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Surprisingly entertaining, even life-affirming
Given the disturbing premise of "Room", I was expecting emotional intensity, a fairly static plot, and a generally dark tone, so I was surprised to find this movie to be an engagingly-told story of resiliency.
Both Brie Larson and Jacob Trembley are outstanding. Playing mother and son, their characters and relationship are completely convincing, and while the story starts fairly quietly (perhaps to reflect Joy's and Jack's captivity), the story gains intensity as Joy realizes the need to escape, and prepares Jack to help in the attempt.
This is a story about trauma, survival, and resiliency, told very quietly and carefully. I marvel at films that find the significance in the everyday, without having to warp it for dramatic effect. "Room" achieves it beautifully.
I don't even LIKE the Marvel movies...
...but DEADPOOL was awesome! It was great to find an action-comedy that assumes I'm an adult.
It's dumb, it's profane, it's utterly silly, and I loved every minute of it (literally, right from the opening "credits"). Is there a story in there? Yeah, I guess, but it's really just secondary to Deadpool's constant smart-alec riffing. If anyone was considering writing a Marvel spoof screenplay, don't bother; "Deadpool" frequently bites the hand that feeds it and skewers the label as thoroughly as anyone could hope.
Deadpool "breaks the 4th wall" frequently, and even parodies that device by breaking the 4th wall in a flashback WHILE breaking the 4th wall ("That's like, 16 walls!").
Do NOT take kids. This movie revels in gratuitous violence, graphic language, and juvenile humour, and makes no apologies for any of it. This is an "R" rated movie and comes by it honestly. If you're good with that, though, the odds are good you'll laugh your butt off.
The Interview (2014)
Not sure what people were expecting...
For what it is, "The Interview" is fine. It's an adolescent comedy with moronic slapstick humour, in very much the same vein as the previous Seth Rogen/James Franco movie "This is the End". It's vulgar, raunchy, and contains no pretence of social responsibility.
Personally, I laughed my butt off. The jokes worked for me, and in fact I wound up seeing it twice this weekend and found many jokes I'd missed on the first viewing.
You can really look at "The Interview" as kind of the 2014 version of the old Crosby-Hope "Road" movies. No substance, fun chemistry, doofy plot. Rogen is actually very funny as Franco's straight man.
I like the generosity of these guys that they give lots of laughs to their supporting cast, too. Randall Park's role as Kim Jong Un didn't strike me as terribly convincing, but he winds up covering a pretty fair emotional range.
Again, vulgar, raunchy, and no pretence of social responsibility. Or really any responsibility. If you're good with that, you have a better-than-average chance of liking this movie.
The Object of Beauty (1991)
Worth seeking out
There's a genre I like to call "little English comedy" that really traces its roots back to the Ealing studios in the late 40s. The movies didn't have high budgets (they couldn't afford them), but frequently had clever scripts that made them eminently watchable (Alec Guiness got his start there in movies like The Man in the White Suite and The Horse's Mouth).
The Object of Beauty fits this category nicely. It's a little puzzling that it didn't do better, actually, with two American leads and rave reviews from Siskel and Ebert. Their review, in fact, is the only reason I happened to be on the lookout for this one.
It's an elegant, witty comedy of manners. It's carefully, quietly scripted, and rather subtle. Totally worth seeking out.
Synecdoche, New York (2008)
Long... Weird... Kind of amazing.
Synechdoche, New York is nothing if not ambitious. It's about mortality, love, loss, creativity, and fear. It's a 2 hour comedy that doesn't have a single full-out laugh but countless sly observations, from the mundane to the profound.
This is an art film, and it makes no apologies for it. It's remarkably confident and does little to explain itself. That alone makes it kind of wonderful.
It's challenging. I'd watched the first 20 minutes and had to abandon it because I wasn't "getting" it. Catch it with the right set of expectations, though, and it becomes one of those stories that kind of flows around you like a dream. When I went in for a second attempt, it worked a lot better.
The length works in the movie's favor. You follow secondary characters from the beginning, and the way their lives unfold (and end) are meaningful (SPOILER: The scene with Caden at Olive's deathbed is a brilliant summation of the gaps between parents and children).
It's cinematic absurdism. Pretty accessible as absurdism goes, but it's not going to be for everyone. I "got" it, though, and I'm very grateful.
My favorite of MGM's classics
I adore Brigadoon.
Won't quibble about the authenticity of the story, the sets, or the choreography. However inauthentic the movie may be, it WORKS. For me, it works better than any of MGM's other classics.
The production is beautiful. The sets (however artificial) are beautiful. Kelly's choreography is beautiful. Cyd Charisse is BEAUTIFUL (honestly, my favorite woman in any musical, ever--masterful dance if I've ever seen it).
"Heather on the Hill" is a highlight of musical cinema, period. Lovely song, spectacular dancing and choreography.
The ending, however preposterous, still ranks among my favorites.
First thing to get out of the way about "Looper"; time travel is a plot device, and nothing more. The movie is much more about the characters and the implications of their actions. It's kind of a philosophy treatise wrapped up in an engaging action plot.
There are multiple holes and inconsistencies in the plot. Honestly, they don't matter. This is a character-driven story, and a rather good one.
There's a neat, "noir-ish" tone to the movie. There's some exposition in the first half-hour that helps us understand the rules of this universe. A great many of these rules are explained in an early sequence where a friend of central character Joe (Joseph Gordon-Levitt) fails to "close his loop" by killing his future self. The results are gruesome, but not in any way we see explicitly.
Great sci-fi doesn't actually have to be believable. It just has to provide a setting for a story that wouldn't make sense in our own world. "Looper" turns out to be a very interesting contemplation of what makes people "good" and "bad" and does it with some smartly-conceived action and better-than-average writing.
The Descendants (2011)
Alexander Payne has a fantastic eye for characters, and his movies are completely driven by them. "About Schmidt" has been high on my list of favourites for a long time, and it really has almost no story at all, but Jack Nicholson's performance in the title role shows an amazing balance between the ridiculous and the sublime.
"The Descendents" might just rank as Payne's best, because the whole film is populated by characters that are as well-written. Clooney is great in this, showing a vulnerability and at times even an awkwardness that is not what we typically expect in his performances.
I find some of the creative choices here interesting; some of the most important events happen off-camera, leaving the movie to focus not so much on what happens, but on how everyone reacts to it. I found this movie to have some of the most memorable, authentic characters I've seen in years.
...and I love the way Hawaii is filmed in this movie. It isn't any deliberate attempt to show it badly, but you see things like suburbs, and freeways, and skyscrapers that don't normally make it into a "Hawaii" movie. Not to say that there aren't other, more scenic shots, and I liked the balance. In this way, Hawaii itself becomes something of a character.
The Princess Bride (1987)
So many perfect elements... Where to begin?
In '86 I was lucky to find an old paperback copy of William Goldman's "The Princess Bride" at a yard sale. I had already read some of his novels, and while I hadn't heard of this particular one, I quickly consumed it, enjoying it tremendously. It was a very clever, but ultimately affectionate, parody of fairy-tale conventions with an equally clever and complicated narrative. It was a fun, memorable book, and when I heard not long after about a film adaptation, I wondered how much of the book's clever tone would translate to the screen.
Quite a bit, as it turned out. Rob Reiner's movie version is an outstanding movie, and one that I was pleased to see holds up incredibly well, even a quarter-century later.
The brilliance to this movie is in its tone. As I said, it's a parody of fairy-tale conventions. Goldman's characters start out as cardboard-cutout stereotypes, and the events of the story itself are outlandishly improbable (up to and including resurrection), but even as the story gently mocks those conventions, it ultimately still depends on them in the end.
The characters are marvelous. Vizzini and his outbursts of "Inconceivable!!", kind-hearted Fezzik with his rhyming, and Inigo Montoya, with his graciousness, honor, and drive for revenge. Carey Elwes' Wesley is a great balance of clever humor and chivalry, and Robin Wright's Buttercup is a smart, strong fairytale princess. All the performances are note-perfect.
And the script is brilliant (as well it should be, with Goldman adapting his own novel). The dialogue sparkles, with enough memorable lines to fill a book. We get to love these characters, and care what happens to them (when Inigo finally gets the chance to avenge his father's death, it's surprisingly dramatic and emotional).
The story in the film is simpler than that of the book. Among other things, the book goes WAY further into Vizzini's, Fezzik's, and Inigo's backstories, and it's absolutely a worthwhile read, but there was no way it could have all been translated to the screen. As I say, it's an unusually good adaptation.
I enjoyed it even more than I did on its original release. That's an easy definition of "classic".
Cars 2 (2011)
I don't know where to start...
I can't believe I'm saying this about a Pixar film, but "Cars 2" is a monumental waste of talent and technology. And what concerns me most is that what this movie gets wrong is the most important thing Pixar has always gotten right.
The storytelling is a massive letdown, for a few reasons. The first is that I think they tried to stretch the anthropomorphism of the cars too far; in an early suspense scene secret agent Finn McMissile (voiced by Michael Caine) sneaks around on an oil platform in ways that make him seem well-nigh invincible, and another character who arrives later is able to sprout wings and fly... Why would a car want to roll when it could fly, anyway? The espionage angle didn't have to fall flat (and I actually really liked the way McMissile was executed as a character), but it took these characters to a place they really didn't seem to belong, a fairly brutal murder just being one instance. We also learn somewhat more about the toilet habits of cars here, which starts to beg the question of how they fulfil other biological needs. In the first movie we didn't even START to go there, and I'm not sure it was a great creative decision here.
The characters are flat, which is an unusual Pixar failing, too. There is a cardboard kind of friendship between Lightning McQueen and sidekick Tow Mater that seems mailed in from a '70s after-school special, and verges on creepy. Poor 'Mater is the subject of a great many jokes, few of which are really terribly funny.
The "new-enviro-fuel-threatened-by-evil-big-oil" is okay, if a little over-simplified, and I "got" the film's notion that it's the "lemons" of the world who hold us back, but I was a bit conflicted over the ending (and, yes, the SPOILER ALERT goes here). Sir Miles Axelrod (Eddie Izzard) is an older Range Rover oil baron who has supposedly seen the light and converted to greener technology, though in the end he turns out to be the mastermind working to discredit his own alternative fuel, as he has since found a massive sub-ocean oil deposit. On one hand, this twist seemed to discredit the notion of alternative fuel entirely, but I also have to admit that such corporate "greenwashing" actually exists. Frankly, "Monsters, Inc." had a similar message, but it was much clearer there.
Story and character are pretty important, and Cars 2 fails miserably on both counts. Technically? Well, that's a brighter side there, as everything LOOKS fantastic. And I'll confess that I enjoyed many, MANY in-jokes. The movie is FILLED with Easter eggs for both car nuts and Pixar fans.
One of the best little "inside baseball" moments came when an American agent who had infiltrated the bad guys disguised as an old Gremlin took off his disguise to reveal himself as a new Dodge Challenger; Chrysler bought AMC back in the 80s, and this scene almost seemed a symbol of its renewal. Unfortunately, this and many other moments suggest that Pixar may have worked fairly closely with Chrysler in a rather subversive form of product placement. A race that takes place in a very Monaco-like locale was actually moved to Italy, I suspect as an excuse to feature many Fiat models; Fiat, of course, now owns Chrysler.
Clever in-jokes can't be the basis for a movie on their own. Particularly when many of them seem to be motivated by marketing. Even that MIGHT have been forgivable with decent characters and story. Lacking these, "Cars 2" is Pixar's first unqualified failure.