Thursday, May 31, 2007

MOVIE POLITICS IN A NUTSHELL


By Peanut

It's T-minus 523 days until the 2008 Presidential Election, and I guess that means we've officially entered "campaign season." Though I hardly ever watch pre-primary political debates, I couldn't avoid the video snippets replayed on every television news outlet this month. By and large, American political discourse has devolved into a bunch of old white guys (my apologies to Hillary and Obama) making empty promises and trying to scare the bejesus out of the American people. But before you run and hide under your bed to avoid those seemingly insurmountable problems looming on the horizon -- the Iraq War, al Qaeda's resurgence, the immigration crisis, and Paris Hilton's imprisonment -- let me assure you that there is a much more constructive way to engage with these issues: BY WATCHING MOVIES.

From Fail-Safe (1964), the Cold War-era cautionary tale of "mutually-assured destruction," to Children of Men (2006), a futuristic depiction of human civilization's collapse, politically-themed movies have illuminated the fault lines in our society as no other medium can. While politicians and the media often couch distortions in the guise of truth, movie directors -- the best ones, anyway -- instill truths in works of fiction. So just think: by vegging on the couch with the DVD remote in hand, we are fulfilling our patriotic duty to become informed members of the American electorate!

In upcoming installments, we'll discuss films that aim to provoke discussion, from Alfonso Cuaron's Children of Men to Eli Roth's Hostel Part II. (Well, maybe Hostel II didn't aim to provoke political discussion, per se, but I've got some ideas to bounce off you.) As President George W. Bush would say, "Bring 'em on."

Friday, May 18, 2007

From the Mailbag: "Movie Star Stock Watch" by Fluffhead

Pedro, I wrote a correspondent piece, just for you (or all your readers). Hope you enjoy...

I know this is a movie website, but if you wouldn't mind indulging me for a moment, I'd like to talk about a TV show.

The year was 2004. This show was "Come to Papa," an NBC sitcom burned off late in the season. The show starred comedian Tom Papa as a newspaper writer with dreams of being a comedy writer. Papa, who was discovered by Jerry Seinfeld, adopted his mentor's smug demeanor, but not what made "Seinfeld" funny: Costanza (and also witty writing). Papa's prime-time career and the show, understandably, didn't last. So why talk about it now? It does have to do with one of the show's actors, and no, it wasn't John Salley, who played Papa's mailman and as an actor made a so-so basketball player. No, the actual answer: Steve Carrell.

That's right, the world's worst boss honed his traits playing Papa's crazy editor-in-chief at the newspaper. The material was poor, but Carrell ran with it and stole every scene he was in (much like he did previously, and with little fanfare, on "The Daily Show"). The show was destined for failure, but this guy, I thought, had a future. I thought, I wish I could buy stock in Carrell's career. Sure enough, a year later he popped up as the Michael Scott (he was actually cast in "The Office" before "Come to Papa" even aired), and then made the leap to big screen leading man thanks to the fantastic "The 40-Year-Old Virgin." He got $500,000 for that role; now, in this summer's Evan Almighty, he's making $5 million.

So what scene-stealing actors look like they're ready to bust out of the background and increase their salary ten-fold? Well, with Carrell in mind, here's my first Movie Star Stock Watch: Summer Comedy Edition. These are the actors whose stock I'd buy, hold, or sell if I could.

Buy

  • Seth Rogen ("Knocked Up," "Superbad") - "Knocked Up" will be the best comedy of the summer, and Rogen will be a big reason why. Judd Apatow seems intent on giving roles to the stars of his failed TV shows (Jason Segel and Jay Baruchel, at least, pop up in main roles in "Knocked"), and Rogen will be the first "Apatow All Star" to truly benefit. He stole scenes from Carrell in "The 40-Year-Old Virgin" (just like Carrell did from Will Ferrell in "Anchorman"—stealing scenes from a talented comedian is a tell-tale sign that one is poised for big things) and on "Freaks and Geeks." Now he gets the chance to shine on his own. Throw in the fact that he also wrote the hilarious-looking "Superbad" (previous writing credits include "Da Ali G Show" and "Undeclared"), and Rogen looks ready to reach the big time.
  • Kevin James ("I Now Pronounce You Chuck and Larry") - I must admit, this movie intrigues me (Alexander Payne and Jim Taylor credited as screenwriters?) while terrifying me at the same time (Jessica Biel not only as Adam Sandler's love interest—who keep getting younger and more attractive each movie, by the way—but also as a lawyer? This might challenge Denise Richards as a scientist in "The World Is Not Enough" and Tara Reid as a genius anthropologist in "Alone in the Dark" as the most questionable casting decision yet). The one thing I do know is that Sandler can still open a movie, and James should stand to reap the benefits. He's gone about his film career the right way (unlike buddy Ray Romano), taking on supporting roles next to bigger stars (Sandler, Will Smith). Look for him to be the big star, with the big paycheck to match, next time around.
  • Michael Cera ("Superbad") - An open letter to Michael Cera:

Dear Michael,

So long as you keep playing characters akin to George Michael Bluth, I will personally make sure you are on my "buy stock" list until the end of your acting career, or my blogging career, whichever comes first.

Sincerely,

Ryan "What a fun, sexy time for you" Lane

Hold

  • Will Arnett (The Brothers Solomon) - I'm very tempted to write a letter similar to the one above addressed to GOB Bluth, but I'll hold off for now—as it seems like Arnett might not have the ability to play anyone except GOB-like beings (not that there's anything wrong with that). He'll certainly stay in the dysfucntional family vein with "Brothers," but he'll be doing the heavy lifting this time. Arnett's previous flirtation with leading man status ("Let's Go to Prison") didn't end well, but he was the best thing in "Blades of Glory," and the early press on this movie is encouraging. I know I'm pulling for Arnett, I mean, COME ON, how could one not be?
  • Andy Samberg ("Hot Rod") - Samberg is teetering between Adam Sandler and Jimmy Fallon territory right now, and the teaser trailer for "Hot Rod" certainly has him leaning toward the latter. I wonder if this might end up being too much too soon for Samberg; still I'm holding out some hope—but it might just be because Samberg is probably Jewish (OK, most of his digital shorts on SNL are pretty funny too).
  • David Koechner ("The Comebacks")
    Koechner's a fantastic, versatile comedian who's struck a chord in supporting roles ("Anchorman," "The Office") more so than big ones ("The Naked Trucker and T-Bones Show"). He deserves a hit as a leading man, and "The Comebacks"—a mishmash parody of sports movies—might be it. Movies such as this (the Scary Movie franchise, Epic Movie, Date Movie, etc.) have done surprisingly well, even if most of those didn't open during the competitive summer months. "The Comebacks" shows up right at the end of August, after the glut of blockbuster movies have run their course, so maybe viewers will be looking for something silly and stupid, which this movie, and Koechner, certainly can provide.

Sell

  • Zach Braff ("The Ex") - The early reviews of "The Fast Track," I mean, "The Ex," are in, and they aren't favorable. After a solid, if overrated, debut with "Garden State," Braff tried to increase his indie cred with "The Last Kiss," which didn't take, and now he tries his hand at broad, Ben Stiller-style comedy, which doesn't seem promising either. Braff's goofy sentimentality never earned him a large audience on TV, so expecting him to be a leading man in movies right away appears foolhardy. Don't expect "The Ex," which went through a name change and dramatic re-marketing after being shelved for awhile, to make things any easier for him. Another season of "Scrubs" might not seem like such a bad idea to him after all.
  • Dane Cook ('Good Luck Chuck," "Mr. Brooks") - Rob Schneider has headlined four movies; David Spade, three (the numbers are five and four, if you want to count "The Benchwarmers" for both of them). "Good Luck Chuck" marks number two for Cook, and unless he quickly befriends Adam Sandler, I'm not sure he's going to catch Schneider or Spade. In fact, the only reason why I'd be rooting for Cook to succeed is because of the increasingly omnipresent and enjoyable Dane Cook backlash. I'm mildly intrigued by him playing a dramatic role in the serial killer drama "Mr. Brooks," but only because it means Kevin Costner might kill him.
  • Chris Tucker ("Rush Hour 3")
    Three years passed between the making of "Rush Hour" and "Rush Hour 2." It was 6 years between "Rush Hour 2" and "Rush Hour 3." Does that mean it will be 12 years before we have to see Chris Tucker on screen again? Let's hope so.

Thoughts, comments? Whose stock would you buy, hold, or sell if you could?

Fluffhead (a.k.a. Ryan Lane) is a contributing writer who uses his degree in Magazine Journalism from Syracuse University to write things that neither appear in magazines nor have any journalistic merit.

Wednesday, May 16, 2007

Peanut's Postscript: Best "Spidey 3" Viewer Quotes

When it comes to Spider-Man 3, P and B are in complete agreement.

Wait, whaaah? We’re in complete agreement?! Cue the “Hail Satan” choral chant from The Omen, or, if you prefer, the scene where the Ghostbusters warn the mayor of impending “Old Testament, real wrath-of-God type stuff.” (“Human sacrifice, dogs and cats living together… Mass hysteria!”)

As B observed so astutely in the previous post, Spider-Man 3 has an unfortunate “been-there-done-that” vibe. So, to avoid giving you a similar feeling, I have humbly conceded the floor to my partner-in-criticism. Instead of writing a full movie review, I submit my list of the…

Best Viewer Quotations from Spider-Man 3: The IMAX Experience

(Note: I attended a sold-out Saturday morning showing on the Upper West Side of Manhattan.)

4. "She's a hoochie!"

  • Said by… The 30 year-old dude sitting behind me, to his 5 year-old son. (B, perhaps he was the same guy who yelled out “Slut!” at your screening?)

  • When… Mary Jane kisses Harry Osborn.

3. "Shut the f*** up, Justice!"

  • Said by… The same dude sitting behind me, to his 5 year-old son who is apparently named “Justice.” (No joke.)

  • When… Repeated several times during the movie, but most audibly during awkward Peter/Mary Jane exchanges. (Did I mention that this dude also brought his infant daughter…to a PG-13 movie…in a sensory-overloading IMAX theater…strapped in a car seat!?!)

2. “A12? That’s Zack and Kelly’s Song!”

  • Said by… me.

  • When… Peter, having been dumped by his girlfriend, takes a hot blonde to the restaurant where his ex works as a waitress. He dances with his date in an attempt to make his ex-girlfriend jealous, but both girls see through his scheme.

Dear Spider-Man 3 Writers,

You know you're in bad shape when you’re copping scenes from "Saved By the Bell." Too bad you didn’t make Gwen Stacy pour a chocolate milkshake on Peter’s emo haircut.

Sincerely,

Dustin Diamond


Peter Parker and Zack Morris agree: Revenge is a dish best served blonde.

1. “Can a movie jump the shark?”

  • Said by… my girlfriend.

  • When… “Black-suited Peter” struts down the sidewalk, pointing and gesticulating in the direction of attractive women. This ridiculously awful scene hearkens back to a much more humorous sequence in Spider-Man 2, in which Peter, having forsaken his superhero duties and trashed his Spidey suit, strolls (and stumbles) across Columbia’s campus to the tune of “Raindrops Keep Fallin’ On My Head.” In contrast, the scene from SM3 is just too over-the-top for words. Tobey, if this is what you meant when you said you hoped to “explore Peter Parker’s dark side,” then bravo, Tobey, bravo. You just sank your own battleship.

1.5 PB Jars

Tuesday, May 15, 2007

Spidey Spins But Fails to Score

Spider-Man 3: 1 PB Jar
"Signal Fire": 2.5 PB Jars

I have never been more excited to hear a Snow Patrol song.

Now, I’ve been excited to hear Snow Patrol’s tunes on numerous occasions. Ever since hearing “Spitting Games” while playing EA’s MLB 2004 for Xbox, I have been a pretty big fan of these Scottish lads. Shortly thereafter, I discovered they were more than a one-video-game-hit wonder by picking up their album Final Straw. Today was different. Today was especially exciting. Today, Snow Patrol’s latest, “Signal Fire”, was signaling that Spider-Man 3’s credits were rolling… finally!

I was shocked to find the film’s length listed as around 2 hours and 20 minutes. I could have sworn it was 4 plus hours. Picking up where the (few) flaws of Spidey 2 left off, the romance between Peter Parker and Mary Jane is tepid and I found myself not caring a lick whether they stayed together or not. Aunt May’s “words of wisdom” were trite and clichéd, garnering an eye roll with each utterance. Spidey 3 then takes failure to new heights by missing on every cylinder that its predecessor nailed. The action is boring and feels “been-there-done-that”. There are too many villains, with both Sandman and Venom (in particular) suffering from severe underdevelopment. And most importantly, for a film whose marketing campaign built off the tagline “the greatest battle lies within”, there is nothing emotionally gripping or seriously dramatic about it.

Venom is arguably the best villain in the franchise (he is certainly my favorite), and the film simply fails to do his character justice. Topher Grace makes good work of the two-dimensional role he inhabits, but with such little screen time and development, he is really at a loss. Supposedly director Sam Raimi was not a fan of the Venom character prior to filming Spidey 3. If true, then it is really a shame that he felt the need to include him in the film at all. The storyline is rushed and underwhelming for a character that could hold his own as the sole villain in a future Spidey. Apparently Raimi is a devoted fan of Sandman, which leads to some crap being made up about Peter’s uncle being killed by Sandman/Flint Marko in order to create a revenge subplot. It really isn’t necessary. Unfortunately, I was so annoyed by the pointlessness of his character that I virtually overlooked Thomas Haden Church’s decent performance, not to mention the slick technical effects employed to create his “sandiness.” The Harry/New Goblin (James Franco) character is far and away the most developed and most interesting. Franco delivers the films deepest, most enjoyable performance, as well as its best one-liner (nearly worth the price of admission by itself). Too bad this movie wasn’t equally “soooo good”.

The most enjoyable part of the film was Peter’s emo turn as his scowling, eyeliner wearing, hair flipping alter ego “black-suited Peter/Spidey”. But it wasn’t enjoyable for the right reasons. It was practically farcical how over the top Tobey Maguire took his new image, and I found it all quite hilarious. At the same time, it ruined any chance I had at taking the movie seriously. Plus, I kept thinking of that scene in American Pie where Jim asks his buddies if Nadia would prefer “Cool Hip Jim” or “Laid Back Jim”.

You be the judge... "Nerdy Peter" or "Emo Peter"?
Another highlight for me was seeing this film with a fantastic audience. I don’t know if everyone was drunk, overly caffeinated, or both, but they certainly were fired up. There was clapping as the film started (none when it stopped though!) and lots of comments throughout. When Mary Jane kissed Harry, some rowdy male in the back row yelled out “slut!”, resulting in uproarious laughter and discomfort… quite possibly the highlight of the movie for me. Such outbursts usually take away from the overall enjoyment of a film. Sadly, in this case, the outbursts and laughter were welcome distractions, filling the void left by a mediocre, utterly disappointing Spider-Man 3.

Friday, May 11, 2007

Top 5 Superhero Sequels

Since Peanut is being lazy and hasn't seen Spidey 3 yet, I'm holding off on posting my review so that I don't spoil anything for him. However, in the interest of posting something superhero sequel inspired, here are my Top 5 Superhero Sequels...

5. Spider-Man 2 - Doc Ock is a fantastic villain, the fight scenes are top notch, and the plot is engaging. Unfortunately, I have found this flick to get worse and worse on repeat viewings, mainly because Tobey and Kirsten have zero chemistry and their scenes together are painful.

4. Batman Forever - I think Forever got a bad rap when it was lumped into the "Schumacher Mistake Era" with the abysmal Batman & Robin. I enjoyed Val Kilmer as the Dark Knight and still contend that he was better than the nerdy Michael Keaton. Jim Carrey and Tommy Lee Jones ham it up as the villains, but in an entertaining, comic-booky way. Sure it is cheesy, but it's fun Taco Bell Chili Cheese Burrito cheese - you know it can't possibly be as good as you think it is, but it just tastes so damn good. Throw in the extremely underrated U2 single "Hold Me, Thrill Me, Kiss Me, Kill Me" on the soundtrack, and you've got the complete package.

3. Superman 2 - Set the standard that few superhero sequels (including the rest of the Superman franchise) bothered to follow. Better than the original Superman and still holds up as enjoyable today, despite the dated special effects.

2. X2 - One of the few that took Superman 2's example and one-upped its predecessor. A better movie on every level than X-Men. Plus, some character chemistry and romantic drama that compliments the plot rather than distracting from it. If only X-Men 3 had kept up the good work.

1. Batman Begins - Flat out sick movie. My top Superhero movie of all time. Some may argue that it doesn't qualify as a sequel since it restarts the franchise, but if this flick wasn't allowed on the list, Batman Forever would have been a Top 3 and that just didn't feel right. On a side note, only in downtown Chicago can you go experience a movie like this with such glorious running commentary as, "Damn Girl! Check out those rims, they're HUGE!" (screamed by the young lady sitting behind me when the Batmobile made its first appearance).

agree/disagree? post a comment.

Wednesday, May 9, 2007

Reader Feedback Poll #1

April Showers Bring May Blockbusters

Over the past 10 years, which was your favorite movie to open the summer blockbuster season?

1997 Lost World: Jurassic Park (5/23/1997)
1998 Deep Impact (5/8/1998)
1999 The Mummy (5/7/1999)
2000 Gladiator (5/5/2000)
2001 The Mummy Returns (5/4/2001)
2002 Spider-Man (5/3/2002)
2003 X2 (5/2/2003)
2004 Van Helsing (5/7/2004)
2005 Star Wars: Revenge of the Sith (5/20/2005)
2006 Mission: Impossible III (5/5/2006)
2007 Spider-Man 3 (5/4/2007)

Please post your Comment below...

Sunday, May 6, 2007

Babel, Tower of Drivel

.5 PB Jars

Babel will fall a far cry from my top movies of 2006. Long, boring and self important, Babel neither enlightened nor entertained. By the end of the film’s excruciating 143 minutes, I had a headache from being repeatingly beaten with the notion that this was something important, something grand, something dramatically original that I need to pay attention to. The cinematography and music are beautiful, but too often they served as grandiloquent filler for scenes that lacked a real emotional impact. The only self-consciously artsy sequence that I felt actually served its purpose was the clubbing scene, where we gain some insight into the irony of a deaf-mute Japanese teenager’s loneliness in a city overwhelmed by sensory stimulation.

Ultimately, all I gleaned from Babel is that stupidity is not restrained by geography. Human beings make equally f’d up decisions regardless of the country they live in, language they speak, or number of people they’ve slept with. I really did not feel an ounce of compassion for any of these exaggerated caricatures that Babel calls characters. I could have cared less if any of them lived or died. Every character is the victim of their own ignorance or poor judgment and, for the most part, gets what they deserve. Even the lovelorn deaf-mute teenager, a character that should be tugging at my heartstrings, comes across like an annoyingly oversexed angst-ridden high school student. The transparently manipulative plot device of making her character a deaf-mute doesn’t do nearly enough to elicit my compassion. I would have far preferred the film to actually give her character some depth.

For visually stunning and thematically superior commentaries on the struggles of communication in a multicultural world, check out Ron Fricke’s Baraka or Godfrey Reggio’s Koyaanisqatsi. Each film deals with many of Babel’s themes, but does not dilute them with poorly constructed dialogue or plot. (Both are purely visual cinematic experiences) Or, for a simplified and less time consuming experience, just listen to Coldplay’s “Talk”.


Friday, May 4, 2007

...It Was the Worst of Times

If B thought The Descent, Borat, and Superman Returns were bad, wait'll he checks out these '06 crap-fests:

3. John Tucker Must Die - The previews for this movie made it look like a female revenge fantasy. In actuality, it was so tame and boring that I might as well have been watching Disney Channel on a Saturday night. Luckily it was the second half of a "double-feature" (with The Descent, no less).

2. Van Wilder: The Rise of Taj - Kal Penn's breakout role as Taj Mahal Badalandabad in the first National Lampoon's Van Wilder proved mildly humorous, and Penn went on to star as a fast food-craving stoner in Harold & Kumar Go To White Castle. Though his niche is clearly the gross-out comedy, Penn has since taken on roles across the acting spectrum: a sleeper cell terrorist in "24," a conflicted second-generation immigrant in the drama The Namesake, and a serial rapist in "Law & Order: SVU." He even scored a small part as one of Lex Luther's henchmen in Superman Returns. Whether it was money, nostalgia, or the prospect of ridiculous nude scenes that persuaded Kal Penn to reprise the role of Taj in this sorry-ass sequel, he certainly made a Badalandabad decision.

1. Lady in the Water - Seven years after The Sixth Sense earned its novice director a Best Picture nom, M. Night Shyamalan finally succeeded in taking home a golden statue… the 2006 Razzie Award for Worst Director. (He also "won" a second award for Worst Supporting Actor in the same film.) What an incomprehensible, unoriginal, and un-scary movie. For his sake, I hope that Paul Giamatti just never got around to reading the script before accepting this role. He has no other defense.

Let's Agree to Respect Each Other's Views...

Thought this was appropriate...



check out more here

The Descent... is that a joke?

Alright Peanut, I think I’ve finally calmed down enough to rip into your selections like a rational being.

First, why “Best Movie Experiences”? That seems like some sort of cop-out… like deep down you really agreed 100% with everything I said, so you figured, well, I’ll give this thing a different name and then I’ll feel ok about making ridiculous claims.

Second, as the saying goes, there are lies, damned lies, and statistics. An Inconvenient Truth makes good use of the first two, but poor use of the third. Where in Al’s powerpoint are the statistics that disprove global warming? Oh, he ignored those? Those numbers didn’t support his “plot”? That’s too bad; it might have made this one-sided propaganda-fest a bit more engaging. I’m not trying to take sides on this debate. Global warming is a valid concern that deserves some attention. But, it pisses me off when self-righteous politicos spin their story like they have all the facts without addressing the pieces of contradictory evidence out there.

Third, Superman Returns was lame. Superman is lame. Batman could kick Superman’s ass. He’d probably have some kryptonite gizmo in his gizmo belt that would bring almighty Superman to his knees, begging for Jor-El. Then Superman would confess that he tried to save Batman’s parents from their grisly death way back when, but wussed out because he didn’t feel comfortable prancing about dark, dirty Gotham in his flaming red codpiece and perfectly coiffed hair. Batman would get worked up into a rage over this confession and smother Superman in his own cape. Shortly thereafter, Gotham would take over Metropolis and the world would fall into anarchy… but at least we would have to see Superman’s smarmy mug anymore. Ok, that might be a bit much but, seriously, the best part of this movie was Brando’s voice-over.

Forth, Borat was way overrated. Both Little Miss Sunshine and Borat were way overhyped for me, with neither film living up. But while I found Little Miss Sunshine to be a good movie, worthy even of an 06 honorable mention, Borat fell much farther off the mark. I wanted to like Borat, I really did. Borat was, in my opinion, the only redeeming quality of the Ali G show. If Cohen had given our College Commencement Class Day speech as Borat, it might have actually have elicited more laughs than blank stares and groans. It bothered me that every scene was so self-consciously set up. None of it seemed spontaneous to me. Was it really surprising and humorous that redneck hicks responded at the rodeo the way they did? Of course feminist baby boomers are going to say what they said. Of course a bunch of college frat boys on spring break will be disgusting jackasses. I struggled with whether Cohen was trying to make a statement about America’s shortcomings (of which there are plenty) or trying to be funny. Likely both, which is why, for me, he succeeded at neither. Plus, tell me you actually thought that naked scene in the hotel was funny. It was gross, uncomfortable, absurd, obscene, ridiculous, silly, annoying, too long, repulsive, stupid, shocking, and many other adjectives, but it wasn’t funny.

Fifth, and finally, the Descent? Do I even have to dignify that with a response? I guess I wasn't too far off when I predicted Black Xmas making your top 5. Are you really contending that this movie is more than a gore-fest, slasher with mutants in a cave flick? I admit, I haven’t seen it… the trailers, reviews, and peer advice just weren’t enough to get me to break my “no crappy, senseless horror flicks unless they are in the Saw series” rule. In fact, they still aren’t. I refuse to see this movie. I refuse to allow my intelligence and nerves to be subjected to such blatant manipulation and retardation for two hours. “Filmmaking craft” my ass, more like filmmaking crap! Now, put Borat in that cave with those women and the mutants and there's a movie I'd like to see!

On the flip side, I’ll give you props for reminding me about Half Nelson. That film certainly should have made my honorable mentions, possibly even my top 5. I’ll have to remember that when I re-evaluate my post after seeing Babel, Pan’s Labyrinth and Volver. I will, however, disagree with your “light-on-plot” claim. Just because a movie doesn’t have a formulaic beginning, middle and end, with demonstrable progress throughout, doesn’t mean that there is no plot. The plot here is real life – people often have shitty lives, do shitty things, take two steps forward and one step back, or, probably more often, one step forward and two steps back. The fact that Dan and Drey can have this relationship where they have a positive impact on each others lives, despite both of their obstacles, brings hope to an otherwise dreary existence.

Alright, I'll get off my soapbox now. Time to look forward to new movies, reviews and debates. In the next week or two, I'm hoping to post on Spiderman 3, Hot Fuzz, Babel, Volver, The Good Shepherd and Rocky Balboa. Stay tuned.

Wednesday, May 2, 2007

Best of 2006, Part II

Okay, I'll admit it: I cheated.

I looked at B's Top 5 Movies before sitting down to create my own list. I'm a bad human being. That being said, I'm going to cheat again by changing the topic slightly. Instead of a ranking of the "Best Movies of 2006," here are my selections for the "Best Movie Experiences of 2006." My only requirement: the movie had to blow me away when I saw it.

Honorable Mention

*Note: I saw this movie on DVD.

*Half Nelson - This film is light on plot yet heavy on fine acting performances. The subject also proves quite heavy, but as long as you're not expecting a popcorn flick, you'll be amazed by this gritty look at the troubled life of a Brooklyn middle school teacher. Dan Dunne (Ryan Gosling) reminds me of myself during my brief teaching career in East Harlem... minus the crack smoking and school-night bar-hopping, of course. (For more on Gosling, see the comment I linked to this post.) It took me a while to figure out was up with the burgeoning friendship between Dunne and Drey (Shareeka Epps), a soft-spoken female student. This movie proved much more subtle and complex than I had expected. (One dubious plot point: thirteen year-old students would never sit quietly and attentively through a lecture on the dialectic nature of history. I know from experience.) (2.5 PB Jars)

*An Inconvenient Truth - It's the cop-out pick for a "bleeding-heart liberal" like myself, but you've got to admit that Al Gore knows how to work the camera. For all the publicity Gore received on Oscar Night and the preceding six months, his slide show is the real star of the film. Whether you agree with Gore's politics or not, the statistics related to global climate change prove staggering. Truth is as entertaining a movie as a documentary about the imminent destruction of life on earth could be. (2 PB Jars)

Superman Returns - For those of us who grew up with X-Men comics and "Batman: The Animated Series," Superman always seemed a little…boring. Wolverine struggled with his anger issues and the pangs of unrequited love; Batman proved that tech savvy can make an ordinary man into a superhero; and Spider-Man took out his adolescent angst on a slew of arch-villains. By comparison, the Superman boasted such a bevy of powers that it appeared downright easy for him to defend Metropolis from evildoers like Lex Luther. On the contrary, Superman Returns reminds us that the "Man of Steel" has some serious chinks in his armor. We see glimpses of his loneliness as a child in Kansas and his awkwardness as a young man in the big city. Clark Kent appears to shrink into himself, but only minutes later, his alter-ego explodes across the big screen in all his glory. This film makes Superman accessible to a whole new generation of Americans (myself included) who have never seen the original movies. Director Bryan Singer certainly brings his X-Men magic to this venerable franchise, though I'll admit I was thrown by a few of his casting choices. (Ahem, Kate Bosworth as Lois Lane.) Luckily, Singer brought along his pal Kevin Spacey to play the crucial foil to Supe. Who better to play a self-centered psychopath than the actor behind Se7en's John Doe and The Usual Suspects' Keyser Söze? (2 PB Jars)

Top 5 Movie Experiences

*5. Jesus Camp - At "Kids on Fire," an evangelical summer camp in North Dakota, children learn how to "be soldiers for Christ" so that one day they may "lay down their lives for the Gospel as they are over in Pakistan and Israel and Palestine" (according to camp director Becky Fischer). In between go-cart races and archery, Fischer and her instructors show campers how to speak in tongues, bow down to a cardboard cutout of George W. Bush, and use a hammer to smash ceramic mugs labeled GOVERNMENT with a black Sharpie. Twelve year-old Levi receives preaching advice from Pastor Ted Haggard (the former leader of the evangelical movement, who has since been disgraced by his admitted drug abuse and dealings with a male prostitute). Nine year-old Rachael practices walking up to "sinners" and asking them if they think they're going to heaven. If you haven't experienced Jesus Camp yet, you have to see it to believe it. (2.5 PB Jars)

4. Borat - I had to break my "no-wasting-money-to-see-a-comedy-on-the-big-screen" rule when Sascha Baron Cohen brought his Kazakh alter-ego to the silver screen. My $11 was well spent. I laughed continuously for 90 minutes, plus I enjoyed the subtler satirical jabs at Middle America. (2.5 PB Jars)

3. Pan's Labyrinth - Not sure how B missed this one, seeing as he has spent time in Spain, idolizes Earnest Hemingway, and has been known to quote Spanish poets… Regardless, he is in for a treat. The amazing thing about Pan's Labyrinth is that it not only crosses genres almost seamlessly, but it also seems to appeal to a wide audience. The same crowd that enjoyed Borat would find plenty to enjoy in this film, most notably the creepy monster with eyeballs in his hands. I didn't love every single moment of this movie; the sadistic Fascist commander actually stole the show and made me wish he was back on screen during a few of the more juvenile fantasy sequences. Yet this movie definitely has many of the elements of greatness. "Lord of the Rings meets Schindler's List… in Spanish." (3 PB Jars)

*2. The Prestige - This tale of rival magicians in turn-of-the-century London, which received an "Honorable Mention" nod from B, surely belongs among the Top 5 "Best Movie Experiences" for its pure theatricality. The showman Angier (Hugh Jackman) and the prodigy Borden (Christian Bale) play off each other like a throwback Penn & Teller… who hate each other. Bale should at last be recognized as the best method actor to come along since Robert De Niro. As in American Psycho, he convinces the viewer to sympathize with the villain despite his evil deeds. I've heard several people criticize the ending of The Prestige, but it seems to fit well with the overall themes of the film. B, will you at least agree with me that The Prestige is a tasty "movie candy?" (More of a dark chocolate than Starburst, I guess. 3 PB Jars)

1. The Descent - A group of people gets stranded in the wilderness. They discover they're not alone. They struggle to find their way to safety. It's a simple formula, for sure, but one which has been botched repeatedly in the long history of horror movies. Finally someone got it right.

As six women descend into the darkness of an uncharted Appalachian cave system, novice director Neil Marshall uses this cliched horror setup to explore the dark side of human nature. The greatest thing these strong-willed women have to fear isn't fear itself (or bottomless pits, or creepy crawly mutants). It's a lack of trust in each other. As the external dangers multiply, the internal dissension within the group intensifies. Of course, Marshall does provide the requisite horror staples: blood, gore, and killer creatures. Yet claustrophobic cinematography serves as his most powerful scare tactic. I couldn't help but glance toward the illuminated exit signs every few minutes, just to make sure I still had my own way out.

I leave it to film critic Roger Ebert, by no means a fan of the horror genre, to sum up this rare moviegoing experience: "I don't know how else to describe this: The movie made me feel bad. It filled me with feelings of unease and disquiet and anxiety. I walked outside and I didn't want to talk to anyone. I was drained. I'm not sure [this movie] is what we mean by entertainment. Yet I have to be accurate about this movie: It is a superb example of filmmaking craft." ("Aliens," Chicago Sun-Times, 18 July 1986) (3 PB Jars)

Addendum: The Descent also has one of the freakiest one-sheets of all time (above). The concept was borrowed from Salvador Dali's "Female Bodies as a Skull" painting.

Dis-"United" We Stand

When B and I floated ideas for our first debate topic, I assumed that a "Best of '06" discussion would revolve around the merits of Best Picture Oscar winner The Departed. Props to B for relegating Mr. Scorsese's over-long, occasionally incomprehensible "good cop/bad cop" affair to #2 on his Top 5 list. (Better than Goodfellas and Raging Bull? Forgetaboudit.) The Departed was certainly the Most Hyped Movie of '06, but I wouldn't put it in my Top 5. Nor would I include B's #1 movie, United 93, which wasn't even the best 9/11 tribute film of the year.

Let's start with The Departed. I haven't seen Infernal Affairs, the 2002 Hong Kong film which served as the template for this film, yet The Departed's plot still felt overly familiar. Of course, I guess that level of familiarity proved necessary given the frequent incomprehensibility of the dialogue. Native Bostonians Matt Damon and Mark Wahlberg should have spent a few more weeks coaching Leo DiCaprio and Martin Sheen. (Sheen played Robert Kennedy in the 1974 TV movie Missiles of October, so shouldn't he have mastered the accent by now?) I won't spend all day rehashing The Departed's flaws, many of which B mentioned in his post. In fact, I agree with him that it is a good film overall, especially in its visual style. (I'd give it 2 PB jars.) Perhaps I fell victim to my own high expectations. Had I not read so many glowing reviews beforehand, I might have been more willing to overlook the film's glaring shortcomings. Sitting on the balcony level of an overheated, packed-to-the-gills theater probably didn't help. Bottom line: I love Martin Scorsese's work, I wanted to love this movie, and I still rooted for Scorsese to win Best Director. Did The Departed benefit from "let's finally reward Marty" sentiments the way Training Day benefited from "let's finally reward Denzel" sentiments 5 years ago? You be the judge.

As for United 93: I hate to bash a movie that memorializes 9/11 victims, but this film failed to engage me in its real-life drama. The documentary-style (which B mentions) may enhance the film's verisimilitude -- an imporant requirement for the first major studio portrayal of the 9/11 attacks -- yet it ultimately fails to heighten the level of suspense. We already know what tragic outcome awaits the four dozen people on board. Their last-ditch effort to retake the plane feels utterly anticlimactic. In my humble opinion, director Paul Greengrass employed handi-cam cinematography far more effectively in The Bourne Supremacy. As Jason Bourne careens across Moscow's highways in a beat-up taxi cab, you feel like you're sitting right in the car with him. United 93, perhaps through no fault of the director, lacks that visceral quality. In fact, I'd say the film was downright boring. I was more entertained by the made-for-TV Flight 93 on A&E, which premiered four months earlier. United 93's unique portrayal of anonymous group heroism deserves praise, but how well can this sentiment resonate with America's spirit of rugged individualism?



If you're looking for a cathartic 9/11 film experience, you'd be better off watching Oliver Stone's World Trade Center. Don't get me wrong -- I'm not claiming WTC is one of the best movies of the year. On the surface, WTC appears to follow the standard Hollywood disaster movie formula. To the surprise of many right-wing pundits, who expected another revisionist polemic from the director of JFK and Born on the Fourth of July, the film presents a straight-up survival narrative. Whereas United 93 uses television clips of the Twin Towers and cell phone conversations to expand the scope of its story, World Trade Center condenses the chaos of that day to the experience of two men in the rubble at Ground Zero. What the film lacks in originality, it makes up for with its visceral portrayal of the South Tower collapse. You see what it looks like to have 110 stories of concrete and steel fall all around you. You squirm in your seat as Nicolas Cage and Michael Pena (pictured above) lie trapped beneath tons of debris, desperately holding onto consciousness. The cheesy "concerned wife" cut scenes and the excessively-patriotic conclusion take away from the movie's success in my mind, but the unnverving claustrophobia and desperation conveyed in the film allows us to better appreciate the sacrifice of the 360+ police officers, fire fighters, and paramedics who made a conscious decision to rushed into the burning towers. World Trade Center: 2 PB Jars, The Departed: 2 PB Jars, United 93: 1.5 PB Jars.

Tuesday, May 1, 2007

Best of 2006, Part I

I'd like to echo P's welcome and point out that the crips are clearly superior to the bloods. How could anyone pull for Suge Knight over Snoop Dogg? The Doggfather is a genius. Anyway, I digress. It is about time we posted something meaty and debatable, so I'll start it off with Part I of my Best Movies of 2006 list.

First, some disclaimers. Babel, The Last King of Scotland, Pan's Labyrinth, Volver, Dreamgirls, Little Children, Flags of our Fathers, Letters from Iwo Jima, and The Queen will not be on my list simply because I have yet to see them. I know... you're thinking what business does this jackass have opining on movies when he hasn't seen half of those nominated for Oscars in 2006. Well, all I can say is that I have more business doing so than P, whose top 5 of 2006 will likely include Black Xmas. All the movies above are in my Blockbuster Queue, so it's only a matter of time before I see them all and my list will be updated if necessary.

Also, before I get to my Best Movies of 2006, I want to throw out my biggest disappointment of 2006 - For Your Consideration. Christopher Guest now has me debating whether he ever had talent to begin with, or if it was the novelty of his mockumentary style combined with great casts that turned Waiting for Guffman and Best in Show into staples of my DVD collection. Even A Mighty Wind had its moments. There were no such moments in For Your Consideration. From beginning to end it was a waste of life and, as such, is worthy of my first 0 PB Jar rating.

Now, for the good stuff - the Best Movies of 2006.

Honorable Mentions:
Little Miss Sunshine - Overhyped by the time I saw it, but a good movie nonetheless. The girl annoyed me a bit, as did the depressing tedium of a dysfunctional family (don't many of us live this stuff every day; do we really want to be entertained by it?). In the end I came around, drawn by the strong acting and absurd humor. 2 PB Jars

The Illusionist - Entertaining and enjoyable throughout, with a solid performance by Jessica Biel, which I certainly wasn't expecting. The ending was predictable, but it didn't matter because it was so predictable that I think I would have been disappointed if it hadn't worked out the way it did. 2 PB Jars

The Prestige - A captivating film, more consistently entertaining than The Illusionist, right up until its cop-out ending. I haven't read the book, so I can't speak for whether the book has the same ending with the same cop-out feel. I really wanted everything to be explained via some elaborate hoax or sleight of hand, not some sci-fi, supernatural BS. Maybe its just me. 2 PB Jars

Blood Diamond - The film is difficult to watch at times, as it presents the brutal realities of war-torn Africa in vivid, gut-wrenching detail. I don't think that a film like this is meant to be entertaining or enjoyable as much as it is meant to provoke thought and spark action, which it does effectively. Jennifer Connelly is flat out horrible though, ruining most of the scenes she is in and single-handedly preventing me from giving this film one more PB Jar. 2 PB Jars

Thank You For Smoking - Original, humorous and well-shot. A thoroughly entertaining trifle. I have nothing bad to say about it other than that I enjoyed my top 5 more. 3 PB Jars

Top 5 (all receiving 3 PB Jars):
5. Casino Royale - Welcome back Bond! I'm a huge 007 fan and thought this latest installment more than lived up to billing. I'm willing to forgive the excessive run time, lame villain idiosyncrasy (crying blood?). The pre-credit sequence alone was nearly enough to put this movie in my top 5. I do miss the quips though. Did anyone else feel that there was a dramatic pause shortly after Bond dispatched an enemy with the nail gun, as if to emphasize that this perfect opportunity for a corny quip was being passed by?

4. The Devil Wears Prada - I expect to take some heat for this pick but, in all honesty, I truly enjoyed it. Meryl is a pleasure to watch, the supporting performances are right on, I laughed out loud repeatedly, and my college roommate's first girlfriend is the star! Sounds like a recipe for success to me.

3. Children of Men - The most recent addition to my favorites of 2006, as I just saw it a few weeks ago. I loved the concept and found the execution near flawless. Beautifully shot, well acted, carefully constructed in terms of story and sets, this film was a complete production. The skirmish sequence at the deportation camp where Clive Owen's character carried the newborn down the stairs of the blown-out building is one of the most vivid and beautiful movie scenes in recent memory. This was my favorite kind of movie, both entertaining and thought provoking.

2. The Departed - Marty came through! Taut, thrilling, visually engaging and, best of all, incredibly witty. The Departed immediately rose to the top of my Scorsese list, as well as my 2006 favorites. A well-deserving Best Picture during a year without many strong contenders (in a better year, this would have still been a favorite of mine, but likely not an Oscar). This film is beautifully unapologetic meaty pulp, the kind you can sink your teeth into like an aged bone-in ribeye, medium rare. I devoured every character nuance, every line of dialogue, every pistol crack or bloody splat. The only reason this film doesn't get my top vote is that in the end, it doesn't really mean anything. It really is an exercise in self-conscious narcissism - violence for violence sake and wittiness to outdo wittiness. That said, I'm not complaining.

1. United 93 - What a powerful yet delicately constructed piece of art! This film has the precision of a documentary, infused with the theatricality of human spirit. United 93 presents the best and worst of 9/11 in a way that elicits the full range of emotions, from disbelief and fear to hope and pride. Ultimately, this film is a masterpiece of catharsis, the impact of which has stayed with me far longer and more vividly than that of any other film I saw this past year.

Alright P, let the debate begin!