The Movie: The Rock, directed by Michael Bay
Recommendation: We'll say...oh...Roger Ebert?
Reason: "The Rock is a first-rate, slam-bang action thriller with a lot of style and no little humor." Also, I bloody well love this movie.
Let's talk about iconic moments for a moment here. Movies, like music, books and other forms of art that have a distinct progression about them, follow a pattern of rise and fall. The action, dialogue, intensity, whatever you like, escalates through the movie until there is finally a moment. The climax. THE moment. If you've seen this movie (and even if you haven't), you probably know what this moment is in The Rock. If we can give Michael Bay credit for one thing, it's that he can certainly create one hell of a climactic image.
In The Rock, Mr. Blows-Things-Up-All-The-Time stumbled across an excellent script and managed to blackmail and/or hire three great actors to take the lead roles. They play hard, and the utter conviction that Connery, Cage and Harris bring to their roles lends a strange sort of gravity to what is otherwise an utterly looney story. Who else would take a movie about domestic terrorism on Alcatraz seriously? Though there are shades of later, less how-shall-we-put-this 'good' projects in the performances, the chemistry between the actors is great. Even the supporting cast (including Corporal Hicks!) turns in some solid work. The Rock is, essentially, a demonstration of what the action genre as a whole should be. I agree with Ebert-this is the peak.
Are there problems with the movie? Likely. I can't think of any right now, as the action still has a hold on my head. I love this movie, always have and always will, so thank you to the scriptwriters for giving us a film with cunning and wit. Thank you to the actors, for giving us characters with meat and texture, with more personality than was asked of them. Thank you to Michael Bay. I have never seen a San Francisco trolley do a triple flip outside of this film.
-151/365 down, 214/365 to go
Saturday, July 28, 2007
Thursday, July 26, 2007
Potential and realization.
The Movie: The Accused, directed by Jonathan Kaplan
Recommendation: DKS
Reason: She's catching me up on my Jodie Foster fandom.
This year, I've seen a striking amount of torture scenes. A lot of eye gouging, a lot of needles and knives. Plenty of decapitations. Saw a guy's head almost get bisected in Pan's Labyrinth. I've seen Oldboy, Zombi 2 and Audition. I've only seen two rape scenes, and they stand out in my mind more than any of the gore. In The Accused, Jodie Foster steals the entire movie out from under Kelly McGillis, making every second of her screentime wrenching (including the aforementioned scene). The story of The Accused is based on the real life "Big Dan's rape". As usual, real life is actually worse than fiction.
It's par for the course that Jodie Foster, in her younger years, would outdo almost anyone she shared the screen with. I'm not saying she's a hack, simply that her presence is overwhelming. For once the supporting cast held up with distinction, and while Foster overwhelms McGillis several times, it's the latter that delivers one of the better summations I've seen on screen (No, I haven't seen Mr. Smith Goes to Washington. Yet.). If you want to read it, here it is (huge block of text, you can't miss it), but I would strongly recommend seeing it for yourself.
This movie could have easily been made-for-TV. They've made movies of more horrible things and aired them. There were script issues and there were a few questionable editing decisions. I know some people question the necessity of the length of the rape scene, but I think I understand the director's point-rape isn't a comfortable time. It's not something that is over with quick and easy. I believe shortening the sequence would detract from the impact of that summation I mentioned earlier, neutering the climax of the film.
If you took a moment to flip through the article up above from Massachusets Lawyers Weekly, you'll note that the story this movie was based on was one of the first nationally televised trial. Kaplan made some interesting decisions in the background setting of his film to point out the bread-and-circuses spectacle the real case became, and the astute will easily pick up on them. Televisions are prevalent in his set dressing, and the images they show give some very subversive commentary. To give an example, a sexy commercial plays at the bar as the prosecutor visits to get an idea of the circumstances surrounding the rape. It's an interesting point, and one of the reasons this movie was so much more than it could have been.
-150/365 down, 215/365 to go
Recommendation: DKS
Reason: She's catching me up on my Jodie Foster fandom.
This year, I've seen a striking amount of torture scenes. A lot of eye gouging, a lot of needles and knives. Plenty of decapitations. Saw a guy's head almost get bisected in Pan's Labyrinth. I've seen Oldboy, Zombi 2 and Audition. I've only seen two rape scenes, and they stand out in my mind more than any of the gore. In The Accused, Jodie Foster steals the entire movie out from under Kelly McGillis, making every second of her screentime wrenching (including the aforementioned scene). The story of The Accused is based on the real life "Big Dan's rape". As usual, real life is actually worse than fiction.
It's par for the course that Jodie Foster, in her younger years, would outdo almost anyone she shared the screen with. I'm not saying she's a hack, simply that her presence is overwhelming. For once the supporting cast held up with distinction, and while Foster overwhelms McGillis several times, it's the latter that delivers one of the better summations I've seen on screen (No, I haven't seen Mr. Smith Goes to Washington. Yet.). If you want to read it, here it is (huge block of text, you can't miss it), but I would strongly recommend seeing it for yourself.
This movie could have easily been made-for-TV. They've made movies of more horrible things and aired them. There were script issues and there were a few questionable editing decisions. I know some people question the necessity of the length of the rape scene, but I think I understand the director's point-rape isn't a comfortable time. It's not something that is over with quick and easy. I believe shortening the sequence would detract from the impact of that summation I mentioned earlier, neutering the climax of the film.
If you took a moment to flip through the article up above from Massachusets Lawyers Weekly, you'll note that the story this movie was based on was one of the first nationally televised trial. Kaplan made some interesting decisions in the background setting of his film to point out the bread-and-circuses spectacle the real case became, and the astute will easily pick up on them. Televisions are prevalent in his set dressing, and the images they show give some very subversive commentary. To give an example, a sexy commercial plays at the bar as the prosecutor visits to get an idea of the circumstances surrounding the rape. It's an interesting point, and one of the reasons this movie was so much more than it could have been.
-150/365 down, 215/365 to go
Sunday, July 22, 2007
Kirikirikirikirikirikirikirikiri.
The Movie: Audition, directed by Takashi Miike.
Recommendation: Horror fans!
Reason: J-horror really raises the bar for freaking people out, and Miike pushes even those limits.
Now that I've chased off everyone else who's seen this movie with the noise that lives in my and their nightmares...not even Rob Zombie could make it through Audition. Rob Zombie, who made House of 1000 Corpses and The Devil's Rejects. Now don't assume that just because he (and I) were disturbed by the film, that it's a useless heap of schlock akin to Eli Roth's Hostel series. Audition is a good, solid film with interesting themes and gore that is truly horrific. It's a commentary on the lofty expectations of many men and women when it comes to relationships.
The protagonist, Aoyama, presents a list of criteria for his potential mate to a friend in a bar. At no point does he list 'sane' as something he seeks in a wife. His friend encourages him to have the women come to him, under the pretense that he's producing a movie soon (Aoyama is a television producer). Miike's presentation of these two men isn't subtle. They're portrayed as slightly boorish, occasionally heading into 'pig' territory. Though Aoyama is generally a sympathetic character, he doesn't raise his head too far above the line of 'decent person'. Like the protagonist in Chan Wook Park's Oldboy, he thinks he's better than he is. When he meets Asami, a vulnerable, pretty young woman, his shallow self is sold. She seems to be just what he wants, and he pays and pays for not seeking the real person below the facade.
It's so simple for the bad guys to steal the show in movies like this. They get the gravitas, the ponderous shots (I fell in love with the shot of Asami's secret smile), the buildup. The hero is the focus of the film, but the focus of our terror is the villain. If a weaker actor had had the part of Aoyama, I think that could have been the case here, but with two strong talents playing off of each other, the result is beautiful. Miike's controversial work is a good film, though I really stress that having a strong stomach is a requirement to watch.
-149/365 down, 216/365 to go
Recommendation: Horror fans!
Reason: J-horror really raises the bar for freaking people out, and Miike pushes even those limits.
Now that I've chased off everyone else who's seen this movie with the noise that lives in my and their nightmares...not even Rob Zombie could make it through Audition. Rob Zombie, who made House of 1000 Corpses and The Devil's Rejects. Now don't assume that just because he (and I) were disturbed by the film, that it's a useless heap of schlock akin to Eli Roth's Hostel series. Audition is a good, solid film with interesting themes and gore that is truly horrific. It's a commentary on the lofty expectations of many men and women when it comes to relationships.
The protagonist, Aoyama, presents a list of criteria for his potential mate to a friend in a bar. At no point does he list 'sane' as something he seeks in a wife. His friend encourages him to have the women come to him, under the pretense that he's producing a movie soon (Aoyama is a television producer). Miike's presentation of these two men isn't subtle. They're portrayed as slightly boorish, occasionally heading into 'pig' territory. Though Aoyama is generally a sympathetic character, he doesn't raise his head too far above the line of 'decent person'. Like the protagonist in Chan Wook Park's Oldboy, he thinks he's better than he is. When he meets Asami, a vulnerable, pretty young woman, his shallow self is sold. She seems to be just what he wants, and he pays and pays for not seeking the real person below the facade.
It's so simple for the bad guys to steal the show in movies like this. They get the gravitas, the ponderous shots (I fell in love with the shot of Asami's secret smile), the buildup. The hero is the focus of the film, but the focus of our terror is the villain. If a weaker actor had had the part of Aoyama, I think that could have been the case here, but with two strong talents playing off of each other, the result is beautiful. Miike's controversial work is a good film, though I really stress that having a strong stomach is a requirement to watch.
-149/365 down, 216/365 to go
Thursday, July 19, 2007
Dude. Sweet. Shibby. Learn it, love it.
The Movie: Dude, Where's My Car?, directed by Danny Leiner
Recommendation: Me!
Reason: It's been awhile.
There are subgenres of comedy, and not everyone appreciates every subgenre. Black comedies are not written for people who only like screwball comedies, and slapstick routines are not usually intended for highbrow viewers. Dude, Where's My Car? is a strange sort of fantasy-comedy, but it's mainly screwball. The ridiculousness of the movie is continually amped up to go for bigger and bigger laughs.
Something about Dude, Where's My Car? keeps it funny, even though parts of it have aged a little. For instance, I don't think anyone's as fazed by cell phones now as they were then. I think I'd feel confident saying that the chemistry between Seann William Scott and Ashton Kutcher (when he was still entertaining) is the main source of the funny. They worked really well together here.
I like this movie. Not everything needs to be a high art, high tension masterpiece. Sometimes a dumbass comedy is a great source of stress relief. Dude, Where's My Car? isn't the best funny movie out there, but it's one of my favorites.
-148/365 down, 217/365 to go
Recommendation: Me!
Reason: It's been awhile.
There are subgenres of comedy, and not everyone appreciates every subgenre. Black comedies are not written for people who only like screwball comedies, and slapstick routines are not usually intended for highbrow viewers. Dude, Where's My Car? is a strange sort of fantasy-comedy, but it's mainly screwball. The ridiculousness of the movie is continually amped up to go for bigger and bigger laughs.
Something about Dude, Where's My Car? keeps it funny, even though parts of it have aged a little. For instance, I don't think anyone's as fazed by cell phones now as they were then. I think I'd feel confident saying that the chemistry between Seann William Scott and Ashton Kutcher (when he was still entertaining) is the main source of the funny. They worked really well together here.
I like this movie. Not everything needs to be a high art, high tension masterpiece. Sometimes a dumbass comedy is a great source of stress relief. Dude, Where's My Car? isn't the best funny movie out there, but it's one of my favorites.
-148/365 down, 217/365 to go
Tuesday, July 17, 2007
Mel Gibson, the original Eli Roth.
The Movie: Apocalypto, directed by Mel Gibson
Recommendation: Me.
Reason: Part morbid curiousity, part genuine interest.
Alright everyone, admit it. When you heard that Mel Gibson was going to do a movie about the end of the Mayan civilization, most of you probably groaned, rolled your eyes or shook your head. How could crazy old Mel pull together such a film? It would be an epic, of course. There would probably be violence. Mel probably wouldn't be in it. There would probably be some pretty heavy Catholic allegory.
Guess what everyone! You were right! Apocalypto is violent (frequently without a point), really long (40 minutes longer than it needed to be) and...not covered in crosses and Virgin Marys. Rudy Youngblood plays Jaguar Paw, the protagonist member of a jungle tribe who is captured in order to be sacrificed to the gods. That's the majority of the movie right there. Then he escapes to flee back to his family. That's not the majority of the movie. If it had been the other way around, with more time devoted to the chase through the jungle, I think the movie might have improved.
Mel Gibson's use of torture and gore in his films often has a point, or at least a reason behind it. The Passion portrayed the suffering of Christ in a very real way that impacted hundreds of people's faith. Braveheart's noble sacrifice was inspiring. But now it's getting old. We didn't need a thirty minute 'slaughtering the village' sequence. Didn't need loving, lingering shots of guts being torn out and repetitive sacrifice sequences. We saw the head go bouncing down the steps the first time Mel, don't need to see it again.
-147/365 down, 218/365 to go
Recommendation: Me.
Reason: Part morbid curiousity, part genuine interest.
Alright everyone, admit it. When you heard that Mel Gibson was going to do a movie about the end of the Mayan civilization, most of you probably groaned, rolled your eyes or shook your head. How could crazy old Mel pull together such a film? It would be an epic, of course. There would probably be violence. Mel probably wouldn't be in it. There would probably be some pretty heavy Catholic allegory.
Guess what everyone! You were right! Apocalypto is violent (frequently without a point), really long (40 minutes longer than it needed to be) and...not covered in crosses and Virgin Marys. Rudy Youngblood plays Jaguar Paw, the protagonist member of a jungle tribe who is captured in order to be sacrificed to the gods. That's the majority of the movie right there. Then he escapes to flee back to his family. That's not the majority of the movie. If it had been the other way around, with more time devoted to the chase through the jungle, I think the movie might have improved.
Mel Gibson's use of torture and gore in his films often has a point, or at least a reason behind it. The Passion portrayed the suffering of Christ in a very real way that impacted hundreds of people's faith. Braveheart's noble sacrifice was inspiring. But now it's getting old. We didn't need a thirty minute 'slaughtering the village' sequence. Didn't need loving, lingering shots of guts being torn out and repetitive sacrifice sequences. We saw the head go bouncing down the steps the first time Mel, don't need to see it again.
-147/365 down, 218/365 to go
Sunday, July 15, 2007
A child is missing, and Julianne Moore isn't playing the lead.
The Movie: Flightplan, directed by Robert Schwentke
Recommendation: DKS
Reason: We share a mutual like of Jodie Foster and the movies she chooses to star in. Admittedly, this does extend to Panic Room and Flightplan, which both have their good points along with the bad.
Bite me.
That's for everyone who dislikes movies I've enjoyed and wants to make sure I know it, as loud and annoyingly as possible. I'm not interested in discussing it with you unless you have some new insight. NEW. INSIGHT. I don't feel that I'm asking too much here, really. I don't force anyone to read my reviews, don't force me to listen to endless droning about how repetitive and awful my bad-movie darlings are. Now that I've got your attention...Flightplan wasn't a great movie. Peter Sarsgaard is too slimy not to be evil (oh, sorry guys, spoiler warning!). Sean Bean surprisingly did not die. Attaboy Sean, keep up the good work. The editing was...questionable. The acting, even Jodie Foster's bit, wasn't top notch.
This movie really just vanished into thin air (hahahahahaha) after it hit the screens around the same time as Red Eye. I haven't seen that movie, but it could just be a little better than Flightplan. This movie didn't have much of anything going for it aside from Jodie Foster and though she's really great, she does need a bit of help if she's going to be the one and only highlight of the show. She didn't get that help here, which is a major suffering point of the film.
This movie wasn't really bad, it was just pedestrian and forgettable. Foster's frantic attempts at maintaining drama and pushing the plot along aside, Flightplan just plodded along by the numbers, not really forking away from the formula and certainly not breaking new ground. It's not her best, but it's something to tide us over until she wows us again.
-146/365 down, 219/365 to go
Recommendation: DKS
Reason: We share a mutual like of Jodie Foster and the movies she chooses to star in. Admittedly, this does extend to Panic Room and Flightplan, which both have their good points along with the bad.
Bite me.
That's for everyone who dislikes movies I've enjoyed and wants to make sure I know it, as loud and annoyingly as possible. I'm not interested in discussing it with you unless you have some new insight. NEW. INSIGHT. I don't feel that I'm asking too much here, really. I don't force anyone to read my reviews, don't force me to listen to endless droning about how repetitive and awful my bad-movie darlings are. Now that I've got your attention...Flightplan wasn't a great movie. Peter Sarsgaard is too slimy not to be evil (oh, sorry guys, spoiler warning!). Sean Bean surprisingly did not die. Attaboy Sean, keep up the good work. The editing was...questionable. The acting, even Jodie Foster's bit, wasn't top notch.
This movie really just vanished into thin air (hahahahahaha) after it hit the screens around the same time as Red Eye. I haven't seen that movie, but it could just be a little better than Flightplan. This movie didn't have much of anything going for it aside from Jodie Foster and though she's really great, she does need a bit of help if she's going to be the one and only highlight of the show. She didn't get that help here, which is a major suffering point of the film.
This movie wasn't really bad, it was just pedestrian and forgettable. Foster's frantic attempts at maintaining drama and pushing the plot along aside, Flightplan just plodded along by the numbers, not really forking away from the formula and certainly not breaking new ground. It's not her best, but it's something to tide us over until she wows us again.
-146/365 down, 219/365 to go
Saturday, July 14, 2007
She's never seen the sea.
The Movie: Van Helsing, directed by Stephen Sommers
Recommendation: Me
Reason: It was on TV!
Alright, I'll admit it. I like this movie. I know, I know, turn in your critic-badge right now. Truthfully, I can't defend my love of this movie aside from this: I love campy movies. I have a soft spot for them. Van Helsing is amazingly campy, the sort of funny one gets from turning on a camera, telling everyone to speak in really fake accents and giving Richard Roxburgh free reign to act as madcap as possible.
Stephen Sommers is probably one of the directors who entertains me the most. When I first saw this movie in theaters, I actually left laughing so hard that I was in tears. The words 'the sea' would send me into fits. Kate Beckinsdale delivered every line with such awful conviction that it blew me away. If Roxburgh hadn't been overacting, prancing and dancing his way along, chewing the scenery, she surely would have earned herself a place among the worst actors in hollywood.
This movie is bubbly, dumb fun. Don't look for a deeper meaning, don't even really look for a subtext. It's just an entertaining game.
-145/365 down, 220/365 to go
Recommendation: Me
Reason: It was on TV!
Alright, I'll admit it. I like this movie. I know, I know, turn in your critic-badge right now. Truthfully, I can't defend my love of this movie aside from this: I love campy movies. I have a soft spot for them. Van Helsing is amazingly campy, the sort of funny one gets from turning on a camera, telling everyone to speak in really fake accents and giving Richard Roxburgh free reign to act as madcap as possible.
Stephen Sommers is probably one of the directors who entertains me the most. When I first saw this movie in theaters, I actually left laughing so hard that I was in tears. The words 'the sea' would send me into fits. Kate Beckinsdale delivered every line with such awful conviction that it blew me away. If Roxburgh hadn't been overacting, prancing and dancing his way along, chewing the scenery, she surely would have earned herself a place among the worst actors in hollywood.
This movie is bubbly, dumb fun. Don't look for a deeper meaning, don't even really look for a subtext. It's just an entertaining game.
-145/365 down, 220/365 to go
Friday, July 13, 2007
Starscream, Starscream, STARSCREAM!!!!
The Movie: Transformers, directed by Michael Bay
Recommendation: Broomie (cause he saw it first)
Reason: It's Transformers, and it showed a lot of promise in the area of not playing Dare to be Stupid.
If this movie had been nothing but wall to wall Megatron versus Optimus Prime for two and a half hours, I would have paid full price to see it twice. If this movie had been nothing but Shia LeBeouf and Megan Fox's characters interacting, I would have...at least seen it once. I don't have that much faith in LeBeouf's talent just yet. Transformers as I saw it today, I could certainly see again, but mainly to see the giant robots smashing each other to pieces. The worldbuilding that was done in the film was very strong, with fairly realistic reactions on the parts of multiple world governments to sudden strange assaults. The animation was holy-shit-amazing. The design of the Transformers themselves was really top notch.
There are however, some weak points. Boo and hiss all you like. The pacing was off and felt a little hitchy in places-the movie could have been trimmed up a bit, particularily in the second act. The acting could have been a lot better. Jon Voight and John Tuturro were massive hams in a movie that was making a reasonable attempt at credibility. There could have probably been one or two less Decepticons to tighten up the final fight. There was a setup for a sequel, but anyone who didn't see that coming must be deluded.
The original voice actor was brought back to play Optimus Prime, which was a truly excellent decision, but it was that all-too-brief scene between Megatron and Starscream that really felt 'old Transformers' to me. The quick berating leading into the final battle made me wish for more 'villain' action. I think that was an issue with this movie-too many semi-villains, when there were at least two perfectly good candidates right in front of them. I was actually surprised to see so little of Starscream, given his crazed lust for power. Perhaps the second movie, whenever it comes, will deliver.
Oh, and did you catch this trailer from the guys who brought us Lost? I cannot wait for this one.
-144/365 down, 221/365 to go
Recommendation: Broomie (cause he saw it first)
Reason: It's Transformers, and it showed a lot of promise in the area of not playing Dare to be Stupid.
If this movie had been nothing but wall to wall Megatron versus Optimus Prime for two and a half hours, I would have paid full price to see it twice. If this movie had been nothing but Shia LeBeouf and Megan Fox's characters interacting, I would have...at least seen it once. I don't have that much faith in LeBeouf's talent just yet. Transformers as I saw it today, I could certainly see again, but mainly to see the giant robots smashing each other to pieces. The worldbuilding that was done in the film was very strong, with fairly realistic reactions on the parts of multiple world governments to sudden strange assaults. The animation was holy-shit-amazing. The design of the Transformers themselves was really top notch.
There are however, some weak points. Boo and hiss all you like. The pacing was off and felt a little hitchy in places-the movie could have been trimmed up a bit, particularily in the second act. The acting could have been a lot better. Jon Voight and John Tuturro were massive hams in a movie that was making a reasonable attempt at credibility. There could have probably been one or two less Decepticons to tighten up the final fight. There was a setup for a sequel, but anyone who didn't see that coming must be deluded.
The original voice actor was brought back to play Optimus Prime, which was a truly excellent decision, but it was that all-too-brief scene between Megatron and Starscream that really felt 'old Transformers' to me. The quick berating leading into the final battle made me wish for more 'villain' action. I think that was an issue with this movie-too many semi-villains, when there were at least two perfectly good candidates right in front of them. I was actually surprised to see so little of Starscream, given his crazed lust for power. Perhaps the second movie, whenever it comes, will deliver.
Oh, and did you catch this trailer from the guys who brought us Lost? I cannot wait for this one.
-144/365 down, 221/365 to go
Thursday, July 12, 2007
This movie (probably) sponsored by...cocaine!
The Movie: Blood and Chocolate, directed by Katja von Garnier
Recommendation: Broomie.
Reason: It looked to be a really bad werewolf movie.
Well, that's exactly what it was. The werewolf subgenre doesn't have a lot of good movies associated with it...in fact, I think I can count six (Ginger Snaps 1-3, Wolfen, An American Werewolf in London and The Howling 1). There are a few key factors in making a werewolf movie work, and like so many others, Blood and Chocolate didn't quite make it.
The single most important factor, in my not-so-humble opinion, is the plot. Aside from the usual concerns like 'making sense' and 'not being boring' (Blood and Chocolate failed those points), werewolf plots that deal with a certain narrow range of themes tend to work the best. The horror of transformation (Ginger Snaps) and the fear of the wild (Wolfen) are really the best to play with, because the werewolf as a monster opens up so many new and interesting doors when applied to those scenarios. Though Blood and Chocolate touches on both, it instead decided to be a fuzzy version of Romeo and Juliet, right down to a visit to the apothecary. This could be a personal preference, but I imagine a werewolf romance would have to be handled...differently. These are very visceral creatures, judging by the myths surrounding them. If you want a werewolf 'romance', for lack of a better word, Ginger Snaps 2 should provide you with everything you're looking for.
The second most important consideration for a good werewolf movie is special effects. Transformations are a crucial part of understanding the monster, really getting a feel for the creature's state of being. Whether the werewolf is intentionally malicious or under control, we like to see how it gets there. American Werewolf in London has the best, hardest to watch transformation sequence I've seen yet. Blood and Chocolate had...really bad special effects. I understand how expensive prosthetics or transformation sequences would have been, given the number of werewolves in the movie, but I'm certain a better choice could have been made. The monster itself is another thing many werewolf movies have to consider-like Wolfen, Blood and Chocolate's werewolves transform fully into wolves, probably a good idea considering the subject matter.
Lastly we come to the usual suspects, the things everyone wants to see in a good movie. The acting in Blood and Chocolate was alternately flat and overwrought, the effects...well, see above. The set was gorgeous, but eastern europe generally is. The story was confusing and a little dumb. This just wasn't a very good movie.
-143/365 down, 222/365 to go
Recommendation: Broomie.
Reason: It looked to be a really bad werewolf movie.
Well, that's exactly what it was. The werewolf subgenre doesn't have a lot of good movies associated with it...in fact, I think I can count six (Ginger Snaps 1-3, Wolfen, An American Werewolf in London and The Howling 1). There are a few key factors in making a werewolf movie work, and like so many others, Blood and Chocolate didn't quite make it.
The single most important factor, in my not-so-humble opinion, is the plot. Aside from the usual concerns like 'making sense' and 'not being boring' (Blood and Chocolate failed those points), werewolf plots that deal with a certain narrow range of themes tend to work the best. The horror of transformation (Ginger Snaps) and the fear of the wild (Wolfen) are really the best to play with, because the werewolf as a monster opens up so many new and interesting doors when applied to those scenarios. Though Blood and Chocolate touches on both, it instead decided to be a fuzzy version of Romeo and Juliet, right down to a visit to the apothecary. This could be a personal preference, but I imagine a werewolf romance would have to be handled...differently. These are very visceral creatures, judging by the myths surrounding them. If you want a werewolf 'romance', for lack of a better word, Ginger Snaps 2 should provide you with everything you're looking for.
The second most important consideration for a good werewolf movie is special effects. Transformations are a crucial part of understanding the monster, really getting a feel for the creature's state of being. Whether the werewolf is intentionally malicious or under control, we like to see how it gets there. American Werewolf in London has the best, hardest to watch transformation sequence I've seen yet. Blood and Chocolate had...really bad special effects. I understand how expensive prosthetics or transformation sequences would have been, given the number of werewolves in the movie, but I'm certain a better choice could have been made. The monster itself is another thing many werewolf movies have to consider-like Wolfen, Blood and Chocolate's werewolves transform fully into wolves, probably a good idea considering the subject matter.
Lastly we come to the usual suspects, the things everyone wants to see in a good movie. The acting in Blood and Chocolate was alternately flat and overwrought, the effects...well, see above. The set was gorgeous, but eastern europe generally is. The story was confusing and a little dumb. This just wasn't a very good movie.
-143/365 down, 222/365 to go
Wednesday, July 11, 2007
I want to major in Skepticism.
The Movie: Accepted, directed by Steve Pink
Recommendation: Dee
Reason: I admit it. I like those Mac vs. PC ads, and we both have wanted to watch Accepted since it was first advertised.
So, Justin Long's actually pretty funny, and I'm looking forward to seeing him in Live Free or Die Hard. I'm sure it'll be a tour de force. In Accepted he was quite good, entertaining without being too stupid. It was a good thing he was involved actually, since his supporting cast was a little weak.
The story of the film definitely stretches credibility-losers start their own college in an old mental institute. It's a fun premise though, and if you can get past the ludicrousness, it's an enjoyable movie. I just sat back and enjoyed the 'school' as it was presented. Who wouldn't go to a class that was essentially a bitter old man ranting and raving about whatever came to mind? I know some of the more entertaining lectures I ever attended were exactly that. I learned a lot from them too.
Not a lot of innovation in this movie, though it felt very personal. The writing really brought that perspective forward and developed some empathy for the main characters. Their situations were described in quick broad strokes, then they were allowed to develop from there. I was, at the very least, entertained.
-142/265 down, 223/365 to go
Recommendation: Dee
Reason: I admit it. I like those Mac vs. PC ads, and we both have wanted to watch Accepted since it was first advertised.
So, Justin Long's actually pretty funny, and I'm looking forward to seeing him in Live Free or Die Hard. I'm sure it'll be a tour de force. In Accepted he was quite good, entertaining without being too stupid. It was a good thing he was involved actually, since his supporting cast was a little weak.
The story of the film definitely stretches credibility-losers start their own college in an old mental institute. It's a fun premise though, and if you can get past the ludicrousness, it's an enjoyable movie. I just sat back and enjoyed the 'school' as it was presented. Who wouldn't go to a class that was essentially a bitter old man ranting and raving about whatever came to mind? I know some of the more entertaining lectures I ever attended were exactly that. I learned a lot from them too.
Not a lot of innovation in this movie, though it felt very personal. The writing really brought that perspective forward and developed some empathy for the main characters. Their situations were described in quick broad strokes, then they were allowed to develop from there. I was, at the very least, entertained.
-142/265 down, 223/365 to go
Cute Furry Animal Movie #326
The Movie: Over the Hedge, directed by Tim Johnson and Karey Kirkpatrick
Recommendation: Dee
Reason: I had to choose between this and Beauty Shop.
I actually watched this a couple of days ago, I just haven't been able to focus myself enough to review it until now. Since I watched it, the one thing I've found myself contemplating more than anything else is Avril Lavigne's voicework. At first I couldn't figure out why, out of everything else the movie had to offer, I fixated on that. Then I understood-her performance was nuanced and natural, the only one of the bunch who actually created a convincing character. No awards are, or should be, forthcoming, but I was impressed that she was even capable of such a feat.
This movie really is a cute fuzzy animated animal movie, every joke just for kids. The only thing it didn't have was the expected singing. The message was pretty loud and clear. I don't disagree with the point of the show. It was just...fairly blatantly presented. I usually enjoy a little more subtlety.
The animation was nice, very clean, though I didn't catch any major new developments or daring attempts at pushing the envelope. I think I watch too much Pixar for that. The voicework was generally alright, though Wanda Sykes was criminally underused. Basically, the movie accomplished what it set out to-make a kids movie, cram in a message and the kids might like it.
-141/365 down, 224/365 to go
Recommendation: Dee
Reason: I had to choose between this and Beauty Shop.
I actually watched this a couple of days ago, I just haven't been able to focus myself enough to review it until now. Since I watched it, the one thing I've found myself contemplating more than anything else is Avril Lavigne's voicework. At first I couldn't figure out why, out of everything else the movie had to offer, I fixated on that. Then I understood-her performance was nuanced and natural, the only one of the bunch who actually created a convincing character. No awards are, or should be, forthcoming, but I was impressed that she was even capable of such a feat.
This movie really is a cute fuzzy animated animal movie, every joke just for kids. The only thing it didn't have was the expected singing. The message was pretty loud and clear. I don't disagree with the point of the show. It was just...fairly blatantly presented. I usually enjoy a little more subtlety.
The animation was nice, very clean, though I didn't catch any major new developments or daring attempts at pushing the envelope. I think I watch too much Pixar for that. The voicework was generally alright, though Wanda Sykes was criminally underused. Basically, the movie accomplished what it set out to-make a kids movie, cram in a message and the kids might like it.
-141/365 down, 224/365 to go
Saturday, July 7, 2007
Ow! Right in the squeedly-spoodge.
The Movie: Superman Returns, directed by Brian Singer
Recommendation: More like an anti-recommendation.
Reason: Everyone I know who saw this movie before I did refused to rewatch it with me.
My first impression upon walking away from this movie is that Brian Singer set out to make a Superman movie that was everything Superman isn't. Superman Returns is a muddled, jumbled mess of canon and interpretation. Where Singer's slice-and-dice of X-Men canon made the result leaner and easier to understand, he's cut away at the wrong parts of Superman. It just seemed as though he did everything wrong here. He added a kid, cast most of the more annoying actors in Hollywood (including my personal arch-nemesis, Parker Posey) and unfortunately set up Superman's romantic side against a guy who's really just...nice.
As Supes, Brandon Routh is boring and vaguely uncharismatic. I hate to say it, but after reading the list of men who were previously considered for the role (while they were bouncing the scripts between directors like a volleyball), I've got a shortlist who could've easily bettered Routh's performance. Let's not even get into annoyingly flat and uninteresting Kate Bosworth. Once again, there were better Lois Lanes that could have occupied space and been damseled at earliest convenience. There is also no reason AT ALL that PARKER POSEY had to be in the movie. NO REASON AT ALL. She had no point. All she did was shuffle after Kevin Spacey and whine in that awful high pitched voice that sprouts directly from hell.
Speaking of the master. Kevin Spacey's campy Lex Luthor was probably the only one in the whole movie that made it worth watching. He was a good supervillain, and I wish they'd given him more to work with. Also, James Marsden made me like him a little, which was a feat since I kept thinking of Cyclops every time I saw him. And Cyclops is a dick. Superman just happened to be the bigger dick in this movie.
-140/365 down, 225/365 to go
Recommendation: More like an anti-recommendation.
Reason: Everyone I know who saw this movie before I did refused to rewatch it with me.
My first impression upon walking away from this movie is that Brian Singer set out to make a Superman movie that was everything Superman isn't. Superman Returns is a muddled, jumbled mess of canon and interpretation. Where Singer's slice-and-dice of X-Men canon made the result leaner and easier to understand, he's cut away at the wrong parts of Superman. It just seemed as though he did everything wrong here. He added a kid, cast most of the more annoying actors in Hollywood (including my personal arch-nemesis, Parker Posey) and unfortunately set up Superman's romantic side against a guy who's really just...nice.
As Supes, Brandon Routh is boring and vaguely uncharismatic. I hate to say it, but after reading the list of men who were previously considered for the role (while they were bouncing the scripts between directors like a volleyball), I've got a shortlist who could've easily bettered Routh's performance. Let's not even get into annoyingly flat and uninteresting Kate Bosworth. Once again, there were better Lois Lanes that could have occupied space and been damseled at earliest convenience. There is also no reason AT ALL that PARKER POSEY had to be in the movie. NO REASON AT ALL. She had no point. All she did was shuffle after Kevin Spacey and whine in that awful high pitched voice that sprouts directly from hell.
Speaking of the master. Kevin Spacey's campy Lex Luthor was probably the only one in the whole movie that made it worth watching. He was a good supervillain, and I wish they'd given him more to work with. Also, James Marsden made me like him a little, which was a feat since I kept thinking of Cyclops every time I saw him. And Cyclops is a dick. Superman just happened to be the bigger dick in this movie.
-140/365 down, 225/365 to go
Thursday, July 5, 2007
The plane has been redeemed by love. Now it seeks a mate!
The Movie: Stealth, directed by Rob Cohen
Recommendation: Nobody.
Reason: I needed something to watch that I could pause partway through. Reno 911! was on.
So. The movie is about a unmanned combat fighter jet that is struck by lightning and goes insane. Wackiness follows. That's essentially everything you'll ever need to know about Stealth. As expected, Jamie Foxx's character dies, prompting the white people to attempt to avenge him. There's a hotshot orphan rebel jet pilot with a heart of gold. There's a tough-on-the-outside, soft-on-the-inside girl pilot who predictably damsels up at the end. There's a corrupt commanding officer. It's every action movie ever made, with a chick flick twist. Oh, and the sentient plane likes wailing guitar solos.
Though there were some interesting visual transitions, the movie wasn't that incredible looking. I wasn't paying much attention to the music, but according to Dee, the composer should be shot. Looking at imdb, that's Incubus. I am not opposed. Aside from one really subtle bit of manipulation, the sound was average. The effects were pretty standard for a fast-moving-airplane movie. Stealth just wasn't much of a surprise.
So...now we get to the acting. The characters were written as action figures at best, stereotypes at worst, and the actors did nothing to grow from the roles as-written. Jamie Foxx was the token black guy and made sure everyone else knew it. Josh Lucas was uninspiring as the hotshot leader (and how lame do you have to be as a pilot to earn the nickname 'Bic'? Did the other pilots keep flicking him or something?). Jessica Biel has some really excellent muscle tone, but can't act her way out of a paper bag. The rest of the cast was forgettably boring. Don't bother with catching Stealth, or paying money to see it.
-139/365 down, 226/365 to go
Recommendation: Nobody.
Reason: I needed something to watch that I could pause partway through. Reno 911! was on.
So. The movie is about a unmanned combat fighter jet that is struck by lightning and goes insane. Wackiness follows. That's essentially everything you'll ever need to know about Stealth. As expected, Jamie Foxx's character dies, prompting the white people to attempt to avenge him. There's a hotshot orphan rebel jet pilot with a heart of gold. There's a tough-on-the-outside, soft-on-the-inside girl pilot who predictably damsels up at the end. There's a corrupt commanding officer. It's every action movie ever made, with a chick flick twist. Oh, and the sentient plane likes wailing guitar solos.
Though there were some interesting visual transitions, the movie wasn't that incredible looking. I wasn't paying much attention to the music, but according to Dee, the composer should be shot. Looking at imdb, that's Incubus. I am not opposed. Aside from one really subtle bit of manipulation, the sound was average. The effects were pretty standard for a fast-moving-airplane movie. Stealth just wasn't much of a surprise.
So...now we get to the acting. The characters were written as action figures at best, stereotypes at worst, and the actors did nothing to grow from the roles as-written. Jamie Foxx was the token black guy and made sure everyone else knew it. Josh Lucas was uninspiring as the hotshot leader (and how lame do you have to be as a pilot to earn the nickname 'Bic'? Did the other pilots keep flicking him or something?). Jessica Biel has some really excellent muscle tone, but can't act her way out of a paper bag. The rest of the cast was forgettably boring. Don't bother with catching Stealth, or paying money to see it.
-139/365 down, 226/365 to go
Monday, July 2, 2007
Walked away, ladies and gentlemen, walked away!
With this movie, I'm altering my format. Due to a relative inability to track down as many 'new-to-me' movies as I'd hoped, I'm allowing myself to watch movies I have previously seen.
The Movie: Hedwig and the Angry Inch, directed by John Cameron Mitchell
Recommendation: Me!
Reason: This movie's a real classic of the musical genre.
I actually rewatched Hedwig last week. This movie contains perhaps the best song from any musical ever (feel free to challenge me on this), The Origin of Love. As a song it stands up so well that the context of the movie is unnecessary. But what a context to put it into. Hedwig is the story of a transgendered person having an identity crisis, whose transition from male to female didn't go entirely as planned. With an 'angry inch' and a boatload of fabulous, Hedwig hit the road, telling the story of her life through song and pseudo-documentary.
Do not see this movie if transgendered people or cross-dressers creep you out. You'd be doing Hedwig a great disservice, because this movie is touching, sweet and very, very funny. The music also completely rocks. It's all new-wave, with a touch of country and an excellent punk interlude dedicated to that angry inch. The film is saturated with color, through Hedwig's flamboyant costumes, wigs and makeup.
I'd be remiss not to mention the absolutely great performances that follow John Cameron Mitchell's overwrought dramatics. Miriam Shore as Yitzak and Michael Pitt as Tommy Gnosis are both excellent in their roles (Miriam Shore had a bit of an advantage, having played the part when Hedwig was a stage show). As foils for Hedwig, both characters were strongly played and well developed.
138/365 down, 227/365 to go
The Movie: Hedwig and the Angry Inch, directed by John Cameron Mitchell
Recommendation: Me!
Reason: This movie's a real classic of the musical genre.
I actually rewatched Hedwig last week. This movie contains perhaps the best song from any musical ever (feel free to challenge me on this), The Origin of Love. As a song it stands up so well that the context of the movie is unnecessary. But what a context to put it into. Hedwig is the story of a transgendered person having an identity crisis, whose transition from male to female didn't go entirely as planned. With an 'angry inch' and a boatload of fabulous, Hedwig hit the road, telling the story of her life through song and pseudo-documentary.
Do not see this movie if transgendered people or cross-dressers creep you out. You'd be doing Hedwig a great disservice, because this movie is touching, sweet and very, very funny. The music also completely rocks. It's all new-wave, with a touch of country and an excellent punk interlude dedicated to that angry inch. The film is saturated with color, through Hedwig's flamboyant costumes, wigs and makeup.
I'd be remiss not to mention the absolutely great performances that follow John Cameron Mitchell's overwrought dramatics. Miriam Shore as Yitzak and Michael Pitt as Tommy Gnosis are both excellent in their roles (Miriam Shore had a bit of an advantage, having played the part when Hedwig was a stage show). As foils for Hedwig, both characters were strongly played and well developed.
138/365 down, 227/365 to go
Is there any way we can make the movie go faster?
The Movie: Talladega Nights: The Ballad of Ricky Bobby, directed by Adam Mackay.
Recommendation: Dee
Reason: "It's another quotably funny Will Ferrell movie!"
I'm starting to wish that more movies came out that weren't quotable. Movies that just left you with a sort of 'wink and nod if you've seen it' crowd. I have no idea if that's even possible, so instead Will Ferrell gets another greenlight. Talladega Nights comes from a lot of the same people as Anchorman, which was possibly the highlight of Ferrell's career so far. This take on Nascar and racing movies in general was alright, though the pacing was absolutely awful.
Will Ferrell has range and depth, he just chooses not to use it. While he managed to create a full-bodied but still ridiculous character in Anchorman, he does no such thing here. Ricky Bobby's his usual idiot-squared, propped up by sidekicks who are barely more competent than himself. The character's absurdity just doesn't balance as well as his previous creations have.
This movie could have been a lot tighter. It abruptly stopped being remotely engaging during the repeated 'you can do it' speeches, started by the Nicole-Kidman-in-Days-of-Thunder imitator. Though I was mildly entertained until that point, chemical intervention would have been necessary to elevate the remainder of the movie from the pit it fell into.
-137/365 down, 228/365 to go
Recommendation: Dee
Reason: "It's another quotably funny Will Ferrell movie!"
I'm starting to wish that more movies came out that weren't quotable. Movies that just left you with a sort of 'wink and nod if you've seen it' crowd. I have no idea if that's even possible, so instead Will Ferrell gets another greenlight. Talladega Nights comes from a lot of the same people as Anchorman, which was possibly the highlight of Ferrell's career so far. This take on Nascar and racing movies in general was alright, though the pacing was absolutely awful.
Will Ferrell has range and depth, he just chooses not to use it. While he managed to create a full-bodied but still ridiculous character in Anchorman, he does no such thing here. Ricky Bobby's his usual idiot-squared, propped up by sidekicks who are barely more competent than himself. The character's absurdity just doesn't balance as well as his previous creations have.
This movie could have been a lot tighter. It abruptly stopped being remotely engaging during the repeated 'you can do it' speeches, started by the Nicole-Kidman-in-Days-of-Thunder imitator. Though I was mildly entertained until that point, chemical intervention would have been necessary to elevate the remainder of the movie from the pit it fell into.
-137/365 down, 228/365 to go
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