Neil Young’s second screen documentary is out with NEIL YOUNG: HEART OF GOLD. His first documentary YEAR OF THE HORSE snared well-acclaimed director Jim Jarmusch, and HEART OF GOLD is directed by an equal talent in director Jonathan Demme. The film is almost entirely composed of Young’s concert at Nashville’s Ryman Auditorium. Most of the music is from Young’s latest release, “Prairie Wind”.
I’ll be the first to tell you that I wasn’t a fan of Neil Young before NEIL YOUNG: HEART OF GOLD, and although my tune hasn’t changed that much, I have a much greater appreciation for him as a song writer. Young’s high pitched, shrill falsetto voice still leaves little to be desired, but the lyrics and smooth flowing vibe to his songs are soulful, and serve as a meditation on his life’s journey. His accompaniment is terrific. Fellow country and folk singers, including his wife Peggy and legend Emmy Lou Harris, bring a strong family-like sense to the concert, while Fisk University’s Jubilee Singers, and the 12-piece Nashville String Machine add a diverse and authentic mix to the music. Director Jonathan Demme utilizes eight stagnant cameras to tell Young’s story through music, effectively keeping in tempo with both his soothing and lively hits.
Grade: B
Monday, March 20, 2006
THE THREE BURIALS OF MELQUIADES ESTRADA
Tommy Lee Jones seeks to avenge his friend’s death in THE THREE BURIALS OF MELQUIADES ESTRADA. In addition to directing and producing the film, Jones stars as ranch-hand Pete Perkins. Following the murder of his friend Melquiades Estrada, Pete goes on a one-man quest to find his friend’s killer, and seek justice for Estrada’s death.
The rugged Western landscape, tough guy mantras and vengeful themes encompass THE THREE BURIALS OF MELQUIADES ESTRADA, but the essential components of characterization and motivation are lacking in Jones’ latest effort. General sketches are drawn of each of the main players, but little is established as to who Pete, Estrada and Barry Pepper’s Mike really are. The film is told in non-linear fashion, and while some minor revelations occur due to this technique, the story and film as a whole to not benefit from this storytelling choice. Taking into account the title of the picture, I’m not giving anything away by telling you that Estrada’s corpse is transported for much of the film. The means, and mishaps, involved in the trek are both uneasy and awkward. These moments are such a miscalculation by Jones that it’s tough to tell if it is being played as comedy or drama. THE THREE BURIALS OF MELQUIADES ESTRADA is on off-beat Western that never quite clicks.
Grade: C
The rugged Western landscape, tough guy mantras and vengeful themes encompass THE THREE BURIALS OF MELQUIADES ESTRADA, but the essential components of characterization and motivation are lacking in Jones’ latest effort. General sketches are drawn of each of the main players, but little is established as to who Pete, Estrada and Barry Pepper’s Mike really are. The film is told in non-linear fashion, and while some minor revelations occur due to this technique, the story and film as a whole to not benefit from this storytelling choice. Taking into account the title of the picture, I’m not giving anything away by telling you that Estrada’s corpse is transported for much of the film. The means, and mishaps, involved in the trek are both uneasy and awkward. These moments are such a miscalculation by Jones that it’s tough to tell if it is being played as comedy or drama. THE THREE BURIALS OF MELQUIADES ESTRADA is on off-beat Western that never quite clicks.
Grade: C
16 BLOCKS
Bruce Willis attempts to get Mos Def to court on time in director Richard Donner’s latest action picture, 16 BLOCKS. Willis is police detective Jack Mosley, a detective whose better days are behind him, and is more or less relegated to desk duty. In a rare field assignment, Jack is given the task of escorting convicted criminal Eddie Bunker to court, approximately 16 blocks from the jail house. Eddie and Jack’s trip to court becomes increasingly dangerous, when an attempt on Eddie’s life occurs.
The best of Donner’s action films have placed as much emphasis on characterization as they have action. 16 BLOCKS is in this same vein, highlighting the conflict and instability of both Jack and Eddie, while surrounding the characters with taut situations and dangerous predicaments. The highlight of the film is Willis’ performance, turning a standard Willis role, hero cop, into something different. Jack’s flawed disposition, oft-kilter morals and past-his-prime physique fit like a glove for Willis. Despite his new aura, Willis still provides a determined individual who finds justice not only for Eddie, but himself. Donner does a nice job defining the diverse duo, and leaving plenty of time for the director’s madcap action. A couple of car chases, several shootouts and a well-executed hostage stand-off provide enough action to keep the film cooking. 16 BLOCKS doesn’t break any new ground for the genre, but it is a subtle change for both Donner and Willis.
Grade: B-
The best of Donner’s action films have placed as much emphasis on characterization as they have action. 16 BLOCKS is in this same vein, highlighting the conflict and instability of both Jack and Eddie, while surrounding the characters with taut situations and dangerous predicaments. The highlight of the film is Willis’ performance, turning a standard Willis role, hero cop, into something different. Jack’s flawed disposition, oft-kilter morals and past-his-prime physique fit like a glove for Willis. Despite his new aura, Willis still provides a determined individual who finds justice not only for Eddie, but himself. Donner does a nice job defining the diverse duo, and leaving plenty of time for the director’s madcap action. A couple of car chases, several shootouts and a well-executed hostage stand-off provide enough action to keep the film cooking. 16 BLOCKS doesn’t break any new ground for the genre, but it is a subtle change for both Donner and Willis.
Grade: B-
FAILURE TO LAUNCH
A thirty-five year old man has a hard time leaving his parent’s nest in the romantic comedy FAILURE TO LAUNCH. Matthew McConaughey is Trip, a man who despite financial stability and a healthy love life refuses to leave the friendly confines of his parents’ home. His parents Al and Sue feel Trip’s time to fly the coop is well overdue, so they enlist the services of Paula, played by Sarah Jessica Parker. Paula specializes in giving grown men the necessary confidence and motivation to leave home, but makes a professional error when she falls for Trip.
FAILURE TO LAUNCH gets caught up in the contrivances of its script and loses sight of its heart. The niche is watching Sarah Jessica Parker’s intelligent and sexy Paula try to woo the charming and equally appealing Trip into doing something he doesn’t want to. The heart of the film is the question of why Trip and Paula are in the situations they are in. Three animal attacks, a vicious paint ball fight and many, many scenes later we find out exactly why these two are in such an emotional rut. This burning question plagues the film throughout, and should have been answered early on, utilizing their internal turmoil to develop the characters, and build a storyline worthy of our interest. Jessica-Parker and McConaughey are both charming, and they have the necessary chemistry to make a picture like this work. Unfortunately they were forced to fight a screenplay with an emotional failure to launch.
Grade: C-
FAILURE TO LAUNCH gets caught up in the contrivances of its script and loses sight of its heart. The niche is watching Sarah Jessica Parker’s intelligent and sexy Paula try to woo the charming and equally appealing Trip into doing something he doesn’t want to. The heart of the film is the question of why Trip and Paula are in the situations they are in. Three animal attacks, a vicious paint ball fight and many, many scenes later we find out exactly why these two are in such an emotional rut. This burning question plagues the film throughout, and should have been answered early on, utilizing their internal turmoil to develop the characters, and build a storyline worthy of our interest. Jessica-Parker and McConaughey are both charming, and they have the necessary chemistry to make a picture like this work. Unfortunately they were forced to fight a screenplay with an emotional failure to launch.
Grade: C-
Thursday, March 09, 2006
CACHE
A family is terrorized via videotape and mail in the foreign-language film CACHE. The French film stars Daniel Auteuil and Juliette Binoche as Georges and Anne, a married couple who begins receiving surveillance video tapes of the outside of their home. The tapes seem harmless, but after receiving several of them, the couple becomes worried. The police are of no help, since a crime hasn’t been committed, so Georges and Anne attempt to solve the mystery on their own.
Modern American horror films could take a tip or two from CACHE, a spellbinding thriller which builds suspense, tension and terror through a few unsettling images, and the disturbing intrusion into a family’s life. CACHE writer-director Michael Haneke, known for his demented and graphic tales, only caves once, graphically showing one character’s demise, and instead focuses the fear on the psychological affects of constantly being monitored. Political allegories provide CACHE with a little more substance than your average thriller, but it works just fine as a personal, suspenseful story revealing the sins of one man’s past. Daniel Auteuil is again a man in peril, but this time due to his character’s own transgressions and his performance gradually reveals a man tormented by his own demons. CACHE is a brilliant thriller, creating horror out of the unseen and unknown.
Grade: B+
Modern American horror films could take a tip or two from CACHE, a spellbinding thriller which builds suspense, tension and terror through a few unsettling images, and the disturbing intrusion into a family’s life. CACHE writer-director Michael Haneke, known for his demented and graphic tales, only caves once, graphically showing one character’s demise, and instead focuses the fear on the psychological affects of constantly being monitored. Political allegories provide CACHE with a little more substance than your average thriller, but it works just fine as a personal, suspenseful story revealing the sins of one man’s past. Daniel Auteuil is again a man in peril, but this time due to his character’s own transgressions and his performance gradually reveals a man tormented by his own demons. CACHE is a brilliant thriller, creating horror out of the unseen and unknown.
Grade: B+
THE WORLD'S FASTEST INDIAN
Anthony Hopkins burns some serious rubber in THE WORLD’S FASTEST INDIAN. The film is based on the real-life story of Burt Munro, a New Zealander who dreamt of reaching the United States to race his motorcycle in the annual Speed Week in Utah. Anthony Hopkins portrays Burt, an eccentric and jolly old man determined to race overseas. The word “Indian” in the film’s title refers to the 1920’s engine used to move Burt’s cycle.
THE WORLD’S FASTEST INDIAN follows a familiar underdog formula, but seems uniquely new thanks to a subtle, wonderful and joyful performance from Hopkins. Hopkins, who will mostly be remembered for his deliciously twisted performance as Hannibal Lecter, turns in a remarkably lovable take on the New Zealand dragster. His Burt is really one-of-a-kind. Burt is eccentric, without seeming weird; ignorant to American culture, but certainly not stupid; and he’s also a daredevil, but not in the cocky, brash sense, yet a man who realizes the mission he must accomplish. The film was written and directed by Ronald Donaldson, whose past films have included such Hollywood action films as DANTE’S PEAK and SPECIES. With THE WORLD’S FASTEST INDIAN, Donaldson shows he can dig deep into a warm and engaging character, while still keeping the racing scenes crackling.
Grade: B
THE WORLD’S FASTEST INDIAN follows a familiar underdog formula, but seems uniquely new thanks to a subtle, wonderful and joyful performance from Hopkins. Hopkins, who will mostly be remembered for his deliciously twisted performance as Hannibal Lecter, turns in a remarkably lovable take on the New Zealand dragster. His Burt is really one-of-a-kind. Burt is eccentric, without seeming weird; ignorant to American culture, but certainly not stupid; and he’s also a daredevil, but not in the cocky, brash sense, yet a man who realizes the mission he must accomplish. The film was written and directed by Ronald Donaldson, whose past films have included such Hollywood action films as DANTE’S PEAK and SPECIES. With THE WORLD’S FASTEST INDIAN, Donaldson shows he can dig deep into a warm and engaging character, while still keeping the racing scenes crackling.
Grade: B
RUNNING SCARED
Paul Walker tries to retrieve an important gun in the crime thriller RUNNING SCARED. Walker is Joey Gazelle, an accomplice in a mob deal gone sour. It’s Joey’s job to dispose of the guns used in the deal, but one of the guns makes its way into the hands of Oleg, a friend of Joey’s son Nicky. Oleg uses the gun on his mother’s abusive boyfriend, and then runs away. These circumstances send Joey on a wild goose chase to retrieve the missing piece.
Some modern film noir have succeeded at integrating a wide array of characters, events and motives, interweaving them into a creative whirlwind which gradually reveals their connection. RUNNING SCARED is all whirlwind (more like tornado) which leaves everything out of whack. The film has a wide array of characters, events and motives, but writer-director Wayne Kramer seems more concerned with one upping himself with each subsequent scene, than attempting to tie it all together. Although it’s a mess of a screenplay, I still admire Kramer’s no-holds barred attack. Kramer throws everything and anything into the picture, including crooked cops, clean criminals, violent kids, pedophiles, killer hockey players, pimps, prostitutes and even a John Wayne-tattooed Russian who weeps when watching the Duke’s films. RUNNING SCARED is creative, but not clever, a brainstorming session which was filmed.
Grade: C
Some modern film noir have succeeded at integrating a wide array of characters, events and motives, interweaving them into a creative whirlwind which gradually reveals their connection. RUNNING SCARED is all whirlwind (more like tornado) which leaves everything out of whack. The film has a wide array of characters, events and motives, but writer-director Wayne Kramer seems more concerned with one upping himself with each subsequent scene, than attempting to tie it all together. Although it’s a mess of a screenplay, I still admire Kramer’s no-holds barred attack. Kramer throws everything and anything into the picture, including crooked cops, clean criminals, violent kids, pedophiles, killer hockey players, pimps, prostitutes and even a John Wayne-tattooed Russian who weeps when watching the Duke’s films. RUNNING SCARED is creative, but not clever, a brainstorming session which was filmed.
Grade: C
DATE MOVIE
After three SCARY movies, its romantic comedies turn for parody with DATE MOVIE. The film is in the same vein as the SCARY MOVIE films, but this time date movies are the target. Alyson Hannigan, of AMERICAN PIE fame, is Julia Jones, a twenty-something single, overweight woman who’s looking for Mr. Right. After receiving a drastic makeover with the help of Hitch, she goes on the television series “The Bachelor” and instantly falls for the show’s main attraction, Grant. Their main obstacle towards marital bliss is the fact that each will have to meet the other’s parents.
Just as many modern horror films mistakenly equate gore for terror, many comedies equate vulgarity for laughs. This error in judgment, and taste, has culminated with DATE MOVIE, a film so misconceived that it can’t identify itself as a parody of parodies. Many romantic comedies are ripe for the picking, but the ones that DATE MOVIE chooses, and more specifically the reasons they are chosen, are off the mark. Moments from MEET THE PARENTS, MY BEST FRIEND’S WEDDING and MY BIG FAT GREEK WEEDING are all spoofed, but many of the moments from these films were intended to be over-the-top. So what we’re left with is over-the-top jokes of over-the-top jokes, and it doesn’t work. DATE MOVIE’s tag line is “A film for people who love date movies, and people who hate them”. I can unequivocally say that DATE MOVIE isn’t for anyone.
Grade: F
Just as many modern horror films mistakenly equate gore for terror, many comedies equate vulgarity for laughs. This error in judgment, and taste, has culminated with DATE MOVIE, a film so misconceived that it can’t identify itself as a parody of parodies. Many romantic comedies are ripe for the picking, but the ones that DATE MOVIE chooses, and more specifically the reasons they are chosen, are off the mark. Moments from MEET THE PARENTS, MY BEST FRIEND’S WEDDING and MY BIG FAT GREEK WEEDING are all spoofed, but many of the moments from these films were intended to be over-the-top. So what we’re left with is over-the-top jokes of over-the-top jokes, and it doesn’t work. DATE MOVIE’s tag line is “A film for people who love date movies, and people who hate them”. I can unequivocally say that DATE MOVIE isn’t for anyone.
Grade: F
Saturday, March 04, 2006
The Best Films of 2005
Although I've procrastinated getting my "Best" on my blog, what better time than posting them just before the Academy of Motion Picture Sciences recognizes its creme de la creme tomorrow night. Here are the ten best films of 2005:
THE BEST FILMS OF 2005
10.) JUNEBUG
Big city ways and small town life clash in JUNEBUG. Director Phil Morrison captures the attitudes, inhibitions and essence of both worlds, in the tale of a prodigal son and his high-fluent wife. Benjamin McKenzie and Embeth Davidtz are good as the conflicted couple, but it’s Amy Adams as the naïve, charming and wonderfully cheerful Ashley that steals the show. I can’t remember a character as refreshing upbeat and authentically original as Ashley, and it’s all to Adams credit.
9.) PRIDE AND PREJUDICE
Just when I thought costume-dramas were a lost art, PRIDE AND PREJUDICE renewed my faith in the genre. Director Joe Wright adapts Jane Austen’s classic love story into a gorgeous romance with sharp dialogue and wonderfully filmed dance sequences. Of all the assertive roles we’ve seen Keira Knightley tackle, none has been more convincing, charming or passionate as her portrayal of Elizabeth Bennett. PRIDE AND PREJUDICE is one of the best romances in the last several years.
8.) MUNICH
Steven Spielberg’s look into the Israeli-Palestian conflict, MUNICH, is a captivating look into a political and religious hotbed. Spielberg has crafted an extremely riveting thriller with intense moments of great danger, a mystery with characters whose motives are not entirely known and a morally complex drama with no distinguishable conclusions. MUNICH has been chastised by both sides, but this should tell you something about the film, that it is a hard, fair and direct look at a conflict that is not easily diagnosed.
7.) BROKEBACK MOUNTAIN
Director Ang Lee’s cowboy romance, BROKEBACK MOUNTAIN is an emotionally driven picture with much angst. Larry McMurty and Diana Ossana have adapted E. Annie Proulx’s short story into a moving drama that utilizes sentimental items, family ties and last wishes. Lee takes each of these aspects to great emotional heights employing imagery, memories and the scenic Wyoming landscape. Although the cast is uniformly good, Heath Ledger stands out, convincingly depicting a man who internalizes his anger, sadness and fear.
6.) WALLACE AND GROMMIT IN THE CURSE OF THE WERE-RABBIT
Aardman’s dynamic duo return to the silver screen was a triumphant one with WALLACE AND GROMMIT IN THE CURSE OF THE WERE-RABBIT. Although the film is full of visual delights, rousing action sequences and clever jokes, it’s Wallace and Grommit’s good-hearted nature and camaraderie that make the film something special. The film’s technique of stop-motion animation has a simple and workman like touch that in many ways makes the characters seem more real. WALLACE AND GROMMIT IN THE CURSE OF THE WERERABBIT is a wonderful family film that can be enjoyed by anyone.
5.) WAR OF THE WORLDS
The best of 2005’s blockbusters was the edge-of-your-seat thriller WAR OF THE WORLDS. Steven Speilberg’s awesome imagination substitutes his familiar dream-like sense of exploration and discovery, for a nightmarish scenario of disaster, terror and carnage. Although the visual aesthetic is impressive, we are not invited to be in awe of the majestic showcase, but rather terrified of its affects WAR OF THE WORLDS defines what films should be in terms of spectacle and cinematic experience.
4.) FEVER PITCH
The well thrown romantic-comedy, FEVER PITCH rings true. The script, based on the Nick Hornby novel, is sharp in its dissection of sports obsessed individuals and those who love them. Despite their deliciously disgusting resume, the Farrelly brothers have concocted a sweet film filled with bizarre, yet realistic scenarios, quirky humor and lovable characters. FEVER PITCH really hit home for me, and assuredly has for thousand of sports fans and those who put up with them.
3.) MATCH POINT
Woody Allen returned to form in 2005 with the cunningly clever thriller MATCH POINT. The diabolically written script twists and turns with Allen’s masterful touch, revealing revelations that are natural, yet surprising. Jonathan Rhys-Meyers and Scarlett Johansson draw us into their web of lust, power and deceit with two attractive and alluring performances. MATCH POINT revels in affairs, greed and worse, but marks another morally compelling drama in Allen’s already impressive cinematic career.
2.) CRASH
Writer-director Paul Haggis’s CRASH is a clever twist on our country’s current cultural climate. This racially infused drama skillfully interweaves several stories of prejudiced Los Angeles residents. CRASH blatantly and subtly shows how racism is manifested, not just in white or black Americans, but also Hispanics, Asian-Americans and those of other ethnicities. Haggis provides an honest, revealing and tough look at several different characters, enables us to emphasize with their situations without excusing their actions. CRASH is a remarkably enriching drama.
1.) MURDERBALL
This awe-inspiring, uncompromising and brilliantly told documentary is a tribute to those who refuse to lose. This tale of the United States wheelchair rugby team shatters preconceived notions of paraplegics as victims, and displays individuals who have a zest and love for life. Competitors Mark Zuppan and Joe Soares are two of the greatest characters to light up the silver screen last year, and their stories would seem like clichés, if they weren’t true. Directors Henry Rubin and Dana Shapiro not only capture the soul of these amazing stories, but they’ve created an electrifying sports film that drains every heart tugging moment. MURDERBALL is a testament to the resilience of the human spirit, and it’s my pick for the best film of 2005.
THE BEST FILMS OF 2005
10.) JUNEBUG
Big city ways and small town life clash in JUNEBUG. Director Phil Morrison captures the attitudes, inhibitions and essence of both worlds, in the tale of a prodigal son and his high-fluent wife. Benjamin McKenzie and Embeth Davidtz are good as the conflicted couple, but it’s Amy Adams as the naïve, charming and wonderfully cheerful Ashley that steals the show. I can’t remember a character as refreshing upbeat and authentically original as Ashley, and it’s all to Adams credit.
9.) PRIDE AND PREJUDICE
Just when I thought costume-dramas were a lost art, PRIDE AND PREJUDICE renewed my faith in the genre. Director Joe Wright adapts Jane Austen’s classic love story into a gorgeous romance with sharp dialogue and wonderfully filmed dance sequences. Of all the assertive roles we’ve seen Keira Knightley tackle, none has been more convincing, charming or passionate as her portrayal of Elizabeth Bennett. PRIDE AND PREJUDICE is one of the best romances in the last several years.
8.) MUNICH
Steven Spielberg’s look into the Israeli-Palestian conflict, MUNICH, is a captivating look into a political and religious hotbed. Spielberg has crafted an extremely riveting thriller with intense moments of great danger, a mystery with characters whose motives are not entirely known and a morally complex drama with no distinguishable conclusions. MUNICH has been chastised by both sides, but this should tell you something about the film, that it is a hard, fair and direct look at a conflict that is not easily diagnosed.
7.) BROKEBACK MOUNTAIN
Director Ang Lee’s cowboy romance, BROKEBACK MOUNTAIN is an emotionally driven picture with much angst. Larry McMurty and Diana Ossana have adapted E. Annie Proulx’s short story into a moving drama that utilizes sentimental items, family ties and last wishes. Lee takes each of these aspects to great emotional heights employing imagery, memories and the scenic Wyoming landscape. Although the cast is uniformly good, Heath Ledger stands out, convincingly depicting a man who internalizes his anger, sadness and fear.
6.) WALLACE AND GROMMIT IN THE CURSE OF THE WERE-RABBIT
Aardman’s dynamic duo return to the silver screen was a triumphant one with WALLACE AND GROMMIT IN THE CURSE OF THE WERE-RABBIT. Although the film is full of visual delights, rousing action sequences and clever jokes, it’s Wallace and Grommit’s good-hearted nature and camaraderie that make the film something special. The film’s technique of stop-motion animation has a simple and workman like touch that in many ways makes the characters seem more real. WALLACE AND GROMMIT IN THE CURSE OF THE WERERABBIT is a wonderful family film that can be enjoyed by anyone.
5.) WAR OF THE WORLDS
The best of 2005’s blockbusters was the edge-of-your-seat thriller WAR OF THE WORLDS. Steven Speilberg’s awesome imagination substitutes his familiar dream-like sense of exploration and discovery, for a nightmarish scenario of disaster, terror and carnage. Although the visual aesthetic is impressive, we are not invited to be in awe of the majestic showcase, but rather terrified of its affects WAR OF THE WORLDS defines what films should be in terms of spectacle and cinematic experience.
4.) FEVER PITCH
The well thrown romantic-comedy, FEVER PITCH rings true. The script, based on the Nick Hornby novel, is sharp in its dissection of sports obsessed individuals and those who love them. Despite their deliciously disgusting resume, the Farrelly brothers have concocted a sweet film filled with bizarre, yet realistic scenarios, quirky humor and lovable characters. FEVER PITCH really hit home for me, and assuredly has for thousand of sports fans and those who put up with them.
3.) MATCH POINT
Woody Allen returned to form in 2005 with the cunningly clever thriller MATCH POINT. The diabolically written script twists and turns with Allen’s masterful touch, revealing revelations that are natural, yet surprising. Jonathan Rhys-Meyers and Scarlett Johansson draw us into their web of lust, power and deceit with two attractive and alluring performances. MATCH POINT revels in affairs, greed and worse, but marks another morally compelling drama in Allen’s already impressive cinematic career.
2.) CRASH
Writer-director Paul Haggis’s CRASH is a clever twist on our country’s current cultural climate. This racially infused drama skillfully interweaves several stories of prejudiced Los Angeles residents. CRASH blatantly and subtly shows how racism is manifested, not just in white or black Americans, but also Hispanics, Asian-Americans and those of other ethnicities. Haggis provides an honest, revealing and tough look at several different characters, enables us to emphasize with their situations without excusing their actions. CRASH is a remarkably enriching drama.
1.) MURDERBALL
This awe-inspiring, uncompromising and brilliantly told documentary is a tribute to those who refuse to lose. This tale of the United States wheelchair rugby team shatters preconceived notions of paraplegics as victims, and displays individuals who have a zest and love for life. Competitors Mark Zuppan and Joe Soares are two of the greatest characters to light up the silver screen last year, and their stories would seem like clichés, if they weren’t true. Directors Henry Rubin and Dana Shapiro not only capture the soul of these amazing stories, but they’ve created an electrifying sports film that drains every heart tugging moment. MURDERBALL is a testament to the resilience of the human spirit, and it’s my pick for the best film of 2005.
The Next Best of 2005
Before I get to posting my top ten films of 2005, here's a look at ten good films that didn't quite make the cut:
Honorable Mentions of 2005
THE SISTERHOOD OF THE TRAVELING PANTS was a nice surprise from 2005. It was refreshing to find a teen film that was charming, touching and real in its portrayal of teens and their troubles. Several talented young actresses bring conviction and passion to each of their characters, and the screenplay blends each of the sub-plots expertly.
The throwback Hollywood film, CINDERELLA MAN wasn’t a surprise, as the pedigree of Ron Howard, Russell Crowe, Renee Zelwegger and Paul Giamatti didn’t disappoint. Howard and his talented cast provide the necessary drive for this timeless tale of Depression-Era boxer Jim Braddock. The boxing scenes are superbly simplistic, revealing a brutal truth to the sport and the film’s era.
Bill Murray’s impressive streak of roles continued with the offbeat and quirky comedy-drama, BROKEN FLOWERS. As Don Johnston, Murray projects Don’s internal distress with a worn face, lackadaisical demeanor and deep, sorrowful glares. Director Jim Jarmusch delicately delivers a human drama about the heartache that follows the romance.
Two effective family dramas in 2005 were THE UPSIDE OF ANGER and WINTER SOLSTICE. THE UPSIDE OF ANGER, director Mike Binder crafted an emotionally enriching tale demonstrating the ill-effects when anger overtakes common sense, understanding and humility. Kevin Costner and Joe Allen are in rare form, and the performances by the four young actresses are understated, yet valuable. In WINTER SOLSTICE, the actors are appropriately low-key, and extremely successful in displaying the day-to-day struggles one tackles when attempting to overcome the loss of a loved one. The film is a patient and rewarding drama detailing the healing process.
IN HER SHOES and PROOF provided three of the best female performances last year. Despite their differences, Toni Collette and Cameron Diaz found common ground in Curtis Hanson’s heartwarming sibling rivalry IN HER SHOES, and in spite of their characters contemptible actions, the actresses reveal a great deal of humanity behind their bitter exterior. Gwyneth Paltrow proved to be the driving force behind PROOF. Paltrow’s Catherine is an extremely intelligent mathematician who can’t find the equation for love or happiness in director John Madden’s latest. Paltrow finds just the right balance between stress and sympathy, while Anthony Hopkins gives a moving performance as Catherine’s late father.
Indie films MILLIONS AND BROTHERS certainly deserve praise. Both deal with the painful loss of a loved one, one with whimsy and the other with turmoil. Director Danny Boyle put his vivid imagination to work in the uplifting and joyful MILLIONS. A young boy comes across a bag of loot, and decides to give rather than receive. The outcome is one of the year’s most rewarding. BROTHERS involves a love-triangle between brothers, as an Afghanistan war veteran is presumed dead, and his brother resumes his duties as husband and father. The dramatic results of the film are profound, and Ulrich Thomsen gives a riveting performance as war vet Michael.
The great ape, KING KONG rounds out my honorable mentions. For all its excesses, KING KONG delivered a special effects extravaganza, anchored by three magnetic performances from Naomi Watts, Adrien Brody and Jack Black. Director Peter Jackson’s love for the original is greatly known, and you can sense his passion in the making of this entertaining and engaging epic.
Honorable Mentions of 2005
THE SISTERHOOD OF THE TRAVELING PANTS was a nice surprise from 2005. It was refreshing to find a teen film that was charming, touching and real in its portrayal of teens and their troubles. Several talented young actresses bring conviction and passion to each of their characters, and the screenplay blends each of the sub-plots expertly.
The throwback Hollywood film, CINDERELLA MAN wasn’t a surprise, as the pedigree of Ron Howard, Russell Crowe, Renee Zelwegger and Paul Giamatti didn’t disappoint. Howard and his talented cast provide the necessary drive for this timeless tale of Depression-Era boxer Jim Braddock. The boxing scenes are superbly simplistic, revealing a brutal truth to the sport and the film’s era.
Bill Murray’s impressive streak of roles continued with the offbeat and quirky comedy-drama, BROKEN FLOWERS. As Don Johnston, Murray projects Don’s internal distress with a worn face, lackadaisical demeanor and deep, sorrowful glares. Director Jim Jarmusch delicately delivers a human drama about the heartache that follows the romance.
Two effective family dramas in 2005 were THE UPSIDE OF ANGER and WINTER SOLSTICE. THE UPSIDE OF ANGER, director Mike Binder crafted an emotionally enriching tale demonstrating the ill-effects when anger overtakes common sense, understanding and humility. Kevin Costner and Joe Allen are in rare form, and the performances by the four young actresses are understated, yet valuable. In WINTER SOLSTICE, the actors are appropriately low-key, and extremely successful in displaying the day-to-day struggles one tackles when attempting to overcome the loss of a loved one. The film is a patient and rewarding drama detailing the healing process.
IN HER SHOES and PROOF provided three of the best female performances last year. Despite their differences, Toni Collette and Cameron Diaz found common ground in Curtis Hanson’s heartwarming sibling rivalry IN HER SHOES, and in spite of their characters contemptible actions, the actresses reveal a great deal of humanity behind their bitter exterior. Gwyneth Paltrow proved to be the driving force behind PROOF. Paltrow’s Catherine is an extremely intelligent mathematician who can’t find the equation for love or happiness in director John Madden’s latest. Paltrow finds just the right balance between stress and sympathy, while Anthony Hopkins gives a moving performance as Catherine’s late father.
Indie films MILLIONS AND BROTHERS certainly deserve praise. Both deal with the painful loss of a loved one, one with whimsy and the other with turmoil. Director Danny Boyle put his vivid imagination to work in the uplifting and joyful MILLIONS. A young boy comes across a bag of loot, and decides to give rather than receive. The outcome is one of the year’s most rewarding. BROTHERS involves a love-triangle between brothers, as an Afghanistan war veteran is presumed dead, and his brother resumes his duties as husband and father. The dramatic results of the film are profound, and Ulrich Thomsen gives a riveting performance as war vet Michael.
The great ape, KING KONG rounds out my honorable mentions. For all its excesses, KING KONG delivered a special effects extravaganza, anchored by three magnetic performances from Naomi Watts, Adrien Brody and Jack Black. Director Peter Jackson’s love for the original is greatly known, and you can sense his passion in the making of this entertaining and engaging epic.
The Worst Films of 2005
Well, I've finally gotten around to posting my worst films of 2005. What better time than just before the Razzies dish out their dubious awards. Here's my take on last year's lowlights:
THE WORST OF 2005
10.) DERAILED
The not so-slick thriller DERAILED begins my wretched list. Clive Owen and Jennifer Anniston make the best of a maddening thriller where the characters constantly make ill-advised, ludicrous choices which seem based on the will of the script and not the will of its characters. DERAILED is a poorly written, piece of tripe.
9.) WOLF CREEK
8.) THE DEVIL'S REJECTS
Both WOLF CREEK and THE DEVIL’S REJECTS served up a hearty dose of blood, guts and gore, but little in the way of genuine suspense, shock or fear. Although both were visually effective, each film creates a sense of joy in its sadistic and sexually explicit encounters. THE DEVIL’S REJECTS Rob Zombie conjured up a sickening fictitious tale of a psychotic family, while WOLF CREEK writer-director Greg McLean took advantage of a real life tragedy to spew his vision of malicious mayhem.
7.) DIARY OF A MAD, BLACK WOMAN
All of the right intentions couldn’t help DIARY OF A MAD, BLACK WOMAN, a mishmash of comedy and drama. I don’t doubt writer-director Tyler Perry’s goal of providing a religiously infused tale of perseverance and forgiveness, but the execution is utter chaos. The film plays to the broadest of stereotypes, and the characters are downright exasperating. DIARY OF A MAD, BLACK WOMAN is what you’d get if you mixed THE NUTTY PROFESSOR with a Lifetime melodrama.
6.) BOOGEYMAN
BOOGEYMAN is half mystery, half horror which adds up to a whole lot of nothing. Although BOOGEYMAN builds a case for something more, with lame flashbacks and creepy kids, its resolution its nothing more than a poorly constructed monster mash. Poor acting, and even worse editing make the so-called frightening scenes unbearable.
5.) SON OF THE MASK
This sequel is both unnecessary and poorly crafted, not to mention about ten years late. This lifeless follow-up to the tame original offers little in the way of humor or star power. Jim Carrey may have overreacted in the original, but Jamie Kennedy doesn’t even appear to be trying. Screwy sub-plots, poor special effects and low brow humor make SON OF THE MASK the worst family film of 2005.
4.) DOOM
3.) ALONE IN THE DARK
Talk about lack of inspiration, Hollywood scraped the bottom of their creative barrel last year with the video-game based movies DOOM and ALONE IN THE DARK. DOOM is unbelievably dull for an action film, and when the so-called thrills arrive, it’s in a first-person point-of-view, which is the video game’s appeal, but on screen it plays like a third-grader’s home movie. ALONE IN THE DARK is even worse, proving Christian Slater and Tara Reid’s careers can get worse. Slater mugs for the camera as a brute, paranormal detective, while Reid tries to sell herself as an archaeologist. The only thing funnier than their silly performances, are the creatures that lurk in the dark.
2.) THE ARISTOCRATS
THE ARISTOCRATS, using its own vulgar terms, is an exercise in comic masturbation. Several notable and talented comedians tell a joke involving a family of four, and what they are willing do to as a sideshow act. Various versions of the joke, most of them very similar and even more uninspired, are drilled into our heads with disgusting thoughts of incest, oral sex, blood, guts and excrement. Now that’s entertainment.
1.) DEUCE BIGELOW: EUROPEAN GIGOLO
As if listening to the acts in THE ARISTOCRATS wasn’t bad enough, DEUCE BIGELOW: EUROPEAN GIGOLO gives us the pictures to put with our thoughts. This disgustingly brash comedy sends the oblivious Deuce overseas, where he encounters horrible European stereotypes, and a lame-brain pimp played by Eddie Griffin. While Europeans are lambasted, the real joke is on Deuce, who gives new meaning to the term, ugly American. This amazingly bad follow-up was so excruciating that my experience in the theater felt surreal.
THE WORST OF 2005
10.) DERAILED
The not so-slick thriller DERAILED begins my wretched list. Clive Owen and Jennifer Anniston make the best of a maddening thriller where the characters constantly make ill-advised, ludicrous choices which seem based on the will of the script and not the will of its characters. DERAILED is a poorly written, piece of tripe.
9.) WOLF CREEK
8.) THE DEVIL'S REJECTS
Both WOLF CREEK and THE DEVIL’S REJECTS served up a hearty dose of blood, guts and gore, but little in the way of genuine suspense, shock or fear. Although both were visually effective, each film creates a sense of joy in its sadistic and sexually explicit encounters. THE DEVIL’S REJECTS Rob Zombie conjured up a sickening fictitious tale of a psychotic family, while WOLF CREEK writer-director Greg McLean took advantage of a real life tragedy to spew his vision of malicious mayhem.
7.) DIARY OF A MAD, BLACK WOMAN
All of the right intentions couldn’t help DIARY OF A MAD, BLACK WOMAN, a mishmash of comedy and drama. I don’t doubt writer-director Tyler Perry’s goal of providing a religiously infused tale of perseverance and forgiveness, but the execution is utter chaos. The film plays to the broadest of stereotypes, and the characters are downright exasperating. DIARY OF A MAD, BLACK WOMAN is what you’d get if you mixed THE NUTTY PROFESSOR with a Lifetime melodrama.
6.) BOOGEYMAN
BOOGEYMAN is half mystery, half horror which adds up to a whole lot of nothing. Although BOOGEYMAN builds a case for something more, with lame flashbacks and creepy kids, its resolution its nothing more than a poorly constructed monster mash. Poor acting, and even worse editing make the so-called frightening scenes unbearable.
5.) SON OF THE MASK
This sequel is both unnecessary and poorly crafted, not to mention about ten years late. This lifeless follow-up to the tame original offers little in the way of humor or star power. Jim Carrey may have overreacted in the original, but Jamie Kennedy doesn’t even appear to be trying. Screwy sub-plots, poor special effects and low brow humor make SON OF THE MASK the worst family film of 2005.
4.) DOOM
3.) ALONE IN THE DARK
Talk about lack of inspiration, Hollywood scraped the bottom of their creative barrel last year with the video-game based movies DOOM and ALONE IN THE DARK. DOOM is unbelievably dull for an action film, and when the so-called thrills arrive, it’s in a first-person point-of-view, which is the video game’s appeal, but on screen it plays like a third-grader’s home movie. ALONE IN THE DARK is even worse, proving Christian Slater and Tara Reid’s careers can get worse. Slater mugs for the camera as a brute, paranormal detective, while Reid tries to sell herself as an archaeologist. The only thing funnier than their silly performances, are the creatures that lurk in the dark.
2.) THE ARISTOCRATS
THE ARISTOCRATS, using its own vulgar terms, is an exercise in comic masturbation. Several notable and talented comedians tell a joke involving a family of four, and what they are willing do to as a sideshow act. Various versions of the joke, most of them very similar and even more uninspired, are drilled into our heads with disgusting thoughts of incest, oral sex, blood, guts and excrement. Now that’s entertainment.
1.) DEUCE BIGELOW: EUROPEAN GIGOLO
As if listening to the acts in THE ARISTOCRATS wasn’t bad enough, DEUCE BIGELOW: EUROPEAN GIGOLO gives us the pictures to put with our thoughts. This disgustingly brash comedy sends the oblivious Deuce overseas, where he encounters horrible European stereotypes, and a lame-brain pimp played by Eddie Griffin. While Europeans are lambasted, the real joke is on Deuce, who gives new meaning to the term, ugly American. This amazingly bad follow-up was so excruciating that my experience in the theater felt surreal.
Friday, February 24, 2006
The Good, The Bad and Madea
After watching a morally bankrupt celluloid character one night, and a righteous film family the next, you'd think each of the subjects would equate to the film's quality. Wrong. Roger Ebert has said (and I'm paraphrasing), that its not what the film is about, but how it is about it. Two great examples of this are Woody Allen's MATCH POINT, and Tyler Perry's MADEA'S FAMILY REUNION.
MATCH POINT surrounds the rise of tennis pro Chris Wilton into Britian's social uppercrust. There isn't anything that will stop Chris from obtaining whatever he wants, be it professional, social or sexual. Jonathan Rhys Meyers plays Chris nearly perfect, and although we despise his intentions, actions and emotions, there's a certain draw to him despite his amoral behavior.
MADEA'S FAMILY REUNION is in dark contrast. Each of the main players is a righeteous person, attempting to make sound judgements based on their family, friends and God. There's a genuine concern for each family member, and despite their flaws, behavior and past sins, a strong willingness to forgive one another.
In terms of quality, these two films couldn't be farther apart. Allen lures us into Britain's high society by intoxicating us with a family's luxurious estate, attractive individuals and wordplay that sizzles between the characters lips. In spite of all the misdeeds, MATCH POINT is throughly engaging due Allen's sharp, yet realistic twists and a morally provactive script which doesn't have to scream its message to be heard. Perry's FAMILY REUNION is all about yelling, and if you haven't heard the message, Great Granny Madea will beat it into you. Several scenes are staged to have "wise" characters spill lengthy monologues of right and wrong, treating its audience like a child in grade school.
Many viewers will see MADEA'S FAMILY REUNION as a good-hearted, spiritually enriching romp, while MATCH POINT will be deemed a dark and disturbing drama which rewards the wicked. This is too simplistic of a take for both films, one which many will determine based on each film's synopsis, and not the subtlety, or lackthereof, of each film.
MATCH POINT surrounds the rise of tennis pro Chris Wilton into Britian's social uppercrust. There isn't anything that will stop Chris from obtaining whatever he wants, be it professional, social or sexual. Jonathan Rhys Meyers plays Chris nearly perfect, and although we despise his intentions, actions and emotions, there's a certain draw to him despite his amoral behavior.
MADEA'S FAMILY REUNION is in dark contrast. Each of the main players is a righeteous person, attempting to make sound judgements based on their family, friends and God. There's a genuine concern for each family member, and despite their flaws, behavior and past sins, a strong willingness to forgive one another.
In terms of quality, these two films couldn't be farther apart. Allen lures us into Britain's high society by intoxicating us with a family's luxurious estate, attractive individuals and wordplay that sizzles between the characters lips. In spite of all the misdeeds, MATCH POINT is throughly engaging due Allen's sharp, yet realistic twists and a morally provactive script which doesn't have to scream its message to be heard. Perry's FAMILY REUNION is all about yelling, and if you haven't heard the message, Great Granny Madea will beat it into you. Several scenes are staged to have "wise" characters spill lengthy monologues of right and wrong, treating its audience like a child in grade school.
Many viewers will see MADEA'S FAMILY REUNION as a good-hearted, spiritually enriching romp, while MATCH POINT will be deemed a dark and disturbing drama which rewards the wicked. This is too simplistic of a take for both films, one which many will determine based on each film's synopsis, and not the subtlety, or lackthereof, of each film.
Tuesday, February 21, 2006
FEVER PITCH
(Spring Training has just begun, and since my review for FEVER PITCH never made its way to the blog last Spring, here it is)
Drew Barrymore competes against Jimmy Fallon’s first love in the Farrelly brothers’ romantic comedy FEVER PITCH. Fallon is Ben, a school teacher, who meets Barrymore’s Lindsey during a class field trip at her place of employment. The two begin dating in the Fall, and everything couldn’t be going better, at least until Spring hits. Fallon is a die-hard Boston Red Sox fan, and from April to October his life is devoted to Red Sox baseball. His obsession with the Sox could jeopardize his relationship with Lindsey.
At times I felt as if I was watching my own reflection in FEVER PITCH. Although I’m a die-hard Reds, not Red Sox fan, there are far too many eerie similarities between Ben and I. The script, written by Lowell Ganz and Babaloo Mandel and based on the Nick Hornby novel, is sharp in its dissection of sports obsessed individuals and those who love them. I’ve never read a Hornby novel, but following his other adaptations, HIGH FIDELITY and ABOUT A BOY, it's no wonder they’ve been plucked for big-screen material. The Farrelly brothers work here is just as impressive as the writing. Although known for their absurd humor, they work a stroke magic with FEVER PITCH. They take advantage of bizarre, yet realistic scenarios, layer them with a touch of their quirky humor and ground them with two utterly likable characters. In addition to the skillful direction and wonderful script, FEVER PITCH gets an unexpectedly good performance out of Fallon. Barrymore is again charming, but Fallon is the surprise, bringing a warm-hearted interior to his outward fanaticism. FEVER PITCH isn’t a perfect game, but it's darn close.
Grade: A-
Drew Barrymore competes against Jimmy Fallon’s first love in the Farrelly brothers’ romantic comedy FEVER PITCH. Fallon is Ben, a school teacher, who meets Barrymore’s Lindsey during a class field trip at her place of employment. The two begin dating in the Fall, and everything couldn’t be going better, at least until Spring hits. Fallon is a die-hard Boston Red Sox fan, and from April to October his life is devoted to Red Sox baseball. His obsession with the Sox could jeopardize his relationship with Lindsey.
At times I felt as if I was watching my own reflection in FEVER PITCH. Although I’m a die-hard Reds, not Red Sox fan, there are far too many eerie similarities between Ben and I. The script, written by Lowell Ganz and Babaloo Mandel and based on the Nick Hornby novel, is sharp in its dissection of sports obsessed individuals and those who love them. I’ve never read a Hornby novel, but following his other adaptations, HIGH FIDELITY and ABOUT A BOY, it's no wonder they’ve been plucked for big-screen material. The Farrelly brothers work here is just as impressive as the writing. Although known for their absurd humor, they work a stroke magic with FEVER PITCH. They take advantage of bizarre, yet realistic scenarios, layer them with a touch of their quirky humor and ground them with two utterly likable characters. In addition to the skillful direction and wonderful script, FEVER PITCH gets an unexpectedly good performance out of Fallon. Barrymore is again charming, but Fallon is the surprise, bringing a warm-hearted interior to his outward fanaticism. FEVER PITCH isn’t a perfect game, but it's darn close.
Grade: A-
Thursday, February 16, 2006
THE MATADOR
A salesman makes an unlikely friendship with a hit man in the dark comedy, THE MATADOR. Danny Wright, played by Greg Kinnear, heads south of the border in order to convince a prospective company that his firm should handle their account. While in Mexico, he meets Julian Noble, an Irish assassin who has just performed his latest hit. After an uncomfortable exchange between the two at the hotel bar, the two men hit it off and head to a coliseum for a bullfight. After the fight, Julian decides that Danny may be up for something more, maybe a bit role in Julian’s next assignment.
I’ll be the first to tell you that recent dark comedies have either lacked an edge, a comic sense or both. THE MATADOR surprised me, being both impetuous and humorous, riding the slippery slope between comedy and distaste. Writer-director Richard Shepard has crafted two characters who are headed in opposite directions, Julian towards a softer center, and Danny on the brink of a nervous breakdown. With Danny and Julian’s unpredictability, it opens the possibilities and suspense up to unforeseen conclusions, and several funny moments. Kinear has found his niche as the average schmuck, while Brosnan is especially good in a performance I didn’t think was in him. Tossing aside his debonair demeanor, Brosnan chews up every scene, enabling Julian to be many things: uneasy, alluring and even pathetic. THE MATADOR doesn’t break any new ground for dark comedies, but it does provide a fresh and welcomed relief from the genres more recent entries.
Grade: B
I’ll be the first to tell you that recent dark comedies have either lacked an edge, a comic sense or both. THE MATADOR surprised me, being both impetuous and humorous, riding the slippery slope between comedy and distaste. Writer-director Richard Shepard has crafted two characters who are headed in opposite directions, Julian towards a softer center, and Danny on the brink of a nervous breakdown. With Danny and Julian’s unpredictability, it opens the possibilities and suspense up to unforeseen conclusions, and several funny moments. Kinear has found his niche as the average schmuck, while Brosnan is especially good in a performance I didn’t think was in him. Tossing aside his debonair demeanor, Brosnan chews up every scene, enabling Julian to be many things: uneasy, alluring and even pathetic. THE MATADOR doesn’t break any new ground for dark comedies, but it does provide a fresh and welcomed relief from the genres more recent entries.
Grade: B
FIREWALL
Harrison Ford must crack a systematic safe he created, in order to stave his own wife and children’s lives in the thriller, FIREWALL. Ford is Jack Stanfield, a security expert at a high-volume bank. Jack has created a computerized security system designed to prevent illegal money transfers, protecting the bank’s clients from fraud. With knowledge and access to a tremendous amount of money, Jack becomes a target and a means to someone’s greedy aspirations. Jack’s wife and children have been kidnapped, and he must break into the bank’s computerized system, in order to save his loved ones.
The skill displayed by director Richard Loraine and writer Joe Forte is in keeping FIREWALL moving at a quick enough pace, where discrepancies and unlikely events are overshadowed by tense situations and suspenseful moments. The film isn’t a great example of authenticity or plausibility, but it’s constantly shifting script, and the actors’ on-key performances keep FIREWALL exciting and consistently entertaining. Ford and Virginia Madsen, as his wife Beth, convey smart, head-strong and calming presences, enabling their characters to be realistically resourceful and emotionally grounded. The best of the performances comes from Paul Bettany’s Bill. Bettany, who’s last big role came in Loraine’s WIMBLEDON, shows off a side rarely seen from the Brit. In Bill, he’s created a cold, calculating and callous individual capable of almost anything. Due to Bettany’s performance, we’re given more than enough pull to hope the Stanfield family survives.
Grade: B-
The skill displayed by director Richard Loraine and writer Joe Forte is in keeping FIREWALL moving at a quick enough pace, where discrepancies and unlikely events are overshadowed by tense situations and suspenseful moments. The film isn’t a great example of authenticity or plausibility, but it’s constantly shifting script, and the actors’ on-key performances keep FIREWALL exciting and consistently entertaining. Ford and Virginia Madsen, as his wife Beth, convey smart, head-strong and calming presences, enabling their characters to be realistically resourceful and emotionally grounded. The best of the performances comes from Paul Bettany’s Bill. Bettany, who’s last big role came in Loraine’s WIMBLEDON, shows off a side rarely seen from the Brit. In Bill, he’s created a cold, calculating and callous individual capable of almost anything. Due to Bettany’s performance, we’re given more than enough pull to hope the Stanfield family survives.
Grade: B-
SOMETHING NEW
An interracial romance creates conflict for a successful black female and her traditional family in SOMETHING NEW. Sanaa Lathan is Kenya, a successful, professional and beautiful black woman who hasn’t landed a beau due to her own insecurities, hang-ups and unwieldy expectations. She decides to take a chance, and sets up a blind date via the internet with a man named Brian. Brian is white, and once Kenya realizes this, their date is no longer. After meeting again through a common friend, Brian becomes employed by Kenya as her landscaper.
Although it doesn’t break any new ground in race relations, SOMETHING NEW does add a little more weight to the sentimental genre. A recent Gallup Poll showed that 60% of individuals ages 18 to 29 have dated someone of a different race. The film, if anything, may not be something new for many, but instead something to relate to. Regardless of the social commentary, SOMETHING NEW works as a charming love story where in addition to race, personality conflicts, income and family acceptance stand in the way of two individuals romantic bliss. Lathan turns in another winning performance in a romantic comedy, conveying a strong female in professional and social situations and a more inhibited individual when she shares time with family and friends. Similar to her turn in LOVE AND BASKETBALL, Lathan demonstrates a beauty with brains. SOMETHING NEW is a fresh and warming romantic diversion which arrives just in time for cupid.
Grade: B-
Although it doesn’t break any new ground in race relations, SOMETHING NEW does add a little more weight to the sentimental genre. A recent Gallup Poll showed that 60% of individuals ages 18 to 29 have dated someone of a different race. The film, if anything, may not be something new for many, but instead something to relate to. Regardless of the social commentary, SOMETHING NEW works as a charming love story where in addition to race, personality conflicts, income and family acceptance stand in the way of two individuals romantic bliss. Lathan turns in another winning performance in a romantic comedy, conveying a strong female in professional and social situations and a more inhibited individual when she shares time with family and friends. Similar to her turn in LOVE AND BASKETBALL, Lathan demonstrates a beauty with brains. SOMETHING NEW is a fresh and warming romantic diversion which arrives just in time for cupid.
Grade: B-
FINAL DESTINATION 3
Director James Wong returns for more bloodshed in the third part of the death destiny series, FINAL DESTINATION 3. The set up is the same as the first two FINAL DESTINATION films. A high school student envisions a horrific disaster just minutes before it occurs, tries to convince everyone that the vision is true, and then following the catastrophe attempts to cheat death in order to spare her and many others lives. This time around, the premonition comes to Wendy, a high school yearbook photographer, and it surrounds a disastrous roller coaster ride.
FINAL DESTINATION 3 is like watching a chain reaction version of a series of ITCHY AND SCRATCHY episodes. Neither of the films are as funny or half as clever as THE SIMPSONS fictional cartoon duo, and the pain in watching some of the film’s deaths is nearly unbearable. The enjoyment of the movie is supposed to be derived from watching elaborately staged death sequences where teens are mutilated via nail guns, car crashes, tanning beds and other assorted objects and devices. For those with a more sick and twisted funny bone, FINAL DESTINATION 3 is merely an extremely violent cartoon to laugh at. My problem is that the film doesn’t play that way. Certain scenes and characters provide some semblance of humanity, and these individuals genuinely struggle with the events that are occurring around them. FINAL DESTINATION THREE is a continued testament to the drastic decline in horror films. Avoid this painful dance with the reaper.
Grade: F
FINAL DESTINATION 3 is like watching a chain reaction version of a series of ITCHY AND SCRATCHY episodes. Neither of the films are as funny or half as clever as THE SIMPSONS fictional cartoon duo, and the pain in watching some of the film’s deaths is nearly unbearable. The enjoyment of the movie is supposed to be derived from watching elaborately staged death sequences where teens are mutilated via nail guns, car crashes, tanning beds and other assorted objects and devices. For those with a more sick and twisted funny bone, FINAL DESTINATION 3 is merely an extremely violent cartoon to laugh at. My problem is that the film doesn’t play that way. Certain scenes and characters provide some semblance of humanity, and these individuals genuinely struggle with the events that are occurring around them. FINAL DESTINATION THREE is a continued testament to the drastic decline in horror films. Avoid this painful dance with the reaper.
Grade: F
Wednesday, February 15, 2006
GLORY ROAD
Josh Lucas leads an integrated Texas basketball team towards sports immortality in the late 60’s in the drama GLORY ROAD. Lucas is Don Haskins, a successful high school girls’ basketball coach, who lands the head coaching job at Division I Texas Western to coach men’s collegiate hoops. With very few scholarships and recruiting dollars, Haskins hits the inner city for overlooked black players. The Texas Western Miners grab national attention, as well as their critics and fans, by not only challenging the color barrier in college basketball, but also its undefeated record.
Dr. Martin Luther King Junior once said, “Judge us not by the color of our skin, but by the content of our character.” Although GLORY ROAD preaches to be color blind it seems to be a contradicting itself, even if the film is historically accurate. Much of GLORY ROAD is devoted to showing the discrimination the black ball players faced, and Haskins drive towards winning. The team is nearly evenly integrated, with five white and seven black players, and the minutes, points and victories are distributed amongst the team’s best players, be it white or black, during the film’s entire season. It isn’t until late in GLORY ROAD when Haskins decides to make a political point, rather than seeking the best coaching decision for his team, that the film turns a double-standard. The film, and history’s late tournament twist, is a compelling statement, but one which doesn’t seem to fit the GLORY ROAD underlying message. This thematic miscalculation undermines an entertaining picture, with good performances, exciting on-court action and a great R & B soundtrack. For as much grandstanding as it does, GLORY ROAD doesn’t score enough points.
Grade: C+
Dr. Martin Luther King Junior once said, “Judge us not by the color of our skin, but by the content of our character.” Although GLORY ROAD preaches to be color blind it seems to be a contradicting itself, even if the film is historically accurate. Much of GLORY ROAD is devoted to showing the discrimination the black ball players faced, and Haskins drive towards winning. The team is nearly evenly integrated, with five white and seven black players, and the minutes, points and victories are distributed amongst the team’s best players, be it white or black, during the film’s entire season. It isn’t until late in GLORY ROAD when Haskins decides to make a political point, rather than seeking the best coaching decision for his team, that the film turns a double-standard. The film, and history’s late tournament twist, is a compelling statement, but one which doesn’t seem to fit the GLORY ROAD underlying message. This thematic miscalculation undermines an entertaining picture, with good performances, exciting on-court action and a great R & B soundtrack. For as much grandstanding as it does, GLORY ROAD doesn’t score enough points.
Grade: C+
BROKEBACK MOUNTAIN
Heath Ledger and Jake Gyllenhaal form a friendship and much more in Ang Lee’s romantic epic BROKEBACK MOUNTAIN. Ledger is Ennis Del Mar, and Gyllenhaal, Jack Twist, two cowboys who together tend sheep along Wyoming’s Brokeback Mountain. 1963 is the only year the men would work together, but their romantic experience on Brokeback Mountain, would lead to several more trips to the mountain range. Despite obstacles, including marriage, distance and time, the two men find moments throughout the years to reunite.
Although BROKEBACK MOUNTAIN has been tagged a gay cowboy movie, the film is a little more complicated for such a simple label. The two men are not necessarily gay, as their attraction is not only limited to their sex. Ennis and Jack’s appeal is more than sensual, as the men share a kinship and bond through their mountainous experiences. Ledger and Gyllenhaal are both effective in roles that demand a lot. Both actors sell themselves as rugged Western folks, but also pull off a romance conveying great sensitivity. Ledger stands out, as his Ennis internalizes his anger, sadness and fear. The screenplay deserves as much credit as the actors, with Larry McMurty and Diana Ossana adapting E. Annie Proulx’s short story into a moving drama that utilizes sentimental items, family ties and last wishes. Director Ang Lee takes each of these aspects to great emotional heights employing imagery, memories and the scenic Wyoming landscape. BROKEBACK MOUNTAIN isn’t just a gay cowboy movie, but a display of a fractured relationship and a man coming to terms with his emotional detachment. BROKEBACK MOUNTAIN is one of 2005’s best films.
Grade: B+
Although BROKEBACK MOUNTAIN has been tagged a gay cowboy movie, the film is a little more complicated for such a simple label. The two men are not necessarily gay, as their attraction is not only limited to their sex. Ennis and Jack’s appeal is more than sensual, as the men share a kinship and bond through their mountainous experiences. Ledger and Gyllenhaal are both effective in roles that demand a lot. Both actors sell themselves as rugged Western folks, but also pull off a romance conveying great sensitivity. Ledger stands out, as his Ennis internalizes his anger, sadness and fear. The screenplay deserves as much credit as the actors, with Larry McMurty and Diana Ossana adapting E. Annie Proulx’s short story into a moving drama that utilizes sentimental items, family ties and last wishes. Director Ang Lee takes each of these aspects to great emotional heights employing imagery, memories and the scenic Wyoming landscape. BROKEBACK MOUNTAIN isn’t just a gay cowboy movie, but a display of a fractured relationship and a man coming to terms with his emotional detachment. BROKEBACK MOUNTAIN is one of 2005’s best films.
Grade: B+
MUNICH
Steven Spielberg tackles the Israeli-Palestinian conflict with the dramatic, thriller MUNICH. The film is centered around a group of Israeli assassins who have been called by their government to serve on a mission of retribution and revenge. During the 1972 Olympics in Munich, Germany eleven Israeli athletes were kidnapped and murdered. The group of Israeli assassins’ mission is to kill each of the men responsible for the tragedy in Munich.
Spielberg has been lambasted by both Israelis and Palestinians for MUNICH. Each side has been critical of the film, as Spielberg doesn’t take a firm stance either way. MUNICH is a hard look at a conflict that is not easily diagnosed. The five Israeli assassins struggle with the moral implications of their mission to varying degrees. Spielberg has crafted a morally complex film with no distinguishable conclusions, and an extremely riveting thriller with intense moments of great danger, and characters whose motives are not entirely known. Bana provides MUNICH with a person who is passionate, caring, complicated, deadly, and when all is said and done, confused. His Avner is inevitably where I believe we see Spielberg through MUNICH. Although he is a passionate Israeli, determined for his cause, he isn’t convinced his actions or his government’s hard line position is the right approach. MUNICH is a morally compelling must-see movie.
Grade: B+
Spielberg has been lambasted by both Israelis and Palestinians for MUNICH. Each side has been critical of the film, as Spielberg doesn’t take a firm stance either way. MUNICH is a hard look at a conflict that is not easily diagnosed. The five Israeli assassins struggle with the moral implications of their mission to varying degrees. Spielberg has crafted a morally complex film with no distinguishable conclusions, and an extremely riveting thriller with intense moments of great danger, and characters whose motives are not entirely known. Bana provides MUNICH with a person who is passionate, caring, complicated, deadly, and when all is said and done, confused. His Avner is inevitably where I believe we see Spielberg through MUNICH. Although he is a passionate Israeli, determined for his cause, he isn’t convinced his actions or his government’s hard line position is the right approach. MUNICH is a morally compelling must-see movie.
Grade: B+
NINE LIVES
An ensemble cast of talented actresses reveal several pressing issues for women in NINE LIVES. The film is broken down in several episodic scenes, titled with one of the nine women’s names, and focuses on a pressing issue. These topics include imprisonment, loss, love, betrayal and death, amongst many others. The film co-stars a number of character actors including, Kathy Baker, Mary Kay Place, Joe Mantenga and Stephen Dillane, and also some heavy hitters like Sissy Spacek, Robin Wright Penn, Glen Close and Dakota Fanning.
NINE LIVES works on many levels, and as several different films. Each segment can serve as its own entity, a short film, but is greater enhanced by the short films that precede and follow it. Some of the characters appear in multiple shorts, but it’s not used as a gimmick or a clever trick, yet an understated way to demonstrate the connectivity and continuity of all women. Each of the short films is shot with a steady cam, allowing for no editing to occur. Again, this could have been seen as pretentious, but director Rodrigo Garcia utilizes this technique to simply have us walk with his characters for a short while. All of the shorts work, but some have a greater impact than others. A romance rekindled at a supermarket, a forbidden affair and memories of a loved one are the three which not only have the greatest emotional force, but are also handled with great subtlety and care. NINE LIVES is a balanced and successful collection of women’s short subjects.
Grade: B
NINE LIVES works on many levels, and as several different films. Each segment can serve as its own entity, a short film, but is greater enhanced by the short films that precede and follow it. Some of the characters appear in multiple shorts, but it’s not used as a gimmick or a clever trick, yet an understated way to demonstrate the connectivity and continuity of all women. Each of the short films is shot with a steady cam, allowing for no editing to occur. Again, this could have been seen as pretentious, but director Rodrigo Garcia utilizes this technique to simply have us walk with his characters for a short while. All of the shorts work, but some have a greater impact than others. A romance rekindled at a supermarket, a forbidden affair and memories of a loved one are the three which not only have the greatest emotional force, but are also handled with great subtlety and care. NINE LIVES is a balanced and successful collection of women’s short subjects.
Grade: B
TRANSAMERICA
Desperate Housewife Felicity Huffman undergoes a personal transformation in the comedy-drama TRANSAMERICA. Huffman is Bree, formerly Stanley, a transsexual who is in the final stages before gender reassignment surgery. Just before her surgery, she finds out that she may have a son named Toby. After consulting with her therapist, Bree heads to New York to find out if Toby is hers.
For all of its socially conscious intentions, TRANSAMERICA is a misguided film with an awkward moral barometer. Writer-director Duncan Tucker’s strength is obviously not subtlety. The character of Toby couldn’t be written more obvious or pathetic. Toby’s mother committed suicide, his father is now becoming a woman and his step-father molested him. Couple this with the fact that he’s a coke-addicted male prostitute, and you have enough material for five edgy dramas. The central character of Bree is handled as well as possible, but I’m not quite sure someone in her circumstances can be empathetic. I certainly felt sympathy for Bree, and she comes off as genuinely decent person, but I didn’t come close to understanding her situation. This is where TRANSAMERICA drastically fails.
Grade: D+
For all of its socially conscious intentions, TRANSAMERICA is a misguided film with an awkward moral barometer. Writer-director Duncan Tucker’s strength is obviously not subtlety. The character of Toby couldn’t be written more obvious or pathetic. Toby’s mother committed suicide, his father is now becoming a woman and his step-father molested him. Couple this with the fact that he’s a coke-addicted male prostitute, and you have enough material for five edgy dramas. The central character of Bree is handled as well as possible, but I’m not quite sure someone in her circumstances can be empathetic. I certainly felt sympathy for Bree, and she comes off as genuinely decent person, but I didn’t come close to understanding her situation. This is where TRANSAMERICA drastically fails.
Grade: D+
LOOKING FOR COMEDY IN THE MUSLIM WORLD
Writer-director Albert Brooks tries to assist the United States government in easing tensions between America and the Middle East in LOOKING FOR COMEDY IN THE MUSLIM WORLD. Brooks, playing himself, is called on by a special committee on US foreign affairs to help bridge the tension gap between the United States and the Muslim world. The committee requests that Brooks visit India and Pakistan, and write a 500-page report on what makes members of the Muslim faith laugh.
LOOKING FOR COMEDY IN THE MUSLIM WORLD has all the marks of a Brooks’ comedy, but unlike most of his works, it doesn’t go anywhere. Much of the humor works, but its small chuckles not big laughs, and it relies on more plot than standard Brooks fare. I liked Brooks’ idea of playing himself in the lead role. This enables the comedian more laughs and comedic situations, and helps to play off other real people, places and events. The insecurities and doubts he has when he reaches the Middle East, are all confirmed when the citizens either don’t get, or more humorously, don’t like his jokes. These situations are sustained for much of the film, before Brooks must begin to tie his overseas experiences into one cohesive story. LOOKING FOR COMEDY IN THE MUSLIM WORLD is a mildly amusing movie, that doesn’t quite pull its premise off.
Grade: C
LOOKING FOR COMEDY IN THE MUSLIM WORLD has all the marks of a Brooks’ comedy, but unlike most of his works, it doesn’t go anywhere. Much of the humor works, but its small chuckles not big laughs, and it relies on more plot than standard Brooks fare. I liked Brooks’ idea of playing himself in the lead role. This enables the comedian more laughs and comedic situations, and helps to play off other real people, places and events. The insecurities and doubts he has when he reaches the Middle East, are all confirmed when the citizens either don’t get, or more humorously, don’t like his jokes. These situations are sustained for much of the film, before Brooks must begin to tie his overseas experiences into one cohesive story. LOOKING FOR COMEDY IN THE MUSLIM WORLD is a mildly amusing movie, that doesn’t quite pull its premise off.
Grade: C
TRISTAN AND ISOLDE
James Franco and Sophia Myles share a forbidden love in the romantic period piece, TRISTAN AND ISOLDE. Following the fall of the Roman Empire, much of the region has fallen under the power of Ireland, while the remaining parcels are divided amongst several British factions. Tristan is a Brit, one whom is left to die when his raft drifts upon Ireland’s shore. Isolde, posing as a commoner, finds Tristan, cares for him and then falls in love. Later the two meet, in unlikely circumstances, with Tristan winning Isolde’s hand for his Lord.
Director Kevin Reynolds seems to have a knack for telling classic stories. His remakes of ROBIN HOOD and THE COUNT OF MONTE CRISTO weren’t nearly as memorable as their written works, but they were entertaining vehicles told in ageless style. TRISTAN AND ISOLDE is much of the same, a classic love story set across a historical backdrop, with plenty of meaty action sequences for those who aren’t won over by the romance. After being force-fed hyper edited scenes from modern action directors, it was refreshing to view battles where one could be excited and thrilled, while still understanding their moments, motives and outcomes. TRISTAN AND ISOLDE is visually drab, creating a dark and gloomy atmosphere, but does reflect the tone of the characters struggles. James Franco and Rufus Sewell provide strong performances, in spite of their weakly written dialogue. TRISTAN AND ISOLDE is an effective romantic and action-oriented period piece, despite a few missteps.
Grade: B-
Director Kevin Reynolds seems to have a knack for telling classic stories. His remakes of ROBIN HOOD and THE COUNT OF MONTE CRISTO weren’t nearly as memorable as their written works, but they were entertaining vehicles told in ageless style. TRISTAN AND ISOLDE is much of the same, a classic love story set across a historical backdrop, with plenty of meaty action sequences for those who aren’t won over by the romance. After being force-fed hyper edited scenes from modern action directors, it was refreshing to view battles where one could be excited and thrilled, while still understanding their moments, motives and outcomes. TRISTAN AND ISOLDE is visually drab, creating a dark and gloomy atmosphere, but does reflect the tone of the characters struggles. James Franco and Rufus Sewell provide strong performances, in spite of their weakly written dialogue. TRISTAN AND ISOLDE is an effective romantic and action-oriented period piece, despite a few missteps.
Grade: B-
CASANOVA
The legendary lover’s romantic escapades come to a screeching halt when he falls in love in CASANOVA. Heath Ledger is Casanova, the desire of every woman’s heart and the disdain of the local government. After several run-ins with the law due to his passionate affairs, Casanova elects to settle down and marry. Determined he’ll never find true love, Casanova becomes engaged to the virgin Victoria. Just as Casanova becomes engaged, he falls for Francesca, after losing to her in a swordfight.
Director Lasse Halstrom’s light-hearted, romantic touch has eluded him for some time, but he creates a delightful little picture with quite a bit of help from Ledger. Ledger’s Casanova not only succeeds due to his physical and romantic charms, but in large part, because Ledger’s enjoyment radiates through his portrayal. This is quite a turnaround from the Aussie last performance. In BROKEBACK MOUNTAIN, his Ennis is an emotionally repressed introvert beaten by his own intimacy issues. In CASANOVA, Ledger does a 180-degree acting turn, wearing the lover’s emotions on his sleeve, wowing women through verse, charisma and other obvious attributes. The supporting cast is also enjoyable, with Sienna Miller projecting a strong persona, Oliver Platt turning in a surprisingly lovable performance as Paprizzio and Jeremy Irons, as the staunchly salty Pucci. Halstrom still tends to draw out a few less than compelling sub-plots, but overall he keeps CASANOVA on track as a light and breezy romantic escape.
Grade: B-
Director Lasse Halstrom’s light-hearted, romantic touch has eluded him for some time, but he creates a delightful little picture with quite a bit of help from Ledger. Ledger’s Casanova not only succeeds due to his physical and romantic charms, but in large part, because Ledger’s enjoyment radiates through his portrayal. This is quite a turnaround from the Aussie last performance. In BROKEBACK MOUNTAIN, his Ennis is an emotionally repressed introvert beaten by his own intimacy issues. In CASANOVA, Ledger does a 180-degree acting turn, wearing the lover’s emotions on his sleeve, wowing women through verse, charisma and other obvious attributes. The supporting cast is also enjoyable, with Sienna Miller projecting a strong persona, Oliver Platt turning in a surprisingly lovable performance as Paprizzio and Jeremy Irons, as the staunchly salty Pucci. Halstrom still tends to draw out a few less than compelling sub-plots, but overall he keeps CASANOVA on track as a light and breezy romantic escape.
Grade: B-
ANNAPOLIS
A young boxer tries to fight his way into the Naval Academy in the military drama, ANNAPOLIS. Jake Huard, played by James Franco, is surprised to see a Navy recruiter outside the steel mill that he works at. The recruiter has seen Jake box at the local bingo hall, and feels the tenacity and perseverance Jake shows in the ring may translate into a fine naval officer. Jake accepts the invitation to Annapolis, but may have gotten more than he bargained for, squaring off with an overbearing commanding officer, competitive classmates and the rigorous training.
Although ANNAPOLIS nails the right themes, codes and mantras involved in serving your country, the film’s portrait of the actual academy might as well be Narnia or the Land of Oz. I highly doubt the Naval Academy would put up with half of what is depicted in the film. Fraternizing with a commanding officer, insubordination and attacking a lieutenant are, as far as I know, grounds for immediate dismissal. Jake commits each of these transgressions throughout the film, but still seems to land on his feet. Franco is fine playing the defiant Jake, but I can’t help but wonder when the rebel routine will wear off. Tyrese Gibson, as commanding officer Cole, provides a real commanding presence and is leaving his modeling career as a distant memory. His character deserves to be in a better film. ANNAPOLIS isn’t a bad picture, just not a believable one.
Grade: C
Although ANNAPOLIS nails the right themes, codes and mantras involved in serving your country, the film’s portrait of the actual academy might as well be Narnia or the Land of Oz. I highly doubt the Naval Academy would put up with half of what is depicted in the film. Fraternizing with a commanding officer, insubordination and attacking a lieutenant are, as far as I know, grounds for immediate dismissal. Jake commits each of these transgressions throughout the film, but still seems to land on his feet. Franco is fine playing the defiant Jake, but I can’t help but wonder when the rebel routine will wear off. Tyrese Gibson, as commanding officer Cole, provides a real commanding presence and is leaving his modeling career as a distant memory. His character deserves to be in a better film. ANNAPOLIS isn’t a bad picture, just not a believable one.
Grade: C
Subscribe to:
Posts (Atom)