Category Archives: Reviews

Never Let Me Go

Back in 2002, Robin Williams lobbed three dark performance hand grenades, the most powerful of which was One Hour Photo.  What was so compelling about Photo was not only Williams’ ability to channel a character who was simultaneously repulsive, pitiable, and menacing (Anthony Perkins anyone?), but director Mark Romanek’s stark photography.  His shots still remain burned into my cerebral celluloid and his work with Never Let Me Go reveals the same beauty, but doesn’t quite carry the same human vitality. Continue reading

“Hereafter” surprisingly insipid

The Fountain and Sunshine are two films that tend to receive some of the most vitriolic commentary, eliciting praise or hate.  What they also have in common is their mutual exploration of what it means to die: Sunshine, “We’re all stardust” and The Fountain, “Death is the road to awe.”  Clint Eastwood isn’t having any of that shit though: in Hereafter, death leads to romantic comedy vapidity. Continue reading

“Jackass 3D” recalls early cinema, but more mean-spirited

The first films ever made were single reels of a recorded event.  A boat rocking in the ocean as the sun set; a baby eating between smiling parents. These were soon followed by the fantastic special effects of the Méliès films and the daring do’s of Buster Keaton.  The work of the Jackass team is working within parameters strangely reminiscent of early cinema- but with much more mean spiritedness and fecal matter. Continue reading

“It’s Kind of a Funny Story” better at bringing the drama

Right before It’s Kind of a Funny started, there was a trailer for Meet the Fockers.  It struck me that many comedies emulate the same advertising strategy as Fockers and even It’s Kind of a Funny Story.  There’s almost a predictable tempo that has evolved, with jokes delivered, pause, reply, cue laughter.  Almost as if some of these moments were written for the trailer.  The result is like seeing a haggard prostitute begging for clients long after the sex appeal has worn off.  Thankfully this labored funniness doesn’t stifle Funny Story. Continue reading

Let Me In: “A dirge for American goodness.”

Let the Right One In was the recent horror phenomenon usually known as “the Swedish vampire flick.”  A combination of excellent actors, in-depth character development, and mature execution made it a top notch vampire film that blew other blood-sucker tales out of the water.  Hence, when Hollywood announced that a re-make was in the works, the original film’s fan base made their consternation known.    Even I went in with the most cynical of sentiments (“Did they just make it into an English language film for those too illiterate to struggle with subtitles?”).  Surprisingly, I left the cinema sunk deep in stunned reflection. Continue reading

“The Social Network” is really just “the facebook movie”

After the trailer for The Social Network premiered, which included an attention-getting musical intro, anticipation for David Fincher’s The Social Network was intense. Critics were tripping over themselves to praise the film when it hit the festival circuit.

In case you haven’t heard, The Social Network is about the creation of facebook and the battle for founding credentials between founder Mark Zuckerberg–and anyone who gets in his way.  Dialogue ricochets off the walls (the first scene recalls Gilmore Girls, unfortunately), characters make impassioned proclamations, and Zuckerberg (played by Jesse Eisenberg) smirks smugly.

The underlying problem with The Social Network is that it leaves you asking, “Who gives a shit?”  The shadiness of Mark Zuckerberg and the formation  story of facebook have been well chronicled over the last year, in articles exposing intellectual property theft, hacking, and breaches of privacy.

Even if you go into The Social Network unaware of these controversies, the film fails to escape the clutches of a paint-by-numbers formula, feeling more like a Wikipedia entry than a narrative tale. Continue reading

Reality, Celebrity Culture, and Inner Light in “I’m Still Here”

If you are here to read a strict review of the “Joaquin Phoenix documentary” you’ll have to go somewhere else.  The film is operating on levels reminiscent of  The Brothers Bloom because you have no idea how to differentiate between reality and performance, and are left bereft of any concrete narrative to critique.

However, if you’re here searching for thoughts about the film, step right into my office.

My initial impression was that Phoenix was proclaiming his self-importance with the title I’m Still Here, a defiant cry to some crowd that, “You can’t hold me!  I’m still here (bitches)!”  This was supplanted by an interpretation more along lines of, “Uh…why are you talking about me like that?  I’m still here.”  At the film’s heart are the ways Phoenix sets himself up for the type of criticism he receives, and how much is fueled by celebrity culture.

First and foremost, Phoenix appears to have serious issues.  I mean this not at all in a judgmental fashion, just as an interpretation of what appears on-screen.  Phoenix performs a giddy jig at the prospect of a line of coke and two prostitutes; the way he speaks suggests one too many shots of rum; and the way he reacts to other people, in word and deed, does not suggest a sound mind.  Silence follows him at the film’s end, but the rest of the time we see him as a crazed hobo crying, yelling, and consuming various substances. Continue reading

Ben Affleck’s “The Town” delivers

Promotion for The Town touts it as “from the acclaimed director of Gone Baby Gone” which appears to be a deliberate dodge to avoid naming the film’s director – Ben Affleck.  The concern being that if people see that Ben Affleck directed the picture – a guy possibly most famous for his previous relationship with Jennifer Lopez – it won’t be taken seriously.  Given that Affleck has delivered the goods with two films now, maybe his directorial work can come out of the fine print.

A group of robbers from the Boston neighborhood of Charlestown knock over a bank, taking bank manager Claire Keesey (Rebecca Hall) hostage.  Concerned that Claire might have seen something, trigger happy James (Jeremy Renner) wants Doug (Ben Affleck) to follow her movements to ensure they’re in the clear.  When Doug starts seeing Claire, tensions between Doug and his crew flare while FBI agent Frawley (Jon Hamm) steadily builds the pressure.

As a whole this is a good heist film.  It kicks off with tornadic fury and keeps the film moving with other robberies.  Affleck stands out as the nice thief to Renner’s twitchy James who is a territorial pug you do not want to try and pet.  Continue reading

“Devil” not that bad

The trailers for Devil proclaim “From the mind of M. Night Shyamalan” which seems to be a purposeful attempt to disavow Shyamalan’s involvement in the directing, producing, and writing side of things after previous bombs (Lady in the Water, The Happening).  The result: a company called the Night Chronicles, which produces films based on ideas from M. Night that are further developed by other individuals.  Devil, the first of the Night Chronicles, overall manages to stay afloat (though at times some bailing is required).

In the film five strangers hop on an elevator together and once it locks up between floors, tensions flare.  Detective Bowden and the building’s security watch the group devolve into bickering children through a security camera, only able to speak to them through the one way com system.

I say “devolve,” but there isn’t a transition for these people – as soon as they’re aboard the elevator they quickly reveal themselves to be stupid assholes.  Continue reading

“Resident Evil: Afterlife” wants to be SO COOL!, fails

When Resident Evil: Extinction came out in 2007, I was able to attend a sneak preview with some friends in tow.  How was it?  The poor souls who came with me to that screening still do not forgive me for their experience seeing a free movie.  Resident Evil: Afterlife is just as painful.

Imagine a thirteen-year-old boy who has never seen a film in his entire life.  Until one day he sees The Matrix. If he were to immediately make a film of his own following that one awesome experience, it would look a lot like Resident Evil: Afterlife.  Techno bombards you, slow-mo draws out action moments, and all bullets hit their target save for the ones aimed at the protagonist.  Anytime one of these elements drops into the film, you can just hear the director Paul W.S. Anderson saying, “ISN’T THIS SO COOL?!”  This of course is what makes the film so damn annoying.  Didn’t we all hate the kid who tried to be so cool?

Continue reading