The Missing (IMDB) (Netflix)
Cate Blanchett is a Wild West frontier doctor with two daughters and no use for for her long-absent father (Tommy Lee Jones), who ran off to hang with the Native Americans years back. He's ostensibly returned for some doctoring and Cate's none too happy about seeing him. When one of her girls is kidnapped by slave-trading renegades, however, she needs his help, and thus is launched a story reminiscent of John Ford's classic The Searchers and the more recent The Last of the Mohicans. Directed by Ron Howard and featuring the least attractive Native American (Eric Schweig) seen in motion pictures, as the evil medicine man.
This is a tough one to assess—on a technical level, all the elements are there, and I was absorbed in the story as it unfolded, but nothing stuck to my ribs afterwards. Even though little is spared in terms of writing, well-portrayed characters, photography or violent action, it just doesn't have the "Searchers'" epic quality, nor "Mohicans'" sleek beauty and passion. It's not a failure, though, and absent the tough comparisons a reasonable pick for its empowered female lead and great scenery.
Friday, November 28, 2003
In America (IMDB) (Netflix)
The confusing-but-intriguing trailer for this film appeared a year ago, but wasn't followed up with the movie. Often a re-launch is a sign of a project in deep trouble, but this proves to be the pleasant exception.
Director Jim Sheridan (My Left Foot, In the Name of the Father) and his daughters tell a very intimate, semi-autobiographical story of a young Irish family coming to New York City so that the dad (Paddy Considine) can make it as an actor. It's tough going, especially living in the tenement dominated by drug users, and weighed down by the memory of a young son who died under tragic circumstances.
Heavy stuff, and these days it might be the more difficult movie-going decision, but there's much more than the melodramatic plot points, and its ambition and quality far outweighs the emotional risk. It got to me in the same way as Nowhere in Africa, but with even more impact, through a more intimate visual style and rawer performances from Considine and Samantha Morton, plus thoroughly impressive theatrical debuts from Bolger sisters Sarah and Emma.
The confusing-but-intriguing trailer for this film appeared a year ago, but wasn't followed up with the movie. Often a re-launch is a sign of a project in deep trouble, but this proves to be the pleasant exception.
Director Jim Sheridan (My Left Foot, In the Name of the Father) and his daughters tell a very intimate, semi-autobiographical story of a young Irish family coming to New York City so that the dad (Paddy Considine) can make it as an actor. It's tough going, especially living in the tenement dominated by drug users, and weighed down by the memory of a young son who died under tragic circumstances.
Heavy stuff, and these days it might be the more difficult movie-going decision, but there's much more than the melodramatic plot points, and its ambition and quality far outweighs the emotional risk. It got to me in the same way as Nowhere in Africa, but with even more impact, through a more intimate visual style and rawer performances from Considine and Samantha Morton, plus thoroughly impressive theatrical debuts from Bolger sisters Sarah and Emma.
Bad Santa (IMDB) (Netflix)
Billy Bob Thornton is the worst department store Santa of all time: a self-soiling drunk, a womanizer and a crook, with a uniquely seasonal scam, partnering with little person Tony Cox as Santa's helper to crack the store's safe after all the children and sales associates are nestled safely in their beds. Thornton's conscience is nowhere to be found, at least not until the biggest loser in movie kid history makes his acquaintance, and even then it takes a determined seige of pathetic innocence. With the late John Ritter as the appalled store manager and Bernie Mac as the security guy, and a too-good-for-him Laura Graham as the bartender with a puzzling thing for men in red suits. Directed by Terry Swigoff of Ghost World and Crumb and produced by the Coen Brothers.
If this seems entirely unappealling, then "Bad Santa" wasn't written for you, and there's far more wholesome fare available. If, however, you can the see the twisted comedic possibilities, then come on in and enjoy the orgy of inappropriate, hate-yourself-for-laughing humor that would give a college sophomore pause. Only with Robert Duvall's performance in The Great Santini has an actor been more determined to be so unsympathetic, or so successful.
Billy Bob Thornton is the worst department store Santa of all time: a self-soiling drunk, a womanizer and a crook, with a uniquely seasonal scam, partnering with little person Tony Cox as Santa's helper to crack the store's safe after all the children and sales associates are nestled safely in their beds. Thornton's conscience is nowhere to be found, at least not until the biggest loser in movie kid history makes his acquaintance, and even then it takes a determined seige of pathetic innocence. With the late John Ritter as the appalled store manager and Bernie Mac as the security guy, and a too-good-for-him Laura Graham as the bartender with a puzzling thing for men in red suits. Directed by Terry Swigoff of Ghost World and Crumb and produced by the Coen Brothers.
If this seems entirely unappealling, then "Bad Santa" wasn't written for you, and there's far more wholesome fare available. If, however, you can the see the twisted comedic possibilities, then come on in and enjoy the orgy of inappropriate, hate-yourself-for-laughing humor that would give a college sophomore pause. Only with Robert Duvall's performance in The Great Santini has an actor been more determined to be so unsympathetic, or so successful.
Tuesday, November 25, 2003
Elf (IMDB) (Netflix)
In Swingers and Made, indie writer-director Jon Favreau chronicled the humorous, slightly pathetic lives of two hipsters manqué. Elf goes entirely the other way, with a big budget and Will Ferrell as a 6’3”, thirty-ish eight-year-old raised at the North Pole. Ferrell’s lacking the elfin necessities, and once he finally realizes his true human nature, strikes out for New York City to re-unite with his biological father, a “naughty list” mainstay in the form of Mr. James Caan.
There’s nothing hip about Ferrell’s character, fortunately, from the green-and-yellow elf suit to his complete naïveté about the world, least of all regarding the hard-boiled Big Apple (sorry, it was there, begging to go on the page). He’s as completely clueless, trusting and energetic as a puppy, and the rest of the cast (notably Bob Newhart, Mary Steenburgen and Zooey Deschanel) wisely stay low-key to maximize the effect. The climactic sequence doesn’t have nearly the impact one would hope for, but this is a strong mainstream showing for Mr. Favreau, and he owes almost all of its success to Ferrell’s talent for sweet self-mockery.
In Swingers and Made, indie writer-director Jon Favreau chronicled the humorous, slightly pathetic lives of two hipsters manqué. Elf goes entirely the other way, with a big budget and Will Ferrell as a 6’3”, thirty-ish eight-year-old raised at the North Pole. Ferrell’s lacking the elfin necessities, and once he finally realizes his true human nature, strikes out for New York City to re-unite with his biological father, a “naughty list” mainstay in the form of Mr. James Caan.
There’s nothing hip about Ferrell’s character, fortunately, from the green-and-yellow elf suit to his complete naïveté about the world, least of all regarding the hard-boiled Big Apple (sorry, it was there, begging to go on the page). He’s as completely clueless, trusting and energetic as a puppy, and the rest of the cast (notably Bob Newhart, Mary Steenburgen and Zooey Deschanel) wisely stay low-key to maximize the effect. The climactic sequence doesn’t have nearly the impact one would hope for, but this is a strong mainstream showing for Mr. Favreau, and he owes almost all of its success to Ferrell’s talent for sweet self-mockery.
Saturday, November 15, 2003
Master and Commander: The Far Side of the World (IMDB) (NetFlix)
Acting’s bad-boy Russell Crowe gets nautical, as “Lucky Jack” Aubrey, captain of HMS Surprise in the Napoleonic Wars, pursuing a Bismarck-like French juggernaut on the high seas around South America. It’s based on one of twenty (count ‘em) novels by Patrick O’Brian, and directed by Peter Weir, known for a small, highly respected body of original and quietly powerful works such as Witness, Picnic at Hanging Rock and The Year of Living Dangerously, plus a more energetic The Truman Show. So it’s a bit of a surprise that he’s trying his hand at a genre piece, albeit a category that’s been mostly dormant for some time. Co-starring Paul Bettany as ship’s surgeon, Captain’s pal and proto-Darwin (the Galapagos Islands figure prominently), and a complement of sweaty sailors.
It’s a solid entertainment with a goodly amount of thematic depth, and Crowe dispense discipline and encouragement in equal doses and with the same ease—an almost too-perfect leader (having him play the violin to show his sensitive side was pushing it). For most of the movie, the French ship is an under-lit cipher, like the trucker’s rig in Duel, imbruing it with a seeming invincibility.
I could have used more of Weir’s visual lyricism, but this is clearly the birth of a franchise.
Acting’s bad-boy Russell Crowe gets nautical, as “Lucky Jack” Aubrey, captain of HMS Surprise in the Napoleonic Wars, pursuing a Bismarck-like French juggernaut on the high seas around South America. It’s based on one of twenty (count ‘em) novels by Patrick O’Brian, and directed by Peter Weir, known for a small, highly respected body of original and quietly powerful works such as Witness, Picnic at Hanging Rock and The Year of Living Dangerously, plus a more energetic The Truman Show. So it’s a bit of a surprise that he’s trying his hand at a genre piece, albeit a category that’s been mostly dormant for some time. Co-starring Paul Bettany as ship’s surgeon, Captain’s pal and proto-Darwin (the Galapagos Islands figure prominently), and a complement of sweaty sailors.
It’s a solid entertainment with a goodly amount of thematic depth, and Crowe dispense discipline and encouragement in equal doses and with the same ease—an almost too-perfect leader (having him play the violin to show his sensitive side was pushing it). For most of the movie, the French ship is an under-lit cipher, like the trucker’s rig in Duel, imbruing it with a seeming invincibility.
I could have used more of Weir’s visual lyricism, but this is clearly the birth of a franchise.
Sunday, November 09, 2003
The Matrix: Revolutions (IMDB) (Netflix)
OK, lets get this over with. The last of this trilogy, soon to be followed by the Lord of the Rings capper, another Harry Potter, and somewhere in the sequel pipeline, the sixth and final Star Wars installment. The Wachowski Brothers dial down the myth-making and gear up the action, with a final show-down between the humans and the machines, and Neo and Mr. Smith.
Despite the huge battle scene, a certain fatigue has set in, with Laurence Fishburne being almost invisible and the Neo/Smith duel an anticlimax compared to their fight in Part Two. Even the ad campaign has seemed half-hearted, although that might be more a recognition of how needless it would be to sell this picture to the fans, or equally pointless to convince non-fans to get on board after missing the first two. For the most part, a Star Wars episode, augmented with swearing.
OK, lets get this over with. The last of this trilogy, soon to be followed by the Lord of the Rings capper, another Harry Potter, and somewhere in the sequel pipeline, the sixth and final Star Wars installment. The Wachowski Brothers dial down the myth-making and gear up the action, with a final show-down between the humans and the machines, and Neo and Mr. Smith.
Despite the huge battle scene, a certain fatigue has set in, with Laurence Fishburne being almost invisible and the Neo/Smith duel an anticlimax compared to their fight in Part Two. Even the ad campaign has seemed half-hearted, although that might be more a recognition of how needless it would be to sell this picture to the fans, or equally pointless to convince non-fans to get on board after missing the first two. For the most part, a Star Wars episode, augmented with swearing.
The Human Stain (IMDB) (Netflix)
Escaping who you are and what you’ve done is a futile exercise. Anthony Hopkins leads a cast of troubled individuals (Nicole Kidman, Ed Harris, Gary Sinise), each uniquely damaged. Hopkins’s back story problem is the focal point, as a victim of political correctness run amok, the irony becoming more pointed the more we learn about him and his past. Based on the novel by Philip Roth.
Which is the problem. For those familiar with the plot’s slowly revealed conceit, it’s clearly one that works better in print, where a reader’s imagination can carry the load, but the literal nature of film makes this a tough sell, despite stellar performances by Kidman (maybe not everyone’s favorite personality, but she’s got chops), Harris, and the kid playing the Hopkins character as a youth. The film’s literary lineage also mars the coda, with the screenwriter seemingly (I haven’t read the book) cowed by Roth’s influence into going unnecessarily expository. A highly intelligent and mature work for those who can tolerate a shaky premise.
Escaping who you are and what you’ve done is a futile exercise. Anthony Hopkins leads a cast of troubled individuals (Nicole Kidman, Ed Harris, Gary Sinise), each uniquely damaged. Hopkins’s back story problem is the focal point, as a victim of political correctness run amok, the irony becoming more pointed the more we learn about him and his past. Based on the novel by Philip Roth.
Which is the problem. For those familiar with the plot’s slowly revealed conceit, it’s clearly one that works better in print, where a reader’s imagination can carry the load, but the literal nature of film makes this a tough sell, despite stellar performances by Kidman (maybe not everyone’s favorite personality, but she’s got chops), Harris, and the kid playing the Hopkins character as a youth. The film’s literary lineage also mars the coda, with the screenwriter seemingly (I haven’t read the book) cowed by Roth’s influence into going unnecessarily expository. A highly intelligent and mature work for those who can tolerate a shaky premise.
Alien: the Director's Cut (IMDB) (Netflix)
Twenty-four years ago, Alien was the scariest space movie ever, spawning a trilogy and making Sigourney Weaver a star. It's now been re-released as a director's cut, not so much because it was a seminal bit of movie-making that the world needs to see again on the big screen, but because—that’s right—there’s an Alien vs. Predator cage match due next year, and the producers want to warm the youngsters up to the Alien franchise.
Not having seen the original in some time, I wasn’t sure what footage was added, but it sure wasn’t any more of Sigourney in her impractically skimpy briefs (that part is burned into the consciousness of many a male moviegoer of a certain age), and it seems like a long time before John Hurt hocks up the ultimate loogie, but Ian Holm is still outstanding as Ash, the crew member with a secret. A somewhat dated and cynical undertaking, but worth the trip for those who'd like to understand where dozens of imitators got their inspiration.
Twenty-four years ago, Alien was the scariest space movie ever, spawning a trilogy and making Sigourney Weaver a star. It's now been re-released as a director's cut, not so much because it was a seminal bit of movie-making that the world needs to see again on the big screen, but because—that’s right—there’s an Alien vs. Predator cage match due next year, and the producers want to warm the youngsters up to the Alien franchise.
Not having seen the original in some time, I wasn’t sure what footage was added, but it sure wasn’t any more of Sigourney in her impractically skimpy briefs (that part is burned into the consciousness of many a male moviegoer of a certain age), and it seems like a long time before John Hurt hocks up the ultimate loogie, but Ian Holm is still outstanding as Ash, the crew member with a secret. A somewhat dated and cynical undertaking, but worth the trip for those who'd like to understand where dozens of imitators got their inspiration.
Saturday, November 01, 2003
School of Rock (IMDB) (Netflix)
"Those who can't do, teach" and rocker Jack Black reinforces the stereotype, possessing an uncontestable love for the genre, but lacking the talent (or interpersonal skills) to take his band to pay-the-rent status. He finally gets fired by the band he founded, and out of desperation lands a gig as a substitute teacher at a snooty prep school run by Joan Cusack. Black has no absolutely interest in teaching his kids until he hits on a scheme to use these prodigies to get back into the music game. It's the old fish-out-of-water comedy vehicle, one that gives Black plenty of maneuvering room for his signature over-the-top comic intensity.
The only real tension here is between the formulaic story and Black's force of personality; which will win out? Cusack is the priggish principle who longs to be liked by her subordinates, Mike White is Black's buddy hen-pecked by bitch-on-wheels Sara Silverman, and the kids are instantly and universally lovable. In the other corner are Jack's mobile eyebrows and total lack of self-governance, which won over much of the audience, especially the kids, but for the harder hearts it was more like a standoff.
"Those who can't do, teach" and rocker Jack Black reinforces the stereotype, possessing an uncontestable love for the genre, but lacking the talent (or interpersonal skills) to take his band to pay-the-rent status. He finally gets fired by the band he founded, and out of desperation lands a gig as a substitute teacher at a snooty prep school run by Joan Cusack. Black has no absolutely interest in teaching his kids until he hits on a scheme to use these prodigies to get back into the music game. It's the old fish-out-of-water comedy vehicle, one that gives Black plenty of maneuvering room for his signature over-the-top comic intensity.
The only real tension here is between the formulaic story and Black's force of personality; which will win out? Cusack is the priggish principle who longs to be liked by her subordinates, Mike White is Black's buddy hen-pecked by bitch-on-wheels Sara Silverman, and the kids are instantly and universally lovable. In the other corner are Jack's mobile eyebrows and total lack of self-governance, which won over much of the audience, especially the kids, but for the harder hearts it was more like a standoff.
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