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(I hadn't used that post title in a while.)
Seeing a handful of movies this summer, mostly thanks to Netflix, I didn't wanna make sitting on my ass for 2 hours a completely brainless endeavor, so I decided to call on my amateur critic and did little reviews for each new movie I watched. Since a WordPad file has a limited audience, I figure posting them here might serve some purpose. Your reaction / participation is of course welcomed.
For the record, if judging only by star ratings:
Less than a 2/4 = Not recommended watching. 2/4 = See if you have nothing else. 2.5/4 = More flawed than good, but there's something here potentially worth your time. 3/4 = Not without errors, but the successes do outweigh the failures. 3.5/4 = Highly encouraged for the next time you need something to watch. 4/4 = (I've always thought it was best that critics avoid using 4 stars as often as they do.) Get this movie now.
Anatomy of a Murder (1959)--At 2 hours and forty minutes, Otto Preminger's court-room drama unfolds with a bit of length, but enough well-written legal play manages to maintain suspense; in addition, that time is used efficiently to draw out the story and characters in a clever and even-handed manner. With a majority of the movie solely taking place in a Michigan courtroom, sly stylistic direction and the cast's performances fortunately are able to sustain an ideal focus. That cast is particularly prominent as led by Jimmy Stewart, sardonic as ever, and George C. Scott, big-city sophisticated, in a display of divergent eras of acting, effective each in their own way. Duke Ellington's enthusiastic score is also notable. 3.5/4
Big Trouble in Little China (1986)--Calling this movie "zany" doesn't cheapen it, nor is it meant to. John Carpenter directs here with the camera sitting right next to his tongue planted firmly in cheek. Lead by an intolerable smart-ass Kurt Russell, we're taken on a dizzying trip through Chinatown, complete with an array of ahead-of-the-curb 1980s special effects and strong comedic irony. Excusing a rather ludicrous storyline and a plot that while it doesn't pander, isn't exactly a game of Operation, the sarcastic and slapstick happy tone of the film, matched with a racing pace and supernatural attraction, is consistently thrilling. (Note: Victor Wong bought used clothes from a garage sale at my house once.) 3/4
Bottle Rocket (1995)--Wes Anderson's debut feature length is a lighthearted look at a gang of friends who make up for their criminal naiveté with loads of effort. For much of the film the characters seem to be repeating the same pratfalls from an earlier scene, so one's enjoyment rests upon wanting to like the leads. Fortunately, Owen Wilson's motivated Dignan is the right face and pitch for a spirited wannabe lawbreaker. And though it seems like Luke Wilson is capable of only slight variation on his usual affable but desperate tone, it fits here. Low-key but charismatic enough to be appealing, the signs of Anderson's later delivered-upon promise are visible through whatever sluggishness may lie in the way. 2.5/4
Bring Me The Head of Alfredo Garcia (1974)--Having regrettably sat through Straw Dogs on an earlier occasion, it was encouraging to find a Peckinpah picture that could deal with its subject passionately and violently without being agonizing. Comparatively more peaceful and slower-paced, the first third falters a little, but once on track, it delivers. Demonstrating a palpable thirst for vengeance, Warren Oates is the perfect lead, equally cool and frenzied. And even though his girl is no acting miracle, as the love that inspires his extreme lengths, she and the story prove more than convincing. Less grand in scope than The Wild Bunch, with patented slow-mo violence, an unusual and effective prop, and some convincing emotional play, this is elevated above standard revenge movie fare. 3/4
California Split (1974)--Light on story, Robert Altman's underappreciated 1974 gem more than makes up for the absence of any specific plot with loads of character and a well-told representation of the world of gambling. It's not so much a hard-edged look at the life of high-stakes betting as it is a very loose but genuine portrayal of those racetrack mainstays, card club regulars, and point spread amateurs. Heavily improvised, charismatic and humorous, George Segal and Elliot Gould are the ideal oddball buddy pair of addicts on the inevitable road to Reno. In line with Altman's fluid direction and attention to detail, this honest and accessible approach to gambling and filmmaking is not to be overlooked. 3.5/4
Contact (1997)--Having received mostly poor grades in high school science classes, I can't validate one way or the other if the technical aspects of the story here are legitimate. However, a good percentage of the narrative portion of the film would be clear to all as emotionally manipulative and cloying. For example, overwrought and underdeveloped, Jodie Foster's proposed relationship with Matthew McConaughey is hardly convincing. These errors aside, Foster's confident performance, a few well-produced and purposeful special effects sequences, and the ideological center of the film more than do the story justice. The fundamental philosophical elements at present are worthy of production and dealt with in a reputable fashion throughout, save for the occasional lapse into sentimentality. 2.5/4
Crash (1995)--Controversial director Cronenberg has picked up on a community of fetishists but managed to forget that a premise is still not a plot. Crash is at first an interesting look at a peculiar subculture, but it eventually feels more superficial than fully developed. After the initial introduction, it's just the same couple threads of the story on repeat. The same sexual oddities reoccur but never reveal themselves. Paper-thin and one-dimensional, everything from the story to most of the acting fails to make such a unique subject ever feel compelling. A couple of scenes and some well-done makeup effects still are not enough to salvage a bland and incomplete depiction of a disturbed but distinct world. 1.5/4
The Croupier (1997)--While producers were discussing the next actor to play James Bond, Clive Owen's name was kicked around as a candidate. Judging from his BMW shorts, this would've been a wise decision, but with The Croupier in mind, Owen doesn't appear capable of even sounding out the secret agent's name. However, maybe any displeasure here is more the fault of director Mike Hodges. Hodges' Get Carter, from twenty-six years before The Croupier's production, remains a more daring and persuasive look at a side of the British underworld--perhaps he just lost his edge with age. His comeback with a boring film and a blonde Clive Owen are both equally forgettable. This is a rather flaccid take on a presumably interesting life. 1/4
The Dancer Upstairs (2002)--John Malkovich sets aside acting for a methodical approach to terrorism Latin American-style. Creating atmosphere so finitely through a capable control of cinematography and on-screen violence, the film's mood is as absorbing and evocative as any role Malkovich the actor has managed. Too is he able to call on a restrained but acute performance from his lead, Javier Bardem. However, the narrative is let down by being rather flat at times, failing to capitalize on the suspense the story should have been capable of. Emotionally underdeveloped characterizations disappoint the film's potential as well. While he doesn't quite prove himself complete yet, Malkovich's directorial skills need not be doubted. 3/4
Dead Again (1991)--Certain ways of presenting a movie have worked to a greater extent during one time period than they have later in history. For example, Kenneth Branagh here alternates between flashbacks to present tense, from the 1940s to the 1990s, utilizing older filmmaking techniques in both past and present times to varying degrees of success. Primarily based around allusions to Hitchcock films, while the overstated acting and operatic Herrmann-esque score are fitting for the black and white days, they are touches that can appear disjointed and heavy-handed in the modern era. Fortunately, some balance is achieved, the unpredictable nature of the story creates suspense, and a well-intentioned homage gets its influences right, all the way down to the surreal Spellbound climax. 3/4
The Devil's Advocate (1997)--About as subtle as a school bus heading straight on for a semi, it's in these over-the-top moments that all involved meet their high water mark. For instance, Pacino thrives in a role of epic proportions, interjecting a wry sense of humor fitting for his character. Likewise, establishing a few moments of levity, director Hackford maintains an energy level that never allows his film to completely choke on its own grave nature. All this alongside rich cinematography and a script full of lively dialogue, though the on-screen action is often dense, it never manages to becomes too clumsy. The ending is the least graceful portion of the whole showy affair, but entertainment here is not to be derived from delicacy. 2.5/4
The Driver (1978)--Seven minutes into this movie awaits one of three total scenes focused solely on driving, and it succeeds for several key reasons: the point-of-view car shots lend a distinct visual style; extended takes demonstrate choreography that elevates above choppy editing approaches to filming; a silent Ryan O'Neal, acting within his range, and the cool blues of the city lights at night add a polished pitch to the proceedings. Yet, outside of this action, the film does suffer when a plot is feigned and dialogue introduced. Also, the characters' constrictive, no-nonsense tones make for a product that's at times too rigid. However, these in-between moments are bearable enough to wait for the remarkable driving sequences that follow. 2.5/4
Escape From New York (1981)--John Carpenter makes fun movies--and I mean that in the least belittling sense possible. However, while remaining a fun picture, Escape From New York is rather like science-fiction for people who read at a 5th grade level. Furthermore, the action here unfolds in a very loose manner, unable to take advantage of opportunities of suspense because of its laidback style. That being said, it still manages to be a curious watch, full of comic-book machismo and a stern presentation of a futuristic nightmare. A novel premise, Kurt Russell's tough guy with a wink, and a vintage score by the director himself add to the entertainment. 2.5/4
Hard Eight (1996)--That Hard Eight is also known under the title of Sydney, the name of the main character (Phillip Baker Hall), is especially fitting. The man and the movie are one in the same, their weaknesses and strengths shared. While at once deliberate, understated, and knowledgeable, at times these qualities can transform into something too mysterious, too slow, and too distant. And though a plot is hard to come by at first, there are enough twists here to not underwhelm the patient viewer. However, beyond Anderson's solid direction, the real key to any success this film enjoys is courtesy of the precise acting on display. 2.5/4
Have Gun - Will Travel: The Complete First Season (1957)--TV series. Richard Boone's western loner Paladin recites Shakespeare with the same dexterity that he draws a firearm. Literate and culturally astute at once, while still a man in black with deadly aim, his lead is equal parts dashing and dangerous. Through well-paced episodes approximately twenty-five minutes in length, Paladin is hired in a number of various occupations, all requiring his precision with a six-shooter and dedication to the job. The occasional datedness aside, tightly arranged action is highlighted by a slew of competent guest stars (Charles Bronson, Angie Dickinson, etc.) and a subtle wit beneath the gunplay. 3/4
Kalifornia (1993)--Brad Pitt would hardly be confused for Brando, and though his accent sounds forced at times, he proves himself a decent actor and should be, in part, commended for not merely taking cookie-cutter roles, especially earlier in his career. However, a strong recommendation cannot be carried over to this movie. Kalifornia is a filled with uneasy violence and uneven direction. While containing some lucid camerawork and a good effort to capture Terrence Malick's America, it doesn't really know if it's a bloody serial killer film or an intellectual's attempt to comprehend murder. It tries to take the latter route through a series of pretentious and dry voice-overs but doesn't have the courage or know-how to stay on track. 1/4
The Killers (1946)--As a small but shadowy crowd gathers around the grave of an ex-boxer turned illegal named The Swede, in front of an surreal backdrop of gloomy clouds, Robert Siodmak hits a quintessential film noir note. Cast in expressionist lighting, this tale of want and will is cleverly told through a series of flashbacks, letting the mystery and anticipation build along the way. Weighed down momentarily by an occasionally dull sequence in the middle that can't keep up with the brilliant opening scene and pales in comparison to the tightly-wound finale, a brash Burt Lancaster, graced by an ever-striking Ava Gardner, are moving enough to overcome whatever lulls there may be. 3.5/4
Lady Snowblood (1973)--Gaining its most recent notoriety because of Tarantino's work, while Lady Snowblood is a female-led, red-soaked revenge tale separated into chapter structure, it is not the same film as Kill Bill. More emotionally resonant, the tragedy here of a woman hell-bent on blood is a sobering study of vengeance. However, its frequent forays into stylized filmmaking (jump cuts, comic panels, non-linear sequencing, freeze frames, etc.) interrupt the studied tone and hinder pacing. In addition, narration cheats the plot and further stifles momentum. Fortunately, a strong lead, well-performed action scenes, and an absorbing story do their best to escape the technical excesses on display. 2.5/4
The Last Boy Scout (1991)--Here are a couple of adjectives: over-the-top, cheesy, formulaic, vulgar, entertaining. Shane Black's multi-million dollar script is complete with self-aware dialogue that often fails to amount to more than four-letter word contrivances. While plot holes abound, its lunacy of a story hijacks a page out of the buddy black-white movie genre. Similarly flawed, Tony Scott's bludgeoning direction aims for body count more than suspense. However, though try as one might to avoid its pandering charm, a slew of fantastic action scenes never allow the viewer a moment to think straight. Bruce Willis is a step below his brilliant John McClane, and the film is a couple rungs below Cro-Magnon man, but pure adrenaline alone makes for an entertaining time. 2.5/4
Last Life in the Universe (2003)--Christopher Doyle's textured cinematography presents meditative visuals, but in spite of its quaint attributes, the entire film dissolves from initially conjuring curiosity to later exposing itself, by its own vague sensibilities, as hollow. The story doesn't explain itself logically nor really seem to mind this. It's all just window-dressing for two offbeat leads. However, the Oscar and Felix pairing of the main characters offers nothing new or of particular interest. Despite apt actors, brilliant photography, and even the potential for an appealing set-up, all the elements at work seem to be conspiring against each other. While it may be a film of understatement, a two hour exercise in lighting and mood can't justify hopeless meandering for a self-indulgent sake. 2/4
Lone Star (1995)--At first John Sayles seems to be leading a messy lecture on race and ethnicity, complete with broadly drawn depictions straying far from authenticity. Thankfully those characterizations become more genuine and fully realized as the film soon finds a sophisticated rhythm and its ideological focus. By successfully weaving an ensemble cast representing the many sides of multiculturalism, Sayles creates a view of modern America that has a slant but enough substance and story to back it up. Seamless direction that easily transitions from present day to flashbacks, cinematography that takes full advantage of its Southern location, and a satisfying enough conclusion underscore a surprising mystery about the core experiences we each share in common. 3.5/4
Palookaville (1995)--Not the greatest ending ever but proved generally on par before that point. The admirable story of ill-fated, bumbling petty thieves is note of the route Woody Allen would have been wise to take with his Small Time Crooks. Regardless, this picture is authentically acted and at a length to know that the same note it hits throughout shouldn't be stretched too far. While the three leads are of the pathetic type, the film doesn't so much mock them but rather embraces their condition in a light-hearted and charming way. Funny and charismatic enough that an almost-syrupy conclusion doesn't subtract too much. 2.5/4
The Red Circle (1970)--An air of inevitably haunts the action in this masterpiece from director Melville. Muted in color and minimalist in its composition, each scene unwinds with a calculated expertise. Clocking in at about 2 hours and 20 minutes, with long takes and silence emphasized over dialogue, the story unfurls quite deliberately, managing however to never stall suspense. It is the control and understanding exhibited by the veteran behind the camera that makes this story of a heist something more than just cops and robbers. There is an intangible character that elevates action to tension and cool to poise, that gives the characters their dignity and the story its soul. 4/4
Red Rock West (1993)--The famous film prescription of "a girl and a gun" has resulted in its share of movie miracles and mishaps. While John Dahl's neo-noir features enough moderately successful gunplay, the girl portion of the equation isn't able to hold its weight. The female, in this case Lara Flynn Boyle, comes off unconvincing, like a child showing her limited size by being drowned in adult clothes. This inadequate presence hinders the generally skillful way in which the story builds tension and delivers a series of surprises. However, even those surprises come about as the product of action that doesn't hold up to close inspection. Sleeper pick with stylish cinematography and an ultimately disappointing conclusion. 2.5/4
The Right Stuff (1983)--Despite being over 3 hours long, Phillip Kaufman casts aside doubt about the grand scale of his picture with a creative and gripping look at the evolution of the space program. Visually imaginative, the director's lens easily captures the magic of a jet's flight, a rocket's launch, and the open sky. In addition, the narrative is able to effectively weave in decades of change to present a balanced story not only of the pilots but of their wives too. With a surprising sense of humor and a uniformly adept cast, this is both a courageous historical tale and a fitting tribute to American aeronautics. 4/4
Say Anything (1989)--As an authentic picture of teenage love is marred by most else, Cameron Crowe's directorial debut is an exercise in ups-and-downs. For instance, the touching and now classic scene featuring a blaring boom box held over John Cusack's shoulders is unfortunately followed by an absurd and poorly-developed tangent of a plot thread involving Ione Sky, John Mahoney, and some outlandish distraction courtesy of the IRS. While the romantic angle between the outsider and the high school valedictorian excels, especially thanks to the never-better Cusack, it is weighted down by being stuck between a bland and feeble side story of money laundering and father-daughter relations. 2.5/4
She Hate Me (2004)--Scattered and rambling, Spike Lee mixes the mob, lesbians, and insider-trading in an incoherent tale of I'm not quite sure. At once he's striking out against Enron corporate greed, then leaving that portion of the plot alone to zoom in on gay women being impregnated by a single man for money. Unfocused attempts to portray a crime family and a broken family, homosexuality, race relations, and the heroism of whistle-blowers all fail. While thematically it may come down to a simple morality tale, impaired by his own intolerable crotch-driven bravado and a narrative recklessness apparent everywhere, Lee's unique beginnings end in a disappointing and confusing mess. Awkward dialogue and stilted performances don't help out the cause either. 1/4
Sid and Nancy (1986)--Ugly and destructive, this Romeo and Juliet tale of guitars and hard drugs is brutal. For the first half of the film, until the Sex Pistols meet their inevitable split, Cox shows an almost playful story, full of his usual offbeat, sly sense of humor and control of a scene. However, as the title duo dissolve into disillusion, the movie takes on a tougher and gritty, almost unbearable tone. At times the constant screech of Chloe Webb as Nancy, mixed with the sadistic vision of heroin and punk rock cacophony, is a little overwhelming. Fortunately, a fully-realized Gary Oldman and an intense portrayal of desperation should be enough to entice the reluctant viewer. 3/4
Spanglish (2004)--Caught between melodrama and sitcom, marooned by its own cluttered mess of go-nowhere plot strands, even the alcoholic grandma or the predictable bilingual jokes can't muster enough charm to give this one a pass. The across-the-board over-acting is in keeping with a narrative that's as every bit outlandish as it is inane. Lacking focus to showcase just one of its many contrived notions of a movie, Brooks instead has chosen to clumsily present all of the absurdity that the carelessly written script has provided. Usually there is enough grace and balance to the director's vision, but here he's off-kilter and at the wrong pace and tone throughout. 0.5/4
Spartan (2004)--In a David Mamet movie, one should expect two things: a certain cadence fitting his patented language; and plot twists and coincidences that might ask for the audience to momentarily suspend belief so that the action unfolds as he has planned it. Mamet doesn't necessarily cheat corners or make for a tedious tone to his words, but he is more demanding than most directors because his world requires it. Spartan unfolds in such a world, where government, duty, and family all run separate of each other it seems. For a willing audience, there awaits a challenging but constant thriller, a series of sudden turns, stylistic dialogue, and an air of mystery that is clearly the director's own. 3/4
Star Wars: Episode III (2005)--A weak first act, sabotaged by unsurprising special effects sequences and dialogue reminiscent of refrigerator poetry, gives way to a worthy entry into the series. George Lucas has gathered his wits and the reins of the franchise to create a melodramatic opera of Jedi's and Sith's. Hundreds of computer-generated postcards, highlighted by the visual showcase of otherworldly landscapes, and a dark tone, in color and narrative, create a comfortable fit for a galaxy on the edge of peril. While the characters are compelling enough to move the action along, overall the battles this time appear less for show and more integral to the story. 3/4
Three Days of the Condor (1975)--Women--can't live with them and apparently you can't make movies without them either. It's not that the ever-graceful Faye Dunaway is unnecessarily thrust into this great tale of post-Watergate paranoia; on the contrary, she's integrated into the action quite convincingly. However, the extent to which her relationship with the appealing Redford evolves so rapidly strikes a little on the gratuitous side. Fortunately, avoiding much sentimental schmaltz, it doesn't serve as a great distraction. Pollack's smooth direction is able to balance that aspect of the plot well enough, but it's in the suspense he creates where the film soars. Dialogue with a poetic twist, a sparse '70s funk score, and Max von Sydow, as the learned assassin, also prove quite effective. 3.5/4
They Live (1988)--Taking pot shots at the capitalism of the Reagan era, John Carpenter's politics are similar to his special effects: simple-minded and cheesy, generally devolving into cliché but occasionally inspiring a sarcastic chuckle. His none-too graceful attack on consumer culture reeks of the same kind of short-sighted ranting you'd expect to hear at a liberal arts school freshman dorm room. All ideological aspects of the film aside, it has that renowned Carpenter B-movie feel, complete with a charismatic WWF wrestler (Rowdy Roddy Pipper) and Keith David in the leads, a couple lines of memorable but blatant dialogue, and a fight scene that's so tedious it's terrific. 2/4
Tigerland (2000)--An impressive Colin Farrell, matched every step of the way by Mathew Davis in a less glamorous role, is caught between the Louisiana wilderness and the Vietnam battlefield. Low-budget and filmed in a grainy fashion, even if this choice by Batman Returns director Joel Schumacher reeks of art-house pretensions, the documentary, old-school approach to such a stark subject as war is both justifiable and effective. While the visual style acquits itself well enough, the story here doesn't work to the same degree. Ambiguous and rather pedestrian, the plot produces no new revelations or spin on old war-movie clichés. However unsure of its politics and direction, Farrell and the convincing ensemble cast do their best to offset these shortcomings. 2.5/4
To Have and Have Not (1944)--Less known for its cinematic quality and more so steeped in the romantic notion of being the project where Bogart and Bacall first fell in love, luckily there is more here than mere Hollywood nostalgia. Yes, Howard Hawks' straight-forward but clear direction does delight in watching the natural chemistry between the leads unfold: Bacall's entendre-laden sexuality and the timeless note she strikes with Bogart, the ironic hero, laced with coy dialogue, is the stuff of lore. But even more than just simple flirtation, the larger smoky atmosphere of attraction and charm is the star. A lightweight setup that feels too reminiscent of Casablanca manages to put just the slightest of crimps in this classic affair. 3.5/4
Two-Lane Blacktop (1971)--As a road-picture with a existentialist slant, though the story can be too car-centric for audiences uninterested in that life, this is more a movie about estrangement than engines. With a mystery that's sometimes advantageous, for stretches the aloof qualities can also be too vacant to compel. Nevertheless, Warren Oates and the photographic quality of the open road are strong enough to offset the empty spaces in the narrative and the lead performances of musicians Dennis Wilson and James Taylor. With a philosophical tone of alienation that has remained relevant, it holds up better than other counterculture films of the period. 3/4
Wacky Races: The Complete Series (1968)--TV series. Each episode lasts about ten minutes, ends with the maniacal but myopic Dick Dastardly falling victim to his own schemes, and offers the same contestants in a cross-course trek for cartoon glory. With all this in mind, amazingly the show manages never to get stale. Featuring well-orchestrated set design and playful writing with a penchant for puns and alliterations, this Hanna-Barbera screwball series proves a classic. Quite resourceful on their part, the teams of writers and animators continually keep each set of characters unique and with their own distinctive quirks, while the material and gags are paired with enough creativity and fun. 3/4
The Wanderers (1979)--While comparisons to Walter Hill's 1979 take on New York gangs, The Warriors, are natural, it wouldn't be accurate to consider these two movies one in the same. Though not faulting Hill's film--because what works there works there for a reason--Kaufman's version of N.Y. street life ultimately, and successfully, turns down camp in favor of a surreal streak and turf battles for a look into the loss of innocence, courtesy of 1963. Rival gangs and some satirical depictions aside, the focus here is more on the uncertainty that waits at that threshold between being a school kid and something else. A period soundtrack, an effective comical streak, and the director's usual thorough eye all have aged well. 3.5/4
Wattsax (1973)--Documenting the 1972 concert, the music on display, uneven in quality, relishes with groups like The Staple Singers or The Bar-Kays on stage, but otherwise flounders with performers who since have faded to record bin obscurity. The editing is brisk enough, and the main purpose served is not to showcase the Stax record label, but rather focus on commemorating the passing of time since the 1965 Watts riots. Comprised of a series of interviews with locals and informal commentary from Richard Pryor, a picture of urban America in the early 1970's is constructed. However, with a rather nonchalant presentation of what was a powerfully important time in America's history, the movie cheats itself and its subject a little. 2.5/4
The Wedding Crashers (2005)--The R-Rated summer comedy has returned with a solid cast in place, a wholly unoriginal story, and enough efficient comedy to make it all work. Appearing as if the filmmakers decided that once a quirky premise and the duo of Vince Vaughn and Owen Wilson were in place that their job was done, while Vaughn in particular excels with his trademark brand of shtick, worn-out side characters and a predictable romantic arc threaten to frustrate between laughs. Energetic musical montages, off-the-cuff dialogue, a late-reel cameo, and chemistry shared by all the leads, especially thanks to the performance of 'it' girl Rachel McAdams, are enough to get through the various creatively deficient decisions and dry spots around. 2.5/4
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