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Reviews
Investigating Sex (2001)
The cast had a lot more fun than you will
Alan Rudolph is a poor man's Robert Altman with a Henry Jaglom production value–and yet he manages to entice excellent talent to his projects. His films have never fared well at the box office, and only two (Mrs. Parker and the follow-up Afterglow) received much critical acclaim. So how he managed to spend eight million dollars on this mess is anyone's guess. It was obviously shot (predominantly) in a single location, and the wardrobe and set decoration is hardly extravagant to have merited high budgeting. While likely scripted, it has all the discipline of a free community improv class. It's perhaps apt that a movie about masturbation should prove so masturbatory in its inception: the cast are allowed free reign to over-reach in almost every scene. There is no sense that the characters are true to the time frame portrayed on screen, and yet it is not completely pointless. Some of the improvisations work, and most don't, but there is some comedy to be had in the less over-wrought interactions. When it tries, it fails, but when it fails it sometimes triumphs. I only wish there had been more happy accidents–like the camera being in the right place to capitalize on the focus of the scene. It is sadly rarely so.
For a much better take on a similar subject see Joaquin Oristrell's Unconscious, instead. For a better use of an ensemble cast in a barely scripted acting exercise, see Nicholas Roeg's Insignificance. The only honest performance is Neve Campbell's, and the only subtlety is that of Terrence Howard. Nick Nolte seems like he's acting in two different movies, Alan Cumming deserves more camera time, and Jeremy Davies is completely against type.
Rudolph's greatest success is that this film released in 2002 looks like a 1970s European skin flic. I am probably over-crediting him, here. But the film has its moments. It's probably best to run in the background while you do something else and cross it off your list.
Partner. (1968)
A pinnacle of the Italian New Wave
It's not easy to rate an experimental film on the same scale as films that were intended to be seen by wider commercial audiences, and "Partner" is an experimental film. Many have criticized Bertolucci for aping Godard's style in this film, and certainly there are liberal elements of "Two Or Three Things I Know About Her" and "Weekend," but the camera work and cinematography and even the Morricone score are all indicative of an Italian filmmaker, more so than the French new wave that served as the defacto inspiration. But if one is forced to point out the films that it followed, one should also illuminate the many films that it inspired, whether directly or indirectly, and that list is at least as impressive. The easy heir is "Fade To Black," which follows a would-be actor on his descent into madness and murder. The over-the-top performance of Pierre Clementi is exchanged (perhaps as a sign of the times) for the understated twitchiness of Dennis Christopher, but the whole story is here. One can chose to credit the original Dostoyevsky story, but the film reference reads truer as an influence on the later film when considering what a lose adaptation "Partner" was of "The Double." In fact, Conrad's "The Secret Sharer" could just as easily have served as the source material when dissected the faithfulness of the Amico script of the Russian author's work (and of course only for the sake of argument, as Dostoyevsky is clearly credited). Less obvious may be the impact that Partner had on Bertolucci's Italian peers. A mere year later, "Love And Anger" would unite the Italian filmeratti with Godard to launch a collaborative New Wave film. It's unlikely this would have happened were it not for the release of "Partner." Likewise, the classroom discussions of "Zabriskie Point" betray more in common with this film than with Antonioni's previous output, and yet it can also be said that certain scene compositions in "Partner" could trace their routes back to Antonioni's "Blow Up." The composition is very similar though the camera movement is not. Even when examining Bertolucci's future output, one can point to Partner as the turning point in his artistic style. Up to that point his work was devoid of the cinema reference that pervades "Partner" (the Odessa steps parody, amongst others) and was toned down in "The Conformist" and "Last Tango In Paris." As an experiment, Partner is more of a success than a failure. It's not simple, casual viewing. It's a hard to digest film from a man who has absorbed and digested more about film than most others. It's comparable to Louis Malle's "Black Moon," but predates it by seven years. "Partner" is an oddity. It's unlikely to have a broad appeal, which is probably a good thing. This isn't going to sway the "Shrek" crowd, that's for sure. To an extent, you either get this film or you don't. The same can be said for dozens of films and filmmakers who are held in high regard by people who hold this film in contempt (it's tonally very close to Jodorowski's "Santa Sangre"). I for one am glad I've seen it. It's not perfect, but it's thought provoking, well made and less self indulgent than a lot of recent art-house fare from culty sacred cows ("Inland Empire," anyone?). Most people will find their way to this film as part of their Bertolucci completism. Some may be Tina Aumont obsessed. I don't think either will be greatly disappointed.
iCarly (2007)
Quality tween programming!
Nik have a bonafide hit on their hands with this charming vehicle for the talents of star Miranda Cosgrove (formerly a supporting cast member and frequent scene-stealer on Drake & Josh). Created by former Head of the Class alumni, Dan Schneider, iCarly follows the adventures of a Seattle teen and her friends under the supervision of her unconventional older brother while her father is deployed abroad in military service. The cast is wonderful. Schneider has taken his knack for discovering young talent to new heights with this gifted ensemble whose singular and collective abilities frequently rise above the material -which is pretty good to begin with. As with previous discovery Amanda Bynes, Miranda Cosgrove exhibits tremendous skill and good comic timing coupled with honest-to-goodness likability. The same can be said of co-stars Nathan Kress, Jeanette McCurdy and Jerry Trainor who perfect a balance of silliness and earnestness without crossing into ridiculous or unbelievable territory. None of them oversell a bit or mug camera like in certain other Nik or Disney shows. With writing that is far from juvenile while still appealing to a young audience, iCarly is quite enjoyable and proves that youth programming doesn't have to pander to the lowest common denominator to attract an audience. Good, solid programming.
Fast Food Nation (2006)
Not a comedy!
Anyone who saw the theatrical trailer might have been led to think that this was a cross between "Office Space" and "Waiting", when it is clearly not. This is no comedy. It was presented in the advertising campaign that preceded the film's release as a humorous parody of the fast food industry, but it is far darker and skirts the line between biting-satire and shocking social drama. In fact the abundance of slaughterhouse footage combined with story lines focused on the abuse and exploitation of migrant workers within the (no pun intended) food chain more resembles Paul Schrader's union-busting "Blue Collar" than the recent light expose on big tobacco, "Thank You For Smoking". And it is miles away from "Dazed and Confused" or "School of Rock". Granted "Fast Food Nation" is based on a best-selling non-fiction book that shed a very critical light on the titular multi-billion dollar enterprise, but many books are turned into films that the theater-going public have never read -and more importantly, are not expected to have read before the motion picture publicity machine creates an identity for the film based on the aforementioned literary property. As I remember it, Eric Schlosser's book was not so far in tone from Anthony Bourdain's Kitchen Confidential, which is grimy, but still ironically funny. Director Richard Linklatter is most often identified with comedies, be they off-kilter or romantic, with the occasional genre film here or there, so the expectation is that this film will be a zany, but ultimately heartwarming indie flick. The casting would seem to mirror that logic, with Greg Kinnear heading up a fine ensemble cast. However the final product seems to have been tampered with by nervous studio bosses who probably green-lit a dark, serious script but had no idea how to market a film based on such unsavory material. The result is a film that criss-crosses between slightly amusing social statement to incredibly harsh social nightmare scenario. Some of the footage is incredibly difficult to watch, and I by no means limit that statement to the animal footage. I'd say that on many levels, it is a brave indictment of a subject matter that is rarely (if ever) explored. But also think that by splitting the difference between two target audiences, it pleases neither. It was difficult subject matter to begin with, and perhaps the talent of the director and cast elevated it beyond what it would have been in lesser hands, but at the end of the day it's not a particularly pleasant viewing experience, and it's not as affecting as films like "El Norte" or "Maria Full of Grace", though the star of the latter is part of this film's cast. It's an interesting misfire at best, elevated by the participants rather than the material.
Splitz (1982)
Animal House gone Beyond the Valley of the Dolls
Sometimes you don't want to see Gone With The Wind. Sometimes you just want to see a good, old fashioned titty-flic. They don't make films like these anymore: films that fell somewhere between the drive-in, the grind house and late night cable. SPLITZ was one of the amazing topless-not-plot less popcorn movies that made it into regular rotation on HBO and Cinemax back in the glorious early 80s. Taking more than a cue from Animal House and then paying tribute to Russ Meyer's BEYOND THE VALLEY OF THE DOLLS, SPLITZ hits the ground running with a soundtrack reminiscent of either VALLEY GIRL or NEW WAVE HOOKERS, and it's thoroughly enjoyable in that Bevis & Butthead kinda way. A perfect night with the guys film, custom made for a movie marathon. Just add beer, bong and a bag of chips and you'll be happily on your way. Look for a very early cameo by Comedy Central regular (and Big Lebowski bit player) Dom Irrera. Perfectly captures the era in which it was made.
Final Justice (1984)
A beer drinking, butt kicking slice of quality 80s Action!
Joe Don Baker is one of a handful of actors who is often better than his material, and almost always under appreciated. He's been in a ton of films either as a heavy or a hero, and has the type of strong, solid presence that Wallace Beery did half a century before him. Baker can delivery material that would sound ridiculous coming out of another actor, and that's what's so great about him. He really seems to mean what he's saying, regardless of how cliché, obvious or silly, which puts him in a league with Tommy Lee Jones, Oliver Reed and Don Stroud. It's what made the WALKING TALL Trilogy work so well, and that same magic is here in FINAL JUSTICE. This was a substantial hit in theaters and on video in the 80s, and it has aged a lot better than many of the perhaps better known action flicks of the era. By moving the action from Texas to Europe, there's a real timeless quality that doesn't jar you away from the action on screen. To be honest, I've always enjoyed the films of Greydon Clark, who is a no-nonsense director in the same vein as 1970s Clint Eastwood, and this is one of his best. FINAL JUSTICE is one of the lost gems of the late 80s, similar to MAN ON FIRE in its true grit and violence. I suppose if they remake this with The Rock, a whole new audience will come to love it as much as I do.
Stephanie Daley (2006)
Perhaps the best film of 2007
This film was one of the real gems to come out of Sundance, and I was quite surprised to discover that Amber Tamblyn (Stephanie Daley) didn't walk away with the Independent Spirit Award for which she was nominated. I can only imagine that the majority of ISA voters didn't see the film. So far as I can tell, it has been the best reviewed film of 2006 as of the first quarter of the year, and nothing else for which I've seen trailers thus far looks likely to unseat it any time soon. The terms "career building" and "tour de force" are so rabidly overused that they don't do the performances justice in this film -a film that actually deserves such description without sacrificing subtlety. Stephanie Daley should be mandatory viewing for parents and daughters everywhere. It addresses the problems that can arise from the lack of information available to teens. Misconceptions about the "facts of life" due to withholding those facts (from young people) can lead to dire consequences, whether you are a believer of abstinence or a proponent of birth control. Education is the key, and this film presents a very candid, emotional and valid viewpoint that addresses both sides of this hot-topic issue. This film deserves as wide an audience as possible, and support from educators and community leaders will help open a dialogue that benefits all viewpoints, but most importantly benefits our children.
Sherlock Holmes and the Valley of Fear (1983)
Peter O'Toole - A Natural for the Animated Sherlock Holmes!
I've been a lifelong fan of mysteries, as was my father before me, and it's a tradition I've tried to pass down to my nieces and nephews. I recently came across these four animated Sherlock Holmes specials from the early 80s with acting legend Peter O'Toole voicing the greatest detective of all time. I'd never heard of these before, and boy was I in for a treat! Peter O'Toole has an amazing vocal quality that brings the right amount of sincerity and wit to the role, and his ability to have fun within character makes him a real treat for children. The animation is on par with any Hannah Barbera production from the era, and it reminded me of one of my other all time favorite animated shows, Scooby Doo, only with the higher quality writing of the Arthur Conan Doyle original stories. I can't wait to see these again, as I've heard a DVD release is pending. Wonderful family entertainment, and a great way to get kids reading. Highly recommended! One of the directors has been the chief layout artist for many Disney films in recent years, too, so it's nice to see that Disney could spot his talent way back then and put him to work on the sequels to Jungle Book, Little Mermaid and Aladdin as well as Clifford's Big Movie. Everyone loves a good mystery!
Sherlock Holmes and the Sign of Four (1983)
Peter O'Toole - A Natural for the Animated Sherlock Holmes!
I've been a lifelong fan of mysteries, as was my father before me, and it's a tradition I've tried to pass down to my nieces and nephews. I recently came across these four animated Sherlock Holmes specials from the early 80s with acting legend Peter O'Toole voicing the greatest detective of all time. I'd never heard of these before, and boy was I in for a treat! Peter O'Toole has an amazing vocal quality that brings the right amount of sincerity and wit to the role, and his ability to have fun within character makes him a real treat for children. The animation is on par with any Hannah Barbera production from the era, and it reminded me of one of my other all time favorite animated shows, Scooby Doo, only with the higher quality writing of the Arthur Conan Doyle original stories. I can't wait to see these again, as I've heard a DVD release is pending. Wonderful family entertainment, and a great way to get kids reading. Highly recommended! One of the directors has been the chief layout artist for many Disney films in recent years, too, so if your kids have grown up on the Jungke Book, Little Mermaid and Aladdin sequels, it will be nice to see where the layout originated.
Sherlock Holmes and a Study in Scarlet (1983)
Peter O'Toole - A Natural for the Animated Sherlock Holmes!
I've been a lifelong fan of mysteries, as was my father before me, and it's a tradition I've tried to pass down to my nieces and nephews. I recently came across these four animated Sherlock Holmes specials from the early 80s with acting legend Peter O'Toole voicing the greatest detective of all time. I'd never heard of these before, and boy was I in for a treat! Peter O'Toole has an amazing vocal quality that brings the right amount of sincerity and wit to the role, and his ability to have fun within character makes him a real treat for children. The animation is on par with any Hannah Barbera production from the era, and it reminded me of one of my other all time favorite animated shows, Scooby Doo, only with the higher quality writing of the Arthur Conan Doyle original stories. I can't wait to see these again, as I've heard a DVD release is pending. Wonderful family entertainment, and a great way to get kids reading. Highly recommended! I agree with another's comments that this is a very close adaptation of the original novel, perhaps THE closest ever. One of the directors has been the chief layout artist for many Disney films in recent years, too.
Sherlock Holmes and the Baskerville Curse (1983)
Peter O'Toole - A Natural for the Animated Sherlock Holmes!
I've been a lifelong fan of mysteries, as was my father before me, and it's a tradition I've tried to pass down to my nieces and nephews. I recently came across these four animated Sherlock Holmes specials from the early 80s with acting legend Peter O'Toole voicing the greatest detective of all time. I'd never heard of these before, and boy was I in for a treat! Peter O'Toole has an amazing vocal quality that brings the right amount of sincerity and wit to the role, and his ability to have fun within character makes him a real treat for children. The animation is on par with any Hannah Barbera production from the era, and it reminded me of one of my other all time favorite animated shows, Scooby Doo, only with the higher quality writing of the Arthur Conan Doyle original stories. I can't wait to see these again, as I've heard a DVD release is pending. Wonderful family entertainment, and a great way to get kids reading. Highly recommended!
I Want Someone to Eat Cheese With (2006)
Should have been better with this cast
Anybody expecting the acerbic wit of Curb Your Enthusiasm (due to Jeff Garlin's presence) or the belly laughs of Something About Mary (due to Sarah Silverman's presence) will be sorely disappointed. The film isn't bad, but "not bad" is hardly a recommendation, which is a shame, because there's some great talent involved. Jeff Garlin seems to have cashed in a lot of favors with Second city alumni and fellow stand-up comics to help him out on his feature film directorial debut, and I'm guessing that none of them will be putting this on their resumés. It's got several inspired plot mechanics that go nowhere, like the fake cast of "Streetcar Named Desire" starring Aaron Carter and Gina Gershon (who are both great at scene stealing, which is quite a feat when you read the laundry list of well known participants) but someone should have told director Garlin that cameos do not a film make. The film is essentially without plot and tends to meander from one situational set-up to the next without really developing a story. This lends an episodic feel at best and at its worst, it comes off as mundane. It seems to be going for an early 90s indie-comedy nostalgia, but it lacks the innovation and quite frankly the era that made those films appealing. It's shot well, but still has a stagy, direct-to-video look, and the music is so dinner-theater schmaltzy that you'd swear this was shot-in-Canada (it wasn't). The performers are obviously having a good time, but the whole project seems to be about ten years past relevance, and I -for one- have always hated watching performers have an obviously better time than their audience, but at least nobody is ghost walking through their roles, which lends an improvisational spirit even if it goes nowhere. It's not offensively bad; it's definitely watchable. But if you have any expectations arising from the supporting cast -actors from Little Miss Sunshine, Strangers With Candy, The Simpsons- you'll be more than aggravated that you wasted your time on this rather than rewatching one of those aforementioned titles instead. And with the title "I Want Someone To Eat Cheese With" they've all but assured that nobody's going to watch it anyways. You can do a lot worse, but you can do a whole lot better, too.
Harry Potter and the Goblet of Fire (2005)
Harry Plot Holes! Shouldn't have to read a book to "get" a movie!
This one had its moments, but almost nothing was explained, and I'm of the opinion that shearing unnecessary plot points entirely is a much better idea than leaving in just enough to satisfy the readers, because by splitting the middle you please no one. I haven't read the books, (before it is suggested I should tell you that I have absolutely no inclination of ever doing so) and it seemed to me that the filmmakers took it for granted that everyone in the audience had read them. Film and literature are different mediums and books and movies must each stand on their own, so in this respect particularly the film was a failure. The movie was overly long and yet there were a ton of plot holes, which are almost mutually exclusive problems in general; it felt both rushed and run down at the same time. This is a shame following on the heels of the last entry in the series which was an excellent piece of juvenile fantasy, no doubt owed to director Alfonso Cuaron, who directed A Little Princess, which is one of the single greatest children's films ever. He was a natural choice for the material. Mike Newell's only asset seems to be that he is British. While he did direct Four Weddings and a Funeral, everybody seems to forget that he also directed Pushing Tin and Mona Lisa Smile and a half dozen other real duds. Spielberg had expressed interest in directing this entry, and his offer was declined. Say what you will about Spielberg, but the guy knows how direct juvenile fantasy films better than just about anyone on the planet. I think they bungled it on this one. I didn't hate the film, but I was severely disappointed as the subject matter could have touched on a myriad of important life lessons, but came off like a soap opera for kids, composed of hackneyed ideas, snail paced and missing footage. I'm sure most will disagree, as this is a series of films that lures sycophants like pollen does bees. I say the emperor wears no clothes. I'll go see the next one probably, but I hope that they get the right director for the material, and they hire a continuity person who has not read the book, and allow that person to sit with the editor thus allowing for a truly objective eye to uphold the integrity of the piece.
Tôkyô densetsu: ugomeku machi no kyôki (2004)
Cold, Clinical & Creepy - Highly Recommended!
Tokyo Psycho is a very atmospheric telling of recent events involving the "Otaku" murders in Tokyo, Japan. It benefits from fine performances and chilling set pieces, but most of all from an almost medical sparseness. The cinematography takes full advantage of the very bare set design, which includes a lot of concrete and wood to create a claustrophobic intensity that director Oikawa exploits to maximum effect. I haven't seen a film with such an insidious use of music (which is to say almost none) since Todd Browning's Dracula, and yet the ambient noises that create a sonic background score are both sublime and disturbing, much like the film itself. The story follows a a pretty, young designer who is receiving obsessive love letters from an unknown admirer who she may or may not know. These letters quickly escalate to include body parts and threats, and the author of these valentines quickly becomes her assailant. The use of the DV video format makes the viewer feel like a voyeur to the terrors that unfold, and invokes a David Lynchian atmosphere of dread and suffocation while utilizing mainly daylight locations. In many ways the mood of the film is acid-trippy with sudden bursts of violence & tenderness in places where each is least expected. This is not a film for the "Boo!" crowd, as the disturbing nature of the unfolding narrative is creepier than it is scary, but this serves to indelibly imprint that mood and theme on the viewers psyche for weeks after viewing. Recommended.
Bangkok Haunted (2001)
Totally Visceral Horror from the director of THE EYE
I just received a screener of the Panik House DVD for this film, and the packaging is very impressive! I'm happy to report that the movie and the extras are every bit as impressive as well. This is an omnibus film co-directed by Oxide Pang, who along with brother Danny, directed THE EYE and BANGKOK DANGEROUS. There are three stories (told by three young women in a Bangkok Cafe) of horror and the supernatural shot in three distinctly different styles, while each fitting together quite nicely in the end. All of the stories have shocking moments of violence, but are never presented in an exploitive way, as thought the violence on screen is never superfluous and always serves to push the story forward. The first story, "Legend of the Drum" is a tale of murder a nd possession, and according to the "Making Of" featurette, the filming of this segment involved actual unexplainable circumstances, reminiscent of recently disclosed events on the sets of the original Exorcist and Wes Craven's Serpent And The Rainbow. The costume design is incredibly creepy. The second tale, "Black Magic Woman" involves an aphrodisiac, zombified prostitutes, and crazed axe-wielding killer, and may have involved actual cadavers. The third entry, directed by Oxide Pang, "Revenge" is the real payoff, and has a very original story structure and the best multi-level police procedural drama this side of CSI. Pete Thong-jeur gives a realistic and believable performance as a young detective convinced that a possible suicide is a case of murder, and the victim's spirit visits him throughout the investigation with ghastly consequence. The wrap-up is among the most original I've ever seen, and I'm going to run out and buy anything else with Oxide's name on it after this. The disc has a ton of extras. In addition to the documentary, there are trailers, a Pang Brothers bio written by Psychotronic Video Guide's Art Black (who also wrote the Thai Cinema Essay) and a lengthy still gallery. Oh yeah, it comes with a sticker, too. Great film, great disc.
Sung horn (2003)
Another excellent film from the Pang Brothers!
I received an advance screener of the US DVD of this title. What an amazing surprise! A very personal film that was well acted, realistic and suspenseful, without ever becoming unbelievable. Without giving away too much, I have to say that I was blown away by the ending -my sister even cried! The story concerns three lifelong friends (played by Thai pop group D2B, who are apparently the Thai N*Sync) who've started their own graphic design firm. One of them is involved in a mysterious car crash and finds himself in the presence of an old woman, a soothsayer, who can seemingly predict the future. Her "omens" (hence the title OMEN) at first seem to warn the boys, allowing them to alter their fates, but more sinister happenings threaten their friendship (and their lives) when a girl enters the picture. The film has rich character development - way more than I've come to expect from Hollywood movies, and the plot intertwines Thai superstitions with spiritual issues like reincarnation, and many other paranormal anomalies that create a very creepy atmosphere. The DVD has a ton of features, including trailers, band bios, still galleries, and essays; according to one such essay, one of the actors had a real near-death experience after the film finished, and there is a tribute to him from his fan club on the disc. I was able to find two Easter eggs in the menus, too. One of them is a great Behind-the-Scenes documentary with interviews with the cast and Danny and Oxide Pang. Really cool packaging, too. I can't remember the last time I received such a pleasant surprise.
Sha Na Na (1977)
The original 50's throwback variety show!
Sha Na Na were a group of Columbia University students who formed in 1968 and rose to popularity after performing at Woodstock, but it was their appearance in the blockbuster success GREASE that led to the creation of this variety show built around the band. The comedy sketches performed by the band were all based in a 50's "West Side Story" reality (on a sound stage) and in front of an "almost live" audience. Likely formulated to cash in on the 50's revival movement begun with American GRAFITI and HAPPY DAYS, it's perhaps surprising that it lasted as long as it did -a brief three and a half seasons. It may not have been as professional as Donnie & Marie or even the Mandrell Sisters, but what it lacked in budget it more than made up for in chutzpah. The "greaser" styled ensemble did a fair job on the comedy, which clicked mostly with youngsters, but the real highlight of this regional weekly program was the music., which appealed to older audiences nostalgic for the uncomplicated rock 'n roll music of the 50s.The band always performed at least one song in a straight-forward live manner, and usually several other songs throughout the program during the comedy vignettes (ala the Monkees). The writing was simple (perhaps even juvenile) but entertaining, as the program's target audience was probably also watching the (superior) Muppet Show, and the (inferior) Hudson Brothers, and Sha Na Na fit neatly between the two in terms of quality, and provided an alternative to the nursing home muzak of Lawrence Welk. The breakout star of the group was Jon "Bowzer" Bauman, whose basso profondo vocal register was so low as to be a novelty in and of itself. He went on to numerous acting roles and game show gigs. The television show helped the band sell a handful of records, and bushels of live concert tickets throughout its late 70's / early 80's run. For better or worse, Sha Na Na served as a cultural bridge for the generation between the New York Dolls (with whom they shared the Filmore East stage on more than one occasion) and new wave; it's hard to imagine the success of rockabilly revivalists The Stray Cats, without giving a little credit to the relentlessly touring Sha Na Na. All in all, it was good clean fun for the whole family -a sort of doo-wop version of HEE HAW.
Game Over (2004)
UPN's only prayer? Maybe... It has potential.
The series premiered last night, mostly to chilly reviews, but that should really come as no surprise. All of the subtleties would have been completely lost on the majority of television critics, who are well into their forties or older, and probably haven't played a video game since the first wave of Arcade Games hit the market, twenty-five or so years ago. Ironically, these are the same critics who laud and applaud The Simpsons for fast-as-lightning sight gags, and subversive humor. I'm sure that the series' target audience (gamers 15- 35) did enjoy it, and that demographic alone can probably sustain the show, but it will be a shame if that's the case. It's about time a show tackled the stereotypes of the games played by kids and teens (and adults -great Vice City gag last night!), and perhaps this will make certain adults aware of the content of the games that they blindly buy for their children, regardless of the age recommendation on the box. While it isn't necessary to have played any of the games being addressed, it certainly helps, and the obvious targets are plentiful; The buxom female action hero, and overly hip skater games took a punch last night, as well as DOA Volleyball, Pokemon, and the portrayal of Asians in VG media; and this was only the pilot. The opportunity to tackle current events hasn't even been addressed -can you image a CG Kobe Bryant pantomiming that ridiculous apology on the sidelines of an animated basketball game, while a young lady polishes a HUGE diamond ring, which happens to be the prize that Mom Smashenburn is seeking? Or a ski-masked #32 stabbing players in an animated football game, only to be arrested by a platoon of SOCom Navy Seals wearing George W. Bush masks as the real George W plays cheerleader at the John Madden Superbowl (I won't even go into the half-time show!)? And these aren't even my below-the-belt suggestions! (Producers take notice: I've got dozens of these gems -call me!) Celebrity cameos alone could be huge.
Marcy Carsey has previously helmed some amazing, groundbreaking shows, and this is a show where the possibilities are truly endless. That said, I was somewhat surprised by the level of violence (Thomas in the pet store for instance), and the language seemed a tad inappropriate for the time slot, but it does reflect the games portrayed, and I'm all for pushing the envelope if it's done cleverly.
Lost in Translation (2003)
The best American film of 2003 is a love letter to insomnia.
LOST IN TRANSLATION is a love letter to insomnia. An American movie star (Bill Murray) in Tokyo shooting a whiskey advert, forms an unlikely friendship with the wife (Scarlett Johansson) of a young photographer (Giovanni Ribisi). Their age difference can be charted in decades, but they find common ground in jetlag at the Tokyo Hilton. He is smack dab in the middle of a midlife crisis and she is struggling to discover her newlywed identity. One gets the sense that neither of them is a stranger to hotel rooms, but both are strangers to their spouses. A chance encounter in a hotel lounge brings them together in their mutual discomfort, which dissolves the isolation each feels independently of the other. The performances resonate reality, and this reality overshadows the extraordinary coincidence of their meeting. Bill Murray brings subtle warmth to his role, reminiscent of his supporting turn in RUSHMORE, but here, in sharing lead duties makes the viewer aware of just how talented he really is. His sense of movement, expression and comic timing are absolutely flawless, and it will be a crime if his performance is not recognized as the acting tour de force it is; it's easy to imagine Bill Murray now having the kind of career Tom Hanks has enjoyed over the past decade. Scarlett Johansson is mesmerizing in her emotional portrayal of an oft discarded newlywed, struggling to find meaning in her life, if not at least in her marriage. Her on-the-cusp-of-womanhood is as central a story mechanic as it is a framing device in many of the shots of the Tokyo skyline.
This is one of only a handful films that has accurately captured the feeling of being a stranger in a strange land. The hermetic culture of Japan is a perfect background for this story, and the city of Tokyo is as much a star as any of the actors. Traveling ten or more hours by plane to a country where the language is different, and the culture unfamiliar does interesting things to one's perspective, and this film revels in those differences. Sofia Coppola has proven her knack for identifying these anomalies while recognizing the similarities that exist pan-culturally. Her gift at directing young actresses (both in this film and her first) is as apparent as her intuitive casting and precise use of music. She directs this film in a manner that recollects a memory, both painful and poignant, but uplifting. She has fashioned a story that never ventures beyond the probable, but always surprises. It's themes are universal, and if it recalls any past film at all, it is David Lean's Summertime, albeit with a more drastic May-December slant. It definitely does not look like an American film, and by using a predominantly Japanese crew has managed to instill a very Japanese feel. Marvelous. Simply marvelous.
Daydream (1994)
Beautiful, Sophisticated, Existential Japanese Porn
If David Lynch made a hard-core porn film, I'm fairly sure it would resemble this Japanese oddity. The film has that early seventies, soft-focus look reminiscent of the early films of Alex de Renzy, or Joe D'Amato, but this film was released in 1994. The opening scene is an aerial view of a bare-assed salary man on top of a geisha, (engaged in coitus) in slow zoom for an uncomfortable length of time. The film then jump cuts back and forth between medical dentistry footage and the aforementioned couple as they explore the ministry position for all it's worth. This is obviously a nod to Ken Russell's BAD TIMING, which inter-cuts a sex scene with a tracheotomy, but unlike Russell's film, this dives headlong into hardcore sex (of the XXX variety). The version I saw was from a French Secam tape, with Japanese language and French subtitles, but the dialogue is sparse, so speaking Japanese or reading French isn't truly necessary to watch (or enjoy) the film. The benefit of a French release meant that none of the sex was fogged or digitally altered, so nothing was left to the imagination. The atmosphere is hallucinatory, and the plot existential to say the least, but it is hypnotic in its ability to captivate. The transition from sensual to repulsive is balanced nicely, but doesn't mask the director's obvious manipulation of the audience. As the running time advances the weirdness accelerates and climbs at an exponential rate. Definitely not for most, but if you're a fan of Euro-erotica, Japanese pink films, or specifically entertained by films like SINGAPORE SLING or THE IMAGE, then this is right up your alley. Beautiful, sophisticated, existential Japanese porn.
Addio zio Tom (1971)
Misunderstood Humanitarian Masterpiece
Many people who have claimed to see this film have not. Most of those who have seen it, have not understood. GOODBYE UNCLE TOM was directed by Gualtiero Jacopetti & Franco E. Prosperi, the two men who pioneered the documentary movement that came to be known as the "Mondo" film, a term the two dislike immensely. Hot on the heels of their controversial and still-relevant AFRICA ADDIO, it was meant to exonerate them from accusations of racism. Ironically, it would do the exact opposite. It was developed as an idea to adapt the novel "Mandingo" as an historical, documentary style drama. What emerged was a shocking, difficult-to-watch-at-times, treatise on the horrors of slavery, and the source of racism in America, if not the world, today. It was the filmmakers' intention not to pander to a politically correct theory that slaves of the 1840's had a 1970's awareness of their situation. The events are all historically correct. Many of the characters are people who actually lived. The dialogue is verbatim from true manuscripts of the day. The racism is a genuine depiction of plantation life of the day. It was felt that glossing over the African experience in America would be an insult to the pain and suffering of the millions who survived the "middle passage' only to welcome a life a slavery, no different from an animal or piece of property.
Years after it's initial release, the directors have expressed a regret at not opening the film with an explanation stating that this was a film about the emotions of that bygone era, not of the filmmakers themselves.
The controversial final scenes, which take place in contemporary America, are based on "The Confessions of Nat Turner", and are meant to represent an angry, reactionary vengeance on behalf of the millions, with whom the character identifies. Malice for sure, but not unmerited malice. This film should cause strong emotions. Any film that tackles a moral issue must cause debate and conjecture if it is to succeed. What makes the film even more extraordinary is that it succeeds without claiming a moral superiority, or taking a moral stance. What appears on screen are the most graphic, realistic depictions of the North American slave trade of the 19th century, and this film should be required viewing in Black History classes on college campuses, and high schools all over the world, particularly in America. This film preceded ROOTS by six years and stands as a much harsher indictment of the evils of human bondage. This is one of the bravest works of cinema and remains a misunderstood humanitarian masterpiece.
Daydream (1994)
Beautiful, Sophisticated, Existential Japanese Porn
If David Lynch made a hard-core porn film, I'm fairly sure it would resemble this Japanese oddity. The film has that early seventies, soft-focus look reminiscent of the early films of Alex de Renzy, or Joe D'Amato, but this film was released in 1994. The opening scene is an aerial view of a bare-assed salary man on top of a geisha, (engaged in coitus) in slow zoom for an uncomfortable length of time. The film then jump cuts back and forth between medical dentistry footage and the aforementioned couple as they explore the ministry position for all it's worth. This is obviously a nod to Ken Russell's BAD TIMING, which inter-cuts a sex scene with a tracheotomy, but unlike Russell's film, this dives headlong into hardcore sex (of the XXX variety). The version I saw was from a French Secam tape, with Japanese language and French subtitles, but the dialogue is sparse, so speaking Japanese or reading French isn't truly necessary to watch (or enjoy) the film. The benefit of a French release meant that none of the sex was fogged or digitally altered, so nothing was left to the imagination. The atmosphere is hallucinatory, and the plot existential to say the least, but it is hypnotic in its ability to captivate. The transition from sensual to repulsive is balanced nicely, but doesn't mask the director's obvious manipulation of the audience. As the running time advances the weirdness accelerates and climbs at an exponential rate. Definitely not for most, but if you're a fan of Euro-erotica, Japanese pink films, or specifically entertained by films like SINGAPORE SLING or THE IMAGE, then this is right up your alley. Beautiful, sophisticated, existential Japanese porn.
Gangster No. 1 (2000)
This isn't your granddad's gangster film!
This was far and away the most overlooked film of 2000. Here in the US it screened at the LA International Film Fest, and just this summer was shown as the last film in an American Cinemateque Film Retrospective on Malcolm McDowell. I have recently heard that it will be given a limited release in the states this year, and I sincerely hope that it does. This film could do for Malcolm McDowell's career what Pulp Fiction did for John Travolta. It is the most well drawn character he's been given to interpret since Clockwork Orange and as a result is the finest performance he's given in twenty-five years. This includes his wonderful turns in the Lindsay Anderson trilogy as well as Time After Time, and Royal Flash: top calibre work from a performer who has been type cast and overlooked for far too long.
The nameless gangster that the title implies narrates the story of his own life from 1968 to present as he rises through the ranks of street tough to crime boss. Paul Bettany (recently of Knight's Tale) portrays the younger McDowell, and must have subsisted on a steady diet of Mal's early work because he has his mannerisms down cold. His more than a passing likeness works very well for the transition between the two periods covered in the film. David Thewliss is wonderful as a dandy but deadly crew boss in swinging London and Saffron Burrows looks very at home in 60's regalia and like everyone in the film, gives a very strong Performance.
This is a side of British film making that hasn't been seen in years; it seems more of a contemporary of Performance, Get Carter, and Poor Cow, than of Lock, Stock.., or Snatch (both very good films in their own right). The sale of Stephen Soderberg's Limey and the Stallone Get Carter remake (and their awful box office take) must have hurt McGuigan's chances for immediate distribution and more the loss because of this. The score is immersed in 60's cool right along with the soundtrack, and the cinematography has a heavy retro feel. The violence is also reminiscent of the late 60's (Bonnie & Clyde) and early 70's (Last House on the Left) and while definitely not for the squeamish, is not used to glorify itself.
Rarely has violence been used in a realistic manner and yet responsibly at the same time, without becoming preachy. If the Miles Davis album Bitches Brew were an English Gangster film, this would be it.