Reviews in a Snap features some of the Critic’s earliest movie reviews (along with a TV miniseries review and three TV movie reviews) that are under 400 words in length. Enjoy!
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This list of reviews is in date order, most recent first. “Ratatouille,” the Critic’s earliest review, is at the bottom of the page.
Each review starts with the date of the review. The year of the film’s release is next to its title, which is in bold. The Critic’s verdict is at the end of each review in red.
4/26/15
Film
A Walk Among the Tombstones (2014)
“A Walk Among the Tombstones,” adapted and directed by Scott Frank, is yet another film that is propped up by the talents of Liam Neeson. This time, Neeson plays a former police detective turned private investigator. Of course, he has to solve a mystery surrounding the disappearances and deaths of a series of women. (Who are the culprits? How do they select their victims? What do they want?) Along the way, he meets a young black homeless teenaged male in a library – yes, you read that correctly. I bet you could write what happens to their relationship as the film progresses. There’s absolutely nothing new here; nothing in this film will surprise you. So, execution is key. Frank, who showed lots of promise as writer-director of “The Lookout,” does an acceptable job. But there’s little to no sizzle in this film. It’s just a bit dull. If you love detective stories or if you love Neeson, then watching this film won’t be a complete waste of your time. It has enough going for it to keep your attention. However, if you’re not in love with either, then there’s no need to see this.
OK to Somewhat Good
4/17/15
Film
Maps to the Stars (2014)
David Cronenberg’s “Maps to the Stars” is the kind of film that will take you about 10 minutes to figure out whether it will work for you or not. It doesn’t work for me. This is another commentary on Hollywood and celebrity. It’s take isn’t new or interesting. As with most of Cronenberg’s work, it’s cold and distant. You won’t connect with the characters – that’s on purpose. Some will find it amusing; others will find it weird and pointless. The dialogue sounds just like, well, dialogue, and a lot of the rhythms are off. There is some craft on display – this isn’t amateur hour – but so what? Even Julianne Moore can’t save this one.
Somewhat Bad
4/4/15
Film
Dumb and Dumber To (2014)
“Dumb and Dumber To” comes to us 20 years after the original. It’s not worth the wait. While the original turned stupid jokes into plenty of inspired comedic moments, this sequel is just plain stupid. It’s not the fault of Jim Carrey and Jeff Daniels. They are as committed as ever and do the best that they can with this material. They wring as many chuckles as they can out of the script. It’s the writing that lets them down. Obviously, the troubles that plagued the film pre-production have spilled onto the screen. The Farrelly brothers missed on this one. Such a shame.
Somewhat Bad
3/28/15
Film
Big Hero 6 (2014)
“Big Hero 6,” based on the Marvel comic of the same name, is a cute and fairly entertaining Disney film with computer generated 3D animation. The best part of it is that it glorifies science and nerds. For many kids, it will make nerds cool. I like that. It has excellent visuals and a predictable story line. Any adult watching this will see it coming a mile away, but most little kids (this probably won’t work as well for older kids) will hold their breath in anticipation during many of its moments. There’s really nothing new here, except for what this film values. This is an animated film with a big heart. While the writing could be more inspired – I was reminded of “The Incredibles” and “How to Train Your Dragon,” at times – it’s adequate for its audience. But this could have been great. As it is, it’s a film that will delight younger children and avoid boring their parents. It has a bit of Disney magic, but it could have had so much more. It’s hard not to smile at Baymax, though. Overall, I enjoyed enough of it and thought that it was touching when it needed to be.
Good
3/21/15
Film
Song of the Sea (2014)
“Song of the Sea” is an old-fashioned animated film at heart. Its animation looks like a mix of colored pencils and chalk. It’s wonderful (and wonderfully Irish), without a hint of CGI. Its tone shifts from the ethereal to the abruptly commonplace – they go from fairies to the complaints of an older brother who wants to be left alone by his little sister. It can be light and humorous one moment, and rather serious the next. Sounds good, right? Well, the only problem is the pace. It lags too much. This is the kind of story that needs to sweep you away, but that doesn’t happen here. I can’t imagine many children having the patience to sit through this one. I appreciate what the filmmakers were trying to do, and much of what they’ve done is good. However, the film as a whole is less than transporting. Director Tomm Moore was a co-director of “The Secret of Kells.” The magic of that film doesn’t quite translate to this one. There are similarities, and that’s a problem for this film. Adults will appreciate this more than children will, I think. It is touching, though.
Somewhat Good
3/14/15
Film
Alexander and the Terrible, Horrible, No Good, Very Bad Day (2014)
Disney’s “Alexander and the Terrible, Horrible, No Good, Very Bad Day” has a long title and little else. Of course, the title references Alexander’s twelfth birthday. That should tell you everything you need to know about director Miguel Arteta’s film. This is the kind of film made for pre-teen boys and their families without anything new or interesting to give them. They’ve taken lots of clichés – pratfalls, accidental fires, popularity problems, middle-child syndrome (parents are constantly focused on the baby), out-of-work yet brilliant father with a professionally successful mother, etc. – and covered them with polish. Steve Carell plays the father, but he’s not used to any great effect. It’s a feat to be able to cast Carell in a role with which he can do absolutely nothing. A robot could play this father, almost. I guess certain kids will enjoy this, but I can’t imagine that it will be a film that they’ll want to see more than once. There’s no magic here, just bullet points. (They do keep things moving, though. And it’s only an hour and 15 minutes long.)
Somewhat Bad to OK
3/14/15
Film
Dracula Untold (2014)
“Dracula Untold,” from first-time feature film director Gary Shore, purportedly tells the story of how Dracula came to be a vampire. What it really does is take people’s money. The question is: Is this good enough to warrant that? Not really. This is another pseudo-historical epic that relies much more on special effects than on storytelling skill. It looks like a mix of “The Lord of the Rings” and “Underworld.” It’s not as bad as “The Legend of Hercules,” but it’s certainly not as good as “Gladiator.” Like “King Arthur” (starring Clive Owen and Keira Knightley), it’s somewhere in between – closer to the former than to the latter, though. Luke Evans is a good choice to play the role of Vlad the Impaler aka Dracula. He looks the part. I just wish that he would stay on voice. He does a good job overall, though. The effects don’t present anything new, but they are good enough. The one true highlight is Charles Dance as the original vampire. It’s always a pleasure to see him in anything. This film could have explored Dracula’s backstory with much greater depth; it could have been about something. With that, it would’ve had a much better chance at overcoming the obvious problem with the tale: We know how it ends. As it is, this film is forgettably familiar. If you’re obsessed with anything Dracula, then I guess that you should see this. Don’t expect any horror frights, though. Otherwise, there are better things to do with your time. (By the way, at the end of the film, they leave room for a sequel, which will likely be a reinterpretation of Bram Stoker’s “Dracula.” This film made enough money to support that notion. Can’t wait.)
OK
3/14/15
Film
Rosewater (2014)
“Rosewater” is a good film. Jon Stewart, in his first directorial and film writing effort, has crafted a film with a gentle touch. That is both a strength and a weakness. The seriousness of the subject matter, the true story of Maziar Bahari’s imprisonment and psychological torture by the Iranian government, is undercut by this film’s style. Things float along when they need to land every now and then. The ridiculousness of the Iranian government’s agents shines through rather clearly, though. So, on that count, this film works rather well. Stewart’s sense of humor works in that context. With this film, Stewart shows that he understands how to tell a story, but he hasn’t mastered the art of building momentum. The middle of this film sags and lags. But that doesn’t make it unwatchable; it’s just not as gripping as it could have been. The key is that Stewart has casted the right actors and has managed to elicit thoughtful performances from them. Gael Garcia Bernal does strong work, yet again, as Bahari. His supporting cast, which includes the ever-reliable Shohre Agdashloo, follows suit. So, while this film could have been better, it is professional and important. The beginning third of the film is probably the best part. Stewart develops a nice rhythm therein. I look forward to Stewart’s next work. He has the right instincts, and I’m sure that he’ll get better at driving a narrative throughout an entire film. For his first foray, he does an admirable job. Bahari was imprisoned, in part, due to his appearance on “The Daily Show.” This is a nice way for Stewart to show his support for Bahari and for journalists who have and will encounter similar circumstances.
Good
3/8/15
Film
Citizenfour (2014)
“Citizenfour” confirms what I (and, I hope, we) already know: The government is watching … everyone. Edward “Ed” Snowden comes across as a guy with vast knowledge of government technical surveillance. But, he’s not a compelling figure. You won’t be riveted by him. He’s just a regular guy, after all. At least that’s what the filmmakers want us to think. What Snowden is or isn’t doesn’t really matter. What matters is whether he’s accurate or not. As far as we know, he is. The best moments of this documentary didn’t focus on him, though. The court and Senate hearings, international hearings, and media clips intrigued me the most. Watching government officials lie and obfuscate was more chilling to me than the surveillance program itself. And this is the Obama administration. The administration that was supposed to be the most transparent in history: Obama wanted all hearings and meetings to be shown on C-SPAN, remember? The question is: What do we do with this information? Rebel? Revolt? That’s not going to happen. The very nature of surveillance keeps it hidden. We don’t see anyone spying on us, so it’s hard to get worked up about it. Plus, who doesn’t think that this stuff is going on? To incite people into action, you have to make wrongdoing tangible. Listening to Snowden won’t do that. Many people’s eyes will glaze over. This is interesting to know, but it won’t lead to change. Big Brother will have to show his face in broad daylight for that to have any chance of happening.
OK to Somewhat Good
3/7/15
Film
The Book of Life (2014)
“The Book of Life,” produced by Guillermo del Toro, uses The Day of the Dead (a Mexican holiday) to pretty good effect in animated form. The colors are vibrant, and the shapes are inventive. It’s cute and has energy. It presents common themes, but it wisely pokes fun at those themes at times (but not enough): For example, the hero of the story plays a love song for his intended only to be rejected shortly thereafter. The one thing that I didn’t need was the inclusion of a group of misfit school children who visit a museum. They unnecessarily take the place of the audience. “The Book of Life” story would work on its own. To tell that story, the filmmakers match the old-fashioned with the contemporary. The female love interest is thoroughly contemporary. She doesn’t need anyone’s help. Also, the camerawork incorporates action techniques when appropriate – sudden shifts of focus as was used in “The Incredibles.” On the other hand, the coming-of-age love story involving the gods would fit in with the classic storytelling of “Aladdin.” Unlike “Aladdin,” however, that story is nothing special, and the execution is spotty; but it’s definitely not bad. It provides just enough to escape being boring. Plus, the visuals, music, and pace help to distract you from the comparative thinness of the plot. And, when it doesn’t pander to its audience, it has some genuine warmth. It gets out of hand by its end, but I liked it overall.
Good
2/22/15
Film
The Boxtrolls (2014)
Graham Annable’s and Anthony Stacchi’s “The Boxtrolls” is a 3D stop-motion animated film with its own sensibility. It’s from Laika, the same studio that produced “Coraline,” and is based on Alan Snow’s novel “Here Be Monsters!” The story, set in a fictional Victorian town called Cheesebridge, is about a boy named Eggs who is raised by a group of trolls outfitted in boxes. There are rumors in the town that the Boxtrolls kidnap and kill young children; this couldn’t be further from the truth. Actually, they are trash-collecting inventors that were asked by Eggs’s father to protect Eggs from the local exterminator Snatcher. At the beginning of the film, Snatcher agrees to get rid of all of the Boxtrolls in exchange for membership in the White Hats, a town council full of cheese connoisseurs. This is his greatest desire, despite his allergy to cheese. So, the stage is set for a showdown between Snatcher and Eggs. The animation has an appropriately European style. Its quirkiness is matched by its detail and depth. The Boxtrolls are ugly-cute; they’re what you would expect from harmless boxed monsters. Some will hate the animation; others will love it. I wasn’t bothered by it. The story, underneath its conspicuous quirks, follows common plot lines and has common ideas (“They don’t make you. You make you.”) from many other animated films for children. In some ways, Eggs is like Mowgli from “The Jungle Book” or Tarzan. Simply put, the story is lacking. I just don’t sense any magic here. It’s competent, and I’m sure that certain children with darker appetites will enjoy it: It’s closer to Tim Burton’s style than to that of Pixar or DreamWorks. But this isn’t a classic – far from it.
OKish
2/14/15
Film
Lucy (2014)
Luc Besson’s “Lucy” has the feeling and sensibility of Hong Kong action cinema. But the actual action sequences aren’t as frenetic. That’s partly due to the subject matter and partly due to the director. Make no mistake: This is a Besson film. To enjoy this, you must suspend disbelief. I liked the concept enough to do that. This is at the intersection of “Limitless” and “Run Lola Run,” but with less sense. This film has little regard for that. They do take time to explain the major ideas – that’s why they hired Morgan Freeman – but all of the details don’t add up. Besson shows us flashes of the primitive world: from the first humans (including the first woman who was given the name “Lucy”) to various animals in the wild. Even a dinosaur shows up during the film’s ending montage. Think: “2001” or “The Tree of Life.” The suggestion is that humans aren’t as advanced as we may think; whales use 20% of their brains, which allows them to communicate via a natural form of sonar, and we use a smaller percentage (according to the film). Freeman’s character asks, “Are humans more concerned with having than being?” As Scarlett Johansson’s Lucy approaches the use of 100% of her brain, anything and everything becomes possible. That’s not something that you want to waste time explaining. She says, “We’ve created a scale so that we can forget its (the universe’s) unfathomable scale … Time is the only true unit of measure.” This is a take it or leave it kind of film. It takes its premise and runs with it. It might run a bit too far for many viewers, but not for me. I had fun waiting for the next outlandish scenario or idea to pop up. You just have to go along with it or stop watching. This film favors style and ideas over substance.
Good
2/13/15
Film
Finding Vivian Maier (2013)
“Finding Vivian Maier” may have located its subject, but it doesn’t quite find her. No one could, really. This film has a playful energy during its first half. That energy is echoed by the music and editing, which is beautifully done, and evokes the feeling of discovery, which is very appropriate. It makes you feel like you’re a part of that discovery. This makes the subject matter seem interesting instead of insignificant – a key for any successful documentary. Toward its end, however, things get serious. Unfortunately, this causes the film to lose some momentum, but it picks back up at the very end. The interviews fit well: The similarities and differences among the interview subjects’ memories of Maier provide a nice touch. They capture the mysteriousness of Maier. What exactly is her name? How did she actually behave? Did she have mental illness? What was her process for taking photos? Is her accent real or fake? The answer to that last question is explored in one of this film’s many quirky discussions, which includes the opinion of a Ph.D. in linguistics. By the end of the film, the people who knew Vivian (mainly the parents who employed her as a nanny and their children) paint a picture of a woman who was a walking contradiction: She could be lively, withdrawn, secretive, paranoid, and harsh. Furthermore, the tension between Maier’s desire for privacy and the significance of her work draws you in. We find out that Maier actually wanted her work to be printed, but on her terms. Again, there’s a contradiction. The film also delves, briefly, into the art world’s reception of Maier’s photos. At first, major museums shunned them; but once they were made public by this film’s co-director-producer (John Maloof), many people embraced them. (Charlie Siskel is the film’s other director-producer.) The museums eventually changed their tune. Those photos, by the way, look great on the screen. Their historical significance is provided organically; it’s unforced. And that’s a credit to the editing, which is this film’s strength.
Very Good
2/7/15
Film
Last Days in Vietnam (2014)
“Last Days in Vietnam” is a documentary that would be most useful to students in a history class. It’s closer to a history lesson than a film. It’s not bad, though. It, the film (not the stories), just isn’t compelling. It doesn’t seem relevant. Why make this now? I think that it will resonate more with people who lived through this time period than with those of us who didn’t. Rory Kennedy uses lots of archival footage, shows maps, and includes present-day interviews of people who lived through the harrowing evacuations of Americans stationed in Vietnam at the end of the Vietnam War during 1975. Many of the Americans had Vietnamese wives and children who needed to be evacuated, as well. That caused numerous problems, mostly because the US government ordered for the evacuations of Americans only. There were other South Vietnamese people, including soldiers, who wanted out, too. The best moments of the film allow the South Vietnamese to tell their own stories, but there isn’t enough of a focus on that. The best documentaries highlight something that may have been overlooked in an arresting way. This film gets half of that right. It just seems stale for the most part – important and reverent, but stale.
OK
1/12/15
Film
Blue Jasmine (2013)
Denial is on full display in “Blue Jasmine.” This is mostly a character study of a woman who cannot confront the reality of her present because of her refusal to face the past. She is in a perpetual cycle of both acting like she is still a wealthy socialite and losing her mind. Cate Blanchett does a magnificent job of bringing this woman to life and maintains a consistent characterization (through all of this character’s vicissitudes) that keeps this film going. Sally Hawkins also does a fine job as her unexceptional sister who doesn’t want much from men or life in general – a cautionary counterpoint to Blanchett’s character, who expects to have it all just because that’s what she wants. These two actresses, bolstered by a strong supporting cast, give performances that are fully developed; check out each of their scenes when they have to talk on the telephone (was someone on the other line?) for example. The story itself wasn’t that intriguing to me; I never cared about Jasmine/Jeanette (or anyone else for that matter), who comes across completely unsympathetically. But, I think that is what Woody Allen wanted to convey. He has made better films (he has also made worse ones). His direction is clear and steady, but there’s nothing special about it. He seems to be in a groove, and the actors follow suit. I liked this and appreciated the skill on display. But, where is the pizzazz? Perhaps it’s because Allen’s best films brim with life even in dark moments, while this one brims with death (literally and figuratively) and a strangled rebirth. Still, if you are a Woody fan, it’s worth a watch just to see some wonderful acting from actors (including Andrew Dice Clay and Louis C.K. of all people) who, for the most part, make sense of Allen’s tragicomedy with very little comedy.
Good
1/12/15
Film
Ida (2013)
“Ida” has crystal clear black-and-white images and sharp sound. Its precise edits of sights and sounds leave nothing wasted, even during its moments of silence. In that way, it’s stylistically like many of Ingmar Bergman’s films (The Trilogy of Faith: “Through a Glass Darkly,” “Winter Light,” “The Silence”; “Wild Strawberries,” “Persona,” etc.) though with a different use of silence. The silence here is not impenetrable. Music and other sounds fill in the gaps in this film for the most part, whereas Bergman would have let the silence hang in the air. Director Pawel Pawlikowski’s shots don’t always include all of the visual information in the scenes. He highlights the parts of the moments that he wants you to see (characters speak offscreen, for instance). The events on the periphery stay on the periphery. Also, Pawlikowski moves from shot to shot to shot at certain times. It’s like he’s flipping carefully through a photo album. Another visual trait is the many shots that include just the characters’ heads, along with their torsos at times. The characters are shown at the very bottom of the screen, like they have been reduced somehow. They seem vulnerable in a much larger and colder world, as a result. They’re incomplete, weighed-down. This is a film about faith. But the presence of God (if it’s there) is not a warm presence. God seems to be aloof. This film is also about doubt, temptation, innocence, corruption, family heritage, sins of the past, and belonging, but without judgment. That’s the key to this film: It taps into the process of growing-up in an abstract way. Ida, a novitiate nun, is contrasted with her aunt Wanda. It’s the divine versus the worldly. The actresses are well-cast to convey that. Ida looks like the “Girl with a Pearl Earring.” This film is cerebral and intimate. 80 minutes is more than enough.
Good to Somewhat Good
1/2/15
Film
Magic in the Moonlight (2014)
Woody Allen’s “Magic in the Moonlight” has lovely pacing and timing, at its beginning. However, the film quickly plateaus; there’s no driving force for the plot. Unfortunately, Allen mails this one in. His approach to this film is mechanical. He must have had a checklist of things that he wanted to accomplish, instead of a desire to make a film that interests him. He has done films like this before. (Most recently, magic and spirits were a part of “Scoop,” for instance. Also, this is another nostalgic look at France, as in “Midnight in Paris,” with requisite music: “You Do Something to Me,” etc.) Really, Allen’s film loses steam once Emma Stone shows up. However, while she seems out of her comfort zone, the rest of the cast is up to the task. But they deserve writing with more zip. There are some lines that are truly wonderful, such as: “boring to the point of perfection” and “Olivia and I are, by her own vibrations, at the acme of congruity.” The actors nail all of those lines, but they deserve many more of that caliber. Colin Firth has wonderful timing and a great feel for his character, but the script and direction let him down. I knew the plot almost from the beginning, once the premise was explained. It’s Allen’s version of the marriage plot; Allen meets Jane Austen, in a way. It’s also Allen meets George Bernard Shaw, as a result of the film’s Pygmalion-like central relationship (especially in regards to age and rigidity) between Firth and Stone. If Allen were more interested, that could have turned into something. As it is, it’s a mildly entertaining, inconsistent wisp of a film. It’s not bad; it does have its moments. But Allen can do and has done much better.
OK to Somewhat Good
12/20/14
Film
Jersey Boys (2014)
After watching Clint Eastwood’s film version of the Broadway musical “Jersey Boys,” I have one question: Where’s the electricity? Clint, musicals are the height of exuberance, even in their most grounded moments. Well, at least, they should be. The film starts with opening music that quickly cuts out once the credits are over. Why? The music could have been continued under the ensuing dialogue, especially under Tommy’s and others’ addresses to the camera throughout the film. Overall, this film needs more background music and energy. Without that, this film is nothing more than a watered-down mob drama. The mob drama genre is already overcrowded with many great works, and this film can’t hang. It doesn’t have the right kind of writing or acting for that. This film should embrace its music more to distinguish itself. Eastwood understands understated drama, but that doesn’t work for a musical; it doesn’t even work for a drama with music. You have to go there. Nothing’s terrible – there are a few musical numbers that work and some of the jokes land – but there’s no magic, and a few of the ending moments are really weak. There’s no musicality, no rhythm, on a consistent basis. It’s flat. That’s the kiss of death for a musical. Clint should have watched “Dreamgirls” or “What’s Love Got to Do with It” for some pointers.
OK to Somewhat Bad
12/14/14
Film
DreamWorks’ How to Train Your Dragon (2010)
“DreamWorks’ How to Train Your Dragon” starts off with an expected story line. There’s a kid, Hiccup (appropriately voiced by Jay Baruchel), who’s an outcast. His father is the leader of a Viking tribe, and Hiccup doesn’t live up to the expectations that come with that. He’s not big and strong, instead he’s thoughtful and creative. The outsider theme is used over an over in animated films, so this didn’t pique my interest. There is also a nod to female empowerment in the form of Hiccup’s fellow trainee, Astrid (voiced by America Ferrara). She is the best of the dragon-slayer trainees in Hiccup’s group, until Hiccup begins to learn the secrets of dragons from the source. That was nice to include. However, the best moments in this film are related to what happens after Hiccup captures and subsequently frees a Night Fury dragon that he later names Toothless. Those moments are this film’s soul. The relationship between man and his pets is nothing new, but this one is between man (teen boy) and a dragon. Plus, Hiccup discovers that his fellow tribe members’ opinions about dragons are just as wrong-headed as their opinions about him. The parallel of those two perspectives is what makes many moments in this film truly delightful. Hiccup is surprised to find that the dragons aren’t as menacing as they seem. When he begins to train his dragon, this film manages to sweep you away. The computer-generated animation is spot-on during these scenes. However, I don’t like the animation as much when it comes to human movement. I know that they are exaggerating the swagger of people who are trained fighters, but some of the movements seem too awkward and jerky, even Hiccup’s. Hand-drawn animation tends to get those kinds of nuances right. Despite that, this is an enjoyable film that has wondrous moments. It’s a film that will put a smile on your face without pandering to its young audience. Parents may enjoy this just as much as their kids.
Very Good
12/10/14
Film
The Giver (2014)
“The Giver,” like the book on which it is based, reminds us of what makes us human. It delves into the duality of humanity: how good only exists with bad. Without one, you can’t have the other. The futuristic society on display is necessarily stilted. However, that keeps you at a distance. It looks like a cross between Pleasantville and Gattaca. It has some of the same themes as those films as well. This film is not an exact replica of the book, but the changes aren’t bothersome. Actually, I wish that they would go even further away from the book in certain moments. To get the message across in film, more adjustments need to be made. Reading plays on the imagination differently from viewing. The casting of Meryl Streep as the Chief Elder and Jeff Bridges as The Giver is wise. It’s easy to believe them as authorities without the need for any explanation or setup. The use of color, which is a vital concept in the book as well, works fairly well. It’s introduction isn’t as jolting as it could be, but the effect is clear as the film progresses. The gradual saturation of color gets the point across. When the film introduces music next, it has a hint of magic. Afterward, it goes a bit deeper; it becomes a bit weightier. However, there needs to be more of a crescendo during the final third of the film. There needs to be more volatility to make the audience feel as Jonas does. That’s what this film needs: to make an emotional impact, to penetrate. Again, this is not a book. As it is, it’s a well-intentioned film that shies away from true daring. I’m sure that the studio system has a lot to do with this. It flirts with us, but doesn’t seal the deal. It’s not bad; it just doesn’t fully satisfy. It needs a soul and an air of mystery.
OK to Somewhat Good
12/10/14
Film
Hercules (2014)
“Hercules” is a film that can’t make up his mind. Is this a tongue-in-cheek take on mythology or “Gladiator”? At times, it thumbs its nose at serious mythologies. At other times, it buys into the very clichés that we’ve seen time and again from this genre. Note to director Brett Ratner: You hired Dwayne “The Rock” Johnson, not Russell Crowe. This film would work much better as a spoof or something like it. The Rock doesn’t go far enough as an actor to match this film’s epic aspirations. He has an off-voiced milquetoast delivery of his lines that holds the whole film back. Where’s the energy? Don’t be bad and lazy. Pick one, please. He could learn a thing or two from Arnold Schwarzenegger. He needs to be bolder so that the film can follow suit. If they want to shift between comedy and drama, then they need to do it without apology. Go there. As it is, this is confused and middling. I don’t know whether to laugh or roll my eyes. The supporting cast is full of capable veteran actors, but they need a director with a sharper vision. Those actors, most notably John Hurt, Rufus Sewell, Joseph Fiennes, and Ian McShane, do the best they can with what they have. I guess the best thing here is the battle sequences, but they are no different from what you would get in many of the other films in this genre. They certainly aren’t the best that this genre has to offer. The least that Ratner and the screenwriters could do is provide a bit of fun. I’d rather watch the “Clash of the Titans” remake. Well, this is better than “The Legend of Hercules,” which was also released in 2014. So, I guess that’s something.
Whatever
11/22/14
Film
Earth to Echo (2014)
From the opening moments of “Earth to Echo,” I new that this wouldn’t be for me. I didn’t even make it to the part when the alien robot shows up. This film relies on the now overused found-footage film style. I don’t have a problem with that style as many others do, but here it doesn’t work. The child actors aren’t quite up to the task of making the audience believe that they aren’t acting. That’s the key to this style. They’re not bad actors; they just need better material and better direction. They actually have some talent, but their onscreen friendship doesn’t ring true to me. This might work for kids who haven’t seen “E.T.” or anything similar. I wasn’t the biggest fan of “E.T.” either. Sorry.
Whatever/Not for Me
11/22/14
Film
Sin City: A Dame to Kill (2014)
“Sin City: A Dame to Kill For” is a sequel, released nine years after the original, that has lost its audience. It has the same comic-noir look, which is still nice to see. But, the writing is all over the place; it’s not any fun either. So, why did they make this? A lot of the dialogue is warbled to the point of being hard to understand. This is partly due to the style, but some of the actors need to learn how to stay on-voice while producing a grumbling tone. Powers Boothe, for instance, does that really well. Overall, the rhythms aren’t quite right, and the execution needs to be sharper. They’re trying instead of doing. I didn’t finish this.
Pretty Bad, Whatever at Best
11/16/14
Film
Million Dollar Arm (2014)
“Million Dollar Arm” is an enjoyably familiar Disney sports drama for the most part. There’s a bit of humor and a bit of heart. However, toward the middle of the film, things get sluggish. Since the plot is highly predictable (again, Disney), the pacing needs to be precise to keep viewers engaged. This film needs to zip by. It does in moments, but not overall. There is a nice back and forth between Jon Hamm and Aasif Mandvi, as sports agents and business partners. There isn’t enough of it throughout the film. Also, Alan Arkin provides some humor as an MLB scout who seems disinterested at best. But, again, there’s not enough of him. There’s also a bit of humor from the clash of cultures between the U.S. and India. But, it’s not anything new or daring. Once again, this is a Disney film. Overall, this is a nice, passive viewing experience. The entire cast is solid, and the story will work for a family drama night. It’s not as inspiring as it should be, though.
Somewhat Good
11/16/14
Film
A Most Wanted Man (2014)
“A Most Wanted Man” is a British spy thriller that has the look and pace typical of other films in that genre. It’s story involves many parties, which is typical of the genre and of John le Carré’s work, so you have to pay close attention to keep everything straight. Plus, there’s some mumbling in certain scenes that will require you to lean in to follow it all. Despite that, there are moments when the film provides some clarity: the first meeting between Hoffman and Wright, along with others, for instance. This is smart stuff that isn’t overdone. One indication of this film’s subtle style is the way that the spies are inserted into scenes without calling too much attention to them. It highlights the potential for spies all around us without us knowing it. Also, the cast is very good. While there are familiar faces, which can be distracting at first, the acting is good enough to overcome that. The story is based on the current climate in Hamburg, Germany as a result of Mohamed Atta’s planning of the 9/11 attacks there. So, this is another terrorist storyline. The question is: Is this wanted man a terrorist or not? He could be simply a man seeking asylum from being tortured in Russia. Each party wants him for its own reasons. Which party will get what it wants? This is a fine example of the genre, but it would need to be great to stand out. The best films in this genre produce genuine thrills and engage the intellect. This film doesn’t reach that level; there aren’t many thrills to be had. This is largely due to the source material; le Carré focuses on the intellect as was shown in other adaptations of his work, including “The Constant Gardener” and “Tinker, Tailor, Soldier, Spy.” This is one more good spy film, with a strong ending, in an already crowded field. It will likely be remembered as simply one of Hoffman’s final films before his death.
Good
11/2/14
Film
Chef (2014)
“Chef” has a story that doesn’t contain many surprises, but it still managed to make me care. Jon Favreau brings his signature blend of script and improvisation to the food film genre. I am partial to films about food; I even found value in “No Reservations” (starring the luminous Catherine Zeta-Jones), which really wasn’t that great. So, I’m an easy sell here. This film opens by showing the titular chef, played by Favreau, prepping his kitchen. There’s a nice energy to that opening that is propelled by a smart soundtrack. The soundtrack throughout the film is a blend of Latin music, New Orleans band music, and classic R&B. It gives this film some spice; it works. In addition, the relationship between the chef and his young son is authentic. It’s nothing new, but it gets the job done. Of course, the chef is no longer married to his son’s mother, played by Sofia Vergara, who wisely doesn’t overdo it. So, the son yearns for more time with his father. He is very understanding of his father’s fickleness as a result of his father’s career. The whole arc pertaining to the chef’s introduction to and usage of Twitter, per his son’s instructions, actually seems plausible while unlikely. Authenticity shines through in the way that the characters relate to each other. That’s what makes this film special; so, I don’t care about whether the plot is realistic or not. The star-studded cast isn’t too distracting, mainly because the acting is good. Hoffman, Downey Jr. (who works with Favreau on the “Iron Man” films), Leguizamo, Platt, and Cannavale each bring his signature style to the proceedings; but, they don’t overpower the film. There’s a nice rhythm to the dialogue and to the film overall. It could be edited a bit more, but I don’t mind the ebb and flow of it. It just feels right. It’s a nice film to watch.
Very Good
10/25/14
Film
Neighbors (2014)
“Neighbors” is a typical contemporary comedy. The main difference is that it has Seth Rogen and Seth Rogen’s sensibility. Also, its comedy is the result of the tension between a frat and the thirty-something married couple with a baby daughter next door. The couple, played by Seth Rogen and Rose Byrne, wants to retain the coolness of youth while maintaining the peace of suburban adulthood. Of course, they fail. The frat attempts to befriend them in order to avoid any problems. The couple parties with the frat and its president, played by Zach Efron, and agrees to contact the president with any noise complaints before calling the cops. On the next night, the frat again plays the music too loudly. The couple can’t reach the president on the phone, so they call the cops. The frat and its president find out, and they plot revenge. The couple and the frat go back and forth in a battle to outlast the other in the neighborhood. Overall, this film is fairly amusing, but it’s not always funny. It runs out of steam by the end. It can be stupid and gross as well. If you like Rogen, then you’ll likely have some fun watching this. It’s better than most recent contemporary comedies; I’d rather watch this than the “21 Jump Street” films, for instance.
Somewhat Good
10/25/14
Film
Snowpiercer (2013)
“Snowpiercer,” which boasts an international cast of veteran actors, is a mostly entertaining mishmash of visuals and themes that you’ve seen and heard elsewhere before. The key is the mishmash; it keeps you on your toes. You never know what’s coming next, and it all seems new somehow. There are abrupt tonal shifts here. All of them don’t work, but they don’t completely fail either. The best parts are the fight sequences. There is a brutal and chaotic beauty to them that is a hallmark of Korean cinema. Thematically, this film is a metaphor for the human condition. It references the tension between a desire for control and a desire for escape, in this case, as a result of the freezing of the world in an attempt to end global warming in 2014, seventeen years prior to this film’s main events. There is poverty and oppression on one hand and wealth and privilege on the other hand. What’s the ultimate price for comfort? Is the illusion better than reality? Again, we’ve seen and heard these things before. While watching this film, I thought of the craziness of “Brazil,” some of the themes (revolution repeats itself, for instance) and visuals of “The Matrix,” and the setting (in this case on a train instead of a ship) of “Alien.” This film is all over the place, on purpose. That keeps it from descending into staleness – halfway through, the set changes from the tail section (think “Alien”) to the front section (think “Minority Report”), a welcome visual distinction. But, it also keeps the film from exploring its themes with any depth. This is a roller coaster ride that doesn’t always succeed, but it doesn’t bore either. It’s an odd film that many may find silly, but I don’t even think that that’s a bad thing. If you go along with it, you’ll be diverted for two hours.
Good
10/18/14
Film
Locke (2013)
“Locke” is a character study resting on the shoulders of Tom Hardy. Hardy does a great job of portraying a guy who’s world has just turned upside down. He makes a decision that affects both his home life and his work life. The entire film, except for the very beginning, takes place in his car as he drives to meet a woman whom he impregnated during a one-night stand and who’s now in labor. He has a wife and sons already, and he doesn’t really know this woman – they worked together briefly. Awkward. Also, he is a construction manager in charge of a historic building project that needs his attention. He can’t give it his attention due to the impending birth. So, he enlists the help of one of his subordinates, even after being fired for honestly revealing the entire situation to his boss. The whole film relies on Hardy’s ability to dance between simmering rage and a struggle for calm. His voice stays very calm, for the most part, whenever he talks to someone on the phone. All of his dialogue with others is via the phone in his car. He speaks to his subordinate, his boss, the woman in labor, his sons, and others. He is much more unleashed with himself. He addresses himself and his dead father in between calls. This is a simply presented film about a moment in a man’s life that is as complicated as it will likely ever get for that man. To top it all off, he seems to have some sort of allergy that causes him to blow his nose every now and then. This is a film about the details of characterization and the use of vocal restraint. Hardy knows what he is doing, so it works. But, there’s only so far that this kind of film can go. It gets the job done.
Good With a Very Good Performance
10/18/14
Film
The Fault in Our Stars (2014)
“The Fault in Our Stars” is a cute movie. It has a fairy light touch, especially during its first half, on a heavy subject: teen cancer. The problem is that it’s not distinctive enough to be consistently engrossing. It’s disjointed, largely due to its shifts in tone and lack of precise editing; it’s a bit too long, both overall and during certain moments. There is the requisite voice over by Shailene Woodley, who does a great job as usual. We get a support group; she doesn’t want to go; she meets a guy at the group when she does go; they fall in love; and, we know how it ends based on the subject matter and her ability to do a voice over. So, this is familiar territory for a film that strives to be unique. It tries too hard. The tonal shifts during the first half of the film just don’t work. They need to be executed with more of a punch, instead of blurring together into blandness. The second half of the film is more focused, but it’s typical yet solid tearjerker stuff. I just didn’t connect to this. “50/50” is a much better example of how to tell a story about cancer that is both funny and heartbreaking. The saving grace is the cast, led by Woodley. The actors are game, but they do all of the work. Willem Dafoe shows up unexpectedly and tries to give this film a jolt; it doesn’t work. But, the actors do manage to salvage the end. Due to their work, this film just makes it into the good category.
Pretty Good
10/7/14
Film
The Drop (2014)
“The Drop” is about workers at a Brooklyn bar who are tasked with holding on to Chechen mob bosses’ money on designated nights – hence, the title. This features James Gandolfini’s final feature film performance as Cousin Marv, the ostensible owner of the bar in question. Tom Hardy plays Bob, Cousin Marv’s bartender. He’s also Cousin Marv’s actual cousin. The two encounter trouble from Chechen mobsters when their bar is robbed. Luckily, this doesn’t happen on a drop night. But you know what will eventually happen, right? Things unfold from there. This is straightforward stuff, but it lacks appropriate momentum. There needs to be more of a buildup of tension. It stalls too much. This is unfortunate because Hardy does a great job (no surprise) as a bartender who seems simple enough on the surface. We know that there’s much more to him lurking underneath, mostly because of Hardy’s acting. We don’t need to be told that Bob has the potential for violence; we can sense it. At the beginning of the film, Bob finds a dog that was beaten and subsequently left in a woman’s trash can. His handling of the dog and the woman actually tells us something about him. He’s very cautious and thoughtful. He goes to mass alone to simply sit through the service. He doesn’t take communion. Again, there’s something going on with him. Hardy isn’t the only positive here; the whole cast gives assured and unforced performances. They just need more support in the pacing department. If you love crime dramas, then this is good enough to warrant a watch. Otherwise, you can skip it.
Good
10/7/14
Film
Think Like a Man Too (2014)
“Think Like a Man Too,” directed by Tim Story, is a sequel that didn’t need to be made. I don’t need to see these characters again. They were fine for one film. In the original, I was mildly interested in the relationships. That film was more about the chase. There was some tension as a result, and the book was referenced appropriately. This sequel is about the aftermath of that. Not interested. Perhaps if they introduced new characters in new relationships, this could work. At least, the title would make more sense. But, why? For the money, that’s why. This film does have energy, and that’s about it. It zips by on fumes. Kevin Hart, once again, narrates. And, I need a break from him. He needs to be reined in. He’s an assault on your hearing. My ears are bleeding. I wish that a director would edit him more. He works in small doses. Everything here is cliché: Vegas, battle of the sexes, bachelor party, bachelorette party, jail time, strippers, wedding, etc. What’s with the Poison video in the middle of it? Was that supposed to be funny? Despite its flaws, this film is slightly preferable to “The Best Man” sequel. The “Think Like a Man” films don’t take themselves as seriously as “The Best Man” films. However, the end of this film sunk into an explicable seriousness. It was bad. I just wish that they had stopped with the first one. Everything here was stale before this film was even made. And, it gets worse the longer you watch it.
Pretty Bad
9/24/14
Film
Belle (2013)
“Belle,” released in 2014 in the United States, is a typical period piece drama focused on an atypical main character, a mixed woman who was raised in her father’s white aristocratic family during the 18th century. Unfortunately, the filmmakers didn’t figure out a way to blend the style of a period piece with provocative subject matter. We’ve seen many of the scenes in this film before (see any Jane Austen film); the only clear difference is that Belle is black. I wish that the film explored more of Belle’s childhood. How did she come to be the young woman portrayed intelligently by Gugu Mbatha-Raw? More background on Belle may have helped to establish the injustices of the time in a relatable way. The audience would have been able to put itself in Belle’s shoes. This kind of structure lends Charlotte Brontë’s “Jane Eyre” much of its narrative power. But, that’s not the film that we have. Instead, we are presented with a film that is overly earnest and straightforward, almost bluntly so. There’s little subtlety and little depth. This is black and white (pardon the pun); there’s little to no gray. This film could have given us something to ponder, but it’s message is fleeting instead. At times, it plays like something that a history student would have to watch for class. Most of the blame lies with its script. Despite its failings, it does have one main strength: its cast. Starting with Mbatha-Raw and trickling down to the rest of the cast, every scene is well-acted. These actors know what they are doing. And, when they are given a chance to exert themselves, they do so with relish. When Belle first plays the piano, for instance, there is a thrill. But, they deserve so much more. I must emphasize, though, that this is not a bad film. It has its moments, especially during its second half. It’s just that this film could have taken our breath away. It could have soared. Instead, it renders a powerful story largely powerless.
Somewhat Good
9/23/14
Film
Middle of Nowhere (2012)
Ava DuVernay’s second feature, “Middle of Nowhere,” matches her work in her first feature, “I Will Follow.” It is a character study with earnest acting and an almost effortless authenticity. However, will she be able to break out of that style to present a gripping narrative? I guess that “Selma” (release date: 12/25/14) will give us the answer. DuVernay’s work floats along; at times, that’s a nice thing. You don’t feel forced into anything. Plus, that helps her to overcome the problems with a small budget. She has a nice sense for indie filmmaking. There is a nice flow from scene to scene and from moments with dialogue to moments without dialogue. It’s a bit like “Friday Night Lights” in that way. So, the rhythms are right, but I can hear a script every now and then (not too much, though). Also, this film does stagnate a bit, but not too often or for too long. One other thing that I liked: DuVernay’s characters don’t always do or say what you would expect. They don’t shock you, but they do have minds of their own. Essentially, this film highlights DuVernay’s ability to create characters who don’t seem to be cardboard cut-outs and her ability to direct actors. It still leaves me wanting a more powerful narrative, though. If she were to find a way to bring her sense of characterization to a compelling plot, then she would be able to make something great.
Good to Somewhat Good
9/20/14
Film
Frankie & Alice (2010)
“Frankie & Alice” is an earnest film that was written by a team of writers according to a familiar checklist. Whenever a film or TV show focuses on a character with multiple personalities, there is an uphill battle to convince the audience that this is an authentic presentation. Pretty much from the beginning, we are thrust into the world of Frankie as a person unaware of her mental illness. The problem is that we don’t know Frankie, so we can’t empathize with her. The danger of her situation doesn’t have much of an impact as a result. Everything skims the surface. Many of this genre’s films and TV shows have a similar structure: introduce us to the character already in the throws of illness without any knowledge of it, then reveal that character’s backstory in flashbacks as the character receives therapy. What if the story started before the trauma that triggered the disorder? What would happen then? Maybe it would be easier to believe; I’m not sure. Halle Berry, as Frankie, does a decent job of playing the multiple (three) personalities. But, I never bought it; I saw acting (a typical occurrence for this kind of role). As for her supporting cast members, they did their jobs. The film acceptably depicts 1970s Los Angeles (1950s Savannah, Georgia makes a minor appearance). It’s just that we’ve seen all of this before, and we’ve seen better versions of it. This is not bad; it’s a decent one-time viewing that should have been a TV movie instead of a feature film.
Somewhat Good to OK
9/17/14
Film
2 Guns (2013)
“2 Guns” is all about action and fun to please the masses. This is mindless entertainment with slick production values. It doesn’t evoke much of a response from me: it’s not that good, but it’s not that bad either. It does what it wants to do: entertain for money. The one thing that keeps this film from being completely forgettable is the chemistry between Denzel Washington and Mark Wahlberg. They actually have good chemistry and banter. That’s helpful, because we need to be distracted from the preposterous story line and paint-by-the-numbers plot. They don’t reach the level of Robert De Niro and Charles Grodin in “Midnight Run,” but that was a much better film top-to-bottom. If you want to veg out in front of a screen, this film will be happy to oblige.
Whatever
9/15/14
Film
The Counselor (2013)
“The Counselor” is Ridley Scott’s, Cormac McCarthy’s, and an star-studded cast’s experiment to investigate exactly how much talented people can get away with. I guess that they were bored and decided to do something new. First, who are these characters exactly, and why should I care? Second, can we place a moratorium on Javier Bardem playing a crazy person with wild hair? Third, if you want to have some fun and then ask people to pay to watch the result, can you bring some skill to it at least? Now, this film looks the part, of course; so, visual skill is on display, but it’s the only one. The actors in this film sound like they are reading a script. The dialogue doesn’t seem like it would come from any of these people. Stylized dialogue can work if you have a clear understanding of the message and you find the correct rhythms to covey that message to your audience. This film accomplishes neither. The inclusion of philosophy is awkward and confounding. The actors don’t even seem to understand most of what they’re saying. This is a thriller that will surprise many viewers, not in a good way. This film isn’t terrible, though. It’s boring and stupid. There are no thrills. I guess that the silver lining is that the second half is better than the first, if you last that long. But, so what? Yes, the plot does start to move forward during the second half of the film and the actors stop doing embarrassing things, but the plot is predictable and uninspired. If you want to make a thriller that masquerades as a highly literate drama, then you need strong characterization (this doesn’t mean create clown characters). These people can say and do anything without any foundation to support those statements and actions. Cormac McCarthy’s first spec script should have been treated as such. The director and actors should have ignored who the writer was and focused on what the writing is. Everyone dropped the ball.
Pretty Bad/Not for Me/Whatever
9/14/14
Film
The Book Thief (2013)
“The Book Thief” poses an interesting question: What does the world look like to an adopted little girl living in Nazi Germany? In response, this film has the look, pace, and music of a children’s story. The filmmakers attempt to highlight the horrors of the Holocaust via a contrast with the hallmarks of children’s storytelling. There is a warm narration provided by Death himself; we all have death in common, by the way. The girl has a stern (on the surface) adoptive mother (played by Emily Watson) and a gentle adoptive father (played by Geoffrey Rush). She develops a friendship with a neighbor boy, who seems to be in love with her from the first moment he saw her. She learns to read, finds that she loves it, and decides to share that love of reading with a Jewish refugee who is hiding in her house (a dangerous proposition). And so on, and so forth. However, the full effect of that juxtaposition is muted, because this film isn’t cohesive. It’s more of a collection of separate ideas than one narrative statement. In addition and possibly as a result, there is a lack of narrative drive. This film feels long (longer than it’s runtime of over two hours), and it doesn’t seem special. Instead of really hammering in the terrors of the Nazi’s thoughts and actions via the viewpoint of a little girl who develops a love for reading during a time when that wasn’t as simple as it sounds, this film nicely goes about its business. When it gives a glimpse of the world beyond the girl’s perspective (for instance, when a children’s chorus sings a patriotic Nazi song and when the community gathers for a book burning), the impact doesn’t land. Unfortunately, it hits you and then floats away. This is a well-intentioned film that lacks a soul.
Somewhat Good to OK
9/7/14
Film
The Hundred-Foot Journey (2014)
“The Hundred-Foot Journey,” based on screenwriter Steven Knight’s novel of the same name, is yet another Lasse Hallström film that attempts to tug at the heartstrings. This definitely isn’t one of his best, but it’s not that bad. (Oprah and Steven Spielberg produced it, by the way.) Helen Mirren plays the curmudgeonly owner of an upscale French restaurant who doesn’t appreciate the appearance of a family of Indians who open a restaurant across the road. Of course, we see how the clash of cultures plays out. This is all predictable stuff. You can see this film coming from a mile away. You know that there will be familial strife, well-meaning strangers, resistance to change, the softening of hearts, and an uplifting ending. It’s sweet and obvious. However, it does touch on racism in a way that doesn’t seem insubstantial. This is a romantic dramedy of sorts, so it doesn’t go there all the way. But I liked that they didn’t avoid that subject completely. Really, this is about the food and about how food connects us. It’s better when it focuses on that with a light touch. By its end, it overstays its welcome and gets a bit too serious. So, what could have been a diverting lark ends up simply trudging along. As it is, it’s fine – just not magical. If you’re in the mood for a bit of emotional manipulation, then this will suffice.
OK
9/1/14
Film
The November Man (2014)
“The November Man” wants to be taken seriously, but it lacks clarity and appropriate execution. The dialogue gets worse as the film progresses; the script is lacking overall. However, the opening is pretty effective. That’s largely due to Pierce Brosnan as Peter Devereaux. He does a pretty good job. His titular character, whose code name is explained at the end of the film without much effect, follows in the footsteps of characters recently played by Liam Neeson and Kevin Costner. They are older versions of James Bourne without the amnesia. They are old, secret agents with guns and experience. Brosnan’s younger counterpart, played by Luke Bracey, doesn’t fair as well. Bracey doesn’t have the appropriate commitment or acting chops to deliver a believable performance. In the rogue, undercover agent genre, the competition is at a high level. To succeed, you need to be on your game and provide a sharp take. This film fails on that count. It has the requisite double crosses, close calls, betrayals, shootouts and fights with casualties, struggles with the desire to develop relationships, etc. But the heightened moments during the second half of this film verge on the laughable because of a lack of substance and questionable acting choices: The yelling is over-the-top at times. This film has a clinical presentation; no one’s heart seems to be in it. It’s professional, yet uninspired.
OK
8/24/14
Film
Filth (2013)
“Filth” lives up to its title; that’s the intention. At the beginning, it’s all about artifice; it has a glossy look that is juxtaposed with the vulgarities on display. The narration shifts between the lead and his wife; they both say one thing, while the film shows another. The fourth wall is broken many times (including the ending moment). All of this serves a purpose that is revealed later on. Also, at the beginning, this film has a sense of humor that is not uncommon among contemporary British comedies (“Trainspotting,” “Snatch”). Eventually, though, the layers beneath the artifice and comedy are stripped away as the lead character’s mental illness progressively reveals itself. The film mirrors his state of mind. In that way, it follows in a tradition of films that include “Fight Club,” “Natural Born Killers,” and more. “Fight Club” is much more compelling than this film, but “Natural Born Killers” is more headache inducing; but, to be clear, this film will induce headaches in many people. The closer “Filth” gets to its conclusion, the more I like it; the revelations lead to a clarity that helps to give the viewer more of a reason to watch. All in all, “Filth” is a roller coaster ride that won’t appeal to most. It is purposely offensive, but that purpose isn’t revealed from the beginning. So, many may want to get off of this ride early on. For the braver among us, this film will provide a professionally made and disturbing journey into one man’s mental illness. It delivers on its premise with style. It kept me at a distance throughout, though. I didn’t care enough to want to endure its lewdness.
OK
8/9/14
Film
Divergent (2014)
“Divergent” pretends to have a personality instead of mining its source material for what makes it special. It seems that the writers of this adapted screenplay followed a checklist to make sure that the important moments from the book made it to the big screen. But, what about the moments that go beyond mere events in a story? What about the moments that make us care about those events? This film has shades of “The Hunger Games,” and not just story-wise. But, there’s even less of a bite to this film adaptation. Firstly, it needed more exposition. The opening was shallow, cursory. For this story, the past really matters. We need to see more of the world and how it works before immersing ourselves in calculated plot points. As a result, I never really cared about these characters. They weren’t vibrant or distinctive. Secondly, Neil Burger (the director) needed to raise the stakes big time. Since the characters weren’t fleshed-out effectively, raising the stakes was even more important and even less possible to achieve. On the other hand, while this film has many problems, it’s not terrible. Shailene Woodley was a great choice as the lead character (Beatrice/Tris); she always brings authenticity to her work. She just wasn’t given much to work with. In addition, this film looks the part, and it had adequate pacing for the most part. But, there’s no life here.
Whatever
8/5/14
Film
Generation Iron (2013)
“Generation Iron” is a very serious documentary about bodybuilding. It’s serious without any relief. Mickey Rourke provides the voice-over, and he is serious as well. I don’t mind serious, but there has to be something interesting or exciting to keep the viewer engaged. This film is simply depressing, because it’s not sharp enough to overcome its heavy tone. There’s just no joy here. This film doesn’t give you the sense that these bodybuilders actually enjoy what they do. Maybe they don’t. But, I’m not interested in people talking about how hard they work and so on without getting a sense of the passion that drives them. I think that the filmmakers didn’t go far enough with their interview subjects; they didn’t push past the facades. Nothing interesting was revealed or illuminated; I know just a little about this world, and I didn’t learn much more as a result of this film. This is professionally made, but it lacks a spark. It’s not dynamic, and I don’t care about any of the bodybuilders featured throughout the film. This might appeal to bodybuilding enthusiasts, but I doubt that it would appeal to anyone else.
OK
8/2/14
Film
Veronica Mars (2014)
“Veronica Mars” gets one thing right: Kristen Bell is a great fit for the title character. She seems to buy into the whole thing, but I cannot. I watched a few episodes at the beginning of the television show’s run, and I didn’t mind it. It didn’t capture my attention, but I could see why it would appeal to a certain kind of teenager. The film version is lightweight, lagging, and dull. It just doesn’t have any juice. The material doesn’t work on film; it’s not stylish enough, nor is it sharp enough. At the beginning of the film, there is a quick recap of the necessary elements from the show for those of us who haven’t seen it. That may have been the best part of this film, and that’s not a compliment. Bell’s voice-over kept reminding me of The CW’s “Gossip Girl,” which she narrated as well. That’s unfortunate, but they have to stay true to their formula. The voice-over worked well enough despite that. The main problem is the writing. It is clunky with a forced humor that consistently falls flat. Plus, it’s disconnected from the look of the film; a look that mimics what you would expect from any other detective drama set mainly in California. There’s just no material for any of these actors, including Bell, to do something with. Everyone’s just going through the motions. This is a waste of time.
Pretty Bad to Whatever
7/31/14
Film
The Great Gatsby (2013)
Before I review Baz Luhrmann’s “The Great Gatsby,” I must state that I do not care about the sacredness of a book; the movie should be viewed as a separate entity. With that said, the use of pop music in this film was okay, except for the use of rap, which was too jarring (and, what’s the reason for using rap?). This film has the typical Luhrmann aesthetic, dizzying to the point of nausea at times. He should edit more, and his films should last no more than 1.5 hrs if he wants to constantly present an intermittently frenzied spectacle; it’s like chocolate cake, too many slices and you get sick. “Romeo + Juliet” is still his best, possibly because Shakespeare is so malleable; it’s a semi-foreign language written for the stage. The actor’s performances are secondary to Luhrmann’s vision; is this even acting? Essentially, the acting is undermined by the spectacle; it’s hard to take it seriously amid all of the confection. It’s a fever dream that needs to be grounded somehow, possibly via a little less polish during the right moments (maybe when Nick is in the present, writing the story in the analyst’s office). The pacing is disjointed; it stalls at times and is forced at other times.
OK
7/31/14
Film
Non-Stop (2014)
“Non-Stop” starts out as a professionally made action-thriller on a plane with enough thrills and twists to be entertaining. It’s mindless entertainment; if you start to think about the plot too long, then you’re going to be dissatisfied. The actors keep this film afloat; they are the engine driving the plot forward. I don’t know how the filmmakers convinced all of these actors to commit to this film, but that was a casting coup. With such a cliched plot, the onus is on the actors to sell it; and, these actors earn every penny of their checks. Despite providing solid entertainment for most of its duration, the ending crashes and burns along with the plane. The writers decided to include a statement about the negative results of the US government’s response to 9/11: The protectors failed to protect the people and mislead them instead, so everyone must pay (something like that). It was a statement that was obviously forced into the film; all of the previous execution was cheapened once the film veered into that territory. There was nothing new here anyway; it was just a straightforward action-thriller about a hijacked plane. So, the inclusion of a larger message just gets in the way. This is not the kind of film that is worth thinking about; it’s not an important film. Give me a break. As a result of this desire to make a statement, the ending of the film was overdone and abrupt. Everything was tidied up by the end too, resulting in an anticlimactic finale. The trick here was focusing on Liam Neeson’s troubled marshal who is being framed by a hijacker. That was enough to carry the entire film, because it’s just an action film. Keeping things simple would have made this forgettably enjoyable, and that’s all that these filmmakers should have wanted. If you want to make statements, then you better bring much stronger material than this. Ugh.
Somewhat Good to OK
7/27/14
Film
Out of the Furnace (2013)
“Out of the Furnace” is a straightforward, steadily paced drama centered around the story of two brothers. These two brothers are two different representations of their surroundings, a modern mill town in Pennsylvania that serves as the backdrop for this film. One of them, played by Christian Bale, has followed in his father’s footsteps to become a steel mill worker; the other, played by Casey Affleck, has decided to serve four tours in the Iraq War and fight for money via illegal circuits when he’s back home in order to avoid that mill. We can sense the negative effects of an economy that has left them behind; Scott Cooper, the director, includes many shots of this town’s environs to drive that point home. Overall, this film says a lot with a little; for example, we first learn that Bale’s character is in prison after he turns around while working on steel pipes and reveals the “D.O.C.” on the back of his jumpsuit. From the beginning, this film goes there in its introduction of Woody Harrelson’s character. We can sense the metaphorical furnace during that scene, which lets us know that this film will neither hide nor glorify its brutality. I bought that scene and everything that came after it. The entire cast delivers strong performances, which are essential to this film’s success because it really doesn’t do much. The only minor gripe that I have is in regards to metaphor involving Affleck as a fighter and a deer that Bale and Sam Shepard, who plays the brothers’ uncle, bring back from a hunt. This film didn’t need that comment; it was clear enough without it. But, that was a rare indulgence from a film that is both sparing and confident enough to trust the story to tell itself. It is what it is. If you liked “Winter’s Bone” or “The Place Beyond the Pines,” then this may work for you.
Good to Very Good
7/26/14
Film
Jack Ryan: Shadow Recruit (2014)
“Jack Ryan: Shadow Recruit” wants to appeal to the same audience that enjoyed the “Bourne” series, but it falls far short of that goal. The setup is fine, but it’s not compelling. I wasn’t drawn in. There’s a lot of telling instead of showing; it’s like the writers, Adam Cozad and David Koepp, had a checklist of things that needed to be mentioned so that we know who Jack Ryan is, instead of showing us how he came to be who he is. That was a big mistake. As a result, Ryan and the rest of the characters are not much more than stock characters. I just didn’t buy any of it. Of course, we are treated to the Meddling Girlfriend (eventual fiancee) who must get in the way at the exact wrong moments. Why would they waste Keira Knightley on that character? Unlike the Bourne series, this film doesn’t trust its plot enough (“3 Days to Kill,” also starring Kevin Costner, had the same problem.). This kind of film needs to be lean and mean; it’s just nowhere near as sharp as it should and could be. Once you get past the halfway mark, this film provides glimpses of the mildly entertaining film that it could have been. But, overall, the story is weak and the thrills are hard to come by. There are too many other similar films that do a much better job of delivering crisp, well-paced action sequences with consistency to warrant spending time here. Kenneth Branagh keeps getting work as a director, but his films never provide a knockout punch.
Whatever
7/25/14
Film
The LEGO Movie (2014)
“The LEGO Movie” is cute and clever. But, I didn’t think that it was that funny or impactful. It did have its moments, though. The main problem is that this movie is overstuffed. It is a spoof, in a way; and lots of films, film genres, and personalities are incorporated for humorous purposes. This film has fun with the legend, adventure, fantasy, action, and unlikely hero-savior genres. In addition, it comments on government, society, the media, father-son dynamics, power, corruption, and business. It references “Star Wars,” “Transformers,” “The Matrix,” “Clash of the Titans,” “The Lord of the Rings,” superheroes, car chases involving the police, westerns, screwball romantic comedies, pirates, and more. Again, this is overstuffed. So, it’s hard to connect to the fairly simple story at the heart of this film. I could connect to it intellectually, since I knew many of the references (Unlike their parents, I don’t think that many kids will be able to watch this film on that level; they will enjoy it for other reasons, though). But, it didn’t work on an emotional level for me, and that’s what the best animated films do. It just seemed a bit shallow, especially in light of all of the work that they put into the script and the visuals. This film’s lego story is a metaphor for a father-son story, but it is an obvious metaphor that isn’t handled with a deft touch. It falls flat at the end, instead of tugging at your heart strings. Overall, this film looks great; it reminded me of an advanced video game at times. And, they did a superb job of translating how Legos work in the real world into how they could work in their own world; they are bound by their instructions, design, and function. So, I appreciate this film’s technical prowess and planning, but it left me feeling cold.
Good to Somewhat Good
7/23/14
Film
In Secret (2013)
“In Secret,” at its beginning, reminds me of something from the Brontë sisters or Charles Dickens. It’s actually based on Emile Zola’s “Therese Raquin” and Neal Bell’s play adaptation of the same name. While there are many dark hues on display, this film actually has some beautiful shots. The acting is solid, but the script doesn’t do much to distinguish this film from many other period pieces with doomed romances. The events progress from claustrophobia, repression, and lack of fulfillment to Edgar Allan Poe-like paranoia. Sex is used as a metaphor for freedom; that’s nothing new (of course it’s not, again, this is based on a classic Zola novel). So, a modern audience may not feel the importance of that kind of freedom via that kind of metaphor. That audience may not feel the sexual desperation as keenly. This film says more about the time during which it is set than it does about the time during which it was created. And, that’s the problem here. Its message would be more powerful, more impactful if this film reflected more on today’s society somehow; this could have been done by highlighting the injustice of Therese’s entire life. There’s nothing like injustice to make things eternally relevant. As it is, it’s a fine film with fine performances. But, it’s ultimately forgettable.
Good to Somewhat Good
7/21/14
Film
Enemy (2013)
“Enemy” is an indie film with the feel of what you’d expect from the indie suspense genre. The dialogue is spare, the pacing is deliberate (but, not too slow overall), and the color is a muted golden ochre (a color ranging from pale yellow to orangish or reddish yellow) hue. The music (relying heavily on timpani) interrupts things, instead of setting a tempo. At the beginning, this quote appears on the screen: “Chaos is order yet undeciphered.” This film is not chaotic at all; it is closer to its color in style and tone. But, the main character(s) is/are going through a chaotic moment in life. Jake Gyllenhaal plays a man who is a history professor in Ontario. We are shown the repetitive nature of his life; this is mirrored by the repetition of a lesson that he teaches. This film revolves around the intersection of order, control, and repetition and how they affect identity. These repetitions are interrupted when the man discovers a doppelgänger (this film is based on a novel entitled, “The Double”) who is a third-rate actor. Until that moment, he seemed to be numb, just going through the motions. He reaches out to the doppelgänger, and things don’t unfold in the way that he expects. These two men are spitting images of each other, but they don’t have the same temperament. Paranoia results from this meeting; it is a response to the inexplicable. The question is: Is this real or is this man caught in between a dream world incited by a film that he watched and reality? The story lags a bit toward the middle and end; there aren’t a lot of things that happen here, but that’s not the point. Also, a tragic event toward the end of the film feels forced. But, the very end provides a thrill. What is reality?
Good to Somewhat Good
7/20/14
Film
Lone Survivor (2013)
“Lone Survivor” is a competently made modern war film. It is straightforward, almost too straightforward. It lacks fully developed characters. It would be much more effective with more thorough character development and greater depth. We do get glimpses of who these guys are both before their mission starts and during the mission itself. However, there is not much of it. We care because of what these guys represent, not because of who they are as people. Technically, this film hits all of its marks. There is no doubt that Peter Berg directed this. The sound effects, music, and cinematography work together to create a film that has crystal clear action sequences and adequate tension, when needed. At the beginning, Berg uses footage of actual Navy SEAL training to lend credibility to the rest of the film; that works well. So, while there are no glaring problems, this film just doesn’t go as far as I wanted it to. It is a good film with expert technical execution. But, there’s nothing new here, so the characters become even more important. They just weren’t as memorable as they could have been.
Good
6/2/14
Film
Ride Along (2014)
“Ride Along” is a movie that has re-written the buddy-cop genre: not. This movie contains material that you’ve seen and heard before. The action is uninspired but necessary for the genre. The comedy is stale, even for Kevin Hart. And, the writing is there just as an excuse to make money at the box office. Ice Cube does what he does: deliver his lines with confidence, regardless of the situation. He’s not one for nuance. And, Kevin Hart does what he does: provide improvised comedy that, by now, we all have experienced from him before. This isn’t complete trash; it is professionally made by professional hacks. So, if you love the buddy-cop genre (or, in this case, the not-buddy-cop genre), then watch this when you have nothing else to watch. Or, if you love Ice Cube and/or Kevin Hart and you’ve seen all of their other films already, then check this out. Or, if you’ve never seen a buddy-cop film, then this could be an introduction to that genre that makes the best of it (e.g. “Lethal Weapon”; “Midnight Run,” in a way; “Beverly Hills Cop,” maybe) seem even better later on. If you don’t fall into those categories, don’t waste your time. Why did they hire Laurence Fishburne for this? He just showed-up to get a check. There is a sequel planned: money, money, money, monay.
Pretty Bad
5/25/14
Film
About Last Night (2014)
“About Last Night,” adapted by Leslye Headland, is an update of the 1986 film of the same name. This remake features black actors in the lead roles. From the beginning, there is a nice flow and energy to the events on display. This makes the film and is a credit to the lead quartet of actors (Hart, Ealy, Hall, and Bryant). However, as things progress, this film gets stuck in a rotation of fights and reconciliations (of break-ups and make-ups); it doesn’t build or develop. It starts at a high point of energy, only to lose steam as it goes along. The script is predictably unbelievable; it simply fulfills the requirements of the romantic comedy genre. And, things just happen here; there’s no through-line. I would call this mildly entertaining and raunchy, but not that funny. After a while, Hart and Hall are exhausting; their back-and-forth is just too repetitive and predictable. Ealy and Bryant have very little to play; their relationship annoyed me after a while. But, the actors keep this from being a complete waste of time; Hart and Hall work especially hard to keep things going, including improvisations. They get it; but, there’s not much to get. There’s nothing new here.
OK, Starts Off Somewhat Good
5/23/14
Film
The Legend of Hercules (2014)
“The Legend of Hercules” did not need to be made. It is a film that is completely derivative and laughable at times. For example, at the beginning of the film, one character says: “I accept your challenge. Argos, prepare to die!” The acting follows suit. The story is a pastiche of worn-out ideas from better films. This looks like something between “300” and “Gladiator.” I would certainly rather watch “Gladiator.” Heck, I’d rather watch “300” or maybe even “Troy” (of all films). The effects are only so-so. So, there’s nothing left to save this film being boring nonsense. I couldn’t care less.
Horrible
5/18/14
Film
47 Ronin (2013)
I can’t believe that I almost watched a full hour of this. By this, I mean “47 Ronin.” Is this some sort of joke? Who wrote this?: Chris Morgan and Hossein Amini. With such a deplorable script, I almost can’t believe that “47 Ronin” was made. But, I guess they thought that Keanu Reeve’s presence would be enough to get people to watch. Well, they were wrong. Reeves is off-voice throughout; no surprise there. The problem is that the visuals are just as bad as the script. With stunning cinematography and special effects, this film may have given us a reason to watch it. However, the special effects look like just that: special effects. The acting languished under the hackneyed dialogue and story (a woefully derivative depiction of a legend). This is based on a true story, so I’m sure that the actual Ronin are rolling over in their graves. This is an affront to samurai and Japanese culture in general. It’s presence disgraces everyone on the planet.
Horrible
4/18/14
Film
Saving Mr. Banks (2013)
Manipulative – a postcard for Disney: that’s what “Saving Mr. Banks” could have been. The script, while serviceable and professional, is not the saving grace; it is not magical, though it does have its moments. No, it’s the director and the mostly superb cast that lifts this picture out of the commonplace. There is absolutely nothing new here, but there is energy and expert pacing (that’s saying a lot). This film definitely looks and moves like a Disney film with an upbeat score to boot. It has animated sensibilities; it’s brisk and bright even, for the most part, during the heavier moments. (Pamela) P. L. Travers’ backstory does help to support her exacting attitude; Emma Thompson delivers that attitude in spades. But, the scenes depicting the backstory pale in comparison to the scenes at Disney. When Hanks and Thompson share scenes together, they go toe-to-toe. Thompson’s scenes with the writing/music team (played by B. J. Novak, Jason Schwartzman, and Bradley Whitford) are well-crafted too. While this film doesn’t necessarily soar, it does entertain and deliver something fairly enjoyable. If you’ve seen and loved “Mary Poppins” (or any other Disney classic, for that matter), then you’ll appreciate this. By the way, they play an actual recording of the “Mary Poppins” meetings at Disney between Travers and the writing team during the end credits. Also, while this is based on actual events, it is not a documentary; if you want the actual historical accounts, look elsewhere.
Very Good, Mostly
4/11/14
Film
Captain America: The Winter Soldier (2014)
“Captain America: The Winter Soldier” is too long: Why? The opening 20 minutes or so were the best moments of this film. There was a sense of pace and the dialogue was nimble. At first, I thought that this was going to be much better than its predecessor (it ended-up being slightly better). However, outside of the moments leading into the action sequences and those sequences themselves (they had a somewhat gritty quality that I liked), this film is stagnant. Not bad, but lagging. The script and acting are serviceable, but I want to be swept away. Not bogged-down. The 3D was fine, but largely unnecessary. Captain America is just a bland character, so it’s hard to make a masterful film about him. The Winter Soldier was interesting, but we didn’t get enough of him. Also, it was obvious who he was going to be way before his identity was revealed. Nick Fury’s sequences were good, but we didn’t get enough of him. I know that this is not his film, but he was more interesting than the captain. Plus, they provided a little more information regarding who he is in this film. I liked that. Nick Fury may need his own movie, as long as they avoid the delivery mistakes from “The Avengers” (i.e. the director, Joss Whedon for “The Avengers,” doesn’t get in the way; let the man do what he does via improv. etc.). This is the overall point: give me boldness or don’t bother making an action film. It’s fine, though. Good in parts. But, you need to bring it!
Somewhat Good
4/6/14
Film
The Past (2013)
“The Past” is another film from Iranian director Asghar Farhadi (“A Separation”) about misunderstandings. But, this film is about regrets and secrets as well. It explores the complications of blended families, divorce, and how adult romances affect children. Unlike “A Separation,” “The Past” meanders a bit; it doesn’t have the same narrative fire and focus. This is due to both the subject matter and the way that the subject matter is explored. The plot unfolds like a yo-yo. There is a constant tension, but that tension builds to a climax then abates only to build to another climax. These climaxes occur as different aspects of the characters’ pasts are unveiled. The acting is superb; one common trait of Farhadi’s films is the authenticity of the acting. As a result, he’ll likely never make a bad film. I was interested in the characters (even the kids) at all times; but, I just wish that this story didn’t ebb and flow as much. Each revelation was delivered expertly, but there wasn’t enough of a through-line. While “A Separation” is a great film, this is a good one with some exceptional moments. That’s nothing to complain about.
Good to Very Good
4/4/14
Film
Field of Dreams (1989)
“Field of Dreams” is a heavy-handed, barely-mediocre sports drama. This “dream” doesn’t soar; it plods. I get that it’s a story about healing past regrets, but give me a break. I get that it’s a sports fantasy; but, even fantasies have to have some sort of grounding force. As this film progresses, it gets more and more ridiculous. How did this even get made? It does have an effective opening with Costner’s voiceover and the use of old photos and videos. And, the actors do their best with the overly earnest material. Who got these people to sign-on? But, once we (and Costner’s character) hear the famous cornfield whisper, “If you build it, he will come,” the silliness begins; this is not too long after the opening. The film references its own outlandishness, but that doesn’t do much to excuse anything. I guess they want to capture the “magic” of baseball. This is for baseball lovers with liberal leanings who are lost in nostalgia, who yearn for “the good ol’ days”.
Whatever
4/3/14
Film
The Great Beauty (La Grande Bellezza) (2013)
“The Great Beauty (La Grande Bellezza)” is not my kind of film. Many critics fell over themselves to compare this favorably to Fellini’s work; but, his work isn’t my cup of tea either. The zooming, searching, vibrant camerawork is accomplished, and I understand the Fellini comparisons. However, I couldn’t help but think of Baz Luhrmann’s work, as well, especially during the party scenes. This is a visual feast, but I don’t care. I don’t even want to finish this, so I won’t. This is the epitome of an art film. Take it or leave it.
Not for Me
3/20/14
Film
Mother of George (2013)
“Mother of George” was shot with a strong aesthetic. The images are full of rich color and look like paintings. The style is similar to Lauryn Hill’s music videos for “That Thing” and “Turn Your Lights Down” and to Janet Jackson’s music video for “Got ’Til It’s Gone.” The director uses shifts between music and dialogue to echo the shifting rhythms from scene to scene. However, after the opening wedding scene, those shifts don’t happen as often and this leads to a tiny bit of stagnation; but, the style is still effective, especially toward the end when the secret is revealed. There is a power to the end of this film that makes the slower pace of the middle of the film worthwhile. There is also a spareness or an efficiency (that may be a better word) to the shots and the dialogue. Nothing is unintentional. This is economical and confident filmmaking. I don’t know whether there is another film quite like it because of its combination of style and subject matter.
Good to Very Good
3/19/14
Film
Winter’s Tale (2014)
“Winter’s Tale,” writer Akiva Goldsman’s directorial debut, is all about magic and miracles. The problem is that it simply talks about them, instead of creating of them. Isn’t there something called film magic, after all? There’s none of that here. Virtually every minute of its almost two-hour runtime is a waste of time. Along with magic and miracles comes good and evil, of course. We also get an immigrant story, an orphan story, a dying yet beautiful young woman (Jessica Brown Findlay) who dies after having sex for the first time story, an ill-fated love story, a character who doesn’t age (Colin Farrell), and a villain (Russell Crowe) to round it all out. This sounds like the stuff that dreams are made of. But this is no dream; it’s not even a nightmare, which would have been better than this plodding attempt to make us swoon. The fantastical moments come across flat and ridiculous. I haven’t read the book on which this film is based, but I’m sure that it didn’t deserve this. Only talented people could make a film that’s this kind of bad. It’s an earnest sort of bad that comes from good intentions. So sad. By the way, Russell Crowe’s villain is actually a demon. And Lucifer is played by Will Smith. Yes, Will Smith.
Bad
3/15/14
Film
The Sessions (2012)
“The Sessions,” written and directed by Ben Lewin (an Australian-American writer-director who contracted polio at the age of six and uses crutches as a result) and based on Mark O’Brien’s “Sun” magazine article/essay, “On Seeing a Sex Surrogate”, is a dramedy with a tart sense of humor and dramatic honesty; it matches the spirit of its central character, and is a fitting tribute to him (I don’t mean this in regards to accuracy, thanks). Instead of being manipulative, this film is oddly charming and surprisingly warm, despite its frank subject matter. The script is sharp, and the acting is smart and believable. I was instantly drawn-in. John Hawkes (Deadwood, Winter’s Bone), as Mark O’Brien, never seems to be acting; this is a major accomplishment, given the nature of his character. Helen Hunt gives a perfectly clear performance as his sex therapist who finds herself falling for him in spite of herself. The rest of the cast (including Moon Bloodgood as his second main caretaker, William H. Macy, and Adam Arkin as Hunt’s husband) defines what supporting acting is all about. One great quote from the film comes from O’Brien, who says, “I believe in a god with a sense of humor…a wicked sense of humor. One who created me in His own image.” I didn’t expect to like this film as much as I did. I was interested from start to finish.
Great
3/2/14
Film
The Croods (2013)
“The Croods” is an animated (3D) film that chronicles the journey of a Prehistoric Caveman family away from their cave and into a new world. They are helped on this journey by an inventive genius who introduces them to fire, among other things. The oldest child, voiced by Emma Stone, is curious; a bad thing for Cavepeople. This curiosity is what leads to her discovery of the inventive genius boy, voiced by Ryan Reynolds. Her father, voiced by Nicholas Cage, is threatened by his presence and by the thought of not embracing your fears to stay safe. Of course, this tension resolves itself after a series of harrowing adventures at the end, when the members of the family (especially the father and daughter) learn to understand each other and allow the genius to join them in a new part of the world (a paradise by the water), along with is pet called Belt. The story is banal, but this film works during its action sequences and when it translates modern customs into Prehistoric times: the way that the family hunts, the depiction of fire, the father’s attempt to have an idea (sunglasses, mobile home, etc.), etc. It looks fantastic with vibrant colors and expert details. Those things are enough to keep this from being boring, but it doesn’t hook you emotionally in the way that the best animated films can. Catherine Keener and Cloris Leachman lend their voices to the mother and grandmother (mother of the mother) as well.
Pretty Good
2/26/14
Film
Rush (2013)
“Rush,” based on actual events, is a smoothly made film by Ron Howard that matches its sleek depiction of the Formula One racing cars at the center of the film overall. Formula One is the premier form of single-seater auto racing (unlike NASCAR stock car racing in this country) in the world descended from Grand Prix racing (they still use that name); it involves more than just driving around an oval and the cars are the fastest multi-turn circuit-racing cars in the world. It’s pretty exciting stuff. The camera showcases those racing machines in all their glory. It delves into the inner parts of the cars, glides smoothly along with the cars to give us an up-close look at spinning wheels and gleaming paint, and pulls up high to show the cars rushing along the race course. This film is easy to watch and entertaining. Everything is in place. The story is about two prominent Formula One drivers, James Hunt and Niki Lauda, in the 1970s who stopped at nothing to be on top; one is a party boy and the other is a serious man. One has raw driving talent, and the other is a master at mechanics and driving technique. Their dedication to racing and their love lives are on display. This film moves at a pace that is just fast enough but not blisteringly so. The whole cast, led by Chris Hemsworth and Daniel Bruhl as Hunt and Lauda respectively who are joined by a luminous Olivia Wilde (she’s having a great year with roles in “Her” and “Drinking Buddies,” among others, in 2013 as well) and others, is strong and the writing is clear. I really enjoyed this because it was so easy to settle into. This is a well-made film in every way, and it would be a great film to watch along with “Senna” (a documentary about the eponymous Formula One driver who came to prominence in the 1980s and had an untimely death on the 1990s).
Very Good
2/23/14
Film
42 (2013)
“42” is a paint-by-the-numbers baseball biopic about Jackie Robinson’s entry into the Major Leagues. It gives you everything that you expect to get in the way that you expect to get it from an old-fashioned baseball film about a black man entering a white man’s league. That’s the problem. You can have an old-fashioned presentation and still bring something exciting to the table; take a look at “A League of Their Own.” Where’s the momentum? Where’s the rhythm? This is just a collection of scenes; they don’t build one-upon-the-other. Don’t just go from event to event to event. It’s not bad, but it’s not good either. We have the predictable score, camera work, costumes, sets, lighting, plot points, etc. I want more. I want depth. Tell me more about who these characters are as people, not as types. The filmmakers did attempt to give Jackie some nuance; he is not simply a “Green Mile” negro. But, those attempts didn’t go far enough. Of course, there are some inaccuracies; but this is not a documentary. They have a decent cast overall, I guess (led by Chadwick Boseman–Anthony Mackie must have been unavailable–Harrison Ford, and Nicole Beharie); I don’t want to judge them too harshly because of the quality of the material. The script just isn’t sharp enough to warrant a feature film; this would work as a mediocre cable movie, though.
Whatever
2/21/14
Film
Riddick (2013)
“Riddick” is the worst of the films pertaining to Riddick, played by Vin Diesel. “Pitch Black” and “The Chronicles of Riddick” were entertaining in different ways; “Pitch Black” had suspense, and “The Chronicles” had fun action/scifi/fantasy sequences. They aren’t masterpieces, but they have some thrills. This film has a bad script and stilted acting, no surprise. That could be forgiven if it looked great and had energy. It looks like a bad Syfy movie. Riddick is tricked by the Necromongers and left on a hostile planet. He battles life forms that are out to get him and even tames one of them, a seeming dog-hyena hybrid. In one of the worst sequences of the film, we are shown how he bonds with the animal; it’s too cutesy for anything regarding Riddick. Is this a cartoon or something? He then proceeds to send a beacon out for help. But, he knows that the beacon will only send mercenary bounty hunters his way so that they may turn him in–he’s a wanted man. He wants them to leave one of their airships with him and leave planet, or die. There are two factions of hunters that arrive; one, whose leader wants to know what happened to his son who encountered Riddick before, that respects Riddick’s reputation and one that doesn’t. There’s requisite tension between the two groups. But, they eventually begin to work together to try to stop Riddick from hunting and killing them all. However, there’s a storm brewing on the planet that may force all of them, including Riddick, to compromise and leave the planet before it’s too late. This film has nothing new to say (again, no surprise) and nothing interesting to look at (that’s the problem here). The pacing is off, and the visuals are not worthy of the big screen. Do they really need two hours worth of this dreck? I’m bored. If you haven’t seen the other “Riddick” films, don’t start here.
Bad
2/19/14
Film
What Maisie Knew (2012)
“What Maisie Knew” (based on an 1897 Henry James novel and set in modern-day, well-to-do NYC) is a film about a six-year old girl with two self-absorbed parents at odds with each other. They fight for custody of Maisie (an observant Onata Aprile) in underhanded ways. The father wins-out, but that doesn’t lead to peace. Along the way, he marries Maisie’s young, attractive, Scottish nanny; and the mother marries a young, attractive, tall bartender in retaliation. The mother is irresponsible, and the father is inattentive; they barely pay attention to Maisie, but she (along with the camera, which reflects her point-of-view) pays attention to them (unfortunately). Julianne Moore plays the mother, a seemingly washed-out rock star (I don’t completely believe her as a rock star). Steve Coogan (“Philomena”) plays the father; he does a good job. Alexander Skarsgaard and Joanna Vanderham (two attractively sensitive actors) are the step-parents. The step-parents are much more well-adjusted than the parents, but they are not perfect (especially the step-mother as the film progresses) and don’t come away unscathed. But, what can they do really? Things would be better if they were the married parents of Maisie, a concept that is explored at the end. This film is best when it explores the step-parents relationships with Maisie and, eventually, with each other. There’s a freshness to the story in those moments. However, when this film focuses on the parents, it seems all too familiar and dull. I can watch “Kramer vs. Kramer” for a superlative film about parents fighting each other for child custody; even though that film is a different kind of film. There really are two films here, but only one interests me. As a result, this is a mixed bag.
Somewhat Good
2/15/14
Film
Thor: The Dark World (2013)
“Thor: The Dark World” is another split-personality entry into the “Thor” film franchise. If they would focus on Asgard and the other realms of space, they might have something. Almost all of the humor failed, and the love story was mediocre at best; this is not Iron Man. They need to stay away from Earth; it holds these movies down. I want majesty from Thor, not the ordinary. Give me more of the Dark Elves, the Aether, Loki, etc. Develop those storylines more. The opening sequence that introduced the story of the Dark Elves and the Aether was the best part of this film; they should have stuck with that kind of thing throughout. This film is a step-down from Thor; Alan Taylor directed this one, instead of Kenneth Branagh (that may explain some of the letdown, or it just might be the script). Thor was weighed-down by similar problems, but it had more of a punch; the scenes on Asgard and on the Frost Giants’ home planet were really good too. The effects here are good, but that’s to be expected. It seems that they just want a film that can satisfy a broad range of moviegoers; but, in striving for that, they’ve created a film that does nothing well. It’s not bad, but it’s just not worthy of all of the effort or of my time.
Whatever
2/14/14
Film
Ender’s Game (2013)
“Ender’s Game” is a decent film. It does nothing special, though. It is straightforward and generic. If you’ve read the book, then don’t expect many of the insights into Ender’s life and mental state. Everything has been simplified and whittled-down to its basic parts by writer-director Gavin Hood. I will avoid any further comparisons between the book and the film. As a film, this is a passive viewing experience. The stakes needed to be raised big time. But, it’s difficult to do that without providing more context. We need to know more about this world and its effect on the characters. We need to sense the danger that they are in; it never felt like an attack from the Formics (Buggers from the book) was imminent, despite what was said. The pacing was fine, and the acting was serviceable (there really wasn’t a lot of acting to do, despite the casting of some acting heavyweights–Ben Kingsley and Viola Davis, even Harrison Ford). The child actors (including Asa Butterfield, Hailee Steinfeld, and Abigail Breslin) didn’t embarrass themselves and seemed to know what they were doing and talking about–that shouldn’t be ignored. As it is, everything looks good (especially the battle games/training sequences, the best parts of the film) but there’s no spark; the major themes from the book (child soldiers, space expansion, the response to an alien attack, bullying, etc.) are there, but are glossed-over for the most part (the use of child soldiers is explored the most). It’s not bad; it’s just bland.
OK
2/13/14
Film
RoboCop (2014)
The remake of “RoboCop,” set in 2028, looks great. Jose Padilha, in his first time as the director of a Hollywood film, shows a lot of technical expertise through his use of camera angles, shifts between steady and hand-held camera work, quick cuts, and (for the most part) brisk pacing. The downfall of this film is the script. It is banal at best. The scenes involving Alex Murphy/RoboCop’s family were the weakest by far. Actually, the whole set-up of Alex’s progression to RoboCop was poorly written. Joel Kinnaman was misused in the role of Alex/RoboCop as well. He is an actor with a particular delivery-style that lends itself to street-wise characters. That style is smothered in this film; as a result, he seems to be miscast here. The best scenes, script-wise, involved both OmniCorp’s leadership (led by Michael Keaton) communicating with its scientific experts (led by Gary Oldman) and a television news show a la Fox News hosted by Samuel L. Jackson (who was used effectively to provide some sizzle here and there, most notably at the beginning, the most promising part of this film, and end of the film, to what is a mostly serious affair unlike the original). The actors were solid, but they were not supported by the generic script. Jackson, Keaton, and Oldman did the best job with the script, but it was obvious that they were giving more than the script called for; even Jackie Earle Haley couldn’t do much with his role. Again, I enjoyed this film visually, and I liked the pacing, especially in the opening sequence, outside of the family scenes; but, that can go only so far. While the writer (Joshua Zetumer) did update the original RoboCop script and infuse this script with comments on current topics (the military-industrial-congressional complex and the media, along with the tried-and-true theme of police corruption from the original), even that came across as old-hat. This director and his actors deserve much better.
OK
2/12/14
Film
Drive (2011)
“Drive” provided a script that was tailor-made for director Nicholas Winding Refn’s style; that’s vital for him, because his techniques can create a film that is overly stilted without one (see “Only God Forgives,” also with Ryan Gosling). His camera angles, edits, deliberate pacing, use of lighting, and use of soundtrack all come together to create a well-made, visually and sonically stunning film. The script is spare but sharp. When the characters talk, it’s to serve a purpose; and when they don’t talk, it serves a purpose as well. Gosling is the perfect choice to play the driver, a guy who is both a Hollywood stunt driver and a getaway driver for hire. He knows how to play cool and aloof and still keep your attention. The driver meets a neighbor of his who is a mother and wife, but her husband is in prison. They enjoy each other’s company; and her son likes the driver as well. When the husband gets out of prison, he brings trouble with him and the driver decides to help him with it in order to protect the wife and son. Also, the driver must deal with the mob’s involvement, further complicated by his stunt employer’s relationship with both parties. Needless to say, things don’t end well. The supporting cast is excellent; it includes Carey Mulligan (the mother/wife), Bryan Cranston (the employer), Oscar Isaac (the husband, Standard Gabriel), Ron Perlman (one of the mob’s Jewish cohorts), Albert Brooks (wisely and inventively cast as another of the mob’s Jewish cohorts, the one who’s really in charge), and Christina Hendricks (whose character is involved in the scheme to help Standard Gabriel). This is a film that will hypnotize you, if you let it. This is one of the coolest films ever made.
Great
2/8/14
Film
Drinking Buddies (2013)
“Drinking Buddies” is centered around – you guessed it – drinking … specifically beer. The main character, played by Olivia Wilde, works at a Chicago brewery and seems to be one of the guys, despite her beauty. She has a friendship with one of the brewers played by Jake Johnson, who is in a relationship with Anna Kendrick’s character. Also, she has a boyfriend (played by Ron Livingston) who doesn’t seem to fit with her lifestyle. He’s a record producer who makes more money and prefers other drinks to beer. In addition, he is not a part of her crowd of beer-drinking colleagues. While drinking is at the center of this story, it isn’t the focus. Beer or other spirits are present, whether being consumed or processed, during each of the scenes, but the focus of the scenes is on the relationships among the different characters and how they respond differently to certain situations; the drinking influences these responses. The acting is naturalistic and completely improvisational; and, from the beginning, there is a relaxed rhythm that the actors have with one another, even during awkward moments. When Wilde’s character introduces her boyfriend to her colleagues (along with Kendrick’s character), it becomes clear that the two main couples are not appropriately matched; it seems that they should switch partners. This is explored when the two couples go to Livingston’s character’s lakeside cabin and beyond. How much you like this film will likely depend on how much you like the characters. It’s a simple story without much embellishment. It’s never boring, even though the plot doesn’t do much; and, it doesn’t end the way that you may expect—a saving grace. This is a solid film without any glaring flaws.
Good
2/7/14
Film
In a World … (2013)
“In a World …” has energy, a lightly sweet and sour humor, and rhythm; it’s so refreshing. The scenes seem to zip by, and the dialogue is timed to perfection. The actors are on top of their lines, and they are frequently called upon to talk over one another–they do this expertly. Also, writer-director-actress Lake Bell (“How to Make It in America”) has infused her script with details that seem particular to her experience (e.g. “Water or Fanta?”). This film is about the daughter (Bell) of a famous voice-over actor. She is a vocal coach with a specialty in accents/dialects (Eva Longoria, in a cameo appearance among others, makes fun of herself as one of Bell’s clients) who wants to make it in the voice-over business, but has struggled in the shadow of her father (Fred Melamed who played Cy Abelman in “A Serious Man”), who is adored by not only people in the industry but also women around her own age to comedic effect. Through a series of events, she begins to become successful unbeknownst to her father, who unwittingly backs his daughter’s rival for the “In A World…” voice-over job for a new epic quadrilogy (“The Amazon Games”). He finds out that she is gunning for the job and decides to go after the role (instead of just backing her rival) as a result; this leads to a competition among them. There are also other plot lines regarding her love life and her sister’s marriage; so, it has romantic comedy elements as well. All of the bits don’t work perfectly, but they all work well. This is just well-made, entertaining stuff. If any of this sounds remotely interesting (especially if you love voices), then give this a watch.
Very Good
2/6/14
Film
A Single Shot (2013)
“A Single Shot” seemed to be a collection of scenes rather than a cohesive piece of work. The actors were the saving grace despite their mumbling way of speech, but they didn’t overcome the stagnancy of the script. This film is all about atmosphere. In that way, it reminds me of “The Hunter,” “The Clearing,” “Winter’s Bone,” and even “Prisoners” in some respects, though the stories are different. The cinematography is as bleak and cold as the locale. And, the score is heavy-handed. Toward the end of this film, the score became its own entity; it seemed to dominate everything else. The plot revolves around a man (played by Sam Rockwell, who also co-produced this film) who accidentally shoots a young woman while hunting and discovers a pile of cash while attempting to hide her body. He also has a strained relationship with his wife, who wants a divorce from him, that he would like to repair; as a result, he is unable to see his young son. He attempts to hire a lawyer to help; in the process, he gives the lawyer some of the cash that he found. In addition, when he goes to give his wife some money, he encounters her babysitter’s boyfriend, who finds out about the money in the process. As a result of the lawyer and the boyfriend, he winds-up in a dangerous situation that he needs to resolve. This wasn’t a bad film; it just didn’t do much at all. There was a lack of momentum throughout; however, I did think that a few events in the middle of the film were getting somewhere, only to find out that that wasn’t the case. This film needed a better script and a less intrusive score.
OK
2/1/14
Film
Ain’t Them Bodies Saints (2013)
“Ain’t Them Bodies Saints” is all about mood, tone, and atmosphere. It feels right; even though, not everything is fleshed-out. This is a crime drama with characters who could be from a Western—it’s what’s not said that really counts—set in, what seems to be, the not too distant past (definitely after the 1950s, some have suggested the 1970s). The casting was spot-on (Casey Affleck, Rooney Mara, Ben Foster, Keith Carradine, Nate Parker, Rami Malek, even Charles Baker who played Skinny Pete in “Breaking Bad”), and the music and cinematography played an important role in maintaining the right tone throughout, when necessary. This film has a haunting beauty as a result. Many critics have compared the director, David Lowery, to Malick (especially in reference to “Days of Heaven” and “Badlands”, though not always in praise of Lowery); I can see that. Overall, there’s not much to say about this one. The story is pretty straightforward—Affleck and Mara play a Bonnie-and-Clyde-type couple who are separated after Affleck goes to prison because he takes the rap for Mara, who shot a cop (Foster) while they were in a shoot-out with the cops after a robbery; Foster subsequently falls in love with Mara and Affleck’s and her daughter and wants to protect them; Affleck escapes prison to be reunited with them; all does not go as planned. If you like a film that has deliberate pacing, a cast and crew that earned their checks, and a lack of fuss (especially plot-wise) then this may be for you.
Good
1/29/14
Film
Dirty Wars (2013)
The documentary “Dirty Wars” contains important subject matter—the US military complex’s involvement in conducting covert operations and undeclared wars that kill civilians in the Middle East (along with Somalia) and the US government’s willingness to encourage those operations. According to this documentary, certain factions of the government (including President Obama) turn a blind eye to these activities in order to have plausible deniability. But, if these allegations are true, then crimes have been and are being committed. This film sets-up an interesting juxtaposition between the secrecy of the Joint Special Operations Command before the killing of Osama Bin Laden and the openness of JSOC afterward. This subject matter deserves a punchy, blistering presentation (or at least a compelling one), but that’s not what happens here. This documentary revolves around Jeremy Scahill, an investigative journalist and national security correspondent for The Nation. This film is based on his book of the same name, and the screenplay was written by him and David Riker. But, Scahill is not an especially interesting subject to watch or listen to. His voice-over is muddled, in a seeming attempt to express the gravity of the situation. He needs to speak more clearly and authoritatively. At times, it seems that he is in need of a long nap; he probably is in need of one actually. He has seemingly sacrificed a lot to uncover these secrets, but that doesn’t mean that he should be at the center of this film; his material can speak for itself. Instead of using Scahill as the focus of this documentary, Richard Rowley, the director, should have focused more on the victims and alleged perpetrators (including US-backed Somalian warlords) of these crimes. They are represented, but only through Scahill’s lens. The look of this film lies somewhere between “Syriana” and “Scandal”; this is one of this film’s strengths. I just wish that Scahill’s voice-over could match it. This could have been an arresting and devastating documentary. As it is, it’s okay with subject matter that deserves better.
OK
1/10/14
Film
The Wolverine (2013)
What can I say? “The Wolverine” is just a waste of time. While it did not start that badly, it quickly devolves into a mash-up of discarded ideas from other films. Essentially, it’s way too long, and the story is trash. The fight scenes are nothing special too. Wolverine deserves much better than this. Even the first film in this series had some redeeming qualities (at least there was Sabretooth). This is not the worst film ever made, but let’s stop the silliness. After watching an hour and a half of this, I’m done. The mystery surrounding the story is unnecessary, because the story is not interesting, new, or compelling. The WWII/samurai angle fails. The love story fails. They could have done a lot more with Wolverine losing his ability to heal and being haunted by the ghost of Jean Grey and his desire to finally die to be with her; there’s your story. But, instead, the filmmakers settled for cheap, stale tricks. A shame.
Bad to Horrible
1/9/14
Film
12 Years a Slave (2013)
“12 Years a Slave” is a masterpiece. The dynamics in this film propel the audience into Solomon Northup’s world, both into his interior world and into his exterior world. The rhythms in this film are pitch-perfect; it earns each change of pace that occurs (even the score, which reminded me of “There Will Be Blood” of all films, mimicked those changes). The first half of this film is breathtaking, exemplary filmmaking. I think that Steve McQueen’s previous films have lead him here; this is definitely his best film to date. He always presents a bold vision that depicts an individual’s struggles. But, this film is both restrained and fulsome. It can be harsh and quiet at the same time (perfect example: when Solomon is nearly lynched and the other slaves notice him on his tiptoes struggling to breathe as he waits for the master to return to resolve the dispute that put him in jeopardy and they go about their normal routine, one female slave quickly gives him a few sips of water and then retreats afterward). In regards to the story, it unfolds in a highly effective way. The narrative is not linear, but each moment enriches the next. This was expertly written by John Ridley (who discussed the story and structure with McQueen and redeemed himself from the disaster “Red Tails”) and edited. But, this film ultimately belongs to its director. I liked that the story, based on a true story whose validity has been questioned by some, was about an exceptional slave in exceptional circumstances. Is this not film? Is this not art? Realism has its place, but so does imagination. Whether Northrop’s story is fully believable is not the point. Plus, since when did everything that happens in life make sense or go in an expected direction? People need to get over that stuff. Overall, this film is exhausting, but necessarily so. It more than earns its runtime of over two hours. The cast (led brilliantly by Ejiofor) and crew worked together to create a singular vision, with nothing out of place. Bravo.
Great
1/8/14
Film
Gangster Squad (2013)
“Gangster Squad” lies somewhere in between “Sin City” and “L.A. Confidential,” and that place must be no-man’s land. Why was this made? This is one of those films with a star-studded cast, and that’s it. The filmmakers just let the cameras roll and threw money at replicating a modern, stylish film-noir look. This is a film that watches you. If you want to make a film based on style instead of substance, that’s fine. But, make sure that you bring something fresh and bold. The pacing isn’t even bad; nothing is exactly bad, but nothing’s exactly good either. This film is an empty shell, and we’ve seen the shell before.
Whatever
1/3/14
Film
Prisoners (2013)
“Prisoners” is too long for a story that’s this simple. The writer tried to flesh the story out with some unnecessary bells and whistles (i.e. the angels-versus-demons angle that wasn’t appropriately developed or needed, the protracted reveal of all of the criminals that most audience members would figure out way before the characters do). At first, this seemed to be a competent, straightforward thriller about parents and a detective trying to find those parents’ missing children. In addition, one of the fathers resolves to do anything to find his daughter. So, there wasn’t anything new, but it didn’t have any glaring problems. But, as the film progressed, the plot stagnated. They could have cut about 45 minutes from the 2 1/2 hour runtime and all would have been well; it would have satisfied fans of the thriller genre, but it would not have bowled them over. As it is, it has some solid performances along with a story that’s stretched too thin.
Goodish
1/2/14
Film
The Hunger Games: Catching Fire (2013)
“The Hunger Games: Catching Fire” is better than the first in the quadrilogy (a good film in its own right), however it could still be even better. The problem with this quadrilogy (based on Suzanne Collins’ trilogy of books), so far, is that the producers and others behind-the-scenes don’t want a series of R-rated films. But, that’s what this story needs in order to be explored in a fully compelling way. As it is, even with a change in directors (from Gary Ross to Francis Lawrence), this film does manage to build upon the first film in the quadrilogy and to create some suspense by raising the stakes. The beginning of this film, just like the first’s, was weak. I wish that these films would start with a bang. That would immediately put the audience on notice that this isn’t fun and games; it’s life and death. Toward the middle of the film, though, the gravity of the situation begins to take hold. The cumulative effect of the events in the first film and the beginning of this film help to raise the stakes by that point. These films have been well-made so far. I just hope that they will go a little further in the third and fourth films. Thus far, it seems that the filmmakers have shied away from knocking the audience out. Again, this film is better than the first; but, I don’t know how it would play without knowledge of the first film. However, this is a quadrilogy, so that does not bother me. This is a competently-made film that is entertaining enough. It is really good for the most part; I just wish that it was great.
Good to Very Good
12/30/13
Film
The Natural (1984)
“The Natural” is a strange film. It’s very disjointed; there’s no flow from scene-to-scene. A lot of things seemed to just happen with no rhyme or reason. There are some interesting moments within the scenes, though. At times, the actors do things that are slightly off; this added a naturalism to some of the dialogue (perhaps they were improvising). But, at times, the old-fashioned movie music would come in and change the feel of the film. This is a film that can’t make-up its mind. Is it an old-fashioned sports film (it does have the classic, reverential approach to exploring this country’s baseball fascination)? Or, is it an idiosyncratic interpretation of an old-fashioned sports film? Despite this film’s lack of cohesion, I did find it mildly interesting. This may be due to the surprisingly disjointed rhythm. Nothing felt quite right; was this purposeful? A strange, largely unsuccessful, yet somewhat intriguing film.
OK
12/28/13
Film
Elysium (2013)
I’m glad that I didn’t see “Elysium” in a movie theater. It had the look of a much better film. There was only a blip of a backstory, a major mistake because backstories typically separate worthwhile scifi from the rest. There were too many story lines and too little focus. Show us what happened on Earth to cause a mass exodus of the wealthiest citizens to Elysium. Who made Elysium and how? Show us more of Damon’s character’s biography. Show us more of Foster’s character’s biography. Develop your mythology. Plot-wise, it was enough to know that Damon’s character is about to die and needs to reach Elysium to save himself. Then, he could have reached out to the criminal mastermind on Earth who knows how to get him to Elysium. While on Elysium, Foster’s character would try to stop him. The involvement of an arch-villain (Copley) was unnecessary and underdeveloped. Also, the use of Braga’s character and her daughter was completely unnecessary. Damon’s character already has enough incentive (imminent death) to infiltrate Elysium. He does not need any additional motivation. You don’t need to try to manipulate your audience with a mother and daughter in a crisis. Nothing really worked in this film. All of the obstacles were solved rather easily, and little attention was paid to nuance. The whole immigration/healthcare angle was way too obvious. I don’t mind the message, but find a way to make it fresh and interesting. Watching this film is like buying your favorite bread, opening the package in anticipation, and finding mold everywhere. This is a major disappointment from the writer-director of “District 9.” It does not seem like it could come from the same man, but rather from a copycat.
Bad
12/23/13
Film
The Hobbit: The Desolation of Smaug (2013)
Peter Jackson’s camera is everywhere, and so are we. This film, in High Frame Rate 3D, is like a painting come alive. I felt like I was in a play. The hyper-crisp visuals may irk some, but I like it. The look of this film, along with the other films in Jackson’s “Hobbit” trilogy, is ahead-of-its-time. It may be too far ahead of its time. If you don’t like HFR 3D, see it in regular 3D or no 3D at all. The first half of this film was spectacular, with swift pacing and exciting action. Starting with the spiders through the battle among the elves, orcs, and dwarves (with Bilbo), Jackson showed why he is a master of epic storytelling. While “The Hobbit” is a lighter tale than “The Lord of the Rings,” the first half of this film still had the sweeping rhythm and camerawork of an epic. This film didn’t waste any time at the start, unlike the first of this trilogy (not that I minded the slow start of that film). However, the second half of the film was not as swift and exciting. There were wonderful moments, particularly the scenes including Gandalf and the scene between Smaug and Bilbo. But, there were some moments that could have been edited (the scenes in the barter town and those that involved the dwarves fighting Smaug). All-in-all, when this film entertains, it entertains. I can forgive Jackson’s penchant for overindulgence in his usage of Tolkien’s extra material. Also, Orlando Bloom should not be allowed to do anything but portray Legolas. In general, playing elves seems to liberate the actors. I wish that he would learn to take parts of Legolas’ energy and add them to other roles.
Very Good
12/21/13
Film
Star Trek (2009)
(This is based on my second viewing of this film.) J. J. Abrams’ “Star Trek” is a wonderful introduction to the “Star Trek” mythology. Every principle character of the ensemble is given his or her due. The character development is brisk, yet highly effective and entertaining. Every character is distinct and has a specific role to play. I realized that this is the strength of the Star Trek brand; this is what sets it apart from other mythologies. In the sequel (“Star Trek Into Darkness”), the screenwriters lost this specificity. They focused too much on Spock and Uhura and on Spock and Khan (played to perfection by Benedict Cumberbatch) to the detriment of the ensemble. So, that film didn’t feel as distinctive; it could have been any action/scifi film. It was still a good and entertaining film, but not great like this first film of the franchise. And, in this first film, the screenwriters had a seemingly impossible task of setting-up each individual main character, developing the time-traveling Spock, and establishing the menace of Nero (played expertly by Eric Bana); but, they pulled it off with style and energy. Some may think that some of the plot doesn’t make complete sense, but this is science fiction. Lastly, the dialogue was well-written and well-paced. The actors established an uptempo rhythm that propelled the story forward but still remained intelligible; “Scandal” actors take note! A triumphant action film.
Great
12/19/13
Film
Mandela: Long Walk to Freedom (2013)
“Mandela: Long Walk to Freedom” has a TV movie script with and a cast that deserves so much better. The mostly fast-paced cuts from scene-to-scene are largely unearned. Elba is wonderful as usual, but he was given inferior material. Harris pulls out all the stops as Winnie (that voice, full-bodied and just raspy enough when needed). The scene between Mandela and his mother was strong (the actress playing the mother was spot-on and Elba found interesting and honest ways to show Mandela’s vulnerability – big man hunched in small doorway). The problem here is that we don’t get enough of the “why”. Where’s the connective tissue? See “Ray” or “Malcolm X,” especially, for better examples of biopics of flawed men. Even Sarafina! had much more of an impact. The violence didn’t affect me; we’ve seen these things before, so you have to earn those moments. Was Mandela violent with women or just one woman? Did he hit her once or multiple times? There are so many questions left unanswered here. I feel for the cast; they did everything possible to rise above this tin-eared writer’s script.
Pretty Good to OK
12/16/13
Film
The Conjuring (2013)
“The Conjuring” starts by quickly establishing credibility, which is vital for a good horror film that doesn’t include humor. Excellent casting choice of Patrick Wilson and Vera Farmiga as the paranormal investigators to accomplish this. This is based on a true story (the real investigators inspired “The Amityville Horror”). Ron Livingston and Lili Taylor play the affected parents, another excellent casting decision. It does not do anything novel, but it is very effective. We, as an audience, experience the same frustrations that come with any horror film. However, there aren’t too many stupid things happening here. The story is well-developed, especially for horror. Essentially, the backstory plays a prominent role; a wise decision by the writers. I think that good and great horror films let the story tell itself. The trick is to get out of the way. This requires skill from both the cast and the creative team. The crescendo of horror toward the end of this film is well-earned and well-played. Well done.
Very Good
11/4/13
Film
The Perks of Being a Wallflower (2012)
“The Perks of Being a Wallflower” is a film for introverts or anyone else who knows what it’s like to be on the outside looking in, didn’t read the book before seeing this, well-cast and acted, sweet without being cloying or manipulative, deals with heavy issues without overdoing it, meanders at times but always gets the feeling right, these feel like teenagers of any era (this is set in the early ’90s), reminds me of “Outside Providence” for some reason, maybe a mixture of that and “Dead Poets Society” and “Can’t Buy Me Love,” novel has been compared to “The Catcher in the Rye” but the main character doesn’t seem as caustic as Holden Caulfield in the film.
Very Good
9/30/13
Film
Iron Man 3 (2013)
“Iron Man 3” started out in a surprising manner. It had a much more somber tone than the previous films. I liked that. Plus, the story seemed to have some thought behind it. However, the more that I learned, the less power the film had over me. The more screen time given to the villains, the less frightening they were. This was not the actors’ fault; the special effects just weren’t good enough, or the filmmakers just may have used them too much. All-in-all, there wasn’t enough payoff here. There was nothing bad, but nothing was compelling. While this was better than the previous film in this series, the first film is still the best by far (everything seemed to work for that film and it was original). The first film had electricity; this film sparked and fizzled. Ben Kingsley tried to add some life toward the end, but it didn’t really work. Well, not for me; I’m sure that plenty of moviegoers thought that that whole gimmick was a rousing success. I’m not so easily pleased. While it was mildly entertaining, somewhat serious, and somewhat humorous, this was a better idea than a film. Read the comic book.
Pretty Good
9/30/13
Film
The Place Beyond the Pines (2012)
I didn’t think that “The Place Beyond the Pines” was going to be this good. I thought that it would be interesting, but ultimately just okay. However, the intricate plotting and solid performances paid-off. I was totally under the filmmaker’s spell. This was a film in three acts, a surprising move. The first two acts were totally unpredictable. The third act was obvious but necessary. This film had art-house sensibilities and mainstream execution. In other words, there was an emotional intelligence present without a lack of focus (even when things seemed to be occurring randomly). Say what you will about Eva Mendes, but here she proved to be more than just a beautiful-looking woman. She had depth and intelligence. Also, the rest of the cast was just as good. Whoever casted this, needs a raise.
Very Good
9/30/13
Film
World War Z (2013)
I wasn’t expecting much from “World War Z.” I read the book and couldn’t imagine how they would create a consistently engaging story out of it. Boy, was I wrong! This is not a film adaptation that is faithful to the book’s structure and storyline; instead, this film uses its source material as inspiration. As a result, the creative team was able to make an expertly-paced film that didn’t waste any time. This was edge-of-your-seat stuff; I couldn’t keep my mouth closed during many of this film’s sequences. I love action films that are sharp and to-the-point; that’s what we have here. The zombies were chilling to watch, and they had a unique set of attributes that helped to separate this film from other zombie flicks. The acting was spot-on and economical (even Pitt didn’t get in the way). While there were moments when I wanted to wring the necks of certain (not all) of this film’s women and children, those moments were necessary and believable. If you liked the “28 Days Later” films, then I’m sure that you’ll enjoy this too. There may be sequels to come; I just hope that they don’t screw it up. On a side note, I wish that more people would learn how to keep quiet. The takeaway from this film is that too much extroversion will get you killed. Keep that in mind.
Great
9/26/13
Film
Ali: Fear Eats the Soul (1974)
“Ali: Fear Eats the Soul” is a film that forces its audience to contemplate issues without any safety net. By crafting various poses and pauses for the actors, Fassbinder constantly reminds the audience of the disturbing nature of prejudice and its strain on relationships. However, despite that particular success of this Brechtian style, the actors’ portrayals are stunted as a result. There were times when it was obvious that the actors weren’t comfortable in certain positions; but, maybe the director wanted that to happen. Regardless, if the actors are uncomfortable, then the audience is uncomfortable as well. While this film should be unsettling, forcing a reaction from an audience isn’t necessarily the best way. This film could have achieved the same results by presenting actors who are free to explore the topic, not used merely as talking models moving from point A to point B; but it does work for the most part.
Somewhat Good
9/19/13
Film
Twice in a Lifetime (1985)
The great thing about this film is that it makes you feel like you’re watching something very personal. The camera closes tightly into the actors as they deal with the tragedy of infidelity and the odd liberation it brings. To further highlight this intimacy, Yorkin has occasional shots that have the main characters in the background while the camera searches them out from the foreground. This helps to remind the audience that what’s happening is real and consequential, and that these people’s pain and suffering are public. There is no true resolution in this film, and that not only makes perfect sense but it also increases this film’s ability to keep the audience slightly on edge. With its great cast and improvisational style, “Twice in a Lifetime” manages to bring a fresh take to the old story of a marriage break-up.
Very Good
8/16/13
Film
The Lives of Others (2006)
What’s great about this film is its restraint; it doesn’t go overboard in depicting the pressure of living in the era of the Stasi. Instead, all of the events are grounded in reality; and, as a result, it’s much easier to connect to the characters and plot. At its best, this film is a commentary on the desire to have control (whether through intimidation, surveillance, or intimacy). Moreover, this film shows that, by stifling creativity, the Stasi and the government stifled the lives of the people. But, as in any totalitarian government, the element of surprise eventually shatters that control; and, in this film, those surprises are subtle but highly effective. Even though the running time was slightly too long, the narrative power remained strong to the end.
Very Good
8/14/13
Film
Night Moves (1975)
This film mimics its lead character in that it moves along without knowing exactly where it is going. This not only helps to keep it from being a routine thriller, but also keeps it from being completely effective. It was hard to get a hold on this film; the point wasn’t clear. Its plot, centered around a private detective on assignment while his marriage is falling apart, lacked any narrative focus. The marriage seemed to be an afterthought, but luckily Hackman found a way to make it all work (he never disappoints). Despite its meandering plot structure, this film does have some exciting moments. While all of the pieces don’t fit together as well as they could, it’s clear that the filmmakers were trying to do something more than create a paint-by-the-numbers thriller; they attempted to create art.
Good
7/22/13
TV Film
The Life and Death of Peter Sellers (2004)
I was surprised by this film; despite all of its zany moments, it managed to produce several somber moments with much depth. I never felt lost in this film’s many tonal changes; every moment seemed necessary and was well-crafted. Rush gets to the core of Sellers, and he deftly creates a performance that is fully-formed within the confines a two-hour film. His shifting from character to character, from characters played by Sellers in real life to friends or relatives of his, highlights effectively Sellers’ struggles with self-understanding. This is a film that doesn’t rely solely on its own creativity; instead, it uses that creativity to go beyond the confines of a made-for-cable biopic into an exploration of how humans become who they are.
Very Good
7/12/13
Film
The Happening (2008)
As a fan of Shyamalan films, it’s easy for me to accept his storylines and go along for the ride. As a result, his films rarely disappoint me; and this one is no exception. What I like about Shyamalan films is that they explore a particular phenomenon through the prism of human interaction and relationships. As a director and writer, he always decides to delve into humanity. However, that approach doesn’t appeal to viewers who think that the subject matter of his films don’t warrant that kind of exploration. The attempt is worthy enough for me, because Shyamalan knows how to craft a film. Yes, this film has many flaws; the biggest flaw is the casting of Mark Wahlberg (he simply does an awful job of acting in this film). Despite that, there is an elegance to Shyamalan’s presentation that gives this film a surprising ease. It may not be scary, but it is intriguing. Overall, this is a simple story told with a delicate touch.
Good
7/11/13
Film
Scarecrow (1973)
As with most character studies, this film meanders its way from start to finish; but Pacino and Hackman develop a strong relationship that earns the film’s devastating ending. The supporting cast is similarly strong: most of the supporting actors have crucial bit parts that require short spurts of expert acting. A stronger, more cohesive plot would have helped to strengthen this film’s power; but, as it is, it succeeds simply as a showcase of its two stars’ acting chops. This is for fans of Hackman and Pacino only.
Somewhat Good
7/11/13
Film
Be Cool (2005)
“Get Shorty”, this film is not. What a waste of celluloid. On the surface, it comes with all of the trappings of a modern Hollywood film; but it lacks even an inkling of depth. Its commentary on the music and movie businesses falls flat (there is a difference between satire and incompetence). Instead of highlighting the shallowness of those industries, this film simply succumbs to being shallow itself. With its cast of acting and musical heavyweights, “Be Cool” is a surprisingly inorganic, misguided mess.
Horrible
7/5/13
Film
Long Day’s Journey into Night (1962)
I think that the filmmakers did the best they could with the material they had. This play is just too repetitive to warrant three hours (not uncommon for an O’Neill play) on film; it could work in a theater (with great actors) because a live audience is able to feel the impact of the unfolding plot. So, without editing it, the only option for film is to present it as expertly as possible; and this film does have its moments, particularly involving Hepburn discovering the shifts in her character’s focus and emotions. However, many of the moments seem to exist only to provide an opportunity for the actors to shout at each other; a few moments of shouting can be extremely effective with the proper build-up, but that limit was definitely exceeded here. It’s clear that these characters are having an excruciating day, but the audience has to be drawn in by that regardless of length.
Bad
6/25/13
Film
The Pledge (2001)
Films about men on the verge of retirement are nothing new, but this film takes that premise to a new level. “The Pledge” keeps its audience guessing throughout: is Nicholson’s character a man hanging on to his former career regardless of the truth or is he onto something that no one else is aware of (perhaps it’s both)? Gradually, a tension develops surrounding these questions. In the end, a disturbing truth is unearthed; but, it’s not really the one that seemed to be in the making. Penn would never have been able to pull off such a delicately balanced presentation without this cast of seasoned veterans; and the anchor of that cast and the film is Nicholson. I think that this is his best work, because he creates a character teetering on the edge with surprising ease. He doesn’t have one false moment; and, as a result, he is consistently compelling. It’s a confident, intelligent, understated performance that cuts right to the core.
Very Good
6/22/13
Film
The Lookout (2007)
Despite the crime drama aspect of this film, the core of it is about recovering from a tragic loss. This film tells that story simply and effectively. As a result, it brings a surprising level of depth to the overdone crime drama genre. The transitions from scene to scene are seamless, and the acting is consistently strong. This is the kind of film that works so well that you can’t really figure out what the cause of its success is. Is it the script? The directing? The acting? It’s probably a mixture of many things done well. Without forcing the story down its audience’s throat, this film captivates.
Very Good
6/21/13
Film
The Final Cut (2004)
While the subject matter of “The Final Cut” is fascinating, the filmmakers do their best to present that subject matter in the most unimaginative way possible. The tone mimics the personality of the lead character, played by Williams. He does a good job of presenting a man who excels at editing people’s memories, but the film doesn’t give him any support. As a result, there is a sterility that permeates the film and that shuts the audience out. Had this film spent more time developing the devastating consequences of memory-recording outside of its main character, the strong reactions engendered by the process may have had more impact. It seems that the filmmakers were satisfied with simply telling a story with a provocative concept, not with actually engaging that concept and creating something compelling.
Bad
6/21/13
Film
Emma (1996)
Unfortunately, this film’s exposition doesn’t allude to the greatness that follows it. At its beginning, “Emma” seems to be an imitation of “Masterpiece Theatre” instead of something interesting to watch. However, after about forty minutes of providing background information, this film really hits its stride. The story comes alive and, as a result, the actors have something to do; and those actors never disappoint. Every member of the cast fits perfectly into each role, and the result is an enjoyable comedy of errors (the timing is impeccable). Hence, this is a strong adaptation of Austen’s classic novel–despite its beginning.
Very Good
6/20/13
Film
Word Wars (2004)
“Word Wars” is a well-edited documentary that uses its subject matter to comment on the peculiarities of human nature. By focusing on only four major players (less than in similar documentaries, such as in “Spellbound”), the filmmakers were able to present a well-rounded depiction of those players while managing to put them into the context of the many different levels of Scrabble competition at the same time. This was a very important decision, because that context allowed this film to reach beyond simple Scrabble-playing to the nature of competition and to the struggle for survival. This is a testament to the importance of unexpected discoveries in seemingly simple subjects for successful documentaries.
Very Good
5/19/13
Film
The Haunting (1963)
This film goes beyond simply telling a suspenseful story; it also explores what fear is and how it affects people. I wasn’t scared watching this, but I was slightly interested. The psychology of haunted houses seemed to add an extra layer of depth. As a result, this film’s presentation is a little more serious and scholarly than typical supernatural thrillers. Since little actually happens in this story, most of the action is within the mind of its main character, Eleanor. All of this film isn’t effective, though. A lot of moments are overdone and slightly too long. But the ideas save it from being boring.
Somewhat Good
5/19/13
Film
Moonlight Mile (2002)
This film depicts grief in both expected and unexpected ways–from anger to humor. In that sense, it is refreshing (especially in the first half of the film). The acting is sensitive and the story is touching, but there is a looseness that keeps it from being completely effective. After watching this film, I realized that what holds it back from being great is that what happens in it is what CAN happen–not what MUST happen. Great films create a need for every scene to occur, while this film seems to just let its scenes occur. As a result, this is a good film that falls short of its far greater potential.
Good
5/18/13
Film
The Hidden Fortress (1958)
While this film contains some admirable sequences, its attempts at humor mostly fall flat. The cinematography is great and the few scenes of choreographed action are interesting, but a lot of this film seems to be filler. I just wanted this film to get on with it. It’s message regarding the ills of greed was too obvious to require over two hours of exploration. Kurosawa may be a great director, but this film isn’t a great example of that. (He shows much greater skill at balancing humor and action in “Yojimbo”.) It’s not a horrible film; it just didn’t grab my attention.
OK
5/16/13
Film
October Sky (1999)
In films based on true stories, the challenge is in the telling of the story since the element of surprise isn’t a factor. “October Sky” faces this challenge by maintaining a sense of wonder throughout the film; surprisingly, Disney had nothing to do with this. Furthermore, escape is the theme that keeps the storytelling locomotive going. Everyone wants to escape, and they all have different ideas on how to do it; most of the time, those ideas are in conflict. All of this results in a film that is both predictable and touching. With earnest performances and an even more earnest script, Joe Johnston has crafted a film that has a touch of manipulation; but just the right amount of it to be effective.
Good
5/1/13
Film
High Plains Drifter (1973)
This film, as directed by Clint Eastwood, is a great example of the western genre. The use of sparse dialogue, tense silences, and sharp action sequences are all on display here; and each is done with expert precision and pacing, which is neither too fast nor too slow. While Eastwood plays another “unnamed” character, this film isn’t a mere copy of some of his other work. Eastwood’s character seems to represent justice–a justice without morals–and none of the characters can escape it. The only winner in this film is revenge.
Very Good
4/20/13
Film
Yojimbo (1961)
Despite the violence and the roguishness of the characters, Kurosawa has crafted a pretty funny film; a film that fits well into the Western genre without seeming cliched. Accordingly, this is a stylized film, but the style serves the story without overshadowing it; the score echoes this style with a rhythmic sharpness, and the top-notch subtitling highlights the strength and humor of the script. While there are a few inconsistent transitions from moment-to-moment, the majority of the film is crafted well enough to overcome them. But, I did wish for more fighting because the fight sequences were exciting and quick.
Good
4/14/13
Film
Fiddler on the Roof (1971)
Just after “Tradition” and during the main title sequence of this film, Isaac Stern puts enormous pressure on the filmmakers to live up to his hauntingly beautiful fiddling. He effectively puts the whole story into focus in that moment, and the film does a pretty good job of maintaining that kind of emotional power. While every moment doesn’t have the same power, many moments have a depth of feeling that is rare. At times, I forgot that I was watching a musical; this should be every musical’s goal, but it is rarely accomplished. Also, despite this film’s length, the second act is just as good as the first (this is also rare); actually, the second act has more depth than the first (as it should because it builds upon the sequences in the first act). Topol’s interpretation of Tevye is just as important as the haunting music. He has an ease about him that is highly effective, even as he shouts his way through certain scenes. He seems to know when to go all the way and when to pull things way back. In the end, this is a story of family; and this film doesn’t simplify that story, rather it mines the depths of it. As a result, it’s message is universal.
Very Good
4/11/13
Film
We Own the Night (2007)
While this is a good film, it does have problems. The tone is mostly melancholy; this is both the film’s strength and its weakness. Thankfully, as a result of this tone, many of this film’s typical crime drama moments have more weight than they would have otherwise. However, that sadness also gets in the way of allowing the tragic moments to have maximum impact. By virtually starting the film within sadness, the tragedy is expected. It would have been more effective to have a sharper take from the beginning; this would have given the most devastating moments more weight, because they would have come as a surprise. Also, the ending was executed predictably; it was a waste of all of the strong work from the cast during the rest of the film. All-in-all, this is a solid film that benefits from actors who make it worth watching.
Good
4/4/13
Film
Little Women (1994)
This started out as a pleasant film with a light touch; but as the film progressed, it became a much deeper depiction of growing up (especially the final third of the film). While it does have some cloying moments, the actors earn those moments with straightforward performances aided by an incisive script. This should be viewed as a holiday film, with its warmth and emphasis on family; and Armstrong’s smart adaptation of Alcott’s novel has put those attributes to good use.
Very Good
4/2/13
Film
The Bad Seed (1956)
This film is completely over-the-top, but mostly entertaining. I liked its melodrama; it was oddly appropriate. However, after Rhoda’s unsavory characteristics were revealed, the film dragged a little. What surprised me was its psychological underpinnings. While the psychology of “bad seeds” wasn’t thoroughly explored here, the attempt to explore it added an interesting dimension to the story. It was obvious that this was a transference of the stage play to screen; but it seems that the filmmakers wanted it that way (highlighted by the curtain call at the end). That theatricality keeps this film from being unbearably disturbing; instead, it’s a little bit of twisted fun.
Good
3/29/13
Film
The Children’s Hour (1961)
This is one of the most appropriately disturbing films I have ever seen. Whenever a child concocts a lie to get what he or she wants, bad things happen. But in this film, that lie is so destructive that I can’t believe that it was the integral part of a 1961 film based on a much older play. This film has surprising depth; the truth is not cut-and-dry, and that makes this piece brim with an unsettling reality. The screenplay is perfectly constructed to keep the audience guessing, and most of the acting is compelling (especially once the lie has been told). Regardless of what lie was used, the depiction of the power of children to both knowingly and unknowingly harm others through their lies is what really makes this film frightening. After all, children are supposed to be innocent; so, when that innocence is corrupted, the consequences reach past the children themselves and into the hearts and lives of adults.
Very Good
3/16/13
Film
It Happened One Night (1934)
This film does have some good moments, but I never felt compelled to watch it. It was a nice film with nice performances, but most of the situations were not memorable. Gable and Colbert do have chemistry, but that chemistry is processed through the postured acting style of the time (actually, they do a little better than most actors would have at the time). What keeps this film from being awful is its energy. I just wish that the story was a little more arresting.
OK
3/4/13
Film
The Boxer (1997)
There is a sadness that permeates this film, and that separates it from other films about the IRA (even the violence has a certain poignancy about it). My only problem with that tone is that it dampens the immediacy of the danger. Not that there isn’t any danger here–there certainly is–it’s just that the danger is somewhat muted for the majority of the film. The performances are understated and richly detailed; and the ending is expertly done. Had the tension of the ending started a little earlier, this film would have been even better.
Good
3/1/13
Film
The Life of Emile Zola (1937)
The high point of this film is Zola’s closing argument to the jury in the trial that erroneously found him guilty of slandering the French army. Muni does a remarkable job in this sequence, and he successfully makes the bulk of the somewhat inconsistent film before that moment worthwhile. While many moments in this film have melodramatic tendencies, the commitment of the actors helps to overcome the posturing characteristic of the acting style of the time. Even though this film gives a cursory look at Zola’s life, its essential message still manages to be stirring–in order to preserve freedom, one must fight for the truth even when that fight might lead to “a living death.” Also, it’s much better that a film is a little too short than a little too long.
Good
3/1/13
Film
You Can’t Take It With You (1938)
I didn’t have any emotional response to this film whatsoever; instead, I was bored. Everything was too mild to be entertaining. While Barrymore (“Grandpa”) did a great job as peacemaker with a refreshing plainspoken delivery, none of the events reached a level that really required his council. Part of the problem is the old-school editing style, which lacked a sharpness necessary to make the comedic moments work; but, in general, the energy level was simply too low. There’s plenty of sweetness, but little else.
Bad
2/16/13
Film
The Best Years of Our Lives (1946)
“The Best Years of Our Lives” handles returning soldiers’ adjustments into their ordinary lives with grace and, at times, surprising depth. While the pacing is a little slower than necessary and the tone is mostly one-note, this is still a rather poignant film. The main point of this film is a common, but effective, one: things change, and dealing with change is difficult. Soldiers find a purpose in war that they may never have had before (this is necessary for their survival); but once they return from battle, that purpose is gone and their former problems remain (while still other problems arise). That message is loud and clear, even today (over sixty years after its theatrical release). That clarity is this film’s success.
Good
2/15/13
Film
Holiday Inn (1942)
From a modern perspective, the biggest problem with this film is its blackface sequence in honor of “our 16th president, Abraham.” While providing necessary historical perspective, the commentary on the DVD highlights that this is not something to shy away from; instead, it should be viewed in order to remember the evolution of American cinema and the American musical. Blackface sequences were not unique nor offensive during the 1940s, but that doesn’t mean that they shouldn’t or won’t offend today. Despite its offensiveness, it is a reminder of how customs tell the story of a culture; and along with the other musical numbers that this film provides, that contrast is even more stark. Outside of that piece of history, this film is surprisingly beautiful. While the plot is thin and obvious, the depth of plot is not the point. Rather, this is a showcase for the performers’ enormous talents. Most of the musical numbers are first-rate and the pacing is brisk enough to keep things moving forward smoothly. All-in-all, a classic musical with an unfortunate taint.
Somewhat Good
2/6/13
Film
Gentleman’s Agreement (1947)
This film’s handling of antisemitism is a little dated, but it still has some effect today. While many of the moments were heavy-handed, the earnestness of the production keeps that from being irritating. As a modern viewer, the confrontations depicted seemed tame; but in 1947, they probably packed much more of a punch. What was most effective was this film’s focus on the unspoken bigotry that exists: how people who consider themselves good choose to ignore others’ outward displays of bigotry, instead of denouncing them on-the-spot. That helps this film deliver a message that translates the injustice of antisemitism to all prejudice and bigotry.
Somewhat Good
2/5/13
Film
The Greatest Show on Earth (1952)
This film is one big advertisement for the Ringling Bros. and Barnum & Bailey circus (it even has a narrator who periodically reminds the audience that the circus is serious business). As a result, plenty of people must have been inspired to go to a live circus after seeing this film in the movie theaters. Even so, this shameless two-and-a-half-hour commercial does work pretty well as a film. DeMille always wants to put on a show; and with the circus, he has found his most willing participant. Everything is over-the-top, especially Betty Hutton’s melodramatic performance (in the acting scenes, she seems to want to outdo everything including the circus acts themselves). The circus sections are a little too long, but surprisingly thrilling at times; and, while the plot is sparse, it has enough substance to keep things going. If you want to see the circus and one is not in town, this film will do.
Somewhat Good
2/1/13
Film
Laurence Olivier’s Hamlet (1948)
There are two courses that any Shakespearean production can take: it either uses the conventions (diction, depth of plot, etc.) to simply tell the story or it is restrained by those conventions and falls flat. Unfortunately, Laurence Olivier’s Hamlet falls into the latter category. This film version just isn’t compelling, despite the boldness of Shakespeare’s story. Especially with Shakespeare, it is imperative that the actors not only immerse themselves in the story but also take the audience along with them. I always felt that I was watching actors act; I was on the outside looking in–this is the quickest way to boredom. It’s not that this film is terrible; it just winds up doing what so many Shakespearean productions do–it doesn’t entertain. And isn’t that the point?
Bad
1/27/13
Film
Around the World in 80 Days (1956)
This is a sprawling film with an expressive score and beautiful cinematography. It offers a little bit of everything; but that, at times, gets in the way. Up to the halfway point of this film, I felt that I was on the journey with the characters; however, during the second half, that feeling started to slip away. After a while, the images and plot points seemed a little repetitive and too long. I was never bored, but I did get a little exhausted. Not completely stellar, but always visually arresting and mostly enjoyable.
Somewhat Good
1/18/13
Film
Mutiny on the Bounty (1935)
This film had many entertaining moments during its first half, but much less during its second. The reason for this shift is the presence (or lack thereof) of Laughton. He is the anchor of this film; and when he is onscreen, everything goes swimmingly (the film manages to be a surprisingly well-paced mixture of both humor and tragedy). However, this picture seems to lose its footing just as the narrative turns away from Laughton’s character as captain of the ship. Laughton’s commitment to his character’s unrelenting unreasonableness is the only reason to see this film; but it’s definitely reason enough. As a result, over seventy years after its release, this best picture of 1935 still delivers.
Somewhat Good
1/10/13
Film
Kiss of the Spider Woman (1985)
While Hurt and Julia give fine performances, the film itself never moved me. I always felt that I was at a distance. The bulk of the film relies on dialogue, but the dialogue isn’t that compelling. There are so many issues at play here that this film’s lack of depth is disappointing. Without the two leads, there would be nothing to watch at all.
Bad
1/4/13
Film
The Letter (1940)
This is not one of Bette Davis’ best films, and it isn’t her fault. The story of “The Letter” is much too simple to require a feature-length film. As a result, Wyler has crafted a film that stalls too much in order to fill the void. The scenes are beautifully choreographed, but that’s not enough. There simply is no suspense; so, I never wanted to know more.
Bad
1/3/13
Film
The Bank Job (2008)
After its so-so beginning, once the heist starts, this film really hits its stride and entertains. There’s nothing original on display, but the story is told with some skill involved. While Statham may not be a strong actor, his role doesn’t call for much; and the rest of the cast is solid enough to makeup for any of his shortcomings. A good film to watch for a little bit of well-paced fun.
Good
12/13/12
Film
The Wind That Shakes the Barley (2006)
This film starts off wonderfully. It feels real and the action is tense. However, once it shifts out of Irish against English to Irish against Irish, a little of that tension is lost. Things just weren’t as sharp toward the middle and end of the film. Not that the middle and end are bad; it’s just that the film didn’t build on the intensity of its beginning. The performances were great, and the story was interesting; but I couldn’t help thinking of “Michael Collins” in a slightly more positive light.
Somewhat Good
12/1/12
Film
This Boy’s Life (1993)
This is a solid film with strong performances, but it was a little too repetitive to be great. The beginning seemed a little too slow as well. However, once De Niro enters the picture, the appropriate pace settles in. There is nothing new here (there are plenty of films about tough childhoods), but this film still manages to have some inspired moments (particularly between De Niro and DiCaprio). However, there isn’t enough creativity to make this a must-see; this is simply a mediocre story shaped by good acting.
Somewhat Good
11/11/12
Film
The Dark Knight (2008)
“The Dark Knight” is a rare kind of film; it gets better the longer you watch it. Nolan has crafted an unbelievably textured film that consistently adds new layers to a seemingly simple story. The themes are varied and deep–from the crafting of celebrity to the nature of terrorism; and the performances are equally superb. I was afraid that Ledger’s Joker would be the dominating performance, and that the film would suffer because of that. However, Ledger’s performance fits right in with the rest of the film. It is a crucial piece (and Ledger is brilliant), but it’s not the only crucial piece. Every part of this story (from characters to plot points) is essential–especially the narrative dance among Batman, the Joker, and Harvey Dent. Since this film (as a whole) stands up to overwhelming media hype, it must be an instant classic.
Great
11/1/12
Film
The Paper Chase (1973)
“The Paper Chase” is great because it manages to effectively depict the passion of people who are desperate to meet their goals (for most of them, that is to reach the top of their law school class). When I think of law school, the last thing I think of is passion; but this film puts that passion front-and-center, so much so that I can’t believe that I’ve never thought of law school in that way before. James Bridges has created a film that is expertly spare and direct. There isn’t a wasted moment here (even the score kicks-in at carefully chosen moments–for the first thirty minutes, approximately, there is no score). The leanness of this film helps to create an unforced realism that is seemingly unique; and the actors play off of that leanness wonderfully (especially Bottoms and Houseman who, as student and teacher respectively, must dominate the film in order for it to be a success). This film doesn’t try to hit you over the head, it simply presents a compelling story.
Great
10/15/12
Film
Nashville (1975)
The technique on display in “Nashville” is amazing. There were so many complex narratives in this film that they could have made it incomprehensible; but, somehow, Altman managed to keep them distinct. The only problem was that most of the scenes maintained a similar level of intensity. While this added an unmatchable realism to those scenes (Altman was famous for allowing multiple scenes to occur during the same take so that his camera could drop in and out of each of those scenes), it resulted in a lack of enough narrative power to be fully captivating. The blending of music and politics was great, and Altman found an unusual way to depict that intersection (e.g. the politician is never seen, just heard safely in the distance). However, in the end, I admired this film more than I enjoyed it.
Somewhat Good
10/1/12
Film
Now, Voyager (1942)
Bette Davis breathes life into “Now, Voyager”, a film that isn’t edited as well as it could have been and isn’t as creative as it needs to be to draw you in completely (it’s simply an ugly duckling story with a side of unrequited love). By the end of the film, it feels that the central point has been made over-and-over again; but, whenever Bette Davis is in a scene (and she’s in pretty much all of them in this film), she brings her characteristic intelligence and commitment to her character’s emotional journey. This is definitely not one of Davis’ best films (such as “All About Eve” and “The Little Foxes”), but she never disappoints. If you like Davis, then you’ll like this film as well.
Somewhat Good
9/15/12
Film
Meet Me in St. Louis (1944)
This film looks great and some of the songs are pretty good; but it lacked enough fire to keep me completely interested. If you like musicals that are light and pretty, then this one fits the bill. However, if you are looking for a little more substance, then this will disappoint. Throughout the film, I wanted the characters to get on with it. Everything seemed to take much longer than it needed to. The transitions in and out of song were awkward at times; there was no build-up of energy that led into the songs. As a result, some of the pacing was disjointed. It’s not that I have strong objections to this film; it’s just that I don’t have any strong feelings whatsoever in response to it.
OK
9/1/12
Film
Titan A.E. (2000)
While there were some pretty good images in this film and a good premise, the execution was predictable and disappointing. This felt more like an extended television episode of a cartoon than a full-length feature. There was no element of surprise to any of the suspenseful moments; and, even worse, those moments were too easily solved. Even the voice-over work was bland. A quest to re-create a destroyed Earth deserves much more creativity than this.
Bad
8/3/12
Film
Mrs. Miniver (1942)
Since this film was made during WWII (and the book on which it was based was published before the United States took a stance on that war), it must be viewed with a wartime audience in mind. This film depicts the British as resolute in the face of danger as they join together across class lines to face the Nazi enemy. It obviously attempted to give its audience strength during that time, and was enormously successful because of it. Despite its focus on war, this film does have plenty of lighter moments that help to provide a context for the characters’ reactions once the war starts. As a result, the hardships of war are presented as positively as possible (even as romantically as possible at times); this is in direct contrast to the war films of today. For my modern tastes, it was a little too polite and controlled; but I still appreciated it as a product of its time.
OK
8/2/12
Film
How Green Was My Valley (1941)
This is more of an opera than a film. Everything is on a grand scale, and lots of things are overdone. However, I liked it; I even appreciated its melodramatic tendencies. John Ford must have used every dramatic convention available at the time to tell this story. From the sweeping music to the lush cinematography and a fondness for “the good old days”, these filmmakers were unafraid of using manipulation to get their audience to respond emotionally. They probably did a great job of it in the 1940’s; today, it still has some power (as long as you overlook its flaws).
Good
7/1/12
Film
The Outlaw Josey Wales (1976)
This film’s startling beginning makes it impossible to not care about Josey Wales. The aftermath of the Civil War is simply background; what really matters is his revenge. This film isn’t concerned with right or wrong in regards to the War; it simply focuses on the side of the eponymous ex-confederate soldier. Also, it is surprisingly sympathetic to Native Americans (one of the groups of people that was treated disgracefully and unjustly by both the Union and the Confederacy). Eastwood staged and paced each scene perfectly. This is what a Western should be: simple, straightforward, and entertaining.
Very Good
7/1/12
Film
Anatomy of a Murder (1959)
This is a smooth courtroom thriller; and, therefore, a rare one (most courtroom thrillers rely on sharpness to be effective). As a result of that smooth tone (echoed in Ellington’s jazz score), the beginning doesn’t really catch one’s attention; it’s not boring, it just focuses on setting up the story as simply as possible. Once the action shifts into the courtroom, this film really hits its stride (as all good courtroom thrillers do). It still doesn’t abandon its general smoothness (Stewart uses that quality effectively to highlight his character’s occasional courtroom outbursts), but the energy level definitely picks up. Throughout the film, I wondered how things would be resolved–I was waiting for some sort of twist. But, even in that regard, this film does the unexpected. This is a courtroom thriller with style.
Very Good
6/15/12
Film
Witness for the Prosecution (1957)
This was an entertaining courtroom drama with a twist–everything one would expect from an Agatha Christie plot. The actors were cast perfectly, especially Laughton and Dietrich as the defense lawyer and the wife of the accused. I knew that there would be some sort of twist to the story before I watched this film, but I still hadn’t figured the twist out completely before the revelation at the end (this was crucial to this film’s success). While every moment wasn’t stellar, the courtroom action was enough to make up for any shortcomings.
Good
6/1/12
Film
The Joy Luck Club (1993)
The cornerstone of this film is its depiction of the Joy Luck Club’s members’ different experiences with immigration to the United States, and how those experiences have affected not only themselves but also their daughters. The struggles that surround immigration are always interesting, and they help to ground this film; without those struggles, this film would have been lost in its own struggle to rise above occasional melodrama and cliche. However, since this film is based on familial relationships, it’s easy to forgive its tendency to overindulge: trying to reconcile past wrongs as an adult with one’s parents is something that most people understand and will relate to.
Somewhat Good
5/15/12
Film
U Turn (1997)
This film falls into the “Natural Born Killers” section of Stone’s directorial work. There is a lot of camera technique and sharp editing on display, but little else. Nothing could have saved this story/script from its pointlessness and lack of imagination. Every scene is just a means to get to the next scene in the most unbelievable way possible. Penn plays a guy who just cannot outrun his bad luck (nothing new), and the situations he finds himself in suggest that some higher power has it in for him. It’s unfortunate that this director and cast attached themselves to a piece that couldn’t possibly be good. No one can save a truly horrible script.
Bad
5/1/12
Film
The Madness of King George (1994)
This film is an historic roller-coaster ride from start to finish. All great period pieces have certain commonalities: a witty script, strong acting, sure-footed direction, and sets and costumes on a grand scale; this film is no exception. The King’s madness not only creates great comedy, but it also creates an undercurrent of sadness. Hawthorne does a marvelous job of abruptly switching from the heights of madness to the lows of confusion, self-doubt, and melancholy without ever having an inauthentic moment. His supporting cast lives up to its title (particularly Ian Holm as the King’s no-nonsense doctor who helps him to regain his sanity). This was a lot of fun.
Very Good
4/15/12
Film
Out of the Past (1947)
I appreciated the intricate plotting of this film, but the action wasn’t quite thrilling enough to fully support that intricacy. Certain parts of this film felt unnecessarily long, but it never became boring as a result. In the end, its film-noir aspects really helped to bring this story to life–the darkness of the story mirrored the darkness of the cinematography. Good film noir is always cool, and this was no exception.
Somewhat Good
4/1/12
Film
The Three Faces of Eve (1957)
The depiction of multiple personality disorder is much tamer here than in subsequent films about the topic–I welcomed that. Woodward did a pretty good job of highlighting the differences among each personality without overdoing it. Also, I think that the narration was a vital part of the success of this film; without it, many of the moments would have been too lightweight. At times, I wished that the score didn’t signal the emergence of each of Eve’s personalities. It would have been much more interesting to have to figure out the personality shifts simply by observing Woodward’s solid work–I don’t think she needed any help with that. Not as captivating as it could have been, but absorbing enough to be worthwhile.
Good
3/22/12
Film
Say Anything… (1989)
After watching this film almost twenty years after its theatrical release, I think that it is one of the most authentically presented teen films of all time. While a few plot points seem a little out-of-the-blue, the work that is on display here is astonishing; as a result, those few flaws don’t matter. Cusack and Skye seem to be real people caught-up in real moments. Crowe’s dialogue is pitch-perfect, and it makes this film unique. I loved this film from the start, because it seemed to transcend time (a hard thing to do for an eighties movie) and genre.
Great
3/10/12
Film
The Asphalt Jungle (1950)
While the set-up to the heist in this film was unexciting at best, the rest of the film was pretty entertaining. The acting was good (especially for the time period), and there was enough suspense to last the entire second half. This is an obvious predecessor to modern-day heist films, but it never has fun with its subject matter (as the modern versions do). As film noir, everything here is taken seriously–I appreciated that.
Somewhat Good
3/1/12
Film
Falling in Love (1984)
De Niro and Streep hit all of the appropriate awkward notes in this film about the emotional side of cheating. That awkwardness makes it hard to fully enjoy this film, but that is as it should be. The only problem is that the screenwriter seemed to have run out of ideas. A lot of the moments were stagnant and/or repetitive. Part of that was by design (by the end, the story comes full circle); however, some of the repetition was unnecessary. In the end, it’s the stellar cast that keeps this film going; there seemed to be little sparkle on the page, but the actors milked the script for every drop.
Somewhat Good
2/18/12
Film
Arsenic and Old Lace (1944)
This film cannot escape its time period. It’s a cute film, but it uses too many old-time movie conventions to be effectively funny today. The repetitious gags don’t really make much comedic sense. However, there is a spirit to the film that is admirable. In order to enjoy this film, you must have a nostalgic taste and a forgiving outlook.
Bad
2/1/12
Film
Three Days of the Condor (1975)
The subject matter of this film is still relevant today (over thirty years later), and that’s a little scary. This is not a surprising film, but it is a satisfying thriller. I wish it would have been a little sharper, though. Redford and Dunaway (especially Dunaway) create believable characters despite the somewhat far-fetched plot (as far as the love story goes); and their supporting cast is terrific. Max von Sydow always adds gravitas to any film, and this film definitely needed that. A definite precursor to current spy thrillers such as the Bourne series.
Good
1/12/12
Film
Legends of the Fall (1994)
This film has several flaws, but I liked it anyway. It was a little too long, and many plot points weren’t fully explored. Pitt seemed to be playing a character that was reminiscent of his character in Redford’s “A River Runs Through It”; this character was just a little wilder and experienced different circumstances. Despite these and other problems, this film doesn’t drag and doesn’t bore. Aidan Quinn is great as Pitt’s older brother, and Julia Ormond brings a welcome vulnerability to the main love interest in this story. However, Anthony Hopkins is woefully underused. If you are able to easily suspend disbelief, then this is the film for you.
Somewhat Good
12/15/11
Film
Absence of Malice (1981)
This was a very watchable film that was somewhat predictable. I really wanted to love this, but it didn’t have enough intensity for that to happen. I just didn’t sense enough danger to invest completely in these characters. Field and Newman gave solid performances despite the inconsistent script, and their supporting cast was top-notch. Basically, the casting choices saved this film. I was never really bored, but I wasn’t completely satisfied (and I thought that I would be by the end).
Good
12/1/11
Film
The Straight Story (1999)
After I read the description of this film and some of its critical reviews, I thought that I would be in for a “slow” film. To me, slow means boring; but this film is anything but boring (I wouldn’t even call it slow). The pacing is deliberate and steady, but not tedious. Every quiet moment is necessary and the dialogue is perfectly laconic (every word counts). This film reminds me of “Sling Blade” or “The Apostle”, but without any of the darker elements. I didn’t know that Lynch had this kind of a film in him (it lacks his characteristic quirkiness), but I’m glad that he decided to allow the material to inform his direction. Everything in “The Straight Story” is tender; and with such specific, subtle characterization that tenderness really gets under your skin.
Very Good
11/15/11
Film
Breaking Away (1979)
This is a classic coming-of-age story that uses bicycling as its metaphor. It has a little of everything: comedy, drama, romance, teen angst, etc. What really makes this film work is that it entertains. Too many films fail to do that one simple thing. Dennis Christopher does a great job of capturing the “fantasy” of youth. His character could have become a caricature, but he made his character’s quirky choices plausible. The rest of the cast was perfect, from his parents (who differ completely on how to handle their seemingly aimless son) to his friends (who encourage his lack of future plans). I had fun watching this one.
Very Good
11/1/11
Film
Lone Star (1996)
There’s a lot going on in this film, but the great thing is that everything makes sense without being forced. The screenplay and the acting enhance each other here; every single character seems like a real person with a complex background (Sayles’ technique in depicting past events is subtle and perfect). In the wrong hands, this would have been boring; but Sayles has a knack for finding the truth in every scene and that makes most of the scenes sparkle in an understated way. This is just good storytelling.
Very Good
10/15/11
Film
Pride (2007)
This is an extremely formulaic film that still manages to deliver. The cast gives committed performances and there is just enough bite to this film to make it worthwhile. It’s definitely not unique in any way, but a lot of the scenes are entertaining (Bernie Mac is a welcome addition to the cast, even in the non-comedic moments). It would have been nice to see some creativity here, but I still enjoyed it despite its flaws.
Good
10/2/11
Film
A River Runs Through It (1992)
When a film starts off presaging a disaster, it’s difficult to make that disastrous moment payoff; but here, that choice works. After the beginning, Redford does a great job of steering the audience away from that warning and into the heart of a pretty gentle story; he reminds us of the warning at the right time, and that results in an effective ending. A lot of times, gentle means boring but this film is an exception. It mimics nature in a lot of ways, especially in the way it hides its narrative force under a seemingly peaceful tone. This is a great family drama that doesn’t have to beat you over the head to make its point.
Very Good
9/15/11
Film
Persepolis (2007)
The success of this film is that the story and the medium enhance each other. The animation allows for a freedom in the storytelling that is uncommon in most biopics, and the story’s complexity forces the animation to be both inventive and simplistic at the same time. This could have been a typical slower-paced depiction of some heavy subject matter; but the pacing required for a successful animated film actually kept this film from descending into sentimentality. It’s a clear-eyed look at the horrors of the modern Iranian regime and a family’s attempt to break free of it; that makes this film both welcome and unique.
Very Good
9/1/11
Film
Across the Universe (2007)
This film has great energy, some pretty good renditions of Beatles’ songs, and inventive visuals; but, it is too disjointed to be good. The transitions from dialogue to song were clunky. Of course, that’s the challenge when creating a musical from already existing songs; but it seemed that a strong enough attempt wasn’t made to have the smoothest transitions possible. No musical can succeed without being seamless, and this one is no exception. Even the choreography seemed misplaced. Julie Taymor should be able to do this stuff in her sleep, so this film disappointed me. This may have worked a little better without any dialogue–the Beatles’ songs can speak for themselves.
Bad
8/15/11
Film
The Pawnbroker (1964)
The only reason to watch this film is to see Rod Steiger in action. He embodies the title character with a quiet intensity, which makes his sudden outbursts and the Holocaust flashbacks all the more effective. Basically, the whole film rests on his shoulders and he doesn’t disappoint. However, his connections to the other characters in the film don’t quite work (especially in his relationship to Ortiz, his pawnshop apprentice). I don’t think those relationships were developed enough to contribute anything vital to the film; and, unfortunately, the ending suffers because of that lack of development. Quincy Jones’ score probably wasn’t as surprising in 1965 as it is now. It lends an eclecticism to the film that doesn’t quite fit, but works during the climactic scenes. This is definitely not one of Lumet’s best films, but it is an interesting one. It’s a little long, but it has its moments.
Somewhat Good
8/1/11
Film
The Brave One (2007)
At times, I felt like I was sleeping while I watched this film. I wasn’t bored exactly, but I was definitely disengaged. I think that the story was potentially compelling and possibly unique (the focus on how grief turns into vengeance as a vehicle for a thriller seemed somewhat refreshing); but the way there never hooked me. Perhaps there was too much focus on the grief, which weighed down the action when it needed to fly–nothing drove the action forward. Despite all of its flaws, this film did provide solid acting sequences (especially from Foster). It just needed a few moments with a little spark to make the depressing moments payoff.
OK
7/15/11
Film
I’m Not There (2007)
This was a hard film to pin-down. I respect its vision and its artistry, but I shouldn’t have to know everything about Bob Dylan in order to understand it. This film mimics poetry in a lot of ways: non-linear structure, heavy use of symbols, creative license, etc. I never knew what to make of it, but a part of me was interested throughout its slightly overlong duration. You have to work to watch this–that turns out to be both good and bad. Good because this film takes on a life of its own as a result; bad because it never quite hooks you.
OK
7/1/11
Film
Juno (2007)
At the beginning of this film, I thought that I knew where it was going. Its sarcastic presentation seemed a little forced at times (I was a little too aware of the script), but I was entertained. However, as the film progressed, I realized that what I was watching had a lot more going on than it suggested at its beginning. In fact, that sarcastic presentation helped to keep the underlying warmth of the film true and effective. A surprisingly sweet film that was a lot more gentle than it seemed. I’m so glad that my first impression was the wrong one.
Very Good
6/15/11
Film
The Great Debaters (2007)
The strength of this film is its performances. Washington, as the director, proves, yet again, that he knows how to get young actors to provide honest portrayals. While this film has plenty of moments of convenience and lightly touches the reality of racism in the South in the 1930’s, it still managed to be stirring (I wish it would have focused more on the debate/debate-preparation sequences; they were the most effective). I was glad to forgive every fault in this drama because it was entertaining. I wasn’t swept away, but I was engaged.
Good
6/1/11
Film
The Mist (2007)
This film had some pretty disgusting moments and a lot of the acting was solid, but it also had its problems. This is a competent horror film, but it could have been better. At times, I felt that the filmmakers had problems transitioning from moment to moment. There wasn’t enough momentum carried forward throughout the film to yield the maximum payoff possible. So, after a pretty suspenseful moment, none of that energy flowed into what followed; it just dissipated. Good within its moments, but clunky in between.
Somewhat Good
5/20/11
Film
Lars and the Real Girl (2007)
I found it difficult to connect to this film. I’m usually able to accept a film’s logic, regardless of how far-fetched it is; but, somehow, this film just never seemed to make much sense. I think that the handling of Lars’ psychological problems through his connection with a life-size doll didn’t really work (everything surrounding that relationship seemed to happen a little too easily). This film has been marketed as a comedy, but nothing was that funny to me; on the contrary, Lars’ predicament was pretty sad. The filmmakers could have created an interesting film had they decided on an appropriate tone–the actors were game and the subject matter was potentially compelling. However, by the end of this film, I was left unfulfilled.
Bad
5/2/11
Film
August Rush (2007)
I’m all for fantasy, magic, and even musicals as long as they are entertaining; but this film seemed more like a tv afternoon special than a theatrical release. I couldn’t make it past the first thirty minutes because nothing felt genuine–there was too much incoherence and meandering for my taste. Even the musical sequences seemed to be forced into the plot. Again, this has nothing to do with the genre; it has everything to do with the execution of that genre.
Bad
4/15/11
Film
The Savages (2007)
This film is really a vehicle for Linney and Hoffman to show off their acting chops. While the film does have its poignant moments, what interested me most was what those two actors would do next with the material. At times, I felt that Jenkins’ script didn’t serve the story fully; and, as a result, she couldn’t maximize the story’s power as a director. Nonetheless, the acting was wonderfully naturalistic and the script was strong enough to keep me interested until the end.
Somewhat Good
4/3/11
Film
Charlie Wilson’s War (2007)
A thoroughly entertaining and occasionally informative look at Congressman Charlie Wilson’s role in the success of the mujahedeen over the Soviet Union in Afghanistan. Nichols has paced this film perfectly, and his cast is up to the challenge of milking every possible interesting moment out of Sorkin’s script. While almost everything is presented as simplistically as possible, the shell of the truth is there (and that’s enough). It’s always interesting to see a film about the not too distant past that speaks volumes about where we are in the present.
Very Good
3/15/11
Film
Iron Man (2008)
What propels this film forward is the strength of the Iron Man story and the filmmakers’ decision to allow Robert Downey Jr. to flesh out Tony Stark’s compelling and unique character. Stark may not be a bad guy, but he certainly isn’t in the mold of the typically good superhero alter ego either; Downey Jr. knows how to strike all of the right notes as that kind of a guy. As a result, while the visual effects and technology on display are very effective, what sets this film apart from most other action films is the strength of its cast. The whole cast seems to really play off of each other; and because of that, nothing is forced or silly–even though that could have been the result with different actors. This is an action film that is surprisingly refreshing.
Great
3/1/11
Film
The Diving Bell and the Butterfly (2007)
This film uses images effectively to bring life to the imagination and memory of someone who has been paralyzed. Those images are the heart of the film, and rightfully so. Since there is minimal plot, the success of this film rests almost solely on how the filmmakers present the reality of someone who has essentially lost control of his body. There is a dream-like quality to this film that is very effective. While all of the moments here weren’t riveting, almost all of them were touching without a hint of sentimentality. A surprisingly sober look at a tragic condition.
Good
2/15/11
Film
The Golden Compass (2007)
A good introduction to the trilogy that moves at an almost too rapid pace. The film leaves a lot of the novel’s story on the cutting room floor. This is for obvious reasons: to keep kids interested and to sidestep controversy. The filmmakers leave just enough detail to make this film worthwhile; but, a little more detail would have made a world of difference. When a novel is translated to film, inevitably adjustments have to be made; but, those adjustments should serve the medium as best as they can. A lot of this film’s adjustments make it easier to follow; but, as a result, a little bit of the magic is lost. At times, I felt that I wasn’t able to appreciate everything this film had to offer. But I guess that’s better than being bored. And, by the way, the casting is perfect.
Good
2/1/11
Film
Lions for Lambs (2007)
First of all, there is nothing new in this film. However, Redford has crafted a lean film that doesn’t bore. My level of interest in this film definitely fluctuated, but the relatively quick pace helped the less than stellar moments breeze by. This is a film of ideas couched in witty repartee. Unfortunately, some of that repartee felt forced as did some of the relationships (especially the Cruise-Streep one). The script just didn’t give the actors enough to do; and, as a result, this film doesn’t affect you emotionally. While it stimulated my intellect at times, it didn’t go far enough to make me care. I liked it, but I didn’t love it (and I could have).
Somewhat Good
1/15/11
Film
Cloverfield (2008)
What makes this film work is that it spends a little time introducing and fleshing out the main characters. While it doesn’t go into much detail on anything, that small amount of time goes a long way in keeping you interested in what is going on. There really isn’t anything new about this film, but the camera work does help to distinguish it from other monster films. It’s similar to Spielberg’s “War of the Worlds” in many ways, especially the opposing reactions it engenders among viewers. While I wish that this film would have done a little more of everything, I couldn’t help but be entertained by it. The filmmakers provided just enough action, suspense, and gripping moments to make this a worthwhile experience.
Very Good
1/3/11
Film
The Invasion (2007)
This story is a classic one and it is hard to mess it up. However, this film seems intent on doing just that. While lots of thrillers/horror films try to say something about current times, I don’t think it’s necessary to do so every time. This is a case in which just telling the story (without any references to modern societal problems) would have worked wonders. I liked parts of this film in spite of itself. Obviously, there was nothing new; but the type of “invasion” here was both disgusting enough and interesting enough to keep me invested in the film. This is a film for fans of the genre only.
OK
12/15/10
Film
Don’t Look Now (1973)
This film relies too heavily on odd looks and flashes of disconnected imagery to scare, instead of good storytelling. I can’t really say that it was a bad film; it just didn’t do anything for me. This film lacks what all great thrillers have, a compelling story. I never really invested in the characters, so I didn’t care about what happened to them. By the end of the film, I understood what the filmmakers wanted to do with the story–they wanted to use the various images to build up to a climax that would give the audience an “aha” moment with a touch of mystery. Some people who see this film may experience that; it just never happened for me.
OK
12/1/10
Film
Before the Devil Know You’re Dead (2007)
This film is about what’s worst in humanity; and what Lumet does to illustrate that is to present a straightforward, strong take on the story. From the very beginning, this film puts you on your heels. And by moving the story forward and then backtracking to fill in what happened beforehand keeps it interesting and revelatory (similar to the first half of “Atonement,” not in content or tone–obviously–but in structure). Some may wonder what the point of this film is (other than to be as depraved as possible), but sometimes films need to go to dark places–so that we don’t have to.
Very Good
11/15/10
Film
Sunshine (2007)
This is a film about history and identity and about how people try to break free of them, but end up being bound by them instead. The trick is to embrace who you are and where you’ve come from. This film illustrates this concept brilliantly, especially with the use of Fiennes in three different roles (grandfather, father, and son). What makes this film work is its pacing. Szabo doesn’t waste time on any particular story point, instead he immediately gets to the heart of every scene and weaves them together to create a strong narrative force. In light of that, it’s surprising that this film has as much depth as it does. An engaging three hours.
Very Good
11/1/10
Film
Gorillas in the Mist (1988)
This is an earnest film, and that earnestness helps to keep the film from becoming ridiculous. The key is that you have to believe that Fossey would do anything to save the endangered gorillas because that is what gives her life meaning; and, as a result, the choice of Weaver in the lead role is a great one. Her direct, honest acting style helps to make all of Fossey’s zeal believable and affecting. There were some shallow patches in the film, but its straightforward approach helped to overcome them. Not a perfect film, but once it gets going it’s really good (at times gripping).
Very Good
10/15/10
Film
The Bridges of Madison County (1995)
There wasn’t anything bad about this film; it’s just that nothing was good either. From the beginning, the pacing seemed to be off; and it never righted itself. I felt uncomfortable watching this film at times, because nothing seemed to click. Things may have been a little better if the film just focused on the love story (without the addition of the children’s point of view, etc.). But, that still would not have solved everything. Even Meryl Streep couldn’t save this one.
OK
10/1/10
Film
Children of a Lesser God (1986)
What makes this film wonderful to watch is its strong (and, at times, unique) presentation of a pretty predictable love story. It expertly uses both sign and spoken language to create moments that effectively depict the trials and tribulations of a relationship. The acting is absolutely superb (especially Matlin and Hurt, who seem to have really connected here), and most of the scenes brimmed with an unexpected intensity. There were a few moments that could have been edited a little more keenly, but overall this film really moved me without descending into manipulation. Ultimately, I was invested in the characters and the story.
Very Good
9/15/10
Film
There Will Be Blood (2007)
It seems that every convention has been slightly twisted to create this film. Part of what makes it all work is Daniel Day-Lewis. This role is right up his alley, and he doesn’t disappoint. From the beginning of the film, it was evident that Anderson was focused on playing with the normal rhythms of film; and, as a reflection of that, the score has its own idiosyncratic nature. Regardless of the seeming freshness of this film’s presentation, ultimately the story and how it is told are what make a film good or bad; and this story and its telling are blistering. Greed is at the heart of it, and it’s presented in an honest way. Even at the most insane moments, nothing felt forced or overdone–a strange success.
Great
9/1/10
Film
Agnes of God (1985)
This film was a little overdone. The performances were solid, but the script didn’t back them up. I was waiting for some astounding revelation, but it never really came. Ultimately, this film was just too repetitive to be great. However, despite its flaws, it didn’t bore me. I wanted to keep watching until the end; I just wish that the dialogue would have supported the actors’ passion.
Good
8/15/10
Film
Another Woman (1988)
This is a change of pace for Allen, who usually likes to infuse his films with rapid-fire dialogue. This film takes its time, but is never boring. Rowlands does a great job of portraying a woman who has been so detached for so long that it comes naturally. As she starts to realize the trouble that her detachment has caused (a realization spurred by her eavesdropping on mental therapy sessions), she reflects on all that she has missed and pushed away in life. It seems that her journey is a way for Allen and his audience to contemplate some of the same questions. I felt that there were lots of questions posed by this film, but a lot less answers–and that worked. Like most, if not all, of Allen’s films, this film had a few surreal touches and the cinematography seemed familiar; but otherwise, he seemed to be trying something new. Not always successful, but definitely interesting.
Good
8/1/10
Film
Kundun (1997)
This film presents an interesting story handled deftly by Scorsese. It expertly depicts Tibetan culture and the importance of the Dalai Lama to that culture (as well as the threats that come along with any quest for peace). As a result, this is a good introduction to Tibet. The tone and pace are just right; this film is neither too fast nor too slow. It was a little strange to hear Tibetans and Chinese people speak English to each other, but Scorsese kind of made that work (it was helpful to not have to read a bunch of subtitles). At its best, this film is magical; at its worst, it’s just good.
Very Good
7/15/10
Film
The Corporation (2003)
There was a lot of information on corporations and their practices in this film that made it worth watching. While the style of the film was closer to that of a training video than to that of a feature film, I didn’t mind that because I learned something. Granted, not every bit of information presented was new; but, the organization of the information was effective in putting the pieces together regarding corporate power. This film could have been shorter (there was almost too much information to take in), but it was obvious that the filmmakers had something to say. And while the documentary was skewed against corporations, I felt that it served as a balance for all of the corporate messages that are sold to us through the media everyday. Not always exciting, but definitely informative.
Good
7/1/10
Film
La Dolce Vita (1960)
Fellini deals with a lot of things in this film, and he handles his themes with precision. However, everything is too cerebral. Yes, there are some wonderful shots and sets, etc. But, nothing compelled me to watch. This film has a lot to say about reality, privacy, hope, desperation, and the list goes on and on. But this film forces you to think about those themes for its entire duration (almost three hours). I don’t mind thinking, but films need to go beyond thought and into action. I think that Fellini uses the paparazzi as a way to inject action into the film (among other reasons), but it wasn’t enough for me. Ultimately, there’s no right or wrong response to this film; any reaction to it will be based on personal taste. So, for me, I just couldn’t completely buy it.
OK
6/18/10
Film
Sweeney Todd (2007)
As others have noted, Burton was the perfect director for this film adaptation of Sweeney Todd. I don’t think any other director could have struck the same kind of tone as he did. It’s obvious that he “gets” the material, and what he created works so well in a way that most other musicals do not. The singing is never distracting; it enhances the story and the performances (exactly what it should do). There were moments in this film when I was completely transported into the world that Burton and Sondheim created. Every moment wasn’t magnificent, but a lot of them were; and the best moments really crept under my skin. Mostly captivating.
Very Good
6/4/10
Film
Becoming Jane (2007)
This was a pleasant film that seemed to unfold as if it had been written by Austen herself (except for the ending, of course). However, what kept me from loving this film was the lack of sharp dialogue. The script could not stand-up to any of Austen’s manuscripts. While there were clever lines, they never really landed as well as they should have; and this was not the fault of the actors, who definitely did their best to convey Austen’s world and circumstances. I watched this film passively–I wasn’t really bored or really excited either. It was just pleasant.
Somewhat Good
5/15/10
Film
Enemy at the Gates (2001)
An interesting film throughout, but it did have its flaws–especially the unnecessarily distracting choice to let the actors keep their native accents. This film just didn’t have the narrative force necessary to be fully compelling. The performances were strong and the visuals were stimulating, but the story focused too closely on the cat-and-mouse exchanges between Law and Harris. As a result, this film was unable to reach epic status. Maybe that’s not what the filmmakers wanted, but I couldn’t help but expect it at times.
Somewhat Good
5/1/10
Film
The Kite Runner (2007)
First of all, The Kite Runner is a great story. I think that it would be difficult to mess it up. And while many parts of the book were cut in order to meet the demands of a modern film, Forster’s interpretation is an effective one. Some fans of the novel may find the cutting severe, but I never fault filmmakers for changing source material in order to create something new. Since films are about images, editing is necessary to create a successful translation from a novel. And the perfect director to adapt this film is Forster, because of his ability to tell stories beautifully–his adaptation is gently nuanced and very watchable. While I loved the novel, I was still moved by the film (even though it could have gone a little deeper). I think that comparing the film to the novel is unimportant; they both deserve to be appreciated on their own.
Very Good
4/15/10
Film
Running on Empty (1988)
A really good, very predictable film that had an underlying sweetness. That sweetness made it interesting to watch, even though the events that unfolded weren’t surprising at all. The acting was also very good, and that helped to support the points of the script that weren’t as strong as they could have been. It’s always compelling when films deal with growing up, and this film is no exception.
Very Good
4/1/10
Film
Deconstructing Harry (1997)
While this film isn’t one of Allen’s best, it is still pretty good. I don’t think that it will win over any viewers who aren’t Allen fans; but those who do enjoy Allen’s style, will be pleased. The problem here is that a lot of the moments are repetitive. Also, while there are plenty of funny moments, they don’t really come together as cohesively as they should. As usual, Allen uses the medium of film to play out the fantasies inside of his head; but none of the devices seemed new for him. Ultimately, this was a pleasant experience.
Good
3/15/10
Film
American Gangster (2007)
Basically, this is a well-made film. However, I never got the feeling that I was watching something new; it was just that everything was done at an expert level. Crowe and Washington earn their top-billing; I’m especially glad that Washington put some genuine feeling into this film, because he has seemed to sleep-walk through some of his films of late. But Crowe and Washington don’t have to carry the film on their own, because the supporting cast is just as good (in particular, Dee, Brolin, Ejiofor, and Elba). As with all films of the drug/crime genre, sometimes the devastation wrought by drugs can run the risk of being glossed over; but, I think that Scott was aware of that risk, and did the best job he could to remind the audience that this is serious stuff. Fully engaging, if not completely brilliant.
Very Good
3/1/10
Film
Reds (1981)
A really good film that doesn’t seem as long as its three hours. I think that Beatty’s decision to use actual “witnesses” to the events in the film as narrators (of a sort) was interesting–it added a credibility to the film that I don’t think would have been achievable otherwise. There were plenty of great performances here, but Beatty and Keaton lacked enough firepower to make me believe that they were truly and desperately drawn together. I sensed that their characters (Reed and Bryant) loved each other, but the proper intensity wasn’t there. However, despite that, this film always kept my attention because it seemed to have a strong story to tell. I never felt that anything was superfluous.
Very Good
2/1/10
Film
I Am Legend (2007)
This film had equally good and bad parts. The first half of the film was the best. It successfully introduced the story and created a believable environment in which Will Smith did a pretty good job of connecting to his character. However, the second half of the film devolved into pretty much nothing–at least, that’s what I was left with. Once Smith met other non-infected people, nothing really worked (and his acting suffered, it went from a slightly nuanced approach to a slightly heavy-handed approach). I was disappointed because the beginning held so much promise (it was pretty interesting). But I think that the filmmakers were more interested in ending the film neatly than with telling a compelling story.
OK
1/15/10
Film
Enchanted (2007)
This was a likable film, but it wasn’t as good as I expected (especially after reading some of the critical reviews). This film just didn’t take-off as it should have. Adams was great (she hit all of the right notes by successfully blending what an animated character would do with what a non-animated character would do), but this film had too many not-so-great moments to be completely successful. However, when the moments work, they really work–especially during the scene in which Adams gets various animals to clean Dempsey’s apartment. Not as great as the concept sounds, but entertaining enough.
OK
1/6/10
Film
Alice (1990)
What an enjoyable film! The devices that Allen used in this film are not new for him, but the way they integrated created something that felt distinct. Once again, Allen used existential thought to delve into relationships and ultimately himself. I think that Allen is always at his best when he can tap into his imagination and put it on the screen. As a result, the challenge for any actor in one of his films is the dialogue; because he writes all of his dialogue in his own voice. But all of the actors in this film mastered that challenge (Farrow gives a brilliant performance here, and she is required to do a lot). The only negative is that there were a few moments in the middle of the film that didn’t quite stand up to the whole, but that’s a minor issue. One of Allen’s best.
Very Good
12/15/09
Film
Into the Wild (2007)
I think there was a lot of skill on display in this film, but something kept me from falling in love with it. Penn’s decision to present McCandless’ story in a disjointed way helped to highlight both his search for meaning in life and his simultaneous escape from his past; but, on the other hand, that kind of style made it hard to find a connection to the story. This definitely was an interesting film, but there was a surprising shallowness in certain parts–the bigger the point the film wanted to make, the lesser the payoff. A little more focus may have added more potency; but still, this is a good film.
Good
12/1/09
Film
Atonement (2007)
The first half of this film was magnificent. In a way, it made it difficult for the second half of the film to maintain the first half’s power. Wright is a master of scene structure and pacing, and those skills were on full display in the first half. Even still, it was hard to look away from any part of this film (even as it lost a little steam half-way through). Also, those same skills seemed to make it easy for the cast to perform at a high level throughout the film. I just loved how everything fitted together, guided by the almost literal score. The trickiest part of this film was the flashbacks/flashforwards, but Wright hit all of the right notes. This film was very tidy, almost too tidy (I wanted to see even more of the story); but it’s better to finish watching a film wanting more than to want that film to end.
Very Good
11/17/09
Film
No Country for Old Men (2007)
Simply put, this was an entertaining film. The Coen brothers’ films always contain their great aesthetic, but the plots of their films aren’t always exciting–this film has everything going for it. The blending of different genres helps to make this film unique–is it a western, thriller, or horror film? Is it film noir? The acting was great, but the film’s real strength is its use of quietness. The static moments make everything else work. And any film that can keep your attention in the quiet moments has to be good.
Very Good
11/1/09
Film
Wild Strawberries (1957)
After reading the description of this film, I thought that it would bore me; but, that wasn’t the case. While this film does have a contemplative spirit, there are plenty of active moments that drive the film. The visions and flashbacks that the main character experiences highlight his concern with his life (the beginning, middle, and end of it). Bergman uses different sets of characters, in different seasons of life, to present a bittersweet view of the inexorable march toward death. Depending on a person’s stage of life, that person may constantly look forward to what the future holds or backward to what cannot be changed in the past (or both perhaps). The commonality is the fear involved, and Bergman handled that theme in an effectively simplistic way. Pretty good.
Good
10/10/09
Film
Things We Lost in the Fire (2007)
A quietly touching film that focuses on how people cope and attempt to live with grief and loss. There was nothing bad here, but I do think that the film could have delved deeper into its subject. At times, it was a little too quiet (or maybe it just lacked a few sharp edges to counteract the quietness). This film’s strength was its characterization–I always felt that the characters were “real”. With a little less control, this film would have soared. As it is, it’s good.
Good
10/1/09
Film
Fanny and Alexander (1982)
Bergman’s films always have strong themes and strong messages, but they don’t always have a strong story; this is not true of Fanny and Alexander. This film showcases Bergman’s directorial/artistic powers brilliantly. I was not only able to appreciate Bergman’s masterful technique, but also able to connect to the story. This may be because this story is a personal one for the director; and, as a result, despite the sometimes incongruous cutting from scene-to-scene, I was constantly intrigued (especially during the second half of the film). Even when I didn’t understand every little detail, most scenes made some sort of emotional sense. Perhaps that is Bergman’s true success.
Very Good
9/15/09
Film
Michael Clayton (2007)
A really good film that throws everything at you but the kitchen sink. At the beginning, all of the storylines didn’t make much sense; but as the film progresses, things start to become much clearer. I didn’t mind paying close attention because the film was pretty entertaining. I think that Wilkinson did the best job of helping to create a high-stakes tone, but the rest of the cast also did well. Gilroy has a strong sense of pacing that, as a first-time director, is impressive. This film isn’t necessarily superior to many other thrillers out there, but a good thriller is always welcome.
Very Good
9/1/09
Film
Winter Light (1963)
There were moments in this film when I thought that the story would begin to build some momentum, but those moments always seemed to lose steam somehow; that is unfortunate. Bergman always gets great performances out of his actors, but he doesn’t always create a narrative force that will both support his actors’ efforts and drive his points home. Since this film is a part of Bergman’s trilogy on God, etc., I think that the messages that he wanted to convey got in the way of the film’s power. Bergman’s restraint is both an asset and a hindrance–it creates a cleanliness that is technically accomplished but that lacks feeling. In some ways, I can see the point of that, but there’s no sharpness to accompany that lack of feeling; so, in the end, I’m left with nothing.
Bad
8/15/09
Film
In the Valley of Elah (2007)
This film definitely relied on Tommy Lee Jones, and he created an incisive and sober tone that mostly kept this film from being heavy-handed. The very end of the film was the only time when I thought that Haggis’ desire to make a point outweighed what would best serve the film. The simpler the moments were, the better those points were driven home. In films, it’s always effective when grief is put into action; and this is a great example of that.
Very Good
8/5/09
Film
Through a Glass Darkly (1961)
The ideas/themes in this film were definitely interesting, but they weren’t enough to make this viewing worthwhile. Bergman understands the power of simplicity; but sometimes, simplicity creates boredom. I wanted to get a stronger connection with the characters–there was too much dialogue and too little action; I would rather see the conflict than hear it. Despite Bergman’s expertise, I just didn’t feel this one.
Bad
7/15/09
Film
The Seventh Seal (1957)
I couldn’t quite put my finger on this film. It seemed more like a play than a film, but I think that that worked to its advantage–it enhanced the many points regarding life and death. I think that the strongest portions involved the personification of death. Every time death appeared on screen, I was interested. A completely intellectual film that’s not boring. I really don’t know if it’s good or bad; but maybe that’s not the point. This is a film to think through.
Somewhat Good
7/2/09
Film
The Assassination of Jesse James (2007)
There was an underlying sadness that anchored this film, but I don’t think that the director used that effectively enough. The pacing of this film was slow, but that wasn’t the problem; the problem was that it seemed that the creative staff didn’t quite know what to do with the material. If they had really mined that sadness, the pacing would have been an asset. The cast tried their best–even Pitt, who had his moments despite an inconsistent performance overall–but a stronger hand at the helm was needed. It wasn’t until the end of the film that things started to take shape. That’s when the somber tone really pulled through and the cast’s (especially Affleck’s) hard work started to pay off. I can’t say that I was bored, but I wasn’t really captivated either. I wish that the film had started at the end and then moved on from there. All-in-all, I kind of liked it.
Somewhat Good
6/15/09
Film
No Reservations (2007)
I watched this movie because I love to watch Catherine Zeta-Jones, I love food, and I love films about food. However, despite all of that, I only liked this film a little. It was a nice diversion, but nice doesn’t necessarily cut it. I think that Zeta-Jones didn’t hit the mark in the lead role. Her trademark elegance got in the way. This movie needed a sharper take from her to cut through its banality and softness. Eckhart does a good job as the guy who snaps her back into reality; but that kind of role is easy for him. Zeta-Jones is always watchable, but where’s the edge? This film just doesn’t offer anything new. But despite all of these problems, it made me smile at times.
OK
6/1/09
Film
Gone Baby Gone (2007)
First of all, this film had its flaws–it definitely could have used sharper edits and a little more background information–but the cast created an authenticity that was understated and intriguing (especially Affleck and, of course, Freeman). This film didn’t really break any new ground, but it kept me watching (a goal that every film should have). At the end, there is a welcomed twist to the story that makes it harder to take a side. That twist works because of Ben Affleck’s generally deft direction. He doesn’t force anything and his actors follow suit (a result of wise casting decisions). At times this film felt a little lightweight, but I think that worked out in its favor by the end.
Very Good
5/15/09
Film
8 1/2 (1963)
The opening scene of the film (one of the most famous in history), in which Mastroianni flies away from a traffic jam only to be pulled back down again, really intrigued me; I hoped that the rest of the film would continue to do so, but it didn’t. I can appreciate Fellini’s vision and his artistry, but I can’t appreciate a film that is simply a collage of increasingly tedious surreal images. While I know that this film is more of an expression of Fellini’s understanding of his life, of a director’s life, and of life in general, that doesn’t mean that I need to see over two hours of masterful experimentation. If you love art films, then this is for you. But if you want to connect to a film, you should stay away from this (unless you can empathize with the plight of a director). I wanted to love this film, but I think it’s better off as a textbook for film-making. You cannot deny Fellini’s genius, but that doesn’t mean that you have to enjoy it.
Bad
5/1/09
Film
The Postman Always Rings Twice (1981)
This film has some great moments, but there is no through-line to connect them. Therefore, it’s very inconsistent. Lange and Nicholson have an interesting chemistry, but the structure of this film doesn’t highlight their efforts as well as it should have. Their scenes should have been on fire; unfortunately, despite their efforts, the fire never got a chance to grow. However, their efforts do make this film watchable.
OK
4/17/09
Film
The Piano (1993)
This film was well made. Everything is good, but nothing is really great. I just didn’t feel enough tension and passion to be fully engrossed. There were some beautiful shots and moments; but I don’t think those moments led to any real power. The acting was elegant and the script was expertly spare, but something was missing. However, this a strange love story (almost a love “quadrangle” involving Hunter, Keitel, Neill, and the piano itself) and one that has value–even if it’s not perfect.
Good
4/3/09
Film
Moonstruck (1987)
Everything is over-the-top and it works like a charm. This is not a perfect film, but everyone seems to be having a great time; and all of the actors seem to have a deep understanding of their characters that balances the overdrawn nature of the story somewhat. What a good time, though. There’s some hidden truths here about the many forms of love. I don’t want to think too much about this film, though; it’s just pure entertainment.
Very Good
3/15/09
Film
Away From Her (2006)
This film’s strength is its simplistic, direct (almost blunt) presentation of the impact of Alzheimer’s disease. Nothing here is manipulative, and that makes the story all the more tragic. From the beginning of the film, I wanted to know more about these characters. Sarah Polley has a trusting hand as the director, and that shows in all of the performances. All of the characters seemed so real and no one made one false move. This is a rare kind of film–a realistically moving piece of art.
Very Good
3/1/09
Film
The Red Violin (1998)
This film succeeds in conveying the power of music and its affect on people. However, the titular violin’s power seems to lend itself to melodrama. This a film that will either sweep you away with its broad strokes or make you laugh at its passionate presentation. I appreciated the director’s decision to go all the way in telling this story. Whether all of the “drama” here is warranted or not seems to be a secondary issue to me–I’m just happy to be entertained.
Good
2/15/09
Film
La Vie en Rose (2007)
Not bad at all. Cotillard gives as strong performance as Piaf, and saves the film as a result. I think that the decision to present Piaf’s life out of chronological order did little to help me connect to the film as a whole. By the end, I felt that some of the scenes were very repetitious. There just wasn’t enough momentum to keep this film fresh. So, while nothing was bad, I didn’t feel that anything was great either. I wish there was more of a focus on who Piaf was, rather than what she did. Luckily for Cotillard, despite this film’s imperfections, it gives her a chance to act up a storm. Her Oscar win makes perfect sense.
OK
2/1/09
Film
Thirteen Days (2000)
A good film, but it needed to be great in order to do its subject matter complete justice. I just didn’t feel completely connected to this film, and that surprised me. I think that a sharper, more dynamic presentation would have been more suitable. Everything was a little too even for me, and this detracted from the overwhelming tension of the time. It’s a smart film, but that’s not unique for a political film. An adequate presentation.
Good
1/15/09
Film
The French Lieutenant’s Woman (1981)
This film had its problems, but something about it kept it from being boring. Streep and Irons are wonderful, as expected; and the film-within-a-film structure adds an interesting twist. However, that twist is both a blessing and a curse. The parallel lives between the two sets of characters that Streep and Irons play keeps you watching, but it also seems to keep the story from building any real momentum and power. I think this is a result of the structure’s built-in reminder that this is a film (because you see all of the strings behind the film-within-a-film). Even still, it is an enjoyable viewing. Pretty unique too.
Good
1/4/09
Film
Spellbound (2002)
What’s great about this documentary is that it gives you a glimpse into the lives of the children who participate in the national spelling bee. If you’ve ever watched one of the bees and wondered how the kids got there, then this is the film for you. The filmmakers use a very simplistic, straight-forward approach that allows the children and their families to reveal more about themselves than they probably think they are revealing. This is what you want from a documentary. However, this film could have gone a little further in highlighting the intensity of the process. The children and parents talked about intensity a lot, but I don’t think it showed up on the screen as much as it could have. Overall, well done.
Very Good
12/15/08
Film
Paprika (2006)
An inventive and wonderfully illustrated anime film that doesn’t go overboard with its depiction of dreams. This film was directed with steady hands, and those hands kept it from spiraling out of control. Despite the seeming outlandishness of the premise, there was a definite logic on display. As a result, it didn’t just have great images to look at; it also had a story that was worth investing in. Once this film gets going, you’re hooked.
Very Good
12/1/08
Film
3:10 to Yuma (2007)
A good film that is indebted to its stars. The storyline is completely implausible, but Bale and Crowe make it believable. The journey from Crowe’s character trying to escape Bale and the rest of his captors to Crowe agreeing to help Bale send himself to jail required a lot of delicate acting cues throughout the course of the film; and these guys found a way to do it. The supporting cast was solid, especially Ben Foster as Crowe’s main sidekick. Not as relentlessly exciting as I would want to be, but definitely never boring.
Very Good
11/15/08
Film
Sunshine (2007)
A pretty masterful sci-fi film that, for the most part, expertly balances science and fiction. The look of this film fits squarely within the evolution of science-fiction cinematography. The use of color plays an important part here because it allows the audience to appreciate the power of the sun, whether it is in the shot or not. Boyle does a great job of constantly building the tension throughout the film and of allowing the audience to be drawn in pretty effectively. The cast is very strong as well. As with all space films, these characters have to face enormous psychological challenges that propel the plot and the suspense; and this film does a good job of making those challenges gripping. Nothing really new, but still very worthwhile.
Very Good
11/1/08
Film
A Mighty Heart (2007)
A quietly powerful film that does a great job of presenting the Daniel Pearl tragedy with grace and respect. Everything felt authentic here, and I think that the anchor of the film is Jolie. She really honed in on the reality of Mariane Pearl. As a result, everything else works. The whole cast is great, and Winterbottom has a great feel for cinematic truth. This is a film I needed to see because it breathes life into a major news story. Now, it seems that it is more than news—an effective tribute.
Very Good
10/15/08
Film
Stardust (2007)
Not really that original (it’s a combination of ideas from many other films, from “The Princess Bride” to “The Witches of Eastwick”), but definitely entertaining. Not as funny as “The Princess Bride”, but this film was a lot of fun to watch (the actors seemed to be having fun as well). It’s always nice to be entertained in a mindless way every now and then. If you need a little break from a bunch of serious films, then this is the one for you.
Good
10/1/08
Film
Donnie Darko: Director’s Cut (2001)
In spite of this film’s tendency to meander, I found it very interesting and almost hypnotizing. The performances were strong resulting from some interesting casting choices (including Drew Barrymore as an edgy high school English teacher and Patrick Swayze as a motivational speaker). It’s best to just go along for the ride and try to piece everything together at the end. You might discover some interesting points on identity and coming to terms with death.
Good
9/15/08
Film
Shoot ‘Em Up (2007)
If you’re not disturbed by comedic violence, then this will entertain you. Of course, the best parts were the action sequences. It was fun to see the twisted creativity of the various shootouts. Owen and Giamatti seemed to have fun doing this, and their delivery of the over-the-top dialogue made the film work. There were a few dull moments (especially the non-action scenes between Owen and Bellucci), but those moments didn’t last too long. Definitely not to be taken too seriously; just watch it for the thrills.
Good
9/1/08
Film
Eastern Promises (2007)
Definitely a good film, but something seemed to be missing. I can’t quite put my finger on it. I think that there was a hesitancy throughout the film that kept it from reaching a higher level. I wouldn’t say that anything was wrong with it, but I do think that it could have been great with a few tweaks. However, the acting was strong and the visual style was compelling.
Good
8/15/08
Film
Rescue Dawn (2006)
This film really surprised me. I knew that it was going to be a war film, but it was a pretty unique one. It’s more of an escape/war film, but without any of the usual trimmings. Once Bale is taken captive, this film really takes off. Some moments seemed frighteningly real without any unnecessary bells and whistles (Both Bale and his fellow captives all did amazing jobs and definitely looked the part too). This film really worked for me in a somewhat strange way–I was taken aback at times by its simplistic vision.
Great
8/1/08
Film
Waitress (2007)
What a great, unique film. At the beginning, I kind of sat up in my chair because I knew that something special was about to happen. The non-stop pacing made everything work, and the sarcastically sunny tone perfectly highlighted the difference between what other people’s lives seem to be and what those lives really are. The cast had perfect chemistry and timing: Russell was great, Hines was reliably funny, and Andy Griffith completely surprised me with an amazing performance. It’s unfortunate that Shelly won’t be able to continue making films, but this one is a crowning achievement.
Great
7/15/08
TV Film
A Lesson Before Dying (1999)
While this film may be a little too formulaic, it does have something to offer in the reliably strong performance of Cheadle. There are plenty of films that deal with racial injustice in the South, but Cheadle, as usual, delivers something that is both unique and natural. He is the only reason to watch this.
Good
7/1/08
Film
The Magnificent Seven (1960)
Not the greatest of westerns (in my opinion), but it was adequately entertaining. This film is really should be called “The Best of the Seven Samurai”, but that doesn’t bother me much. It is full of film stars and veteran actors who add some spice to the predictable plot. Also, there are some great action sequences. Good.
Good
6/15/08
Film
Once (2006)
Well, the critics were right–this was a triumph. But it was a triumph in a quiet way. Everything felt real, and I always thought that there were people on the screen (not simply characters). Of course, as with any film, there were certain parts of the characters’ lives that were glossed over; but those omissions served the story (and the appropriately brief running time). The film’s two stars were wonderful; they both had a rare combination of great acting and musicianship (the music was breathtaking). This is an unconventional musical that doesn’t try to transport you to some fantasy world; instead, it taps into reality.
Great
6/1/08
Film
Superbad (2007)
This film’s highlight is its keen usage of the language of teenagers. This is not a perfect film, but you have to appreciate it for its improvisational skill. “McLovin'” is one of the most enjoyable characters in teen comedy history, and (thankfully) he is not overused. A good time.
Very Good
5/30/08
TV Miniseries
John Adams (2008)
The success of this production is its ability to make every moment worth watching (and there are lots of moments). John Adams’ perspective had been routinely overlooked before this miniseries and the book on which it is based were produced. What’s great is that all of the characters seem real (flaws, eccentricities, and all); they’re not merely cardboard historical figures. At the center of this production rest the utterly brilliant performances by Giamatti and Linney. Their portrayal of John and Abigail Adams ensures that everything else in the narrative falls into place. There are so many great characters here (especially Ben Franklin) who could easily pull focus away from the central relationship in this miniseries that superb performances from Giamatti and Linney are crucial to its success. They never disappoint, and neither does anything else here.
Great
5/14/08
Film
Four Weddings and a Funeral (1994)
Charming and well-paced (not too fast and not too slow). I enjoyed this film’s take on marriage; it tackles the ageless dilemma between marriage for love and marriage for obligation with a keen eye and a lightly comic script. Nothing is heavy-handed, but this film did make me think more than I thought it would have beforehand. A superior romantic comedy.
Very Good
4/15/08
Film
Down in the Valley (2005)
Has some interesting moments, but not cohesive at all. In spite of Norton’s reliably strong performance and Wood’s talent, this film never quite lifts off of the ground. The concept sounds a lot better than it seems. The filmmakers just couldn’t make the film sing.
Bad
4/2/08
Film
What Ever Happened to Baby Jane? (1962)
This film was consistently entertaining and over-the-top (especially Davis). Completely met my expectations of a Crawford-Davis match-up. Hilarious, ridiculous, and worth a viewing or two.
Very Good
3/15/08
Film
Seven Samurai (1954)
Yes, this is a classic. And yes, it was and is a huge influence on modern films. But, it wasn’t that exciting. While some of the shots were beautiful and some of the moments interesting, the whole film didn’t quite add up to me. I can appreciate it for its place in cinematic history, but that doesn’t mean that it should be exempt from being entertaining. There are lots of classics that are just as exciting today as they were years ago.
OK
3/1/08
Film
Marat/Sade (1967)
In the beginning of the film, Brook’s inventiveness really shines through. You may not be sure of what you are watching, but you definitely want to find out. The herald is especially good at keeping you interested. However, as the film progresses, the same devices are constantly repeated and the film loses its steam. Ultimately disappointing.
OK
2/15/08
Film
Laura (1944)
A well-edited, solid mystery with enough twists to keep you interested. There was nothing spectacular, but everything was consistently good. A few things were predictable, but most were not. Pretty entertaining.
Good
2/1/08
TV Film
Redemption: The Stan Tookie Williams Story (2004)
The only reason to see this movie is for the solid performances by Whitfield and Foxx. Everything else is underwhelming. It seems that the creative team decided to use the made-for-TV playbook to put the pieces of the plot together. See this if you are a fan of Foxx or Whitfield, or if you are interested in Tookie Williams.
OK
1/15/08
Film
The Secret Lives of Dentists (2002)
This film started off with an interesting, whimsical tone. However, it seems that the creative team ran out of ideas by the middle. Not a long film, but it felt twice as long as it really was. Not enough new ideas to back-up the actors’ dedicated work. The filmmakers want to excite, but they end up disappointing.
OK
1/5/08
Film
The Bourne Ultimatum (2007)
It seems that everyone involved in this franchise knows exactly what to do without even thinking about it. Everything is so natural and effortless (rare for an action film, or for any kind of film for that matter). What’s so great is the clarity of the story, action, etc. There are lots of details, but Greengrass never bogs you down with them. You are always with Bourne all of the way. I think that Bourne is the role that Damon was made to play; and his supporting cast is perfect. A pleasure.
Great
12/15/07
Film
The Red Shoes (1948)
A strongly presented film that was, perhaps, a little too long. However, the use of color and the fiery (if a little over-the-top) performances keep the engine going. Not as great as some may say, but definitely good.
Good
12/1/07
Film
Ratatouille (2007)
A completely charming, generally captivating film. The film loses some of its steam just before the ending, but it picks up again shortly thereafter. Like most animated films, this film makes a point about humanity (great things can come from unexpected places, etc.). But the way the film makes its points is its strength. I didn’t love all of it, but I certainly enjoyed all of it.
Very Good
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