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The Movies of 2004
A Remarkably Astute Assessment of This Year's Major and Minor Filmic Works™
A few words on the ratings:
The star ratings (* to **** , with no half-stars) indicate my personal assessment of the film.
The bracketed comments indicate my level of recommendation for it, which is relatively independent of the rating.
50th International Advertising Festival
Dir:
N/A
Starring: N/A
Shown at my local repertoire theater, this is an hour-and-a-half long international collection of the best ads of 2003. And frankly, it's a great watch. Some of the ads are funny (one with Martin Scorsese criticizing his photographic work of his nephew's birthday is hilarious); some show marvelous use of special effects (the Nike stickman ones, for example); some are impressively elegant (the Times ones come to mind); and some are just inexplicably weird and can't be adequately described in a small capsule review. Suffice to say that if you see this feature gracing your local arthouse theater, don't hesitate to check it out - it shows that even commercials can reach the level of art.
***
(Certainly worth a
look.)
Dir:
Oliver Stone
Starring: Colin Farrell, Angelina Jolie, Jared Leto, Val Kilmer...
Although flawed in execution, the mammoth ambition and aggressive focus on character place Oliver Stone's film leaps and bounds above the cookie-cutter epics that populate the multiplexes. Is Stone stylistically overindulgent? Does his narrative strive for too much and lose coherence in the balance? Yes. But in doing so, he also manages to craft a complex and compelling picture of a great man undermined by his obsessions and social context. Living in the shadow of his mercurial father (a strong Val Kilmer), loathing and loving his scheming mother (an unforgettable Angelina Jolie), Alexander is painted as an obsessive visionary, striving to explore and cultivate the world while blind to the immediate concerns of his empire; in the title role, Colin Farrell does a commendable job of evoking the often-conflicting nature of the man. That Alexander was critically and commercially savaged upon its release while mundanely functional films routinely succeed is disheartening; I, for one, choose to admire the mad ambition of the filmmakers.
***
(Ignore the buzz --
see it)
Dir: Paul
W.S. Anderson
Starring: Lance Henriksen,
A great concept, pitting two of cinema's most celebrated villains against each other. A promising storyline, potentially rich in visuals and in exciting set-pieces. And a director who time and time again has proven unable to capitalize on his source material. That's right - Aliens Versus Predator is yet another film destroyed by Paul W.S. Anderson's incompetence. What's sadder in this case, however, is that we are given quick glimpses of what might have been: the Alien Queen's introductory scene drips atmosphere and gothic suspense, and it's something to behold. Similarly, our initial view of the "pyramid" is impressive in sheer visual imagination. But as soon as things start heating up, it's back to murky visuals, indistinct close-ups, and useless slow-motion interludes. The script, penned by Anderson, is as indistinct as the direction, with weak characters and wasted opportunities. The film's two saving graces (outside of the occasional flash of visual inspiration) are the two main actors: Lance Henriksen, excellent as always, imbues Weyland with charismatic dignity, and Sanaa Lathan, while given little more than a cliché, has surprising presence, and manages to anchor the film even at its flimsiest.
*
(Don't bother)
Dir:
Martin Scorsese
Starring: Leonardo DiCaprio, Cate Blanchett, Kate Beckinsale...
The direction shows dazzling dexterity, the performances are dynamic, the narrative immensely entertaining ... so why does the experience feel so empty? Perhaps it's because beneath the glossy exterior lies an emotional vacuum, caused by a screenplay that while witty, is essentially uninterested in more than the image of Howard Hughes. Scorsese, much more than an aesthete, does visualize the beauty (and the dangers) of unfettered progress, but in the absence of true human emotion, this proves insufficient. Assigning a star rating to The Aviator is a difficult affair: while undeniably flawed, its entertainment value soars above that of most films. The two-star rating is a compromise: don't expect greatness, but don't miss it.
[Upon a second viewing: notice the title. It's not "Howard Hughes". It's not "The Filmmaker" and it's not "The Visionary". The film isn't interested in Howard Hughes's character so much as his technical passions. As consummate a cinematic perfectionist as Hughes was an aviation designer, Scorsese conveys, through the film, the elation a craftsman feels when his pieces come together in perfect union, and never skip a beat. The Aviator's central image is Hughes' record-breaking monoplane: sleek, glossy, and technically masterful.
**
(Highly recommended)
Dir:
Richard Linklater
Starring: Ethan Hawke, Julie Delpy
I loved it, but it's too delicate of a film for a rational dissection. Suffice to say that its exploration of the submerged shockwaves of the events of Before Sunrise gives it intellectual texture and emotional depth, and the sensitivity and compassion of Linklater's eye gives it heart and soul. This is American cinema at its most honest.
***
(Highly
recommended.)
Dir:
Hiroki Yamaguchi
Starring: N/A
Effective, gritty Japanese independent sci-fi / horror film restricted almost entirely to one location. Psychological aspects are explored through the increasingly fractured psyche of the main character ("is this real or ain't it" becomes somewhat of a catch-phrase during the third act), and social commentary is given through the visions of a hierarchical society controlled by an omnipotent central government. The film suffers from some film-school blunders (being the 22-year-old director's second feature), and it's a bit rough around the edges (given the almost non-existent budget), but overall, it works surprisingly well. You probably won't have a chance to see it, but if you do, be sure to take it.
**
(Fascinating
elements)
Dir:
Jay Chandrasekhar
Starring: Jay Chandrasekhar, Brittany Daniels...
Ridiculously silly, but often absurdly funny, Club Dread works because as much as in spite of the randomness of its humor. Indeed, the Broken Lizards comedy troupe conjure humor from a variety of sources - physical, sexual, idiosyncratic, absurd, satirical - and while not all of it hits the mark, enough of it works so as to ensure almost constant chuckles. The actors themselves also go a long way towards making the film watchable; in particular, Jay Chandrasekhar, the very appealing Brittany Daniels, and Steve Lemme as the sly, cowardly Juan make the most of their roles. The story itself is a fairly straightforward parody of slasher films, and isn't truly the focus of the film, but it does a good job of keeping the various set-pieces together. There's not a whole lot more to be said about this one - it's a silly, inconsequential film, but if you enjoy the Broken Lizards' work, you'll be more than pleased with it.
**
(Entertaining)
Dir: David
Twohy
Starring: Vin Diesel, Colm Feore, Thandie Newton
A good idea marred by horrid execution. Twohy expands upon the premise and characters of the underrated Pitch Black, creating a Universe teeming with visual and narrative cinematic potential. It's too bad that the film he builds within that Universe is nothing less than a disaster, scuttled by bad pacing, worse writing, terrible over-acting, and cinematography and editing that could actually be improved were the film watched through a kaleidoscope. Here's hoping the writer-director comes to his senses and (the studio Gods permitting), makes a sequel that actually capitalizes upon his ideas.
*
(Don't bother)
Dir: Mike
Nichols
Starring: Jude Law, Clive Owen, Julia Roberts, Natalie Portman
Caustic filmmaking and striking performances (Owen & Portman especially) built around a scathing but thoroughly intelligent script. Not a film to get attached to (unless anti-romance is your thing), but unquestionably accomplished and often riveting.
***
(Recommended)
Dir:
Michael Winterbottom
Starring: Tim Robbins, Samantha Morton
How does one evaluate a film such as "Code 46", which starts out so fantastically well yet fizzles by the final frames? Does one simply focus on the flawed core, or take into account the stunning aesthetics and superb performances? Set in a tangibly-near dystopian society, "Code 46" centers William (Tim Robbins) and Maria (Samantha Morton), two individuals whose relationship is forbidden because of genetic similarities. Through the developments of the story, the script touches upon ideas as relevant and complex as the dangers of genetic manipulation; the anonymous cruelties of an omnipotent government; the striking differences between developed and Third-World countries (here represented by wealthy enclave cities and "The Outside", respectively). Unfortunately, as the film progresses, the script is focuses on the increasingly clichéd relationship between the two lovers, and essentially skirts over the enormous moral and ethical implications that it raises. This stands as a massive flaw, and causes a film of enormous promise to collapse. That being said, Winterbottom's aesthetics are so strong that dismissing the film outright is impossible. Using the most fluid handheld camerawork I've seen outside of Von Trier or Wong Kar-Wai, and supported by the excellent musical work of David Holmes and The Free Association, the director weaves a hypnotic atmosphere, alternately romantic and metallic. And, thanks to the use of only ultra-modern locations instead of soundstage work, he creates what is perhaps the most believable futuristic world ever filmed. Which brings me back to my initial question: how does one rate such a film? It's a must-see, and yet essentially a failure. The grade I'm assigning to it is somewhat of a compromise - high enough to incite interest (which is deserved), low enough to warn of severe flaws (which are undeniable).
**
(A must-see)
Dir: Jim
Jarmusch
Starring: Various...
An celebration of the simple joys of drinking coffee, smoking cigarettes, and talking with others, rendered palatable by the amusing dead-pan humor of one of America's most distinctive directors, and by casting that can only be called inspiring. The quality of the individual vignettes is uneven: there are no duds, but some (Cousins, Cousins?, Delirium) are better than others (Jack Shows Meg his Tesla Coil). This might not be a bona-fide great film, but in a time when ordinary life is considered un-cinematic, it comes as a welcome respite.
***
(A must-see)
Dir:
Michael Mann
Starring: Jamie Foxx, Tom Cruise, Jada Pinkett-Smith
Chalk this one up as one of the most interesting and surprising films of the year. Marketed as (and on the surface, acting as) a thriller, it certainly moves at a brisk pace and delivers thrills in spades. But when one looks past the (excellent) performances and (compelling) narrative, one finds what is perhaps the closest Hollywood has ever come to a Wong Kar-Wai film -- that is to say, a strikingly stylish study of urban anomie and the strange rhythms of modern night life. In this sense, "Collateral" most parallels Kar-Wai's "Fallen Angels": both feature hard-edged hitmen undergoing existential crises, and looking to leave a mark; both feature fluid structures, moving from one set-piece to the next organically; both deal with the fleeting nature of night time; and perhaps most crucially, both acknowledge the essential strangeness of urban night all while capturing their locations with stylized realism. Is Mann's film as good as Kar-Wai's masterpiece? Only time (and a second viewing) will tell. It is, however, poetry, and one of the most fascinating works to come out of American cinema this year.
***
(A must-see)
Dir:
Mark Achbar, Jennifer Abbot, and Joel Bakan
Starring: N/A
Effectively crafted and highly intelligent dissertation on the evils of transnational corporations. Bolstered by fascinating stock footage and peppered with interviews by the likes of Noam Chomsky, Naomi Klein, and Michael Moore, this three-hour Canadian documentary manages to be both convincing and surprisingly even-handed (indeed, some of the most humane and socially responsible comments come from CEOs of multinationals). The one true weakness that can be mentioned comes in its presentation - while the sleek and logical visual style is highly effective at presenting enormous amounts of information, it lacks the free-flowing and entirely more personal style of a Moore or Errol Morris feature, and limits the film's emotional impact. When taken as a whole, however, the film succeeds on practically all accounts, and stands as one of the finest and most relevant documentaries around - and as one of the year's must-see films.
***
(A must-see)
Dir:
Zack Snyder
Starring: Sarah Polley, Ving Rhames
Ruthless, violent, and intense - and along with "28 Days Later", the most satisfying zombie film in years. Zack Snyder, a first-time feature director from Britain, hits a perfect balance between relentless, gritty action and sharp, well-defined character moments, and his direction is tight, knowing, and stylish. Thankfully, he doesn't skimp on the old ultra-violence either - this is the goriest film since in years (even surpassing the cartoonish gutting of "Kill Bill"). There isn't much more to say about "Dawn" except that it hits a pretty perfect mark between action and effective character work, and as of now, manages to be the year's best visceral treat.
***
(Genre high-point)
Dodgeball: A True Underdog Story
Dir:
Randall Thurber
Starring: Ben Stiller, Vince Vaughn
Yes, it's stupid -- but it's also pleasingly loopy and fairly consistent in its laughs. Vince Vaughn and Ben Stiller carry the film on their charisma and chemistry, and the supporting cast does a good job of bringing their perfunctory stereotypes to life. A good stable of cameos provides additional pizzazz, and the entire film is kept loose and breezy by Thurber's competent direction. A good diversion.
**
(Worth a matinée
or rental)
Dir:
Bernardo Bertolucci
Starring: Michael Pitt, Louis Garrel, Eva Green
Click Here for the Full Review
***
(Highly recommended)
Eternal Sunshine of the Spotless Mind
Dir:
Michel Gondry
Starring: Jim Carrey, Kate Winslet, Tom Wilkinson, Kirsten Dunst...
Kaufman's gift for concocting wacky premises and exploring heady, uncharted ideas isn't lacking here; what is, unfortunately, is coherence at the basic narrative level. In Adaptation and Being John Malkovich, the intellectual flights of fancy were tempered by a lucid plot and affecting characters. Here, the entire storyline careens from dream to reality, from gimmicky flashbacks to superfluous supporting characters, and the viewer is left disoriented and annoyed. There are diamonds in the rough, though: when director Michel Gondry slows down and allows his actors to act, he creates scenes of startling emotional honesty -- scenes like the ending, which may stand among the year's most heart-wrenching. And yes, the actors here can act: in particular, Carrey and Winslet carry the film with career-best performances, hitting every note flawlessly. Eternal Sunshine isn't a bad film -- at times, it's very, very good -- but it's severely flawed. See it, understand it, and cry for what might have been.
**
(Flawed, but
recommended)
Dir:
Jeff Schaffer
Starring: Bland Lead #1, Sex-Crazed Sidekick #3, Straight Shooter #27, and
Michelle Trachtenberg as Spunky Chick #32.
Not a whole lot to say about this one except that it's not nearly as bad as it could have been. It's an utterly disposable film, sure, and it doesn't go anywhere other road film haven't, but it's directed with (slightly) above-average enthusiasm and skill, and the mostly unknown cast does a pretty good job of keeping things palatable and breezy. And the humor, based entirely on broad national stereotypes and raging hormones, manages to be raunchy enough to actually elicit amusement without falling into the trap of mean-spiritedness. Overall, the film doesn't elicit quite enough laughs to warrant actively seeking it out, but it goes down easy, and it's enjoyable enough to warrant a lazy matinée.
*
(Forgettable)
Dir:
Michael Moore
The problem with Michael Moore's new "documentary" is not the stance it takes on
the character of George W. Bush or the actions of his administration -- it's
that the case it builds against them is based on essentially flawed
argumentation. For one, Moore fails create a logically sound succession of
arguments; instead, he shoots of in a dozen directions, touching on aspects such
as the election, the President's ties with the Saudis, and the Iraq war without
actually interpreting them convincingly. For another, Moore's manipulation of
images, sound bytes, and actual events is much more extensive than in "Bowling
for Columbine", and veers quite often into misrepresentation. Even for someone
who agrees with the filmmaker in most cases, it's a tough pill to swallow.
"Fahrenheit 9/11" will surely stand as the most controversial and talked-about
film of this election year, and as such, qualifies as a must-see. Those,
however, who expect a work on par with Moore's brilliant gun-culture documentary
will be disappointed.
*
(A must-see)
Dir: Marc
Forster
Starring: Johnny Depp, Kate Winslet
A difficult film to criticize: in contrast to the cynicism that permeates the
multiplexes, helmer Marc Forster skillfully directs with old-fashioned,
sentimental sensibilities. His touch, however, eventually proves too restrained:
given concerns with the magic of childhood and the wonders of imagination, one
would expect more magic and imagination than the few (and undeniably effective)
glimpses provided. All's well that ends well, however, and the film
ends luminously, on a perfect eucatastrophe;
Neverland may have indeed been found.
**
(Worth a look)
Dir:
Jorgen Leth & Lars von Trier
Never as compelling or as insightful as it should be, given the pedigree, simply
because it's misleading. Ostensibly about five remakes of Jorgen Leth's 1967
short "The Perfect Human", the film actually uses them to chart the
personalities of both of its creators -- and in that regard, it's quite
successful, evoking both Von Trier's diabolical incisiveness and Leth's
unstoppable creativity. The disappointment stems from the way it skims over the
actual filmmaking acumen exhibited: Leth's films are uniformly fascinating, yet
almost no time is spent discussing them. As the conclusion is reached, there's
no denying that we've been somewhere ... but one can't help but wish the trip to
have been more rewarding.
**
(Worth a look)
Dir:
Takashi Miike
Not so much a film as a collection of vignettes that span the breadth of bad
taste, from gross-out comedy to bizarre horror, to sex scenes the likes of which
you've probably never even had nightmares about. But it works, thanks to
effective and daring direction by Miike, and to a script that pulls no punches
and leaves no taboo untouched. Not a film everyone will appreciate, but if
Miike's sick shenanigans are to your taste, don't miss it.
**
(Recommended to fans
of Takashi)
Harry Potter & The Prisoner of Azkaban
Dir:
Alfonso Cuaron
Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, and an all-star
thespian supporting cast.
The intricate, twisting plot is, unfortunately, a double-edged sword: yes, being full of action and intrigue, it lends itself well to the cinematic form, but the constant narrative progression makes more contemplative character-building moments rare. Such moments that do exist serve to give human depth and emotional heft to the characters, and stand as the film's best scenes. This problem aside, there's really nothing else to bemoan about. The actors, having grown into their characters, give fuller and more affecting performances; the production design and general visual style, toned down from the Crayola style of Chris Columbus, are at once more effectively atmospheric and more pleasing to the eye; and Cuaron's deft hand behind the camera keeps the whole concoction fun while adding a much-needed dose of maturity. Azkaban is the best Potter movie yet, and increases the already considerable potential of the franchise.
**
(Great
entertainment)
Dir:
Guillermo Del Toro
Starring: Ron Perlman, Selma Blair, David Hyde Pierce, John Hurt
Click Here for the Full Review
**
(Worth a look)
Dir: Zhang
Yimou
Starring: Andy Lau, Takeshi Kaneshiro, Zhang Ziyi
A disappointment, although a gorgeously expressive one. What surprises is that Yimou, a director known for layered thematic elements and complex characters, would lend his talents to such maudlin material. Much of the film wades through melodramatic waters, and even the final act, which sees more interesting threads emerge, is plagued with hackneyed dialogue and unconvincing characterizations. What doesn't surprise is Yimou's skill as an aesthetician: this is magnificently wrought cinema. In sharp contrast to the intellectual and philosophical confrontations of Hero, the director gives as martial arts as dance and emotion. Each of the numerous set-pieces is immaculately choreographed, and the settings, whether an ornate brothel, a foggy bamboo forest, or a field blooming with wildflowers, is selected for its tableau-like beauty. In this respect, the film is closer to ballet than to a traditional narrative. Whether it will come to be accepted as a respectable entry in a master director's filmography or be dismissed as a failed experiment remains to be seen; as it stands, it's an interesting, if underwhelming achievement.
**
(Worth a look)
Dir: Brad
Bird
Starring: Craig T. Nelson, Holly Hunter
Vivacious and intelligent, and thankfully free of the vacuous pop-culture references that sunk its competitors, it's one of the year's best films. Brad Bird, screenwriter, director, and some kind of minor genius, should be commended for his dexterous balancing act: he juggles retro-themed stylistic choices and modern storytelling techniques with off-hand cool, and uses his fast-paced narrative (replete with oddball characters and knock-out action scenes) as a building block for a poignant, often startlingly familiar vision of the trials and joys of family life, growth, and self-discovery. In its exceptional combination of humor, storytelling, and humanity, it approaches the best episodes of the The Simpsons (of which Bird is an alumni), and I can give it no greater compliment than that.
***
(Highly Recommended)
Dir: Alex
Proyas
Starring: Will Smith, Bridget Moynahan, Bruce Greenwood
(Thematic Spoilers Therein)
Well, I'll be damned. It actually ended up being pretty good. As someone quite familiar with the work of Isaac Asimov (I've read the entire Foundation and Robot series, as well as the two Robot short story collections), I watched the trailers and TV spots with disgust, anticipating a cinematic rape of some of the most memorable science-fiction around. Thankfully, director Alex Proyas and co-writer Jeff Vintar (I refuse to attribute any of the good in the script to Akiva Goldsman) manage to create a film that acts as a summer blockbuster while respecting and conserving many of Asimov's ideas and imagery. Ironically enough, the film is inspired less by "I, Robot" than by a short story entitled Robot Dreams, from another collection bearing its name. One of my favorite bits of Asimovian speculation, the idea of stray bits of code randomly evolving into a robot "soul" is well-integrated into the script, and the fact that this concern becomes secondary within the actual plot is something of a disappointment (I was actually much more interested in Sonny's character than in the "malfunction" of Vicky, which acts as a somewhat flimsy crux to the story). That being said, I was also impressed with the blockbuster aspects of the film: the action is, for the most part, satisfying, due to clear and coherent direction, and the humor, peppered throughout, is actually pretty funny, mainly due to Will Smith's charismatic delivery. All in all, the filmmakers deserve a kudos: if they managed to overcome my bias, they did something right.
**
(Recommended)
Dir:
Takashi Shimizu
Starring: ...
To call Takashi Shimizu's Ju-On: The Grudge a film is to give it too much credit; indeed, that label implies the presence of small details such as plot, characters, and logical progression. What this remake of an acclaimed TV series stands as is a succession of moderately effective scare scenes tied together by the flimsiest of narrative links, haphazardly arranged, and offering no real satisfaction once they pass. In fact, those expecting the petrifying, enlightening finales of The Ring or Kairo will be sorely disappointed, and even viewers with low expectations will be hard-pressed to find anything of worth here. This is a tepid experience, best forgotten.
*
(Don't bother)
Dir:
Quentin Tarantino
Starring: Uma Thurman, David Carradine, Daryl Hannah, Michael Madsen, Gordon
Liu
A powerhouse achievement, and as it stands now, the best film of the year. In contrast to the ultra-violent riffs on Japanese cinema offered in Vol. 1, this second part consists of elegiac homages to Western cult cinema - notably spaghetti westerns and B-grade revenge films. However, in addition to the unsurprisingly great action scenes, Tarantino also offers a full platter of resonant character development and rich dialogue, making Vol. 2 more fully-rounded than its predecessor. Mention must be made of the final chapter, "Face to Face", that brings every narrative and thematic thread to its logical conclusion; Thurman and Carradine, playing against each other, deliver dynamite performances that are both stylish and emotional, and Tarantino wrings every bit of resonance from the pulp roots of his story. I'll expand on my comments in a longer review (forthcoming sometime this century) but suffice to say, this is a drama of Shakespearean heft rooted in the conventions of cult filmmaking, and it's well nigh brilliant.
*Second viewing notes: Tarantino's use of music may not be as flamboyant as in Vol. 1, but achieves a lyricism that a latter seldom attained; the precise placement of tracks like "Il Tramanto", "L'Arena", and "About Her" is powerful and evocative. A second viewing also increased my respect of Thurman and Carradine, whose performances share a great level of pathos in their final moments.
****
(A great film)
The Life Aquatic with Steve Zissou
Dir: Wes
Anderson
Starring: Bill Murray, Owen Wilson, Cate Blanchett, Angelica Huston, and
many others.
[A more coherent capsule forthcoming...]
The Life Aquatic is Wes Anderson's
great gamble of a film: an acknowledgement of the inevitability of bitterness
and a celebration of the rickety nature of life disguised as a quirky comedy.
What makes it fascinating is that it's also a meta-documentary: as Steve Zissou
films his final documentary, Anderson shoots Zissou, creating a conscious
parallel between the two productions, and implicitly suggesting that while
fictional, what we are seeing is, in an emotional and human sense, real. Even
more ambitious and interesting are Anderson's directorial choices: the jittery
camerawork, strange mix of glossy and naturalist lighting, and arrythmic pacing
suggest that he, in a consciously damaging but remarkable move, intentionally
"modeled" his own direction after Zissou, adopting his failures as a filmmaker.
[Slight spoilers in following paragraph.]
What all of this implies is that The Life Aquatic is not only a film about
failure: it's an acknowledgement of it, and a consolation in the face of the
inevitable tragedy of opportunities missed. But entirely bleak it is not. As the
climactic scene (masterfully scored to Sigur Ros) shows, there is beauty in
dissapointment and in tragedy: the great jaguar shark, the Moby Dick to Zissou's
Ahab, turns out to be not some transcendent metaphor, but simply a fish, a
hungry, mindless creature of flesh and gristle -- and a celebration of beauty
found not in the great, but in the flawed.
***
(Highly recommended)
Dir: Pedro
Almodovar
Starring: Gael Garcia Bernal, Fele Martinez
Vibrant labyrinth of obsessions that never quite manages to cohere into a satisfying whole. On many levels, this is Almodovar's most ambitious film, an attempted synthesis of his two sides (the kitschy and the gravely compassionate), an oblique autobiography, and an exploration of the hazy lines between reality, fiction, and cinema. Unfortunately, while juggling various interlocking plot-lines, the director forgets to give his characters true depth -- thus, our empathy comes harder, or not at all, and moments that should (and could) have been devastated remain tepid. Nevertheless, flawed as it may be, La Mala Educacion remains a compulsively watchable movie: its aesthetics, inspired by Alfred Hitchcock and Bernard Hermann, are wonderful, and Gael Garcia Bernal gives a magnetic performance (much of it in drag) as the manipulative Angel Andrade.
**
(Worth a look)
Dir: Tony
Scott
Starring: Denzel Washington, Dakota Fanning, Christopher Walken, Mickey
Rourke, Marc Anthony
Tony Scott is an odd beast of a director, whose films sometimes seem to succeed in spite of his touch rather than because of it. "Man on Fire", not unlike his recent "Spy Game", is at odds with itself, benefiting from a strong Brian Helgeland script and by excellent performances from Denzel Washington, (the miraculously natural) Dakota Fanning, and Christopher Walken, but often at risk of being overpowered by the split-second editing and music-video cinematography. Thankfully, Scott's stylistic excesses are skillful, and not devoid of a certain originality, and even at their most obtrusive, offer pleasures to the senses; as such, they aren't a complete downside.
**
(Worth a look)
Dir:
Jonathan Demme
Starring: Denzel Washington, Liev Schreiber, Meryl Streep
An effectively stylized evocation of the paranoia and hypocrisy characteristic of political and corporate modern-day America. It most reminded me of the fiction of William Gibson: an oblique, fractured narrative that slowly grows into an undeniably vicious yet familiar social portrait. See it for the taut direction, sharp performances, and surprising depth.
**
(Worth a look)
Dir:
Joshua Marston
Starring: Catalina Sandino Moreno
A film of ambitions, attempting to explore the reality of drug-running "mules" at personal and societal levels. Unfortunately, the uneven narrative fails to bring any of these ideas to satisfying conclusions: we see Maria's financial and family struggles, yet they are not convincing enough to fully sell her decision to become a mule; we witness the horrifying turn of events once she reaches America, but it's fails to truly justify her subsequent behavior; and perhaps more crucially, despite Moreno's evocative and multifaceted performance, we're never allowed to see the desperation that would grip any human being in the situations presented. Joshua Marston, directing his first feature, shows a strong hand behind the camera, and his film is by no means bad; hopefully, however, his next work will provide more satisfaction.
**
(Worth a look)
Dir: Joon-Ho
Bong
Starring: [...]
Slow-burning Korean police procedural that draws the audience in with strong characterizations and an authentic social backdrop, and wows it with a perfectly pitched ending. I'm not going to say much about it other than it is among the most intelligent thrillers of the past few months, and that the gradual evolution of its characters and plot more than justifies its slow pace. Watch it and stick with it - it's worth it.
***
(Highly recommended)
Dir: Clint
Eastwood
Starring: Clint Eastwood, Hilary Swank, Morgan Freeman
With little pomp and circumstance, Clint Eastwood provides the best American film of the year. The words, adapted by Paul Haggis from the short stories of an ex-fighter, tell a story of sadness and redemption with lyrical but leathery authenticity. The trio of lead performers (Eastwood, Swank, Freeman) give career-topping performances that are as piercing as they are convincing. And behind the camera, Eastwood directs with the clarity and economy of a filmmaker in complete command of his craft. A masterpiece.
****
(Masterpiece)
Dir:
Steven Soderbergh
Starring: George Clooney, Brad Pitt, Matt Damon...
The star-studded blockbuster as quirky arthouse fare, light on plot and common sense but replete with lavish set-pieces, quirky filmmaking tics and a sly wit. As a traditional heist film, it most certainly fails miserably, but as an attempt to capture the ultimate tone and attitude of the genre, it's a success. Recommended to those with open minds and a taste for subtle experimentation.
**
(Highly recommended)
Dir:
Takashi MIike
Starring: ...
Among the more commercially-oriented (read: restrained) of Takashi Miike's recent features, and a spiritual (to put it gently) successor to the Ring cycle, One Missed Call is great popcorn entertainment. In weaving the story of deaths inexplicably tied to cell phone calls, the notorious Japanese director tones down his trademark viciousness, choosing a path of brooding menace and jarring jolts instead. That's not to say that his unique taste is absent: often enough, fans will be treated to moments of black-as-coal humour, and to clever twists on horror film clichés (more than once, Miike plays on audience expectations with massively effective results). When all is said and done, the film won't stand as one of the landmarks of his career, but it's a scary, surprisingly funny, and ultimately satisfying work.
**
(Worth a look)
Dir:
Mel Gibson
Starring: Jim Caviezel, Maia Morgenstern, Monica Bellucci, Rosalinda
Celentano
Click Here for the Full Review
No Stars
(A must-see)
Dir: Shane
Carruth
Starring: Shane Carruth...
Among the major sci-fi pieces of the last few years; Its vision of hobbyist breakthroughs and garage experiments is tangibly realistic, and the uncompromising, exponentially-multiplying plot twists would probably satisfy a theoretical physicist. The kudos must go to Shane Carruth, who acts in, directs, writes, shoots, edits, and composes his first film here. A more forceful debut I cannot recall.
***
(A must-see)
Dir:
Andrei Zvyagintsev
Starring: Vladimir Garin, Ivan Dobronravov, Konstantin Lavronenko
The Return is either the most
frustrating great film or the most accomplished misfire in recent memory. On one
hand, it's breathtakingly crafted, with eerie, primal visuals, an unsettling
soundtrack, and an overall pace and tone that evokes Tarkovsky by way of Lynch.
For much of the film, the images themselves say as much as the plot. On the
other hand, the story, of two brothers whose long-absent father returns
unexpectedly, is abstracted to an infuriating degree. The father, distant and
cryptic, torments his sons psychologically and emotionally, but is never
humanized; the boys, while carefully observed, remain little more than pieces on
a thematic chessboard; thus, the emotion demanded by certain circumstances feels
akin to theft. Minimalism is one thing; abstraction to the point of losing all
humanity is another.
I give the film a strong recommendation; whatever your final reaction may be,
its elemental aesthetic framework and thematic suggestiveness are worth
experiencing. But had the filmmakers chosen humanity instead of intellectual
manipulation, my endorsement would have been supreme, because The Return
would have been a masterpiece.
**
(Highly recommended)
Dir:
A. Adamnson et Al.
Starring: Mike Myers, Cameron Diaz, Eddie Murphy, Antonio Banderas
Effectively directed in terms of what it wants to achieve, and ultimately good-intentioned, but the pop-culture pastiche that serves as its building blocks irritated me to no end. As I see it, this entire franchise is an ode to disposable commercialism, and by logical consequence, it's annoyingly commercial and instantly disposable.
*
(Unworthy of time or
money)
Dir:
Alexander Payne
Starring: Paul Giamatti, Thomas Haden Church, Virginia Madsen, Sandra Oh
Special because it is most human when it is funniest: Payne and his brilliant (co)-screenwriter, Jim Taylor, manage not only to develop remarkable depths of character, but to synthesize them into moments which (thanks to its stellar quartet of performances) elicit belly laughs. "Life is a tragedy in close-up, but a comedy in long shots"; Payne shoots in medium shots, and gets the best of both worlds.
***
(See it)
Sky Captain and the World of Tomorrow
Dir: Kerry
Conran
Starring: Jude Law, Gwyneth Paltrow, Angelina Jolie
While it doesn't quite capture the wide-eyed magic of the likes of Indiana Jones, it still hits closer than anything since 1999's The Mummy. Much of the credit must be given to the snappy characters, written with a refreshing lack of cynicism by Conran and brought to life quite vividly by the talented cast -- and indeed, if the film had stuck with them, it might have qualified as one of the year's notables. Unfortunately (you guessed it!), the CG visuals overwhelm the storytelling at certain moments, and manage to bring it down that one crucial notch. That isn't to say it ever becomes a picture gallery, however -- Sky Captain delivers laughs and thrills at a fairly constant rate, and (thanks to a great ending), it manages to close on a satisfying note. Bring on the sequel.
**
(Decent
entertainment)
Dir:
David Mamet
Starring: Val Kilmer, William H. Macy, Kristen Bell
Quite simply put, the leanest and tightest thriller I've seen in months (maybe years), and a great way to spend two hours. David Mamet, directing from his own screenplay, strips his movie down to the bare essentials: what's left is sheer narrative momentum, and a film that unfolds at a riveting pace. This being Mamet, the story's also psychologically taut, and rife with plot twists and double-crosses. In the central role, Val Kilmer delivers his best performance ever - he's controlled and utterly believable. Spartan is probably not a great film, but it's a great thriller, and when compared to the dreck that Hollywood releases in the genre, it deserves as much praise as it can get.
***
(Highly recommended)
Dir: Sam
Raimi
Starring: Tobey Maguire, Kirsten Dunst, Alfred Molina
Excellent entertainment, and the
most satisfying movie of the summer, if not the be-all-end-all masterpiece that
many were predicting (and are lauding it as). The great improvement stands as
Raimi's direction, which rises out of the intentionally gloomy slump that
severely hurt the first film; here, his touch is not only skillful but goofy,
and the entire tone of the film seems to be closer to the wackiness of his Evil
Dead films (one specific homage, in fact, had me grinning for minutes). The
production is also top-notch, with dazzling technicals, and the acting, although
rough in the first few reels, is also improved; as before, mention must be made
of J.K. Simmons, who steals every scene as Jonah Jameson.
My one notable problem with the film lies at its core - the script, that is: the
film is too character-centered, at the expense of narrative. A good script
places the narrative on the forefront, and allows the character and thematic
work to evolve fluidly around that central axis. Spider-Man 2's script does the
opposite: Peter's character issues overshadow the narrative, and as a result,
Doc Ock's character is placed in the background, and serves almost as an
afterthought (in fact, with one tiny change, his character is largely irrelevant
to Parker's central dilemma). In a drama that lives on psychological complexity,
this inversion might not detract; a comic-book adaptation, however, requires a
strong, dramatic narrative and an larger-than-life villain, and it is in this
that I find failure. All being said and done, though, the film is superb
entertainment, and thanks to the obscene amounts of money it's sure to make, a
well-deserved sequel will be spawned.
**
(Genre high-point)
The Spongebob Squarepants Movie
Dir: Steve
Hillenberg
Starring: A big yellow sponge.
A surprising, effective adaptation that stretches the energy of the TV show over 80 whole minutes. The pace is brisk, the storyline appropriately simple, and the gag success rate respectably high; it's also worth mentioning that this might be the most nonsensical movie in years, with non sequiturs approaching (if not reaching) Monty Python levels of zaniness. Check it out.
**
(Recommended)
Spring, Summer, Fall, Winter ... and Spring
Dir:
Kim Ki-Duk
Starring: Oh Yeong-Su, Kim Ki-Duk
Simple, evocative, and genuinely spiritual, it's a wonderful new film from an up-and-coming Korean director with major potential. Set on a wooden floating temple in a remote lake region, the film's four chapters, divided according to the seasons, offer the turbulent life of a Buddhist monk as a metaphor for the core nature of human existence. As ambitious as this premise is, it works because Ki-Duk develops the film at both personal and abstract levels, and renders them both satisfying. The production design is beautifully spare, the visuals and music eloquent, and the performances portraits of restrained complexity (in particular, Oh Yeong-Su's turn as a wise aged monk is a thing of beauty).
***
(A must-see)
Dir: Todd
Phillips
Starring: Ben Stiller, Owen Wilson
Always affable and occasionally humorous, but it never inspires anything more than soft chuckles. Everything seems muted, from the antics of the talented lead actors to the action set-pieces, and about half-way through, one realizes that the film is essentially running on empty. Pass it.
*
(Don't bother)
Dir: E.
Elias Merhige
Starring: Aaron Eckhart, Carrie-Anne Moss, Ben Kingsley
Liked: the corrosive atmosphere, effective Kingsley performance, and chilling shots of giant cloud formations over the rural landscape. Disliked: the shockingly incoherent and badly developed narrative, and the waste of fascinating thematic ideas. Overall: a shoddy mess with glimpses of consummate skill and impressive inspiration.
*
(For genre/director
aficionados only)
Dir: D.J.
Caruso
Starring: Angelina Jolie, Ethan Hawke, Kiefer Sutherland
Angelina Jolie is hot. She's hotter than hot. Hell, she's downright incandescent -- and so when even she can't save a thriller, you know something's amiss. In this case, the main culprit's the script, which exists as some kind of vacuum: characters float around with little motivation, events occur with no real context or coherence, and the whole shebang leaves no lasting impression. Skip it.
*
(Skip it.)
Dir: Kim
Ji-Woon
Starring: ...
Contrary to most of my viewings, I walked into A Tale of Two Sisters knowing little more than what was implied by the poster, which suggests a gory horror film with gothic undertones. And while this suggestion is not entirely wrong, it only concerns the superficial gloss of the film, for while segments A Tale of Two Sisters might be packaged as such, the film is, in actuality, an examination of the spiraling (and increasingly powerful) effects of family dissociation and emotional trauma. As such, it's not only more relevant and insightful than most horror films, but it's also surprisingly (and considerably) moving; scenes of children in emotional turmoil strike particularly draining chords. On a more technical note, mention must also be made of the craftsmanship: Kim Ji-Woon's Steadycam camerawork is fluid and elegant, his color palette subtly colorful, and the classical piano-and-strings score eloquent.
***
(Highly recommended)
Dir: Matt
Stone & Trey Parker
Starring: N/A
The laughs in Trey Parker and Matt
Stone's newest attack on common decency, the status quo, and the Baldwin family
come in equal parts from the spot-on satirical elements and the inherent lunacy
of making a summer blockbuster with puppets. The first provides the most
rewards, as Stone & Parker hit every mark: from the bombastic opening credits to
the cardboard motivations of the characters, to the sweeping crane shots and
constantly moving cameras, everything seems at once familiar and ridiculous. The
second brings a measure of surreality to the proceedings, while also
contributing copious amounts of hilarity: seeing Kim Jong-Il deliver a
thunderingly ominous statement and then slowly float out of the room can't help
but elicit smiles. The problem here --and yes, there is a problem-- is that the
novelty gets lost through repetition, and much of the second act falters because
of this. When the third act hits, however, the viciousness meter goes through
the roof, and the slight lull is forgiven. This might not be the maverick duo's
best film (South Park: BLU is indeed better), but it's a scathingly savvy
indictment of Hollywood, and the funniest film of the year. See it for the
stunned French kid, for the Mos Eisley homage, for Kim Jong-Il sadness, for Hans
Blix, for the copious amounts of slime-green vomit, for the sex scene, for Susan
Sarandon (and the second-funniest line of the year), and for the edgiest proof
of trustworthiness the MPAA has ever ratified.
**
(Recommended)
Dir:
Wolfgang Petersen
Starring: Brad Pitt, Eric Bana, Orlando Bloom, Peter O'Toole, Brian Cox
Functional but surprisingly joyless adaptation of a great tale. David Benioff's script, while clearly developing the dynamics between the characters, lacks the majesty that Homer's epic poem deserves, and Petersen's direction, while competent and at times rousing, presents nothing interesting on a cinematic level. The acting works, though (with full kudos going to Peter O'Toole and Brian Cox, and lesser-but-still-mentionable kudos to Brad Pitt and Eric Bana), and overall, the film never falters enough to become dull. It isn't the masterful piece of cinema that the story deserves, but it's not a bad way to spend 2½ hours.
**
(Worth a look)
Dir:
Stephen Sommers
Starring: Hugh Jackman, Kate Beckinsale
Had it been a half-hour shorter, its flaws would have been more palatable, and this homage to vintage horror classics could have become a harmless guilty pleasure. As it stands, the film overstays its welcome, and the bad acting, worse plotting, and chaotic, CG-infested action scenes cross the line into actively annoying territory.
*
(Don't bother)
Dir:
Jean-Pierre Jeunet
Starring: Audrey Tautou and the usual suspects.
Jean-Pierre Jeunet goes overboard -- again -- in this overstuffed tale of a Great War widow convinced her presumed-dead fiancé still lives. Honey-drenched quirkiness and whimsical asides proved to be a charming formula in the director's previous, Amélie; when juxtaposed with war and death, they prove distancing at best and distracting at worst. So too is the narrative, a labyrinthine affair in which emotion and audience interest slowly drown. A total waste the film is not, however: while miscalculated, Jeunet's direction remains technically dazzling, and a few segments (especially a short vignette featuring Judie Foster) manage to hit resonant depths.
**
(Worth a look)
Dir:
Takeshi Kitano
Starring: Takeshi Kitano
Click Here for the Full Review
**
(Recommended)
These reviews are the property of Timotei Centea and all clones thereof. Please don't copy them without permission (don't know why you'd want to do that in the first place, though).