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.
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