Epic (by which I mean long and over-reaching) journey of a young boy whose mother forces him to leave her, pretend to be Jewish and pretend to be another woman's son so that he will be evacuated from Ethiopia as part of "Operation Moses" to Israel in the early 80s.
In Israel, with his new family, he grows up, finds new meanings of faith and family and eventually, happiness and closure. Neat.
The problems, however, overshadowed -- they included awkward dialog, trite plot turns and a little too much deus ex machina to be enjoyable for me. The good things were the actor who played the young Schlomo and the historical context which I had never learned about before.
We decided we needed to coin another tag for these kinds of movies: the Heavy-Hearted Foreign Film.
Sunday, March 30, 2008
Sunday, March 23, 2008
Paranoid Park
Gus Van Sant is so good at being Gus Van Sant. He can take a relatively bland and conventional story, which this is, and make it contemplative, dark and dreamy. He revisits the milieu of Last Days or Elephant in that he takes relatively unheard of actors, or people who have never acted before, and thrusts them into his grainy, repeating-scene world. Jon and I noted that if he hadn't put his stamp on this, it would have been boring, with a capital b, but what we got was pure Van Sant -- almost too much so (enough with the young skateboard hotties taking their shirts off!) -- well lit, well shot, story well told.
Wednesday, March 19, 2008
Bab'Aziz
A stunningly beautiful and fascinating fairy tale. As we slowly progress through the story of Bab'aziz, we meet unusual and interesting characters whose lives intersect, seemingly at the whim of the storyteller. In this desert landscape, blind men journey without direction, wandering bands of musicians head toward "the gathering," humans become animals only to change back to humans and soul-seekers are made insane by their quests. I was simply in love with the granddaughter.Though she and her grandfather never say, "I love you" to one another, you can see it in their touch, their trust and their eyes. Thoroughly enjoyable.
Sunday, March 16, 2008
Chicago 10
I knew the story of the Chicago 8, but was curious who the additional 2 were. The movie didn't provide any answers, and Jon had to look it up after we
watched the film. The mix of animation and archival footage was fun and funny and dramatic and I learned a ton about the trial and the actual events over the days that Abby Hoffman and Co. were involved. The other two were the lawyers who were actually slapped with several contempt of court charges during the trail in which the 8 were eventually found not guilty. Great soundtrack.
watched the film. The mix of animation and archival footage was fun and funny and dramatic and I learned a ton about the trial and the actual events over the days that Abby Hoffman and Co. were involved. The other two were the lawyers who were actually slapped with several contempt of court charges during the trail in which the 8 were eventually found not guilty. Great soundtrack.
Tuesday, March 04, 2008
Be Kind Rewind
This is not the Michel Gondry we have met before. This is a new, lighter, less complicated and in some ways, less enjoyable Michel Gondry. But, we had to see this, knowing it wouldn't be Eternal Sunshine or The Science of Sleep, we had to see it, and I am glad we did.
Mos Def is left in charge of a video (actual VHS video) store while owner Danny Glover is away. Jack Black, through a completely implausible accident, ruins all the videos forcing the duo to remake all the films ('sweding' them). Black is the only person who could have played his character. In fact, I think he plays that character so much that we believe that is who Jack Black is. Loud, crazy, annoying, dim, enthusiastic. We buy it when he plays it. At least I do. So we go along with the goofy idea and find ourselves caught up in the fun.
Wonderful, whimsical cardboard cutouts on the sets, fancy camera angles to produce great visuals, a completely absurd plot and silly characters combined to carry this movie through. Mos Def was pitch perfect. It rode the line between sweet and schlocky, perfectly.
Mos Def is left in charge of a video (actual VHS video) store while owner Danny Glover is away. Jack Black, through a completely implausible accident, ruins all the videos forcing the duo to remake all the films ('sweding' them). Black is the only person who could have played his character. In fact, I think he plays that character so much that we believe that is who Jack Black is. Loud, crazy, annoying, dim, enthusiastic. We buy it when he plays it. At least I do. So we go along with the goofy idea and find ourselves caught up in the fun.
Wonderful, whimsical cardboard cutouts on the sets, fancy camera angles to produce great visuals, a completely absurd plot and silly characters combined to carry this movie through. Mos Def was pitch perfect. It rode the line between sweet and schlocky, perfectly.
Sunday, March 02, 2008
Military Intelligence and You
Sarcastic and spoofy take on a WWII military training film of the 40s. The idea is that if you say "Iraq" each time they say "Germany", the results are hee-larious, but it really misses the mark. Kind of too true to be funny, what had real biting political commentary potential was basically wasted on Airplane!-style jokes and repetitive melodrama/slapstick. It has a few good moments for sure, but not enough to carry the idea.
Saturday, March 01, 2008
Cidade dos Homens (City of Men)
Intense drama set in the favelas of Brazil. Based on a TV show that was a spin-off of the movie City of God by the same director. The themes of fatherhood, friendship and responsibilities are right on the surface, but kept interesting by the phenomenal performances by the two leading men. The sweltering heat and gang violence and poverty are so close you can feel the pressure and the need for things you can count on. Not complicated or surprising but a very well told story with hope as a footnote in the lives of the characters.
Monday, February 25, 2008
A Casa de Alice (Alice's House)
The performance by Carla Ribas in this is amazing. Somewhere Jon read that this was meant to be a "state of feminism" in Brazil today picture, which, if it is, is very depressing....even more depressing than the simple, subtle, flavorful character drama that is appears at face-value. The director has, until now, I believe, only made documentaries, and you can feel that approach come through, with interesting details highlighted without being part of the story. I felt sorry for this woman and her mom and her client who lies about her life and the young girl who finds an older, married man to flirt with -- these women are all controlled in every way by the men around them -- their lovers, sons and husbands. No one is happy. Life carries on.
Sunday, February 10, 2008
4 luni, 3 saptamani si 2 zile (4 Months, 3 Weeks & 2 Days)
What surprised me most about this movie is that it is about the friend who arranges an illegal abortion for her friend, not about the friend having the abortion. We follow them both through about 6-8 hours in almost real time, but the main character is the one who we really feel for, her irresponsible friend, by virtue of not being able to take care of herself, asking far too much too many times in this unfortunate scenario. Set 1980's Romania where the oppressive government touches almost every aspect of people's lives, even the most private and personal.
There are interesting moments in this film, directorial touches that made me pause and appreciate how hard it is to paint in all gray. But they are few and far between deserts of difficult, sad, slow circumstances. Some of the emotional horror is far too intense, and there is little or no redemption for anyone. I left this film feeling depleted and tired.
There are interesting moments in this film, directorial touches that made me pause and appreciate how hard it is to paint in all gray. But they are few and far between deserts of difficult, sad, slow circumstances. Some of the emotional horror is far too intense, and there is little or no redemption for anyone. I left this film feeling depleted and tired.
Thursday, February 07, 2008
Persepolis
I saw Marjane Satrapi speak a few years ago about her autobiographical graphic novels by the same name of this movie. She was incredibly funny and spoke eloquently of her surprise at finding her way to be a "comics artist." She had me as a fan for life and I was thrilled when I heard about the film.The film was impeccably done. They kept Satrapi's style, spirit and touch so perfectly, you might beleive she drew the whole thing herself. Magnificent shades of gray envelop each scene with wonderful details and palpable emotion. We are transported with sadness, patriotism, joy and adventure.
Even though Marjane lived in Iran through war and revolution and moved to Austria and Paris, her life was not that remarkable. It is her gift for storytelling that draws us in and wraps us up in journey.
Sunday, January 27, 2008
Beed-e majnoon (The Willow Tree)
In the lobby of the theater, one of the employees said that folks coming out of this movie thought it would be lighter and beautiful, but most were surprised to find that it was intense and depressing. "That's my kind of movie!" I said, suddenly much more excited to see it.
It was intense and depressing. Somewhat hard to watch at times, but in many ways really beautiful and haunting. The director stayed away from the cliches that might have been easy and obvious way to illustrate what Yusef was going through. Instead we get a evocative look at his psychological life before and after this sight is regained.
It was intense and depressing. Somewhat hard to watch at times, but in many ways really beautiful and haunting. The director stayed away from the cliches that might have been easy and obvious way to illustrate what Yusef was going through. Instead we get a evocative look at his psychological life before and after this sight is regained.
Sunday, January 20, 2008
Cassandra's Dream
Oh Woody...it seems that you don't even try sometimes now.
This story was almost exactly like Before the Devil Knows You're Dead (which I didn't really like either), which begs the question, why take a tired storyline and put actors that seem totally wrong for their roles and have an awkward chemistry together and rehash it half-baked into a poorly named movie? Sometimes Allen seems to make movies just to have one each year, whether or not they are well-conceived, constructed or executed.
I have to admit, I was sucked into the drama a few times, but this was despite, not because of the acting, the dialog or the characters. Ironically, only one of the minor characters stuck out as realistic and believable. Sally Hawkins who played Kate hasn't been in much but British TV before, but she is the one who Woody got a great performance out of.
Finally...why is the boat called Cassandra? Was the one regretful brother's half-baked, drunk reservations before they do the deed supposed to call up visions of the Greek Cassandra whose fierce portents were ignored by all? Hardly. The more I thought about this, the more I disliked the whole film.
This story was almost exactly like Before the Devil Knows You're Dead (which I didn't really like either), which begs the question, why take a tired storyline and put actors that seem totally wrong for their roles and have an awkward chemistry together and rehash it half-baked into a poorly named movie? Sometimes Allen seems to make movies just to have one each year, whether or not they are well-conceived, constructed or executed.
I have to admit, I was sucked into the drama a few times, but this was despite, not because of the acting, the dialog or the characters. Ironically, only one of the minor characters stuck out as realistic and believable. Sally Hawkins who played Kate hasn't been in much but British TV before, but she is the one who Woody got a great performance out of.
Finally...why is the boat called Cassandra? Was the one regretful brother's half-baked, drunk reservations before they do the deed supposed to call up visions of the Greek Cassandra whose fierce portents were ignored by all? Hardly. The more I thought about this, the more I disliked the whole film.
Monday, January 14, 2008
It's Fine! Everything is Fine
Part two in delightful freakshow Crispin Glover's "It" trilogy. He opened the movie with a slideshow and dramatic reading of pages of eight of his books. That part was weird, funny, enjoyable. The movie, however, was none of that. I am certain it's art. I'm sure some of the equally-as-weird-as-Crispin audience enjoyed it (I actually saw a guy in Grateful Dead MC Hammer pants!), but the point of scene after scene of graphic elderly Cerebral Palsy patient porn was lost on me. I understand the main character wrote the screenplay and he played himself in this psycho-sexual fantasy of his own making, but there are just some things I just don't want to see. Thanks, Crispin, but no thanks.
There Will Be Blood
Daniel Day Lewis gives the performance of a lifetime in what basically amounts to a one-man show -- he is in every scene and in every scene he recites what might as well be monologues. Really -- there are other characters, but they are there to support his lines, his character development and the story, which is him. But it's completely gripping. His character is so gritty and dark and single-minded that I was drawn into his drama as it unfolded. Shakespearian in its tension, bloodiness and morals -- think Hamlet or King Lear.
P.T. Anderson crafts the perfect environment for Lewis' character Plainview. The landscape is dusty and dry and the scene is desperate. Tensions between religion, family, community and money are clawed by dirty hands to the surface for us to pick through and find our fortune.
I'm finished!
P.T. Anderson crafts the perfect environment for Lewis' character Plainview. The landscape is dusty and dry and the scene is desperate. Tensions between religion, family, community and money are clawed by dirty hands to the surface for us to pick through and find our fortune.
I'm finished!
Saturday, January 05, 2008
El Orfanto (The Orphanage)
We were lured in by reviews which said that this is a spooky movie, and not for people with a short attention span. I guess we expected a smart, scary film, but it wasn't really either. It ended up being slow and somewhat predictable in the end. I did enjoy the few major jolts that started happening about halfway through. I like a good suspenseful moment with great payoff. One of these moments, caused several people to actually scream in the theater, so you do get some bang for your buck. I liked some things about it (the story and the main child actor) but truthfully, it's not much more than a mainstream horror movie.
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.
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