Ok film fans last night we got into the list of the Highest Grossing Romantic Comedies since 1978 and the frightful mess of which it's comprised. Way back on day 48 I posted my Top 5 Indie Romance films and it's not much of a surprise but my list doesn't fair to well in the box office. From #5 to #1 on my list their ranking on the money list would be pathetic. Let's look at their grosses in descending order from #5 to #1: $446k, $4.3 mil, $2.8 mil, $550k and unknown. That's absolutely pathetic. Even better, Wishful Thinking doesn't even appear on the Box Office Mojo's website. Since not a single of those films actually qualify as a romantic comedy allow me to humiliate myself with yet another guilty pleasure.
Cousins is little gem of a love story (based on the French film Cousin, Cousine) that once again reminds us we do not choose love, love chooses us. Directed with surprising elegance by Joel Schumacher (the genius behind Batman & Robin) is a story of two couples affairs with their respective spouses. Tom Hardy (William Peterson long before CSI) and Tish Kozinski (Sean Young before she went batshit insane) slip away in the middle of a large wedding reception for a little romp and return from their tryst long after the party is over. The next day Tom's wife Maria (Isabella Rossellini) tracks down Tish's husband Larry (a surprisingly effective Ted Danson) to discuss the possibility of their spouses having an affair.
But this isn't a shallow film simply concerned about bed hopping, the script delves deeper than most of the romcoms that get churned out of Hollywood. We meet both parties' families, witness their dynamics and explore the psyche of the couples as well; Tom is a brash BMW salesman, Tish is young woman who married for excitement, Maria is a wife whose put her family obligations before her own needs and Larry is a social misfit with a heart of gold. The film centers on the emerging romance between Maria and Larry and their struggles with giving in to what may be true love. The love story and the film as whole succeeds because of the wonderful performance of Isabella Rossellini. The warmth and sheer happiness she exudes is so genuine you can't help but want her character to find true love.
The truth is the film works not because adultery is funny, but because life itself is funny. It's written with an understanding of how people speak and the funny little things they say to each other within the confines of their relationships. These touches add warmth and spark to scenes beyond what we normally expect. Perhaps it's just me, but the film works because Isabella Rossellini gives a performance more believable, heartfelt, funny and cute than anything Julia Roberts, Sandra Bullock or any of the bland crop of America's Sweethearts that Hollywood force feeds us ever dreamed of while sleeping on their huge piles of money.
Thursday, April 8, 2010
Wednesday, April 7, 2010
day 96 - Highest Grossing Romantic Comedies
Ok film fans, the last few nights I've been in a comedy mood. It's one of those wonderful things built into the human condition; laughter can lighten your mood and lift your spirits when you're feeling down. Comedy films are one of the most amazing things to watch because comedy is such a difficult thing to gauge. What might be funny to you might not be funny to someone else, case in point, the list for the highest grossing romantic comedies since 1978. Take a close look at this list. How many have you seen? More importantly, how many do you like? You may be surprised by this, because I don't give off a light-hearted rom-com vibe, but I've seen 80 of the films on this list. Unfortunately, I like maybe 20 of them.
The top ten of this list is the prime reason so many horrible rom-coms get made. I'm not shocked that there's two Julia Roberts films (worst best actress award ever! seriously, watch the other nominees from the year she one, you'll understand) and one from Sandra Bullock, they're America's Sweethearts (I just threw up in my mouth a little). I am surprised that there are actually three films I liked, There's Something About Mary, Knocked Up and As Good as It Gets. I'm also surprised there's two Helen Hunt films here, I had forgotten how much America loved this eighthead looking train wreck of a film actress (she wasn't bad on TV).
The closer you look at this list the more bizarre it looks, a random hodgepodge of styles and themes. No wonder Hollywood keeps churning these suckers out, you never know what's going to make over a $100 million, and yes I'm looking at Valentine's Day. You've got every kind of humor you can think of, from sappy (Pretty Woman) and raunchy (Knocked Up) to stories about teens (Pretty in Pink) and septuagenarians (Something's Gotta Give). It seems that if you throw a little romance into a film you can call it a romantic comedy if you through in even crappy jokes (i.e. every other film on this list).
What's even more disturbing is the group from 101 to 200. Here's is where you'll find some of my favorites, (500) Days of Summer, High Fidelity and Valley Girl slumming with the likes of All About Steve (Sandra Bullock made this and won an Oscar in the same year, this is one of the little known signs of the apocalypse), Addicted to Love and Picture Perfect (please for the love of all humanity, stop Jennifer Anniston from making any more films in this genre). In the end romantic comedies are such an eclectic group because it combines two things we all share but have wildly different opinions about; love and comedy.
Least you think I'm a film snob, which I try very hard not to be, I do consider this genre to be my biggest source of guilty pleasures. I like Sleepless in Seattle and You've Got Mail. I've been known to watch Notting Hill (yes I realize this is hypocritical of me) and The Wedding Date. One of my all time favorite films of the 80s is, and this is not to be spoken of outside this post, Blame It on Rio (one the greatest soundtracks as well, but impossible to find). Some of my favorite films don't even show up on this list until you get well into the 200s and others aren't even listed. But I think we'll save that for tomorrow.
The top ten of this list is the prime reason so many horrible rom-coms get made. I'm not shocked that there's two Julia Roberts films (worst best actress award ever! seriously, watch the other nominees from the year she one, you'll understand) and one from Sandra Bullock, they're America's Sweethearts (I just threw up in my mouth a little). I am surprised that there are actually three films I liked, There's Something About Mary, Knocked Up and As Good as It Gets. I'm also surprised there's two Helen Hunt films here, I had forgotten how much America loved this eighthead looking train wreck of a film actress (she wasn't bad on TV).
The closer you look at this list the more bizarre it looks, a random hodgepodge of styles and themes. No wonder Hollywood keeps churning these suckers out, you never know what's going to make over a $100 million, and yes I'm looking at Valentine's Day. You've got every kind of humor you can think of, from sappy (Pretty Woman) and raunchy (Knocked Up) to stories about teens (Pretty in Pink) and septuagenarians (Something's Gotta Give). It seems that if you throw a little romance into a film you can call it a romantic comedy if you through in even crappy jokes (i.e. every other film on this list).
What's even more disturbing is the group from 101 to 200. Here's is where you'll find some of my favorites, (500) Days of Summer, High Fidelity and Valley Girl slumming with the likes of All About Steve (Sandra Bullock made this and won an Oscar in the same year, this is one of the little known signs of the apocalypse), Addicted to Love and Picture Perfect (please for the love of all humanity, stop Jennifer Anniston from making any more films in this genre). In the end romantic comedies are such an eclectic group because it combines two things we all share but have wildly different opinions about; love and comedy.
Least you think I'm a film snob, which I try very hard not to be, I do consider this genre to be my biggest source of guilty pleasures. I like Sleepless in Seattle and You've Got Mail. I've been known to watch Notting Hill (yes I realize this is hypocritical of me) and The Wedding Date. One of my all time favorite films of the 80s is, and this is not to be spoken of outside this post, Blame It on Rio (one the greatest soundtracks as well, but impossible to find). Some of my favorite films don't even show up on this list until you get well into the 200s and others aren't even listed. But I think we'll save that for tomorrow.
Tuesday, April 6, 2010
day 95 - Waiting
Ok film fans, the week is still young and, much like last night, I'm still in need of some laughter. And tonight not just any kind of laughter will do. I'm looking for the kind that comes from relating to the situations onscreen because you've been through it yourself. Obviously making a connection with any kind of film enhances your appreciation for it, but with comedy it almost a whole genre unto itself. These slice of life comedies rely on our understanding of the situation, whether it is romance or a job.
Waiting... is a coming of age/workplace film that looks at the workers of the restaurant industry, many of whom are either in or just out of school. The employees of Shenanigans deal with boredom, rude customers and an uptight boss with humor, games and parties. If you've ever had any type of job in the wonderful food service industry you'll get the source of the comedy. The film revolves around Dean (Justin Long) who is beginning to questioned his job at Shenanigan's when he learns a high school classmate now has a lucrative career in electrical engineering. He's thrown into turmoil about his dead-end life and what he should do next when he's offered the Assistant Manager job . Dean's friend and roommate Monty (Ryan Reynolds) is in exactly the same boat, but he couldn't care less as he's more concerned with partying and getting laid.
Over the course of one chaotic shift, we get to know the rest of Shenanigan's quirky staff: Mitch (John Francis Daley), a quiet new employee, Monty's tough-talking ex-girlfriend, Serena (Anna Faris), Shenanigan's over-zealous manager, Dan (David Koechner), and head cook Raddimus (Luis Guzman), who's obsessed with a senseless staff-wide competition known only as "The Game". Having worked as a waiter in college this film always makes me laugh. My fellow waiters and I weren't as crude as the Shenanigan's crew, but I still remember the sense of monotony we fought against during each shift. Looking back on it through this film takes me back to a simpler time and makes me laugh, but there's no way in hell I'd want that job again. And that's just the kind laughter I needed.
Waiting... is a coming of age/workplace film that looks at the workers of the restaurant industry, many of whom are either in or just out of school. The employees of Shenanigans deal with boredom, rude customers and an uptight boss with humor, games and parties. If you've ever had any type of job in the wonderful food service industry you'll get the source of the comedy. The film revolves around Dean (Justin Long) who is beginning to questioned his job at Shenanigan's when he learns a high school classmate now has a lucrative career in electrical engineering. He's thrown into turmoil about his dead-end life and what he should do next when he's offered the Assistant Manager job . Dean's friend and roommate Monty (Ryan Reynolds) is in exactly the same boat, but he couldn't care less as he's more concerned with partying and getting laid.
Over the course of one chaotic shift, we get to know the rest of Shenanigan's quirky staff: Mitch (John Francis Daley), a quiet new employee, Monty's tough-talking ex-girlfriend, Serena (Anna Faris), Shenanigan's over-zealous manager, Dan (David Koechner), and head cook Raddimus (Luis Guzman), who's obsessed with a senseless staff-wide competition known only as "The Game". Having worked as a waiter in college this film always makes me laugh. My fellow waiters and I weren't as crude as the Shenanigan's crew, but I still remember the sense of monotony we fought against during each shift. Looking back on it through this film takes me back to a simpler time and makes me laugh, but there's no way in hell I'd want that job again. And that's just the kind laughter I needed.
Monday, April 5, 2010
day 94 - Pootie Tang
Ok film fans another new week is upon us and tonight I'm feeling like I could use a laugh or a couple dozen or perhaps some nitrous oxide. Over the years I have built a catalog of films to fall back on for nights like this and tonight I'm feeling like I need a little quality time with mindless stupidity.
Pootie Tang is one of the stupidest films ever made. It is also jam packed with scenes so ridiculous you can't help but find yourself laughing out loud. Written and directed by one of my all time favorite comedians, Louis C.K. (Who is actually writing the jokes Dane Cook steals for his shows), this is a film filled with cameos from his fellow stand-up comedian friends. Despite its glaring stupidity everyone in the cast seems to be in on the joke. If you're not in on the joke within the first few minutes you should probably just turn it off, it's only going to get more bizarre and outlandish as the film continues.
Basically a biopic, it chronicles the life of the musician/actor/activist/folk hero as he fights against criminals and the evil Lector Corporation, which sells cigarettes, booze, drugs and fast food to kids, with his magical belt. Oh yeah, he has a magical belt. He also speaks gibberish that everyone seems to understand without any problems. There's almost no point in getting into the plot because with this kind of film who really cares? The main goal here is to make you laugh and if you get the blaxploitation references it's even funnier. A labor of love for Louis C.K and Chris Rock (the Pootie Tang character appeared in five-minute bits on HBO’s The Chris Rock Show on which C.K. was a writer) this is not a mainstream film. It has however, become a cult favorite for fans of alt-comedy. So if you like your comedy a little subversive and a lot stupid, Pootie is your man.
Pootie Tang is one of the stupidest films ever made. It is also jam packed with scenes so ridiculous you can't help but find yourself laughing out loud. Written and directed by one of my all time favorite comedians, Louis C.K. (Who is actually writing the jokes Dane Cook steals for his shows), this is a film filled with cameos from his fellow stand-up comedian friends. Despite its glaring stupidity everyone in the cast seems to be in on the joke. If you're not in on the joke within the first few minutes you should probably just turn it off, it's only going to get more bizarre and outlandish as the film continues.
Basically a biopic, it chronicles the life of the musician/actor/activist/folk hero as he fights against criminals and the evil Lector Corporation, which sells cigarettes, booze, drugs and fast food to kids, with his magical belt. Oh yeah, he has a magical belt. He also speaks gibberish that everyone seems to understand without any problems. There's almost no point in getting into the plot because with this kind of film who really cares? The main goal here is to make you laugh and if you get the blaxploitation references it's even funnier. A labor of love for Louis C.K and Chris Rock (the Pootie Tang character appeared in five-minute bits on HBO’s The Chris Rock Show on which C.K. was a writer) this is not a mainstream film. It has however, become a cult favorite for fans of alt-comedy. So if you like your comedy a little subversive and a lot stupid, Pootie is your man.
Sunday, April 4, 2010
day 93 - The Ten Commandments
Editor's Note: I've been suffering from some web issues, again, but I'm back for more. Here's my post from April 4th.
Ok film fans I've got to get running again, things to do and people to see on this Easter Sunday. But since its Easter, now is a good time to bring out a classic that just happens to be one of the greatest epic films ever made.
The Ten Commandments is the epitome of the adage "they just don't make them like that anymore." This epic blockbuster is #5 on the adjusted for inflation all time domestic box office sales list. If you add the restriction of first runs only, because this film was never re-released for the big screen, it's actually #1. It's been shown on ABC since 1973 with the exception of 1999 when some programming genius decided they should pull it. Unsurprisingly, a shit ton of pissed off people called them and they put it back on the air. My own streak of continuous viewing runs from approximately 1975 to 1993, but I've reincorporated it into my Easter viewing over the last couple of years.
I'm not going to explain the story here; if you're not familiar with the story of Moses I recommend you go to church, heathen. Of course there is a version for the heathen in all of us as well. The final film directed by old school Hollywood icon Cecil B DeMille, this grand epic is filled with grandiose images and old-fashion special effects that still stand the test time (ok, not all of them do, but they're still pretty cool). There's so many to choose from sometimes you forget the smaller scale effects, e.g. the water turning red, in the face of the larger effect like the classic parting of the Red Sea.
It's an epic story with the best visuals money could buy at the time (a whopping $13 million in 1956), overly dramatic performances from Charlton Heston (only in the 50's would this guy get to play a Jew and a Mexican), Yul Brynner and Edward G Robinson in addition to a film set in Egypt with almost no black faces visible. My sister and I devised a game as kids to see if we could find black people in the background, kind of like an early Where's Waldo.
Despite what now appears as campy or even stilted acting, this is still a timeless classic that tells a wonderful biblical tale in a manner we no longer see. But at least every Easter we can still plop down on the couch and watch a classic. And with HDTV now it looks so good it's like rediscovering it all over again. Next year make sure to add it to your Easter weekend, you won't be disappointed.
Ok film fans I've got to get running again, things to do and people to see on this Easter Sunday. But since its Easter, now is a good time to bring out a classic that just happens to be one of the greatest epic films ever made.
The Ten Commandments is the epitome of the adage "they just don't make them like that anymore." This epic blockbuster is #5 on the adjusted for inflation all time domestic box office sales list. If you add the restriction of first runs only, because this film was never re-released for the big screen, it's actually #1. It's been shown on ABC since 1973 with the exception of 1999 when some programming genius decided they should pull it. Unsurprisingly, a shit ton of pissed off people called them and they put it back on the air. My own streak of continuous viewing runs from approximately 1975 to 1993, but I've reincorporated it into my Easter viewing over the last couple of years.
I'm not going to explain the story here; if you're not familiar with the story of Moses I recommend you go to church, heathen. Of course there is a version for the heathen in all of us as well. The final film directed by old school Hollywood icon Cecil B DeMille, this grand epic is filled with grandiose images and old-fashion special effects that still stand the test time (ok, not all of them do, but they're still pretty cool). There's so many to choose from sometimes you forget the smaller scale effects, e.g. the water turning red, in the face of the larger effect like the classic parting of the Red Sea.
It's an epic story with the best visuals money could buy at the time (a whopping $13 million in 1956), overly dramatic performances from Charlton Heston (only in the 50's would this guy get to play a Jew and a Mexican), Yul Brynner and Edward G Robinson in addition to a film set in Egypt with almost no black faces visible. My sister and I devised a game as kids to see if we could find black people in the background, kind of like an early Where's Waldo.
Despite what now appears as campy or even stilted acting, this is still a timeless classic that tells a wonderful biblical tale in a manner we no longer see. But at least every Easter we can still plop down on the couch and watch a classic. And with HDTV now it looks so good it's like rediscovering it all over again. Next year make sure to add it to your Easter weekend, you won't be disappointed.
Saturday, April 3, 2010
day 92 - Super Troopers
Editor's Note: I've been suffering from some web issues but we are back up and running. Here's my post from April 3rd.
Ok film fans March Madness has officially broken my spirit (I hate Duke so much I'm not even going to watch the final game) so I need a comedy to lighten my mood. There are many different types of comedy - slapstick, dark or black, parody and satires - that sometimes matching the comedy to your mood can be difficult. Since tonight I'm just looking for a diversion, I think we'll keep it light.
Super Troopers was the first full length feature film from the comedy troop known as Broken Lizard. To say these gentlemen enjoy their comedy with equal dashes of slapstick and vulgarity is an understatement. It's also really damn funny. There's not a lot of depth here, but they have managed at least to create a plot around the skits, even if it is just a MacGuffin.
A small Vermont State Troopers station is in danger of being axed by budget cuts, which would be a humiliating defeat in its ongoing rivalry with the Spurbury Police. Trooper Captain O'Hagan (Brian Cox! He must honestly say yes to every script offered him) urges his men to limit their endless shenanigans (I can't even use this word anymore without thinking of this film) and get some serious police work done to restore their image. However, their endless hazing of the station's rookie, tormenting of the squad loser and running gags seem to be more important to them than their jobs. Their accidental discovery a corpse and huge amounts of marijuana may save their jobs, but not if the Spurbury police captain has anything to say about it.
Is this a ridiculous, simple-minded film? Absolutely. But that's the charm of the Broken Lizard boys; they understand goofy, vulgar slapstick comedy. They do it well and make no apologies because they're not trying to make any statements or even make you think about the jokes. If you want to mindless, laugh out loud comedy, this should fit the bill nicely.
Ok film fans March Madness has officially broken my spirit (I hate Duke so much I'm not even going to watch the final game) so I need a comedy to lighten my mood. There are many different types of comedy - slapstick, dark or black, parody and satires - that sometimes matching the comedy to your mood can be difficult. Since tonight I'm just looking for a diversion, I think we'll keep it light.
Super Troopers was the first full length feature film from the comedy troop known as Broken Lizard. To say these gentlemen enjoy their comedy with equal dashes of slapstick and vulgarity is an understatement. It's also really damn funny. There's not a lot of depth here, but they have managed at least to create a plot around the skits, even if it is just a MacGuffin.
A small Vermont State Troopers station is in danger of being axed by budget cuts, which would be a humiliating defeat in its ongoing rivalry with the Spurbury Police. Trooper Captain O'Hagan (Brian Cox! He must honestly say yes to every script offered him) urges his men to limit their endless shenanigans (I can't even use this word anymore without thinking of this film) and get some serious police work done to restore their image. However, their endless hazing of the station's rookie, tormenting of the squad loser and running gags seem to be more important to them than their jobs. Their accidental discovery a corpse and huge amounts of marijuana may save their jobs, but not if the Spurbury police captain has anything to say about it.
Is this a ridiculous, simple-minded film? Absolutely. But that's the charm of the Broken Lizard boys; they understand goofy, vulgar slapstick comedy. They do it well and make no apologies because they're not trying to make any statements or even make you think about the jokes. If you want to mindless, laugh out loud comedy, this should fit the bill nicely.
Friday, April 2, 2010
day 91 - Y Tu Mama Tambien
Editor's Note: I've been suffering from some web issues but we are back up and running. Here's my post from April 2nd.
Ok film fans since last night was officially my longest post (and I just barely scratched the surface of that topic!) let's make tonight a little shorter.
Y Tu Mamá También is the best road trip film made in the last decade. Seriously. This Oscar nominated screenplay, written and directed by Alfonso Cuaron (who is also responsible for the amazing Children of Men), is a road trip through contemporary Mexico that sends a newly impulsive, beautiful twenty-something woman and two teenage boys in search of an unspoiled bit of paradise. But like all road movies, it’s more about the journey than the destination. It’s about the moments in youthful life before things change, before paradise gets spoiled and adulthood starts to limit the possibilities of youth.
In the middle of a boring summer vacation, Mexico City teenagers Tenoch (Diego Luna) and Julio (the sublime Gael Garcia Bernal) meet the older Luisa (an amazing performance from Maribel Verdu) at a wedding. In a pathetic and transparent attempt to impress/seduce her they tell Luisa they are headed on a road trip to a beautiful, secret beach called Boca del Cielo (Mouth of the Sky). Dealing with more adult issues in her life, like her adulterous husband, Luisa is desperate for an escape and impulsively asks if she can join them on their trip.
Y Tu Mama Tambien was advertised and sold as a Mexican coming of age road trip film, which is essentially true. But that's like saying Moby Dick is a story about a whale. The film deals with themes of sexual discovery, class structure in Mexican society and self discovery. There is a serious film beneath the surface of the comedy here and below that lies a film as serious as any of Ingmar Bergman's works. Cuaron captures this slice of life tale with a playfulness that never works against the grave themes lingering below the film’s beautiful surface. It's an honest and frank look at life we rarely see in American cinema; that it is told through the eyes of people living in Mexico reminds us that no matter who or where we are there is no difference in the things we want, the way we live or the truths of human lives.
Ok film fans since last night was officially my longest post (and I just barely scratched the surface of that topic!) let's make tonight a little shorter.
Y Tu Mamá También is the best road trip film made in the last decade. Seriously. This Oscar nominated screenplay, written and directed by Alfonso Cuaron (who is also responsible for the amazing Children of Men), is a road trip through contemporary Mexico that sends a newly impulsive, beautiful twenty-something woman and two teenage boys in search of an unspoiled bit of paradise. But like all road movies, it’s more about the journey than the destination. It’s about the moments in youthful life before things change, before paradise gets spoiled and adulthood starts to limit the possibilities of youth.
In the middle of a boring summer vacation, Mexico City teenagers Tenoch (Diego Luna) and Julio (the sublime Gael Garcia Bernal) meet the older Luisa (an amazing performance from Maribel Verdu) at a wedding. In a pathetic and transparent attempt to impress/seduce her they tell Luisa they are headed on a road trip to a beautiful, secret beach called Boca del Cielo (Mouth of the Sky). Dealing with more adult issues in her life, like her adulterous husband, Luisa is desperate for an escape and impulsively asks if she can join them on their trip.
Y Tu Mama Tambien was advertised and sold as a Mexican coming of age road trip film, which is essentially true. But that's like saying Moby Dick is a story about a whale. The film deals with themes of sexual discovery, class structure in Mexican society and self discovery. There is a serious film beneath the surface of the comedy here and below that lies a film as serious as any of Ingmar Bergman's works. Cuaron captures this slice of life tale with a playfulness that never works against the grave themes lingering below the film’s beautiful surface. It's an honest and frank look at life we rarely see in American cinema; that it is told through the eyes of people living in Mexico reminds us that no matter who or where we are there is no difference in the things we want, the way we live or the truths of human lives.
Thursday, April 1, 2010
day 90 - Top 5 Alfred Hitchcock Films
OK film fans, tonight is the glorious three month mark of my little experiment! Yea me! As such I feel tonight is the perfect night to discuss one of my all time favorite directors, Alfred Hitchcock. As a kid I used to watch reruns of Alfred Hitchcock Presents and scare myself silly. When I was older I discovered that my Jr. High school's library had copies of similarly titled books and I had the fun of scaring myself all over again.
I have loved the works of The Master of Suspense since I was too young to be anything other than scared. He is synonymous with the genre. AFI's Top 10 Mystery's include 4 of his films. Hitchcock's definition of suspense vs. surprise, the element used in most horror and pseudo suspense films made today, is important in understanding why his films are so effective. As Hitchcock explained, when a bomb under a table goes off, that's surprise. If we know the bomb is under the table but not when it will go off, that's suspense. Modern slasher films depend on danger that leaps unexpectedly out of the shadows. It's a surprise that quickly dissipates, giving us a momentary rush but not satisfaction. In addition to suspense Hitchcock's films always revolve around secrets we try to hide from each other; our intimate desires, obsessions and fears. Enough of the hype, let's get my Top 5 Alfred Hitchcock Films rolling!
Honorable Mention: Rope - 1948 I had to throw one more in here. While not a great film you have to give the master serious kudos for attempting to make a film that appears, much like a play, as if it is one seamless shot. Since the length of one roll of film was 8 minutes there are ingenious transitions designed to mask when the film would run out and he would need to reload. The technical skill it took to make this film, incorporating the lighting, blocking and camera movement, is impressive even if the film about two spoiled high society boys attempting to get away with murder isn't. (I was going to go with The Birds here, but I thought I'd go with something a little less known.)
5. Notorious - 1946 Alicia Huberman (legendary Ingrid Bergman) has become a reputed wanton woman, living in disgrace since her father was convicted as a Nazi spy and committed suicide. She is recruited by Government agent T.R. Devlin (who else could be this smooth but Cary Grant?) to fly to Rio and infiltrate the home of Alexander Sebastian (Claude Rains), the head of a Nazi spy ring. Sebastian was once in love with Alicia, making her job somewhat easier. But Alicia agrees to essentially gather information through pillow talk because she is in love with Devlin. This is often considered Hitchcock's most elegantly filmed work. The camera work is beautiful and designed to enrich the story at every turn. In fact, it's so good most times it tells more of a story then the words spoken by the actors.
4. Rear Window - 1954 Jeff Jefferies (another icon, James Stewart) is a famous photographer, a man of action, whose lifestyle has led to a broken leg and some time holed up in his apartment with nothing to do. His nurse Stella and his fiancee Lisa Fremont (The Grace Kelly) are his only regular visitors and with his options limited Jeff does what he does best, looks through the lens of his camera. The only problem is all he has to look at is the life of his neighbors through their open windows facing the shared courtyard. To call him a voyeur is an understatement. While peeping on his neighbors he witnesses the strained relationship of a man and his bed-ridden wife. When she suddenly disappears our story of suspense begins. This thriller is considered by many to be Hitchcock's finest work, but it's a little formulaic for me.
3. Psycho - 1960 One of the master's few excursions into horror also happens to be perhaps his most well known film. This landmark film was beyond groundbreaking when it was released at the beginning of the 60's. It is also the epitome of Hitchcock's wonderful use of the MacGuffin. Shot on a cheap budget with black and white film and using the crew Hitchcock used for his television show gave this film a gritty, pulp feel that added to its 50's horror film look. It was also advertised like the cheap horror films of epic pitchman William Castle. Marion Crane (Janet Leigh, mom of scream queen Jamie Lee Curtis) has stolen $40,000 from a creep to use for her boyfriend. While on the run she pulls over to get out of the rain and clear her head at a sleepy little motel. In a twist (no this is not a spoiler, what's wrong with you!) that stunned the film viewers of the day; our lead star meets her demise in the now famous shower scene. The unexpected transition makes motel owner Norman Bates the lead and we watch as he attempts to cover up Marion's disappearance from her sister and a private eye. While Hitchcock wasn't done with the surprise twists yet, the film remains in our collective memories not because of unforeseen plot changes (I'm looking at you M. Night) but thanks to the master's manipulation of fears we all share.
2. North by Northwest - 1959 New York advertising executive Roger Thornhill (Cary Grant again!) gets caught in a worst case scenario of mistaken identity. Foreign spies believe he is a CIA agent named George Kaplan and a threat that needs to be eliminated. Adding to Thornhill's problems he's also being accused of murder and now the cops are searching for him as well. On the run and looking for a way to clear himself he is aided by Eve Kendall, a woman he meets on a train. This, by the way, is never a good sign, especially in a Hitchcock film. Along the way we get iconic scenes in a field and on Mt. Rushmore. I'm going to stop here and just say I love this film. Anytime I see it's on TV I always end up watching it. When you get done with this post, you should too.
1. Vertigo - 1958 Trust me when I say we'll be looking at this film closer later on as it is quite simply one of the greatest films ever made. Consistently found on Best Film lists, most recently AFI's #9 choice, it didn't begin to get critical praise until 1968. It was pulled from circulation between 1973 and 1983, then restored and re-released in 1996 (which I saw on the big screen... very cool). This dark, odd film about love and obsession is filled with enough subtext to write a book. There's also the film's exploration of some of the very demons that plagued Hitchcock himself. The use of color in the film and the importance that red, green and yellow plays in providing subliminal cues have been well documented.
Scottie Ferguson (James Stewart, again!) is a police detective forced into early retirement when his fear of heights leads to the death of a fellow police officer. He now spends most of his time meandering around San Francisco and hanging out with his former college sweetheart Midge. When an old friend asks him to follow his wife, Madeleine (Kim Novak, huba-huba), Scottie takes the job out of curiosity and boredom. She appears to believe she's the reincarnation of a long dead woman of San Franciscan lore. Over time he gets to know her and even fall in love with her.
Rather than give away anything for the uninitiated, I'll just leave you with this passage from my guru, Mr. Roger Ebert. "A man has fallen in love with a woman who does not exist, and now he cries out harshly against the real woman who impersonated her. But there is so much more to it than that. The real woman has fallen in love with him. In tricking him, she tricked herself. And the man, by preferring his dream to the woman standing before him, has lost both."
When you are ready for a film experience few films can match, this is your film.
I have loved the works of The Master of Suspense since I was too young to be anything other than scared. He is synonymous with the genre. AFI's Top 10 Mystery's include 4 of his films. Hitchcock's definition of suspense vs. surprise, the element used in most horror and pseudo suspense films made today, is important in understanding why his films are so effective. As Hitchcock explained, when a bomb under a table goes off, that's surprise. If we know the bomb is under the table but not when it will go off, that's suspense. Modern slasher films depend on danger that leaps unexpectedly out of the shadows. It's a surprise that quickly dissipates, giving us a momentary rush but not satisfaction. In addition to suspense Hitchcock's films always revolve around secrets we try to hide from each other; our intimate desires, obsessions and fears. Enough of the hype, let's get my Top 5 Alfred Hitchcock Films rolling!
Honorable Mention: Rope - 1948 I had to throw one more in here. While not a great film you have to give the master serious kudos for attempting to make a film that appears, much like a play, as if it is one seamless shot. Since the length of one roll of film was 8 minutes there are ingenious transitions designed to mask when the film would run out and he would need to reload. The technical skill it took to make this film, incorporating the lighting, blocking and camera movement, is impressive even if the film about two spoiled high society boys attempting to get away with murder isn't. (I was going to go with The Birds here, but I thought I'd go with something a little less known.)
5. Notorious - 1946 Alicia Huberman (legendary Ingrid Bergman) has become a reputed wanton woman, living in disgrace since her father was convicted as a Nazi spy and committed suicide. She is recruited by Government agent T.R. Devlin (who else could be this smooth but Cary Grant?) to fly to Rio and infiltrate the home of Alexander Sebastian (Claude Rains), the head of a Nazi spy ring. Sebastian was once in love with Alicia, making her job somewhat easier. But Alicia agrees to essentially gather information through pillow talk because she is in love with Devlin. This is often considered Hitchcock's most elegantly filmed work. The camera work is beautiful and designed to enrich the story at every turn. In fact, it's so good most times it tells more of a story then the words spoken by the actors.
4. Rear Window - 1954 Jeff Jefferies (another icon, James Stewart) is a famous photographer, a man of action, whose lifestyle has led to a broken leg and some time holed up in his apartment with nothing to do. His nurse Stella and his fiancee Lisa Fremont (The Grace Kelly) are his only regular visitors and with his options limited Jeff does what he does best, looks through the lens of his camera. The only problem is all he has to look at is the life of his neighbors through their open windows facing the shared courtyard. To call him a voyeur is an understatement. While peeping on his neighbors he witnesses the strained relationship of a man and his bed-ridden wife. When she suddenly disappears our story of suspense begins. This thriller is considered by many to be Hitchcock's finest work, but it's a little formulaic for me.
3. Psycho - 1960 One of the master's few excursions into horror also happens to be perhaps his most well known film. This landmark film was beyond groundbreaking when it was released at the beginning of the 60's. It is also the epitome of Hitchcock's wonderful use of the MacGuffin. Shot on a cheap budget with black and white film and using the crew Hitchcock used for his television show gave this film a gritty, pulp feel that added to its 50's horror film look. It was also advertised like the cheap horror films of epic pitchman William Castle. Marion Crane (Janet Leigh, mom of scream queen Jamie Lee Curtis) has stolen $40,000 from a creep to use for her boyfriend. While on the run she pulls over to get out of the rain and clear her head at a sleepy little motel. In a twist (no this is not a spoiler, what's wrong with you!) that stunned the film viewers of the day; our lead star meets her demise in the now famous shower scene. The unexpected transition makes motel owner Norman Bates the lead and we watch as he attempts to cover up Marion's disappearance from her sister and a private eye. While Hitchcock wasn't done with the surprise twists yet, the film remains in our collective memories not because of unforeseen plot changes (I'm looking at you M. Night) but thanks to the master's manipulation of fears we all share.
2. North by Northwest - 1959 New York advertising executive Roger Thornhill (Cary Grant again!) gets caught in a worst case scenario of mistaken identity. Foreign spies believe he is a CIA agent named George Kaplan and a threat that needs to be eliminated. Adding to Thornhill's problems he's also being accused of murder and now the cops are searching for him as well. On the run and looking for a way to clear himself he is aided by Eve Kendall, a woman he meets on a train. This, by the way, is never a good sign, especially in a Hitchcock film. Along the way we get iconic scenes in a field and on Mt. Rushmore. I'm going to stop here and just say I love this film. Anytime I see it's on TV I always end up watching it. When you get done with this post, you should too.
1. Vertigo - 1958 Trust me when I say we'll be looking at this film closer later on as it is quite simply one of the greatest films ever made. Consistently found on Best Film lists, most recently AFI's #9 choice, it didn't begin to get critical praise until 1968. It was pulled from circulation between 1973 and 1983, then restored and re-released in 1996 (which I saw on the big screen... very cool). This dark, odd film about love and obsession is filled with enough subtext to write a book. There's also the film's exploration of some of the very demons that plagued Hitchcock himself. The use of color in the film and the importance that red, green and yellow plays in providing subliminal cues have been well documented.
Scottie Ferguson (James Stewart, again!) is a police detective forced into early retirement when his fear of heights leads to the death of a fellow police officer. He now spends most of his time meandering around San Francisco and hanging out with his former college sweetheart Midge. When an old friend asks him to follow his wife, Madeleine (Kim Novak, huba-huba), Scottie takes the job out of curiosity and boredom. She appears to believe she's the reincarnation of a long dead woman of San Franciscan lore. Over time he gets to know her and even fall in love with her.
Rather than give away anything for the uninitiated, I'll just leave you with this passage from my guru, Mr. Roger Ebert. "A man has fallen in love with a woman who does not exist, and now he cries out harshly against the real woman who impersonated her. But there is so much more to it than that. The real woman has fallen in love with him. In tricking him, she tricked herself. And the man, by preferring his dream to the woman standing before him, has lost both."
When you are ready for a film experience few films can match, this is your film.
Wednesday, March 31, 2010
day 89 - Team America: World Police
Ok film fans, I have an early day tomorrow so we're going to make this short and sweet.
Team America: World Police is a film starring puppets. Lots of puppets. In the grand tradition of the Thunderbirds, idiot savants Trey Parker and Matt Stone, the loose cannons behind the South Park TV show, have created an elaborate joke at the expense of self-aggrandizing actors, America's overwhelming sense of nationalism and the "War" on Terrorism. It also makes fun of such wacky icons as Jong-il Kim, Saddam Hussein and Matt Damon.
The plot (oh yes, there is one) has talented actor Gary Johnston being recruited by Team America, a globetrotting military gang of freedom loving, Democracy enforcing ass-kickers. The team needs someone who can infiltrate the terrorist organizations and reveal their next big target. After a terrorist attack on the Panama Canal, Gary feels responsible, leaving the team just before they face their biggest challenge, Jong-il Kim. But, with Team America captured and the threat of weapons of mass destruction being used, Gary is forced back into action.
There is no subtle humor here; the guys from South Park wear their hearts on their sleeve. It's also rather notorious for two unique scenes; a puppet sex scene and a puppet vomit scene. Either you find this type of humor offensive or it leaves you laughing out loud, a lot. That I dressed up for Halloween as Gary (in this image) right after it came out, pretty much tells you which camp I'm in. If you like twisted satire concealed by kinda creepy lookin' herky-jerky marionettes, you'll love this film.
Team America: World Police is a film starring puppets. Lots of puppets. In the grand tradition of the Thunderbirds, idiot savants Trey Parker and Matt Stone, the loose cannons behind the South Park TV show, have created an elaborate joke at the expense of self-aggrandizing actors, America's overwhelming sense of nationalism and the "War" on Terrorism. It also makes fun of such wacky icons as Jong-il Kim, Saddam Hussein and Matt Damon.
The plot (oh yes, there is one) has talented actor Gary Johnston being recruited by Team America, a globetrotting military gang of freedom loving, Democracy enforcing ass-kickers. The team needs someone who can infiltrate the terrorist organizations and reveal their next big target. After a terrorist attack on the Panama Canal, Gary feels responsible, leaving the team just before they face their biggest challenge, Jong-il Kim. But, with Team America captured and the threat of weapons of mass destruction being used, Gary is forced back into action.
There is no subtle humor here; the guys from South Park wear their hearts on their sleeve. It's also rather notorious for two unique scenes; a puppet sex scene and a puppet vomit scene. Either you find this type of humor offensive or it leaves you laughing out loud, a lot. That I dressed up for Halloween as Gary (in this image) right after it came out, pretty much tells you which camp I'm in. If you like twisted satire concealed by kinda creepy lookin' herky-jerky marionettes, you'll love this film.
Tuesday, March 30, 2010
day 88 - "Round Midnight
OK film fans tonight for some unknown reason I'm feeling sentimental. Perhaps it's because spring has sprung and love will soon fill the air. Then again it could be the post dinner jazz and Scotch I've treated myself to this evening. With nothing on TV, good, bad or otherwise, I've delved into my catalog of DVD and DVR goodies and come up with a classic film about obsession, passion, acceptance and of course, great jazz.
Round Midnight is a remarkable, Oscar winning film about an African-American Jazz saxophonist ex-pat living and playing music in Paris. Dale Turner (jazz icon Dexter Gordon in a hauntingly reflective Oscar nominated performance) is a jazzman playing the The Blue Note in 1959. He's a struggling alcoholic and drug user who has seen his patches of sobriety become fewer and fewer, each one bringing him closer to his end. He is aware of own mortality and tries as much as possible to absorb everything around him as this might be his last gig. We see Francis Borler, a young Frenchman listening from outside the club. He believes Dale is the greatest sax player alive and doesn't care if he has to stand in the rain just to hear him play.
The film centers around the relationship built between these two men when Francis encounters Dale out on the streets in a bad way and offers to help him. The overwhelming sense of loneliness Dale has about him from having to move to Paris to make a living, being policed by his landlady and the club owner to show up sober and missing his life back in the states, is easily picked up by Francis, himself a struggling artist who is also dealing with life as a recently single father. But this is not a plot heavy film, it is a film about the end of a jazzman's career and the music he has devoted himself to. For me, it's easily the greatest jazz film made (with the wonderful Bird playing backup) and understands rightly that you can't simply tell the story of a jazzman's life in words; you need the music as well. As such, it has more music than just about any film you'll encounter, filmed live as the artists created it rather than the hollow prerecorded music you hear so often in the background.
As my Guru pointed out in his amazing review, which is almost as beautiful as the film itself, "You do not need to know a lot about jazz to appreciate what is going on because, in a certain sense, this movie teaches you everything about jazz that you really need to know." The simple truth of the matter is that this film is a benchmark. If you see it and fall in love with the music you already do or probably will love jazz for the rest of your life. If you don't, well, to each their own.
Sometimes when you see a film it's like meeting a person; you don't know immediately that the film will become a great friend and be there for you to lean on through the years. I don't remember the first time I saw tonight's film, however I had started getting into jazz a few years prior. I think that's what prompted me to stretch my film boundaries. I have seen it more than a dozen times since, but I can't really put a number on it.
I don't recall where I bought the soundtrack, just that I remember having to track it down and was ecstatic when I found it. Oddly enough I recall it was the same place I found my favorite Fishbone CD as well. Since that purchase not a single month has gone by where I haven't listened to its songs. Not one. For years I would listen to it every night as I would fall asleep. Now I listen to it when I do the dishes or when nights grow dark. I hope that I never grow weary of its sad, tender and hopeful notes, but I don't think I ever will.
Round Midnight is a remarkable, Oscar winning film about an African-American Jazz saxophonist ex-pat living and playing music in Paris. Dale Turner (jazz icon Dexter Gordon in a hauntingly reflective Oscar nominated performance) is a jazzman playing the The Blue Note in 1959. He's a struggling alcoholic and drug user who has seen his patches of sobriety become fewer and fewer, each one bringing him closer to his end. He is aware of own mortality and tries as much as possible to absorb everything around him as this might be his last gig. We see Francis Borler, a young Frenchman listening from outside the club. He believes Dale is the greatest sax player alive and doesn't care if he has to stand in the rain just to hear him play.
The film centers around the relationship built between these two men when Francis encounters Dale out on the streets in a bad way and offers to help him. The overwhelming sense of loneliness Dale has about him from having to move to Paris to make a living, being policed by his landlady and the club owner to show up sober and missing his life back in the states, is easily picked up by Francis, himself a struggling artist who is also dealing with life as a recently single father. But this is not a plot heavy film, it is a film about the end of a jazzman's career and the music he has devoted himself to. For me, it's easily the greatest jazz film made (with the wonderful Bird playing backup) and understands rightly that you can't simply tell the story of a jazzman's life in words; you need the music as well. As such, it has more music than just about any film you'll encounter, filmed live as the artists created it rather than the hollow prerecorded music you hear so often in the background.
As my Guru pointed out in his amazing review, which is almost as beautiful as the film itself, "You do not need to know a lot about jazz to appreciate what is going on because, in a certain sense, this movie teaches you everything about jazz that you really need to know." The simple truth of the matter is that this film is a benchmark. If you see it and fall in love with the music you already do or probably will love jazz for the rest of your life. If you don't, well, to each their own.
Sometimes when you see a film it's like meeting a person; you don't know immediately that the film will become a great friend and be there for you to lean on through the years. I don't remember the first time I saw tonight's film, however I had started getting into jazz a few years prior. I think that's what prompted me to stretch my film boundaries. I have seen it more than a dozen times since, but I can't really put a number on it.
I don't recall where I bought the soundtrack, just that I remember having to track it down and was ecstatic when I found it. Oddly enough I recall it was the same place I found my favorite Fishbone CD as well. Since that purchase not a single month has gone by where I haven't listened to its songs. Not one. For years I would listen to it every night as I would fall asleep. Now I listen to it when I do the dishes or when nights grow dark. I hope that I never grow weary of its sad, tender and hopeful notes, but I don't think I ever will.
Monday, March 29, 2010
day 87 - High Fidelity
OK film fans, the streak continues but despite spending some quality time in the cube farm I'm still feeling very blah. I think that's the best word I could think of to describe today because the tank is just running on empty. I'm severely bummed that I didn't get to see Hot Tub Time Machine and I still have John Cusack films running through my very sore and tired head. It got me to thinkin', I've never really explained my frequent use of clips John Cusack when posting my Top 5 Lists. Tonight, I make amends.
High Fidelity is the epitome of films Hollywood fails to get. It's a film about real people in real situations who act realistically. There are no explosions or chases or even a "big" message and yet we still find ourselves not only entertained but interested in the choices made by the characters and what the outcomes will be. The film's pace is unforced, allowing us to discover the personalities of the characters layer by layer.
Rob Gordon (Cusack), our 4th wall narrator, has just been dumped by his live-in girlfriend Laura (Danish gem Iben Hjejle). Rob owns a record store with the prerequisite employees, vinyl nerds whose minds are filled with factoids of importance only to them and others like them. Dick is the quiet and shy clerk while Barry (Jack Black in his breakout performance) is the know-it-all loudmouth. They were hired as part time workers for a three day shift each, both show up six days a week. There's a comfort level here for anyone who is or knows people like this. It doesn't matter what the field is, records, videos, books, coffee, health food or tattoo's; these are those people depicted as they are in real life.
Rob seems to be at a crossroads in his life but he can't seem to get out of the groove his life has worn into. Laura has moved out and is "staying" with a male friend. He decides to reflect further on his failing relationship by tracking down his Top 5 Break-up girlfriends to find out what went wrong. In most cases it was nothing earth shattering, like is the case in most of our lives. In youth much of dating is simply window shopping or practice for when we find the real thing. When you break-up you feel remorse, get sad and then get over it and move on to the next encounter. Rob seems to have made a second career out of being forlorn, valuing the relationship more in the aftermath than he did during its life.
Slowly, after seeing what his life has become with and without Laura, in addition to getting a fresh reminder that things aren't always as they seem, he begins to realize the rut he's in. Albert Einstein, a fairly smart guy, has a quote roughly stating that "doing the same thing over and over again and expecting different results is the definition of insanity." A light seems to come on for Rob, albeit dimly at first. He starts making different decisions, becoming more engaged in his life and changes his pattern of behavior. He soon reaps the benefits of that change. I've often be cynical about happy endings in films, especially those in the stereotypical big budget Hollywood releases. But here it feels right. It's a natural outcome that again feels organic and unforced. Plus we get a really good soundtrack and a Jack Black performance as good as anything in Tenacious D.
I saw this film when I was in the middle of a long relationship, neither in the blush of discovery nor in the winter of discontent. At the time I related more to Rob's career struggles, what to do with your life when you feel like you've reached a dead end. Now, several years after that relationship ran its course, I see this film in a new light and recognize that sometimes it's difficult to see the insanity of your choices when the rut you're in is ten feet deep. But even then, there's still light visible, reminding you of the direction you need to go.
High Fidelity is the epitome of films Hollywood fails to get. It's a film about real people in real situations who act realistically. There are no explosions or chases or even a "big" message and yet we still find ourselves not only entertained but interested in the choices made by the characters and what the outcomes will be. The film's pace is unforced, allowing us to discover the personalities of the characters layer by layer.
Rob Gordon (Cusack), our 4th wall narrator, has just been dumped by his live-in girlfriend Laura (Danish gem Iben Hjejle). Rob owns a record store with the prerequisite employees, vinyl nerds whose minds are filled with factoids of importance only to them and others like them. Dick is the quiet and shy clerk while Barry (Jack Black in his breakout performance) is the know-it-all loudmouth. They were hired as part time workers for a three day shift each, both show up six days a week. There's a comfort level here for anyone who is or knows people like this. It doesn't matter what the field is, records, videos, books, coffee, health food or tattoo's; these are those people depicted as they are in real life.
Rob seems to be at a crossroads in his life but he can't seem to get out of the groove his life has worn into. Laura has moved out and is "staying" with a male friend. He decides to reflect further on his failing relationship by tracking down his Top 5 Break-up girlfriends to find out what went wrong. In most cases it was nothing earth shattering, like is the case in most of our lives. In youth much of dating is simply window shopping or practice for when we find the real thing. When you break-up you feel remorse, get sad and then get over it and move on to the next encounter. Rob seems to have made a second career out of being forlorn, valuing the relationship more in the aftermath than he did during its life.
Slowly, after seeing what his life has become with and without Laura, in addition to getting a fresh reminder that things aren't always as they seem, he begins to realize the rut he's in. Albert Einstein, a fairly smart guy, has a quote roughly stating that "doing the same thing over and over again and expecting different results is the definition of insanity." A light seems to come on for Rob, albeit dimly at first. He starts making different decisions, becoming more engaged in his life and changes his pattern of behavior. He soon reaps the benefits of that change. I've often be cynical about happy endings in films, especially those in the stereotypical big budget Hollywood releases. But here it feels right. It's a natural outcome that again feels organic and unforced. Plus we get a really good soundtrack and a Jack Black performance as good as anything in Tenacious D.
I saw this film when I was in the middle of a long relationship, neither in the blush of discovery nor in the winter of discontent. At the time I related more to Rob's career struggles, what to do with your life when you feel like you've reached a dead end. Now, several years after that relationship ran its course, I see this film in a new light and recognize that sometimes it's difficult to see the insanity of your choices when the rut you're in is ten feet deep. But even then, there's still light visible, reminding you of the direction you need to go.
Sunday, March 28, 2010
day 86 - Superman Doomsday
OK film fans it looks as though yesterday was just the tip of the iceberg and today the real extent of this malady is making itself known. Since I've spent the better part of the day in bed it's made me feel like a sick little kid and nothing goes better with that than cartoons. Now I'm sure this isn't a shock but as a kid I had a rather sizable comic book collection and was a secret comic book nerd in high school. Once in college I had neither the funds nor the time to spend on such extravagances and spent my funds more wisely on girls, pizza and beer.
Even though I no longer collect comics a few years ago I heard about a graphic novel called "The Death of Superman." I actually own a copy of the reprinted collection which stands as the last comic I've purchased. I still find that a little odd since I was always more of a Marvel kid. It was a spin off story about Superman's fight to the death with a creature whose only goal is the destruction of all life, regardless of its form. It was decent, but not exciting. My age had caught up with me and I no longer thought these endless permutations of characters were that interesting. But while lying in bed today, looking for something to watch on my laptop so I could keep the streak alive while feeling both sick and run down, I came across something that would have restored my energy as a kid.
Superman Doomsday is one of the growing collection of straight to DVD films aimed today's kids who are fans of the comic icons like Superman, Batman and Spider-Man. Feeling quite ill I thought "what the hell" this might cheer my day up some. Unfortunately I'm not a kid anymore. What's worse, the story is so dark and heavy, dealing with death, loss, morality, genetic engineering and so forth, that I can't imagine a kid like my 8 year old nephew finding the whole thing interesting. It's a bit much for kids and far too little for adults. It still feels like a Saturday morning cartoon that was expanded to 80 minutes and threw in some scarier imagery. I'd like to say I enjoyed this but I ended up wishing I had just sucked it up, walked downstairs and grabbed my copy of Iron Man.
Even though I no longer collect comics a few years ago I heard about a graphic novel called "The Death of Superman." I actually own a copy of the reprinted collection which stands as the last comic I've purchased. I still find that a little odd since I was always more of a Marvel kid. It was a spin off story about Superman's fight to the death with a creature whose only goal is the destruction of all life, regardless of its form. It was decent, but not exciting. My age had caught up with me and I no longer thought these endless permutations of characters were that interesting. But while lying in bed today, looking for something to watch on my laptop so I could keep the streak alive while feeling both sick and run down, I came across something that would have restored my energy as a kid.
Superman Doomsday is one of the growing collection of straight to DVD films aimed today's kids who are fans of the comic icons like Superman, Batman and Spider-Man. Feeling quite ill I thought "what the hell" this might cheer my day up some. Unfortunately I'm not a kid anymore. What's worse, the story is so dark and heavy, dealing with death, loss, morality, genetic engineering and so forth, that I can't imagine a kid like my 8 year old nephew finding the whole thing interesting. It's a bit much for kids and far too little for adults. It still feels like a Saturday morning cartoon that was expanded to 80 minutes and threw in some scarier imagery. I'd like to say I enjoyed this but I ended up wishing I had just sucked it up, walked downstairs and grabbed my copy of Iron Man.
Saturday, March 27, 2010
day 85 - Grosse Pointe Blank
OK film fans I'm very disappointed I wasn't able to see Hot Tub Time Machine to day but my sinuses are killing me and my head is thumping so the last thing I wanted to do was go to a theater. But since I'm still in a John Cusack 80s kind of mood here's another variation on that theme Cusack has played before.
Grosse Pointe Blank is a crime comedy set in 1997 with a heart from the 80's. Martin Blank (Cusack) is a professional assassin who's at a crossroads in his career. Just as he's having issues with Grocer (Dan Ackroyd) another assassin who wants to start a union, having difficulties with his shrink and being followed by some feds, he gets an invitation to his 10th high school reunion an a new mission in his hometown.
Despite his secretary, Marcella (Cusack's sister Joan) having misgivings about his returning to his hometown in his current state Martin senses it's the opportunity to get some closure on his past. As he visits past friends and his mother we get the background on Mr. Blank. His family life appears to have been non-existent, he was a bright student and he disappeared from town to join the military the night of his prom, standing up his girlfriend Debi Newberry (Minnie Driver) in the process. It turns out Debi was the only real ties he had to his life and she's the only one he really wants see upon his return.
Once he's reconnected with Debi and they go to the reunion Martin finds himself awash in self discovery, face to face with his past and the life stories of people he knew as a youth. His moment of enlightenment is shattered when his life catches up to him and all hell breaks loose. The final act of the film finds Martin trying to make amends for his past as it threatens his chance at redemption and a new life with Debi. So if you're in the mood for some 80's tunes, comedy, romance, bullets and kickboxing you've found your film.
Grosse Pointe Blank is a crime comedy set in 1997 with a heart from the 80's. Martin Blank (Cusack) is a professional assassin who's at a crossroads in his career. Just as he's having issues with Grocer (Dan Ackroyd) another assassin who wants to start a union, having difficulties with his shrink and being followed by some feds, he gets an invitation to his 10th high school reunion an a new mission in his hometown.
Despite his secretary, Marcella (Cusack's sister Joan) having misgivings about his returning to his hometown in his current state Martin senses it's the opportunity to get some closure on his past. As he visits past friends and his mother we get the background on Mr. Blank. His family life appears to have been non-existent, he was a bright student and he disappeared from town to join the military the night of his prom, standing up his girlfriend Debi Newberry (Minnie Driver) in the process. It turns out Debi was the only real ties he had to his life and she's the only one he really wants see upon his return.
Once he's reconnected with Debi and they go to the reunion Martin finds himself awash in self discovery, face to face with his past and the life stories of people he knew as a youth. His moment of enlightenment is shattered when his life catches up to him and all hell breaks loose. The final act of the film finds Martin trying to make amends for his past as it threatens his chance at redemption and a new life with Debi. So if you're in the mood for some 80's tunes, comedy, romance, bullets and kickboxing you've found your film.
Friday, March 26, 2010
day 84 - Top 5 John Cusack Films of the 80's
OK film fans it's Friday night and I'm still being sidetracked by March Madness. However, since this weekend is the release of Hot Tub Time Machine I am planning to tear myself away from hoops long enough to check it out. I'm quite sure that my heightened level of anticipation instantly dates me so allow me just let the cat out of the bag. I went to high school and college in the 80's and it's a time I look back on both fondly and with utter disdain.
In honor of Hot Tub's star, John Cusack, who earned his bones in the teensploitation films of the 80s, I think now is the perfect time to post my Top 5 John Cusack Films of the 80's. I've got to be honest here; these are all going to be comedies because I didn't watch any of his serious roles until after his amazing performance in The Grifters in 1990. John was kind enough to get out of the rain for a moment to stop by and explain how this list works.
5. One Crazy Summer - 1986 One of three teensploitation films from director/writer Savage Steve Holland (of which two starred Cusack), this oddball story lives in my mind as the moment Demi Moore and Bobcat Goldthwait appeared in a film together and the world didn't plunge into the 7th Circle of Hell. Even by 80's standards this film was lame, but Cusack showed an ability to play the straight man and still get laughs in this stinker.
4. Hot Pursuit - 1987 Kind of another 80's stinker but Cusack shows some nice range as the film goes from basic teen comedy to some kind of hybrid Rambo flick. Oddly enough the funniest scenes in the film come from Robert Loggia.
3. The Sure Thing - 1985 Now were talking! Here's a classic road trip film where Cusack's Walter Gibson travels cross country with fellow student Alison Bradbury (Daphne Zuniga). She's on her way to visit her boyfriend and he's after what any red-blooded teenage boy is after, a sure thing. In true road trip fashion sparks fly as they get closer to their destination. Cusack gets to play both the ham and the wistful boy, talent's that would serve him well later in his career.
2. Better Off Dead - 1985 There's a special place in my heart for this film. My boys and I saw this in the theaters when it was released and many of the classic lines from it still pepper our conversations to this day. All I have to do is say, "Didn't ask for a dime" and any one of my boys will respond, "two dollars". While it's by far the best of the Savage Steve Holland films, everything from the hideous clothing to the Van Halen Claymation daydream scene is so uniquely 80's it's scary. From what I hear there's some spoofing of this film in the new Hot Tub Time Machine film, should be interesting to see which of his 80's films get a nod.
1. Say Anything - 1989 If this was a surprise pick you definitely need to brush up on your 80's teensploitation. This classic Cameron Crowe film turned Cusack into a cult icon and minor star. It tells the story of a classic underachiever who charms his class valedictorian into a summer romance after their graduation. Unlike most teensploitation films the characters are multi-dimensional lending more depth and credence to their relationship. The highs and lows they go through ring as true to a teen as they do to anyone who fell hard when they were a teen. This was the culmination of his work in the 80's and created one of his most endearing and enduring characters. Cusack's career has taken many paths and he's played a wide variety of characters but much like in this, his break out film, he seems to be made to play the lovelorn nice guy who still manages to get the girl. And after all, what would the children of the 80's have done without Lloyd Dobler.
In honor of Hot Tub's star, John Cusack, who earned his bones in the teensploitation films of the 80s, I think now is the perfect time to post my Top 5 John Cusack Films of the 80's. I've got to be honest here; these are all going to be comedies because I didn't watch any of his serious roles until after his amazing performance in The Grifters in 1990. John was kind enough to get out of the rain for a moment to stop by and explain how this list works.
5. One Crazy Summer - 1986 One of three teensploitation films from director/writer Savage Steve Holland (of which two starred Cusack), this oddball story lives in my mind as the moment Demi Moore and Bobcat Goldthwait appeared in a film together and the world didn't plunge into the 7th Circle of Hell. Even by 80's standards this film was lame, but Cusack showed an ability to play the straight man and still get laughs in this stinker.
4. Hot Pursuit - 1987 Kind of another 80's stinker but Cusack shows some nice range as the film goes from basic teen comedy to some kind of hybrid Rambo flick. Oddly enough the funniest scenes in the film come from Robert Loggia.
3. The Sure Thing - 1985 Now were talking! Here's a classic road trip film where Cusack's Walter Gibson travels cross country with fellow student Alison Bradbury (Daphne Zuniga). She's on her way to visit her boyfriend and he's after what any red-blooded teenage boy is after, a sure thing. In true road trip fashion sparks fly as they get closer to their destination. Cusack gets to play both the ham and the wistful boy, talent's that would serve him well later in his career.
2. Better Off Dead - 1985 There's a special place in my heart for this film. My boys and I saw this in the theaters when it was released and many of the classic lines from it still pepper our conversations to this day. All I have to do is say, "Didn't ask for a dime" and any one of my boys will respond, "two dollars". While it's by far the best of the Savage Steve Holland films, everything from the hideous clothing to the Van Halen Claymation daydream scene is so uniquely 80's it's scary. From what I hear there's some spoofing of this film in the new Hot Tub Time Machine film, should be interesting to see which of his 80's films get a nod.
1. Say Anything - 1989 If this was a surprise pick you definitely need to brush up on your 80's teensploitation. This classic Cameron Crowe film turned Cusack into a cult icon and minor star. It tells the story of a classic underachiever who charms his class valedictorian into a summer romance after their graduation. Unlike most teensploitation films the characters are multi-dimensional lending more depth and credence to their relationship. The highs and lows they go through ring as true to a teen as they do to anyone who fell hard when they were a teen. This was the culmination of his work in the 80's and created one of his most endearing and enduring characters. Cusack's career has taken many paths and he's played a wide variety of characters but much like in this, his break out film, he seems to be made to play the lovelorn nice guy who still manages to get the girl. And after all, what would the children of the 80's have done without Lloyd Dobler.
Thursday, March 25, 2010
day 83 - Blazing Saddles
OK film fans, I had some running around to do tonight so I got home kind of late. After doing a little dance to celebrate the demise of Syracuse in the March Madness tournament (the evil arch-nemesis of my beloved G-town) I made a little dinner and sat down to relax. Of course before I knew it I looked up and it was almost 10:30. Since being exhausted and not having a lot of time left in the night precludes getting to watch a new film I guess we'll just go with an old favorite of mine.
Blazing Saddles was the first of two films, the second being Young Frankenstein, released in 1974 by comedy master Mel Brooks. If you don't know who Mel Brooks is or are unfamiliar with his comedic genius I truly feel sorry for you. I hope the coma you've been in hasn't left you with any permanent damage. Meanwhile the rest of us have been fortunate enough to bask in the humor of his films for quite some time now.
Blazing Saddles is the decidedly raunchier of the two films and used humor to do something that had never been done in Hollywood prior to its release; create a film that directly made fun of racism. Mel Brooks is the master of low brow comedy (with the occasional high brow aside) which, in his own words, "rises below vulgarity." Essentially a comedy western the plot is merely a pretense for setting up the comedy scenes created by Brooks and co-writer Richard Pryor. Pryor was originally set to star in the film but the Hollywood head honchos didn't like the idea of their film starring a controversial comedian and opted for the rising actor Cleavon Little.
The basic story line centers on shady Attorney General/land developer Hedley Lamarr (Harvey Korman), who needs to run a railroad through the town of Rock Ridge and run the current residents out of town so he can take over. Hoping to anger the residents and prevent opposition to his plans he arranges for the town's new sheriff to be a slave named Bart, a.k.a. Black Bart (Little), who was scheduled to be hung (yes, Brooks goes there). Upon his arrival as sheriff Bart befriends Jim, a drunkard who was the former fastest draw in the West known as The Waco Kid.
Despite their initial anger he manages to win them over with his defeat of Mongo (Alex Karras), a hired tough man sent to expedite the town's revolt. With Hedley's beast defeated he next tries to defeat Bart with a beauty named Lili Von Shtupp (the amazing Madeline Kahn). When this fails he sends in a gang of criminals to blah, blah, blah. Seriously, I'm amazed I made it this far. It's a Mel freakin' Brooks comedy making fun of racism, Westerns and has a notoriously extended fart scene, do I really have to expound on the virtue of the plot? Just see the damn film, it's hilarious and responsible for a ridiculous number of one liners (for example: here, here, here and here) that set the standard and have survived the test of time. If you need some awesomely vulgar low brow comedy, and who doesn't, this is your film.
Blazing Saddles was the first of two films, the second being Young Frankenstein, released in 1974 by comedy master Mel Brooks. If you don't know who Mel Brooks is or are unfamiliar with his comedic genius I truly feel sorry for you. I hope the coma you've been in hasn't left you with any permanent damage. Meanwhile the rest of us have been fortunate enough to bask in the humor of his films for quite some time now.
Blazing Saddles is the decidedly raunchier of the two films and used humor to do something that had never been done in Hollywood prior to its release; create a film that directly made fun of racism. Mel Brooks is the master of low brow comedy (with the occasional high brow aside) which, in his own words, "rises below vulgarity." Essentially a comedy western the plot is merely a pretense for setting up the comedy scenes created by Brooks and co-writer Richard Pryor. Pryor was originally set to star in the film but the Hollywood head honchos didn't like the idea of their film starring a controversial comedian and opted for the rising actor Cleavon Little.
The basic story line centers on shady Attorney General/land developer Hedley Lamarr (Harvey Korman), who needs to run a railroad through the town of Rock Ridge and run the current residents out of town so he can take over. Hoping to anger the residents and prevent opposition to his plans he arranges for the town's new sheriff to be a slave named Bart, a.k.a. Black Bart (Little), who was scheduled to be hung (yes, Brooks goes there). Upon his arrival as sheriff Bart befriends Jim, a drunkard who was the former fastest draw in the West known as The Waco Kid.
Despite their initial anger he manages to win them over with his defeat of Mongo (Alex Karras), a hired tough man sent to expedite the town's revolt. With Hedley's beast defeated he next tries to defeat Bart with a beauty named Lili Von Shtupp (the amazing Madeline Kahn). When this fails he sends in a gang of criminals to blah, blah, blah. Seriously, I'm amazed I made it this far. It's a Mel freakin' Brooks comedy making fun of racism, Westerns and has a notoriously extended fart scene, do I really have to expound on the virtue of the plot? Just see the damn film, it's hilarious and responsible for a ridiculous number of one liners (for example: here, here, here and here) that set the standard and have survived the test of time. If you need some awesomely vulgar low brow comedy, and who doesn't, this is your film.
Wednesday, March 24, 2010
day 82 - Aqua Teen Hunger Force Colon Movie Film for Theaters
OK film fans, hump day is here and the downhill run towards the weekend has officially begun. Since my mind is completely shot tonight I'm feeling in need of a little boost. So tonight we're going to go light and hit up a comedy. And I'm not joking when I mean light.
Aqua Teen Hunger Force Colon Movie Film for Theaters is an inexplicable mess of a film. It literally makes no sense. But if you've ever seen the Aqua Teen Hunger Force (ATHF) show on Cartoon Network's Adult Swim late night programming, you would already know this. If you haven't you are either under 12, over 21, have a spouse and children or some combination thereof. Being someone who finds the nonsensical absolutely hilarious this show has been a favorite of mine for years. Its cult appeal stems from its use of morbid and surreal non sequitur comedy with episodes that usually abandon the formal plot structure as soon as it has been established. There is little rhyme or reason to the plot of the episodes and little continuity in the series other than the main characters appearing in the same form at the start of each episode regardless of how they ended the last episode. They also infamously brought Boston to a near standstill when a marketing campaign was mistaken for a bomb scare.
For some reason, despite its small but devoted fan base, the creators released a full length film based on their TV show which only runs 15minutes per episode. If you're looking for a plot breakdown you shouldn't, but I'll give it a try. The film follows the ATHF gang, Frylock, Master Shake and Meatwad, as they seek information about their origins. This leads them to a mystical piece of machinery; an immortal piece of exercise equipment known as The Insane-O-Flex. See, I told you so.
If you're wondering why I like this craptastic piece of cinema first let me say that, surprisingly, I'm not alone. And secondly, much like Hot Rod, it comes down to a single scene. Before the credits even start and we see anything at all, we get a taste of the perversion of the minds we're dealing with. Oh yeah, baby. Oh yeah.
Aqua Teen Hunger Force Colon Movie Film for Theaters is an inexplicable mess of a film. It literally makes no sense. But if you've ever seen the Aqua Teen Hunger Force (ATHF) show on Cartoon Network's Adult Swim late night programming, you would already know this. If you haven't you are either under 12, over 21, have a spouse and children or some combination thereof. Being someone who finds the nonsensical absolutely hilarious this show has been a favorite of mine for years. Its cult appeal stems from its use of morbid and surreal non sequitur comedy with episodes that usually abandon the formal plot structure as soon as it has been established. There is little rhyme or reason to the plot of the episodes and little continuity in the series other than the main characters appearing in the same form at the start of each episode regardless of how they ended the last episode. They also infamously brought Boston to a near standstill when a marketing campaign was mistaken for a bomb scare.
For some reason, despite its small but devoted fan base, the creators released a full length film based on their TV show which only runs 15minutes per episode. If you're looking for a plot breakdown you shouldn't, but I'll give it a try. The film follows the ATHF gang, Frylock, Master Shake and Meatwad, as they seek information about their origins. This leads them to a mystical piece of machinery; an immortal piece of exercise equipment known as The Insane-O-Flex. See, I told you so.
If you're wondering why I like this craptastic piece of cinema first let me say that, surprisingly, I'm not alone. And secondly, much like Hot Rod, it comes down to a single scene. Before the credits even start and we see anything at all, we get a taste of the perversion of the minds we're dealing with. Oh yeah, baby. Oh yeah.
Tuesday, March 23, 2010
day 81 - Julie & Julia
OK film fans, we've got a near blizzard coming down on us, which made for an interesting drive home, and after a bowl of mediocre chili I'm ready for tonight's film. And given my feelings about this little experiment it seems apropos.
Julie & Julia is a film of two women's lives, Julie Powell (Amy Adams) and Julia Childs (Meryl Streep, the greatest living actor in the world. The former is an aspiring writer, unable to finish her novel and stuck in a cubicle call center job, who starts a blog with the goal of cooking 542 dishes in 365 days. The dishes come from Julie Child's revolutionary cook book Mastering the Art of French Cooking.
The film starts with Julie's average and unfulfilled life and ends with her achieving success far beyond her goals. She starts the blog, with some coaxing from her husband, as a way to cope with a life that doesn't seem to have lived up to her potential after college. We witness both her euphoria in crafting a fine meal and her meltdowns as both the meals and her marriage suffer disappointments. Amy Adams is an actress whose cheerful manner can make anything seem better, to wit Junebug.
Despite Amy Adams' performance, Julie isn't really the star here. Streep's Julia Child is truly something to marvel. She not only captures Julia for those of us old enough to recall her from her TV show, she captures her brave and unyielding spirit as well. It brings to life a Julia Child I never knew and made me wish this entire film was about her life, which is far more interesting than Julie's.
This is a cute film with a charming premise, which is why Julie Powell's blog lead to her becoming published and ultimately the creation of this film based on her simple decision to write about something she liked doing. But it's also a film about achieving your goals when the only thing standing in your way is yourself.
After seeing this I get why my sister brought up this film and the blog idea to me this past Thanksgiving. My family has always been supportive of my more artistic fantasies and my sister thought that a blog might be a good outlet for me. You see, I too am a cubicle farmer in a call center. Without question I am not now, nor have I in some time, living up to my potential. Around the same time as my sister's suggestion a co-worker of mine overheard me talking about film with another co-worker and offhandedly commented that "you sound like you should have a blog on film."
And with those two suggestions, a lifetime of film watching, a couple of semesters of film classes and a desire to do something creative, this blog was born. Only I'm beginning to worry about my little project. I realize this is not a flashy site with lots of gossip and pictures of celebrities, but I really thought I might find some other film lovers who would be interested in taking this journey with me. Otherwise this is beginning to feel like I'm just posting my personal journal online and that feels little embarrassing. Then again maybe I'm just getting in my own way.
Julie & Julia is a film of two women's lives, Julie Powell (Amy Adams) and Julia Childs (Meryl Streep, the greatest living actor in the world. The former is an aspiring writer, unable to finish her novel and stuck in a cubicle call center job, who starts a blog with the goal of cooking 542 dishes in 365 days. The dishes come from Julie Child's revolutionary cook book Mastering the Art of French Cooking.
The film starts with Julie's average and unfulfilled life and ends with her achieving success far beyond her goals. She starts the blog, with some coaxing from her husband, as a way to cope with a life that doesn't seem to have lived up to her potential after college. We witness both her euphoria in crafting a fine meal and her meltdowns as both the meals and her marriage suffer disappointments. Amy Adams is an actress whose cheerful manner can make anything seem better, to wit Junebug.
Despite Amy Adams' performance, Julie isn't really the star here. Streep's Julia Child is truly something to marvel. She not only captures Julia for those of us old enough to recall her from her TV show, she captures her brave and unyielding spirit as well. It brings to life a Julia Child I never knew and made me wish this entire film was about her life, which is far more interesting than Julie's.
This is a cute film with a charming premise, which is why Julie Powell's blog lead to her becoming published and ultimately the creation of this film based on her simple decision to write about something she liked doing. But it's also a film about achieving your goals when the only thing standing in your way is yourself.
After seeing this I get why my sister brought up this film and the blog idea to me this past Thanksgiving. My family has always been supportive of my more artistic fantasies and my sister thought that a blog might be a good outlet for me. You see, I too am a cubicle farmer in a call center. Without question I am not now, nor have I in some time, living up to my potential. Around the same time as my sister's suggestion a co-worker of mine overheard me talking about film with another co-worker and offhandedly commented that "you sound like you should have a blog on film."
And with those two suggestions, a lifetime of film watching, a couple of semesters of film classes and a desire to do something creative, this blog was born. Only I'm beginning to worry about my little project. I realize this is not a flashy site with lots of gossip and pictures of celebrities, but I really thought I might find some other film lovers who would be interested in taking this journey with me. Otherwise this is beginning to feel like I'm just posting my personal journal online and that feels little embarrassing. Then again maybe I'm just getting in my own way.
Monday, March 22, 2010
day 80 - Away We Go
OK film fans, the least anticipated day of the week, Monday, has come and just about gone, but before it fades into the background I want to share my thoughts on a film I just finished watching. As you may have noticed recently I've been leaning heavily on the indie films for my blog and this is no mere coincidence. Hollywood is constantly churning out mindless dreck, so much so that it sometimes makes it hard to find films of value that can be both entertaining and stimulate your mind. This is never truer than in the months between Oscar season and the start of the summer blockbusters from February through May. I encourage you during this time shun the theaters and look at DVD releases from the prior year; you'll never know when a little gem will pop up and make your day.
Away We Go came out in June of 2009 the same week of The Hangover. It was met with decidedly mixed reviews and lasted only 11 weeks in the theaters. I saw the commercials and read some of the reviews when it came out, decided it was a rental and went to see its competition instead. In doing so I passed over steak and Scotch with friends at Morton's for a burger and a coke in a drive thru. Both of those will get the job done, but only one will you remember years later.
Burt (The Office's John Krasinski) and Verona (an amazing performance by Maya Rudolph) are well educated, self-employed, thirty-something's who could easily be living in the suburbs but seem stuck in a post college alternative lifestyle rut. When Verona becomes pregnant they realize it's time to put down roots but aren't sure where or how they should settle down. Since Verona's parents are deceased they had planned on leaning on Burt's folks, for whom they had moved to be closer to even before the pregnancy. However, Burt's parents have decided to move to Antwerp a month before their grandchild is expected to be born and are completely wrapped up in their own lives.
Since the couple is unencumbered they begin a road trip of sorts where, rather than meeting strangers on their journey they visit friends in different cities across the nation in search of a place to settle. Each visit takes on its own pace, measured by the couples in various states of happiness and parenthood. The first stop is Phoenix with Verona's former boss Lily (Allison Janney). She's a wildly inappropriate, liquored up and completely oblivious to the distance her husband and kids have created as a buffer to her cruelty. After a quick stop to visit Verona's sister, their next visit in Madison is with a childhood friend of Burt's, Ellen (now LN) who's a college professor that puts Boulderite New Age tree huggers to shame with her antics. Burt bites his tongue while she espouses feminist alternative child raising theories but finally loses his calm when her flaky husband mocks his career resulting in one the funniest scenes in the film. You'll have second thoughts every time you see a kid in a stroller.
From there they visit college friends Tom and Munch in Montreal who seem to have created a perfect life. They have a wonderful Brownstone filled with adopted children of different ages and ethnicity. Their house is filled with love and laughter. In Burt's conversation with Tom we discover the couple's hearts are breaking as Munch deals with her most recent miscarriage, the latest in a series of attempts to have their own children. Their final stop is an emergency visit to Burt's brother whose wife has abruptly abandoned him and their young daughter. This final visit shakes Burt's confidence and leads to a beautiful conversation between the couple where they reaffirm their love with each other and their unborn child. When they finally realize where they need to go to raise their daughter it feels as right to us as it does to them.
Verona and Burt's relationship is perhaps a bit idyllic but they are not an uncommon or unbelievable couple. The sentiments in the film are heartfelt, honest and touching in a way few films capture. Director Sam Mendes has a way with family dynamics and you don't have to look much further than the married screenwriters to find the wellspring of Burt and Verona. Dave Eggers and his wife Vendela Vida, thirty-something authors and essayist with two kids, are even more amazing than the couple at the center of the film. As always, if a film has a good tone you can be sure the soundtrack is good as well. With its folksy, mellow vibe it's a keeper and now part of my collection.
It seems that most of the reviewers who panned the film focused on the couple's so-called sense of superiority, that they are constantly looking down on other couples and judging them. The bottom line is they are. That's the point. Burt and Verona is the couple we admire, envy and hate all at the same time because they are emphatically in love. They remind us what happens when two people are the perfect complement for each other. The charm here is that despite their wonderful relationship, there are still lessons to be learned from each couple they encounter.
It's not a perfect film, there are scenes that don't completely work and some characters are pretty one dimensional. But the cast is superb throughout and if the film had been a little stronger I could have seen Rudolph being Oscar nominated, it's that good of a performance. I felt this film in a way that surprised me. It was loving ode to something I'm still searching and hoping for; love, family and a place to settle down.
Away We Go came out in June of 2009 the same week of The Hangover. It was met with decidedly mixed reviews and lasted only 11 weeks in the theaters. I saw the commercials and read some of the reviews when it came out, decided it was a rental and went to see its competition instead. In doing so I passed over steak and Scotch with friends at Morton's for a burger and a coke in a drive thru. Both of those will get the job done, but only one will you remember years later.
Burt (The Office's John Krasinski) and Verona (an amazing performance by Maya Rudolph) are well educated, self-employed, thirty-something's who could easily be living in the suburbs but seem stuck in a post college alternative lifestyle rut. When Verona becomes pregnant they realize it's time to put down roots but aren't sure where or how they should settle down. Since Verona's parents are deceased they had planned on leaning on Burt's folks, for whom they had moved to be closer to even before the pregnancy. However, Burt's parents have decided to move to Antwerp a month before their grandchild is expected to be born and are completely wrapped up in their own lives.
Since the couple is unencumbered they begin a road trip of sorts where, rather than meeting strangers on their journey they visit friends in different cities across the nation in search of a place to settle. Each visit takes on its own pace, measured by the couples in various states of happiness and parenthood. The first stop is Phoenix with Verona's former boss Lily (Allison Janney). She's a wildly inappropriate, liquored up and completely oblivious to the distance her husband and kids have created as a buffer to her cruelty. After a quick stop to visit Verona's sister, their next visit in Madison is with a childhood friend of Burt's, Ellen (now LN) who's a college professor that puts Boulderite New Age tree huggers to shame with her antics. Burt bites his tongue while she espouses feminist alternative child raising theories but finally loses his calm when her flaky husband mocks his career resulting in one the funniest scenes in the film. You'll have second thoughts every time you see a kid in a stroller.
From there they visit college friends Tom and Munch in Montreal who seem to have created a perfect life. They have a wonderful Brownstone filled with adopted children of different ages and ethnicity. Their house is filled with love and laughter. In Burt's conversation with Tom we discover the couple's hearts are breaking as Munch deals with her most recent miscarriage, the latest in a series of attempts to have their own children. Their final stop is an emergency visit to Burt's brother whose wife has abruptly abandoned him and their young daughter. This final visit shakes Burt's confidence and leads to a beautiful conversation between the couple where they reaffirm their love with each other and their unborn child. When they finally realize where they need to go to raise their daughter it feels as right to us as it does to them.
Verona and Burt's relationship is perhaps a bit idyllic but they are not an uncommon or unbelievable couple. The sentiments in the film are heartfelt, honest and touching in a way few films capture. Director Sam Mendes has a way with family dynamics and you don't have to look much further than the married screenwriters to find the wellspring of Burt and Verona. Dave Eggers and his wife Vendela Vida, thirty-something authors and essayist with two kids, are even more amazing than the couple at the center of the film. As always, if a film has a good tone you can be sure the soundtrack is good as well. With its folksy, mellow vibe it's a keeper and now part of my collection.
It seems that most of the reviewers who panned the film focused on the couple's so-called sense of superiority, that they are constantly looking down on other couples and judging them. The bottom line is they are. That's the point. Burt and Verona is the couple we admire, envy and hate all at the same time because they are emphatically in love. They remind us what happens when two people are the perfect complement for each other. The charm here is that despite their wonderful relationship, there are still lessons to be learned from each couple they encounter.
It's not a perfect film, there are scenes that don't completely work and some characters are pretty one dimensional. But the cast is superb throughout and if the film had been a little stronger I could have seen Rudolph being Oscar nominated, it's that good of a performance. I felt this film in a way that surprised me. It was loving ode to something I'm still searching and hoping for; love, family and a place to settle down.
Sunday, March 21, 2010
day 79 - Gigantic
OK film fans Sunday night is upon us and I've got to get up at the crack of dawn instead of at a leisurely pace. That means I'm off to bed soon so let's hit it and quit it.
Gigantic is an indie flick that should be the equivalent of a slow pitch in my strike zone. It has all the elements I usually find interesting in indie films. Quirky and original story, check. Quirky and lovable lead actress, check. Interesting casting including a mainstream actor making a surprisingly nice departure from their norm, check. Cool soundtrack, check. Ultimately though, they just don't add up to more than an average film.
Brian (Paul Dano) is a quiet, ordinary guy who works as a bed salesman. He has loving parents and supportive brothers but he cannot relate to them, partially because he appears to have been a "surprise" child when his folks thought their child raising days were behind them. When they get together he often seems distant and preoccupied. After selling a bed to outspoken Al (John Goodman), Brian meets his daughter Happy (Zooey Deschanel) when she comes to make arrangements for its delivery. Happy works with her father and her self-centered sister in the family business. She talks sparingly with her estranged mother, who is living in Florida and is rather disconnected from her former family. Happy is the type of girl who's a little desperate for attention but also a little skittish and immature.
Brian and Happy begin a physical relationship almost as soon as they meet, but the emotional side seems like a long shot given Happy's general instability and Brian's preoccupation with adopting a Chinese baby. Yeah, you read that right. The film's quirky point is that a 28 year old single, white male is attempting to adopt a baby from another country. Needless to say this is a bit more than Happy is ready for. Then there are his periodic fights with a homeless man (Zack Galifianakis) who may be real or may just be a representation of his inner demons and his struggle to overcome them.
This film is trying a little too hard. Even though everyone in the film gives solid performances (especially Ed Asner and Jane Alexander has Brian's parents) everything feels disjointed. The pace is uneven and not all of the scenes seem to work or actually go anywhere. And don't even get me going on the swimming pool scene between the new couple, it just seemed pointless.
Unfortunately this is a case of an indie film that's too preoccupied with being indie. It's too bad though because there was a good film in there, someone just forgot to focus on making a real story first.
Gigantic is an indie flick that should be the equivalent of a slow pitch in my strike zone. It has all the elements I usually find interesting in indie films. Quirky and original story, check. Quirky and lovable lead actress, check. Interesting casting including a mainstream actor making a surprisingly nice departure from their norm, check. Cool soundtrack, check. Ultimately though, they just don't add up to more than an average film.
Brian (Paul Dano) is a quiet, ordinary guy who works as a bed salesman. He has loving parents and supportive brothers but he cannot relate to them, partially because he appears to have been a "surprise" child when his folks thought their child raising days were behind them. When they get together he often seems distant and preoccupied. After selling a bed to outspoken Al (John Goodman), Brian meets his daughter Happy (Zooey Deschanel) when she comes to make arrangements for its delivery. Happy works with her father and her self-centered sister in the family business. She talks sparingly with her estranged mother, who is living in Florida and is rather disconnected from her former family. Happy is the type of girl who's a little desperate for attention but also a little skittish and immature.
Brian and Happy begin a physical relationship almost as soon as they meet, but the emotional side seems like a long shot given Happy's general instability and Brian's preoccupation with adopting a Chinese baby. Yeah, you read that right. The film's quirky point is that a 28 year old single, white male is attempting to adopt a baby from another country. Needless to say this is a bit more than Happy is ready for. Then there are his periodic fights with a homeless man (Zack Galifianakis) who may be real or may just be a representation of his inner demons and his struggle to overcome them.
This film is trying a little too hard. Even though everyone in the film gives solid performances (especially Ed Asner and Jane Alexander has Brian's parents) everything feels disjointed. The pace is uneven and not all of the scenes seem to work or actually go anywhere. And don't even get me going on the swimming pool scene between the new couple, it just seemed pointless.
Unfortunately this is a case of an indie film that's too preoccupied with being indie. It's too bad though because there was a good film in there, someone just forgot to focus on making a real story first.
day 78 - Worst Films of the 2000s
OK film fans, I'm a little fried tonight. I was hoping to relax, catch some hoops and a new film but my Jeep's breaks decided to explode and that kind of chewed up the day. Since I'm tired and little poorer than I was this morning I'm going to make this quick. Some films will leave you feeling tired and much poorer in spirit after seeing them. To no one's surprise, Hollywood churned out a ton of crappy films over the last decade. Here are my Top 5 Worst Films of the Last Decade. In fairness to the other craptastic films, I'm only going to list the cinematic putrescence I had the misfortune of experiencing.
5. Envy Jack Black and Ben Stiller seem like a comedy duo that would be good as gold. Turns out that really isn't the case. This epic turd bomb was shelved for 2 years and released after the success of Black's School of Rock. Tim (Stiller) and Nick (Black) are neighbors and pals. Nick has an idea for inventing a dog poo vaporizer and Tim declines the offer to get in on the scheme. When it becomes a huge success Nick becomes rich overnight much to the envy of Tim. There are literally no laughs, just dog poop and sadness.
4. The Wicker Man What happens when you take a bizarre 70s British cult film about social norms and religious morals, remake it starring Nic Cage and have it directed by a guy with some issues with women? You get a film so bad it's actually laughable. Oh MST3K where are you when I need you?
3. Bewitched Oh dear God how I hate this movie. Once again the mindless group thinking mouth breathers of Hollywood got together and came up with the brilliant decision to bring a hit TV show (from the 60s!) to the silver screen. Will Ferrell's performance is painful to watch and Nicole Kidman might have gotten Botox injected into her brain for this role. If I hadn't seen this while on a date with my ex I would have burned the theater to the ground, salted the smoldering earth and had a priest bless the remains so evil could never return.
2. The Love Guru After taking a well deserved 5 year hiatus from appearing in film Michael Myers returned with this. Why? It was like someone had sucked out all of his talent. As for this series of unfunny sketches loosely combined to waste 85 minutes of your life, it just sucks.
1. Battlefield Earth If this was John Travolta's chance to show the world the talented vision of his beloved L. Ron Hubbard, the founder of the cult known as Scientology, he failed miserably. This film appears in just about every top 10 list of the worst films you can find. It's so bad it's not even worthy of being mocked. It's just the epitome of bad film making. And one more thing, Scientologists can suck it.
Editor's Note: Once again the auto save mechanism has failed me. I assure you this post was completed and originally posted on Saturday, March 20th before this website screwed me over. Thank you, come again.
5. Envy Jack Black and Ben Stiller seem like a comedy duo that would be good as gold. Turns out that really isn't the case. This epic turd bomb was shelved for 2 years and released after the success of Black's School of Rock. Tim (Stiller) and Nick (Black) are neighbors and pals. Nick has an idea for inventing a dog poo vaporizer and Tim declines the offer to get in on the scheme. When it becomes a huge success Nick becomes rich overnight much to the envy of Tim. There are literally no laughs, just dog poop and sadness.
4. The Wicker Man What happens when you take a bizarre 70s British cult film about social norms and religious morals, remake it starring Nic Cage and have it directed by a guy with some issues with women? You get a film so bad it's actually laughable. Oh MST3K where are you when I need you?
3. Bewitched Oh dear God how I hate this movie. Once again the mindless group thinking mouth breathers of Hollywood got together and came up with the brilliant decision to bring a hit TV show (from the 60s!) to the silver screen. Will Ferrell's performance is painful to watch and Nicole Kidman might have gotten Botox injected into her brain for this role. If I hadn't seen this while on a date with my ex I would have burned the theater to the ground, salted the smoldering earth and had a priest bless the remains so evil could never return.
2. The Love Guru After taking a well deserved 5 year hiatus from appearing in film Michael Myers returned with this. Why? It was like someone had sucked out all of his talent. As for this series of unfunny sketches loosely combined to waste 85 minutes of your life, it just sucks.
1. Battlefield Earth If this was John Travolta's chance to show the world the talented vision of his beloved L. Ron Hubbard, the founder of the cult known as Scientology, he failed miserably. This film appears in just about every top 10 list of the worst films you can find. It's so bad it's not even worthy of being mocked. It's just the epitome of bad film making. And one more thing, Scientologists can suck it.
Editor's Note: Once again the auto save mechanism has failed me. I assure you this post was completed and originally posted on Saturday, March 20th before this website screwed me over. Thank you, come again.
Friday, March 19, 2010
day 77 - Bodies, Rest & Motion
OK film fans, it's late on a cold and snowy Friday night, perfect weather for starting a fire, grabbing a blanket and enjoying a little quality couch time. On a night like this I usually would go with a more serious drama, something that really pulls you in and demands your attention. But it's been a long week and the drive in the snow has only made me tired so I'm going to settle for one I've seen before.
Bodies, Rest & Motion is a slice of life Generation X slacker film from the early 90s I saw when I was young, restless and unburdened by life experience. I saw it originally after an unusually bad break up in my 20s; it struck a nerve and has remained a favorite of mine. Converted from a play by Roger Hedden, who also co-wrote the 90's slacker film Sleep With Me which contained Quentin Tarantino's finest acting moment (hint: it's about Top Gun - jump ahead 38 seconds and you'll see), it tells the story of four twenty something's whose lives are intertwined yet heading in different directions. The title refers to Newton's first Law of Motion and it explains a great deal about the characters we are about to see.
Nick (Tim Roth) has convinced his girlfriend Beth (Bridget Fonda) that they should leave their dead end jobs in rural Enfield, Arizona behind and get a fresh start in Butte, Montana, "the city of the future." Beth decides to follow simply because she isn't very good at creating her own path. He waits until the last minute to spring the news on his neighbor Carol (Phoebe Cates), Beth's best friend and Nick's ex, who he had moved to Arizona with originally. Carol is a bit more dynamic, more assertive than Beth and in it we can see both a connection between her and Nick as well as the source of their breakup. Sid (Eric Stoltz) is a painter who meets Beth in traffic and then coincidentally shows up to paint her house before the new tenants move in the next day. Sid has never left his home town and has no desire to. His explanation is that "if you stay in one place, then your luck knows where to find you."
Unfortunately for Beth, Nick is an overbearing, selfish and feckless punk who fancies himself an adventurous rogue. The day before he and Beth are ready to pack up and move he bolts to Montana without her, grinning like a fool as he drives into the desert. Surprisingly, he calls Carol and makes her break the news to Beth. Beth panics, realizing that she is alone and must move out by the next day. Unsurprisingly, Beth makes a poor choice, gets a little stoned with Sid and ends up in bed rather than focusing on her situation. Sid is ecstatic the next morning while Beth is distraught. The conversations they have that follow are some of the most heartfelt, honest and incisive you will see on film.
As you can tell from the description here this is not a story about big significant moments nor is it an escapist film. It is however free of cliches and filled with subtly effective acting and characters facing realistic dilemmas with believable outcomes. Much like The Shape of Things this film retains much of its play like qualities. It's a dialogue driven film interested in revealing character flaws rather than solving them. If you're looking for a traditional spoon fed ending you will not enjoy this film. But if you're in the mood for a play and you can't make it out to the theater, say on a snowy night like this, Bodies, Rest & Motion can fit the bill.
Bodies, Rest & Motion is a slice of life Generation X slacker film from the early 90s I saw when I was young, restless and unburdened by life experience. I saw it originally after an unusually bad break up in my 20s; it struck a nerve and has remained a favorite of mine. Converted from a play by Roger Hedden, who also co-wrote the 90's slacker film Sleep With Me which contained Quentin Tarantino's finest acting moment (hint: it's about Top Gun - jump ahead 38 seconds and you'll see), it tells the story of four twenty something's whose lives are intertwined yet heading in different directions. The title refers to Newton's first Law of Motion and it explains a great deal about the characters we are about to see.
Nick (Tim Roth) has convinced his girlfriend Beth (Bridget Fonda) that they should leave their dead end jobs in rural Enfield, Arizona behind and get a fresh start in Butte, Montana, "the city of the future." Beth decides to follow simply because she isn't very good at creating her own path. He waits until the last minute to spring the news on his neighbor Carol (Phoebe Cates), Beth's best friend and Nick's ex, who he had moved to Arizona with originally. Carol is a bit more dynamic, more assertive than Beth and in it we can see both a connection between her and Nick as well as the source of their breakup. Sid (Eric Stoltz) is a painter who meets Beth in traffic and then coincidentally shows up to paint her house before the new tenants move in the next day. Sid has never left his home town and has no desire to. His explanation is that "if you stay in one place, then your luck knows where to find you."
Unfortunately for Beth, Nick is an overbearing, selfish and feckless punk who fancies himself an adventurous rogue. The day before he and Beth are ready to pack up and move he bolts to Montana without her, grinning like a fool as he drives into the desert. Surprisingly, he calls Carol and makes her break the news to Beth. Beth panics, realizing that she is alone and must move out by the next day. Unsurprisingly, Beth makes a poor choice, gets a little stoned with Sid and ends up in bed rather than focusing on her situation. Sid is ecstatic the next morning while Beth is distraught. The conversations they have that follow are some of the most heartfelt, honest and incisive you will see on film.
As you can tell from the description here this is not a story about big significant moments nor is it an escapist film. It is however free of cliches and filled with subtly effective acting and characters facing realistic dilemmas with believable outcomes. Much like The Shape of Things this film retains much of its play like qualities. It's a dialogue driven film interested in revealing character flaws rather than solving them. If you're looking for a traditional spoon fed ending you will not enjoy this film. But if you're in the mood for a play and you can't make it out to the theater, say on a snowy night like this, Bodies, Rest & Motion can fit the bill.
Thursday, March 18, 2010
day 76 - Joe Versus the Volcano
OK film fans, this was going to be an extremely short post due to the opening day of March Madness. I was looking forward to settling in and catching up on all the basketball I missed during the day since I'm chained to a cubicle. It was going to be the start of two weeks of bracket tracking hoop drama. And then Georgetown lost.
Joe Versus the Volcano is an underrated little gem of a film released 20 years ago this month. When I first saw it I thought it was a pleasant little Tom Hanks comedy with a fairly obvious subtext about managing the path your life takes. But I was just becoming a man when I saw this film and now, after a little more life experience, it's a delightful little Tom Hanks comedy with a humbling message about the path in life most people take. Rarely do Hollywood comedies insert this much philosophy/theology into its message.
Joe Banks (Tom Hanks in between Big and Philadelphia) is a miserable man. He works for a miserable company in a tiny, fluorescent lighted, miserably drab basement for a miserable jackass of a boss. The dialogue in the first scene between Joe and his boss Mr. Frank Waturi (Dan Hedaya) tips us off to the fact that there may be more to this little comedy than meets the eyes.
Mr. Waturi: And what's this about a doctor's appointment? You're always going to the doctor.
Joe Banks: I don't feel good.
Mr. Waturi: So what? You think I feel good? Nobody feels good. After childhood it's a fact of life. I feel rotten. So what, I don't let it bother me. I don't let it interfere with my job.
Joe Banks: What do you want from me Mr. Waturi?
Mr. Waturi: You're like a child.
Let it be known that John Patrick Shanley, the writer/director of this little film happens to have 2 Oscars for Best Screenplay and he knows how to write snappy dialogue that carries a punch. What's more impressive here is that the dialogue doesn't sound like something we've heard before. And the sets don't look familiar either, since many where created for the film by the same set designer who created the sets for Beetlejuice. The whole film just feels unique.
Joe is a hypochondriac and at his doctor's appointment he discovers that he only has 5 or 6 months to live. Like many of us would, the first thing he does is quit his job. This is one of the most interesting monologues in film, relegated to a cult film that was barely seen. The speech is the embodiment of everyman, blue collar workers and office drones, the heart of America, realizing that their life has been sold to the lowest bidder. And it was sold, not out from underneath him, but rather by him out of no other reason than fear. Oh Hollywood, no wonder it took the writer another 18 years before his next Oscar.
Joe's burst of energy leads to an enlightening date with the girl from his office, De De (Meg Ryan), to whom he confesses that he "thought he had seen her before" when they first met. When Joe reveals the source of his new found strength, De De flees his tiny apartment. She is still a part of the world consumed by fear and unable to process anything else.
The next day Joe gets a visit from Samuel Graynamore, a wealthy business man who offers to fund his remaining days in high style if he will jump into the proverbial volcano to help him win some mineral rights on an island in the South Pacific. Having nothing else Joe agrees and sets out on an amazing journey that leads to self discovery. Along the way he meets two more women, Graynamore's daughters Angelica and Patricia (both still Meg Ryan). Angelica is an empty, LA trust fund girl, bereft of anything other than thoughts of what she can do to ensure her daddy will continue to pay her bills. She too is living in fear and has nothing to offer Joe on his journey.
Patricia on the other hand has spurned her father's demands to create her own life. She has been lured into his service (because everyone has their price) with the promise she can keep the yacht she's using to deliver Joe to the volcano. Her outlook on life is the opposite of Joe's former hypochondriac, negative and fear filled life. And with the struggles that lie ahead, she's just what Joe needs to stay the course. In route to the island the boat sinks, leaving Joe and Patricia afloat in the ocean. It leads to Joe realizing just how much he loves the life he's taken for granted.
This is truly an uplifting, wonderful little Tom Hanks comedy, written by an Oscar winning writer who laces the film cleverly with repeating themes. In the end the film is a reminder of what we need to do to feed our soul and is a beautifully scripted representation of a sentiment we all struggle to remember: The present, even if it is arduous, can be lived and accepted if it leads towards a goal, if we can be sure of this goal, and if this goal is great enough to justify the effort of the journey. (Pope Benedict XVI)
However, if I can get a typhoon, a volcano and a good woman and perhaps I too can end up away from the things of man.
Joe Versus the Volcano is an underrated little gem of a film released 20 years ago this month. When I first saw it I thought it was a pleasant little Tom Hanks comedy with a fairly obvious subtext about managing the path your life takes. But I was just becoming a man when I saw this film and now, after a little more life experience, it's a delightful little Tom Hanks comedy with a humbling message about the path in life most people take. Rarely do Hollywood comedies insert this much philosophy/theology into its message.
Joe Banks (Tom Hanks in between Big and Philadelphia) is a miserable man. He works for a miserable company in a tiny, fluorescent lighted, miserably drab basement for a miserable jackass of a boss. The dialogue in the first scene between Joe and his boss Mr. Frank Waturi (Dan Hedaya) tips us off to the fact that there may be more to this little comedy than meets the eyes.
Mr. Waturi: And what's this about a doctor's appointment? You're always going to the doctor.
Joe Banks: I don't feel good.
Mr. Waturi: So what? You think I feel good? Nobody feels good. After childhood it's a fact of life. I feel rotten. So what, I don't let it bother me. I don't let it interfere with my job.
Joe Banks: What do you want from me Mr. Waturi?
Mr. Waturi: You're like a child.
Let it be known that John Patrick Shanley, the writer/director of this little film happens to have 2 Oscars for Best Screenplay and he knows how to write snappy dialogue that carries a punch. What's more impressive here is that the dialogue doesn't sound like something we've heard before. And the sets don't look familiar either, since many where created for the film by the same set designer who created the sets for Beetlejuice. The whole film just feels unique.
Joe is a hypochondriac and at his doctor's appointment he discovers that he only has 5 or 6 months to live. Like many of us would, the first thing he does is quit his job. This is one of the most interesting monologues in film, relegated to a cult film that was barely seen. The speech is the embodiment of everyman, blue collar workers and office drones, the heart of America, realizing that their life has been sold to the lowest bidder. And it was sold, not out from underneath him, but rather by him out of no other reason than fear. Oh Hollywood, no wonder it took the writer another 18 years before his next Oscar.
Joe's burst of energy leads to an enlightening date with the girl from his office, De De (Meg Ryan), to whom he confesses that he "thought he had seen her before" when they first met. When Joe reveals the source of his new found strength, De De flees his tiny apartment. She is still a part of the world consumed by fear and unable to process anything else.
The next day Joe gets a visit from Samuel Graynamore, a wealthy business man who offers to fund his remaining days in high style if he will jump into the proverbial volcano to help him win some mineral rights on an island in the South Pacific. Having nothing else Joe agrees and sets out on an amazing journey that leads to self discovery. Along the way he meets two more women, Graynamore's daughters Angelica and Patricia (both still Meg Ryan). Angelica is an empty, LA trust fund girl, bereft of anything other than thoughts of what she can do to ensure her daddy will continue to pay her bills. She too is living in fear and has nothing to offer Joe on his journey.
Patricia on the other hand has spurned her father's demands to create her own life. She has been lured into his service (because everyone has their price) with the promise she can keep the yacht she's using to deliver Joe to the volcano. Her outlook on life is the opposite of Joe's former hypochondriac, negative and fear filled life. And with the struggles that lie ahead, she's just what Joe needs to stay the course. In route to the island the boat sinks, leaving Joe and Patricia afloat in the ocean. It leads to Joe realizing just how much he loves the life he's taken for granted.
This is truly an uplifting, wonderful little Tom Hanks comedy, written by an Oscar winning writer who laces the film cleverly with repeating themes. In the end the film is a reminder of what we need to do to feed our soul and is a beautifully scripted representation of a sentiment we all struggle to remember: The present, even if it is arduous, can be lived and accepted if it leads towards a goal, if we can be sure of this goal, and if this goal is great enough to justify the effort of the journey. (Pope Benedict XVI)
However, if I can get a typhoon, a volcano and a good woman and perhaps I too can end up away from the things of man.
Wednesday, March 17, 2010
day 75 - The Quiet Man
OK film fans it looks as if I've had my first visit from the long, long arm of the Internet law (sort of). Fortunately for me I'm keeping my nose clean and respecting the powers that be. After all we've seen what RIAA will do to folks and I got enough problems as it is. Now since this is St. Patrick's Day and there aren't really any famous films about this holiday (Jennifer Aniston's Leprechaun notwithstanding) I'm going to skip to a classic film I like to watch every year once the green beer has subsided.
The Quiet Man is an epic romantic drama/comedy filled with sentimentality and sense of nostalgia only a master like John Ford could make convincingly. Filmed almost entirely on location in Ireland this tribute to Ford's ancestry and homeland won him an Oscar for Best Director and was also rewarded with an Oscar for Best Cinematography. Despite being known primarily for filming westerns in Monument Valley, both in black and white (Stagecoach, The Man Who Shot Liberty Valance) and color (The Searchers), Ford actually won all of his directing Oscars for family oriented dramas.
Sean Thornton (John Wayne!) is an American returning to his home town of Innisfree with the intentions of settling down for good. Having left the town as a youth he wants to by his ancestral home so he can retire on the small farm in the beautiful, idyllic village. Despite the fact the current owner, the well off Widow Sarah Tillane, has no problems with this arrangement the original buyer, and her suitor, "Red" Will Danaher is rather put out by the idea. Red is the big man in town and he doesn't like this yank trying to take "his" land. To make matters worse the young woman that's caught Thornton's eye, Mary Kate (Maureen O'Hara), just happens to be Red's younger sister. Since her parents are deceased, he'll need Red's permission to court her. Of course, Red is still holding a grudge from the farm land incident and refuses permission, breaking his sister's heart.
However, Thornton has ingratiated himself with ease and the town folk like him both for his generous easy going personality and for getting the best of Red on the land deal. Since it seems Red has managed to belittle just about everyone in town they get together and hatch a plan to help Thornton and Mary Kate court. Inevitably there will need to be a showdown between the two, but Thornton has a secret in his past that prevents this from happening sooner rather than later.
Since I first saw this film I've been fascinated by Ford's effortless ability to be nostalgic without being corny. Every scene lingers lovingly on the costumes, buildings and faces of the town. We get breathtaking visuals and a glimpse at customs long forgotten in "modern" society. And of course there are also his iconic "frame within a frame" shots that capture the essence of a film, its key emotions, in a single beautiful picture (starting at 1:15). Sure it's a little quaint and the storytelling is a little formulaic, but it's tough to find a more heartfelt ode to a bygone era, one that was even looked back upon longingly in the 50s when this film was released. If ever there was a film that cries out for modern high definition TVs it's this one. You'll be hard pressed to see it on St' Paddy's Day and not long for a trip to the Emerald Isle.
The Quiet Man is an epic romantic drama/comedy filled with sentimentality and sense of nostalgia only a master like John Ford could make convincingly. Filmed almost entirely on location in Ireland this tribute to Ford's ancestry and homeland won him an Oscar for Best Director and was also rewarded with an Oscar for Best Cinematography. Despite being known primarily for filming westerns in Monument Valley, both in black and white (Stagecoach, The Man Who Shot Liberty Valance) and color (The Searchers), Ford actually won all of his directing Oscars for family oriented dramas.
Sean Thornton (John Wayne!) is an American returning to his home town of Innisfree with the intentions of settling down for good. Having left the town as a youth he wants to by his ancestral home so he can retire on the small farm in the beautiful, idyllic village. Despite the fact the current owner, the well off Widow Sarah Tillane, has no problems with this arrangement the original buyer, and her suitor, "Red" Will Danaher is rather put out by the idea. Red is the big man in town and he doesn't like this yank trying to take "his" land. To make matters worse the young woman that's caught Thornton's eye, Mary Kate (Maureen O'Hara), just happens to be Red's younger sister. Since her parents are deceased, he'll need Red's permission to court her. Of course, Red is still holding a grudge from the farm land incident and refuses permission, breaking his sister's heart.
However, Thornton has ingratiated himself with ease and the town folk like him both for his generous easy going personality and for getting the best of Red on the land deal. Since it seems Red has managed to belittle just about everyone in town they get together and hatch a plan to help Thornton and Mary Kate court. Inevitably there will need to be a showdown between the two, but Thornton has a secret in his past that prevents this from happening sooner rather than later.
Since I first saw this film I've been fascinated by Ford's effortless ability to be nostalgic without being corny. Every scene lingers lovingly on the costumes, buildings and faces of the town. We get breathtaking visuals and a glimpse at customs long forgotten in "modern" society. And of course there are also his iconic "frame within a frame" shots that capture the essence of a film, its key emotions, in a single beautiful picture (starting at 1:15). Sure it's a little quaint and the storytelling is a little formulaic, but it's tough to find a more heartfelt ode to a bygone era, one that was even looked back upon longingly in the 50s when this film was released. If ever there was a film that cries out for modern high definition TVs it's this one. You'll be hard pressed to see it on St' Paddy's Day and not long for a trip to the Emerald Isle.
Tuesday, March 16, 2010
day 74 - Buffalo '66
OK film fans, if it seems like the posts are starting later and later you are correct and overly observant. The truth is it's taking me longer and longer to unwind at the end of the day, leaving me less time to figure out which gems to polish and display here. Tonight's film is one you may not be familiar with, directed by an actor whose personal exploits you might have heard about, causing you to avoid him like the hot mess he is. But his work, both as a director and an actor, is always original and often interesting.
Buffalo '66 was writer/director/actor/composer/producer Vincent Gallo's first full length feature film. After nearly a decade working as an actor in indie and experimental films Gallo culled these experiences and combined them with his own strange life growing up in Buffalo. The result is an unconventional story about the redemptive powers of love. Unfortunately, Gallo's second film, 2003's The Brown Bunny, is so universally hated and reviled it may be another decade before he'll get another chance to helm even an indie film. And that's unfortunate because while The Brown Bunny was an overly self indulgent mess, it wasn't a horrible film, the notorious scene aside (and by notorious I mean x-rated!).
Billy Brown (Gallo) has just gotten out of jail after serving 5 years for something he didn't do. When he gets out he has only two things on his mind: visiting his mom and dad and exacting some payback for his prison time. After taking care of some urgent business (remember to go to the bathroom before they let you out of prison) he promptly kidnaps Layla (Christina Ricci) from her tap dancing class. He informs her that she will need to pretend to be his wife when he visits his folks. We never really learn anything about Layla's background or why she would go along with this request. Is she bored or is she slightly damaged goods like Billy? Regardless, the film moves along quickly and with enough pathos that we never really wonder what she sees in him, we just realize that she seems to like the attention and the oddity of it all.
Billy's folks are worse than you can imagine (although perhaps not for Gallo since he has admitted to portions of the film being autobiographical as a Buffalo native raised my Sicilian immigrants). His mother Jan (the iconic Anjelica Houston) is obsessed with the Buffalo Bills to the point of derangement while his father Jimmy (the always menacing Ben Gazzara) is both an enabler and lecherous to boot. During the disastrous visit we come to understand that Billy has been on his own for a very long time before his jail stint, which he kept from hidden from his parents, hence the rouse of her being his wife. After years of neglect he still only wants attention and adoration from his parents, but none is forthcoming.
At this point it is no longer a suspicion that Layla is smitten by the lonely, sad and haunting Billy. Like someone rescuing a puppy from a dog pound she's found choice and makes up her mind to save him. Billy however still has revenge on his mind. We discover that Billy, in an ill conceived plan of becoming a hero in his mother's eyes, bet $10k on the Buffalo Bills to win the Super Bowl. His nightmare began when the kicker for the Bills shanks the game winning kick and loses the game (a la the real life '91 Bills team). His bookie (Mickey Rourke) agrees to forgive his debt if he serves time for one of his associates. But Billy is not after the bookie, he's after the kicker who ruined his chance of impressing his mom.
Billy has plans about killing the despised kicker in a strip club he now owns. The visualization Billy has of the attack is one of many scenes depicting how much Gallo had absorbed from the filmmakers he had worked with. In the end the only thing that can save him is Layla. It's almost endearing that such a narrowly accessible indie film that deals primarily in isolation, despair and depression, is in fact a story about the power of love. Gallo has captured a conventional theme in a starkly intriguing and unconventional manner. What's more astonishing is that after being subjected to such unrelentingly belligerent and unlikeable characters we are willing to go along for the ride to see if love can conquer all.
Buffalo '66 was writer/director/actor/composer/producer Vincent Gallo's first full length feature film. After nearly a decade working as an actor in indie and experimental films Gallo culled these experiences and combined them with his own strange life growing up in Buffalo. The result is an unconventional story about the redemptive powers of love. Unfortunately, Gallo's second film, 2003's The Brown Bunny, is so universally hated and reviled it may be another decade before he'll get another chance to helm even an indie film. And that's unfortunate because while The Brown Bunny was an overly self indulgent mess, it wasn't a horrible film, the notorious scene aside (and by notorious I mean x-rated!).
Billy Brown (Gallo) has just gotten out of jail after serving 5 years for something he didn't do. When he gets out he has only two things on his mind: visiting his mom and dad and exacting some payback for his prison time. After taking care of some urgent business (remember to go to the bathroom before they let you out of prison) he promptly kidnaps Layla (Christina Ricci) from her tap dancing class. He informs her that she will need to pretend to be his wife when he visits his folks. We never really learn anything about Layla's background or why she would go along with this request. Is she bored or is she slightly damaged goods like Billy? Regardless, the film moves along quickly and with enough pathos that we never really wonder what she sees in him, we just realize that she seems to like the attention and the oddity of it all.
Billy's folks are worse than you can imagine (although perhaps not for Gallo since he has admitted to portions of the film being autobiographical as a Buffalo native raised my Sicilian immigrants). His mother Jan (the iconic Anjelica Houston) is obsessed with the Buffalo Bills to the point of derangement while his father Jimmy (the always menacing Ben Gazzara) is both an enabler and lecherous to boot. During the disastrous visit we come to understand that Billy has been on his own for a very long time before his jail stint, which he kept from hidden from his parents, hence the rouse of her being his wife. After years of neglect he still only wants attention and adoration from his parents, but none is forthcoming.
At this point it is no longer a suspicion that Layla is smitten by the lonely, sad and haunting Billy. Like someone rescuing a puppy from a dog pound she's found choice and makes up her mind to save him. Billy however still has revenge on his mind. We discover that Billy, in an ill conceived plan of becoming a hero in his mother's eyes, bet $10k on the Buffalo Bills to win the Super Bowl. His nightmare began when the kicker for the Bills shanks the game winning kick and loses the game (a la the real life '91 Bills team). His bookie (Mickey Rourke) agrees to forgive his debt if he serves time for one of his associates. But Billy is not after the bookie, he's after the kicker who ruined his chance of impressing his mom.
Billy has plans about killing the despised kicker in a strip club he now owns. The visualization Billy has of the attack is one of many scenes depicting how much Gallo had absorbed from the filmmakers he had worked with. In the end the only thing that can save him is Layla. It's almost endearing that such a narrowly accessible indie film that deals primarily in isolation, despair and depression, is in fact a story about the power of love. Gallo has captured a conventional theme in a starkly intriguing and unconventional manner. What's more astonishing is that after being subjected to such unrelentingly belligerent and unlikeable characters we are willing to go along for the ride to see if love can conquer all.
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