Make no mistake: I don't find the repetition of yearafteryear Academy Awards mundane, but reassuring and almost always surprisingly rewarding. It's like opening a Christmas stocking from my Mom & Dad - I know it's going to happen every year, and there will be patterns and there will be surprises, and I am going to love the process as much as anything contained.
As I sit here, the mountains of San Diego are being doused with snow - ten inches since this morning, and it's still falling - and the only thing on my mind is: What if we can't drive down the mountain for the Oscars? The roads are nowhere near plowed, and we live in a land of no cable, with only a Toyota Camry to our name. So, moreso than ever before, there's the chance that tomorrow Trevor and I will not be watching the Academy Awards. Gulp.
Of course the Oscars will still happen. Of course I could read about them online. of course I would know what everyone wore, and who won what, and who offended whom. And it won't change anything in the world at large. Right?
Well, let's not worry about that yet - let's focus on the Oscar predictions!
Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts
February 26, 2011
December 30, 2010
Movie Review: The King's Speech
As the circa-WWII reluctant king of Great Britain, bogged down since childhood with a stammer, Colin Firth is even better than what you may have heard. No one does uptight like Mr. Firth, but, in his posture, and as much in what he doesn't say as what he does, he gives real depth to a character that could have been a joke, or an empty sketch.
(I know what you're thinking: His inevitable Oscar nomination pales in comparison to his honoring as April 2010's Man of the Month, but it's still important to acknowledge these more mundane accolades.)
As for the rest of the movie: It's essentially a bromantic comedy disguised as a period piece. The tension is all based around whether or not stubborn royalty can learn to accept help from a commoner. They bicker, they make up. Secrets are revealed, they have to decide whether or not they'll stand by one another. It's all very touching, in an incredibly familiar kind of way. The sets are gorgeous; Geoffrey Rush is a very convincing Australian; Helena Bonham Carter doesn't do much, but she does have normal skin and hair, so the Academy will probably want to acknowledge this role as a real stretch for her.
7 Twix bars!
(I know what you're thinking: His inevitable Oscar nomination pales in comparison to his honoring as April 2010's Man of the Month, but it's still important to acknowledge these more mundane accolades.)
As for the rest of the movie: It's essentially a bromantic comedy disguised as a period piece. The tension is all based around whether or not stubborn royalty can learn to accept help from a commoner. They bicker, they make up. Secrets are revealed, they have to decide whether or not they'll stand by one another. It's all very touching, in an incredibly familiar kind of way. The sets are gorgeous; Geoffrey Rush is a very convincing Australian; Helena Bonham Carter doesn't do much, but she does have normal skin and hair, so the Academy will probably want to acknowledge this role as a real stretch for her.
7 Twix bars!
December 29, 2010
Movie Review: 127 Hours
Yes, this is the movie about the guy who cuts off his own arm. Yes, that part is shown, and it's definitely graphic. But it's also a tiny segment - easily avoided with a quick turtle duck into your scarf - in an otherwise interesting and beautiful movie.
How can a movie with only one actor that's onscreen for more than 10 minutes be interesting? The credit goes largely to James Franco who has real, how do you say?, "presence." As Aron Ralston, a 20-something daredevil who takes a bad step and winds up pinned by a boulder in an isolated ravine - Franco isn't the space cadet you might expect. He's grounded, funny sometimes, but also somber, reflective and relatable.
(This review isn't the place for it, but someday I'd like to do a serious case study on James Franco - the go-to guy for a stoner role, who has gone from total Spiderman cheeseball to someone who makes daring projects like this one, his Allen Ginsberg project, or 'Milk' and succeeds.)
As impressive as Franco is, I'd say the real credit here goes to director Danny Boyle, who's always made a very specific kind of movie. In a word: Manic. Okay, yes: 'Slumdog Millionaire' was such an overdone, contrived piece of crap that it made 'Crash''s unexpected Best Picture victory over 'Brokeback Mountain' look positively earned. But the colorful, loud, quick thing worked in 'Trainspotting' and in '28 Days Later,' and it's working again here. Steel yourself for a bit of gore, and get yourself to see this one.
8 Twix bars!
How can a movie with only one actor that's onscreen for more than 10 minutes be interesting? The credit goes largely to James Franco who has real, how do you say?, "presence." As Aron Ralston, a 20-something daredevil who takes a bad step and winds up pinned by a boulder in an isolated ravine - Franco isn't the space cadet you might expect. He's grounded, funny sometimes, but also somber, reflective and relatable.
(This review isn't the place for it, but someday I'd like to do a serious case study on James Franco - the go-to guy for a stoner role, who has gone from total Spiderman cheeseball to someone who makes daring projects like this one, his Allen Ginsberg project, or 'Milk' and succeeds.)
As impressive as Franco is, I'd say the real credit here goes to director Danny Boyle, who's always made a very specific kind of movie. In a word: Manic. Okay, yes: 'Slumdog Millionaire' was such an overdone, contrived piece of crap that it made 'Crash''s unexpected Best Picture victory over 'Brokeback Mountain' look positively earned. But the colorful, loud, quick thing worked in 'Trainspotting' and in '28 Days Later,' and it's working again here. Steel yourself for a bit of gore, and get yourself to see this one.
8 Twix bars!
November 21, 2010
Movie Review: Alice in Wonderland
I'm struggling to think of anything positive to say about the newest incarnation of 'Alice in Wonderland.'
To begin with: It's boring. Nothing's added to one of the most well-known stories out there. The surreal, colorful beauty common to Tim Burton falls flat here. The accents are inconsistent and often hard to understand, especially at the beginning. The climactic battle scene has been seen a million times before (I've searched high and low for corresponding pictures of the final battle scene of 'Enchanted' and a screen cap from 'Jurassic Park' where the dinosaur's eye is alongside the cab, but the internet has let me down.).
At least it's not too long?
6 Twix bars!
To begin with: It's boring. Nothing's added to one of the most well-known stories out there. The surreal, colorful beauty common to Tim Burton falls flat here. The accents are inconsistent and often hard to understand, especially at the beginning. The climactic battle scene has been seen a million times before (I've searched high and low for corresponding pictures of the final battle scene of 'Enchanted' and a screen cap from 'Jurassic Park' where the dinosaur's eye is alongside the cab, but the internet has let me down.).
At least it's not too long?
6 Twix bars!
November 16, 2010
Movie Review: Toy Story 3
'Toy Story 3' was everything that I was expecting, Clever, funny and sweet, it was throwback-y enough for those of us who were kids when the first came out, and current/kidsy enough for the new generation watching this one first. I would love to write more right now, but my eyes are so bleary from all the crying, I can't quite see my computer screen. So, let's watch this trailer while I pull myself together.
It was a lot of fun to revisit these characters (especially Wallace Shawn's Rex and Tim Allen's Buzz Lightyear), the gimmicks were new and clever (Turning Buzz into Spanish mode, giving Barbie a Ken), and there were some true laugh-out-loud moments (The reveal of the cymbal smashing monkey as security guard.). And was that a flamenco version of 'You've Got a Friend in Me' in the credits?
For years, Pixar has been providing adults and kids with reliable entertainment. As the franchise that started it all, it's only appropriate that 'Toy Story 3' is just one more piece of heartwarming proof that they're the smartest movie house around.
It was a lot of fun to revisit these characters (especially Wallace Shawn's Rex and Tim Allen's Buzz Lightyear), the gimmicks were new and clever (Turning Buzz into Spanish mode, giving Barbie a Ken), and there were some true laugh-out-loud moments (The reveal of the cymbal smashing monkey as security guard.). And was that a flamenco version of 'You've Got a Friend in Me' in the credits?
For years, Pixar has been providing adults and kids with reliable entertainment. As the franchise that started it all, it's only appropriate that 'Toy Story 3' is just one more piece of heartwarming proof that they're the smartest movie house around.
November 4, 2010
Movie Review: Going the Distance
The weirdest thing happens when I try to think about 'Going the Distance', the summer romantic comedy starring perennial on/off/on/off/on/off real-life couple, Drew Barrymore & Justin Long: I instead immediately think of 'Date Night,' the earlier summer romantic action comedy starring never-been couple Tina Fey & Steve Carrell.
I don't know why. Maybe I think Justin Long should replace Steve Carrell on 'The Office' when he departs at the end of this season. Maybe I'm envisioning a future when Drew Barrymore & Justin Long are a bit older, and settled in their ways and can live happily ever after. It's probably just because we saw them around the same time.
Here's what was good about 'Going the Distance':
Boston friends, did you see the movie/watch the trailer? How much is the guy on the right like Zura??
Here's what was less-than-good:
I keep confusing it with a different film movie.
So, I really enjoyed the movie while I was watching it: laughed, cried, all the goods. But the long term effects just aren't there. 7 Twix bars!
I don't know why. Maybe I think Justin Long should replace Steve Carrell on 'The Office' when he departs at the end of this season. Maybe I'm envisioning a future when Drew Barrymore & Justin Long are a bit older, and settled in their ways and can live happily ever after. It's probably just because we saw them around the same time.
Here's what was good about 'Going the Distance':
- The ups-and-downs, priorities and downfall of the relationship were realistic (way more realistic than the likelihood that he'd work at a record company and she in journalism - hello, it's 2010 - but, hey, they kind of addressed that.)
- Drew Barrymore was seriously funny - just the right amount of raunchy. It was nice to watch a romantic comedy where the woman has some personality.
- Mustaches. Justin Long's buddies in this movie are hilarious.
Boston friends, did you see the movie/watch the trailer? How much is the guy on the right like Zura??Here's what was less-than-good:
I keep confusing it with a different film movie.
So, I really enjoyed the movie while I was watching it: laughed, cried, all the goods. But the long term effects just aren't there. 7 Twix bars!
October 26, 2010
Movie Review: The Kids Are All Right
'The Kids Are All Right' was the first independent movie to garner some serious Oscar buzz this year. Not a shocker, as it stars perennial Academy favorites, Julianne Moore and Annette Bening, and features a hot-button topic, gay marriage.
But here's the thing: The movie isn't actually about gay marriage. It's about a brother, who convinces his just-turned-18 sister to find out who their sperm donor father is, and the subsequent interactions of that father with the nuclear family. It's a totally average family - angsty sibling and his older, put-upon sister; tired parents just trying to do right by their kids and keep any semblance of their own selves. Anyone who's ever had a long-term partner will recognize aspects of their relationship in the one being shown on screen. And that's the point, politically-speaking: Completely intentionally, this film makes a statement about gay marriage by not making one.
A lot of weight is put on Mark Ruffalo and his sexual appeal - it's basically the crux of this movie, the kids' and their mothers' varying levels of ability/willingness to resist his charm. He's rocking the salt and pepper hair and it's-been-exactly-three-weeks-since-I-shaved-that's-how-effortless-this-is look, and in general is all smolder. For me, it tipped a bit to the smarmy side - it was like everyone else in the movie had to be extra pale so it was clear how tan and handsome and desirable Ruffalo is.
Speaking of pale, it was really fun watching Julianne Moore be spacy and kind of generally inept. I feel like I'm always watching her as a Strong Woman and it had long grown boring (I'm talking to you 'The Forgotten' and that one about the abandoned orphanage.). So watching her be the ditzy one was a nice reminder of what a great actress she can really be.
My main issue with this movie was how heavily it, at certain points, echoed one of my favorites - a little seen beaut called 'Something New.' On its surface, 'Something New' is about the challenges of interracial dating, but, just like 'The Kids are All Right,' it's also this beautifully shot, incredibly colorful love poem to the non-entertainment side of LA, a side all about native plant-heavy landscape architecture and farm-to-table restaurants.
But, I suppose, if my main issue with a movie is that it's too much like one of my favorites, I'm kind of stretching for complaints.
8 Twix bars!
But here's the thing: The movie isn't actually about gay marriage. It's about a brother, who convinces his just-turned-18 sister to find out who their sperm donor father is, and the subsequent interactions of that father with the nuclear family. It's a totally average family - angsty sibling and his older, put-upon sister; tired parents just trying to do right by their kids and keep any semblance of their own selves. Anyone who's ever had a long-term partner will recognize aspects of their relationship in the one being shown on screen. And that's the point, politically-speaking: Completely intentionally, this film makes a statement about gay marriage by not making one.
A lot of weight is put on Mark Ruffalo and his sexual appeal - it's basically the crux of this movie, the kids' and their mothers' varying levels of ability/willingness to resist his charm. He's rocking the salt and pepper hair and it's-been-exactly-three-weeks-since-I-shaved-that's-how-effortless-this-is look, and in general is all smolder. For me, it tipped a bit to the smarmy side - it was like everyone else in the movie had to be extra pale so it was clear how tan and handsome and desirable Ruffalo is.
Speaking of pale, it was really fun watching Julianne Moore be spacy and kind of generally inept. I feel like I'm always watching her as a Strong Woman and it had long grown boring (I'm talking to you 'The Forgotten' and that one about the abandoned orphanage.). So watching her be the ditzy one was a nice reminder of what a great actress she can really be.
My main issue with this movie was how heavily it, at certain points, echoed one of my favorites - a little seen beaut called 'Something New.' On its surface, 'Something New' is about the challenges of interracial dating, but, just like 'The Kids are All Right,' it's also this beautifully shot, incredibly colorful love poem to the non-entertainment side of LA, a side all about native plant-heavy landscape architecture and farm-to-table restaurants.
But, I suppose, if my main issue with a movie is that it's too much like one of my favorites, I'm kind of stretching for complaints.
8 Twix bars!
October 25, 2010
Movie Review: The Town
I'm not sure I'll ever be able to watch a Boston-set movie without spending the majority of my time squinting at background street signs and building facades, trying to determine where any particular scene was filmed. Featuring one of my favorite North End restaurants AND Fenway's Boston Beer Works, 'The Town' didn't disappoint.
It didn't disappoint as an actual movie either: Ben Affleck the actor is in his element - all grizzle and simmering anger (and track jackets), while Ben Affleck the director tells a focused and well-paced story (He shoots landscapes and light particularly well). I was able to forget Serena Van der Woodsen quickly, in exchange for Blake Lively's trashy drugged out single mom; forgetting Don Draper was harder, but Jon Hamm was also working with a lower-key character. Jeremy Renner and Rebecca Hall, as the best friend and love interest of Ben Affleck's main character, were solid, if ultimately forgettable (Renner - or the script - could have done more with his character and the I-went-to-jail-for-you anger and rash, revenge-on-the-world decision making).
There was a continuity error that's still bugging me (The final heist is said to revolve around a four-game Red Sox/Yankees series, but a bar TV shows a Red Sox/Blue Jays game instead), and an annoyingly cheesy throwaway scene, in which Jon Hamm demands a warrant, that's only left in for plot necessity. And I wonder if there was some lost-in-the-editing process plot point to Victor Garber, or if his inclusion in that opening scene was just a shout-out to Jennifer Garner and 'Alias.'
I can't put my finger on where the movie dragged (certainly not in the prison scene, where Ben Affleck visits his dad, played by Chris Cooper, who packs a 5-minute role full of weight and punch), but the movie felt long. That also might have been my 10-hour car ride from the day before talking.
7.5 Twix bars!
This trailer is actually really annoying, because it features a ton of dialogue that doesn't happen in the movie. But you'll get the point.
It didn't disappoint as an actual movie either: Ben Affleck the actor is in his element - all grizzle and simmering anger (and track jackets), while Ben Affleck the director tells a focused and well-paced story (He shoots landscapes and light particularly well). I was able to forget Serena Van der Woodsen quickly, in exchange for Blake Lively's trashy drugged out single mom; forgetting Don Draper was harder, but Jon Hamm was also working with a lower-key character. Jeremy Renner and Rebecca Hall, as the best friend and love interest of Ben Affleck's main character, were solid, if ultimately forgettable (Renner - or the script - could have done more with his character and the I-went-to-jail-for-you anger and rash, revenge-on-the-world decision making).
There was a continuity error that's still bugging me (The final heist is said to revolve around a four-game Red Sox/Yankees series, but a bar TV shows a Red Sox/Blue Jays game instead), and an annoyingly cheesy throwaway scene, in which Jon Hamm demands a warrant, that's only left in for plot necessity. And I wonder if there was some lost-in-the-editing process plot point to Victor Garber, or if his inclusion in that opening scene was just a shout-out to Jennifer Garner and 'Alias.'
I can't put my finger on where the movie dragged (certainly not in the prison scene, where Ben Affleck visits his dad, played by Chris Cooper, who packs a 5-minute role full of weight and punch), but the movie felt long. That also might have been my 10-hour car ride from the day before talking.
7.5 Twix bars!
October 11, 2010
Movie Review: The Social Network
If there's any question that 'The Social Network' is written by Aaron Sorkin, it's decidedly answered in the first scene: Witty, biting, quick, and multi-layered, the conversation that supposedly set off the events that led to Facebook is the perfect introduction to the tone of 'The Social Network.'
There are few people who know how accurate this movie is, and I'm not sure it matters. It's a classic story: Man climbs ladder, forgets how he got there. It's left blessedly open-ended, and, years in the past. So, really, Mark Zuckerberg - Facebook founder/possible backstabber extraordinaire)'s life and public perception is still in his control (As he - or his PR folks at least - clearly know, judging by the $100 million donation he made to the Newark Public School System the day of the film's release.).
As Zuckerberg, Jesse Eisenberg exudes cocky apathy, with both the innocence and scowl perfected in 'Adventureland' and 'The Squid and the Whale,' (put to far better use here). As the scorned CFO/Facebook co-founder Eduardo Saverin, Andrew Garfield - who's about to blow up, you heard it here, not at all first - makes the most of favorable treatment (and a throwaway side storyline about a crazy girlfriend), and does a mindblowingly perfect Brazilian accent. I found myself falling a little bit in love with him, despite the vague similarity to Roger Federer (It's in the eyebrows.) (Speaking of: While all the featured characters could probably find something to complain about in their depictions, they should at least be grateful they got significant attractiveness upgrades.)
I, for one, find it intriguing that 'The Social Network' even got made. Dangerously current, it's written by a politics-focused TV scribe and stars unproven actors. In the 90s, it could have been a TV movie starring someone from 'Saved by the Bell: The New Class.' But it did get made, and it's damn good.
Nearly everything about this movie is done well, but the thing that I enjoyed the most was its - for lack of a way better term - modernity. I felt relevant while watching the movie, like I understood what was going on, in a more real way than I get with anything else I consume. And, since this is what Facebook gave us as a culture, it makes sense.
8 1/2 Twix bars!
There are few people who know how accurate this movie is, and I'm not sure it matters. It's a classic story: Man climbs ladder, forgets how he got there. It's left blessedly open-ended, and, years in the past. So, really, Mark Zuckerberg - Facebook founder/possible backstabber extraordinaire)'s life and public perception is still in his control (As he - or his PR folks at least - clearly know, judging by the $100 million donation he made to the Newark Public School System the day of the film's release.).
As Zuckerberg, Jesse Eisenberg exudes cocky apathy, with both the innocence and scowl perfected in 'Adventureland' and 'The Squid and the Whale,' (put to far better use here). As the scorned CFO/Facebook co-founder Eduardo Saverin, Andrew Garfield - who's about to blow up, you heard it here, not at all first - makes the most of favorable treatment (and a throwaway side storyline about a crazy girlfriend), and does a mindblowingly perfect Brazilian accent. I found myself falling a little bit in love with him, despite the vague similarity to Roger Federer (It's in the eyebrows.) (Speaking of: While all the featured characters could probably find something to complain about in their depictions, they should at least be grateful they got significant attractiveness upgrades.)
I, for one, find it intriguing that 'The Social Network' even got made. Dangerously current, it's written by a politics-focused TV scribe and stars unproven actors. In the 90s, it could have been a TV movie starring someone from 'Saved by the Bell: The New Class.' But it did get made, and it's damn good.
Nearly everything about this movie is done well, but the thing that I enjoyed the most was its - for lack of a way better term - modernity. I felt relevant while watching the movie, like I understood what was going on, in a more real way than I get with anything else I consume. And, since this is what Facebook gave us as a culture, it makes sense.
8 1/2 Twix bars!
March 6, 2010
Oscar Predictions 2010
If you're still keeping up with me here, no doubt you've noticed that I'm somewhat less pop culturally active than I once was. It's true: I've been sometimes busily and sometimes very lazily settling into life as a rural dweller. There isn't a movie theater, bar (that's open more than 3 days a week, that is), or concert venue within 30 miles of here; we've reduced our Netflix subscription to 1-at-a-time, and I'm surrounded by people who've never heard of the CW.
That being said, Trevor & I have done our best to stay current: We're watching 'Party Down' on Netflix, reading all the 'American Idol' recaps, and have seen eight of the ten best picture nominees (Yes, I have been completely irresponsible in terms of movie reviews, but, despite evidence to the contrary, we really have seen 8.). And - to the aghast of the Squirrels Squirrels Squirrels - we're skipping out on our weekly rec volleyball league match tomorrow in favor of the Oscars (Yikes, what if tomorrow is our first victory? Just coincidence, I'm sure.)
First things first: The best movie I saw in 2009 was 'Fantastic Mr. Fox' and - as impressed as I am with Meryl Streep constantly - I'm not so into the imitation-as-artistry form of acting (Yeah, I'm talking to you other Mr. Foxx), and I haven't heard a single one of the nominees for Best Original Song (but, I'm still willing to bet the one from 'Crazy Heart' will win.).
So, here they are, my not-entirely-fearless Oscar predictions:
That being said, Trevor & I have done our best to stay current: We're watching 'Party Down' on Netflix, reading all the 'American Idol' recaps, and have seen eight of the ten best picture nominees (Yes, I have been completely irresponsible in terms of movie reviews, but, despite evidence to the contrary, we really have seen 8.). And - to the aghast of the Squirrels Squirrels Squirrels - we're skipping out on our weekly rec volleyball league match tomorrow in favor of the Oscars (Yikes, what if tomorrow is our first victory? Just coincidence, I'm sure.)
First things first: The best movie I saw in 2009 was 'Fantastic Mr. Fox' and - as impressed as I am with Meryl Streep constantly - I'm not so into the imitation-as-artistry form of acting (Yeah, I'm talking to you other Mr. Foxx), and I haven't heard a single one of the nominees for Best Original Song (but, I'm still willing to bet the one from 'Crazy Heart' will win.).
So, here they are, my not-entirely-fearless Oscar predictions:
Best Picture: The Hurt LockerPlus, I'm sure that 'Music by Prudence' will totally win Best Documentary Short. Er, right?
Best Director: James Cameron
Best Actor: Jeff Bridges
Best Actress: Meryl Streep
Best Supporting Actor: Christopher Waltz
Best Supporting Actress: Mo'nique
Best Original Screenplay: 'Inglorious Basterds'
Best Adapted Screenplay: 'Up in the Air'
January 22, 2010
Movie Review: The Blind Side
It's hard for me to watch movies based on books that I've read - too easy to nitpick all the plot differences. It's even more difficult when the book is based on a true story, where those plot differences - supposedly essential to making a movie extra movie-like - compromise someone's actual life story. So, it was with skepticism that I went into 'The Blind Side', a movie based on one of the better books I've read in the last 5 years (and it takes quite the compelling storytelling to invest me in football).
While the book weaves a narrative of the modern day NFL, including backstory on teams, coaches and positions, inside tidbits on salary, and explanation of how it all works, the film leaves [most of] that out - really, it should have left out all of it - Sandra Bullock talking about Lawrence Taylor at the beginning was distracting, disparate and totally unnecessary.
The movie's main strength was its entertainment value. If it cut some corners, summarized some character development or oversimplified, it felt at least productive to the overall story. And the overall story is, afterall, a fairy tale: Some kid, poorer than poor, who has been shuffled around the foster care and public school system so much by the time that he's 15 that he hardly knows how to read, much less comprehend high school subjects or regular social interaction, gets befriended, then taken in, then adopted by a wealthy family and winds up as a starter for the NFL? How could you improve on that?
I imagine it's somewhat insulting to the rest of the Tuohy family who gave as much as Sandra Bullock's Leigh Anne to have been so disregarded in the film. The daughter was demoted a grade or two (in reality, she and Michael graduated in the same class), the son was made extra precocious (as if a 10-year old coaching him would actually give him , and Tim McGraw really could have had some more barbeque stain on his white t-shirt: His Sean Tuohy was made a supporting role throughout it all while in the book, he's the first connection to Michael).
That being said, the main problems with the movie came from outside the Tuohy family: the recruitment scenes were plain cheese (It should be a rule for the future of filmmaking that college football coaches never be allowed to play themselves...even though the main recruiter, being played by an actor, was even worse.), and Michael's high school football coach was at times painful to watch. He was played with such over the top facial expressions, I felt like I was in a wax museum. It was as if the actor given the part found out that the coach turns out to be kind of a fame-mongering twat, and, in a bad page from the pre-Eternal Sunshine school of Jim Carrey acting, just decided to use his mouth and cheekbones to convey expressions. "Here, in this shot you're shocked!" "Okay, now, be angry!"
There's not much to discuss aside from the plot; the movie certainly didn't reinvent the filmmaking wheel. But, while it exaggerated some places (Sandra Bullock telling off a housing project thug) and skipped out on some great book moments (Sean Jr. taking a part of scholarship negotiations, it got to the heart of the story and told it with believable, not-entirely-cheesy conviction. 7.5 Twix bars!
While the book weaves a narrative of the modern day NFL, including backstory on teams, coaches and positions, inside tidbits on salary, and explanation of how it all works, the film leaves [most of] that out - really, it should have left out all of it - Sandra Bullock talking about Lawrence Taylor at the beginning was distracting, disparate and totally unnecessary.
The movie's main strength was its entertainment value. If it cut some corners, summarized some character development or oversimplified, it felt at least productive to the overall story. And the overall story is, afterall, a fairy tale: Some kid, poorer than poor, who has been shuffled around the foster care and public school system so much by the time that he's 15 that he hardly knows how to read, much less comprehend high school subjects or regular social interaction, gets befriended, then taken in, then adopted by a wealthy family and winds up as a starter for the NFL? How could you improve on that?
I imagine it's somewhat insulting to the rest of the Tuohy family who gave as much as Sandra Bullock's Leigh Anne to have been so disregarded in the film. The daughter was demoted a grade or two (in reality, she and Michael graduated in the same class), the son was made extra precocious (as if a 10-year old coaching him would actually give him , and Tim McGraw really could have had some more barbeque stain on his white t-shirt: His Sean Tuohy was made a supporting role throughout it all while in the book, he's the first connection to Michael).
That being said, the main problems with the movie came from outside the Tuohy family: the recruitment scenes were plain cheese (It should be a rule for the future of filmmaking that college football coaches never be allowed to play themselves...even though the main recruiter, being played by an actor, was even worse.), and Michael's high school football coach was at times painful to watch. He was played with such over the top facial expressions, I felt like I was in a wax museum. It was as if the actor given the part found out that the coach turns out to be kind of a fame-mongering twat, and, in a bad page from the pre-Eternal Sunshine school of Jim Carrey acting, just decided to use his mouth and cheekbones to convey expressions. "Here, in this shot you're shocked!" "Okay, now, be angry!"
There's not much to discuss aside from the plot; the movie certainly didn't reinvent the filmmaking wheel. But, while it exaggerated some places (Sandra Bullock telling off a housing project thug) and skipped out on some great book moments (Sean Jr. taking a part of scholarship negotiations, it got to the heart of the story and told it with believable, not-entirely-cheesy conviction. 7.5 Twix bars!
January 19, 2010
Movie Review: The Hurt Locker
I get the hype around 'The Hurt Locker.' Totally intense, beautifully shot and well written, it's the first critically and commercially successful film about the war in Iraq.
The movie centers around the final 30 days of service for a 3-man bomb squad in Iraq - they are charged with neutralizing the risk of all reported bombs. A variety of different scenarios - roadside bomb, body bomb, desert ambush - are shown as we learn about these three men and their demons and drivers. As you wait for the bomb to go off, or to see the right wire clipped, each sequence is so tense and harrowing that my neck muscles are now sore.
The ending wasn't great, wrapping things up a little too neatly so that it was bordering on contrived. But I love that this movie was directed by a woman (especially because that woman, Kathryn Bigelow, also directed 'Point Break' - and what's not to love about 'Point Break'?) and that where movies like 'Black Hawk Down' are all A-list stars and flashy special effects, this movie was mostly no names and grittier, down-to-earth cinematography.
I enjoyed the surprise cameos - Guy Pearce, Ralph Fiennes, Evangeline Lilly - among the cast of no names. And those no names were great - the acting was truly one of the high points of the film - once I figured out who the main actor reminded me of:
The OC's Benjamin McKenzie
+
Kiefer Sutherland
=
The Hurt Locker's Jeremy Renner
8 Twix bars!
The movie centers around the final 30 days of service for a 3-man bomb squad in Iraq - they are charged with neutralizing the risk of all reported bombs. A variety of different scenarios - roadside bomb, body bomb, desert ambush - are shown as we learn about these three men and their demons and drivers. As you wait for the bomb to go off, or to see the right wire clipped, each sequence is so tense and harrowing that my neck muscles are now sore.
The ending wasn't great, wrapping things up a little too neatly so that it was bordering on contrived. But I love that this movie was directed by a woman (especially because that woman, Kathryn Bigelow, also directed 'Point Break' - and what's not to love about 'Point Break'?) and that where movies like 'Black Hawk Down' are all A-list stars and flashy special effects, this movie was mostly no names and grittier, down-to-earth cinematography.
I enjoyed the surprise cameos - Guy Pearce, Ralph Fiennes, Evangeline Lilly - among the cast of no names. And those no names were great - the acting was truly one of the high points of the film - once I figured out who the main actor reminded me of:
The OC's Benjamin McKenzie
+
Kiefer Sutherland
=
The Hurt Locker's Jeremy Renner
8 Twix bars!
January 9, 2010
Movie Review: Invictus
I have no one to blame but myself.
For the last 7 or so years - however long it has been that Clint Eastwood has been working way too hard for a 79 year old man - I've been left wholly unimpressed with what he's given us, including 'Mystic River,' 'Million Dollar Baby,' 'Flags of our Fathers' and the preview for 'Gran Torino.' (It's true: I couldn't even endure the preview of 'Gran Torino,' with all that growling and over-the-top-obvious Catholic guilt.) So, I should have trusted my instinct about 'Invictus'; instead, I let all the talk (Sure, Matt Damon helped) convince me that it was an important movie to see and worth $10. It wasn't.
Beyond how incredibly slowly it moved (Seriously, HOW do you make the final match of a rugby World Cup sooooo boring?), the most frustrating thing about the movie was its ridiculously heavy-handed plot, symbolism and soundtrack. How heavy-handed? This song - which would be cheesy in the credits of an animated Disney film - played during the climax:
Because, how else could the audience understand how bad apartheid was, how much adversity Nelson Mandela had overcome, and how important this team was to the country? At another point, Matt Damon's character visits the prison where Mandela was held and - in a totally independent-from-the-rest-of-the-movie moment of surrealism - sees Morgan Freeman cracking rocks and reciting poetry. Just in case we didn't understand what his character was learning, he then tells his wife exactly how moved he is. Later, there's another completely-removed-from-the-plot sequence where the audience is tricked into thinking that a Josh Brolin wannabe is going to attack the stadium with his plane during the all-important game. But - wouldn't you know it? - instead, he just does a fly over so the whole stadium can see the 'Good Luck' on the bottom of the plane. Talk about a complete waste of time.
And that's how I feel about the movie - obvious moment after obvious moment - as a whole. Sure, Matt Damon and Morgan Freeman were fine with what they were given to do - mostly look taken aback and serene, respectively - and I know a little bit more about rugby now than I did before. But I've got nothing else good to say about this movie. So, here's the resolution: I will watch 'Bridges of Madison County' and then Clint and I are done. For good, no matter what the buzz is next Oscar season.
6 Twix bars!
For the last 7 or so years - however long it has been that Clint Eastwood has been working way too hard for a 79 year old man - I've been left wholly unimpressed with what he's given us, including 'Mystic River,' 'Million Dollar Baby,' 'Flags of our Fathers' and the preview for 'Gran Torino.' (It's true: I couldn't even endure the preview of 'Gran Torino,' with all that growling and over-the-top-obvious Catholic guilt.) So, I should have trusted my instinct about 'Invictus'; instead, I let all the talk (Sure, Matt Damon helped) convince me that it was an important movie to see and worth $10. It wasn't.
Beyond how incredibly slowly it moved (Seriously, HOW do you make the final match of a rugby World Cup sooooo boring?), the most frustrating thing about the movie was its ridiculously heavy-handed plot, symbolism and soundtrack. How heavy-handed? This song - which would be cheesy in the credits of an animated Disney film - played during the climax:
Because, how else could the audience understand how bad apartheid was, how much adversity Nelson Mandela had overcome, and how important this team was to the country? At another point, Matt Damon's character visits the prison where Mandela was held and - in a totally independent-from-the-rest-of-the-movie moment of surrealism - sees Morgan Freeman cracking rocks and reciting poetry. Just in case we didn't understand what his character was learning, he then tells his wife exactly how moved he is. Later, there's another completely-removed-from-the-plot sequence where the audience is tricked into thinking that a Josh Brolin wannabe is going to attack the stadium with his plane during the all-important game. But - wouldn't you know it? - instead, he just does a fly over so the whole stadium can see the 'Good Luck' on the bottom of the plane. Talk about a complete waste of time.
And that's how I feel about the movie - obvious moment after obvious moment - as a whole. Sure, Matt Damon and Morgan Freeman were fine with what they were given to do - mostly look taken aback and serene, respectively - and I know a little bit more about rugby now than I did before. But I've got nothing else good to say about this movie. So, here's the resolution: I will watch 'Bridges of Madison County' and then Clint and I are done. For good, no matter what the buzz is next Oscar season.
6 Twix bars!
January 3, 2010
Movie Review: Fantastic Mr. Fox
It only makes sense that Wes Anderson ('Rushmore,' 'The Royal Tenebaums') would make an animated movie. For years his movies have been both complimented and critiqued for their out-of-this-world characters, surreal plots, colorful backdrops and quirky soundtracks - in an animated world, those features just make sense. You can watch the trailer here.
Fantastic Mr. Fox succeeds at walking a fine line: It is both simple filmmaking at its best (Easy-to-follow plot based on a children's book by Roald Dahl, stop-go animation) and incredibly, incredibly intelligent (Anderson gives viewers a totally seamless jump into a complete - and completely delightful - new universe with quick dialogue, clever jokes and subtle and pitch perfect voice actors.). Of the 5 Oscar contenders Trevor and I saw over the last two weeks, 'Fantastic Mr. Fox' was the best: Heart-warming without being sappy, laugh out loud funny without being pratfall-heavy or gross, smart without being pretentious.
The story is about a foxy Fox (It's true: He's voiced by George Clooney) who gave up the thieving life eleven years ago to start a family with his Meryl Streep-voiced wife. He wants to do one final job (a three-parter) because he's bored, worried about money, having a midlife-fox-crisis about who he is and needs to outsmart some mean farmers. Of course, being a smart movie, none of these reasons are explicit, you just realize them over the course of the quick 90 minutes.
Another reason it's perfect this movie was animated: Jason Schwartzman can finally play a teenager again. He's never better than when he's playing a whiny teenage-maturity-level manchild, but the facial hair can be a distraction. As Mr. & Mrs. Fox's son, jealous of his cousin's arrival, he's all sullen sass, and it's pretty near perfect.
9 Twix bars!
Fantastic Mr. Fox succeeds at walking a fine line: It is both simple filmmaking at its best (Easy-to-follow plot based on a children's book by Roald Dahl, stop-go animation) and incredibly, incredibly intelligent (Anderson gives viewers a totally seamless jump into a complete - and completely delightful - new universe with quick dialogue, clever jokes and subtle and pitch perfect voice actors.). Of the 5 Oscar contenders Trevor and I saw over the last two weeks, 'Fantastic Mr. Fox' was the best: Heart-warming without being sappy, laugh out loud funny without being pratfall-heavy or gross, smart without being pretentious.
The story is about a foxy Fox (It's true: He's voiced by George Clooney) who gave up the thieving life eleven years ago to start a family with his Meryl Streep-voiced wife. He wants to do one final job (a three-parter) because he's bored, worried about money, having a midlife-fox-crisis about who he is and needs to outsmart some mean farmers. Of course, being a smart movie, none of these reasons are explicit, you just realize them over the course of the quick 90 minutes.
Another reason it's perfect this movie was animated: Jason Schwartzman can finally play a teenager again. He's never better than when he's playing a whiny teenage-maturity-level manchild, but the facial hair can be a distraction. As Mr. & Mrs. Fox's son, jealous of his cousin's arrival, he's all sullen sass, and it's pretty near perfect.
9 Twix bars!
January 2, 2010
Man of the Month: January
We'd only seen 2 movies between September and December (Living 40 miles from the nearest movie theater makes film-going a little more difficult than when there was one half of a mile away.), so, over Christmas, we took advantage of a three week break and civilization to see several movies. 5 in fact. And the two best - 'Up in the Air' & 'Fantastic Mr. Fox' - both starred George Clooney. That made the Man of the Month decision pretty easy.
More than just his relevance this month, I'm realizing that I actually like George Clooney quite a bit. I like how at-ease he always seems, how he embraces his bachelor life and how smart his movie choices have been over the last 10 years. Finally, I love that he survived this:
And became this:
Let's hear it for bad glasses wearers everywhere, and raise our champagne flutes to 2010's inaugural Man of the Month, Mr. George Clooney.
(Oh, and yes: Official reviews of all 5 movies coming soon to a computer screen near you.)
More than just his relevance this month, I'm realizing that I actually like George Clooney quite a bit. I like how at-ease he always seems, how he embraces his bachelor life and how smart his movie choices have been over the last 10 years. Finally, I love that he survived this:
And became this:
Let's hear it for bad glasses wearers everywhere, and raise our champagne flutes to 2010's inaugural Man of the Month, Mr. George Clooney.
(Oh, and yes: Official reviews of all 5 movies coming soon to a computer screen near you.)
November 25, 2009
Movie Review: The Big Chill
I've always associated 'The Big Chill' with 'Diner'. Possibly because of its release date and large ensemble cast, more likely because they were next to one another in my Netflix queue for years.
While entertained enough and even occasionally moved by the film's depiction of aging friendships, I wasn't blown away. It hasn't aged particularly well, and not just because of its outdated plotlines (like a woman trying to seduce her male friends in order to get pregnant). The thing that put me off the most was its use of self-taped video confessions and conversations. This is a dated device that drives me crazy: Especially in the 80s, filmmakers used it as an attempt to comment on the voyeurism of their characters, but it rarely doesn't feel forced and insincere.
Most of the time, I was wishing the ensemble cast featured other actors, like Andie MacDowell instead of JoBeth Williams, and anyone else except Jeff Goldblum who was clunky in his role as a writer for People magazine who's more ambitious career plans involve opening a club (How noble?). I feel like Glenn Close was only nominated for an Academy Award because she cried, naked. And I won't even bring up Tom Berenger, since I'll never forgive him for not being Tom Bergeron - host of 'Dancing with the Stars' - which cost us a trivia victory. William Hurt & Kevin Kline (though the latter used a totally unnecessary Southern accent) really held the ensemble together.
All this being said, I can see where this film might fit into a film major's curriculum. I especially liked that the filmmaker really used the soundtrack as a storytelling device: While all of the movie takes place in the 80s, it relies on the audience understanding the characters' 60s-based backstories. The soundtrack - jammed full of 60s hits - serves this purpose.
7.5 Twix bars!
While entertained enough and even occasionally moved by the film's depiction of aging friendships, I wasn't blown away. It hasn't aged particularly well, and not just because of its outdated plotlines (like a woman trying to seduce her male friends in order to get pregnant). The thing that put me off the most was its use of self-taped video confessions and conversations. This is a dated device that drives me crazy: Especially in the 80s, filmmakers used it as an attempt to comment on the voyeurism of their characters, but it rarely doesn't feel forced and insincere.
Most of the time, I was wishing the ensemble cast featured other actors, like Andie MacDowell instead of JoBeth Williams, and anyone else except Jeff Goldblum who was clunky in his role as a writer for People magazine who's more ambitious career plans involve opening a club (How noble?). I feel like Glenn Close was only nominated for an Academy Award because she cried, naked. And I won't even bring up Tom Berenger, since I'll never forgive him for not being Tom Bergeron - host of 'Dancing with the Stars' - which cost us a trivia victory. William Hurt & Kevin Kline (though the latter used a totally unnecessary Southern accent) really held the ensemble together.
All this being said, I can see where this film might fit into a film major's curriculum. I especially liked that the filmmaker really used the soundtrack as a storytelling device: While all of the movie takes place in the 80s, it relies on the audience understanding the characters' 60s-based backstories. The soundtrack - jammed full of 60s hits - serves this purpose.
7.5 Twix bars!
November 12, 2009
Movie Review: W.
When talking about movies, I try very hard to talk about more than its plot. I tend to think that if a major motion picture (which I was willing to see) got made, its plot is likely interesting/worthy, so if the movie is lacking in some way, there's probably another aspect of the filmmaking process to blame. But it's awfully hard to keep plot out of it with 'W.'.
It shouldn't surprise you that 'W.' - released a month before Barack Obama was elected as successor to George W. Bush as president and directed by the notorious government conspiracy theorist Oliver Stone - was a bit heavy handed. In case you didn't know Stone's angle beforehand, as soon as the movie starts (once you get past the too-oft-repeated just plain dum' baseball metaphor scene), the point is clear: George W. Bush is dumb. He's mostly good intentioned, but rich, privileged, needy, defensive, arrogant and surrounded by evil doers (whose names rhyme with Rainy and Stove) who only care about power and oil. These people are to blame for anything and everything bad that happened in America between September 12, 2001 and today. Except, you know, in a light-hearted satirical kind of way. I'm on board with all of this, and it still felt like a bit much, so that should tell you something.
One major issue I had with the film is how dated it already feels. Barely a year after its release, when the wars in Iraq and Afghanistan are painfully and frustratingly front-of-mind, the focus was too much on how and why we got into Iraq without contributing anything new to that discussion.
Let's move beyond plot before I go to lefty on you.
Poor Josh Brolin - over the last three years, he's been in 'Milk' (assassin), 'No Country for Old Men' (cuckhold), 'American Gangster' (corrupt cop) and this (punchline); he's finally becoming legitimate as an actor (Previous credits include: 'Hollow Man,' 'The Mod Squad' and 'Bed of Roses') and all these characters are so darn unlikable!
The movie was prettier than I expected. All those scenes of powerful government figures, walking outdoors so their conversations don't get bugged, were full of light in all the right places.
It pains me to say it, because I think she is out-of-control beautiful and a very underrated actress, but Thandie Newton was distractingly bad. Her attempt at Condoleeza Rice was so focused on the voice that it seemed like she was playing her in an SNL parody. This stood out especially in comparison to the void of an accent from James Cromwell, who was playing George Bush Senior. Clearly, George HW Bush has an accent; Cromwell chose to play him without one. Fine, but then an accent imitation shouldn't be the main focal point of any other character.
Here is something I don't often pick up on: The score. There was nothing out of the ordinary with this movie's score until an hour and a half into it: We're in a pivotal scene, a war room of sorts - Lines are being drawn, speeches are being made...and horribly ridiculous piano notes start coming from nowhere. They crescendo as Jeffrey Wright's Colin Powell finishes a powerful speech about not going to war (remember how I called the film "heavy handed"?) and then die out...just to pick up again as Richard Dreyfuss, an almost painful Dick Cheney doppelganger, gives his most obvious villainous speech. Later in this same scene, there's a Bush speech where the painful piano notes are replaced by guitar plucking. Totally unnecessary, this awkwardness continued for the rest of the movie.
To be honest, I'm probably going out of my way to critique this movie because I don't want to feel like I'm just fulfilling my liberal duty by signing off on it with a big stamp of approval Overall, it was too preachy and too long, but pretty funny and definitely well made.
7.25 Twix bars!
It shouldn't surprise you that 'W.' - released a month before Barack Obama was elected as successor to George W. Bush as president and directed by the notorious government conspiracy theorist Oliver Stone - was a bit heavy handed. In case you didn't know Stone's angle beforehand, as soon as the movie starts (once you get past the too-oft-repeated just plain dum' baseball metaphor scene), the point is clear: George W. Bush is dumb. He's mostly good intentioned, but rich, privileged, needy, defensive, arrogant and surrounded by evil doers (whose names rhyme with Rainy and Stove) who only care about power and oil. These people are to blame for anything and everything bad that happened in America between September 12, 2001 and today. Except, you know, in a light-hearted satirical kind of way. I'm on board with all of this, and it still felt like a bit much, so that should tell you something.
One major issue I had with the film is how dated it already feels. Barely a year after its release, when the wars in Iraq and Afghanistan are painfully and frustratingly front-of-mind, the focus was too much on how and why we got into Iraq without contributing anything new to that discussion.
Let's move beyond plot before I go to lefty on you.
Poor Josh Brolin - over the last three years, he's been in 'Milk' (assassin), 'No Country for Old Men' (cuckhold), 'American Gangster' (corrupt cop) and this (punchline); he's finally becoming legitimate as an actor (Previous credits include: 'Hollow Man,' 'The Mod Squad' and 'Bed of Roses') and all these characters are so darn unlikable!
The movie was prettier than I expected. All those scenes of powerful government figures, walking outdoors so their conversations don't get bugged, were full of light in all the right places.
It pains me to say it, because I think she is out-of-control beautiful and a very underrated actress, but Thandie Newton was distractingly bad. Her attempt at Condoleeza Rice was so focused on the voice that it seemed like she was playing her in an SNL parody. This stood out especially in comparison to the void of an accent from James Cromwell, who was playing George Bush Senior. Clearly, George HW Bush has an accent; Cromwell chose to play him without one. Fine, but then an accent imitation shouldn't be the main focal point of any other character.
Here is something I don't often pick up on: The score. There was nothing out of the ordinary with this movie's score until an hour and a half into it: We're in a pivotal scene, a war room of sorts - Lines are being drawn, speeches are being made...and horribly ridiculous piano notes start coming from nowhere. They crescendo as Jeffrey Wright's Colin Powell finishes a powerful speech about not going to war (remember how I called the film "heavy handed"?) and then die out...just to pick up again as Richard Dreyfuss, an almost painful Dick Cheney doppelganger, gives his most obvious villainous speech. Later in this same scene, there's a Bush speech where the painful piano notes are replaced by guitar plucking. Totally unnecessary, this awkwardness continued for the rest of the movie.
To be honest, I'm probably going out of my way to critique this movie because I don't want to feel like I'm just fulfilling my liberal duty by signing off on it with a big stamp of approval Overall, it was too preachy and too long, but pretty funny and definitely well made.
7.25 Twix bars!
November 9, 2009
Movie Review: Defiance
'Defiance' is the based-on-a-true-story account of four Jewish brothers in Belarus who, in 1941, started a camp in the forest to hide themselves, their families (however extended) and, eventually, over one thousand Jewish refugees.
The movie wasn't great. First off, nothing annoys me more than movies set in foreign lands where they speak English with that country's accent. Worse, when then, inexplicably, another language warrants subtitles. Aggravating. Secondly, the three main characters happened to be played by James Bond, Billy Elliott and the guy from Screams 1-3 - that's a little hard to look beyond.
(Speaking of casting, Trevor has no recollection of 'Good Morning, Miami' - if only I were so lucky. A major supporting character was played by the guy from that, who has also appeared on every mediocre television show of the last 10 years. Putting glasses on him doesn't make him any more believable as a Socialist intellectual.)
There were a few points brought up (in a very surface-level kind of way) that I found interesting, since they're atypical for novels & movies on this subject, particularly class issues within Jewish society.
The movie really jumps right into it, taking the brothers to their farm to discover their parents have been murdered, and showing a mass grave within the first five minutes. My first thought was that it was too much, too fast, but I'm now thinking it worked best this way. If there's one subject in world history that maybe doesn't require elaborate set-up and backstory, it's probably the Holocaust.
While the locations and sets were beautiful, the action sequences weren't particularly believable and there were some awkward montages, bizarre editing and one disastrous decision to try to make two men into comic relief (because nothing calls for humor like the Holocaust?).
7 Twix bars!
The movie wasn't great. First off, nothing annoys me more than movies set in foreign lands where they speak English with that country's accent. Worse, when then, inexplicably, another language warrants subtitles. Aggravating. Secondly, the three main characters happened to be played by James Bond, Billy Elliott and the guy from Screams 1-3 - that's a little hard to look beyond.
(Speaking of casting, Trevor has no recollection of 'Good Morning, Miami' - if only I were so lucky. A major supporting character was played by the guy from that, who has also appeared on every mediocre television show of the last 10 years. Putting glasses on him doesn't make him any more believable as a Socialist intellectual.)
There were a few points brought up (in a very surface-level kind of way) that I found interesting, since they're atypical for novels & movies on this subject, particularly class issues within Jewish society.
The movie really jumps right into it, taking the brothers to their farm to discover their parents have been murdered, and showing a mass grave within the first five minutes. My first thought was that it was too much, too fast, but I'm now thinking it worked best this way. If there's one subject in world history that maybe doesn't require elaborate set-up and backstory, it's probably the Holocaust.
While the locations and sets were beautiful, the action sequences weren't particularly believable and there were some awkward montages, bizarre editing and one disastrous decision to try to make two men into comic relief (because nothing calls for humor like the Holocaust?).
7 Twix bars!
September 10, 2009
Movie Review: Funny People
Let's just get this out of the way: 'Funny People' sucked. I wish there was a nicer way to put it, but there's not. It's the kind of movie that is dully painful while you're watching, and then gets worse and worse the more you think about it.
In the musical 'You're a Good Man Charlie Brown,' Lucy – you know her, she's the one who always pulls the football away – tells a depressed Charlie Brown that the best way to feel better “is to come right out and admit all of the things that are wrong with you.” Maybe doing that will help me feel better about this movie: 'Funny People' lacked depth, originality and warmth, and was way too long. Nope, didn't help. I'm just getting angry. Just how long is it? The first half might have been an okay movie on its own. As is, Judd Apatow, he of the golden touch who brought us '40 Year Old Virgin' and 'Knocked Up' tried way too hard and gave us 2 hours and 26 minutes of humorless blah. Does that sound harsh? It should.
The movie's about a famous comedian/actor who's diagnosed with a deadly illness. An aspiring comedian starts working as his assistant, they bond, and then the famous one discovers he isn't sick anymore. A girl and some roommates figure in there somewhere too.
Seth Rogen has been in almost everything that Judd Apatow has done – from 'Freaks & Geeks' through 'Knocked Up.' It's almost like he's his muse or something. He's one of the stars of this movie. Adam Sandler used to be Apatow's roommate. He's another star in this movie. Leslie Mann, she of the squeaky voice, is Judd Apatow's wife. She's the third star of this movie (also, their kids feature fairly prominently). The fourth star – kind of, since he doesn't appear until a good 2 hours in – is Eric Bana (You know, the Hulk). I'm not sure how he fits into Judd Apatow's life, but I'm willing to bet they celebrate Hanukkah together or something. The overzealous, obvious nepotism was at times painful to watch, because no one fit their character particularly well – it's like everyone was playing some vague version of themselves, and nothing else.
Here's something that was good: Jason Schwarztman. He played Seth Rogen's friend, a formerly struggling actor, recently made successful by starring on a totally lame, TGIF/Saturday morning-type sitcom called 'Yo, Teach.' As a self-absorbed guy, convinced that everything is, in fact, about him, he offered some of the only laugh-out-loud moments of the movie.
5 Twix bars!
In the musical 'You're a Good Man Charlie Brown,' Lucy – you know her, she's the one who always pulls the football away – tells a depressed Charlie Brown that the best way to feel better “is to come right out and admit all of the things that are wrong with you.” Maybe doing that will help me feel better about this movie: 'Funny People' lacked depth, originality and warmth, and was way too long. Nope, didn't help. I'm just getting angry. Just how long is it? The first half might have been an okay movie on its own. As is, Judd Apatow, he of the golden touch who brought us '40 Year Old Virgin' and 'Knocked Up' tried way too hard and gave us 2 hours and 26 minutes of humorless blah. Does that sound harsh? It should.
The movie's about a famous comedian/actor who's diagnosed with a deadly illness. An aspiring comedian starts working as his assistant, they bond, and then the famous one discovers he isn't sick anymore. A girl and some roommates figure in there somewhere too.
Seth Rogen has been in almost everything that Judd Apatow has done – from 'Freaks & Geeks' through 'Knocked Up.' It's almost like he's his muse or something. He's one of the stars of this movie. Adam Sandler used to be Apatow's roommate. He's another star in this movie. Leslie Mann, she of the squeaky voice, is Judd Apatow's wife. She's the third star of this movie (also, their kids feature fairly prominently). The fourth star – kind of, since he doesn't appear until a good 2 hours in – is Eric Bana (You know, the Hulk). I'm not sure how he fits into Judd Apatow's life, but I'm willing to bet they celebrate Hanukkah together or something. The overzealous, obvious nepotism was at times painful to watch, because no one fit their character particularly well – it's like everyone was playing some vague version of themselves, and nothing else.
Here's something that was good: Jason Schwarztman. He played Seth Rogen's friend, a formerly struggling actor, recently made successful by starring on a totally lame, TGIF/Saturday morning-type sitcom called 'Yo, Teach.' As a self-absorbed guy, convinced that everything is, in fact, about him, he offered some of the only laugh-out-loud moments of the movie.
5 Twix bars!
September 9, 2009
Movie Review: Paper Heart
'Paper Heart' is a fake documentary about Charlyne Yi, a Los Angeles comedian who dates Michael Cera (of 'Arrested Development,' 'Superbad' and 'Juno.'). The movie was made while they were dating, as if they weren't yet dating, and released after they'd broken up. So, I guess you could say it's kind of a true story. Also, an actor plays the real movie's director. With me so far?
Well, the plot is kind of beside the point anyway. The documentary part is about love, and whether or not it exists for Yi. She doesn't think so, and travels middle America hearing from couples young and old (mostly the latter) about their loves, lost and present. Often, these vignettes are wrapped up with a kind of puppet show that insert Yi's quirky sense of art and humor into the mix. Those parts are quite lovely.
In fact, the whole movie is quite lovely, in a somewhat forgettable way. As is, the only thing that really sticks out in the viewer's mind is that looming question about what is real and what is not; if Cera had been anyone even marginally less famous, there would have been little else to latch onto. 7 Twix bars!
Well, the plot is kind of beside the point anyway. The documentary part is about love, and whether or not it exists for Yi. She doesn't think so, and travels middle America hearing from couples young and old (mostly the latter) about their loves, lost and present. Often, these vignettes are wrapped up with a kind of puppet show that insert Yi's quirky sense of art and humor into the mix. Those parts are quite lovely.
In fact, the whole movie is quite lovely, in a somewhat forgettable way. As is, the only thing that really sticks out in the viewer's mind is that looming question about what is real and what is not; if Cera had been anyone even marginally less famous, there would have been little else to latch onto. 7 Twix bars!
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