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What was the point?
20 December 2003
Intermittently fascinating and boring, but I have a suspicion that underneath, the filmmakers were secretly making fun of Mark Borchardt and his friends and family.

Many of those posting here have commented on Borchardt's being "untalented," but where do you get that from? Based on the snippets of his films shown here, he's no more or less talented than any other low budget, struggling filmmaker. I think the "untalented" moniker comes because Borchardt isn't all urban and sophisticated and polished. He drinks too much and uses the "F word" too much and tries to show off his command of filmmaking lingo around his friends and family. And frankly, he would be a total embarassment at an L.A. industry lunch at the Ivy. But does that make him "untalented?"

So other than making fun of Borchardt, what was the filmmakers' point? That some Midwestern, uneducated schlub doesn't have a prayer of making a movie? That he has colorful relatives who live in trailers? Was it supposed to make urban, educated, sophistacted NPR subscribers feel superior? I don't understand.....
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Absolutely dreadful
14 December 2003
I know somebody who worked on this movie -- that is the only reason I watched more than 10 minutes of this garbage. This is one of the worst movies I've ever seen. Poorly written and acted, trite, hackneyed plot, and actors who all look alike spewing the F word every other second. Somehow, this dazzled people at Sundance years ago, but I think a better quality of independent film has sprung up since then. If this were released today, it would never make it to Sundance, and would never get distribution.
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6/10
A great low budget, first feature - Spoilers
13 December 2003
Warning: Spoilers
Contrary to IMDB describing this movie as a "drama/documentary," it's actually a comedy/MOCKumentary. Cheryl Dunye plays "Cheryl Dunye," a video store employee who is making a documentary about a black film actress from the 1930s. The 1930s actress is a fictional character, and Dunye does a nice job integrating the "film within a film" into her story.

Yes there are dramatic elements, particularly around race relations in the lesbian community. But there are many comedic moments, and very droll one liners. Dunye does a nice job gently poking fun at lesbians, African Americans, and radical leftists (the scene at the Center for Lesbian Info and Technology -- figure out THAT acronism -- is hilarious).

Some of the acting is amateurish (though Dunye herself is a standout! I wish she would keep appearing on-camera in other films. She's very talented). And Dunye the director should have done re-takes in a couple of shots where the actors blow their lines. But the clever idea of a mockumentary really makes the film interesting -- nice debut for Dunye. Will be interesting to see how her career pans out.
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Like two different movies in one....
2 December 2003
The first movie wrapped up in "Horse Whisperer" is wonderful. An emotional, gut-wrenching story about an injured girl and injured horse, and how they make their recovery. Beautiful. I wanted to see much more of this story. And Scarlett Johansson is just terrific. Robert Redford is good in this part of the movie, too. He plays the role very well, and genuinely connects with Johansson in a grandfatherly way.

The second movie contained herein is a wretched abomination about a self-obsessed woman whose daughter has lost a leg and is trying to recover, but this mother -- married, BTW -- falls "in love" with an older rancher. I say "in love" in quotes because you never really see the chemistry developing between Kristin Scott Thomas and Robert Redford. One second, she's bothering him with her ringing cell phone, the next, they're "in love." Whatever. Redford was terrible in this part of the movie. No connection with Scott Thomas. And her character is just yucky.

Too bad Redford the director hijacked the movie away from the true star, who should have been Scarlett Johansson. Instead, he gave himself yet another chance to play romantic lead. It absolutely didn't work this time, though. And it's really too bad, given that he had such terrific material if he'd shifted the focus to the girl and the horse and their recoveries. That's the interesting story here, not some hackneyed "love story" with a woman 20 years younger. And as somebody else here pointed out, absolutely no chemistry between those two. Zero. It was completely implausible that those two would be "in love."

Redford should just settle into Grandpa roles. As he proved in "Horse Whisperer," he's very good at those. But this cowboy leading man full of homespun folksy wisdom -- enough already, Bob.

And jeez, could that Kristin Scott Thomas character have been any less likable?
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Baby It's You (1983)
Pleasant diversion, nothing more
29 November 2003
Unlike other viewers, I didn't really connect with this on any major level. And I don't think their longing for each other was anything more than adolescent infatuation (hey, we've all been there!), made all the more desperate by separation anxiety. A couple of 18-year-olds struggling to find themselves in the world. OK as a romantic comedy drama, but no great shakes.

Performances were all solid. Interesting to see Matthew Modine pop up briefly as the college boyfriend. And it looked great -- nice and moody -- seemed like something out of the 1960s.

One thing bothered me: The use of Bruce Springsteen songs from the 1970s in a movie that was to have taken place in 1967 (not 1965, as another reviewer said -- the signs at Rosanna Arquette's prom clearly said, "Class of 1967"). Anyway, those Springsteen songs from the soundtrack wouldn't have been out yet. But I guess it was done to add a "Jersey feel" to the movie.
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Oddball little delight
24 November 2003
I TiVo'd this movie because I have an absurd sentimentality for animals. A friend actually snickered when she saw this on my TiVo "to do" list. No matter. I watched it on a night when I needed to just veg out - no challenging foreign films that night, thank you.

Boy, was I glad I did! As other posters have stated, this is a weird movie. No children star in this movie, but it has a talking dog narrator! And he's actually trained as a fighting dog -- something you probably wouldn't see in a "talking dog" movie made today.

Vic Morrow's voiceover was a bit distant -- joking a bit too much when you knew the dog was in sheer terror, for instance. But I liked the New York accent. It worked for the little street tough that the dog (his name was Wildfire) was supposed to be.

Human cast was terrific, especially Edmund Gwenn. Dean Jagger also good.

If you have a tolerance for G-rated talking animal movies, this one is different and worth checking out. It's not exactly a kids' movie -- children may be bored, in fact, since the action, though fast, isn't exactly at the breakneck cartoony pace that kids today are accustomed to. And there is some implied violence and "adult situations." But it's a brisk story that moves along nicely, and with some genuinely funny moments. And a sweet ending.
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Adaptation. (2002)
Two-thirds of a great movie
15 November 2003
Wow, was this different and clever and thoroughly enjoyable to watch...until about two-thirds of the way through, when the plot just heads off in a ridiculous direction. It's almost as if Mr. Coppola (whoops, sorry, that's Mr. Spiegel) got lazy and just tacked something on. Very disappointing, especially after the wickedly good set-up.
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Entre Nous (1983)
This is supposed to be a "modern classic?"
27 May 2002
For years, I've heard glowing praise of this movie....now that I've seen it, I feel the praise is largely undeserved.

The movie gets off to a bad start: It's unclear (at least from the subtitled version I saw) where the heck the characters are. It's obviously Europe and some kind of World War II era camp, but that's all I could glean....And in the early scenes with Miou Miou, where her first husband gets shot, it wasn't clear who was doing the shooting and/or why. According to the description on this site, it was the "resistance," whatever that means....(to be fair: perhaps most Europeans in 1983 understood the history without needing reference books, but this U.S. home video viewer in 2002 would have appreciated a bit more historical context)

As for the rest of the film....Slow, slow, slow. And with a lot of extraneous elements that never seemed to go anywhere.

Frankly, I was hoping for more romance between the two women, which you never really see. You just get Isabelle Huppert's husband being angry all the time.

And for the record, I didn't like the way the Miou-Miou character kept insulting her young son. None of these characters were particularly likeable, not even Isabelle Huppert. The ugliness of the characters detracted from my enjoyment of this, too.

I suppose this was considered really "avant garde" or something, in terms of subject matter, back in 1983, when it was released. But today it just falls really flat. A disappointment.
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Late Marriage (2001)
Interesting, but flawed
25 May 2002
This film opened last night in Los Angeles, and seemed to draw a pretty good crowd -- I assume they'd all heard the same positive buzz I'd heard...

Interesting look at a very old fashioned culture (Georgians who emigrated to Israel), and the demands they make on a grown son. From an American perspective, the parents' objections to the son's choice in girlfriend (or potential wife) seem trivial: she's slightly older, and divorced.

But here are my issues with the film: The character Zaza is a very weak-willed man who bends too easily to his parents' demands. Now, it's interesting to see someone who's not a traditional Hollywood "strong" hero -- but it was hard to be sympathetic with this guy, since he didn't really seem to disagree with his parents. There's a pretty long sex scene(which has been justifiably lauded as much more realistic than anything you'll see in a Hollywood film), but later in the film, he treats his girlfriend pretty badly. There's a pivotal scene in which he sides with his parents vs. the girlfriend, and I just lost all respect for the character at that point.

Also, the movie drags on a bit...Could have benefited from quite a bit of editing. Couple other criticisms: Characters are introduced, but it's not clear who they are, or how they are related (maybe it loses something in the subtitles). More importantly, I read a review in a newspaper here that said a key plot point was the different ethnic backgrounds of Zaza and his girlfriend: But that did not come across at all! Maybe in Israel that is a big deal, and if so, that should have been made clear to American audiences, as well. Again, I suspect something got left out in the subtitle translations...

Still, it's interesting to see an Israeli film, and maybe this director will have something better up his sleeve next time...
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I kept waiting for it to get funny
19 May 2002
Yes, the premise is original, but...

I was very hopeful that this movie would deliver great, offbeat comedy to go along with its wacky premise...But it never, ever lives up to its potential. That's too bad, because it could be a real standard-bearer for alcoholic clown movies!
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Time Out (2001)
One of the worst films I've ever seen
11 May 2002
Let's see: No appealing characters, a situation that starts promisingly, but quickly deteriorates into utter boredom....This is a slow, dull film that lasts way too long. It's impossible to care about this guy and his family, but the fatal flaw is: NOTHING HAPPENS. Don't waste your money and time on this turkey.
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Overrated
6 April 2002
Where to begin?

I guess people like this because it has solid characterizations, and it's a good male bonding story with some action.

But it's a sanitized, cartoon-like view of a POW camp that couldn't have possibly existed. People's comments keep saying how "accurate" it is, but I don't know how they know that: Were these reviewers ever in a German POW camp? What POW camp would let prisoners wander around freely with tools? And the guards would be like waiters bringing them milk for tea? And in what POW camp would the prisoners have such privacy, and a lack of restriction on their activities. They have all kinds of secret meetings with no guards in sight. Oh, and the commandant's line about "sitting out the war in comfort" is absurd. These were Nazis, folks, not exactly known for their patience. This whole so-called POW camp looks like some country club.

This film absolutely stretches credulity to the limits, making the movie pretty much unwatchable.

Oh, and the German accents are Hogan's Heroes-style laughable. The whole thing plays out like a substandard TV movie

Sorry, this movie absolutely doesn't hold up.
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Mean Streets (1973)
Bo-ring
2 March 2002
OK, now I realize that this film is a milestone in cinema history, and that it spawned a host of gangsta-film wannabe directors....Perhaps it was truly groundbreaking in its day, but I expected so much more....

All the synopses of this plot I've ever read describe it in terms of violence and brutality...I wish! It's just a meandering, plotless, mostly NONviolent snoozefest (sorry, I don't count some "beat 'em up" fights as violence. Are these the only gangsters in film history who didn't carry guns?

Unfortunately for "Mean Streets", the bar has been raised in the three decades since this film was made. But fortunately, one of the key directors who raised that bar was Scorsese.

I think film buffs just hear how "great" this is, and they jump on with the bandwagon. It really doesn't hold up to films that have come out since, including most subsequent Scorsese pictures.

One final thought: This film has probably been romanticized (maybe by Scorsese) as "autobiographical." Gimme a break. Wasn't he some sickly kid who spent his time in movie theaters? He probably only saw guys like this from afar...
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Hoop Dreams (1994)
Riveting
18 February 2002
Warning: Spoilers
As others have said, this is a 3-hour movie that just breezes by! The story of these kids and their families holds your attention more than most feature films.

Having said that, I was surprised by many of the others' comments here. I didn't see this so much as a testament to the nobility of people in the ghetto, or any "guilty white liberal" perspective that keeps popping up in the comments here. Instead, I kept getting frustrated by the BAD decisions these people kept making, despite their obvious good intentions, and genuine love for their families.

***SPOILERS BELOW -- IF YOU DON'T WANT PLOT POINTS REVEALED, DON'T READ THIS****

For example: William Gates and his girlfriend having a child so young. A life-handicapping decision. For a guy with such big dreams, you'd think it would occur to him that that's not a great idea for a high school student.

Another example: Arthur's mother going on welfare. Now, here's an intelligent, attractive, well-spoken, able-bodied woman who seems capable of doing many, many kinds of work. She needlessly subjected her family to hardships, when instead, she could have found gainful employment. (Before you all jump on me: Yes, I heard her say she was "disabled" from an injury at work. I didn't buy that -- she could have found some other kind of work. And yes, like other viewers, I was thrilled for her when she finished her nursing program, and thought it was quite ironic that she finished at the top of her class, when her son was failing his work. She was a great role model for him in that regard.)

But the scene where she blames "the system" for taking away money from her family: Give me a break, lady!! "The system" gave your kid a shot at a great education. YOU are deciding not to provide for your family in the best way possible.

Another example: I didn't feel one bit sorry for William's brother. He CHOSE not to finish college, and he CHOSE to live vicariously through his brother.

Final example: Though this is more a tragedy, really, than a bad decision. It really was sad that Arthur's father, who loved his family and had good intentions, was so pulled by drugs and petty crime that he couldn't really "walk the walk" despite "talking the talk" re: helping his son live his dream. I was glad that he seemed to get himself straightened out -- he seemed like a good guy (and Arthur's mother seemed like a decent person, too, despite my criticisms above), so it was nice to see him come back to the family. But it's a tragedy, because that's the kind of crap that tears up inner-city families (just think: If he'd been able to keep a steady job and support his family: How different might things have been?)

Other people here blamed the coaches: No way. These guys are doing their jobs. They really want to help the kids, I think. They'd rather see these guys play well, do well in school, go to college and graduate, rather than be screw-ups who can't even pass the ACT (an easier test than the SAT, by the way). I mean, FIVE times to take the ACT, and then the score has to be rounded up to a barely passing mark? Again: Give me a break!! William knew for years what would be expected of him, but he was too distracted by injuries and fatherhood to focus on stuff that a 17-year-old kid SHOULD be focused on.

But I loved this movie: Anything that gets you thinking like this MUST be a good film. I highly recommend it.

I'd love to see a "where are they now" kind of thing, to see what's happened to all these people, 10 years later....
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Moulin Rouge! (2001)
Visually arresting
26 January 2002
See it for the stunning production design, choreography and the music. Kidman and MacGregor are surprisingly talented and versatile singers, and the always excellent Jim Broadbent is dynamite in support.

But as for the t-e-d-i-o-u-s and all-too-predictable sappy and traditional love story? Well, it certainly slows down an otherwise excellent and truly original film...There are definitely some "leave the room for popcorn" moments while Kidman and MacGregor talk about their relationship (yawn). Also, the duke is a real tiresome bore of a character, but as the "foil" to interject the dramatic obstacle that keeps the two lovers apart, it's a thankless role.

You won't miss a thing if you leave during a slow, talky part-- just make sure to get back before the singing and dancing starts again!
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Not bad, but no masterpiece
30 December 2001
Well, every review I"ve read of this movie heralded it as fresh and unique beyond most of what's in theaters....I went into the theater with my expectations downgraded from that (since most of what passes for masterworks these days is just mediocre), so I wasn't terribly disappointed. It's got a lot of funny moments, the cinematography is beautiful, as are the NYC area locations, which are used in a really unique way. The cast is game, and overall, it was fun to watch, and the scenarios were, indeed, set apart from your usual movie fare. But that's as the movie was intended: Wes Anderson and Owen Wilson wrote it to be quirky and off-the-beaten path, so anything short of "different" would have been an abject failure.

In short, this movie was a fun way to pass some time...But nowhere near as great as the reviewers' praise would have you believe.
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Flawed and cliched
9 December 2001
This movie is built upon a deeply stereotypical view of women in business, i.e. that they have no family, friends, etc -- in other words, that for a woman to reach the point of being a CEO, she must sacrifice all other personal happiness for her job. This may have been true in 1975, but it's not so true today.

Furthermore, if Stockard Channing's character has reached a pinnacle of her career to become a CEO, it's absolutely unbelievable that she would behave in the way that writer/director Stettner presents her.

In a Los Angeles times review of this film, it's pointed out that Stettner learned about the business world through working as an office temp. Clearly, that didn't give him enough insight into how real businesspeople behave. He obviously relies on outdated information about women in business, and it's clear he hadn't spent much time with real software company CEOs -- but I guess the office temps wouldn't do that, would they?

Performances are good, and the technical aspects of the film are good. But as a story, it completely lacks credibility. Hard to believe this thing even found distribution...
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