4 out of 5. What's great about Alejandro
González Iñárritu 21 GRAMS is that the rewiring of time was a great way
to challenge our perception. Many films after this messed with the
concept and many of them came off cheap
and gimmicky. He wasn't the first but still it reminded us that editing
is also the art of storytelling and that once you've done the artistry
of writing and directing a story...that a story can be conceived at a
whole other level. Would loved to have scene the shooting script for
this.
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3 out 5. ROAD TO PERDITION by Sam Mendes might
be a movie you missed the first time around, but it's a real gem. What I
liked about it was it's dark quality. For a color film to be a
traditional noir that's tough to
achieve, but I think it's pulled of well. Secondly the story by Max
Allan Collins, based off his graphic novel series of the same name, is
very well-grounded and doesn't have that inflated Hollywood-feel.
Nothing is over-dramatized and what's there is pretty raw. If you like
movies like Unforgiven or Miller's Crossing, this would suit your taste.
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3 out of 5. Alan Parker's THE COMMITMENTS
comes to mind as one of the more solid music-based films. I loved the
Buddy Holly Story and La Bamba when I was younger and this I think is
the best combination of filmmaking and
undiscovered musical talent. The energy and dynamics of this large cast
is infectious. Maybe I'm a sucker for these types of films since I
really can't stand musicals. But you could do worse with a 118 minutes.
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4 out of 5. While I"m at it Alejandro González
Iñárritu's AMORES PERROS is worth mentioning as yet another film where
he uses connectivity of circumstances to retool our perception of story.
The acting is terrific in this and Gael
García Bernal really stood out for me. At times it was quite hard to
watch but as a whole I think it's visceral quality drew you into the
characters state of mind, raising the stakes both internally and
externally.
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3 out 5. I saw Michael Powell & Emeric Pressburger's BLACK NARCISSUS the other night
and the hero here, as with the film RED DESERT, is JACK CARDIFF's
cinematography. So much so that the rest of the movie pales by
comparison. The story is odd and
interesting and some of the acting is pretty good. The directing and
shot compositions were quite nice though. It's British so a lot rides on
subtlety and melodrama. Unfortunately some of it was hard to agree
with. This is one of those film school films that you should definitely
watch. It's mildly entertaining, and the protagonist, Sister Rose has a
moment that is really quite intriguing on the level of Medea.
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5 out of 5. Craig Gillespie's LARS AND THE REAL GIRL makes you
see the good in humanity, especially in community. It forces one to look
at how people have to grow beyond traumatic experiences in ways that
make very little sense to most of us.
The acting is first rate. Since HALF-NELSON I've been a fan of Ryan
Gosling's work. He's an actor's actor and he's got my respect. If you
like Edward Norton's early work you'll dig this guy. It's hard to
compare this movie to anything. It's bittersweet and makes you work for
it but by the end, you really get a satisfying pay-off.
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3 out of 5. Philip Ridley's THE REFLECTING SKIN is a richly textured piece of filmwork. There's a lot of metaphor
running around in the barren fields of the young Seth Dove. There's a
cruelty and the debauchery of childhood innocence that permeates
throughout and feels right for some reason. The acting is just okay, but
the photography and art direction is really great.
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4 out of 5. After seeing BADLANDS and giving it a
5, I thought I'd chance DAYS OF HEAVEN to see what else Terrence Malick
can do. Suffice it to say he has a style of space and time and poetry
that I haven't seen in many directors.
If there was a slow-cook movement in film he'd be the head chef. But not
slow in the way that Kubrick plays, more like lets build up the
slowness with cut-away close-ups of supporting imagery and create a
textural piece. The story is well-done and the acting is superb. The
cinematography is masterful and I love the ending. If you like Malick
you know what you're getting...a film with ease...but not an easy film.
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3 out of 5. Alejandro Jodorworsky's SANTA SANGRE rewards those with thoughtful patience. Saw this again, which is
rare for me, but I'm glad I did. Really challenging visuals and pacing
that seem abstract and unconnected until the end. What a great third
act. If you like bizarre foreign films that remind you of David
Lynch...sort of...this is a good bet.
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4 out of 5. Speaking of smart people, Miranda
July's ME AND YOU AND EVERYONE WE KNOW is all about smart writing. Not
the kind of writing like JUNO where everyone sounded witty and verbose
but the kind of writing that plays
eccentricities off each other but not superfluously. All the pieces fit
together into a complex tapestry of character and story that actually
mean something. She acts in it as well, which is yet another facet of
her crazy abilities as an artist. I wished she'd do more. If you like
Todd Solondz work, like Happiness or Palindromes you will most likely
dig this.
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3 out of 5. Antonio Bird's RAVENOUS was a surprising treat if
you like horror films. This was smart, darkly funny at times with great
cast that included GUY PEARCE and ROBERT CARLYLE. I don't watch horror
films like I used to but if they were as
well done as this I would. The horror in this shifts from situational
to one of acceptance by the characters. It's when they cross the line
that things really get interesting. If you liked THE PROPOSITION for
it's left of center western themes you'll like Ravenous just the same.
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4 out of 5. It's worth mentioning the terrific
tale of TOGETHER WITH YOU by Kaige Chen as well. Again he cements relationships
and characters with real purpose and heartbreak. The seemingly colorless
despair of poverty just makes this piece shine even more as a father
does everything he can to help his son survive.
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3 out of 5. Stacy Peralta's CRIPS AND BLOODS: MADE IN AMERICA is a tour-de-force of directing and editing. Beautifully
shot and incredibly educational. If you like Gangland this is by far a
slicker rendered version of L.A.'s gang history. The story is less
shocking but really educational.
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4 out of 5. Based on a Joseph March poem, THE SET UP is a
film that could have easily been a play. It's one of those films whose
narrative has a real earthy feel, much like High Noon, making it very
original for its time. It's a simple
story told really well, with compelling characters all in high stakes
situations. Robert Ryan plays an over-the-hill boxer (35) at the end of
his career. He's expected to fall and everyone bets against him. It's a
simple story but a gem of a film with great performances and a really
rough ending. Feels like something Hemingway might have written.
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4 out of 5. Melville's ARMY OF SHADOWS is an
intriguing approach to storytelling that challenges convention. The POVs
shift from character to character as we become familiar with the ranks
of the French Resistance. Melville uses a lot of push-in/pull back
focusing which was prevalent for the time. The cinematography is
stunning.
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4 out of 5. Ted Demme's film, BLOW was a stylish and intriguing.
It had the sass of Soderburgh but with a soft, less intrusive approach.
Ted Demme's use of various film stock and processing along with a great
costume designer really brought this
intriguing story through the decades with an easy aesthetic. Johnny Depp
does a great job for the most part too capturing the real life
character of George Jung. Highly entertaining and highly recommended. If
you liked Scarface but wouldn't mind a lot less violence or if you
liked Donnie Brasco, you will not be disappointed with this.
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4 out of 5. ONIBABA by Kaneto Shindô was one
of the first Japanese films I ever saw. I remember the photography and
use of cutaways of the tall grass, luring you into a seduction of
safety. It twists and turns and gets really creepy as samurai bodies
pile up under the terrible hands of mother and daughter. This is the
kind Japanese horror film that I like. Great execution!
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4 out of 5. I'd never seen Almodóvar's work
but since watching VOLVER, from now on I will continue to seek it out. To say that it has heart
might sound a bit schmaltzy but his characters feel like you've known
them for years. Regardless of language
barriers you understand their plight even if it is as crazy and fun as
Volver. He captures the sweet-sexy cuteness of Penelope Cruz that I've
yet to see an American director bring out of her. If you like
unpredictable funny mixed with a cocktail of crime and mystery and a
dessert of great character development then this is the feast for you.
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3 out of 5. CUBE is a great example of how a
smart director like Vincenzo Natali can make the best use of his art
skills with so little. Like PRIMER the concept is deceptively simple and
yet highly believable in the context
we're given. It's a great little thriller/horror film that is clever and
smart without being overly aware of itself. I like these kinds of films
because when you pull back to see the larger picture there is an even
bigger story at hand.
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4 out of 5. THE BIG HEAT blew me away. It's
hard to say who the hero is FRITZ LANG or SYDNEY BOEHM. I'd have to go
with Boehm I think. Every character is interesting and nuanced and not
at all cliched. Clear specific
relationships are established and the story takes twists and turns
involving the audience to guess what happens next. The dialogue was
superb and layered and some of the acting was quite excellent too.
Fritz's directing was very subtle in this piece and it worked
wonderfully. If you like NIGHT AND THE CITY or WHERE THE SIDEWALK ENDS
you'll love this.
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