214 Quick Reviews (Part 1) ~ December 2007

It was an early rule for me that I wouldn't waste a lot of time trying to play "catch up" with movies that I didn't have time to blog at first pass. The message: looking backwards would only slow any movement forwards... A good rule, I think. And ironic given that this blog has sat cold since early August.

Here's the exception then. With the advent of Facebook and Flixster, I've been pretty diligent about keeping a passing journal on most of the movies I've been watching - not every movie and sometimes no more than a sentence or two, but a "snap-review" nonetheless. And as the year-end approaches and I begin to reflect on the year that was (which was fantastic!!), I've been looking back at these capsules and looking for a home where I could keep them going forward. The Monday Project seems the solution.

This then is the first (or by blog-chronology, the last?) of seven postings (in reverse order) that will catch me up for about 80% of my movie-going in the last 6 months. Not everything - I didn't keep track of the various kids movies that I watched with my daughter during our Friday Night Movie Nights or the terribly crappy work-related stuff or even repeaters - but most of what I've watched is here as are the snap judgments that were usually scribbled down within a few hours of watching the movies. If nothing else, it should update this blog with a fair degree of verbal whiplash...

Starting with movies in the last 31 days...


DECEMBER:

Charlie Wilson's War (2007)
Aaron Sorkin scripts are a dream for actors who love to spit clever dialogue and both Hanks and Hoffman have an awfully good time with this. Hoffman in particular chews scenery with such reckless insanity that I'd be the first one in line for a Charlie Wilson sequel that focused entirely on his character. I'd love to see him get the recognition that he deserves for this movie in what is already a fantastic Philip Seymour Hoffman year. As for the rest of the film, it's an interesting but sometimes uneasy balance of screwball comedy and real-world politics. In some stretches, with Sorkin's sharp dialogue, it plays like a Howard Hawks comedy from the 40's with one-liners running at 100 mph (and it's delicious when it's doing so); however on the flip side, there is an undercurrent to the whole affair (most noticeably during a well-timed airplane sound effect) that makes easy enjoyment of the film difficult. After all, amid all of the "hijinks", the root of the story is about funnelling a billion dollars into a covert war. But did I mention Hoffman steals the picture...?

Waitress (2007)
Enthusiastically underwhelming. Waitress feels every inch like an indie movie that wows small festival audiences and bores the mainstream. And not in a good way. I'm thankful for Nathan Fillion who turns everything he does into something fun, however Waitress as a whole felt very small and derivative. In fact, it sort of reminded me of any number of Friday night network dramedies that I skip past on a regular basis. Familiar faces putting on a stiff scripted show...

Tekkonkinkreet (2007)
Visually, this is pretty much as good as it gets. In fact, I can't remember the last time that I was dazzled with imagery quite like this: the textured and Rube-Goldbergian designs of Treasure Town are a marvel onto themselves, but add the stylish character designs and meticulously crafted action sequences and frankly, you're left with a nosebleed. The plot itself is a little thick (as expected) but anchored by an unusually rich relationship between the two central characters. I would have been satisfied enough if this film was a beautiful, hollow affair, but because I genuinely cared for the main characters, it developed into something far, far better. Dreamlike at times, but never anything less than spectacular.

Live Free or Die Hard (2007)
The world didn't need another Die Hard movie but thankfully, it's OK. Forget that Willis' character has blossomed from "everyman" to ridiculous "action-hero" in the last two decades, what matters is that the movie has fun. Len Wiseman shoots action well (particular the car chases which are tremendously energetic) and the supporting cast is entertaining (especially Justin Long.) I had a reasonably good time. Is all of this faint praise? Feels a little bit like faint praise...?

Hot Rod (2007)
Yikes. The best thing that I can say about Hot Rod is that it's mercifully short. Headlining the latest bad SNL skit inexplicably stretched to feature-length, Samberg is funny but not quite funny enough to turn Hot Rod's thin premise into something more than an extended trailer. Like any post midnight SNL skit, the movie has pretty much spent all of its energy and good ideas by the halfway point, stranding its otherwise talented cast to pad the run-time with "bits" that generally don't work. In this case, it actually feels like most of the "deleted" scenes have found their way back into the movie. Like a sucker, I'll confess that I did laugh at most of the 80's songs (and in particular, the Footloose spoof). I'm an easy mark for that stuff...

King of Kong: A Fistful of Quarters (2007)
If it wasn't real, it would be tough to believe that it could be, but King of Kong is one of the most entertaining docs I've seen this year. Proof that documentaries aren't always "work", KOK is more hilarious than most Hollywood comedies and heartbreaking to boot. The story is a treasure for a doc filmmaker: overflowing with wildly colourful characters, garnished with a ton of "twists" and a plot loaded with arcade intrigue. Billy Mitchell is a marvelous villain and like many of the characters in the film (most especially Mr. Awesome), should give up his hot sauce career for one in the wrestling ring. So enjoyable that I watched in twice in 3 days...

La Vie en Rose (2007)
At this point, biopics of this sort are so cliché that it's hard to find anything new to enjoy in them. Marion Colliard's performance is excellent and she deserves virtually all the praise she's receiving, but then isn't that just part of the biopic "formula"? To be honest, there's nothing in this film that hasn't been done a dozen times before and nothing strong enough to recommend watching it. I was all kinds of bored throughout.

Halloween (2007)
There's a special place in movie hell for Rob Zombie. Putting aside for a moment that Halloween 2007 is one of the ugliest, clumsiest films that I can remember, the big mystery for me is how Zombie could take Carpenter's lean classic and not find in it an interesting, engaging or even scary remake. Not one bit. Every reveal, every classic moment, every piece of business that should resonate with Carpenter fans has been fumbled including the shameless cribbing of Carpenter's original POV shots and music. In his effort to "improve" the original, Zombie has layered in so much extra (and unnecessary) baggage that the movie is like a slobbering drunk with terrible undercooked dialogue, weak performances and head-scratching diversions: chief among them, why does it take 45 minutes for the Halloween story to finally start rolling? Why do we need to spend so much time with the punky kid actor playing the young "tormented" Meyers? Does Zombie think this adds depth to the Michael Myers monster? Because really, it just demonstrates how little Zombie understands about what made the original film work - kind of like making a Jaws remake that focuses entirely on how the shark spends its days off. I'm not a slavish fan of the original and would have absolutely welcomed any well-built remake, if only because Michael Myers is a fun horror icon and it's (usually) fun to watch these classics re-invented. However this is a movie so bad that it virtually tarnishes everyone who appears in it. Every time a new familiar face showed up I found myself asking the same questions, "Malcolm McDowell? Really? E.T.'s mom? How could you? Clint Howard? What would your brother say?" I'm trying to avoid extreme hyperbole here, but I truthfully think this is one of the most unenjoyable films I've ever seen. Top 5 at least. My biggest regret is that I watched it alone when I should have watched it with a group of friends so we could share the pain and unintentional hilarity together.

4 Months, 3 Weeks and 2 Days (2007)
Who doesn't love a bleak, street-level abortion flick...? I absolutely couldn't wait for this movie to end and in this rare instance, that's actually a compliment. The movie starts slowly but builds into something quite unbearable in its second half as a terrible sense of dread eclipses everything. In fact, there were at least two extended sequences in the second half that turned my stomach in knots. By the time the credits rolled, I could barely stand but was grateful for the mercy of the theatre lobby. This might not sound like a lot of fun to most people, and I can't say that I need to see this again anytime soon, but it's nevertheless one of the best films I've seen this year.

I'm Not There (2007)
I'm not a big Dylan fan though I desperately wish I was. As a result, I'm Not There could only be 80% of the movie for me that I'm sure it is for hard-core fans. As a non-fan, Haynes' film is simply overflowing with cinematic goodies, fresh with bold performances, mind-blowing direction and genuinely startling images. As a movie lover, it's a gift and I had a blast even as much of the "code" and Dylan obscurities drifted over my head. Still, the music - which is ultimately at the center of the movie - was never less than excellent. My only complaint might be that the film was about 30 minutes too long.

Atonement (2007)
Two things impressed me a great deal: Joe Wright and James McAvoy. Wright's direction is nothing short of stunning, from the compulsive clicking and clacking throughout the soundtrack to the breathtaking photography. The "beach sequence" really is something special, but it was the quieter moments that surprised me more: Wright clearly has an eye for English countryside. Similarly, McAvoy delivers the performance of his early career and promises to be someone to watch. As for the other elements of Atonement, I was a little underwhelmed. After the frankly engaging first act, the movie seemed to lose focus and to be totally honest, the "fall-out" of events and ultimate finale left me a little cold (sort of a lower-case atonement as far as I'm concerned.) This is bound to get a lot of attention in the coming weeks as Oscars ramp up, but for me it simply falls in the very-good-not-great category in part because the last half of the story failed to live up to the promise of the first hour.

Mr. Bean's Holiday (2007)
Surely this is as good as a Mr. Bean feature can actually be? It's not a total failure because at 86 minutes, it's pretty much the right length. And that's probably the best compliment that I can pay to it. I have to be honest that I actually smiled (not quite laughed) maybe twice...? [sidenote: what's up with Willem Dafoe? Did he have a fight with his agent or something??]

First Snow (2007)
A minor work by some very talented people: Guy Pearce, J.K. Simmons, Mark Fergus, William Fichtner. All are great in this, and Guy Pearce in particular gives an intelligent and complete performance as the doomed lead who finds himself trapped in a modern noir thriller. Ending was a little disappointing but the ride was very good.

Reservation Road (2007)
It's the quality of the performances by Joaquim Phoenix and Jennifer Connelly that elevate Reservation Road from being just another Sunday-night TV movie...but not by much. Strangely every element of this film which seems built for awards-attention (performances, direction, etc.) hits as many false notes as true ones. There are some high-points for virtually everyone involved (in particular, Phoenix and Connelly) but the cast seems stranded without much room to grow beyond the opening set-up of the film. In other words, Ruffalo remains guilt-ridden and paranoid throughout, Phoenix is forever obsessive and heart-broken, and every variation on these feelings is played out over and over through the film. As a result, the movie starts as an affecting (and in moments, devastating) character drama but spins its wheels until the soft and almost cowardly conclusion.

Paprika (2007)
It was at exactly 55 minutes that I tuned out on Paprika which is the point when the balance between sumptuous imagery and thick techno-babble edged too far to the side of babble. The concept of adventuring through people's dreams is great (worked so well in Dreamscape!) and ideal candy for animating, but it's tough to tackle dream logic and maintain a clean, decipherable storyline. In this case, the plot hangs on techno-gadgetry that might as well be from a Dr. Seuss book and when the time comes to start doing some heavy lifting to keep up with the story, it simply isn't easy to catch up. Too bad. The animation is mostly spectacular, but for my money, I'll stick with the superior Tekkonkinkreet.

The Simpsons Movie (2007)
10 years too late and completely aware of the fact, the biggest surprise of The Simpsons Movie was that it works very, very well. There's no question that the opening 30-40 minutes are when the film cooks the most, following gag after gag with the same loose and irreverent spirit of the early TV seasons. In the second half, the laughs slow down a bit as the "big-screen plot" takes over, but it's a pretty good "big-screen plot" and the movie never stales. A friend has a general theory that for a movie-adaption of a popular TV show to be made, one of the following must happen: 1) a regular character must die (check!) 2) a character must appear nude (check!) 3) there must be swearing (er, almost...Homer gives the finger at one point) or 4) the TV status quo must be significantly upset by the destruction of a major location, etc. (check! check!!) In that respect, The Simpsons Movie has earned every point necessary for a worthwhile big-screen jump, and it's also happens to be very sharp. Really, what more did you want?

I Am Legend (2007)
Not having read the book or seen the other films based on Matheson's story, I Am Legend was everything I wanted it to be and frankly, a little more than I was expecting. The level of detail in the post-apocalyptic New York was sensational and went a long way to selling the whole experience, but what impressed me more was how unusual this was for a blockbuster: largely dialogue-free, extra-grim subject matter, Will Smith playing with all screwball mannerisms dialed way down. The result was uncommonly intense and refreshing - everything a good genre picture should be. The only real complaint (and one I've seen echoed virtually everywhere) was the unusual decision to rely entirely on CG creatures, particularly given how easy it would have been to accomplish the creature designs with basic make-up and lighting. Strange in a movie where every effort is made to create a convincing "reality" that the realism was ultimately undermined by one of the easiest effects to create. Still, CG monsters aside, I Am Legend was excellent and one of the most entertaining comic-book experiences of the year. I'll be watching it again.

Death at a Funeral (2007)
Poor Frank Oz, virtually relegated to the direct-to-video category, and not un-deservedly. Death at a Funeral starts out with a generous amount of wit and some fun performances but by the time the "title" comes into play, it begins to feel derivative and like nothing special. Nevertheless, points awarded for Alan Tudyk who I enjoy in virtually everything.

The Namesake (2007)
Here's the first movie I can remember that doesn't visit the Taj Mahal from the same postcard angle as every other movie. Instead, the family tour goes behind the walls and into the courtyards and temples which is perhaps the best analogy for The Namesake. Refreshing to find a movie about Indian immigrants that skirts stereotypes and offers a rich (and I have to believe authentic?) portrait of Indian culture amid an American suburb. The movie seems stuffed with personal and private moments that surely must come from someone's real background (if not Mira Nair, then the author of the book upon which the film is based). In fact, the only real sour note for me was the casting of Kal Penn who I hoped would surprise me with a great dramatic performance, but didn't. He felt like an odd fit for a film that was otherwise sincere and lived-in.

Stardust (2007)
On paper, it's clear why so many people have compared Stardust to The Princess Bride: a clever, fast-moving, frothy fairytale with modern sensibilities, outlandish character performances and tongue-planted-deeply-in-cheek. But in execution, Stardust actually seems quite different; I've struggled to try and put my finger on the reason why and failed to find it. Hmmm? Similarities aside, Stardust is great fun, an epic adventure with broad action sequences, colourful characters (De Niro's character barely...barely...avoids the slide into cheese) and a geniunely romantic heart. Watching Claire Danes light up (literally) when she kisses her hero is one of those touching images that will either make you adore the movie or throw up in your shoes. I wasn't one of the ones to throw up in my shoes.

214 Quick Reviews (Part 2) ~ November 2007

So it goes as I work my way backwards.

NOVEMBER:




I Wanna Hold Your Hand (1978)
Exploring the Universal back-catalogue, this seemed like a fun relic to put in: an early Robert Zemeckis/Bob Gale comedy about Beatlemania. What turns out to be both historic and surprising are the number of story beats (and even dialogue) sampled here but later to turn up in Back To The Future. A fun comedy with a real affection for the Beatles and surrounding fan-dom, even if it now seems a little dated.

Death of a President (2006)
So...is it appropriate to call this a mockumentary then? Equal parts hypothetical doc and Law & Order episode, DOAP largely works because it does such a great job of nailing the details. In fact, at times it's easy to forget you're watching fiction as the narrative becomes trapped in dead ends or gets lost in the weeds of the investigation (in the same way an actual chronological report might). Ultimately, a curious experiment worth the 90 minutes and subsequent discussion.

Gone Baby Gone (2007)
...whoa... Wasn't expecting that. Wasn't expecting to have my teeth knocked out, but being the parent of a 4-year-old, Ben Affleck's directorial debut goes to some really, really dark places. In fact, as much as I loved it, I don't think I could watch it again. The plot twists and turns on itself in some surprising ways and ultimately lands in a real tight spot, one that should have people debating the choices made (which is always a good thing). The cast is 100% fantastic but Casey Affleck again proves he is one of the best of his generation, standing toe to toe with Ed Harris and Morgan Freeman and more than taking his share. Really really impressive.


The Darjeeling Limited (2007)
Absolutely fantastic. Without question the most vibrant and eye-popping movie that Wes Anderson has done with some really clever dialogue in the first half. Unfortunately, an awkward tonal shift in the second half kind of brings the whimsy to a screeching halt...for a bit, but then I guess that's part of the Wes Anderson formula also, isn't it? Still for at least an hour, this movie spins at such a remarkable frequency that I was tempted to give it 5-stars. Tagging Hotel Chevalier to the opening is a genius stroke, providing some rich background and making an excellent pace-starter for the film to follow. Loved this.

Into the Wild (2007)
Some movies just get under the skin and stick with you after you walk away. This is one of those. The plot wanders to and fro (as it should) but the core remains remarkably steady and thoughtful, Into the Wild is a true announcement that Sean Penn can direct as well as he can act. Emile Hirsch is excellent, particularly in his final scenes.

Rendition (2007)
Talented cast stranded by a mediocre script and some real TV-movie level direction. Parallel plots actually grind the momentum to a halt and make the entire experience sort of...boring. Truth is when a ticking bomb doesn't raise your pulse, something has failed. Frankly, I was glad to see this one end.

Spider-Man 3 (2007)
Oh dear. It's an awfully strange decision to relegate Spider-man to a supporting role in his own movie, but it's even more confusing that Raimi and Co. messed up one of the most exciting stories in comic book history (Venom and the black suit). After two solid trips out, it looks like Sam Raimi has finally lost the magic that made the first two films so excellent: the passion for the spirit of the comic book, exciting (albeit CG-infused) action sequences and solid storytelling. All are missing in this sequel. Weirder still is the pace of the film which makes the first film (in which the first 75 minutes were Spider-man free) seem positively hyper-charged; isn't the point of getting the origin story out of the way in the first film so that we can charge into the super-heroics and action-packed stories in the sequels? This one misses the mark completely - pretty much Superman III in every respect.


The Philadelphia Story (1940)
Hepburn in her prime was a force of nature and it's quite a spectacle to watch her go blow for blow with Cary Grant and James Stewart. This is one of those "classics" that truly and completely lives up to the rep: a thoroughly sharp and meticulously executed comedy that starts at a brisk jog and quickly breaks into a full sprint. Once the foundation for the comedy is laid out in the first act, you're watching a team of professionals at the top of their game, making breathless comedy look easy. But what truly makes it stand above its classic peers is the warmth of the characters and story: this old movie has a beating heart that doesn't age.

Black Snake Moan (2007)
Jackson and Ricci are both fearless in their roles, stretching themselves in ways that make them virtually unrecognizable. Jackson in particular seems to work in only two modes these days: smiling "Hollywood" Sam Jackson and the more serious character performer billed as Samuel L. Jackson - clearly it was the latter who signed onto this film. Even so, the movie really struggles (and ultimately fails) to rise above its pulp roots. The writing simply doesn't earn the steep transformations that we're expected to believe happen between the main characters and as a result, the final act seems pretty unlikely.

Mouth to Mouth (2005)
Disappointing to be honest. Curious as an early Ellen Page role but the movie is so black-hearted and toxic that I was left feeling kinda dirty at the end.


Eagle vs Shark (2007)
Some of the most casually hilarious dialogue (and delivery) I've seen in a film in a long time. There'll be a lot of comparisons to Napoleon Dynamite, but I liked this movie much more in large part because Loren Horsley's Lily gives the film a sweetness that the more popular Dynamite didn't have. Furthermore, Jemaine Clement is comedy gold. I've gotta be honest: I wasn't expecting to like this much. Great surprise!

Fido (2007)
I love zombies movies. Totally. And it's a rare pleasure to find a movie that uses zombies for comedy. Fido is chock-full of clever ideas that turn the zombie genre on its head, and it's always a good thing to find a movie that mixes squeaky-clean 50's style with gore and gallows humour. Still, at only 90 minutes Fido somehow managed to seem a little too long, never digging much deeper than the surface kische and ending up as a so-so campy experience. I wanted to love it, but I can only say I liked it.

Lars and the Real Girl (2007)
A very strange and sweet little film that strains credibility to the breaking point. Still, people seem to love it and it's likely because of the earnest performances, all of which treat the outlandish subject matter with genuine respect and heart. Ryan Gosling is taking most of the attention, but he is surrounded by at least 4 equally great performances, all which are far less showy (and no less complex) than the lead.


Away From Her (2007)
This would be an astonishing movie from any director but as the directorial debut of a 28-year-old, it's remarkable. There's such a careful balance of confidence and restraint that it feels like the casual output of a master filmmaker with decades of experience. Honestly. There's no doubt that Polley was lucky to assemble such an awesome pedigree of performers (all of which bring their A-game) but it's her quiet skill behind the camera that delivers the goods. Never sentimental yet crushing nonetheless, this is the kind of movie that breaks hearts. When I get my breath back, I'm sure this will be one of my favourites of the year.

Balls of Fury (2007)
Alternately silly and awkwardly un-funny. A movie like Balls of Fury only works when the good laughs outweigh the bad and this one might be too close to call. When the movie sticks to the ping pong matches and Def Leppard bits, it's an entertaining, if a little forgettable, dumb-as-bricks comedy; however it's poor James Hong as the blind ping pong master who carries an awful lot of terrible jokes and poor pratfalls (the movie even ends on one). As a result, Balls ends up kind of a so-so goofball comedy - not quite Dodgeball but not exactly a bad Rob Schneider comedy either, though it's probably a bit closer to the latter. Also worth pointing out that after only one movie, Dan Fogler's schticks are already played out - this dude's bound to be annoying in everything he does from this point forward.

Black Book (2007)
Paul Verhoeven's reputed "return to excellence" is undeniably pulpy, but a rich and sweeping WWII movie nonetheless. Melodramatic and a tad envelope-pushing, the movie works its magic by surrounding an engaging character story with great period detail and gorgeous camerawork. I'm surprised that it didn't see more exposure on release - it's a great movie.

The Dreamers (2003)
Bertolucci's love-letter to cinephiles comes at the right time for me given my movie habits. The movie "games" and flashbacks/recreations are exciting for someone in the midst of watching all these movies now and it's clear that Bertolucci is tapping into some deep and honest affection for film history. Nevertheless, there's an awful lot of stuff that went over my head and I'll need to rewatch this movie again after I've completed the Monday list. Great ending.

The Cabinet of Dr. Caligari (1919)
Hailed as an innovative masterpiece, it's unfortunate that the movie now wears every decade of its almost-90-year existence. Watched on crumby VHS, the forced-perspectives and expressive design work seem largely flat and two-dimensional on video, all of which creates the illusion that Caligari is simply a filmed stage play. And it's simply never in doubt that we're watching doing anything but watching actors playing out parts on a painted set. Still, there are some genuinely creepy moments (Cesare is a striking movie monster if you can get past the black body stocking) and it's easy to see why early audiences would have been shaken up by the experience - predating even Nosferatu (1922) and Frankenstein (1931), there was nothing else like this in 1919. I have to confess that I lost track of the plot at the halfway point, but an interesting experience nonetheless.

Reign Over Me (2007)
A rich character piece that is soaked with despair and loss, something funny happens through the course of Reign Over Me. The actor who starts out as Adam Sandler gradually transforms into poor, shattered Charlie Fineman, though I dare you to find the exact moment when Sandler disappears. This is a big step forward for Sandler and suggests that he could genuinely have some kind of career away from the standard summer Sandler comedies. Don Cheadle is masterful, as always, and unbelievably watchable in just about anything he does.

Rescue Dawn (2007)
A remarkable story and a thrilling film that pales only in comparison to the brilliant Herzog documentary on the same subject matter. Herzog's doc is one of the most astonishing and powerful documentaries I've seen and I was anxious to see how Rescue Dawn stacked up to the "original". Turns out that the movie version is excellent but much like a "movie-based-on-a-book", doesn't seem to tap as deeply into the material. Christian Bale is remarkable as Dengler, bringing his usual method and physical transformation to the role, however it was Steve Zahn who surprised me the most as Dengler's broken and hollow companion. It's also worth noting that Jeremy Davies is ready to make a fantastic Charles Manson biopic.

Paris je t'aime (2007)
Anthologies of this sort can be a mixed bag: sections work well or they don't. Still, the good news is that regardless of the quality of any given sequence, there's always another one coming right behind it (for better or worse). As a result, Paris je t'aime is a very easy-going movie experience and one of the few that works well even watched in multiple sessions. Most of the shorts are fun and often funny and/or touching, but the complete experience didn't build to exactly what I'd hoped it might. Instead of 20 shorts about Paris and love amounting to something far greater than the sum of its parts, Paris je t'aime actually seems to sum to a little bit less: ultimately a series of sort-of forgettable vignettes with a number of definite highlights. Of note are the excellent sequences by Alexander Payne (best of the bunch as far as I'm concerned), Tom Tykwer and in particular Oliver Schmitz. Nevertheless, a great movie experience who people who love movies or Paris or both. There's almost certainly something to love for everyone.

A Mighty Heart (2007)
At the 2/3 mark of A Mighty Heart, I worried that Winterbottom might be playing things a little "too safe" and "too respectful". In fact, the first hour of the film plays like a cool police procedural that just happens to be based on a true story, complete with all of the details and dead ends of a real-world investigation (and I confess that I couldn't very well follow who was who and what was what for most of this section). But Angelina Jolie is awesome as Mariane Pearl and the last part of the movie belongs to her as she finds a way to bring Pearl's grief to the surface without sentimentalizing the subject matter. Her performance ultimately won me over.

Ocean's Thirteen (2007)
Ironic that a franchise that depends so heavily on the element of "surprise" is anything but surprising at this point. If you've seen Ocean's 11 or 12, you know what you're getting: more polished, smarmy, star-driven, complicated and ridiculous movie thievery. And like my experience with the first two movies, I completely forgot about the "plot" of this movie about 2 hours after viewing. Total movie junk food.

Before the Devil Knows You're Dead (2007)
100% delicious movie crack. All the critics that are holding this movie up as a brilliant return to 70's aesthetics clearly missed the revival of crime-thrillers in the mid-90's with Usual Suspects and Reservoir Dogs, not to mention The Departed. And make no mistake - that's exactly the class to which BTDKYD belongs. Directed with the precision of a Swiss clock and populated with endlessly surprising performances (Hawke and Finney in particular), this is easily one of the most exciting movies that I've seen this year. Lumet starts with an explosive robbery that spins dramatically out of control and then proceeds to twist the screws on the characters for 2 full hours. By the time the last act kicks into gear, the stress is exhausting. Saying any more would be a disservice to anyone who still plans to see this - stay 100% spoiler-free.

Beowulf (2007)
As a forerunner in 3D innovation, Beowulf is dazzling and frequently breathtaking. As a movie, however, it's a bit of dud - creaky, stiff, and much too talky for the type of revolutionary effects that it's trying to show off. The truth is that when the movie slows to just 'talking heads", it's as engaging as the cut-scene of a video game (as in, not at all); however when the action kicks in, Beowulf is spectacular. And the 3D piece makes it even better. What surprised me the most is how far Zemeckis pushes the envelope from a sex and violence perspective; the character of Grendel is as ugly and disgusting as anything I ever want to see in a movie again, and the playful nudity (which abounds!) was really quite distracting. Hilarious even. (I didn't need Beowulf's big battle in the buff, and the enthusiasm to cover Beowulf's business with every jump and blow became a huge distraction in an action sequence that should have been heart-pounding - the audience I was with was laughing throughout). Despite the leap forward for 3D animation, Zemeckis and Co. still have a few miles to go in the character design. Make no mistake - this is as good as this type of animation has ever been, however for every shot that sparkled with realism, there seemed to be an equally awkward shot that looked like it came right out of a first-year CG Animation class. The movie is worth the gas and popcorn to see a 3D presentation, but isn't worth the effort in standard format. Watching this on DVD will be a disaster.

Control (2007)
Filled with great performances, fantastic music and gorgeous black and white photography, Control has the look of an album-jacket come to life. The story itself was much leaner than I was expecting and intentionally or not, Ian Curtis remained a cypher for me right until the final act. All in all, a curious bio-pic - enormously fun for fans of Joy Division but not the cross-over movie I was expecting.

The Devil Came on Horseback (2007)
Blistering doc that puts a human face on both the tragedy in Darfur and the people who are trying to sound the alarm. What makes the film extraordinary is the way that it strips away the complexity of the situation and puts into clear focus what is happening. More importantly, by entering the conflict through the eyes of an American witness to the tragedy, it gives viewers a sympathetic perspective on the terrible things that are happening, something an objective news doc might not do. The photographs in the film will cause nightmares (to the extent that I couldn't watch the movie anywhere close to going to sleep) but the doc is great one; should be watched by everyone.

This Is England (2007)
Clearly autobiographical, Shane Meadows' This Is England rises above its subject matter ("how to turn a 12-year-old into a skinhead") by its deep humanism and keen attention to period detail. In fact, the movie feels like it might've actually been filmed in 1983 with every costume and location period-perfect (not that I visited England in 1983, but it is every way the early-80's I remember) and tells a story that, while simple, is no less engaging for it. Combo in particular is a really excellent character, one that would be the indisputable "villain" in any other film surrounding the same subject matter; in Meadows' story, he is all too human and not quite as black-and-white as you might expect from the skinhead ring-leader. The father-son dynamic with the central character is a great example and one of the reasons that the movie is worth a look. Lead performance by is also remarkable.

The Mist (2007)
Starts as a great pulp pleasure, complete with cheeseball characters and an excellent horror premise but once the monsters start to show themselves (which is frankly a little too early), the tension disappears like a bad CG tentacle. The original short story worked in large part because so much was left to the reader's imagination, however the movie commits the terrible horror-movie sin of "showing too much", leaving too much to shockingly weak and uninspired effects and too little to the imagination (giant spiders? Really??) Even stranger is the decision to devote a large chunk of the movie to the clunky Marcia Gay Harden religious whackjob subplot, distracting from what might've been a lean and effective monster movie. Of particular enjoyment (and never a good thing to be noticed) was the ridiculous and complete over-the-top bat-shit acting of many of the background extras; honestly, I've never seen movie extras working this hard to sell the terror (you can practically hear someone off-screen shouting into a megaphone, "Look up! Look left! You're terrified!! You're TERRIFIED!!!") And that ending...no one is going to argue that it isn't divisive, but I'm on the side that thinks it's just too much for this kind of movie. In fact, I can't imagine leaving the theatre feeling any crappier...was that Darabont's intention?

All About My Mother (1999)
This is my third Almodóvar film and I've definitely found the right wavelength. A good thing because this is probably also one of the more challenging ones to come into as a newcomer (I'd speculate that if it was my first, I wouldn't have been too wired to watch others). And still it was very good. Almodóvar films have a rhythm that is uniquely European: high-class stuff that tastes a little like good food - the kind that you just know is good when you're eating it.

214 Quick Reviews (Part 3) ~ October 2007

OCTOBER:

Chalk (2007)
An interesting but flawed experiment in improv comedy that owes a lot to awkward dynamics of The Office. Some scenes work and are genuinely funny but overall, the movie feels a bit over-stretched and over-rehearsed. The best example of this is that when I started the movie, I actually thought I watching a genuine documentary but after just 10 minutes, I could tell that the filmmakers were working hard to pull one over on the audience. You can practically see everyone straining to be as "natural" as possible.


Mean Girls (2004)
That Tina Fey's got kind of a sharp wit on her, don't she? She should try writing comedy or something. Another happy surprise, even though it's been on my list of movies to see for the past 3 years in large part because I'd heard it was so good. Still, better than expected and worth replaying just for some of the acid dialogue. I'd like to think this is the kind of movie that John Hughes might still be putting up if he hadn't fallen into the dark and soul-devouring abyss of cute-baby comedies.

The Lives of Others (2006)
Wow. For a movie about the Cold War, the beating heart under this movie is overwhelmingly warm and humanistic. In fact, on synopsis alone, I wasn't prepared for such a crushing and affecting love story. The movie is elevated further by a conclusion that is so richly ironic and satisfying that you're left sort of knocked down by the whole experience. Chills abound. Ulrich Mühe (in the lead role) is absolutely spectacular.

Dog Soldiers (2002)
Here's one that didn't live up to the hype. Expecting an inventive twist on werewolves, instead I got a low-budget werewolf movie by someone who saw and LOVED Aliens. Maybe it was just that the film felt overly predictable and cliche at every turn while I was primed to watch something original? Either way, I felt the FX, direction and performances were hammy and clumsy. Kind of a boring horror movie, which is the worst sin for a movie of this type.

In the Valley of Elah (2007)
Tommy Lee Jones serenely and methodically navigates the narrative of his missing son while dodging a few deep emotional potholes...in other words, a pretty good time. Performances are amazing across the board and Paul Haggis manages to deliver only one clumsy scene (more Mystic River than Crash, really). This might sound like faint praise but to be honest, this film was miles and miles better than I expected and ultimately kind of heart-crushing. Jones delivers his role with such masterful restraint that it'll be a shocker if he's not recognized at the end of the year.

The Assassination of Jesse James by the Coward Robert Ford (2007)
Well now, I got everything I wanted from Jesse James more or less, likely my most anticipated movie of 2007. And it's now infinitely clear to me why the film has so many walk-outs. More museum piece than movie, the arthouse theatrics makes this a sort of all-in experience that will either resonate at some unique level or send you running for the lobby. For my 3 hours, I entirely loved the experience of soaking in the period design, the off-beat character acting and the very, very particular details of the James story, in particular the last act of the movie which plays like a stiff dance. However, the biggest and most excellent surprise in the film is Casey Affleck who immediately jumps to top of the list of working actors for me with one of the most exciting and complicated performances that I have ever seen. Really. He's complete off the map. I don't know or care much about the Oscar race at this point, but to my mind there won't be a better performance than Affleck as Bob Ford this year. Brad Pitt is also remarkable, assuming the next stage in his Redford career with real grace and self-awareness and finding a nice balance between the dark places (where he's so good) and the loneliness of not being able to trust a soul. This movie is already growing in mind and by the time I see it again, it might be a 5-star experience. For now, I'm just so very grateful that it ever got made in the first place - movies like this are rarities.

Junebug (2005)
I'm sorry. It's my kind of movie in every respect…but I simply didn't enjoy this. Strong performances for sure (Amy Adams in particular), but everything else about the movie seemed to be on such a downer level that I couldn't find the light in it.

Faust (1926)
I could be overheard exclaiming a string of profanities in the opening shots, startled as I was by how rich and gigantic this movie is. The opening sequence depicting the horsemen of the apocalypse and the confrontation between Mephistopheles and the angel genuinely surprised me - both because it's gorgeous and because I was genuinely unprepared for the scale of the production. A virtual textbook on how stylish and fearless silent film could be, this is another of those masterpieces that I could watch again and again. Story starts to slog a little in the second half as the narrative comes back down to Earth, but by then, my brains were already on the floor beside the couch. I find that I've turned into a huge Murnau fan...

Land of Silence and Darkness (1971)
Leave it to Werner Herzog to lead a group of deaf-blind seniors to a greenhouse full of cacti - without question, the most unique documentary I've ever seen. What's most noteworthy about the film is the way that the lifestyle of these people who live in complete separation from the world around them have a sort of normalcy all their own. At a party filled with guests who are completely deaf and blind, the chit chat, conveyed by partners who can interpret the tactile signing, seems almost mundane. Still, there's tremendous courage and sadness to be found in this movie; never depressing but always genuinely eye-opening (no pun intended, I swear).

Lucky You (2007)
Poker movies are almost always fun and this one is no exception. Not a great film by any stretch, but good enough to warrant the time. And I'll watch Eric Bana in virtually anything - he's one of my favourite working actors.

The Long Goodbye (1973)
Elliot Gould pioneers new levels of unruffled grooviness as the most laid-back 70's-noir Marlowe imaginable. In fact, it's Gould's low-key frequency that makes this easily my favourite 70's detective flick (see also: Chinatown, Night Moves, etc.) Dialogue is sharp enough to make you light-headed and the character performances are all completely looney. A genuine treasure that I know I'll be watching again - probably the most I've ever enjoyed an Altman film at first pass.

American Gangster (2007)
Comparisons to The Departed will be unavoidable; but I liked this more. The level of period detail makes this a juicy steak of a movie, with exceptional performances in virtually every scene. Still, it's Denzel Washington who runs off with the show in a confident and frightening performance that elevates Frank Lucas from thug to genuine force of nature. In fact, I believe this is the best piece of cinema that Ridley Scott has produced in 25 years (Gladiator included).

Michael Clayton (2007)
I have to confess disappointment. The story is seemingly impenetrable for the first 30 minutes or so, which I can handle, but unfortunately the overall plot never warrants the extra work. The mechanics of the script failed to satisfied and both Clooney and the big reveal seemed a little been-there done-that. I seem to be completely outside the norm on this one (maybe it's all karmic balance for my affection for The Golden Age) but while most on-line critics seem to be citing this as a career high for Clooney, all I can see a long history of these sorts of straightforward law dramas (see also: The Verdict, Erin Brockovich, A Civil Action, etc.) and I'm left cold.

Broken Blossoms (1919)
A genuine antique that truthfully, takes a lot of work to appreciate today. The noted innovation is tough to see, but I'll take your word for it.

The Party (1968)
Very very funny, despite being remarkably dated. Best parts of the film are those that play out like silent comedy - turning on natural twists and going the extra mile to make things utterly ridiculous. Sellers is great. Pleased to see an early beef-headed performance by Captain Stubing (Gavin MacLeod).

30 Days of Night (2007)
I love a good vampire movie and this one is about good enough. The movie is (mostly) smart enough to let the lean premise do all the heavy lifting. It's delightfully simple: pack of pale monsters, isolated town in dead-winter Alaska, hijinks. The horror rightfully coasts on style and atmosphere for most of the run-time but becomes a big bogged in the last 30 minutes. In fact, the ending was sort of sucky but so much good will had been earned in the first 90 minutes, that it didn't matter much. By the way, vampire + industrial ice breaker = fun CG gore.

Nosferatu the Vampyre (1979)
Kinski must be the most fantastic Count Dracula in movie history: utterly alien, rodent-like and deeply tragic. Every scene he's in is pure cinema gold and proof that CG will never completely overcome the immediacy of a real performance. Isabelle Adjani, for her part, is sort of perfect as Lucy and the whole mix is the most unusual (and oddly downbeat) take I've seen on the Dracula story. So many rats...!!! Love the unexpected ending.

Pee Wee's Big Adventure (1985)
Like fine vintage wine...if I could share wine with my 4-year-old.

Spring, Summer, Fall, Winter…and Spring (2003)
Ah...now everyone should have a Buddhist master to get them back on track from time to time. Told with very little dialogue and with tremendous stillness behind the camera, Ki-duk's movie says an astonishing amount about the natural cycles of Eastern mysticism while actually speaking very little. In truth, it was a little like spending a vacation at a Buddhist retreat: relaxing, enriching and really quite fulfilling. Kind of loved it.

Bloody Sunday (2002)
One of those rare movies that I wholly respect but couldn't possibly consider watching again. Harrowing and surprising, Greengrass has an uncanny ability to bring clarity to chaos. James Nesbitt entirely rules and should be awarded nothing but success in all he does. Bonus points awarded for letting the U2 song play out past the final credits, several minutes against the black screen.

Phantom of the Paradise (1974)
The true sign of a great cult movie: as soon as it's over, you're already set to watch it again and again. This is one of those rare midnight classics that I missed in my formative years when I would have likely watched it into the ground. Watching it now, it's tough to resist DePalma's insane epic which is alternately flamboyant, over-the-top and completely ludicrous. The soundtrack is instantly catchy (in a kitschy 70's way) and the story is so out-there that it's amazing the film ever got made. I now join the legion of fans who adore Phantom of the Paradise and swear by William Finley's bizarre movie monster.

The Thin Man (1934)
Powell and Loy...alright then, I'm a believer. The dialogue and performances in this movie crackle at such a level that a 5-star rating hardly seems enough; in fact, Nick and Nora are so playful that it seems downright dirty to watch them in a scene together. No doubt an indisputable sign of their superior on-screen chemistry. This movie was 100% pleasure and I can vouch for those cinephiles who put it on their comfort-food list: this is one that I'll watch again and again and again in the years to come...

214 Quick Reviews (Part 4) ~ September 2007

Now September? September was an uncommonly great movie month. A 10-movie dash through the Toronto Film Festival kicked over some remarkable movie gold, including what must go down as one of my best and favourite Movie Days ever (a 4-movie day that included a new Romero film, a frantic cross-town dash that put my running skills to the test, a handshake from Werner Herzog and a Juno screening and Q&A that saw a whole theatre virtually levitate with affection.)

Good times.

SEPTEMBER:

Sunrise (1927)
Reputed to be one of the crowning achievements of the silent era (and the first movie to be awarded an "artistic" Academy Award), Sunrise is steeped in prestige and rightfully so. Still, for my money, The Last Laugh was actually superior (more entertaining, more technically awesome, more surprising) - Sunrise sags a little in the middle (a pig drinking wine?) and seems a little more dated than other silents I've seen.

Music and Lyrics (2007)
Seems sort of like the polished, Hollywood star-driven version of Once, and that's not to diminish Once - there's just a lot of small similarities. Most obviously, the movie seems to have some genuine heart to it, particularly when it comes to the writing and performing of the songs. Add some spectacular 80's in-jokes (the opening "Pop Goes My Heart Video" was enough to justify the rental in and of itself), hilarious pop-star roasting and a suitably sappy 80's pay-off, and the final product is a clever and satisfying little movie. I normally avoid these kinds of sap-fests but this was a good one.

The Hoax (2007)
Much much better than expected - a clever, light and surprisingly funny sort of intellectual "heist" film where the biggest surprise is just how far Clifford Irving is willing to go to sell his lies. Richard Gere - who I usually can't stand - is pretty fantastic as Irving, providing bullshit and bullheadedness in equal measure. Alfred Molina and Eli Wallach (!!) are pleasant surprises.

The White Diamond (2004)
Spectacular. Herzog in his element, chasing another crazy dreamer as he pursues an extraordinary and seemingly irrational mission. However, it's the little details that makes Herzog's docs so special (the swifts in flight, the musings of the Guyan crew member on the inflatable chair, the history behind the airship); he's at the top of his game here. Unforgettable stuff.

Blades of Glory (2007)
These sorts of long-form SNL skits can be hilarious (Anchorman, Old School) or absolutely terrible (Night at the Roxbury, Ladies Man) - thankfully this was in the former group. In fact, I think I enjoyed Blades more than any Will Ferrell movie in the last few years. The film starts out strong but actually gets better (I was a little worried that the best jokes were spent 45 minutes in - not so). Finale is killer.

The Mother of Tears (2007)
Disappointing, even with Dario Argento in attendance at the screening. The gore is spectacular (and as intense as you might expect from Argento) but the scares are nowhere to be found. Suspiria got under my skin for weeks, but this "sequel" didn't have nearly the same punch or sense of overpowering dread. Chalk it up to some strange choices in the first half and a very soft ending. I was also disappointed that Claudio Simonetti's score wasn't used more often (one of the most hypnotic elements of Suspiria is the Goblin soundtrack...this score was missing in action for huge stretches.)

Jar City (2007)
A very unique cop thriller that makes such particular use of its Icelandic location that Reykjavik might be described as an integral character in the film. In fact, within it lies a mystery and puzzle that wouldn't work if transplanted to any other part of the world. The photography is especially absorbing, capturing bleak and industrial angles of Iceland that sit in contradiction to the country's natural beauty, and the movie is populated with faces and performances very unlike anything in a Hollywood thriller (in particular Ingvar Eggert Sigurðsson in the lead role). All of this might make the film sound more than a bit arthouse, but in truth, it's as thrilling and engaging as any English-language cop-film. The Toronto Film Festival web-site described the film as CSI Reykjavik, but it reminded me much more of an otherwordly Narc. A typical crime film told from a surprisingly atypical direction.

Two Lane Blacktop (1971)
It's extremely unusual for a movie about speed racing to coast along in first gear but that's exactly what this movie does. Formless and oblique, the "story" wanders and the "characters" seem to be half-formed ideas; in fact, the entire movie just sort of happens like passing traffic. I'm sure I missed the point on this, but I can say with some certainty that I was not as excited about this as other 70's road movies I've seen (Vanishing Point, Crazy Larry, etc.). This one seemed a bit like jazz I suppose - high art to some but elevator music to others...I'm afraid that I just couldn't find the wavelength.

No Country for Old Men (2007)
If it wasn't for the crackling dialogue, I might have a hard time believing this was a Coen Bros film - it's so much darker, bloodier and dangerous than anything they've done before, Miller's Crossing and Blood Simple included. Still, for all of the carnage (and there is an absolutely staggering amount of blood), the heart of the movie is in the meat surrounding the violence. The last act of the film certainly seems to be separating the viewers tapped deeply into the Coens' (and McCarthy's) ride from those simply enjoying a solid Hollywood action thriller. Performances are great all around and while there's no doubt that Javier Bardem and Tommy Lee Jones will pick up most of the raves, it's Josh Brolin who surprised me the most. One of the best movies I've seen this year.

[Update: since writing this initial response, I've seen the film a few more times and with each viewing, it continues to grow in stature. What's clear to me now is that the complete and surprising change-of-course in the final act is the very element that will buy No Country a seat at "Cinema Classics" table in years to come. Like a rock song that makes a surprising key-change in the last few minutes and essentially abandons the intial tune, No Country is on a deliberate and carefully set course from the opening minutes. And once you've learned the tune, it seems that there's no other place for the song to go. Remarkable.]

Chrysalis (2007)
Touted as a sort of French Matrix by the Toronto Film Festival guidebook, Chrysalis, as it turns out, has a lot more style than substance. With all of its stylized European aesthetics and rail-thin model characters, the film feels like a sci-fi movie assembled from fashion magazine clippings. Even days later, I couldn't remember what the movie was about, but I could recall that everything about the movie left me cold and unenthused. Y'know...like a perfume ad?

Elizabeth: The Golden Age (2007)
Queen Cate is always breathtaking to watch. One of the few actors that I'd be content to watch reading the phonebook, but in a film like this, she's a walking work of art. In fact, I enjoyed this "sequel" much more than the original Elizabeth, in part because of the increased intensity from scene to scene, but also because of the escalating action (ho, battle?) sequences. Also, there's this chap named Clive Owen who virtually owns the movie whenever he shows up to work, looking ready to eat Elizabeth up for dinner. Costumes and design work scream Oscars and I'll be surprised if this film doesn't walk away with a gazillion nominations and awards. Plus special bonus: super-action battle-suit Elizabeth action figures should be the hotseller this holiday season!


[Update: Since seeing this premiere at the festival, the world at large seems to have either despised or entirely ignored The Golden Age, and I have to confess that I don't get it. This wasn't a fence-sitter for me - I thought the movie was glorious, sick, epic fun. One of those rare instances where I feel like I might have actually seen an entirely different movie than the rest of the planet.]

Gates of Heaven (1978)
This doc has been the must-see list for a long time and I have to admit that I was ultimately underwhelmed, maybe even a touch bored. Errol Morris is a great filmmaker, but this documentary seemed a little dated and stiff. Great subject matter though.

Encounters at the End of the World (2007)
Herzog's docs can usually be boiled down to key moments. In the case of Encounters, it's the shot of a lonely penguin waddling off to certain death amid a vast Antarctic wasteland and Herzog's dry narration that no force on earth could turn this animal around. In that moment is the image of the perfect Herzog protagonist: focused, barking-mad and fatally doomed. Encounters is in every way the anti-March of the Penguins that Herzog described when he introduced the film at the TIFF premiere. A minor work for Herzog but a remarkable doc nonetheless.

Diary of the Dead (2007)
Romero's re-imagining of the zombie world he created does exactly what it's designed to do: blows an unexpected blast of fresh air into the genre. Surprisingly light on both zombies and gore (given what it is), the movie focuses heavily on the way the modern world would react to the horror (and in so doing, sounds some similar chords to the also-excellent "World War Z"). Acting sometimes shows its "indie" roots with some lo-fi and rank-amateur performances, but nothing distracts from the larger spectacle: that George Romero could imagine and create a complete "world"...all over again. The first feature in what was probably my best movie-day of the year, I loved this one...

Juno (2007)
The highlight of this year's Toronto Film Festival, Juno is the sharply written and perfectly tuned comedy that will make monster fans the world over for both Ellen Page and Diablo Cody. Page in particular realizes a lead character who is ridiculously charming, unique and watchable no matter what she does. Cody, the first-time screenwriter soon to be pursued by every director in Hollywood, drafts a remarkable character-driven film that is less about teen pregnancy and more about the orbit of characters dealing with it. This is one of those rarest of movies - a warm and affectionate comedy that spins at its own particular frequency.People are going to lose their minds when this hits theatres...

[Update: Having seen the film again since the Toronto premiere, it's clear to me now that with each viewing the dialogue gets a bit more gimmicky even as the heart of the film gets larger. This is a really, really sweet movie and Juno nay-sayers (of which there seem to be quite a few) are the same sorts that give out apples at Halloween. You don't have to like the taste of sugar to appreciate that a lot of people love and will always love cupcakes.]

Dr. Plonk (2007)
As someone who has fallen into a deep romance with silent films this year, this sounded like the perfect festival pick: a modern silent film about an oddball scientist in 1907 who predicts the end of the world and builds a time machine to travel to 2007 to stop it. The resulting film is a ton of fun, particularly for fans of old movies, building great silent comedy set-pieces and delivering really clever twists on silent conventions. The performances are nimble and almost perfect. The design of the time-machine (and labratories) are spot-on. If I could quibble (and I have to quibble), it would be that only two elements seem a little off: the run-time of the film (at 2 hours, it feels too long to be a traditional silent and should have been closer to 75 minutes like an old Keaton or Chaplin film); and the "new"-ness of the print itself which should have been weathered and aged to give the jumpy flavour of an old film - this one felt like new stock filmed in a new camera and processed with state-of-the-art equipment. As a result, something of the old silents was lost in the translation.


The Gold Rush (1925)
Ahhhh, the real thing and a comfort blanket at this point in time. A soulful Looney Tunes cartoon and the best Chaplin film I've seen to date.

Talk To Her (2002)
Well now. Here's a movie that starts in one place and finishes in quite another - I can't say much more without digging into spoiler territory but it's safe to say that this film goes in directions I couldn't possibly see coming. Stunning at every turn, and luscious in detail. A high quality piece of business that will reward anyone who is serious about good movies.

Shoot 'Em Up (2007)
Shameless, ridiculous and about as violent as any movie I can remember, I actually feel a touch guilty about how much fun I had with this. The movie is absurdly offensive in every regard but seems entirely aware of it; openly parading as a Looney Tunes serial (right down to the carrot chomping!), the film only slides off-course when it does precisely those things that cartoons aren't supposed to do - namely introducing a complex plot, character backstories and providing any rest from the manic violence. When the movie slows down, it's clear that it's complete trash, but when the bullets are flying and Clive Owen is dealing an impossible amount of death, you don't really care. It was a mistake to give the characters any time to breath...

Eastern Promises (2007)
Cronenberg gives good Viggo and I wouldn't be disappointed to see many more collaborations down the road. Again. To be honest, I had sort of high expectations for this film and the final product came in just a little south of what I was hoping for - still, an enormously solid piece of business that finds a sharp angle on the Russian underworld and digs deep into it. The "infamous" bathhouse scrap is pretty much one of the most insane fights I've seen in a film, almost overpowering in its viciousness!!


Incident at Loch Ness (2004)
A clever little mockumentary that works largely because it rarely stops to wink at the audience. The Herzog in-jokes are hilarious and the subtle way that the film gradually reaches insanity is very effective. A couple performances are overplayed just a touch but for the most part, it's a funny little experiment. I just wish I didn't know it was a joke to begin with.

Paradise Lost: The Child Murders at Robin Hood Hills (1996)
Probably the most intense and deeply drawn documentary I can remember seeing in a long time though one could argue it goes a little too far in actual crime photoes. After peeling back layer after layer of the case of the West Memphis three, it's tough to dispute that the filmmakers left any detail unexplored. Probably the best document of an ongoing court case to be found. Ho, there's a sequel?


Paradise Lost 2: Revelations (2000)
Tough to imagine that there's any more story to tell after the 150 minute Paradise Lost, but the updates here are remarkably compelling; in fact, this is the more interesting documentary of the two giving a fresh look at unexamined angles of the case and the accused. However the real centerpiece is Marc Byers who proves to be the most elusive and loathsome character in this real-life tragedy. I've read rumours that there might be a further follow-up to come...

Fay Grim (2007)
What a curious film. I haven't seen the original upon which it's based so picking up on this sequel was a little like joining a book at chapter 5. Still, even if I couldn't always follow what was happening, the trip was always fun and funny. Well-grounded by Parker Posey and a cast of eccentrics, the movie has a great balance of style and oddball humour.

Volver (2006)
Wow, talk about a movie with a wicked backspin. For the first 2/3, it's an enjoyable and finely layered little family drama but then the last act...well, it packs some remarkable pay-off. Bonus: I actually really liked Penelope Cruz in this film - something I've never been able to say before. I still think she's an odd choice for a sex symbol but in the right role, I can see her charm and vibrancy.

Mr. Brooks (2007)
I'm as shocked as you are to write this but the best thing about Mr. Brooks is...William Hurt? When the movie is about the playful relationship between Costner and his alter-ego (Hurt), it's a really interesting film to watch; however weighing down the good parts, there's just too much junk. If Mr. Brooks had remained a lean psychological thriller, I imagine it might have been quite excellent but the sub-plots are so distracting (Demi Moore? Brooks' daughter?) that it feels like a movie with too many options and not enough decisions. Costner is excellent, which is worth remarking right there, but man...who keeps hiring Demi Moore for acting jobs? The final product is a bit of a mess and sadly, I lost interest at the 60 minute mark.

The Cat in the Hat (2003)
Ugh. I can't believe I showed this to my child...I feel terrible. I might as well be one of those parents who smokes with their kids in the car, windows rolled up.

Across the Universe (2007)
Not a bad movie by any stretch, just maddeningly inconsistent. When it works, it works spectacularly well (Something, Across the Universe, All You Need Is Love), but when it mis-fires (I Am the Walrus), which is often, it feels a bit like a party where no one else is dancing. God love Julie Taymor for taking some astonishing risks and creating a movie that demands attention, but there'd be more to recommend it if the musical sequences were supported with some interesting characters or an attempt at a meaningful story. Truth is after you get past the Beatles conceit, there's really nothing else there - no plot, no through line, nothing. Nevertheless, anyone who is serious about movies, music or the Beatles in particular needs to take the 2+ hours and soak up the experience. Movies like this are always worth your sweet time, even when they don't 100% work.

Little Dieter Needs to Fly (1997)
Now this is what it looks like when every piece in a documentary works in perfect clockwork: a compelling narrative, a fascinating and exceptional narrator and Herzog working his magic behind the camera to let the story unfold in a way that is unique, surprising and geniunely remarkable. I haven't seen Rescue Dawn yet but would be overwhelmed it was half the movie that this is - a truly marvelous masterpiece. I'm on the floor...

Night Moves (1975)
I will never ever EVER again doubt the compulsive watchability of Gene Hackman's 70's stache. A good example of the sort of low-key, character-driven filmmaking that thrived in the mid-70's and would never see the light of multiplex today. Groovy stuff. And the fact that this kind of moustachey goodness is forever available on DVD (and many other classics just like it) almost makes up for the fact that no one in California is turning out these kinds of movies today.

Hard Candy (2006)
As a new member of the Ellen Page fan base, I thought it might be fun to track down something that I'd passed over the first time round; this was a movie that initially turned me off by subject matter alone. Turns out that it's a dark and twisted and totally watchable piece of business, powered by Ellen Page's unpredictable performance and some edgy character-driven drama. Patrick Wilson is excellent in a completely thankless role and the movie does right by keeping its cards close to the chest as long as possible. Love how lean it is - almost a two-person stage play.

Beowulf & Grendel (2005)
Pretty much the direct antithesis of 300, done on the (seemingly) cheap and with spectacular Icelandic location shooting and realistic earthy performances. Plus bonus points for more Sarah Polley goodness.

214 Quick Reviews (Part 5) ~ August 2007

Onward and backward...

AUGUST:

The Bourne Ultimatum (2007)
It's rare to see a sequel improve on the original; rarer still to see a trilogy peak with the final film. Bourne Ultimatum is an action movie that never slows and never disappoints - truly awesome and astonishing. One long protracted action/chase plot that winds you up so tight you can barely breath. Greengrass is at the top of the list for working Hollywood directors. [I wrote more about it here.]

Double Indemnity (1944)
Easily the best noir film I've ever seen, with dialogue that sizzles and a plot so lean that it left me jittery. The script is the perfect mousetrap, quite potentially one of the tightest examples of writing I've ever seen. Bonus points for Fred MacMurray who delivers great Bruce Campbell "babies" throughout.

Leonard Cohen: I'm Your Man (2005)
I figure myself to be a pretty big L.Cohen fan and even I found this doc to be dry and flavourless. Interviews with the songwriter are cut with live performances of artists paying tribute and at times, the balance makes the film seem like more of a benefit concert than a look at the Leonard Cohen. Still, some nice stage performances included; pity there isn't more to learn about Cohen. Side note: Bono is becoming sort of ridiculous. His appearance here proves it.

The Fog of War (2003)
McNamara is a tremendously engaging subject for a first-person doc and as he walks through his experiences in the 20th century, the film is equally fascinating, surprising, and at times terrifying. Insightful backroom anecdotes of some of the monumental moments in history (and the personalities therein) make this a film well worth the Oscar it took home for Best Doc.

Heaven's Gate (1980)
Wouldn't you be disappointed to learn that the most famous dud in Hollywood history was actually a beautiful and mostly kick-ass epic? Well, mostly. Kris Kristofferson at his gravelly best and straight-from-the-lens-of-God photography by Vilmos Zsigmond are almost enough to make this bleak western a lost masterpiece, however some of Cimino's extravagant choices (what's with that protacted opening anyway?) hobble the film. Still, it's at least 1,000 times better than its rep and sure to be regarded with more objective eyes in the decades to come. Special mention for Willem Dafoe in his first (and uncredited) screen appearance.


Nausicaä of the Valley of the Winds (1984)
Weak by Miyazaki standards but those standards are enormously high. Earthy little fantasy film that gets a little too tangled up in its own tribal warfare; still the design and character animation is top class and the aerial sequences are as breathtaking as anything in the Ghibli catalogue.

Murderball (2005)
Effective documentary despite the hype; the filmmakers wisely put the story of the "characters" ahead of the story of the "sport" and in effect, Murderball is more about life in between the competitions. Joe Soares is a fascinating cat, but it's Zupan who steals the movie - a guy this colourful is documentary gold.

Factory Girl (2007)
Fine performances and a stylish picture, but ultimately the movie is stuffed full of empty calories. It's tough to muster much interest in what's happening to any of the characters (in particular Sedgwick herself) as everything about them seems so wafer-thin. Even so, Guy Pearce proves himself again to be enormously talented, virtually disappearing into the role of Andy Warhol. Sienna Miller is fine...nothing special.

Breach (2007)
Mighty bland, but Chris Cooper gives good grumpy. Based on true events, it's clear that the movie chooses to be factual over exciting at a few turns in the film; nevertheless, Cooper owns the film and is superb to watch throughout. One of the most underestimated character actors out there.


The Fountain (2006)
Remarkable, heartbreaking, spectacular, breathtaking. On first pass, this was a 3 1/2 star movie but with a second viewing, it's clearly 5 stars; a movie that is rich with the stuff that rewards repeat viewings. Hugh Jackman gives the performance of a lifetime and Clint Mansell delivers what is easily the best score of 2007. Aronofsky remains a director to watch but this is an instant masterpiece. [I wrote much more about it here.]

Vertigo (1958)
Not quite what I was expecting and I have to confess that I was a little disappointed; after an astounding run of "classics", all of which exceeded their high-falutin reps, Vertigo felt a little...well, flat and underwhelming. Great mystery, wonderful pace and a Herrmann score that completely blew my bucket, but the whole package didn't rise to the level of a timeless masterpiece. I suppose I'll need to see it again - maybe it's a slow burn; still, the movie did deliver some genuine shocks which is no small feat for a film this old and weighted with this much historical baggage.

Inland Empire (2006)
How does one describe a movie like this? It's the standard-issue chemistry of David Lynch: impenetrable plot, enigmatic characters, stiff and deliberate dialogue and stunning images. Either you're already in the club or you're not. That being said, this is one of Lynch's best - hynoptic, dreadful, mysterious and completely upsetting. I don't know how Lynch gets so deep under the skull, but I'm tremendously uncomfortable with the stuff he pulls out.

Intolerance (1916)
Creaky and antique, even for me. Title cards (of which there were many!) seem to be written by Yoda, making it a tough slog to keep up with the intersecting maze of plot and character. Plus at 3 hours, it's a bit of bum-killer - I'm afraid I felt every minute of it. Still, the photography is great and D.W. Griffith deserves full points for his epic staging of sequences like the fall of Babylon. It's always a kick to watch a film that it is *almost* 100 years old. A true museum piece.


Sherlock, Jr. (1924)
Not quite in the same 5-star league as The General, but still a remarkable Buster Keaton flick with some clever ideas, particularly during the movie within the movie. Keaton is impeccable at every turn, consistently sharp and sort of a miracle to watch on-screen. Love the motorcycle chase. Every Keaton film I've watched to-date is a veritable treasure.

Shaun of the Dead (2004)
Sometimes you're in the right mood for a good zombie movie. And sometimes you're in the mood for a zombie movie with cricket bats. Superior zombie film and an even better Brit comedy (with some dry dry pay-offs that only improve with repeat viewings). Simon Pegg rules and this is a high-point in any zombie line-up.

Night of the Living Dead 3D (2006)
Truly wow. Remakes don't get much crappier and this might even be considered a remake of a *remake*! The experience sort of feels like the producers of The Littlest Hobo took the rights to the Romero masterpiece from the public domain and hired kids from the local high school. A truly remarkable mis-fire. Even the zombies look terrible. One of the worst things I watched this year, though I'll confess my expectations were low.

Un Chien Andalou (1928)
David Lynch owes an awful lot to Un Chien Andalou - surreal imagery, shocking images, impenetrable story that seems to have no meaning at all. The dream-state of Un Chien Andalou is too brief to cause the deep damage of a Lynch film; however it's also short enough to watch more than once (which I did). The infamous eyeball shot is still extremely shocking. Tough to imagine this film in 1929!

Bridge to Terabithia (2007)
The book was a sort of staple of my elementary school days, so I felt I should check it out, and I was a little surprised at just how much I remembered (proof that the novel packed a punch for 12-year-olds.) Worthy adaptation and reasonably entertaining; a little too mature for my 4-year-old who was asking to see it, which was at least part of the test here.

Underdog (2007)
At the halfway point, my 4-year-old wanted to leave, and so goes my course. Not terrible for what it is, but not really worth the gas to the theatre either. I may have laughed at a dog-poo joke somewhere in that first hour, but I won't admit it here.

The Last Laugh (1924)
One of the most astonishing silents I've seen to-date (and 2007 has been chock-full!), in large part because of Murnau's weightless camerawork, but also because of the daring lack of title cards - in fact, this is a true silent film, one that lets the on-screen action and subtle clues fill out the details of the story. Emil Jannings' performance as the broken-hearted doorman is spectacular, a high point in any era but it's the visuals that make this a masterpiece worth checking out if you're serious about movies. Can't believe how modern this film felt at times - truly outstanding stuff.


3:10 To Yuma (2007)
A fine update to the original western which adds some intriguing surprises in the second half. Russell Crowe is exceptional as the exceedingly dangerous prisoner with miles of black charm to spare. Mangold could have opened up the camera a little to show off the landscapes (it appears he build a town for this but we scarcely get to see it?); however the performances and direction are otherwise great. Ben Foster plays a scenery-chewing villain that people are going to love or hate - I'm on the side of the recently-converted Ben Foster fans. Not enough new Westerns getting spun out these days - here's hoping this movie starts a new wave.

The Hustler (1961)
I can't possibly imagine that Paul Newman films get much better than this - a much more layered character piece than I was expecting, particularly given the lean set-up in the first 15 minutes. Photography is gorgeous and the cast is spectacular. The hustle itself is built with all of the trapdoors and tight corners of a bank heist; something really entertaining to watch unfold. I loved this movie.


Rocket Science (2007)
Much too quirky and precious for its own good, Rocket Science belongs to that pseudo-Wes Anderson school of too-hip-for-the-room indie comedies which are great when they work and tedious when they don't. Admittedly, I laughed at a few choice lines ("there goes your tip!") but was otherwise unconvinced by the parade of "quirky" characters - it would seem that everyone in the universe of Rocket Science has at least 1-2 personality ticks or charming imperfections. This feels like a "movie" in the worst possible way, entirely scripted and composed for maximum eccentricity. Anna Kendrick as the Tracy Flick-ish female lead is the real find and almost (almost!) makes up for the shortcomings of the rest of the film.

In The Mood For Love (2000)
Rich…but maybe too rich to enjoy at first pass. Tepid, slow, stiff, and I think that was the point. However without much of a reference point (this was my first Kar Wai Wong film), I felt like I was coming into a story already in progress. Photography was spectacular but for the story, I'm still letting it percolate...

A Sunday in Kigali (2006)
Stunning, horrible, haunting. Favreau finds the most heartbreaking fix on the Rwanda failure by focusing on two people amid the chaos and their doomed love story. The result is completely devastating, particularly the last 30 minutes which do not flinch from telling the whole story. To be honest, I'm very surprised that this film didn't get a lot more attention when it was it released as it is spectacular piece of business. Completely recommended though the experience likely won't be shaken off easily when you step away from the couch.

Disturbia (2007)
The very definition of a servicable "rental" - fun and diverting, but also as predictable as they come. I would have eaten this up like candy when I was 14, but 20 years later, I feel like I've seen this movie at least two or three dozen times in just as many variations. Even still, my wife and I had some fun guessing the plot points to come next. Always fun to see David Morse in full-on psycho mode.

Shane (1953)
A little more Leave It To Beaver than 3:10 To Yuma, and ultimately a lot more dated than I was expecting. Seen from a child's perspective, this western would fit comfortably in the late 70's line-up of Disney movies from my childhood which might explain how it was a fond part of my father's childhood. However with a modern eye, it feels like one of those "classics" that's barely hanging onto the title (see also: High Noon) and which will ultimately be knocked out by dustier epics like The Searchers or Once Upon a Time in the West. It doesn't help that Alan Ladd seems more like a gameshow host than a world-weary gunfighter.

Steamboat Bill, Jr. (1928)
Another Keaton film that is virtually note-perfect. The stunt work (and sheer insane staging) of the famous "storm" sequence is like watching a miracle on film, particularly given the time period in which it was shot. There has never been anyone else like Keaton and movies don't get much better than this.

You Kill Me (2007)
A great black-hearted little sleeper that works because Ben Kingsley is just so freakin' fantastic. As a hitman suffering through alcoholism, he provides an exceptional balance of humour and genuine agony, selling the "fish out of water" set-up at every turn. Supporting cast is also good, but the movie really rests on Kingsley's shoulders. This kind of movie has pretty much been done to death, so it's great to see a movie that still finds a few new angles and twists to the formula.

McCabe & Mrs Miller (1971)
I've seen and loved a lot of westerns in the last few years, but nothing that has challenged me quite like McCabe. First impression was that I was a little disappointed, and more specifically, had difficulty reconciling the Altman style with the western aesthetic. But like the absolute best movies to be found and particularly the best Altman films, McCabe is a bit of a time-bomb. I love it much more today than yesterday (when I saw it) and I expect that after I see it again (inevitable), the 4-star rating will grow to 4 1/2 or 5. That's just the way a movie like this works on me. Nevertheless, first impression was that this was as cold and sad and empty as a movie can be; the shoot-out on the bridge and particularly the last 15 minutes were chilling.