Category Archives: Reviews

Win Win: Can’t argue with the title

Judd Apatow’s last film Funny People was unjustly criticized for being a drama that happened to be funny, which is what you’ll get with Win Win. Continue reading

DVD Tuesday: Kes (1970)

Kes, a British film from 1970 about a boy and the kestrel he befriends, is available for the first time in the US on DVD and Bluray today, courtesy of the Criterion Collection. Their restoration and re-release ressurrects a film that always ranks highly on British film polls, certainly with good reason. Kes  is a British film with a focus on rebellious, disaffected, and even angry youth, and the turmoil of the lower classes. But it sets itself apart from the genre it works within by the sublime beauty that director Ken Loach (Wind That Shakes the Barley) offers us. He gives us an oppressive world, filled with despair and alienation, but with the unrelenting hope for freedom, and the refusal to fall prey to those who push you down. Continue reading

Jane Eyre – a master class in adaptation

For all intents and purposes there are two kinds of adaptations. The first comes out of respect for the original source, immense reverence for the intent of the original author, and a meticulous approach to detail. This is the faithful adaptation. The other, unfortunately much more common, is the interpretation of the original. It places the characters in a new setting, or alters their relationships to invoke new themes or update the old ones to be more relevant today (a lamentable approach, as many of those altered themes were universal to begin with). Rarely does a filmmaker succeed in either category, as either the book far outshines the complexity achieved by the film, or the book was so forgettable people fail to recognize the adaptation at work. Here, however, is a prime example of not only a perfect adaptation, but one that eschews the aforementioned dialectic. It creates a wholly original work, one that pays more than its due to the Bronte novel, but also completely devoted to playing with his own themes. In both areas it succeeds tremendously. Continue reading

Conspirator timely without being preachy

Film adaptations of historical events face several difficulties, including issues of historical accuracy and the audience’s awareness of how it all ends (Titanic).  Robert Redford’s latest film Conspirator approaches these pitfalls by producing the tale under The American Film Company, which aims to produce historically accurate films.  Further, Conspirator tells the story of Lincoln’s assassination from an angle with which few are familiar. Continue reading

Scream 4 a nearly justified sequel

Fifteen years ago, the original Scream met with huge popularity for its comedic sensibilities and self-aware commentary on the slasher genre. Scream 4 comes eleven years after the previous installment in the franchise, and at first glance it reeks of Hollywood’s current plague, a madness for the re-make, sequel, prequel, and adaptation.  Yet the making of Scream 4 is better justified than expected – to the point that this sequel might surpass the original. Continue reading

DVD Tuesday: White Material

I went into this film very cautiously. Regrettably, I knew next to nothing about the French filmmaker who helmed White Material, save that her film from last year (35 Shots of Rum) was rumored to be better than this. When film friends and cohorts recommended it to me, I figured I would give it a shot on DVD, and I’m glad I did. Aside from the mesmerizing performances given by Bankole and Huppert, this film is made with such energy and vision that my hesitation in viewing it evaporated within the first few seconds. Not only is seeing this film a worthwhile experience, its poetic frenzy of sounds and images transforms its colonial themes into something much more universal. Continue reading

“The Steel Helmet” delivers punches on race and American identity

Samuel Fuller is a forgotten auteur. He seldom makes an appearance on lists of the great American directors, yet he inspired countless careers (Martin Scorsese and Jean-Luc Godard, for starters) and made some of the grittiest, most profound films in American history. Like Walt Whitman before and Robert Altman after, Fuller sought to define a uniquely American form of expression. Film noir had a French name and German origins, Hitchcock and Chaplin came from Britain, Welles was cast out of Hollywood, and Fuller picked up the pieces to try and decipher the countless fragments of the American psyche. This led him to a central preoccupation throughout his career: the paradoxical presence of racism and freedom in the national identity of America. The Steel Helmet, his film set and shot during the Korean War, tries to resolve the problems of having an integrated army in a racist world. Continue reading

Your Highness unfortunately unfunny

Your Highness in a nutshell: It’s like a 13 year-old boy wrote a script because he thought: “Wouldn’t it be funny if there was a Medieval-themed fantasy film with swearing and jokes about blowjobs?!”  You’ll chuckle the first few times they do this, but the novelty wears thin quickly. Continue reading

Hanna an instant action classic

Once upon a time in the snowy forests of Finland, there was a girl named Hanna who knew only her father, his training, and their simple cottage.  When she came of age, Hanna decided it was time for her to see the outside world.  Hanna sees Morocco, makes her first friend, and packs the morgue with baddie bodies. Continue reading

DVD Tuesday: I Love You Phillip Morris

I Love You Phillip Morris was destined to be the cult movie of the year. Written and directed by cult veterans Glenn Ficarra and John Requa (Bad Santa), and starring the always zany Jim Carrey, there seemed to be little to prevent this film from skyrocketing into a sleeper hit. Add to all of this that the MPAA didn’t know what to do about the homosexuality in the film and that it endured an 8-month delay and burgeoning controversy, it seemed a shoo-in for a number of award ceremonies. So what stopped it from achieving a meteoric rise? It was just alright. Not good, not bad, just…ok. And this, it seems is the nail in the coffin for any forgettable film.  Continue reading