Whew! So I finally made to the theater to see Watchmen--saved myself for the IMAX, mind you--and it was great! Awesome action sequences, great visual effects and a pretty accurate adaptation of the graphic novel. What I especially enjoyed was the inside jokes/references for those of us who have read the novel, i.e. things like the giant, floating pink elephant for the Gunga Diner, the doomsday prophet and the final moments of the newstand owner and his comic-booking reading companion. These separate storylines were just three of many that unfortunately had to be cut out of an already lengthy affair. The short cameos of each, however, allowed those of us who took the time to read the award-winning book take some pleasure in the fact that we're in on the joke!
Zach Snyder maintained his status as one of my very favorite action film directors (300 was a wonderful, bloody masterpiece of slow and constant action and motion). Several sequences stand out but the opening sequence, which concludes in the death of a primary character, is one of the most memorable with slowed down bloody punches and kicks, bodies flying through the air, broken walls and furniture. And the action just keeps on a coming from there!
One complaint? Bad makeup! However, the excessively applied makeup to Sally Jupiter seemed fitting--as though she was overcompensating for age with makeup (something not necessarily unusual for aging beauties). And Nixon just looked a bit ridiculous--I dislike prosthetics that prevent the actor from being able to move their mouths. Also, Laurie is annoying--unless she is kicking a**, then she's cool. But as soon as she opens her mouth, I'm irritated. On the other hand, I felt the same way about Laurie in the novel so--it seems appropriate that I would feel the same about her adaptation to celluloid.
I have been reading some reviews of Watchmen and was surprised to see that people complained about the bloody action sequences--I mean, what did they expect? Snyder created one of the bloodiest, most graphic films I have ever seen in 300! Watchmen the graphic novel was not devoid of violence and blood--why should the film hold back? Watchmen's world is violent and dangerous; people live in constant fear of nuclear attacks and have outlawed their protectors. It is a chaotic world on the brink of collapse and critics expect, what, flowers and sunshine? Get real!!
My verdict? See this movie--but read the book first. Not that it is necessary to have read the book to follow the film. Quite the contrary but knowing the story beforehand will simply enhance your enjoyment and understanding of the film's message. A thought-provoking line comes from the Comedian near the middle of the film that has stuck with me--and it is found in the novel as well but I believe it is relayed better in the film due to the elimination of most of the dialogue found in the same sequence of the novel--"The American dream...it came true. You're lookin' at it!" Essentially, Watchmen explores the idea of what if America had won the Vietnam War? What kind of country would we live in right now (or at least in 1985) had we come out of the war-- that, honestly, tore the country apart --victorious? Watchmen hints, or rather screams, that our defeat in Vietnam humbled America in a necessary way. Whether this is true or not, it is an interesting concept to contemplate.
Now, on to one other review before this edition of the Cineblog comes to a conclusion--Australia. It's an "epic" film...in other words, expect a long story that spends a lot of time detailing the lives of a select few. I enjoyed the film--visually, I expected more from a Baz Luhrman film but the film reveals a part of World War II (and Australian cultural) history that I was unaware of (i.e. the island for multiracial boys). And the romance between Nicole Kidman and Hugh Jackman is extremely believable and passionate--there is some definite and palpable chemistry between the two of them. Overall--I give it a B. A bit long but interesting.
Til next time, folks!
Tuesday, March 10, 2009
Tuesday, March 3, 2009
Bedtime Reviews Numero Dos
Wow--I am so behind with my bedtime reviews! As promised on Cinemaperspective.com's Facebook page, I am going to review Changeling, Body of Lies and more. It's been quite a film-filled week! First up?
Changeling:
Let me start out by saying that visually, I think Changeling is one of Clint Eastwood's best films. The cinematography in this is extremely well-done, bringing the viewer into this story of the past while at the same time maintaining that it does in fact take place in the 1930s. The initial shot of the film is of a black and white street, essentially an old photograph, that is slowly permeated with color and coming to life as the audience travels through time. It is a wonderfully subtle way to establish the setting. Now, in comparison to some of his other films, Mystic River for example, this is as emotional a story, however Changeling is oddly not as powerful--perhaps because it goes from initially being a tragic slice-of-life to essentially a re-telling of history.
The story of Christine Collins' search for her son Walter and her fight against the corrupt LA police department is a fascinating one which is what keeps the film interesting despite its turn to reenactment mode after the first hour or so. Angelina Jolie delivers a stellar performance as the fiercely independent single-mother Christine who is unfortunately bound and condemned by the societal expectations of 1930s America and the corruption of the 1930s Los Angeles police department.
Body of Lies:
Disappointing. What can I tell you? Basically, I saw Leonardo DiCaprio, Russell Crowe and Ridley Scott and thought, well, this should be pretty good. I am sad to say that I was incorrect. Through a convoluted plot full of deception and trickery between DiCaprio's Roger Ferris and Crowe's Ed Hoffman (both US agents working against terrorism), the film eventually comes to a conclusion that is just as convoluted and meaningless as the entire film. There is no real point to Body of Lies and it does not inform the viewer so much as make them terribly afraid for their privacy (due to the amazingly clear and accurate satellite cameras that can apparently track a person's every move). Hoffman is uncaring for both terrorists, innocent civilians and his own agents; therefore, Body of Lies paints a rather negative picture of American agents working in the Middle East to find terrorists and prevent their crimes. Ferris tries to remain a good guy, attempting to work the system within each country but Hoffman nonetheless constantly ruins his plans and, as a result, typically puts Ferris in danger. And to what end? None that I can see.
Quarantine:
Like last year's Cloverfield, Quarantine tells a story through a handheld camera, the action highlighted through a small, bouncing lens and its trusty (and extremely long-lasting) camera light. Unfortunately, unlike Cloverfield in which the technique works and keeps the audience on the edge of its seat, Quarantine fails to become much more than a remake of 28 Days and the Resident Evil films. People get sick (hence the title) and in turn attempt to eat everyone else. Starring in this attempted rehashing of the old zombie flick is a (constantly hyperventilating) newswoman (Jennifer Carpenter) and her trusty cameraman (Steve Harris) who manages to hold on to his camera despite the gore and multiple attempts on his life--he even kills someone with the camera at one point. Overall, skip this one and if you haven't seen Cloverfield, pick that one up instead.
The Children of Huang Shi:
Starring Jonathan Rhys Meyers as the real-life George Hogg, this is yet another re-telling of history. Hogg was a young reporter who came to China when it was consumed by civil war and infiltrated by the Japanese. Enemies were all around and Hogg wanted to get to the front of the war in order to write a story about it. Unfortunately, he witnesses something so tragic that he gets much more than he bargained for. I don't want to ruin the story, but Hogg eventually finds himself caring for forgotten and wild boys at an orphanage and having a long-lasting effect on their lives that they carry with them throughout their adulthood.
It is a good film, if not a bit predictable, and the story of George Hogg is one that should be told. His selflessness is truly a lesson that all of us should take to heart. I do wish, however, that Meyers would cease to be cast in so many films! He never actually becomes a character; he is always pretending--in Match Point this worked because the character that he was playing was a pretender and a fake. However, this method has carried on in every one of his performances that I have seen. He overacts and comes across as false, exaggerating each sentence to the point that one almost cringes. Maybe this seems harsh but sitting through two hours of this began to grate on my nerves!
Miracle at St. Anna:
I am honestly not sure why this film does not work. Just like Spike Lee's previous attempt at a more mainstream film, Inside Man, St. Anna tries to tell a powerful and provocative story but ends up falling short. Part of the reason for this could be the stereotypical roles of the black characters, each fulfilling a traditional expectation: one is big and dumb, one is oversexed and the other is a good man and soldier, faithfully believing that the war could be a sign of progress toward equality. The fourth main character is a half-Puerto Rican, half-African American man named Hector Negron (seriously--Negron) who does his best to remain neutral in the constant struggle between the other three stereotypes. Unfortunately, there is no real resolution of these stereotypes as the film concludes and the mystery is not as exciting as one has been led to believe. Overall, it is flawed yet worth watching. I believe that Spike Lee is trying to do something different here; he presents a story that one believes is going to tell the story of African American World War II heroes when, in fact, he simply tells one about real people. His misstep is to make these real people stereotypes. With this , he fails and the film falls a bit short.
Whew!! Bedtime Reviews Numero Dos is concluded--next up? Australia. Soon to be followed by Watchmen.
Changeling:
Let me start out by saying that visually, I think Changeling is one of Clint Eastwood's best films. The cinematography in this is extremely well-done, bringing the viewer into this story of the past while at the same time maintaining that it does in fact take place in the 1930s. The initial shot of the film is of a black and white street, essentially an old photograph, that is slowly permeated with color and coming to life as the audience travels through time. It is a wonderfully subtle way to establish the setting. Now, in comparison to some of his other films, Mystic River for example, this is as emotional a story, however Changeling is oddly not as powerful--perhaps because it goes from initially being a tragic slice-of-life to essentially a re-telling of history.
The story of Christine Collins' search for her son Walter and her fight against the corrupt LA police department is a fascinating one which is what keeps the film interesting despite its turn to reenactment mode after the first hour or so. Angelina Jolie delivers a stellar performance as the fiercely independent single-mother Christine who is unfortunately bound and condemned by the societal expectations of 1930s America and the corruption of the 1930s Los Angeles police department.
Body of Lies:
Disappointing. What can I tell you? Basically, I saw Leonardo DiCaprio, Russell Crowe and Ridley Scott and thought, well, this should be pretty good. I am sad to say that I was incorrect. Through a convoluted plot full of deception and trickery between DiCaprio's Roger Ferris and Crowe's Ed Hoffman (both US agents working against terrorism), the film eventually comes to a conclusion that is just as convoluted and meaningless as the entire film. There is no real point to Body of Lies and it does not inform the viewer so much as make them terribly afraid for their privacy (due to the amazingly clear and accurate satellite cameras that can apparently track a person's every move). Hoffman is uncaring for both terrorists, innocent civilians and his own agents; therefore, Body of Lies paints a rather negative picture of American agents working in the Middle East to find terrorists and prevent their crimes. Ferris tries to remain a good guy, attempting to work the system within each country but Hoffman nonetheless constantly ruins his plans and, as a result, typically puts Ferris in danger. And to what end? None that I can see.
Quarantine:
Like last year's Cloverfield, Quarantine tells a story through a handheld camera, the action highlighted through a small, bouncing lens and its trusty (and extremely long-lasting) camera light. Unfortunately, unlike Cloverfield in which the technique works and keeps the audience on the edge of its seat, Quarantine fails to become much more than a remake of 28 Days and the Resident Evil films. People get sick (hence the title) and in turn attempt to eat everyone else. Starring in this attempted rehashing of the old zombie flick is a (constantly hyperventilating) newswoman (Jennifer Carpenter) and her trusty cameraman (Steve Harris) who manages to hold on to his camera despite the gore and multiple attempts on his life--he even kills someone with the camera at one point. Overall, skip this one and if you haven't seen Cloverfield, pick that one up instead.
The Children of Huang Shi:
Starring Jonathan Rhys Meyers as the real-life George Hogg, this is yet another re-telling of history. Hogg was a young reporter who came to China when it was consumed by civil war and infiltrated by the Japanese. Enemies were all around and Hogg wanted to get to the front of the war in order to write a story about it. Unfortunately, he witnesses something so tragic that he gets much more than he bargained for. I don't want to ruin the story, but Hogg eventually finds himself caring for forgotten and wild boys at an orphanage and having a long-lasting effect on their lives that they carry with them throughout their adulthood.
It is a good film, if not a bit predictable, and the story of George Hogg is one that should be told. His selflessness is truly a lesson that all of us should take to heart. I do wish, however, that Meyers would cease to be cast in so many films! He never actually becomes a character; he is always pretending--in Match Point this worked because the character that he was playing was a pretender and a fake. However, this method has carried on in every one of his performances that I have seen. He overacts and comes across as false, exaggerating each sentence to the point that one almost cringes. Maybe this seems harsh but sitting through two hours of this began to grate on my nerves!
Miracle at St. Anna:
I am honestly not sure why this film does not work. Just like Spike Lee's previous attempt at a more mainstream film, Inside Man, St. Anna tries to tell a powerful and provocative story but ends up falling short. Part of the reason for this could be the stereotypical roles of the black characters, each fulfilling a traditional expectation: one is big and dumb, one is oversexed and the other is a good man and soldier, faithfully believing that the war could be a sign of progress toward equality. The fourth main character is a half-Puerto Rican, half-African American man named Hector Negron (seriously--Negron) who does his best to remain neutral in the constant struggle between the other three stereotypes. Unfortunately, there is no real resolution of these stereotypes as the film concludes and the mystery is not as exciting as one has been led to believe. Overall, it is flawed yet worth watching. I believe that Spike Lee is trying to do something different here; he presents a story that one believes is going to tell the story of African American World War II heroes when, in fact, he simply tells one about real people. His misstep is to make these real people stereotypes. With this , he fails and the film falls a bit short.
Whew!! Bedtime Reviews Numero Dos is concluded--next up? Australia. Soon to be followed by Watchmen.
Wednesday, February 25, 2009
and the Oscar went to...
Let's just admit it--I didn't do half-bad with my Oscar predictions. Not to toot my own horn, but I got all but three right and those three were only because of my lack of confidence in the Academy to choose correctly (I've been burned so badly in the past--can we say Crash?!) But I was quite pleased with Kate Winslet's win over Meryl Streep and Slumdog's win for best picture.
Overall, the 2009 Academy Awards proved to be a decent awards ceremony with Hugh Jackman doing a good job of entertaining us (and Ben Stiller's imitation of a listless and disinterested Joaquin Pheonix putting me in stiches!) I did not like the former award winners discussing the nominee performances--what happened to clips? Also, during the tribute to those lost in the last year, why was the camera so far back from the screen? Couldn't even read who the people were!
So--what's next on the list of excitement for this cinephile and resident comic-book movie dork? Well, of course, Watchmen! I have the day set aside to go and see this movie in the IMAX and cannot wait. Read the book--and you should, too--and loved it. The effects look to be great and in line with the trend that I have begun to recognize in the latest comic book films: the alienated and imperfect hero. See The Dark Knight, Iron Man (whose Johnny Stark, although not made completely apparent in the first film but surely it will become so in the second, is an alcoholic) and the upcoming Watchmen whose heroes are not necessarily super but rather bitter and, well, imperfect. I hope that we have not seen the end of the heroic and loveable comic-book superhero film...However, I enjoy the more realistic trend that these films are taking on and in turn the elevation of this genre to much more respected (although not at this year's Oscars, unfortunately) heights.
Next up, however? Changeling and Body of Lies. Reviews of these two future Bedtime films coming soon!
Overall, the 2009 Academy Awards proved to be a decent awards ceremony with Hugh Jackman doing a good job of entertaining us (and Ben Stiller's imitation of a listless and disinterested Joaquin Pheonix putting me in stiches!) I did not like the former award winners discussing the nominee performances--what happened to clips? Also, during the tribute to those lost in the last year, why was the camera so far back from the screen? Couldn't even read who the people were!
So--what's next on the list of excitement for this cinephile and resident comic-book movie dork? Well, of course, Watchmen! I have the day set aside to go and see this movie in the IMAX and cannot wait. Read the book--and you should, too--and loved it. The effects look to be great and in line with the trend that I have begun to recognize in the latest comic book films: the alienated and imperfect hero. See The Dark Knight, Iron Man (whose Johnny Stark, although not made completely apparent in the first film but surely it will become so in the second, is an alcoholic) and the upcoming Watchmen whose heroes are not necessarily super but rather bitter and, well, imperfect. I hope that we have not seen the end of the heroic and loveable comic-book superhero film...However, I enjoy the more realistic trend that these films are taking on and in turn the elevation of this genre to much more respected (although not at this year's Oscars, unfortunately) heights.
Next up, however? Changeling and Body of Lies. Reviews of these two future Bedtime films coming soon!
Saturday, February 21, 2009
2009 Oscar Predictions
Ah, the Oscars. Watching this show always makes me happy--although I am usually disappointed in the results, I have to admit. Regardless, year after year, I make my own predictions for the best in each major category and hope that for once, finally, the Academy will see the light...This year will be no exception: for your reading pleasure, my Oscar suggestions for the main events are as follows:
Best Supporting Actor:
In this category, can we choose anyone other than the late Heath Ledger? The answer is, of course, yes, and in looking at the Academy's snub of The Dark Knight in other categories that it rightfully belonged in, it is entirely possible that Ledger may not be chosen for this posthumous reward. Phillip Seymour Hoffman and Robert Downey, Jr. are worthy adversaries but Ledger truly became the Joker...and I nearly cried at the thought that he would not live to reprise the role in an upcoming Batman film.
Best Supporting Actress:
Penelope Cruz! Ever since seeing Cruz in Volver last year, I have come to realize that she is truly a talent; it's a shame that American directors and casting directors (outside of Woody Allen, director of her nominated performance in Vicky Cristina Barcelona) fail to see this and continue to cast her badly in films such as Sahara. A wonderful performance deserving of recognition.
Best Actor:
Kind of a toss-up here, being that all of the actors in this category put forth outstanding performances (especially Mickey Rourke and way to go on the comeback, man!) I have to predict, however, that I think Sean Penn will take the award. Penn always immerses himself in a role and Milk is no exception. It is possible that I will be surprised tomorrow night but...I think I'm probably right in this prediction.
Best Actress:
Hmmm...Now this is a competitive category! Anne Hathaway has truly come into her own with this role--however, it's her first nomination so the Academy will probably assume that she will be up for more Oscar-worthy roles in the future. What it really comes down to, I think, are the two excessively nominated and severely under-awarded actresses in this category: Meryl Streep and Kate Winslet. Who do I want to win? Winslet. Her portrayal of a former Nazi prison guard in The Reader was heartwrenching and real. Who will likely win? Streep. She has been nominated 15 times for Oscar and has gone home with him only twice. Winslet has been looked over 5 times but it seems likely that Streep will win.
Best Picture:
Now this is a difficult choice. For me, it's between Slumdog Millionaire, The Reader and Benjamin Button. Which film deserves this recognition? Probably Millionaire. Will it be chosen? Probably not. It's a popular but independent feature--the word independent usually kills any chance of a best picture award. My guess is that the statue will be bestowed upon Benjamin Button.
Best Director:
Although I love the work of David Fincher (Fight Club, Zodiac, Se7en) I do not feel that Benjamin is his best film to date. Therefore, I would like to give the Oscar to The Reader. This category is also difficult, however, because one must put what they feel about the film aside and examine what the director was trying to say and whether or not it came through. In my opinion, The Reader accomplishes the emotion and feeling that Stephen Daldry intended. Who will win? My prediction is Gus Van Sant for Milk.
So now it is time to get dressed in your finest (or sweats like me), sit back and watch to see the results live (or on YouTube later on tomorrow night) with your Oscar check-off sheet in one hand and a glass of champagne in the other (or bottle of beer, again, like me). Good night all and may the best--according to me--win!
Best Supporting Actor:
In this category, can we choose anyone other than the late Heath Ledger? The answer is, of course, yes, and in looking at the Academy's snub of The Dark Knight in other categories that it rightfully belonged in, it is entirely possible that Ledger may not be chosen for this posthumous reward. Phillip Seymour Hoffman and Robert Downey, Jr. are worthy adversaries but Ledger truly became the Joker...and I nearly cried at the thought that he would not live to reprise the role in an upcoming Batman film.
Best Supporting Actress:
Penelope Cruz! Ever since seeing Cruz in Volver last year, I have come to realize that she is truly a talent; it's a shame that American directors and casting directors (outside of Woody Allen, director of her nominated performance in Vicky Cristina Barcelona) fail to see this and continue to cast her badly in films such as Sahara. A wonderful performance deserving of recognition.
Best Actor:
Kind of a toss-up here, being that all of the actors in this category put forth outstanding performances (especially Mickey Rourke and way to go on the comeback, man!) I have to predict, however, that I think Sean Penn will take the award. Penn always immerses himself in a role and Milk is no exception. It is possible that I will be surprised tomorrow night but...I think I'm probably right in this prediction.
Best Actress:
Hmmm...Now this is a competitive category! Anne Hathaway has truly come into her own with this role--however, it's her first nomination so the Academy will probably assume that she will be up for more Oscar-worthy roles in the future. What it really comes down to, I think, are the two excessively nominated and severely under-awarded actresses in this category: Meryl Streep and Kate Winslet. Who do I want to win? Winslet. Her portrayal of a former Nazi prison guard in The Reader was heartwrenching and real. Who will likely win? Streep. She has been nominated 15 times for Oscar and has gone home with him only twice. Winslet has been looked over 5 times but it seems likely that Streep will win.
Best Picture:
Now this is a difficult choice. For me, it's between Slumdog Millionaire, The Reader and Benjamin Button. Which film deserves this recognition? Probably Millionaire. Will it be chosen? Probably not. It's a popular but independent feature--the word independent usually kills any chance of a best picture award. My guess is that the statue will be bestowed upon Benjamin Button.
Best Director:
Although I love the work of David Fincher (Fight Club, Zodiac, Se7en) I do not feel that Benjamin is his best film to date. Therefore, I would like to give the Oscar to The Reader. This category is also difficult, however, because one must put what they feel about the film aside and examine what the director was trying to say and whether or not it came through. In my opinion, The Reader accomplishes the emotion and feeling that Stephen Daldry intended. Who will win? My prediction is Gus Van Sant for Milk.
So now it is time to get dressed in your finest (or sweats like me), sit back and watch to see the results live (or on YouTube later on tomorrow night) with your Oscar check-off sheet in one hand and a glass of champagne in the other (or bottle of beer, again, like me). Good night all and may the best--according to me--win!
Monday, February 9, 2009
The Bedtime Reviews
As of late, I have found myself ending each long day with a film in bed. So, for the past few nights, I have seen quite a few films. I also went to see a film on Friday entitled Fear(s) of the Dark, a French black and white animation film that I thought would be much more interesting than it was (although some of the stories, as there were about six different ones, were worthwhile. The art in most cases was impressive). My reviews of the various films viewed in bed are as follows:
RocknRolla: What a fun film. Most of the time, I had to struggle to understand the thick accents of the characters but completely worthwhile, Guy Ritchie almost at his Snatch best. Likeable and interesting characters, a mysteriously wonderful painting and a nearly unstoppable pair of huge men hired to guard money prove to be very entertaining (especially the unstoppable guards). What I thought was going to be primarily a shoot-em-up film ended up being quite the opposite. Two thumbs up.
Pride and Glory: Oh, Edward Norton, what has happened? After making such good film choices such as Fight Club and the often overlooked 25th Hour--although one cannot forget his recent and excellent turn in The Painted Veil and, well, The Incredible Hulk was fun for the smashing and special effects--Norton has decided to essentially waste his talent on films such as The Illusionist and this predictable and, to be honest, somewhat degrading to women, film with a story we've all seen before. Why degrading? How about the fact that the father of two cop brothers (Jon Voigt) does not want his sons to turn in their brother-in-law (who is not only a drug-dealer but framed one of the brothers in a murder) because, of course, he's married to their sister and the father of her children. All Voigt keeps talking about is family and that Jimmy (Colin Farell) is family but what about the sister? How would she feel about being married to a traitor and a drug dealer? The sister's side of the story is relatively null and void, the primary focus on a very old-fashioned story of men being men, loyalty and the apparent conflict of doing the right thing. I see what the film is trying to do: it's attempting to show the difficulty of turning in a fellow cop, especially one who is family, but what it really comes down to is good cops who can't make up their mind to be good cops. Maybe I'm just old-fashioned but I like my cops cut and dry--there are good cops and bad cops but the good ones should want to get the bad ones out of the precinct no matter the cost. And Colin Farell, well, he's just doing what he does best lately: being angry and yelling a lot. Overall, a disappointment.
Zach and Miri Make a Porno: Honestly, I was surprised that I laughed so hard at this movie. I mean, of course, I usually enjoy Kevin Smith films--although that usually depends on the topic so that is why I was pretty sure I would not enjoy Zach and Miri due to the potential for gross and inappropriate jokes. While there are plenty of those, the film is funny and primarily enjoyable, especially when it is Zach and Miri's turn to get busy: a rumba begins and hilarity enuses as Zach (Seth Rogen) dances with his pants down around his ankles with Miri (Elizabeth Banks) as they awkwardly try to have sex on camera. There's poop jokes for the boys and a romance for the girls so, all in all, definitely pick it up to have a laugh--but don't expect much more than that.
Max Payne: You know, I put in an old standby the other night--The Italian Job--and then a couple of days later I watched this stinker and...well, it seems Mark Wahlberg has gone down the same road as our pal Edward Norton (ironically enough, both are in The Italian Job). Boring, boring, boring. Wahlberg stars as Max Payne whose wife and child were killed and he has been searching for the killer for years now (sound familiar? Yea, me, too). Finally, he gets a lead that eventually allows him to rid the world of her killer--although the real killer is still on the loose! Oooooh, do I smell a sequel? I hope not! I don't know what I really expected from a movie based on a video game but the previews made this look interesting and even a bit ghostly and demonic so I thought hey, they might have something here, and picked it up. Silly me--the ghosts and demons are imaginery. They're just on a bad trip. And so was I, the whole time I was watching this film.
So there are the Bedtime Reviews, folks! Hope you enjoyed and I'm sure there will be more to come!
RocknRolla: What a fun film. Most of the time, I had to struggle to understand the thick accents of the characters but completely worthwhile, Guy Ritchie almost at his Snatch best. Likeable and interesting characters, a mysteriously wonderful painting and a nearly unstoppable pair of huge men hired to guard money prove to be very entertaining (especially the unstoppable guards). What I thought was going to be primarily a shoot-em-up film ended up being quite the opposite. Two thumbs up.
Pride and Glory: Oh, Edward Norton, what has happened? After making such good film choices such as Fight Club and the often overlooked 25th Hour--although one cannot forget his recent and excellent turn in The Painted Veil and, well, The Incredible Hulk was fun for the smashing and special effects--Norton has decided to essentially waste his talent on films such as The Illusionist and this predictable and, to be honest, somewhat degrading to women, film with a story we've all seen before. Why degrading? How about the fact that the father of two cop brothers (Jon Voigt) does not want his sons to turn in their brother-in-law (who is not only a drug-dealer but framed one of the brothers in a murder) because, of course, he's married to their sister and the father of her children. All Voigt keeps talking about is family and that Jimmy (Colin Farell) is family but what about the sister? How would she feel about being married to a traitor and a drug dealer? The sister's side of the story is relatively null and void, the primary focus on a very old-fashioned story of men being men, loyalty and the apparent conflict of doing the right thing. I see what the film is trying to do: it's attempting to show the difficulty of turning in a fellow cop, especially one who is family, but what it really comes down to is good cops who can't make up their mind to be good cops. Maybe I'm just old-fashioned but I like my cops cut and dry--there are good cops and bad cops but the good ones should want to get the bad ones out of the precinct no matter the cost. And Colin Farell, well, he's just doing what he does best lately: being angry and yelling a lot. Overall, a disappointment.
Zach and Miri Make a Porno: Honestly, I was surprised that I laughed so hard at this movie. I mean, of course, I usually enjoy Kevin Smith films--although that usually depends on the topic so that is why I was pretty sure I would not enjoy Zach and Miri due to the potential for gross and inappropriate jokes. While there are plenty of those, the film is funny and primarily enjoyable, especially when it is Zach and Miri's turn to get busy: a rumba begins and hilarity enuses as Zach (Seth Rogen) dances with his pants down around his ankles with Miri (Elizabeth Banks) as they awkwardly try to have sex on camera. There's poop jokes for the boys and a romance for the girls so, all in all, definitely pick it up to have a laugh--but don't expect much more than that.
Max Payne: You know, I put in an old standby the other night--The Italian Job--and then a couple of days later I watched this stinker and...well, it seems Mark Wahlberg has gone down the same road as our pal Edward Norton (ironically enough, both are in The Italian Job). Boring, boring, boring. Wahlberg stars as Max Payne whose wife and child were killed and he has been searching for the killer for years now (sound familiar? Yea, me, too). Finally, he gets a lead that eventually allows him to rid the world of her killer--although the real killer is still on the loose! Oooooh, do I smell a sequel? I hope not! I don't know what I really expected from a movie based on a video game but the previews made this look interesting and even a bit ghostly and demonic so I thought hey, they might have something here, and picked it up. Silly me--the ghosts and demons are imaginery. They're just on a bad trip. And so was I, the whole time I was watching this film.
So there are the Bedtime Reviews, folks! Hope you enjoyed and I'm sure there will be more to come!
Sunday, January 25, 2009
Reflections on Sundance 2009
Sundance 2009. What a great experience. All I can say is that I can't wait for Sundance 2010! I saw great films and Kevin Spacey (!!!) and met some wonderful people that I hope to keep in touch with or at least see at next year's fest. Now, on to the reviews...
Keep your eye out for a film called Shrink. Excellent, excellent. Kevin Spacey stars as a psychiatrist who has become jaded about his profession due to a personal tragedy in his life. Spacey is back in his cynical and quite hilarious American Beauty-form, smoking cigarettes (the unfiltered kind) and drinking his way through most of the film as he comes to terms with his wife's suicide. Spacey plays Henry Carter, a well-known psychiatrist to Hollywood's A-list whose clientel includes actors, such as Robin Williams, and an incredibly neurotic and paranoid agent who, next to Spacey, provides some of the most entertaining dialogue in the film.
Speaking of dialogue, it doesn't get much better than this, honestly. Shrink is one of the best films I have seen in a long time and the writing is what truly makes this a must-see (although combined with the guidance of director Jonas Pate and the extremely talented cast makes Shrink one of the best films of Sundance--and maybe of 2009). Keke Palmer (Akeelah and the Bee) is noteworthy as a young girl named Jemma who becomes a patient of Spacey's in order to deal with her mother's recent suicide. With the help of eachother, as well as the intriguing and amusing cast of unique characters winding in and out of their lives, Henry and Jemma are finally able to come to terms with the loss, guilt and confusion that invades one's life as a result of a loved-one's suicide. (P.S. Spacey was there for the Q and A following the film when I saw it on Thursday--was I excited?? That's an understatement!)
Also worthy of note: two films that I saw Thursday night, Amreeka and Prom Night in Mississippi. Amreeka is a fictional film about a mother and son who immigrate to the U.S. from Palestine soon after the 9-11 terrorist attacks and the declaration of war in Iraq. It is a drama sprinkled with comic relief that truly opens one's eyes to the prejudice that many were subjected to following the attacks due to the color of their skin. A well-written debut film by director and screenwriter Cherien Dabis whose experiences as a Palestinian child adjusting to life in the United States led to the production of this film.
The second film, Prom Night in Mississippi, was a documentary about the first integrated prom in the small, low-income Mississippi town of Charleston. Morgan Freeman approached the high school in 1997 and offered to fund the prom on the condition that it be integrated...but was turned down. Ten years later, he made the offer as a result of the encouragement of director Paul Saltzman and it was accepted. In 2008, Charleston High School had its first integrated prom and this documentary chronicles the organization and planning of the event. Revealing on-camera interviews uncover the essentially inherited racism in this town that some inhabitants refuse to let go of--however, the optimism and open-mindedness of those that are willing to look past skin and see the person is uplifting and a joy to watch.
Sundance was a worthwhile and fun experience and I highly recommend that anyone who has the opportunity to attend in subsequent years do so; wonderful films, nice people and a clean, quaint city--how can you go wrong?
Keep your eye out for a film called Shrink. Excellent, excellent. Kevin Spacey stars as a psychiatrist who has become jaded about his profession due to a personal tragedy in his life. Spacey is back in his cynical and quite hilarious American Beauty-form, smoking cigarettes (the unfiltered kind) and drinking his way through most of the film as he comes to terms with his wife's suicide. Spacey plays Henry Carter, a well-known psychiatrist to Hollywood's A-list whose clientel includes actors, such as Robin Williams, and an incredibly neurotic and paranoid agent who, next to Spacey, provides some of the most entertaining dialogue in the film.
Speaking of dialogue, it doesn't get much better than this, honestly. Shrink is one of the best films I have seen in a long time and the writing is what truly makes this a must-see (although combined with the guidance of director Jonas Pate and the extremely talented cast makes Shrink one of the best films of Sundance--and maybe of 2009). Keke Palmer (Akeelah and the Bee) is noteworthy as a young girl named Jemma who becomes a patient of Spacey's in order to deal with her mother's recent suicide. With the help of eachother, as well as the intriguing and amusing cast of unique characters winding in and out of their lives, Henry and Jemma are finally able to come to terms with the loss, guilt and confusion that invades one's life as a result of a loved-one's suicide. (P.S. Spacey was there for the Q and A following the film when I saw it on Thursday--was I excited?? That's an understatement!)
Also worthy of note: two films that I saw Thursday night, Amreeka and Prom Night in Mississippi. Amreeka is a fictional film about a mother and son who immigrate to the U.S. from Palestine soon after the 9-11 terrorist attacks and the declaration of war in Iraq. It is a drama sprinkled with comic relief that truly opens one's eyes to the prejudice that many were subjected to following the attacks due to the color of their skin. A well-written debut film by director and screenwriter Cherien Dabis whose experiences as a Palestinian child adjusting to life in the United States led to the production of this film.
The second film, Prom Night in Mississippi, was a documentary about the first integrated prom in the small, low-income Mississippi town of Charleston. Morgan Freeman approached the high school in 1997 and offered to fund the prom on the condition that it be integrated...but was turned down. Ten years later, he made the offer as a result of the encouragement of director Paul Saltzman and it was accepted. In 2008, Charleston High School had its first integrated prom and this documentary chronicles the organization and planning of the event. Revealing on-camera interviews uncover the essentially inherited racism in this town that some inhabitants refuse to let go of--however, the optimism and open-mindedness of those that are willing to look past skin and see the person is uplifting and a joy to watch.
Sundance was a worthwhile and fun experience and I highly recommend that anyone who has the opportunity to attend in subsequent years do so; wonderful films, nice people and a clean, quaint city--how can you go wrong?
Wednesday, January 21, 2009
Sundance!
This is day 2 of my first experience as a volunteer at the Sundance Film Festival in Park City, Utah and...it was a really great day. Yesterday I traveled on two planes, hit a bit of a snag at my hotel and then pretty much showered and went straight to my 8 p.m. to 2 a.m. volunteer shift. So, as you can imagine, I was a bit too exhausted to enjoy myself! Today, however, I got some much-needed beauty sleep and then decided to take a risk and try to see a film that has been much-hyped at the festival. It is entitled The September Issue and it revolves around the development of the most important issue of Vogue in the year--apparently, according to the film, September is like January in the fashion world, meaning everything starts fresh and new, just like New Year's Day. Anyway, I digress, but if you have seen The Devil Wears Prada, the film features the real woman whom Meryl Streep plays in Prada. And Streep's portrayal, although a bit more extreme, is not all that far off.
The real Anna Wintour is a bit more personable than the fictional account would have you believe but when it comes to her magazine and fashion, what she says goes. The scene in Prada that shows Streep reviewing a clothing line and everyone watching her reaction is completely accurate. The film also centers around the relationship between Anna and Vogue's Creative Director, Grace. It is wonderful to watch because it is obvious that although they bicker and clash over different aspects of the September issue, there is a kinship and a respect between them that only comes from working closely with someone for a very long time. Their interaction is very amusing and relatable because I would assume that we all have people in our lives whom we love but who can nonetheless manage to frustrate us to no end.
I won't give away any more details of The September Issue--and believe me I haven't told you anything that would ruin it, I swear--but I highly recommend this film. I am by no means a "fashionista" so this comes very honestly from a person who likes to see interesting and engaging films and this is definitely one to see.
Also recommended from Sundance: The Yes Men Fix the World. I only saw about twenty minutes of it but it was an exceptional twenty minutes and I can't wait to see the entire film. These two men basically impersonate people in order to try and encourage change in the US. For example, due to their dissatisfaction with government effort to help heal New Orleans after Hurricane Katrina, one of the men impersonated a HUD (Housing and Urban Development) representative and made announcements about reopening homes that had been closed by the government and that Exxon oil was going to donate money to fund developments. To their surprise, the announcement went over very well...until people figured out that he was not from HUD! Overall, a very provocative and interesting film that I highly recommend as well. Check out their website: http://www.theyesmen.org/.
Tomorrow I plan to try and fit in three more films so wish me luck! One on the list is a documentary co-written by Chris Rock called Good Hair. It focuses on African American hairstyles and how it affects African American culture and social status. I'll be sure to post my perspectives on what I see tomorrow as soon as I can.
The real Anna Wintour is a bit more personable than the fictional account would have you believe but when it comes to her magazine and fashion, what she says goes. The scene in Prada that shows Streep reviewing a clothing line and everyone watching her reaction is completely accurate. The film also centers around the relationship between Anna and Vogue's Creative Director, Grace. It is wonderful to watch because it is obvious that although they bicker and clash over different aspects of the September issue, there is a kinship and a respect between them that only comes from working closely with someone for a very long time. Their interaction is very amusing and relatable because I would assume that we all have people in our lives whom we love but who can nonetheless manage to frustrate us to no end.
I won't give away any more details of The September Issue--and believe me I haven't told you anything that would ruin it, I swear--but I highly recommend this film. I am by no means a "fashionista" so this comes very honestly from a person who likes to see interesting and engaging films and this is definitely one to see.
Also recommended from Sundance: The Yes Men Fix the World. I only saw about twenty minutes of it but it was an exceptional twenty minutes and I can't wait to see the entire film. These two men basically impersonate people in order to try and encourage change in the US. For example, due to their dissatisfaction with government effort to help heal New Orleans after Hurricane Katrina, one of the men impersonated a HUD (Housing and Urban Development) representative and made announcements about reopening homes that had been closed by the government and that Exxon oil was going to donate money to fund developments. To their surprise, the announcement went over very well...until people figured out that he was not from HUD! Overall, a very provocative and interesting film that I highly recommend as well. Check out their website: http://www.theyesmen.org/.
Tomorrow I plan to try and fit in three more films so wish me luck! One on the list is a documentary co-written by Chris Rock called Good Hair. It focuses on African American hairstyles and how it affects African American culture and social status. I'll be sure to post my perspectives on what I see tomorrow as soon as I can.
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