I wanted to love BEERFEST. I think SUPER TROOPERS is one of the best comedies out there and I’m one of the few people in America who actually owns the CLUB DREAD DVD. I think the Broken Lizard guys are fun to watch, they come up with great ideas, and they’re generally funny as hell.
BEERFEST, however, felt a little off. Sure, I laughed a few times, but something about the movie felt perfunctory. Its structure is so blatantly formulaic that even its copious gratuitous boob shots can’t keep us hooked in, the DAS BOOT gags get old fast, and the whole affair limps from one joke to the next with all the enthusiasm of an underprepared freshman checking all Bs on a multiple-guess exam.
Nevertheless, I did manage to laugh a few times, and there is something to be said for gratuitous boob shots. I didn’t love BEERFEST, but I guess I liked it ok.
I hear Broken Lizard is going to set its next comedy in Ancient Greece. Hopefully, I’ll be able to give that picture more than this faint praise.
Saturday, December 16, 2006
Thursday, December 14, 2006
Rudy
What’s not to love about RUDY? It speaks to powerful American archetypes and values, it’s competently plotted and paced, and it sells its characters every step of the way.
RUDY’s one of those movies I’ve long felt that I should see, but I couldn’t quite muster the will. I imagined it would be treacly and pandering, and I don’t particularly care about either the University of Notre Dame or its football program. When I finally dug in and gave it a go, RUDY hooked me from the moment an authority figure told the scrappy hero what he couldn’t do – what ambitions were beyond realization for a youngster of his means and talents. I strongly identify with that situation, and I was right there with Rudy as he put his thumb in the eye of The Man through a combination of hard work and perseverance. I suspect that the movie resonates with a wider audience because RUDY’s story is the classic American story, that of the underdog who succeeds against all odds.
The nature of that success helps sell the movie. RUDY doesn’t face an obstacle, go through a handy montage, and quickly triumph over his opponents while winning the girl. He fails again and again and again, questioning himself and the value of his goal, but he keeps at it like a terrier at a rat. His triumph isn’t the sudden victory of the naturally talented or magically transformed; it’s the triumph of hard work over natural talent, of tenacity over nearly everything. It speaks to us because we can so readily identify with Rudy. How many of us are super-geniuses or fantastically gifted athletes? How many of us have gotten where we are through our willingness to work a little harder, study a little more, run a little farther than the next guy?
The story moves along briskly. Rudy dreams of playing football for Notre Dame, but he’s told that he isn’t college material and he believes it. Four years after high school, he’s stuck working in a steel mill until he realizes that if he doesn’t get to work on his dream, it will never happen. He heads to South Bend and tries to enroll at Notre Dame. He’s rejected and settles for the local junior college, where he does absolutely everything he can think of to get in to Notre Dame. After multiple rejections, he asks his priest, “Is there anything more I can do?” The answer is no – he’s doing everything he can and it doesn’t seem to be good enough. Nevertheless, he perseveres and finally gets accepted. Next stop: the football team, where he barely makes the practice squad. Will he ever get to suit up and take the field, even though he’s smaller than the other guys? The answer is obvious, but that doesn’t keep us from coming along on every step of the journey, rooting for the underdog Rudy as he overcomes the myriad challenges and scores the little victories that add up to success.
Sean Astin, as the titular character, does fine work here. He’s hopeful and determined, and we feel for him in his failures and successes. He’s backed by a solid cast which includes Ned Beatty as a millworker father, John Favreau as his tutor, and Charles Dutton as the groundskeeper who acts as a sort of surrogate father for Rudy, giving him a pat on the back or a kick in the ass, as required.
I wasn’t expecting to particularly enjoy RUDY. I saw it for cultural awareness. What a pleasure, then, that its combination of message, structure, and performance worked so well. RUDY is a real treat.
RUDY’s one of those movies I’ve long felt that I should see, but I couldn’t quite muster the will. I imagined it would be treacly and pandering, and I don’t particularly care about either the University of Notre Dame or its football program. When I finally dug in and gave it a go, RUDY hooked me from the moment an authority figure told the scrappy hero what he couldn’t do – what ambitions were beyond realization for a youngster of his means and talents. I strongly identify with that situation, and I was right there with Rudy as he put his thumb in the eye of The Man through a combination of hard work and perseverance. I suspect that the movie resonates with a wider audience because RUDY’s story is the classic American story, that of the underdog who succeeds against all odds.
The nature of that success helps sell the movie. RUDY doesn’t face an obstacle, go through a handy montage, and quickly triumph over his opponents while winning the girl. He fails again and again and again, questioning himself and the value of his goal, but he keeps at it like a terrier at a rat. His triumph isn’t the sudden victory of the naturally talented or magically transformed; it’s the triumph of hard work over natural talent, of tenacity over nearly everything. It speaks to us because we can so readily identify with Rudy. How many of us are super-geniuses or fantastically gifted athletes? How many of us have gotten where we are through our willingness to work a little harder, study a little more, run a little farther than the next guy?
The story moves along briskly. Rudy dreams of playing football for Notre Dame, but he’s told that he isn’t college material and he believes it. Four years after high school, he’s stuck working in a steel mill until he realizes that if he doesn’t get to work on his dream, it will never happen. He heads to South Bend and tries to enroll at Notre Dame. He’s rejected and settles for the local junior college, where he does absolutely everything he can think of to get in to Notre Dame. After multiple rejections, he asks his priest, “Is there anything more I can do?” The answer is no – he’s doing everything he can and it doesn’t seem to be good enough. Nevertheless, he perseveres and finally gets accepted. Next stop: the football team, where he barely makes the practice squad. Will he ever get to suit up and take the field, even though he’s smaller than the other guys? The answer is obvious, but that doesn’t keep us from coming along on every step of the journey, rooting for the underdog Rudy as he overcomes the myriad challenges and scores the little victories that add up to success.
Sean Astin, as the titular character, does fine work here. He’s hopeful and determined, and we feel for him in his failures and successes. He’s backed by a solid cast which includes Ned Beatty as a millworker father, John Favreau as his tutor, and Charles Dutton as the groundskeeper who acts as a sort of surrogate father for Rudy, giving him a pat on the back or a kick in the ass, as required.
I wasn’t expecting to particularly enjoy RUDY. I saw it for cultural awareness. What a pleasure, then, that its combination of message, structure, and performance worked so well. RUDY is a real treat.
Tuesday, December 12, 2006
Apocalypto
I respect APOCALYPTO more than I liked it.
Don't get me wrong: there's plenty to like about the movie. It's your basic "hunted man" picture, and that's a formula that's nearly impossible to botch. Problem is, APOCALYPTO is just a "hunted man" movie. I guess I was expecting something more: a meditation on Mayan civilization, perhaps, or at least a deeper journey into that culture.
Here's the setup: Jaguar Paw is doin' all right. He's the heir apparent to his father's tribal chiefdom. He's a good hunter, a good guy, and a good husband and father. He essentially embodies a tribal Mayan version of rustic virtue. Then, slavers from the city show up. They burn down his village, capture him and his friends, and drive them to the corrupted city for sacrifice. During the raid, Jaguar Paw managed to hide his family. He has to escape and get back to them, and to do so he has to evade the hunters who track him every step of the way.
As I said, it's a perfectly good "hunted man" picture, and I liked it fine. The respect part comes in with APOCALYPTO's realization of Mayan culture. The scenes in the corrupted city are nothing short of breathtaking, as the film imagines, down to the last detail of architecture and costume, what Mayan civilization may actually have felt and looked. It's awesome, and awe-inspiring, and I wound up appreciating and respecting its ambition and audacity more than anything else.
I liked APOCALYPTO just fine, but I tip my had to its ambition and audacity. It's worth seeing for that alone.
Don't get me wrong: there's plenty to like about the movie. It's your basic "hunted man" picture, and that's a formula that's nearly impossible to botch. Problem is, APOCALYPTO is just a "hunted man" movie. I guess I was expecting something more: a meditation on Mayan civilization, perhaps, or at least a deeper journey into that culture.
Here's the setup: Jaguar Paw is doin' all right. He's the heir apparent to his father's tribal chiefdom. He's a good hunter, a good guy, and a good husband and father. He essentially embodies a tribal Mayan version of rustic virtue. Then, slavers from the city show up. They burn down his village, capture him and his friends, and drive them to the corrupted city for sacrifice. During the raid, Jaguar Paw managed to hide his family. He has to escape and get back to them, and to do so he has to evade the hunters who track him every step of the way.
As I said, it's a perfectly good "hunted man" picture, and I liked it fine. The respect part comes in with APOCALYPTO's realization of Mayan culture. The scenes in the corrupted city are nothing short of breathtaking, as the film imagines, down to the last detail of architecture and costume, what Mayan civilization may actually have felt and looked. It's awesome, and awe-inspiring, and I wound up appreciating and respecting its ambition and audacity more than anything else.
I liked APOCALYPTO just fine, but I tip my had to its ambition and audacity. It's worth seeing for that alone.
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