j_nevada59 Reviews

All the Real Girls (2003)

Slow, pretty film

[10 February 2004]

I knew that "All the Real Girls" was going to receive a pretty intense amount of backlash for its sparseness, but damn if there aren't some pretty hostile remarks here, (haha). Can't say that I blame people for dissing it though. I, surprisingly, found myself having a lot more patience for this film then I thought. It could be because I live relatively close to the town where it was filmed, (well kind of, Raleigh's about 3-4 hours from Asheville), and found it to be a relatively accurate portrayal of young folks living in a small, North Carolina mountain town. In an environment like this you have tight-knit communities, close friendships, not much of an economic prospect, (hence all the late-20 something kids still living with their parents), very blissful scenery, and plenty of room for dreaming.

Paul, to me, is a very believable character as is his situation. He kind of fits the stereotype of a tough, damaged dreamer, but his awkwardness with Zoe and his playful monkeying with his friends and family break him of the James Dean mold. His character seems to have been very carefully crafted as to not fall into any cliches. Paul is certainly not the smartest individual, but he wears his heart on his sleeve and and seems just emotionally "open" enough. Though he's essentially in the same boat as his friends, (endless monotony in a small town, seeming to go nowhere, etc.), he does possess some sustenance that his friends don't seem to have. Paul has burnt all of his bridges in regards to his cynical romantic life, but he still has hope that there is more for life to offer. Paul's tainted image as a heartbreaker and a user is never very visible, but his willingness to express his regret and desire to change provide his character with some pretty rugged layering. He wishes to come to terms with his past, but wants to move forward as a better, changed man. Paul is delighted at the discovery of finding true love, but is also scared of losing it.

I enjoyed the rest of the characters as well. The tough, older brother of the girl you love- (Tip), the clown- (Bust Ass, his extra scenes on the DVD are a riot), the quiet, philosophical friend- (Bo), the damaged, but sweet natured, uncle, the desperate, but loving, mother. All of them were very real to me. Their subtlety and simple dialogue really brought this film to life for me, (though the subtlety seems to be what loses most viewers).

I'm not sure films of this nature should come with some kind of "be prepared for slow pacing and little action" warning, but they certainly are not everyone. For me, I enjoyed every cinematic sweep of the Asheville Mountains as well as the very realistic emotional intensity that mounted between all the characters. The soundtrack was equally amazing. Every song was perfectly placed and not overused. This is the first film I've seen by this director, and I look forward to any other he will make.

Igby Goes Down (2002)

Igby should stay down

[7 February 2003]

Well, I attempted to watch Igby last night but fell asleep so perhaps I cannot rightfully comment on the film being that I missed the "exciting" conclusion.

Story/Plot: I was initially told was supposed to be Salinger-esque. Jesus, if that's true, for the love of God, leave JD's formula out of these pathetic attempts at movie making.

Dialogue: Overdone, unconvincing. So witty that it wasn't. Even Oscar Wilde's overblown, decadent chatter was capable of making his pompous characters humorous and somewhat realistic. All the dialogue in this film did was convince me that Bill and Ted were onto something.

Acting: Jeff Goldblum- great, as always. Susan Sarandon- pretty good. Ryan Phillipe- sucked, as always. Claire Danes- bad hair, decent acting ruined by her ridiculous character. Bill Pullman- probably the most convincing actor in the film, (I'm grading on a curve here).The Culkin kid- a lesser Toby Mcguire.

Igby, go down and stay down.

Mulholland Drive (2001)

Classic Lynchian elements. Dark, erotic, and surreal.

[22 July 2002]

Mulholland Drive is further evidence that David Lynch is one of the most unique directors of our time. Few film directors are capable of evoking an atmosphere that is instantly identifiable without merely repeating the same tired tricks that have worked for previous projects. It's all there: Dream sequences, jagged cinematography, creeping camera angles, scene to scene anticipation, side characters who have disturbing visions, Donna Reid-type innocence contrasting with pure evil, and of course, the carefully crafted, dark, erotic underworld-meets-swanky, cocktail jazz, stylings, (probably his most unique trait).

All of Lynch's films seem to convey the mystery of innocence being lost to carnal desire. In "Blue Velvet", we saw Jeffrey drawn towards something that horrified him equally as much as it excited him. He was essentially the "Donna Reid-esque" character of the film who felt strongly compelled to immerse himself in the darkness he discovered though he was also trying to remain the typical all-American, small town, nice guy that everyone could rely on. Needless to say that Laura Palmer's character followed this pattern as well. This dichotomy is also seen with Betty in "Mulholland Drive." She arrives in Los Angeles with the age-old fascination of becoming a famous actress when she stumbles upon a lost, scared, naked woman in her apartment who has no idea of her own identity, but knows that she is, in fact, running from something. Rather than running from the horror herself, Betty befriends this woman, sacrificing her own dreams to help reveal the mystery that has entered her life. What happens from here is a jagged journey through the subconscious where the women discover subtle truths about themselves while also falling prey to the dark, obsessive attributes of Hollywood.

Every other character in this film is lustful of the manufactured reality of Hollywood and is willing to travel to any dark depths of their souls to get what they want. Lynch cleverly displays the twisted heirarchy of the Hollywood lifestyle while also illustrating its devastating effect on the individual. Reality becomes dream-like, Characters transform, time overlaps itself, fear becomes sensual, and the horror becomes overwhelming, but the victims are not necessarily the prey, and of course, the seemingly innocent are not necessarily angelic.

With the intensity of the film's shifting dynamic, Lynch has once again given us a work of art that will undoubtedly lend itself for endless study, criticism, and most likely, scorn. Not everyone will have the patience for "Mulholland Drive." Many will find it rewarding merely for its creepiness. Others will be dazzled by Lynch's blatant use of atmosphere and tone. All of his movies have very unforgettable scenes that exist entirely for effect. These scenes generally involve music and penetrate the very core of the movie. In "Fire Walk With Me", there will always be the sludgy-swing rock of the band performing during Jacque Renault's orgy, (not to mention Julie's Crusie's sylph-like cooing as Laura sat a table and cried). In "Blue Velvet", Dorothy's singing had a hypnotizing effect on both Frank and Jeffrey. In "Mulholland Drive", the "Silencio" scene will without a doubt remain in the minds of viewers for some time to come. The Spanish singing is eerie, heartbreaking, and powerful.

For those who fear that "Mulholland Drive" will take the same route as Lynch's previously incoherent, "Lost Highway", fear not. There are plenty of Lynch's trademarks going on this film to make it dazzling both visually and intellectually. Just don't expect an immediate revelation.