Shanghai Knights
Anarchy in the U.K. Kungfu style
Mindless entertainment has its uses especially as an escape during these times of Orange terrorist warnings. Sometimes you just want to forget all the crap that is going on in the world and lose yourself for two hours with some taffy for the brain. This is just the movie for that. And as my friend Jonathan Mayo pointed out a Chan movie is “good, wholesome fun.” Hilarious for the most part, although it feels a bit staged at times, Shanghai Knights will have you laughing outloud at the multiplex. To attempt a plot summary is sorta absurd since the “plot” merely sets up the action scenes, as with almost any Jackie Chan movie. In this movie it is not just setting up the action but the comedy. Absurdity is the operative word with this period-Western-action comedy. Basically the setup takes place in 19th century China where evil British royal Rathbone (Aidan Gillen) skewers the guardian of the Great Seal of China with a knife, who also happens to be the father of Chon Wang (Jackie Chan). Fast forward to Carson City, Nevada where Chon Wang is sheriff. After learning of his father’s murder via a letter from his sister Chon Lin (Fann Wong) Chon Wang heads east to NYC to meet up with his old partner Roy O’Banon (Owen Wilson). The two head off to London to reclaim the Great Seal and avenge the death of Wang’s father.
Most of the movie takes place once Chan and Owens are in London. This duo reminds me of Butch Cassidy and the Sundance Kid-era Newman/Redford except Butch Cassidy is a Kungfu master and the Sundance Kid looks like Rod Stewart and talks like he has smoked too much weed. Ya have to wonder about Wilson’s choice of material. This is quite a departure from Wes Anderson films but who knows – everyone has bills to pay. Director David Dobkin throws in a nod to Harold Lloyd with Chan and Wilson hanging from Big Ben as well pays homage to Gene Kelly with Chan doing “Singing in the Rain.” Since Chan is turning 49 this year his movies are relying more on comedy and less on action. His fight scenes, which he still choreographs, are exciting but nothing like “Rumble in the Bronx.” Being Jackie Chan, who is just about the most lovable action hero ever, relying a bit more on pranks and one liners (although in this movie Wilson gets most of those) won’t hurt his box office appeal. As usual the outtakes are as enjoyable as the movie itself. In this case they are actually funnier. Heavy on the clichés, as well as uninspired one liners, this movie is still enjoyable. No need to have seen “Shanghai Noon” either to enjoy this.
Wednesday, February 05, 2003
Talk to Her
Girlfriend in a coma, I know, I know… (okay that’s lame but so what)
Written and directed by Pedro Almodovar, "Talk to Her" is a mystery. But it's about love, so that makes perfect sense. Ostensibly about two men in love with women in comas and their relationships with the women, the film is also an exploration of the bonds formed between the two men. Nurse Benigno loves ballet dancer Alicia, and travel-writer Marcos loves bullfighter Lydia. The film begins with these two men, strangers at the time, watching a dance performance seated close to each other; they later become acquainted when Lydia has been gored by a bull and placed in the private clinic where Benigno works. Their lives are intertwined forevermore in bizarre ways; but, heck, it is Almodovar, so not unexpected. The men love their women in two distinctly different ways: Benigno through fantasy and Marcos through reality. Benigno is 30 years old and a virgin. He has spent four years tending to Alicia; before that he took care of his mother for years. One could say that his experience with women is a bit limited; but paradoxically it isn’t. At one point Benigno tells Marcos—who is clearly overwhelmed and saddened by Lydia’s condition—"A woman's brain is a mystery, and in this state even more so. Talk to her." Did I mention the film is full of paradoxes? Lydia the bullfighter is terrified of snakes and abandons her house when she finds one in her kitchen. The macho, stoic Marcos tears up in many scenes. A friend of mine suggested the paradoxes were to reflect the characters’ vulnerabilities. Perhaps. Maybe these paradoxes are metaphors of Almodovar’s concept of love being a combination of two opposites: reality and fantasy. The film also takes little detours such as a dream sequence in the form of a silent film, "The Shrinking Lover,'" about a man who... well shrinks and finally disappears into... well… I can’t give this away. You just have to see it for yourself if you haven’t already. The film has a bit of a whodunit and an open ending. The effect of it all leaves you puzzled and scratching your head—kind of like love.
Girlfriend in a coma, I know, I know… (okay that’s lame but so what)
Written and directed by Pedro Almodovar, "Talk to Her" is a mystery. But it's about love, so that makes perfect sense. Ostensibly about two men in love with women in comas and their relationships with the women, the film is also an exploration of the bonds formed between the two men. Nurse Benigno loves ballet dancer Alicia, and travel-writer Marcos loves bullfighter Lydia. The film begins with these two men, strangers at the time, watching a dance performance seated close to each other; they later become acquainted when Lydia has been gored by a bull and placed in the private clinic where Benigno works. Their lives are intertwined forevermore in bizarre ways; but, heck, it is Almodovar, so not unexpected. The men love their women in two distinctly different ways: Benigno through fantasy and Marcos through reality. Benigno is 30 years old and a virgin. He has spent four years tending to Alicia; before that he took care of his mother for years. One could say that his experience with women is a bit limited; but paradoxically it isn’t. At one point Benigno tells Marcos—who is clearly overwhelmed and saddened by Lydia’s condition—"A woman's brain is a mystery, and in this state even more so. Talk to her." Did I mention the film is full of paradoxes? Lydia the bullfighter is terrified of snakes and abandons her house when she finds one in her kitchen. The macho, stoic Marcos tears up in many scenes. A friend of mine suggested the paradoxes were to reflect the characters’ vulnerabilities. Perhaps. Maybe these paradoxes are metaphors of Almodovar’s concept of love being a combination of two opposites: reality and fantasy. The film also takes little detours such as a dream sequence in the form of a silent film, "The Shrinking Lover,'" about a man who... well shrinks and finally disappears into... well… I can’t give this away. You just have to see it for yourself if you haven’t already. The film has a bit of a whodunit and an open ending. The effect of it all leaves you puzzled and scratching your head—kind of like love.
Thursday, January 30, 2003
The Pianist
Powerful and moving this film set in WW II directed by the great Roman Polanski explores anti-Semitism, survival and unexpected acts of kindness amongst brutality and barbarism as experienced by one person- Polish pianist Wladyslaw Szpilman. I realize at this point almost everyone has seen it but for those who haven’t it don’t wait until it comes out on video. Maybe since the headline of yesterday's Sun read "Bush braces America for war" brings a film like this to the forefront. Many good films have been made about WWII and the atrocities that man inflicts upon each other based on fear, hate toward ethnic groups, desire for economic supremacy and mass craziness. "Schindler’s List" certainly was excellent in that regard not to mention the documentary "The Sorrow and the Pity" which is an amazing and painful exploration of anti-Semitism and survival amidst war. What is unique about "The Pianist" is that on such a profoundly visceral level as an audience member one experiences the isolation and pain of a man fighting for survival. That is what this film is about- survival- and Adrien Brody’s portrayal of a man forced into hiding and living literally and figuratively on the scraps of humanity is heart breaking.
At one point while hiding in an abandoned building Brody is discovered by Nazi Captain Wilm Hosenfeld played by Thomas Kretschmann who remarks, "How is it you can play the Piano to such a level mind is unable to comprehend what I see and hear? You are Jewish; Untermenchen!" Afterwards he brings Brody bread and eventually gives him his coat. As good a film as "Chinatown" Polanski’s direction isn’t manipulative, and the cinematography excellent. Honestly I don’t think I have ever heard so much sniffling and crying in a theater before. Not since "Life is Beautiful" actually. Films about genocide are so profoundly sad. Maybe the realization that no matter how many technological and medical advances have been made in the past hundred years human nature hasn’t kept pace. And that is heartbreaking.
Powerful and moving this film set in WW II directed by the great Roman Polanski explores anti-Semitism, survival and unexpected acts of kindness amongst brutality and barbarism as experienced by one person- Polish pianist Wladyslaw Szpilman. I realize at this point almost everyone has seen it but for those who haven’t it don’t wait until it comes out on video. Maybe since the headline of yesterday's Sun read "Bush braces America for war" brings a film like this to the forefront. Many good films have been made about WWII and the atrocities that man inflicts upon each other based on fear, hate toward ethnic groups, desire for economic supremacy and mass craziness. "Schindler’s List" certainly was excellent in that regard not to mention the documentary "The Sorrow and the Pity" which is an amazing and painful exploration of anti-Semitism and survival amidst war. What is unique about "The Pianist" is that on such a profoundly visceral level as an audience member one experiences the isolation and pain of a man fighting for survival. That is what this film is about- survival- and Adrien Brody’s portrayal of a man forced into hiding and living literally and figuratively on the scraps of humanity is heart breaking.
At one point while hiding in an abandoned building Brody is discovered by Nazi Captain Wilm Hosenfeld played by Thomas Kretschmann who remarks, "How is it you can play the Piano to such a level mind is unable to comprehend what I see and hear? You are Jewish; Untermenchen!" Afterwards he brings Brody bread and eventually gives him his coat. As good a film as "Chinatown" Polanski’s direction isn’t manipulative, and the cinematography excellent. Honestly I don’t think I have ever heard so much sniffling and crying in a theater before. Not since "Life is Beautiful" actually. Films about genocide are so profoundly sad. Maybe the realization that no matter how many technological and medical advances have been made in the past hundred years human nature hasn’t kept pace. And that is heartbreaking.
Thursday, January 23, 2003
The Killer Elite, The Wild Bunch and Bring Me the Head of Alfredo Garcia
Peckinpah Films in Spades: Some Violence to Keep You Warm on These Cold Nights
Sometimes you rent one film by a director and next thing ya know you're on a bit of a kick and so it goes with Peckinpah. Beautiful choreographed violence, with a little dash of machismo tossed in, plus some misogyny, honor and betrayal are all present in the three films. Oh yea- did I mention bullets as well? Lots of 'em.
Starting with what is referred to as a "modern" Western, "Bring Me the Head of Alfredo Garcia" from 1974 stars Warren Oates. He is outstanding in the role of pianist Benny on a quest to retrieve Garcia's head for a Mexican rancher for the sum of $10,000. The film follows Oates on a hellish road trip accompanied by his hooker girlfriend Elita all the while being followed by bounty hunters and rapists (one rapist played by Kris Kristofferson). The cinematography is superb in this film, especially the shots of the Mexican countryside. Mexico is depicted in general as a fairly abysmal place- all gritty and unforgiving- basically a metaphor of the inner life of the Oates character. The stylized shoot em' up ending scene is predictable and yet compelling. Is the film a gratuitous violence fest or maybe just a blatant metaphor for how greed corrupts? Maybe it is just a character study of a sad, desperate man and his sad depressing life. Definitely a compelling and riveting watch.
Okay on to the uninspired thriller "The Killer Elite." Released in 1975 the story goes like this: James Caan plays freelance hitman Mike Locken employed by the CIA during the 1970s. His pal and fellow hitman Robert Duvall betrays him when he renders Caan a cripple with shots to his arm and knee- but doesn't kill him. This sets up the rest of the film as the film unfolds with Caan physically rehabilitating himself, getting together with the cute nurse, and goes on a quest of revenge after Duvall. Unfortunately the film has too much of Caan and not enough Duvall. Maybe Peckinpah had to make the mortgage payment and just cranked this out. Apparently he did make the film at a period when his career was at an all time low so atleast it kept him employed. The film is too long and its one redeemable quality- outside of the casting of Duvall- is the stylized karate scene in the ending shipyard scene. It really is a beautiful.
Okay saving the best for last. The Wild Bunch, released in 1969, is a brilliant film that elevated the Western to an art form. Inspired dialogue, cinematography, editing, soundtrack, and acting combine for a full-on cinematic moment in time. Before this film "the Western" was considered a hackneyed genre and afterwards it gained renewed respect. Never before had violence been rendered so realistically. By today's standards the violence may seem a bit tame but when someone gets shot in this film you feel it. The story is pretty basic: set in 1913 bounty hunters led by Pike Bishop, played by William Holden, rob a bank in Texas and flee to Mexico with Pike's old buddy Deke Thornton, played by Robert Ryan, hot on their trail. Ernest Borgnine and Warren Oates both are great. The group of outlaws has their own set of ethics and honor code. One riveting scene of children dropping a scorpion into a sea of ants resonates. Who knows what the scene is a metaphor for- if any- it is just one of many powerful scenes in this amazing film. Go rent it now if you haven't seen it- you won't be disappointed..
Peckinpah Films in Spades: Some Violence to Keep You Warm on These Cold Nights
Sometimes you rent one film by a director and next thing ya know you're on a bit of a kick and so it goes with Peckinpah. Beautiful choreographed violence, with a little dash of machismo tossed in, plus some misogyny, honor and betrayal are all present in the three films. Oh yea- did I mention bullets as well? Lots of 'em.
Starting with what is referred to as a "modern" Western, "Bring Me the Head of Alfredo Garcia" from 1974 stars Warren Oates. He is outstanding in the role of pianist Benny on a quest to retrieve Garcia's head for a Mexican rancher for the sum of $10,000. The film follows Oates on a hellish road trip accompanied by his hooker girlfriend Elita all the while being followed by bounty hunters and rapists (one rapist played by Kris Kristofferson). The cinematography is superb in this film, especially the shots of the Mexican countryside. Mexico is depicted in general as a fairly abysmal place- all gritty and unforgiving- basically a metaphor of the inner life of the Oates character. The stylized shoot em' up ending scene is predictable and yet compelling. Is the film a gratuitous violence fest or maybe just a blatant metaphor for how greed corrupts? Maybe it is just a character study of a sad, desperate man and his sad depressing life. Definitely a compelling and riveting watch.
Okay on to the uninspired thriller "The Killer Elite." Released in 1975 the story goes like this: James Caan plays freelance hitman Mike Locken employed by the CIA during the 1970s. His pal and fellow hitman Robert Duvall betrays him when he renders Caan a cripple with shots to his arm and knee- but doesn't kill him. This sets up the rest of the film as the film unfolds with Caan physically rehabilitating himself, getting together with the cute nurse, and goes on a quest of revenge after Duvall. Unfortunately the film has too much of Caan and not enough Duvall. Maybe Peckinpah had to make the mortgage payment and just cranked this out. Apparently he did make the film at a period when his career was at an all time low so atleast it kept him employed. The film is too long and its one redeemable quality- outside of the casting of Duvall- is the stylized karate scene in the ending shipyard scene. It really is a beautiful.
Okay saving the best for last. The Wild Bunch, released in 1969, is a brilliant film that elevated the Western to an art form. Inspired dialogue, cinematography, editing, soundtrack, and acting combine for a full-on cinematic moment in time. Before this film "the Western" was considered a hackneyed genre and afterwards it gained renewed respect. Never before had violence been rendered so realistically. By today's standards the violence may seem a bit tame but when someone gets shot in this film you feel it. The story is pretty basic: set in 1913 bounty hunters led by Pike Bishop, played by William Holden, rob a bank in Texas and flee to Mexico with Pike's old buddy Deke Thornton, played by Robert Ryan, hot on their trail. Ernest Borgnine and Warren Oates both are great. The group of outlaws has their own set of ethics and honor code. One riveting scene of children dropping a scorpion into a sea of ants resonates. Who knows what the scene is a metaphor for- if any- it is just one of many powerful scenes in this amazing film. Go rent it now if you haven't seen it- you won't be disappointed..
Thursday, January 16, 2003
Rabbit-Proof Fence
Based on "Follow the Rabbit-Proof Fence" by Doris Pilkington Garimara,
this excellent, unsentimental Australian film chronicles three
"half-caste" (half Caucasian, half Aboriginal) girls. They were forcibly
removed from their home in 1931, were placed in an official government camp,
escaped and made a 1,500-mile journey through the Australian outback
to their village. Aptly referred to as the "Stolen Generation," the
half-castes were taught to be domestics, and it was the goal of the
Australian government to have all vestiges of Aboriginal blood removed
within three generations of breeding to Caucasians. This program of
removing half-castes from their homes lasted until 1970. Insert
expletive - do governments really do this? The answer is sadly yes, and to
this day the Australian government has never apologized. Kenneth Branagh
plays government official Dr. Neville, in charge of the program.
First-timer Everlyn Sampi is amazing as 14-year old Molly Craig, who leads
the girls. The film is directed by Phillip Noyce, with cinematography by
Christopher Doyle; his shots are beautiful. Added bonus: Fantastic music by
Peter Gabriel. Someone should mail a copy to Trent Lott - maybe it will get
stuck in his VCR.
Based on "Follow the Rabbit-Proof Fence" by Doris Pilkington Garimara,
this excellent, unsentimental Australian film chronicles three
"half-caste" (half Caucasian, half Aboriginal) girls. They were forcibly
removed from their home in 1931, were placed in an official government camp,
escaped and made a 1,500-mile journey through the Australian outback
to their village. Aptly referred to as the "Stolen Generation," the
half-castes were taught to be domestics, and it was the goal of the
Australian government to have all vestiges of Aboriginal blood removed
within three generations of breeding to Caucasians. This program of
removing half-castes from their homes lasted until 1970. Insert
expletive - do governments really do this? The answer is sadly yes, and to
this day the Australian government has never apologized. Kenneth Branagh
plays government official Dr. Neville, in charge of the program.
First-timer Everlyn Sampi is amazing as 14-year old Molly Craig, who leads
the girls. The film is directed by Phillip Noyce, with cinematography by
Christopher Doyle; his shots are beautiful. Added bonus: Fantastic music by
Peter Gabriel. Someone should mail a copy to Trent Lott - maybe it will get
stuck in his VCR.
Just in case you can't get enough of my reviews I am now writing a weekly film review column for a Baltimore/DC ezine called The Shank.
"Any Monkey. Any Hat.
Baltimore's free weekly interactive e-zine.
All the stuff that's worth doing in the Baltimore-Washington
Metropolitan Area and beyond. "
The ezine is a guide to arts events for Gen X & Y readership basically.
If you are interested in receiving it email Benn Ray at:
mobtownshank@atomicbooks.com
and request that you be put on the mailing list.
"Any Monkey. Any Hat.
Baltimore's free weekly interactive e-zine.
All the stuff that's worth doing in the Baltimore-Washington
Metropolitan Area and beyond. "
The ezine is a guide to arts events for Gen X & Y readership basically.
If you are interested in receiving it email Benn Ray at:
mobtownshank@atomicbooks.com
and request that you be put on the mailing list.
Thursday, January 09, 2003
Top 10 films of 2002
Punch-Drunk Love
Not being a fan of Adam Sandler, I had my doubts about this film. But since it was directed by Paul Thomas Anderson, I thought I’d check it out. I was floored; who knew Adam Sandler could act? He was actually pretty good I must admit. Pudding promotion, phone sex and a quirky love story combine to make this a great film. Bonuses: lush cinematography, a great soundtrack and a stand-out performance by Philip Seymour Hoffman.
Late Marriage
Probably the only film in existence that employs a baby’s foreskin as a lucky charm. This Israeli film has one of the most believable love scenes outside of… well… can’t name another love scene that is so convincing. The film’s main character Zaza, is 31 and unmarried. He’s being paraded around Tel Aviv by his overbearing Georgian family in an attempt to marry him off. Meanwhile, he is in love with a 34-year-old woman his family disapproves of. Therein lies the rub. Excellent ending.
Far From Heaven
This melodrama was a bit too strong on the art direction and weak on character development (mostly one-dimensional) and plot line (simple). But the film was still good. Todd Haynes made a male friend and me feel like 1950s housewives - and it was awful. Dennis Quaid was surprisingly good as the gay husband. The soundtrack by Elmer Bernstein is excellent.
The Kid Stays in the Picture
Liked this documentary a lot. Robert Evans narrates this biopic, and he is fascinating. At times it reminded me of “Madonna: Truth or Dare.” Both were a bit short on the “documentary” but strong in the performances. Evans glosses over some key elements of his life; for example, he mentions only one of his seven wives. But no matter, the film does a thorough job of exploring his career as a producer. Cool computer animation and cutouts. Any fan of “Rosemary’s Baby” should see this just for the anecdotes about Polanski.
Y Tu Mama Tambien
Gael Garcia Bernal as Julio is great in this beautifully filmed coming-of-age movie. Is there a movie he’s not good in, for that matter? This could have been the Mexican “Porky’s,” but it’s so much more complex: an exploration of class differences and the relationship between two oversexed boys. Love the dreamy quality of the cinematography.
El Crimen del Padre Amaro
I like a film that takes a religion to task and shakes things up a bit. Some religious and political leaders in Latin America have been trying to limit viewings - afraid the film’s unflattering depiction of the Catholic Church may sway the public’s views. Now how is that for affirmation that a film is having an effect? Maybe not the best film of 2002, but definitely one of the top 10; at times predictable, but excellent over all.
The Trials of Henry Kissinger
Watching this made the hairs on the back of my neck stand up. A man who destroyed so many lives, was for a brief time employed by W. and yet was so utterly charming. Scary stuff. Based on the book by Christopher Hitchens this should be required viewing for all Americans, who especially like myself, are a bit ignorant about US foreign policy. A profoundly sad and disturbing film. One hilarious moment: Alexander Haig describing Hitchens as a "pipe sucker."
Bowling for Columbine
Talk about needing to grab a beer after seeing a film. Definitely one of the most powerful films I have seen this past year. And yet another doc that is required viewing for all Americans. “Culture of fear” is a concept I’m convinced may explain why Americans are so violent - though Michael Moore never clearly offers up pat answers, but instead fodder to digest. Favorite scene: Moore getting a free gun for opening a bank account - both hilarious and disturbing.
Comedian
A provocative behind-the-scenes look at comedians Orny Adams and Jerry Seinfeld. Director Christian Charles (II) chronicles Seinfeld’s insecurities and the whiny Adams’ frustrations as they develop stand-up comedy routines and perform. Comedy isn’t rocket science, but apparently developing five minutes of material is an agonizing process if you are Seinfeld. Funniest moment: watching Seinfeld kvetching about jumpstarting his stand up career to A-List comedian buddies such as Colin Quinn and Bill Cosby - all the while enjoying his private jet and lavish life style. My heart goes out to ya, Jerry.
La Pianiste
Michael Haneke's disturbing film (surprise!) in which Isabelle Huppert plays a repressed piano teacher with sexual fetishes. In a character study about self-hatred and control issues (who can’t relate, right?), Huppert is amazing. Not an uplifting film, and at times hard to watch, especially the razor scene which had me squirming in my seat. If you are a fan of “Damage” or “The Night Porter,” you will like this film. A must-see for the depraved.
Punch-Drunk Love
Not being a fan of Adam Sandler, I had my doubts about this film. But since it was directed by Paul Thomas Anderson, I thought I’d check it out. I was floored; who knew Adam Sandler could act? He was actually pretty good I must admit. Pudding promotion, phone sex and a quirky love story combine to make this a great film. Bonuses: lush cinematography, a great soundtrack and a stand-out performance by Philip Seymour Hoffman.
Late Marriage
Probably the only film in existence that employs a baby’s foreskin as a lucky charm. This Israeli film has one of the most believable love scenes outside of… well… can’t name another love scene that is so convincing. The film’s main character Zaza, is 31 and unmarried. He’s being paraded around Tel Aviv by his overbearing Georgian family in an attempt to marry him off. Meanwhile, he is in love with a 34-year-old woman his family disapproves of. Therein lies the rub. Excellent ending.
Far From Heaven
This melodrama was a bit too strong on the art direction and weak on character development (mostly one-dimensional) and plot line (simple). But the film was still good. Todd Haynes made a male friend and me feel like 1950s housewives - and it was awful. Dennis Quaid was surprisingly good as the gay husband. The soundtrack by Elmer Bernstein is excellent.
The Kid Stays in the Picture
Liked this documentary a lot. Robert Evans narrates this biopic, and he is fascinating. At times it reminded me of “Madonna: Truth or Dare.” Both were a bit short on the “documentary” but strong in the performances. Evans glosses over some key elements of his life; for example, he mentions only one of his seven wives. But no matter, the film does a thorough job of exploring his career as a producer. Cool computer animation and cutouts. Any fan of “Rosemary’s Baby” should see this just for the anecdotes about Polanski.
Y Tu Mama Tambien
Gael Garcia Bernal as Julio is great in this beautifully filmed coming-of-age movie. Is there a movie he’s not good in, for that matter? This could have been the Mexican “Porky’s,” but it’s so much more complex: an exploration of class differences and the relationship between two oversexed boys. Love the dreamy quality of the cinematography.
El Crimen del Padre Amaro
I like a film that takes a religion to task and shakes things up a bit. Some religious and political leaders in Latin America have been trying to limit viewings - afraid the film’s unflattering depiction of the Catholic Church may sway the public’s views. Now how is that for affirmation that a film is having an effect? Maybe not the best film of 2002, but definitely one of the top 10; at times predictable, but excellent over all.
The Trials of Henry Kissinger
Watching this made the hairs on the back of my neck stand up. A man who destroyed so many lives, was for a brief time employed by W. and yet was so utterly charming. Scary stuff. Based on the book by Christopher Hitchens this should be required viewing for all Americans, who especially like myself, are a bit ignorant about US foreign policy. A profoundly sad and disturbing film. One hilarious moment: Alexander Haig describing Hitchens as a "pipe sucker."
Bowling for Columbine
Talk about needing to grab a beer after seeing a film. Definitely one of the most powerful films I have seen this past year. And yet another doc that is required viewing for all Americans. “Culture of fear” is a concept I’m convinced may explain why Americans are so violent - though Michael Moore never clearly offers up pat answers, but instead fodder to digest. Favorite scene: Moore getting a free gun for opening a bank account - both hilarious and disturbing.
Comedian
A provocative behind-the-scenes look at comedians Orny Adams and Jerry Seinfeld. Director Christian Charles (II) chronicles Seinfeld’s insecurities and the whiny Adams’ frustrations as they develop stand-up comedy routines and perform. Comedy isn’t rocket science, but apparently developing five minutes of material is an agonizing process if you are Seinfeld. Funniest moment: watching Seinfeld kvetching about jumpstarting his stand up career to A-List comedian buddies such as Colin Quinn and Bill Cosby - all the while enjoying his private jet and lavish life style. My heart goes out to ya, Jerry.
La Pianiste
Michael Haneke's disturbing film (surprise!) in which Isabelle Huppert plays a repressed piano teacher with sexual fetishes. In a character study about self-hatred and control issues (who can’t relate, right?), Huppert is amazing. Not an uplifting film, and at times hard to watch, especially the razor scene which had me squirming in my seat. If you are a fan of “Damage” or “The Night Porter,” you will like this film. A must-see for the depraved.
Tuesday, December 24, 2002
"The Man with the Golden Arm"
"The Man with the Golden Arm," directed by Otto Preminger, is my video antidote to all the saccharin-sweet fare on television during the holiday season. Who needs a darling Natalie Wood when you can have a strung-out Frank Sinatra? In this 1955 film noir, based on the book by Nelson Algren, Sinatra stars as Frankie Machine: card dealer, ex-con, heroin addict, struggling to stay clean so he can audition as a drummer for a jazz band. With titles by Saul Bass, a soundtrack by Elmer Bernstein, great minimalist sets and adequate performances throughout, the whole of the film is never greater than the sum of its parts, but still worth the few bucks to rent. Ol' Blue Eye’s jittery, angsty performance is overly dramatic, almost a caricature, but still riveting. (Definitely check him out in "The Manchurian Candidate.") Eleanor Parker as Frankie’s manipulative wife, Zosch, and Kim Novak as his girlfriend, Molly, are only fair, and the ending is contrived. Recent films such as "Requiem for a Dream" and "Trainspotting" provide more compelling examinations of heroin use, but "Golden Arm" merits a watch if for no other reason than to see how Preminger tackled drug abuse in the repressive 1950s. Bonus: a possible precursor to Celebrity Death Match? Chairman of the Board Sinatra takes on Austrian dictator Preminger.
"The Man with the Golden Arm," directed by Otto Preminger, is my video antidote to all the saccharin-sweet fare on television during the holiday season. Who needs a darling Natalie Wood when you can have a strung-out Frank Sinatra? In this 1955 film noir, based on the book by Nelson Algren, Sinatra stars as Frankie Machine: card dealer, ex-con, heroin addict, struggling to stay clean so he can audition as a drummer for a jazz band. With titles by Saul Bass, a soundtrack by Elmer Bernstein, great minimalist sets and adequate performances throughout, the whole of the film is never greater than the sum of its parts, but still worth the few bucks to rent. Ol' Blue Eye’s jittery, angsty performance is overly dramatic, almost a caricature, but still riveting. (Definitely check him out in "The Manchurian Candidate.") Eleanor Parker as Frankie’s manipulative wife, Zosch, and Kim Novak as his girlfriend, Molly, are only fair, and the ending is contrived. Recent films such as "Requiem for a Dream" and "Trainspotting" provide more compelling examinations of heroin use, but "Golden Arm" merits a watch if for no other reason than to see how Preminger tackled drug abuse in the repressive 1950s. Bonus: a possible precursor to Celebrity Death Match? Chairman of the Board Sinatra takes on Austrian dictator Preminger.
Wednesday, December 11, 2002
"El Crimen del Padre Amaro"- this ain't no Thorn Birds hon
Director Carlos Carrera's film takes full aim at the hypocrisy and corruption of the Catholic Church in Mexico and boy howdy is it having an effect. Based on a novel by 19th century Portuguese novelist Eça de Queirós, the film revolves around Father Amaro, played by Gael Garcia Bernal, and the setting is Mexico. Bernal's newly ordained priest comes to the town of Los Reyes to work with Father Benito. Soon after arriving Father Amaro begins an affair with a 16-year-old girl and we learn that Father Benito has been receiving funding from a drug lord for a health clinic. The film could have just been a two hour soap opera but Carrera has made it a wake up call. Apparently attempts have been made to keep it out of theaters in Mexico. Not surprising since the film basically says the Church cares more about money than people. But nothing is that simple in this film.
For cinematic shock value the scene in "Pink Flamingos" where Divine eats shit is tough to surpass but in one scene in this film a character takes the Holy Eucharist from her mouth and feeds it to a cat. Offensive, blasphemous.... funny? Fortunately Catholics aren't prone to issuing a fatwa against Carrara because we wouldn't want him to go into hiding. I think the thing that resonates most about this film is that none of the characters are one dimensional- they are all so beautifully flawed, so... human. The film forces you to question what is moral. Father Natalio, played by Damián Alcázar, who is suspected of assisting guerilla troops against the wishes of the Bishop, is actually the one priest in the film who seems concerned for his flock. So on one hand he is rejecting the mandates from the Church and yet he is the character with the most integrity. I suggest those who go see this film check their beliefs at the theater door and approach this film from a secular point of view.
Director Carlos Carrera's film takes full aim at the hypocrisy and corruption of the Catholic Church in Mexico and boy howdy is it having an effect. Based on a novel by 19th century Portuguese novelist Eça de Queirós, the film revolves around Father Amaro, played by Gael Garcia Bernal, and the setting is Mexico. Bernal's newly ordained priest comes to the town of Los Reyes to work with Father Benito. Soon after arriving Father Amaro begins an affair with a 16-year-old girl and we learn that Father Benito has been receiving funding from a drug lord for a health clinic. The film could have just been a two hour soap opera but Carrera has made it a wake up call. Apparently attempts have been made to keep it out of theaters in Mexico. Not surprising since the film basically says the Church cares more about money than people. But nothing is that simple in this film.
For cinematic shock value the scene in "Pink Flamingos" where Divine eats shit is tough to surpass but in one scene in this film a character takes the Holy Eucharist from her mouth and feeds it to a cat. Offensive, blasphemous.... funny? Fortunately Catholics aren't prone to issuing a fatwa against Carrara because we wouldn't want him to go into hiding. I think the thing that resonates most about this film is that none of the characters are one dimensional- they are all so beautifully flawed, so... human. The film forces you to question what is moral. Father Natalio, played by Damián Alcázar, who is suspected of assisting guerilla troops against the wishes of the Bishop, is actually the one priest in the film who seems concerned for his flock. So on one hand he is rejecting the mandates from the Church and yet he is the character with the most integrity. I suggest those who go see this film check their beliefs at the theater door and approach this film from a secular point of view.
Monday, November 25, 2002
Tuesday, October 22, 2002
Saw "The Ring" Sunday night- am debating if I want to exert any enegy reviewing it. I think it is pointless to do so until I see the Japanese version which until a few days ago I didn't even know existed- shame on me!!
Anyways I decided I might review a number of foreign films and their American remakes such as "Plein Soleil" (Purple Noon) starring my favorite French matinee idol Alain Delon vs. "The Talented Mr. Ripley" and the 2002 Christopher Nolan "Insomnia" vs. the 1997 Erik Skjoldbjaerg version starring Stellan Skarsgard. When I think of some others I'll do those as well. I am thinking "Vanilla Sky" vs. Alejandro Amenábar's "Abre los ojos."
Anyways I decided I might review a number of foreign films and their American remakes such as "Plein Soleil" (Purple Noon) starring my favorite French matinee idol Alain Delon vs. "The Talented Mr. Ripley" and the 2002 Christopher Nolan "Insomnia" vs. the 1997 Erik Skjoldbjaerg version starring Stellan Skarsgard. When I think of some others I'll do those as well. I am thinking "Vanilla Sky" vs. Alejandro Amenábar's "Abre los ojos."
Friday, October 11, 2002
I find this amusing...
From the Mobtown Shank #155, Dug Sohn responds to my review:
I'm not even sure what all that review meant, but I'll tell you this, One Hour Photo was about One Hour and Thirty Five Minutes too long. Are you kidding me? That movie sucked. One-dimensional characters/performances, and a plot line that could be conceived by a dorky teenager reading Vogue - creepy guy obsesses with hot chick whose new fancy hair style every five minutes confuses him and sends him over the edge. OOOH I"M SO ASCARED NOW TO GO TO WALLMART AND HAVE THE LOSER DEVELOPING PICTURES OF MY DOG LICKING MY DICK OBSESS OVER ME AND MAKE MY DOG SCREW A CAT. Now that's a film.
From the Mobtown Shank #155, Dug Sohn responds to my review:
I'm not even sure what all that review meant, but I'll tell you this, One Hour Photo was about One Hour and Thirty Five Minutes too long. Are you kidding me? That movie sucked. One-dimensional characters/performances, and a plot line that could be conceived by a dorky teenager reading Vogue - creepy guy obsesses with hot chick whose new fancy hair style every five minutes confuses him and sends him over the edge. OOOH I"M SO ASCARED NOW TO GO TO WALLMART AND HAVE THE LOSER DEVELOPING PICTURES OF MY DOG LICKING MY DICK OBSESS OVER ME AND MAKE MY DOG SCREW A CAT. Now that's a film.
Why blog? Why not. Thought I'd give myself a forum for things I wanna share, lambaste, toast, etc. Saw "One Hour Photo" last night. Good film. Not great but good.
A film which simultaneously explores alienation and obsession as well as is a nuanced and powerful indictment of American values such as they exist today. Writer/Director Romanek launches a salvo albeit a subtle, relentless one against the reigning corrupt consumerist values that dominate American culture. Less overt in its skewering than "American Beauty," it is a darker and more pernicious view. The seamless combination of dialogue, color palette, music and editing created an ominous feeling throughout the film keeping my stomach churning.
The interesting thing that Mark Romanek did with this film - which is something that I always enjoy- is to make the viewer sympathize with an unsympathetic character, such as the one played by Robin Williams. I felt sympathy for this person who on the surface is repulsive in that he is a dark room voyeur- he is the person that I imagine is hoarding the cache of porn photos (as an ex-roomie of mine once did who worked at a One Hour Photo). Sadly this character is lonely and alienated with a pathological need to connect with a suburban family he idealizes. The family appears to be perfect but in actuality under the surface are materialistic and completely emotionally empty. The film skewers consumerist American values and it is not a coincidence the setting of this is a shopping mall - the great American shrine to consumerism. Less satirical then Solondz, although both explore themes of desire and alienation, Romanek's vision of family life is anything but a Kodak moment.
A film which simultaneously explores alienation and obsession as well as is a nuanced and powerful indictment of American values such as they exist today. Writer/Director Romanek launches a salvo albeit a subtle, relentless one against the reigning corrupt consumerist values that dominate American culture. Less overt in its skewering than "American Beauty," it is a darker and more pernicious view. The seamless combination of dialogue, color palette, music and editing created an ominous feeling throughout the film keeping my stomach churning.
The interesting thing that Mark Romanek did with this film - which is something that I always enjoy- is to make the viewer sympathize with an unsympathetic character, such as the one played by Robin Williams. I felt sympathy for this person who on the surface is repulsive in that he is a dark room voyeur- he is the person that I imagine is hoarding the cache of porn photos (as an ex-roomie of mine once did who worked at a One Hour Photo). Sadly this character is lonely and alienated with a pathological need to connect with a suburban family he idealizes. The family appears to be perfect but in actuality under the surface are materialistic and completely emotionally empty. The film skewers consumerist American values and it is not a coincidence the setting of this is a shopping mall - the great American shrine to consumerism. Less satirical then Solondz, although both explore themes of desire and alienation, Romanek's vision of family life is anything but a Kodak moment.
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