Monday, December 31, 2007
Our 2007 Movie List
Top 10 are in bold. What a hard choice! Special mentions go to: Control, The Lives of Others and Inland Empire.
Sunday, December 30, 2007
The Savages
I guess Jon and I both had pretty high expectations for this one, our last movie of 2007. It wasn't bad, but neither of us really got drawn in.
Perhaps we are too young for it to hit us emotionally. We think the days of putting our parents into a nursing home/assisted living/hospital are all too far away for us to sympathize more than just cerebrally. Were we closer in age and situation to the characters or had we been through something like this, we might have related more. The story was predictable, easy. There is hope and redemption at the end. We both left saying it was "cute." In general, we don't like "cute." The story is sad and then happy. The siblings don't get a long very well and then they do better. Oh well.
I'd like to note, though, that every time I see Philip Seymour Hoffman, I am more impressed. He has really come into his own since playing roles like those in Boogie Nights (in which he was fabulous) and The Big Lebowski (in which he was fabulous, but kind of in the same way.) Since then we have seen him play a stunning array of roles and all well -- if not brilliantly.
Perhaps we are too young for it to hit us emotionally. We think the days of putting our parents into a nursing home/assisted living/hospital are all too far away for us to sympathize more than just cerebrally. Were we closer in age and situation to the characters or had we been through something like this, we might have related more. The story was predictable, easy. There is hope and redemption at the end. We both left saying it was "cute." In general, we don't like "cute." The story is sad and then happy. The siblings don't get a long very well and then they do better. Oh well.
I'd like to note, though, that every time I see Philip Seymour Hoffman, I am more impressed. He has really come into his own since playing roles like those in Boogie Nights (in which he was fabulous) and The Big Lebowski (in which he was fabulous, but kind of in the same way.) Since then we have seen him play a stunning array of roles and all well -- if not brilliantly.
Tuesday, December 25, 2007
Sweeney Todd: The Demon Barber of Fleet Street
God I hate musicals.
Even gorgeous, dark, stylized, gothic, gory musicals about a heartbroken barber who murders his customers and the lady downstairs makes meat pies out of their corpses. I just hate the
earnest bursting into song. The cheesy lyrics and the suspension of disbelief that everyone in the room knows the words. I can't help but feel like all musicals are a little bit "Red White and Blaine" from Waiting for Guffman.
All that said, this is a pretty fantastic movie. Burton weaves a beautiful palate of gray and black and red. The costumes are great, the makeup was amazing. The sets were grim and pitch perfect. In truth, without the songs we wouldn't tolerate the artsy gore. They make the simple story and two dimensional characters worthwhile somehow, but I can't help thinking what a great movie Burton could have made without all the goddamn singing.
Even gorgeous, dark, stylized, gothic, gory musicals about a heartbroken barber who murders his customers and the lady downstairs makes meat pies out of their corpses. I just hate the
earnest bursting into song. The cheesy lyrics and the suspension of disbelief that everyone in the room knows the words. I can't help but feel like all musicals are a little bit "Red White and Blaine" from Waiting for Guffman.All that said, this is a pretty fantastic movie. Burton weaves a beautiful palate of gray and black and red. The costumes are great, the makeup was amazing. The sets were grim and pitch perfect. In truth, without the songs we wouldn't tolerate the artsy gore. They make the simple story and two dimensional characters worthwhile somehow, but I can't help thinking what a great movie Burton could have made without all the goddamn singing.
Monday, December 24, 2007
Youth Without Youth
Francis Ford Coppola came out of his 10 year hiatus to make this.
Wait.
Let me try that line again:
Francis Ford Coppola came out of his 10 year hiatus to make this?!
Not that I am a huge Coppola fan, but I did think he give us a film more worthy of a comeback.
It is weird and a little confusing. It has an oldy-timey feel - like a film from the 40s, but it over-reaches, tries to take on too many things...lets see...science fiction, Nazis, the origins of man, eastern philosophy, multiple dimensions, a love story. I made it all the way to the end dutifully doing the mental yoga that Coppola is asking of his viewers, suspending disbelief and following the great leaps in theme and storyline, but then in the last 10 minutes, I fell asleep.
I love Tim Roth, but he was not at his best.
Wait.
Let me try that line again:
Francis Ford Coppola came out of his 10 year hiatus to make this?!
Not that I am a huge Coppola fan, but I did think he give us a film more worthy of a comeback.
It is weird and a little confusing. It has an oldy-timey feel - like a film from the 40s, but it over-reaches, tries to take on too many things...lets see...science fiction, Nazis, the origins of man, eastern philosophy, multiple dimensions, a love story. I made it all the way to the end dutifully doing the mental yoga that Coppola is asking of his viewers, suspending disbelief and following the great leaps in theme and storyline, but then in the last 10 minutes, I fell asleep.
I love Tim Roth, but he was not at his best.
Sunday, December 23, 2007
Le Scaphandre et le papillon (The Diving Bell and the Butterfly)
Based on a true story of a man who suffers a stroke-like event and is paralyzed except for one eye. He wakes up in the hospital from a coma and we are brought into his world. We are "locked-in" with him. We hear a voice that is his, but it is inside his head. We are inside his diving bell, unable to speak or move, and we discover this along with him.
As doctors come and go, telling him bad news and worse news about his condition, we see the world through his one hazy eye and through the faces and feelings of those he sees. At first, he despairs and then heeds the advice of his father to not lose that which is human within him. He begins to communicate with the help of a speech therapist who recites a special alphabet to him and he blinks when she reaches the letter he is choosing. It's exhausting to watch. Slow and laborious and frustrating.
Now that he can express himself, others can see that he fully experiences the hospital he is in -- its history and his memories of that seaside town as a young boy. He has a sense of humor, he is lusty and bored and lonely. He likes to be outdoors, and wants to feel the wind in his hair. He misses his children and their mother. We see that it's not the senses we are born with that we need to experience the world around us, but whatever we have at the moment. Human capacity for joy is not diminished easily.
Breath-taking performance by Mathieu Amalric whose role of Jean-Dominique Bauby was probably one of the most complex and difficult that I have ever seen.
As doctors come and go, telling him bad news and worse news about his condition, we see the world through his one hazy eye and through the faces and feelings of those he sees. At first, he despairs and then heeds the advice of his father to not lose that which is human within him. He begins to communicate with the help of a speech therapist who recites a special alphabet to him and he blinks when she reaches the letter he is choosing. It's exhausting to watch. Slow and laborious and frustrating.
Now that he can express himself, others can see that he fully experiences the hospital he is in -- its history and his memories of that seaside town as a young boy. He has a sense of humor, he is lusty and bored and lonely. He likes to be outdoors, and wants to feel the wind in his hair. He misses his children and their mother. We see that it's not the senses we are born with that we need to experience the world around us, but whatever we have at the moment. Human capacity for joy is not diminished easily.
Breath-taking performance by Mathieu Amalric whose role of Jean-Dominique Bauby was probably one of the most complex and difficult that I have ever seen.
Tuesday, December 18, 2007
Romance and Cigarettes
All I can say is that for the mindblowing cast alone, I recommend this movie. Here are the highlights:
James Gandolfini
Susan Sarandon
Kate Winslet
Steve Buscemi
Mandy Moore
Mary-Louise Parker
Aida Turturro
Christopher Walken
Eddie Izzard
Amy Sedaris
Yes. It is that good.
And did I mention they sing? They do. And dance. And there are surreal interludes with firemen twirling and swinging hoses to The Buena Vista Social Club, underwater love songs, choreographed policemen soft-shoeing in the suburbs, deadpan humor and dialog that knocked me off my feet and Janis Joplin being sung by a church choir. It all takes itself only half-seriously which you can tell by the way that every song and dance involves someone swinging whimsically on a pole "Singing in the Rain" style and yet, the whole package is presented so convincingly 100% that you can't help but cheer for the working class hero.
John Turturro obviously had the kind of fun creating this bizarre and hilarious love song to 1980's working-class New York that he allowed the story (which is not a complicated one) to take a backseat to the concept and the performances and the characters which are simply top notch. I loved this film.
James Gandolfini
Susan Sarandon
Kate Winslet
Steve Buscemi
Mandy Moore
Mary-Louise Parker
Aida Turturro
Christopher Walken
Eddie Izzard
Amy Sedaris
Yes. It is that good.
And did I mention they sing? They do. And dance. And there are surreal interludes with firemen twirling and swinging hoses to The Buena Vista Social Club, underwater love songs, choreographed policemen soft-shoeing in the suburbs, deadpan humor and dialog that knocked me off my feet and Janis Joplin being sung by a church choir. It all takes itself only half-seriously which you can tell by the way that every song and dance involves someone swinging whimsically on a pole "Singing in the Rain" style and yet, the whole package is presented so convincingly 100% that you can't help but cheer for the working class hero.
John Turturro obviously had the kind of fun creating this bizarre and hilarious love song to 1980's working-class New York that he allowed the story (which is not a complicated one) to take a backseat to the concept and the performances and the characters which are simply top notch. I loved this film.
Thursday, December 13, 2007
Revolver
The two movies that come to mind when I think of Guy Ritchie are Lock Stock and Two Smoking Barrels, which I liked and Snatch, which I liked, but not as much. He does fast-paced mystery/crime/dramas with weird camera angles, zoom-in, slow-mo, tricky twisty plots and usually they are smart and keep you guessing. I enjoy this.
Revolver tried to be all those things, with a little bit of weird thrown in. Wait. A lot of weird. The end is weird. But it didn't quite make it. The plot wasn't as smart as I expected. Some big plot holes and pretty formulaic story. The worst thing is that I guessed the big surprise at the end about half-way through and was so disappointed when they revealed the big twist that that was it, that I almost didn't care about how weird the end was.
Revolver tried to be all those things, with a little bit of weird thrown in. Wait. A lot of weird. The end is weird. But it didn't quite make it. The plot wasn't as smart as I expected. Some big plot holes and pretty formulaic story. The worst thing is that I guessed the big surprise at the end about half-way through and was so disappointed when they revealed the big twist that that was it, that I almost didn't care about how weird the end was.
Monday, December 10, 2007
No Country for Old Men
Oh, you crafty Coens! The story and characters are Cormac McCarthy's creations, but the Coens build from them a horrific, tense, scary, suspenseful and very Coen-esque landscape. Dry desert roads, amazingly cast characters who are so spot-on that you feel you have met them in person, recurring themes (coins, life-changing choices) abound, recurring camera angels and shots are, in typical Coen style, artful and heavy with reference.
I think the most successful part of the film is the horrific monster they created in Chigur (expertly played by an unbelievably fabulous Javier Bardem) with his freaky-deaky hairdo, quiet detachment and bizarre accent.
My one complaint is that there are a few moments when you have to suspend your disbelief a little too far for the story to make sense. I suspect, if reading the book, more of the loose ends would tie together and some of the weird mysteries might clear up...or maybe it just requires another viewing. Like many Coen films, this one would, no doubt, get richer, deeper and more crafty on multiple viewings.
I think the most successful part of the film is the horrific monster they created in Chigur (expertly played by an unbelievably fabulous Javier Bardem) with his freaky-deaky hairdo, quiet detachment and bizarre accent.
My one complaint is that there are a few moments when you have to suspend your disbelief a little too far for the story to make sense. I suspect, if reading the book, more of the loose ends would tie together and some of the weird mysteries might clear up...or maybe it just requires another viewing. Like many Coen films, this one would, no doubt, get richer, deeper and more crafty on multiple viewings.
Sunday, December 02, 2007
War Dance
Documentary about a group of students from a school in a Northern Uganda displacement camp. The families there have been torn apart by the war. The children are often orphans. Some have seen their parents or siblings killed. Some were forced to kill along side the rebel soldiers. Against some hard odds, their school has made it into the national dance competition and we follow a handful of the students closely, hearing about their horrific past and how they see dance and music as a way to prove they can offer something to their world, in their different ways.
What I took away from this movie was a new understanding of the sheer resilience of humankind. That parents love their children in the same way all over the world. That kids are kids no matter what they have been through. This film was heartbreaking and hopeful -- a difficult balance.
What I took away from this movie was a new understanding of the sheer resilience of humankind. That parents love their children in the same way all over the world. That kids are kids no matter what they have been through. This film was heartbreaking and hopeful -- a difficult balance.
Saturday, December 01, 2007
Margot at the Wedding
This movie is about Nicole Kidman's character who is a self-absorbed nut-job. Her family's problems are splayed out in all their uncomfortable glory for us to see - the lying, cheating, hurtful back-stabbing, gossiping, masturbating glory. It's a bit like watching a horrific car crash, but one that involves a clown car (played by a very-well cast Jack Black) so you don't feel so bad about wanting to watch the crash unfold before you.
Wednesday, November 28, 2007
The Landlord
From Hal Ashby who brought us one of my favorite movies, Harold and Maude, (which has in it the only car that I would ever call "sexy" -- the Jaguar E-type hearse custom made for the film and destroyed, I think, in the filming), comes this offbeat look at race, class and the politics of the 70s. There is some great hair in this film. And dancing. People really knew how to dance in the 70s. And pants. Wow. Great pants. The story is a bit dated as you might expect, however the characters are 3-dimensional and I did find myself very sympathetic with Elgar who strives to break out of his upper-class mold. He buys a run-down tenement building in Park Slope (!) in Brooklyn and goes about trying to evict everyone and fix it up. He gets completely caught up in the lives of his tenants, much to his family's horror, and winds up with a new life. I wanted to see The Landlord because I haven't seen any other Ashby films and this one was his first. I wouldn't necessarily recommend it, except for the handful of very funny and surreal moments that make it unique and worthwhile. Nowhere near Harold and Maude in terms of humor or craft, but you can see the director's style come through after having watched just the two films.
Sunday, November 25, 2007
I'm Not There
I am, by no means, a Dylan expert. I am a fan, but a very casual fan, who feels like I should be more of a serious fan, but, in all honesty, I am not. I only own one Bob Dylan album, which I bought after seeing this movie. I haven't read his autobiography, seen the documentaries about him or paid him much attention at all. However, his name (first name only, usually) has always been spoken with reverence, of a sort, in my circles. Even the goth ones. "You gonna play some Bob?" "Yeah." "Right on." His name alone strikes a chord of respect from pretty much everyone I know. He was the namesake of all three of the dogs we owned in the commune. Thanks to my folks, he was part of the soundtrack of my youth and from that I know his songs like I know Bob Denver and James Taylor, Cat Stevens and Simon and Garfunkel - inside and out. All lyrics, all melodies familiar and nostalgic. These are all reasons why I wanted to see this movie.
Because I had no information about him to base any notions on, I was pulled into Haynes kaleidescope of truth and perception (though I had no idea which was which) and awed by the cinematic risks he took. Using six vastly different actors to play Dylan was brave. Using (the mind-blowingly talented) Cate Blanchett to play one of them was genius. She said she put a sock in her pants to help her walk like a man, but her voice was what blew me away. And her mannerisms and her gestures...not that I have anything based in reality to compare them to, but I was completely convinced, enthralled and impressed.
I don't know how to wrap this up. I simply loved this film. I guess I'll just close with one of my favorite lyrics.
Because I had no information about him to base any notions on, I was pulled into Haynes kaleidescope of truth and perception (though I had no idea which was which) and awed by the cinematic risks he took. Using six vastly different actors to play Dylan was brave. Using (the mind-blowingly talented) Cate Blanchett to play one of them was genius. She said she put a sock in her pants to help her walk like a man, but her voice was what blew me away. And her mannerisms and her gestures...not that I have anything based in reality to compare them to, but I was completely convinced, enthralled and impressed.I don't know how to wrap this up. I simply loved this film. I guess I'll just close with one of my favorite lyrics.
Still I wish there was somethin' you would do or say
To try and make me change my mind and stay
We never did too much talkin' anyway
So don't think twice, it's all right
Wednesday, November 21, 2007
Southland Tales
Richard Kelly, who directed Donnie Darko, one of my favorite films of all time, had some of the tools he needed to get it right with this one, but he didn't. Almost, but not quite.
He certainly had an immense depth and breadth of acting talent(?), but just because you throw Justin Timberlake, The Rock, Buffy, Curtis Armstrong (Booger from Revenge of the Nerds), the freaky, tiny old lady from Poltergeist, the "inconceivable!" guy from The Princess Bride, and tons of SNL people (new and old-school) into a pot, doesn't make it a delicious soup. In fact, it makes it a crazy soup. And one with some amazing scenes and an absurdity factor to rival, say, Bunuel, but it still missed the mark. It's too complicated, too silly and way too long.
Some other folks have panned this film and they do it better than I ever could:
He certainly had an immense depth and breadth of acting talent(?), but just because you throw Justin Timberlake, The Rock, Buffy, Curtis Armstrong (Booger from Revenge of the Nerds), the freaky, tiny old lady from Poltergeist, the "inconceivable!" guy from The Princess Bride, and tons of SNL people (new and old-school) into a pot, doesn't make it a delicious soup. In fact, it makes it a crazy soup. And one with some amazing scenes and an absurdity factor to rival, say, Bunuel, but it still missed the mark. It's too complicated, too silly and way too long.
Some other folks have panned this film and they do it better than I ever could:
"A Schwarzeneggerian actor, related to a political dynasty, has been kidnapped, replaced with a double, and -- I give up. A plot synopsis would require that the movie have a plot." -- EbertAdd to this that I heard it was booed at Cannes and as a result Kelly cut 20 minutes off the film to try to make it less oblique. Lets just say I went in expecting to sleep through it or walk out. I understand that my low expectations were a key to my enjoyment here. I think when you say, "Well that was not nearly as bad as I thought it would be..." it's not really a compliment.
" You can't help but feel that the only journey Kelly is taking you on is one deep inside his own bong." -- Mudede
"Somewhere beneath all the layers of idiocy are some good ideas -- if only Kelly knew how to express them." -- Snider
Sunday, November 18, 2007
Love in the Time of Cholera
Lots of emphasis on the Love and not much on the Cholera. I haven't read the book, which I am happy about at this point because I think this movie didn't do it justice. I'll read the book now and will have a better experience than the other way around.
Javier Bardeem has become on of my favorite actors and his character is certainly a great one. We watch over the years as his love for Fermina never wavers. My biggest complaint would be that the dialog was a weird mix of serious drama and silly comedy, which I think Marquez does in his writing, but it didn't translate to film very well. Also, because we watch two characters for over 60 years, there needed to be some intense physical transformations and the makeup was badly done and really distracting. I can't help but feel that the story loses some of what I can only assume the book has: grandiosity.
This is an epic love story, but this movie takes it down to a dramatic romance. I am looking forward to reading the book, I know it will be better than this.
Javier Bardeem has become on of my favorite actors and his character is certainly a great one. We watch over the years as his love for Fermina never wavers. My biggest complaint would be that the dialog was a weird mix of serious drama and silly comedy, which I think Marquez does in his writing, but it didn't translate to film very well. Also, because we watch two characters for over 60 years, there needed to be some intense physical transformations and the makeup was badly done and really distracting. I can't help but feel that the story loses some of what I can only assume the book has: grandiosity.
This is an epic love story, but this movie takes it down to a dramatic romance. I am looking forward to reading the book, I know it will be better than this.
Tuesday, November 13, 2007
L'Advocat de la terreur (Terror's Advocate)
This was a long and (kind of) interesting documentary about Jacques Vergès who has been mixed up with some pretty unsavory characters for his whole life. He has been the defense attorney for both left and right wing terrorists (or freedom fighters, depending on your view) such as Slobodan Milošević, Djamila Bouhired, and Klaus Barbie. This film shows his point of view, which on some levels I can appreciate (that even the worst criminals are human deserve justice) but his sympathies lie with people like Pol Pot, and it's hard to like someone who likes someone like that. One great quote from the movie: "People ask me if I would defend Hitler, and I answer, I would even defend Bush...if he would plead guilty."
Sunday, November 11, 2007
Joe Strummer: The Future Is Unwritten
Great documentary about Strummer, frontman of The Clash and a very influential and uniting individual. I really knew nothing about The Clash aside from a handful of songs and a basic understanding of their politics. But I really enjoyed the broad sweep of history, the punk scene and the politics of the 70s and 80s that director Julian Temple uses to place Strummer firmly in his element and give him context.
We are treated to a detailed arc of Joe's life with great archival footage and lots of recent campfire-lit interviews with stars and musicians who knew him, worked with him or admired him (including very weird Johnny Depp with two beard ponytails footage!) (And while I am being parenthetical, what the fuck is Bono doing in every movie about a musician more influential than him?) And we get to really see how he came, in his later years, to accept himself and his past and to celebrate it. My favorite line, that actually sums up his philosophy quite well: "When you get down to it, we're all the same. Punks are just hippies with zips."
We are treated to a detailed arc of Joe's life with great archival footage and lots of recent campfire-lit interviews with stars and musicians who knew him, worked with him or admired him (including very weird Johnny Depp with two beard ponytails footage!) (And while I am being parenthetical, what the fuck is Bono doing in every movie about a musician more influential than him?) And we get to really see how he came, in his later years, to accept himself and his past and to celebrate it. My favorite line, that actually sums up his philosophy quite well: "When you get down to it, we're all the same. Punks are just hippies with zips."
Tuesday, November 06, 2007
Before the Devil Knows You're Dead
Sidney Lumet is still alive?? Yes, apparently, and making movies at the ripe old age of 83. Don't know who he is? Think 1988 -- Running on Empty. Think 1978 -- The Wiz. Think 1957 -- 12 Angry Men. These are great films.
This is not a great film, though. Philip Seymour Hoffman is really good, and I totally have a soft spot in my heart for Marisa Tomei, but Ethan Hawke is his usual over-acting self (is this the only character he does?) and the story is just not tight enough to pull off the complexity it needs in direction and dialog. It's entertaining.
The best thing I gleaned from it was the Irish blessing that opens (and names) the film: "May you be in heaven half an hour... before the devil knows you're dead."
This is not a great film, though. Philip Seymour Hoffman is really good, and I totally have a soft spot in my heart for Marisa Tomei, but Ethan Hawke is his usual over-acting self (is this the only character he does?) and the story is just not tight enough to pull off the complexity it needs in direction and dialog. It's entertaining.
The best thing I gleaned from it was the Irish blessing that opens (and names) the film: "May you be in heaven half an hour... before the devil knows you're dead."
Monday, November 05, 2007
Milarepa: Magician, Murderer, Saint
Milarepa was one wacked-out cat! This film follows his early years as he grows up and watches his family's fortune pissed away by a drunken uncle. His path takes him to a teacher of black magic and back to his village to avenge his mother's fate. With his mad yogi skillz, he can run faster the wind and he can cause avalanches. In a word, he's a badass. But with badassness comes heavy responsibility and he finds that out. The grit of this film is not the story, though. The grit is that it's awkward and rough, produced and cast entirely by monks, set in the early 11th century. It's a very matter-of-fact telling of some cuh-razy Buddhist shenanigans. The sequel is due out in 2009 and will tell of Milarepa's attempt to be reincarnated as a higher life form in one try! Wow!
Tuesday, October 30, 2007
Control
Fans of Joy Division will really appreciate the care and detail that went into this biopic retelling of Ian Curtis' short life. I don't consider myself an expert on him or his story, so I can't speak for acuracy, but it felt very sincere and not sensational. There were many details that I didn't know about him and this added so much to my appreciation of the band and the music.
The cast was great. Samantha Morton is probably the most experienced among the actors and you would never know it. The soundtrack was all performed by the actors, and they were spot-on in terms of appearance.
Jon and I talked about the tragedy of Ian's life and how if treated properly, his mental disorders probably would have been brought under control. But then, his art wouldn't have been what it was and so much modern music has been inspired by them. Such a sad story for his wife and child and such a gift to the world that his genius was.
The cast was great. Samantha Morton is probably the most experienced among the actors and you would never know it. The soundtrack was all performed by the actors, and they were spot-on in terms of appearance.
Jon and I talked about the tragedy of Ian's life and how if treated properly, his mental disorders probably would have been brought under control. But then, his art wouldn't have been what it was and so much modern music has been inspired by them. Such a sad story for his wife and child and such a gift to the world that his genius was.
Wednesday, October 24, 2007
The Darjeeling Limited
It's taken me a while to decide if this was a good film or a great one. Sometimes it's not obvious on the first watching, and having seen it only once, I might have to reserve judgment. The thing is, I know that, as in other Wes Anderson films, there are hundreds of hidden gems of self-reference throughout and on more watchings they will reveal themselves. I also absolutely love his absurdity. His unspoken jokes are the very best ones.
That said, I also think I finally understand (and agree) when people say that Wes Anderson can be self-indulgent and overly whimsical. Ebert called it "terminal whimsy" at one point, but I am not sure I would go that far. I don't think Ebert is alone, though, The Life Aquatic lost a lot of people who had loved his earlier movies. (I actually loved that movie, but I think it was Bill Murray who carried me through.)
In this case, the whimsy is everywhere - the train itself is a whimsical notion. The luggage (literally the brothers' baggage -- seems like an easy joke, but the design and number of those bags makes the joke work perfectly) was whimsical. It was all well done and I was quite happy to go along the whimsical ride.
We got an email before we went to the movie from Gibson saying we were supposed to watch Hotel Chevalier, a short film about one of the characters, before we see the film, but neither Jon nor I had time to watch it beforehand. At the theater, before Darjeeling Limited played, there was a trailer asking you to watch Hotel Chevalier and it showed the website. We watched it the next morning and I just don't think it added anything to the other movie, so I question why he connected them so prominently. I mean, it's a fine little peek through the keyhole at the one brother's back stories, but it might go back to that self-indulgence thing again. It's OK. At least it was short.
The casting in this movie was brilliant. I love that Bill Murray was there. I loved Adrian Brody. I kept thinking about Owen Wilsons' suicide attempt, which was distracting. Angelica Houston was perfect. As long as Anderson keeps making movies with his friends in them, I will go see them.
That said, I also think I finally understand (and agree) when people say that Wes Anderson can be self-indulgent and overly whimsical. Ebert called it "terminal whimsy" at one point, but I am not sure I would go that far. I don't think Ebert is alone, though, The Life Aquatic lost a lot of people who had loved his earlier movies. (I actually loved that movie, but I think it was Bill Murray who carried me through.)
In this case, the whimsy is everywhere - the train itself is a whimsical notion. The luggage (literally the brothers' baggage -- seems like an easy joke, but the design and number of those bags makes the joke work perfectly) was whimsical. It was all well done and I was quite happy to go along the whimsical ride.
We got an email before we went to the movie from Gibson saying we were supposed to watch Hotel Chevalier, a short film about one of the characters, before we see the film, but neither Jon nor I had time to watch it beforehand. At the theater, before Darjeeling Limited played, there was a trailer asking you to watch Hotel Chevalier and it showed the website. We watched it the next morning and I just don't think it added anything to the other movie, so I question why he connected them so prominently. I mean, it's a fine little peek through the keyhole at the one brother's back stories, but it might go back to that self-indulgence thing again. It's OK. At least it was short.
The casting in this movie was brilliant. I love that Bill Murray was there. I loved Adrian Brody. I kept thinking about Owen Wilsons' suicide attempt, which was distracting. Angelica Houston was perfect. As long as Anderson keeps making movies with his friends in them, I will go see them.
Sunday, October 21, 2007
Michael Clayton
Feh.
Sometimes I wish that George Clooney would try a movie where he didn't have a scene where he is nose to nose with another actor, speaking sternly, or loudly, and staring at them in the eye, like they are men in mortal combat for their souls or those of the women who love them and they are locked in some kind of earnest-off. Who can look more...more...compelling! Sensitive! Truthful! Real! Ugh!
I like him well enough, but not well enough to like this movie. Why did he have a son in this story? Why did he have a gambling problem?
I love Tilda Swinton and she was good, but the character seemed beneath her talent.
Sometimes I wish that George Clooney would try a movie where he didn't have a scene where he is nose to nose with another actor, speaking sternly, or loudly, and staring at them in the eye, like they are men in mortal combat for their souls or those of the women who love them and they are locked in some kind of earnest-off. Who can look more...more...compelling! Sensitive! Truthful! Real! Ugh!
I like him well enough, but not well enough to like this movie. Why did he have a son in this story? Why did he have a gambling problem?
I love Tilda Swinton and she was good, but the character seemed beneath her talent.
Wednesday, October 17, 2007
Elizabeth: The Golden Age
The movie was fine. Not great. Not bad. Cate Blanchett did an incredible job as Elizabeth again, but she was the only memorable actor for me. This story seemed more accessible and wide-market focused than the first Elizabeth movie. Again, the wardrobes were gorgeous and
she was quite a badass.
We caught this movie in Lincoln City, Oregon where the theater's hallways were covered in floor to ceiling brick-patterned carpet! It was glorious. It reminded me of this old game I used to play when I was a teenager. I want to say King's Quest, but I can't remember.
she was quite a badass.We caught this movie in Lincoln City, Oregon where the theater's hallways were covered in floor to ceiling brick-patterned carpet! It was glorious. It reminded me of this old game I used to play when I was a teenager. I want to say King's Quest, but I can't remember.
Saturday, October 06, 2007
Se, Jui (Lust Caution)
Newest release from Ang Lee, whom I have really enjoyed in the past (Crouching Tiger Hidden Dragon, Brokeback Mountain). Very indulgent and saturated with rich color, carefully shot and really, really badly written. One of my biggest pet peeves is when nothing is left for the viewer to figure out. The (very) graphic sex scenes feel awkward and gratuitous. The story is flat and while, it did keep us interested, it just didn't meet our expectations.
I did like the costumes.
I did like the costumes.
Sunday, September 30, 2007
Angels in the Dust
Not very well executed documentary about the work of a family who gave up a life of ease and comfort to start an orphanage and school for children in South Africa. They have created a village, of sorts, which encompasses three towns and hundreds of poverty-stricken families. The HIV/AIDS crisis is front and center, as well as the horrible abusive conditions that many women and girls live in. These folks are doing great work, don't get me wrong, and the stories of the children will break your heart, but the editing and the overall cohesion are less than great and it simply doesn't hold up as a movie.
Saturday, September 29, 2007
A Zed and Two Noughts
The fact that Peter Greenaway hasn't shown up on this blog yet is a mystery to me. Most people know him from The Cook, The Theif, His Wife and Her Lover. He has a directing resume 45 movies long and, while I have only seen about five of them, those five are some of the more brilliant and bizarre movies out there. His stunning and Weird (with a capital W) visuals and large scale thematic undertakings make him a director that I would like to expand my experience with.
Made in 1985, before some of his more acclaimed creations, A Zed and Two Noughts is full of Greenaway's trademarks: long, single shots, kinky and bossy women, hospitals and invalids, billowing curtains, sexual quirks (snails!),
symmetry, multiple languages and death. Part of the fun for me is trying to find the elements he repeats throughout and follow them: twos, evolution, life and decay, black and white, the alphabet and I am still trying to figure out how the painter Vermeer van Delft fits in.
What does it all mean? Are there lessons? Should we walk away with a richer appreciation of the human condition? I don't think it matters. Greenaway himself said, "Continuity is boring." The characters are more like tools of the theme he is playing with than realistic, sympathetic people. We are never asked to believe in them. For some I recognize this would be a deal-breaker and make the film unappealing. Fair enough. And while there is a tangible story here, it's very, very weird (delightfully so!) and appears to simply be a vehicle to take you on the visual and thematic ride. It's best not to eat beforehand.
Made in 1985, before some of his more acclaimed creations, A Zed and Two Noughts is full of Greenaway's trademarks: long, single shots, kinky and bossy women, hospitals and invalids, billowing curtains, sexual quirks (snails!),
symmetry, multiple languages and death. Part of the fun for me is trying to find the elements he repeats throughout and follow them: twos, evolution, life and decay, black and white, the alphabet and I am still trying to figure out how the painter Vermeer van Delft fits in.What does it all mean? Are there lessons? Should we walk away with a richer appreciation of the human condition? I don't think it matters. Greenaway himself said, "Continuity is boring." The characters are more like tools of the theme he is playing with than realistic, sympathetic people. We are never asked to believe in them. For some I recognize this would be a deal-breaker and make the film unappealing. Fair enough. And while there is a tangible story here, it's very, very weird (delightfully so!) and appears to simply be a vehicle to take you on the visual and thematic ride. It's best not to eat beforehand.
Tuesday, September 25, 2007
Across the Universe
Julie Taymor's trademark of the combination of stunning visuals and highly choreographed movement (as evidenced in both of her other major films, Frida and Titus) are taken to a new level in this surreal rock musical. Thirty-three new versions of Beatles songs and countless references to they lyrics (in character names, lines and details) are blended into a love story about Lucy and Jude and their involvement in the tumultuous politics and exciting sex, drugs and rock 'n roll of the 60s in America.
I don't think Taymor felt that these were literal interpretations of the Beatles songs. I think she took liberties at every turn to use their words to her end result and she does it beautifully.
Highlights for me include Eddie Izzard's appearance as Mr. Kite and the rendition of "Let it Be" which brought me to tears.
I don't think Taymor felt that these were literal interpretations of the Beatles songs. I think she took liberties at every turn to use their words to her end result and she does it beautifully.
Highlights for me include Eddie Izzard's appearance as Mr. Kite and the rendition of "Let it Be" which brought me to tears.
Sunday, September 23, 2007
The Devil Came on Horseback
Since 2003, Sudan’s Arab government and its Janjaweed militias have been destroying villages and displacing, raping, torturing, and killing Darfur’s black African citizens.
A retired Marine, Brian Steidle, volunteers for a job as an unarmed observer in the region just south east of Darfur. He is issued a camera, a notebook and a pen. He watches for six months as the atrocities continue. He photographs, documents and sends the reports to his employer, the African Union. After 6 months, feeling helpless in the face of so much evil, he returns home to the US to spread the word about what he has seen. The movie is about him, and his journey to tell people what he saw. We see horrific and sometimes disjointed images of charred bodies, torched villages and bloody puddles in the dust. Technically, I wouldn't say the movie is well done. The editing and context are lost in the message, but the message is important. It is not easy to watch, but it should be seen.
Brian goes through a very intense transformation as a result of his experiences. His story's veracity is questioned by the Sudanese in America. He is confronted by his father who thinks that Brian's work to publish his photos and tell his story are "embarrassing" to the US Government and therefore he should stand down.
I will say that after reading countless articles from newspapers and activists, devouring Eggers' What is the What and watching God Grew Tried of Us, I still felt only partially informed, like there was a piece missing in this story. Why aren't we doing anything? This film helps to answer that question: There are complicated politics whenever it is America versus the Muslims. It would seem once again that we are saying that hundreds of thousands of black lives don't matter as much as white ones. African babies are lesser miracles and are not worth getting in the way of China's oil -- the Chinese get most of their oil from the Sudan and are then selling the Sudanese government weapons with which they continue the ethnic cleansing of Darfur's black African population. If our government wanted this to stop, they would make it so. Saying we are doing all we can is not enough. We aren't. I'm not. You're not.
There are groups working to keep the spotlight on the horrors until something concrete is done. Save Darfur, Aid Darfur and Global Grassroots. Please visit their websites. Please give if you can, even just $10, to help keep their work moving forward. Call your Senators and Congresspeople and ask what they are doing to make sure that the UN peacekeepers (who have recently been approved by the Sudanese government) are able to get into Darfur to do their work.
A retired Marine, Brian Steidle, volunteers for a job as an unarmed observer in the region just south east of Darfur. He is issued a camera, a notebook and a pen. He watches for six months as the atrocities continue. He photographs, documents and sends the reports to his employer, the African Union. After 6 months, feeling helpless in the face of so much evil, he returns home to the US to spread the word about what he has seen. The movie is about him, and his journey to tell people what he saw. We see horrific and sometimes disjointed images of charred bodies, torched villages and bloody puddles in the dust. Technically, I wouldn't say the movie is well done. The editing and context are lost in the message, but the message is important. It is not easy to watch, but it should be seen.
Brian goes through a very intense transformation as a result of his experiences. His story's veracity is questioned by the Sudanese in America. He is confronted by his father who thinks that Brian's work to publish his photos and tell his story are "embarrassing" to the US Government and therefore he should stand down.
I will say that after reading countless articles from newspapers and activists, devouring Eggers' What is the What and watching God Grew Tried of Us, I still felt only partially informed, like there was a piece missing in this story. Why aren't we doing anything? This film helps to answer that question: There are complicated politics whenever it is America versus the Muslims. It would seem once again that we are saying that hundreds of thousands of black lives don't matter as much as white ones. African babies are lesser miracles and are not worth getting in the way of China's oil -- the Chinese get most of their oil from the Sudan and are then selling the Sudanese government weapons with which they continue the ethnic cleansing of Darfur's black African population. If our government wanted this to stop, they would make it so. Saying we are doing all we can is not enough. We aren't. I'm not. You're not.
There are groups working to keep the spotlight on the horrors until something concrete is done. Save Darfur, Aid Darfur and Global Grassroots. Please visit their websites. Please give if you can, even just $10, to help keep their work moving forward. Call your Senators and Congresspeople and ask what they are doing to make sure that the UN peacekeepers (who have recently been approved by the Sudanese government) are able to get into Darfur to do their work.
Sunday, September 16, 2007
Eastern Promises
Thursday, September 13, 2007
Czech Dream
Our membership at the Northwest Film Forum continues to be an amazing gift from our friends the Newmans. Without that membership, the obscure and rare films that come through there would be further off our radar and that would be a shame. We would have certainly missed the preview for this great documentary and that would have been a shame as well.
Two film students announce the opening of the fake "hypermarket" (think Walmart on steroids) for which they have created a fake media blitz in the month preceding its unveiling. A tension builds throughout as we near the "grand opening" and there are great scenes of market research and discussions happening at the media team's offices. They create a logo and some fantastic slogans: "Don't Come." "Don't wait." "Don't Spend Money." As someone in on the secret, you see the genius here, but the public is excited and curious.
Of course they are. Is it surprising that the public is gullible? No. Upsetting to feel manipulated? Sure. But the release of this hoax seems to be perfectly timed (perhaps by accident) with some political ad campaigns in Czechoslovakia, which makes the ruse even more clever and forces the public to think about what they are lead to believe and why.
Reminiscent of The Yes Men -- what a great movie that was too.
Two film students announce the opening of the fake "hypermarket" (think Walmart on steroids) for which they have created a fake media blitz in the month preceding its unveiling. A tension builds throughout as we near the "grand opening" and there are great scenes of market research and discussions happening at the media team's offices. They create a logo and some fantastic slogans: "Don't Come." "Don't wait." "Don't Spend Money." As someone in on the secret, you see the genius here, but the public is excited and curious.
Of course they are. Is it surprising that the public is gullible? No. Upsetting to feel manipulated? Sure. But the release of this hoax seems to be perfectly timed (perhaps by accident) with some political ad campaigns in Czechoslovakia, which makes the ruse even more clever and forces the public to think about what they are lead to believe and why.
Reminiscent of The Yes Men -- what a great movie that was too.
Sunday, September 09, 2007
This is England
Somewhat predictable but still quite moving portrait of a young boy (heartbreakingly played by Thomas Turgoose, age 12 going on 45) who lives in a run down coastal town in England in 1983. He lives with his widowed mother and is bullied in school. He is taken under the wing of some working-class skinheads and made to feel welcome in their gang of misfits and outcasts. The balance is upset when an older and more militant member of their gang returns from 3 years in jail. Shawn is forced to choose who he will follow.Part coming of age, part period piece (with great, grainy montages of what was happening in England in the early 80s) and part devastatingly realistic story that was, not surprisingly, based on the actual life of director Shane Meadows.
Friday, September 07, 2007
Manhattan
For someone who watches as many movies as I do, to have not seen very many of Woody Allen's older films is a shame. I need to work on that. What Woody needs to work on is making better films nowadays, and falling in love with women (within three decades of) his own age, but I digress...
God, this movie was great. I was floored, completely knocked over by the nuanced and dead-on character studies: Woody Allen's "portrait" of a self-obsessed, neurotic writer; Muriel Hemingway as a 17 year-old going on 35, devoid of self and utterly devoted; Diane Keaton was brilliant as the elitist intelligentsia who wants, above all, to be loved; and the city of New York itself was a character, brooding in sunrise and sunset light, skyscrapers filmed in sweeping panorama to Gershwin's over-emotional score. It is obvious who Woody loves most: the city.
Through rapid and believable dialog and quirky, yet realistic situations, we are shown just the pitch perfect moments to explain who these people are and somehow, we sympathize with them, even though there is very little to like. Really, not much happens in this movie: people meet, argue, have breakfast, pick up their kids, go to the park, get rained on, fall in love, play racquetball, blame each other, hear annoying noises in the apartment, fall out of love, carry on.
Very efficient, effective movie making. It's heartbreaking, and funny and true. Bless you , Woody.
God, this movie was great. I was floored, completely knocked over by the nuanced and dead-on character studies: Woody Allen's "portrait" of a self-obsessed, neurotic writer; Muriel Hemingway as a 17 year-old going on 35, devoid of self and utterly devoted; Diane Keaton was brilliant as the elitist intelligentsia who wants, above all, to be loved; and the city of New York itself was a character, brooding in sunrise and sunset light, skyscrapers filmed in sweeping panorama to Gershwin's over-emotional score. It is obvious who Woody loves most: the city.
Through rapid and believable dialog and quirky, yet realistic situations, we are shown just the pitch perfect moments to explain who these people are and somehow, we sympathize with them, even though there is very little to like. Really, not much happens in this movie: people meet, argue, have breakfast, pick up their kids, go to the park, get rained on, fall in love, play racquetball, blame each other, hear annoying noises in the apartment, fall out of love, carry on.
Very efficient, effective movie making. It's heartbreaking, and funny and true. Bless you , Woody.
Sunday, September 02, 2007
Stardust
We put off seeing this movie for fear it would be corny and painful. When we decided to see it after all, it wasn't that anything had changed our minds, it was that we just ran out of other movies to see and decided to give it a try. Taking a lesson from our friend Gibson, we went in with low expectations so it would be harder to disappoint us.
It was only about 20 minutes into the story that I was hooked. A young man ventures across the wall in a town called Wall to a magical land where the townspeople aren't allowed. What happens there sets the course of his son's life and we are off on a fantastic journey to catch a fallen star, to win the heart of our true love, to sail the skies with a band of randy lightning pirates and outfox cunning witches.
It was well written and well acted. There is tons of imagination here. Thank you Neil Gaiman. There is enough fluff (magic and unicorns and ghosts) for kids to like it and enough humor for adults. Had Terry Gilliam directed this, it wouldn't have surprised me. Something akin to the Princess Bride, only not quite as funny. Not quite as classic. But close. I think this will hold up through the ages...or through part of them.
A solid cast with Michelle Pfeiffer, Peter O'Toole, Robert De Niro and Claire Danes.
It was only about 20 minutes into the story that I was hooked. A young man ventures across the wall in a town called Wall to a magical land where the townspeople aren't allowed. What happens there sets the course of his son's life and we are off on a fantastic journey to catch a fallen star, to win the heart of our true love, to sail the skies with a band of randy lightning pirates and outfox cunning witches.
It was well written and well acted. There is tons of imagination here. Thank you Neil Gaiman. There is enough fluff (magic and unicorns and ghosts) for kids to like it and enough humor for adults. Had Terry Gilliam directed this, it wouldn't have surprised me. Something akin to the Princess Bride, only not quite as funny. Not quite as classic. But close. I think this will hold up through the ages...or through part of them.
A solid cast with Michelle Pfeiffer, Peter O'Toole, Robert De Niro and Claire Danes.
Tuesday, August 21, 2007
Into the Wild
I hadn't read the book and I hadn't ever heard of Christopher McCandless, so I went in with no expectations. Basic plot: college grad empties his bank account (and gives it to charity), takes off toward the west and finds himself in Alaska. As it progressed, the whole thing felt a little too good to be true. Too sweet, too easy, the sunsets too beautiful and the life lessons too piquant.
I think my biggest Hurdle for Appreciation (HfA™) was that most of the characters were two-dimensional. They embodied exactly the right imperfections to teach Chris what he needed at the precise moment he needed to learn. Trés Hallmark. This certainly happens in real life sometimes, but not chance meeting, after chance meeting after chance meeting. Chris himself feels too good. I know this film is a homage to him and his story, but I think a little darkness would have made me want to know him more.
On the other hand, characters like the awesome Thomas from Denmark and his naked river rat girlfriend sharing their hot dogs on the shore basically saved the movie for me with their unexpected and entertaining, if brief, appearance. Well, them and the end of the film when it became apparent that the whole thing had actually happened. For a few brief moments, I was more sympathetic to whatever storyteller had taken the facts and woven this yarn...then I realized it was Sean Penn and I felt less so.
(I don't hate Sean Penn, but I don't think he should direct films. And acting? 21 Grams, Sweet and Lowdown, Before Night Falls and Fast Times and Ridgemont High were great...too bad the only represent 9% of the movie's he's been in.)
Interesting connection: Pearl Jam gave the organization I work for a nice donation last year and by "nice" I mean really amazingly generous. Jeff Ament is a big fan of 826 Seattle and has kept us in his sights over the years since we opened. Recently their publicist offered Teri an advance-screening ticket to see this film for which Eddie Vedder did the original soundtrack. Teri couldn't make it, so I got the ticket. The music...it was pearl-jammy. With an acoustic bent. Sad and jangly.
I think my biggest Hurdle for Appreciation (HfA™) was that most of the characters were two-dimensional. They embodied exactly the right imperfections to teach Chris what he needed at the precise moment he needed to learn. Trés Hallmark. This certainly happens in real life sometimes, but not chance meeting, after chance meeting after chance meeting. Chris himself feels too good. I know this film is a homage to him and his story, but I think a little darkness would have made me want to know him more.
On the other hand, characters like the awesome Thomas from Denmark and his naked river rat girlfriend sharing their hot dogs on the shore basically saved the movie for me with their unexpected and entertaining, if brief, appearance. Well, them and the end of the film when it became apparent that the whole thing had actually happened. For a few brief moments, I was more sympathetic to whatever storyteller had taken the facts and woven this yarn...then I realized it was Sean Penn and I felt less so.
(I don't hate Sean Penn, but I don't think he should direct films. And acting? 21 Grams, Sweet and Lowdown, Before Night Falls and Fast Times and Ridgemont High were great...too bad the only represent 9% of the movie's he's been in.)
Interesting connection: Pearl Jam gave the organization I work for a nice donation last year and by "nice" I mean really amazingly generous. Jeff Ament is a big fan of 826 Seattle and has kept us in his sights over the years since we opened. Recently their publicist offered Teri an advance-screening ticket to see this film for which Eddie Vedder did the original soundtrack. Teri couldn't make it, so I got the ticket. The music...it was pearl-jammy. With an acoustic bent. Sad and jangly.
Monday, August 20, 2007
Belle Tourjours
The sequel is a completely different movie. More of a character study of the "villain" of the previous film, than anything, this look at Séverine and Husson 40 years later has some very amazing moments and interesting direction. It is short (only about an hour) and there are several really long shots, so the resulting tone is that of a dream, or a fantasy (perhaps parts of it are a fantasy of Husson, who has access to information and objects that he wouldn't necessarily have in reality.) Bizarre symbolism and very uncomfortable pacing make this a nice homage to Buñuel, but more importantly, a nice homage to his characters who, after 40 years are still intriguing.
Sunday, August 19, 2007
Belle de Jour
Luis Buñuel's iconic masterpiece was actually much stranger and more bizarre than I thought it would be. Whipping back and forth between fantasy and reality, this is, from what I gather, another variation on the common themes of Buñuel. Catherine Deneuve (who can forget her in The Hunger as the hot hot hot Miriam Blaylock?) as the frigid housewife who turns tricks during the day was stunning -- all at once aloof and rigid, curious and deviant. It was the whole Madonna/whore dichotomy wrapped into an intriguing package.
A few interesting notes about this movie for me: Buñuel has said he has a foot fetish and there are lots of shots of Deneuve's feet in this movie. Secondly, there is much speculation about what is in the Asian John's wooden box. My theory is that it is mystery left to us by the cunning Buñuel who hopes that our imaginations will take over.
We saw this as a double feature with Belle Toujours, the sequel where Séverine and Henri meet some 40 years later.
A few interesting notes about this movie for me: Buñuel has said he has a foot fetish and there are lots of shots of Deneuve's feet in this movie. Secondly, there is much speculation about what is in the Asian John's wooden box. My theory is that it is mystery left to us by the cunning Buñuel who hopes that our imaginations will take over.
We saw this as a double feature with Belle Toujours, the sequel where Séverine and Henri meet some 40 years later.
King of Kong
We missed this at SIFF, but were so excited to see it. The Holubs recommended it and we had seen some pretty incredible previews. 
The premise is a documentary about a showdown between two Donkey Kong players who are battling for the world record score on the old-school video game. But, as in the retelling of most great duels, this story is not about the fight itself, but about the people involved. Who knew there is an authority which tracks these scores (all-volunteer, of course) and they are trusted to verify that no rules were broken, no video game computer chips were tinkered with etc. ? Yes, they do sit and watch video taped games -- by the boxful. Wow. Oh yeah, and the founder is a folk singing, transcendental mediation guru who lives in Iowa. The hero of this story lives in Redmond, which gives this a little home town flair. I am so glad someone thought to put a camera on these guys.
The premise is a documentary about a showdown between two Donkey Kong players who are battling for the world record score on the old-school video game. But, as in the retelling of most great duels, this story is not about the fight itself, but about the people involved. Who knew there is an authority which tracks these scores (all-volunteer, of course) and they are trusted to verify that no rules were broken, no video game computer chips were tinkered with etc. ? Yes, they do sit and watch video taped games -- by the boxful. Wow. Oh yeah, and the founder is a folk singing, transcendental mediation guru who lives in Iowa. The hero of this story lives in Redmond, which gives this a little home town flair. I am so glad someone thought to put a camera on these guys.
Sunday, August 12, 2007
Bamako
A mock trial is going on in Bamako, the capital of Mali. Some judges and lawyers are debating if the World Bank and the IMF are guilty of crimes against the people of Africa by disregarding their dignity as humans and willfully suppressing them through debt.
The daily life of the citizens there goes on, some are called as witnesses, others just pass through (like the adorable little boy wearing squeaky shoes and the "Heppiness U" shirt). We see a few other story lines criss-cross: sickness, trade, corruption, crime and a movie within the movie so keeping track of who is who and what is going on can be a little confusing, but the point is well taken and the movie has a musical fluidity to it which, while somewhat slow, was engaging.
A man from Jubilee USA came and spoke at the beginning of the film about a 30 day fast and a paper plate-based letter campaign to congress to end the strangulation of impoverished nations through debt relief.
The daily life of the citizens there goes on, some are called as witnesses, others just pass through (like the adorable little boy wearing squeaky shoes and the "Heppiness U" shirt). We see a few other story lines criss-cross: sickness, trade, corruption, crime and a movie within the movie so keeping track of who is who and what is going on can be a little confusing, but the point is well taken and the movie has a musical fluidity to it which, while somewhat slow, was engaging.
A man from Jubilee USA came and spoke at the beginning of the film about a 30 day fast and a paper plate-based letter campaign to congress to end the strangulation of impoverished nations through debt relief.
Saturday, August 11, 2007
No End in Sight
Jon and I have, in our circle of friends, a reputation as gluttons for punishment when it comes to watching really *hard* movies and then saying, "Ouch, that was really hard." You need not look further than here, here or here to see that we go to our fair share (and then some!) of difficult films. When it's hard to watch, it asks you to think and pushes your personal comfort zone a little and makes you react emotionally. This one was actually quite exhausting in its hopelessness.
A documentary about all the mind-boggling fuck-ups that lead to the mess that is Iraq? It's called No End in Sight? Sounds great!
It was a sunny day outside and we watched this instead.
A documentary about all the mind-boggling fuck-ups that lead to the mess that is Iraq? It's called No End in Sight? Sounds great!
It was a sunny day outside and we watched this instead.
Sunday, July 29, 2007
Ten Canoes
Three layers of story within a story: a narrator who introduces the characters, the current story and the story that they are being told. It's a really well-executed mirror image in that the "modern" men are watching their counterparts from long, long ago. Great myth culture -- the birth myth is fantastic! Lots of...uhm...didgeridoos. Heh. The first movie completely filmed in an indigenous Aboriginal language. Very enjoyable.
Saturday, July 28, 2007
Happy Birthday to wegtomovies! 100 Posts
I guess it's not a "birthday" in the typical sense, but there has to be some kind of blog post milestone to commemorate that this is the 101st one. The link in the title is to my first post: our 2004 movie list. I started this blog so I would remember all the movies we saw and because we have increased our movie-going quite substantially over the last few years, I am really glad to have this space as a reminder to think about films after I see them and write a little bit about what distinguishes them from other movies for me. It was born out of the problem that sometimes, "I saw that movie" after a few months would drift into, "Did we see that? Did I like it?" I do this for the same reason that my mother catalogs the weather: to help us remember what was going on. Thanks for reading!
Wednesday, July 25, 2007
When the Road Bends: Tales of a Gypsy Caravan
Fun and touching documentary about several Rom bands who join for a tour across North America. Wonderful music, wonderful people who (sometimes) don't speak each other's languages, who have come from different corners of the globe, all finding an understanding of one another (sometimes more than other times) through their music and the roots of the Romani people.
I loved visiting the home towns of each band. I loved how all families, no matter how big or small or well off or poor, whether they drive an old car or a horse and buggy, live in high-rise apartments, shacks in small rural towns, or large cities, all love their children. All want their kids to be happy. All cherish their next generation. This was so touching to me that it, more than the sharing thread of struggle and persecution that the different cultures found common ground on, this made me aware of how the same we all are.
I loved visiting the home towns of each band. I loved how all families, no matter how big or small or well off or poor, whether they drive an old car or a horse and buggy, live in high-rise apartments, shacks in small rural towns, or large cities, all love their children. All want their kids to be happy. All cherish their next generation. This was so touching to me that it, more than the sharing thread of struggle and persecution that the different cultures found common ground on, this made me aware of how the same we all are.
Wednesday, July 18, 2007
L'Iceberg
A woman becomes obsessed with icebergs. Why? I won't tell you. She drops everything and leaves 
on a quest to sate her insatiable desire to be near (on?) an iceberg. What does she find and how? I won't say. There is little dialog and a large amount of somewhat whimsical slapstick humor (in a style reminiscent of Jacques Tati, Marcel Marceau and others) and it is brilliantly executed, which that is why the movie works so wonderfully well. There are some outright belly-laughs and some more subtle, weird humor, but it was the physical comedy which won me over. Highlights are: Fiona under the sheets, the dad and kids with the butter, the man dancing at his party and the senior citizens with their umbrellas. Intrigued? You should be. Go see this.
on a quest to sate her insatiable desire to be near (on?) an iceberg. What does she find and how? I won't say. There is little dialog and a large amount of somewhat whimsical slapstick humor (in a style reminiscent of Jacques Tati, Marcel Marceau and others) and it is brilliantly executed, which that is why the movie works so wonderfully well. There are some outright belly-laughs and some more subtle, weird humor, but it was the physical comedy which won me over. Highlights are: Fiona under the sheets, the dad and kids with the butter, the man dancing at his party and the senior citizens with their umbrellas. Intrigued? You should be. Go see this.
Saturday, July 07, 2007
Da hong deng long gao gao gua (Raise the Red Lantern)
Made in 1991, set in China around 1920. Stunningly beautiful. Based on a novella by Sue Tong.
We watch four seasons of the lives of four wives of a master. He is never shown clearly, but that isn't important. This movie isn't about the master, or even the state of these women's rights or freedoms, or lack of either. This is a movie about the fourth wife and the relationships between her and other 3 wives. It has serious morals, like a fable. It is about rules and consequences of breaking them. It is also about the chess-like power plays that ripple under the surface of everything these women do.
The fourth wife (or sister or concubine or mistress -- they are called all three and the words seem to be interchangeable, even though in English they have distinctly different meanings) is educated but has resigned herself to the life of a concubine. She is headstrong and smart and at first doesn't want to get drawn into the petty (or serious) games of the other three wives. Don't overlook that they other three don't feel resigned to this life. And at least one of the maids wishes, literally on her life to be a mistress. Our heroine is different, but she too gives into the jealousy and hunger for power. She wants to hear the housekeeper call, "Light the red lanterns in the fourth house!" (meaning that she will get to spend the night with the master and have a chance at giving him a son) as much as the others crave the same for themselves.
The most enjoyable thing about this film for me was the camera work and colors. Slow, long shots of rooftops and courtyards decked out in lanterns and snow and pale blue morning light. It was a feast for the eyes.
We watch four seasons of the lives of four wives of a master. He is never shown clearly, but that isn't important. This movie isn't about the master, or even the state of these women's rights or freedoms, or lack of either. This is a movie about the fourth wife and the relationships between her and other 3 wives. It has serious morals, like a fable. It is about rules and consequences of breaking them. It is also about the chess-like power plays that ripple under the surface of everything these women do.
The fourth wife (or sister or concubine or mistress -- they are called all three and the words seem to be interchangeable, even though in English they have distinctly different meanings) is educated but has resigned herself to the life of a concubine. She is headstrong and smart and at first doesn't want to get drawn into the petty (or serious) games of the other three wives. Don't overlook that they other three don't feel resigned to this life. And at least one of the maids wishes, literally on her life to be a mistress. Our heroine is different, but she too gives into the jealousy and hunger for power. She wants to hear the housekeeper call, "Light the red lanterns in the fourth house!" (meaning that she will get to spend the night with the master and have a chance at giving him a son) as much as the others crave the same for themselves.
The most enjoyable thing about this film for me was the camera work and colors. Slow, long shots of rooftops and courtyards decked out in lanterns and snow and pale blue morning light. It was a feast for the eyes.
Friday, July 06, 2007
Killer of Sheep
An intimate look at the state of the African American family in Watts in the late 70s. Made in 1973, the feeling is absolutely authentic and I thought at first we might be watching a documentary. Kids throw dirt in empty lots, hair picks are thrust crookedly into afros and the suits are spectacular. What's even more amazing is that Charles Burnett made this film while at UCLA for a budget of $5000. True independent film at its core.
The title character is a father, husband and friend and we watch has he moves through each of his roles in a slow and seemingly despondent manner. By day he works in a slaughter house, by night he can't sleep. He is tired and still must face the hardships he and his circle of friends and family are met with every day.
Cinematically, this is a hard film. Intense shot cuts from the slaughterhouse to the kids, the dozens of kids, who are the next generation to struggle. However, there is hope. His wife and kids love him. Friends become pregnant and are happy about it -- life carries on despite it all.
The title character is a father, husband and friend and we watch has he moves through each of his roles in a slow and seemingly despondent manner. By day he works in a slaughter house, by night he can't sleep. He is tired and still must face the hardships he and his circle of friends and family are met with every day.
Cinematically, this is a hard film. Intense shot cuts from the slaughterhouse to the kids, the dozens of kids, who are the next generation to struggle. However, there is hope. His wife and kids love him. Friends become pregnant and are happy about it -- life carries on despite it all.
Sunday, July 01, 2007
Sicko
Jon and I left this movie feeling really angry. As per his usual, Moore tries to make it funny, and entertaining, but we are in a dire situation in this country and it is already so out of hand that it will never be fixed.
Several people in the film are asked if we have any chance of catching up to the rest of the "westernized" world and providing free health care to all -- to take care of our citizens -- to have free house calls and free nannies for newborns and mandatory paid maternity leave -- but they all agree it is not possible. If we are sick and poor or out of work due to illness and beaten down then we won't worry that the government is wire-tapping, torturing and lying to us. That is how the US government wants us.
Even Barack, folks.
He too wants us scared and quiet.
Corporations own our health care system (which isn't a system at all!) and their employees get bonuses for denying coverage to sick people. Citizens of other countries can't believe that we would turn away people who cannot pay. Are we heartless? Cruel?
Yes and yes.
Several people in the film are asked if we have any chance of catching up to the rest of the "westernized" world and providing free health care to all -- to take care of our citizens -- to have free house calls and free nannies for newborns and mandatory paid maternity leave -- but they all agree it is not possible. If we are sick and poor or out of work due to illness and beaten down then we won't worry that the government is wire-tapping, torturing and lying to us. That is how the US government wants us.
Even Barack, folks.
He too wants us scared and quiet.
Corporations own our health care system (which isn't a system at all!) and their employees get bonuses for denying coverage to sick people. Citizens of other countries can't believe that we would turn away people who cannot pay. Are we heartless? Cruel?
Yes and yes.
Saturday, June 30, 2007
Ratatouille
Out on the streets, that's where we'll meet
You make the night, I always cross the line
Tightened our belts, abuse ourselves
Get in our way, we'll put you on your shelf
Another day, some other way
We're gonna go, but then we'll see you again
I've had enough, we've had enough
Cold in vain, she said
I knew right from the beginning
That you would end up winnin'
I knew right from the start
You'd put an arrow through my heart
Round and round
With love we'll find a way just give it time
Round and round
What comes around goes around
I'll tell you why
Dig.
You make the night, I always cross the line
Tightened our belts, abuse ourselves
Get in our way, we'll put you on your shelf
Another day, some other way
We're gonna go, but then we'll see you again
I've had enough, we've had enough
Cold in vain, she said
I knew right from the beginning
That you would end up winnin'
I knew right from the start
You'd put an arrow through my heart
Round and round
With love we'll find a way just give it time
Round and round
What comes around goes around
I'll tell you why
Dig.
Tuesday, June 26, 2007
A Mighty Heart
I wish that Mariane was played by some unknown actress. Don't get me wrong - Jolie does fine. I am not going to say that she is fantastic or that this is her best movie ever or any superlatives, because I just don't like her and it is hard for me to be objective. I have seen more interviews with her and non-acting parts than I have films of hers, really. I think the role of Mariane would be astonishingly difficult. Jolie loses her accent a few times which is just the kind of thing that bugs me about her. I also hate how directors always do close ups of her eyes flickering and twitching. All that said, I really didn't want this review to be about how I don't like Jolie -- the movie was very well done and that's what I should write about.
I was most impressed by how, even though we all know what happened to Danny Pearl, there was still this horrific anticipation of what was to come. I was sad, uncomfortable and dreading the outcome. This was not an easy film to watch.
I love the community of people surrounding her in this film who support her through and take part in her tragedy. All these people, in this house came together and lived through this horror, just like the families and friends of the 12 other people who were kidnapped and murdered in Pakistan that month. Pearl is not alone. Nor is he more important than the "enemy combatants" being held in Guantanamo Bay.
I was most impressed by how, even though we all know what happened to Danny Pearl, there was still this horrific anticipation of what was to come. I was sad, uncomfortable and dreading the outcome. This was not an easy film to watch.
I love the community of people surrounding her in this film who support her through and take part in her tragedy. All these people, in this house came together and lived through this horror, just like the families and friends of the 12 other people who were kidnapped and murdered in Pakistan that month. Pearl is not alone. Nor is he more important than the "enemy combatants" being held in Guantanamo Bay.
Monday, June 25, 2007
La Môme (La Vie en Rose)
Through a series of flashbacks and memories, we watch the extraordinary life of Edith Piaf. The music is fantastic and I was simply spellbound by the three actresses portray her at 5 and 10 years old and then in adulthood. All three are amazing.
It seems to me that Edith never, until quite late in life, owned her life or career - even her greatest love wasn't really hers. People managed/owned/manipulated her from the moment she was born until the ripe old age of 47 when she died.
There is a moment or two where you see glimpses of her being in control, but because the story is told in such a non-linear way, I can't tell if that was my own reading or intended. I really enjoyed the actors around her, but we don't get to meet the characters very much.
I learned a lot about her and really enjoyed the sad melodrama.
It seems to me that Edith never, until quite late in life, owned her life or career - even her greatest love wasn't really hers. People managed/owned/manipulated her from the moment she was born until the ripe old age of 47 when she died.
There is a moment or two where you see glimpses of her being in control, but because the story is told in such a non-linear way, I can't tell if that was my own reading or intended. I really enjoyed the actors around her, but we don't get to meet the characters very much.
I learned a lot about her and really enjoyed the sad melodrama.
Saturday, June 16, 2007
Delirious
Tom DiCillo made Living in Oblivion and Johnny Suede, both of which I loved, but not quite as much as his more recent, Box of Moonlight, which is one of my top 10 films of all time.
Sometimes expectations are the enemy of experience. This movie would have been a big letdown, if I hadn't checked my expectations right before we went in. I'm not sure what made me do it, but I was glad I consciously lowered them.
In this film, a quirky paparazzi befriends a homeless youth and they work together to get the perfect "shot heard 'round the world." Of course, the homeless guy is hunky and wants a showbiz career...
One DiCillo trademark is how he has a bumbling man as a mentor to another bumbling man and they learn from each other and it's usually pretty funny. That is the case in this film, but the storyline is quite bland and predictable, and Steve Buscemi's character is not quite likable and there really wasn't anything that set this film apart. I am also tired of blonde bombshells in his films....and why is she always just in her bra?? The best scenes in the movie are of Buscemi's character's parents.
A shame to end SIFF on a disappointment. A bigger shame that DeCillo has moved from a favorite director, to a director who made a few films I like.
Sometimes expectations are the enemy of experience. This movie would have been a big letdown, if I hadn't checked my expectations right before we went in. I'm not sure what made me do it, but I was glad I consciously lowered them.
In this film, a quirky paparazzi befriends a homeless youth and they work together to get the perfect "shot heard 'round the world." Of course, the homeless guy is hunky and wants a showbiz career...
One DiCillo trademark is how he has a bumbling man as a mentor to another bumbling man and they learn from each other and it's usually pretty funny. That is the case in this film, but the storyline is quite bland and predictable, and Steve Buscemi's character is not quite likable and there really wasn't anything that set this film apart. I am also tired of blonde bombshells in his films....and why is she always just in her bra?? The best scenes in the movie are of Buscemi's character's parents.
A shame to end SIFF on a disappointment. A bigger shame that DeCillo has moved from a favorite director, to a director who made a few films I like.
Friday, June 15, 2007
Wie man sein Leben kocht (How to Cook Your Life)
If you think all Zen masters are calm, confident and wise, meet Edward Espe Brown. He is a Zen master and he is a chef. He is a little neurotic, angry, impatient and funny. We watch him cook and teach cooking and laugh at life and himself. This was a very enjoyable little film.
Wednesday, June 13, 2007
Hîrtia va fi albastrã (The Paper Will be Blue)
The new(ish) wealth of film coming out of Romania is that it (at least from what we have seen) is smart, consistent and has that...thing....whatever it is that makes it unmistakably Romanian. The three films we have seen from there lately are darkly funny. Some more dark and some more funny, but they all seem to point to a national interest in the plodding, hard parts of life. They also like to make fun of people. This is good.
This movie is about a real moment in Romanian history that was fraught with uncertainty, violence and sadness, but also, movement, excitement and change. We get glimpses of all of this as we follow a small platoon of Militia soldiers through the night of December 22, 1989. Not knowing who or what they are fighting for or protecting, they choose to look for their AWOL team member who, out of excitement, defected to the revolutionaries.
Not for everyone, but certainly my kind of movie.
This movie is about a real moment in Romanian history that was fraught with uncertainty, violence and sadness, but also, movement, excitement and change. We get glimpses of all of this as we follow a small platoon of Militia soldiers through the night of December 22, 1989. Not knowing who or what they are fighting for or protecting, they choose to look for their AWOL team member who, out of excitement, defected to the revolutionaries.
Not for everyone, but certainly my kind of movie.
Tuesday, June 05, 2007
Paris, je t'aime
Go see this movie.
18 short films about Paris, each by a different director, each with the title of a different neighborhood. The directors include the Coen brothers, Gus Van Sant, Wes Craven (!) Gerard Depardieu... the list goes on and on. The only thing more impressive than the list of directors is the casts. Linking to all of them on IMDB would take forever so I will just list a sampling here:
Steve Buscemi, Natalie Portman, Nick Nolte, Maggie Gyllenhaal, Elijah Wood, Juliette Binoche, Marianne Faithfull, Willem Defoe - it's an amazing spectacle.
Some highlights:
Gus Van Sant directs The Marais and we watch as two hot young men (In a Van Sant film!?!? no way....) share a conversation.
I loved Willem Dafoe as the Grim Reaper in Place Des Victoires.
14ème Arrondissement followed a frumpy postal worker from Denver (brilliantly portrayed by Margo Martindale) with a fanny pack through her 6 day trip to Paris by herself. (Awesome!)
As I type this, I realize that I could find a highlight in almost every one of the shorts and really it's just a fantastic group of films that needs to be seen. It would be easier to write about which ones I didn't like as much, but what's the point in that?
Also as I type this, I realize my friend Gibson will make me pick a favorite, which I don't want to do, but for him, I will: Faubourg Saint-Denis where a blind student and his girlfriend take us all over Paris and it made me want to walk to the travel agent and buy a ticket today.
18 short films about Paris, each by a different director, each with the title of a different neighborhood. The directors include the Coen brothers, Gus Van Sant, Wes Craven (!) Gerard Depardieu... the list goes on and on. The only thing more impressive than the list of directors is the casts. Linking to all of them on IMDB would take forever so I will just list a sampling here:
Steve Buscemi, Natalie Portman, Nick Nolte, Maggie Gyllenhaal, Elijah Wood, Juliette Binoche, Marianne Faithfull, Willem Defoe - it's an amazing spectacle.
Some highlights:
Gus Van Sant directs The Marais and we watch as two hot young men (In a Van Sant film!?!? no way....) share a conversation.
I loved Willem Dafoe as the Grim Reaper in Place Des Victoires.
14ème Arrondissement followed a frumpy postal worker from Denver (brilliantly portrayed by Margo Martindale) with a fanny pack through her 6 day trip to Paris by herself. (Awesome!)
As I type this, I realize that I could find a highlight in almost every one of the shorts and really it's just a fantastic group of films that needs to be seen. It would be easier to write about which ones I didn't like as much, but what's the point in that?
Also as I type this, I realize my friend Gibson will make me pick a favorite, which I don't want to do, but for him, I will: Faubourg Saint-Denis where a blind student and his girlfriend take us all over Paris and it made me want to walk to the travel agent and buy a ticket today.
Sunday, June 03, 2007
Offset
A perfect example of a movie we would probably never see if it weren't for SIFF. This drama, a sad and intense family story about a marriage, an offset printing machine and German-Romanian relations, is a little long and bleak. But other than that, I don't have many complaints. The acting is strong, the characters, while not very likable, are interesting and their flaws are what make this good.
The main theme running through this is that people's prejudices run deep. The boss hates Germans, the Germans hate Romanians, the mother-in-law-to-be just wants to go back to Germany, the (German) printing machine doesn't even work right when using inks from anywhere but Germany. If there is a message, it's keep to your own kind, or problems will follow.
Co-written by the writer of The Death of Mr. Lazarescu, which you can read my review of here.
The main theme running through this is that people's prejudices run deep. The boss hates Germans, the Germans hate Romanians, the mother-in-law-to-be just wants to go back to Germany, the (German) printing machine doesn't even work right when using inks from anywhere but Germany. If there is a message, it's keep to your own kind, or problems will follow.
Co-written by the writer of The Death of Mr. Lazarescu, which you can read my review of here.
Saturday, May 26, 2007
Morirse en domingo (Never on a Sunday)
As a fun twist to our "Movie Night with the Holubs" we let them pick out a couple film festival films and they are not telling us what they are. This was the first of the two they chose.
At turns gruesome and funny and gruesomely funny, this plot rang a little of 6 Feet Under meets Weekend at Bernie's (that's the second time that film has been mentioned in this blog) but it was smart and very Mexican, which is what you hope from a foreign film. The parts I enjoyed most were surrounding the side-plot of the daughter of the funeral parlor-owner and the nephew of the dead man.
A little inconsistent, but enjoyable and fun.
At turns gruesome and funny and gruesomely funny, this plot rang a little of 6 Feet Under meets Weekend at Bernie's (that's the second time that film has been mentioned in this blog) but it was smart and very Mexican, which is what you hope from a foreign film. The parts I enjoyed most were surrounding the side-plot of the daughter of the funeral parlor-owner and the nephew of the dead man.
A little inconsistent, but enjoyable and fun.
Thursday, May 24, 2007
Son of Rambow
We attended the SIFF opening night gala and saw this film It was nice. Funny and cute and a "crowd-pleaser" in the way that, for whatever reason, makes me like it less. It had some great moments of humor and bumbled along in a touching "Stand by Me" kind of boys-will-be-boys-growing-up kind of way. The 80s soundtrack was superb and the kids who acted were great. I would say that this is a good movie, but I wasn't wowed by it.
Saturday, May 19, 2007
Fay Grim
I thought I tried to watch Henry Fool (the first in this two-movie series) when I was in college, and I thought I remembered that I didn't like it and didn't watch the whole thing. Then we did a quick lookup on imdb and the dates don't match up, so I was mistaken. Now I have to wonder if I remember watching it at all. If only I had started this blog 10 years ago...
In any case, this movie, the sequel - (which I read that you didn't have to see Henry Fool in order to enjoy) with the deadpan and hilarious Parker Posey and the intense and so-ugly-he's-handsome Jeff Goldblum - started strong and then petered out a little in the last half hour. It felt like it got tangled up in its own web of intersecting spy plot lines. But, it did have some funny dialog and quirky situations (the scenes with the "toy" deserve special mention) and I would give it 2 1/2 stars out of 5 and maybe more on a second watching.
I don't know how much I like Hal Hartley. This wasn't super-smart or gripping in the way that The Book of Life was. I think the rapid-fire-ping-pong match style dialog is a Hal Hartley trademark and I like it. Perhaps I should give Henry Fool a (nother?) chance.
In any case, this movie, the sequel - (which I read that you didn't have to see Henry Fool in order to enjoy) with the deadpan and hilarious Parker Posey and the intense and so-ugly-he's-handsome Jeff Goldblum - started strong and then petered out a little in the last half hour. It felt like it got tangled up in its own web of intersecting spy plot lines. But, it did have some funny dialog and quirky situations (the scenes with the "toy" deserve special mention) and I would give it 2 1/2 stars out of 5 and maybe more on a second watching.
I don't know how much I like Hal Hartley. This wasn't super-smart or gripping in the way that The Book of Life was. I think the rapid-fire-ping-pong match style dialog is a Hal Hartley trademark and I like it. Perhaps I should give Henry Fool a (nother?) chance.
Sunday, May 13, 2007
Monday, May 07, 2007
En el hoyo (In the Pit)
Documentaries are not easy. When they aren't done really well, it is really hard to sit through them. I wouldn't say that this was the case for this film, necessarily, but I don't think that pointing a camera at a few well-seasoned characters and a mind-blowing public works project automatically makes for an interesting story on its own. The bridge in Mexico City has been under construction for decades and the workers are still plugging away at it and the routine of their world is shown without much focus or arc or progress. (Perhaps that's the point, but again, it doesn't make for interesting cinema.) I enjoyed this well enough, though, and the characters with their funny nicknames for each other and their obsessions and weaknesses did hold my attention. The filmmaker didn't judge them for who they were, and while I wouldn't want to hang out with any of them, I did feel like I met some colorful folks and watched them work for an hour. Huh.
Tuesday, May 01, 2007
Cha no aji (The Taste of Tea)
Everything about this movie was positively delightful. I am tagging is as Top 10 of 2007 already because I know I won't see 10 better movies.
A wonderfully toady grandfather, a manga animator mother, a hypnotherapist father and a son obsessed with the game Go (and a girl who plays it). Oh yeah, and a daughter who is followed by a giant version of herself and throw in a few bigger-than-life-size manga character costumes and some sort of weird Japanese mob. An ordinary family living their ordinary lives in beautiful, rural Japan.
You know in the first two minutes that it will be quirky and fun. It's not an LHFF in the sense that it is shallow or easy; this is a weird movie and not for everyone, but in the 2+ hours you get to know this family really well -- you celebrate and sing with them and recover from loss with them. You forgive them their bizarre quirks because they're family. Really well done. I want to see everything by this director.
A wonderfully toady grandfather, a manga animator mother, a hypnotherapist father and a son obsessed with the game Go (and a girl who plays it). Oh yeah, and a daughter who is followed by a giant version of herself and throw in a few bigger-than-life-size manga character costumes and some sort of weird Japanese mob. An ordinary family living their ordinary lives in beautiful, rural Japan.
You know in the first two minutes that it will be quirky and fun. It's not an LHFF in the sense that it is shallow or easy; this is a weird movie and not for everyone, but in the 2+ hours you get to know this family really well -- you celebrate and sing with them and recover from loss with them. You forgive them their bizarre quirks because they're family. Really well done. I want to see everything by this director.
Wednesday, April 25, 2007
Efter brylluppet (After the Wedding)
The human condition is never more difficult, gripping and intense than when it's in the hands of a Danish film maker. Take pretty much anything by Lars von Trier and even the darkly funny Adam's Apples by Andres Thomas Jensen (who co-wrote this film) and you'll start to understand that the Danes love to make you wince.
I haven't seen anything else by this director, Susan Bier, but in this film she doesn't, and Danes in general don't, shy away from the ugly, the uncomfortable or the unpleasantness of being human. In fact, these are the things they celebrate and I love them for that. Where most directors would move the camera away, they will zoom in on the spittle threads in the open, gaping mouth, the snot dripping onto the upper lip and the gasping sobs of a human in emotional torment. Beautiful!
In this great Danish drama, the life paths of an orphanage worker in India and a wealthy businessman in Denmark cross. They have to figure out their difficult situation, moving forward to new beginnings and ends as they get what they need from one another. Great camera work: interesting/weird shots that recur and develop the themes...well written, brilliantly acted.
I haven't seen anything else by this director, Susan Bier, but in this film she doesn't, and Danes in general don't, shy away from the ugly, the uncomfortable or the unpleasantness of being human. In fact, these are the things they celebrate and I love them for that. Where most directors would move the camera away, they will zoom in on the spittle threads in the open, gaping mouth, the snot dripping onto the upper lip and the gasping sobs of a human in emotional torment. Beautiful!
In this great Danish drama, the life paths of an orphanage worker in India and a wealthy businessman in Denmark cross. They have to figure out their difficult situation, moving forward to new beginnings and ends as they get what they need from one another. Great camera work: interesting/weird shots that recur and develop the themes...well written, brilliantly acted.
Monday, April 23, 2007
The Wind that Shakes the Barley
Set in beautiful, rural Ireland in the 20s, Padraic Delaney and Cillian Murphy (whose crazy, wide-set, turquoise eyes are recognizable from the weird and wonderful Breakfast on Pluto) portray brothers who are Republican freedom fighters. They wage guerrilla war side by side in the anti-British movement until a turning point puts them on opposite sides of the ever-evolving conflict.
I am not sure I really enjoyed this movie. There were some heart-wrenching and horrific scenes and the payoff for going through it wasn't that great. The take-away message? War fuckin' sucks. There are no winners. Freedom at any cost is never as romantic as it sounds etc. etc. It was brutally sad, but I wasn't wholly sympathetic with any of the main characters, so the sadness (and my enjoyment) was diluted.
Ireland is gorgeous though. And their accents are nice. And Jon made some jokes about his wind shaking his barley. That part was pretty good too.
I am not sure I really enjoyed this movie. There were some heart-wrenching and horrific scenes and the payoff for going through it wasn't that great. The take-away message? War fuckin' sucks. There are no winners. Freedom at any cost is never as romantic as it sounds etc. etc. It was brutally sad, but I wasn't wholly sympathetic with any of the main characters, so the sadness (and my enjoyment) was diluted.
Ireland is gorgeous though. And their accents are nice. And Jon made some jokes about his wind shaking his barley. That part was pretty good too.
Sunday, April 22, 2007
The Cats of Mirkitani
When Linda Hattendorf met Jimmy he was living under the awning of a grocery in Lower Manhattan in New York. She begins to engage and film him for a possible documentary.
He is a "grand master artist" born in Sacramento, California. He grew up in Hiroshima, went to art school and came back to America only to be interred in Tule Lake interment camp after Pearl Harbor. His citizenship was taken away by the US government and he ended up homeless in the 80s in New York.
The film's amazing twist happens on 9/11 when, after the towers collapsed, Washington Square is deserted, but Linda finds Mirikitani in his usual spot, covered in dust and coughing in the toxic cloud. She invites him in to her (tiny) apartment and we begin to get to know him. I think this film is about the meaning of "home" and all the ways we can lose and find it.
We watch as, over the next few years, he paints in her apartment, hangs out with her cat, sings and waters plants. She helps him get his SSI benefits and finds him senior housing. Through her research and help, he visits Tule Lake, is reunited with his sister, who he hasn't seen in 60 years, and he teaches art classes at the senior home where he lives. The sweetest moments of the film are about the two of them.
He is a "grand master artist" born in Sacramento, California. He grew up in Hiroshima, went to art school and came back to America only to be interred in Tule Lake interment camp after Pearl Harbor. His citizenship was taken away by the US government and he ended up homeless in the 80s in New York.
The film's amazing twist happens on 9/11 when, after the towers collapsed, Washington Square is deserted, but Linda finds Mirikitani in his usual spot, covered in dust and coughing in the toxic cloud. She invites him in to her (tiny) apartment and we begin to get to know him. I think this film is about the meaning of "home" and all the ways we can lose and find it.
We watch as, over the next few years, he paints in her apartment, hangs out with her cat, sings and waters plants. She helps him get his SSI benefits and finds him senior housing. Through her research and help, he visits Tule Lake, is reunited with his sister, who he hasn't seen in 60 years, and he teaches art classes at the senior home where he lives. The sweetest moments of the film are about the two of them.
Tuesday, April 17, 2007
Zwartboek (The Black Book)
Two bad movies in a row and I have to start thinking that we are seeing too many movies. Would I rather see a bad film than no film? My instinct is to say , "no" but history doesn't lie, and I think I knew that The Lookout was going to be bad and I think I knew that this was going to be bad and we went anyway. How many times have I been surprised by low expectations with a good outcome? About 5 in the last 2 years. Not very good odds.
This was unrealistic drivel, and completely over the top and the fact that this guy directed Showgirls shouldn't be a surprise. He's a pervert (and not in any interesting way) and a sensationalist. I was thinking that Total Recall was enjoyable compared to this, but then I remembered that Total Recall is a P.K. Dick story and P.K. is great. This guy is not. I half expected the three-boobed Martian prostitute to pop into the picture at some point. Would have made as much sense as the cauldron of shit scene.
Well, the one thing this movie has going for it is that it has inspired the most links in any one post yet. I think I would have preferred not see this movie.
This was unrealistic drivel, and completely over the top and the fact that this guy directed Showgirls shouldn't be a surprise. He's a pervert (and not in any interesting way) and a sensationalist. I was thinking that Total Recall was enjoyable compared to this, but then I remembered that Total Recall is a P.K. Dick story and P.K. is great. This guy is not. I half expected the three-boobed Martian prostitute to pop into the picture at some point. Would have made as much sense as the cauldron of shit scene.
Well, the one thing this movie has going for it is that it has inspired the most links in any one post yet. I think I would have preferred not see this movie.
Saturday, April 07, 2007
Sunday, April 01, 2007
TMNT
Those crazy turtles are at it again! The action scenes are so well done, you forget they are wearing costumes...After defeating Shredder in the last movie, the turtles have grown up (?) and apart and Leonardo (who always was the bossy one) and their sensei, Master Splinter, to pull them together to defeat the new evil that is lurking in NYC.
My secret favorite is Donatello. He is so funny! I just LOVE that turtle.
My secret favorite is Donatello. He is so funny! I just LOVE that turtle.
Saturday, March 31, 2007
Into Great Silence
Once again, Jon and I were pretty much the only people under 60 in the audience. Why does that always happen?
This is a documentary about the Grande Chartreuse monks. They are the ones who make the Green Chartreuse Liquor, although, the production of it wasn't shown in this film. According to Wiki, they have moved the production of the drink to Spain, but it is named after its color which shares its name with the monastery, which is named after the mountains in which it is situated in the French Alps.
These monks are silent most of the time, except for on a weekly jaunt into the woods and some ceremonial occasions. So...you have three hours of pretty much silent images, except for footsteps, chopping, sawing, praying, bells ringing...you know, Monk Noises. But, that said, the hole left by the silence really puts you in their daily lives and it is rather peaceful and beautiful watching the seasons pass while the monks immerse themselves in work and prayer and play (they do play -- one particularly joyful scene showed the monks sledding down a steep snowy hill on a sunny day.)
The filmmaker was invited to come film, but only without a crew and without artificial lights so the documentary is reduced to basic natural elements: light, space, time.
Very calm and meditative. Very long. It left us asking some questions, such as, "Where do monks go pee?"
This is a documentary about the Grande Chartreuse monks. They are the ones who make the Green Chartreuse Liquor, although, the production of it wasn't shown in this film. According to Wiki, they have moved the production of the drink to Spain, but it is named after its color which shares its name with the monastery, which is named after the mountains in which it is situated in the French Alps.
These monks are silent most of the time, except for on a weekly jaunt into the woods and some ceremonial occasions. So...you have three hours of pretty much silent images, except for footsteps, chopping, sawing, praying, bells ringing...you know, Monk Noises. But, that said, the hole left by the silence really puts you in their daily lives and it is rather peaceful and beautiful watching the seasons pass while the monks immerse themselves in work and prayer and play (they do play -- one particularly joyful scene showed the monks sledding down a steep snowy hill on a sunny day.)
The filmmaker was invited to come film, but only without a crew and without artificial lights so the documentary is reduced to basic natural elements: light, space, time.
Very calm and meditative. Very long. It left us asking some questions, such as, "Where do monks go pee?"
Thursday, March 29, 2007
Colour Me Kubrick: A True....ish Story
John Malkovich carries this movie, no question, but it would be hard to go wrong with the subject matter: a gay, crazy, conman pretends to be Stanley Kubrick (for the seemingly sole purpose of staying drunk and getting laid by rich men) but he knows very little about Kubrick and seems to forget sometimes that he is pretending -- it's ripe for comedy.
That is, if you aren't Stanley Kubrick
That is, if you aren't Stanley Kubrick
Malkovich has a Jim Carrey quality to him in this role, which is neither compliment nor insult in my mind, just an observation. In that he is portraying a man who is portraying someone else, who keeps changing his approach to said portrayal, his body language and facial expressions are as much a part of the character as the affected accents, lines and costumes. Speaking of costumes, an honorable mention for fantastic costumes goes to Victoria Russell (who hasn't done movie costumes for 20 years -- since the wonderful, horrible Gothic!)
The back story can be read here -- but shouldn't be until after you've seen the movie.
I'll also say that while this movie was thoroughly enjoyable, all of us agreed that the execution wasn't top notch. A clearer storyline would have helped...what we have are hilarious vignettes, but they could use more structure and definition in and of themselves, or a more cohesive timeline to connect them all.
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