Hello, Friends:
It's been some time since my last post. Alas, I did not win another year's pass to The Bloor because they didn't have the contest this year to win the pass--I had a great quote all lined up too ... oh well.
Nonetheless, The Bloor is still the best dang theatre around and I will continue to go there and write reviews as well. I have no idea if anyone is actually reading the reviews, but if nothing else, it's good to practise your spelling.
A friend recently asked me to send him a list of my favourite movies, so I thought I'd pass the list along to anyone who may read this ol' blog.
Clearly, there are movies on this list that wouldn't be on traditional "best ever" movie lists, but that's what makes individual lists more interesting. You could say, Taxi Driver is better than 90% of what I have down on my list, and I would say; maybe, but I don't care, Hannah and Her Sisters is better ... to me. God Bless Art.
Enjoy, and if you can figure out how to leave comments, it would be great to hear what you think.
My Favourite Film List
THE TOP 36
36?
That’s Right, 36
1) Citizen Kane: A cop-out? No way, there’s a reason this film is universally regarded as the best of all time—it is. Quite simply the most superbly crafted film I’ve ever seen. The acting, the writing, the stunningly beautiful and compelling (and groundbreaking) cinematography; I’m sure you’ve seen it, but if you haven’t, rent it, or better yet, buy it—now!
2) Jean de Florette/Manon des Sources (or Manon of the Spring): Number 2? Fucking “A” right, buddy. I’m cheating a bit by counting two films as one selection, but these French films were shot together and must be seen back to back, if not on the same night, then back to back nights … ok, you can have a couple of days off in between, but you know what I mean. These films are arguably the best French films of all time, and that’s saying something. I’m not going to tell you too much about them, because the less you know the better; just see ‘em.
3) Harry Potter and the Prisoner of Azkaban: All right, I admit it, I’m biased. As mentioned above, there will be films (such as this one) that are unlikely to be on other "best ever" lists, but I have watched this film more than any other. As you know I’m a big Harry Potter fan, and this film captures that world superbly. The changes made from the book make sense and aren’t jarring or infuriating, and the film itself is exceptionally beautiful and remarkably well thought out. Since I’ve seen it so many times, I’ve had the chance to see the imagery and foreshadowing that is so delicately layered throughout the film. It’s the first time the young actors really sink their teeth into their roles, and the music is the best in the series. I could watch this film over and over again, and I do. Best. Harry Potter Film. Ever.
4) Hannah and Her Sisters: Most people list Annie Hall as the best Woody Allen film of all time, and it is on my list, but Hannah is my favourite. It’s just so damn funny, “Did you masturbate too much? Hey, don’t knock my hobbies.” And it’s spectacularly acted and (yes, I’m a sucker) so damn heart-warming … “no one, not even the rain, has such small hands.”
5) Sling Blade: A virtuoso performance and the fact that he wrote and directed it as well makes one wonder whatever happened to Billy Bob. Nonetheless, this film deeply affected me when I saw it in the theatre (I saw it twice) and I have it on DVD too. It’s just simple and perfect; deeply sad and deeply loving and it features not just a great lead turn from Thornton but a fantastic supporting cast led by John Ritter and Dwight Yoakam.
6) Rocky: Go to hell if you disagree. What about Raging Bull? Sigh, sure it’s “better” but it’s not as good. I saw Rocky when I was quite young in the theatres and it was the first time I remember thinking, “this is the best film I’ve ever seen.” Hell, I liked it more than Star Wars, way more. Even as an 11 year old, I could see that Star Wars, as fun as it was, was no Rocky—which is beautifully written, beautifully acted and quite possibly the best “underdog” movie ever made. Yes, yes Raging Bull is a very well made film, but it doesn’t have Rocky’s heart; Raging Bull makes you appreciate film, Rocky makes you appreciate life.
7) This is Spinal Tap: The question is, how much more brilliant could this comedy be, and the answer is, none—none more brilliant. Michelle Pfeiffer says this is the best comedy ever (so there!) and I have to agree. Repeated viewing only makes it funnier. The only DVD where listening to the commentary is a must, since they’re done in character—however, you should only do this after you know the movie inside and out—no cheating! One of the first (and still the best) mockumentaries, Spinal Tap is shockingly hilarious. The more you know about rock ‘n roll, the better it is, but even if you don’t know much, the songs, the lyrics, the escapades, the superb improvising make for a film that’s so outrageous and honestly done, that many people thought Spinal Tap was a real band. If you’ve never seen it, hang your head in shame. After you’ve recovered, get it on DVD, and watch, over and over.
8) It’s a Wonderful Life: This isn’t just my favourite Christmas movie of all time, it’s one of my all time favourite movies, Christmas or no. I think this is Jimmy Stewart’s greatest role (and he agrees) and the film itself is inspiring. “Capracorn,” you say? I would have to disagree. While having a beautiful, almost spiritually profound message, it’s also gritty; showing Jimmy Stewart angrier than I’ve seen him in nearly any other film. It shows the effects of poverty, the striving to simply live a decent live, and the immense power of one man doing good. If cinema can’t convey a message like that without being accused of being “corny” then I don’t want to watch cinema.
9) Amelie: If you don’t fall in love with Audrey Tautou after seeing this movie, you are a cold-hearted knob who doesn’t even deserve to read this list—stop reading! The film is inventive, funny, romantic, touching and sentimental without being maudlin. The viewer will be sucked into Amelie’s world and will have no choice but to root for her. For such a fantastical movie, it’s remarkable how high the stakes feel. It’s a great film and I will forever have a crush on Ms Tautou … Audrey, my number is 647-991-69 ...
10) Aliens: This film is a tad different than Amelie and it’s the first action film on the list, and I would contend it’s the best action film of all time. Alien was a great film, but for me, Aliens is the best in the series; although they are almost different genres. Alien, despite the creature, is a psychological thriller; whereas, Aliens is a kick-ass, full throttle bonanza. Still, if Aliens didn’t have great acting and real characters, we wouldn’t care that much. If anything, we get to know Ripley more and her relationship with Newt gives the film a core the viewer genuinely cares about. All the supporting cast is great, with a special nod to a hilarious Bill Paxton. Ironically, this is one of those films where the director’s cut is not as good as the studio’s, but you can only get the original studio cut if you buy the entire Alien set—what a rip off. Still, Aliens makes the top ten.
11) The Exorcist: Is the theme music running through your head right now? Are you scared? You should be. It’s the best horror film of all time; end of story. But it’s more than that, it’s a brilliantly crafted film; that’s well written, well acted and will scare the fucking shit out of you. How many films can say that?
12) The Godfather: This is very near the top on most lists, but once again, art is beautiful and powerful because it is so subjective; and while I don’t have it in my top ten (I can hear my friend George saying, “Amelie? Amelie?! In front of the Godfather?!!!”); it is properly regarded as one of the all time great films. Although it’s a long film, it’s never boring and it stands up to repeat viewing; indeed, you will want to watch it many times. Superbly shot, acted and written, it’s a great, great film.
13) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb: One of the all time great political satires with a profound message that is both a product of its time and a message for all generations. It also features a superb acting turn from Peter Sellers playing no less than three main characters, each distinctly different from the other. A must-see for anyone not yet initiated. Yeeeee-Haaaawwww!
14) Psycho: Hitchcock’s a master and I should probably have more of his on this list, but this is the one that had such an effect on me the first time I saw it. Still shocking; it is so effective, not because of gore or special effects but because of some of the eeriest atmosphere ever created on film, and featuring one of the all time great creepy characters in Norman Bates. Before Jaws scared you out of the ocean, Psycho had you checking and re-checking the shower … better check it one more time.
15) Schindler’s List: It’s an epic, but never drags. It showcases one of humanity’s worst moments; but it’s uplifting. Every single actor in it is great. The black and white cinematography is breath-taking. Schindler’s List is the best film from a director who has a number of films in the “all-time” category.
16) Jaws: Hey, what do you know, here’s another one of ‘em; a very early Spielberg film that’s still considered one of his best. It’s also known as one of the first summer “blockbuster” movies that, for better or worse, threw us into the “opening weekend” obsession that we have to this day. If Jaws were made today it wouldn’t be nearly as good—why? Because the shark would be a computer-generated piece of garbage. They didn’t have that option in the mid-seventies, so they went out and made a freakin’ shark, and it’s fantastic. I’ve watched the movie several times, and the FX still blow me away. But it’s the unlikely camaraderie amongst the motley crew of shark hunters that brings the film together.
17) To Kill a Mockingbird: One of the best film adaptations of a book, ever. Another beautiful black and white film and one of the first films to directly confront racism, it’s more than just a beautifully acted and made film, it’s important. This film is Gregory Peck’s greatest performance and the young actors never seem like young actors, they just seem like kids. A truly great film that deserves to be something more than a film you’re forced to watch in high school. See the film, become a better person.
18) Apocalypse Now: An epic that will blow your mind, from the sound track to the poetry, man! A liberal adaptation of Conrad’s Heart of Darkness, the film drags you into the jungle with it. With Martin Sheen proving that some people in that family can act, and Coppola providing his best effort since The Godfather; Apocalypse Now details the descent of man to his darkest, most primal self. And by setting it during the Vietnam War, it shows the descent of a nation into darkness as well. Featuring an array of fantastic characters (many, literally stoned for much of the filming), Apocalypse Now details the madness of war perhaps more than any other film.
19) Annie Hall: The last comedy to win an Academy Award for best picture, it is considered by many to be the best Woody Allen film; and one of the best comedies ever. But the reason it’s so good; indeed, the reason so many of Allen’s films are so good, is because it’s much more than a comedy. It’s freakin’ sad, man. It really is. Yes, it’s hilarious, but it’s damn poignant too. Truly great comedies must have pathos, just as truly great tragedies usually have some comedy blended in. Made at the height of Allen’s greatness, this is a must see for any one who loves film.
20) Good Night, and Good Luck: What the hell? Back off man, I think this is a great film. First, it looks great. You may think I have a “thing” for black and white, and you may have a point; but when it’s done right, it just seems to carry more of an impact, and it’s done right here. Of course, it’s right for the time period it’s set in—the McCarthy Era 50’s. And naturally, its message rings true today. The story of a journalist, Edward R. Murrow taking on the powerful senator, Joseph McCarthy during the height of the Cold War communist scare mongering; has an echoing effect on those today living in the era of Corporate News Conglomerates that attack anything that doesn’t agree with their capitalist tyranny. This movie shows that journalists once actually investigated stories, and asked tough questions and challenged the powers that be—and that doing all those things was tough even back then, but they did it. Murrow’s final speech to his fellow TV journalists and producers has a chilling effect on the modern viewer who has witnessed the nearly complete capitulation of today’s “news.” It looks fantastic, there are too many talented actors to mention, it deservingly had multiple Academy Award nominations, and it’s on my list, damn it.
21) Monty Python and the Holy Grail: I fart in your general direction. Combining crude humour with philosophy and old English literature provides us with one of the most absurdly hilarious movies ever made. Too many brilliant moments to mention, too many quotes worthy of being repeated for the rest of your life; and the memory of my mother laughing louder than anyone in movie watching history; Holy Grail is a comedy masterpiece. It deserves to be on every top 100 films list, but sadly, I’ve only ever seen it on mine.
22) Children of Men: Alfonso Cuaron, to me, is one of the best directors around and this film certainly reflects that. It had three Academy nominations and won several British Academy Awards. It tells a story that is sadly believable but still inspiring and redemptive. The cinematography is top notch; Clive Owen is at his best, Michael Cain is fantastic, and the film feels like a wonderful realization of a Greek Tragedy … with hope. This film won’t be on many other “all-time” lists, but if you haven’t seen it, I think it’s a must see.
23) The Matrix: Anyone who doesn’t have this on their list is simply a snob. This is a great film. This is one of those films that you remember seeing in the theatres. I honestly feel that it is a pivotal film in modern movie making. I see countless Matrix influences in nearly every action film made since, as well as “altered reality” movies, attempting to catch some of the original Matrix’s magic. Keanu Reeves, not always the strongest of actors, is perfectly cast in this film and when he has the right role, this Canuck hero can deliver. The look, the feel, the “rabbit-hole acid trip” philosophy will challenge your perception of existence; and it’s still the best of its ilk, even after repeated viewings. Do you know kung fu?
24) Pleasantville: What the hell is wrong with you? Why isn’t this on your list? It’s on mine! Another film that many people see as good, but I regard as great. The acting is top notch, it has a fantastic concept, but most importantly of all, it has a profoundly beautiful message that challenging your boundaries and finding your own strength and beauty is the only way to truly live. It’s the only way to bring colour into your world, and that this kind of change on a large scale will be attacked and misunderstood but ultimately accepted as we move forward. It has this big message, but it’s still a small, funny, inventive movie. Yes, it pulls on your heart-strings and inspires you but it doesn’t resort to hoary clichés or over-the-top cinema de fromage. It’s truly a wonderful, little film.
25) One Flew Over the Cuckoo’s Nest: Normally, when a film doesn’t follow a book that I love, it drives me crazy; however Cuckoo’s Nest is an interesting exception. It actually follows the book very faithfully, but also, not at all. The story in the film is nearly exactly as it is in the book but for this one major point; it’s not from the Chief’s point of view. The book is told by the Chief, with his perceptions and madness, and his truth, which (like the bible) is symbolic rather than literal. The film tells the same story, but from McMurphy’s point of view. This obviously changes things, but the film is just so well done, I have to appreciate it on its own. The film was only the second ever to win the Oscar Grand Slam—best picture, director, actor and actress, a remarkable accomplishment that has only been repeated once since … by Silence of the Lambs … seriously. I believe this is Jack Nicholson’s greatest performance and it’s one for the ages. Louise Fletcher is perfect. Will Samson as the Chief is so bang-on, when I read the book, I can only picture him. Another film that is both depressing and inspiring (it seems a lot of the great ones are) it is an American Classic and deserving of any top films list.
26) Let the Right One In: All vampire movies should be this good—so good; the vampire part hardly needs to be told. More about childhood fears and loneliness, it just happens to have a vampire character at its core. An atmospheric Swedish film, that takes it time with beautiful images that only makes the horror that much more effective. The children deliver remarkable performances and it ends with one of the best climaxes in horror film history.
27) The Wizard of Oz: One of the first (but not the first) films to use colour (and to use it brilliantly) The Wizard of Oz has been a classic for generations—and rightfully, so. The acting, especially in that era and in that story, could have been way over the top, but it wasn’t. Margaret Hamilton is particularly great as the Wicked Witch and of course, Judy Garland became nothing short of an icon through Dorothy. The flying monkeys still scare me and the songs are some of the best and most memorable in musical history. God damn, this is one good movie. I hear it’s on sale right now at HMV—I’m totally buying my own copy, you should too.
28) Close Encounters of the Third Kind: One of the best UFO movies because it hardly focuses on the UFOs at all. It’s the turmoil that an electrician (Dreyfuss) and other ordinary people go through after their encounters, and their obsessive pursuit to repeat the experience, that drives the film. Of course, the build up to the Third Encounter is as thrilling as the contact itself. This is the third Spielberg film on my list but it’s one I don’t have on DVD, but I should—another trip to HMV is in order.
29) The Terminator: I just watched this again recently, and man, this is a good, little action flick. It’s funny seeing it, because it’s nearly an independent film, with a small budget, but Cameron still knows how to work it. Another film that has zero CG effects and is better for it; it’s the story that’s at the heart of this film and not the FX. Also, it was an original concept at the time--an indestructible cyborg from the future, it seems almost cliché now, but it was pretty mind-blowing back then. And what Cameron does best is build the atmosphere of the hunt. That claustrophobic feeling around Sarah Connor as she realizes that someone is hunting her down, simply because of her name; and the magnitude of this feeling once she realizes the hunter cannot be killed. A great film, that’s helped by its low budget rather than hurt by it.
30) Planet of the Apes: Speaking of mind-blowing, here’s one of the originals. The make-up was ground breaking, and I’m sure it’s the only film in existence where you can see Charlton Heston laughing at the American Flag. But Chuck’s not the only strong actor in this one, the supporting cast includes Kim Hunter, Roddy McDowall and Maurice Evans and we can never forget, one of my first crushes (I was about 4) Linda Harrison as Nova. Although the make-up looks good, and the forbidden zone makes for some cool imagery, it’s the twisted story of a planet where Apes are civilized and humans are hunted as mute vermin, which makes the film so compelling. The ending is one of the best in science-fiction history, and SHAME on 20th Century Fox for literally putting the ending of the film on the cover of the DVD. Seriously! The twist ending is on the cover! You can’t assume everyone has seen the film and knows how it ends; there are generations of people out there who haven’t seen the film, but if they ever rent or buy the DVD, they will know the ending (the best part) before the opening credits come up. Wow, that’s stupid … but the movie’s not! It’s on the list.
31) The Others: Quite simply, I think this is one of the best pure ghost stories ever done. The atmosphere is authentic, you feel like you’ve been invited into some old European house to hear ghost stories from a master-storyteller, and in a way, you have. All the acting is great, Nicole Kidman is wonderful, and the children are fantastic. Often, when there’s a twist ending with a film, it loses its impact on future viewings simply because you know what’s coming. But The Others, I can watch over and over again, because the tone, the look, the music are so perfectly assembled; you are once again a kid being told a fantastic ghost story that you’ve heard dozens of times before, but you still jump at all the right places.
32) Paranormal Activity: Say what? Ok, a bit of a different choice for an “all-time” list, but hear me out. Much like The Others, this is a simple story, but brilliantly done and exquisitely executed. Made on a shoe string budget, the special effects are still, well, perfect. It has been compared to The Blair Witch Project, but I actually think this film is superior. I care more about the people in it, and there’s way more pay off in Paranormal Activity than Blair Witch, with none of the nauseating “shaky camera.” Blair did a great job of building terror by the viewer not seeing anything … ever! But Paranormal Activity still builds the suspense, seems 100 per cent real, and then we get to actually see things! And when they’re done, they’re so well done and so realistic, they’re terrifying. I saw it in a theatre, and I don’t know if I’ve ever seen/heard such a response to something as simple as the sheet moving.
33) Lost in America: Albert Brooks co-wrote, directed and starred in this little known American comedy that is one of my all time favourites. Completely cashing in on both the shallowness of yuppies and the hypocrisy behind the hippie ideal, this film is one of the sharpest comedies ever done. Julie Hagerty (from Airplane!) plays his wife and they are both hilarious. This is not a “zany” comedy—it’s smart; although, Brooks’ freak-out scene when he doesn’t get his promotion is hyper comedy at its best. Brooks has made some pretty good comedies, but this is his best by far—check it out.
34) Notting Hill: Ok, ok, now don’t get angry. I thought I should include at least one “romantic comedy” on the list. I’m not counting Woody Allen, because his films, I feel are above that genre. So, I needed a traditional romantic comedy, and this is my favourite one. First, it opens with a great rendition of She sung by Elvis Costello, boom! It’s already on the way to being on the list; but it’s the acting, that sets it apart. I’m not always a Julia Roberts fan or even a Hugh Grant fan, but they’re both great in this film. Mostly because they’re so far from perfect. Hugh’s character is nice, but ineffectual to the point of ruining his life, and Julia’s character can be kind, but also an outright bitch. But like so many real couples that work, their strengths and weaknesses seem to compliment each other. The supporting characters are great as they almost always are in every British film, with Rhys Ifans standing out as Grant’s gleefully odd roommate. A touching ending, pretty good soundtrack, and one of the better montages of seasons changing that you’ll ever see—Notting Hill makes the list … forgive me.
35) The Princess Bride: Do I even have to explain this? If you don’t love this movie, you’re a cruel, inhumane person, with no sense of humour and a lump of coal for a heart. You should just go home and say to yourself, “What is wrong with me, why don’t I like The Princess Bride?” For those of us who do like it, who have the wind at our backs, a smile on our faces and the knowledge that true love is the only thing worthy of miracles, I’ll just say this: “as you wish.”
36) Pulp Fiction: Zed’s dead, baby. Tarantino’s best film, and he’s made some pretty damn good ones, but none are the total package of Pulp Fiction. Sometimes, I think back on scenes from Pulp Fiction and I have to remind myself that they were all from the same movie, because they seem like cool little movies all on their own. Every story line is compelling, every turn brings you in closer and the way they’re woven together was (and still is) groundbreaking. Not to mention one of the better sound tracks and ensemble casts put together. A Royale with Cheese.
Tuesday, February 15, 2011
Monday, November 1, 2010
Let Me In: Review
Let Me In
Written and Directed by: Matt Reeves
Starring Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins and Elias Koteas
Let Me In is a very well made film based on an even better made foreign film that was truly only made because North Americans can’t read and eat popcorn at the same time.
Let Me In is the American re-make of the Swedish classic Let the Right One In. Although I (rightly) refer to it as a classic, Let the Right One In is only two years old, which makes the decision to do a re-make that much more surprising; however, while we can argue about the needfulness to do such a quick re-make just to avoid sub-titles, we can’t argue about whether or not this is a great film—it is.
Let’s start with the acting. Reliable character actors Richard Jenkins and Elias Koteas give depth and pathos to their smaller roles, especially Jenkins; but it’s the kids that elevate this film and set it apart from traditional vampire schmaltz. Kodi Smit-McPhee (Owen), who was exceptionally strong in The Road is no less capable here and Chloe Moretz (Abby), the true star of Kick-Ass, shows that she’s an actress to watch with a strong, finessed performance. When a film isn’t counting on car crashes and gore, strong acting is a necessity. Speaking of which, this movie has great car crashes and gore … only slightly kidding
Let Me In is a very faithful re-make, following the original’s slow pace, exquisite shots and strong acting; nonetheless, Reeves does inject some new blood into this vampire flick, with one of the better single shot car crashes you’ve ever seen and a little more American gore. The gore, however, doesn’t overwhelm and, as in the original, it’s the strong universal story of alienation, loneliness and childhood fears and friendship that drives this film.
Let Me In is one of my favourite films of the year. Let the Right One In is one of my favourite films of all time. That doesn’t mean, however, that one shouldn’t see Let Me In. If you haven’t seen the original Swedish film, then by all means, please check it out, you won’t be disappointed. If you have seen the original, check it out anyway. The film plays respectful homage to Let the Right One In, but has enough of its own character to be called that rarest of things: a very good American re-make.
Let Her In.
Point of Interest: There is one scene, or to be more precise, one shot that is in the original film that the new film completely chickened-out on. I assumed that the American version would not include this shot, and sure enough, they didn’t. That’s too bad because it’s essential to the story and to the message of loving someone despite their considerable differences—they’re a vampire, etc. I thought that maybe they’d get around this puritanical problem by doing what is done in the book: when Owen (Oskar) is kissed by Abby (Eli) her history is passed through to Owen in flashback. This would have been one way they could have separated themselves a little from the original film and not have to have “the shot” that American audiences would have burst into tears over. Although, funny enough, they did have “the shot” in the Swedish film released in North America without censoring it, (I don't know how we survived!) so it’s too bad they capitulated here. What is “the shot?” I can’t tell you without ruining the story, especially if you haven’t seen the original or read the book. Speaking of the book—read it! Written by John Ajvide Lindqvist, it’s a great book with obviously more detail and entire story lines that aren’t in either film and has a much more layered and interesting look at Abby/Eli’s “father.”
Written and Directed by: Matt Reeves
Starring Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins and Elias Koteas
Let Me In is a very well made film based on an even better made foreign film that was truly only made because North Americans can’t read and eat popcorn at the same time.
Let Me In is the American re-make of the Swedish classic Let the Right One In. Although I (rightly) refer to it as a classic, Let the Right One In is only two years old, which makes the decision to do a re-make that much more surprising; however, while we can argue about the needfulness to do such a quick re-make just to avoid sub-titles, we can’t argue about whether or not this is a great film—it is.
Let’s start with the acting. Reliable character actors Richard Jenkins and Elias Koteas give depth and pathos to their smaller roles, especially Jenkins; but it’s the kids that elevate this film and set it apart from traditional vampire schmaltz. Kodi Smit-McPhee (Owen), who was exceptionally strong in The Road is no less capable here and Chloe Moretz (Abby), the true star of Kick-Ass, shows that she’s an actress to watch with a strong, finessed performance. When a film isn’t counting on car crashes and gore, strong acting is a necessity. Speaking of which, this movie has great car crashes and gore … only slightly kidding
Let Me In is a very faithful re-make, following the original’s slow pace, exquisite shots and strong acting; nonetheless, Reeves does inject some new blood into this vampire flick, with one of the better single shot car crashes you’ve ever seen and a little more American gore. The gore, however, doesn’t overwhelm and, as in the original, it’s the strong universal story of alienation, loneliness and childhood fears and friendship that drives this film.
Let Me In is one of my favourite films of the year. Let the Right One In is one of my favourite films of all time. That doesn’t mean, however, that one shouldn’t see Let Me In. If you haven’t seen the original Swedish film, then by all means, please check it out, you won’t be disappointed. If you have seen the original, check it out anyway. The film plays respectful homage to Let the Right One In, but has enough of its own character to be called that rarest of things: a very good American re-make.
Let Her In.
Point of Interest: There is one scene, or to be more precise, one shot that is in the original film that the new film completely chickened-out on. I assumed that the American version would not include this shot, and sure enough, they didn’t. That’s too bad because it’s essential to the story and to the message of loving someone despite their considerable differences—they’re a vampire, etc. I thought that maybe they’d get around this puritanical problem by doing what is done in the book: when Owen (Oskar) is kissed by Abby (Eli) her history is passed through to Owen in flashback. This would have been one way they could have separated themselves a little from the original film and not have to have “the shot” that American audiences would have burst into tears over. Although, funny enough, they did have “the shot” in the Swedish film released in North America without censoring it, (I don't know how we survived!) so it’s too bad they capitulated here. What is “the shot?” I can’t tell you without ruining the story, especially if you haven’t seen the original or read the book. Speaking of the book—read it! Written by John Ajvide Lindqvist, it’s a great book with obviously more detail and entire story lines that aren’t in either film and has a much more layered and interesting look at Abby/Eli’s “father.”
Thursday, October 21, 2010
Machete: Review
Machete
Directed by Robert Rodriguez and Ethan Maniquis
Starring: Danny Trejo, Jessica Alba, Robert De Niro, Michelle Rodriguez and Steven “Fatso” Seagal
Wish I was Machete.
Stupendously ugly but liquid nitrogen cool, the man knows how to take out the trash--and get the girl(s) too.
Machete is a continuation of the grindhouse theme Rodriguez started with, well, Grindhouse, a double feature that he and Quentin Tarantino put together a few years ago. Easily the best part of Grindhouse was the previews shown before each flick, with the Machete trailer being one of the better ones.
If you don’t have an appreciation for grindhouse movies or even a love of “B” movies, then you almost certainly won’t like Machete. If, however, you like all types of movies, dig the exploitation, baby; attend Chris Alexander’s Film School Confidential! and aren’t put off by excessive gore, then you’re going to love Machete.
Starting at 10 and then flying along at 11, Machete not only glories in its excess it revels in political conspiracies and satire that actually touch on the truth … albeit, the truth on steroids. Machete is successful because it embraces stereotypes (hilariously) and its gore is funny rather than offensive; not only that, the music is so apropos, it gets laughs all on its own.
Rodriguez and Maniquis deftly capture the 70’s feel. You wouldn’t know you were watching an up-to-date film except for the fact that there are cell phones and computers. Keep in mind though, “Machete don’t text.”
The acting is well done, with the actors generally “getting” the genre they’re living in. Ironically, Lindsay Lohan is better as a revenging nun than as a strung out drug addict; sometimes it’s tough to play yourself. Jessica Alba is “this close” to being naked, Michelle Rodriguez is tough and beautiful as usual and truly seems to understand what kind of film she’s making. But it’s Danny Trejo who’s the star, and it’s great to see this character actor take on the leading role--he puts the movie on his shoulders and never lets us down.
The political story line, like everything else, is pumped to the extreme but that doesn’t mean it doesn’t hit on the very real themes of fear and bigotry. But the reason I like Machete so much is because it’s just having such a good time being Machete—to thine own self be true. Damn straight.
Point of Interest: I liked Grindhouse when it was released in theatres but (unlike most of the critics) I liked Planet Terror more than Death Proof. I found Death Proof too self-referential and it was two entirely different films smashed together to make one. But as I mentioned earlier it was the previews that were the best part of Grindhouse. How horribly disappointed I was then, when I purchased both Death Proof and Planet Terror only to discover that the previews that were in Grindhouse weren’t included on the two-disc DVDs (except Machete). Of course that was a few years ago, and just recently they released the Blue Ray DVDs with the trailers … weasels. The good news is that the Canadian contribution to the trailers (and I thought the best) was Hobo with a Shotgun, and it’s been made into a feature to be released in 2011—praise Jebus.
Directed by Robert Rodriguez and Ethan Maniquis
Starring: Danny Trejo, Jessica Alba, Robert De Niro, Michelle Rodriguez and Steven “Fatso” Seagal
Wish I was Machete.
Stupendously ugly but liquid nitrogen cool, the man knows how to take out the trash--and get the girl(s) too.
Machete is a continuation of the grindhouse theme Rodriguez started with, well, Grindhouse, a double feature that he and Quentin Tarantino put together a few years ago. Easily the best part of Grindhouse was the previews shown before each flick, with the Machete trailer being one of the better ones.
If you don’t have an appreciation for grindhouse movies or even a love of “B” movies, then you almost certainly won’t like Machete. If, however, you like all types of movies, dig the exploitation, baby; attend Chris Alexander’s Film School Confidential! and aren’t put off by excessive gore, then you’re going to love Machete.
Starting at 10 and then flying along at 11, Machete not only glories in its excess it revels in political conspiracies and satire that actually touch on the truth … albeit, the truth on steroids. Machete is successful because it embraces stereotypes (hilariously) and its gore is funny rather than offensive; not only that, the music is so apropos, it gets laughs all on its own.
Rodriguez and Maniquis deftly capture the 70’s feel. You wouldn’t know you were watching an up-to-date film except for the fact that there are cell phones and computers. Keep in mind though, “Machete don’t text.”
The acting is well done, with the actors generally “getting” the genre they’re living in. Ironically, Lindsay Lohan is better as a revenging nun than as a strung out drug addict; sometimes it’s tough to play yourself. Jessica Alba is “this close” to being naked, Michelle Rodriguez is tough and beautiful as usual and truly seems to understand what kind of film she’s making. But it’s Danny Trejo who’s the star, and it’s great to see this character actor take on the leading role--he puts the movie on his shoulders and never lets us down.
The political story line, like everything else, is pumped to the extreme but that doesn’t mean it doesn’t hit on the very real themes of fear and bigotry. But the reason I like Machete so much is because it’s just having such a good time being Machete—to thine own self be true. Damn straight.
Point of Interest: I liked Grindhouse when it was released in theatres but (unlike most of the critics) I liked Planet Terror more than Death Proof. I found Death Proof too self-referential and it was two entirely different films smashed together to make one. But as I mentioned earlier it was the previews that were the best part of Grindhouse. How horribly disappointed I was then, when I purchased both Death Proof and Planet Terror only to discover that the previews that were in Grindhouse weren’t included on the two-disc DVDs (except Machete). Of course that was a few years ago, and just recently they released the Blue Ray DVDs with the trailers … weasels. The good news is that the Canadian contribution to the trailers (and I thought the best) was Hobo with a Shotgun, and it’s been made into a feature to be released in 2011—praise Jebus.
Thursday, October 7, 2010
Salt: Review
Salt
Directed by: Phillip Noyce
Starring Angelina Jolie, Liev Schreiber and Chiwetal Ejiofor (really good actor, incomprehensible name)
Salt is a pretty decent action flick.
So does that mean it gets a good review? Should a movie get a good review just because of the genre it’s in? How many times have we heard, “Well, it’s good for a horror film,” or “it’s all right for a zany comedy?” In other words, should we cut some slack to a film just because it’s of a certain type? Sure, we should, we do it all the time. Nobody sees Lord of the Rings or Harry Potter and says, “That’s so unrealistic, a wizard can’t do that!” So we suspend our disbelief depending on the genre of film; but they still have to be well made. The first Lord of the Rings (mostly animated …. mostly) wasn’t well received because it wasn’t well done, or at least well done enough to appeal to everyone, not just nerds.
So Salt is pretty good … for an action flick. The acting is actually quite good. I think Angelina Jolie is an excellent actress. Now, don’t get all huffy—she is. Yes, she broke Jen’s heart and she used to carry around Billy Bob’s blood and she kissed her brother for far too long once, but despite all that, she’s a very talented actress. Watch Changeling or A Mighty Heart and tell me I’m wrong; and she’s good in this too, appropriately teary or determined as the need arises. Liev Schreiber is sardonic and immanently watchable, and Chiwetal Ejiofor brings clarity and purpose to his role as well as a bang-on Yankee accent.
The action scenes are pretty well done, especially when Jolie is jumping from moving cars and trucks to escape a highway pursuit. The plot has a pretty cool paranoid cold war conspiracy element to it, so why is this only a decent action flick instead of a great one?
Believability.
Yes, we cut slack to movies because of their genre, but they have to be believable within that genre. Even fantasy films have to follow the rules of the universe they are in, and the same goes for action films, and this is an action film, not a superhero/comic book movie. The movie is just too implausible, even for an action flick. What makes the Bourne movies so superior to Salt? Jason Bourne does the most incredible things but they seem much more realistic. As spectacular as the (Bourne) action and story is, it is also gritty, tough and within the laws of physics. With Salt, I’m not even talking about the stunning escapes on the highway, I’m talking about the superhuman strength inside a 98 pound spy, the (repeated) ability to just “knock out” people she doesn’t want to kill, the gecko-like ability to scale walls and elevator shafts; essentially, this film gives Jolie’s character the strength of Superman and the skills of Spiderman in a movie with no superheroes. Oh, and there are certain gigantic plot holes that are entirely unbelievable. I can’t divulge too many without giving away much of the film, but let’s just mention one where Jolie’s character manages to inflict a certain amount of damage on someone because the “cuffs” that have been placed on her have about two feet of slack chain to work with. Have you ever seen cuffs like that in any action film/cop movie in your life, or even the last time you were arrested? Nope, me neither.
So, I can’t recommend Salt at a first run theatre. But it does have strong, watchable actors, and some pretty cool stunts … so if it’s at the Bloor … on a matinee … and you’re in the mood for popcorn or Glosette raisins … oh, what the hell, you talked me into it.
Point of Interest: Just another enormous plot hole that must be mentioned because it’s so stupid it’s almost funny. Jolie’s character is told to marry an entomologist because “spider experts” apparently have easy access to the North Korean border.
Really.
The most notoriously closed off military country in the world allows people studying spiders to cross back and forth between North and South Korea. Hell, don’t send Bill Clinton or Jimmy Carter to free the next captive American, just find your local German ex-pat bug expert to waltz across the border with a jar full of Black Widows and maybe a Praying Mantis on his shoulder—that’ll impress ‘em.
Directed by: Phillip Noyce
Starring Angelina Jolie, Liev Schreiber and Chiwetal Ejiofor (really good actor, incomprehensible name)
Salt is a pretty decent action flick.
So does that mean it gets a good review? Should a movie get a good review just because of the genre it’s in? How many times have we heard, “Well, it’s good for a horror film,” or “it’s all right for a zany comedy?” In other words, should we cut some slack to a film just because it’s of a certain type? Sure, we should, we do it all the time. Nobody sees Lord of the Rings or Harry Potter and says, “That’s so unrealistic, a wizard can’t do that!” So we suspend our disbelief depending on the genre of film; but they still have to be well made. The first Lord of the Rings (mostly animated …. mostly) wasn’t well received because it wasn’t well done, or at least well done enough to appeal to everyone, not just nerds.
So Salt is pretty good … for an action flick. The acting is actually quite good. I think Angelina Jolie is an excellent actress. Now, don’t get all huffy—she is. Yes, she broke Jen’s heart and she used to carry around Billy Bob’s blood and she kissed her brother for far too long once, but despite all that, she’s a very talented actress. Watch Changeling or A Mighty Heart and tell me I’m wrong; and she’s good in this too, appropriately teary or determined as the need arises. Liev Schreiber is sardonic and immanently watchable, and Chiwetal Ejiofor brings clarity and purpose to his role as well as a bang-on Yankee accent.
The action scenes are pretty well done, especially when Jolie is jumping from moving cars and trucks to escape a highway pursuit. The plot has a pretty cool paranoid cold war conspiracy element to it, so why is this only a decent action flick instead of a great one?
Believability.
Yes, we cut slack to movies because of their genre, but they have to be believable within that genre. Even fantasy films have to follow the rules of the universe they are in, and the same goes for action films, and this is an action film, not a superhero/comic book movie. The movie is just too implausible, even for an action flick. What makes the Bourne movies so superior to Salt? Jason Bourne does the most incredible things but they seem much more realistic. As spectacular as the (Bourne) action and story is, it is also gritty, tough and within the laws of physics. With Salt, I’m not even talking about the stunning escapes on the highway, I’m talking about the superhuman strength inside a 98 pound spy, the (repeated) ability to just “knock out” people she doesn’t want to kill, the gecko-like ability to scale walls and elevator shafts; essentially, this film gives Jolie’s character the strength of Superman and the skills of Spiderman in a movie with no superheroes. Oh, and there are certain gigantic plot holes that are entirely unbelievable. I can’t divulge too many without giving away much of the film, but let’s just mention one where Jolie’s character manages to inflict a certain amount of damage on someone because the “cuffs” that have been placed on her have about two feet of slack chain to work with. Have you ever seen cuffs like that in any action film/cop movie in your life, or even the last time you were arrested? Nope, me neither.
So, I can’t recommend Salt at a first run theatre. But it does have strong, watchable actors, and some pretty cool stunts … so if it’s at the Bloor … on a matinee … and you’re in the mood for popcorn or Glosette raisins … oh, what the hell, you talked me into it.
Point of Interest: Just another enormous plot hole that must be mentioned because it’s so stupid it’s almost funny. Jolie’s character is told to marry an entomologist because “spider experts” apparently have easy access to the North Korean border.
Really.
The most notoriously closed off military country in the world allows people studying spiders to cross back and forth between North and South Korea. Hell, don’t send Bill Clinton or Jimmy Carter to free the next captive American, just find your local German ex-pat bug expert to waltz across the border with a jar full of Black Widows and maybe a Praying Mantis on his shoulder—that’ll impress ‘em.
Sunday, September 26, 2010
Do you Know The Story of The Boy Who Lived? An Appeal to Muggles
Have you someone in your life who hasn’t read the Harry Potter books? Have you encouraged them only to be greeted with rolling eyes and an “I’m an adult and I don’t read kids’ books” attitude? It saddens me that there are people we know all around us who are on the wrong path; we will have to reach out to them. If there is a muggle in your life, have him/her read this testament … and pray.
Dear Muggles, or Those Who Don’t Know:
I was once like you old friend. My parents and others used to urge me to read Harry Potter. I would treat their appraisals of the books with scorn. Indeed, I mocked their happiness and contentment with life. A small part of me was confused with their joy and perhaps wanted to share in it, but I was too proud to let The Boy Who Lived into my heart. I was wandering, alone in this world, a muggle without a cause; and then something miraculous happened: I saw the film Harry Potter and the Philosopher's Stone. I was intrigued, but still I struggled against the strongest magic of all ... love. Then, finally, I read the books, and I came to realize what a friend I have in Harry.
Brother or sister, have you heard the story of The Boy Who Lived? Perhaps I could come by one afternoon and we could have tea and chat. I have some literature I would like you to read--seven books, actually. You may say, you've seen the movies and do not need to read the books. My friend, the movies are a trap for the weak and the attention challenged, and they are nothing but an echo of the true message. Many of your children have heard the message and believe. Your loved ones have embraced The Boy Who Lived, but we are concerned for you, you poor ignorant muggle. Many years from now as we journey to the next world we would be crushed to leave King's Cross Station without you. Join us, friend. Open the books, open your mind, open your heart, save your soul. "Love has a power beyond the reach of any magic," the apostle Albus taught us that, and that is the joy that awaits you.
OK, seriously dudes and lady dudes, you haven't read the books?! No excuses, read the books then you can pooh-pooh them with knowledge if you like, but you have to read them first. If you don’t know me personally then you should know that I am a confirmed snob, I have an honours degree in English, and I actually thought they were just for kids before I read them--but then I did, and they're great. I've re-read them many times, and with that, I'm more and more impressed with the many intriguing layers throughout the books and the imagination that was used to create that world. The parallels with the real world confront classism, racism, and corrupt governments, and most importantly of all, show that justice and love are worth fighting for; worth dying for. The books are remarkably funny, always compelling, and flat-out page turners. I already have to deal with some people I know not thinking the Beatles are all that great (oh, Elaine); don’t let me suffer through the knowledge that there are obstinate muggles out there meandering aimlessly through life--give the books a chance, and save yourself.
Dear Muggles, or Those Who Don’t Know:
I was once like you old friend. My parents and others used to urge me to read Harry Potter. I would treat their appraisals of the books with scorn. Indeed, I mocked their happiness and contentment with life. A small part of me was confused with their joy and perhaps wanted to share in it, but I was too proud to let The Boy Who Lived into my heart. I was wandering, alone in this world, a muggle without a cause; and then something miraculous happened: I saw the film Harry Potter and the Philosopher's Stone. I was intrigued, but still I struggled against the strongest magic of all ... love. Then, finally, I read the books, and I came to realize what a friend I have in Harry.
Brother or sister, have you heard the story of The Boy Who Lived? Perhaps I could come by one afternoon and we could have tea and chat. I have some literature I would like you to read--seven books, actually. You may say, you've seen the movies and do not need to read the books. My friend, the movies are a trap for the weak and the attention challenged, and they are nothing but an echo of the true message. Many of your children have heard the message and believe. Your loved ones have embraced The Boy Who Lived, but we are concerned for you, you poor ignorant muggle. Many years from now as we journey to the next world we would be crushed to leave King's Cross Station without you. Join us, friend. Open the books, open your mind, open your heart, save your soul. "Love has a power beyond the reach of any magic," the apostle Albus taught us that, and that is the joy that awaits you.
OK, seriously dudes and lady dudes, you haven't read the books?! No excuses, read the books then you can pooh-pooh them with knowledge if you like, but you have to read them first. If you don’t know me personally then you should know that I am a confirmed snob, I have an honours degree in English, and I actually thought they were just for kids before I read them--but then I did, and they're great. I've re-read them many times, and with that, I'm more and more impressed with the many intriguing layers throughout the books and the imagination that was used to create that world. The parallels with the real world confront classism, racism, and corrupt governments, and most importantly of all, show that justice and love are worth fighting for; worth dying for. The books are remarkably funny, always compelling, and flat-out page turners. I already have to deal with some people I know not thinking the Beatles are all that great (oh, Elaine); don’t let me suffer through the knowledge that there are obstinate muggles out there meandering aimlessly through life--give the books a chance, and save yourself.
Thursday, September 23, 2010
Scott Pilgrim vs. the World: Review
Scott Pilgrim vs. the World
Directed by: Edgar Wright
Starring Michael Cera and Mary Elizabeth Winstead
After decades of seeing Toronto play anything but itself it’s nice to see two movies in one year where the ol’ girl actually gets to show the CN Tower and not have to hide the km/hour signs. And with the lead actor and two supporting characters also being Canadian … well, I’m just shocked.
While Chloe perhaps shoots this city better than it’s ever been seen, Scott Pilgrim vs. the World goes even a little farther by actually mentioning the city as well. However, once we adjust to the fact that the setting is truly in Toronto (for Canadians it’s an unusual adjustment) then we can just sit back and let the movie take us for a ride.
Our director, Edgar Wright is no stranger to making inventive, high paced action/comedies being the director of both Shaun of the Dead and Hot Fuzz. I think he’s topped himself with Scott Pilgrim.
The movie is fresh, modern and quick and unlike pretty much anything you’ve seen before. What’s great about the film is that although it’s definitely for a young audience its essential story line—boy fights for girl—is universal. Now, a boy fighting for a girl is something we’ve seen a thousand times before, but not like this.
The basic plot is thus: Scott (Cera) is a 23 year old slacker, “I’m in a band” dude who is trying to get over heartbreak by dating a high school girl, Knives Chau (Ellen Wong). Mercilessly teased by friends and band-mates over dating a 17 year old, Pilgrim continues his near platonic relationship until he meets Ramona Flowers (Winstead) and is instantly smitten. But dating Ramona isn’t so simple, Scott must fight (and I mean freakin’ fight) all of Ramona’s exes before he can capture the girl of his dreams (literally).
The fights are exceptionally well done and carried out in a comic-book/video game/over-the-top fashion. Naturally, they are also hilarious. Part of the humour comes from the fact that the fights are happening at all, part of it comes from a wee, skinny slacker being able to form a fist, let alone kick ass; but most of the humour comes from the ADD mode of everything-all-the-time.
While the style and look of the film is impressive, the movie wouldn’t be as good as it is without such an effective turn from a great ensemble cast. The leads Cera and Winstead are strong and well cast but the supporting actors truly shape the film. They roll with the various tones and situations, being droll, crazy, demented or heart-felt when the need arises, but they are always honest and that is essential for a movie like this. The audience would have drifted away after twenty minutes in this sensory over-load extravaganza, if the cast didn’t keep the emotions real, wry and true. My favourite of the supporting cast is Ellen Wong as Knives. Wong is cute, heart-breaking, funny and is literally a green belt in taekwondo, which, trust me, is important in this film.
However, it wouldn’t be right to review this movie without specifically looking at the performance of Michael Cera. I’ve heard complaints of Cera playing “the same character” in every movie. I actually don’t think this is true. Cera is considerably different in this movie than in others. His last movie, Youth in Revolt, is even more of a departure. In this film, Cera has perfect timing, is both awkward and strong and does a pretty damn good job with the fight scenes, which I don’t think many people would have predicted (me included). Also, if we’re going to criticize Cera for being “the same” then we better be prepared to say that for nearly every other actor out there. Only a few actors can completely disappear into their roles (Streep, Penn, Depp, Pearce) while most play different characters that may have a similar energy. This lack of variety does not mean they are not good actors. I think George Clooney is a great actor but he doesn’t shave his head and speak with a Kiwi accent just to have a different “feel.” Jimmy Stewart and Humphrey Bogart are two of my all time favourites, but one could accuse them of being “the same” in many roles. It’s not all about versatility; it’s more about honesty and whether the audience tunes into the character’s emotions. I think Cera has that, and it comes through in this film.
Scott Pilgrim vs. the World keeps you entertained without getting stale or losing its heart; thanks to strong direction and a tight ensemble cast. Besides, how can you not like a film where the hero wears a CBC t-shirt.
Very good flick.
Point of Interest: The only confusing thing about this film is that it didn’t make very much money at the box office. It received (generally) great reviews with an 81% rating on Rotten Tomatoes and it’s certainly geared to the traditional movie-going audience of teenagers, so why the weak box-office? I’ve heard some speculate that the Toronto setting might have affected sales. It’s one of the reasons nearly every movie gets “set” in America even if it’s not shot there, or based on a book that has a different setting all together (High Fidelity being moved to Chicago from London being a great example). Many studio execs feel that if a movie isn’t in America and about Americans then the U.S. audience won’t care. I don’t know if that’s true, but studios certainly act as if it is, Americanizing nearly every thing they touch (I’m just glad they left Wolverine Canadian!).
Directed by: Edgar Wright
Starring Michael Cera and Mary Elizabeth Winstead
After decades of seeing Toronto play anything but itself it’s nice to see two movies in one year where the ol’ girl actually gets to show the CN Tower and not have to hide the km/hour signs. And with the lead actor and two supporting characters also being Canadian … well, I’m just shocked.
While Chloe perhaps shoots this city better than it’s ever been seen, Scott Pilgrim vs. the World goes even a little farther by actually mentioning the city as well. However, once we adjust to the fact that the setting is truly in Toronto (for Canadians it’s an unusual adjustment) then we can just sit back and let the movie take us for a ride.
Our director, Edgar Wright is no stranger to making inventive, high paced action/comedies being the director of both Shaun of the Dead and Hot Fuzz. I think he’s topped himself with Scott Pilgrim.
The movie is fresh, modern and quick and unlike pretty much anything you’ve seen before. What’s great about the film is that although it’s definitely for a young audience its essential story line—boy fights for girl—is universal. Now, a boy fighting for a girl is something we’ve seen a thousand times before, but not like this.
The basic plot is thus: Scott (Cera) is a 23 year old slacker, “I’m in a band” dude who is trying to get over heartbreak by dating a high school girl, Knives Chau (Ellen Wong). Mercilessly teased by friends and band-mates over dating a 17 year old, Pilgrim continues his near platonic relationship until he meets Ramona Flowers (Winstead) and is instantly smitten. But dating Ramona isn’t so simple, Scott must fight (and I mean freakin’ fight) all of Ramona’s exes before he can capture the girl of his dreams (literally).
The fights are exceptionally well done and carried out in a comic-book/video game/over-the-top fashion. Naturally, they are also hilarious. Part of the humour comes from the fact that the fights are happening at all, part of it comes from a wee, skinny slacker being able to form a fist, let alone kick ass; but most of the humour comes from the ADD mode of everything-all-the-time.
While the style and look of the film is impressive, the movie wouldn’t be as good as it is without such an effective turn from a great ensemble cast. The leads Cera and Winstead are strong and well cast but the supporting actors truly shape the film. They roll with the various tones and situations, being droll, crazy, demented or heart-felt when the need arises, but they are always honest and that is essential for a movie like this. The audience would have drifted away after twenty minutes in this sensory over-load extravaganza, if the cast didn’t keep the emotions real, wry and true. My favourite of the supporting cast is Ellen Wong as Knives. Wong is cute, heart-breaking, funny and is literally a green belt in taekwondo, which, trust me, is important in this film.
However, it wouldn’t be right to review this movie without specifically looking at the performance of Michael Cera. I’ve heard complaints of Cera playing “the same character” in every movie. I actually don’t think this is true. Cera is considerably different in this movie than in others. His last movie, Youth in Revolt, is even more of a departure. In this film, Cera has perfect timing, is both awkward and strong and does a pretty damn good job with the fight scenes, which I don’t think many people would have predicted (me included). Also, if we’re going to criticize Cera for being “the same” then we better be prepared to say that for nearly every other actor out there. Only a few actors can completely disappear into their roles (Streep, Penn, Depp, Pearce) while most play different characters that may have a similar energy. This lack of variety does not mean they are not good actors. I think George Clooney is a great actor but he doesn’t shave his head and speak with a Kiwi accent just to have a different “feel.” Jimmy Stewart and Humphrey Bogart are two of my all time favourites, but one could accuse them of being “the same” in many roles. It’s not all about versatility; it’s more about honesty and whether the audience tunes into the character’s emotions. I think Cera has that, and it comes through in this film.
Scott Pilgrim vs. the World keeps you entertained without getting stale or losing its heart; thanks to strong direction and a tight ensemble cast. Besides, how can you not like a film where the hero wears a CBC t-shirt.
Very good flick.
Point of Interest: The only confusing thing about this film is that it didn’t make very much money at the box office. It received (generally) great reviews with an 81% rating on Rotten Tomatoes and it’s certainly geared to the traditional movie-going audience of teenagers, so why the weak box-office? I’ve heard some speculate that the Toronto setting might have affected sales. It’s one of the reasons nearly every movie gets “set” in America even if it’s not shot there, or based on a book that has a different setting all together (High Fidelity being moved to Chicago from London being a great example). Many studio execs feel that if a movie isn’t in America and about Americans then the U.S. audience won’t care. I don’t know if that’s true, but studios certainly act as if it is, Americanizing nearly every thing they touch (I’m just glad they left Wolverine Canadian!).
Thursday, September 16, 2010
The Other Guys: Review
The Other Guys
Directed by: Adam McKay
Starring Will Ferrell and Mark Wahlberg
Sometimes a movie tries to be too many different types of film and suffers for it. Sometimes a movie can have different styles, different messages and switch genres every five minutes and still pull off an entertaining, hilarious thrill-ride: The Other Guys gets it done.
The jokes are both subtle (sometimes) and outrageous (much more often) but are nearly always funny. Sure, there are some misses here and there, but that’s to be expected when there are just so damn many of them. More often that not, they find their mark.
Narrated by a man who once sang about killing cops and now plays one on TV (Ice-T) this is one of the better “buddy-cop” movies to come along, and it’s certainly one of the better “buddy-cop” parodies ever done. That’s what makes The Other Guys interesting; it’s much more than typical “parodies” like Date Movie and Scary Movie, it actually has decent acting, a real story, and more importantly, biting political satire. Still, it is a parody. Not just of buddy-cop films, but of action films altogether. The action sequences are so ridiculous they border on surreal, thus lambasting the typical over-the-top action seen in so many movies where the hero can fly his car through any old building and emerge without a scratch. Just when you think this is how they’re going to do it, cheesy violence with no consequences, they switch gears and suddenly the “heroes” at the start of the film meet a very real (though inexplicable) end.
This is where our main characters, Detective Allen Gamble (Ferrell) and Detective Terry Hoitz (Wahlberg) come in. Both have been delegated to back-up detectives, helping the real cops who are on the street fighting crime, by doing paper work. Gamble is very happy and safe pushing paper and crunching numbers, whereas Hoitz is itching to get back out on the street. The back story of how these two ended up where they are is hilarious and I won’t ruin it for you here, but then a case comes down that prods them away from their desks.
The gags are great. Gamble and Hoitz getting “tricked” into accepting bribes, the hobo orgies and desecration of Gamble’s Prius; the Prius itself contrasting with the super-cops’ mint condition SS Chevelle and the scorching hotness of Gamble’s wife (Eva Mendes) and their bizarre relationship. Perhaps the best gag of all though, is the political humour and surprising insight. You don’t expect the savvy lines about the bail out of the ultra rich being blended into a movie like this, but just in case you missed it (and there’s a good chance that we did) the end credits knock it over your head—but in a good way.
I joked that the end credits were the best part of Robin Hood in an earlier review (they were) but these end credits are even better. Filled with well researched facts (Sony insisted for fear of lawsuits) the end credits spell out the huge gap between what large financial corporations and executives get away with in relation to the rest of us. My favourite was the CEO salary compared to the average employee salary. Starting at about 10 to 1 in 1924 it slowly grew to about 20 to 1 in the 1950s … it is now currently 319 to 1. If that doesn’t piss you off, I don’t know what will. Some might feel it’s a little jarring that these Michael Moore-like credits come at the end of The Other Guys but there are hints of this message throughout, as well as the crime that they are investigating itself. It may have been a better film if this theme was explored a little more but we should be happy for any political message at all in what is otherwise a zany, buddy-cop flick.
Kudos should also go out to Ferrell and Wahlberg. We expect them to be funny, especially Ferrell, but they also make the viewer care about these guys. It’s not a big dramatic turn or anything; they just both have the ability to create empathy for characters that aren’t all that likeable.
Check out The Other Guys. It’s not perfect, there are a couple of lulls, but it’s inventive, different, takes unexpected turns, and has a slyly hidden political punch.
Point of Interest: As mentioned earlier the hero cops drive around in a mint condition ’69 SS Chevelle. I love this. It’s a shot at so many different films and TV shows where the tough cops always drive a cool muscle car. I happen to love old muscle cars so I’ve always noticed this little quirk. What’s great about The Other Guys is when this beautiful Chevelle gets destroyed they’re driving a different Chevelle the next day. And, naturally, once our leads earn their chops, they have a mint condition first generation Camaro … perfect.
Directed by: Adam McKay
Starring Will Ferrell and Mark Wahlberg
Sometimes a movie tries to be too many different types of film and suffers for it. Sometimes a movie can have different styles, different messages and switch genres every five minutes and still pull off an entertaining, hilarious thrill-ride: The Other Guys gets it done.
The jokes are both subtle (sometimes) and outrageous (much more often) but are nearly always funny. Sure, there are some misses here and there, but that’s to be expected when there are just so damn many of them. More often that not, they find their mark.
Narrated by a man who once sang about killing cops and now plays one on TV (Ice-T) this is one of the better “buddy-cop” movies to come along, and it’s certainly one of the better “buddy-cop” parodies ever done. That’s what makes The Other Guys interesting; it’s much more than typical “parodies” like Date Movie and Scary Movie, it actually has decent acting, a real story, and more importantly, biting political satire. Still, it is a parody. Not just of buddy-cop films, but of action films altogether. The action sequences are so ridiculous they border on surreal, thus lambasting the typical over-the-top action seen in so many movies where the hero can fly his car through any old building and emerge without a scratch. Just when you think this is how they’re going to do it, cheesy violence with no consequences, they switch gears and suddenly the “heroes” at the start of the film meet a very real (though inexplicable) end.
This is where our main characters, Detective Allen Gamble (Ferrell) and Detective Terry Hoitz (Wahlberg) come in. Both have been delegated to back-up detectives, helping the real cops who are on the street fighting crime, by doing paper work. Gamble is very happy and safe pushing paper and crunching numbers, whereas Hoitz is itching to get back out on the street. The back story of how these two ended up where they are is hilarious and I won’t ruin it for you here, but then a case comes down that prods them away from their desks.
The gags are great. Gamble and Hoitz getting “tricked” into accepting bribes, the hobo orgies and desecration of Gamble’s Prius; the Prius itself contrasting with the super-cops’ mint condition SS Chevelle and the scorching hotness of Gamble’s wife (Eva Mendes) and their bizarre relationship. Perhaps the best gag of all though, is the political humour and surprising insight. You don’t expect the savvy lines about the bail out of the ultra rich being blended into a movie like this, but just in case you missed it (and there’s a good chance that we did) the end credits knock it over your head—but in a good way.
I joked that the end credits were the best part of Robin Hood in an earlier review (they were) but these end credits are even better. Filled with well researched facts (Sony insisted for fear of lawsuits) the end credits spell out the huge gap between what large financial corporations and executives get away with in relation to the rest of us. My favourite was the CEO salary compared to the average employee salary. Starting at about 10 to 1 in 1924 it slowly grew to about 20 to 1 in the 1950s … it is now currently 319 to 1. If that doesn’t piss you off, I don’t know what will. Some might feel it’s a little jarring that these Michael Moore-like credits come at the end of The Other Guys but there are hints of this message throughout, as well as the crime that they are investigating itself. It may have been a better film if this theme was explored a little more but we should be happy for any political message at all in what is otherwise a zany, buddy-cop flick.
Kudos should also go out to Ferrell and Wahlberg. We expect them to be funny, especially Ferrell, but they also make the viewer care about these guys. It’s not a big dramatic turn or anything; they just both have the ability to create empathy for characters that aren’t all that likeable.
Check out The Other Guys. It’s not perfect, there are a couple of lulls, but it’s inventive, different, takes unexpected turns, and has a slyly hidden political punch.
Point of Interest: As mentioned earlier the hero cops drive around in a mint condition ’69 SS Chevelle. I love this. It’s a shot at so many different films and TV shows where the tough cops always drive a cool muscle car. I happen to love old muscle cars so I’ve always noticed this little quirk. What’s great about The Other Guys is when this beautiful Chevelle gets destroyed they’re driving a different Chevelle the next day. And, naturally, once our leads earn their chops, they have a mint condition first generation Camaro … perfect.
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