Takashi Shimura had a wonderful 1954. First, he starred as Kambei Shimada in The Seven Samurai, one of the greatest films ever made. Then he starred in another Toho production, the original Gojira. The latter film would later be recut and renamed Godzilla for an American audience, and that version (the one with Raymond Burr) would be the only Godzilla the American audience would know for quite some time.
What a shame, and what a blesssing that Sony chose to release the original version in a new U.S. DVD. Gojira is my favorite Godzilla movie, more than making up for its clunky effects and sometimes hamfisted acting with a genuinely scary and thought-provoking tale that recalls and reflects the Japanese sensibility in the wake of WWII.
Two events overshadow Gojira: the nuclear bombings on Hiroshima and Nagasaki and the fire bombing of Tokyo. While Godzilla is, obviously, a radioactive monster awakened by nuclear testing in the Pacific Islands, his destructive rampage invokes the horror of the fire-bombing, an event that (if I remember my 1993 reading of Kurosawa's _Something Like an Autobiography_ correctly) gutted Toho Studios and personally affected the lives of those who worked there. Consequently, Gojira pulls no punches. The monster's rampage isn't cute, or played for action beats. It's horrific, people die, and those who survive the onslaught must deal with the effects of radiation poisoning afterward.
Takashi Shimura anchors this film. Surrounded by overacting young stars and giant latex monsters, Shimura brings a level of maturity and gravity to the situation that makes us believe in both it and him. The actor plays things straight, and paleontologist / wise man character keeps the proceedings anchored in reality when they could very easily descend into camp.
Gojiira. It's the first. It's the best. It's not to be missed. What were the odds that one man could star in two classics in the same year?
Tuesday, February 13, 2007
Goodbye, Mr. Chips
I read Robert Hilton's _Good-Bye, Mr. Chips_ about two years ago. I loved it so much that I didn't bother to seek out the film, feeling that I'd already experienced the story. I did myself a disservice by waiting so long.
Sam Wood's 1939 version of the story, starring Robert Donat and Greer Garson, is wonderful. Donat plays Mr. Chips over roughly a 60-year span, taking the character from fresh-faced young teacher to wise old dean without putting a single foot wrong. It's a masterful performance, the kind of thing that makes us realize just how powerful and wonderful an art form drama is. Greer Garson, in her first film role, plays a supporting character that breathes life into both Chips and the movie. Though she doesn't get much screen time, her presence energizes the whole proceedings - she's wonderful to watch.
Goodbye, Mr. Chips follows its titular character through the chapters of his life as a professor at a English Boy's School, the kind of institution that has become part of the British cultural landscape. On his first day, he lets the boys roll right over him, but it isn't long before those selfsame boys come to respect him and send their best wishes, along with their own boys, back to him. This isn't the saccharine stuff of a Dead Poets' Society, however. Chips is a real guy, a product of his time and place, as are his charges. He never really breaks out until he meets Garson on - well, I'll let you discover that element for yourself. The film is told in episodes, lifting moments from the Professor's life, and closes in the way we would all hope a life well lived would close. With grace, joy, and hope.
I just plain loved this movie. Had I seen it as a younger man, it may have inspired me to go into teaching. Who knows? Perhaps it still might.
Sam Wood's 1939 version of the story, starring Robert Donat and Greer Garson, is wonderful. Donat plays Mr. Chips over roughly a 60-year span, taking the character from fresh-faced young teacher to wise old dean without putting a single foot wrong. It's a masterful performance, the kind of thing that makes us realize just how powerful and wonderful an art form drama is. Greer Garson, in her first film role, plays a supporting character that breathes life into both Chips and the movie. Though she doesn't get much screen time, her presence energizes the whole proceedings - she's wonderful to watch.
Goodbye, Mr. Chips follows its titular character through the chapters of his life as a professor at a English Boy's School, the kind of institution that has become part of the British cultural landscape. On his first day, he lets the boys roll right over him, but it isn't long before those selfsame boys come to respect him and send their best wishes, along with their own boys, back to him. This isn't the saccharine stuff of a Dead Poets' Society, however. Chips is a real guy, a product of his time and place, as are his charges. He never really breaks out until he meets Garson on - well, I'll let you discover that element for yourself. The film is told in episodes, lifting moments from the Professor's life, and closes in the way we would all hope a life well lived would close. With grace, joy, and hope.
I just plain loved this movie. Had I seen it as a younger man, it may have inspired me to go into teaching. Who knows? Perhaps it still might.
Thursday, February 08, 2007
The Coast Guard
THE COAST GUARD is a Korean picture by Kim Ki Duk, the guy who made 3-IRON. Since I love 3-IRON, I was all set to love this picture, as well. Unfortunately, it didn't work out that way.
South Korea is one of the few countries on Earth that actively patrols its beaches. Since the Korean War cease-fire, North Korea has consistently sent spies and saboteurs south to either do a quick hit-and-run or blend into society and await the call to action. There have been no confirmed infiltrations since 2000, but South Korean soldiers on coast guard duty continue to patrol, and they continue to have authorization to shoot anyone who they see on the beach at night. THE COAST GUARD is about one such soldier, a particularly gung-ho career man who shoots (and grenades) a man he thinks is an infiltrator, but who is actually just a drunk kid having sex on the beach. The soldier comes unglued, the kid's paramour goes insane, and things go downhill from there.
It's a good movie; a perfectly fine movie; but I've seen post-traumatic stress disorder movies before and I've seen military unit falling apart movies before. THE COAST GUARD doesn't add anything new to those concepts, and the print on the DVD is muddy and old. THE COAST GUARD doesn't give one much food for thought and it doesn't dazzle the eye, so we're left with a particularly good Movie of the Week.
As I said, it's a fine movie. But it's no 3-IRON.
Tuesday, February 06, 2007
The Son's Room
Sometimes, all a guy wants to do is watch an American picture where lots of stuff blows up real good.
That's the mood I was in when I reluctantly fired up THE SON'S ROOM (2001), Nanni Moretti's film about a family and the pain it endures when one of its members drowns in a scuba mishap. It wasn't long, however, before thoughts of explosions left my mind as I became deeply involved with this family, their grief, and their attempts to cope with it.
THE SON'S ROOM succeeds, in part, because it doesn't rush to tragedy. It gives us a good half hour to get to know these people; to develop an attachment to Andrea, the doomed teenager; and to develop a genuine affinity for Giovanni, the father and psychoanalyst who begins to suspect that his professional gods are as false as the Catholic one he left behind long ago. When Andrea dies offscreen, we empathize with his surviving family members, and we're ready to travel with them on the next phase of their journey.
What do I like most about this movie? It doesn't feature "Solsbury Hill," for one thing. For another, it offers no overblown dramatic scenes in which the characters shout their feelings at one another. For yet another, it offers no trite conclusion, or even an obvious message. A page is turned, and that's all, and that seems appropriate.
I was in the mood for an action picture, but I got something better: an involving picture. I care about these people, and I want to know what happens next in their lives. Perhaps they'll write.
That's the mood I was in when I reluctantly fired up THE SON'S ROOM (2001), Nanni Moretti's film about a family and the pain it endures when one of its members drowns in a scuba mishap. It wasn't long, however, before thoughts of explosions left my mind as I became deeply involved with this family, their grief, and their attempts to cope with it.
THE SON'S ROOM succeeds, in part, because it doesn't rush to tragedy. It gives us a good half hour to get to know these people; to develop an attachment to Andrea, the doomed teenager; and to develop a genuine affinity for Giovanni, the father and psychoanalyst who begins to suspect that his professional gods are as false as the Catholic one he left behind long ago. When Andrea dies offscreen, we empathize with his surviving family members, and we're ready to travel with them on the next phase of their journey.
What do I like most about this movie? It doesn't feature "Solsbury Hill," for one thing. For another, it offers no overblown dramatic scenes in which the characters shout their feelings at one another. For yet another, it offers no trite conclusion, or even an obvious message. A page is turned, and that's all, and that seems appropriate.
I was in the mood for an action picture, but I got something better: an involving picture. I care about these people, and I want to know what happens next in their lives. Perhaps they'll write.
Sunday, February 04, 2007
Rocky
So you say you want to be entertained? Well, ROCKY wants to entertain you. This 1981 Bollywood production has romance, deception, loss, redemption, motorcycle stunts, fistfights, heroes, villains, motherly love, and even a disco dance-off that you will never forget. The problem is that it isn't very good.
Here's the movie in a nutshell. Rocky's dad is a union organizer who's killed by the Indian Snidely Whiplash, who proceeds to sexually assault his mother while the boy, 6ish, tries to stop him. A family friend arrives just in time to save the day, but the boy is so traumatized that he's now an amnesiac. The local doctor believes that the boy should be separated from his mother, and the family friend steps in to adopt him. Fast forward 15-or-so years, and young Rocky's all grown up, still in the dark about his early childhood. He doesn't know it yet, but he has a karmic score to settle: over the next couple of hours, he must avenge his father, get the girl, and sing and dance his way into our hearts.
There's a problem, however. ROCKY's titular character is played by Sanjay Dutt, an actor so lacking in presence, range, and athletic ability that I couldn't decide which was more unbelievable: his acting, his dancing, or his stunt work. The supporting cast is fine, but it can't save a production that hinges on our acceptance of the entirely unremarkable Dutt as a charismatic leader, fearsome fighter, and dance machine.
As for the production, well, it's late-disco-era Bollywood, so stand by for some amusing sets and costumes. The transfer doesn't help, as the DVD producers seemed to work from the most scratched, discolorized, and generally battered print they could find. I guess it's better than nothing, if you're a Sanjay Dutt completist.
As I said, ROCKY wants to entertain you. Though it pulls out all the stops, sadly, it fails.
Here's the movie in a nutshell. Rocky's dad is a union organizer who's killed by the Indian Snidely Whiplash, who proceeds to sexually assault his mother while the boy, 6ish, tries to stop him. A family friend arrives just in time to save the day, but the boy is so traumatized that he's now an amnesiac. The local doctor believes that the boy should be separated from his mother, and the family friend steps in to adopt him. Fast forward 15-or-so years, and young Rocky's all grown up, still in the dark about his early childhood. He doesn't know it yet, but he has a karmic score to settle: over the next couple of hours, he must avenge his father, get the girl, and sing and dance his way into our hearts.
There's a problem, however. ROCKY's titular character is played by Sanjay Dutt, an actor so lacking in presence, range, and athletic ability that I couldn't decide which was more unbelievable: his acting, his dancing, or his stunt work. The supporting cast is fine, but it can't save a production that hinges on our acceptance of the entirely unremarkable Dutt as a charismatic leader, fearsome fighter, and dance machine.
As for the production, well, it's late-disco-era Bollywood, so stand by for some amusing sets and costumes. The transfer doesn't help, as the DVD producers seemed to work from the most scratched, discolorized, and generally battered print they could find. I guess it's better than nothing, if you're a Sanjay Dutt completist.
As I said, ROCKY wants to entertain you. Though it pulls out all the stops, sadly, it fails.
Saturday, February 03, 2007
Romeo + Juliet
I fell in love with Luhrmann's ROMEO + JULIET when Brian Dennehy's said "Bring me my longsword" and Lady Montague reached for a Longsword .44 Cal.
This movie was everything I look for in a Shakespeare adaptation: audacious, creative, and fun, yet true to the heart of the play in question.
As a Netflix guy, I don't own a lot of movies. I own this one.
This movie was everything I look for in a Shakespeare adaptation: audacious, creative, and fun, yet true to the heart of the play in question.
As a Netflix guy, I don't own a lot of movies. I own this one.
Friday, February 02, 2007
Breakfast at Tiffany's
BREAKFAST AT TIFFANY'S is a movie about people I don't like, living in a milieu that doesn't intrigue me, beginning a relationship that's founded, among other things, on the joys of petty larceny. It's title song is a horrifying bit of schmaltz, and it features a racial charicature so offensive that I'm surprised the movie isn't reviled today.
No, I did not like it. Not at all.
No, I did not like it. Not at all.
Thursday, February 01, 2007
Thank You for Smoking
I enjoyed the heck out of THANK YOU FOR SMOKING.
TYFS puts its message right out there, but don't see it for the message. See it for the delivery. The movie follows Nick Naylor (Aaron Eckhart), a smoking lobbyist who's so darned good at his job that he can't help but love it. Nick's the kind of guy who can appear on a talk show loaded with anti-smoking spokespeople and utterly blow them away. He's morally flexible, incredibly cunning, possibly evil, and so much fun to watch that the movie's 90-minute run time races by.
The movie maintains a satiric distance, but it holds true to its universe (and its protagonist's questionable worldview) throughout. By not winking at the joke, it builds both comedically and dramatically, with a conclusion that's amusing, satisfying, and arguable.
You may or may not agree with the politics or science of the film (Offshore oil drilling is morally equivalent to clubbing baby seals? Cell phones cause brain cancer?), but you can enjoy funny, well made satire no matter your predilictions. TYFS is just that, and it's a lot of fun.
Enjoy.
TYFS puts its message right out there, but don't see it for the message. See it for the delivery. The movie follows Nick Naylor (Aaron Eckhart), a smoking lobbyist who's so darned good at his job that he can't help but love it. Nick's the kind of guy who can appear on a talk show loaded with anti-smoking spokespeople and utterly blow them away. He's morally flexible, incredibly cunning, possibly evil, and so much fun to watch that the movie's 90-minute run time races by.
The movie maintains a satiric distance, but it holds true to its universe (and its protagonist's questionable worldview) throughout. By not winking at the joke, it builds both comedically and dramatically, with a conclusion that's amusing, satisfying, and arguable.
You may or may not agree with the politics or science of the film (Offshore oil drilling is morally equivalent to clubbing baby seals? Cell phones cause brain cancer?), but you can enjoy funny, well made satire no matter your predilictions. TYFS is just that, and it's a lot of fun.
Enjoy.
Monday, January 29, 2007
Three Times
THREE TIMES, directed by Hsiao-hsien Hou and starring Qi Shu and Chen Chang, is supposed to be a briliant movie. It won a Golden Horse for Best Taiwanese Film of the Year and was nominated for a Golden Palm, so it has some serious bona fides, but those bona fides didn't translate into a movie I could engage or enjoy. I suspect it's because THREE TIMES is too Chinese - it's so deeply embedded in Chinese themes and concerns that there isn't much there for the Occidental viewer.
THREE TIMES consists of three short stories, each a play on the theme of love missed. The first, set in the mid-'60s, casts Qi as a pool hall attendant and Chen as a soldier who falls in love with her, only to miss the connection in the end. In the second, Qi plays a courtesan and Chen a wealthy patron, one who always speaks of freeing China from foreign domination while blithely allowing the young woman to remain in servitude at the bordello. In the third, the two play a couple in modern Taipei, so thoroughly engrossed in their own personal worlds that they're incapable of reaching out to another human being.
These sound like interesting premises, but they depend upon an understanding of nonverbal communication and social cues that, in turn, require a deep familiarity with the culture on which they're based. The second story, for example, is a silent movie: its dialogue consisting of intertitle cards and the only sounds are that of the of the courtesan's sad songs. The sad songs are Chinese traditionals, done in the scaling, high, nearly nasal tone that was fashionable at that time, and which grates on my ears today. As for the first and third stories, they depend upon an understanding of the culture and history of Taiwan - one which I, as a viewer lacking in that knowledge, couldn't deliver.
If you're Chinese, you may love the heck out of THREE TIMES. For me, it didn't deliver.
THREE TIMES consists of three short stories, each a play on the theme of love missed. The first, set in the mid-'60s, casts Qi as a pool hall attendant and Chen as a soldier who falls in love with her, only to miss the connection in the end. In the second, Qi plays a courtesan and Chen a wealthy patron, one who always speaks of freeing China from foreign domination while blithely allowing the young woman to remain in servitude at the bordello. In the third, the two play a couple in modern Taipei, so thoroughly engrossed in their own personal worlds that they're incapable of reaching out to another human being.
These sound like interesting premises, but they depend upon an understanding of nonverbal communication and social cues that, in turn, require a deep familiarity with the culture on which they're based. The second story, for example, is a silent movie: its dialogue consisting of intertitle cards and the only sounds are that of the of the courtesan's sad songs. The sad songs are Chinese traditionals, done in the scaling, high, nearly nasal tone that was fashionable at that time, and which grates on my ears today. As for the first and third stories, they depend upon an understanding of the culture and history of Taiwan - one which I, as a viewer lacking in that knowledge, couldn't deliver.
If you're Chinese, you may love the heck out of THREE TIMES. For me, it didn't deliver.
Thursday, January 25, 2007
Ong Bak: Muy Thai Warrior
I can't decide which sentence to use for my opening salvo, so please just imagine that you're reading the following two lines simultaneously:
Oh my God.
ONG BAK: MUY THAI WARRIOR is better than ENTER THE DRAGON.
To paraphrase Roger Ebert, this film is 107 minutes long. Seven of those minutes are devoted to the plot, which exists to give our hero, Tony Jaa, a maguffin to pursue through the mean streets of Bangkok. The other 100 minutes contain extraordinary fights, the best footchase ever committed to film, and even a tuk-tuk race. Tony Jaa is a revelation, drawing comparisons to Jackie Chan for the pure creativity and exuberance of his stunt work, and this movie had me exclaiming "Oh my God!", "How is that possible?", and "Did you see that?" more often than a sailor on Phu Ket shore leave.
Don't get me wrong; I'm not questioning ENTER THE DRAGON's quality, importance to film history, or contributions to the screenwriter's hall of fame, Mr. Han-Man. I'm saying that ONG BAK has more action per reel, doesn't bother with the cheesy James Bond storyline, and features stunts so tightly choreographed and executed that Bruce Lee himself would approve.
Tony Jaa is the real deal - no wonder both Chan and Jet Li want to work with him. I can't wait to see what he does next.
Oh my God.
ONG BAK: MUY THAI WARRIOR is better than ENTER THE DRAGON.
To paraphrase Roger Ebert, this film is 107 minutes long. Seven of those minutes are devoted to the plot, which exists to give our hero, Tony Jaa, a maguffin to pursue through the mean streets of Bangkok. The other 100 minutes contain extraordinary fights, the best footchase ever committed to film, and even a tuk-tuk race. Tony Jaa is a revelation, drawing comparisons to Jackie Chan for the pure creativity and exuberance of his stunt work, and this movie had me exclaiming "Oh my God!", "How is that possible?", and "Did you see that?" more often than a sailor on Phu Ket shore leave.
Don't get me wrong; I'm not questioning ENTER THE DRAGON's quality, importance to film history, or contributions to the screenwriter's hall of fame, Mr. Han-Man. I'm saying that ONG BAK has more action per reel, doesn't bother with the cheesy James Bond storyline, and features stunts so tightly choreographed and executed that Bruce Lee himself would approve.
Tony Jaa is the real deal - no wonder both Chan and Jet Li want to work with him. I can't wait to see what he does next.
Monday, January 22, 2007
Carlito's Way: Rise to Power
CARLITO'S WAY: RISE TO POWER is a perfectly mediocre crime picture about a young tough who's working his way up to the big time. It's unique in that it's a prequel to the excellent CARLITO'S WAY, which saddles the newer picture's star with the burden of both creating his own character and doing a rough Al Pacino impression throughout. The guy does a fine job, but I've been more entertained by the five minutes of MY COUSIN VINNY playing in the background than I was throughout the whole thing.
The Great Raid
Poor James Franco. The guy hasn't had a hit in some time, and he must be running out of studio goodwill by now. THE GREAT RAID hasn't helped.
THE GREAT RAID is actually two movies: a Franco - starring "mission" picture a la THE BRIDGE AT REMAGEN and a Joseph Fiennes - starring "POW" picture about the tribulations of the guys stuck in WWII's infamous Cabanuatan POW camp. The former is pretty good, while the latter had me looking at my watch. Fortunately, the movie shifted back and forth betweeen the two often enough that I knew the good part would always be coming back.
Had THE GREAT RAID been about only the Great Raid, it could have been a bang-up picture and, perhaps, Franco may have gotten a hit. As it is, the thing's too unfocused and it easily drops into the "forgettable" pile.
THE GREAT RAID is actually two movies: a Franco - starring "mission" picture a la THE BRIDGE AT REMAGEN and a Joseph Fiennes - starring "POW" picture about the tribulations of the guys stuck in WWII's infamous Cabanuatan POW camp. The former is pretty good, while the latter had me looking at my watch. Fortunately, the movie shifted back and forth betweeen the two often enough that I knew the good part would always be coming back.
Had THE GREAT RAID been about only the Great Raid, it could have been a bang-up picture and, perhaps, Franco may have gotten a hit. As it is, the thing's too unfocused and it easily drops into the "forgettable" pile.
Saturday, January 20, 2007
Mission: Impossible 3
MI3 is the most enjoyable of the MISSION IMPOSSIBLE films. It has a coherent story, nifty locations, and actors who know when to play it straight and when to chew the scenery.
The story is your basic Maguffin chase, no apologies necessary. The film called the prize in question the "rabbit's foot," and it'll end the world or some such, but the prize itself remains largely irrelevant. That's fine - I just appreciated that, unlike with the first two films, I could follow who was doing what to whom and why.
As with any good spy thriller, the action jumps from city to city around the world, barely stopping for breath or exposition. Everything looks great, the cops never respond to extraordinary amounts of gunfire, and someone put the bridge that links the Florida Keys in the middle of Virginia. Oh, and lots of stuff blows up real good.
Finally, there's the cast. The filmmakers assembled an extraordinary group of actors for a bubble-gum movie: there's Maggie Q in black fatigues, Maggie Q in a red dress, and Maggie Q in a leather jacket. It's the perfect cast for nearly any movie, and it succeeds perfectly.
In short, MISSION: IMPOSSIBLE 3 is slick, succesful, big-budget entertainment. I understand that the movie didn't make much money in the theaters, mostly due to the shenanigans of some guy who isn't Maggie Q, but pay no attention to that extraneous stuff: grab a DVD copy, pop some popcorn, and enjoy.
The story is your basic Maguffin chase, no apologies necessary. The film called the prize in question the "rabbit's foot," and it'll end the world or some such, but the prize itself remains largely irrelevant. That's fine - I just appreciated that, unlike with the first two films, I could follow who was doing what to whom and why.
As with any good spy thriller, the action jumps from city to city around the world, barely stopping for breath or exposition. Everything looks great, the cops never respond to extraordinary amounts of gunfire, and someone put the bridge that links the Florida Keys in the middle of Virginia. Oh, and lots of stuff blows up real good.
Finally, there's the cast. The filmmakers assembled an extraordinary group of actors for a bubble-gum movie: there's Maggie Q in black fatigues, Maggie Q in a red dress, and Maggie Q in a leather jacket. It's the perfect cast for nearly any movie, and it succeeds perfectly.
In short, MISSION: IMPOSSIBLE 3 is slick, succesful, big-budget entertainment. I understand that the movie didn't make much money in the theaters, mostly due to the shenanigans of some guy who isn't Maggie Q, but pay no attention to that extraneous stuff: grab a DVD copy, pop some popcorn, and enjoy.
Friday, January 12, 2007
Invincible
I challenge you to watch INVINCIBLE and not lace on your shoes to bag a few quick miles afterward.
OK, so I'm a sucker for inspirational sports films. I also happen to be a sucker for the Philadelphia Eagles, having made more on them than on Halliburton this year. INVINCIBLE hits all the marks of a good sports film and, with a helping of charisma from Mark Wahlberg, Greg Kinnnear, and the wonderful Elizabeth Banks.
Here's the story: it's Philadelphia, it's the mid-'70s, and times are hard. We know this because the part of the film that sets up the milieu is color-corrected with what looks like an annoying yellow gel. The Eagles, Philly's hometown NFL team, stinks, and new coach Kinnear hits on the idea of holding open tryouts, a first for an NFL team. Wahlberg, a down-on-his-luck bartender / substitute teacher tries out for the team, overcomes hardship, and inspires the city. It sounds cheesy, but it works and clips right along to a satisfying ending that feels like it comes far too soon. I'd grown to like Wahlberg's character, real-life player Vince Papale, and I wanted to see what happened next in his life.
I have some problems with the picture, mostly with choices that I think were made in post, but that's ok. If you like sports films, you can't go wrong with INVINCIBLE.
OK, so I'm a sucker for inspirational sports films. I also happen to be a sucker for the Philadelphia Eagles, having made more on them than on Halliburton this year. INVINCIBLE hits all the marks of a good sports film and, with a helping of charisma from Mark Wahlberg, Greg Kinnnear, and the wonderful Elizabeth Banks.
Here's the story: it's Philadelphia, it's the mid-'70s, and times are hard. We know this because the part of the film that sets up the milieu is color-corrected with what looks like an annoying yellow gel. The Eagles, Philly's hometown NFL team, stinks, and new coach Kinnear hits on the idea of holding open tryouts, a first for an NFL team. Wahlberg, a down-on-his-luck bartender / substitute teacher tries out for the team, overcomes hardship, and inspires the city. It sounds cheesy, but it works and clips right along to a satisfying ending that feels like it comes far too soon. I'd grown to like Wahlberg's character, real-life player Vince Papale, and I wanted to see what happened next in his life.
I have some problems with the picture, mostly with choices that I think were made in post, but that's ok. If you like sports films, you can't go wrong with INVINCIBLE.
Tuesday, January 09, 2007
Night at the Museum
I wanted to hate NIGHT AT THE MUSEUM. I really did. I'm tired of Ben Stiller. I'm tired of Robin Williams. I'm tired of Owen Wilson.
I'm in the process of teaching my spawn theater etiquette, however, and matinees of kids' shows provide a forgiving environment. NIGHT AT THE MUSEUM hooked both of us, much to my surprise, and we had a good time in the theater.
Here's the hook: Ben Stiller's a divorced dad trying to set a good example for his son. He takes a job as the night guard at New York's Museum of Natural History and, as guards Dick Van Dyke and Mickey Rooney (!) already know, the place literally comes alive at night. Personal growth, and the earning of respect in the little tyke's eyes, follow as surely as landings follow takeoffs.
The thing that makes NIGHT AT THE MUSEUM worthwhile isn't the by-the-numbers plot or even the CGI workmanship, however. Stiller carries this movie, bringing a charisma to the project that I thought he'd lost sometime after MYSTERY MEN. He sells the idea of running from a reanimated dinosaur skeleton and brokering peace between the Western and Roman dioramas. He makes the tired routine of winning his child's respect breathe, and he made me interested in his work again.
Then there's another thing: the chance to see Van Dyke and Rooney is a major theatrical relase. In a sense, I felt like I was bringing my child to the museum: "Hey, that's the guy from MARY POPPINS! That other guard is from -well, I'll have to rent something for you. But he's been around nearly as long as talkies!" What a pleasant surprise.
I honestly thought NIGHT AT THE MUSEUM would be an exercise in tedium, useful only for giving my boy a place to practice whispering and not kicking the seat in front of him. Who knew it would come alive, and prove to be such a fun place to hang out?
I'm in the process of teaching my spawn theater etiquette, however, and matinees of kids' shows provide a forgiving environment. NIGHT AT THE MUSEUM hooked both of us, much to my surprise, and we had a good time in the theater.
Here's the hook: Ben Stiller's a divorced dad trying to set a good example for his son. He takes a job as the night guard at New York's Museum of Natural History and, as guards Dick Van Dyke and Mickey Rooney (!) already know, the place literally comes alive at night. Personal growth, and the earning of respect in the little tyke's eyes, follow as surely as landings follow takeoffs.
The thing that makes NIGHT AT THE MUSEUM worthwhile isn't the by-the-numbers plot or even the CGI workmanship, however. Stiller carries this movie, bringing a charisma to the project that I thought he'd lost sometime after MYSTERY MEN. He sells the idea of running from a reanimated dinosaur skeleton and brokering peace between the Western and Roman dioramas. He makes the tired routine of winning his child's respect breathe, and he made me interested in his work again.
Then there's another thing: the chance to see Van Dyke and Rooney is a major theatrical relase. In a sense, I felt like I was bringing my child to the museum: "Hey, that's the guy from MARY POPPINS! That other guard is from -well, I'll have to rent something for you. But he's been around nearly as long as talkies!" What a pleasant surprise.
I honestly thought NIGHT AT THE MUSEUM would be an exercise in tedium, useful only for giving my boy a place to practice whispering and not kicking the seat in front of him. Who knew it would come alive, and prove to be such a fun place to hang out?
Monday, January 08, 2007
The Prestige
I had a hard time talking my friends into seeing THE PRESTIGE. "It's about two 19th Century Magicians who both study under the same master, Michael Caine. No, not wizards. Regular, performing magicians. What happens? I'm not sure. Something goes wrong with their act and, um, tension ensues."
The ones who did agree to go had a great time. THE PRESTIGE is the kind of movie that's so complex, that requires so much engagement, it almost feels like work. We, as the audience, are looking for the trick, trying to figure out how it's done. The movie dares us to do this, then challenges our belief in our desire to figure things out, then gives us an answer while holding something else back. Most films play on our emotions: THE PRESTIGE plays on our intellects, inviting us to spend two hours puzzling it through.
This makes for a thoroughly engrossing night at the movies, and it's great fodder for later conversation as people assay their interpretations of the film. In fact, THE PRESTIGE may be more fun after the fact than during the viewing, and the viewing is engrossing.
The ones who did agree to go had a great time. THE PRESTIGE is the kind of movie that's so complex, that requires so much engagement, it almost feels like work. We, as the audience, are looking for the trick, trying to figure out how it's done. The movie dares us to do this, then challenges our belief in our desire to figure things out, then gives us an answer while holding something else back. Most films play on our emotions: THE PRESTIGE plays on our intellects, inviting us to spend two hours puzzling it through.
This makes for a thoroughly engrossing night at the movies, and it's great fodder for later conversation as people assay their interpretations of the film. In fact, THE PRESTIGE may be more fun after the fact than during the viewing, and the viewing is engrossing.
Saturday, January 06, 2007
The Best and Worst of 2006
Here are my personal top and bottom six of 2006:
1. The Hidden Blade: A hauntingly beautiful meditation on honor, duty, and love, this film made me feel like I was witnessing something very special. I loved it, loved it, loved it.
2. United 93: The most terrifying movie of 2006, this picture eschews cheap melodrama in favor of a (relatively) clear-eyed portrayal of events as they unfolded on that day. Paul Greengrass took the time to make United 93 technically accurate as well as heart-wrenching, giving the film value as a record as much as a cinematic experience.
3. Borat: The biggest, most pleasant surprise of 2006, Borat combines sharp satire with broad humor and serves it with a disarming smile. I laughed, I thought, I laughed some more, I thought some more. Wow.
4. Running Scared: Another surprise. Running Scared is pulp film done right: fast, twisting, creative, and with a sense of the joy of filmmaking. Running Scared is violent, gentle, and scary; sometimes all at the same time. I watched it, then watched it again with the commentary track. What a treat.
5. A Prairie Home Companion: This film reflects the sardonic gentleness of its namesake radio program, combining humor and pathos in a moving and affirming package. It serves as a fitting bookend to the career of the great Robert Altman.
6. Slither: What a fun movie! Slither combines hilarious dialogue with scare monsters, leaving audiences shaking with laughter one moment and jumping with fright the next. Nathan Fillion, an actor still looking for his breakthrough role, anchors a cast doing great comic work and creating a fun time at the movies. I don’t know how well this will do in the home market, but I loved seeing it in the theater.
6. Apocalypto: Like ‘The Running Man’ and ‘Hard Target,’ this hunted-man picture keeps the pace up and the surprises coming. The movie hews so closely to the formula, however, that it bore no surprises. Apocalypto benefits from its exotic setting, but its setting is all that recommends it.
5. Superman Returns: A story in which the protagonist remains unchanged is not a story. It’s a vignette. Superman Returns gives us a two-hour long vignette trying to trick us into thinking its more through visual wizardry. The Spider-Man series taught that character comes first. Superman Returns skipped that class.
4. Little Miss Sunshine: This film made me feel sad and depressed. OK, so did The Bicycle Thief, but LMS lacked the technical virtuosity of that classic. This film garnered critical acclaim in 2006, but I guess I missed the bus.
3. Tristram Shandy: A Cock and Bull Story: I respect this film’s attempt to do something unique in its adaptation of an unadaptable novel. Unfortunately, it failed. Tristram Shandy felt so clearly like an experiment that I couldn’t lose myself in it, and a film that holds its viewers at arm’s distance does not make for a good time at the movies.
2. Bubble: This slice-of-life drama tried to create art out of dull people doing uninteresting things. While there are art forms that can surely accomplish this, film is not among them. Ebert called Bubbler a classic, a masterpiece. I guess I missed the bus on this one, too.
1. Poseidon: Poseidon struck me as a movie for people who never go to movies. For those of us who do see the occasional film, it felt calculated and hackneyed, with obvious themes and an easily predictable mortality roster. I think of some of the movies on my Bottom Six as honorable misfires: at least their creators tried to stretch. Poseidon’s aggressive mediocrity seems doesn’t even let it take credit for trying. Additionally, Poseidon felt painful. In a movie about one bad thing happening after another, it was hard to feel anything other than dread. Boredom and dread: not a recipe for a good time at the movies.
1. The Hidden Blade: A hauntingly beautiful meditation on honor, duty, and love, this film made me feel like I was witnessing something very special. I loved it, loved it, loved it.
2. United 93: The most terrifying movie of 2006, this picture eschews cheap melodrama in favor of a (relatively) clear-eyed portrayal of events as they unfolded on that day. Paul Greengrass took the time to make United 93 technically accurate as well as heart-wrenching, giving the film value as a record as much as a cinematic experience.
3. Borat: The biggest, most pleasant surprise of 2006, Borat combines sharp satire with broad humor and serves it with a disarming smile. I laughed, I thought, I laughed some more, I thought some more. Wow.
4. Running Scared: Another surprise. Running Scared is pulp film done right: fast, twisting, creative, and with a sense of the joy of filmmaking. Running Scared is violent, gentle, and scary; sometimes all at the same time. I watched it, then watched it again with the commentary track. What a treat.
5. A Prairie Home Companion: This film reflects the sardonic gentleness of its namesake radio program, combining humor and pathos in a moving and affirming package. It serves as a fitting bookend to the career of the great Robert Altman.
6. Slither: What a fun movie! Slither combines hilarious dialogue with scare monsters, leaving audiences shaking with laughter one moment and jumping with fright the next. Nathan Fillion, an actor still looking for his breakthrough role, anchors a cast doing great comic work and creating a fun time at the movies. I don’t know how well this will do in the home market, but I loved seeing it in the theater.
6. Apocalypto: Like ‘The Running Man’ and ‘Hard Target,’ this hunted-man picture keeps the pace up and the surprises coming. The movie hews so closely to the formula, however, that it bore no surprises. Apocalypto benefits from its exotic setting, but its setting is all that recommends it.
5. Superman Returns: A story in which the protagonist remains unchanged is not a story. It’s a vignette. Superman Returns gives us a two-hour long vignette trying to trick us into thinking its more through visual wizardry. The Spider-Man series taught that character comes first. Superman Returns skipped that class.
4. Little Miss Sunshine: This film made me feel sad and depressed. OK, so did The Bicycle Thief, but LMS lacked the technical virtuosity of that classic. This film garnered critical acclaim in 2006, but I guess I missed the bus.
3. Tristram Shandy: A Cock and Bull Story: I respect this film’s attempt to do something unique in its adaptation of an unadaptable novel. Unfortunately, it failed. Tristram Shandy felt so clearly like an experiment that I couldn’t lose myself in it, and a film that holds its viewers at arm’s distance does not make for a good time at the movies.
2. Bubble: This slice-of-life drama tried to create art out of dull people doing uninteresting things. While there are art forms that can surely accomplish this, film is not among them. Ebert called Bubbler a classic, a masterpiece. I guess I missed the bus on this one, too.
1. Poseidon: Poseidon struck me as a movie for people who never go to movies. For those of us who do see the occasional film, it felt calculated and hackneyed, with obvious themes and an easily predictable mortality roster. I think of some of the movies on my Bottom Six as honorable misfires: at least their creators tried to stretch. Poseidon’s aggressive mediocrity seems doesn’t even let it take credit for trying. Additionally, Poseidon felt painful. In a movie about one bad thing happening after another, it was hard to feel anything other than dread. Boredom and dread: not a recipe for a good time at the movies.
Thursday, December 28, 2006
Cars
I missed the chance to take my kids to see CARS in the theater - I was out of the country at the time. We caught up with it last week and, while it isn't the best movie Pixar has ever done (that honor goes to THE INCREDIBLES, which is one of the best movies ever), it's better than every other animated feature released this year.
The movie follows your basic 'hotshot from the city learns a thing or two while stuck in the country' format. It's reasonably funny and reasonably compelling, but it's technically astounding. From sunlight through dust to falling water to cars bouncing on old axles, CARS is a masterpiece of animation. It's simply beautiful to watch, and I take my hat off to all those at Pixar who helped make this happen.
So, I'm saying to rent CARS. You'll like it, your kids will love it, and you'll all be dazzled by it. Enjoy.
The movie follows your basic 'hotshot from the city learns a thing or two while stuck in the country' format. It's reasonably funny and reasonably compelling, but it's technically astounding. From sunlight through dust to falling water to cars bouncing on old axles, CARS is a masterpiece of animation. It's simply beautiful to watch, and I take my hat off to all those at Pixar who helped make this happen.
So, I'm saying to rent CARS. You'll like it, your kids will love it, and you'll all be dazzled by it. Enjoy.
The Santa Clause
How can anyone dislike THE SANTA CLAUSE? It has a cheerful story, it's easy to follow for even the youngest viewers, and it has enough of a sense of fun to keep young and old hooked for its brisk running time.
In THE SANTA CLAUSE, Tim Allen plays, well, Tim Allen. This time, he's a divorced dad trying to do right by his son and not feel too threatened by his ex-wife's new husband. On Christmas Eve, Santa falls off Tim's roof and disappears, leaving only his suit behind. Time grabs the suit, stumbles into Santa's sleigh, and he's off and running as the new Santa Claus. Of course, there are all kinds of issues, including custody battles, as he adjusts to his new life, but everything's pretty mild, the kids stay hooked, and everyone goes home happy.
In short, THE SANTA CLAUSE is pablum. It's tasty pablum, however, and just thing to have in the background this Christmas season.
In THE SANTA CLAUSE, Tim Allen plays, well, Tim Allen. This time, he's a divorced dad trying to do right by his son and not feel too threatened by his ex-wife's new husband. On Christmas Eve, Santa falls off Tim's roof and disappears, leaving only his suit behind. Time grabs the suit, stumbles into Santa's sleigh, and he's off and running as the new Santa Claus. Of course, there are all kinds of issues, including custody battles, as he adjusts to his new life, but everything's pretty mild, the kids stay hooked, and everyone goes home happy.
In short, THE SANTA CLAUSE is pablum. It's tasty pablum, however, and just thing to have in the background this Christmas season.
Superman Returns
Here's the problem with SUPERMAN RETURNS: Superman has no character arc. He's the same guy at the end of the movie that he was at the beginning, and that lack of an arc leaves a hole where we expect a story.
Sure, SUPERMAN RETURNS has other issues: it feels unoriginal, its lead gives the impresssion of a guy doing a Christover Reeve impression, and we never sense that its protagonist is in any real danger. Those don't break the deal, however. Superman's lack of a journey, and the insignificant journeys of those around him, do. You cannot tell a story without character development and call it a story. You can call it a sketch, you can even call it an experiment, you can even call it late for dinner. But you can't call it a story.
I wanted to like SUPERMAN RETURNS. I really did. But the movie failed to hook or hold me, and I don't intend to see it again. Bummer.
Sure, SUPERMAN RETURNS has other issues: it feels unoriginal, its lead gives the impresssion of a guy doing a Christover Reeve impression, and we never sense that its protagonist is in any real danger. Those don't break the deal, however. Superman's lack of a journey, and the insignificant journeys of those around him, do. You cannot tell a story without character development and call it a story. You can call it a sketch, you can even call it an experiment, you can even call it late for dinner. But you can't call it a story.
I wanted to like SUPERMAN RETURNS. I really did. But the movie failed to hook or hold me, and I don't intend to see it again. Bummer.
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