If you're a fan of Denzel Washington or Nicole Kidman films, you just might want to run away from this film. On the other hand, if you enjoyed "Two-Lane Blacktop", "Five Easy Pieces", or "Vanishing Point", and have the intellectual capacity to enjoy 90 minutes of thought-provoking cinema - you might just enjoy this film. Once again, Vincent Gallo rewards the audience with truth in cinematography. He's driving cross-country to try and reclaim his one true love, with minor detours along the way. In any Hollywood road trip movie there are bound to be shots through the windshield of the family vehicle. The difference between Hollywood's road trip, and Vincent Gallo's trip across America is that Vincent leaves the bugs on the windshield! Show me one Hollywood film that does that. Along with the windshield realism we get to enjoy the emotional realism of a man who isn't ready to give up his dream of true love, yet who unsuccessfully attempts to replace it along the way. Much has been made of the sexual exploits in the film, but opposed to the ridiculous and unrealistic episodes of "Desperate Housewives", these scenes look and smell like truth.
Reviews
5 Reviews
The Squid and the Whale
(2005)
"The Squid and the Whale" may leave you in need of therapy
28 January 2006
Warning: Spoilers
Screenwriter and director Noah Baumbach's tale of his incredibly dysfunctional family could easily have been re-named "The Addams Family - 1986". The film recounts his ugly childhood with his younger brother, his writer-father and aspiring writer-mother living in Park Slope, Brooklyn in 1986. His father Bernard, played revoltingly well by Jeff Daniels, has absolutely no concept of what's going on outside of his own world as he spews obscenities and dwells on his past as a respected writer; of course now no one wants anything to do with his writing so he teaches English instead (Gee, haven't we see that a few hundred times in films?)Bernard's wife Joan, played by a mousy Laury Linney, decide that after many years of marriage that divorce is the best option; which seems odd considering that they have nothing good to say about each other and that Joan has had affairs with at least four different men during their marriage. Why they don't continue with this nightmarish marriage isn't explained; there isn't a catalyst for this decision. Once the separation occurs and Bernard relocates several blocks away to a house of lesser amenities the film shifts focus to the effect the separation has on the two children; Walt and Frank Berkman. Walt, played by a brow-furrowed Jesse Eisenberg, idolizes his father and models his view of the world after Bernard's twisted vision. The majority of observations from Walt's mouth are direct quotes from his father, yet instead of revealing the depth of admiration Walt has for his father these comments simply show Walt as being shallow and pathetic. We wait for Walt to develop a mind of his own but sadly that never happens. Frank, played mincingly by Owen Kline, steals the film as the repulsive chronic masturbator who leaves his calling card on any non-human surface. At one point Joan and Bernard get their child custody duties mixed up and accidentally leave Frank alone for three days. Frank spends the time drinking Scotch, masturbating to his mom's underwear, and passing out on the bathroom floor. The next scene is Joan and Bernard being confronted by the school counselor. What happened for the rest of Frank's long weekend? A nine year old boy left alone with hard liquor and a Oedipal complex is a film in itself, but we aren't allowed to witness this, or a scene where the parents find Frank near death from alcohol poisoning (assuming that could have easily happened) lying in a pile of his mother's panties. The rest of the film is filled with Walt's blatant plagiarism, a non-stop stream of offensive cursing, arguments, premature ejaculation, Bernard allowing his dinner guests at restaurants to only order half-orders because he's so cheap, unbelievable therapy sessions, Bernard trying to force his female student and border to perform oral sex only to be interrupted by his son, and a medical emergency that is offered as redemption but fails. Contrary to reviews I've read, there is nothing charming, endearing, funny, or clever about this film. It truly boggles my mind that most critics enjoyed this film. The only reason I can conjure is that most of these critics were raised in a family as hellish as this one so it's like spending time with old, heavily medicated friends. If this film's final scene was of the four Berkman's going for a hot air balloon ride over the Catskills, and the balloon crashing in flames into the mountains with no survivors, then I just might have walked out of the theater with a smile on my face. As it is, this a slice of American ugliness that no one should have to endure.
Brute Force
(1947)
Brute Force is a knockout!
30 October 2004
I've read recent reviews of this film that condemn it for being "outdated" or not "relevant". Um, hello? This movie is is fifty-seven years old! As such, we are treated to typical 1940s Hollywood stereotypes and acting methods, not to mention references to the recently completed war. Yet, even within the pitfalls of the studio system, this film shines as a great example of film noir.
Director Jules Dassin is brilliant with light, and sets the example for the French "new wave" of cinema. Lighting Burt Lancaster from the side, or from underneath, makes him and the other actors look almost surreal.
Most of the dialogue is "clipped" and preposterous, but films from this era often suffer from this same problem. Yet "Brute Force" retains its original power simply by virtue of the dynamite performances, the stirring score, and the gritty techniques of Dassin.
I had to smile during the scene where Hume Cronyn's character turns up the Wagner on his hi-fi so the guards outside his door won't hear the inmate he's about to beat scream. This was mimicked during David Lynch's ground-breaking TV series "Twin Peaks" when a character turned up his radio before he beat his wife. Of course beating people isn't funny, but seeing obvious references in cinema is always a kick.
I highly recommend "Brute Force" to anyone who appreciates the art of film, great directing, and fine performances.
Director Jules Dassin is brilliant with light, and sets the example for the French "new wave" of cinema. Lighting Burt Lancaster from the side, or from underneath, makes him and the other actors look almost surreal.
Most of the dialogue is "clipped" and preposterous, but films from this era often suffer from this same problem. Yet "Brute Force" retains its original power simply by virtue of the dynamite performances, the stirring score, and the gritty techniques of Dassin.
I had to smile during the scene where Hume Cronyn's character turns up the Wagner on his hi-fi so the guards outside his door won't hear the inmate he's about to beat scream. This was mimicked during David Lynch's ground-breaking TV series "Twin Peaks" when a character turned up his radio before he beat his wife. Of course beating people isn't funny, but seeing obvious references in cinema is always a kick.
I highly recommend "Brute Force" to anyone who appreciates the art of film, great directing, and fine performances.
Medea
(1988 TV Movie)
Great Film!
4 August 2004
"Medea" is a truly haunting film, but you have to be a true lover of cinema to appreciate this gem.
The cinematography is ground-breaking, and at times it's hard to figure out exactly how the images are being filmed. Sometimes it appears that the film was shot, then filmed again off of a television screen. That's not to say that the images aren't beautiful and breathtaking, just that they're a little unorthodox.
I won't go into the storyline, as you can read the synopsis above, but rest assured, if you're a film buff who truly appreciates a fluid film that rewards the eyes, mind, ears, and heart, this film will leave you very satisfied.
On the other hand, if you're a high school girl who is more interested in checking the text messages on her cell phone than watching the required film in class, then you'd better go down to the multi-plex real quick.
The cinematography is ground-breaking, and at times it's hard to figure out exactly how the images are being filmed. Sometimes it appears that the film was shot, then filmed again off of a television screen. That's not to say that the images aren't beautiful and breathtaking, just that they're a little unorthodox.
I won't go into the storyline, as you can read the synopsis above, but rest assured, if you're a film buff who truly appreciates a fluid film that rewards the eyes, mind, ears, and heart, this film will leave you very satisfied.
On the other hand, if you're a high school girl who is more interested in checking the text messages on her cell phone than watching the required film in class, then you'd better go down to the multi-plex real quick.
The Story of O
(1975)
Not Too Bad For it's Genre
2 August 2004
I was fully expecting this film to be a sorry excuse for 1970s French soft-core porn. But I was pleasantly surprised! The story is actually kind of interesting, and the cinematography is rather creative at times. Most of the acting is adequate, and surprisingly effective.
Occasionally, "The Story of O" slips into Bob Guccione territory. In fact, one might see the character of Sir Stephen as a thinly disguised homage to Hugh Hefner and Bob Guccione.
But, like other viewers have mentioned, this is not really a titillating film. It has its moments, to be sure. But if you're looking for a film to keep you company on a cold, lonely night; this isn't it.
I should add that "The Story of O" hasn't aged well. There are a couple of fashion shoots that are downright laughable, and the men's outfits are right out of a 1974 GQ magazine.
Certainly not a great film, but nonetheless, it succeeds at what it's trying to do.
Occasionally, "The Story of O" slips into Bob Guccione territory. In fact, one might see the character of Sir Stephen as a thinly disguised homage to Hugh Hefner and Bob Guccione.
But, like other viewers have mentioned, this is not really a titillating film. It has its moments, to be sure. But if you're looking for a film to keep you company on a cold, lonely night; this isn't it.
I should add that "The Story of O" hasn't aged well. There are a couple of fashion shoots that are downright laughable, and the men's outfits are right out of a 1974 GQ magazine.
Certainly not a great film, but nonetheless, it succeeds at what it's trying to do.
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