sounded fascinating.
3. The Dam Busters- Another British war film that documents the conception, building and eventual use of "bouncing bombs" that were used to hit Nazi reservoirs and flood portions of their cities. British war films are usually a grab-bag... but this one has a nice angle. It should be a nice companion piece to the previous film on this list.
4. Crazed Fruit- Yashushi Nakahari's nouvelle vague look at disaffected youth in postwar Japan. I know nothing about this film except for a stellar write-up from Aint It Cool News a long time ago.
5. Prime Cut- Michael Ritchie's 70's exploitation flick.
6. Loud Quiet Loud, A Film About the Pixies- Being a huge Pixies fan, I don't see how this documentary can go wrong.
7. Savage Cinema: Defenceless-Another odd ball choice that came recommended from a couple of Netflix friends. Directed by a man named Mark Savage, I've got 4 films of his in my queue. They're supposedly pretty raw and tough exploitation films that have grown a cult following in their native Australia. Once again, the joys of Netflix can bring home some unheralded gems or utter trash. The jury is still out on this one. I'll keep everyone updated!
8. 1900- Bertolucci's epic film (i.e. clocking in at 5 hours) has finally made its way out of the basement of edited versions and given a proper release on DVD. I watched part of this film when I was much younger and going through a Robert DeNiro phase, but didn't appreciate the style and grandeur of Bertolucci's vision. It's time to give this film another shot.
9. Sensitive New Age Killers- Another Mark Savage flick.
10. This Film Is Not Yet Rated- I've heard mixed views about Kirby Dick's controversial attack on the MPAA system. My local Blockbuster didn't carry it, so he must've pissed off someone.....
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