So, I can certainly say one thing about college: it’s really hard to go see a movie in theaters. Something about managing your own money makes it just that much more difficult… So I have yet to see a film in theaters! But I expect this to change some way or another, given the exciting new movies coming out in the next couple months (it IS that time of year!). Look out for Clint Eastwood’s Changeling, Charlie Kauffman’s next screenplay and directorial debut Synecdoche, New York, a major feature film for the gay rights movement with Sean Penn as Harvey Milk in Milk, Sam Mendes (of American Beauty fame)’s latest feature Revolutionary Road, the world war 2 era flick Defiance with Daniel Craig and more. It’ll be an exciting season. So all I’ve really got for this are slightly older movies, some from this year, some from before. Look for something about music soon or eventually, given that time of year when it becomes necessary to reflect on the best of the year. There’ve been some good musical releases this year, it should be interesting. On a side note of monumental importance:
Berkeley
So Barack Obama is our new president elect. I must say it was sure something to have been here in Berkeley on Tuesday night, with a good 5,000 people running around everywhere screaming in elation. Ah to be young.
California: Douchebag of the Week
However, it was a bittersweet election night as California voted to enact the descriminatory, prejudice, and selfish Prop 8, specifically targetting the gay community as being deserving of less than the heterosexual community. It was also the first time in California history that rights had been taken AWAY from the people. It’s scary to think that only about half a century ago interracial marriage was still illegal in California. We’ve been noted as a state to be on the edge of American progressivism, and we tend to always vote blue. So we want change. We’re liberal. But not THAT liberal. I have a huge problem, personally, with devisive, horrible measures like Prop 8, and the people who zealously instill fear into the voting public to get their way. It’s clear that prop 8 was religiously motivated, and regardless of my own views about the legitimacy of religion, legislation should not be religiously motivated.
So, as of Wednesday I am immensely proud of America for voting for progress, while I am also immeasurably disappointed in the (once) great state of California. Congratulations guys. Let the homophobia live on.
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Reviews
- THE COUNTERFEITERS – (2008 – German)
Dir:Stefan Ruzowitzky; Star:Karl Markovics The interesting story of master counterfeiter Salomon Sorowitsch who is imprisoned in a concentration camp where he is enlisted to help counterfeit foreign currency to fund the ailing Nazi war machine. Given special treatment for his services, the ethics of the situation come into play and a great internal conflict arises. Should he fight for survival by aiding that which was out to destroy the world and his people? Markovics is great in the lead; his cryptic stare matches the complexity of thought in the character. It’s a quick moving if conventional drama that’s both emotional and exciting. Won an Oscar for best foreign film.
- ZODIAC – (2007)
Dir:David Fincher; Star:Mark Ruffalo, Jake Gyllenhaal, Robert Downey Jr. Taut, well crafted crime thriller following the manhunt for the Zodiac killer in the San Francisco bay area during the 1970’s. Journalist Gyllenhaal takes the project upon himself the police prove uncooperative. Dark, brooding, well cast, and finely detailed, although it suffers from overlength. Riveting stuff nonetheless.
- ALMOST FAMOUS – (2000)
Teenage boy journalist follows fictional band on US tour where he learns about the rockstar lifestyle against the will of his mother. A vividly unique picture that seems a tad too calculated by the end, but the emotions are genuine. Patrick Fugit is well cast as the hopeful boy.
- RAISING ARIZONA – (1987)
Those Coen brothers sure are weird, but thats more reason to love them. Especially when they’re as farcically silly as this. Their keen sense of mythical character is in fine form. Surreally attractive.
- SAW- (2004)
Begins with se7enesque sadism, hooks you in, then sort of puts you off in a lull, then the ending slams you in the face so hard it more than makes up for it. Neat.
- 28 DAYS LATER… – (2002)
Frightening, creative, feels real, kudos on the somewhat unique zombie design. A tad on the indulgent side, but a better effort in the modern survival horror movement.
Okay, so college has officially started, which is my excuse for the huge prolonged absence here at the blog. Because of said moving in to college, I haven’t really had the time/financial means to see any new films, although plans to do so are certainly in the works. I guess I could add some miscellaneous reviews for kicks. I also plan to do a music oriented blog eventually (after all it does say musical musings in the title…). So I guess I just wanted to say hi to anyone (or no one) who reads this. Oh and I also intend to start a series called “Great Movie Moments” or something like that that features what I consider to be.. great… movie… moments… which I guess I’ll have to define more clearly when the time comes.. eventually. hA. So what have I been up to?
Well I guess I’ve been taking in all of the sights and sounds here at the University of California, which is just so intelectually alive and culturally pronounced. As predicted it is better than high school in every way (they serve Soda here! God forbid…), and I’ve recently noticed how college does for education what field work does for an anthropologist. You can’t truly expand your horizons and your intelectual vitality in the confines of high school. You have to live away to truly experience mental stimulation. Just as an anthropologist must live among a culture to learn about them; books alone simply won’t do.
Brokeback Mountain
So the university has been hyping a visit by film director Ang Lee and his producer James Schamus next spring with a series of seminars and discussions about his work. I was fortunate enough to attend one of these about Lee’s magnum opus Brokeback Mountain; and particularly, how it’s sense of sexuality served as a primal awakening for the American viewing public. It was led by a film professor here who also happens to be the preeminent scholar of pornography in the country (I didn’t even know such a study existed). She’s written books with titles like “Screening Sex” and “Hard Core.” She was predictably quite enthusiastic about the discussion. Needless to say, it was an enlightening seminar that you probably wouldn’t be able to experience anywhere else…
There was also an early screening of the film adaptation of Chuck Palahniuk’s novel Choke, complete with a Q&A session with screenwriter/director Clark Gregg. I waited in line but, due to the evils of overbooking, was unable to get a seat, which was extremely annoying. There were at least 100 people in line who were not able to get in. Overbooking is evil. Hopefully there will be more opportunities like this…
Sarah Palin - youtube her interview with Charlie Rose and judge for yourself.
Oooh let’s have a politics tangent. Living in Berkeley, I’ve noticed that politics are a huge part of life, and as a first time voter I feel more envolved than ever in the political scene. One thing I’ve noticed that slightly worries me is the general Berkeley consensus that John Mccain has absolutely no chance at winning the election this year. However recent polls have shown that the race is frighteningly close, if not a dead heat. I think many people here have become disillusioned with Berkeley’s diehard liberalism to the point where they underestimate the other party. Mccain’s choice of Gov. Sarah Palin as his running mate initially struck me as a very wise if not transparently sinister political maneuver. I still think it was probably the best choice he could have made to help his chances, but I’ve also realized how terrible Sarah Palin is as a candidate. I don’t really think I need to make an arguement about her credentials, or lack thereof, or her other non-presidential attributes, as the internet is loaded with them. All I can say is, if Mccain/Palin do win in November, it will be extremeley interesting to see what Berkeley is like the next day. I don’t know if I’d want to leave my room, but it would be interesting none the less.
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Okay so how about some random mini miscellaneous reviews for fun? Eh? whaddyasay?
- EYES WIDE SHUT – (1999 – R) Dir:Stanley Kubrick; Star:Tom Cruise, Nicole Kidman Stanley Kubrick’s final film is a stunning examination of human sexual desire and a scathing yet subtle social commentary. Many viewers and critics panned the film because of its overtly sexual tones, but most of these people were victims of the movie’s shock value; unable to look at sexuality as the vehicle for a message. All of Kubrick’s hallmarks are here in top form, from the ironic sense of humor evident in the use of the camera instead of the dialogue, to the strikingly surreal cinematography bathing the whole picture in an utterly eerie sense intrigue. The cult mansion scene is so meticulously crafted and creepily rendered that it gives me shivers just to write about it. It also features one of the best final lines in movie history. On the whole this is a movie unlike any other that seems to transcend a sense of time or place; instead settling somewhere in the commonest reaches of the mind, which fits its greater message perfectly.
Okay, so here at the end of summer we’ve got some new movies and some notorious douchebaggery. Remember the Dark Knight? Yeah that stupid movie that everyone loved (fortunately it’s only #3 all time on imdb now…) Well, apparently it did kind of well this summer at the box office. So well in fact that it’s publisher Warner Bros realized that it is a much better idea to release a movie in the summer than in say, winter, because kids will be “out of school” and thus more likely to see a movie a million times… And this brings us to our
Douchebag of the week:
Douchebag
Alan Horn! President of Warner Bros and the man in charge of moving the November release of Harry Potter and the Half Blood Prince back half a year so that it premiers in July of 2009, despite the fact that he says the film is finished and in fine form now. He cites the reason for this move as being for better business. So he’s taking a movie that would likely make a half a billion dollars, pissing off all its fans by moving it back half a year, and hoping that MORE of them would want to see it. You sir, are an utter git, and a total douchebag who cares more about the green, which he already has, especially after Dark Knight, than about the fans, the art, or the betterment of his perceived social image. Enjoy the title you loathesome pretzel. Look at him there, just basking in his doucheyness… ‘Oh I am SoOOO Smug cuz I like RED ties cuz they match the color of my soul, and it makes christmas colors with my favorite color.. GREEN! oOoo I LOVE myself sooOO much’. Normally I’m quite against movie piracy, bootlegging, and clandestine internet distribution, but you pirates out there.. feel free to get your hands on Half Blood Prince as soon as possible, and make sure that every person under 20 with an internet connection sees it this winter for free!
Now some reviews.
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- TROPIC THUNDER – (2008 – R)
Dir:Ben Stiller; Star: Ben Stiller, Robert Downey Jr, Jack Black, Tom Cruise, Nick Nolte
Clever, star studded movie within a movie, following the production of the Vietnam war movie “Tropic Thunder,” which is doomed for failure despite its collosal budget. Citing this, the director of the movie sends his actors into the Vietnamese jungle (which is clearly filmed in Hawaii, despite the insistence that the movie in the movie was being filmed in Asia) to live in the conditions the soldiers would have encountered. Then everything goes wrong, and the interesting situation arrises regarding how combat ready these actors are. Among them are the action star (Stiller), the academy award winner (Downey Jr), the drug addict funny man (Black) and others. The characters themselves are funny Hollywood archetypes and are all amusing, although Downey Jr.’s character becomes annoying and undecipherable by the end. It starts off comically, with some clever movie “previews” that help to establish the characters, however the midsection of the movie is hardly funny despite its often inane attempts, and it finishes like the action movie they’d been trying to film! By then there’s hardly a shred of hilarity, and many scenes are unnecessarily and distractingly pointless (can we say Tom Cruise dancing to ‘Apple Bottom Jeans’?). Overall, the action sequences were actually the BEST part of this movie, and even then they’re only as good as say.. those in Forrest Gump, which wasn’t even about the Vietnam war. An initially compelling satire of mainstream filmmaking that doesn’t really fulfill its purpose. Some more intuitive screenwriting, some annoyance ridding, and some directorial focus could have served the clever premise to a greater degree. A shabby effort indeed. Oh, and Ben Stiller, please get a new character. Keywords:
Star studded, Big Budget, Postmodern, Uneven, Annoying, Clever idea
- PINEAPPLE EXPRESS – (2008 R)
Dir: David Gordon Green; Star: Seth Rogen, James Franco What a hoot. A stoner movie that is never off putting, pretentious, overly bizarre, disgusting, or dull. Take THAT Harold and Kumar! Everyman Rogan gets caught up in an inter gang drug war with his marijuana dealer Franco, and both are too high to really comprehend what is going on. Hilarity ensues. Seth Rogan is in top form, instantly likeable and continually funny with his ballsy yet believable sense of humor and perfect mix of physical, intellectual, and social comedy. Franco is a perfect, subdued counterpart. The two have great chemistry and it seems as though many of the best gags were the result of a natural and tireless improv. The screenplay is sharp as well, and never stupid for the sake of being stupid (but it can still be ridiculous, in a good way). By the end guns are pulled and chaos follows, like an exciting high school fantasy during a day in the life of your typical pot head. Like other Judd Apatow productions, (including the very funny Superbad and Knocked Up) this one is all based on very moral principals that give the whole subject some weighty resonance even if the characters and their comedy are always high. A hillariously realized fantasy that’s fresh and likeable through and through. Highly entertaining proof that potheads aren’t the only ones that can enjoy a stoner comedy. Keywords:
Stoner comedy, fantastical, hilarious, dynamic duo, moral values, entertaining, fresh, raunchy
- VICKY CRISTINA BARCELONA – (2008 pg13)
Dir:Woody Allen; Star:Scarlett Johansson, Javier Bardem, Penelope Cruz Woody Allen’s sexy love letter to Spain and European culture, and his third admirable film featuring Scarlett Johansson (with the outstanding Match Point and charming Scoop). Two American tourists are wooed by a sexually aggressive Spanish artist (Bardem), who manages to convince them to stay in Spain where their relationships develop and other interesting factors are introduced. One of which would be the artist’s homicidal, suicidal, jealous, artist ex-wife, played with violent gusto by Penelope Cruz. Her appearance lends some heavy gravitas to counter the other characters romantic illusions, while she herself is an embodiment of the very extremes that unbridled romance can provide. I shouldn’t really say more about the plot (I don’t even know if I could properly explain it…). Needless to say it has all the turns and developments one should expect from a Woody Allen film, except they all seem to work here (thankfully). An elegant, traditional Spanish soundtrack adds a layer of authentic intimacy as well. In the end it’s more about the process than the product; life lessons from a foreign land and its strange and luring culture, in the same way cultural forces work behind the scenes in many of Pedro Almodovar’s films (see: Volver). A sexy dig into the lives of artists and the human search for something more that isn’t an indulgent statement. This film is also further proof that Javier Bardem is awesome. And yes, there IS a lesbian scene involving Penelope Cruz and Scarlett Johansson. I did say it was sexy, didn’t I?
Keywords: Spanish culture, sexy, Natural, Scenic, Neopolitan, Fantastical, Melodramatic, Twisted
Okay, time to get rid of those reviews I’ve been meaning to do forever for some late 2007 movies, they’re all available on DVD now. Sadly there are no douchebags as of now to be our douchebag of the week, maybe next time :(.
-THE DIVING BELL AND THE BUTTERFLY-(2007 French – PG13)
Dir:Julian Schnabel; Star:Mathieu Amalric, Marie Josee Croze
Stunning, true story of French magazine bigwig Jean Dominique Bauby after he suffers a crippling stroke paralyzing his entire body except for his left eyelid. Director Schnabel and cinematographer Janusz Kaminski (of Schindler’s List, Saving Private Ryan fame) take this opportunity to create one of the most visually creative cinematic experiences in recent memory, filming most of the movie from the confined perspective of Bauby’s left eye, trapped inside his body, on a bed, in a hospital, where his soul most certainly does not want to be. The fact that the filmmakers are able to pull it off so naturally, while being able to simulate disillusion, confusion, yearning, and pain all with the media itself is nothing short of remarkable. This first person perspective is intimately desperate and just as much a view INTO Bauby’s head as it is a window out of it. The true substance lies in Bauby’s life before the stroke and his struggles to live with himself afterwards, his imagination as a means of acceptance, and his growing relationships with those who care for him. It’s only the naturally depressing confines of the body that keep this from being a completely transcendental experience. Then again, these confines are what the movie is about in the first place. What results is an emotionally subtle yet hauntingly moving meditation on the human life we have, the life we could have, and the life we are capable of, delivered in the most original way possible. A brilliantly creative cinematic statement in every sense of the word, an astounding achievement and one of the best films of 2007. Keywords:
High Creative Impact, Inspirational, Complex, Depressing, Confined, Subtle, Independent, Foreign Film, Fragile, Stylized, Human, Great Music
Here’s a trailer for this film, which is probably one of the best film trailers I have ever seen. Watch it!
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- THE GREAT DEBATERS – (2007 -PG13)
Dir:Denzel Washington;Star:Denzel Washington, Forest Whitaker, Denzel Whitaker, Jurnee Smollett, Nate Parker
Strictly-by-the-numbers inspirational fare, following three students at an all-black college and their quest to become great… debaters… led by the enigmatic but demanding debate coach Washington. Along the way we learn of their motives, desires, apprehensions, and relationships, which are interesting enough. Features all the expected cliches inherent in such a movie, of course the racial issue is a large factor, and the plot is quite predictable. What makes this such a winner, however, are the performances. Washington is commanding as always, Whitaker is impressive as the religiously cautious father of Denzel Whitaker (I don’t think they’re related in real life…) who is emotive and enthusiastic himself. Parker and Smollett are magnetic and earnest, helping to add layers of emotional depth to the characters and their relationships. These performances anchor the film in good-heartedness, allowing one to overlook the faults and become absorbed in the inspirational tale within. A winner! Keywords:
Mainstream, Inspirational, Great Ensemble Cast, Predictable, Interesting
- THE SAVAGES – (2007 – R)
Dir: Tamara Jenkins; Star: Phillip Seymour Hoffman, Laura Linney Two siblings struggling in their own lives must care for their delusional, senile father who they haven’t seen in twenty years due to his abusive personality. A fantastic blend of dramatic character study and dark comedy; the leads are outstanding (is there anything Seymour Hoffman CANT do?). A difficult, complex, movie about difficult, complex emotions that, while sparse, hides rich emotion beneath the surface that often becomes all too visible. It’s on the repressively dark side, but what the siblings gain for themselves and for each other, and what they learn about life and hope on their journey make this a very rewarding film. Keywords:
Independent, Great ensemble cast, Dark, Sparse, Emotional, Inspirational, Complex, Arguements/Yelliing
Archive Updates:
Occasionally I’ll change one of my reviews, usually the star rating, after more reflection and time, although most changes are only minor. Whenever I do so, I’ll try to note it in the latest entry. Updated reviews: Crash, Babel, No End In Sight , Indiana Jones and the Kingdom of the Crystal Skull, August Rush, Sicko, Superbad
I want to believe that Chris Carter and company, the geniuses behind the sci-fi FOX tv series the X-files will take the best parts of that show to create a movie that highlights and accents these parts for maximum effect. The series was one of a kind for its grand mystic lore, creative humor, witty enthusiasm, and diehard insistence in a greater government conspiracy. The first X-files movie which came out about 10 years ago fulfilled some of these desires but seemed a little to grandiose and ploddy. Well, a good 6ish years after the series has ended, Chris Carter felt like it was time to create another X-files movie, resulting in waves of geekish excitement and forum prowling.
This Leads to the latest installment of Douchebag of the Week:
Chris Carter
****I decided to add this feature to honor people, aka douchebags, who ruin potentially good movies.****
Douchebag
Thanks alot Chris Carter, for not doing ANYTHING in the movie you wrote and directed to make a movie in true X-files glory.
So here you have it..
- THE X-FILES: I WANT TO BELIEVE – (2008)
Dir:Chris Carter; Star:David Duchovny, Gillian Anderson (PG13)
Okay, so I’m a big X-files fan. As a scientific type of person, I think the show pretty much recapitulates every inner fantasy of digging for a deeper meaning and a deeper truth to what lies behind the scenes in the universe. I haven’t seen every episode, but I enjoy the show and spend a lot of time watching it. That said, THE X-FILES: I WANT TO BELIEVE, ridiculously stupid title aside, is an utter disappointment to almost every series fan and a droll waste of time to everyone else. The greatest X-files episodes have either great mystical intrigue, far reaching government conspiracy, aliens, fear, or creatively intelligent and irresistible humor. This movie has none of that. It is a somber quasi-elongated episode that takes place well after the series finale of the television show, with Mulder the crazed believer and Scully the scientific skeptic pursuing life outside of the FBI. Scully is a doctor who spends much of the movie questioning her own motivations in relation to one of her dying patients, which is an extremely depressing, unnecessary, and boring tangent to the main story. When an FBI agent goes missing, a “psychic” leads the FBI on a trail of clues that uncover some sort of diabolical scheme, with no real impact on the world at all. This case forces the FBI to call on the disowned Mulder who has experience with the supernatural and psychics, from the original series. This is essentially just a lame excuse to bring Mulder and consequently Scully back to the FBI to hunt down a murderer, just like in every other crime drama on the big screen OR on television. All the characters, the leads included, seem so unenthusiastic on screen that the unenthusiastic screenplay truly suffers in its own trite boredom. There really isn’t a single appealing character here, and even the ones who were interesting on the show that make cameos are so dull and unappealing that their presence aids nothing to the film (I.E. Skinner, the coolest boss in the world). Did I mention the entire film takes place in West Viriginia in winter time? That’s right. With a $35,000,000 budget, the entire film takes place in West. Virginia. In Winter. Who in their right mind would expect an audience to want to watch boring characters going through a boring routine in the whited out boringness of West Virginia!? The first film traveled the world! It went places, and it was even exciting! There is no thrill here, no intrigue, no grand scheme, and no Aliens(!). What the hell!?? This is the X-files, and there isn’t a single mention of extra terrestrial influences or government conspiracy. It’s just an isolated incident that doesn’t expand or contribute to the X-files mythos at all. There are some exciting action scenes, which are still no more exciting than the latest prime time TV slots, but these hint at what this movie COULD have been. Chris Carter and company COULD have made this a taut thriller, but they delve into philosophical conversation many times, slowing the pace considerably. Hint: If the verbosity contributes nothing to the X-files lore, no one cares! They also COULD have made this an interesting examination of government conspiracy and cover-up, utilizing Mulder’s zeal to drive a search for an ultimate truth, but there is none of this here. Only petty truths are dealt with, and by golly it’s not interesting. Finally, they COULD have made it a raucous comedy, ala the episodes Bad Blood or Jose Chung’s From Outer Space, two of the greatest single episodes in the history of prime time drama, not for their drama but for their satirical and self referential sense of humor. Mulder’s own quirks are funny enough but are rarely utilized here… This would’ve been a great path for the movie to take, because it would break the mold while upholding the greatest traditions of the television show and providing great entertainment to boot. In any case, it doesn’t work, and the result has little appeal to both the fan and the uninitiated. Maybe next time Chris Carter will give the fans what they want, or give movie goers what they want: a good time. Maybe he’ll accumulate enough common sense to remove his head from his derrière long enough to create a proper sequel, hopefully he’ll get it out quick enough so that my shoe doesn’t hit his head while I’m kicking him for making this cinematic sadness. Keywords: Boring, Unfulfilled Promises, Fails Expectations, Depressing, Somber, Low Production Values, Monotonous, Philosophical, Pointless, Unenthusiastic
Okay, its been A few days since THE DARK KNIGHT has released and many people have gotten the chance to see it, I feel like doing some reflecting just for the heck of it. Please comment with opinions/disagreements/agreements/arguments etc.
THE DARK KNIGHT is now the “#1 Best movie of all time” according to the user polls on IMDB.com with over 47,000 votes. How absurd.
I have noticed that it has essentially become the most massively popular movie of recent memory, if not of all time. This blows my mind. Perhaps it is due to Heath Ledger’s death and his super hyped, extraordinarily good performance as the Joker, perhaps because it’s a superhero movie and it’s summer, perhaps it’s a mix of the two. Which it probably is. Perhaps the common movie going audience wants less from a movie than I do, or has lower standards of quality. This is probably all true. Okay, THE DARK KNIGHT did indeed have a lot of quality, but some key elements were just handled incorrectly, such as the screenwriting, which was so oppressively sadistic, convoluted, and hole-y that any thorough scrutiny would cause it to fall apart. Whatever.
One thing I have noticed, is that I am in the extreme minority when it comes to this opinion on the caper (Ha. Ha.). Okay that was really bad. But whatever. I saw the movie with about six friends, who either liked it or thought it was the best Batman movie. Only one of them disliked it as I did. That would be Martin.
Martin
Now some people I have spoke to about the movie call it “Okay” or “Decent,” not to mention the vast majority that say it is “AWESOME!!!!1!1!11one!!!1″ So far Only Martin, in addition to myself, has actually truly disliked it. I was curious what other critical outlets shared this opinion, so I ventured over to metacritic…
I discovered that at metacritic it has a meta-rating of 8.3 aka “universal acclaim.” The site lists 17 media outlets that have given DARK KNIGHT a perfect rating, and 16 that have given it highly positive or positive reviews. Only 6 gave the movie average, mediocre, or poor reviews. The ones that essentially held the same opinion about it as myself and Martin were
The Wall Street Journal (… why they review movies I don’t know)
The Baltimore Sun
New York Magazine
The New Yorker
The Austin Chronicle
and Salon.com (lol.)
Each of these outlets cite similar reasons for not liking the movie, mainly for its sadistic and overly oppressive tone, convoluted plot, and lack of real creative life or vitality.
I also was pleasantly surprised that my personal movie critic idol, Leonard Maltin, disliked the movie as well. Maltin has long been my favorite critic for the similarities between his taste in movies and my own, as well as his strict refusal to reserve 4/4 perfect ratings to the true best of the best. But that’s not important. I guess it was just some sort of comfort to know that some people, whether I admire them or not share my opinion in these hard times of unwaivering DARK KNIGHT fanboy love. It’s almost like it’s socially expected to like THE DARK KNIGHT right now… It’s like a movie’s hype and pretentiousness can cause people to just overlook simple, distracting flaws. Don’t get me wrong, THE DARK KNIGHT was not the worst movie ever, or even “BAD;” it was just not enjoyable, not worthy of any of the hype (except that for Ledger), and not a very good movie.
Hello, I am Leonard Maltin. Yes, I have a beard.
Maltin’s mini review is well written and speaks to many points I agreed with about the movie, you can read it at http://www.leonardmaltin.com if you want.
Anyway I just felt like ranting about this, as I am finding the mass love fest to be a bit irritating, especially since it’s the “greatest movie of all time” now… ah imdb.
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Might as well do some short reviews just to make this post more substantial.
Horton hears a "booo!"
- HORTON HEARS A WHO! – (2008 – G)
Unnecessary Dr. Seuss adaptation that really has no excuse for being a full length feature film. The animation is inferior and the voice acting is only passable. Nothing compelling or overly heart warming. Improves if seen in a foreign language, as it then allows one to use their brains to decipher the dialog, resulting in mental stimulation and a better experience. Keywords:
Animated, Bland, Uncreative, Pointless
- RUSHMORE – (1998 – R)
Wes Anderson’s best film to date deals creatively and quirkily with the turmoils of growing up in a certain environment that seems contrary to a youthful mind. A hugely influential movie that newer films like Juno or Charlie Bartlett owe everything to yet still cannot top. A coming of age that is brilliantly conceived and executed. Keywords:
Creative, Satirical, Youthful, Dry, Inspirational, Funny, Independent
- NO END IN SIGHT – (2007 – PG13)
Dir:Charles Ferguson
Oscar nominated documentary about the US occupation of Iraq after Sadam Hussein’s capture, revealing in captivating detail the lack of any removal plan and other organizational blunders by the occupying powers. A very effective endeavor that indeed does incite some major questioning of the current regime. The way it tells a narrative of events is excellent and it works equally well as an informative piece. In the end, it’s an enlightening experience for those who don’t watch the news every day or those who simply have not had the chance to read up on current events. It succeeds greatly at what it sets out to do, but fades slightly from memory since by now it all has grown tiresome… And we still have men and women over there…
Okay. So Christopher Nolan is one of those modern filmmakers who really sucks majorly at making things not suck. You may remember him as the writer/director of 2006’s cinematic crudbucket The Prestige, or 2000’s disgustingly pointless Memento. More recently he’s been the head honcho behind the next generation of Batman movies, first with Batman Begins (which I have yet to see but have heard great things about) and now with the ultra-hyped Dark Knight.
Douchebag
If one thing can be said about Christopher Nolan, it’s that his films are INSANELY popular with the mass American audience. I’m not exactly sure why, but I think it has to do with his dark style and tendency for plot twists; two things which will make the common movie goer think that what they are seeing is “cool.” But seriously, Nolan’s films have RIDICULOUS support from Internet users and the typical person. For example, on IMDB.com, where everyone can rate a film on a 1-10 scale, Batman Begins is currently averaged at an 8.3 and is the 103rd highest rated movie of all time; The Prestige is the 84th highest rated movie of all time, and Dark Knight is astoundingly the 3rd best movie of all time according to the IMDB polls.
This means that all but TWO of his films are considered by the Internet using public to be better, as they are higher rated, than such great films as The Bicycle Thief (#108), The Wizard of Oz (#115), Fargo (#116)(!!!!!!), Annie Hall (#129), The Deer Hunter (#137), Platoon (#139), The Graduate (#157) and many, many more. What do these outrageous statistics tell us? For one, that ratings based on public opinion are utterly useless… It also helps to illustrate how crapfests so shoddy and terrible as those by Christopher Nolan receive WAY more support than they deserve. But, since they keep making loads of money.. I think he’ll have plenty of work to come (greaaaaat).
- THE DARK KNIGHT – (2008 – PG13)
Dir:Christopher Nolan; Star:Christian Bale, Heath Ledger, Aaron Eckhart
The super-hyped blockbuster of the summer, featuring subject and aura as dark as its title that will surely rake in hundreds of millions worldwide. Bruce Wayne/Batman (oh crap I blew his cover!) must fight his reputation as well as the vile Joker, who plans to reveal batman’s identity by killing innocent civilians eventually to bring chaos to Gotham city in the end. The screenplay, while featuring a clever idea for a superhero movie -one that questions the heroic qualities of the lead, is so convoluted and repressively concealing that it’s hard to become absorbed by the story at all. It’s essentially the screenwriter’s pretentious, dark fantasy that they never really feel like sharing completely with the audience, leaving a whirlwind of turns that never feel substantial or effective. They set up certain emotions, ideas, and characters, and then smash them away, kill them, or manipulate them before shoving them back in your face again. Not to mention the countless holes, unanswered questions, and ridiculously inexplicable character “developments.” This is augmented by the dark plot and cinematography, which cast a deadly depressing shadow on everything. All this is then sustained for an unrelenting two and a half hours. These are essentially the same problems that plagued Nolan’s repressively bad The Prestige, although without the magical… electricity cloning… hats… yeah… Both films caused me to laugh, not at actual jokes but at the development and pacing itself due to its awkward misuse. The editing is also questionable here, as several shots lose their meaning when they are too quickly cut away in an attempt to be “stylistic.” The result is just distracting; there were even several discontinuity errors in many of the conversations… Nevertheless, the raison d’etre is Heath Ledger, who in the role that arguably killed him is outstanding as the diabolical maniacal joker. I have a feeling that perhaps 30% of the revenue this film earns will be because of this performance, as many people I know plan on seeing it just “because of Heath.” It’s pretty much worth it too, as he transforms himself fully for this role and embodies it better than anyone before. Many people are tossing around the idea of a best supporting Oscar nod here, and it wouldn’t be the first time one was received posthumously (Peter Finch in Network). Like in all of Nolan’s films, the production values are enormous. It seems as though they throw in everything but the kitchen sink to try to wow the summer audience. It even features the same voice-over with overused “inspirational”-building musical score for the ending as used in The Prestige and by golly it didn’t work then and it doesn’t work now. It feels manipulative and unsupported. This could have been a great movie… Except the writing, direction, and tone are just so darkly poor that it is never really enjoyable or praiseworthy. All in all, it’s another example of Christopher Nolan screwing up an interesting concept as both the writer and director, despite having all the funding and thespian support, resulting in my unwaivering desire to punch him in the face. Introducing the new Keyword thing! i feel like adding a section to reviews with keywords that help to define the movie as a whole, including things like historical significance, high production values, high creative values, etc that can help define the movie. Keywords: Overlong, Dark, Brooding, Depressing, Convoluted, Great Ensemble Cast, Memorable Performance, High Production Value (Big Budget), Pretentious, Overpopular, Hi-Tech, Sadistic, Oppresive.
- WALL-E – (2008 – G)
Dir:Andrew Stanton; Star-Robots and Pixar Regulars
Pixar has always set the industry standard for quality in computer animation. They did, after all, begin the genre with Toy Story. Wall-E is no exception; the production is squeaky clean and second to none. It’s also remarkably unique for a Pixar movie, in that the first 30 minutes or so feature no dialogue whatsoever. The next thirty minutes feature only robot dialog with a two word vocabulary. WALL-E, the little trash compacter that could, happily goes about his daily routine in post apocalyptic earth where the world has succumbed to giant piles of garbage and extinction level pollution. Every day he naively tidies a section of trash. One day, a strange robot from space named Eve visits earth. Wall-E soon becomes infatuated with it and begins to follow it around. Charming, naive, robot romance ensues, eventually leading to outer space. The Pixar team manage to squeeze about every ounce of emotion out of the hunk of metal that is Wall-E as possible, predictably personifying the non -iving as they did in Toy Story or Cars. There is a certain timeless feel to the dialog-less segment of the film, bringing back memories and techniques lost in the silent age. This is also the most politically charged Pixar film, with a clear message about the environment and the state of human fitness (the humans are portrayedas amorphous whale like blobs..). The graphical quality is astounding, and computer animated garbage has never been so awe-inspiringly rendered. Wall-E is a movie that I really wanted to, and tried to love. I connected with the little robot, but eventually grew tired of his one act performance. Everything seems a little too predictable, and the characters, while uniquely approached, are never entirely lovable. By the end I found that I was not all that concerned with the plight of the little robot and his newly found yet undeveloped robot friends (this is essentially a two character movie). I give tremendous kudos to Pixar for the audacity to create a film as terse as this while still retaining and reigniting many long lost forms of entertainment, but I found that it was not as developed or sympathetic as it could have been. Perhaps more dialog would have helped? Or a less by-the-numbers plot? Nevertheless, WALL-E is an enjoyable film with a significant environmental message that you may or may not fall in love with. Keywords: Animated, High Production Values, Aesthetically Pleasing, Charming, Cute, Political, Terse, Underdeveloped, Simplistic, Timely, Funny.
- THE VISITOR – (2008 – PG13)
Dir: Thomas McCarthy; Star:Richard Jenkins, Haaz Sleiman
Deceptively simple story of a disillusioned, widower professor who moves back to his unused apartment in New York City to find an immigrant couple living there. Rather than kick them out, he allows them to stay out of loneliness, and he soon develops complex and interesting relationships with them. He even learns to play African drums as his life becomes all the more satisfying with their company. Eventually his guest is jailed for being an illegal immigrant, and the professor fights to have his new friend released. Jenkins is perfect as the aging, lonely, unsure professor, whose relationships form the foundation for this film. As he struggles for his friends he learns more about himself and his place in the world. It’s a disarmingly fresh and inspirationally warming film that speaks volumes about the need for human relationships, romantic or not. Yes, I was on the verge of crying multiple times during this film (REAL men admit it!), not out of sorrow but from reveling in its open sense of life and the sheer beauty of its well portrayed characters. This independent film is simple proof that the mainstream blockbuster (i.e. Iron Man or Dark Knight) is not often the most rewarding film. One of the best of the year so far. Keywords: Immigration, New York City, Sentimental, Charming, Endearing, Funny, Great Ensemble Cast, Ethnic, Cry Inducing, Timely, Simplistic, Independent, Inspirational, Friendship
Here’s a trailer for The Visitor if you’re interested:
– - MEMENTO – (2000 – R) Dir:Christopher Nolan; Star:Guy Pearce
Creative, yet pretentiously pointless backwards style movie involving murder and revenge and such. If you know the end before it starts, and the story of how these ends are achieved is so unattractive and depressing, why would you ever want to sit for two hours to figure it out? Contrived to say the least. More evidence that Christopher Nolan should be slapped in the face. Keywords: Timeshift, Depressing, Violent, Blurry, Pointless, Anticlimactic, Pretentious, Overpopular, Dark, Brooding.
I STILL have a backlog of reviews to write on some independent movies that came out within the last year.. stick around for that I suppose.
- GET SMART – [2008]
Dir:Peter Segal; Star:Steve Carell, Anne Hathaway (PG13)
Another spy-spoof, a la Naked Gun or Austin Powers, following agent Maxwell Smart in his naive endeavors to prevent terrorists from using nuclear weapons on an American city, along the way he meets and works with sexy agent Hathaway. Carell is well cast as the intelligent but.. inexperienced Smart, and is nicely complemented by Hathaway’s sexy brute force. Many gags play off of cliche’s of the old spy flick genre or stupidity in general, which is surprisingly fresh and funny for the first half. This eventually grows old as the film lulls in the second half, with a rather unimpressive climax and a dearth of real laughs. What makes Get Smart significantly better than other spoofs is that the production quality allows the action to feel exciting enough as if it belongs in an action movie, instead of a silly comedy, so it all really works on two levels. Inconsistent but genuinely funny when it hits its mark.
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Okay, I’m a hug fan of director M. Night Shyamalan, the acclaimed and frequently disparaged writer/director of such psychological thrillers as The Sixth Sense and Signs. His brand of film making is genuinely unique, and each of his movies is in many ways completely different from all of his previous efforts. A few things do however tie them all together: they all have a surreal and eerie chill about them, which is often extremely frightening, and they all deal with human interaction as a society, community, or group when faced with supernatural, odd, or unexplainable occurrences. For any M. Night fan it is always fascinating to discover how he decides to explain the unexplained, and how this process affects humanity. Because of this, all of his films carry serious or grandiose messages and themes that speak about the human mind, typically on a group level. This makes his work have an intellectual side to it that is consistently interesting and thought provoking, unlike most other modern thriller material. Many (actually, Most) movie critics hate M. Night Shyamalan with a fiery passion; they always expect him to make a film like his breakthrough The Sixth Sense, and anything that strays from the pattern is garbage. This is unfortunate, as he is often trying something new with each film he makes. Many note his films as having a “trashy” quality like any old B-horror movie, without noticing the effect it has on the movie experience as a whole. In essence, the haters do not approach an M. Night movie the same as the fans. The fans go in with no expectations, as they know his work is always different (but united by similar methods), and they know that there will be so much going on behind what is directly portrayed, and will actively seek it out. In the end, they accept the film for the statement it is, and are quickly absorbed in the eerie scene that Shyamalan paints. Here are my reviews of most of his films. Keep in mind, probably the majority of people who see these films will like them less than I, but those who appreciate his intellectual vitality and unique contributions to the art will be more likely to agree. He’s a singularly unique talent in an age of mass commercial appeal. When one finishes watching an M. Night Shyamalan movie for the first time, they tend to see the world in a different way… if they embrace his different approach. Oh and this whole rant is prompted by the recent release of Shyamalan’s latest thriller, The Happening.
- THE HAPPENING – [2008]
Dir:M. Night Shyamalan; Star:Mark Wahlberg, Zooey Deschanel (R)
Gotta love that title… Anyway, the latest Shyamalan flick follows high school science teacher Wahlberg, his under-confident wife, and the people they meet as they try to escape a mysterious airborne phenomenon (initially believed to be a terrorist attack) that causes people to have the urge to commit suicide. A welcome return to form after 2006’s bedtime story Lady in the Water, this one draws you in and keeps you in a consistent state of fear and panic, that is if you’re willing to let it. Many people with false expectations or an inability to put down some reservations will probably be unable to become entranced by the moment that Shyamalan presents. It’s quite effective at creating a sense of urgency and doom, aided by an acute air of mystery and supernaturality that exists in most of his films. Underneath the surface is a compelling examination of human behavior when confronted with a disastrous yet unknowable force, as well as social dynamics, the scientific process, human environmental impact, and the current state of the human mentality. It contains a great dose of anthropology/sociology/psychology for those willing to identify it. His focus here is on the GROUP, or the COMMUNITY and how it changes and is affected by unknown prospects. If you let it, The Happening will reel you in with its fascinating premise and put you in the shoes of its characters (very diverse and compelling as usual) through the most terrifying of times as they race for survival against an enemy that cannot be seen. In the end, Shyamalan proposes a unique way of interpreting the human situation on Earth, that for all we know (which is perhaps that we really know nothing at all) could one day come true. Gripping stuff for the genre buff.
Older Shyamalan…
- THE LADY IN THE WATER – (2006 – PG13)
Shyamalan bed time story about water nymph who needs Paul Giamatti to help her save human kind from evil dogs… or something. Lacks any mystery, intrigue, or frights, in favor of a mild dark fantasy that becomes more ridiculous and uninteresting with every scene. Still some good sociology, but nothing really compelling anyway. Shyamalan’s worst film to date.
- THE VILLAGE – (2004 – PG13)
One that the critics love to hate, that I find utterly fascinating and surreal. Excellent cinematography and musical score help to establish an eerie19th century environment that really casts an intriguing gloom over the whole picture. The love story and the plotting are also highlights; this one packs some chilling moments, creepy frights, and astounding progressions. A brilliantly anthropological study of isolation and fear. Sure it has its cheese, but I was so lost in the cerebral atmosphere that I embraced these moments as delightful quirks.. Uniquely captivating, to say the least. Arguably (if I can even say that) my favorite Shyamalan film.
- SIGNS – (2002 – PG13)
Packed full of creepiness, aliens, intrigue, and overall eerie goodness. Some of Shyamalan’s scariest moments lie within. Another great study of human social interaction when faced with an unknown power. My main complaint is the story’s over reliance on fate, which dampens the longterm impact of what is otherwise a delicious chill.
- THE SIXTH SENSE – (1999 – PG13)
Shyamalan’s masterpiece is the only of his films to be almost universally liked by critics. This is definitely the creepiest, aided by Haley Joel Osmont’s classic performance and a masterful sculpting of mood. A study of the human mind and social perceptions of irregularity. Frightening, mind-boggling, intense; the now legendary twist is a doosey. Shyamalan’s best film.
I think I’m in the minority when it comes to loving M. Night Shyamalan movies. I went to see Get Smart today with some friends, and afterwards I wanted to see The Happening. When we went to go see it all of my friends decided to leave, so I had to watch it alone.. Haha. I guess most people don’t appreciate compelling ways to discuss greater social messages. Oh well, It’s all good…
I’m going to be honest, Raiders of the Lost Ark is my favorite movie of all time, Harrison Ford is my favorite actor, and Steven Spielberg is my favorite living director (cliche, I know). I have followed the conception of Indiana Jones 4 for four years, following its cancellation and inevitable de-cancellation, and have long awaited its release today. I knew as an avid Indy fan that the next installment would not be as good as the rest, since the good ole days will always remain exactly that. I was, in a way, correct, but upon seeing Indiana Jones and the Kingdom of the Crystal Skull, I realized Spielberg’s immense joy for what he does and how the series itself is really just a great director’s self-aware excuse to have fun creating a picture that is simply a blast to watch. I intentionally avoided any media relating to the latest Indiana Jones movie, and luckily was able to evade anyone’s opinion of it prior to seeing it (apparently there was a particularly nasty blogger who leaked an extremely negative review to the press that got massive media attention…). I know there may have been some innate bias on my part before seeing this film, as an Indy fan, but I think this also gave me a certain level of expectation and high standards. Nevertheless, I tried to view the film as objectively as possible to provide the most reliable review here. Indy 4, to my surprise, was revelatory in pushing all those expectations aside, reaching for something that is not nostalgic, but still maintains the soaring intent of the earlier films. And now, I never thought I would have a chance to say this: here is my review for Indiana Jones 4.
-INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL- ( 2008 )
Dir: Steven Spielberg; Star- Harrison Ford, Cate Blanchett, Shia LaBeouf (Rated PG13) Indiana Jones movies stand alone; they are big budget and well aware of it, and they try to pull everything out of the creative mind and slam it in the audience’s face for the purpose of sheer enjoyment. Indy 4 is no exception. This time, it’s 1957 and communist Russians are in search of a mysterious “Crystal Skull” of alien origin which is supposedly able to allow ultimate psychic powers for the femme fatale Blanchett. Indiana is pulled into the fray, bringing the young Mutt (Lebeouf) and old flame Marion Ravenwood (Karen Allen) with him as he tries to recover the skull to thwart the communists. Indiana himself is well into old-age, and the screenwriters have developed several devices to acknowledge this. The professor bumbles, stumbles, and is clearly not in his prime, helping to serve as a comical basis that makes the character more charming than ever, adding new layers to his personality (which still remains well-intact from the last movie). Thankfully the movie does not try to emulate the other three, it stands on its own with new, changed, and older characters who have accepted their aged lives instead of trying to recreate their past glory. The screenplay itself is very funny, with verbal and visual gags abound, helping to keep a lighter tone throughout. I was initially skeptical about Labeouf’s presence (I used to think he had a tendency to be a chronic screen-whiner), but he is fantastic here, lending an extremely welcome sense of youth that perfectly balances the wisdom of everyone else. Karen Allen is also a welcome throughback to Raiders of the Lost Ark, providing romantic spark to the proceedings. Like previous installments, Indy 4 is chalked full of exciting action sequences, drawn out and logically absurd (with everything including the kitchen sink thrown in), but monumentally enjoyable to watch. The fact that the filmmakers are well aware of this absurdity means that it is embraced instead of just shoddy. The main chase sequence through Amazon jungle is one such moment, in which anything and everything can and does happen. This scene is one of the most electrifying in the entire series, and it’s deliberately over the top and shining in the glory of Spielberg’s uniquely playful whimsy. Steven Spielberg, the wealthiest director in Hollywood, knows that he can do whatever he wants in each of his films, yet he is still a young and rambunctious boy at heart, indulging in his playful fantasies on screen. What makes this so good is that Spielberg’s indulgence is every person’s indulgence; his delightful fantasies are shared by millions around the globe (this is also a reason for his popularity). In essence, the “saturday-matinee-serial” feeling (in which everything is intentionally tacky and over-the-top for pure entertainment’s sake) is in full form here. Fans of the series may complain about Spielberg’s reliance on CGI animation for many of the film’s best action scenes, but I found this to be a revelatory and fantastic component. If you think about it, the first three films relied on current genre cliches for all of their sequences, pushing it over the top to the point where one was simply disarmed from reservations and won-over by the adventure. The same is true here, as CGI is the cliche tool of the 2000s, Spielberg chooses to treat it as such, pushing it to a level where one simply begins to enjoy the zeal and marvel in his stylistic sense of humor. It all results in one stellar adventure that doesn’t take itself too seriously. It’s almost a grandiose parody of the action genre that is subsequently more exciting and gripping than the average thriller that simply utilizes typical cliches. My only sizable gripe is the finale, which seems a little too laizzes faire and visionary to suit the pulse pounding happenings that precede it. Nevertheless, it is intelligently aware movie making for the experienced viewer, and simply plain fun for the common person. It is the childhood fantasy of Hollywood’s most imaginative yet popular film makers, that leaves the viewer satisfied well after seeing it. If you examine this one with the previous installments, they cannot really be compared since, aside from Raiders, they have all managed to do the same thing: to exaggerate the conventions of their respective contemporary genres to create something original, something new yet reminiscent, and something delightfully entertaining.
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And, speaking of hollywood blockbusters…
-IRON MAN- ( 2008 )
Dir: Jon Favreau; Star: Robert Downey Jr, Gwenyth Paltrow, Terrence Howard;Rated (PG13)
Billionaire genius celebrity arms manufacturer Tony Stark is kidnapped by terrorists in Afghanistan who use his own company’s weapons decides to dedicate his time to using his genius for doing good. He subsequently constructs a metal suit with many gadgets and functions to help him in this. A dazzling showcase of sleek technology and CGI action sequences that takes too long to get interesting, but when it picks up steam is rather gratifying. The screenplay itself is rather trite and occasionally stupid, and does little to explain many logical holes. Gwenyth Paltrow, the love interest, is treated as a one-dimensional female accessory and the villains are nothing more than overused archetypes (complete with scary facial scars). Surprisingly, Downey Jr. lends a refreshing edge as Tony Stark with his comic whit and sarcasm that, which when coupled with some flashy technology make Iron Man a decently entertaining, if overly typical experience.
-HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY- ( 2008 )
Dir: Jon Hurwitz; Star: John Cho, Kal Penn; Rated:(R)
Horrid sequel to the occasionally-funny cult classic Harold and Kumar Go To White Castle, in which the titular stoners get caught for trying to smoke marijuana on an airplane and subsequently get sent to Guantanamo Bay Prison as terrorists due to a misunderstanding, where they have to escape. They must evade the law while trying to clear their name and win the hearts of the girls they’re after. Every narcotic-related joke one could imagine is used here, and boy does it wear thin. The envelope for good taste is certainly pushed, but here it’s just plain unfunny, insulting, and disgustingly irrelevant and unnecessary. These characters were interesting in the first movie, but now they are simply detestable people. The writers think that they are being intelligent by including jokes based on current social issues (like racism, immigration, and the war on terrorism), but the jokes are just so poorly crafted and the characters are so over zealously obnoxious that it just doesn’t work. At all. There isn’t a single likable character here, and while there are some chuckle-worthy gags, most of the jokes fall flat and make the filmmakers look like incapable idiots trying to be leading men in the industry. Many people in the theater sounded as if they really enjoyed this movie, but then again it smelt of odorous marijuana -i guess they forgot to bathe beforehand.
So, I managed by coincidence to see a couple of good movies in Spanish about Spanish things, both of which were excellent. One of them is a little old and the other is fashionably old and has a provocative title that will probably scare the average person away, but it is worth seeking out. I still have to do another update with reviews of Lars and The Real Girl, The Savages, and Rushmore, as well as a rant about how I hate Hollywood Video, so look for that in the future (hopefully it won’t be too long).
While the last two reviews were about movies that really brought out the spirit of Hispanic culture, these two movies aren’t really cultural showcases, but they are exceptional films made in Spain by Spanish filmmakers, so I suppose it provides some incite into the culture itself.
I also find that watching movies in Spanish is the best way to study for the IB Spanish exams, it’s by far the most enjoyable way to study; I call it passive studying, where knowledge diffuses into your brain down a concentration gradient that begins in the massively concentrated screen. Anyone who calls it “learning by osmosis” is off their rocker and needs to study more, because we ALL KNOW that osmosis involves water transport, not knowledge transport. Sorry for the biology allusion, it’s testing season and I should be studying, yet I am not (I wouldn’t have it any other way). If you’re looking for movies in Spanish to use as study tools, I would also recommend: Hable Con Ella (2002), Pan’s Labyrinth (2007), Todo Sobre Mi Madre (1999), Babel (2006), Volver (2006) (Okay so I have a Pedro Almodovar thing..), The Motorcycle Diaries (2004).
I’ve also been delving into the world of classic foreign cinema, which has been quite rewarding.
Anyway, here we go.. If theres anything we can learn from my recent forays into Spanish language and culture, it’s that Javier Bardem is in EVERYTHING.
And please comment.
- THE SEA INSIDE – (Spanish – 2004)
Dir: Alejandro Amenabar; Star: Javier Bardem Plot: Based on the true story of quadriplegic Ramon Sampedro who fought for 30 years to gain the right to end his life with dignity. Along the way he manages to inspire the women and relatives in his life with his genial spirit. Also a thoughtful and sentimental examination of death and what lies beyond, that is never overly somber, and does not argue for or against the rights to euthanasia; it only presents a man as he is, and his relationship with life. Kudos: Inspired construction; innovative set production; great screenplay marvels at the joy of life while also examining the inevitability of death; Javier Bardem is awesome, his facial expressions alone express much more than many films in their entirety, his attitude and tone shine with life and love that contrasts perfectly with his will to die, highlighting Sampedro’s true mentality; supporting cast is colorfully depicted and played; some very good, creative editing. Un-Kudos: Some later scenes seem underdeveloped and may be difficult to watch; One of the supporting character’s stories isn’t properly concluded; some foreshadowing never comes to fruition. Final Word: The Sea Inside manages to delve into the abyss of death while never seeming overwhelming or depressing, thanks to some talented writing and acting (is there anything Javier Bardem CANT do??), that creates inspiration out of despair, love out of loss, and a very powerful film-going experience. Won an Oscar for Best Foreign Film.
Similar to: The Barbarian Invasions, The Diving Bell and the Butterfly, Million Dollar Baby
- LIVE FLESH – (Spanish – 1997)
Dir: Pedro Almodovar; Star: Javier Bardem Plot: Scrumptious Spanish melodrama as made possible only by Pedro Almodovar; A young man falls in love with a junkie prostitute, gets into a fight with a cop trying to arrest him for causing a disturbance, accidentally shooting the cop’s partner landing him in jail, when he is released he discovers that the cop he shot is now in a Special Olympics basketball star in a wheelchair and married to the former prostitute he was once in love with! You’ll have to learn the rest on your own… Needless to say, it’s a thriller that also reveals something about the innate nature of human passion and the irrational drive for revenge. Also, despite the title this one is actually quite tame (at least for an Almodovar movie)… Kudos: Fantastic writing by the director, told with emphasis on human interaction and irony; Javier Bardem is awesome; highly entertaining; highly interesting; intentionally convoluted Almodovar style works well with this premise; also a heated social commentary! Un-Kudos: You may get lost in its twists. Final Word: A movie that you have to see to understand its brilliance, Live Flesh is a thoroughly stunning and thickly entertaining thriller with layers of meaning hidden in the human interactions that are so well placed on screen. Almodovar is in top form with this delicious film.
Similar to: Other Almodovar movies… and little else.
- AMERICAN PIE 2 – (2001)
Hey, let’s take some funny characters from a good movie and milk them for all its worth! Maybe what was funny the first time will be funny some more! Maybe it won’t get old. Maybe. maybe…
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