bosochima Reviews

The Kid Stays in the Picture (2002)

Robert Evans Celebrates Robert Evans, to the Benefit of Robert Evans

[5/10 · 28 December 2011]

Somewhere in this grating, self-congratulatory exercise in ego-mania is a fascinating documentary about one of the most talented and successful players in the history of Hollywood. By sealing it all up in a stiffing first-person bubble, though, Robert Evans and the film makers turn what could have been a great journey into the equivalent of being stuck on an airplane with someone who can't shut up about himself. All biographies have a point of view. I've never seen one, though, that insists on giving the viewer ONLY one perspective to the point that the main character is the only one allowed to speak, quoting other people in irritating (and in some cases racist) caricatures while continuously employing false modesty, name dropping, and hackneyed "homespun" quips meant to sound like hard-earned wisdom. They should have printed 15 copies of this film and passed them around to friends and family of "The Kid" in the title. Considering the flood of quality documentaries that have been released in the last decade, the general Viewing public deserves something better.

Tom Jones (1963)

Disappointing

[4/10 · 30 October 2008]

I had gone into this movie with high hopes. My Tivo had recorded it off of TCM, and I figured if it had a top rating it must have something going for it.

I was profoundly disappointed. I never walk out on a film, but I almost turned this one off halfway through. Badly lit scenes, sloppy camera-work, really odd editing choices, nonsensical transitions - it definitely felt like a '60s "modern" feature, and not in a good way.

A few members of the all-star ensemble cast mugged for the camera and chewed scenery. The rest were given nothing to work with. I think this was supposed to be a lighthearted, playful romp, but the whole thing was really weighed down by the heavy-handed dialogue.

As for the lead, I didn't like him. I know I'm not meant to like every character that comes along, but I truly did not understand why I should care anything about this guy, let alone sympathize with him or appreciate the irony/satirizing of the Upper Class his story represents. From what I had heard of the film, I had expected a lot more slapstick sexual encounters and pillow talk. Instead I get a romance novel with less interesting plot lines.

Throughout my viewing of this film, I could not help but compare it to another famous "Young Englishman Makes His Way In The World" film, Stanley Kubrick's 'Barry Lyndon.' That movie is an order of magnitude superior to Tom Jones in just about every aspect, especially visually. I wasn't expecting to like that film - after seeing it, thought, it became one of my all-time favorites. I feel the opposite about 'Tom Jones.'

Martin (1992–1997)

First Half of Series = A-, Last Half = F

[5/10 · 14 July 2007]

The first three seasons of Martin Lawrence's comedy were great, almost brilliant. Lawrence showed himself to be an incredible comedian and impersonator. The show had a crazy energy about it, and it was nice seeing another comedy with an all-black cast succeed.

Unfortunately, the last couple of seasons of the show were horrible. The characters started using established tics and catch phrases as crutches. The writing got very sloppy, almost to where it seemed (to me) the actors were improvising half their lines. And Martin Lawrence, perhaps getting a little too enamored of his own success, got increasingly out of control in real life. How bad did it get? Eventually Tisha Campbell, who played Martin's girlfriend Gina, refused to do scenes with him! There's a point in the last season where you will not see the two actors in the same location at the same time. Like another popular sitcom featuring a stand-up comedian (Roseanne), Martin went in with a bang and out with a whimper. Still, it's worth catching the first seasons of the show to see Martin Lawrence at his best.

Duck Soup (1933)

Not What I'd Expected from the "Brilliant" Marx Brothers

[3/10 · 28 August 2005]

I saw this movie on Turner Movie Classics. In his introduction, Robert Osborne describes how when this movie was first released it bombed at the box office and almost bankrupted its studio. Watching it over 70 years later, I can see why.

The Marx brothers have become shorthand for American slapstick comedy, something I took as a given, never having seen them in anything substantial. Now having seen them in a feature length movie, my impression of them is pretty negative. Groucho, the leader, is the only one who appears to have any talent, and although he does get off some good lines, he is mostly just an irritating schmuck. Chico is little more than an Italian stereotype. Zeppo was barely in the film. I absolutely could not stand Harpo. His mute, self-satisfied, willful destructiveness started out as just weird, but quickly turned annoying and eventually unwatchable.

I would like to know what happened between the time this film was summarily rejected by the viewing public and recently when The Library of Congress placed it on the National Film Registry to change peoples' minds about it. I'll stick with the Three Stooges.

Garden State (2004)

Too Much of Some Things and Not Eough of Others

[3/10 · 17 April 2005]

I wanted to like this movie. I enjoy Zach Braff's work on "Scrubs" and I had heard good things about his directorial debut. Unfortunately, I don't like this movie. I feel it was over-directed, the director's technique squeezing out opportunities for emotional truth to develop.

Braff plays a 20-something who returns to his home in New Jersey to attend his mother's funeral. While he is there he encounters old and new friends and gets a chance to figure out what's wrong in his life. Braff is OK in the lead role. He plays it very flat. Too flat, in my opinion. I understand his character's situation, but never really get inside his head or work up much enthusiasm to appreciate what he is going through. Natalie Portman does a good job with her performance, it's her character I can't stand. Maybe I've seen too many "Quirky Cute girl Who Is Hiding Her Pain"-type roles (in other movies and on TV) to appreciate this one. Her role is vastly overwritten. It's almost like Braff was worried the audience would stop liking her if she stopped showing how unique she is. I have absolutely no empathy for any of the other characters. I just could not see past their prominently displayed idiosyncrasies to care about them.

The movie starts off with a affectively moody atmosphere, a very good setting for a story of 21st century alienation. Unfortunately Braff does not sustain the airless, melancholic tone he establishes at the beginning. By the time the third act comes around the whole thing felt as processed as a can of sardines, or a standard sitcom. Despite the flaws, Braff does show promise as a film maker. I hope his next project has a lighter touch, and that he gets out of his characters way as far as letting them be characters and not an exhibit of peculiarities.

28 Days Later (2002)

It's Main Flaw Is That It Just Doesn't Make Sense

[3/10 · 27 February 2004]

I rented this movie with high hopes. I had heard it was a pretty god horror/thriller. Watching it, though, I just couldn't ignore the numerous logical lapses that occur. It is a work of fiction, true, but the main characters do a lot of things in this movie that people in the Real World simply would not do. Their choices and decisions seem to serve only to put them in a position for the next shocking scene. Speaking of which, once I started thinking about the virus that infects the population of the UK, I kept wondering "Why aren't these blood-spewing hyperactive zombies attacking each other? Wouldn't they have died of dehydration and blood loss long before starvation became a problem? And why do they all look like extras from a Prodigy video?"

There are a few scenes that work, but overall I would not recommend this film.

Death to Smoochy (2002)

A Good Dark Comedy?

[2/10 · 16 June 2003]

I have a challenge for all of the people who are calling "Death to Smoochy" a great dark comedy: Go watch Danny DeVito's masterpiece "The War of the Roses." Then watch Stanley Kubrick's "Dr. Strangelove." Then watch Alexander Payne's "Election." Then watch Tarantino's "Pulp Fiction." Then come back and post with a straight face that "Death to Smoochy" is a great dark comedy.

This film fails as a dark comedy, as a comedy, as an exercise in filmmaking. A great group of acting talent is wasted by a non-sensical script, aimless direction, and an overall lack of coherency. It could have been something great, but instead it is a huge misfire from a director who is known for making good, sometimes great, movies.

But I'm a Cheerleader (1999)

Goes Somewhere Special, But Doesn't Go Far Enough

[4/10 · 17 February 2003]

For the most part, I enjoyed "But I'm a Cheerleader." The story of a cheerleader whose parents take her to a rehabilitation camp because they think she is gay is a truly unique idea for a movie. Natasha Lyonne, Cathy Moriarty, and RuPaul were very funny.

The main problem I had with the movie is its lack of bite. This could have been a really wicked social satire about homosexuality and efforts to make gay people "normal," and it started out that way, but by the time the film ends it never quite hits the mark. The script, direction, and general acting were all just weak enough to take whatever edge the story might have had away (this is especially true for the main character's fellow campers, who display marginal acting talent at best). The last act is downright generic, something one might find on the Oxygen network's Movie of the Week. By the end I felt the whole thing didn't quite reach its potential.

I applaud the producers for making a film like this, although it would have been better if they had managed to take things to the next level. I gave the film 4 out of 10.

Insomnia (2002)

A First-Rate Thriller

[8/10 · 2 June 2002]

This is a great film. The writing, directing, acting, and cinematography are all superb. I especially liked the performances of the three leads. Pacino and Swank's performances are all you can possibly ask for, and it was so nice to be reminded of what Robin Williams is capable of as an actor doing a serious role. The premise of the film is pretty basic, but the execution of it by the film makers and talent make it truly something special. Christopher Nolan is fast becoming one of the great directors of our time. Between this film and Momento, I can't wait to see what he comes up with next...

Wet Hot American Summer (2001)

The Cast is Top Notch, BUT...

[3/10 · 1 June 2002]

This was probably the most poorly directed comedy I have ever seen. The movie's pacing was awful, the techniques used to interweave the numerous story lines ranged from amateurish to random, and unless you are in tune with a certain below-the-radar subversive sense of humor many of the jokes tend to fall flat. Granted, there were some very funny one-liners and throwaway bits provided by the cast, which includes Janeane Garofalo, David Hyde Pierce, Molly Shannon, and members of the comedy troupe The State. If anyone else had played these roles, this film would have been a complete disaster. If you are looking for something more than some random laughs, though, you won't find anything here. As it is, this movie stands mostly as a big wasted opportunity to use some very funny people in what could have been something much better. Solely because of the strength of the comedic talent, I give the film a 3.

Vanilla Sky (2001)

It Was...OK

[5/10 · 31 May 2002]

This was not the worst film I have ever seen, although I would not recommend it to just anyone. At first I was distracted by the camera tricks the director used to make Cameron Diaz (who is at least 5'8" tall) look similar in height to Tom Cruise, but once the story got going it didn't seem so prominent. Overall all of the actors did a good job with their roles. Penelope Cruz was not nearly as distracting as she is in other films I've seen her in. The writing wasn't great, but it wasn't the worst I've ever heard either. The most impressive part of the film was the cinematography - the visuals were colorful and very pretty.

As far as the plot, other posters have commented that if you "get" the film you will really appreciate it. I "got" this film, but I am not satisfied with the story. I feel that the territory this film explores has been covered with greater success by any number of "Twilight Zone" episodes. For most of the film I was confused (and not in a good, David Lynch way) but once I understood what was going on the whole thing seemed pretty flat, all of the supposed twists and turns easily explained away. I gave this film 5 out of 10.

Akira (1988)

Less Than What I Expected

[4/10 · 17 March 2002]

I am not familiar with anime, or Japanimation, or manga, or any other sort of Asian animation style. I watched Akira because of its reputation as one of the best films of its genre. Evaluating Akira as a film, however, as opposed to a cultural phenomenon, I thought it was disappointing. The animation style is very detailed and glossy, although in 2002 (with films such as Shrek, Toy Story, Final Fantasy, and Waking Life in circulation) the visuals in Akira are nothing special - they even seem somewhat dated. What really bothered me about the film was the lack of interesting characters, uneven pacing, and an alternately boring and incoherent plot. What could have been an interesting story about human evolution and government conspiracies gets stuck in a teenage biker gang soap opera before falling off the metaphysical deep end in the last twenty minutes. This might make sense to people who are familiar with anime styles and stories (I think that Akira was a book before it became a film), but speaking as someone who is not versed in that folklore I was left scratching my head in confusion and not enjoying this cinematic experience. I give the film 4/10.

Dancer in the Dark (2000)

An Excellent Production

[9/10 · 15 March 2002]

I really liked this film. Bjork delivers a heartbreaking performance, and her supporting cast (led by Catherine Denuve) was excellent. This is a type of film I have never seen before - a Musical Film Noir. The juxtaposition of Bjork's singularly unique electronic music with von Trier's dark and tragic story has produced something very special. I highly recommend this film to anyone looking for something out of the ordinary.

Moulin Rouge! (2001)

How Did This Movie Get an Oscar Nomination?

[2/10 · 11 March 2002]

This is not a movie, it's a two hour music video. I cannot decide what I hate about this movie more - the machine gun editing style or the complete lack of originality of the whole project. I had to force myself to get through the two hours of predictable plot, uninteresting characters, and rehashed modern music that can stand well enough on its own. I give it 2 out of 10.

Project Greenlight (2001–2023)

The Idea and the Show Could Have Been Better

[12 February 2002]

Project Greenlight is the brainchild of actors Ben Affleck and Matt Damon and Producer Chris Moore, the trio that brought `Good Will Hunting' to the screen. The show is based on a competition during which wannabe directors submit their scripts to Live Planet, the trio's production company, with the winner getting the opportunity to turn their script into a film, courtesy of Miramax. The series follows the exploits of the contest winner, Pete Jones, as he directs his feature, `Stolen Summer.'

Having worked on film sets before, I know that movie shoots that go well can be pretty boring places to be. The hours are long and the work is hard, but basically you set up, you shoot, you have lunch, you shoot some more, then you go home. It seems to me that the P.G. creators and producers stacked the deck against Jones to wring out as much `drama' as they could. First they give Jones, who has never directed a film before, less money and less time than would be optimal for the movie he is making. Logic would suggest you would want to give a neophyte more time and cash to make mistakes, do things over, etc. Logic would also suggest you would surround the newbie with the best people you could get to provide support and guidance. Instead, Jones is hooked up with a first-time Producer (Jeff Balis) and a Line Producer (Pat Peach) and cinematographer (Pete Biagi) who seem more interested in furthering their own personal agendas than making the best film for Jones. All through the series the question of `Who's in charge?' hangs in the air, with Executive Producer Chris Moore coming by the set to yell at people and threaten Balis with firing (as opposed to, say, providing genuine leadership and guidance to the production) and studio suit Michelle Sy occasionally dropping in to `represent the interests of Miramax,' whatever that means.

The series shows all the major screw-ups on the production – Jones shoots under a noisy train platform that renders sound recording impossible, the big baseball scene is rained out and the crew does not have an alternative location, the scene of the two main characters swimming is hindered by the fact that the child actors are terrible swimmers. The crew gets worn down but soldiers on through the confusion, taking note of such basic directing/producing mistakes as not having a daily shot list. The series is very good at depicting just how chaotic movie making can be, especially when the people calling the shots do not really know what they are doing. Unfortunately, the series did not show anything that went well on the set. Despite the numerous gaffs depicted in the show, a movie apparently did get made. It would have been nice to see how the crew went about crafting and shooting a normal, regular scene, without all the conflict that went on behind the camera.

The last episode of the series showed Stolen Summer's premiere at the Sundance Film Festival. It seemed the reactions of the audience to the film were upbeat, but not overwhelming. I hope the film is good – I'll probably check it out when it goes into wide release. I also hope the mistakes depicted in the series do not hurt Jones's chances of directing again. All in all the idea of Project Greenlight is an admirable one. Any opportunity for fresh talent to break into the insulated world of major films can't be bad. If Affleck and Damon decide to do this again, however, I hope they forget the whole reality series angle and just give the contest winner the money and people he or she needs to make the best film they can.

Band of Brothers (2001)

An Exceptional Piece of Film Making for Television

[8/10 · 12 November 2001]

In just about all aspects, Band of Brothers is a tremendous

achievement. The series, based on actual events, follows the

World War Two exploits of the men of Easy Company, 506th

Regiment, 101st Airborne Division, from their initial training in the

United States to the famous D-Day invasion of Europe through the

hardships of the Battle of the Bulge all the way to the capture of

Hitler's Eagle's Nest and the end of the war. The two first episodes

("Currahee" and "Day of Days") were the best. The air attack

sequence in episode two is on par with the opening D-Day

sequence of "Saving Private Ryan." Episode seven ("The Breaking

Point") also stands out in the series. One of the advantages of the

ten episode format is that, unlike a single movie, the viewer can

better see how the battles and hardships wore on these men,

something the actors did a great job of portraying. Damien Lewis,

Ron Livingston, and Donnie Wahlberg stand out among the solid,

albeit relatively anonymous, group of actors. Lewis in particular

does an outstanding turn as Major Richard Winters, the series'

moral and dramatic center. Matthew Settle also does a good job

as Captain Speirs, a prime example that not every American

fighting man was an angel.

In general, the series has the hallmarks of a Spielberg project,

particularly in its superior technical craftsmanship. Some aspects

of the series feel emotionally forced. Certain parts of episodes

(such as Sergeant "Bull" Randleman's adventures behind enemy

lines in episode four, "Replacements") almost descend into

movie-of-the-week melodrama. Also, the series' music seems to

be meant to seek (some might say demand) a constant state of

reverence for what is going on. Nevertheless, this is an excellent

series. I would not compare Band of Brothers to war films like

Platoon or Apocalypse Now; It is closer to the 1960s TV series

"Combat!" in terms of its structure and quality, which is very high.

Band of Brothers is definitely one of the better works to appear on

television or in theaters in the last few years.

Note: For a perfect continuation of the theme, rent "The Best Years

of Our Lives," a great film about GI's coming back home.

Startup.com (2001)

Good, but With Some Flaws

[7/10 · 9 October 2001]

Right now, this is the definitive documentary on the dot.com culture

that essentially ceased to exist so many months ago. I feel there are

two ways the film could have been improved. First, the producers should

have added subtitles to indicate where the protagonists are in the film.

Pretty much all offices look the same, and it would have been nice to

know when the two were at their place, at the consultants' offices, at

the venture capitalists', etc. It would have been helpful to put names

to the numerous faces that come in and out of the picture as well.

In addition, and more importantly, the film never gets into the

specifics of why GovWorks.com failed. One day the company had two

employees, then they had seventy, then they had ten. Why? What was the

business plan? What were the goals of the company? What did the Web site

look like? I think the story of how this business worked (or didn't

work) is at least as interesting as the personal tensions between the

two main characters. When they release the DVD of this film an ideal

second disk would consist of additional information along these lines,

as well as a mock-up of the GovWorks site.

The Man Who Saw Tomorrow (1981)

A Good Documentary

[7/10 · 6 October 2001]

I first saw this in the early 1980s, and it scared me to death. I just

saw it again on the History Channel. As a documentary it is still

engaging. Orson Wells adds something to anything he is in, and I think

it's his presence that gives the show a gravity it's stock footage and

b-movie recreations do not. As far is whether Nostradomus really

predicted the future, I can't say personally. Some of his predictions,

as interpreted by the show, seem a little far fetched, such as the idea

of a 27-year-long nuclear war. Some of his predictions, though, a

chillingly accurate. Although I do not study these things, I found the

Man Who Saw Tomorrow to be an entertaining introduction to the subject.

The Contender (2000)

Great Cast, Cop-Out Script

[7/10 · 29 September 2001]

This could have been a great film. The performances were outstanding,

especially Jeff Bridges as the President and Gary Oldman as a Senator.

Joan Allen also does a great job. The biggest problem I have with this

movie is the last third, where (not giving away spoilers), the script

writer completely wusses out on what the movie had been building to. It

seems that the filmmakers wanted this to be a "controversial" film but

not TOO controversial that it might truly offend people (God bless you,

Hollywood). I gave this film 7 out of 10 primarily due to the strength

of the cast.

Jay and Silent Bob Strike Back (2001)

It's a Great Film, or a Piece of S...

[6/10 · 24 August 2001]

If you like Kevin Smith's movies, you will love this film, and you will

have many reasons to love it. If you do not like Kevin Smith's films, or

if you have never seen any of them, you will probably hate it, and you

will have many reasons to hate it. I like Smith's other work, and I was

laughing out loud when I saw Jay and Silent Bob. It's one of the best

comedies I have seen in a while.

Ghost World (2001)

A Good Film...Not As Good As the Reviewers Are Saying

[6/10 · 9 August 2001]

This is an interesting film, an occasionally funny film. All of the

actors do a good job with their roles. This is no insult to the two

actresses who played Enid and her friend, but I just didn't care about

what happened to them. I've never seen the comic this movie is based on

• maybe that's what's missing from my overall appreciation of it. The

mood is that of a low-rent "American Beauty," and the teen/young adult

angst angles have been handled to a much more interesting degree in

movies like "Diner," "The Graduate," or "Ferris Beuller's Day Off." The

best scenes came in moments from the co-stars, especially the guy who

hangs out at the convenience store with his nunchucks. Steve Buchemi is

excellent, as always. I gave this movie 6 out of 10. It's better than

most films that have come out this summer, but I think most people would

appreciate the comic more.

Contact (1997)

An Underappreciated, Flawed Gem of a Film

[9/10 · 26 April 2001]

What I like most about this film is that is discusses subjects that are

simply not talked about in popular culture. Does God exist? Is there

life other than our own somewhere in the Universe? Will faith or science

give us the answers to how we got here? These are difficult questions,

and this movie does a great job of addressing them intelligently and

dramatically.

The thrill of discovery is also prominent. The

sequences when Ellie first detects the alien signals, then pieces

together the message, then makes her trip in the Machine Seat are

surprisingly thrilling and emotional. I found myself getting teary-eyed

when Foster makes it through to the other side and see the galaxy from

the other side.

The only complaint I have against the film lies with the minor

characters (such as James Woods' National Security Advisor) who come off

as rather one-dimensional and under-developed. Make no mistake, this is

Jodie Foster's film, and she does a fantastic job with it. This is a

science fiction classic, one of the few that I hope will one day b

Cast Away (2000)

Disappointing

[6/10 · 6 January 2001]

This movie was a disappointment. It did not help that I knew the ending

from the commercials and film reviews. The middle part of the film

(where Hanks' character was on the island) was the best, but the

beginning and ending were colorless and boring.

Two things I don't understand...

1. SPOILER ALERT - Where exactly did Hanks' character store the FedEx

package he brought with him back to civilization? There were shots of

Hanks on his raft with no sign of a white FedEx box, yet after 500 miles

in rough salt water and rain, there it is at the end in reasonably good

shape.

2. Was Helen Hunt supposed to have an accent? She slipped into this

weird southern drawl about every fifth line she spoke. That was the most

distracting thing in th

The Cell (2000)

Don't Be Fooled...This is NOT "The Next Matrix"

[6/10 · 20 August 2000]

I gave this movie a 5 out of 10 rating, which reflects my disappointment in watching it. The TV advertisements were really cool, so I was surprised to find the movie to be a bit of a chore to get through. The story is similar to "Silence of the Lambs," but with a far inferior script and a cast of instantly forgettable actors, including Lopez, who confirms many people's assessment that she can sort of act (and sort of sing and sort of dance) but brings nothing truly interesting or inspired to the art. There were many times during the film I felt like I was watching a really bad TV police drama. A note to Hollywood writers: if you have more than three characters whose main purpose is to sit around waiting for other actors to do something, you have a problem! Also, about every fourth sequence in the movie involved someone being tortured, which I found difficult to watch after a while.

As far as the special effects go, they were OK, but had nowhere near the visceral impact of "The Matrix." What many in the movie-making industry have yet to figure out is the reason the SFX "worked" in that movie (as well as "Star Wars," "2001," heck, even "The Wizard of Oz") is because in these movies the EFFECTS served the STORY, not the other way around. There was some nice cinematography, but all in all the visuals weren't great or even very good.

If you must see this film, save your money and wait for the video. Even in a less-than-stellar summer movie season, you would not be missing anything.

Chuck & Buck (2000)

A Solid Piece of Filmmaking

[6/10 · 26 July 2000]

Overall, this was a good film that was very well acted and directed. Especially enjoyable was Lupe Oniveros as the theater manager who befriends Buck (she is given some of the best lines). I did not rate this film higher because I did not feel the climax of the plot was consistent with what went on before. I don't want to give away plot points, so I'll just say that there is a shift in a certain character's actions that did not quite add up for me without the whole film turning into a subversive attempt at pro-gay politics. I also did not feel a tremendous amount of sympathy for the main character as many critics of this film did. He seemed more deranged and pathetic than anything else. Still, it's a good movie in the independent tradition, and I would recommend it to anyone looking for an interesting story to watch.