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Reviews
Limitless (2011)
Derivative, pass on this one and watch a rerun of "Fight Club" on basic cable instead
This film borrows way too much from "Fight Club. The visual style,the tone of the narrative voice and certain plot devices are especially obvious. "Limitless" opens in exactly the same point in the chronology that "Fight Club" does, with main character in a similar predicament. But the storyline,among other things, is not nearly as clever or compelling. I guess you could say it just doesn't pack the same punch. (Sorry about that). At times it's just plain boring. Robert De Niro's presence adds some gravity to the production but there really isn't much for him to do with his character, so even he can't rescue this pretty looking failure from itself. You'd be better off watching a slashed version of "Fight Club" on basic cable for the umpteenth time.
The Last Wave (1977)
A mixed bag of great visuals and a blurry plot
This is one of those movies that makes you chuckle at the end because it did not answer any of the questions it sparked along the way. Yet, the more I think or talk about it the deeper it seems. The best supernatural thrillers are those that end with a sense of closure coupled with ambiguity. To me this is more "real" than a film that pretends to have all of the answers. No matter how enmeshed one becomes in the supernatural there will always remain a sense of mystery. Our natural minds just cannot completely encompass the purpose and mechanics of the supernatural world. More than once the Old Testament says of God "His ways are not our ways. His thoughts are not our thinking." In the New Testament Paul wrote that at best we "see through a glass darkly". I believe this sums up the inherent futility of man's attempt to impose his logic on a dimension that has it's own separate logic. It's a language we cannot speak, spoken on a frequency we can rarely and barely discern if ever at all.
Weir succeeds in conveying a sense of consciousness in nature phenomenon. In fact the weather appears to be separate character with it's own distinct visage and voice. This is the films greatest achievement.
The film sets everything up well but ultimately fails to engage us plot. At pivotal moments the key characters motivations are not clear at all. Why does Chamberlains character do that at the end? Why is this place or that thing so special? I really didn't understand the most fundamental plot device until I watched the interview included in the extras. A great film doesn't require Cliff's notes.
I think Weir was trying to give us sense of the supernatural and our relation to it by "implying" it through sounds and images. That's good. It works. This is "real". The problem is that the plot is also merely implied. While I was enticed to watch until the end and pleased with the mood of the film in the end there was no payoff.
Visioneers (2008)
A Poor Man's "Brazil"
I love good black comedies. The best example of a true black comedy is "Dr. Strangelove". Although it's plot revolves around the possibility of the complete destruction of humanity it still manages to be funny from beginning to end. The problem with many black comedies is, although they have an absurd basis, they are just to bleak to be deserving of the description "comedy". "Visoneers" does manage to supply a handful of mildly humorous moments. Most of the real humor is generated by Zach Galafianakis body language. But, overall, this one fails as a comedy. That might be forgivable if the film turned out to be as original as it's synopsis implies. Unfortunately as the story progresses it degenerates into a low budget clone of Terry Gilliam's "Brazil". "Visioneers" also borrows way too heavily from other films such as "Fahrenheit 451", "Network", "1984" and even "Idiocracy." Although "Visioneers" is not without some merit, there are much better ways to spend an hour and thirty-five minutes
Synecdoche, New York (2008)
Imagine If They Castrated David Lynch....
I'm beginning to think "Adaptation" was a fluke. Some of the most absurd, surreal films like "Brazil" and "The Machinist" are among my favorites. But others like "The Element of Crime" and "Naked Lunch" I found to be long and annoying. What's the difference between the two groups? What makes a film fascinating instead of tiring? Before I am willing to go through the mental gymnastics the filmmakers must make me a give a crap what happens to the characters. If they do I will follow them to end even if it that end makes no sense at all. I remember when I first saw "Lost Highway". I was a bit baffled but still left the theater with a sense of closure. David Lynch created a great sense of mystery at the beginning of that film. And I did feel an affinity with the characters. "Synecdoche" failed to make that connection. It's also rambling and could have been more succinct. I was so annoyed that I almost popped it out of the DVD about 1.5 hours into it. Kaufman could easily have lost 30-45 minutes in the cutting room. In the end Kaufman does wrap it up and makes his point very clearly. It's obvious what he's been trying to say. But despite the resolution I don't recommend this film. There are a few a few genuinely witty moments but overall it's a neurotic bummer. The whole next day I felt like my brain needed a shower. Imagine if they castrated David Lynch, loaded him up with Valium and gave him a crew. You'd get something like this.
Vargtimmen (1968)
Now that the glass is broken what do the pieces reflect?
When I first saw Bergman's "The Seventh Seal" I was a bit disappointed. Most of the reviews I'd read raved about the surreal visual aspects of the film. Unfortunately I'd already seen the best visuals in the stills that accompanied the same reviews. Perhaps I was disappointed because I was so focused on the visuals that I wasn't listening to the dialog. After seeing "Hour of the Wolf" I am eager to see the "Seal" again, not with fresh eyes but with fresh ears. The language in "Wolf" is extremely poetic and sometimes musical without seeming unnatural. It's rife with great quotes. The title of this review is an approximation of one such quote. Unfortunately I saw this on TCM without the benefit of Tivo. I could not pause or rewind therefore I was unable to verify the exact phrasing. The imagery and symbolism in "Wolf" is less obvious than in the "Seal". Bergman's power to horrify lies partly in his ability to instill the ordinary with intriguingly terrifying undertones. In this respect David Lynch is Bergman's obvious heir. Max Von Sydow is perfect for the lead. It's obvious why he was also chosen to play the Harry Haller in "Steppenwolf". I suspect that "Wolf" was heavily influenced by Herman Hesse's book. Although this is usually classified as a horror film many hardcore horror fans may be disappointed. It's creepy and cerebral rather than explicit or visceral. I recommend "The Hour of the Wolf" to fans of mind benders like "The Machinist" and fans of German Expressionism. Some fans of supernatural thrillers like "The Mothman Prophecies" might also enjoy it. But regardless of your proclivities it's a work of genius. Anyone with a serious interest in film as high art must see "The Hour of the Wolf".
The Curious Case of Benjamin Button (2008)
Forest Gump with Progeria
There isn't a single plot point in this pig that doesn't correspond directly to "Forest Gump." The best imagery was also stolen from "Gump". Those deep south accents were too charming to lose so Fincher just moved the bulk of the action over a state or two. Instead of "Life is like a box of chocolates, You never know what you're gonna get" there is "You never know what's comin for you" or something like that. It really doesn't matter. Instead of a floating feather we are given a fluttering hummingbird and balloon for good measure. Fincher moved the story back a few decades so instead of the Viet Nam war we have WW2. Instead of shrimp boat we have a tugboat. There is the sudden unexpected windfall. And at the core is the on again, off again relationship with the wild, "damaged goods" childhood sweetheart. Of course the star crossed lovers finally get together long enough to conceive a child but, tragically, one of them abandons the other all too soon. Etc. etc. etc. ad nauseum. Brad Pitt's credibility wears off as he is slowly stripped of his make up. The epilogue feels like a United Way commercial. However, overall the production is glossy and visually well constructed. Usually I will give a film at least a 5-7 if the technical aspects are as good as these. But I was so appalled I am reluctant to give it any stars at all. The only reason I sat through the whole 2 hours and 46 minutes is so I could discuss how bad this really is. A friend defended "Button" by stating that this movie is "like 'Magnolia'. You either love it or you hate it." I disagree. I hated "Magnolia" but at least it had an original script. David Fincher's cred is spent as far as I am concerned. I can't believe he got away with it.
The Wrestler (2008)
Predictable, Artsy Rocky Sequel
Despite its much-touted performances the Wrestler simply did not connect with me. Darren Aronofsky is definitely one of the best living directors. I am certain that history will bear this out. However This is without a doubt his least successful effort to date. The story line is predictable. The characters and plot have been rehashed from a host of existing movies revolving around washed up athletes, rock stars, celebrities and workaholic dads. At best it's an artsy "Rocky" sequel. I'm very happy for Mickey Rourke. He's finally found his comeback vehicle. It's his story, not the film itself, that's created and sustained the entire buzz. But neither he nor Marisa Tormei nor the cinematography was enough to carry this film. This is a great argument that, in film anyway, the sum of the parts doesn't always equal the whole. It just doesn't add up.
Salinui chueok (2003)
The Film That Couldn't Decide What It Wanted To Be
This film vacillates between comedy and drama. Given the subject matter one could assume that this falls into the realm of dark comedy. I love dark comedy but it just doesn't come off that way. Most of the cops are complete buffoons. I kept expecting the one in the middle to crack the heads of the other two together a la Moe. One minute they are running around like Jackie Chan and Chris Rock in "Rush Hour" the next minute they are immersed in a gruesome autopsy. The story is based on real events. I hope that the writer took liberties with his portrayals of the police. If this is accurate it's very sad. I am left with no respect for the Korean police and disgusted by their methods. Is it "48 Hours" or is it a true crime version of "Seven"? I don't know and neither did the director.
Electra Glide in Blue (1973)
Surprisingly good film with a unique visual style
Robert Blake stars as trooper Wintergreen, the last honest man policing the desert around his tiny western town. He is a short man who wants to prove that he measures up by transferring to the homicide division. Righteously angered by his experiences as a detective he realizes that he is already a better man than those he'd hoped to emulate.
This is a surprisingly good film with a very unique visual style. Interior shots are often very close. We see only parts of the characters bodies, inanimate objects and the mundane details that compose an average day. There are many ways of interpreting this. Some shots seem to be taken at Wintergreen's height, allowing us to see through his eyes. It isn't until Wintergreen dons the uniform that we see him as a complete person. Most exterior shots are wide. Wintergreen then becomes insignificant against the panoramas of the American badlands despite the uniform. By the end of the film he is completely lost in the landscape.
Blake manages to project Wintergreen's insecurity very well. It's refreshing to see him play someone other than the cocky "Barretta" or an innocent man on trial for his wife's murder.
There are obvious parallels to "Easy Rider" that may disappoint some viewers. But these are intentional, inviting us to see the flip side of the antagonistic relationship between law enforcement and the counter-culture.
I had previously not heard of this film. I guess it has been buried under Blake's somewhat undeserved reputation as a poor actor. It makes me wonder what might have been if Blake had made better career choices. Overall this film was a pleasant surprise and I do recommend it.
Paradise Now (2005)
Entertaining but incomplete film with high production qualities.
This is an entertaining film with high production qualities. The story revolves around two would be suicide bombers. Maybe I am wrong but I got the impression that the film makers wanted to make us understand (not justify) why young men with their whole lives ahead of them would choose this path. We see the forbidden parts of the city through a fence, Israeli soldiers checking papers etc. The two main characters are very genuine and even likable. Through their eyes we look upon the forbidden zone through a fence, watch Israeli soldiers checking papers etc. Like many young men all over the world their lives are in limbo and they have few choices. Still I am not able to understand how these two average Joe's suddenly become would be suicide bombers. I guess we are supposed to believe that most suicide bombers are nice young men not brainwashed fanatics. A link in the chain is missing. It just isn't credible. Maybe if they knocked over a liquor store with a water pistol instead? That I could believe.
The Prestige (2006)
Don't miss this intelligent entertaining film!
Christopher Nolan may be the best young director in Hollywood. "The Prestige" is not nearly as challenging as "Memento" but is more intelligent than the average fare. You don't need a PHD to get it. Nolan has now made enough films that we can begin psychoanalyzing him. He seems to be attracted to stories that include obsession, revenge and deceit (self and otherwise.) All of these elements are crucial to the plots of "The Prestige", "Memento" and "Batman Begins." The ending is a bit ambiguous but this is the world of magic where nothing is apparent. It's hard to take sides in this film. There is ruthless conflict between Hugh Jackman and Christian Bale's characters but neither is completely the hero nor the villain. Some of the 'trick' plot devices are a little obvious but it does not spoil the film. It's a fairly visual film and much better than the standard muck so I recommend seeing it in the theater if possible.
The Departed (2006)
Great crime drama but no "Goodfellas"
This isn't Scorsese' best but I do recommend seeing it while it is still in the theaters. It is worth it. It's nearly impossible to make a bad film with this cast (Maybe if we resurrected Ed Wood?) "Goodfellas" is probably "The Departed's" closest relative in the Scorsese catalog. It has a similar tension and pace but isn't quite as intense as "Goodfellas." Much of "Goodfellas" was based on real historical events, which gives the story more gravity than "The Departed." I wasn't enthusiastic about the ending but the ride was fun enough. This film is a good solid crime drama. It blows away the competition even though it isn't Scorsese' best. But that is an awfully high bar isn't it!
Sisters (1972)
Unintentionally hilarious MASH mash of Hithcock plot devices
I had forgotten what a delightfully bad movie this till it showed up on "TCM Underground" recently. This is genuinely hilarious! De Palma unabashedly rips off Hitchcock with virtuosity. I counted four "Psycho", "Spellbound", "Vertigo" and "Rope." If I missed one feel free to e-mail me. A couch does double duty as the 'dinner table' of "Rope" then as the elusive trunk of "Vertigo." (Have you ever tried to move a fold out couch down several flights of stairs?) Charles Durning steals the show as a dumb*s private eye. The funniest scene is when he breaks into an apartment while being watched from across the courtyard (a la "Vertigo"). I wouldn't be as generous with the stars if it weren't so unintentionally comic.
Naked Lunch (1991)
Cronenberg has proved this novel is unfilmable.....
Cronenberg has proved beyond the shadow of a doubt that the Burroughs' novel "Naked Lunch" is in fact unfilmable. I have to give him credit for trying though. Cronenberg gives the film a bare thread of a story while attempting to retain the bizarre imagery and irrationality of the book. He wisely avoids the repetitive 'sodomy followed by hanging' scenes that make up about half of the book. I am a fan of surreal and difficult narratives like "The Machinist", "Lost Highway" and "Brazil" but this one did not hook me. The emotional frame of reference and mood that makes those films so compelling is absent here. There are a few great lines in "Lunch" but most, if not all of those were lifted straight from the book. Cronenberg's creatures are well made. Other than that this film is a waste of time. Of course in some circles it's cool to like this movie (just like it was cool to like the book in college) whether you really get it or not.
The Short Films of David Lynch (2002)
Completely disappointing collection of "rarities"...
I was so excited when I discovered this was available! I couldn't wait to see it. What a waste of energy! It's kind of like that rarities CD by your favorite band you found in the back of the rack at your local music store. Being a hard core fan you were certain that it was a valuable discovery. But once you heard it it became obvious why these dogs never made it onto a real album. This DVD is only recommended for 'completionists' who must have everything Lynch has done. "Six Men Getting Sick" is somewhat visually interesting but short and repetitive. It lacks the power of Lynch's later work "The Grandmother" is quite simply an immature work. It's tedious and looks like a student film. But it was the 70's...It's interesting only if you hope to psychoanalyze the director. But you can see, briefly, the seeds of some of his trademark images and sounds. "The Alpahabet" is forgettable (No really! I can't remember this one at all!) "The Amputee" is pointless. "The Cowboy and the Frenchman" is just plain silly. "Lumiere" is the only worthwhile one in the bunch. Without dialog Lynch tells a disturbing tale comparable with his best work. I had to watch this one several times. But it runs less than 2 minutes. Hardly worth the trouble of renting or buying the DVD.
Garden State (2004)
"The Graduate" for the Prozac generation
It's unfortunate that this film is usually classified as a romance or even worse a romantic comedy. While the budding romance between Zach Braff's character and Natalie Portman's is integral to the plot it's not the core of the story. The obvious influence here is "The Graduate." Occasionally it's a little too obvious (you just couldn't resist adding Simon and Garfunkel to the soundtrack could you?) But for the most part the film is enjoyable enough to look past the similarities. The absurd imagery sprinkled throughout the film is extremely clever and adds a unique visual component. This is the signature that sets it apart from other films (including "The Graduate.") There a couple of weak spots. In one scene Braff's character speaks to his father with a clarity and emotional maturity that would realistically have been beyond him, given his history. From now on I will definitely keep an eye open for Braff's future endeavors. The well chosen soundtrack is also a big plus. This is an enjoyable film that broaches some serious subjects in a quirky light hearted manner,
The Assassination of Richard Nixon (2004)
Great acting but where was the story?
I can only recommend this film because of the caliber of the acting, especially but not exclusively Sean Penn's. I am not a huge Sean Penn fan. Sometimes he is great but sometimes he really sucks but still manages to get good reviews even when he is at his worst. (re "I Am Sam" and "Mystic River".) This time though he gives a truly excellent and credible performance. He doesn't even look like Sean Penn. I had to remind myself that was who I was watching. He became Samuel Bicke. Naomi Watts performance is also great and of course Don Cheadle is always fantastic. But I kept asking myself "why am I watching this?." I still don't know what the point was. We already have an idea of how this will end before we sit down to watch. There really isn't much of a story here, just sick man falling apart as he stumbles toward the inevitable conclusion.
The Machinist (2004)
experience what a schizophrenic goes through...
This is definitely the best and most intelligent film I've seen for a long time. About half way through I realized 'this must be what a schizophrenic experiences.' The ending is completely unexpected (even for people who, like myself, find M Night Shyamalan's "twists" predictable) and ties every odd detail together tighter than a slip knot. You will be talking about this one after the credits roll. I have read many comparisons to David Lynch. But the endings of films like "Lost Highway" for instance are like dreams that can only be computed on a subconscious level. "The Machinist's" resolution will please viewers who insist that a story should make sense while they are awake. (Don't get my wrong, I love most of David Lynch's work and "Lost Highway" is one of my favorite films.) At first I was a little hesitant to rent this because of the 'disturbing images' warning. I love films that are disturbing on a cerebral level but I have never been a fan of gore for gore's sake. Given the title of the film and the warnings I thought this might be a festival of machine tooled body parts flying about. But it is not like that at all. The accident scene (which is mentioned in the plot outline so this is no spoiler) really isn't so bad and it is brief. I've seen worse images in mainstream R rated action thrillers. I guess the ratings people just found this film disturbing in general. And it is but that is what makes it so fascinating. This is what independent film is all about! You must see this film!!!
The Woman Chaser (1999)
Original, edgy dark comedy. A must see for fans of the absurd.
Dark, edgy comedy explores the lengths people will go to to maintain the 'integrity' of their creative visions. The title is a little misleading. Who is chasing who? I wonder if Willeford wrote the original novel for his own reasons but threw in the sex and gave it a sleazy title just to sell it (ever heard of an author named Kilgore Trout?) It is more a film about making films and the borderline personalities who do so. An intelligent film, it poses some deep existential questions then delivers the most absurd answers. Patrick Warburton is perfectly suited to the Fruedian film noir style of this flick. Those who appreciate dark comedy, theater of the absurd, and David Lynch flicks (although this is not as extreme or as eccentric as Lynch's films) will appreciate "Woman Chaser." This is one of the most intelligent and original films I have seen. It's on my top ten list and it's not going anywhere.
The Work and the Story (2003)
"There's nothing new under the sun?" You won't see this anywhere else!
I never thought Mormons could have so much fun making fun of themselves. Explores the love hate relationship that the young and religious of just about any 'fundamentalist' persuasion have. The characters desperately want to be part of the film business but only on the terms dictated by their moral code. As a result they can't burst out of the self imposed bubble they've created and get a little nuts. Yes it is a little long and the jokes aren't always funny. It was produced on a shoe string and it shows. But I love movies about making movies and the concept alone is worth the ride. The book of Ecclesiastes says "there is nothing new under the sun," but you certainly won't see this anywhere else. (I wonder what the elders thought of this?)
The Molly Maguires (1970)
Story line lacks focus. How about a remake?
I remembered this movie because it was made near my grandmother's house, so of course as a child I thought it was a great film. (Hey it has James Bond in it too!) So I rented it... What a disappointment! Neither the writer nor the director could decide who the protagonist should be: Richard Harris nihilistic spy or Sean Connery's passionate rebel? Our sympathies lye with Connery and the Maguires. But since the focus seems to be on the Richard Harris character most of the time we keep expecting him to experience a moral crisis or at least a modicum of character development. This story just plain lacks focus. In the end We can't help but wonder "what was the point?" It is a shame because the events this film is based upon could make a great movie. Perhaps it will be revisited sometime in the near future by someone with a clearer vision and better story telling skills. I grudgingly gave this one 3 stars only because it has Sean Connery and Richard Harris.
The Pawnbroker (1964)
As emotionally powerful as REQUIEM FOR A DREAM
This film is over 20 years old but is as emotionally powerful as Daron Aronofsky's REQUIEM FOR DREAM. Stylistically they do have some elements in common. I would not be surprised if this film influenced Aronofsky. THE PAWNBROKER was a little ahead of it's time for it's representation of the effects of repression and suppression of traumatic events on the human mind. The holocaust flashbacks are certainly not the most graphic ever conceived but still extremely disturbing. They are brief and not at all gory but they all strike the right chord. Lumet's visual language is incredible. The main character's detachment from horror is skillfully projected onto the city and the shop. It's terrible that Rod Steiger lost the Oscar to Lee Marvin for CAT BALLOU. This really is one of the greatest performances of all time.