ReneWirtz Reviews

I Know This Much Is True (2020)

Life doesn't always come up roses

[9/10 · 16 June 2020]

Yes, the story is harsh and cold. No, there are hardly any positive notes in the show. Yes, the acting is beyond top shelf. Yes, the music and score is amplifying the depressing story. No, there almost is no redeeming quality.

But, such is life! Life isn't always perfect and happy and rainbows and puppies. Here we see the results of multiple generations dealing with trauma upon trauma, real people trying to move one step forward in life only to find they'll have to take two steps back. This is life, bitter and hard, but also unrelenting and strong.

This is TV at its very best. Sure, it isn't for everybody, but you can't make reality go away by pretending it doesn't exist.

Mark Ruffalo, Rob Huebel, Rosie O'Donnell, Kathryn Hahn are phenomenal. The writing and directing by Derek Cianfrance is outstanding.

Miles Ahead (2015)

Great Character Study

[8/10 · 21 December 2016]

Miles Ahead is a good movie (8 out of 10), as long as you understand as the viewer that this is not a biopic or biography. Nothing much but peripheral things are based on true events. However, this movie is to try to shine a light on the tight rope the eccentric genius Miles Davis had to walk: spotlight or recluse, fame or art, music or painting, love or lust. Don Cheadle is near perfect as Miles Davis and Emayatzy Corinealdi is a great counterbalance as Miles' muse. I'm unsure of Ewan McGregor's overall arc in this story, although he does play his dubious character with gusto. The music is great, still cool after more than half a century!

The Hateful Eight (2015)

70mm Roadshow Is Amazing Experience

[10/10 · 27 December 2015]

When I first learned that Quentin Tarantino's eighth movie was shot on 70mm Ultra Panavision I got quite excited. The last movie to be shot and projected in this ultra-wide format was Khartoum in 1966 so when I found out that the movie was going to go on a limited release roadshow I got quite a bit more excited. The road show is projected with analog equipment and includes 13 minutes of additional material that will not be in the digital release. At the time of typing this it might already be too late, but if you have the opportunity, go see the roadshow version.

I bought two tickets for the 10.55pm Boxing Day showing in the only theater in the Atlanta metro area to show the movie 8 days prior; to my surprise tickets were not sold out. My wife and I drove to the theater in Atlantic Station and we had our tickets scanned a little after 10pm. Upon entry we were given a program, beautifully made on lush paper containing beautiful photos and a little background information on the movie. Seeing the program made me realize that we were actually experiencing a once-in-a-lifetime event. After getting drinks from the concessions stand we took our place in line, since the showing that started before ours was still running. There were two snake lines, roped off in velvet. The wait was about 20 minutes and when the door opened the lines quickly moved and in less than a few minutes we sat down on the recliner seats in the upper half of the auditorium.

Right on time the movie started. Well, not really, the movie opened with an Overture. The overture starts the original score by Ennio Morricone, which was his first original score in 40 years! Naturally, after the overture the movie starts, a glorious 3-hour long ride. Because we went to see the roadshow version, it was analog and watching it play is like listening to music by playing a record on a turntable: it's perfectly imperfect! The movie shakes, light flickers and it shows with a little grain. This is a far cry from the current, "perfect" HD digital quality of most movies and TV shows. But if you love cinema, and if you are as "old" as I am it will transport you back in time where movies were still a wondrous and wonderful thing, it is thrilling and exciting, it is a rare treat.

The movie follows the quintessential Tarantino-format with the story broken down into 6 chapters (with an intermission after chapter 3!). Each chapter is announced with a title card and chapter 5 includes narration. As per usual, the chapters are not in chronological order but this time only one chapter is not in sequence, but the order makes perfect sense. As with all Tarantino's movies the language is foul and the violence is graphical and perhaps a little gratuitous, which of course, makes sense with the involvement of longtime Tarantino collaborator and The Walking Dead special effects supervisor Greg Nicotero. The wide angle, but still very close-up, camera work also pushes the viewer right into the middle of all the violence.

The cinematography by DP Robert Richardson is spectacular to say the least and the use of almost antiquated Ultra Panavision lenses and widescreen format are both a tribute to old Spaghetti Westerns as well as a unique approach and use of said technology. One expects many lush outdoor shots, but the overwhelming majority of the movie takes place in just two indoor locations: a stage coach and a haberdashery. This ultimately aids to focus the viewer's attention to the storyline and acting. To be fair, the story and its arc seem a little contrived but, again, this is all standard Tarantino. As is the magnificent acting. The actors portraying the eight protagonists ... or really the eight antagonists, Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Demian Bichir, Michael Madsen, Walton Goggins, Tim Roth and Bruce Dern, all blend into their roles, become their characters, pretty much turning the movie into a fly-on-the-wall documentary instead. (Personally I thought it was amusing to see Tim Roth play a delightfully flamboyant English character and part of me wonders how many armchair critics will complain about Roth's fake English accent not realizing he is, in fact, a Brit.) Clearly, the roles were written with these specific actors in mind and they do not disappoint, there are several Oscar-worthy performances, with Walton Goggins' being the most noteworthy as the opportunistic would-be sheriff of Red Rock!

As noted above the movie is a Western, but it is not a classic one; John Wayne would be rolling over in his grave if you'd call this a classic western. Moreover, as with all Tarantino's movies there is a socio-political subtext which isn't for So, all by itself The Hateful Eight is not the best movie ever, but looking at purely at the artistic aesthetics in combination with experiencing this as the first 70mm roadshow in almost 50 years and with the first original Morricone score in 40 years, the whole package definitely became an unforgettable experience, one that may never have a repeat again. Thank you, Quentin Tarantino, for this awesome Christmas present!

Burn After Reading (2008)

As good as comedy gets

[9/10 · 20 January 2009]

This movie is brilliant beyond words and I'm sure that those who don't understand the Coen brothers' sense of humor, and there are many of you out there, the movie is neither funny nor good. To those who do understand their humor and who can appreciate total absurdity, this movie will be the best of the bunch.

The casting is out of this world. Who'd've thunk that Brad Pitt could play the biggest dweeb on the planet, who'd've thunk that John Malkovich would be used only to scream obscenities and play a lethargic, self-absorbed and self-important nobody, who'd've thunk that George Clooney would be typecast as just a regular but good looking man, who'd've thunk that Frances McDormand would be reduced to a shallow, physical looks-only 1-dimensional character? Then throw in some random supporting roles that totally take apart the very fabric of what they are supposed signify.

The storyline and acting is spot-on, but most of all, incredibly all out funny. But you may have to watch it a few times in quick succession to grasp the meaning of it all.

Don't miss this!

Gran Torino (2008)

7 out of 10 ... for now

[7/10 · 20 January 2009]

I think this is one of those movies that at first leaves you kinda lukewarm, but over time will become a true classic. That is the main reason why I gave it a 7 out of 10 and not a 5 out of 10.

The story is shallow in content, it is racial, it is politically incorrect, but it is also true and real and unapologetic. It is that combination that will make this movie end up in the same pantheon as Crash, as Babel, as Doubt, as Seven Pounds. Movies that make you think about the content, and it will keep you thinking about it. Therein lies its strength, not in the acting, not in the spectacular dialog, not in the action scenes. It is the truth behind the story that will make this movie being regarded as great.

Another reason for its inevitable greatness is the fact that Clint Eastwood shows himself as an old man and he is not afraid to show that his character is hopefully out of touch with today's world, today's society, today's technology ... but he still has a passion to instill virtues and values in the people he cares for.

Don't just dismiss this movie based on Clint's stereotypical acting, on the stereotypical typecasting, but base your rating on the lessons you can take away from this movie.

Seven Pounds (2008)

Well Done Will!

[10/10 · 27 December 2008]

I heard an interview with Will Smith on Kiss FM a few weeks ago when he was doing the promotion rounds and he told the audience that he didn't just do the normal press junkets but that he really wanted to promote this movie to everyone everywhere. And now that I have seen this movie I understand exactly why he had such a vested interest. Now I feel like I need to tell everyone everywhere to go see this movie.

This movie makes you want to go out and do something good, something beautiful, something life affirming. Sure, the premise of the story is guilt, but at the end there is an overwhelming sense of justice. And if you get through the end without feeling gloriously happy you have no heart for compassion.

And I am glad this is not the typical Hollywood film where everything gets explained at the end: a picture paints more than a 1,000 words. I am also glad this movie does not have the (stereo) typical Hollywood feel-good ending: this movie ends how it is supposed to end.

The acting throughout is splendid by the entire cast and Will Smith shows that he has more to offer than just be the silly Fresh Prince. He already showed his range in I Am Legend and The Pursuit of Happiness, but here he shows how well he is versed in drama by having his true nature come out to the surface. Rosario Dawson portrays her character with great quality (then again, I think she can do no wrong, no matter how hard she tries). Woody Harrelson is wonderfully introvert in ways you'd find hard to accept from him, but he pulls it off as if he was born to be that way. But to me Barry Pepper is the one who brought this cinematographic wonder to life; his acting, much like in The 25th Hour, is just spot on, emotionally.

My respect to the cast and crew of Seven Pounds, they made a timeless piece of cinema that will only increase in value over time. My vote: 10 out of 10 My advise: go see this movie!

Doubt (I) (2008)

Doubt? Or question?

[8/10 · 25 December 2008]

Saw this movie on Christmas Day charmed by the trailers and it has been a while that a movie without any action or CGI was able to grab my attention and hold it. The script lends itself for being very open to interpretation and that is exactly what you will take away from watching the movie: discussion points, because there is no flash back and there is no flash forward. Just the facts, although not hard by any definition, and a lot of circumstantial evidence. And therein lies the beauty and brilliance of the script and the movie, because I am under the impression that it is not only doubt that drives the motives of the protagonists, as it is the lack of questioning.

The movie is very manipulative into making the audience believe a certain point of view which is evidenced by a few pieces of dialogue. But, and this may be my naiveté, I believe that Father Flynn only meant to be compassionate, forward thinking, open minded, sharing his love throughout his parish as opposed to Sister Aloysius fire & brimstone tactics of instilling the fear of god into each and everyone.

Hence the title of my comment. Don't doubt, but question everything.

Babel (I) (2006)

Best Movie of the Year

[9/10 · 11 November 2006]

What a great, wandering fairytale-like movie Alejandro González Iñárritu made. The storyline is refreshingly open to interpretation as opposed to chewed out Hollywood cliché movies; the locations are clashing interestingly and the performances are stunning, not only from well-known actors, but more-so from the unknown actors from different parts of the world.

For all you Americans out there that think this is an anti-American movie: you are sorely mistaken and you only underline your own ignorance and stupidity. This movie is about how people all over the world want the same thing: a chance for a better life and how sometimes choices made to attain that better life end up not being the right ones. Also the movie is about how people need to communicate about the big AND small things in life instead of bottling it up (under the rug swept only works for so long) and it's about the need for emotional contact, reaching out to one another instead of looking for reasons to hate without justifiable reason. This movie is about love. If you can't see that, there might not be hope for you anymore ...

The Da Vinci Code (2006)

Missed Opportunity

[4/10 · 4 June 2006]

After being underwhelmed by the book I had my doubts whether I should see the movie or not, but I always like to give people the benefit of the doubt and seeing the line-up of the actors I hoped that Ron Howard would make the most of it.

But, to be honest and in my opinion, after all the hype that preceded both the book and the movie I found The DaVinci Code to be a huge disappointment.

Tom Hanks as Robert Langdon performed incredibly flat and one-dimensional; and he looks like Steven Seagal and I can only hope Tom didn't try to emulate Steven's acting abilities. Audrey Tautou looks lovely, but she played her role as Sophie Neveu without any emotion whatsoever and her grandfather (or at least who she thought was her grandfather) was murdered. Jean Reno was horribly painful miscast as Bezu Fache.

The only two that made the movie a little bearable were Paul Bettany as Silas, since he was allowed to show a range of emotions, although still I had the impression they were downplayed by the director and/or editor, and Ian McKellen who stole the movie as Leigh Teabing in every scene he was in showcasing his class and talent.

Considering they shot a great part of the movie in Louvre, they could have done so much more with it; for all I know, they could have filmed this entirely on a sound-stage. The other locations were pretty bland as well and much more dramatic effect could have been achieved with more daring camera work. The movie could also have used a little more humor; I think I smiled about two times, while I believe there was more room for a few quips.

And the movie was way too long with 2.5 hours. I realize that making it shorter it would mean that there would be less room for flashbacks telling the back-story of some of the events, but leaving out all this detail could have been beneficial for the story arc. Also, every lead Robert and Sophie follow up is explained to death, so it shows that this is an American movie made primarily for an American audience (no offense, though). I saw this movie in its second week, and halfway during the movie people left, the friend I went to see it with fell asleep for about half an hour and after waking up he felt as if he didn't miss anything.

Perhaps another director and a different cast would have made a difference, then again, the book was pretty bland as well, so perhaps not turning this book into a movie would have been the best choice. For all the people who loved the book let me point you to Foucault's Pendulum by Umberto Eco, written 15 years before Dan Brown's movie script, but so much better on all levels.

Overall, let me advise anyone who is in doubt to go see it to wait till the movie is releases on DVD and spend the ticket money on another film; I'm sure you can think of a few, because I can.

Brokeback Mountain (2005)

Wonderfully Slow

[8/10 · 19 March 2006]

First off, the cinematography and sceneries are beautiful and the acting is very controlled and introverted. This last part enables the movie to stay far away from being a run-of-the-mill tearjerker, also aided by the absence of a dramatic, violin-fueled score.

Secondly, the story line subtly has multiple layers, because this movie is not just about homosexual sheep herders, in fact I believe it is hardly about that; it's more about oppression, racism, religion, the fast changing times of the 60s and 70s and how different people i different stages of society deal with those.

There's very little dialogue, but the body language tells the viewer so much, that words are really unnecessary and that is something that Ang Lee really did well. One point of criticism is that the movie runs too long. At the point where Ennis leaves Jack's parents is where it should have ended, because then the opening and ending scenes would have been identical. And the part after this shot really didn't add to the story or character development.

All in all I give it 8 out of 10, because this movie shows how delicate relationships, any relationship, can be. And it does so in a non-judgmental manner.

Syriana (2005)

Mesmerizing

[9/10 · 17 March 2006]

This is a must-see for everyone who wants to know a little more about the world of big oil and the situation in the Middle East. But only to find out in the end that nothing is ever what it seems. If you have preconceived ideas about what is the only correct way to go about above-mentioned situation, then you will not see it as it is: a non-political, non-blame movie. Everything is looked at from different perspectives without connecting those perspectives into one, definitive conclusion.

This movie requires both stamina and a little insight into the workings of macro-economics, but if you possess both then you are in for an amazing movie, both visually and contextually. I liked the fact that the Iranians spoke Farsi, the Pakistani Punjabi (I'm not too sure, though), the Arabs Arabic, the Swiss French and the American English. It gave the movie a sense of being a documentary instead of a motion picture.

The acting on all parts was outstanding, the different sets were refreshing, the lighting was superb and the sounds quality (very soft and gentle for the most parts) reminded me of another "quiet" movie: Erin Brokovich.

So, in conclusion, go see this movie, it is worth your time and attention!

Walk the Line (2005)

Great Biopic of Start of Majestic Career

[8/10 · 26 February 2006]

James Mangold has displayed a great range of movies: from the indie Heavy (with Liv Tyler's best performance), the top heavy Cop Land (where Sly Stallone shines), the powerful drama Girl, Interrupted (with a magnificent Winona Ryder), the light but still very enjoyable rom-com Kate & Leopold, the multi-layered whodunnit Identity (with the always quality John Cusack and Jim's signature actor Pruitt Taylor Vince (one of the best actors of his generation!) now there is the long awaited cinematic biography of Johnny Cash.

Mangold could have gone the easy way and portray the settled-down and familial and grand person Cash became in the 90s and 00s (after struggling through his addictions and troubles). But instead he chose to show the hardships Johnny Cash had to endure as a child and how he became a recording and performing artist, while trying to grow up and keep in touch with reality.

Some will say that Cash now comes off as a cheating and pill-popping maniac who has little empathy for his wife and that may all be true, but fighting his inner demons with June Carter at his side is exactly how he in the end became the icon that is JR Cash.

Joaquin Phoenix is the embodiment of Cash, even though he doesn't look or sound like him, but that only shows his acting performance.

Reese Witherspoon does an outstanding performance as well, maybe it gets enhanced if you offset this against her Legally Blonde-type characters.

Kudos to both of them for performing (singing and playing), because this could have gone horribly wrong if Mangold decided to go with Joaquin and Reese lipsynching to Johnny and June's voices.

The supporting cast is great as well as is the selection of songs.

The story and tension arc is solid as a house and the 2 hours and 16 minutes fly by. All in all this is one of the best, most honest biopics I have ever seen.

Go see this, even if you don't like country ... and I don't even think Cash is country, he is real rock 'n roll.

Office Space (1999)

it's all in the details

[9/10 · 12 November 2005]

This movie, like fine wine, ages better with the years.

Having worked in a cubicled office with idiot managers, everything depicted in this cult classic comedy just hits home. The characters are so true to life and recognizable and the storyline (flimsy as it may be) makes the movie feel more like a documentary then a piece of fiction.

Best characters must be Bill Lumbergh (watch him wear suspenders AND a belt) and Milton Waddams (innocent, but not quite). Although I like to think of this as an ensemble cast, because it is the interaction that makes this movie great.

That, and the fact that anyone who has ever worked in an office environment will like, no love this. So yeah, why don't you just go ahead and sorta rent or buy this movie!

Duets (2000)

beautifully metaphorical

[9/10 · 17 June 2005]

Just watching the next to last scene when the pink taxi merges onto a freeway in between all black cars is just a great ending to one big metaphor of a movie. Granted, apart from Paul Giamatti and Andre Braugher, the acting was not top shelf, but it wasn't necessary, because the story is more important. And the story tells of how people get disarranged in their lives, sidetracked by all the goals society and media forces onto them. And the 6 main characters all find out with the help of a partner what their path in life should be. More people should see beyond the varnish and see the weathered canvas that is life and appreciate the deeper meanings of art!

Sideways (2004)

best movie of 2004/2005

[9/10 · 27 February 2005]

What an excellent movie Sideaways is. I wouldn't even call it a movie, to me it is was more like watching a fly-on-the-wall documentary on two friends coming to terms with their lives.

*spoiler* And contrary to most people I don't think the ending is negative or down, at all. I read about the ending before I went to see the movie and because of that I was expecting some guy opening the door ... *endspoiler*

I could write an entire novel here about why and what I liked about the movie, but instead I just want to urge everyone, and especially those who likes movies like Heavy, About Schmidt, Ulee's Gold, to go see this movie.

Hero (2002)

Breathtaking

[9/10 · 2 October 2004]

Contains spoilers and almost nothing but spoilers ...

I just can't get over the fact that a lot of people seem to think there is no storyline, no plot. Well, open your eyes and mind just a little bit, because there's a huge plot behind it, however small it looks.

This movie poses interesting, disturbing and very poignant questions about leadership, democracy, unity, love and loyalty:

• the way Moon is completely loyal to her master Broken Sword

• the way Flying Snow is dedicated to her plea of revenge and her willingness to surrender her love for Broken Sword

• the way Sky, Broken Sword and Flying Snow are united in their love and faith in Nameless to kill the King of Qin

• the way that the King of Qin wants to unite all the peoples of China to have just a single language (at first only Broken Sword sees the greater scheme of things)

• the way the King of Qin dominated and oppresses an entire country with good intentions but poor communication

• the way Nameless gives up his life for a goal he understands is greater than him and his revenge

Yes, there is so much plot and storyline in this movie that I still have not unraveled it all during the first two viewings of the movie!

And then there's the visuals, which are truly stunning, and as you may have noticed the five colors are also a symbol for at least five different story lines ...

Please take a look again and this time genuinely WATCH IT and TAKE IT IN.