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.
Thursday, January 25, 2007
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.
Monday, December 25, 2006
Rocky Balboa
I took the whole family, +1, to ROCKY BALBOA. The +1 was my college roommate, and we entertained each other with ROCKY trivia prior to the show. OK, so I know enough about the ROCKY franchise to engage in a trivia battle. Additionally, I celebrated my older boy's first birthday with a ROCKY marathon and intend to do the same for my younger boy (Go, gender-role indoctrination!). In other words, I'm ROCKY BALBOA's target demographic. And I loved it.
From Bill Conti's classic music to Rocky's humble wisdom to a training montage that's the best I've seen since ROCKY III, ROCKY BALBOA delivers everything the hardcore fan could want. The real surprise lies in the film's appeal to the casual fan: one of the fun parts of this Christmas has been watching DB trying to convince her skeptical sisters that this is one movie they should see in the theater.
Here's the setup: Rocky is doing ok. He's a beloved Philadelphia sports figure; he owns a retaurant that, if not bustling, appears to be making the rent; and he's maintained his relationships with Paulie and his son (though the son is trying to pull away). Sadly, however, he feels empty. His beloved Adrian has passed away a few years earlier, he's not as close as he'd like with his son, and he feels like he's just going through the motions. What he really misses, even though he doesn't yet realize he misses it, is boxing. Events conspire to renew his interest in getting back into the sport, and it isn't long until that great montage is upon us.
ROCKY BALBOA uses that setup to give us a meditation on dignity, perseverance, and age. It gives us a Rocky who understands that life isn't about how hard you can punch, but how many punches you can take and keep on going. This Rocky may be the world's dumbest sage, but a sage he is as he inspires those around him to listen to their best selves, to stand as tall as they can, and to keep coming back. Rocky embodies these principles with a doggedness, humility, and grace that speaks to the theatrical audience as clearly as he does to his own fictional audiences. You can't not identify with this character. You can't not want to emulate this character. And you can't not cheer for this character even as he climbs into the ring for what you're certain will be a fatal match against an opponent so clearly superior that you need to forcibly suspend your disbelief to even accept that anyone would let the bout take place.
Sure, ROCKY BALBOA has its flaws. The movie sets up character arcs for Rocky's opponent and for a local tough on which it never capitalizes. Rocky's relationship with his son feels rushed and incomplete. And I could've used more drama in the actual fight. But I'm picking nits, here. ROCKY BALBOA is as good as ROCKY movies get, and that can be very good, indeed.
What a pleasant surprise.
From Bill Conti's classic music to Rocky's humble wisdom to a training montage that's the best I've seen since ROCKY III, ROCKY BALBOA delivers everything the hardcore fan could want. The real surprise lies in the film's appeal to the casual fan: one of the fun parts of this Christmas has been watching DB trying to convince her skeptical sisters that this is one movie they should see in the theater.
Here's the setup: Rocky is doing ok. He's a beloved Philadelphia sports figure; he owns a retaurant that, if not bustling, appears to be making the rent; and he's maintained his relationships with Paulie and his son (though the son is trying to pull away). Sadly, however, he feels empty. His beloved Adrian has passed away a few years earlier, he's not as close as he'd like with his son, and he feels like he's just going through the motions. What he really misses, even though he doesn't yet realize he misses it, is boxing. Events conspire to renew his interest in getting back into the sport, and it isn't long until that great montage is upon us.
ROCKY BALBOA uses that setup to give us a meditation on dignity, perseverance, and age. It gives us a Rocky who understands that life isn't about how hard you can punch, but how many punches you can take and keep on going. This Rocky may be the world's dumbest sage, but a sage he is as he inspires those around him to listen to their best selves, to stand as tall as they can, and to keep coming back. Rocky embodies these principles with a doggedness, humility, and grace that speaks to the theatrical audience as clearly as he does to his own fictional audiences. You can't not identify with this character. You can't not want to emulate this character. And you can't not cheer for this character even as he climbs into the ring for what you're certain will be a fatal match against an opponent so clearly superior that you need to forcibly suspend your disbelief to even accept that anyone would let the bout take place.
Sure, ROCKY BALBOA has its flaws. The movie sets up character arcs for Rocky's opponent and for a local tough on which it never capitalizes. Rocky's relationship with his son feels rushed and incomplete. And I could've used more drama in the actual fight. But I'm picking nits, here. ROCKY BALBOA is as good as ROCKY movies get, and that can be very good, indeed.
What a pleasant surprise.
Friday, December 22, 2006
A Room With A View
Several weeks ago, I wrote that life is too short to re-see A ROOM WITH A VIEW. I was wrong.
The fact is, life is too short, so we should see A ROOM WITH A VIEW at every opportunity. As each minute of watching the walking bobble-head known as Helena Bonham Carter make a Baxter out of Daniel Day Lewis stretches into an eternity, the glacial passage of time makes us feel that life, rather than fleeting, is a long, tedious trudge of geologic proportions.
I want to see this movie on my deathbed. It'll make me feel like I'm living forever.
The fact is, life is too short, so we should see A ROOM WITH A VIEW at every opportunity. As each minute of watching the walking bobble-head known as Helena Bonham Carter make a Baxter out of Daniel Day Lewis stretches into an eternity, the glacial passage of time makes us feel that life, rather than fleeting, is a long, tedious trudge of geologic proportions.
I want to see this movie on my deathbed. It'll make me feel like I'm living forever.
Thursday, December 21, 2006
Little Miss Sunshine
We meat Greg Kinnear's character early in LITTLE MISS SUNSHINE. He's
giving a motivational speech to an offscreen group and, while the
subject matter is a bit thin, he's swinging away. Since I do a fair
bit of public speaking, I immediately identified with him.
Maybe that's why I found LITTLE MISS SUNSHINE to be so hard to watch.
The movie spends its running time punching Kinnnear's character, a
father trying to put a hopeful face on hard times, directly in the
nose so many times that he eventually gives up and gives in. Movie
people call that kind of behavior "letting go" and seem to think it a
good idea. I just found it sad.
I found nearly the entire movie sad, so much so that I don't know why
people think of LITTLE MISS SUNSHINE as a comedy. It's a movie about
flawed people enduring trying situations and relationships, and it
makes us feel more sad than entertained.
giving a motivational speech to an offscreen group and, while the
subject matter is a bit thin, he's swinging away. Since I do a fair
bit of public speaking, I immediately identified with him.
Maybe that's why I found LITTLE MISS SUNSHINE to be so hard to watch.
The movie spends its running time punching Kinnnear's character, a
father trying to put a hopeful face on hard times, directly in the
nose so many times that he eventually gives up and gives in. Movie
people call that kind of behavior "letting go" and seem to think it a
good idea. I just found it sad.
I found nearly the entire movie sad, so much so that I don't know why
people think of LITTLE MISS SUNSHINE as a comedy. It's a movie about
flawed people enduring trying situations and relationships, and it
makes us feel more sad than entertained.
Wednesday, December 20, 2006
Eternity and a Day
You know what's worse than watching a terrible movie your child
adores? Watching a supposedly fabulous movie that your wife adores
and that you just don't get.
Martin Scorsese presented Theo Angelopolous with the Golden Palm for
ETERNITY AND A DAY in 1998, and a film prof introduces the movie with
a bunch of gushing praise that DB made me watch while I burped the
baby and tried to amuse the older boy, so I suppose it's pretty good.
Additionally, DB routinely stopped and rewound certain shots and
scenes, oohing and aahing over the film's craftsmanship, a move which
made me feel all the more disconnected. All I saw was a muddy print
of a film telling a story I didn't understand about characters I
couldn't keep straight. Was Bruno Ganz kissing his daughter in that
one scene, or was it his mother or his dead ex-wife? And what was he
doing on that boat? And is he alive, dead, or something in between?
And what was the story on those musicians on the bus?
I left ETERNITY AND A DAY bored, baffled, and feeling like a complete
dolt. Somebody, please, explain this movie to me and tell me why I'm
supposed to like it. Until someone does, this will be one of those
titles that'll leave me scratching my head.
adores? Watching a supposedly fabulous movie that your wife adores
and that you just don't get.
Martin Scorsese presented Theo Angelopolous with the Golden Palm for
ETERNITY AND A DAY in 1998, and a film prof introduces the movie with
a bunch of gushing praise that DB made me watch while I burped the
baby and tried to amuse the older boy, so I suppose it's pretty good.
Additionally, DB routinely stopped and rewound certain shots and
scenes, oohing and aahing over the film's craftsmanship, a move which
made me feel all the more disconnected. All I saw was a muddy print
of a film telling a story I didn't understand about characters I
couldn't keep straight. Was Bruno Ganz kissing his daughter in that
one scene, or was it his mother or his dead ex-wife? And what was he
doing on that boat? And is he alive, dead, or something in between?
And what was the story on those musicians on the bus?
I left ETERNITY AND A DAY bored, baffled, and feeling like a complete
dolt. Somebody, please, explain this movie to me and tell me why I'm
supposed to like it. Until someone does, this will be one of those
titles that'll leave me scratching my head.
Monday, December 18, 2006
Shall We Dance
Here are a few direct quotes from my recent viewing of SHALL WE DANCE on TCM:
"Oh, my God. Look at that. This is what human beings are capable of."
"The pyramids, the moon landing, and this. Thank God for the medium of film to preserve this ... this ... beauty."
"When the aliens come and ask why they shouldn't eliminate mankind, I'm going to show them the 'Let's Call the Whole Thing Off' sequence."
"OK, those masks are creepy. Nothing's perfect."
Now, that's a movie.
"Oh, my God. Look at that. This is what human beings are capable of."
"The pyramids, the moon landing, and this. Thank God for the medium of film to preserve this ... this ... beauty."
"When the aliens come and ask why they shouldn't eliminate mankind, I'm going to show them the 'Let's Call the Whole Thing Off' sequence."
"OK, those masks are creepy. Nothing's perfect."
Now, that's a movie.
Madagascar
My 6yo has been dying to show me MADAGASCAR. Tonight, I made the time to sit down and watch it with him.
Here's the worst thing about watching a terrible movie that your child adores: there's no escape. You can't pick up a paper; you can't check your e-mail; you can't strike up a conversation with your significant other. Your child is monitoring your attention like Big Brother, and brother, you'd better be paying attention.
MADAGASCAR assumes that New York and New Yorkers are inherently interesting. They aren't. MADAGASCAR assumes that pop-culture parody is more interesting than character - based comedy. It isn't. MADAGASCAR thinks racial and cultural stereotypes make for great entertainment. They don't.
Here's the story: a lion, a zebra, a hippo, and a giraffe all live at a New York City zoo. They're happy. Their needs are met by the attentive and competent staff. They have everything they want. Except for the zebra. The zebra's pen sits opposite a frescoe of zebras frolicking in nature, and said zebra hatches a plan to escape and see the wilderness for himself. One thing leads to another and, before you know it, the friends wind up on the island of Madascar - an place which, though it holds a population of over 18 million and has a serious deforestation and desertification problem, looks like that island from "Lost" and doesn't appear to have a single human within its borders. Some of the animals want to go back to New York, some love it on the island, and everyone has to figure out a how carnivore is supposed to get along with his herbivorous friends without
zookeepers bringing him steaks every night.
The movie feels NYC-centric. Its animals are proud New Yorkers, and MADASCAR thinks that jokes about which train runs to Connecticut generate big laughs. The movie so thoroughly roots itself if NY culture that one wonders whether anyone involved in the financing or production of this film ever step foot outside of Mahattan. I've passed through and flown over New York a few times - I mean, I can find the Museum of Natural History - , but I'm not particularly vested in that city or its denizens (In the collective. Shari and Andy are both great.). I didn't empathize with the animals' love of their metropolis and I didn't find the NYC-centric gags (Look! The police horse has a Brooklyn accent!) particularly amusing.
The movie, a Dreamworks production, loves pop-culture parody and references. After the towering success of the SHREK films, they've probably written it into the corporate bible. Problem is, those kinds of jokes age extraordinarily quickly. Many of them already felt passe, and many of them would've made me grown had I been watching alone. (Which I wouldn't have. At least, not past the first twenty minutes.) MADAGASCAR is supposed to be a comedy. It made my child laugh, but the gags that they mixed in just for me simply did not work.
Finally, we have stereotypes. Oh, how I love 'em. But the fat hippo as sassy-black-Big-Momma? Who are these people?
I'll tell you, MADASCAR hurt. But a dad's gotta do what a dad's gotta do.
Here's the worst thing about watching a terrible movie that your child adores: there's no escape. You can't pick up a paper; you can't check your e-mail; you can't strike up a conversation with your significant other. Your child is monitoring your attention like Big Brother, and brother, you'd better be paying attention.
MADAGASCAR assumes that New York and New Yorkers are inherently interesting. They aren't. MADAGASCAR assumes that pop-culture parody is more interesting than character - based comedy. It isn't. MADAGASCAR thinks racial and cultural stereotypes make for great entertainment. They don't.
Here's the story: a lion, a zebra, a hippo, and a giraffe all live at a New York City zoo. They're happy. Their needs are met by the attentive and competent staff. They have everything they want. Except for the zebra. The zebra's pen sits opposite a frescoe of zebras frolicking in nature, and said zebra hatches a plan to escape and see the wilderness for himself. One thing leads to another and, before you know it, the friends wind up on the island of Madascar - an place which, though it holds a population of over 18 million and has a serious deforestation and desertification problem, looks like that island from "Lost" and doesn't appear to have a single human within its borders. Some of the animals want to go back to New York, some love it on the island, and everyone has to figure out a how carnivore is supposed to get along with his herbivorous friends without
zookeepers bringing him steaks every night.
The movie feels NYC-centric. Its animals are proud New Yorkers, and MADASCAR thinks that jokes about which train runs to Connecticut generate big laughs. The movie so thoroughly roots itself if NY culture that one wonders whether anyone involved in the financing or production of this film ever step foot outside of Mahattan. I've passed through and flown over New York a few times - I mean, I can find the Museum of Natural History - , but I'm not particularly vested in that city or its denizens (In the collective. Shari and Andy are both great.). I didn't empathize with the animals' love of their metropolis and I didn't find the NYC-centric gags (Look! The police horse has a Brooklyn accent!) particularly amusing.
The movie, a Dreamworks production, loves pop-culture parody and references. After the towering success of the SHREK films, they've probably written it into the corporate bible. Problem is, those kinds of jokes age extraordinarily quickly. Many of them already felt passe, and many of them would've made me grown had I been watching alone. (Which I wouldn't have. At least, not past the first twenty minutes.) MADAGASCAR is supposed to be a comedy. It made my child laugh, but the gags that they mixed in just for me simply did not work.
Finally, we have stereotypes. Oh, how I love 'em. But the fat hippo as sassy-black-Big-Momma? Who are these people?
I'll tell you, MADASCAR hurt. But a dad's gotta do what a dad's gotta do.
Sunday, December 17, 2006
The Accountant
THE ACCOUNTANT won the Academy Award for best short film of 2001. Someone gave it to me for Christmas (so I opened it early – sue me) for reasons I don’t entirely understand.
THE ACCOUNTANT’s biggest revelation is the fact that the guy who played the preacher in “Deadwood”’s first season now owns an Academy Award, as does one of the guys who play sleazy cops in “The Shield.” They produced and acted in the picture, and the guy who played the preacher actually wrote it. Good for him!
Here’s the setup: a down-on-his-luck farmer calls asks a shady accountant, who may or may not be demonic, to come take a look at his books and try to figure out a way to save the family farm. The finance-man’s recommendations are unconventional. They may damn the farmer. But they may work.
THE ACCOUNTANT hooks us with the strangeness of its titular character, and it keeps us through its natural and empathetic feel for its characters and their lives. It’s the kind of movie that provides a few chuckles, a few revelations, and a number of things to discuss after the show. If you happen to catch it on IFC, give it 38 minutes. It’s worth a go.
THE ACCOUNTANT’s biggest revelation is the fact that the guy who played the preacher in “Deadwood”’s first season now owns an Academy Award, as does one of the guys who play sleazy cops in “The Shield.” They produced and acted in the picture, and the guy who played the preacher actually wrote it. Good for him!
Here’s the setup: a down-on-his-luck farmer calls asks a shady accountant, who may or may not be demonic, to come take a look at his books and try to figure out a way to save the family farm. The finance-man’s recommendations are unconventional. They may damn the farmer. But they may work.
THE ACCOUNTANT hooks us with the strangeness of its titular character, and it keeps us through its natural and empathetic feel for its characters and their lives. It’s the kind of movie that provides a few chuckles, a few revelations, and a number of things to discuss after the show. If you happen to catch it on IFC, give it 38 minutes. It’s worth a go.
Talladega Nights: The Ballad of Ricky Bobby
If BEERFEST was mildly disappointing, TALLEDEGA NIGHTS was crushingly
bad. I sat through the entire excruciating affair with a stone face,
utterly unable to buy into the comedy on any level.
Ricky Bobby is a boring, one-dimensional character. His nemesis,
played by emerging favorite Sacha Baron Cohen, is a boring,
one-dimensional character. In fact, every character in this movie is
boring and one-dimensional.
TALLADEGA NIGHTS tries so hard to be wacky and over-the-top that turns
out a wild misfire. Not only that, but it's insulting: it's one thing
to make a little extra money through product placement; it's another
to stop the action for a full-blown commercial thinly disguised as a
"joke" I want my money back.
bad. I sat through the entire excruciating affair with a stone face,
utterly unable to buy into the comedy on any level.
Ricky Bobby is a boring, one-dimensional character. His nemesis,
played by emerging favorite Sacha Baron Cohen, is a boring,
one-dimensional character. In fact, every character in this movie is
boring and one-dimensional.
TALLADEGA NIGHTS tries so hard to be wacky and over-the-top that turns
out a wild misfire. Not only that, but it's insulting: it's one thing
to make a little extra money through product placement; it's another
to stop the action for a full-blown commercial thinly disguised as a
"joke" I want my money back.
Saturday, December 16, 2006
Beerfest
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.
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.
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