Films I Watched - November, 2005
Submitted by lbangs on Fri, 11/04/2005 - 12:10
Tags:
- 11/29 - Paradise Now - Few preachers make films; if only few filmmakers would preach. Most of this film is excellent, following an oppressed Palestinian about the town of Nablus as he plans a suicide bombing. In fact, the film is blessed with an incredibly soulful actor in Kais Nashef and brilliant bookends, opening with a mute scene at a border checkpoint and ending with... Hany Abu-Assad obviously knows how to evoke emotions using angles and visuals, but when he sets his characters to talking, they all too often debate or voice concerns detached and in a manner that reveals much more politically than it does about the characters speaking or listening. It is a glaring flaw, and a very unfortunate one, considering how strong most of this film is. It doesn't sink the ship, but it does keep it from smooth sailing. ***
- 11/27 - Harry Potter and the Goblet of Fire - First off, let me pull the rug from under your feet. The critics are wrong; this is not the best film in the series, as the previous Harry Potter and the Prisoner of Azkaban still holds that title. This does, though, place a respectable second. At least two terrific scenes, the climax and one involving a dragon, add to the fun puppy love dramatics to send this one over the first two installments. Oddly enough, the weakness here is in the story, as certain elements fail to convince and logic is stretched much too thin to continue suspending all disbelief. Still, having a director instead of an producer behind the camera (I hear Chris did a pretty good job ruining Rent) helps big time... ***
- 11/25 - The Fisher King - While the film needs to lose the red dragon/knight and occasionally betrays Gilliam's aversion to subtlety in a not-too-flattering light, it still remains my favorite work by the director; if it isn't as witty and funny as Brazil, it digs deeper and pulls off a much better ending. Jeff Bridges epitomizes the dawn of the 90s from his hairstyle and clothes to his hangover of guilt coming off of the Yuppie 80s, Williams gives one of his better performances, and both Ruehl and Plummer breathe perfect life into their characters. Gilliam has his scenes - witness Central Station's transformation into a waltz hall - and most of them soar. Never before or since has the director examined the human heart so closely. *** 1/2
- 11/25 - Intimate Strangers - The plot reads like a romantic comedy; a woman enters the wrong door in a hallway and spills her marital and sexual problems to a man she believes is an analyst but who is really a tax lawyer. By the time he realizes she is not telling him all this for purposes of receiving financial advice concerning an upcoming divorce, he is too embarrassed and intrigued to tell her that she has made a mistake. The sessions continue. However, the director here is Patrice Leconte, one of the most devoted Hitchcock worshippers since De Palma in the 80s, so it should not shock anyone that the entire affair plays out more as twisted, intense, and delicious drama. With terrific acting, nuanced direction, and a screenplay that exploits the concept for some true insight, tension, and, yes, humor, only a too-neat conclusion holds this one back from four stars. *** 1/2
- 11/23 - Ray - If Foxx's performance impresses me a bit more after rewatching this, the random structure and weakly-handled flashbacks annoy even more. ** 1/2
- 11/19 - Tron - Some interesting ideas and an incredible vision realized with special effects as unique as they were cutting edge still cannot quite save Tron from its ultimately silly script, its long, boring stretches, and its horrid opening act. Still, those visuals, shimmering with sleek laser lights, are truly something, as are several of the concepts if seen divorced from their silly, half-baked contexts. **
- 11/18 - Walk the Line - The formula is well-worn; the only difference between these music biographies and those of the classic age of Hollywood is, well, sex, drugs, and rock and roll. These newer studies dive into the various problems plaguing the artists, even if all difficulties must be overcome halfway into the third act. This story of Johnny Cash benefits from an incredible performance by Joaquin Phoenix, one that is every bit as eerily on-target and nuanced as Foxx’s Ray. Reese Witherspoon acts for the first time in years, and if June Carter still remains underdeveloped and mysterious, the majority of the problem is a script that uses her more as symbol and plot device than as a living, breathing character, only allowing her to come to life in one late-night diner scene. James Mangold is a better director than Taylor Hackford, although that really is not admitting much. Luckily, Cash’s story and music is worth the time, and this pushes the film past the finish line, even if it still feels like a bit of a missed opportunity. ***
- 11/11 - Pride & Prejudice - Joe Wright had to know he was entering impossibly treacherous waters. The BBC miniseries based on Jane Austen's incredible novel has grown a deserved cult, and to adapt the work of Ms. Austen is to expose one's self to a bizarrely insular group of fans who make the strangest demands upon films based on the novelist's terrific work. No doubt, this situation explains why Mr. Wright frankly directs the hell out of this film. Where that 1995 version was an excellent transfer of the novel to television, this is simply an excellent film, graced with a dancing camera that glides between revealing tableaux, capturing each group of conversations at the perfect, most revealing moment and sliding off to the next. It is an Oscar worthy performance behind the camera, a calling card of a filmmaker of extraordinary talent. When you realize that this waltzing lens also captures terrific performances from a stellar cast that, yes, includes a magical lead turn from Keira Knightley, who never looked lovelier or performed so wonderfully, then you know you are watching magic. Yup, it is a tough fact to fathom, but Joe Wright has created the definitive cinematic version of Pride & Prejudice, one that will both thrill film fans and delight open-minded lovers of the novel. ****
- 11/11 - Capote - Many of us have always wondered if Philip Seymour Hoffman would ever get the leading role he needed to tear into fame; with the role of Truman Capote, he scores. His performance consumes this film, which given the oddly lackluster first half, is a very good thing. Catherine Keener is fine but under-utilized (Has she had a nose job? The once gorgeous structure is now, er, abbreviated to extremely poor effect, it seems.) The ending does pull off a nice, haunting twist, and the cast is as excellent as one would expect, but despite an excellent final act, this film disappoints a bit. ***
- 11/10 - Festival Express - It was an interesting idea, and it proved an even more interesting failure. If one rock festival can prove so terrific, why not hire a train and take a traveling festival on the road across Canada? What failed financially, though, soared as art. This documentary covers the circumstances surrounding this long, strange trip, but even better, it captures many of the performances on film. Highlights include a rocking The Band and some of the best live music I've heard from Janis Joplin's brief career. My, this film is fun, and as an added bonus, the DVD goes up to eleven. *** 1/2
- 11/8 - The Wedding Crashers - Finally, somebody realized the charisma and complimentary charm of pal duo of Vince Vaughn and Owen Wilson and had enough confidence to give them room to breath. For a major studio comedy, this ain't bad, even if it is saddled with a lame opening thirty and ending fifteen minutes, and yes, it . Still, once the film dispenses with the prolonged introduction and settles into a groove, it proves very funny, especially helped by the supporting acting crew portraying the Cleary family (and this despite the lame and frankly insulting jokes made at the expense of the film's lone gay character; he was poorly written but well played.). Yes, the film is a mess, but it is at least a funny mess, and when you are a comedy, actually provoking laughter covers a multitude of sins. Oh, and I know I said it before, but dear God, Rachel McAdams should never go blonde again. ***Spoiler: Highlight to viewhas yet another annoying cameo from Will Ferrell which, while not as awful as some of his guest turns, is once again perhaps the weakest element in the film
- 11/6 - Le Vieil Homme et l'Enfant - In Germany-occupied France, a Jewish family sends their young son away to live in the countryside with the parents of some friends. The boy very quickly takes to the father, forming a very close grandparent-grandson relationship with him. The only catch is that the older man is incredibly anti-Semitic and clueless to the fact that the boy is Jewish. This film defies clichés and conventions to allow this relationship to grow. What is striking is what is not here; there is no tearful scene where the boy reveals his heritage and the older man is forced to reconsider his view. There is no forced confrontation or moment of realization. Instead, there is life, and this film captures it very well. *** 1/2
- 11/5 - Session 9 - AKA The Film I Should Have Watched Halloween Night. Essentially updating the haunted house story to modern times, this film gains much creepiness from terrific performances and (odd for a horror flick) restrained directing. The ending may be a bit disappointing, but it is not the all-out ship sinker many are, and if the film is a small one, everyone involves sells the heck out of it. ***
- 11/5 - Good Night, And Good Luck - I've praised Clooney for some time, and I've entertained pretty high expectations for his future. Any thoughts that he is more interested in stardom than art really should begin to evaporate here. His second film, a black and white drama with little in the way of explosions or sex, takes on politics while covering it in the guise of an exercise in journalism history a la All the President's Men, and he scores. Not every element is perfect here; in particular, a few subplots seem meaningless. Still, David Strathairn will probably join Philip Seymour Hoffman and Joaquin Phoenix in the Best Actor category this year, and with great reason. He shows the cracks of worry and anxiety through Murrow's stoic armor with the slightest glance and eyebrow twitch, and the performance is terrific. The choice to only have Joseph McCarthy play himself works very well, and when the political roundhouses come, they are grounding in story and character and thus integral to the fabric of the story. Despite its flaws, this is one great film; it deserves the applause it gained at my local theater. *** 1/2
- 11/3 - The Conversation - You wanna see a curse, you wanna see misfortune and dire circumstances? Cast your eyes over this flick, pilgrims, and see the sad doom of coming between Coppola's first two installments of The Godfather. Although nominated for the Best Picture Oscar, this terrific, tense character study and penetrating portrait of paranoia is seldom mentioned in common company, but if it pales next to Coppola's other 1974 film (which won that Oscar), that's only the same as admitting that that winner pales next to Citizen Kane, North by Northwest, and 8 1/2. Even with a few experimental touches, nothing is overplayed or hammed up here; Hackman IS Harry Caul, Coppola mixes audio and video like a magician, Shirley shines away from Laverne, and Han Solo snarls in fine pre-light-side form. If you don't mind slow builds, you'll love it, but sure to check behind the couch first... ****
- 11/2 - North Country - An abused woman working in the mine finally gets pushed too far and decides to take the company to court. Boy, never heard that before, have you? Yeah, I have too. Originality really is not the selling point here; the acting is the cheese in the trap. I do love me some cheese, though, and with Charlize Theron, Frances McDormand, a subdued Woody Harrelson, Sissy Spacek (a miner's daughter herself, doncha know!), and a terrific Richard Jenkins, the fromage is pungent and yummy. Nope, this doesn't advance film grammar or threaten to invade Sight & Sound's top ten, but for a huge hunk of warmed over formula, North Country is surprisingly decent, even moving, even if it really should have shaven off those last ten minutes entirely... ***
I was wondering when Session 9 was going to make it up here! I kept thinking, "Boy, he's celebrating Halloween late this year..."
I'm glad you liked it, I'm equally happy to hear that Good Night, And Good Luck lives up to expectations. Did you see my note posted somewhere around here that test audiences thought "the actor who played McCarthy" overdid it? It's probably apocryphal, but still too good not to pass along.
I saw that, and while I also am cynical about the source, it is funny and well worth reading. Thanks!
Oh, and thanks for the suggestion!
Shalom, y'all!
L. Bangs
I like the way you write about movies you've seen.
Thank you! I needed that!
I've been a bit bummed about my film reviews lately, but I think it has more to do with my mood and a few unkind words than it does with my actual writing. Well, I hope that's true.
Thanks, Rosie!
Shalom, y'all!
L. Bangs (also a fan of your writing, as evidenced by his constant, annoying attempts to squeeze it out of you!)
{{{LBangs}}}
Thanks, Rosie! That helps.
Shalom, y'all!
L. Bangs
For what it's worth, I've been unhappy with my own movie "reviews" for quite some time now, all while watching you continue to chug along, writing the reviews I wish I was writing. In case that makes no sense, it's a compliment. :-)
Thank you, although I always enjoy your reviews greatly. Maybe the uncontent folks are drawn to each others' writings?
Shalom, y'all!
L. Bangs
Oo, nice, The Fisher King as favorite Gilliam. I've always favored Brazil, but that was back when I was more of a sucker for critical concensus (and I saw it in not one, but TWO classes over the course of my education, so it must have been great, right?). I'll have to rewatch them both one of these days and reevaulate.
I had not bought into the "Goblet of Fire is better than Prisoner of Azkaban" hype, and now I never will (we'll see which I prefer soon, I hope). To be fair, I mostly shun the idea because it came from the same folks I know that liked the HP1 and HP2, but thought HP3 was awful! My jaw drops every time I hear somebody voice that sentiment. To each his own, of course, but I just can't relate.
There are fans who don't care for the third installment? Wacky...
I have heard a few people prefer the first because, "it has more of the book in it," but I cannot even relate to that...
Thanks!
Shalom, y'all!
L. Bangs