Review: Låt den Rätte Komma In (Let the Right One in) (2008)

2 10 2009

Let the Right One InI have no right reviewing a vampire film. And, no, I don’t think seeing Twilight increases my credibility within this particular genre. Still, in an attempt to broaden my cinematic palate, I undertook a viewing of Let the Right One In; the result: a slight positive tingling in the taste buds. In spite of its laboriously slow pace, I found the film absolutely fascinating. The use of darkness and light, while likely not new for a vampire film, struck me as being both beautiful and horrific. The breathtaking cinematography, while not uncommon for a Swedish film, took on a whole new power for me here when deep red blood struck the brilliant white snow.

Beyond the film’s mesmerizing visuals, the thing that kept me chomping away at the neck of this story was the emphatic and genuine performances from the movie’s young leads — Kare Hedebrant as Oskar and Lina Leandersson as Eli. Both appear as actors for the first time here and their purity and innocence works marvels in contrast with the dark acts they undertake in pursuit of companionship.

In the DVD extras, director Tomas Alfredson notes that his film could be interpreted as having either an encouraging or discouraging ending depending on what the viewer believes will become of the future relationship between the protagonists. With my happy-ending mentality, it won’t come as a surprise that I found the film somewhat uplifting in spite of the gore and horror I struggled to stomach throughout. I’m glad I let this film in, even if I think it too gruesome to recommend to most. If you love small stories or are weary of the same-ole, same-ole in your cinematic diet, you might also do well to bite into this vampire tale.


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Review: Cidade de Deus (City of God) (2002)

27 09 2009

City of GodI clearly see the attraction of City of God with its gripping characters, gritty backdrop, and violent turns. All this, and based on a true story to give it that added respectability. I wanted to like it because I recognize the value of the film as a work of cinematic art. Rarely have I seen a film so conscious of space and surrounding, and so willing to let the camera invade that space. I can’t say that I remember a specific instance in the film when the camera bumped into an actor or a part of the set decoration, but I felt very much that it could and that it rightly wouldn’t be edited out.

One might characterize the cinematography as “gritty” or “real,” but whatever you call it there is no doubt it makes for a compelling and engaging visual experience. Cinematographer Cesar Charlone rightly earned an Oscar nomination here. And alongside Mr. Charlone, I want to give credit to the film’s editor Daniel Rezende (also nominated for an Academy Award) who immaculately pulled together a very complicated story and made it understandable.

Appreciating City of God as a wonderfully crafted piece of art only makes the following admission more painful — I did not enjoy this film very much. Now, there is a certain part of me that understands that difficult films about hard places and gruesome realities perhaps shouldn’t be terribly enjoyable; yet, a tension exists because my pride says I should do more than recognize good art, I should enjoy it. I think a significant reason why I didn’t connect with the film is because the characters and their stories were so “other” than my own. Of course, we’re all human, but I struggled to relate to these particular humans and this left me unanchored to the narrative. At the end of the day, perhaps I have to treat City of God like I do a Salvador Dali painting — to stand in awe of its artistic mastery, but aloof from its subject.

To those interested in cinematic art, especially first-rate camera and editing work, City of God is required viewing. For everyone else, skip it and see Sin Nombre instead for, while equally violent in parts, this film has significantly more heart.


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Review: Diarios de motocicleta (The Motorcycle Diaries) (2004)

23 09 2009

The Motorcycle DiariesBefore you call me heartless for not loving this seemingly poignant film about a man who in discovering social injustice finds himself, bear in mind that my gripe is not with the subject of the film, but the manner in which it is told. I actually found the last 30-minutes of the movie quite moving, and I think this had much to do with the fact that the main characters finally stopped moving. They planted themselves in one place and we finally had the opportunity to see a bit more of the human face of inequality and prejudice that may have greatly impacted them, but rushed by us in the first three-fourths of the film.

This film actually has quite a few qualities in its favor. It has breathtaking cinematography and captures exquisitely almost every possible land form and climate. The strength of the acting is also commendable especially considering how little the characters say throughout the course of the film. This is one film where I actually longed for more dialogue and believe this would have benefited the film, especially during the long, laborious first half.

While I want to give the filmmakers credit if their aim was to reflect the long pauses likely to accompany a motorcycle trip across a continent, I would also like to remind them that this sort of thing generally makes for bad entertainment. Yes, label me a typical “American” with a 15-minute attention span, but I’ve seen enough films to appreciate that even slow, plodding dramas do not have to feel that way. Unfortunately, The Motorcycle Diaries is not one of these films.


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Review: Slumdog Millionaire (2008)

22 09 2009

Slumdog MillionaireSlumdog Millionaire, like its predecessor Millions, is story-telling at its finest. Bravo to Danny Boyle for working hard to create films that tell good story. Yes, the movie does have a very typical Hollywood ending (and a typical Indian ending, for that matter), but there is a reason that this type of ending works. We (and I’d like to suggest all people here and not just Americans) want to believe that something better in life is possible . . . that the little guy who is honest and kind wins and that love is worth the risk.

This film works on so many levels, from acting to story design to cinematography. In the end, everything is working in unison to lift up the story and, in so doing, to lift us up. I dare say people were floating out of the theater. The film, thankfully, does not sugarcoat the world, but it does show that even in a very difficult situation love can be found and should desperately be sought. Congratulations to everyone involved in this fine film. This is the type of movie that honors me as the viewer. Thank you!


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Review: Boy A (2007)

19 09 2009

Boy AAs the screen went black at the end of this deeply touching film, I had to remind myself to breath. Boy A tells a tale that can be best described in a single word . . . tragic. Oh, how I wanted a different ending — a story of triumph, hope, and change; redemption for a hard life, bad choices, and a broken spirit. Yet, the film teased with its glimpses of a new life, love re-awakened, healthy friendships formed. For its fine acting, first-rate cinematography, and gripping story, I highly recommend this film; but for its concluding hopeless and heartbreaking act, I can’t offer a single word of praise or endorsement.


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Review: Pieces of April (2003)

13 09 2009

Pieces of AprilIf you love Patricia Clarkson as I do (and, seriously, why wouldn’t you?), then you’ve probably already seen Pieces of April; and if you haven’t, you should. Ms. Clarkson delivers a left-hook of a performance that adeptly weaves between bitter sarcasm and genuine care. From her first scene in the film to the final frame you will find yourself on full alert waiting for what she will say or do next. Sadly, I cannot say the same for Katie Holmes. While I wouldn’t go so far as to describe Ms. Holmes’ performance as flat, you could easily convince me that she is the most uninteresting character in the entire film. Me thinks this spells doom for a movie when your audience adamantly desires to see considerably less of the film’s title character.

As for other elements of the film, I recognize that Pieces of April didn’t have a substantial budget, but does this necessarily excuse its grainy picture and complete lack of soundtrack (well, actually it does, but can’t a boy want more)? I could have accepted the spotty lensing if the screenplay provided something more interesting to focus my attention on. Sadly, the story is replete with overly-contrived and, at times, nonsensical plot elements. Excluding Clarkson’s spot-on jaded humor, the film’s every attempt to gain a laugh consistently fails. Perhaps what I found most frustrating was the filmmakers’ regular attempts to illicit a particular response from me instead of just telling the story and letting my emotional chips fall where they may.

If you desire to bow down at the shrine of Patricia Clarkson, you could do far worse than Pieces of April (see All the King’s Men here). If, however, you come to this film hoping for some diamond-in-the-rough, Avant Garde piece of cinematic genius, you must prepare yourself for something more akin to fake pearls and a movie in the park. You won’t hate the film, but you also won’t be recommending it to your friends next weekend.


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Review: Transformers: Revenge of the Fallen (2009)

10 09 2009

Transformers - Revenge of the FallenI’ll admit that I wanted to hate this film. After all, it embodies what I generally loathe about summer tentpole movies — all story-boarding and no heart. Well, that and it’s directed by Michael Bay. Yet, I must eat some humble pie here by confessing that Transformers: Revenge of the Fallen will not only knock off your socks, but may be the most entertaining film of the summer.

Yes, yes, and yes the film highly exploits women (hm, can you guess the movie’s target audience?), but after Bay moves past posing Megan Fox on motorcycles you will laugh at this genuinely funny script filled with some great one liners (thank you John Turturro). Shia LaBeouf’s sarcastic naivete continues to work brilliantly here, and I cannot imagine a better actor for this role. Bravo also to Kevin Dunn and Julie White (LaBeouf’s parents in the film) who so run with their characters that whether in a serious moment or comedic one they remain authentic without missing a beat. Fox remains the weakest link among the thespians, but even her skills show improvement over the first outing.

Based on other reviews, I had a huge fear that Transformers 2 would be all machines and no humans, but thankfully that reality never materializes here. Yes, the film has no lack of CG, but these effects generally serve to enhance the human stakes and not detract from them. Plus, I have to honestly say, I found the special effects breathtaking. Like most, I did have my moments of visual overload, but I was having too much fun to care. If at all possible, you must endeavor to see this film in theaters in order to fully appreciate the wonder and splendor of its visual imagery.

If you’re anything like me, I encourage you to give Transformers: Revenge of the Fallen a second look. If you’re nothing like me, first, thank your lucky stars for that, and second, see the film again (but, honestly, you probably need little encouragement here . . . it didn’t make $400 million domestic without you).

I conclude with a word of apology to Mr. Bay who, in spite of the awfulness of Pearl Harbor, made a great piece of entertainment here. Sir, you have transformed a skeptic . . . now, please don’t screw up Transformers 3.


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Review: Sin Nombre (2009)

7 09 2009

Sin NombreSin Nombre compelling coalesces two bittersweet stories into a powerful tale of relationship, loss, and the promise of a new life. The film opens in Mexico where we meet teenage gang member El Casper (deftly acted by newcomer Edgar Flores) whose commitment to his gang wanes as he falls in love and dreams of an alternate future. However, when tragedy strikes, Casper makes a choice that leads him down a new path where he connects with Sayra and her father who are traveling from Guatemala to the Texas border. Sayra’s story poignantly details the journey and the struggle that people undertake to make it to America.

When I say that the film is “bittersweet,” I would do better to capitalize the word BITTER for the movie does have a grave air about it that can’t be shaken by the picturesque Mexican countryside or the beauty of the people who populate the picture. As an American, I may pine for a happy ending where good characters find new life and the bad guys take it on the chin, but this is not an American tale and as heartbreaking as it is to accept, Sin Nombre tells a true-to-life story of what many people south of the border sacrifice to come to this country.

Sin Nombre literally means “without name” (or “nameless”) and while every character in the film does, in fact, have a name, the title fits well for it aptly describes the mass of people who make the long and arduous trip to the American border. Even more, it reflects perfectly the gang life where one loses his or her given name to take on an alternate gang title. We see this clearly in the film as Casper moves further away from his gang he becomes more his true self and is no longer sin nombre.

Along with its strong acting and beautiful cinematography, Sin Nombre’s director Cary Fukunaga deserves special recognition not only for writing the story, but for capturing glimpses of hope and human kindness even in the midst of great poverty and heartbreak. I believe it’s these little nods toward the light (like refreshing limes thrown to weary travelers) that steel a viewer’s courage to press on in their viewing of this oft times dark film.

For those who found City of God or The Motorcycle Diaries compelling, Sin Nombre won’t be much of a stretch. For everyone else, if you can stomach a little bitterness and some moments of intense violence, I recommend this film as it will necessarily force you to experience a world that is likely very different from your own but one with which your heart can easily relate.


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Review: El Laberinto del Fauno (Pan’s Labyrinth) (2006)

5 09 2009

Pan's LabyrinthOnce again, I’ve missed something. Here’s a film which has spellbound fantasy film fans and aroused hope in the hearts of many Hobbit lovers that director Guillermo Del Toro will do right by that classic Tolkien tale. I just don’t see it. Yes, Pan’s Labyrinth has amazing art direction and a wonderful Goya-esque quality, and these are perhaps worthy enough elements to excite a Hobbit fanatic, but I felt Del Toro left little to the imagination in his “real world” scenes.

Now, I credit myself as a sophisticated individual who doesn’t get all bent out of shape over violence, foul language, or sexual content in his films, but truthfully I have little patience for anything graphic that does not serve a purpose. To Del Toro’s credit, the extreme violence in this picture does have a point (to show Captain Vidal’s ruthlessness), but Del Toro chooses an atomic bomb where a hand grenade would have done the trick.

Why do directors so often insist on showing their audiences every dot and tittle thereby eliminating one of their strongest cinematic allies — the viewer’s imagination? Spielberg got it right in Jaws and Shyamalan balanced it perfectly in The Village, but Del Toro misses his chance here. Well, you say, Spielberg and Shyamalan made those choices to induce fear while Del Toro had something else in mind. Perhaps, but at the end of the day wasn’t the point to establish that Captain Vidal was a mean character who wrought fear in the hearts of his men and particularly in young Ofelia? The film’s violence actually became a point of distraction for me as Del Toro attempted to one-up himself on how gruesome he could make the next action taken by his tyrannical antagonist. Less would have most certainly been more here.

Violence aside, the story mostly works and the whole creative team from make-up to costume design to cinematography do an amazing job of creating a brown canvas that serves as the perfect backdrop for the periodic sparkles of color that show up now and then throughout the course of the film (especially in the fantasy scenes).

I hardly feel comfortable recommending Pan’s Labyrinth due to its excessive violence; yet, for those viewers who love fantasy or have a particular passion for Francisco Goya, you could do far worse than this film.


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Review: The Bucket List (2007)

4 09 2009

The Bucket ListIf you like cliche films that really don’t say very much in spite of every attempt to convince you otherwise, then The Bucket List is for you. This film is over-sentimentalized American movie-making fluff. Sure, there are a few funny moments (and touching moments), but for the most part it borders on inane as it force feeds the audience its particular brand of “hopeful” medicine.

While I recognize that I’m not the demographic for this film (and, yes, my parents loved it), shouldn’t the Baby Boomers have access to high quality cinema as well? I’m sorry that this is the best that Hollywood could offer to my parents (even if Morgan Freeman is as likeable as ever in this film).  Skip this movie and see Gran Torino or Cocoon or just about anything else instead.


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Review: Indiana Jones and the Kingdom of the Crystal Skull (2008)

2 09 2009

Indiana Jones and the Kingdom of the Crystal SkullIn an attempt to recapture some of its former magic, Indiana Jones and the Kingdom of the Crystal Skull relies too heavily on recycled jokes and uninventive plotting with hopes that nostalgia alone will blind its audience to the film’s many faults. Much in the same way that the recent Star Wars films lacked an appreciation for the aging of their fans, this latest Indiana Jones movie gets stuck looking back and not forward.

I may be committing sacrilege here, but I wonder if the Indiana Jones franchise would have been better served had George Lucas not written this story and Steven Spielberg not directed this film. This isn’t a statement regarding the talent of these filmmakers, but more a reflection that they may be unable to see this character with fresh eyes. Yes, yes, I realize that serious attention was given to making this fourth film seamless with the foregoing three (including costuming, lighting, dialogue, etc.), but I wonder if this handcuffed the filmmakers instead of freeing them to attempt something wildly different. Of course, this would have likely angered the core fans, but think of all the new Indy fans it would have birthed had the film actually been good.

Concerning the film itself, I have little positive to say. The story makes little sense and lacks the suspense and intrigue of racing around the world for mysterious artifacts which is so well-captured in the earlier Indiana Jones films or the later National Treasure movies. The attempt to reproduce the humorous repartee between father and son from Indy 3 falls flat here with Harrison Ford and Shia LaBeouf. Mind you, LaBeouf does the best he can with what he’s given, but he like the rest of the cast can’t overcome the forced dialogue and one-dimensional writing of their characters.

Indiana Jones and the Kingdom of the Crystal Skull found great financial success at the box office, but I fear that this franchise is as good as dead in its current form (which may not necessarily be a bad thing). I would love to see a fifth Indiana Jones film that reinvigorates the franchise with more current ideas and filming techniques; yes, perhaps a little like the Young Indiana Jones series with a bit of the Bourne films thrown in. I am perfectly willing to bastardize a legendary film franchise if the result is far more entertaining and palatable than the bland and unoriginal fare served up in this latest Indiana Jones effort.


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Review: Topsy-Turvy (1999)

30 08 2009

Topsy-TurvyHave no fear that Topsy-Turvy will so disorient you that you’ll lose all track of time; I had no trouble keeping the time considering how often I looked at my watch throughout the course of the film. A Gilbert and Sullivan operetta wouldn’t last as long as this film and that’s including an intermission. I can’t recall a film in recent memory so much in need of an editor as this one. Scene after scene runs unnecessarily long and the first half of the film prior to the staging of The Mikado itself could have been drastically reduced.

Perhaps films such as Moulin Rouge! and Chicago have placed in my mind unrealistic expectations on Topsy-Turvy seeing that these former films fall more squarely in the musical genre while the latter is a drama about theatre and music. Still, I had high hopes that Topsy-Turvy would sail along more like the whimsical HMS Pinafore and less like a labored three-week Atlantic crossing. Alas, there is little full-steam ahead in this film.

In all fairness, the movie does contain some strong points. First and foremost, the acting. The entire cast from bit player all the way up to the leads Jim Broadbent (Gilbert) and Allan Corduner (Sullivan) own their characters and fully commit themselves to their craft. I also love that there is hardly an attractive person in the entire cast; something about that feels right to me – like the filmmakers cast the best actor for a role and not the most attractive one (for this reason alone, you must love British cinema). Outside of acting, the film’s costume design won an Oscar and one doesn’t have to venture far into the film to see why. Perfect period costumes and wonderful stage costumes reveal both a strong attention to detail and an eye for beauty.

I believe that even a novice fan of the works of Gilbert and Sullivan will enjoy the second half of Topsy-Turvy as the film finally settles down to focus specifically on the staging of perhaps Gilbert and Sullivan’s most famous operetta, The Mikado. One can’t help but find compelling the sheer logistics and internal wrangling that accompanies the production of theatre.

If you’re a die-hard fan of Gilbert and Sullivan, theatre, or films about 19th Century England, you will likely find this film delightful. For everyone else, I recommend picking up the film’s soundtrack and skipping right to the good stuff – the music.


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Review: Tortilla Soup (2001)

27 08 2009

Tortilla SoupI’ve never actually eaten tortilla soup, but I imagine it tastes spicy, perhaps a bit tangy, and would likely please my palate. Unfortunately, Tortilla Soup the film needed a few more chilies in the pot to overcome its mostly predictable, cliche, and rather uninspired story.

I admit that I enjoyed watching the preparation of the food (what is it about seeing people prepare food that is so romantic?). I think I could have watched a whole film of Hector Elizondo (or his hand-double) cooking beautiful food and been satisfied.  Now, this isn’t to say that the rest of the story was unappealing, only a bit more bland than I would have preferred. I can’t say that I really expected more out of the film, but I hoped for a bit more kick along the way or at least a pleasing aftertaste.

For lovers of food, Tortilla Soup may tickle the taste buds; for lovers of film, it’s a mediocre appetizer one nimbles on in anticipation of a more appealing entree (Julie & Julia, perhaps?).


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Review: Iris (2001)

26 08 2009

IrisI imagine Iris would have made a far greater impression on me had I known something of the person or writings of Iris Murdoch prior to my viewing the film. In fact, I suspect the nature of the storytelling (i.e., the movie’s chronological leapfrogging between past and present) might even mimic the type of narrative structure that Dame Murdoch uses in her novels, but having read none of them this point was surely lost on me. This said, I feel it best if I stick to examining Iris in light of its film qualities and avoiding a piercing examination of the story itself.

Without a doubt, Iris allows thespians the opportunity to shine, and that they do here. Dame Judi Dench plays Iris during her sunset years as the light slowly fads from her mind’s eye. She gives a masterful performance that heartbreakingly captures the disappearance of person behind the cloud of Alzheimer’s. Her honest performance creates the perfect space for Jim Broadbent to shine as her desperate and loving husband John Bayley. Broadbent is well-worthy of his Oscar win here as he deftly moves between hope, anger, love, and heartache in portraying a man desperately trying to keep his head above water while his wife slowly sinks below the tide. As for Kate Winslet’s performance as the young Iris Murdoch, she does an adequate job given she rarely has time to do much more than lose her clothing and say her lines before we jump forward in time to the end of Murdoch’s life.

Beyond the acting, James Horner provides a solid score, which has moments of true beauty. The film’s editing succeeds wonderfully at times in the shifting between past and present. Other than these two elements, the rest of the package is perfectly adequate. As for the story, I think the need for the chronological shifting was necessary to give a sense of the true loss of this great mind to a horrible disease. Even with this said, I would have liked to have spent more time with the younger Murdoch as I don’t think the audience was given much more than a hint into the character of this person who would become a significant 20th Century English literary figure.

I feel I should end with a warning concerning this film’s pacing. It is slow . . . painfully so at times. I imagine a person more familiar with Murdoch and her writings would find the story more compelling than I did, and I have few suggestions for how the pacing could be improved other than spending more time with the younger, more vibrant Murdoch. I recommend this film for those obviously interested in Iris Murdoch as well as those who want to see actors excel in their craft.


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Review: Moon (2009)

24 08 2009

MoonMoon may have a slow orbit in comparison to most current science fiction films, but it nevertheless provides a compelling reflection on the nature of humanity in an evolving technological world. Sam Rockwell plays Sam Bell, a solitary astronaut working for Lunar Industries on the far side of the moon. Mr. Rockwell gives a tour de force performance in what is essentially a one-man play. As the story unfolds, Sam encounters not only his loneliness and need for human touch, but must come to terms with his humanity in light of some very important discoveries made on the moon and in himself. The film poses some important questions concerning what makes a human being human and the dehumanizing power of corporations.

Along with Rockwell’s strong acting, kudos belongs to novice director Duncan Jones who not only wrote the original story on which the screenplay is based, but excels in getting the most out of his $5 million budget. Yes, the limited CG effects are poor, the cinematography is more reminiscent of 1977’s Star Wars than 2009’s Star Trek, and the set design is adequate at best, but none of these elements detracts from the story at hand.

Even with my limited knowledge and love of sci-fi films, I found Moon a tautly told drama that had me thinking well after its final frame. If you enjoy this genre or simply want something other than the mindless drivel so often served up by Hollywood, I highly recommend this film.


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