FilmMonthly » julianelle.michael

Reviews – 2009

julianelle.michael — Sat, 07 Feb 2009 09:34:40 +0000

(500) DAYS OF SUMMER Rated: 9
Sweet. Charming. Clever. Original. Wonderful!
ADAM Rated: 8 1/2
ADAM is the story of a young man with Asperger’s Syndrome (a type of autism) and his relationship with a young woman who is a new resident in the New York City building where he lives.
Both Hugh Dancy (EVENING – ’07) & Rose Byrne (F/X Television’s DAMAGES 2007 – 09 so far) are charming, appealing, attractive and accomplished. Hugh Dancy is on my short list for an Oscar nomination as best actor which he surely deserves.
Since ADAM is about something other than explosions and noise, theatre business has been very mild. I urge you to seek it out on DVD when it becomes available.
This is the first film directed by writer/director Max Mayer. Hopefully his obvious talent will be on display again quickly.
AN EDUCATION Rated: 9

This one caught me by surprise. I was expecting another British/Mike Leigh type drab drama (VERA DRAKE – ’04) or drab comedy (HAPPY-GO-LUCKY -’08).
Although AN EDUCATION is in fact a British production, it is anything but drab. Thank the director, Lone Scherfig (WILBUR WANTS TO KILL HIMSELF -’02) who is Copenhagen born and clearly gifted. She set the tone immediately and it grabbed me from the first frame. Although the plot is based on a very serious issue, high school girl falls for a man almost twice her age. While the situation is treated seriously, the telling of the tale is cheeky, riveting, realistic and ultimately satisfying.
Set in sixties London, AN EDUCATION was a standout at Sundance 2009 and I expect it to become a strong contender in all major categories for the 2009 Oscar and all other year end award sweepstakes.
AVATAR Rated: 8 1/2
AVATAR is a must see for anybody that likes movies. Writer/director James (TITANIC) Cameron has done it again and is likely to have the top two biggest worldwide grossing films listed on his resume. It’s easy to see where every penny of AVATAR’s huge budget went and it turns out to have been a very wise investment.
I liked all the cast/performances and am especially partial to Sam Worthington and Sigourney Weaver.
Expect deserved Oscar hardware in several technical categories.
BRIDE WARS Rated: 3 1/2
This is a miserable alleged comedy that is sure find its way onto my Worsts of 2009 list. I enjoyed the work of director Gary Winick on his earlier efforts, TADPOLE (2002) and 13 GOING ON 30 (2004) but but found this one sloppy, disjointed, mean-spirited and a total waste of time. I’ve never been a fan of Kate Hudson (ALMOST FAMOUS – 2000, HOW TO LOSE A GUY – ’03) but continue to be fascinated by her ability to pick poor script after poor script to grace as an actress. This time she even adds a producer credit to her resume. On the other hand, I generally love her co-star Anne Hathaway (BROKEBACK MOUNTAIN – ’05, THE DEVIL WEARS PRADA – ’06, PASSENGERS – ’08) but thought she was just awful as a terrible character here.
COUPLES RETREAT Rated: 4 1/2
While the premise is hardly new, the potential for a good film is still very much present here. COUPLES RETREAT misses the mark by a mile. I fully realize that I’m harder to please than most audiences for this type project but there’s no excuse for the sloppy writing in full flower here. Further, serious editing is desperately needed since there is
way too much repetition that makes the same points over and over. Tedium abounds.
Casting is good and the actors are all appealing and/or attractive. However, as written, almost all the characters as portrayed/writtten are actually jerks down deep, at least some of the time. They all come off as schizophrenic and none has any projected arc. Ultimately, I ended up disliking the entire group.
I wouldn’t want to keep anybody away that saw and liked the trailer. Chances are they those would be fully entertained. As for me, I wish I could get back the 113 long minutes I spent in the company of COUPLES RETREAT.
DUPLICITY Rated: 8
The two reasons to see DUPLICITY are movie stars Julia Roberts & Clive Owen. They are enough. Both are at the top of their game and are a delight to observe. This confirms that their chemistry in CLOSER (2004) was no fluke. I hope they work together again, soon.
This is the second feature film that well respected/successful screenwriter Tony Gilroy has directed. He wrote both scripts that he directed, and as with his first, MICHAEL CLAYTON (2007), DUPLICITY is set in the world of mega corporations where corruption & manipulation abound. I urge him to fish in another stream next time.
Problem: I found the DUPLICITY plot impossible to follow. Once I realized I’d never be able to keep up, I just relaxed and took surface pleasure without thinking too deeply. It’s just too clever for its own good with several twists too many.
It’s really unfortunate when films for adults fail to find a sizable audience since there are so few made these days.
Unfortunately but predictability, the mild results for DUPLICITY will make studios even less likely to gamble on projects that aren’t fodder for a video game version.
EASY VIRTUE Rated: 7 1/2
While not perfect, EASY VIRTUE is easy to enjoy and easy to recommend. I did and I do.
The casting is ideal and each of the 4 leads is as attractive as they are accomplished. Jessica Bile, the lone American, is probably best known for television series 7Th HEAVEN. She expands her career horizons significantly with this role. Kristen Scott Thomas (FOUR WEDDINGS AND A FUNERAL – ’94, THE ENGLISH PATIENT – ’96,
I’VE LOVED YOU SO LONG – ’08) shows her impressive range and has become one of my favorites. Colin Firth, likewise, continues to show his range coming off musical smash MAMMA MIA! (’08) as he extends a stellar career that started with ANOTHER COUNTRY (’84) and includes such milestones as the two BRIDGET JONES’S DIARY films (2001 & 2004) plus his memorable turn as Mr. Darcy in the 1995 television series PRIDE AND PREJUDICE. Ben Barnes captured my attention the first time I saw him in STARDUST (’07). Although I’m not a fan of the NARNIA films, they have provided him with exposure that has significantly increased his popularity. Look for him to snag other highly prized parts soon.
How nice it is to have director Stephan Elliott back behind the camera following several years of career activity/recovery following a terrible accident. His 1994 Aussie delight, THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, remains in my Top 100 Film Favorites. I’d love to see Director Elliott put his unique spin on a pure musical next and soon.
My only really complaint about EASY VIRTUE is the staggering amount of on screen cigarette smoking depicted. Even given the time & place, in my opinion, by any reasonable standard, it is excessive here and inappropriate.
THE HANGOVER Rated: 8 1/2
Funny, really funny!
THE HANGOVER is comparable to WEDDING CRASHERS (2005) & OLD SCHOOL (2003) for in-your-face hilarity & off-the-wall surprises. And, unlike many comedies, it never runs out of steam. (Don’t miss the end credit still shots!)
All the major cast members deliver take-no-prisoner performances that are perfect for the material. I’m a long time fan of top billed Bradley Cooper and am delighted to see him as the lead in a blockbuster that’s sure to boost his career. I’ve been a fan of his since he lent outstanding support in WEDDING CHASERS (2005) & FAILURE TO LAUNCH (2006) along with staring in the Fox Television series called KITCHEN CONFIDENTIAL (2005-06). I also found him a pure delight as recurring support in FX Channel’s series NIP/TUCK during 2007, 2008 & 2009, so far. Both Ed Helms & Zach Galifianakis are new to me but unforgettable. Particularly noteworthy in vivid support are Ken Jeong as “Mr. Chow” & Dan Finnerty as the singer at the wedding.
Credit producer/director Todd Phillips with bringing it all together masterfully. He is also the creative engine behind ROAD TRIP (2000) & OLD SCHOOL (2003). Although he does not share the writing credit for THE HANGOVER, I find it hard to believe he didn’t contribute mightily. This is especially true when realizing that the credited writers, Jon Lucas & Scott Moore, take writing responsibility for the wretched FOUR CHRISTMASES (2008) & the miserable GHOSTS OF GIRLFRIENDS PAST (2009). Todd Phillips has eleven (Count ‘em…11!) future projects listed as in development.
HE’S JUST NOT THAT INTO YOU Rated: 8
Based on the negative and unjustified early reviews/buzz, I was expecting this to be closer to that wretched mistake called THE WOMEN (2008) instead of the satisfying & successful hit SEX AND THE CITY (2008). While I continue to object to the judgmental tag, “chick flick”, it’s true that all three of these titles attract females and more mature audiences instead of the currently more prized young male demographic. I’m delighted that a little diversity is continuing to sneak back into the marketplace and amused that pundits continue to express surprise when this type film finds wide acceptance and boxoffice success that HE’S JUST NOT THAT INTO YOU has.
The large cast is uniformly well chosen, exceptionally attractive and delightful in parts that seem to have been written to show them at their best. Most prominent in the plot are Gennifer Goodwin (HBO’s BIG LOVE) and Justin Long (LIVE FREE OR DIE HARD -’07). My two personal favorites are Bradley Cooper (FX’s NIP/TUCK, FAILURE TO
LAUNCH -’06) and Jennifer Connelly (THE ROCKETEER -’91, A BEAUTIFUL MIND -’01, HOUSE OF SAND AND FOG – ’03). Drew Barrymore (ET -’82, BOYS ON THE SIDE -’95, HOME FRIES -’98, CHARLIE’S ANGELS – 2000) is cute & sweet in an extended cameo while taking an Executive Producer credit. Jennifer Aniston (NBC”s FRIENDS, THE BREAK-UP -’06) and Ben Affleck (SCHOOL TIES -’92, GOOD WILL HUNTING -’97, THE SUM OF ALL FEARS -’02) can proudly add this one to their resumes, and I even liked Scarlett Johansson (THE HORSE WHISPERER -’98, LOST IN TRANSLATION -’93, MATCH POINT -05). She’s never been one of my favorites; can it be that she’s growing on me and winning me over?! The only other top billed star is Kevin Connolly, best known for HBO’s ENTOURAGE.
I found him annoying but maybe it was just the character he plays.
Director Ken Kwapis is best known for directing multiple episodes of popular television series including MALCOLM IN THE MIDDLE, THE BERNIE MAC SHOW, and THE OFFICE. Since I haven’t seen even one episode of any of these, I can’t comment on his work there. I can tell you that I loathed his previous theatrical endeavor, LICENSE TO WED (’07), so his clever work here came as a pleasant surprise to me.
THE HURT LOCKER Rated: 9
Set in present day Iraq and dealing with the activities of an Army bomb squad, THE HURT LOCKER is amazing. It deserves multiple 2009 Oscar nominations and well might take home several pieces of hardware for its efforts. It’s hard to imagine that anybody is going to do a better job of directing that Kathryn Bigelow does here & lead actor Jeremy Renner simply couldn’t be better. This is a star-making performance. The script by Mark Boal is exceptional. Anthony Mackie as Sgt. Sanborn & Brian Geraghty as Specialist Owen Eldridge shine in support. All technical elements are perfectely matched to the material and serve it well. Guy Pearce & Ralph Fiennes are effective in cameos and Evangaline Lilly, from television’s “Lost”, hits all the right notes in her small part as the wife back home.
I LOVE YOU, MAN Rated: 8
I’ve been a fan of Paul Rudd going back to his small part in THE CIDER HOUSE RULES (1999). More recently, I especially enjoyed him in support on NBC’s television mega hit FRIENDS as recurring character Mike Hannigan during the 2002-04 seasons. Now, it sure is nice to see him all cleaned-up and the lead star in a big theatrical film that he helped carry to considerable boxoffice success.
Writer/Director John Hamburg, best know as the writer of all three
FOCKERS movies (2000, 2004, & 2011) does a competent job although the film is a bit tedious in parts and a little uneven. Nevertheless, I laughed out loud several times and suspect you will do the same.
Co-Star Jason Segel (FORGETTING SARAH MARSHALL – ’08 and of the Judd Apatow “company”) is growing on me and quite effective here as the newly found best friend/best man candidate. I also liked new-to-me SATURDAY NIGHT LIVE comedian Adam Samberg in support.
THE INFORMERS Rated: 5
THE INFORMERS is chaotic shambles masquerading as a movie.
Why then, you may ask, do I give it a mid-range rating of 5?
Answer: I was never once bored and couldn’t look away! On the other hand, if the film has a point, I missed it. Further, it has a tendency to fail to resolve several issues it raises with its multiple, sometimes intersecting plot strands. How this script got financing is a mystery. Credits list eight producers.
The reason I was entertained is the unusually well chosen cast which is extremely attractive, one way or another, mostly anyway. At the top of the physically attractive list is Jon Foster (THE DOOR IN THE FLOOR- 2004, THE MYSTERIES OF PITTSBURGH – ’09) & Amber Heard. Jon Foster is one good part away from becoming a big star. Ms Heard earned my 2008 worst actress award for her perfectly dreadful turn in NEVER BACK DOWN and has no less than eight upcoming projects listed at IMDB.Although effective in this part, I still question her talent but appreciate her beauty. At the other end of the attractive scale is Mickey Rourke (THE WRESTLER – ’08, NINE 1/2 WEEKS – ’86 ) who continues to look unwashed. Further, the late Brad Renfro (THE CLIENT – ’94, BULLY – ’01) who was about 25 years old when this was shot, could well pass for a bloated forty-something. Sadly, he could serve as the poster person for the perils of drug addiction. He seems stunned in his part here and the script allows that to be appropriate. Even though his character is one of the few in this script that isn’t shown to be a drug abuser, the thought of his off screen heroin abuse never left my mind while watching him. I enjoyed seeing Oscar winner Kim Basinger (L..A. CONFIDENTIAL – ’97, NINE 1/2 WEEKS – ’86). She still looks good while playing a part that’s not too far removed from her personal life, if you believe tabloid reports. Billy Bob Thornton (SLING BLADE – ’96, BAD SANTA – ’03) has no trouble convincing as a creepy/peculiar studio head. Winona Ryder (LITTLE WOMEN – ‘ 94, HOW TO MAKE AN AMERICAN QUILT – ’95) is convincing as a troubled television anchor. Finally, her career seems to be recovering from her tabloid rich personal life and I wish her well.
The script/story/plot is the responsibility of writer Bret Easton Ellis who also wrote “Less Than Zero” – 1985, “The Rules of Attraction” – 1987, & “American Psycho” – 1991. Much of his writing is said to be based on personal experience.
INVICTUS Rated: 8 1/2
Clint Eastwood adds another terrific directing job to his resume and deserves a Best Director Oscar Nomination. The music and use of music couldn’t be better. It is moving and thrilling; I’ll be buying the CD. Other Oscar consideration is earned by Morgan Freeman as Best Actor and Matt Dammon as Best Supporting Actor. When announced, I wasn’t thrilled by the prospects based on the subject matter but found the film amazingly entertaining although it is a bit too long. No knowledge of history or rugby is necessary for thorough enjoyment.
JULIE AND JULIA Rated: 8
Intertwined stories of Super Chef Julia Child’s early adventures in France & a young NYC residing American woman who decides to write about her experiences while cooking each of the 524 recipes in one of Julia’s books in one year is the basis of this enjoyable light entertainment.
Fortunately, writer/director Nora Ephrom (BEWITCHED – ’05, MIXED NUTS – ’94, SLEEPLESS IN SEATTLE – ’93) gets it right this time, not a sure thing based on her erratic track record. Speaking of track records, Meryl Streep continues to amaze and is sure to receive yet another well deserved Oscar nomination as she seems to actually become Julia Child right before our eyes. As the titular Julie, Amy Adams (JUNEBUG – ’05, ENCHANTED – ’07) is not quite as enchanting as she has been in the past, but blame that on the writing of her character, Julie, based on a real person, but she is still easy to watch and like, regardless.
Since JULIE & JULIA is based on real people and actual events, the accurate ending left me a bit unsatisfied. I suspect that a fantasy coda would have put a bigger smile on the faces of most in the audience and I know it would have pleased me!
THE MESSENGER Rated: 9

I wasn’t even aware of this one until a day or two before I saw it (Los Angeles early December 2009). What a pleasant surprise; what a remarkably inept/anemic marketing scheme.
I’m pleased to see that it made the National Board of Review’s Top Ten of 2009, an honor it certainly deserves. Also, it has received some Independent Spirit Award 2009 nominations.
Lead actors Ben Foster, Woody Harrelson & Samantha Morton give award worthy performances. Co-writer & director Oren Moverman does an amazing job with very difficult material.
Seek it out.
MY SISTER’S KEEPER Rated: 7 1/2
This is a good movie that just misses being more than just good.
The problem, for me anyway, is the jumbled timeline editing which is especially annoying since this is a true story that needs no such gimmick. Frankly, as I watched the film, I often found myself wondering whether we were witnessing the past or the present as the story was being told to me as a viewer. That back & forth device constantly took me out of the narrative flow and blunted emotional buildup.
Director Nick Cassavetes’ 2004 critical & financial success, THE NOTEBOOK is one of my Top 100 Film Favorites. Unfortunately, he doesn’t come close to duplicating that this time but there are some reminders here. For one thing, he isn’t afraid to show emotion on the screen and to encourage/allow viewers to participate.
The casting and acting are ideal. As the mother, in a change of pace, Cameron Diaz (THERE’S SOMETHING ABOUT MARY – ’98) deserves award consideration. As the sister, Abagail Breslin (LITTLE MISS SUNSHINE – ‘O6) is fine, as expected. As the father, Jason Partic (AFTER DARK, MY SWEET – 1990) is more likable than usual as he shows some warmth and looks good. As the teenaged cancer victim, Sophia Vassilieva is amazing. As the brother, Evan Ellingson (Television’s 24 – 2007) is excellent in a part that, through no fault of his, lacks clarification and needed explanation. Further, for reasons unknown, his name is no where to be found on the one-sheet or in the trailer. I remember him from his stint as the nephew or son of 24′s Jack Bauer in the 2007 season and find it short-sighted to slight him in the promotion of the film.
THE MYSTERIES OF PITTSBURGH Rated: 8
Based on limited research, I strongly suspect I’ll be in the minority with my positive opinion of this one.
While I’ll grant that it’s not entirely successful since it has a unique rhythm, count me as a fan. Going into the April 2009 Arclight, Hollywood, CA screening, it had three strikes against it for me. (1) I was aware of bad buzz and had seen one very negative review. (2) I loathed director Rawson Marshall Thurber’s previous theatrical effort, DODGEBALL: A TRUE UNDERDOG STORY (2004). (3) I was anything but a fan of lead actress Sienna Miller (ALFIE – 2004, CASANOVA -2005) having actively disliked her every time I’d seen her on screen before & finding her off-screen romantic adventures off-putting, at best. The film, Sienna, and the director all won me over.
THE MYSTERIES OF PITTSBURGH is the director’s adaptation of the novel of the same title written by Michael Chabon. Author Chabon also wrote the novel “Wonder Boys” which became the film, WONDER BOYS (2000), one on my Top 100 Films ever. The two films have similarities.
Jon Foster (THE DOOR IN THE FLOOR – 2004, THE INFORMERS – 2009), Peter Sarsgaard (BOYS DON’T CRY – ’99, SHATTERED GLASS – ’03, KINSEY – ’04) & the above mentioned Sienna Miller star and they are terrific. The casting couldn’t be better and all three look great. The cinematography by Michael Barrett (best known for his work on various episodes of television’s CSI series) is award worthy as is the original musical scoring by Theodore Shapiro (THE DEVIL WEARS PRADA – ’06).
Seek it out on DVD.
NEW IN TOWN Rated: 4
This alleged comedy is the second 2009 film I’ve seen. What a way to start a new year of film! I’m reserving a spot on my 2009 Worst Film List for it. While not quite as aggressively obnoxious as BRIDE WARS (’09), my first 2009 film experience, it comes close and I thought it would never end. Generally, I’m a fan of Renee Zellweger (THE WHOLE WIDE WORLD – ’96, NURSE BETTY -2000, BRIDGET JONES’S DIARY – ’01, CHICAGO -’02, MISS POTTER – 06), but even such a gifted comedienne & charmer couldn’t make this stale/trite/predictable script come to life. (Even so, she’s better here than she was in 2008′s APPALOOSA where I thought she was awful.) As her co-star, Harry Connick, Jr.is good casting and I hope they work together again with a worthy script. Next…
THE PRINCESS AND THE FROG Rated: 8 1/2
Generally, I am anything but a fan of animated films. This is a major exception.
I laughed out loud several times and loved the music. I recommend it highly. Appropriate Oscar nominations are likely and deserved.
THE PROPOSAL Rated: 8
Although it includes no real surprises, THE PROPOSAL is charming and delightful. I found myself smiling during most of the brisk 107 minute running time and there are a few hilarious sequences. Happily, the humor is never mean-spirited and that’s unusual these days. I did
grow a bit tired of the humor offered by Oscar Nunez as “Ramone”
but the audiences I saw it with loved his scenes.
This is the third film as director for former choreographer, Anne Fletcher, and I’m a big fan of her style. Her other two successes are
STEP UP (’06) AND 27 DRESSES (’08). She deserves important future assignments and it likely to get them on the basis of these three.
Saving the best for last, stars Sandra Bullock and Ryan Reynolds sparkle as only real movie stars can in roles that showcase their special appeal and charm while displaying their physical perfection. They have amazing chemistry and should work together again as soon as possible.
PUBLIC ENEMIES Rated: 6
I’m not a Johnny Depp fan. In fact, I just don’t like his persona or his appearance. Since he dominates both this film and the advertising campaign for it, I’m not going to waste a lot of my time or yours trying to give an objective opinion here.
Of director Michael Mann’s ten or so major theatrical films, I’m a big fan of MANHUNTER (’86) & COLLATERAL (2004) and think his very best work is the exceptional THE INSIDER (’99).
On the other hand, I hated every dull minute of THE LAST OF THE MOHICAN’S (’92), and found HEAT (’95), ALI (2001), & MIAMI VICE (2006) less than compelling…a lot less than compelling.
In PUBLIC ENEMIES, I liked Christian Bale and Billy Crudrup who both performed as effectively as the material and director allowed. Recent Oscar winner Marion Cotillard was ok as the girl friend but I never believed he relationship with Depp as Dillinger because of the script, direction, and/or editing. Therefore, her big, emotional scene left me cold. Prediction: Ms Cotillard will not be receiving an Oscar nomination for her work here, although Mr. Depp well might.
A SINGLE MAN Rated: 8 1/2
Colin Firth and Julianne Moore deserve Best Actor and Best Supporting Actress Oscar nominations. In support, Nicholas Hoult, Joh Kortajarena & Matthew Goode are as effective as they are attractive. First time Director and co-writer Tom Ford is a major new talent. Recreation of the time and place, Los Angeles in the sixties, is perfect. This one is a must for serious, adult audiences.
SORORITY ROW Rated: 2
I rarely advise against buying a ticket to see any movie in theatrical release.
This is an exception. Avoid SORORITY ROW.
Even if the material appeals to you, I can’t imagine that you’ll be satisfied with this
stupid excuse for a film. There is no attempt to tell a coherent story and lapses in logic abound. There is considerable graphic violence but certainly nothing new or novel. Even though the violence and language assured a R rating from the MPAA, the limited and timid nudity is anything but erotic. The cast is attractive but interchangeable and no effort is extended to distinguish one character from several others similar in appearance.
Even after suffering through the entire long 100 minute running time, I still only have a vague idea of what story they were trying to tell but know that I couldn’t care less.
STAR TREK Rated: 9
This is outstanding entertainment & not to be missed.
Until now, I was never a fan of the STAR TREK phenomenon although I was well aware of it. I saw the first two theatrical features (1979 & 1982) and was not impressed.
I only became interested in this 2009 update/reworking of the material as imagined by J.J. Abrams after seeing the trailer.
Boy! Did he ever get it right! I guess I shouldn’t be too surprised considering that he is the creative force behind television’s FELICITY and LOST, but
it’s better than I ever thought it could be. I’ll be surprised and disappointed if it isn’t nominated for Oscars as best picture & best director along with numerous nods in other categories.
Predominately, the cast is made up of previously little know actors and each is pitch perfect in performance and appearance.I’ll start my list for praise with top billed Chris Pine as James T. Kirk & Zachary Quinto and I’m especially fond of the work of three of my personal favorites Eric Bana, Bruce Greenwood & Karl Urban. Young Anton Yelchin continues his assent toward stardom, Zoe Saldana impresses, and Winona Ryder left me wishing she had more footage. Leonard Nimoy brings just the right heft/tone/style to a part that only he could play. Additionally, as James T. Kirk’s father, George Kirk, Aussie Chris Hemsworth hints here at why he has been cast for starring roles in three major upcoming productions.
The abundant special effects and action scenes are thrilling but do not overwhelm the story, a rare & commendable feat in these days of overkill.
I highly recommend STAR TREK to all who like movies.
TAKEN Rated: 7
The excellent trailer for TAKEN set my expectations quite high for this action thriller. For any fans of the genre, if you like the trailer, I suspect you’ll like the film. Although I was entertained and recommend it, I feel it became a little repetitious before the end, but maybe it’s just me.
French director Pierre Morel, who has previous impressive credits as a cinematographer, does a highly skilled job here directing his first English language film. Lead actor/star Irish Liam Neeson (SCHLINDER’S LIST – ’93, LOVE ACTUALLY – ’03, KINSEY – ’04) absolutely shines in what could have been just a routine part and is a pleasure to watch. Maggie Grace (ABC Television series LOST) as the daughter and Famke Janssen (F/X Television series NIP/TUCK) as her mother are attractive and effective in support.
Question: How in the world did TAKEN get a PG-13 Rating from the MPAA!!? In my opinion, this subject matter and treatment deserves to earn it a R.
TERMINATOR SALVATION Rated: 7 1/2
Based on the trailer and the fact that I was increasingly less enthusiastic about the first three TERMINATOR movies (1984, 1991 & 2003) as they rolled out, I was pleasantly surprised by this one. My rather generous rating has been influenced by my limited expectations. It is relentlessly loud and annoyingly dark. Parts of the plot are confusing and the time travel elements went right over my head. Nevertheless, it did hold my attention and I came away generally pleased. I’m no longer particularly awed by this type action special effects no matter how good they are, but, my guess is that these will impress those who thrive on that sort of thing.
Although this script offers little challenge for the already proved ability and previously better exhibited charm of Christian Bale (EMPIRE OF THE SUN – ’87, LITTLE WOMEN – ’94, BATMAN BEGINS – 2005), he is as good as he needs to be here and earns the big paycheck he receives. The standout in the cast, however is Aussie Sam Worthington. I was impressed by him in SOMERSAULT (2004) and am glad to see him breaking through. He has at least 4 films approaching future release at this point and is sure to become a big star. Notable in support are Moon Bloodgood, Helena Bonham Carter, & Bryce Dallas Howard. Likewise, I continue to appreciate & enjoy Anton Yelchin, currently on screens everywhere in STAR TREK (2009) also. Direction by McG is appropriate and this proves he can handle big picture assignments.
TWO LOVERS Rated: 2
In my opinion, James Gray may be the the worst currently active American director. I hated both of his two more recent dirges, namely, THE YARDS (2000) and WE OWN THE NIGHT (2007) while 2009′s TWO LOVERS out drabs both of those. Joaquin Phoenix stars in all three and his recent announcement that he is retiring from acting seems redundant. I’d argue that what is on screen in these three shows he’s already given up on that pursuit or should have, anyway.
Oscar winner Gwyneth Paltrow looks good but is just plain silly in a very serious role.
Of course, there are those that disagree with me. I note that the one and same James Gray is going to direct no less than Brad Pitt in a hot property called THE LOST CITY OF Z. I’m ready with an alternate title for the film: THE LOST CITY OF ZZZ.
WHATEVER WORKS Rated 7 1/2
Fair warning: Generally, I am not a Woody Allen fan.
To clarify/amplify, of the forty-something theatrical films he has directed so far, I have fond memories of and good things to say about 6, count ‘um, 6. Namely, EVERYTHING YOU EVER WANTED TO KNOW ABOUT SEX…(’72), SLEEPER (’73), LOVE AND DEATH (75), ZELIG (’83), EVERYONE SAYS I LOVE YOU (’96), and MATCH POINT (’05). Now add WHATEVER WORKS to that list. And, no, I didn’t forget about multiple Oscar winner for 1977, ANNIE HALL, not a favorite of mine. I estimate that I saw well over half his output and many of those run together for me. Outstanding in the negative, however is CASSANDRA’S DREAM (’07) easily one of the worst films ever made by anybody.
With the above in mind, I am pleased & surprised to report that I enjoyed WHATEVER WORKS and figure that a lot of Woody fans as well as non-fans will be diverted and/or amused. It’s rather mild, but clever and builds as it goes.
About the cast, without question, Larry David is the lead and does exactly what director Woody wanted. I find him abrasive and am not a fan but what he does here… works. I only managed to survive one episode of his hit HBO series, CURB YOUR ENTHUSIASM which ran from 2000 to 2007 and is to return in Fall 2009. (I won’t be watching.) Evan Rachel Wood (THIRTEEN – ’03, THE WRESTLER – ’08) is good here but she is not one of my favorites. Patricia Clarkson is as prolific as she is talented and this is a terrific showcase for her. I wouldn’t begrudge her consideration for supporting actress metal for this one. For reasons unknown, Henry Cavill (THE COUNT OF MONTE CRISTO – 2002, I CAPTURE THE CASTLE – ’03, Showtime’s THE TUDORS 2005-07, STARDUST – ’07), who is one of my favorites does not receive star billing although he is prominent, proficient & highly photogenic. Until I read an article interviewing him about his part in WHATEVER WORKS, and printed in the June 25, 2009′s issue of USA TODAY, I didn’t even realize he was in the film. This article convinced me to attend. I’m glad I did since it worked for me.
WHERE THE WILD THINGS ARE Rated: 5
WTF?
This one is either far too complex or way too simple for me to become involved and
its 101 minutes seemed endless to me.
Before reading about and then seeing this film, I had never even heard of the children’s book upon which the movie is based. No regrets.
I found the film dull, dark and repetitious to the point of pure tedium.
But, what do I know?! According to Rotten Tomatoes, about 70% of reporting critics (112 out of 163) have responded favorably and the early boxoffice results are large ($36 1/2 million in the first 5 days of North American Release).
THE YOUNG VICTORIA Rated: 8 1/2
I strongly recommend the currently limited release movie, THE YOUNG VICTORIA.
Generally, I’m no fan of British historical drams but this one snuck up on me.
Emily Blunt exhibits a surprising range here and deserves award consideration. Rupert Friend & Paul Bettany are excellent also…and I loved the end credits song, “Only You (Love Theme from The Young Victoria”) as sung by Sinead O’Connor. Be sure to stay through the closing credits to listen to it.

Film 2008 As Seen By Wayne Case

julianelle.michael — Sun, 18 Jan 2009 21:31:19 +0000

Best Films
(In order of preference)
(1) MILK
(2) CHANGELING
(3) THE CURIOUS CASE OF BENJAMIN BUTTON
(4) THE DARK KNIGHT
(5) BRIDESHEAD REVISITED
(6) STOP-LOSS
(7) AUSTRALIA
(8) DOUBT
(9) THE READER
(10) MAMMA MIA!
Runners-Up
(Alphabetical)
THE INCREDIBLE HULK
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL
IRON MAN
THE OTHER BOLEYN GIRL
REVOLUTIONARY ROAD
THE SECRET LIFE OF BEES
UNTRACEABLE
WANTED
Honorable Mentions
(Alphabetical)
THE BANK JOB
BOY A
DEFINITELY, MAYBE
DECEPTION
EAGLE EYE
FROST/NIXON
JUMPER
NOTHING BUT THE TRUTH
PASSENGERS
ROLE MODELS
SAVAGE GRACE
SEX AND THE CITY
THE STRANGERS
THE SPIDERWICK CHRONICLES
THEN SHE FOUND ME
TWILIGHT
THE VISITOR
W.
WHAT HAPPENS IN VEGAS
Best Films In A Language Other Than English
(In Order of Preference)
TELL NO ONE (France)
REPRISE (Norway)
I’VE LOVED YOU SO LONG (France)
Worst Films
(Alphabetical)
88 MINUTES
CASSANDRA’S DREAM
FOOL’S GOLD
FOUR CHRISTMASES
THE HAPPENING
HAROLD & KUMAR ESCAPE FROM GUANTANAMO BAY
THE HOUSE BUNNY
MAD MONEY
MADE OF HONOR
OVER HER DEAD BODY
PATHOLOGY
SHUTTER
STREET KINGS
TOWELHEAD
THE WOMEN
But Not For Me
(Alphabetical)
(In spite of overwhelming amounts of positive feedback from serious critics, I beg to differ about the following. Consider this the minority report.)
Penelope Cruz in VICKY CRISTINA BARCELONA
Sally Hawkins & HAPPY-GO-LUCKY
RACHEL GETTING MARRIED
Mickey Rourke & THE WRESTLER
WALL-E
Best Actor
(In order of preference)
(1) Sean Penn, MILK
(2) Brad Pitt, THE CURIOUS CASE OF BENJAMIN BUTTON
(3) Richard Jenkins, THE VISITOR
(4) Leonardo DiCaprio, REVOLUTIONARY ROAD
(5) Frank Langella, FROST/NIXON
Best Actor Runners Up
(Alphabetical)
Christian Bale, THE DARK KNIGHT
Josh Brolin, W.
Robert Downey Jr., IRON MAN
Andrew Garfield, BOY A
Hugh Jackman, AUSTRALIA
Best Supporting Actor
(In order of preference)
(1) Heath Ledger, THE DARK KNIGHT
(2) Josh Brolin, MILK
(3) James Franco, MILK
(4) David Kross, THE READER
(5) Ben Whishaw, BRIDESHEAD REVISITED
Best Supporting Actor Runners-Up
(Alphabetical)
Kevin Bacon, FROST/NIXON
Russell Brand, FORGETTING SARAH MARSHALL
Tom Cruise, TROPICAL THUNDER
Robert Downey Jr., TROPICAL THUNDER
Philip Seymour Hoffman, DOUBT
Brad Pitt, BURN AFTER READING
Brandon Walters, AUSTRALIA
Best Actress
(In order of preference)
(1) Angelina Jolie, CHANGELING
(2) Kate Winslet, REVOLUTIONARY ROAD
(3) Cate Blanchett, THE CURIOUS CASE OF BENJAMIN BUTTON
(4) Anne Hathaway, RACHEL GETTING MARRIED
(5) Meryl Streep, DOUBT
Best Actress Runners Up
(Alphabetical)
Kate Beckinsale, NOTHING BUT THE TRUTH
Nicole Kidman, AUSTRALIA
Melissa Leo, FROZEN RIVER
Julianne Moore, SAVAGE GRACE
Kristin Scott Thomas, I’VE LOVED YOU SO LONG
Kate Winslet, THE READER
Best Supporting Actress
(Alphabetical)
Amy Adams, DOUBT
Viola Davis, DOUBT
Vera Farmiga, NOTHING BUT THE TRUTH
Taraji P. Henson, THE CURIOUS CASE OFBENJAMIN BUTTON
Emma Thompson, BRIDESHEAD REVISITED
Debra Winger, RACHEL GETTING MARRIED
Kate Winslet, THE READER
Best Director
(Alphabetical)
Clint Eastwood, CHANGELING
Christopher Nolan, THE DARK KNIGHT
Gus Van Sant, MILK
Best Cinematography
(Alphabetical)
AUSTRALIA, Mandy Walker
CHANGELING, Tom Stern
THE CURIOUS…BENJAMIN BUTTON, Claudio Miranda
MILK, Harris Savides
WANTED, Mitchell Amundsen
Best Original Script
(Alphabetical)
CHANGELING
MILK
I’VE LOVED YOU SO LONG
Best Adapted Script
(Alphabetical)
BRIDESHEAD REVISITED
THE CURIOUS CASE OF BENJAMIN BUTTON
THE DARK KNIGHT
Best Original Song
(Alphabetical by film title)
“Gran Torino” from GRAN TORINO
“Another Way To Die” from QUANTUM OF SOLACE
“The Little Things” from WANTED
Best Original Music/Score
(Alphabetical by film title)
CHANGELING, Clint Eastwood
THE CURIOUS CASE OF BENJAMIN BUTTON, Alexandre Desplat
MILK, Danny Elfman
PASSENGERS, Ed Shearmur
Best Costumes
(Alphabetical)
27 DRESSES
AUSTRALIA
THE CURIOUS…BENJAMIN BUTTON
BRIDESHEAD REVISITED
CHANGELING
MILK
REVOLUTIONARY ROAD
Special Awards 2008
The Sly Stallone/Ar-nuld Schwarzenegger Worst Performance by an Actor Award:
-Tie- Patrick Dempsey in MADE OF HONOR
-and- Vince Vaughn in FOUR CHRISTMASES
The Michelle Phillips/Cornelia Sharpe/Angel Tompkins Worst Performance by an Actress Award:
Worst actress: It’s a tie!
Amber Heard in NEVER GIVE UP
Debra Messing in THE WOMEN
The Heaven’s Gate Budget Award: THE CHRONICLES OF NARNIA: PRINCE CASPIAN
The Otto Preminger “Light Touch” Award: THE WOMEN
Russell Crowe in BODY OF LIES
Vince Vaughn in FOUR CHRISTMASES
The Sam Peckinpah “Wretched Excess” Award: LAKEVIEW TERRACE and TOWELHEAD
The Sidney Lumet Miscasting Award:
Male –
Al Pacino in 88 MINUTES
Keanu Reeves in STREET KINGS
Female –
Demi Moore in FLAWLESS
The Surgeon General’s Warning Award:
CASSANDRA’S DREAM
DEFINITELY, MAYBE
REVOLUTIONARY ROAD
THE STRANGERS
VICKY CRISTINA BARCELONA
The John Hartl Stop-Them-Before-They-Direct-Again Award:
Phylida Lloyd for MAMMA MIA!
Diane English for THE WOMEN
The Calling-Sydney-Guilaroff-for-Help-Hair-Style Award:
Diane Lane in UNTRACEABLE
The What About Bob Most Annoying Award:
Eva Longoria Parker, OVER HER DEAD BODY
Amy Poehler, BABY MAMA
Jada Pinkett Smith, THE WOMEN
Jaden Smith, THE DAY THE EARTH STOOD STILL
Reese Witherspoon, PENELOPE
Renee Zellweger, APPALOOSA
The Bill Lee Worst Musical Scoring Award: Donald Harrison, Jr. & Zafer Tawil for RACHEL GETTING MARRIED
The Ellen Terry Awards
Note: Awarded to those providing extra and or unexpected pleasure.
Eric Bana, THE OTHER BOLEYN GIRL
Jamie Bell, JUMPER
Callum Blue, YOUNG PEOPLE F***ING
Billy Burke, UNTRACEABLE
Edward Burns, 27 DRESSES
Gerard Butler, NIM’S ISLAND
Hayden Christensen, JUMPER
Joseph Cross, UNTRACEABLE
Aaron Eckhart, THE DARK KNIGHT
Matthew Goode, BRIDESHEAD REVISITED
Freddy Highmore, THE SPIDERWICK CHRONICLES
Thomas Kretschmann, WANTED
Ashton Kutcher, WHAT HAPPENS IN VEGAS
Shia LaBoeuf, EAGLE EYE
Joseph Gordon Levitt, STOP-LOSS
Gilles Marini, SEX AND THE CITY
James Marsden, 27 DRESSES
James McAvoy, WANTED
Ewan McGregor, DECEPTION
Kevin McKidd, MADE OF HONOR
Lee Pace, MISS PETTIGREW LIVES FOR A DAY
Guy Pearce, DEATH DEFYING ACTS & TRAITOR
Ryan Phillippe, STOP-LOSS
Scott Porter, PROM NIGHT
Eddie Redmayne, SAVAGE GRACE
Ryan Reynolds, DEFINITELY, MAYBE
Paul Rudd, ROLE MODELS
Seann William Scott, ROLE MODELS
Scott Speedman, THE STRANGERS
Jim Sturgess, THE OTHER BOLEYN GIRL
Channing Tatum, STOP-LOSS
Patrick Wilson, PASSENGERS
Hiam Abbass, THE VISITOR
Amy Adams, MISS PETTIGREW LIVES FOR A DAY
Joan Allen, DEATH RACE
Hayley Atwell, BRIDESHEAD REVISITED
Rachel Bilson, JUMPER
Cameron Diaz, WHAT HAPPENS IN VEGAS
Dakota Fanning, THE SECRET LIFE OF BEES
Isla Fisher, DEFINITELY, MAYBE
Carla Gugino. RIGHTEOUS KILL
Anne Hathaway, PASSENGERS
Mary Beth Hurt, UNTRACEABLE
Angelina Jolie, WANTED
Catherine Keener, WHAT JUST HAPPENED
Diane Lane, JUMPER
Queen Latifah, THE SECRET LIFE OF BEES
Rachelle Lefevre, TWILIGHT
Rachel McAdams, THE LUCKY ONES
Michelle Monaghan, EAGLE EYE
Sophie Okonedo, THE SECRET LIFE OF BEES
Gwyneth Paltrow, IRONMAN
Kristin Scott Thomas, THE OTHER BOLEYN GIRL
Liv Tyler, THE INCREDIBLE HULK and THE STRANGERS
Michelle Williams, DECEPTION

Reviews – 2008

julianelle.michael — Tue, 01 Jan 2008 00:00:00 +0000

27 DRESSES — Rated: 7 1/2
While it would be easy to pick 27 Dresses apart since it’s far from perfect, that’s not going to happen here. I liked it. Three sections in particular make up from some awkward/obvious plotting. The three: (1) a sing-along of “Benny and the Jets” in a bar by Katherine Heigl & James Marsden expertly accompanying the Elton John recording (2) the Pretty Woman sequence in which Katherine Heigl models the titular dresses (3) the closing wedding scene.
Nothing in the plot is going to surprise any frequent filmgoer but I take satisfaction in having things turn out exactly as I expected and wanted. In romantic comedies, give me a happy ending every time.
Katherine Heigl (Knocked Up, 2007) is probably still best known for her television series, Grey’s Anatomy. Her future in theatrical films is assured since she proves here that she can open a film. I like her but, for me, she’s no Sandra Bullock or Irene Dunn. Not yet, anyway.
I’ve liked James Marsden since I first saw him in X-Men (2000) and the 2002 season of television’s Ally McBeal. My more recent favorites of his are The Notebook (2004), Superman Returns (2006), plus Hairspray and Enchanted in 2007. Finally, this time, he’s the leading man and gets the girl. Slightly scruffy for a change, he’s never looked better. Think of him as a more likable Hugh Grant while following in the wake of the master of the genre, Cary Grant.
As the girls’ father, I enjoyed veteran Brian Kerwin. Likewise, as the Eve Arden sidekick type, Judy Greer shines. Edward Burns is fine as the boss. Malin Ackerman is attractive and fearless as she follows her unpleasant role in The Heartbreak Kid (2007) with another less-than-admirable character here. She definitely needs a change of pace.
Costumes by Catherine Marie Thomas are fabulous. Give this woman an Oscar nomination!
BRIDESHEAD REVISITED — Rated: 9
Generally, truth be told, I would have to admit to a lack of enthusiasm for British period dramas from the Merchant-Ivory school of cinema. Maybe I’ve gotten beyond my preconceived notions of them or maybe I’ve just been fortunate enough to see a run of better films of the genre lately. Along with ATONEMENT (2007) and PRIDE & PREJUDICE (2005), add BRIDESHEAD REVISITED to my list of current favorites of this style and tradition. I’ve now seen each of these three at least twice and am likely to return to each for more. All three are among my recent favorites from all types of cinema.
Regarding BRIDESHEAD REVISITED specifically, I haven’t read the book and haven’t seen the highly regarded television 11 part, 659 minute, 1981 or1982 mini-series, yet anyway. I went to this film knowing nothing about the story that I didn’t learn from the intriguing trailer.
Cinematography, editing, musical scoring, adapted script, directing and production design are all excellent and worthy of award consideration. Casting is perfect and the acting is outstanding. Matthew Goode (CHASING LIBERTY – ’04, MATCH POINT – ’05, THE LOOKOUT – ’07) continues to be one of my top favorites. I was unaware of Hayley Atwell until now but look forward to her future output starting with completed and upcoming THE DUCHESS (’08). She adds crucial subtext and shading to what could have been an easily forgettable character. I missed Ben Whishaw’s best known past work, PERFUME (’06). Along with everybody & everything else in I’M NOT THERE (’07), he failed to impress me in that debacle. Based on his incandescence here, I’ll be renting PERFUME and anxiously awaiting Jane Campion’s BRIGHT STAR (’09) along with whatever else he does. Two time Oscar winner Emma Thompson is ideal as Lady Marchmain and deserves careful consideration for year end additional award hardware for this vivid portrayal.
CHANGELING — Rated: 9
his is another outstanding film from Clint Eastwood. He realizes that good films are all about telling the story and he excels at that this time out. Changeling is intense and disturbing. Nevertheless, I found it riveting. Angelina Jolie deserves a Best Actress Oscar nomination. Further, the film deserves award consideration in many other categories and I was especially impressed with the musical score written by director Eastwood. The look and sound of this film are as good as it gets.
For serious film goers, Changeling is a must see.
JUMPER — Rated: 8
I was intrigued by the provocative trailer and multiple television spots for JUMPER and had high expectations. I was disappointed in the film but still enjoyed it enough to grant my generous rating. If you like the advance materials, I suspect you’ll agree with me. That said, it’s really a shame that the film doesn’t live up to its promise. The abrupt ending at the 88 minute mark portends a sequel and soon. I was left wanting more so I’m for that. Valentine 2008 weekend’s North American opening grosses are strong nearing $40 million, another good sign that a sequel makes sense.
Little is explained here but it really doesn’t matter. Just relax and go along for the ride.
Hayden Christensen looks like a movie star and continues to mature as an actor. He seems appropriately relaxed and this character brings to mind those he limed so well in Life as a House (2001) and Shattered Glass (2003). I saw and enjoyed all 92 episodes of television series The O.C. (2003-07), where Rachel Bilson is featured as “Summer.”
It’s a pleasure to see her now on the big screen. She is equally charming, likable and beautiful here. The chemistry between her and Hayden Christensen is strong and rumor has it that the relationship extends into their off-screen lives. Samuel L. Jackson (A Time to Kill, 1996) is effective as the villain of the piece while modeling yet another slightly distracting & questionable hair treatment. Now in his early twenties, Jamie Bell has matured nicely since his terrific early turn as Billy Elliot (2000) and he brings a nice edge to his sidekick character. Diane Lane (Unfaithful, 2002) has very little screen time but makes it count and looks great.
Now in his early forties, USC School of Cinema graduate Doug Liman is one of my favorites among the newer directors. I’m a big fan of his Swingers (1996), Go (1999), The Bourne Identity (2002), and Mr. & Mrs. Smith (2005).
All technical credits are top-of-the-heap with a special nod going to cinematographer Barry Peterson. Musician John Powell adds another very effective score to his resume which already includes great work on all three of the Bourne (2002, 2004, 2007) blockbusters.
MADE OF HONOR — Rated: 3
Since I already wasted 100 long, long minutes watching this piece of crap, I won’t be spending much more time writing about it. Consider this fair warning.
The one and only really good thing about it is the cinematography by two time Oscar nominee, British Tony Pierce-Roberts who has done outstanding work with the Mechant-Ivory Group several times in the past.
I’m a big fan of female lead, Michelle Monaghan (GONE BABY GONE -’07, TRUCKER -’08) who looks good and doesn’t embarrass herself in a silly part. She is not identified by name in the trailer and half her face is cut off in the posters/ads. After seeing this film, she should consider herself fortunate that those two decisions were made by the campaign’s brain trust.
During his limited screen time, Oscar wining director Sydney Pollack is his usual crisp and entertaining self. Likewise, Kelly Carlson is good in brief support. She co-stars on one of my favorite television series, NIP/TUCK and it’s nice to see her on the big screen.
I enjoyed ascending Scottish actor, Kevin McKidd who is best know so far for television’s JOURNEYMAN( 07). Attractive and magnetic, he is sure to continue to gain popularity.
And then there’s star Patrick Dempsey. His main claim to fame is the ABC Television mega hit that I’ve never watched, GREY’S ANATOMY (2005 – 2008). I did find him delightful in ENCHANTED (’07) but not this time. In fact, he is even more obnoxious that the character as written. In short, what a jerk! Of course, he gets the girl in the end but only because he’s the star.
Nothing in British director Paul Weiland’s resume would have made me think of him as a natural choice for directing this very American comedy and I think he did a lousy job. The three credited writers have contributed nothing but garbage in the past so their offerings here shouldn’t surprise anybody. I take serious issue with their numerous cheap shots leveled at both a slightly afflicted (spastic?) basketball playing character and a plus sized bridesmaid. Not funny. Not funny at all.
To add to the misery for me, Elizabeth Hasselbeck, whose day job is to pollute television’s THE VIEW, makes a cameo appearance. Groan.
If you want to see this type material done right, rent the DVD of MY BEST FRIEND’S WEDDING (1997).
MAMMA MIA! — Rated: 8-1/2
I had the pleasure of seeing the new film, MAMMA MIA! a few days ago in an advance screening and highly recommend it. Keep in mind that it is a musical in the full sense of the phrase and almost all of it is singing and/or dancing. Further, an appreciation for the style of musical group ABBA is essential. (Swedish based ABBA was a world wide popular music phenomenon from 1972 to 1982.) Meryl Streep is sensational in the lead and her take on the song, “The Winner Takes It All” joins my all time favorite movie musical interludes. Based on the hit stage musical, the film opens Friday, July 18, 2008 in movie theatres everywhere. I’ll be there to see it again.
RACHEL GETTING MARRIED — Rated: 4-1/2
RACHEL GETTING MARRIED is well acted but painfully tedious. It reminds me of some of the bad/minor seventies & eighties output of Robert Altman. I was moderately intrigued for the first 45 or so minutes of RACHEL but from that point on, I started to feel that it would never end. Oh, and the music, ear torture! It was all played live on the set/recorded live as the film was shot and is virtually non-stop! And the hand-held camera work, groan!
Anne Hathaway (THE DEVIL WEARS PRADA -’06) deserves consideration as a 2008 Best Actress Oscar nominee and will be among my personal top ten contenders. Many critics have expressed surprise at her range. Evidently they have forgotten her edgy work in BROKEBACK MOUNTAIN (’05) which hinted at the performance delivered here. Long mostly absent eighties superstar, Debra Winger (URBAN COWBOY – ’80, AN OFFICER AND A GENTLEMAN – ’82, TERMS OF ENDEARMENT – ’83) is terrific in support as the mother. However, her big, emotional scene is truncated for reasons unknown and impossible to justify. Either coverage when filming was missed or terrible editing choices were made in post. Nevertheless, she is powerful and should be lured back in front of the cameras soon and often.
Starting with LAST EMBRACE (’79) and extending through SOMETHING WILD (’86), SILENCE OF THE LAMBS (’91), and PHILADELPHIA (’93), I’d tell anybody who would listen that Jonathan Demme was one of my favorite directors. I was delight when he was announced as director for RACHEL since I expected it to be a return to earlier form.
Without belaboring it, I have to say that I’m extremely disappointed.
Maybe it’s just me, but I can’t see even a hint of his former power and expertise this time.
However, since many RACHEL reviews have been good, maybe he’ll be encouraged to do more large budgeted fictional films soon and my guess is he’ll get them right.
STOP-LOSS — Rated: 9
I found STOP-LOSS mesmerizing.
It is sure to find its way onto my list of Top Favorite Films for 2008.
Direction by Kimberly Peirce (BOYS DON’T CRY -’99) is vivid and super-charged.
Down to the smallest bit parts, casting and performances are as good as it gets. Especially praise-worthy are leads Ryan Phillippe (FLAGS OF OUR FATHERS -06), Channing Tatum (STEP-UP -’06), Abbie Cornish (SOMERSAULT – ’04) & Joseph Gordon-Levitt (THE LOOKOUT -’07).
Composer John Powell (THE BOURNE Trilogy) delivers another amazing score and cinematography by Oscar winner Chris Menges (THE MISSION -’86) perfectly matches the material. All other technical elements are exactly right.
I found the last two scenes somewhat confusing and disagree with the main character’s decision if he did what I think he did. Nevertheless, I still love the film and most of what it has to say about an outrageously unfair policy of the current (2008) Bush Administration regarding our troops.
Due to the very serious subject matter, business has not been good.
It won’t last in theatres long but I urge seeking it out quickly or watching for it on DVD when it’s released to video stores.
UNTRACEABLE — Rated: 8
I like the no nonsense style of director Gregory Hoblit. While UNTRACEABLE is slightly less rewarding than his quite successful FRACTURE (2007) & PRIMAL FEAR (1996), I still found it very diverting and wish he’d deliver similar fare annually. It includes plenty of violence but the level of intensity was well within my tolerance zone for such things. Diane Lane (A Little Romance, 1979; Streets of Fire, 1984; A Walk on the Moon, 1999; Unfaithful, 2002) is her usual attractive, appealing, watchable, believable self, as an FBI agent who lives with her mother and young daughter in Portland, Oregon. She, alone, is reason enough to see it. Playing a detective here, Billy Burke (Without Limits, 1998; Ladder 49, 2004; Feast of Love, 2007; Fracture, 2007) continues to impress and is ideally cast. Two young actors with exceptionally bright futures, Colin Hanks (son of Tom) & Joseph Cross (Running with Scissors, 2006) shine and I was glad to get to become reacquainted with Mary Beth Hurt, an actress I first enjoyed in 1982′s The World According to Garp.
Untraceable is not exceptional and was never intended to be. Nevertheless, I found it very worthwhile. It was shot to good effect on relatively unfamiliar and cleverly selected locations of Portland, Oregon.
VANTAGE POINT — Rated: 4 1/2
I’ll cut quickly to the chase here and tell you that VANTAGE POINT is unsuccessful and a waste of time. There are several good ideas in the script but a significant plot point exposed in the trailer isn’t divulged until the 40 minute mark of the actual film. I sat there just waiting for the film to catch up to what I already knew. Further, the device of covering the same explosion scene multiple times from the slightly different perspective of several characters grows tiresome quickly.
Dennis Quaid, Matthew Fox, Sigourney Weaver and William Hurt are all strong casting choices and each is as good as the material allows. It isn’t his fault, but recent Oscar winner Forest Whitaker is unsuccessful in a part that nobody could have made work based on the way it was written and/or edited.
Technical credits are good enough but at the end, it all comes down to a lengthy and superficial car chase that strains credibility.
…more to come.

Reviews – 2007

julianelle.michael — Sat, 29 Dec 2007 10:54:33 +0000

300 Rated: 6
Right off the top, let me point out that I’m not part of the target audience for this one since I’m out of my teens and have zero interest in violent graphic novels, comic books or video games. Don’t think of this as an apology for that.
From repeated painful experience, I’m well aware that popularity and quality often diverge when it comes to film. Regardless, I decided to view 300 because I wanted to see what was attracting such large crowds on opening weekend March 9, 2007. I braced myself for the worse and was pleasantly/mildly surprised.
Many incidents depicted are uber violent and drenched in blood but since it’s clear that nothing we see is real, the impact is minimal, at least for me. During all three beheading sequences that I recall, heads separated from bodies swiftly with little or no blood splashed/spilled. Go figure. I’m reminded of the cartoon violence as drawn in the ROAD RUNNER animated short subjects and I reacted accordingly. Interestingly, the mostly young male matinee audience around me at The Grove Theatre in Beverly Hills, CA was attentive but non-responsive to what they were seeing. At other screenings, I gather there was considerable audience participation but not here, not this day, anyway. Maybe being surrounded with peers is necessary for acting out in that manner.
I read that not a single frame of the film was shot outside, not that it matters since the entire film looks and plays as if everything occurs in an alternate universe. What’s presented is hokum but the story is well told and easy to understand. Although very loosely based on true events, to react as if it’s historically accurate is absurd and obviously not the film makers intention or goal.
Regarding the cast, I have no complaints. Everybody is in remarkable physical condition. However, to refer to whatever they’re doing here as acting is a stretch. Call it posing and posturing instead. Although I’ve seen top billed Scotsman Gerard Butler in several earlier films, I would never have realized it was him as King Leonidas if I hadn’t seen his name in the credits. His best work so far is available at video stores in a charming small film called DEAR FRANKIE (’04). while his interpretation of the Phantom in THE PHANTOM OF THE OPERA (’04) would have benefited immeasurably if some of the energy on display here had been utilized there. Brazilian Rodrigo Santoro is other worldly as Xerses. It’s hard to believe that this is the same human as the one who was so charming in LOVE ACTUALLY (’03).
Co-writer & director Zack Snyder delivers exactly what the target audience wanted and they love it. North American gross looks likely to reach or exceed a lofty $200 million.
Special mention of the costumes is a must. Even at that point in history, warriors who would wear such a combination of Speedos, capes and boots into battle must have had serious issues.
ALPHA DOG Rated: 5
This one is fascinating in a train-wreck kinda way…
I was never bored but often annoyed. Its lack of polish is probably intentional, but the pervasive unevenness isn’t.
Justin Timberlake is effective in a take-no-prisoners turn but I’m not sure that was his or the director’s intention. Speaking of the director, it’s hard for me to believe that the same man, Nick Cassavetes, directed both ALPHA DOG and my favorite film of 2005, THE NOTEBOOK. I can find no commonality.
I enjoyed Shawn Hatosy and Anton Yelchin but felt that most of the rest of the cast, especially Bruce Willis & Sharon Stone, were underutilized or misdirected and badly lit/photographed.
AMERICAN GANGSTER Rated: 7
Think of this as a minority report since I’m the only one I know of who is unenthusiastic about it. For me, it’s a pale retread, especially when compared to the best in this genre such as THE DEPARTED (2006). Denzel Washington’s performance is very familiar and I just didn’t like Russell Crowe this time out. On the other hand, in support, Ruby Dee is a standout and deserves award consideration.
THE ASTRONAUT FARMER Rated: 6
I’m giving this one a rather generous rating since I think it had/has good intentions and suspect many will be more accepting of it than I am. The story is about a farmer named Farmer who decides to launch his own rocket into space. Frankly, I found it just a bit too peculiar or off-center considering the story and doubt that was intentional. Further, I never got totally involved. Neither the writer/directors or the lead male and female leads are what I’d consider main stream and they are strange choices for this type material which reminds of FIELD OF DREAMS (’89). This is the fourth feature film from identical twin brothers Michael Polish and Mark Polish who handle both the writing and directing. I fully expect them to connect with the right material eventually and deliver something really special. Oscar winner Billy Bob Thornton (SLING BLADE–’96, BAD SANTA -’03) is good, but, in my opinion less than ideal casting. Oscar nominee Virginia Madsen (SIDEWAYS–’04, A PRAIRIE HOME COMPANION–’06, ELECTRIC DREAMS–’84) is good in a rather conventional part as the adoring wife/mother. Real life teenager Max Thieriot plays their teen-aged son nicely. Look for him in two future high profile releases, NANCY DREW (’07) & JUMPER (’08) both of which he’s already completed. In support, it’s a pleasure to see former Oscar nominee Bruce Dern (COMING HOME–’79) again. He gets it just right as Ms. Madsen’s father without going over the top as many actors in this type part are inclined to do.
BECAUSE I SAID SO Rated: 3
BECAUSE I SAID SO is clichéd, cringe-inducing crap masquerading as romantic comedy.
Based on the rather amusing trailer, I was hoping for an experience approaching my delight in viewing two previous Diane Keaton romantic comedy/dramas named
SOMETHING’S GOTTA GIVE (2003) & THE FAMILY STONE (2005). Instead, this one mirrors the calamitous HANGING UP (2000). Not only was Ms. Keaton the star of HANGING UP, she is credited /blamed for directing it. Evidence here indicates that she directed herself in BECAUSE I SAID SO in the same lame manner and credited director Michael Lehmann just stayed out of the way for her scenes. While attractively photographed & nicely costumed, I found this Oscar winning actress as annoying as anything I’ve endured in a decade or more. Place equal blame on the writing of the character.
Prominently featured as one of Keaton’s three daughters, Mandy Moore (SAVED!–2004)stops just short of going too far, thank goodness. She continues to show major promise and looks great. As another daughter, beautiful Lauren Graham, from the television hit GILMORE GIRLS, has one good scene and exhibits big screen potential. I loved Piper Perabo in COYOTE UGLY (2000) but she is wasted here in a thankless role as the third daughter. The male actors fare better since they are allowed to behave in a relatively normal manner. Gabriel Macht (A LOVE SONG FOR BOBBY LONG–2004) and Tom Everett Scott (television’s ER and THAT THING YOU DO–1996) are believable, handsome and likable as suitors for Ms. Moore while Steven Collins (television’s 7th HEAVEN and LOVING COUPLES–1980) makes a good potential match for Ms. Keaton although nobody on the planet would be likely to put up with this character as she plays it.
BECOMING JANE Rated: 8
Charming but a little disappointing. PRIDE AND PREJUDICE it ain’t. Nevertheless, it’s diverting and worthwhile if approached with realistic expectations. Anne Hathaway and James McAvoy are attractive and delightful.
BEFORE THE DEVIL KNOWS YOU’RE DEAD Rated: 7 1/2
Five time Oscar nominated director Sidney Lumet was in his early eighties when he directed BEFORE THE DEVIL KNOWS YOU’RE DEAD.
His talent hasn’t diminished with age.
Oscar winner Philip Seymour Hoffman does his usual/ expected exceptional work. As his brother, Oscar winner Marisa Tomei is good in a role I’d never have expected to see her take. Five time Oscar nominated actor Albert Finney does strong work as the father. One time acting Oscar nominee Ethan Hawke has have never been better but is not aging gracefully. That’s appropriate for this part.
My problem with the film is the subject matter and the fact that all of the major characters are awful human beings. When I left the theatre, I felt like I’d been swimming in the sewer.
BLOOD AND CHOCOLATE Rated: 4
The best thing I can say about BLOOD AND CHOCOLATE is that I already have one spot filled for my Worst Films of 2007 list. Despite fair warnings from early reviews, I still expected to like this one. Wrong. The cast is generally able and attractive. Agnes
Bruckner was wonderful in BLUE CAR (2002) and I still hope she can break through but she seems mostly stunned here. Considering that most of the cast also failed to impress, maybe it wasn’t her fault, and she did look good. I’d like to see her get some roles considered for party animal problem Lindsay Lohan. I thought French hunk Olivier Martinez was terrific in UNFAITHFUL (2002) and very effective in both THE ROMAN SPRING OF MRS. STONE |(2003) and TAKING LIVES (2004). Not his time. Either he is aging poorly or he was very badly lit/photographed here and his accent is almost as annoying as Penelope Cruz is when she attempts English. Male lead, British Hugh Dancy is right at the edge of break through bigtime stardom and this won’t stop him although it certainly won’t help. At this writing, he has completed 2 or 3 likely hits and has 1 more in production or pre-production. I’m betting his hair will be clean and well groomed in those since it sure isn’t here. I was impressed with British Bryan Dick as Rafe. He is new to me but has done plenty of British television and his experience pays off here. (Also, although I don’t remember him in it, he had a small part in one of my 2006 favorites, BROTHERS OF THE HEAD.)
The location work in and around Bucharest is effective, attractive and appropriate for the werewolf plot but German born director Katja Von Garnier doesn’t seem to have any feel for the material. This one is unlikely to get her future assignments.
THE BOURNE ULTIMATUM Rated: 9
BREACH Rated: 8 1/2
Although it’s early 2007, BREACH is a cinch to finish among my top 20 best films for this year. It’s that good. This is Billy Ray’s second film as director. It follows his equally impressive work in that capacity on SHATTERED GLASS (2003). He has major writing credits for both these films plus several others he didn’t direct. Further, he is said to have done considerable uncredited script work on many more films. Just as SHATTERED GLASS was, BREACH is based on a fascinating true story. I’m very excited about at least two of Billy Ray’s upcoming likely projects which he may or not direct. HURRICANE SEASON is set in suburban New Orleans shortly after Katrina and 102 MINUTES is based on a book detailing what happened inside the World Trade Center in the time between the first plane’s impact and the second tower collapsing on 9/11/2001.
Supporting Actor Oscar winner Chris Cooper (ADAPTION–’02) is likely to receive a well deserved 2007 Best Actor nomination for this part. He plays FBI Agent Robert Hanssen who was eventually convicted of selling secrets to the Soviet Union. Ryan Phillippe (CRUEL INTENTIONS–’99) matches Cooper scene-for-scene as his FBI assistant, Eric O’Neill. Undercover operative O’Neill was placed in that dangerous position to help expose Hanssen’s treachery. Mr. Phillippe continues his assent up the list of young leading men with this performance right on the heels of his expert work in FLAGS OF OUR FATHERS (’06) and CRASH (’04). As another FBI agent, Kate Burroughs, Laura Linney (YOU CAN COUNT ON ME–2002 and KINSEY–’ 04) contributes as solidly as we have come to expect her to. I won’t be surprised if she earns Oscar recognition someday soon.
I recommend this one highly to adults.
CATCH AND RELEASE Rated: 5 1/2
CATCH AND RELEASE is a disappointment to me. I’m a big fan of Jennifer Garner and loved her in a sweet little trifle called 13 GOING ON 30 (2004). She’s not bad here but she doesn’t really sparkle either and has looked better in most of her previous projects. The supporting cast is well chosen, and with one exception, I enjoyed them. Male lead, Timothy Olyphant (from television’s DEADWOOD) is new to me and is as good as this sketchy part allows. Look for him to break through in several big films completed and ready for release later in 2007. (I’m struck by how much he resembles Barry Watson of 2006-07 television’s WHAT ABOUT BRYAN). Appropriately and effectively, Fiona Shaw brings it down several notches from the wild work she did in THE BLACK DAHLIA (2006) and can be expected to deliver award worthy work in the near future. I’m a big fan of Sam Jaeger who I think should have gotten the girl in this one. In the right part, he could become a star. I hope he finds it.
And then there is Kevin Smith (CLERKS–1994). By no stretch could I have been considered a fan before seeing him here. I’m even less so now. I’m confident that he played the part exactly as written/directed and little acting was required. I haven’t been this annoyed since I endured Bill Murray as directed by Frank Oz in WHAT ABOUT BOB? (1991).
CATCH AND RELEASE was written and directed by Susannah Grant who wrote the wonderful script for ERIN BROCKOVICH (2000). For that work alone, she deserves another chance at directing.
DAN IN REAL LIFE Rated: 5 1/2
DAN IN REAL LIFE is one of those would-be/should-be feel good films that requires the viewer to really like the lead actors for success. In supporting roles, LITTLE MISS SUNSHINE (’06) for example, I enjoy Steve Carell. Front and center in the lead as he is here, not so much. The only time I’ve really liked Oscar winner Juliette Binoche was in the little seen and poorly distributed BREAKING AND ENTERING (’06). This time, I felt she was miscast, strained and marginally grating. In support, Dane Cook was restrained, colorless and wasted. On the other hand, I thoroughly enjoyed Emily Blunt in her two scenes that she made count.
Many audiences will enjoy this one and I don’t want to discourage fans of the cast from attending but it sure didn’t work for me.
DISTURBIA Rated: 7 1/2
As many others have pointed out, DISTURBIA has a setup similar to Alfred
Hitchcock’s 1954 classic READ WINDOW. It’s not in that rare class and never pretends to be. All that aside, DISTURBIA has ample charms of its own and I found it surprisingly worthwhile. The somewhat overblown and over produced ending is its least satisfactory aspect but it held my attention getting there and the payoff is satisfying. The smart writing by twenty-something scripter Christopher B. Landon (segment BOYS LIFE 3–2000, ANOTHER DAY IN PARADISE–’97) and the more established Carl Ellsworth (RED EYE–’05) is sly and expedient. Based on his earlier TAKING LIVES (’04) and now this, I predict a bright future for director D.J. Caruso who is becoming one of my favorites. He really has a feeling for this type material. Speaking of bright futures, with his star turn here, lead actor Shia LaBeouf as Kale joins Ryan Gosling (MURDER BY NUMBERS–’02, THE NOTEBOOK–’04, HALF NELSON–’06, FRACTURE–’07) & Joseph Gordon-Levitt (10 THINGS I HATE ABOUT YOU–’99, THE LOOKOUT–’07) at the top of casting directors’ must have lists for young male leads who can really act. He has already completed starring roles in three high profile projects scheduled for later 2007 release and was just signed for Spielberg and Lucas’ INDIANA JONES 4. Sarah Roemer and Aaron Yoo are fine in support and it’s good to see the always reliable David Morse (INSIDE MOVES–’80, PROOF OF LIFE–2000) get to chew scenery as a menacing neighbor. Canadian Carrie-Anne Moss (THE MATRIX–1999) registers strongly as Kale’s mother and Canadian Matt Craven is vivid in the opening scene as Kale’s dad.
FRACTURE Rated: 8
FRACTURE is an efficient and effective thriller. While clever and complex, it is still easy enough to follow and the resolution/explanation is plausible. On reflection, it all makes sense and that’s not always the case on projects of this type. I’d be happy if there were more like this several times a year as long as they are as thoughtful and professional as it is. The main element that elevates FRACTURE several notches is the casting and acting of leads Anthony Hopkins and Ryan Gosling. Both characters seem to have been written to perfectly accommodate the uniqueness of these two gifted gentlemen. Anthony Hopkins already has an Oscar for his dazzling creation of Dr. Hannibal Lecter in THE SILENCE OF THE LAMBS (’91) and few will be surprised if Ryan Gosling joins that elite group with Oscars in the future. He was nominated for a best actor Oscar in the gritty HALF NELSON (’06) after broadening his fan base with the romantic & popular hit, THE NOTEBOOK (’04). I suspect and hope that he will continue to vary his roles by mixing the glam with the grit in a manner similar to what Brad Pitt did/does.
Other cast notables in support are Rosamund Pike, best remembered as a sister in PRIDE & PREJUDICE (’05), Embeth Davidtz (JUNEBUG–’05) & Billy Burke who has multiple recent credits for popular network television series. Mr. Burke also has 4 interesting theatrical features scheduled for release later in 2007 or in 2008 and I look forward to seeing him in those. Further, as always, I enjoyed Fionna Shaw (THE BLACK DAHLIA–’06) as an appropriately restrained judge this time.
Direction by Gregory Hobit (PRIMAL FEAR–’96) is sleek, smart and expedient, which is exactly what’s called for by the material at hand.
FREEDOM WRITERS Rated: 8
FREEDOM WRITERS isn’t especially original but it is entertaining and moving.
While not quite award worthy this time, Oscar winner Hilary Swank is effective and appealing. Likewise, Patrick Dempsey, from televisions’ GREY’S ANATOMY, looks good and does as instructed in an appropriately underdeveloped part. Writer/director Richard LaGravenese delivers seamlessly in both departments and I expect future successes from him.
GEORGIA RULE Rated: 3
Cringe. Groan. Squirm.
Garage. Icky.Yucky.
Don’t be fooled by the advertising campaign. This is not, and I repeat NOT, any sort of feel good generational family dramedy or romantic comedy. At it’s dark/muddled core, it deals with the alleged (?) sexual molestation of a stepchild and it manages to convince the audience that it happened then that it didn’t happen then that it did happen…whatever. By then, few will care.
Right here I’m admitting that I actively dislike top-heavy, druggie teen tart, Lindsay Lohan. I doubt that I’ll ever be able to put aside my opinion of her as a person long enough to judge any on-screen performance she gives. She’s type cast here as an obnoxious spoiled brat. At the start of the film she arrives in Idaho to stay with her grandmother since her mother can no longer deal/cope with her. Oscar winner Jane Fonda (KLUTE–’71, COMING HOME–’78, MONSTER-IN-LAW–’05 ) is well cast as the grandmother and gives a better performance than the material deserves. Likewise, as Jane’s daughter and Lindsay’s mother, Felicity Huffman (television’s DESPERATE HOUSEWIVES, TRANSAMERICA–’05) is effective even though the writing gives her a confused/confusing character who is sketchy and erratic. In support, as usual, I like Dermot Mulroney (STAYING TOGETHER–’89, LONGTIME COMPANION–1990, HOW TO MAKE AN AMERICAN QUILT -’95, COPYCAT -’95, MY BEST FRIEND”S WEDDING–’97, THE FAMILY STONE -’05). He’s aging nicely unlike another forty-something supporting player here, Cary Elwes (ANOTHER COUNTRY -’84, THE PRINCESS BRIDE–’87, THE CRUSH–’93, TWISTER -’96, & television movie THE RIVERMAN–’04). I did not like Elwes’ performance or pudgy appearance here. As Lindsay’s Mormon lust target, Garrett Hedlund looks great but much too mature for his character as written. I liked him as Patroclus in TROY–’04 and as Don Billingsley in the theatrical FRIDAY NIGHT LIGHTS–’04. He’ll be back.
Director Garry Marshall directed one of my top 100 favorites, PRETTY WOMAN (1990). On the other hand, he inflicted NOTHING IN COMMON (’86), EXIT TO EDEN (’94), and THE OTHER SISTER (’99) each of which I found excruciating. I recommend he restrict his future entertainment career to cameo acting stunts and retire from directing.
Based on his previous output, I expected better, much better from credited writer Mark Andrus. He co-wrote the exceptional 1997 hit, AS GOOD AS IT GETS, & is the only credited writer of one of my favorites, LIFE AS A HOUSE (2001). Not this time, Mark.
Lastly, the selection of background pre-recorded music is awkward, inappropriate and/or intrusive.
HAIRSPRAY Rated: 9
An absolute delight. Highly recommended. I loved it.
Director Adam Shankman does an amazing/fantastic job and deserves all sorts of award consideration. This comes as quite a shock to me since I hated some of his earlier work on crap such as THE PACIFIER (2005) and BRINGING DOWN THE HOUSE (2003). With this, he moves right to the head of any list of my choices to direct any upcoming musical.
The cast is perfect. Although I’ve really liked some of John Travolta’s work in the past including that in CARRIE (1976), THE BOY IN THE PLASTIC BUBBLE (1976 television), URBAN COWBOY (’80), BLOW OUT (’81), SHOUT (’91), PRIMARY COLORS (’98), and, of course, his signature roles in SATURDAY NIGHT FEVER (’77) & GREASE (’78). On the other hand, I could, but won’t here, list just as many that I’ve hated. Further, though I fight it, my opinion of his off screen personal life prevents me from becoming a real fan. All that aside, he gets it just exactly right here as “Edna”. In the key/central role of “Tracy”, newcomer Nikki Blonsky is up to the task and makes this part her own. After several years away from the camera, Michelle Pfeiffer emerges looking good and hams it up appropriately. I wish her scene with Christopher Walken had been a little shorter but this is a minor quibble. The Oscar winning Mr. Walken (THE DEER HUNTER -’78, PENNIES FROM HEAVEN -’81) is just fine as husband to “Edna” and father to “Tracy”. His dance sequence with “Edna” is a pure delight. James Marsden (THE NOTEBOOK -’04, SUPERMAN RETURNS -’06), Queen Latifah (CHICAGO -’02). Zac Efron (televisions’ HIGH SCHOOL MUSICALs -’06 and more), and Amanda Bynes (SHE’S THE MAN -’06) all shine and can be proud to add their parts here to their resumes.
I’ve seen HAIRSPRAY twice so far and plan a quick return for thirds.
HANNIBAL RISING Rated: 4
I cannot think of a single good reason why anybody should invest their time and/or money to see this one. Long dull stretches are interspersed with scenes of disgusting, needless, graphic, stomach-turning brutality. There is no tension or suspense.
The simple story purports to explain how/why young Hannibal Lecter became the monster we came to love as portrayed by Anthony Hopkins in THE SILENCE OF THE LAMBS (’91). Frenchman Gaspard Ulliel (A VERY LONG ENGAGEMENT–’04) stars as the teen-aged/twenty-something Hannibal here. I have no complaints about his performance. However, I am disappointed by and curious about the decision to cast this actor who has no physical resemblance to Anthony Hopkins when all fans of the character know the older Hannibal as personified by Hopkins.
The production values and the premise are both good, but it just doesn’t jell. The direction by Peter Webber is competent but without edge, irony or passion. Based on GIRL WITH A PEARL EARRING (’03), Webber’s previous relatively well received theatrical feature, he is a curious and disappointing choice.
Of reviews compiled by Rotten Tomatoes, only 19 out of 108 were pleased & only 8% of the better known pundits responded favorably.
THE HEARTBREAK KID Rated: 5
A dumbed down remake that is mean, superficial and crude.
Ben Stiller continues to “go to the well’ far too often. I wish he’d take a long break.
Co-writers/directors The Farrelly Brothers have fallen a long way since their rude/crude/hilarious 1998 hit, THERE’S SOMETHING ABOUT MARY.
Rent that; skip this.
I KNOW WHO KILLED ME Rated: 2 1/2
What a piece of crap.
Incomprehensible.
Ridiculous.
Absurd.
I have never been a Lndsay Lohan fan either on or off screen so I’m not just hitting her just while she’s down. That aside, in this misfire, she gives one of the worst performances ever committed to film or maybe I should say two of the worst performances. Even after watching every frame of the film, I don’t know if she was playing one character or two…and I really don’t care. I can tell you that seeing Ms. Lohan as an over-dressed pole dancer in a couple of scenes is something I won’t soon forget.
Oh yeah, about the title. Although Ms. Lohan does deliver said title as a line of dialog, she may know but I sure don’t. Of course, she has the advantage of having had the script read to her at some point assuming there actually was a script to begin with. In the theatrical release version I saw, I’d swear I was seeing nothing but random film clips edited together and overscored with especially bad music.
BOO.
THE INVASION Rated: 7
I NOW PRONOUNCE YOU CHUCK & LARRY
Rated: 1 1/2
Repulsive. Repugnant. Rancid. Reprehensible.
Adam Sandler hits a new low. This time he’s cast as a hunky firefighter who both men and women find irresistible. Yeah, sure.
And, of course, it’s a box-office hit. (“Nobody ever went broke underestimating the bad taste of the general public.”)
IN THE LAND OF WOMEN Rated: 8 1/2
Charming. Sly.Moving.Smart. Worthy of your adult attention.
This entertaining drama/comedy gem marks the theatrical directing/writing debut of mid-twenties Jonathan Kasdan (aka: Jon Kasdan) who is a son of master writer/director Lawrence Kasdan (BODY HEAT -’81, THE BIG CHILL -”83) and slightly younger brother of Jake Kasden whose hilarious satire, THE TV SET just opened also. Twenty-something Adam Brody, best know from the television hit, THE O.C. (2003-07), is perfect casting and shows that he can successfully anchor a feature film. Oscar winner Olympia Dukakis is excellent as his prickly grandmother. Both Kristen Stewart & Makenzie Vega impress as neighbor sisters. However, acting honors go to a serious Meg Ryan who deserves a supporting actress Oscar nomination. She’s never been this good before. Also deserving special mention are Elena Anaya, Gennifer Goodwin, and Clark Gregg all of whom make their limited screen time count and can be expected to get well deserved future exposure.
Canadian Paul Cameron’s cinematography continues to be most impressive. I especially liked what he did for the Mexican shot MAN ON FIRE (2004) and his Oscar nominated contribution to Los Angeles shot COLLATERAL (’04). Although the setting for IN THE LAND OF WOMEN is Minnesota, it was exquisitely filmed in Victoria, British Columbia, Canada.
I don’t usually notice/note such detail, but I loved the color of the flowers here.
Lastly, sadly, IN THE LAND OF WOMEN hasn’t found much of an audience. Although I can’t come up with an alternative title, most assuredly this one didn’t/doesn’t help while I suspect a platform release just might have served it better. Unfortunately, since it doesn’t lend itself to video game adaptation, selling it to today’s audiences might just be impossible. no matter what. Even so, the fact that it was produced for around $10 million could lead to eventual profit.
INTO THE WILD Rated: 8
I’m a bit less enthusiastic about this one than most viewers are. The early part is a bit ponderous and I was antsy. I found the real life main character’s philosophy seriously/dangerously flawed and hard to appreciate. While I’m a major believer in “doing one’s own thing”, I think he was probably border-line insane. For me, his obsessive journey is more troubling than fascinating. Appropriately or not, these reservations interfered with my enjoyment of the film. That aside, I hope viewers will view his journey as a cautionary tale rather than as something to emulate.
Writing adaptation and direction by Sean Penn are exceptional. Cinematography by Eric Gautier is award worthy. Original music by Eddie Veeder & others is excellent.
Emile Hirsch as real person Christopher McCandless deserves acting award consideration.
It is fascinating to watch his acting skill develop right along with his physical transformation from boy into man. The supporting cast is uniformly praise-worth with special kudos due Catherine Keener & Hal Holbrook.
This is one of those rare films that I find myself liking better in remembering rather than
I did while watching it unfold.
THE LOOKOUT Rated: 9
THE LOOKOUT is outstanding and will make my bests of 2007 list.
This is the first film for Scott Frank as director/writer after serving as writer only on some very special films including: DEAD AGAIN (’91), LITTLE MAN TATE (’91), HEAVEN’S PRISONERS (’96), and MINORITY REPORT (’02). He is a gifted director and this original script deserves award consideration.
The casting and the acting are exceptional. With his performance here, Joseph Gordon-Levitt, best known so far for his work in 66 episodes of television’s 3rd ROCK FROM THE SUN (1996–2001), moves up to the top of any list comprising talented twenty-something year old leading men. He reminds me of the equally gifted Shia LeBeouf (DISTURBIA–’07) and I’d love to see them work together. Look for Gordon-Levitt to break through in the upcoming KILLSHOT (’07) from director John Maden and/or STOP LOSS (’07) from director Kimberly Peirce. While Isla Fisher as a nymphomanic was scary and fascinating in take-no-prisoners mode for WEDDING CRASHERS (’05), this time she manages to pull back enough to be completely believable as “Luvlee Lemons”, a seemingly sweet and shy exotic dancer who has a hidden agenda. I’m a fan for sure. In a complete change-of-pace role, British born Matthew Goode continues to be exceptionally attractive but with an entirely different look. As an American working class crook/thug, he is almost unrecognizable in sharp contrast to his sophisticated swell turn in Woody Allen’s MATCH POINT (’05). Jeff Daniels (TERMS OF ENDEARMENT–’83, SOMETHING WILD–’86, DUMB & DUMBER–’94, THE SQUID AND THE WHALE–’05) continues to impressively expand his range this time as a blind man. These four gifted performers work together seamlessly and are a pleasure to watch.
LUCKY YOU Rated: 7
If you are a fan of Eric Bana and/or Drew Barrymore and/or poker, LUCKY YOU might please you. Otherwise, I suggest you look for entertainment elsewhere. I’m two for three on the above with card playing holding no fascination for me so I did enjoy the film up to a point.
Because director Curtis Hanson has delivered two films that are on my Top 100 lists, namely L.A. CONFIDENTIAL (’97) and WONDER BOYS (2000), I expected a lot more that I got here. On the other hand, I really did enjoy watching both Eric Bana and Drew Barrymore. They are on the screen a lot and look great while playing mostly likeable characters. I continue to hope that Australian Bana is going to breakout as a star in a big commercial film but this isn’t that by a long shot. So far by far, MUNICH (’05) is his best film and showcases his considerable acting ability. My appreciation of him in both HUNK (’03) and TROY (’04) has much more to do with his personality and appearance rather than his skills. Next up is a film with considerable potential called THE OTHER BOYLEN GIRL (late ’07) plus I’m very excited about his recently announced casting to co-star with Rachel McAdams in a big screen adaption of the popular novel, THE TIME TRAVELER’S WIFE. It is expected to go into production in Fall 2007 for 2008 release. I’ve been a big fan of Drew Barrymore’s since I first saw her as Gertie in E.T. (’82). My other personal favorites of hers include MUSIC AND LYRICS (’07), BOYS ON THE SIDE (’95), HOME FRIES (’98), & RIDING IN CARS WITH BOYS (’01).
Although director Curtis Hanson has not announced any future projects that I’m aware of, I hope he is quietly at work on projects that will return him to the prominence he deserves.
MICHAEL CLAYTON Rated: 8
Tony Gilroy, gifted screenwriter of the BOURNE trilogy (IDENTITY-2002, SUPREMACY-04, ULTIMATUM-07), directs here for the first time and does an excellent job. For reasons I can’t understand, the films tells the story from the middle out, an affection I’ve come to hate. George Clooney gives another good, easy, confident performance and Tilda Swinton, Tom Wilkinson, and Sydney Pollack deliver their now expected expertise in stellar support.
MUSIC AND LYRICS Rated: 8 1/2
Sweet. Charming. Witty. Appealing. Delightful. It would be a mistake to dismiss it as only a guilty pleasure. MUSIC AND LYRICS proves once again that the old romantic comedy formula still works when properly cast and cleverly executed with style as it is here. I don’t always respond favorably to Hugh Grant but this performance ranks up near the top with my other favorites from him including MAURICE (’87), FOUR WEDDINGS AND A FUNERAL (’94), NOTTING HILL (’99), & LOVE ACTUALLY (’03). These are strong enough to make me forgive him for NINE MONTHS (’95), EXTREME MEASURES (’95), MICKEY BLUE EYES (’99). Well, almost. Co-star Drew Barrymore is a perfect match for Grant and their chemistry is exceptional. Expect them to re-team. I’ve been a big fan of Drew since I first saw her as Gertie in E.T. (’82). My other personal Barrymore favorites include BOYS ON THE SIDE (’95), HOME FRIES (’98), & RIDING IN CARS WITH BOYS (’01). Deserving special mention for crackling in a prominent supporting role in Kristen Johnson as Ms. Barrymore’s sister. She is best known for her television work in 3rd ROCK FROM THE SUN (1996–2001). I enjoyed her recent stint on ER during its 2005 season and expect her distinctive appearance and ability to lead to future success. Also from a hit television series, EVERYBODY LOVES RAYMOND (1996–2005), Brad Garrett provides pleasant support. Campbell Scott has an amusing cameo and I was happy to spot Scott Porter in the music video that opens the film. It took me awhile to realize that I know him from my recent television favorite FRIDAY NIGHT LIGHTS. Newcomer Haley Bennett nails her part as Cory Corman a ditsy Britney-Cristina-Madonna type entertainer. She does her own strong vocals and is a sly delight. Since I like the music throughout the film so much, I’ve just ordered the film soundtrack CD. Nomination consideration for a best song or two is earned.
MUSIC AND LYRICS is written and directed by Marc Lawrence. It is only his second feature film as a director and is as good or better than his first, TWO WEEKS NOTICE. I look forward to more of the same or similar.
NEXT Rated: 5
Make no mistake about it, NEXT is disposable junk but my rather generous rating is due to the fact that I was fascinated while watching it unfold, at least until very near the ending. The direction by Lee Tamahori (DIE ANOTHER DAY -’02) is more than just competent but the premise is ludicrous and the ending caused some well deserved audience groans at the Century City, Los Angeles Sunday afternoon showing I attended.
I never was much of a fan of Oscar winner Nicolas Cage (LEAVING LAS VEGAS–’95, HONEYMOON IN VEGAS–’92) but don’t begrudge him his deserved Oscar and occasionally like his films. He is well cast here but seems stunned or distracted which may or may not be intentional, considering his character. On the other hand, I remain a big fan of Julianne Moore although her projects in the last five years have been a major disappointment to me. Several years ago I was convinced that she was very likely to win an Oscar shortly. Now, not so much. I first became aware of her with her sensational turn in SHORT CUTS (’93) and loved her in BOOGIE NIGHTS (’97), HANNIBAL (’01), FAR FROM HEAVEN (’02) and THE HOURS (’02). Sadly, since 2002 she has had the bad luck to choose main-stream failures such as THE FORGOTTEN (’04) and FREEDOMLAND (’06) along with two independent misfires, WORLD TRAVELER (’02) and TRUST THE MAN (’05), both of which are projects from her spouse, Bart Freundich. Her work here is simply awful. Clearly, the character was meant to recall Clarice Starling of THE SILENCE OF THE LAMB (91) and HANNIBAL (’01) fame but she misses by a mile. I didn’t believe that she was an FBI agent for a moment and even snickered at the gun range scene. Ms. Moore has already proved that she can be a great Clarice in HANNIBAL when she played to perfection the same character that won Jodie Foster her Oscar for THE SILENCE OF THE LAMBS so I have no idea what went wrong this time. The best acting in NEXT comes from Jessica Biel (STEALTH–’05) who was previously best know only for her body and beauty. German born Thomas Kretschmann (THE PIANIST–’02) certainly looks right for his part but is totally wasted. I liked Michael Trucco as Kendal in his one coffee shop scene and expect/hope he gets future television and feature assignments.
Better luck to all, NEXT-time.
NO RESERVATIONS Rated: 6 1/2
Actually, I have a few…reservations about NO RESERVATIONS. I found it diverting and am grateful that, occasionally, films of this type depicting adult romance still get made. However, this one seems a little too familiar. It has no edge. It has no surprises. It has no individuality. It does have an attractive and likeable cast including Oscar winner Catherine Zeta-Jones (CHICAGO–’03) , Aaron Eckhart (ERIN BROCKOVICH–2000, THANK YOU FOR SMOKING–’05), and Abigal Breslin (LITTLE MISS SUNSHINE–’06).
I believe the intended audience will be pleased but I was hoping for more.
NORBIT Rated: 1 1/2
NORBIT is most likely one of the ten worst films I’ve ever seen.
(I haven’t actually compiled that list of misery, but I’m satisfied that I haven’t seen 9 others that are this bad.)
As three major characters in NORBIT, Eddie Murphy gives three of the worst performances of this or any other year. I assume he’s trying to emulate early Jerry Lewis but I can’t imagine why. In a supporting part, former Oscar winner, Cuba Gooding, Jr. (BOAT TRIP–’02) embarrasses himself yet again. Within 2 weeks of this writing, Eddie Murphy may well be in possession of a Supporting Actor Oscar for his role in DREAMGIRLS (2006). I hope not. Gifted Thandie Newton (CRASH–’05) looks stunned and lost especially in a musical interlude in a church! Director Brian Robbins directed the excellent VARSITY BLUES (’99). Clearly that was a fluke considering that his more recent credits include atrocities READY TO RUMBLE (2000), HARD BALL (’01) and THE SHAGGY DOG (’06) and now this.
For the record, NORBIT opened in wide North American release on February 9, 2007 to a formidable $35 million or so. “Nobody ever went broke underestimating the taste/intelligence of the public.”
PERFECT STRANGER Rated: 4
I went in to see PERFECT STRANGER well aware of the terrible reviews it had received. Further, based on their output, red warning flags go up every-time I see that a film comes from Revolution Studios (TOM CATS–’01, DADDY DAY CARE–’03, WHITE CHICKS–’04, THE FORGOTTEN–’04, CHRISTMAS WITH THE KRANKS–’04, CLICK–’06, LITTLE MAN–’06, THE BENCHWARMERS–’06). Additionally, director James Foley (AFTER DARK, MY SWEET–’90, GLENDARY GLEN ROSS–’92, WHO’S THAT GIRL?–’87, AT CLOSE RANGE–’86, THE CHAMBER–’96) is one the directors that I most love to hate.
The running time of PERFECT STRANGER is 109 minutes. I was surprised to find myself enjoying it for the first 90 minutes or so and started to wonder why so many people hated it. And then I understood. There is a twist in the plot about then that totally destroys everything that went before. Suddenly, nobody you thought you knew is who you thought they were and all the switches are inexplicit, unmotivated, and aggravating.
Oscar winner Halle Berry (MONSTER’S BALL–’2001) is attractive and is as effective as the material allows. However, if what’s on the screen is what was in the script she signed on for, she really needs serious career counseling and really should stop making so many bad movies. Bruce Willis (DIE HARD 1, 2, 3, & 4) is well cast and does as well as anybody could given the burden of the script. In support, I liked Gordon MacDonald as Senator Sachs. He has several impressive stage and television credits and may be best known as mate of Holly Hunter and father of her 2006 born twins. Also, in support, I was glad to see Clea Lewis as Gina. I remember her fondly as Audrey on 1994-98 television hit, ELLEN.
PREMONITION Rated: 3
The problem with PREMONITION is the story concept/writing. The premise is intriguing but the explanation/resolution is missing/obscure/totally unsatisfactory. Up until the abrupt ending it was annoying but competent. To summarize, a loving wife (Bullock) is told that her husband was killed the day before in an automobile accident. The next morning she awakens to find him alive and well in bed next to her. Next day, he’s dead…and so forth. Maybe it’s all a dream…or not. Fair warning: At the end, it’s not clear if and/or when he died & by then I didn’t really care. If an explanation exists as to why she thought he was dead and then finds he isn’t, several times, I missed it. Further, there’s a very brief visual revelation at the end that is wacky . The print I saw opening day (Friday, March 16, 2007 at AMC, Century City, CA) has a splice in it during the last scene that made me wonder if changes were made even after prints were struck. If so, and if these changes helped, I can’t imagine how it could have been much worse before. Seeing PREEMPTION was a total waste of my time and I wouldn’t recommend it to anybody.
Dating all the way back to SPEED (1994), Sandra Bullock has been one of my personal favorites. Of her serious roles, I thought she deserved a supporting actress Oscar nomination for CRASH (2005) and I particularly enjoyed her in MURDER BY NUMBERS (2002) & A TIME TO KILL (1996). Of her lighter fare, I found her especially charming in TWO WEEKS NOTICE (’02), FORCES OF NATURE (’99), and WHILE YOU WERE SLEEPING (’95). On the other hand, GUN SHY (2000) is atrocious and MISS CONGENIALITY 2: ARMED AND FABULOUS (’05) is painful to endure. Add PREMONITION to her minus column.
On the current cable television series hit NIP/TUCK, PREMONITION co-star Julian McMahon is compelling as Dr. Christian Troy. Here, as the husband, not at all.
It’s not his fault. Based on evidence here, evaluating German born director Mennan Yapo’s ability is difficult, but given a decent script, I suspect he could deliver appropriately.
Not this time.
Tobacco use in films is coming under increasing fire recently and justifiably so, in my opinion. Having Sandra Bullock’s character smoking cigarettes here is totally gratuitous and deserves strong commendation.
SHOOTER Rated: 8
SHOOTER is a straight forward thriller that I thoroughly enjoyed.
It features a confident action hero styled performance by Mark Wahlberg and spot on direction by Anthony Fuqua (TRAINING DAY–2001).
In support, Michael Pena (WORLD TRADE CENTER- ’06) and Kate Mara (Ennis’ teenage daughter in BROKEBACK MOUNTAIN–’05) can happily add their performances here to their resumes. Both are attractive and appealing with bright career prospects.
SPIDER-MAN 3 Rated: 8 1/2
More of the same, not that that’s a bad thing.
If you liked the first one and the second one, you are very likely to like the third. I could quibble but I won’t.
SPIDER-MAN 2 (2004) is my favorite of the three.
For the money he earns and is paid, Tobey Maguire should have gotten himself in slightly better shape. From the way he’s photographed this time, I’m suspicious that he skipped a few sessions with his private trainer.
I just don’t like Kirsten Dunst and continue to notice a flaw that she can well afford to have fixed. James Franco, Topher Grace and Thomas Haden Church are effective and attractive. I enjoyed seeing the under-appreciated Theresa Russell in her brief appearance. Rosemary Harris continues to charm. To me anyway, Bryce Dallas Howard continues to disappoint. On the other hand, Elizabeth Banks continues to impress me. Expect her upward arc to continue.
Bring on number 4!
SUPERBAD Rated: 8
STARDUST Rated: 8
What a pleasant surprise for me since I disliked the trailer.
I feel that the marketing got it wrong on this one but can offer no better alternative suggestion. STARDUST is an entertaining romantic period fantasy and that’s as hard to sell as it is to successfully accomplish. Robert DeNiro and Michelle Pfieffer really seem to be enjoying themselves and many viewers will be equally pleased. New to me, lead British actor Charlie Cox is very impressive. I was less thrilled with Claire Danes, however.
I suggest you stay for the closing credits and enjoy hearing Take That performing “Rule The World.” If it’s an original song, it deserves award consideration.
THE TV SET Rated: 8 1/2
Writer/director Jake Kasdan (aka: Jacob Kasdan) is a son of master writer/director Lawrence Kasdan (BODY HEAT -’81, THE BIG CHILL -”83) and slightly older (early thirties in 2007) brother of Jon Kasden whose charming romantic comedy/drama IN THE LAND OF WOMEN (’07) opened in limited US release almost simultaneously with THE TV SET in April 2007. “The apples didn’t fall far from the tree…”
THE TV SET is a satire that shows the journey of a particular television pilot as it goes through the process from written page to network airing. I found it hilarious and laughed out loud many times. In fact, I haven’t laughed this much since I saw a preview of THERE’S
SOMETHING ABOUT MARY (1998). Based on my personal experiences, in many respects, this one plays more like docudrama than satire since much of it isn’t the least bit exaggerated.
David Duchovny, famed for television’s super hit, THE X-FILES (1993–2002) is ideal as Mike, the writer/creator of a television pilot he named “The Wexler Chronicles”. For the first time, as Richard, Ioan Gruffudd (FANTASTIC FOUR–2005) registers strongly for me as a transplanted British television programming executive. Judy Greer as Alice is a delight playing Mike’s agent. Several jokes about the fact that she’s never seen TAXI DRIVER (1976) slyly help define her character. Soaring above them all is a sensational Sigourney Weaver as the fictional Panda Television Network Programming President, Lenny. Ms. Weaver deserves a supporting actress Oscar nomination. I was reminded of Faye Dunaway’s Oscar awarded work in NETWORK (1976).
Unfortunately (or should I say fortunately?!) , for those that aren’t familiar with the milieu and life-style and/or haven’t lived through it, THE TV SET is probably too insular to be fully appreciated. Count your blessings.
TRANSFORMERS Rated: 6 1/2
Since I’m not a teen-aged boy, I realized well in advance that this one was not meant for me.
Out of curosity after it did such huge early business, I decided to see it anyway. During the first hour, I was pleasantly surprised and found myself entertained/engaged. I thought, this one is an 8 on my scale of 1 to 10. During the second hour, not so much and I’m thinking a 7. As it inched over two hours, all I wanted to do was leave. I did stay for the full 144 minutes but I thought it would never end! The climax was way too strung out and somebody confused sound volumn with suspense. Lead actor Shia LaBoeuf (HOLES -’03, DISTURBIA–’07) contines to impress on his march to real stardom and plays essentially the same character he did in DISTURBIA. I’m a big fan of Josh Duhamel (WIN A DATE WITH TAD HAMILTON -’04) and was happy to see him back on the big screen as he continues his contributions to the NBC television series, LAS VEGAS. Megan Fox is attractive and effective as the female lead.
Add this one to the plus and hit column for director Michael Bay (PEARL HARBOR -’01, THE ISLAND -’05) but I wish somebody had forced him to edit it down to a resonable running time of two hours or less.
YEAR OF THE DOG Rated: 3
Frankly and personally, I hated every minute of this film. Giving it it’s due however, Rotten Tomatoes reports that 80 out of 110 monitored critics gave it positive reviews. Go figure.
In small servings, I like garlic. When concentrated, it’s unbearable. Star Molly Shannon, likewise. Best known for appearing in 120 episodes of SATURDAY NIGHT LIVE, I like her in support in TALLADEGA NIGHTS (’06) and others but there’s way too much of her particular and somewhat peculiar persona in full flower here.
This is the first film that successful screenwriter and actor Mike White directed.
As an actor, I liked him in both CHUCK & BUCK (2000) and THE GOOD GIRL (’02).|Likewise, I enjoyed/respected/ appreciated his writing of some episodes of 2001 television series, PASADENA plus films such as CHUCK & BUCK, THE GOOD GIRL and THE SCHOOL OF ROCK (’03). He deserves another shot at directing but next time I hopes he gets a different or different type Director of Photography. Tim Orr has photographed several low budget films and done them well enough but for whatever reasons, his choices here really made me squirm. In conversation scenes between two people, and there were lots of those in YEAR OF THE DOG, the camera was too close to the actors and I kept wondering if both actors were on the set at the same time. Even if they were, it didn’t feel like it. The biggest problem with White’s direction is that it lacks energy.
ZODIAC Rated: 9
ZODIAC is the first outstanding film of 2007. I expect it to finish the year as one of my favorites and look for it to receive much year-end award consideration. Having been a San Francisco Bay Area resident during most of the period covered in the film, I especially enjoyed visiting that time and place again through this film and found the production design to be perfect down to the last detail. How nice to be reminded of happy times at the Northpoint Theatre and Original Joe’s Restaurant!
ZODIAC is easily director David Fincher’s best film to date and suggests that he could be on the verge of delivering classics. Of his precious oeuvre, my favorites are SE7EN (’95) & FIGHT CLUB (’99) both of which are special, edgy and distinctive. On the other hand, although very well directed, I found THE GAME (”97) an annoying cheater and consider PANIC ROOM (’02) too familiar/derivative. Not to take anything away from the intelligent writing or the outstanding cast/acting, even more than most projects, ZODIAC is a film that would rise or fall on the skill of the direction. Thanks to director Fincher, it rises mightily. The detailed excellent script was adapted by USC graduate James Vanderbilt and is based on the book or books by Robert Graysmith, real life San Francisco Chronicle cartoonist who is is portrayed in the film by Jake Gyllenhaal. If provided a great script, I’m convinced David Fincher will deliver a great film. At this writing, on location in New Orleans, he is directing Brad Pitt and Cate Blanchett in THE CURIOUS CASE OF BENJAMIN BUTTON (2008?). The script was adapted by Oscar winner Eric Roth (FORREST GUMP–’94, THE INSIDER–’99, MUNICH–’05) and is based on a story by F. Scott Fitzgerald (“The Great Gatsby”). My high expectations seem justified.
As a follow-up to his outstanding work in BROKEBACK MOUNTAIN (’05) Jake Gyllenhaal gets it just right again. As Detective Inspector David Toschi, Mark Ruffalo does his best work since YOU CAN COUNT ON ME (2000). As a crime reporter for the San Francisco Chronicle, add this flashy supporting work by Robert Downey, Jr. to my growing list of favorites from him which includes CHAPLIN (’92) & WONDER BOYS (2000). I also loved his work in televisions’ ALLY McBEAL where he graced 15 episodes in 2000- 2002. Also especially noteworthy is Brian Cox (L.I.E.–’01) as celebrity attorney Melvin Belli. Additionally, I was pleased to see Candy Clark as Carol Fisher. Many will remember her fondly from AMERICAN GRAFFITI (’73).
Although the running time is a relatively long 158 minutes and the pace is appropriately measured, the time flew by for me both times I saw it.
I highly recommend ZODIAC to any serious adult.
…more to come.

Top 100 Films of All Time – As of June 2007

julianelle.michael — Wed, 20 Jun 2007 00:00:00 +0000

In reaction/response to the American Film Institute’s latest compilation of the Top 100 Films of all time, as televised 6/20/07, I have made my own list. My list is a combination of what I consider the best and what I like the most. These two criteria aren’t always the same for me. They are listed in order of the year of their release.
– Wayne
Intolerance (1916)
42nd Street (1933)
Modern Times (1936)
San Francisco (1936)
Lost Horizon (1937)
Gone With The Wind (1939)
The Wizard Of Oz (1939)
Citizen Kane (1941)
Yankee Doodle Dandy (1942)
Casablanca (1943)
The Dolly Sisters (1945)
It’s A Wonderful Life (1946)
The Red Shoes (1948)
All About Eve (1950)
Sunset Blvd. (1950)
The African Queen (1951)
A Place In The Sun (1951)
Showboat (1951)
Strangers On A Train (1951)
Singin’ In The Rain (1952)
From Here To Eternity (1953)
A Star Is Born (1954)
East Of Eden (1955)
Carousel (1956)
Giant (1956)
An Affair To Remember (1957)
Raintree County (1957)
Cat On A Hot Tin Roof (1958)
The Long, Hot Summer (1958)
Vertigo (1958)
Some Came Running (1958)
Ben-Hur (1959)
Pillow Talk (1959)
Some Like It Hot (1959)
Suddenly Last Summer (1959)
Psycho (1960)
Fanny (1961)
Splendor In The Grass (1961)
West Side Story (1961)
Days Of Wine And Roses (1962)
The Manchurian Candidate (1962)
Whatever Happened To Baby Jane? (1962)
Love With The Proper Stranger (1963)
The Sound Of Music (1965)
Born Free (1966)
Bonnie And Clyde (1967)
Two For The Road (1967)
The Thomas Crown Affair (1968)
Midnight Cowboy (1969)
On A Clear Day You Can See Forever (1970)
Something For Everyone (1970)
The Last Picture Show (1971)
Cabaret (1972)
The Godfather (1972)
Love And Pain And The Whole Damn Thing (1972)
The Exorcist (1973)
The Way We Were (1973)
Chinatown (1974)
Jaws (1975)
Nashville (1975)
Carrie (1976)
Close Encounters Of The Third Kind (1977)
New York, New York (1977)
Star Wars (1977)
Days Of Heaven (1978)
The Stuntman (1980)
Body Heat (1981)
Raiders Of The Lost Ark (1981)
E.T. The Extra-Terrestrial (1982)
The Man From Snowy River (1982)
An Officer And A Gentleman (1982)
Tootsie (1982)
Victor/Victoria (1982)
The Big Chill (1983)
Terms Of Endearment (1983)
Yentl (1983)
Back To The Future (1985)
The Color Purple (1985)
Hoosiers (1986)
Platoon (1986)
Something Wild (1986)
Fatal Attraction (1987)
Apartment Zero (1988)
Dead Poets Society (1989)
Dances With Wolves (1990)
The Prince Of Tides (1991)
Philadelphia (1993)
Schindler’s List (1993)
Forrest Gump (1994)
The Adventures Of Priscilla, Queen of the Desert (1994)
A Time To Kill (1996)
L.A. Confidential (1997)
Titanic (1997)
Saving Private Ryan (1998)
The Cider House Rules (1999)
Billy Elliot (2000)
Y Tu Mama Tambien (2002)
Wonder Boys (2003)
The Notebook (2004)
Brokeback Mountain (2005)

Reviews – 2007

julianelle.michael — Mon, 01 Jan 2007 00:00:00 +0000

300 Rated: 6
Right off the top, let me point out that I’m not part of the target audience for this one since I’m out of my teens and have zero interest in violent graphic novels, comic books or video games. Don’t think of this as an apology for that.
From repeated painful experience, I’m well aware that popularity and quality often diverge when it comes to film. Regardless, I decided to view 300 because I wanted to see what was attracting such large crowds on opening weekend March 9, 2007. I braced myself for the worse and was pleasantly/mildly surprised.
Many incidents depicted are uber violent and drenched in blood but since it’s clear that nothing we see is real, the impact is minimal, at least for me. During all three beheading sequences that I recall, heads separated from bodies swiftly with little or no blood splashed/spilled. Go figure. I’m reminded of the cartoon violence as drawn in the ROAD RUNNER animated short subjects and I reacted accordingly. Interestingly, the mostly young male matinee audience around me at The Grove Theatre in Beverly Hills, CA was attentive but non-responsive to what they were seeing. At other screenings, I gather there was considerable audience participation but not here, not this day, anyway. Maybe being surrounded with peers is necessary for acting out in that manner.
I read that not a single frame of the film was shot outside, not that it matters since the entire film looks and plays as if everything occurs in an alternate universe. What’s presented is hokum but the story is well told and easy to understand. Although very loosely based on true events, to react as if it’s historically accurate is absurd and obviously not the film makers intention or goal.
Regarding the cast, I have no complaints. Everybody is in remarkable physical condition. However, to refer to whatever they’re doing here as acting is a stretch. Call it posing and posturing instead. Although I’ve seen top billed Scotsman Gerard Butler in several earlier films, I would never have realized it was him as King Leonidas if I hadn’t seen his name in the credits. His best work so far is available at video stores in a charming small film called DEAR FRANKIE (’04). while his interpretation of the Phantom in THE PHANTOM OF THE OPERA (’04) would have benefited immeasurably if some of the energy on display here had been utilized there. Brazilian Rodrigo Santoro is other worldly as Xerses. It’s hard to believe that this is the same human as the one who was so charming in LOVE ACTUALLY (’03).
Co-writer & director Zack Snyder delivers exactly what the target audience wanted and they love it. North American gross looks likely to reach or exceed a lofty $200 million.
Special mention of the costumes is a must. Even at that point in history, warriors who would wear such a combination of Speedos, capes and boots into battle must have had serious issues.
ALPHA DOG Rated: 5
This one is fascinating in a train-wreck kinda way…
I was never bored but often annoyed. Its lack of polish is probably intentional, but the pervasive unevenness isn’t.
Justin Timberlake is effective in a take-no-prisoners turn but I’m not sure that was his or the director’s intention. Speaking of the director, it’s hard for me to believe that the same man, Nick Cassavetes, directed both ALPHA DOG and my favorite film of 2005, THE NOTEBOOK. I can find no commonality.
I enjoyed Shawn Hatosy and Anton Yelchin but felt that most of the rest of the cast, especially Bruce Willis & Sharon Stone, were underutilized or misdirected and badly lit/photographed.
AMERICAN GANGSTER Rated: 7
Think of this as a minority report since I’m the only one I know of who is unenthusiastic about it. For me, it’s a pale retread, especially when compared to the best in this genre such as THE DEPARTED (2006). Denzel Washington’s performance is very familiar and I just didn’t like Russell Crowe this time out. On the other hand, in support, Ruby Dee is a standout and deserves award consideration.
THE ASTRONAUT FARMER Rated: 6
I’m giving this one a rather generous rating since I think it had/has good intentions and suspect many will be more accepting of it than I am. The story is about a farmer named Farmer who decides to launch his own rocket into space. Frankly, I found it just a bit too peculiar or off-center considering the story and doubt that was intentional. Further, I never got totally involved. Neither the writer/directors or the lead male and female leads are what I’d consider main stream and they are strange choices for this type material which reminds of FIELD OF DREAMS (’89). This is the fourth feature film from identical twin brothers Michael Polish and Mark Polish who handle both the writing and directing. I fully expect them to connect with the right material eventually and deliver something really special. Oscar winner Billy Bob Thornton (SLING BLADE–’96, BAD SANTA -’03) is good, but, in my opinion less than ideal casting. Oscar nominee Virginia Madsen (SIDEWAYS–’04, A PRAIRIE HOME COMPANION–’06, ELECTRIC DREAMS–’84) is good in a rather conventional part as the adoring wife/mother. Real life teenager Max Thieriot plays their teen-aged son nicely. Look for him in two future high profile releases, NANCY DREW (’07) & JUMPER (’08) both of which he’s already completed. In support, it’s a pleasure to see former Oscar nominee Bruce Dern (COMING HOME–’79) again. He gets it just right as Ms. Madsen’s father without going over the top as many actors in this type part are inclined to do.
BECAUSE I SAID SO Rated: 3
BECAUSE I SAID SO is cliched, cringe-inducing crap masquerading as romantic comedy.
Based on the rather amusing trailer, I was hoping for an experience approaching my delight in viewing two previous Diane Keaton romantic comedy/dramas named
SOMETHING’S GOTTA GIVE (2003) & THE FAMILY STONE (2005). Instead, this one mirrors the calamitous HANGING UP (2000). Not only was Ms. Keaton the star of HANGING UP, she is credited /blamed for directing it. Evidence here indicates that she directed herself in BECAUSE I SAID SO in the same lame manner and credited director Michael Lehmann just stayed out of the way for her scenes. While attractively photographed & nicely costumed, I found this Oscar winning actress as annoying as anything I’ve endured in a decade or more. Place equal blame on the writing of the character.
Prominently featured as one of Keaton’s three daughters, Mandy Moore (SAVED!–2004)stops just short of going too far, thank goodness. She continues to show major promise and looks great. As another daughter, beautiful Lauren Graham, from the television hit GILMORE GIRLS, has one good scene and exhibits big screen potential. I loved Piper Perabo in COYOTE UGLY (2000) but she is wasted here in a thankless role as the third daughter. The male actors fare better since they are allowed to behave in a relatively normal manner. Gabriel Macht (A LOVE SONG FOR BOBBY LONG–2004) and Tom Everett Scott (television’s ER and THAT THING YOU DO–1996) are believable, handsome and likable as suitors for Ms. Moore while Steven Collins (television’s 7th HEAVEN and LOVING COUPLES–1980) makes a good potential match for Ms. Keaton although nobody on the planet would be likely to put up with this character as she plays it.
BECOMING JANE Rated: 8
Charming but a little disappointing. PRIDE AND PREJUDICE it ain’t. Nevertheless, it’s diverting and worthwhile if approached with realistic expectations. Anne Hathaway and James McAvoy are attractive and delightful.
BEFORE THE DEVIL KNOWS YOU’RE DEAD Rated: 7 1/2
Five time Oscar nominated director Sidney Lumet was in his early eighties when he directed BEFORE THE DEVIL KNOWS YOU’RE DEAD.
His talent hasn’t diminished with age.
Oscar winner Philip Seymour Hoffman does his usual/ expected exceptional work. As his brother, Oscar winner Marisa Tomei is good in a role I’d never have expected to see her take. Five time Oscar nominated actor Albert Finney does strong work as the father. One time acting Oscar nominee Ethan Hawke has have never been better but is not aging gracefully. That’s appropriate for this part.
My problem with the film is the subject matter and the fact that all of the major characters are awful human beings. When I left the theatre, I felt like I’d been swimming in the sewer.
BLOOD AND CHOCOLATE Rated: 4
The best thing I can say about BLOOD AND CHOCOLATE is that I already have one spot filled for my Worst Films of 2007 list. Despite fair warnings from early reviews, I still expected to like this one. Wrong. The cast is generally able and attractive. Agnes
Bruckner was wonderful in BLUE CAR (2002) and I still hope she can break through but she seems mostly stunned here. Considering that most of the cast also failed to impress, maybe it wasn’t her fault, and she did look good. I’d like to see her get some roles considered for party animal problem Lindsay Lohan. I thought French hunk Olivier Martinez was terrific in UNFAITHFUL (2002) and very effective in both THE ROMAN SPRING OF MRS. STONE |(2003) and TAKING LIVES (2004). Not his time. Either he is aging poorly or he was very badly lit/photographed here and his accent is almost as annoying as Penelope Cruz is when she attempts English. Male lead, British Hugh Dancy is right at the edge of break through bigtime stardom and this won’t stop him although it certainly won’t help. At this writing, he has completed 2 or 3 likely hits and has 1 more in production or pre-production. I’m betting his hair will be clean and well groomed in those since it sure isn’t here. I was impressed with British Bryan Dick as Rafe. He is new to me but has done plenty of British television and his experience pays off here. (Also, although I don’t remember him in it, he had a small part in one of my 2006 favorites, BROTHERS OF THE HEAD.)
The location work in and around Bucharest is effective, attractive and appropriate for the werewolf plot but German born director Katja Von Garnier doesn’t seem to have any feel for the material. This one is unlikely to get her future assignments.
THE BOURNE ULTIMATUM Rated: 9
BREACH Rated: 8 1/2
Although it’s early 2007, BREACH is a cinch to finish among my top 20 best films for this year. It’s that good. This is Billy Ray’s second film as director. It follows his equally impressive work in that capacity on SHATTERED GLASS (2003). He has major writing credits for both these films plus several others he didn’t direct. Further, he is said to have done considerable uncredited script work on many more films. Just as SHATTERED GLASS was, BREACH is based on a fascinating true story. I’m very excited about at least two of Billy Ray’s upcoming likely projects which he may or not direct. HURRICANE SEASON is set in suburban New Orleans shortly after Katrina and 102 MINUTES is based on a book detailing what happened inside the World Trade Center in the time between the first plane’s impact and the second tower collapsing on 9/11/2001.
Supporting Actor Oscar winner Chris Cooper (ADAPTION–’02) is likely to receive a well deserved 2007 Best Actor nomination for this part. He plays FBI Agent Robert Hanssen who was eventually convicted of selling secrets to the Soviet Union. Ryan Phillippe (CRUEL INTENTIONS–’99) matches Cooper scene-for-scene as his FBI assistant, Eric O’Neill. Undercover operative O’Neill was placed in that dangerous position to help expose Hanssen’s treachery. Mr. Phillippe continues his assent up the list of young leading men with this performance right on the heels of his expert work in FLAGS OF OUR FATHERS (’06) and CRASH (’04). As another FBI agent, Kate Burroughs, Laura Linney (YOU CAN COUNT ON ME–2002 and KINSEY–’ 04) contributes as solidly as we have come to expect her to. I won’t be surprised if she earns Oscar recognition someday soon.
I recommend this one highly to adults.
CATCH AND RELEASE Rated: 5 1/2
CATCH AND RELEASE is a disappointment to me. I’m a big fan of Jennifer Garner and loved her in a sweet little trifle called 13 GOING ON 30 (2004). She’s not bad here but she doesn’t really sparkle either and has looked better in most of her previous projects. The supporting cast is well chosen, and with one exception, I enjoyed them. Male lead, Timothy Olyphant (from television’s DEADWOOD) is new to me and is as good as this sketchy part allows. Look for him to break through in several big films completed and ready for release later in 2007. (I’m struck by how much he resembles Barry Watson of 2006-07 television’s WHAT ABOUT BRYAN). Appropriately and effectively, Fiona Shaw brings it down several notches from the wild work she did in THE BLACK DAHLIA (2006) and can be expected to deliver award worthy work in the near future. I’m a big fan of Sam Jaeger who I think should have gotten the girl in this one. In the right part, he could become a star. I hope he finds it.
And then there is Kevin Smith (CLERKS–1994). By no stretch could I have been considered a fan before seeing him here. I’m even less so now. I’m confident that he played the part exactly as written/directed and little acting was required. I haven’t been this annoyed since I endured Bill Murray as directed by Frank Oz in WHAT ABOUT BOB? (1991).
CATCH AND RELEASE was written and directed by Susannah Grant who wrote the wonderful script for ERIN BROCKOVICH (2000). For that work alone, she deserves another chance at directing.
DAN IN REAL LIFE Rated: 5 1/2
DAN IN REAL LIFE is one of those would-be/should-be feel good films that requires the viewer to really like the lead actors for success. In supporting roles, LITTLE MISS SUNSHINE (’06) for example, I enjoy Steve Carell. Front and center in the lead as he is here, not so much. The only time I’ve really liked Oscar winner Juliette Binoche was in the little seen and poorly distributed BREAKING AND ENTERING (’06). This time, I felt she was miscast, strained and marginally grating. In support, Dane Cook was restrained, colorless and wasted. On the other hand, I thoroughly enjoyed Emily Blunt in her two scenes that she made count.
Many audiences will enjoy this one and I don’t want to discourage fans of the cast from attending but it sure didn’t work for me.
DISTURBIA Rated: 7 1/2
As many others have pointed out, DISTURBIA has a setup similar to Alfred
Hitchcock’s 1954 classic READ WINDOW. It’s not in that rare class and never pretends to be. All that aside, DISTURBIA has ample charms of its own and I found it surprisingly worthwhile. The somewhat overblown and over produced ending is its least satisfactory aspect but it held my attention getting there and the payoff is satisfying. The smart writing by twenty-something scripter Christopher B. Landon (segment BOYS LIFE 3–2000, ANOTHER DAY IN PARADISE–’97) and the more established Carl Ellsworth (RED EYE–’05) is sly and expedient. Based on his earlier TAKING LIVES (’04) and now this, I predict a bright future for director D.J. Caruso who is becoming one of my favorites. He really has a feeling for this type material. Speaking of bright futures, with his star turn here, lead actor Shia LaBeouf as Kale joins Ryan Gosling (MURDER BY NUMBERS–’02, THE NOTEBOOK–’04, HALF NELSON–’06, FRACTURE–’07) & Joseph Gordon-Levitt (10 THINGS I HATE ABOUT YOU–’99, THE LOOKOUT–’07) at the top of casting directors’ must have lists for young male leads who can really act. He has already completed starring roles in three high profile projects scheduled for later 2007 release and was just signed for Spielberg and Lucas’ INDIANA JONES 4. Sarah Roemer and Aaron Yoo are fine in support and it’s good to see the always reliable David Morse (INSIDE MOVES–’80, PROOF OF LIFE–2000) get to chew scenery as a menacing neighbor. Canadian Carrie-Anne Moss (THE MATRIX–1999) registers strongly as Kale’s mother and Canadian Matt Craven is vivid in the opening scene as Kale’s dad.
FRACTURE Rated: 8
FRACTURE is an efficient and effective thriller. While clever and complex, it is still easy enough to follow and the resolution/explanation is plausible. On reflection, it all makes sense and that’s not always the case on projects of this type. I’d be happy if there were more like this several times a year as long as they are as thoughtful and professional as it is. The main element that elevates FRACTURE several notches is the casting and acting of leads Anthony Hopkins and Ryan Gosling. Both characters seem to have been written to perfectly accommodate the uniqueness of these two gifted gentlemen. Anthony Hopkins already has an Oscar for his dazzling creation of Dr. Hannibal Lecter in THE SILENCE OF THE LAMBS (’91) and few will be surprised if Ryan Gosling joins that elite group with Oscars in the future. He was nominated for a best actor Oscar in the gritty HALF NELSON (’06) after broadening his fan base with the romantic & popular hit, THE NOTEBOOK (’04). I suspect and hope that he will continue to vary his roles by mixing the glam with the grit in a manner similar to what Brad Pitt did/does.
Other cast notables in support are Rosamund Pike, best remembered as a sister in PRIDE & PREJUDICE (’05), Embeth Davidtz (JUNEBUG–’05) & Billy Burke who has multiple recent credits for popular network television series. Mr. Burke also has 4 interesting theatrical features scheduled for release later in 2007 or in 2008 and I look forward to seeing him in those. Further, as always, I enjoyed Fionna Shaw (THE BLACK DAHLIA–’06) as an appropriately restrained judge this time.
Direction by Gregory Hobit (PRIMAL FEAR–’96) is sleek, smart and expedient, which is exactly what’s called for by the material at hand.
FREEDOM WRITERS Rated: 8
FREEDOM WRITERS isn’t especially original but it is entertaining and moving.
While not quite award worthy this time, Oscar winner Hilary Swank is effective and appealing. Likewise, Patrick Dempsey, from televisions’ GREY’S ANATOMY, looks good and does as instructed in an appropriately underdeveloped part. Writer/director Richard LaGravenese delivers seamlessly in both departments and I expect future successes from him.
GEORGIA RULE Rated: 3
Cringe. Groan. Squirm.
Garage. Icky.Yucky.
Don’t be fooled by the advertising campaign. This is not, and I repeat NOT, any sort of feel good generational family dramedy or romantic comedy. At it’s dark/muddled core, it deals with the alleged (?) sexual molestation of a stepchild and it manages to convince the audience that it happened then that it didn’t happen then that it did happen…whatever. By then, few will care.
Right here I’m admitting that I actively dislike top-heavy, druggie teen tart, Lindsay Lohan. I doubt that I’ll ever be able to put aside my opinion of her as a person long enough to judge any on-screen performance she gives. She’s type cast here as an obnoxious spoiled brat. At the start of the film she arrives in Idaho to stay with her grandmother since her mother can no longer deal/cope with her. Oscar winner Jane Fonda (KLUTE–’71, COMING HOME–’78, MONSTER-IN-LAW–’05 ) is well cast as the grandmother and gives a better performance than the material deserves. Likewise, as Jane’s daughter and Lindsay’s mother, Felicity Huffman (television’s DESPERATE HOUSEWIVES, TRANSAMERICA–’05) is effective even though the writing gives her a confused/confusing character who is sketchy and erratic. In support, as usual, I like Dermot Mulroney (STAYING TOGETHER–’89, LONGTIME COMPANION–1990, HOW TO MAKE AN AMERICAN QUILT -’95, COPYCAT -’95, MY BEST FRIEND”S WEDDING–’97, THE FAMILY STONE -’05). He’s aging nicely unlike another forty-something supporting player here, Cary Elwes (ANOTHER COUNTRY -’84, THE PRINCESS BRIDE–’87, THE CRUSH–’93, TWISTER -’96, & television movie THE RIVERMAN–’04). I did not like Elwes’ performance or pudgy appearance here. As Lindsay’s Mormon lust target, Garrett Hedlund looks great but much too mature for his character as written. I liked him as Patroclus in TROY–’04 and as Don Billingsley in the theatrical FRIDAY NIGHT LIGHTS–’04. He’ll be back.
Director Garry Marshall directed one of my top 100 favorites, PRETTY WOMAN (1990). On the other hand, he inflicted NOTHING IN COMMON (’86), EXIT TO EDEN (’94), and THE OTHER SISTER (’99) each of which I found excruciating. I recommend he restrict his future entertainment career to cameo acting stunts and retire from directing.
Based on his previous output, I expected better, much better from credited writer Mark Andrus. He co-wrote the exceptional 1997 hit, AS GOOD AS IT GETS, & is the only credited writer of one of my favorites, LIFE AS A HOUSE (2001). Not this time, Mark.
Lastly, the selection of background pre-recorded music is awkward, inappropriate and/or intrusive.
HAIRSPRAY Rated: 9
An absolute delight. Highly recommended. I loved it.
Director Adam Shankman does an amazing/fantastic job and deserves all sorts of award consideration. This comes as quite a shock to me since I hated some of his earlier work on crap such as THE PACIFIER (2005) and BRINGING DOWN THE HOUSE (2003). With this, he moves right to the head of any list of my choices to direct any upcoming musical.
The cast is perfect. Although I’ve really liked some of John Travolta’s work in the past including that in CARRIE (1976), THE BOY IN THE PLASTIC BUBBLE (1976 television), URBAN COWBOY (’80), BLOW OUT (’81), SHOUT (’91), PRIMARY COLORS (’98), and, of course, his signature roles in SATURDAY NIGHT FEVER (’77) & GREASE (’78). On the other hand, I could, but won’t here, list just as many that I’ve hated. Further, though I fight it, my opinion of his off screen personal life prevents me from becoming a real fan. All that aside, he gets it just exactly right here as “Edna”. In the key/central role of “Tracy”, newcomer Nikki Blonsky is up to the task and makes this part her own. After several years away from the camera, Michelle Pfeiffer emerges looking good and hams it up appropriately. I wish her scene with Christopher Walken had been a little shorter but this is a minor quibble. The Oscar winning Mr. Walken (THE DEER HUNTER -’78, PENNIES FROM HEAVEN -’81) is just fine as husband to “Edna” and father to “Tracy”. His dance sequence with “Edna” is a pure delight. James Marsden (THE NOTEBOOK -’04, SUPERMAN RETURNS -’06), Queen Latifah (CHICAGO -’02). Zac Efron (televisions’ HIGH SCHOOL MUSICALs -’06 and more), and Amanda Bynes (SHE’S THE MAN -’06) all shine and can be proud to add their parts here to their resumes.
I’ve seen HAIRSPRAY twice so far and plan a quick return for thirds.
HANNIBAL RISING Rated: 4
I cannot think of a single good reason why anybody should invest their time and/or money to see this one. Long dull stretches are interspersed with scenes of disgusting, needless, graphic, stomach-turning brutality. There is no tension or suspense.
The simple story purports to explain how/why young Hannibal Lecter became the monster we came to love as portrayed by Anthony Hopkins in THE SILENCE OF THE LAMBS (’91). Frenchman Gaspard Ulliel (A VERY LONG ENGAGEMENT–’04) stars as the teen-aged/twenty-something Hannibal here. I have no complaints about his performance. However, I am disappointed by and curious about the decision to cast this actor who has no physical resemblance to Anthony Hopkins when all fans of the character know the older Hannibal as personified by Hopkins.
The production values and the premise are both good, but it just doesn’t jell. The direction by Peter Webber is competent but without edge, irony or passion. Based on GIRL WITH A PEARL EARRING (’03), Webber’s previous relatively well received theatrical feature, he is a curious and disappointing choice.
Of reviews compiled by Rotten Tomatoes, only 19 out of 108 were pleased & only 8% of the better known pundits responded favorably.
THE HEARTBREAK KID Rated: 5
A dumbed down remake that is mean, superficial and crude.
Ben Stiller continues to “go to the well’ far too often. I wish he’d take a long break.
Co-writers/directors The Farrelly Brothers have fallen a long way since their rude/crude/hilarious 1998 hit, THERE’S SOMETHING ABOUT MARY.
Rent that; skip this.
I KNOW WHO KILLED ME Rated: 2 1/2
What a piece of crap.
Incomprehensible.
Ridiculous.
Absurd.
I have never been a Lndsay Lohan fan either on or off screen so I’m not just hitting her just while she’s down. That aside, in this misfire, she gives one of the worst performances ever committed to film or maybe I should say two of the worst performances. Even after watching every frame of the film, I don’t know if she was playing one character or two…and I really don’t care. I can tell you that seeing Ms. Lohan as an over-dressed pole dancer in a couple of scenes is something I won’t soon forget.
Oh yeah, about the title. Although Ms. Lohan does deliver said title as a line of dialog, she may know but I sure don’t. Of course, she has the advantage of having had the script read to her at some point assuming there actually was a script to begin with. In the theatrical release version I saw, I’d swear I was seeing nothing but random film clips edited together and overscored with especially bad music.
BOO.
THE INVASION Rated: 7
I NOW PRONOUNCE YOU CHUCK & LARRY
Rated: 1 1/2
Repulsive. Repugnant. Rancid. Reprehensible.
Adam Sandler hits a new low. This time he’s cast as a hunky firefighter who both men and women find irresistible. Yeah, sure.
And, of course, it’s a box-office hit. (“Nobody ever went broke underestimating the bad taste of the general public.”)
IN THE LAND OF WOMEN Rated: 8 1/2
Charming. Sly.Moving.Smart. Worthy of your adult attention.
This entertaining drama/comedy gem marks the theatrical directing/writing debut of mid-twenties Jonathan Kasdan (aka: Jon Kasdan) who is a son of master writer/director Lawrence Kasdan (BODY HEAT -’81, THE BIG CHILL -”83) and slightly younger brother of Jake Kasden whose hilarious satire, THE TV SET just opened also. Twenty-something Adam Brody, best know from the television hit, THE O.C. (2003-07), is perfect casting and shows that he can successfully anchor a feature film. Oscar winner Olympia Dukakis is excellent as his prickly grandmother. Both Kristen Stewart & Makenzie Vega impress as neighbor sisters. However, acting honors go to a serious Meg Ryan who deserves a supporting actress Oscar nomination. She’s never been this good before. Also deserving special mention are Elena Anaya, Gennifer Goodwin, and Clark Gregg all of whom make their limited screen time count and can be expected to get well deserved future exposure.
Canadian Paul Cameron’s cinematography continues to be most impressive. I especially liked what he did for the Mexican shot MAN ON FIRE (2004) and his Oscar nominated contribution to Los Angeles shot COLLATERAL (’04). Although the setting for IN THE LAND OF WOMEN is Minnesota, it was exquisitely filmed in Victoria, British Columbia, Canada.
I don’t usually notice/note such detail, but I loved the color of the flowers here.
Lastly, sadly, IN THE LAND OF WOMEN hasn’t found much of an audience. Although I can’t come up with an alternative title, most assuredly this one didn’t/doesn’t help while I suspect a platform release just might have served it better. Unfortunately, since it doesn’t lend itself to video game adaptation, selling it to today’s audiences might just be impossible. no matter what. Even so, the fact that it was produced for around $10 million could lead to eventual profit.
INTO THE WILD Rated: 8
I’m a bit less enthusiastic about this one than most viewers are. The early part is a bit ponderous and I was antsy. I found the real life main character’s philosophy seriously/dangerously flawed and hard to appreciate. While I’m a major believer in “doing one’s own thing”, I think he was probably border-line insane. For me, his obsessive journey is more troubling than fascinating. Appropriately or not, these reservations interfered with my enjoyment of the film. That aside, I hope viewers will view his journey as a cautionary tale rather than as something to emulate.
Writing adaptation and direction by Sean Penn are exceptional. Cinematography by Eric Gautier is award worthy. Original music by Eddie Veeder & others is excellent.
Emile Hirsch as real person Christopher McCandless deserves acting award consideration.
It is fascinating to watch his acting skill develop right along with his physical transformation from boy into man. The supporting cast is uniformly praise-worth with special kudos due Catherine Keener & Hal Holbrook.
This is one of those rare films that I find myself liking better in remembering rather than
I did while watching it unfold.
THE LOOKOUT Rated: 9
THE LOOKOUT is outstanding and will make my bests of 2007 list.
This is the first film for Scott Frank as director/writer after serving as writer only on some very special films including: DEAD AGAIN (’91), LITTLE MAN TATE (’91), HEAVEN’S PRISONERS (’96), and MINORITY REPORT (’02). He is a gifted director and this original script deserves award consideration.
The casting and the acting are exceptional. With his performance here, Joseph Gordon-Levitt, best known so far for his work in 66 episodes of television’s 3rd ROCK FROM THE SUN (1996–2001), moves up to the top of any list comprising talented twenty-something year old leading men. He reminds me of the equally gifted Shia LeBeouf (DISTURBIA–’07) and I’d love to see them work together. Look for Gordon-Levitt to break through in the upcoming KILLSHOT (’07) from director John Maden and/or STOP LOSS (’07) from director Kimberly Peirce. While Isla Fisher as a nymphomanic was scary and fascinating in take-no-prisoners mode for WEDDING CRASHERS (’05), this time she manages to pull back enough to be completely believable as “Luvlee Lemons”, a seemingly sweet and shy exotic dancer who has a hidden agenda. I’m a fan for sure. In a complete change-of-pace role, British born Matthew Goode continues to be exceptionally attractive but with an entirely different look. As an American working class crook/thug, he is almost unrecognizable in sharp contrast to his sophisticated swell turn in Woody Allen’s MATCH POINT (’05). Jeff Daniels (TERMS OF ENDEARMENT–’83, SOMETHING WILD–’86, DUMB & DUMBER–’94, THE SQUID AND THE WHALE–’05) continues to impressively expand his range this time as a blind man. These four gifted performers work together seamlessly and are a pleasure to watch.
LUCKY YOU Rated: 7
If you are a fan of Eric Bana and/or Drew Barrymore and/or poker, LUCKY YOU might please you. Otherwise, I suggest you look for entertainment elsewhere. I’m two for three on the above with card playing holding no fascination for me so I did enjoy the film up to a point.
Because director Curtis Hanson has delivered two films that are on my Top 100 lists, namely L.A. CONFIDENTIAL (’97) and WONDER BOYS (2000), I expected a lot more that I got here. On the other hand, I really did enjoy watching both Eric Bana and Drew Barrymore. They are on the screen a lot and look great while playing mostly likeable characters. I continue to hope that Australian Bana is going to breakout as a star in a big commercial film but this isn’t that by a long shot. So far by far, MUNICH (’05) is his best film and showcases his considerable acting ability. My appreciation of him in both HUNK (’03) and TROY (’04) has much more to do with his personality and appearance rather than his skills. Next up is a film with considerable potential called THE OTHER BOYLEN GIRL (late ’07) plus I’m very excited about his recently announced casting to co-star with Rachel McAdams in a big screen adaption of the popular novel, THE TIME TRAVELER’S WIFE. It is expected to go into production in Fall 2007 for 2008 release. I’ve been a big fan of Drew Barrymore’s since I first saw her as Gertie in E.T. (’82). My other personal favorites of hers include MUSIC AND LYRICS (’07), BOYS ON THE SIDE (’95), HOME FRIES (’98), & RIDING IN CARS WITH BOYS (’01).
Although director Curtis Hanson has not announced any future projects that I’m aware of, I hope he is quietly at work on projects that will return him to the prominence he deserves.
MICHAEL CLAYTON Rated: 8
Tony Gilroy, gifted screenwriter of the BOURNE trilogy (IDENTITY-2002, SUPREMACY-04, ULTIMATUM-07), directs here for the first time and does an excellent job. For reasons I can’t understand, the films tells the story from the middle out, an affection I’ve come to hate. George Clooney gives another good, easy, confident performance and Tilda Swinton, Tom Wilkinson, and Sydney Pollack deliver their now expected expertise in stellar support.
MUSIC AND LYRICS Rated: 8 1/2
Sweet. Charming. Witty. Appealing. Delightful. It would be a mistake to dismiss it as only a guilty pleasure. MUSIC AND LYRICS proves once again that the old romantic comedy formula still works when properly cast and cleverly executed with style as it is here. I don’t always respond favorably to Hugh Grant but this performance ranks up near the top with my other favorites from him including MAURICE (’87), FOUR WEDDINGS AND A FUNERAL (’94), NOTTING HILL (’99), & LOVE ACTUALLY (’03). These are strong enough to make me forgive him for NINE MONTHS (’95), EXTREME MEASURES (’95), MICKEY BLUE EYES (’99). Well, almost. Co-star Drew Barrymore is a perfect match for Grant and their chemistry is exceptional. Expect them to re-team. I’ve been a big fan of Drew since I first saw her as Gertie in E.T. (’82). My other personal Barrymore favorites include BOYS ON THE SIDE (’95), HOME FRIES (’98), & RIDING IN CARS WITH BOYS (’01). Deserving special mention for crackling in a prominent supporting role in Kristen Johnson as Ms. Barrymore’s sister. She is best known for her television work in 3rd ROCK FROM THE SUN (1996–2001). I enjoyed her recent stint on ER during its 2005 season and expect her distinctive appearance and ability to lead to future success. Also from a hit television series, EVERYBODY LOVES RAYMOND (1996–2005), Brad Garrett provides pleasant support. Campbell Scott has an amusing cameo and I was happy to spot Scott Porter in the music video that opens the film. It took me awhile to realize that I know him from my recent television favorite FRIDAY NIGHT LIGHTS. Newcomer Haley Bennett nails her part as Cory Corman a ditsy Britney-Cristina-Madonna type entertainer. She does her own strong vocals and is a sly delight. Since I like the music throughout the film so much, I’ve just ordered the film soundtrack CD. Nomination consideration for a best song or two is earned.
MUSIC AND LYRICS is written and directed by Marc Lawrence. It is only his second feature film as a director and is as good or better than his first, TWO WEEKS NOTICE. I look forward to more of the same or similar.
NEXT Rated: 5
Make no mistake about it, NEXT is disposable junk but my rather generous rating is due to the fact that I was fascinated while watching it unfold, at least until very near the ending. The direction by Lee Tamahori (DIE ANOTHER DAY -’02) is more than just competent but the premise is ludicrous and the ending caused some well deserved audience groans at the Century City, Los Angeles Sunday afternoon showing I attended.
I never was much of a fan of Oscar winner Nicolas Cage (LEAVING LAS VEGAS–’95, HONEYMOON IN VEGAS–’92) but don’t begrudge him his deserved Oscar and occasionally like his films. He is well cast here but seems stunned or distracted which may or may not be intentional, considering his character. On the other hand, I remain a big fan of Julianne Moore although her projects in the last five years have been a major disappointment to me. Several years ago I was convinced that she was very likely to win an Oscar shortly. Now, not so much. I first became aware of her with her sensational turn in SHORT CUTS (’93) and loved her in BOOGIE NIGHTS (’97), HANNIBAL (’01), FAR FROM HEAVEN (’02) and THE HOURS (’02). Sadly, since 2002 she has had the bad luck to choose main-stream failures such as THE FORGOTTEN (’04) and FREEDOMLAND (’06) along with two independent misfires, WORLD TRAVELER (’02) and TRUST THE MAN (’05), both of which are projects from her spouse, Bart Freundich. Her work here is simply awful. Clearly, the character was meant to recall Clarice Starling of THE SILENCE OF THE LAMB (91) and HANNIBAL (’01) fame but she misses by a mile. I didn’t believe that she was an FBI agent for a moment and even snickered at the gun range scene. Ms. Moore has already proved that she can be a great Clarice in HANNIBAL when she played to perfection the same character that won Jodie Foster her Oscar for THE SILENCE OF THE LAMBS so I have no idea what went wrong this time. The best acting in NEXT comes from Jessica Biel (STEALTH–’05) who was previously best know only for her body and beauty. German born Thomas Kretschmann (THE PIANIST–’02) certainly looks right for his part but is totally wasted. I liked Michael Trucco as Kendal in his one coffee shop scene and expect/hope he gets future television and feature assignments.
Better luck to all, NEXT-time.
NO RESERVATIONS Rated: 6 1/2
Actually, I have a few…reservations about NO RESERVATIONS. I found it diverting and am grateful that, occasionally, films of this type depicting adult romance still get made. However, this one seems a little too familiar. It has no edge. It has no surprises. It has no individuality. It does have an attractive and likeable cast including Oscar winner Catherine Zeta-Jones (CHICAGO–’03) , Aaron Eckhart (ERIN BROCKOVICH–2000, THANK YOU FOR SMOKING–’05), and Abigal Breslin (LITTLE MISS SUNSHINE–’06).
I believe the intended audience will be pleased but I was hoping for more.
NORBIT Rated: 1 1/2
NORBIT is most likely one of the ten worst films I’ve ever seen.
(I haven’t actually compiled that list of misery, but I’m satisfied that I haven’t seen 9 others that are this bad.)
As three major characters in NORBIT, Eddie Murphy gives three of the worst performances of this or any other year. I assume he’s trying to emulate early Jerry Lewis but I can’t imagine why. In a supporting part, former Oscar winner, Cuba Gooding, Jr. (BOAT TRIP–’02) embarrasses himself yet again. Within 2 weeks of this writing, Eddie Murphy may well be in possession of a Supporting Actor Oscar for his role in DREAMGIRLS (2006). I hope not. Gifted Thandie Newton (CRASH–’05) looks stunned and lost especially in a musical interlude in a church! Director Brian Robbins directed the excellent VARSITY BLUES (’99). Clearly that was a fluke considering that his more recent credits include atrocities READY TO RUMBLE (2000), HARD BALL (’01) and THE SHAGGY DOG (’06) and now this.
For the record, NORBIT opened in wide North American release on February 9, 2007 to a formidable $35 million or so. “Nobody ever went broke underestimating the taste/intelligence of the public.”
PERFECT STRANGER Rated: 4
I went in to see PERFECT STRANGER well aware of the terrible reviews it had received. Further, based on their output, red warning flags go up every-time I see that a film comes from Revolution Studios (TOM CATS–’01, DADDY DAY CARE–’03, WHITE CHICKS–’04, THE FORGOTTEN–’04, CHRISTMAS WITH THE KRANKS–’04, CLICK–’06, LITTLE MAN–’06, THE BENCHWARMERS–’06). Additionally, director James Foley (AFTER DARK, MY SWEET–’90, GLENDARY GLEN ROSS–’92, WHO’S THAT GIRL?–’87, AT CLOSE RANGE–’86, THE CHAMBER–’96) is one the directors that I most love to hate.
The running time of PERFECT STRANGER is 109 minutes. I was surprised to find myself enjoying it for the first 90 minutes or so and started to wonder why so many people hated it. And then I understood. There is a twist in the plot about then that totally destroys everything that went before. Suddenly, nobody you thought you knew is who you thought they were and all the switches are inexplicit, unmotivated, and aggravating.
Oscar winner Halle Berry (MONSTER’S BALL–’2001) is attractive and is as effective as the material allows. However, if what’s on the screen is what was in the script she signed on for, she really needs serious career counseling and really should stop making so many bad movies. Bruce Willis (DIE HARD 1, 2, 3, & 4) is well cast and does as well as anybody could given the burden of the script. In support, I liked Gordon MacDonald as Senator Sachs. He has several impressive stage and television credits and may be best known as mate of Holly Hunter and father of her 2006 born twins. Also, in support, I was glad to see Clea Lewis as Gina. I remember her fondly as Audrey on 1994-98 television hit, ELLEN.
PREMONITION Rated: 3
The problem with PREMONITION is the story concept/writing. The premise is intriguing but the explanation/resolution is missing/obscure/totally unsatisfactory. Up until the abrupt ending it was annoying but competent. To summarize, a loving wife (Bullock) is told that her husband was killed the day before in an automobile accident. The next morning she awakens to find him alive and well in bed next to her. Next day, he’s dead…and so forth. Maybe it’s all a dream…or not. Fair warning: At the end, it’s not clear if and/or when he died & by then I didn’t really care. If an explanation exists as to why she thought he was dead and then finds he isn’t, several times, I missed it. Further, there’s a very brief visual revelation at the end that is wacky . The print I saw opening day (Friday, March 16, 2007 at AMC, Century City, CA) has a splice in it during the last scene that made me wonder if changes were made even after prints were struck. If so, and if these changes helped, I can’t imagine how it could have been much worse before. Seeing PREEMPTION was a total waste of my time and I wouldn’t recommend it to anybody.
Dating all the way back to SPEED (1994), Sandra Bullock has been one of my personal favorites. Of her serious roles, I thought she deserved a supporting actress Oscar nomination for CRASH (2005) and I particularly enjoyed her in MURDER BY NUMBERS (2002) & A TIME TO KILL (1996). Of her lighter fare, I found her especially charming in TWO WEEKS NOTICE (’02), FORCES OF NATURE (’99), and WHILE YOU WERE SLEEPING (’95). On the other hand, GUN SHY (2000) is atrocious and MISS CONGENIALITY 2: ARMED AND FABULOUS (’05) is painful to endure. Add PREMONITION to her minus column.
On the current cable television series hit NIP/TUCK, PREMONITION co-star Julian McMahon is compelling as Dr. Christian Troy. Here, as the husband, not at all.
It’s not his fault. Based on evidence here, evaluating German born director Mennan Yapo’s ability is difficult, but given a decent script, I suspect he could deliver appropriately.
Not this time.
Tobacco use in films is coming under increasing fire recently and justifiably so, in my opinion. Having Sandra Bullock’s character smoking cigarettes here is totally gratuitous and deserves strong commendation.
SHOOTER Rated: 8
SHOOTER is a straight forward thriller that I thoroughly enjoyed.
It features a confident action hero styled performance by Mark Wahlberg and spot on direction by Anthony Fuqua (TRAINING DAY–2001).
In support, Michael Pena (WORLD TRADE CENTER- ’06) and Kate Mara (Ennis’ teenage daughter in BROKEBACK MOUNTAIN–’05) can happily add their performances here to their resumes. Both are attractive and appealing with bright career prospects.
SPIDER-MAN 3 Rated: 8 1/2
More of the same, not that that’s a bad thing.
If you liked the first one and the second one, you are very likely to like the third. I could quibble but I won’t.
SPIDER-MAN 2 (2004) is my favorite of the three.
For the money he earns and is paid, Tobey Maguire should have gotten himself in slightly better shape. From the way he’s photographed this time, I’m suspicious that he skipped a few sessions with his private trainer.
I just don’t like Kirsten Dunst and continue to notice a flaw that she can well afford to have fixed. James Franco, Topher Grace and Thomas Haden Church are effective and attractive. I enjoyed seeing the under-appreciated Theresa Russell in her brief appearance. Rosemary Harris continues to charm. To me anyway, Bryce Dallas Howard continues to disappoint. On the other hand, Elizabeth Banks continues to impress me. Expect her upward arc to continue.
Bring on number 4!
SUPERBAD Rated: 8
STARDUST Rated: 8
What a pleasant surprise for me since I disliked the trailer.
I feel that the marketing got it wrong on this one but can offer no better alternative suggestion. STARDUST is an entertaining romantic period fantasy and that’s as hard to sell as it is to successfully accomplish. Robert DeNiro and Michelle Pfieffer really seem to be enjoying themselves and many viewers will be equally pleased. New to me, lead British actor Charlie Cox is very impressive. I was less thrilled with Claire Danes, however.
I suggest you stay for the closing credits and enjoy hearing Take That performing “Rule The World.” If it’s an original song, it deserves award consideration.
THE TV SET Rated: 8 1/2
Writer/director Jake Kasdan (aka: Jacob Kasdan) is a son of master writer/director Lawrence Kasdan (BODY HEAT -’81, THE BIG CHILL -”83) and slightly older (early thirties in 2007) brother of Jon Kasden whose charming romantic comedy/drama IN THE LAND OF WOMEN (’07) opened in limited US release almost simultaneously with THE TV SET in April 2007. “The apples didn’t fall far from the tree…”
THE TV SET is a satire that shows the journey of a particular television pilot as it goes through the process from written page to network airing. I found it hilarious and laughed out loud many times. In fact, I haven’t laughed this much since I saw a preview of THERE’S
SOMETHING ABOUT MARY (1998). Based on my personal experiences, in many respects, this one plays more like docudrama than satire since much of it isn’t the least bit exaggerated.
David Duchovny, famed for television’s super hit, THE X-FILES (1993–2002) is ideal as Mike, the writer/creator of a television pilot he named “The Wexler Chronicles”. For the first time, as Richard, Ioan Gruffudd (FANTASTIC FOUR–2005) registers strongly for me as a transplanted British television programming executive. Judy Greer as Alice is a delight playing Mike’s agent. Several jokes about the fact that she’s never seen TAXI DRIVER (1976) slyly help define her character. Soaring above them all is a sensational Sigourney Weaver as the fictional Panda Television Network Programming President, Lenny. Ms. Weaver deserves a supporting actress Oscar nomination. I was reminded of Faye Dunaway’s Oscar awarded work in NETWORK (1976).
Unfortunately (or should I say fortunately?!) , for those that aren’t familiar with the milieu and life-style and/or haven’t lived through it, THE TV SET is probably too insular to be fully appreciated. Count your blessings.
TRANSFORMERS Rated: 6 1/2
Since I’m not a teen-aged boy, I realized well in advance that this one was not meant for me.
Out of curosity after it did such huge early business, I decided to see it anyway. During the first hour, I was pleasantly surprised and found myself entertained/engaged. I thought, this one is an 8 on my scale of 1 to 10. During the second hour, not so much and I’m thinking a 7. As it inched over two hours, all I wanted to do was leave. I did stay for the full 144 minutes but I thought it would never end! The climax was way too strung out and somebody confused sound volumn with suspense. Lead actor Shia LaBoeuf (HOLES -’03, DISTURBIA–’07) contines to impress on his march to real stardom and plays essentially the same character he did in DISTURBIA. I’m a big fan of Josh Duhamel (WIN A DATE WITH TAD HAMILTON -’04) and was happy to see him back on the big screen as he continues his contributions to the NBC television series, LAS VEGAS. Megan Fox is attractive and effective as the female lead.
Add this one to the plus and hit column for director Michael Bay (PEARL HARBOR -’01, THE ISLAND -’05) but I wish somebody had forced him to edit it down to a resonable running time of two hours or less.
YEAR OF THE DOG Rated: 3
Frankly and personally, I hated every minute of this film. Giving it it’s due however, Rotten Tomatoes reports that 80 out of 110 monitored critics gave it positive reviews. Go figure.
In small servings, I like garlic. When concentrated, it’s unbearable. Star Molly Shannon, likewise. Best known for appearing in 120 episodes of SATURDAY NIGHT LIVE, I like her in support in TALLADEGA NIGHTS (’06) and others but there’s way too much of her particular and somewhat peculiar persona in full flower here.
This is the first film that successful screenwriter and actor Mike White directed.
As an actor, I liked him in both CHUCK & BUCK (2000) and THE GOOD GIRL (’02).|Likewise, I enjoyed/respected/ appreciated his writing of some episodes of 2001 television series, PASADENA plus films such as CHUCK & BUCK, THE GOOD GIRL and THE SCHOOL OF ROCK (’03). He deserves another shot at directing but next time I hopes he gets a different or different type Director of Photography. Tim Orr has photographed several low budget films and done them well enough but for whatever reasons, his choices here really made me squirm. In conversation scenes between two people, and there were lots of those in YEAR OF THE DOG, the camera was too close to the actors and I kept wondering if both actors were on the set at the same time. Even if they were, it didn’t feel like it. The biggest problem with White’s direction is that it lacks energy.
ZODIAC Rated: 9
ZODIAC is the first outstanding film of 2007. I expect it to finish the year as one of my favorites and look for it to receive much year-end award consideration. Having been a San Francisco Bay Area resident during most of the period covered in the film, I especially enjoyed visiting that time and place again through this film and found the production design to be perfect down to the last detail. How nice to be reminded of happy times at the Northpoint Theatre and Original Joe’s Restaurant!
ZODIAC is easily director David Fincher’s best film to date and suggests that he could be on the verge of delivering classics. Of his precious oeuvre, my favorites are SE7EN (’95) & FIGHT CLUB (’99) both of which are special, edgy and distinctive. On the other hand, although very well directed, I found THE GAME (”97) an annoying cheater and consider PANIC ROOM (’02) too familiar/derivative. Not to take anything away from the intelligent writing or the outstanding cast/acting, even more than most projects, ZODIAC is a film that would rise or fall on the skill of the direction. Thanks to director Fincher, it rises mightily. The detailed excellent script was adapted by USC graduate James Vanderbilt and is based on the book or books by Robert Graysmith, real life San Francisco Chronicle cartoonist who is is portrayed in the film by Jake Gyllenhaal. If provided a great script, I’m convinced David Fincher will deliver a great film. At this writing, on location in New Orleans, he is directing Brad Pitt and Cate Blanchett in THE CURIOUS CASE OF BENJAMIN BUTTON (2008?). The script was adapted by Oscar winner Eric Roth (FORREST GUMP–’94, THE INSIDER–’99, MUNICH–’05) and is based on a story by F. Scott Fitzgerald (“The Great Gatsby”). My high expectations seem justified.
As a follow-up to his outstanding work in BROKEBACK MOUNTAIN (’05) Jake Gyllenhaal gets it just right again. As Detective Inspector David Toschi, Mark Ruffalo does his best work since YOU CAN COUNT ON ME (2000). As a crime reporter for the San Francisco Chronicle, add this flashy supporting work by Robert Downey, Jr. to my growing list of favorites from him which includes CHAPLIN (’92) & WONDER BOYS (2000). I also loved his work in televisions’ ALLY McBEAL where he graced 15 episodes in 2000- 2002. Also especially noteworthy is Brian Cox (L.I.E.–’01) as celebrity attorney Melvin Belli. Additionally, I was pleased to see Candy Clark as Carol Fisher. Many will remember her fondly from AMERICAN GRAFFITI (’73).
Although the running time is a relatively long 158 minutes and the pace is appropriately measured, the time flew by for me both times I saw it.
I highly recommend ZODIAC to any serious adult.
…more to come.

Lords of Dogtown

julianelle.michael — Fri, 03 Jun 2005 00:00:00 +0000

The signature line from the Lords of Dogtown trailer, which is meant to convey the film’s rock’n'roll tone, is “We’re gonna be on summer vacation for the rest of our lives!” Little more than halfway through the film, however, it’s obvious that the people behind it, director Catherine Hardwicke (Thirteen) and writer and original Lord of Dogtown Stacy Peralta, who also directed the excellent non-fiction take on the subject, Dogtown and Z-boys, have something different in mind. They have made a film that is less about the carefree lives of the teenage skateboard revolutionaries than it is about sacrificing the innocence and joy of childhood to the pressures and demands of adult responsibility.
Lords of Dogtown focuses on Stacy Peralta (John Robinson), Tony Alva (Victor Rasuk) and Jay Adams (Emile Hirsch). They are the best skaters to emerge from a pack of surf rats that hang around Skip Engblom’s (Heath Ledger, in a hilarious, unexpected performance) Zephyr Surf Shop. With the help of surf moves, empty swimming pools, urethane wheels and punk attitudes, they revolutionize skateboarding. Where the real-life Peralta’s documentary focused more on the Z-boys’, as they came to be known, effect on pop culture, this fictional version takes a stronger look at the personal lives and personalities of the three kids at the phenomenon’s center.
We get little insight into Peralta’s family situation but he is shown to be a responsible, industrious kid with a good head on his shoulders and his personality is the least changed by the end of the film. Both Adams’ and Alva have tumultuous home lives; Adams is thrust into being the family’s breadwinner for his dissolute mother, and Alva’s father is shown to be abusive to the skater and his sister. When the movie begins, despite Stacy’s close friendships with the other kids, his healthy qualities don’t exactly endear him to Engblom’s older crew of ringleaders, self-styled “pirates” who consider Peralta an outsider. When Stacy wins a skating competition, riding as an independent, the opportunistic Engblom reneges and adds him to the Zephyr team. From then on the sky is the limit and the Zephyr kids leap at their chance for wealth and notoriety.
Barsuk hits all the right poses as the flamboyant Alva, the rock star of the trio, who is obsessed with both getting out from under his father’s abusive thumb and fulfilling his demand that he not end up a ditch-digger. Unfortunately, the character is one we’ve seen before and no matter how well the actor plays the obnoxious, ego-driven star, it’s nothing new.
Similarly, Stacy Peralta is portrayed as a boy scout and as a result, the character is a long-haired bore. Robinson is left with little to play. It’s interesting to note that Peralta wrote himself the dullest character, letting the charismatic Alva and disaffected Adams dominate the movie.
As Adams, Emile Hirsch puts forth the strongest performance in the film, at least when Ledger’s off-kilter Engblom isn’t stealing scenes. Early in the film the gifted, passionate young skater’s father figure bails on Jay and his loving yet spaced-out mother (Rebecca DeMorney, plausibly flaky and discomfiting) and Adams floats from one group to another as the Zephyrs fragment under the weight of their newfound fame and fortune. Hirsch affectingly captures Adams’ tenderness and despair as he becomes increasingly unmoored watching his friends leave their summer vacation behind. He continues to skate purely for the love of it and, perhaps as a result of his fearless, agenda-free skating, is largely regarded as the best of the bunch. As the movie progresses he is slowly abandoned by the others and, desperate for a connection, he latches onto whatever he can as everything else slips away.
Hardwicke’s follow-up to Thirteen, her harrowing tale of teens-gone-wild, has authentically captured the feel of Southern California in the late ’70s. Along with Peralta and an excellent cast, Dogtown can be both moving and exciting. While Barsuk and Robinson’s characterizations veer a bit too close to familiar archetypes, Hirsch and Ledger, along with some nice supporting work from the rest of the ensemble, are able to ground the movie in some real emotion as Engblom’s creation leaves him behind and Adams’ passion can’t outpace his demons.
Unfortunately, Peralta’s own documentary did a better job at conveying just how revolutionary and impactful the Z-boys were. While the soundtrack and stunt work keeps the skating scenes moving, the excitement that should be palpable feels like a copy of a copy, especially when put next to the non-fiction version. It’s an enjoyable movie but it lacks some of the vitality that the documentary had in showing actual footage of these kids using their passion and talent to create something unique and entirely their own, only to nearly get swallowed by it all in the process.

Starsky & Hutch

julianelle.michael — Mon, 08 Mar 2004 00:00:00 +0000

Before I launch into my review of Starsky and Hutch, I have a few confessions to make.
I think Owen Wilson is hilarious, and I’ve loved him ever since I saw an advance screening of Bottle Rocket. I think Ben Stiller is funny but a bit forced and one-note with his humor. I think Vince Vaughn is underrated, I think Old School is fantastic, and I’ve never seen a single episode of the original Starsky and Hutch TV series.
I’m not sure any of that matter when it comes to this movie. I doubt that most of the people who packed the theater have ever seen the show either. Besides, it’s definitely unfair to compare a spoofish comedy based around mocking the style of the ’70s to a once-gritty time-specific drama about mismatched cops and their hot rod. Regardless, I have no frame of reference with which to make such a comparison, so I’ll just stick to the movie.
It stinks.
If it matters to you, or you didn’t already know, Stiller plays Starsky, a cop version of his normal character, an uptight anal prig. Owen Wilson, who can elicit laughs with just a tweak of his lines, plays Hutch, a cop version of his normal character, a carefree slacker type. They get paired by their captain and become friends while working a drug smuggling ring headed up by Vince Vaughn, and does little with the little he’s given.
The plot is minor and the jokes are few. Snoop Dogg plays Hugg E. Bear, the local pimp turned snitch who helps the duo protect his city from violent criminals while he engages in never-seen but surely-there shenanigans of his own. None of this matters and none of it should – if the movie is funny. But it’s not.
At times it feels like Austin Powers 4, with weak gags based on the 70s and some over-the-top moments that fall flat on contact. Wilson’s charm is intact, and Stiller has a few instances where his shtick works, but mostly the movie’s a dull dud. Even Will Ferrell’s cameo, no matter how hard he tries, fails to deliver.
Director Todd Phillips certainly has a stable of actors that he can call on for his next few movies, but he’d be better served to whip up something more topical and fresh rather than another spoof of a short-lived fad. The Brady Bunch movies worked, to a point, because most of the inside jokes were accessible to everyone. We all watched The Brady Bunch. In Starsky and Hutch, most of the jokes are surface-level, and the ones that cut deeper don’t connect with the audience that’s there to see Ben Stiller and Owen Wilson.

Mike’s Film List 2003

julianelle.michael — Sun, 01 Feb 2004 00:00:00 +0000

The year’s best movies came from some unconventional places in 2003. No musicals (unless you count the crap that is From Justin to Kelly or the hypnotic fantasia that is The Triplets of Belleville), no stories about lovable mongoloids (unless you count Ashton Kutcher), and no Miramax–at least not on my list. Instead, the past year was owned by riveting documentaries, exciting foreign films, and moving ruminations on youth gone mad, youth gone “bad”, and youth gone…elsewhere. Without further ado, here’s my top 10 list, with a few liberties taken, and a bottom 3.
Top 10 Films of 2003
City of God
I saw this movie last January, and last March it was nominated for Best Foreign Film. But it opened in the U.S. this year, and therefore it counts, both for me and for the Academy (witness it’s several nominations, including one for Fernando Mereilles as Best Director). Over the past 12 months, there hasn’t been one movie that came close to this one’s sheer kineticism, raw violence, and exuberant no-holds-barred storytelling. It’s an alarming narrative that traces the birth of gang crime in the slums of Rio de Janeiro and it is all seen through the eyes of Rocket, a young man who grows up chronicling the degeneracy of his neighborhood with the camera he invariably has strapped around his neck. As he grows up, the city of God (the name for the section of Rio in which the film takes place) goes under. His friends grow up and become criminals, or corpses, and legions of young get recruited into the life. The style is reminiscent of Tarantino in its breakneck pace, but there’s none of QT’s glib irony; this story is all too serious. Laced with brutality and desperation, City of God is a powerful, and powerfully entertaining, look at life on the mean streets of Brazil.
Elephant
Gus van Sant uses a far different style than Fernando Mereilles to lay bare the unfathomable nothingness behind the Columbine Massacre. A poetic, existential dread fills this day-in-the-death depiction of the Colorado tragedy. Full of a cast of mostly unknowns, the film is both illuminating in its refusal to lay blame, whether on videogames or school bullies or repressed sexuality, and devastating in its arbitrary portrayal of banality interrupted by tragedy. Elephant is like a waking dream that yields as much awe and wonder in its execution as it does helplessness and despair at the lack of explanation it offers.
Spellbound
A documentary about the National Spelling Bee wouldn’t seem to promise much in the way of drama or excitement, but it delivers more of both than most of the fictional offerings Hollywood put out this year. It traces a handful of junior high school kids as they struggle, study, and spell their way to the ultimate spelling competition in Washington D.C. Each child is profiled, yielding a bounty of unique personalities and unlikely circumstances that are too real to be faked as they prepare for their day in the sun. When the filmmakers get around to showing the competition itself, it’s clear they saved the best for last. The contest is teeming with upsets, dark horses and sentimental favorites, and by the time the final word is spelled, you’ll be spent from gasping and laughing and rooting them all on. You might go in as a skeptic, but you’ll come out of the theater a true believer.
Capturing the Friedmans
From a first-time filmmaker (and the founder of MovieFone), comes this harrowing, examination of a family torn asunder after the patriarch and youngest son are accused of sexually molesting students in their at-home computer class. The documentary is composed primarily of wrenching footage from home videos taken of family dinners, emotional discussions and strategy meetings, filmed both before, during, and after the allegations surfaced. You’ll feel uncomfortably like a voyeur caught witnessing a family’s most private moments, and that intimacy, and the ambiguous nature of the truth, are what give the film its raw power. The film casts doubt on every angle of the case, brutally swinging your perception of the truth with every new revelation. When it ends, all you can be sure about is that a family has been destroyed, whether it deserved to be or not.
School of Rock
Jack Black finally got a role that expands on his talent rather than confines it. School of Rock isn’t just a one-joke movie held together by the slovenly shenanigans of JB in his underwear. The best studio comedy of the year, Richard Linklater’s endearing film is about kids and appeals to kids, but is so knowing and even subversive that it harkens back to films like the Bad News Bears, where kids acted like kids really act and adults were let in on all the jokes, and even given a few of their own. The role of a music-obsessed slacker who scams his way into a teaching gig and quickly uses it to fashion a group of gifted children into a lean, mean rocking machine meant to back him in an upcoming battle of the bands competition was written expressly for Jack Black, and it shows. All his best moves are on display here, and without pandering to children or going the sentimental route, School of Rock emerges as a rousing, hilarious ode to rock and roll and the people that love it, young and old.
Lost in Translation
Here Sofia Coppola continued Wes Anderson’s work: channeling Bill Murray’s inner pain away from the devastatingly snarky comedy he is known for and towards a melancholy, more internalized place, where Murray’s sad clown features and lethargic gait can be used to profound dramatic effect. He is the picture of subtlety in Lost in Translation, as a middle-aged actor starring in Japanese liquor commercials to pay the bills. He is adrift in a foreign land, both physically and emotionally, until he meets Scarlett Johanssen, a similarly disillusioned and out-of-place American looking for something to hang onto. Together they form a bond that transcends the physical and serves to spiritually regenerate them both. Coppola has become a master at conveying mood through little more than note-perfect composition and editing. No scene lingers too long, nothing happens too abruptly; the pace is slow and somber, and every moment is imbued with meaning Lost in Translation is a delicate tone poem about two people, adrift and alone, who find themselves in each other.
American Splendor
No film has ever toyed with its medium, or its subject, in quite the same way as American Splendor. Adapted from Harvey Pekar’s autobiographical comic book, this documentary-slash-biopic features Paul Giamatti, finally, in a starring role, as the author. It also features other artists’ depictions of Harvey as an animated character, and a few walk-ons by Harvey Pekar himself, as, of course, himself. As the film tells his story, Giamatti’s Harvey comments on the events as they unfold, while the actual Harvey steps in and comments on the comments. It’s all so meta it sounds like a headache, but when you watch the film it all comes together to offer an illuminating look at the life and work of one of “literature’s” most singular voices. Giamatti captures the crotchety, cynical, entirely unconventional Pekar perfectly, and you need look no further than Pekar’s own appearances in the film to make the comparison. Hope Davis offers stellar support as his neurotic girlfriend, and the tableau of characters that populate Harvey’s strange world make this a quirky, funny and intelligent film.
X2/T3
Two sequels. Two summer blockbusters. One built and improved on the success of a burgeoning franchise, the other reinvigorated a seemingly dead one. X2 grabbed the baton from the first X-Men, one on of the movies that launched the current wave of comic-book adaptation fever, and sprinted its way to even more success. Bigger in every way, from cast to run time to budget, and even more exciting (only the film’s cluttered third act fell victim to the choppy, stilted narrative of the first one), X2 capitalized on its predecessor’s strengths (unique and interesting mutants, Hugh Jackman’s note-perfect performance as Wolverine, metaphorical representations of salient and topical issues) and raised hopes even higher for the next installment. T3 started over with a new director (Jonathan Mostow–with some chops of his own), an aging star, and no Linda Hamilton. Nick Stahl stepped in admirably for the woeful Edward Furlong, and the new female terminatrix managed to not suck. By warping the previous two installments “the future is what you make it” credo into a dooming inevitability, and including a couple of pulse-racing action pieces and a fantastic, unexpected ending, T3 stepped up and smashed what were somewhat low expectations. James Cameron’s thematic cohesion may have been missing, along with the series’ signature score, but the excitement and innovation were not.
Return of the King/Kill Bill, Pt. 1
What am I doing, you ask, putting these two movies together? Well, they are both incomplete portions of larger works, one of which served as the conclusion to a spectacularly conceived and executed trilogy, the other as the first half to an operatic orgy of escapism and violence. I’m not gonna lie to you, I was not emotionally invested in the LOTR movies the way the films’ champions are. Perhaps it was due to my lack of empathy with the hobbits, perhaps it was the anticlimactic resolution of the ring’s fate, perhaps it was the lack of punch in Aragorn’s ascension to the throne. It doesn’t matter; the trilogy still stands as one of film’s most incredible achievements. It just didn’t manage to work its way into my heart like some of my favorite movies have. Kill Bill doesn’t make my heart swoon either, but that’s because it’s been hacked to pieces. I enjoyed QT’s pop explosion and thought Uma Thurman had her best role since Pulp Fiction, but I was left feeling a little flat, and assaulted, by the end. The cinematography and direction were fantastic, and since I had read the script beforehand I knew not to expect one of Tarantino’s most substantive efforts. But, despite all the flash and sizzle, I got a bit bored. I’m still gonna be there for part 2, and I’d be lying if I said I wasn’t already pumped for it.
Mystic River
The year’s most praised movie is also one of its best. Clint Eastwood took Dennis Lehane’s tale of three men scarred by a tragic event from their youth and fashioned a powerful, if straightforward, story about the generational residue and lingering repercussions of violence and vengeance. Hyperbole aside, the cast is superb. Sean Penn delivers one of the year’s best performances and Kevin Bacon finally checks in with an acting job that doesn’t annoy the hell out of me. The greater Boston locations add a lot of flavor and the weight of the film is carried ably by the entire cast, despite a few moments at the end that seem to hint at larger themes from the book that didn’t quite carry over onto film. Mystic River is a very well-crafted ensemble piece that stays true to its subject matter and emerges as a somber and meaningful piece of work.
Honorable Mentions:
Shattered Glass–fantastic performances from Peter Saarsgard and, inexplicably, Hayden Christensen as the editor who uncovers the truth and the reporting prodigy who invented stories.
Thirteen–Evan Rachel Wood astonishes as a young girl who spirals into rebellion as her helpless mother (holly Hunter) looks on. The best argument for abstinence the church could ever use.
21 Grams–slightly melodramatic and overdone, and not as good as Innaritu’s first film, Amores Perros, but still affecting thanks to stellar work from Benicio del Toro.
Triplets of Belleville–bizarre, decidedly non-Disney/non-Pixaresque animated feature with virtually no dialogue but a fascinating and hypnotic tapestry of visuals buoyed by a charming, if odd, story and catchy soundtrack.
Worst:
Spun–total garbage about the world of crystal methheads. Shock cinema at its worst.
Matrix Revolutions–a gigantic let down, the finale answers none of the right questions and reduces the main characters to footnotes in the interminable fight for Zion. The “visionary” Wachowski brothers should’ve stopped at one.
Gigli/From Justin to Kelly/The Real World Movie: didn’t see them. Never will.
Movies I Missed:
Master and Commander, Seabiscuit, Cold Mountain, Fog of War, The Last Samurai, Girl With a Pearl Earring, The Station Agent, Monster, House of Sand and Fog, and many more…

Bad Santa

julianelle.michael — Sun, 07 Dec 2003 00:00:00 +0000

Some people hate Christmas. Some people hate themselves. Some people hate life. Some people hate other people. And some people love drinking.
Willie, as played by Billy Bob Thornton, is “some people” in Bad Santa.
And it’s probably not for those other people.
A total degenerate in every sense of the word, the titular Bad Santa is a department store thief with a penchant for drinking himself sick, insulting everyone around him in the most vulgar terms possible, and lasciviously ogling any and all females in his general area. Every year, he waits for his diminutive friend Marcus (Tony Cox) to ring him up and get his ass in gear to whatever affluent suburb Marcus has cased, so that together they can pose as a department store Santa and his helpful elf. For a month or so, the two misfits put up with legions of kids parading through the line to tell Santa what they want for Christmas. When the holiday season ends, the pair robs the store blind.
It’s a perfect plan and has worked for them, without fail, for several years when the movie begins. But Willie’s behavior is becoming increasingly repellent and self-destructive, so much so that Marcus is getting fed up and feels his partner is compromising their ability to pull the heist without getting nailed. Throw in the bizarre little kid who inexplicably latches onto Willie as a type of father figure, and, against all odds and without any of the typical saccharine holiday claptrap, Willie’s black, self-loathing heart begins to thaw. But not in a cheesy, redemptive, kind of way. It’s in more of a vengeful, teach-your-children-hell kind of way.
All of which makes for a delightfully crude, sentiment-free, anti-holiday spirit movie.
Terry Zwigoff (Crumb, Ghost World), film’s clearest-eyed chronicler of the American outsider directs Thornton in a role once meant for King of Snark Bill Murray, and it’s hard to imagine Murray extending himself the way BBT does in this obscenity-laden romp through all things typically sacred in Christmas movies. BBT pulls absolutely no punches in his portrayal of the totally out of control booze bag, and Zwigoff has no problem keeping pace, shattering the normally safe sensibility of holiday entertainment.
Bad Santa is in NO WAY intended for kids, and it’s that funny, ferocious adult tone that keeps the laughs potent and plentiful. Occasionally, however, the filmmakers ladle the vulgarity on too thick, resulting in some overdone moments that strive to push the envelope of bad taste and feel forced and gratuitous.
The supporting cast includes Bernie Mac as an equally ill-mannered security chief at the department store; Lauren Graham (Gilmore Girls) playing against type as Willie’s unlikely love interest, complete with Santa fetish; and John Ritter, one of Thornton’s closest friends, in his last role as a befuddled store manager. The film concludes with a dedication to Ritter.
But the jewel of the lot is Brett Kelly, who plays The Kid. The Kid is a sympathy-eliciting oddball who mopes his way into Willie’s heart and offers the film’s sole moments of pathos, albeit in as unique and unconventional a style as you’ll ever see in a Hollywood film. He looks like something from the dream of a drunk thirties-era Frenchman.
Really not for everyone, but rewarding for those with a warped sense of humor and a high threshold for blue humor, Bad Santa is a welcome, hilarious respite from the hallmark cheer we’re usually force-fed throughout the holiday season.