Burn After Reading

Directed and Written by Joel and Ethan Coen
Starring Brad Pitt, George Clooney, John Malkovich, Frances McDormand, Tilda Swinton, Richard Jenkins

Review by Junior.

Joel and Ethan Coen are amazingly talented filmmakers who produce different kinds of movies, seemingly picking projects based on whatever strikes their fancy, and they adapt their filmic style and tone to the subject. One consistent aspect of their disparate films is the frequent use of a few actors, in this case Coen faves George Clooney and Frances McDormand. (Of course you could be fooled by Clooney's presence--you might think you're watching a Steven Soderburgh movie.)

Although I am always aware of the Coen brother's talent, I don't always love their films. I love Blood Simple, Raising Arizona, Fargo, O Brother Where Art Thou?, and No Country For Old Men. Not so much Miller's Crossing, The Hudsucker Proxy and Intolerable Cruelty. I'm afraid Burn After Reading falls into the latter category. Good actors, interesting plot---eh.

Okay, the plot is about a couple of fitness club employees (Pitt and McDormand) who find a computer disc belonging to Malkovich which they believe contains top secret intelligence and their attempts at extorting money from someone (anyone!) in exchange for it. Meanwhile there is some bed-swapping among the characters, Clooney and Swinton included. All the characters are loopy or strange in some way, and the movie is sometimes funny, the plot is engaging...and there is the occasional shocking Coen brothers moment of violence.

The primary problem with the film is that none of the characters are really worth caring about. The most enjoyable, funniest and probably the nicest (if stupidest) character in the movie is Brad Pitt. Unfortunately, there is not enough of him. The rest of the characters are all silly, stupid, shallow, selfish or angry and amoral in their own ways, all flawed, and presented so evenly that the audience doesn't know who they are supposed to care about. Since none of the characters is especially sympathetic one ends up not caring about any of them.

So if we don't care about the characters, we are left with only the story to entertain us, and perhaps a devilish enjoyment of watching the plot machine, as it starts spinning, chew all these idiots up. Unfortunately, it's not enough. For a movie which depends so strongly on the plot the movie takes an odd sidestep at the end and does not directly show the culmination of the story. We are told what happened by a third party, which is kind of funny but ultimately unsatisfying.

Story---7, for quirky originality
Acting---7
Look---6
Overall---6.75

Quantum of Solace

Directed by Marc Forster. Starring Daniel Craig, Judi Dench, Olga Kurylenko, Mathieu Amalric, Jeffrey Wright

Reviewed by Junior.

This is the second outing for Daniel Craig as 007, and the first direct sequel in the history of the franchise. This film picks up about 20 minutes after the end of the last. Bond is pursuing the vast evil organization called "Quantum," which was discovered in Casino Royale, but more importantly, he is out for (yawn) revenge!

As with the previous movie, an exciting action sequence---this time a car chase---opens the film. Unfortunately the quick cuts in which the scene is presented makes it completely impossible to follow. If we, as viewers, are to get the impression, the feeling, of a fast, dangerous car chase then the editing achieves its end. If we are supposed to be able to follow what, exactly, is going on in the car chase, then it doesn't. The second action sequence in the film--a chase across rooftops---is nearly as incomprehensible as the first.

When I say the director, Marc Forster, may want to give the viewers an impression of an action sequence rather than a comprehensible action sequence I'm not being sarcastic. He's a bit of an artsy-fartsy director whose previous work includes The Kite Runner, Monster's Ball and Finding Neverland. Twice in the film action sequences are intercut (artfully) with other, parallel activities, and those sequences are stylish and effective.

The creative team goes to great lengths to make Quantum even more action packed than Craig's first outing, to its detriment. Bond's supporting cast is less interesting than in Casino Royale as well.

Casino Royale was a masterful balance of old Bond and reinvented Bond, with just the right mix of action, suave casual cool, beautiful locations, violence and sex. This movie sacrifices all the other elements for action, violence, and more action. Not that there's nothing else in the movie, but the scenes in between the action seem more like filler while they ready the stuntmen. The requirement of sexuality in a Bond film seems to particularly irk Forster. Bond gets laid only once, in a brief throwaway scene, and only takes off his shirt briefly (sorry ladies!) Bond spends the entire movie in Third World shitholes and never looks like he's having any fun at all. Usually, although he gets in tight spots, it always seems like it would be glamorous and cool to be Bond. Not in Quantum.

The film does contain a mildly witty homage to the 3rd original Bond outing, Goldfinger, with the girl left on Bond's bed. But even considering what the villain does to her, Mathieu Amalric is not very interesting and is too much of a lightweight to ever seem a real threat to Bond. The primary Bond girl, Olga Kurylenko, who also happens to be out for revenge(!), does not have any chemistry with Craig, nor do to they share the verbal sparring of Craig and his previous leading lady, Eva Green, although Kurylenko does finally achieve that which every Bond movie has claimed to do for about 20 years---she is a Bond girl that is Bond's equal, and not just a sex object. Just to drive the point home, Bond doesn't have sex with her.

Judi Dench and Jeffrey Wright are back as M and Felix Lighter, respectively, but have little of interest to do here. Lighter, like Bond, appears to be miserable and M and Bond don't have enough scenes together to take advantage of the crackling good energy between them evidenced in Casino Royale.

That's often the problem with movies about revenge. They take themselves way too seriously and take the fun out of the character(s) you've come to love. Craig is still terrific as Bond and I hope, now that we have the Bond prologue and the Bond revenge out of the way, that the next movie can hit the new series' stride with a good, solid Bond outing, confident in what Bond is now and what kind of movie series they want to deliver.

Story---5
Acting---7
Look---5
Overall---6

Casino Royale

Directed by Martin Campbell
Starring Daniel Craig, Judi Dench, Jeffrey Wright, Eva Green and Mads Mikkelsen.

Review by Junior.

I agree wholeheartedly with my esteemed colleague that Sean Connery was the best bond, B.C. B.C., of course stands for "before Craig," Daniel Craig that is. For years this once daring series had become more and more dated, jokey and unable to keep up with the action films which have supplanted it. This bold attempt at a reboot gets every note right, jettisoning what was holding Bond back and keeping enough of the flavor, the flair, the style and the sex to make this not just a Bond film, but a great Bond film.

Whereas Dr. No was the first Bond movie, Casino Royale is an adaptation of the first Bond novel, and details Bond's attainment of "double-oh" status and his first mission. He is described by M, played with fiery intellect here by Judi Dench, as a "blunt instrument," and at times he does seem to be. Young proto-Bond is arrogant, brash and impulsive, without the cool reserve one has come to expect from this character. This Bond is as likely to beat someone to death on a bathroom sink as shoot them, and often gets himself as beat up as John McClane in the process.

After the pre-title sequence, we are quickly treated to the best action scene in the film, an exciting foot chase of a suspect with incredible rabbit-like agility through jungle, a construction site, the streets of Uganda, and finally into an embassy. This kind of action you've never seen in a Bond film before and signals the kind of visceral intensity to which the creative team behind this new incarnation of the series obviously aspires. Some have criticized this level of action as unbecoming of a Bond film, but my feeling is that if they were adapting Fleming's books today, without the long filmic history, Bond would indeed be an action hero like this.

And the film does have enough traditional Bond elements to satisfy me, at least. Although he does run through the dirty streets of Uganda and beat bad guy butt in bathrooms, he also goes to swanky Casino Royale, playing cards with the best of them, and looking very suave in an excellently tailored tuxedo. He sleeps with a couple of fabulous women, maintaining his reputation as a world-class womanizer. He discovers a really good martini and finally finds that it's cool to announce his presence as "Bond, James Bond."

It is worth noting the nod here to Ursula Andress' emergence from the surf in Dr. No. Here the ladies get a treat (twice) of Bond in a form-fitting swimsuit. His body is also on display in a very brutal and inventive torture scene, a torture, BTW, that is in the original novel and could probably not have been portrayed on film in more conservative times.

The creative team also manages to have their cake and eat it too---a splashy, dramatic, destructive climax without having Bond infiltrate the bad guy's giant evil installation hidden inside a volcano and blowing it up.

Finally, the supporting cast is great. In addition to Judi Dench whom I've already mentioned, there is Geoffrey Wright as CIA agent Felix Lighter, black (again) and with legs---if you've seen Felix from previous films you'll know what I mean. Mads Mikkelsen as bad guy Le Chiffre is also appropriately slimy.

If this Bond reboot can maintain this impressive balance of style, action, sex and good acting we lapsed Bond fans will have something to truly cheer about: a Bond series we can look forward to for many years to come.

Story---8
Acting---7.5
Look ---7
Overall---8

Retro Review - Dr. No

Dr. No is the first installment of the James Bond flicks. Starring Sean Connery (the best Bond ever) with an assortment of Bond Girls, including Urusla Andress.
Released 1962. Directed by Terence Young, from the novel by Ian Fleming.

Review by CINEMAGIRL:

Dr. No sets the stage for an entire genre of suave, sexy spy movies. Although this first film in the 007 enterprise is fairly campy, due mainly to its age, it takes the viewer on a fun adventure lined with palm trees, bikini-clad bombshells, and a hairy Scotsman starring as Bond, James Bond.

Dr. No is hardly a serious film, but an entertaining adventure. Connery is dapper and sly as our favorite British spy. His dialogue is well written. The character of Bond makes a believable spy. When Bond arrives at the airport in Kingston, Jamaica to investigate the disappearance of an agent, he is offered a ride by chauffeur. But he immediately recognizes this as a ploy from the bad guys to catch him and kill him. As a smart spy, he rides along with the guy, attempts to get information out of him and then kills him, taking the body along to HQ for examination and removal.

In other, crappily made action-suspense movies the so-called spy would've gladly accepted the ride and been shocked and amazed that the driver was actually an evil henchman ready to nab him. Oooh! Surprise! Then he would've killed the henchman and left his body to rot in the sun, as if no one will stumble upon it on a populated island like Jamaica. Events like this in crappy movies always leave me with questions. What happened to the dead guy? Who found him? Surely he's not still there? (I'm a stickler for details.)

Bond's investigation leads him and an island native to Crab Key, home of the oddly Caucasian-looking "Chinese" Dr. No - and also the place where he meets Honey, the tanned Urusla Andress clad in her infamous white bikini, collecting seashells for sale in gift shops. Yes, that's actually what she claims to be doing.

Of course, the two get caught, have a meeting with Dr. No, some action and suspense ensues and they have to attempt an escape. You know the drill.

Interesting side note: Dr. No is the basis for Dr. Evil in the silly Austin Powers series.

Dr. No is a fun ride and a classic 007 movie. Some like the new movies better, with their high action, fancier gadgets and huge budgets, but I'm a fan of the retro '60s flicks, with all their style.

For an evening of mindless entertainment, rent Dr. No. Or, for an entire weekend, rent all Connery movies and sack out on the couch.

STORY: 6
LOOK: 8
OVERALL: 8 ...Come on, it's fun.

SPECIAL EVENT: We spent "An Evening With Don Hertzfeldt"

I'm sorry if you missed out on the show, but man, was it great. This show at 19th Street Theatre included animated films that have already become Hertzfeldt classics (he's only 33), like "Billy's Balloon" and "Rejected Film". The night's special event was "I'm so proud of you", the sequel to "Everything will be OK".

Hertzfeldt is really showing a lot of narrative maturity with these two films (part three of this trilogy is still to come). He touches on the subtle nuances of being human. From those awkward moments when you spit out your gum in conversation, to those deep personal reflections on your own existence...or the existence of a manatee staring at you from your calendar. The film really takes you on a ride that's a psychological reflection of life, death and family. But somehow, as deep as this sounds, you never feel like you're diving into a place you don't want to be. Hertzfeldt does such a good job at gently taking us through an emotional cycle, that, inevitably, you feel like you have spent half the night laughing.

Now, as if all these wonderful animations were not enough, the cherry on top of the evening was a Q&A session with the man himself, Don Hertzfeldt. Questions ranged from the techincal process and narrative procedures to what has internet video done for his films and why doens't Hertzfeldt take on corporate gigs. Mr. Hertzfeldt was wonderfully well spoken and, which is all ways a pleasant surprise, very unpretentious and down to earth. There was no claim from himself of being someone special, or ridiculously talented. Instead, his only self-credit was that he worked very hard to make these films. And, knowing the process of traditional animation, he really does work tirelessly.

Bottom line is, if you missed hearing the man speak, you probably missed out on something special that won't return to the Lehigh Valley for a long time (although I hope that's not the case). But, please take the time to watch any Don Hertzfeldt film you can. All will make you laugh, and some will even make you reflect.

Upcoming Event: An Evening with Don Hertzfeldt at 19th Street Theatre

The darkly funny animator Don Hertzfeldt will be at 19th Street Theatre on Thursday, Nov. 13 for a special screening of his bizarre and hilarious short films and Q&A session with the audience.

Hertzfeldt is known for his very traditional-yet-simply drawn pencil-on-paper animations that, while seeming innocent and cute at first, take you on a short trip down the path of the weird and disturbing. One such short film is "Billy's Balloon," a story about a little boy whose happy red balloon turns on him. It's hilarious for teens and adults, but probably a bit terrifying for children to imagine their balloon whacking them over the head or carrying them high above the city.

You can check out "Billy's Balloon" on YouTube.

Hertzfeldt and his films are currently touring cities across America, like NY, Chicago, LA, and.....Allentown, Pennsylvania? Actually, Allentown is his only stop in PA, so be sure to check out this special event.

Tickets are $8 in advance, $10 at the door. Members pay $7.

www.civictheatre.com

Who's That Knocking At My Door

Directed by Martin Scorsese. Released 1969.
Starring: Harvey Keitel, in his first leading role, as J.R. and Zina Bethune as his unnamed girlfriend.

SYNOPSIS: J.R. is just a paesan from the block. He meets a sweet, intellectual girl on the Staten Island Ferry and they fall in love. But J.R. is a very strict Catholic and he loses his grip when he discovers the reality of his girlfriend's past.

Review by CINEMAGIRL:

Welcome to the Old School Catholic meathead attitude of 1969. The rest of the youth across the country are listening to psychedelic rock and experimenting with drugs but J.R. is hanging out with his goombas, listening to earlier '60s soul music, wearing polished black shoes and going to church.

The film begins by immediately introducing us to a time and a place and a mindset. We see an older Italian woman hand-rolling dough, making a stromboli, and then serving it to a table full of children in a crowded New York apartment.

This film was released in 1969 when many films were being made in color, yet Marty shot this one in black and white. Maybe it was a budgetary decision for the young director, or an intentionally motivated creative decision, but either way, the B&W worked well. It transports the viewer to another, more old-fashioned time, which, despite it being the progressive sixties, is the kind of time that Italian Catholic J.R. is living in.

J.R. says there's a difference between girls and broads. Girls, you marry, but broads, you fool around with. Any girl worth marrying is not a broad. J.R. believes and even practices this double-standard. There is a great flashback sequence between J.R. and some naked bohemian chicks in an old factory building, featuring the song "The End" by The Doors. The scene abruptly ends with a jarring cut from the mystical, psychedelic sounds of Jim Morrison and company to the safe, clean, teeny-bopper soul music of the earlier 1960's, accompanied by footage of J.R. and his Girl walking down the street, dressed respectably.

J.R. loves his girlfriend and will not sleep with her because they aren't married. But his old-fashioned sexism places him in a Catch-22 when his Girl confesses that she was raped by a former boyfriend. Actually, she doesn't really confess it, in the sense that these words are never spoken. Instead, Scorsese cuts away from the Girl and J.R. having a serious chat in the kitchen to a shot of a big car turning off onto a dark, snowy country road in the woods. The entire scene takes place with only music as sound. There is no noise as she tries to run away or as the boyfriend smacks her around, until one final pealing scream. The scene cuts and takes us back to the Girl and J.R. in the kitchen. Still images from the haunting attack are used later on in different scenes as J.R. quietly recalls the story to himself.

J.R.'s reaction to learning that his girlfriend in "unpure" is a further part of the drama that I will not spoil for you.

The film ends with an incredible scene of religious zeal. Gyrating sixties soul music blares over the footage of dramatic crucifixes and Mary statues, adding a creepy, almost sexual fervor to J.R.'s obsession and passion with his religion.

This film definitely shows that Marty Scorsese developed his style early. The emotionally-driven usage of popular music along with slow-motion, dreamy dolly shots of characters engaging in real action are Marty-movie staples. The film also evokes the French New Wave films of the 1960's - from the black and white footage to the handheld camera movement, the flashbacks, plus the quiet reflection and deep and moody looks from the actors.

I highly recommend renting this virtually unknown film. The story was well-crafted, acted, directed and edited. Harvey Keitel plays a convincing lughead Italian chap, but this is probably one of his least creepy roles of all time.

STORY: 8.5
ACTING: 9
LOOK: 8

The small screen is (right now) mightier than the big screen...

Once again, we've been sucked into the magic of television. It's election time and high sports season, so between the presidential debates and watching the Phillies kick ass on their way to the World Series, this blog, again, has gone on unofficial hiatus.

However, we're willing to take some public involvement in our next poll:

Who is your favorite director and why?

It sounds like the topic for a term paper, but try to keep your answers succinct. I know many of you cannot possibly choose one director, so it's OK if you list several. We will return when we have the time to watch movies!

Thanks for participating in our last poll. There was overwhelming support for Will Smith to play Obama and a surprising tie between Dennis Hopper and The Rock (you smart asses!) to play McCain. Let's hope that film NEVER gets made!

Chen Arts Show - 16 And A Movie

We're using our space here at this blog to promote the Chen Arts Group Show happening Sat. and Sun. (Oct. 4-5) at 445-447 N. Seventh Street in A-town.

Some of the reviewers at this blog are loyal Chen Arts members who will also be exhibiting their work at the show. Please come out and SEE LOCAL ART! It is free, it is fabulous and it's good for you. What do you have to lose? The show features the original work, like paintings, sculpture and photography, of 16 area artists and a movie by two filmmakers...actually, not A movie, but three shorts. There will be snacks, drinks and music. Come mingle with the artists!

The rundown: 10-4 Sat. Oct. 4 and 12-2:30 Sun. Oct. 5 at 445-447 N. Seventh Street. Entrance is the big gray door on Liberty Street side.

The Stunt Man

Dir. Richard Rush

Starring
Peter O'Toole
Steve Railsback
Barbara Hershey

Rated R - 1980 - 131 mins

If this movie was a sport, I'd call it NASCAR. If this movie was on Wall Street, it would be the stock market. And, if this movie was a drug, it would most definitely be cocaine. Sometimes a movie will creep up on you, like that up hill part at the beginning of a roller coaster; "The Stunt Man" is that kind of a movie.

"The Stunt Man" is one of those "movies about making movies"...movie. Which, when done correctly, can be a lot of fun. Well, the twist in this film is that Cameron (Steve Railsback), a Vietnam vet on the run from the law, quite literally stumbles into a big budget film being shot by Eli Cross (Peter O'Toole). A recent death of the lead stunt man on the film set gives Cross the unique position to compromise Cameron into becoming his new stunt man in exchange for hiding him from the law.

Cross is intrigued by the mysterious background of the war veteran/drifter, and seems to love psychologically toying with him, and other crew members, in order to get the reactions for the film being shot. You get the impression that Cross, a sweet talking megalomaniac, only cares about one thing: getting the right shot on film.

The story is constantly going back and forth between the World War One movie being filmed and the real world of cameramen, make up artists, stunt men and all. The film has a strong theme of "what is reality?" There are also a bunch of allusions in the film to things like "Alice and Wonderland", and biblical stories, so if you enjoy that extra meat in a story you'll get a kick out of this one. You REALLY feel the up and down ride of the story. Is Cross willing to kill this stunt man for the perfect take? Is the lead actress in love with Cameron, or is it a front for the movie? By the end of the film your head is (rightfully so) spinning. But somehow I didn't find myself angry or frustrated at the story, I just enjoyed the ride.

I would strongly recommend this to those who enjoyed films such as "Day for Night", "8 1/2" or "Living in Oblivion".

ACTING - 7 (O'Toole is GREAT, every one else...eh. Cameron reminded of Mark Hamil)
STORY - 9
LOOK - 7

Transsiberian - not your ordinary choo-choo ride

Released - 2008! I'm actually reviewing a NEW movie currently in theatres.
Directed by Brad Anderson
Starring Emily Mortimer as Jessie and Woody Harrelson as her husband Roy with an appearance by Ben Kinglsey speaking Russian.

SYNOPSIS: Do-gooders Roy and Jessie are on their way home from doing charity work in China and decide to take the Trans-Siberian Railroad all the way from Vladivostok on the Pacific Ocean to Moscow - a 6 day journey by train. On the way, the couple encounters some untrustworthy characters and becomes unwittingly drawn into danger.

REVIEW by CINEMAGIRL:

If you've ever spent a decent amount of time on a train, anywhere in the world, you know how foreign a feeling it is to be rocking across backwoods countryside and the gritty sides of towns with the only familiar surroundings being your traveling companions and the other passengers. It's kind of like traveling through space. Everything is a new frontier.

Traveling on the Trans-Siberian through thousands of miles of tundra, small towns and emptiness would certainly have a time capsule effect on the passengers. They only exist at this time, together, on this train, drinking vodka and smoking incessantly. In this environment Roy and Jessie meet their bunkmates Carlos and Abby, a mysterious young couple traveling the world together. Abby is quiet and moody but the Spaniard, Carlos, is friendly and outgoing and interested in learning more about the American travelers.

When Roy and Jessie become separated at a railroad station, Jessie is left alone on the train with Carlos and Abby. She learns more about them, to the point where she uncovers details it would be safer not to know. Eventually Roy is reunited with the distraught Jessie, who annoyingly will not open up to her husband and tell him the truth about what occurred in the 24 hours they were separated.

The couple continue on their journey and have some thrilling, terrifying misadventures in the corrupt "wild west" that is former-Soviet Russia before their train ride comes to an end. I would elaborate more but it would spoil the plot.

The description I read of this film before going to see it at 19th St. Theatre this weekend did not give me the impression that this story would be so action-packed, but it is. A good chunk of this film is suspenseful, parts of it delve into paranoia and fear like "Crime and Punishment" and the last hurrah feels like an action movie.

The cinematography is well done, showing us the open, frosty-white landscape of Siberia and the raucous drunken nights (and days) spent on a train with a host of travelers from Russia and beyond. However, there are no spectacular shots or techniques tested out in this film. It is simply good filming.

The actors do a good job portraying their characters, though Jessie's (Mortimer) lack of honesty at times was annoying. I think if most people were threatened with a deadly weapon they would consider spilling their guts.

Roy (Harrelson) was well acted, but the character seemed a little typical - nice Christian guy, likes trains like a little kid, talks a lot, is overly-friendly. It felt overboard at moments.

Overall, I would recommend renting this film. There's no need to rush out and see it in the theatre unless you're planning a Trans-Siberian journey yourself, comrades. The action was fun, the story had a nice twist and the scenery was great.

STORY: 7
ACTING: 7.5
LOOK: 8
Overall: 7.5 - Worth a rental.

The Invasion (2007) --- A Review with Stray Thoughts

Directed by Oliver Hirschbiegel

Based on Body Snatchers (novel) by Jack Finney
Starring Nicole Kidman, Daniel Craig, Jeremy Northam and Jeffrey Wright.

Reviewed by Junior

I love the Body Snatchers premise. There have been four movies based on Jack Finney's book, and I've enjoyed them all. I'm sure Hollywood would have just made sequels if they could, but the structure of the story would make that very difficult.

• Jack Finney also wrote a wonderful time travel book called Time and Again. Fanciful and romantic and above all else well researched, this book is, among other things, a fascinating travelogue of New York City during the early 1900's, replete with lots of photos. Uses the no-tech time travel method borrowed for the sappily romantic Somewhere in Time.

The first adaptation, of course, was the black-and-white Invasion of the Body Snatchers (1956) directed by Don Siegel. The second, and best, version was Invasion of the Body Snatchers (1978), directed by the fabulous Phillip Kaufman and starring Donald Sutherland, Jeff Goldblum, and Brooke Adams. After that they started changing up the name. There was Body Snatchers (1993), directed by Abel Ferrarra with Meg Tilly and Forest Whitaker, set mostly on an army base. Now we have the other half of the title, The Invasion, starring the always lovely and talented Nicole Kidman.

• The star of the 1956 original, Kevin McCarthy, has a cameo in the 1978 version as the crazy man warning of doom on the street.
  

• Veronica Cartwright, who has raised stressed-out panic to an art form in itself, is in both the 1978 Invasion of the Body Snatchers and this new one.
  

Kidman plays Dr. Carol Bennell, a psychiatrist in Washington, D.C., a single mom who dispenses pills to make people feel better. This "feel better" aspect is important in the film because---unlike previous incarnations of Body Snatchers---this movie is not an allegory about creeping Communism, or some other group or movement; it is a heavyhanded rumination on the violence and discord of mankind and what price we might be willing to pay to all live in peace, as one. This drum is beaten repeatedly and loudly throughout the movie. Couldn't they have made this alien threat a metaphor for Scientologists?

• Kidman looks hot in a thin tee shirt and diaphanous white pajama bottoms 5 minutes into the movie, getting her son's breakfast ready. I've always found her surprsingly sexy, despite her being thin and pale, not my usual type, as well as a terrific actress. I first noticed her in Dead Calm, before she had hooked up with the dwarfish Cruise.
• I am one of only 7 people in the world who liked Eyes Wide Shut.
  

Dr. Bennell's child, I guess, is intended to add an original twist to the Body Snatchers dynamic. Her need to save him is her motivating force, therefore the boy is placed in jeopardy constantly throughout the film, which never works for me. I can suspend my disbelief when the star of the movie is in peril, even though I know in the vast majority of Hollywood movies he/she will be fine, but when a child's put in jeopardy---I can count on one finger the number of times in a major movie where a child actually dies or has something irreversibly terrible happen to them. Didn't work for me in Aliens either, despite loving everything else about it.

Hunky Daniel Craig plays Kidman's love interest, Dr. Ben Driscoll. Amazingly, she wants to "just be friends," obviously not having seen him yet as James Bond, which makes him completely irresistible to just about every woman on the planet, who will immediately flop onto their backs in his presence. One of Driscoll's scientist co-workers is the incomparable Jeffrey Wright, completely wasted here.

• Daniel Craig and Jeffrey Wright also appear together in the Craig's first two bond films, Casino Royale and Quantum of Solace. Wright has assumed the role of CIA agent Felix Lighter, who, in previous incarnations of Bond films was sometimes white, sometimes black, and got his legs eaten off by sharks.
  

The seed pods seen in the previous three incarnations of Body Snatchers are here replaced by microscopic spores which are disseminated when an infected person hocks up a big green loogie. This is effective because the viscous snot can be put into drinks to infect people, or, when the snatched feels particularly aggressive, just projectile vomited in someone's face. This serves the dual purpose of dispensing with the need to cart around huge seed pods and put them in beds with people while they sleep and making the movie more actiony.

Unfortunately, action is not what I want from a Body Snatchers flick. The slow, creeping menace of these pod people who walk and talk and look human, but are strangely deadpan and lifeless, has always been the threatenting thing in these films. That, paired with the wonderful conceit that if you don't want to be assimilated you have to stay awake has always been the most effective aspect of these films. Sleep---which you can only put off so long. It's a very compelling device because we've all been there at some point, whether it was when you were driving, strung out from taking care of a new baby or cramming for an exam, we all know what that feels like and that, ultimately, sleep will win.

• Avoiding sleep, of course, is also one of the important aspects of A Nightmare on Elm Street, and equally effective in that movie. In the first one, before the series decided Freddy was a great comedian, the nightmare was truly terrifying.

The creepy tension you usually expect in a Body Snatchers adaptation gives way to power walking and molotov cocktails and helicopters in the end, unfortunately. I know modern screewriting dictates that the last third of the movie needs to ramp up the action, but it doesn't work for some films and leaves me cold here. Add to that the fact that this movie uses a deus ex machina (literally) when the proper ending for a Body Snatchers movie is one of defeat for our protagonists, and you've got a heavyhanded film with very little real tension and three good actors wasted.

Look---5
Acting---6
Story---3

Cat People (1982)

Directed by Paul Schrader
Music by Giorgio Moroder
Starring Nastassja Kinski, Malcolm McDowell, John Heard, Annette O'Toole

"An erotic fantasy about the animal within us all."

Review by Junior

Whenever the subject of "guilty pleasures" comes up, Paul Schrader's 1982 remake of Val Lewton's 1942 classic Cat People pounces to mind. Guilty because of the loopy concept, the copious amounts of non-gratuitous sex and the bloody panther attacks. Yet the movie's hotness, style, music and actors make it a pleasure.

The movie opens to drums and synth strains. Orange sand blows away revealing human skulls. A young girl is tied to a lone tree in the rocky, alien landscape and left there for a stalking panther, who approaches her and then---embraces her?

After the dreamlike opening we are introduced to Irena (Nastassja Kinski), immediately after her arrival in America from the unnamed, mysterious realm of the prologue. She has come to New Orleans to see her brother, Paul (Malcolm McDowell.) We see their reunion and learn some backstory. It seems Irena has come to America to be with her brother to sort out the problem of their unique family history.

Irena and Paul come from a clan of werepanthers, but unlike their lupine cousins who change when the moon is full, Irena and her ilk change after having sex and can only revert back to human form by killing. This is a problem because they are perpetually horny, apparently. There is one solution, however, which Paul favors---if brother and sister do it, they don't turn, proving the old adage "Incest is best! Put your sister to the test!" But while Irena is not happy about her feline side, she is reticent to make the beast with two backs with her loving brother. McDowell effectively establishes a mysterious and slightly threatening persona so that we, as an audience, are not quite sure whether he means his sister good or ill. Add to that the fact that, after their initial reunion night, Paul disappears. It seems seeing his comely sister was too much for him and he had to go out into the night and get him a little action.

Irena explores New Orleans and meets Oliver (John Heard), the curator of the New Orleans zoo. He takes the shivering and soaking wet Irena under his wing, naturally, and feeds her oysters, as any red-blooded American man would to a sexy, puffy lipped European babe like Kinski, despite the fact that he already has a sexy, big-bosomed American girlfriend named Alice (Annette O'Toole.)

I won't go through the whole plot. Suffice to say there are two love triangles established. Oliver---Irena---Alice and Paul---Oliver---Irena. Will Oliver sleep with Irena and get disemboweled by the cat while he lies is post-coital bliss? Will Paul kill Oliver and have his way with his sister? Will Alice claw Irena's eyes out herself? The triangle comes to a head (or a point, I guess) in the famous scene from Val Lewton's original, recreated here almost shot-for-shot, where Alice is stalked while walking through a park at night, moving from pools of light from the street lamps through the darkness in between as she becomes more and more sure that Irena, in cat form, is about the pounce.

The music by Giorgio Moroder is terrific, moody and atmospheric, establishing a smooth and sexy undercurrent throughout the film. The closing song by David Bowie is great, with lyrics appropriate to the film. The acting is first rate, despite the silly material. The actors take it all seriously enough. McDowell is in fine form, horny, threatening and mysterious, not yet having fallen completely into the mad villain role he now phones in constantly. Kinski is coquettish and beautiful, and naked more often than not. As always, John Heard plays a great everyman. Around the time of this movie he went from being a big actor in small films (see Chilly Scenes of Winter, Cutter's Way, Between the Lines, no really---see them) to being a small actor in big films (such as Big and the Pelican Brief). Sympathetic and yet surprisingly callous, he makes no bones or apologies to Alice about the fact that he is clearly chasing some Irena tail. Annette O'Toole shows her amazing ability to float without treading water, and you gotta give a hand to Ed Begley, Jr. as one of the zoo workers.

The movie establishes a dreamlike mood, effectively maintaining a feeling that this insane idea is plausible. Sensual, mysterious, and spooky New Orleans is the perfect backdrop for this sexy, violent, entertaining fantasy where everybody gets laid, some people get hurt and/or die, some people turn into cats and nobody wears underwear. I changed my mind. I'm not guilty about this. I love this movie. So there!

Look---8
Acting---8
Story---6

We're Baaaack! (and with a New Review)

Sorry for the delay. This blog seemed to go on hiatus this summer. Between vacation, the Olympics, the DNC and the RNC, there was just too much good television going on to catch any movies. However, CINEMAGIRL happened to watch a good rental last night and here's her view......



AWAY FROM HER
Released 2007, Directed by actress Sarah Polley
Starring: Julie Christie as Fiona Anderson and Gordon Pinsent, as her husband Grant.
Based on the short story "The Bear Came Over the Mountain"

REVIEW by CINEMAGIRL:

This film was beautiful in scenery and in story. Away From Her takes place in the snow-covered north of Canada where Fiona and Grant live out their days at a lovely (frozen) lakeside cottage.

It is apparent early on that Fiona is struggling with memory loss. Not just "Oh, damn! Where did I put my keys?" She has forgotten how to pronounce some words and she has gotten lost on her daily cross-country ski. She and Grant quickly realize that she must have an evaluation to figure out what's going on.

As it turns out, Fiona is in the early stages of Alzheimer's. She makes the bold decision to move out of her cottage and away from her husband to a personal care facility. This is the foundation for all drama in the film.

The devoted Grant continually visits his wife only to find her changed each time. At first she flippantly dismisses him like a casual acquaintance, then her character changes and she goes through some personal struggles. Her tireless husband keeps trying to reach out to her and understand what she's going through.

Julie Christie's transformation throughout the film is so subtle, yet it makes an impact. Slight changes in her speech, or appearance, or the lack of focus in her eyes tell us fully how this character has descended into the painful and confusing world of memory loss. It is easy to see why Christie was nominated Best Actress for this role at the 2007 Academy Awards.

Up and coming director Sarah Polley, who adapted the story for the screen, carefully wove scenes between the recent past and present to continually give the audience new tidbits of information along Fiona's progression. She also used grainy, old Super-8mm looking sequences to show young Fiona, her young husband Grant and brief snippets of scenes from their life and his career as a professor.

The film also contains beautiful scenery of the snow-covered Canadian landscape. It's open barreness seems fitting for a story about the stark reality of Alzheimer's.

STORY: 8.5
LOOK: 8.5
ACTING: 10

Funny Ha Ha...not so much

"Funny Ha Ha" is one of the first films of the "mumblecore/Slackavetes" movement of ultra-low budget films made by young, blossoming filmmakers about the seemingly mundane moments of life.

Directed and Written by Andrew Bujalski, 2002.
Starring...let's face it, no one you've heard of.
The director plays a supporting role.

Review by CINEMAGIRL:

The story centers around Marnie, a 24 year-old who is in between jobs and looking for love with the wrong guy. She parties like a college kid but decides that it's time to take charge of her life.

Like other Slackavetes films (see also my review for Hannah Takes the Stairs) this film is shot in real locations using real, sometimes annoyingly juvenile, dialogue and real people - many of which are involved in the film in some other capacity, such as sound or cinematography. The identifying factor of these films is the low, low budget and lack of action. That's not to say nothing happens, it's just that the drama in these films surrounds a minute part of life. Remember when you were just out of college and finding a roommate or buying a car felt like such a huge challenge? These are the kinds of conflicts that befall characters in Slackavetes films.

Back to Funny Ha Ha, the title is not exactly fitting. I didn't find any part of the film that really made me laugh. That's not to say that the film failed it's objective. I hardly felt it was supposed to be a comedy.

Marnie has bad taste in guys, she's struggling to get a foothold at a real career, and finally, through a personal blow, she decides to get her life in order. She makes a to-do list and starts scratching off items like "try to quit drinking for a month," or "spend more time outdoors." Actually, I thought the film ended rather abruptly before we were able to see Marnie achieve more of these personal goals and transform herself a little more. More time could've been spent on these objectives.

Overall, it's rather impressive this film is as good as it is when you realize the director/writer/editor - Bujalksi - was 24 when he made it. It looks a lot like a student film but contains originality. I would give the director an A for Effort, but overall, this film did not captivate me. Now that he has matured, I'd be interested in seeing this film re-made, or at least, the concept taken a little further.

LOOK: 6
ACTING: 6.5
STORY: 6.5

Worth a rent if you want to see what new film styles have emerged in recent years, but don't expect greatness. It will be interesting to see what this filmmaker does in years to come. I think he has good ideas.

2 Days in Paris

"2 Days in Paris" is the story Marion and Jack, a French expatriate and her whiny American boyfriend, spending two days in the City of Lights at the end of a European journey where they encounter her wacky family, friends and exes.

Written and Directed by actress Julie Delpy, who also stars in the film.
Starring Delpy as Marion and Adam Goldberg as Jack.
Released: 2007

REVIEW by Cinemagirl:

"2 Days in Paris" will seem familiar to anyone who has ever spent time in a country where they could not understand the language or fully grasp the culture.

Essentially, this problem lays the groundwork for all the action in the film. Jack, played by Adam Goldberg, spends two days in Paris with his girlfriend. The entire time they are surrounded by her crazy parents, an obese cat, strange artsy types, and a host of men who once dated Marion or at least had some sort of liaison with her.

The film is rife with French and American stereotypes, but it makes for a cute date movie. Nearly all the French people in the film talk about sex and the American tourists in the film are seen wearing Bush-Cheney '04 t-shirts. I don't think the people who even voted for them would dare wear those shirts to Paris. Being the "mean New Yorker" Jack deliberately gives the tourists incorrect directions to the Louvre so he can take their cab.

Throughout the film, Jack understands very little French and has no idea what anyone is saying. He misconstrues the meaning of the frequent kisses and friendly touches abundant in the French culture and suspects Marion of being involved with various men. Also, Jack is continuously confused because Marion will have lengthy conversations, even screaming fights, with former lovers and family members and yet never let Jack in on what is being discussed. Adam Goldberg's facial expressions and line delivery are great in this role of frustrated Jack.

Julie Delpy does a good job in several long scenes where she must simultaneously converse, in many cases, argue, in two languages. She also narrates the film from time to time.

The cinematography in this film is very loose. Most of it is handheld with natural light. It makes Paris very real and welcoming and not as austere and forbidding as films of yore or textbooks make it seem.

The opening of the film pulled me in. It begins with Marion and Jack asleep on a train coming into Paris. Marion narrates and amateur travel snapshots illustrating their European journey, up to this point, are seamlessly cut into the film.

Overall, I liked it and would recommend renting this movie. It's basically a romantic comedy, only without the stilted dialogue. Besides, it's only half in French so you only have to read subtitles half the time!

STORY: 7.5 - It was cute and original.
ACTING: 8 - Delpy and Goldberg made a believable couple. The crazy parents, especially the dad that keys cars parked on the curb, was a nice treat.
LOOK: 7.5 - the more real the better
OVERALL: 7.5

Scarecrow - 1973

Max Millan and Francis "Lion" Delbuchi are two drifters that some how meet up on the open road. Max, a recent convict, invites Lion onto a journey from California to Pittsburgh where he plans to open a car-wash.

112 min - Rated R - Dir. by Jerry Schatzberg (see Panic in Needle Park), Starring Gene Hackman as Max & Al Pacino as "Lion"

Review by LEWIS

First of all I would like to say, it is absolutely shocking to me that a worm hole didn't open up and suck the universe into oblivion when Al Pacino and Gene Hackman were put together in an intimate buddy movie such as this. Wow! My god, these are two of the greatest American actors to grace the screen.

With that said, this was a great movie. And it was very much an "actor's" movie. These two characters will remind you a little of George and Lenny from Steinbeck's "Of Mice and Men". Max (Gene Hackman) is a seasoned, gruff man who proudly wears a chip on his shoulder. He has become a wise man of street smarts, but has lost his ability to laugh. That's where Francis (or "Lion" as Max decides to call him) comes in. He's a little too naive, a little too trusting, but he's the funny guy. He doesn't like things to get too serious, and as soon as they do he'll find a joke in it.

Well this makes for a great buddy movie. Each character needs the other to balance things out. So we go on a cross country journey with the pair where we wind up in dive bars, Colorado work prisons, diners and other places full of grit and grime. It's great a great ride.

As I said before, the corp of the film is the buddy story and I don't know if I've seen it done so well. The characters seem so real, and the emotional ride the two go through would be an actors dream.

I don't really want to get into the scarecrow thing, because it's a really nice part of the film that should be experience when you watch it. Just know that the title is appropriate.

I highly recommend this movie if you love either of the actors, or you're a fan of buddy flicks. Honestly, if you like things like the Lethal Weapon series you love the play between these two ruffians.


ACTING - 9.75 (I really considered a 10...it's close to being worth it)
STORY - 8.5
LOOK - 8 (some real good scenic shots, but other things are not so special)

Clean

This film follows Emily through the drug-overdose death of her rocker husband, loss of custody of her son, and her attempts to work hard, get clean, and start a new life that will allow her to have her son back.

Directed by Olivier Assayas, Frenchman who most recently directed a short in Paris Je t'aime and directed Irma Vep.
Stars Maggie Cheung as Emily and Nick Nolte as her father-in-law Albrecht.
Released 2004. In English, Chinese and French (with subtitles).

Clean begins in Canada at a grimy music club where we first meet the heroin addicted Emily and her rocker hubby Lee. Lee soon dies of an overdose and Emily is sent to prison. She emerges from jail with a new perspective and a drive to reclaim her son, who has been living with Lee's parents for the past few years in Canada since Emily and Lee were too incompetent to care for him.

As rosy, feel-good and cheesy as this plot may sound, it is not. The film is very realistic is it follows Emily's struggles: her relapse into drug abuse, her inability to hold a job or unwillingness to behave on the job, her struggle to create music again - which is her passion. However imperfect she may be, she keeps trying to get it right. That's what's so nice about this story. It is believable.

Also, the cinema verite shooting style makes it feel all the more real and makes London, Paris and towns in Canada look all the more accessible, and less polished than we are used to seeing them in films.

Nick Nolte is a nice surprise in this picture. He plays the grandpa, who along with grandma, is raising Emily and Lee's little boy. He is a strong, practical person who very fairly sets the bar for Emily and constantly keeps the boy's well being in mind.

I liked that the film did not end on some glossy high note with mother and son riding off into the sunset. It left it on a very even keel, not dismal, but with hope that everything would be all right.

STORY: 7.5
LOOK: 8
ACTING: 8.5 (Maggie Cheung is excellent.)

I recommend renting this film.

This docu-drama follows five-time Mr. Olympia bodybuilding champ Arnold Schwarzenegger, Mr. Universe Lou Ferrigno and a cast of motley musclemen on their quest to win world titles at the championship competition in South Africa.

Released 1977. Recent 25th Anniversary DVD released for rental. Directed by George Butler and Robert Fiore. Stars "The Arnold" (future Conan the Barbarian and The Terminator) and Lou Ferrigno (future Incredible Hulk).

REVIEW by Cinemagirl:

If you want to understand the sport of bodybuilding or see a bunch of dudes traipse about in little briefs sporting glistening uber-muscles, this film is for you.

Pumping Iron is the original docu-drama, blurring the lines of reality and fiction. Arnold is portrayed as the Golden Boy, the charming Austrian who has won the biggest bodybuilding event five years in a row and, with his cocky attitude, has returned to slay the competition one last time before retirement.

Lou Ferrigno, at 6'5" and 275 lbs. is no slouch. He is the homegrown Italian kid from Brooklyn. He is mostly deaf. His father is his trainer. His mom makes his 6-egg omelets. While Louie is bigger than Arnold, he does not have the posing skills nor the finesse that the Austrian has.

The film is loaded with tons of great shots of the musclemen honing their craft. Arnold pumps at Gold's Gym in Venice Beach, California, with a whole crew of beefcakes and Louie pumps at a local gym in Brooklyn with his dad by his side. It is awesome to see these brutes hoisting 500 pound barbells and doing push-ups with people astride their backs like ponies.

The competition in the film and all the training is entirely real, but the tension in the subplot - Arnold being the cocky jerk, Lou being the young newcomer out to best his idol - is fabricated for drama's sake. However, none of these scenes feel fake. Arnold tries to play head games with Louie before the big Mr. Olympia competition in South Africa. Lou's dad is convinced that his son can take down the Austrian champ.

The film also features bodybuilders Mike Katz, a former pro football player-turned-teacher who has always strived to be the best; Franco Columbu, the tiny Italian who is so ripped he can lift Fiats out of their parking spots; and Ken Waller, the self-assured Mr. Universe of 1975.

This film made a lasting impact on the public. Americans were never so interested in bulking up until after this film hit the street.

The 25th Anniversary DVD contains plenty of extras, from an interview with a modern Arnold to a new doc, produced for Cinemax, called Raw Iron - The Making of Pumping Iron. This extra doc contains never before seen footage of the bodybuilders partying at Arnold's pad, hanging at an amusement park, and Arnold attempting to train a scrawny TV actor to lift weights. Luckily, these phony-feeling scenarios were cut from the film and the focus remained on the competition and working out.

STORY: 8
LOOK: 9

Definitely worth the rent. How many cool '70s films can inspire you to get in shape?

Hannah Takes the Stairs

This film follows twenty-something Hannah through her hapless relationships and at her laidback workplace.

Directed 2007 by Joe Swanberg. Written by Swanberg and Greta Gerwig, who plays Hannah, along with the other actors in the film who improvised the dialogue.

REVIEW by Cinemagirl:

Hannah Takes the Stairs is an awkward ride, for the viewer and the characters.

Hannah is in her mid-twenties, starting a career and breaking out on her own. She lives with a female roommate and continually makes the same missteps in relationships. She is learning how to be an adult while still remaining herself.

The film follows Hannah through three relationships, which are all awkward and immature to varying degrees. I think the level of immaturity in the relationships - not just the fooling around with Slinkies but the conversation as well - is believable and accurate among characters that are all generally young, naive and just starting to spread their wings.

I found some of the dialogue annoying, or too playful and juvenile, but many times I was reminded of myself and my friends in college, doing stupid things like driving six hours to New Mexico for the day because we felt like it or walking around our city in a downpour and jumping in puddles because, well, what the hell?, we had already gotten wet.

The film is shot in digital video with a limited cast and crew. This is extremely low-budget filmmaking at its best. The crew consists of a director, camera person and boom operator, who probably also double as writer, editor and production manager. The lighting is all natural and completely motivated. The camera is handheld. Locations are real. Actual dirty dishes fill the sink. Hannah sleeps on a twin mattress on the floor. No frills here.

There are no conventional plot devices in this film, or a solid three acts for that matter. Instead, the film organically develops as a result of where the actors' dialogue has taken the director and camera guy. (Cinematographer is just too strict a word in this format.)

This film is part of the "mumblecore" or "Slackavetes" movement, so-named for the American director/writer/actor John Cassavetes who pioneered indie film with long takes, handheld shots and emotionally driven dialogue. "Mumblecore" is a rebirth of indie filmmaking in the past several years after indies started to "sell out" and command top-name actors. It embraces the punk rock ethic of DIY. ("We don't need their stinkin' money, let's get our own camera and shoot it ourselves!")

The cast and crew involved in Hannah have worked on each other's films in various capacities and continue to collaborate on new films that have been heartily embraced at the South by Southwest Film Festival in Texas. It will be interesting to see how the films develop as the filmmakers mature and go in new directions of life. This film was a refreshing change from the norm and a style I hope to see more of.

STORY: Was there a story? OK, 7 of 10. It was clever.
ACTING: 6 The "actors" do a good job, and their improvising works well for the story, but there are times some trained actors would've been helpful.
LOOK: 8 I'm a fan of shooting au naturel.
OVERALL: Worth the rent. Check out other films in this vein (incorporating the same people) such as "The Puffy Chair."

The Mist---Barely Forgiveable

The Mist (2007)
Director: Frank Darabont
Writers: Screenplay by Frank Darabont, adapted from a short story by Stephen King.
Starring: Thomas Jane, Marcia Gay Harden, Andre Braugher, Laurie Holden, William Sadler.

Review by Junior

I once convinced some friends of mine to watch The Adventures of Buckaroo Banzai: Across the Eighth Dimension. Fortunately, they were good friends of mine, some of them relatives, so they eventually forgave me. Hell, I thought it was funny. I still think it's funny. I found myself in the reverse situation when my good buddy and neighbor (who will remain nameless) entrapped me into watching the Stephen King adaptation The Mist. I love my neighbors, and in time, the wounds will heal.

The Mist is of a type with some of King's previous works, such as The Stand and It! where he puts ordinary people in extraordinary situations as a kind of character study, or an examination of group dynamics, masquerading as a horror film. I have enjoyed this sub-genre of King's in the past, The Stand in particular, as I have always felt he has a terrific grasp on the Everyman, and occasionally, on a real whacko. That being said, I have to point out that that's about as far as it goes. King has no great insight into the human condition. He is incapable of creating a truly original character, and his insights into group dynamics could be found in the standard undergraduate textbook.

But it's not a King novel, it's a film, so let's look at the writer/director, Frank Darbont. This film proves that Frank, who previously directed The Shawshank Redemption and The Green Mile, both King-based movies critically acclaimed and commercially successful, finally needs to look elsewhere for inspiration for his films.

Andre Braugher, an actor whose work I have enjoyed since he starred in Homicide: Life on the Streets, is the most interesting thing to watch in this film. Unfortunately, his character disappears a third of the way in. This film also proves that winning an Academy award does not necessarily mean that you suddenly get offered great parts, as evidenced by the two-dimensional harpy played here by Marcia Gay Harden. And if your lead actor, here Thomas (The Punisher) Jane, causes viewers to query each other as to whom they would rather see playing the role ("Nathan Fillion would have read than line better...How about Christopher Lambert?...") while watching the film, you may have cast the wrong actor.

Finally, something that I usually like---the downer ending. I have always admired films which, for instance, killed the main character at the end. Movies in the 70s often ended this way. Just look at Butch Cassidy and the Sundance Kid or Bonnie and Clyde. These endings were satisfying because they were really the only honest way the story could end. (Never mind the fact that those were both based on true stories... ;) Now, in the age of the blockbuster, I admire even more the occasional downer ending because I know it runs contrary to audience expectations and studio desires. But here, this ending just seems mean and unjustified. It requires the characters to act stupidly, for one thing. And the "gotcha!" right after that final, drastic decision---well, it wasn't funny or clever. The film hadn't earned a moment of true sadness, because it hadn't developed the characters to point where I cared about them. So the ending was not half as clever as it thought it was, gratuitous, and just cruel, like pulling the legs off a bug. And I didn't really care about the bug to begin with.

Story: 3
Look: 3
Acting: 4

The Panic in Needle Park

This film follows doomed lovers Helen and Bobby as they steal, shoot heroin and try to survive at 72nd St and Broadway, known in '60s/'70s New York as Needle Park. Based on the book by James Mills, this film was released in 1971.
Adapted for the screen by the great American writers - a couple themselves - Joan Didion and John Gregory Dunne. Produced by Dominick Dunne.

Directed by Jerry Schatzberg, who was nominated for the Palme D'Or at Cannes for this film.
Starring a very young Al Pacino, as Bobby, and Kitty Winn, as Helen. Winn won Best Actress at Cannes for this role.


REVIEW by Cinemagirl:

This film is an insane ride. It is like watching a train wreck - eyes glued in one place, unable to look away at the carnage unfolding before you. All in all, I loved it! Here's why...

The film was completely shot cinema verite, making it feel very much like a documentary, which in turn makes the drug abuse and rough lives of the main characters all the more palpable and real. All lighting was either natural or completely motivated.

The scenery is also the real deal. The full cast of motley characters regularly congregate in Sherman Square (Needle Park) at 72nd and Broadway where they ride out their heroin usage, swap stories and try to score more drugs or money. The regular traffic flows by in the background, people pass by on the street, all in a very raw and realistic way.

Bobby and Helen's various fleabag apartments, and those of their friends, are just what would be expected of a group of addicts: sparse, dirty, no frills. Again, keeping with the reality of it all.

The "panic" in Needle Park refers to drug shortages caused by narcotics busts. When supply is low on the street, the addicts suffer and struggle to get their next fix.

The relationship between Bobby and Helen is a curious one. At first, it's hard to figure out just why a seemingly normal chick like Helen would get involved with a drug user and petty thief who, as Bobby claims, has been in jail eight times. But we begin to realize that she is a fragile woman who has a host of personal problems and has been in countless meritless relationships. Bobby is a charming, enigmatic guy. He knows how to sweet talk people, but his addiction always gets the best of him.

I know, the characters sound tormented. And honestly, who would want to watch two hours of people shooting up and going through personal trauma? BUT - the story, cinematography and acting are just soooo well done. This film is a great representation of the American New Wave of the '70s. I would totally watch it again.

STORY: 9.5
LOOK: 10
ACTING: 10

Thank You For Smoking

A Washington tobacco lobbyist gives us a look at the world through his eyes. Finding out the best way to "spin" what is good and bad about tobacco and, most importantly, how to win the argument...all the time.

Dir. by Jason Reitman, Starring Aaron Eckhart
92 mins. - Rated R

Review by LEWIS

This is a fantastic satire film full of cleverness that'll keep you giggling. The main character, Nick Naylor, is a truly deplorable human being. He feels that his duty in life is to help the underdog (IE big tobacco) get a fair chance at having a good public appearance. Through his charm and good looks he spins words around until cancer patients are shaking his hand.

Of course this lifestyle proves to be more difficult when he's trying to reach out to his son from a divorced marriage. So what's the solution...take him on the job with you! Let him see what dad does for a living.

I don't know how I found myself liking this character, but by the end you'll be rooting for him like he's Mr. Smith. And that, my friends, is the lesson about K Street.

I really recommend this if you enjoy political humor/satire. It was worth the rent.

Acting - 7
Story - 8.5
Look - 7

Overall - 7.5

Flash from the Past: Look Back in Anger

Look Back in Anger tells the story of young and disgruntled Jimmy Porter. He shares a crummy apartment with his down-trodden wife, Allison, and his best pal, Cliff. He struggles to earn a living at the local market. His one outlet in life is playing jazz trumpet in the local clubs.

Director: Tony Richardson, in his film debut. Released 1959.
Starring: Who else, but the enthralling Richard Burton as Jimmy.
Running Time: 100 minutes. Not rated. B&W

Review by Cinemagirl.

I love the late 50's/early 60's British film genre of frustrated and disgruntled young people existing in a classist society. Burton, who continually played angry, confused, emotional men, suits this ideal very well.

The character of Jimmy Porter comes from an impoverished background, but somehow he was able to get a college education. However, he has not been able to utilize it, so he works selling candy at a stall in the street market. Jimmy became angry early in life with the loss of his father. This rage, which he has obvsiouly never dealt with, carries him throughout the film, as he torments his poor, defeated wife.

I particularly love these meaty old dramas that examine the roots of human emotions and the complex webs of personal relationships. At times, you can tell that Look Back in Anger was originally a stage play, by John Osborne, with its limited locations and dialogue set up to come back around in the Third Act and whack you on the head with the point it intends to make. The real enjoyment of this film is watching Burton. Damn, can he act! If he wasn't cast in this film it would likely be a flop. If only we had more actors like him these days...

The cinematography in this old black and white flick is great. There are clever shots using mirrors and silhouettes that drive the emotion of the story without revealing too much or being cheesy.

I highly recommend this film if you like being sucked into dramas that don't necessarily turn out very pretty. For further reference, I also recommend renting "This Sporting Life" and "The Loneliness of the Long Distance Runner" to round out the film trifecta of young British men struggling to find their way in a world that does not belong to them.

STORY: 9
LOOK: 9
ACTING: 10 for Burton

Iron Man Lives Up to Expectations

Iron Man is a big summer adaptation of the classic Marvel Comics character. Iron Man, a.k.a. Tony Stark, a wealthy industrialist, receives a life-changing lesson about his life's work of arms manufacturing and has a turnabout of conscience, becoming a mechanized defender of the powerless...or something like that.
Director: Jon Favreau
Starring: Robert Downey, Jr., Terrence Howard, Gwyneth Paltrow, Jeff Bridges.

Review by Junior.

When I heard that Robert Downey, Jr. was to play Iron Man I was psyched. Despite his substance abuse problems, reported gleefully in the media the past couple of decades, I considered him an outstanding actor and had seen him do good work recently in such films as Fur: An Imaginary Portrait of Diane Arbus. Coming fast on the heels of the news that Ed Norton was going to assay the character of the Hulk in the upcoming re-boot, I connected the two films in my mind, counted my blessings but still wondered at these two, seemingly serious actors, signing on to these crowd-pleasing but kind of silly roles. Then it quickly occurred to me that these actors are people, like me, a similar age to me, and even if they take their craft seriously how can they deny the impulse to play these characters that they---we---grew up with? Perhaps not coincidentally, Downey plays Stark in a cameo in the upcoming Hulk movie. But I'm getting ahead of myself.

The film opens to the immortal strains of AC/DC's "Back in Black." This was a good sign, because I wondered if the people that marketed the movie were the only ones who realized how good that footage played to rock and roll. I shouldn't have worried. The soundtrack is peppered with it throughout, culminating in Black Sabbath's classic "Iron Man," heard in the ads. The movie doesn't have a lot of surprises if you've watched the trailer---the popularity of which, BTW, is parodied to hilarious effect on at theonion.com --- let me just say that it's the film the trailer promises, probably the best film you could make out of the material. The film's success is largely due to the casting. The actors are all first rate: Downey, Bridges, Howard, and Paltrow in particular make the film work.

I mention Gwyneth Paltrow in particular because she has the least to work with. Hers is a role, as the unrequited love interest, that could easily be tedious or boring in the hands of a lesser actor, but she plays it with just the right mixture of spunk, longing, intelligence and sex to make it interesting.

Howard is good as Downey's military liaison/best friend. There is foreshadowing that he will don the iron suit in a sequel, which would be consistent with the comics as well.

Jeff Bridges, always a terrific actor, does an unusual turn as a villain here and sports an impressive new look.

And Robert Downey Jr., who strikes just the right notes of humor, sarcasm, seriousness---he creates a unique persona in Tony Stark, someone who's not a perfect person, but with whom we, as an audience, sympathize. It will be fun to watch that character develop in the upcoming films.

And films, coming up---there are. Marvel has announced a sequel in the works for 2010. Later in the summer of '10 will be a Thor movie. Following that, in 2011, will be the first Captain America movie. Later that summer they hope to pull them all together in an Avengers movie. But you already saw that coming 'cause you sat through the closing credits of Iron Man.

Aside from the acting, the movie has a good balance of romance, humor, and terrific CG action sequences. In addition, I must commend the design work on the suit, which is both cool, detailed and believable. This is the first release from Marvel Studios, apparently having grown tired of sharing so much of their profits with other production companies, and if this is an indication of the kind of quality production we can expect from them---well---we will be enjoying a lot of terrific comic book films in the years to come, unlike, oh...Ghost Rider, Daredevil, Elektra, The Punisher, Man Thing... Anyone for Werewolf by Night or Moon Knight?

Story---7
Acting---9
Look---9

The Big Lebowski

A classic detective plot goes awry in the hands of peaceknick-pothead-bowler, a fiery vietnam vet, a crippled millionaire and his cerebral artist daughter with a severe haircut, a group of nihilists, one mid-western tramp with green nail polish...and a rug.

Written & Directed by Joel & Ethan Coen
Starring: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, Phillip Seymore Hoffman, John Turturro, Tara Reid, Sam Elliott
1998 - 1hr 58min - Rated R

Review by LEWIS

It was only a matter of time before "The Big Lebowski" made it's way onto this blog. The DVD sits on the shelf and comes out about once every three months or so. It is one of those movies you can watch over and over and never get tired of it or stop laughing. I'm told there is quite a cult following for this moive, and that somewhere in Kentucky they even have some kind of Bowling Festival centered around "the dude" himself.

I love this movie for many reasons. But it's mostly for the character the Coen's so cleverly create. I'm not sure if any of their movies, whether it be comedy or drama, has a cast of characters this large with strong enough personalities to hold their own. I promsie that at some point in watching this film you will point to the screen and say "That's just like (place name of friend, family member or co-worker here) !!!"

The story is very old fasioned in nature, with twist and turns, kidnappings, money laundry-ing, and all the other things you would find in a old 40's-50's American noir. But the Coen's cleverly set it in early 90's LA, which is best explained by the Sam Elliott voice over in the begining of the film.

Cinematogopher Roger Deakins, who has shot most of the Coen's films, single handled took such care in shooting the game of bowling that I think it can never be done again, and anyone who attempts to out do him is a fool.

I hope you have the opportunity to join the club of this cult classic. You'll find yourself quoting the movie and giggling with another co-worker across the boardroom and you'll know...they've seen "The Big Lebowski" as well.

STORY - 9
ACTING - 9.5
LOOK - 10 (thanks to the rug)

OVERALL - 9.5

a blast from the past - The Apartment

Synopsis:

The Apartment is the bachelor pad of an overworked insurance accountant, who in an attempt to make some extra dough, rents out his apartment to his philandering co-workers and their mistresses. As a result, this puts the accountant on the fast-track for promotions. But the film takes a twist when the accountant finds out the identity of one of the mistresses who has been entertained at his pad.

Written, directed and produced by Billy Wilder. Released 1960, in black & white. Stars Jack Lemmon as the accountant, Bud, and Shirley MacLaine as elevator girl Fran.

REVIEW by Cinemagirl:

I love these old movies that feel like a play. They take place in just a couple locations and the dialogue is always so real and the actions so accurate. Jack Lemmon is excellent in this film. He is funny and quirky, yet kind of sad and lonely. Very young Shirley MacLaine is sassy and a refreshing reflection of a "girl next door" instead of some bombshell. The plot may be fairly predictable, but the plot devices used in these old films are always more clever than the typically T&A -laden romantic "comedies" of today.

I would recommend this film for a quiet weekend and a variety of ages. Plus, you can't beat Jack Lemmon straining pasta through a tennis racket.

STORY: 8
LOOK: 7
ACTING: 9

OVERALL: 8


REVIEW by LEWIS

It's really great, now and then, to enjoy a "classic" Hollywood type move. The early 60's aren't exactly known to be one of the great times in American Cinema. It was very much a transitional period. The studios seemed to have a hard time trying to decide whether to make main stream movies grittier or keep them wholesome. Well, "The Apartment" seems to do a little of both.

I mean, come on! Think about! If you knew some young guy renting out his space by the hour in the evenings so married men could get there jollies, would you turn him in? This isn't exactly the "ideal" neighbor.

Of course, somehow Billy Wilder makes it all cute and funny. The story is classic, really to the point of predictability, but that really won't bother any viewer. The writing back then can be so much more clever, with it's nice little plot points. "Set em up and Knock em down"

If you like older movies this one really rates. Jack Lemmon is wonderful and his and CINEMAGIRL hit the nail on the head about Shirley MacLaine. A great sit at home "date" flick.

STORY: 8 of 10
LOOK: 7 of 10
ACTING: 9 of 10

OVERALL: 8 of 10

The Future of Food

A documentary focusing on biotechnology's impact on farming and public health. The film takes a frightening look at the fragile state of our food supply, corporate control over its future, government inaction and steps citizens can take to eat safely and healthfully.

Released 2005. Directed, written and produced by Deborah Koons Garcia - Jerry's widow.

REVIEW by Cinemagirl

This film was powerful. Several times I wanted to punch, kick, scream and curse. The film contains interviews with several farmers who were sued by Monsanto Corp., the world's leading producer of genetically modified plants - many of which are being grown in North America without public knowledge or extensive scientific research.

Such is the nature of plants, that when they mature they release seeds, which become airborne, land in a field, germinate and begin to grow there. This corporation's Frakenseeds, which are genetically altered and patented, have entered farmer's fields by accident and the farmers have been sued by Monsanto for copyright infringement. Watch the film to see what has become of some of these unfortunate souls.

The film also discusses how the "farm bill" subsidizes crops and disrupts the market in foreign countries. It does not benefit farmers, but companies.

The film contains news clips, showing people who have been sickened by GMOs, residents who attempted to have these Frankenfoods labeled and scientists who believe that the path corporate America is leading us down when it comes to food is unsustainable and dangerous. It also touts the benefits of purchasing organically grown, locally raised food, which is good for you and local farmers.

I think this film should be shown on PBS and in schools. Its message is too important to ignore.

STORY: 10
LOOK: 8 (due to some cheesy stock footage)
OVERALL: 9

You're Gonna Miss Me

This documentary tells the life story of Roky Erickson; from his career as the lead singer of the psychedelic group 13th Floor Elevators to his spiral into drug abuse, schizophrenia and family problems.

Directed by Kevin McAlester. Released 2005.
Running Time 94 min. Unrated.

REVIEW by LEWIS

Watching documentaries can be a risky business. Sometimes you're pounded over the head with a political/social issue until you either feel guilty enough to join the cause, or so sick of hearing about it so that you become the cause's antithesis. Once in a while though, a documentary comes along that is just a nice, well rounded story that keeps you interested and entertained. "You're Gonna Miss Me" is just that sort of documentary.

This story has everything: sex, drugs, rock n' roll, crazy mother's, rags to riches, and more. The focus of the story deals with Roky Erickson's rise and, as the film described, invention of Psychedelic Rock in the 60's with the band "13th Floor Elevators". Many music heads know of 13th Floor. They did very well in San Fran in the late 60's, and even made an appearence on Dick Clark's American Band Stand. But, like many bands of the era, they decended into a downward spiral of drugs and partying.

When we catch up with Roky today he is a helpless Schizophrenic being cared for his questionably sane mother. Is Roky crazy from drugs, mom, a stint in one of America's wost mental institutions, or is it just the way he is?

This film did a wonderful job at NOT being a VH1 rockumentary, but instead a delicately told story of the life and problems of Roky Erickson. You feel for the family and friends and for Roky. Why can't he just be normal? Why can't he be a musician again? The film also did a wonderful job at gaining archival footage and photos so we can see the change in Roky over the past four decades.

Overall I highly recommend this documentary to anyone, especially lovers of 60's rock or just rock n' roll in general. I also think people with an interest in psychology would find this film fascinating.

LOOK - 8.5 of 10
STORY - 9 of 10
OVERALL - 8.75 of 10


Review by Cinemagirl

I like how this film really looks at the past, present and future of Roky's life. When dealing with his childhood, there are interviews with his mom and four brothers, all of whom are musically talented in some way and have even made their own careers in music. The childhood stories are brought to life with many family photographs, super 8mm film, and later on, Mom's weird home videos.

To flesh out the story of his adult past there are interviews with bandmates, members of ZZ Top, Patti Smith and an MTV host who all discuss the impact the 13th Floor Elevators made on the psychedelic scene in San Fran and elsewhere. There is plenty of footage from past concerts and tv interviews, which really illustrate the state of Roky's mind at the time and the height of musical importance the band has reached. Other past interviews include stories from three of Roky's exes and mental health workers who treated him.

In present time, we see an overweight and despondent Roky, unmedicated, living in a filthy condo in Austin, Texas, and spending his days with his bizarre mother. I will not reveal what occurs as the film moves toward the present, but there is a surprising turn in Roky's life.

Overall, even in Roky's times of deep mental illness and depression in the past and present, there is home video footage and film from the documentarians that shows Roky at his best - playing music. Incredibly, for a person with so many problems and real mental suffering, he can still pick up a guitar and sing, clear as a bell and in-tune, like he never quit. That, for me, points to his innate talent.

I highly recommend renting this film.

STORY: 9
LOOK: 8.5

OVERALL: 8.75

Marie Antoinette

SYNOPSIS:

Marie Antoinette tells the story of the Austrian girl who became a young French queen. It details her decadent lifestyle among a court of catty gossips in the days leading up to the Revolution.

Directed by Sofia Coppola (Francis' daughter)
123 mins. - Rated: PG-13
Starring Kirsten Dunst as the original party-girl Marie Antoinette and Jason Schwartzman as her reserved husband, Louis XVI.

REVIEW by Cinemagirl:

I heard the French actually booed this film at Cannes and some even got up and left the theatre. But can you imagine if someone had made a film about, say, Martha Washington, that showed her as a partying trollop, like some 18th century Paris Hilton?

I rather liked the film and its take on history. There were several dreamy sequences that were shot handheld, with shots cutting to another vantage point of the same shot multiple times, that felt like 60s avant garde films. The sequence with Marie Antoinette getting cozy in her country cottage was really nice and sunny, like a Super 8mm home film, with the sounds of the swaying fields and bumblebees in the garden layered heavy in the foreground.

Other nice sequences included a scene with Marie and two of her ladies trying on these crazy tarty shoes and stuffing themselves with decadent sweets. The scene was edited entirely to modern music, as is much of the film, which made the characters seem all the more similar to the bimbo socialite crowd today that is on the cover of high-profile magazines sporting the latest styles and miniature dogs.

I recommend renting this flick. It was a nice follow-up to Sofia Coppola's last story. It doesn't seem at all similar to "Lost in Translation," but it was alike in that it closely follows the daily life and emotions of another young woman. I hope Ms. Coppola continues in this vein.

STORY: 7 out of 10
LOOK: 8.5 out of 10
ACTING: 8 out of 10

OVERALL: 8 of 10

---

REVIEW by LEWIS

I'll be honest, when I see frilly phoo phoo period costumes I usually assume that I'm going to get some kind of BBC made for TV "let's celebrate Europe's history!" kind of movie. But, when I heard that Ms. Coppola was making Marie Antoinette I thought, "Hmmm, this should be pretty interesting."

I saw the teaser on the Quicktime website about a year ago, which featured New Order's song "Age of Consent", and I was stylistically hooked. "Could this really be a new take on a period film?" Well, it is...and it isn't.

As my comrade mentioned above, there are some WONDERFUL moments in the film that capture the emotion through interesting camera movement and shots (new wave all the way). I wish there was more of that in the whole film. It would go back to that grand dolly shot, or stagnant portraiture mise en scene. Not that there's anything wrong with that, it is really beautiful. But the thought of an entire film about one of the most famous Queens of all time being shot cinema verite seemed REALLY EXCITING. So I was a little let down.

However, I was happy with the angle of the story. It really was through the eyes of a naive, silver-spooned rich girl that lived in the bubble of Versailles. You almost felt sorry for her, really. I'm sure Sofia Coppola could relate to that young rich kid lifestyle, through herself and her friends. Honestly, the same story could relate to George Bush in his Yale days, a young DuPont, or a little Rockefeller. The blue-bloods live in their own world, and that is where the film was placed.

Acting was great. I think Sofia Coppola is becoming a great director of actors. In each of her films she seems to give them a lot of latitude to discover their characters and it really shows through the lens.

Overall this is a great way to experience a period piece film. It's different from most, all though I personally wish it pushed the envelope a little more.

STORY: 7 out of 10
LOOK: 7 out of 10 (should have gone further)
ACTING: 8 out of 10

OVERALL: 7.5 of 10