2003: Movies I've Seen
Submitted by AAA on Fri, 03/14/2003 - 12:11
Tags:
- Top Tier
- Elephant - This one is gonna split Listologists, I'm quite sure of it. The first thing that one notices about the film is the visual style. Gus Van Sant seems to be aiming for a Kubrickesque visual coldness, which works perfectly in this film. The visual sterility of the high school accentuates the total normality of the school day. Van Sant uses an interesting storytelling technique, but one that cannot be done complete justice by this reviewer. We follow a handful of students (11 if I remember correctly) who are introduced using name cards (black screen with the character's name) throughout the film. We see several paths taken throughout the day, several of which intersect. The film documents about a half hour of the school day, but splits up the time and shuffles it around until the timing of the events is drilled into the viewers' heads. Around the hour and ten minute mark, we see the first sign of violence, as two students walk toward the school with assault rifles ready. But, and this is a stroke of storytelling genius, this does not lead into the violence. Instead, you remember everything that happens at this moment, and you pinpoint where it appears in every character's story. By the climax of the film, you are filled with such dread that the ensuing violence is more effective than any other I've seen on screen. There are two or three moments during which the movie spoils its otherwise naturalistic realism, but these are easily overlooked when confronted with the overall effect of the film. Van Sant (for his script and direction) and cinematographer Harris Savides are in top form, and the cast of non-actors is actually quite remarkable. This film has been banging around my head for the past twenty-four hours, and I keep revisiting certain moments (a girl walking through an empty gymnasium, three girls being confronted by the gunman in the bathroom, a random encounter in the hallway that is shown three different times) and I am having trouble pinning down my enjoyment of it. I didn't find myself loving the film while watching it, but given a little bit of time, I found it dominating my thoughts. I think that the lack of emotion and sentiment in the film is somewhat jarring, and that the character development is more subtle than the vast majority of movies, so reflection is very kind to the film, while first viewing may be more mixed. A truly disturbing and thought-provoking film. Grade: A-
- Kill Bill: Vol. 1 - Tarantino wears his influences on his sleeve. Or better yet, Tarantino creates his entire gaudy, stylish, wonderful wardrobe out of his influences. Honestly, I have not had a more enjoyable time at the theater since Hedwig. Uma Thurman storms through the movie as The Bride, and delivers the best female performance of the year so far. She slices, she dices, she enraptures the audience with her undeniable charisma. Not to ignore the other aspects of the film. The screenplay is sharp, exciting, and wonderfully refreshing. The visuals of the entire film are out of this world. The costumes, the sets, the weapons, everything works together so beautifully. There are moments of pure balls-out guts on Tarantino's part that I think the film may win the Best Reason for a Filmmaker Not to Pander to Audience Award. I salute you Mr. Tarantino, you and your sloppy, passionate filmmaking. Grade: A-
- The Lord of the Rings: The Return of the King - There is very little I can say about this film that hasn't already been said. The Return of the King is the perfect final chapter in what proved to be an extraordinary trilogy. The visuals, the script, the acting, the mood...it was all done perfectly. One of the most breathtaking film experiences I've ever had, and one of the most surprisingly emotionally satisfying experiences I've had in a theater. I know this is a short review, but frankly, the film speaks for itself. Grade: A
- Lost in Translation - As of September, this is by far the best narrative film of the year. Sofia Coppolla's second film once again proves that she can maintain mood and tone in a film better than the vast majority of filmmakers in the world. Lost in Translation has scenes of touching potency (Bill Murray's rendition of "More Than This", Scarlett Johansson's tearful talk with her mom...) and moments of absolute comedic delight. The film manages to be entertaining and thought-provoking during the duration of the movie, but it's afterwards that the film really grabs you. I've had it stuck in my head for a week now, and it won't go away. It's grabbed me and held me tight. I can't forget a second of it, and I think that it's deeply human messages and questions will affect many viewers this way. Both Murray and Johansson are wonderful, and the script is extraordinary. Grade: B+
- The Man Without a Past - I never liked the phrase "a gem of a movie", but I think this is one instance in which it's completely understandable. Considering its plunge into absurdism, surrealism, social criticism, romance, and deadpan humor, The Man Without a Past feels remarkably gentle and confident. The film is essentially a story about rebirth and inner beauty, but thank Heaven that it wasn't made with American heavy handedness. The story is secondary to the ideas and emotions that it evokes, which is rare and wonderful in this cinematic day and age. With a talented and nuanced ensemble, as well as a superb screenplay and direction, this is a little film truly worth exploring. Grade: B+
- Peter Pan - This may be the most pleasant surprise of the year. I was not expecting to be challenged when I went to see this film, but I was wrong. Having read the source novel a few years ago, and having grown up loving the Mary Martin musical, I knew my Peter Pan. I am thrilled to report that PJ Hogan did not dumb down James Barrie's vision at all. In fact, he has the most complicated and layered version of the story I have ever seen on film. Peter Pan is not just a happy-go-lucky sprite who is content to play around all of his forever-young life, anyone who has read the book can tell you that. He is a symbol, a tragic figure, a perfect example of "be careful what you wish for". He is the childish id within every single one of us. In fact, most of NeverNeverLand is made up of id. Pirates, mermaids, forests, indians...it's the stuff of a kid's imagination. Tinkerbell is passionate and loyal, Hook is angry and full of embittered dissapointment, and the pirates are the various ghouls that haunt the future of every child. None of Peter Pan is meant to be frivilous, and the film gives it the proper amount of meaning and respect. It sounds like a rather dull film, the way I'm making it seem, but it's actually quite a fun movie, filled with humor, joy, love, and excitement. One of the more interesting things about the film is the tension between Peter and Wendy. Wendy is on the verge on womanhood, and her budding sexuality is one of the main catalysts of the story. Perhaps some might find this to be "inappropriate" or "upsetting", but that's because these prudes have forgotten that this is exactly what happens when you begin to grow up. I give much credit for the success of this film to the visuals. I was not expecting so well-realized a tale. Peter and Wendy dance through the air, the planets are bright and beautiful, and NeverNeverLand is so storybook perfect that you'll think you're in a fantasy. Grade: B+
- Spellbound (D) - Funny, moving, and surprisingly thrilling, this documentary is by far the best film of the year at this point (this is being said, by the way, in mid-September). Exploring the ideas of the American Dream, cultural expectations, and even class conflict, the film holds a lot of thematic weight on it's shoulders, and it never falters. There are moments that make the viewer laugh out loud, and there are moments that make the viewer reconsider his original views and assumptions about the people on display. Grade: A-
- Second Tier
- 28 Days Later... - The first twenty minutes of this film are superb, perhaps the best movie moments all year. There is an air of terror, despair, and surreality that make them so beautiful, you don't want to look away from the screen. The problem is, this is only twenty minutes of the film. The rest, very sadly, ends up spinning out of control. I greatly enjoyed much of the film, but I found myself wishing that the story had been different. Stuck somewhere between morality tale, horror film, and action flick, this mutt of a film ends up having great moments, but falling below the great potential of its first third. Grade: B
- Big Fish - One declaration: this is not Tim Burton's swan song. Truly, this doesn't feel like any sort of last gasp. Instead, every inch of this film feels like the work of a rejuvenated director. Surely not a great film, but interesting and satisfying enough to highly recommend it. Burton's use of visuals and emotions have always been his trademark, and this film is sort of split into two, with each half representing one of his strengths. Half of the film is in the present, and is the story of a father and son reconciling. The second half of the story is the autobiographical telling of the father's life. The film is quite emotional, while remaining original and intriguing. The fantastical telling of young Edward Bloom's life is far more entertaining than the real-life segments, but that's sort of the point of the movie. Albert Finney and Ewan McGregor both do their parts to create a man totally in love with life. Helena Bonham Carter and Jessica Lange give great support, and the rest of the cast is appropriately exaggerated. Of all the big holiday films not named Peter Pan and Return of the King, this is the worthiest. Grade: B
- Down With Love - A frothy, lighthearted film that manages to entertain and delight while also maintaining a great visual aesthetic? Sounds rare, no? Well, Down With Love is a surprisingly successful romantic comedy as well as a witty homage to the Doris Day / Rock Hudson battle of the sexes films of the 60's. The film manages to be funny and fun for the vast majority of its running time, and stumbles very rarely. The cast is perfect, with every actor doing their part to create a pink-hued, winking nostalgia. The only gripe I have is that the film is so sugary, that it ends up fading away rather quickly. Grade: B
- Finding Nemo - Funny, beautiful, and touching...this one is a certain future classic. I've never seen an animated film in the theater that I liked quite as much as this one. The exploration of the great undersea world tops anything that Pixar has done before, and it kicks the pants off of Shrek and its derivatives. Many of the characters come off as stereotypes and one-dimensional, but I think that this actually adds to the idea of a real and teeming world under the sea. The humor and emotional pathos work perfectly in balance, and the voice work is top-notch. Grade: B
- Freaky Friday - A better-than-it-should-be remake is always a pleasant watch. I found myself really enjoying the Hell out of this one, and it's all thanks to the lead females. Lindsay Lohan and especially Jamies Lee Curtis really elevate the material, making the jokes punchy, the emotions believable, and the time fly. Not a spectacular film, but well worth watching. Grade: B
- Hulk - Ang Lee's film may have been outright savaged by many people, but I can't help feel that it's getting a seriously raw deal. Is it somber? At times. Is it long? Yes, about a half-hour. Is it different than any other comic book movie before it? YES! I think that the downright abstract aspects of Hulk are the best moments in the film. The character study of the Hulk itself vs. Bruce Banner is interesting because, in truth, Bruce is the shell that houses the Id of the Hulk. People found that Banner as a blank slate was off-putting, but I think that it was a daring choice, and whether it fully paid off or not, I still give Ang Lee credit for daring to do something different. Now that we've discussed all the character studies and abstract visuals, let's talk about the action. The action scenes are the best of the year so far. The Hulk holds this great power in his body, and he moves with such fluidity, it's quite breathtaking. I hope that in time, this film is given the credit it deserves. Of course, there are flaws. I don't think that the plot is particularly well thought-out, and the performances feel uneven at times. Grade: B
- Master and Commander: The Far Side of the World - About half an hour before I decided to write this review, I commented on AJ's list about his love for Lawrence of Arabia. Now, don't get me wrong, I'm not comparing the two films, but I believe that both films share strengths that almost all epics lack. The first of these strengths (and the most noticable) is a very strong ensemble with subtle and "lived-in" lead performances. Russell Crowe does his best work since The Insider, creating a complicated, honest character that does not rely on traditional star charisma (which was the major flaw in his Gladiator performance). The movie does not rest on his shoulders, but as the focal point of the character drama, Crowe manages to hold audience attention superbly. Paul Bettany is equally impressive as Crowe's best friend and right hand man. His character is not a traditional sailor (he is a doctor and scientist) and the easiest thing to do would be to milk the comedic aspects of his naivite. Bettany does not veer anywhere near this trap, instead, he uses his chemistry with Crowe to manage the perfect balance to Crowe's optimistic, heart Captain Aubry. The ensemble is finely modulated, with no exceptions. Everyone is convincing, and they all seem to be on the same "plane". In many films, the tonal differences between performances can sink a film. Another strength of the film is that it has wonderful production values that never steal the focus of the film. Many epics seem to be centered on the period and location, but M&C feels rich with history and detail with seemingly little effort. The star of the film is the Surprise, the ship the crew sails on. By the end of the film, the Surprise is like a third lead, and it follows in the line of lived-in subtlety. The final major strength of the film is the fact that it has a fun, funny, and smart screenplay. The language is classic without any sense of literary hokum or stagey theatrics. Many times, epics are stunted by their dialogue, it is a surprisingly crucial piece of the epic puzzle. The characters are all given a surprising amount of respect and detail, which helps to engage audiences and give meaning to the spectacular images. The screenplay is based on two novels, and it is rich with story. Perhaps a little too rich. There were probably a few nips and tucks that could have been made. Now, this sounds like a rave, but despite all of these strengths, the film never exceeds the "better-than average" level. It is wonderful to see such a sturdy, confident tale told, but I wish that the tale had stuck with me more. I enjoyed every second of the film, but have rarely returned to it in my mind. Thick and juicy, sure, but not very filling. Grade: B
- A Mighty Wind - The thing about A Mighty Wind that seperates it from the usual comedy we get here in the US is its understanding of its own characters. I attribute this both to director Christopher Guest and to his amazing, versatile, nearly-genius ensemble of performers. Instead of characters painted in broad strokes with little cohesion, we get a world made up of ridiculous and genuine people who are almost all working toward the same goal in their own specific ways. In Waiting for Guffman, a small town acting troupe all contributed toward making a spectacularly underwhelming (but surprisingly competent) town pageant. In Best in Show, all of the characters are trying to win the Mayflower Dog Show, even if it means making their pooches into their sure-to-bo-dysfunctional children. In A Mighty Wind, we meet three seperate groups of musicians and the people who surround them. The entire premise of A Mighty Wind is thin (a reunion concert...but you already knew that) but the plot is never the point. The idea is that the impact of these nearly oblivious people's struggle should be one of both amusement and compassion. These are not cartoons that we're watching, they are people who are stuck in surreal and ironic situations...only they don't realize it. The cast is, of course, wonderful, but unlike Best in Show, the story revolves around two specific characters. They are Mitch and Mickey, a lovely folk group whose relationship was the selling point of the music and act. The last album Mitch and Mickey released was punctuated with the end of their love, and they have drifted off into oblivion since. Eugene Levy is sad and funny as the devastated Mitch, a poet without a muse, but Catherine O'Hara is spectacular as Mickey, the woman who has always wanted to be able to own some little part of her own love. Unlike the usual Guest protagonist, these two are not played for laughs. Their story arc is poignant and touching, and they are handled with a surprising amount of emotional subtlety...but that just adds to the overall impact of the film. I'd be surprised if we get a smarter or sadder comedy this year. Grade B
- Pirates of the Caribbean: The Curse of the Black Pearl - One of the few worthy action/adventure movies of the summer. Johnny Depp manages to singlehandedly lift an entire movie into near-greatness. Of course, the rest of the movie isn't half-bad. Geoffrey Rush has a blast as the villian, and the costumes, cinematography, and art direction are all very, very well done. The film is a little long, but on first viewing you don't notice. However, on second and third viewing, it begins to become clear that more editing was necessary. All qualms aside, this is how action movies need to be done. Grade: B+
- Raising Victor Vargas - A sweetly naturalistic film, and one of the few American gems of the year. The cast is wonderful and the screenplay is refreshingly simple. I guess the simple act of existance isn't everyone's cuppa tea, but this one really did it for me. Not particularly meaningful, but perfectly paced and crafted. Grade: B+
- The Secret Lives of Dentists
- Shattered Glass - This is one of the single most tense films I've seen in a good long while. Watching Stephen Glass try to weave in and out of trouble like an ingratiating little kid is more engrossing than I could have imagined. Done with masterful restraint and craft, Shattered Glass is a film that manages to make a seemingly dull topic feel tight and gripping. Billy Ray's direction helps lead a wonderful ensemble through a clever and subtle script and eneds up pulling tremendous performances out of everyone involved. Peter Sargaard, however, shines in the role of Chuck Lane, Glass' editor who refuses to fall for the little boy charms. Grade: B
- thirteen - Unfortunately grouped in the general category of sensationalistic shock films, thirteen is a fierce and loving movie that comes close to falling off the edge of the melodrama cliff, but, luckily, is grounded by two stunning central performances. Holly Hunter and Evan Rachel Wood become involved in an acting duet that is so tender, terrifying, and moving that the drugs and sex become completely secondary to the relationship between these two wounded souls who happen to be mother and daughter. Instead of focusing the film on the actions that girls take, Catherine Hardwicke focuses on the effect these actions have. I find that voyeuristic examinations of teenage behavior very rarely have an emotional impact on me. I find their coldness to be self-concious and therefore irritating. In thirteen, I never felt that the story existed merely to shock or titilate. Watching poor Tracey dive into a world that she cannot handle is so heart-wrenching that the film could be composed only of the after-effects of her actions and be just as effective. Grade: B+
- The Triplets of Belleville - "Swinging Belleville rendevouz..." That infectious song begins our tale, and it will stay with you the rest of the week after you hear it. The rest of the world routinely beats the brains out of us when it comes to animation, and the French are no exception. Almost completely without dialogue, this experiment in visuals is a real trest to watch. Several scenes are thrillingly original, and others fondly recall comedies of the distant past. Sure, it may not stick with you forever, but it is certainly nice to see a challenging cartoon every once in a while. Grade: B+
- X2: X-Men United - I'm an avid X-Men fan. I collected the cards when I was younger, I read the comics, I could tell you about every single member of the X-Men and their enemies. So, when 2000 rolled around, I was very excited that the X-Men were finally getting their big screen treatment. Unfortunately, the film provoked a mixed reaction from me. I was thrilled to see my heroes up on the big screen, but the exposition was heavy, and the characters felt flat. Luckily, X2 avoids both huge mistakes, and ends up doing my mutant buddies justice. You see, X2 opens with a great action setpiece involving Nightcrawler and the West Wing, eliminating fears of a long prologue, and establishing a breakneck speed for the rest of the film. In this edition, the pace never lags, the fights are thrilling, and the powers are fun. Playing out like a soap opera with super powers, X2 is a very worthy follow-up to last year's Spider-Man. With a smart screenplay and worthy actors (with the notable exception of James Marsters) X2 is by almost all definitions an extremely effective action film, and a welcome entry into the superhero film canon. Grade: B+
- Third Tier
- American Splendor
- Camp - Harmless, and funny, look at young actors struggling with their identities and sexual personas. I can't see how this is getting genuine critical praise, considering that it's extremely amateurish at times. The acting is spotty at best, with some fun performances. The lead male, however, is a complete wash. I'm not sure why the filmmaker decided so concentrate on the only white, straight, preppy character in the film, but that cripples the story. I loved the musical numbers, but hated the sexual escapades of Vlad. Extra bonus: Stephen Trask (of Hedwig fame) takes care of the soundtrack, which is, of course, wonderful. Grade: C+
- Cold Mountain - A beautiful, sad film that could have been so much better. If there is one flaw in the film, I believe it is Renee Zelwegger's hammy, distracting performance. Jude Law is great, Nicole Kidman is reliable as usual, and the rest of the cast fills their parts well. The violence is jarring and actually surprisingly upsetting, and the emotional impact of the film is not light. Also, check out the soundtrack, it's a real delight. Grade: B-
- In America - A nice sugar-coated fable that explores an immigrant family during the 80's. Director Jim Sheridan bases most of the movie on his own family's experiences, which is both a blessing and a curse. The film does evoke some genuine emotions, and it does work hard at making you love it, but it also seems a little off-center in a distracting way. The story remains grounded during the first half of the film, but some fantastical events occur, and some preachiness is laid down, and the film never recovers. On the bright side, the actors give uniformally good performances, with spectacular performances from Emma and Sarah Bolger playing the children of the family. They both possess naturalism and charisma a plenty. Grade: B-
- House of Sand and Fog
- Intolerable Cruelty - A fun trifle from the Coen Brothers is always worth checking out. Their best films (Fargo, Blood Simple, Miller's Crossing) have layer upon layer of meaning or interpretation. Even their "fun" films (O Brother..., Big Lebowski) are thinly disguised genre chamber pieces that entertain adults and the more cerebral teenage crowd. Intolerable Cruelty, without a doubt, falls into the latter category. This is actually a slight step down from The Man Who Wasn't There (which I enjoyed greatly, but didn't love), but it is still worth seeing. Clooney and Zeta-Jones are perfect for their roles, and the dialogue is perfect for the ensemble. Following in Coen tradition, the real treat is the supporting cast. Edward Herrmann is spectacular and delivers one of the funniest scenes of the year, Cedric the Entertainer is manages to fit the mood of the film well, and Billy Bob Thornton is a laugh and half. Overall, nowhere near the Coens' best, but a nice diversion. Grade: B-
- The Italian Job - Fun and forgetable, but not as wretchedly dull as heist movies tend to be. As opposed to most action movies in general, this one never slows down for stupid exposition, and it never feels as though the timing is off. I've never felt so unattractive watching a cast of actors. Downside? Despite the remake status, the film's derivative nature and unoriginality cripple it. Not, by any means, a great film. Grade: C+
- Laurel Canyon - Well, Frances McDormand is quite clearly one of the frontrunners for the best actress of her generation. She basically owns this entire movie from the moment she appears on screen. It helps that the lead characters aren't very interesting, and the film flows at a leisurely pace. Her only competition really are Alessandro Nivola (as her boy toy) and the fascinating sexual dynamics of the movie. McDormand plays an emotionally immature woman who happens to produce records, and whose son has grown up into a hardened straightshooter. The film is very interesting at points, but feels more uneven than it does great. Grade: B-
- Love Actually - I saw this film with a group of friends, and I had a blast. I laughed, I got warm and fuzzy, I was puzzled by those crazy nudity-loving Brits...good times were had. Walking out of the theater, I was quite comfortable with giving the movie a B+. But, and this doesn't happen very often, the further away from the movie that I got, the more it fell apart. I realized that anything that the movie provides is completely shallow. Sure, you can get a quick emotional fix, but that's not what art is for, and make no mistake, film is an art form. The problems with the film are not few. Firstly, there are far too many plots. Perhaps the trimming of one or two would have given the film a more lasting impact on the viewer. Secondly, the tone was all over the place. I'm not sure what kind of world that these people were living in. Characters were placed in scenarios that seemed similar, but were than given different standards and options. It was an oddly unbalanced playing field. Finally, everything seemed to feel more and more phony the more you thought about it. Even the nice dramatic touches soured about an hour later. So, the film ended up an entire letter grade below what it was originally. Trim about 45 minutes of this sucker, drop three plotlines, and get rid of the constant need for cuteness, and you have yourself a decent comedy. Oh, by the way, Emma Thompson is marvelous, as always. Grade: C+
- The Magdalane Sisters
- Mystic River - With a great ensemble, smart script, and wonderful direction, Mystic River should be the best mainstream American film of the year. Notice, however, that I said should be. Yes, Sean Penn is superb, Laura Linney creates one of the best moments of the year, Marcia Gay Harden is utterly devastating, and Kevin Bacon is perfectly understated. However, Tim Robbins and Laurence Fishburne fare less well, coming off as stagey and obvious in an otherwise subtley acted film. The major problem with the film is the fact that the mystery at its center is not interesting at all. The relationships between the characters are far more fascinating, and while there is no lack of time spent on them, I wish that at least half hour of the investigation had been shaved off. The film, as it is, is very flawed, but very interesting. Grade: B-
- Scary Movie 3 - That rarest of things, the third film in a series is far better than the two that came before. Perhaps it was doing away with unfunny sex and drug gags that were aimed squarely at stupid teenagers, maybe it was the fact that the films that the movie was parodying take themselves so seriously, but I think it was the fact that I was expecting nothing and got at least a chuckle or two. The scenes parodying Signs were the sharpest, but the Ring homages weren't bad either. The 8 Mile aspects felt thrown in, but it still ellicited some good gags. I left the theater laughing, and that was the ultimate intention. Grade: B-
- School of Rock - A genuinely entertaining film that elevates itself occasionally, but ultimately remains a nice little comedy. Jack Black is wonderful, playing himself to the nth power. He basically carries the film, and his interactions with the children are the highlights of the movie. The story is not particulrly enlightening or original, but the storytelling is smooth and fluid. My only real gripe is the occasional reliance on cliche. I think that a film can do well with a familiar story as long as it doesn't stick to convention too much. I loved watching it, but afterwards, found my thoughts rarely returning to it. Grade: B
- Seabiscuit - There is not a whole lot I can say about this film. It's very pretty, it's well edited...yikes. I guess that this sort of film appeals to people, and those who like underdog tales will like it, but I guess this stuff just isn't made to appeal to me. If you like true stories, by all means check it out, it's very well-made. Grade: C
- Fourth Tier
- 21 Grams - I don't mind depressing films (Requiem for a Dream, fr'instance), I don't mind experimentation at all (Moulin Rouge! perhaps), and I have no bias towards non-chronological stories (Pulp Fiction, Memento, etc). That said, I actively disliked 21 Grams. A constant barrage of misery and heightened emotions, the film attempts to search through and around the human soul. I applaud the aim, and the ambition, but I can't say that there's very much that works in the film at all. The story's non-linear telling ends up alienating the audience from the characters without ever giving any sort of emotional catharsis, and the ultimate message and themes are far less interesting than the film would have you believe. Poor Benicio Del Toro, Sean Penn, and Naomi Watts work terribly hard to save the film, but Benicio and Sean end up with any sort of complete performance at all. I'm sure this review will get me in some trouble with fans of the film, but I honestly don't see any greatness in this one whatsoever. Grade: D+
- Bend it Like Beckham - In general, I don't like cliched stories, and this was absolutely no exception. The only things that I liked were the scenes of Indian cluture, but Monsoon Wedding did a better job showing the clash of old and new Indian traditions. Some parts are funny, other are grating, this plays somewhat like a british Mart Kate and Ashley movie. Grade: C-
- Better Luck Tomorrow - It was quite interesting to see a film set in high school in California that didn't feature only white characters. In fact, there are no main characters (besides some of the sideline friends) that are not Asian-American. This was the most refreshing part of Better Luck Tomorrow. Which is why it's a shame that the rest of the film felt so derivative. Much of the plot and camera work felt directly stolen from Larry Clark's Bully, and the voice-over was unnecessary and aggravating. The really sad thing about the entire film was that not a single performance stood out as anything special. Grade: D+
- Bruce Almighty - 2003 may end up being the year of the wasted premise. I know that this is just a comedy, and I know that it isn't out to change the world....but what a forgettable film. Here, a little over a week after having seen it, I am struggling to recall any scenes of this film at all. I remember that the dog peed...a lot. I also remember that Bruce really liked to use his powers for sexual gains. A very dissapointing film. Grade: C-
- Freddy vs. Jason - A very, very, very, very, very, very, VERY bloody film. Decapitations and guttings galore, undead demons preying on teenagers, impalings, and that's just the beginning. The whole idea of the film is a campy monstermash film, and it works. Of course, this is by no means a good film. The flaws of the film are obvious (bad script being chief among them) but at least the filmmakers stay true to the characters. Robert Englund is still wonderful as Freddy. Grade: C+
- The Last Samurai - Well, it's very...oh Hell, I just really didn't like this one. With a dangerously simplified message, a bizarrely out-of-place lead performance, and unimpressive visuals, this epic offers almost nothing. The one good thing is Ken Wantanabe, who is moving and charismatic as the titular samurai. He deserved so much better. Grade: D+
- The League of Extraordinary Gentlemen - Could have been very fun. Could have been thrilling. Could have been many, many things. On the plus side, there are some fun moments, but it all feels like a SFX showcase, not a film. Grade: C-
- The Matrix Reloaded - Judging from the overall critical reception of this film, I feel safe in saying that the cult of "Wachowski Bros. are Geniuses" is officially dead or dying. It is certain that they did not live up to the promise of their first film, and it is possible that the third film will do more damage to their legacy. You see, unlike it's predecessor, this Matrix does not in anyway forward the action genre. In fact, Reloaded takes a few steps bak from where the Matrix left us. The fights feel forced, there is little to no tension, and the only interesting characters are new. The mythology of the series seems to be getting tangled just for confusion's sake, and the fine line between clever and stupid seems to be blurring. Grade: C-
- My Boss' Daughter - Not terribly amusing, but Molly Shannon is a great character actor. I can't really remember too much about it, except that it was in no way really exceptional. If you like this sort of thing, you'll love it, but otherwise, do not waste money on it. Grade: C-
- Old School - Am I the only one who wasn't all that amused by this film? Mainstream critics and my peers were pretty much in synch with this one. A light-hearted, fun-filled comedy? No. I think it was actually quite mean-spirited at times, and went on for far too long. There were funny moments, but not enough to justify the rest of the film. Jeez, I sound like I really hated it, but in truth, it was just...boring. Grade: C-
- Phone Booth - I was kinda suprised when I heard the premise of this one. The truth is, I think the idea for the movie is a good one. I don't think that the film lived up to the promise of the idea, but I think everyone involved tried very hard. Colin Farrell performs well in an obviously tough role. I mean, you try acting alone in a phone booth with nothing but your performance and interection with a voice you can't hear keeping the audience interested. However, I can't help but feel that the central point of the movie (redemption, honesty, human compassion) wasn't actually all that important. I never felt like the movie was anything but a twisty thriller. When you spend a lot of time preaching about honesty and love, you better make sure that your film feels genuine. The gloss and camera tricks felt like they went against the point of the movie. Maybe I'm crazy, but for a movie about God (in a way), this seemed pretty light and nearly stupid. Grade: C-
- Swimming Pool - Francois Ozon is usually a very reliable director, but his usual subtlety is lost in this ham-handed thriller. Charlotte Rampling also goes over the top in a rather broad performance. Ludivine Sagnier is the film's saving grace, but still, watching an entire film travel toward a rather dissapointing ending, without any sort of lasting impact, is not a great experience. Grade: C-
- The Texas Chainsaw Massacre - Very well-filmed and edited, decently acted, but ultimately very stupid. Perhaps this is my love for the original film talking, but why can't they make 'em like they used to? This film ends up adding about an hour of plot onto the film, four or five characters, and three action scenes. The production values are high, but that takes away from the horror of the film, it's so obviously a film, that we can never let ourselves get into it. Grade: C-
- Whale Rider - I do not get the huge critical huzzahs for this one at all. Sure, it's a nice, little tale from another culture, but it's as interesting as a wet towel. I honestly found myself checking my watch several times during the film. Keisha Catsle-Hughes, on the bright side, gives a wonderful lead performance that carries the film. Grade: C
- Bottom Tier
- Blue Car - My vote for most overrated film of the year. A film about a teenage poet that smacks of (gasp!) bad teenage writing! I found myself so intensely bored and irritated by the inane cliches and self-important details that I had to take several breaks throughout the film. The performances ranged from distractingly bad to adequate. I didn't find anything special about the two leads, and the "twists" throughout the film felt undeserved and forced. Pure angsty, pretentious, indie trash. Grade: F
- Legally Blonde 2: Red, White, and Blonde - Essentially the same exact thing as the first film, only this time, the goodwill has worn off. There isn't any reason for this film to exist past making money. There is no reason for this series to continue, and I think that Reese Witherspoon is squandering her talent. Grade: D
- Willard - I think that I might need to see the original to fully understand what went on with this, but something went wrong. The visuals reminded me of Mouse Hunt, but the entire thing felt like a high school student ripping off Tim Burton. Crispin Glover obviously tries very hard, but his performance goes over-the-top in a very bad way. The horrible brutality of a few of the scenes were too much to watch, while the stretches of the film that dealt with the humans interacting with Willard were terribly dull. Not a single piece of the film felt original at any point, it was all cribbed from our modern dark directors (Fincher, Burton, even Raimi). By the time the film ends (a good hour too late) you just want to get the Hell out of the theater as fast as you can. Trust that instinct, run. Grade: D
Author Comments:
(D) - documentary
As interested as I've been to watch the Hulk polarization occur over at Rotten Tomatoes, I'm more interested to see how it plays out here. So you liked it, eh AAA?
The Hulk is a very interesting film. I think it would be the most experimental of the comic book movies yet. Ang Lee managed to take the graphic novel source and translate it into film in a way that nobody had tried yet. Because I am not as affected by screenplay flaws as other viewers, I ended up with a good (if puzzling) taste in my mouth. I'd love to see what people make of the visuals, which I think are the best thing about the film.
I predict The Hulk could end up being as polarizing as Signs. :-)
Ah, that could be a good call! We should set up a scorecard and compare who gave Signs the thumbs-up vs. down against how they score The Hulk.
Put me as a thumbs down for Signs and thumbs up for Hulk.
Take some heart, AAA. I watched a huge chunk of Old School, and I HATED EVERY MOMENT I SAW!!!
Shalom, y'all!
L. Bangs
Good! I can't understand the affection towards that film. Will Ferrell (who I usually find at least a little amusing) was not entertaining in the least, and...well, it was just terrible. I find myself at a lost to explain why I didn't like it.
Wow, Kill Bill is definitely racking up admiring Listologists! A ton of fun, wasn't it? So what did you think of the Vivica Fox scene? How 'bout the Sonny Chiba scene? Both of those scenes have gotten some bad press, in various quarters.
The Vivica Fox scene did not bother me anywhere near as much as it did others. I think that it was smart on Tarantino's part to put this fight first, though the battle with Cottonmouth is chronologically first, this would have been a letdown from the massacre at the tea house. Also, I think that Vivica was not the best choice for that role. Pam Grier would have been ideal, but she is probably too old for the character. Maybe even Halle Berry would have been a better choice.
Now, if anyone wants to discuss the incredible anime sequence and escape from the hospital, I'm totally game.
The anime sequence was perhaps my favorite. Very effective without feeling the least bit gimmicky. And it might have been the only way he could work in the pedophilia angle and dodge the NC-17 kiss of death. I'm hoping we learn more about the swordsman in the white suit in Vol. 2 (I'm assuming his identity is obvious, but what I can't imagine is why O-ren apparently forgave and forgot).
I just watched the film again last night. What an extraordinary achievement. I think that I may bump it from an A- to an A.
I think that my favorite scene in the film would be the hospital sequence. All the way from Elle Driver's whistling to "wiggle your big toe". That was absolutely amazing. The origin of O-Ren was great too, and the anime sequence was, once again, brilliant. By the way, is the guy with long hair that kills O-Ren's father who I think it is? Is it perhaps...Bill?
I'm assuming it is. The only thing making me second-guess is that it might be too obvious - but who else could it be? The lean figure and long hair seem pretty David Carradine-ish to me, and he lingers on ringed fingers clutching a sword in both the shot of Bill talking on the phone with Elle, and in the anime sequence. I would have to watch it again to check if the rings are the same.
Oh, as for the hospital sequence, I loved that Tarantino has the the little detail of listening to The Bride's heart rate in various circumstances on the heart monitor, but not calling attention to it, even when it slows waaay down as she's faking remaining in the coma.
You certainly have better eyes and ears than I do. I'll have to see it a third time I suppose.
I just watched the movie with a couple of friends, and at the end, one of them asked if the guy who killed her father was Hattori Hanzo. I'm not sure if he was right or not.
BTW, I really enjoyed the film as well.
I dunno, the killer looked caucasian. Besides, he was painted as a sort of villianous figure, and Hattori Hanzo seemed to be rather benevolent.
Well I can't really comment on that because I didn't pay enough attention to the character for the few seconds he was onscreen. But as for Hanzo, I think he had an extremely violent past, but since he's taken an oath to God, he's been more benevolent.
In other words, I think he can do more with swords besides make them.
We shall see, however - well, hopefully. I hope volume 2 answers that question, along with explaining about Hanzo's personal ties to Bill.
Whoa, kinda weird that we both saw "School of Rock" on the same day. Glad you liked it. I can't wait for your review.
Well, I certainly did enjoy it. It helped that I was in a really receptive mood. Jack Black was superb, Dewey Finn seems to be the perfect character for him.
Also, has anyone noticed how good a year this has been for mainstream American cinema? While the art house has been relatively quiet, the big theaters have had Pirates, X2, A Mighty Wind, Down With Love, Finding Nemo, School of Rock, Kill Bill, and Hulk. It's an odd situation.
AAA, given your admiration of the original, I thought you'd dig this. A teaser paragraph:
"I once got into a late-night debate with a friend of mine who considers himself, and is by any measure, a scholar of cinema. His position was that The Texas Chainsaw Massacre was the most important and possibly the best film to be made during the 1970's. My contention was that it was important and good, but couldn't eclipse such films as Jaws and Star Wars in cultural importance."
Very interesting! You know, a lot of people seem to be coming around on certain films, and I think that Texas Chainsaw Massacre has earned its reputation over time. It's an odd exponential growth.
Mmm...Kill Bill was fantastic.
Also, I was a big fan of The Matrix (in all its 3 inclinations). I think expectations just got insane (especially after the polarizing Reloaded) and everyone hated it by design.
Nice list. Been wanting to see Elephant since I first heard about it.
Have you seen American Splendor? It was brilliant I tell you, brilliant.
Evan
http://www.misterorange.com
Sadly, I missed American Splendor, but it sounds like my type of film.
I feel much the same way about Master and Commander, but I'm going to give it a second chance one of these days when I can see it under better circumstances (instead of a crowded talkative theater). I have to ask though: when you heard of this project, but before the reviews started trickling in, you thought it was going to suck, didn't you? I know I did. :-)
Woo-hoo! I'm psyched to see Peter Pan make your top tier, as I've had high hopes for the movie, but have been half-expecting disappointment. I'd love to see a review, if you have time.
I'll definitely post a review of this one soon. A smart, dark, interesting, beautiful adaptation. I've noticed that critics tend to be a little split on it, but I think that those who dislike it are mostly upset that it is darker than the animated version.
Fantastic review on Peter Pan. I was probably going to wait for video, but now I think I'll go see it. Thanks for convincing me.
Thanks so much! I took my little sister to see the film, expecting dissapointment. Boy, I was surprised. I haven't been so enraptured by a film in years. Right afterwards, my sister and I were walking out of the theater, and I ran into a group of my friends. My sister and I decided that we didn't mind seeing the movie at all, and went a second time in a row.
Whoa, 21 Grams in tier four! I'm shocked. I haven't seen it, but I thought for sure that movie would score better, and help mitigate your feelings that 2003 is a sucky year for movies.
Nope. A more tedious time in the theater I have not had all year.
I'll be writing up my review soon. If I have hope for any films to turn my opinion around (which Peter Pan helped with) they are Big Fish, The Triplettes of Belleville, and Thirteen (which I missed).
Where did you see Big Fish? Is it in Bethesda?
Yep yep yep.
Aw, spit. I was actually thinking of nabbing Laurel Canyon this weekend. Not so boffo, eh?
Too bad...
Hey, what'd ya think of Sweeney Todd? Did you get to see the Lansbury version?
Shalom, y'all!
L. Bangs
Well, the Third Tier is for films that I'm rather ambivalent on. As for Laurel Canyon, I found myself loving certain aspects of it (the sexual explorations, FRANCES, Alessandro Nivola) and feeling let down in other areas (Beckinsale and Bale, the final third) but I think that it's worth checking out for the positive aspects.
As for Sweeney Todd, I was blown away. I did indeed check out the Lansbury version, and she was spectacular. Of course, I was expecting to like it, considering my track run with Sondheim.
Speaking of which, my school is doing Into the Woods later this Spring, and I'm shooting for playing Cinderella's Prince / The Wolf. I'll keep you updated, knowing your Sondheim love.
Good luck! That is a terrific role, so I wish you well.
I'm glad you were able to find that version and that you liked it. Incredible, and some of the coolest sets and scene changes I've ever seen.
I will probably still check out Laurel Canyon, but I just remembered that I have four DVDs awaiting me at home already, so perhaps another weekend.
Shalom, y'all!
L. Bangs