indolence is bliss

Monday, July 26, 2010

early 80s fantasy revisited

Dragonslayer (1981)
3 stars
Directed by Matthew Robbins
Starring Peter MacNicol

I don’t know how it slipped through the cracks in my various movie queues, but I finally watched Dragonslayer last month.

While clearly akin to other 80s Fantasy like Clash of the Titans, Krull, Neverending Story and (*gasp*) Legend, it manages to avoid some of the others’ worst excesses.

Mainly it comes down to a surprisingly good script. It’s certainly not the acting or special effects that put this movie over. Recommended for historical curiosity value only.

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Saturday, July 24, 2010

top movies update

I apologize for not getting back to the mini-reviews yet. I've been spending almost all my movie-watching time rewatching favorites in order to finish out the Top Movies list. I have watched one or two new movies, though, so I do feel a mini-review or two coming on...

But first: I've rewatched a couple dozen movies on my favorites-but-only-watched-once list (I still have at least another dozen to rewatch). Unsurprisingly, most of these did not make the cut. What did are:
  • Million Dollar Baby
  • You Can Count On Me
  • Breaking the Waves
  • Secrets & Lies
  • A Love Song For Bobby Long
  • Shadowlands
  • Hotel Rwanda
  • Yi Yi (just barely)

Perhaps more interesting is how few of IMDb's Top 100 made my list. 28 as of this writing. And only 40 out of IMDb's Top 250. Conversely, nearly half of my Top Movies list doesn't appear in the IMDb Top 250.

And it's not just because I haven't seen the movies in IMDb's list: I've seen all but two of the Top 100 (and Inception was just released so it's excluded from my "Prior to 2010" list anyway) and all but eight of the Top 250. While I see what others might see in the other Top IMDb Movies, they didn't make my list because I've found them lacking in one or more ways.

Is this normal? After all, IMDb's Top 250 is not compiled by a single person. I consider my tastes very Hollywood mainstream, and IMDb's ratings are usually a very good predictor of my own appraisal of a movie, but when it comes to what ranks the highest, most of IMDb's patrons and I split ways.

I think it comes down to this: I'm a romantic who has nevertheless seen thousands of movies of all sorts and liked many hundreds of them. To me the ideal movie tells a great story in a manner engaging enough to not only suspend disbelief but actually change your outlook on life. Showing off is fine for selling popcorn, but not for lasting art. (Yes, I'm looking at you, Welles and Cameron.)

Some people have seen so few movies that anything with high production values elicits applause, regardless of whether or not it was done better before. Some have seen so many that the only thing they rate highly is originality. I believe I have seen so utterly many movies as to make originality such a rare treat that it is only one among many criteria for greatness. When you've seen so much what stands out most is the craft. A movie that is so well-crafted it transcends normal criteria and becomes a work of art. That to me is a classic.


My Top Movies of All Time (released before 2010)

  1. Casablanca (1942)

  2. The Godfather: Part II (1974)

  3. The Godfather (1972)

  4. The Shop Around the Corner (1940)

  5. It’s a Wonderful Life (1946)

  6. Million Dollar Baby (2004)

  7. Trouble in Paradise (1932)

  8. Amélie (Le fabuleux destin d'Amélie Poulain) (2001)

  9. Strictly Ballroom (1992)

  10. The Professional (Léon) (1994)

  11. National Velvet (1944)

  12. Amadeus (1984)

  13. The Matrix (1999)

  14. Roman Holiday (1953)

  15. To Be or Not to Be (1942)

  16. Apocalypse Now (1979)

  17. Pulp Fiction (1994)

  18. Gladiator (2000)

  19. You Can Count On Me (2000)

  20. Eternal Sunshine of the Spotless Mind (2004)

  21. Gigi (1958)

  22. The Shawshank Redemption (1994)

  23. The Good, the Bad, and the Ugly (Il buono, il brutto, il cattivo) (1966)

  24. Cinema Paradiso (Nuovo Cinema Paradiso) (1988)

  25. Raising Arizona (1987)

  26. The Seven Samurai (Shichinin no samurai) (1954)

  27. Vertigo (1958)

  28. Groundhog Day (1993)

  29. When Harry Met Sally... (1989)

  30. Grave of the Fireflies (Hotaru no haka) (1988)

  31. Judgment at Nuremberg (1961)

  32. Jerry Maguire (1996)

  33. Singin' in the Rain (1952)

  34. The City of Lost Children (La Cité des enfants perdus) (1994)

  35. How Green Was My Valley (1941)

  36. Saving Private Ryan (1998)

  37. The Lady Eve (1941)

  38. The Philadelphia Story (1940)

  39. In a Lonely Place (1950)

  40. It Happened One Night (1934)

  41. The Silence of the Lambs (1991)

  42. To Catch a Thief (1955)

  43. Whisper of the Heart (Mimi wo sumaseba) (1995)

  44. All About Eve (1950)

  45. To Kill a Mockingbird (1962)

  46. Fight Club (1999)

  47. The Sound of Music (1965)

  48. West Side Story (1961)

  49. The Apartment (1960)

  50. The Ghost and Mrs. Muir (1947)

  51. Das Boot (1981)

  52. The Shining (1980)

  53. The Lion in Winter (1968)

  54. The Night of the Hunter (1955)

  55. Empire of the Sun (1987)

  56. Secrets & Lies (1996)

  57. Shadowlands (1993)

  58. A Love Song for Bobby Long (2004)

  59. Rio Bravo (1959)

  60. Hotel Rwanda (2004)

  61. Memento (2000)

  62. Platoon (1996)

  63. Paris, Texas (1984)

  64. Brazil (1985)

  65. Advise & Consent (1962)

  66. Superbad (2007)

  67. Swingers (1996)

  68. Kiki's Delivery Service (Majo no takkyubin) (1989)

  69. His Girl Friday (1940)

  70. Gone with the Wind (1939)

  71. A Clockwork Orange (1971)

  72. Breaking the Waves (1996)

  73. Fanny och Alexander (1982)

  74. Tokyo Story (Tokyo monogatari) (1953)

  75. Beauty and the Beast (1991)

  76. Mad Max Beyond Thunderdome (1985)

  77. The Wizard of Oz (1939)

  78. Dark Victory (1939)

  79. Yi Yi (2000)

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Tuesday, July 06, 2010

top movies of all time

As I mentioned in my last post, I’ve been working on a Top 100 Movies of All Time (Prior to 2010) list. But I've been stuck for weeks trying to fill out the last thirty slots or so. Ultimately, I decided I just haven't seen 100 movies I can call bona fide classics. So I’ve decided it makes more sense to drop the arbitrary 100 number and simply stop when I cannot say for sure the rest are classics.

While there are certainly more than 100 movies I love (I own 107 movies on VHS, DVD and/or Blu-ray), I readily admit many are not classics. How then, do I separate the favorites from the true classics - and for that matter the classics that still deserve a place in a Top 100 list from those that have aged excessively?

Simple: I only include movies I've seen more than once.

Quite often my appraisal of a movie drastically changes upon rewatching it. In most cases, this is a result of my emotional state/stuff going on in my life/how many bad movies I’d seen recently at the first screening. For instance, I loved Jules et Jim, La Strada, and Les enfants du paradis the first time I watched them, feeling they transcended the postured nonsense of typical European arthouse cinema. Nevertheless, upon recently seeing them again, I found all three pretentious yet inconsequential. All of them dropped off the list.

Conversely, I recently watched Memento again (I had last seen it almost a decade ago) and it still felt surprisingly fresh. I tentatively take back my earlier prediction that it will not be a classic and have included it in the list. Is it in the innermost circle of my favorites? No. Is it a innovative, fully-realized piece of thought-provoking art? Yes.

Ultimately, whether or not a movie makes the list is a judgment call, and the list itself speaks more clearly about my movie preferences than any description of it. So without further ado:

My Top Movies of All Time (released before 2010)

  1. Casablanca
    released 1942
    directed by Michael Curtiz
    starring Humphrey Bogart, Ingrid Bergman

  2. The Godfather: Part II
    released 1974
    directed by Francis Ford Coppola
    starring Al Pacino, Robert De Niro, Robert Duvall, Diane Keaton

  3. The Godfather
    released 1972
    directed by Francis Ford Coppola
    starring Al Pacino, Marlon Brando, James Caan, Robert Duvall, Diane Keaton

  4. The Shop Around the Corner
    released 1940
    directed by Ernst Lubitsch
    starring James Stewart, Margaret Sullavan

  5. It’s a Wonderful Life
    released 1946
    directed by Frank Capra
    starring James Stewart, Donna Reed

  6. Trouble in Paradise
    released 1932
    directed by Ernst Lubitsch
    starring Miriam Hopkins, Kay Francis, Herbert Marshall

  7. Amélie (Le fabuleux destin d'Amélie Poulain)
    released 2001
    directed by Jean-Pierre Jeunet
    starring Audrey Tautou

  8. Strictly Ballroom
    released 1992
    directed by Baz Luhrman

  9. The Professional (Léon)
    released 1994
    directed by Luc Besson
    starring Jean Reno, Natalie Portman

  10. National Velvet
    released 1944
    directed by Clarence Brown
    starring Elizabeth Taylor, Mickey Rooney

  11. Amadeus
    released 1984
    directed by Milos Forman
    starring F. Murray Abraham, Tom Hulce

  12. The Matrix
    released 1999
    directed by Andy and Larry Wachowski
    starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss

  13. Roman Holiday
    released 1953
    directed by
    starring Audrey Hepburn, Gregory Peck

  14. To Be or Not to Be
    released 1942
    directed by Ernst Lubitsch
    starring Carole Lombard, Jack Benny

  15. Apocalypse Now
    released 1979
    directed by Francis Ford Coppola
    starring Martin Sheen, Marlon Brando

  16. Pulp Fiction
    released 1994
    directed by Quentin Tarantino
    starring John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis

  17. Gladiator
    released 2000
    directed by Ridley Scott
    starring Russell Crowe, Joaquin Phoenix

  18. Eternal Sunshine of the Spotless Mind
    released 2004
    directed by Michel Gondry
    starring Jim Carrey, Kate Winslet

  19. Gigi
    released 1958
    directed by Vincente Minnelli
    starring Leslie Caron, Maurice Chevalier, Louis Jourdan

  20. The Shawshank Redemption
    released 1994
    directed by Frank Darabont
    starring Tim Robbins, Morgan Freeman

  21. The Good, the Bad, and the Ugly (Il buono, il brutto, il cattivo)
    released 1966
    directed by Sergio Leone
    starring Clint Eastwood

  22. The City of Lost Children (La Cité des enfants perdus)
    released 1994
    directed by Jean-Pierre Jeunet
    starring Ron Perlman

  23. Cinema Paradiso (Nuovo Cinema Paradiso)
    released 1988
    directed by Giuseppe Tornatore

  24. Raising Arizona
    released 1987
    directed by Joel Coen
    starring Nicholas Cage, Holly Hunter

  25. The Seven Samurai (Shichinin no samurai)
    released 1954
    directed by Akira Kurosawa
    starring Takashi Shimura, Toshiro Mifune

  26. Vertigo
    released 1957
    directed by Alfred Hitchcock
    starring James Stewart, Kim Novak

  27. Groundhog Day
    released 1993
    directed by Harold Ramis
    starring Bill Murray, Andie MacDowell

  28. When Harry Met Sally...
    released 1989
    directed by Rob Reiner
    starring Billy Crystal, Meg Ryan

  29. Grave of the Fireflies (Hotaru no haka)
    released 1988
    directed by Isao Takahata

  30. Judgment at Nuremberg
    released 1961
    starring Spencer Tracy, Burt Lancaster, Richard Widmark, Marlene Dietrich, Maximilian Schell, Judy Garland, Montgomery Clift

  31. Jerry Maguire
    released 1996
    directed by Cameron Crowe
    starring Tom Cruise, Renee Zellweger, Cuba Gooding, Jr.

  32. Singin' in the Rain
    released 1952
    directed by Stanley Donen
    starring Gene Kelly, Debbie Reynolds

  33. How Green Was My Valley
    released 1941
    directed by John Ford
    starring Roddy McDowall, Walter Pidgeon, Maureen O'Hara

  34. Saving Private Ryan
    released 1998
    directed by Steven Spielberg
    starring Tom Hanks, Matt Damon

  35. The Lady Eve
    released 1941
    directed by Preston Sturges
    starring Barbara Stanwyck, Henry Fonda

  36. The Philadelphia Story
    released 1940
    directed by George Cukor
    starring Cary Grant, Katharine Hepburn, James Stewart

  37. In a Lonely Place
    released 1950
    directed by Nicholas Ray
    starring Humphrey Bogart, Gloria Grahame

  38. It Happened One Night
    released 1934
    directed by Frank Capra
    starring Clark Gable, Claudette Colbert

  39. The Silence of the Lambs
    released 1991
    directed by Jonathan Demme
    starring Jodie Foster, Anthony Hopkins

  40. To Catch a Thief
    released 1955
    directed by Alfred Hitchcock
    starring Cary Grant, Grace Kelly

  41. Whisper of the Heart (Mimi wo sumaseba)
    released 1995
    directed by Yoshifumi Kondo

  42. All About Eve
    released 1950
    directed by Joseph L. Mankiewicz
    starring Bette Davis

  43. To Kill a Mockingbird
    released 1962
    directed by Robert Mulligan
    starring Gregory Peck

  44. Fight Club
    released 1999
    directed by David Fincher
    starring Edward Norton, Brad Pitt, Helena Bonham Carter

  45. The Sound of Music
    released 1965
    directed by Robert Wise
    starring Julie Andrews, Christopher Plummer

  46. West Side Story
    released 1961
    directed by Robert Wise
    starring Natalie Wood

  47. The Apartment
    released 1960
    directed by Billy Wilder
    starring Jack Lemmon, Shirley MacLaine

  48. The Ghost and Mrs. Muir
    released 1947
    directed by Joseph L. Mankiewicz
    starring Gene Tierney, Rex Harrison

  49. Das Boot
    released 1981
    directed by Wolfgang Petersen
    starring Jürgen Prochnow, Herbert Grönemeyer

  50. The Shining
    released 1980
    directed by Stanley Kubrick
    starring Jack Nicholson, Shelley Duvall

  51. The Lion in Winter
    released 1968
    directed by Anthony Harvey
    starring Peter O'Toole, Katharine Hepburn

  52. The Night of the Hunter
    released 1955
    directed by Charles Laughton
    starring Robert Mitchum, Shelley Winters, Lillian Gish

  53. Empire of the Sun
    released 1987
    directed by Steven Spielberg
    starring Christian Bale

  54. Rio Bravo
    released 1959
    directed by Howard Hawks
    starring John Wayne, Dean Martin, Ricky Nelson

  55. Memento
    released 2000
    directed by Christopher Nolan
    starring Guy Pearce

  56. Platoon
    released 1996
    directed by Oliver Stone
    starring Charlie Sheen, Tom Berenger, Willem Dafoe

  57. Paris, Texas
    released 1984
    directed by Wim Wenders
    starring Harry Dean Stanton, Dean Stockwell, Nastassja Kinksi

  58. Brazil
    released 1985
    directed by Terry Gilliam
    starring Jonathan Pryce

  59. Advise & Consent
    released 1962
    directed by Otto Preminger
    starring Walter Pidgeon, Henry Fonda, Charles Laughton, Franchot Tone

  60. Superbad
    released 2007
    directed by Greg Mottola
    starring Jonah Hill, Michael Cera

  61. Swingers
    released 1996
    directed by Doug Liman
    starring Jon Favreau, Vince Vaughn

  62. Kiki's Delivery Service (Majo no takkyubin)
    released 1989
    directed by Hayao Miyazaki

  63. His Girl Friday
    released 1940
    directed by Howard Hawks
    starring Cary Grant, Rosalind Russell

  64. Gone with the Wind
    released 1939
    directed by Victor Fleming
    starring Vivien Leigh, Clark Gable

  65. A Clockwork Orange
    released 1971
    directed by Stanley Kubrick
    starring Malcom McDowell

  66. Fanny och Alexander
    released 1982
    directed by Ingmar Bergman

  67. Tokyo Story (Tokyo monogatari)
    released 1953
    directed by Yasujiro Ozu
    starring Chishu Ryu, Setsuko Hara

  68. Beauty and the Beast
    released 1991
    directed by Gary Trousdale, Kirk Wise

  69. Mad Max Beyond Thunderdome
    released 1985
    directed by George Miller
    starring Mel Gibson, Tina Turner

  70. The Wizard of Oz
    relased 1939
    directed by Victor Fleming
    starring Judy Garland

  71. Dark Victory
    released 1939
    directed by Edmund Goulding
    starring Bette Davis


Potential additions pending a second screening

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Tuesday, June 15, 2010

update on aughties classics

Editor’s Note: (Not that anything on this blog is proofread.) After an extended hiatus, I am again shifting gears from photo equipment back to movie reviews. Only half-intentionally, I have gradually shifted my photographic musings to my Flickr photostream, which is really a blog with pictures. Just thought it’d be simpler to keep the two subjects separate.


It has been less than 4-1/2 years, and so this is probably premature, but let’s check up on the progress of my predictions in the post I called aughties classics.

While some of the movies called out in that original post moved out of the Top 100 and one has moved into it, they are all still in the Top 250. Rather than look at what happened to their absolute rank (which is distorted by late-Aughties temporary hits), it’s perhaps more instructive to look at changes in their relative rankings (rank with respect to the other eighteen hits from the early aughties). Most have moved down the list in tandem. These are the exceptions:

City of God (relative rank #4 to #2)
Memento (#5 to #4)
Eternal Sunshine of the Spotless Mind (#7 to #9)
Requiem for a Dream (#12 to #10)
Sin City (#15 to #12)

In January 2006, I predicted four titles would make it to Classic status: Amelie, Eternal Sunshine, Requiem for a Dream, and Gladiator. Amelie and Requiem are holding on strong, and I still believe those predictions will pan out. Meanwhile, Gladiator is also showing strength, having moved up in absolute rank from #150 to #98. Eternal Sunshine, though, is weakening. However it still has an absolute ranking of #58, and that still means lots of people consider it one of the best movies they’ve ever watched. So, all in all, I’m still pretty confident in those predictions.

I’m doing much less well in the ones I predicted would not make it to classic status. City of God (#17 absolute rank) and Memento (#27) are doing better than ever, and I think it’s pretty clear I’ll be proven wrong on those. Sin City also moved up in relative ranking, but down in absolute rank to only #94, so it is still far from assured Classic status.

And then there’s Lord of the Rings. While slipping in the absolute rankings from the Top 20s to the Top 30s, they are still showing remarkable strength after almost a decade. In retrospect, it’s not hard to understand their staying power, being after all the definitive production of the greatest cult-classic novel of all time. Are they as good as the Godfathers? I don’t think so, but will it be as much of a classic as the similar-ranking Star Wars Trilogy? Sure, why not?

I have watched both of the Top 100 Early Aughties films I had not yet seen when I wrote the original post: Crash and The Downfall. Since then, Crash has indeed (drumroll…) crashed to #216, and is already a footnote in movie history. The Downfall is still holding on at #79. A very good movie, but if I have to give a thumbs up or down on classic status, I say the name is as good a predictor as any.

Since the beginning of 2006, nine newer movies have broken into the Top 100.

#10 - The Dark Knight (2008)
#46 – WALL-E (2008)
#50 – The Departed (2006)
#56 – The Lives of Others (2006)
#68 – Pan’s Labyrinth (2006)
#71 – The Prestige (2006)
#72 – Inglourious Basterds (2009)
#81 – Up (2009)
#90 – Gran Torino (2008)
#97 – Avatar (2009)
#100 – Slumdog Millionaire (2008)

I think all of these are very good films (with the exception of Inglourious Basterds which arrives from Netflix today). Given that most of my predictions are so far not showing obvious signs of success, I guess I’ll have to be a little more charitable this time around. Instead of calling out the few I think will achieve Classic status, let me just extrapolate from their current rankings.

Judging from rankings, Avatar and Slumdog seem to be on their way out. While both were very good films in their own way, I'm guessing they will ultimately be seen as conventional movie-making with lots of eye candy.

Conversely, as much as I hate to say it, The Dark Knight is probably here to stay. Am I the only one who thinks Batman Begins was a better movie?

I also predict The Prestige will not make it, if for no other reason that I think it’s by far the least interesting of any of the movies I’ve mentioned in this post. It was nominated for no major Academy Awards, and won no major awards at all. Frankly, I’m puzzled as to why it’s ranked as high as it is.

Everything else has a shot.

And that’s about all I have to say in update to my Aughties Classics predictions. I’m thinking next I should post my predictions for IMDb’s Top 100 Movies Released Before 2010 list. Not that that exists, per se, but think of it as the 100 top-ranked movies released before 2010 as compiled in, say, the year 2030.

And then, if you ask really nicely, maybe I’ll give you my personal All-Time Top 100 List.

Finally, I plan to start mini-reviewing in earnest again now that I'm signed up with Netflix once more. Now that I look at it, I haven't posted a true mini-review in over four years. Lots to catch up on.

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Sunday, January 17, 2010

top ten movies of the aughties

It’s a bit overdue, but to commemorate the launch of the Awards Season (the time between the Golden Globes and Academy Awards), I offer my Top Ten Movies of the Aughties (2000-2009) List. Just to make it more interesting, I’ll choose the best movie of each year between 2000 and 2009. By no conscious design, the first five are by European directors and the last five are by American directors. A trend in world film?

2000
Gladiator
For some reason, most people I know dismiss this movie as popcorn fare. I don’t understand the lack of esteem: this film is thrilling, chilling, spectacular, and superbly written and acted. (Russell Crowe vs. Joaquin Phoenix! Even Connie Nielsen holds her own.) It even won Best Picture. I think this is by far Ridley Scott’s best film.

Honorable Mention
You Can Count On Me

Laura Linney is one of my favorite actresses, and this movie is why. Simple, conventional story, about as far as one can get from Gladiator and still be a recognizably American movie. Like the Academy, all other things being equal, I favor epics over chamber drama – otherwise this might be my pick for Best of 2000.
2001
Amélie
I find it hard to be objective about Amélie, one of my favorite films of all time. In my defense, people are not likely to watch Memento or Mulholland Drive more than once (well, maybe the latter, if only to try to figure out what the hell is going on), but Amélie is both feel good and quirky enough to keep you coming back for more.
2002
Hable con ella
The peak of Almodovar’s career (so far), a more mature film than some of his previous and subsequent efforts.
2003
Dogville
The brilliance of von Trier’s achievement here can only be compared to one other directorial tour-de-force: von Trier’s Breaking the Waves. You’ve got to admire the bravado required to make a three-hour movie out of nothing but dialogue and Nicole Kidman. Lars von Trier is the ultimate iconoclast director, yet, like Truffaut retains an ability to connect with your emotions in ways mere Dogme could not.

Honorable Mention
Underworld

Kate Beckinsale in leather. With fangs. ‘Nuf said.

2004
Eternal Sunshine of the Spotless Mind
Although not my favorite, Eternal Sunshine still gets my vote for the best movie of the Aughties. If Amélie is a feel-good movie with enough quirkiness to keep it interesting, Eternal Sunshine is a movie about quirkiness with enough heart to leave a lasting impression.

Honorable Mention
Million Dollar Baby

I actually like Million Dollar Baby more than Eternal Sunshine, and that’s saying a lot, considering I love Eternal Sunshine and Million Dollar Baby is not exactly a likeable film. One of the most potent Hollywood movies of the Aughties; certainly one of the most depressing.
2005
Thank You For Smoking
To be honest, while I’ve seen several good movies from 2005 (Batman Begins, Serenity, Wedding Crashers), I’ve yet to watch a great one. Thank You For Smoking is at least not as formulaic as the others. Less formulaic than Juno, at any rate.
2006
300
In 2006, we had, on the one hand, the sober Germanic ethical quandaries The Lives of Others and After the Wedding, and, on the other, the jingoistic testosterone orgies 300 and Casino Royale. When done well, as was the case with all four of these films, I like both genres equally well, and it’s very difficult to compare movies across such disparate genres. If I have to pick one, I’d say 300, because it is so visually fresh.
2007
Superbad
Best Teen Comedy of all time, and with the exception of the TV shows The Office (the BBC version) and Arrested Development the Best Comedy of the Aughties. I find most teen comedies these days unwatchable, but this is one of the only two or three movies where I was actually laughing uncontrollably in the theater.

Honorable Mention
Ratatouille

The best way to describe this is a Pixar movie almost exclusively geared towards adults. If you are a foodie, this is a must-own movie. Even though I hardly know how to cook, I find myself liking this movie more with every viewing. I got it for free with my Blu-ray player, but I’ve watched it more than any of the Blu-rays I actually paid for (including Up and Cars).
2008
Speed Racer
If you thought Slumdog was a sweet confection, stay far away from Speed Racer. If you like film noir, or Mad Men, stay far, far away from Speed Racer. If you don’t appreciate 60’s Japanese pop culture, stay… Some say the movie is merely eye candy with deep flaws; after repeated viewings I see it as a near-perfect realization of a concept whose target audience is not much larger than the set of people whose last names rhyme with Lebowski. Does that make it modern art?

2009
Star Trek
2009 having just ended, with many of its movies not yet out on video, I cannot yet say what was the best movie of 2009. But the best movie I’ve seen from 2009 so far is without a doubt Star Trek. It hits all the right notes and pulls all the right strings, and, along with Up, has the best first 5-10 minutes I’ve seen in a long time. In a single year, Pixar and J. J. Abrams give us two of the finest examples of short-form storytelling in the history of Hollywood. Too bad Up can’t sustain it for the rest of the movie.

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Thursday, June 25, 2009

what i'm liking lately

You probably know by now that I'm a curmudgeon when it comes to recent Hollywood movies.

I wasn't always this way — I thought 1999 was a stellar year for Hollywood even before 1999 ended — but I do believe a paint-by-numbers approach has been on the rise in Hollywood over the last decade. Between the milked-to-death Marvel properties, cheerleading movies, and entire genre of zombie horror movies, it feels like a rehash of the Reagan era. (Notice the comeback of the 80s trademark musical montage?)

But just as the 80s were not a total loss (after all, I just bought Amadeus for the third time), some recent films stand out from the pack. While not quite classics, these are still influential, effective, and, most importantly, great entertainment.

Slumdog Millionaire

I'll get this one out of the way first. IMO, one of only three Best Picture Oscar winners this decade to deserve the award (I'll leave you to guess which I think are the other two). Nothing special in terms of script or acting, Slumdog has two virtuoso performances: that of cinematography and scoring. In perfect harmony, both sight and sound are simultaneously cutting edge and yet by virtue of their mastery instantly classic. But I've seen plenty of beautifully-shot, wonderful-sounding movies with weak plots and characterizations that left me cold. So who do we look to when the whole is greater than the parts? The director, Danny Boyle. I found Trainspotting mildly amusing. 28 Days Later did nothing for me. Slumdog is a masterpiece.

Ghost Town

Other than the always compelling Ricky Gervais, this movie only deserves mention for one scene. For the most literal exposition of comedic timing I've yet seen on film, look for Gervais' interchange with Kristen Wiig when he goes back to the hospital suspecting something went wrong with his surgery. Brilliant.

Phoebe in Wonderland

While the story, script, and direction are formulaic, again there is one scene in the middle - if you've seen it, you know what I'm talking about. I thought Dakota Fanning was a once-in-a-generation child actress, but I'm happy to say I was very wrong - her younger sister Elle is devastating. To think, we once thought the world of Shirley Temple just because she could sing, dance, and mug - all poorly. What are they feeding kids these days?

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Tuesday, June 23, 2009

waiting for gidget

Just sold a dozen of my favorite DVDs to Spectator Bookstore for less than half what I paid for them.

spring cleaning
Spring Clearance


My reasoning goes like this: each of these are already out or will be released this year on Blu-ray. If I wait until the remainder are released, it's possible the DVDs will be worth even less. And if I don't end up buying the Blu-rays, it's not exactly the end of the world if I don't own every one of my favorite movies, is it? After all, there's always Netflix. Which brings up the point: do I really want to watch these movies again on DVD, when they're available in Hi-Def? Probably not.

Having said that, I'm not planning on selling most of my DVDs. I'm keeping neither the movies I absolutely love nor the ones I absolutely can do without, but rather the ones I like, but not enough to repurchase on Blu-ray.

You see, the quandary distributors face is that Blu-ray just doesn't offer the quantum leap in audio/video quality, convenience, compactness, and durability over DVD as DVD did over VHS. Yet the media is still more expensive than DVD was at this point in its product cycle, while similarly high prices on players have kept the adoption rate below that of DVD, and so distributors are already facing smaller margins than with DVD.

Although I think it unlikely, it would be dire times indeed for the movie industry if mainstream consumers acted like me and only upgraded their favorite movies, and only when the Blu-ray provides an extra wow factor that makes it hard to go back to watching the DVD. In my book, that only applies when the DVD does not realize its full potential due to poor mastering, but there exist source materials of sufficient quality to benefit from the Blu-ray treatment.

Very few films made before the widescreen push of 1952-3 have extant source materials that can even do justice to DVD, let alone Blu-ray, video quality (with the exception of instant-and-perennial classics like Casablanca and Gone With The Wind). As for audio, little made before the 90s is held back by DVD-quality DTS. So unless the studio (or Criterion) has bent over backwards to restore and remaster, it's not likely I'll upgrade most movies more than about twenty years old - which includes the vast majority of the DVDs I own. I doubt I'll upgrade even recent comedies, which tend to be unspectacular in the audio and visual department.

In fact, even when it comes to my favorite dramas and action flicks, this time I'm going [to try] to wait for prices to come down, rather than pre-order most of them as I did with DVDs. After all, this time around I already have most of them on DVD, and can wait.

precede the yellow brick road
we're off to see the Wizard


In some cases it'll be a long wait - only a trickle of catalog releases have made it to Blu-ray so far, and the remainder of the year only yields a few more from my wishlist. I guess the studios don't feel Blu-ray adoption has quite turned the corner yet. Blu-ray just passed the three-year mark, and there are still only about 1600 titles available — at this point in its cycle (around December 1999), DVD had about 5,000 titles.

Even further in the distance, I'm still waiting on some titles that have not yet even been properly released on DVD after almost a decade, let alone Blu-ray:

The Merry Widow (only available on VHS or import DVDs)

Where are the rest of the Ernst Lubitsch classics? Did someone burn the sources when they made the VHS master?

Gidget (only released in 1:33, when the original was 2.35:1)

Granted, the extra sides mostly just show more cheesy bluescreen, but having nearly half the picture cut off is downright distracting, and gets in the way of enjoying this ultimate escapist fluff piece.

A Tree Grows in Brooklyn

One of the all-time greatest family films hasn't seen a home video release since 1998's VHS tape? Hello? Anybody listening?

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Wednesday, November 05, 2008

the american spirit

An interesting post on Cinematical:

What film best captures the American spirit?

I knew my answer instantly (interestingly, no one else at the time of this writing offered this yet):

Casablanca

Sure, it takes place in Africa, features La Marseillaise in its most stirring scene, has only three American natives (Bogart, Wilson, and Joy Page) out of a credited cast of fourteen, and was directed by a Hungarian — heck, even Jack Warner was Canadian. But that's the point: all those émigrés came to America to make what is not only the most iconic Hollywood movie of all time, but the one which, out of all the great classics, is the most collaborative — the shining example of how a movie can be more than the sum of its parts, just as we all hope America is more than just the sum of its people.

It has all the elements of iconic America: Rick working his way to the top of Casablanca society from nothing; Sam a barely-emancipated sidekick to Rick and Ilsa — Casablanca is black & white on so many levels; standing up for what you think is right no matter what the personal sacrifices involved; and most of all, the hope that deep inside even the most cynical misanthrope lies a good human being.

Like the "Obama mandate", Casablanca may not accurately reflect reality, nor represent every American's view of what's right, but for many it holds the power to inspire that we all need every now and again to get through the hard times.

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Thursday, October 30, 2008

twenty french films

I don't hate French film in general. I don't even hate French New Wave. In fact, some of my favorite films are from the French New Wave.

But (here's where I deny the Holocaust) I do think much of what Americans find ridiculous about French film truly deserves ridicule. I'm talking about fatalistic, manic-depressive bohemians spouting non sequiturs. Non-acting. Non-plot-driven, nonsensical fantasy sequences. Pathetic pastiches of Hollywood icons. Mimes.

I bring this up because I just sat through Au hasard Balthazar. I don't know what I was expecting; maybe something like L'Ours (The Bear). Or Les quatre cents coups (The 400 Blows). What I got was the stereotypical blend of amateur direction, pretentiousness, and pointlessness Americans have come to associate with the French New Wave and its legacy.

The irony is the New Wave's Auteur Theory (which, simply put, says that a film is the creative vision of the director, as opposed to a collaboration of the writer, actors, crew, director, producer, etc.) meets its greatest negative expression in the New Wave's descendants of the late 60s and 70s. If what makes a great movie like, say, Vertigo great is the omnipresent hand of a dictatorial genius like Hitchcock, then what should we make of films like Au hasard in which the director doesn't direct the actors; where he omits any coherent narrative, character development, or any reason at all for the viewer to care what goes on inside the frame? I'll tell you what I make of them: steaming donkey turds.

Just watch the interview of film scholar Donald Ritchie on the Criterion DVD. The guy can't come up with a single concrete reason the movie is actually worth watching. Just attempts at coining a bunch of meaningless jargon to try to cover up the fact that he has no idea what constitutes a good film. Amusingly, he goes so far as to say one reason he loves it is that his friends (with whom he makes a point of saying he shares much in common) hate it or are bored stiff by it. WTF?

I guess that's why I felt the need to post something. There is an epidemic (an epidemic that started in America cinema with the French New Wave) of movies being well-regarded simply because film aficionados say they are important. Call this "Modern Art Syndrome". The problem: experimentation is fine, but learn to recognize when you've failed and move on. Simply being audacious enough to claim you've discovered cold fusion doesn't mean your botched experiment should be featured in every children's museum.

The cure is simple: a mixture of wide-ranging critical film viewing leading to the development of concrete, if subjective, criteria for what constitutes a classic film - a film which speaks to multiple generations and changes the way they see the world. And why can't a great film be good entertainment as well? There must be something important lacking when we fall asleep half a dozen times trying to finish what is ostensibly a classic. That goes for War and Peace as much as it goes for, well, War and Peace: The Movie.

Anyways, there are plenty of famous French films which I feel fall woefully short of even that loose definition of a classic film. So without further ado, I present:

The Top Ten Most Overrated French Films of All Time (Not All of Which Are From the French New Wave, and Freely Admitting I Haven't Watched All That Many French Films Because I've Been Burned So Many Times)
  1. La môme (La vie en rose) — Olivier Dahan, 2007
    Assembly-line Hollywood singer biopic, a genre that had already seen a few too many curtain calls by the time Edith Piaf first sang La vie en rose.
  2. Mon oncle — Jacques Tati, 1958
    Mildly amusing, in the same way a Hummer is a mild hybrid.
  3. La règle du jeu — Jean Renoir, 1939
    Truly classic foreign film engages us by revealing universals of human nature in an exotic setting. This film, on the other hand, leaves charitable viewers asking, "did people ever really act that way?" and me asking, "who cares?"
  4. Les diaboliques — Henri-Georges Clouzot, 1955
    My problem with this film is not that it's too French, but that it's typical of bad suspense films. The plot and characterizations are beyond implausible, making it difficult to empathise with the characters, thus keeping any suspense from building.
  5. Au hasard Balthazar — Robert Bresson, 1966
    No acting (on purpose), no plot (on purpose), no character development (on purpose) — in general, no purpose.
  6. Ponette — Jacques Doillon, 1996
    Not technically overrated, in that few bother to rate it at all. Think Au hasard, only Ponette has even fewer lines than Balthazar.
  7. Alphaville — Jean-Luc Godard, 1965
    Sadly, one of the most accessible and least mentally-masturbatorial of Godard's films. I tried one or two more Godards after this, but finally decided to cut my losses and salvage what was left of my wasted life.
  8. La belle et la bête — Jean Cocteau, 1946
    A classic of the silent cinema—not. Before you start making excuses for the age of the film, realize that it was made in the same year as It's a Wonderful Life, four years after Casablanca, seven after Gone With the Wind, and a whopping nineteen years after the far superior Sunrise (one of the last, great silents).
  9. La charme discret de la bourgeoisie — Luis Buñuel, 1972
    Less well-conceived (and engaging) than the original Infiniti ads.
  10. La passion de Jeanne d'Arc — Carl Theodor Dreyer, 1928
    The unfortunate role model from which the stoic streak in French cinema developed. You see, the French weren't always this way. In fact, Dreyer wasn't French. Wanna guess his nationality? Let's just say he'd be very proud of Dogme.

But just to prove I'm not a French-cinema Nazi (and have watched more than ten French films), I also list ten French films that are not only lasting contributions to world cinema, but fine entertainment as well:

Top Ten French Films of All Time As Given in the Gospel According to Moi

  1. La science des rêves — Michel Gondry, 2007
    Actually, it's just okay. But Eternal Sunshine (an American production) was absolutely brilliant. So I'm sneaking in my (second) favorite French music-video-cum-feature-film director.
  2. La Haine (Hate) — Mathieu Kassovitz, 1995
    Describing this as a two-hour, Parisian The Wire only begs the question of just how much David Simon was inspired by the earlier French film.
  3. Les enfants du paradis — Marcel Carné, 1945
    Just to show there's no hard feelings, this one even has mimes.
  4. Hiroshima mon amour — Alain Resnais, 1959
    This one has all the elements I hate about French New Wave failures, and yet I think it works. Perhaps it's Resnais' more classical training.
  5. Bande à part (Band of Outsiders) — Jean-Luc Godard, 1964
    Yes, Jean-Luc too had his moments of clarity. Godard makes his own stab at...
  6. Jules et Jim — François Truffaut, 1962
    What Lars von Trier, Breaking the Waves and Dogville were to Dogme, Truffaut, Jules and Jim were to the Nouvelle Vague: not truly part of their respective movements, yet all came to be associated with those movements, at the same time transcending them and leaving us different people than when we walked in the theater.
  7. Léon (The Professional) — Luc Besson, 1994
    One part cowboy-samurai, one part mental, one part Natalie Portman crying in the hallway. Allow 110 minutes to rise. Voilà!
  8. Delicatessen — Marc Caro & Jean-Pierre Jeunet, 1991
  9. La cité des enfants perdus — Caro & Jeunet, 1995
  10. Le fabuleux destin d'Amélie Poulain — Jeunet, 2001
    Along with Besson (Besson, not Bresson, mind you) and Gondry, Jeunet is one of the wave of French "MTV" directors. Looking like a French Terry Gilliam (and even specializing in the same genre), Jeunet draws from the best of the fantasy and experimentalism of French cinema, while dropping all the phony stoic fatalism.

Say what you will about me being biased towards Hollywood-style films and directors. I need only respond that the founders of the French New Wave themselves adored Hollywood directors (e.g., Hitchcock) and stars (e.g., Bogart).

France is welcome to share its unique worldview, its wanton sex, its existentialist musings. But if they want to earn the price of admission, dammit, French directors need to make some attempt to connect with their audience.

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Friday, May 05, 2006

kids with cameras

Temporarily switching back into movie review gear:

Born into Brothels (2004)
4 Stars

I normally dislike documentaries as too preachy. It doesn't help when one wins the Academy Award for Documentary Feature. So I gotta speak up when I find a good one.

I admit up front that I'm a sucker for cute kids. But this is no Spellbound. Brothels' subject is ever so much more sober, yet its treatment is more romanticized.

In the credits, filmmakers Briski and Kaufmann thank Satyajit Ray, and his influence on this documentary is unmistakeable. That points to what I like most about the movie: the photography. Not the kids' photos, but the cinematography. Briski and Kaufmann managed both coherency and beauty within the constraints of low light, evasive subjects, and a handheld camcorder. It is clear they are photographers first, and good ones at that. I believe their claim that they were not social workers by trade; their awkwardness with Indian society helps to ground what might otherwise by a Cinderella sob story.

But I like the personalities of the kids almost as much. Puja: the happy, outgoing one; Avijit: talented, proud, and troubled; Gour: the wise voice of sanity; Suchitra: solid as a rock. Their group photo on the video cover is a classic - I'd almost buy it just for the photo. I guess the filmmakers were either lucky or very selective to find such a loveable group in one place.

If this is politics, it is politics at its most effective. Take a real simple issue; don't overcomplicate it - present just enough of it in the most involving way possible. You've got innocent kids in a brutal situation - now milk it for all its worth. When one of the girls expresses her dislike for the "veg food" they might have to eat at the boarding school that is her chance to get out of the gutter, suddenly Super Size Me seems so trivial.

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Monday, March 27, 2006

concrete roads

Whisper of the Heart (Mimi wo sumaseba) (1995)
4 Stars
Written by Hayao Miyazaki

Hi. It's been a while. But, having just picked up and watched the crowning jewel, and possibly last member, of my DVD collection, I thought I'd write something about it.

As you may already know, Whisper of the Heart is my favorite animated movie. This is largely for personal reasons, not the least of which is that the story is about a kid who wants to be a writer but doesn't know if she has what it takes. Actually, I think the reason why Studio Ghibli movies are consistently better than their American counterparts is that they're personal. Like Disney movies, they are sentimental: romantic, heartwarming, backwards-looking, fantastical. But, unlike Disney movies, they are also introspective, poetic, and, in this case, borderline inspirational.

Not that they're substantively deep — Miyazaki has a conventional, highly-Westernized view of the world that comes through in all his work. I mean, the theme song of this movie was written by John Denver and sung by Olivia Newton-John. It is a straight coming-of-age story.

It is this Western(-Virginian) outlook in a typical Japanese setting that makes the work resonate for this American. Just when I'm about to laugh at the Japanese obsession for school exams, I recall the article I read today about new standardized tests for high school diplomas. Living in Oakland, it's no stretch to imagine the concrete hills and apartments of West Tokyo. On the other hand, this movie would've been forgettable if it weren't firmly grounded in mid-nineties, middle-class Tokyo. I can relate, not so much because my life is like the protagonist's, but because she lives in a recognizably real world.

As the work ages, it runs the risk of meta-nostalgia: the characters are nostalgic for country roads and Victorian Europe, while living in a world of library book lending cards, click-advance pencils, people waiting outside because they don't have a cellphone, and mailing letters - all soon to be subject to nostalgia themselves. Add to that the death of its young director after only one movie, the imminent retirement of Miyazaki, and the passing of the Second Golden Age of Disney, and I fear this might be canonized in a way that would invite comparisons with The Little Mermaid and Nausicaä.

We're so used to Disney product that we have to remind ourselves that animation is not inherently restricted to Sci-Fi/Fantasy Blockbusters. Whisper is a small film. Smaller than Bambi; smaller than The Iron Giant, Lilo & Stitch, or even Grave of the Fireflies or Totoro. Like its protagonists, it's got nothing but craftsmanship and heart. My favorite kind of movie.

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Tuesday, February 28, 2006

david lynch goes straight

The Straight Story (1999)
4 Stars
Directed by David Lynch
Starring Richard Farnsworth, Sissy Spacek

You know you're in for something unusual when the opening titles read "Walt Disney Pictures presents a film by David Lynch". The blurb on the DVD box calls it "the sweetest and most compassionate movie Lynch has ever made." While I have yet to see The Elephant Man, movies like Dune, Blue Velvet, Lost Highway, and Mulholland Drive qualify that comment as being none too informative.

Actually, it's hard to believe this is the same director. Straight is a G-rated movie, a movie about family values. It's a simple story about simple solutions to life's problems, but, unlike most Disney films, at no point does it belittle the intelligence of its viewers. Spacek is great as the stuttering daughter, but Farnsworth is truly extraordinary as Alvin Straight, the old man whose body is failing him, but whose spirit is stronger than ever. Farnsworth was nominated as Best Actor (and should have beat Kevin Spacey), after a 60-year acting career, the first 40 of which he spent as a stuntman. Like Straight, Farnsworth did not long outlive his trip to Wisconsin: having been diagnosed with terminal cancer, Farnsworth shot himself in 2000. He knew exactly what his character was about, and it comes through on screen.

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Monday, February 27, 2006

lesser versions

Chocolat (1988)
3 Stars

Nothing Nigendwo in Afrika didn't do better.

Nobody Knows (Dare mo shiranai) (2004)
4 Stars

A live-action, less-dramatic, modern-day version of Grave of the Fireflies.

Lost Highway (1997)
3 Stars
Directed by David Lynch
Starring Bill Pullman, Patricia Arquette

Plays like an early draft of Mulholland Drive.

Steamboy (Suchîmobôi) (2004)
3 Stars
Directed by Katsuhiro Otomo

Otomo's take on Laputa, without the interesting characters or dramatic force of Miyazaki's work.

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pure cinema

Sex & Fury (Furyô anego den: Inoshika Ochô) (1973)
2 Stars

Japanese sexploitation flick that was clearly an inspiration for Kill Bill. Interesting to watch Reiko Ike fighting stark naked, but the rest of the soft porn is tame compared to R-rated films from the 80s or later. The throwaway Japlish dialogue is somewhere between hilarious and excruciating at times, especially when delivered in the heavily Swedish-accented English of soft-core queen Christina Lindberg (Kurisuchina Rindobaagu!). While the script and delivery is pure porn, the cinematography is actually quite slick, dominated by strong graphic closeups of Ike's wonderful face.

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Saturday, February 25, 2006

BEST MINI-SERIES EVER!!!!!

(Like the title? I'm experimenting with writing more like newsgroup posters.)

Scenes from a Marriage (Scener ur ett äktenskap) (1973)
5 Stars
Written and Directed by Ingmar Bergman
Starring Liv Ullman

This has the production values and episodic structure of a mini-series because that's what it was. It consists mainly of closeups of a married couple talking. It's not funny, there's no action, and no sex worth the name; there are whole episodes whose cast consists solely of the married couple. But it is the best movie I've seen since Strictly Ballroom a year ago.

The acting is both brilliant and technically perfect. Liv Ullman and Erland Josephson are fascinating to watch, yet portray believable characters. They have a bit too much of a tendency to wax philosophical over marriage to be mistaken for the couple next door (this is a Bergman movie, after all), but neither do they partake in the fantastically overwrought neuroses of Woody Allen.

The dialogue is subtle, yet forceful; everyday, yet timeless. Bergman lapses into a few monologues in the latter half of the series, but otherwise, this is a work for the masses.

It has a strong, but realistic, story of a perfect couple whose marriage goes wrong. In his New Biographical Dictionary of Film, David Thomson says Woody Allen "is so near to Bergman already, yet so timid about the Swede's strength of commitment." The Criterion Collection DVD of Scenes includes an interview with Bergman in which he expresses his approval of the large spike in divorces in Denmark and family counselling in Sweden after the initial airing of this mini-series. He intended this to break up viewers' marriages — that's strength of commitment backed by talent. By comparison, even Annie Hall feels like a film school project.

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Monday, February 20, 2006

brilliant but boring

Zelig (1983)
2 Stars
Written and Directed by Woody Allen
Starring Woody Allen, Mia Farrow

Classic Woody Allen comedy: brilliant concept, competent execution, lots of dud gags diluting a couple of mildly funny jokes. Like Scorsese, Allen is addicted to the mental masturbation of paying homage to Manhattan and the Golden Age of Hollywood. Forrest Gump ripped off its special effects scenes from this movie.

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Sunday, February 19, 2006

96-minute egg

Sweet Smell of Success (1957)
3 Stars
Written by Ernest Lehman and Clifford Odets
Starring Burt Lancaster, Tony Curtis

One of the most hard-boiled scripts I've ever seen produced. Lots of highly-stylized street-smart lingo that is fascinating, if you're into that kind of thing. Elements of noir in both cinematography, story, and attitude, but not quite the genuine article. Not that it falls short; I like it better than most noir films I've watched. The reason this doesn't get 4 stars though, is that, like real noir or modern-day Tarantino, it's mostly style with no emotional substance.

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sleeper hit ...not

Sleeper (1973)
1 Star
Written and Directed by Woody Allen
Starring Woody Allen, Diane Keaton

Trite, unfunny one-liners and cartoon slapstick set in wannabe campy sci-fi. Diane Keaton has no idea how to handle camp. Some of the worst Woody Allen has to offer. Didn't make it all the way through the DVD.

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but it wouldn't be make believe, if you believe in me

Paper Moon (1973)
3 Stars
Directed by Peter Bogdanovich
Starring Ryan O'Neal, Tatum O'Neal

Best known as a piece of Oscar trivia, Paper Moon is an enjoyable, lightweight road movie with its centerpiece an unsentimental, but absolutely precious little girl.

The trivia is that Tatum O'Neal is the youngest person ever to win the Best Supporting Actress Oscar. For that matter, she's the youngest ever to win any competitive Oscar (Shirley Temple won an honorary Oscar in 1935, the year Paper Moon is set in). It's a lesson in Oscar politics: Tatum's is undoubtedly the key role (she's on screen practically the entire movie), yet she won as a supporting actress. Any performance is eligible for a supporting actor nomination and apparently Paramount didn't think Tatum had a chance at Best Actress. They had a point: Tatum's performance, while exceptional for an eight-year-old, is not much by adult standards. It is better than Shirley Temple's star-making turn as a five-year-old gangster in Little Miss Marker, but not as good as Natalie Portman's twelve-year-old assassin in The Professional.

Bogdanovich seems to have felt cheated when not nominated for an Oscar, but I can understand that. To his credit, Tatum's appeal is more due to his direction than her acting. On the other hand, his attempt to evoke the Depression fails: the movie looks unmistakably 70s. His fooling around with deep depth of field and long takes is misapplied film school theory. The deep depth of field is mostly wasted when most compositions involve two people with nothing of interest in the background. The long takes only serve to draw you in when the acting is exceptional. With Tatum, it just highlights her lack of real acting skill.

While Tatum's character is not sentimental, the movie does depend on viewer sentiment to succeed. If you are susceptible to a cute girl acting tough in a tough situation, you'll enjoy Paper Moon.

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Wednesday, February 15, 2006

meet the folks

Junebug (2005)
3 Stars

In some ways it is a mediocre movie. The story goes nowhere, dragging on and generally tired. The pace is too slow, silent filler shots extended for no good reason. This is noticeable because the protagonists are not easy to sympathize with.

On the other hand, the situations presented feel genuine. The acting is good — especially Amy Adams, who is the real star of the movie. In her own loveable way, she is every bit as good as fellow Best Supporting Actress nominee Michelle Williams in Brokeback Mountain. She almost pulled the movie up to 4 stars — almost.

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