i was invited to this fiasco at a screening. really glad I spent no money. > first thing: u gotta BUY into this whole "will n grace" vanilla-homosexual politic to even consider the absurdity of this ... film. then u have to tolerate really bad acting by heather graham. the horrible script, flat, unimaginative writing notwithstanding. in short, "lipstick lesbians" are not as credible as their more masculine counterparts. the psychology of men and how they may react to (to two hot women, making out, in particular) is a light year from the clumsy, intended ruse that unfolds. (her) brother's reaction is incredible, sissy spacek apparently didn't read the entire script. I'm sure her cameo was a favour to (someone); and not even molly shannon will make you laugh. leave this film _ don't do it, folks! Netflix anyone?
Reviews
25 Reviews
Gray Matters
(I) (2006)
the "gay" thing ... the BAD acting ... the horrific script!
22 February 2007
Warning: Spoilers
Troy
(2004)
The reason we tell these tales over and over again is no accident...
28 May 2005
This movie was absolutely perfect. Brad Pitt has arrived as a great actor; and matches the legendary Peter O'Toole (who plays King Priam) as he creates an organic, believable 'Achilles'. The fact that Wolfgang Petersen overlooks the orthodoxy of Homer and amalgamates Virgil's Aenied ( including the Trojan horse) is of no matter to me. Nor does it matter, the absence of the mysticism of Greek mythos. The relevance of the Greek Gods has been suppressed in this film. The terse dialogue still respects the ancient characters and concepts. Ed Bana is just as I would imagine 'Hektor' would be like. Brian Cox plays 'Agamemnon' as he could possible be in reality: selfish, ambitious and yet somehow heroic. 'Odysseus' perfectly balanced humanity is well preserved from the Homeric prose (brilliantly and humbly played by British stage veteran, Sean Bean) Indeed, the personalities of the characters and how they contrast are what make the Iliad the ultimate tale of human morality.
The screenplay by David Benioff is well adjusted to modern times w/o sacrificing the mores of that time. The only other period-film that succeeded in both being "Hollywood" and actually convincing, time-wise, was Tombstone (directed by George P. Cosmatos, 1993). Troy highlights the vanities that we no longer analyze within ourselves. Pride and Greed are now interwoven into our culture. That was probably the true motivation that inspired Homer in his day which was a time very similar to our own. The luxury of ancient Greece and Troy easily matched our opulence and privileges. The bourgeois trappings of a comfortable society rend the same beasts: sheep, wolves and lions.
The reason we tell these tales over and over again is no accident. And we really are no different than those who lived before Christ or Muhammad. Our destiny awaits us.
The screenplay by David Benioff is well adjusted to modern times w/o sacrificing the mores of that time. The only other period-film that succeeded in both being "Hollywood" and actually convincing, time-wise, was Tombstone (directed by George P. Cosmatos, 1993). Troy highlights the vanities that we no longer analyze within ourselves. Pride and Greed are now interwoven into our culture. That was probably the true motivation that inspired Homer in his day which was a time very similar to our own. The luxury of ancient Greece and Troy easily matched our opulence and privileges. The bourgeois trappings of a comfortable society rend the same beasts: sheep, wolves and lions.
The reason we tell these tales over and over again is no accident. And we really are no different than those who lived before Christ or Muhammad. Our destiny awaits us.
Crash
(I) (2004)
Haggis: Playing With Fire and Not Getting Burned ...
12 May 2005
Warning: Spoilers
All of the characters were underdeveloped as they served as willing pawns in this Maalox yarn. Jewish actor, Brendan Fraser affects a wonderful WASPy posture as a politically sensitive District Attorney. Yet he is ultimately forgettable. Sandra Bullock, as his wife, was one sexy >bleep<!
But she should've been secretly half black or something to make her obnoxious character more relevant. Her behavior was just not genuinely racist. Bullock's character was just one Sexy-Ass Bitch ... but an Ass nonetheless. Of course, she wasn't that sexy when she fell down that flight of stairs.
The film is littered with cheap devices used by the director to skirt real issues of racism. There is substantial emotional impact scattered about but it uneven, sometimes heavy- handed, most times humorous. The only REAL racism is, interestingly, woven into the screenplay itself. All the missed cultural-cues and fragile, artificial dialogue amount to a parched-mouth mea culpa by the writer. There's your first dose of real irony.
For all the melodrama in the young street hood characters (played with skepticism by Larenz Tate and rap star Ludicrous) their dialogue obsequiously panders to white, racist expectations. Moreover, they were far too intellectual and self-analyzing of their predicament to be credible street people. The dialogue was callow and leading, as to camouflage the authors mal-informed dialectics.
Don Cheadle leads a motley crew of great actors who were obviously lead down a primrose path: Jewish actors Shaun Toub and Bahar Soomekh work in vein to hold the messy "Persian/ Arab" sub-story together. Far too complex to begin to comment on. But it was obviously a contrived element designed to capitalize on the current American/Anglo fascination and (fear of) with the Middle East.
With Daniel (Michael Pena) and his bulletproof daughter, I think the author is suggesting that racism (even) happens between minorities! (A classic, white rationalization stratagem) A Chinese wife of a draggled man calls a random white nurse a cow. Was the nurse a shill for the director's paean of white guilt? Does insulting white people punish them for being racists? Is 80s-style white self-punishment coming back in vogue? Ryan Philippe's character was laughable. After he accidentally kills his would-be black buddy he torches his car and starts a bonfire of the vanities. The ashes disperse and in a desperate nod to PT Anderson (a filmmaker with really strong talent), suddenly it's snowing in Los Angeles.
Matt Dillon's character got the greatest pass of the movie. He had the luxury of being a complete and overt racist. After he brazenly fondles a black woman, (Thandie Newton) humiliating her before her husband (a great acting effort, expended by the great Terrance Howard but his character is ridiculously written); he gets to be the biggest hero as he pulls her from a burning SUV (a situation that could only possibly overlap in a small town like Mayberry). In this drippy, melodramatic scene Matt Dillon dives back into the exploding vehicle to save Ms. Newton's embattled character from certain death. The moment becomes strangely erotic. The same way I imagine Thomas Jefferson and Sally Hemming were erotic nothing like being raped by your oppressor! After about a hundred years or so, you might learn to actually like it
Is Mr. Haggis suggesting as Warren Beatty suggested in his 1994 farce, Bulworth: that racist whites can find redemption in mating with black people? Or is this the ultimate form of ethnic cleansing? It certainly was for hundreds of years during western European slavery. It is a compelling argument to state that we are currently smack-in-the-middle of the same racist regime! Our present time reality makes the surrealism of Alice in Wonderland pale by comparison. The fact that we can actually make entertainment products that decry our predicament is probably the secret that will make this film financially successful. Irony thick as blood.
In the future, after the dust has cleared from the fallout of our modern Babylon state, this movie will be seen as a propaganda film. Haggis is manipulating everyone. At first I was going to make an effort to seriously deconstruct the film but now I realize its just cultural manipulation, pure and simple. Haggis has taken a leadership position as he abrogates the effects of white racism. Indeed, racism as we understand it in America was fueled by European colonization and nothing other. It's an entirely fair indictment of our European forbearers. Indeed, fixing the blame does not have to constitute hating white people or any oppressor in the context of Tyranny. Modern "racism" as we know it today, is a mere orphan of race-tyranny.
Well, at least Mr. Haggis as sparked a conversation. But like the infamously popular academic text, The Bell Curve, over a decade ago -- which also sparked a national dialogue on race issues, albeit supported by soft-science on the academic front -- it is a dubious distinction of false merit. Paul haggis has confessed his racism to the world and he's getting paid handsomely for it. And that reality is the greatest irony of all.
The film is littered with cheap devices used by the director to skirt real issues of racism. There is substantial emotional impact scattered about but it uneven, sometimes heavy- handed, most times humorous. The only REAL racism is, interestingly, woven into the screenplay itself. All the missed cultural-cues and fragile, artificial dialogue amount to a parched-mouth mea culpa by the writer. There's your first dose of real irony.
For all the melodrama in the young street hood characters (played with skepticism by Larenz Tate and rap star Ludicrous) their dialogue obsequiously panders to white, racist expectations. Moreover, they were far too intellectual and self-analyzing of their predicament to be credible street people. The dialogue was callow and leading, as to camouflage the authors mal-informed dialectics.
Don Cheadle leads a motley crew of great actors who were obviously lead down a primrose path: Jewish actors Shaun Toub and Bahar Soomekh work in vein to hold the messy "Persian/ Arab" sub-story together. Far too complex to begin to comment on. But it was obviously a contrived element designed to capitalize on the current American/Anglo fascination and (fear of) with the Middle East.
With Daniel (Michael Pena) and his bulletproof daughter, I think the author is suggesting that racism (even) happens between minorities! (A classic, white rationalization stratagem) A Chinese wife of a draggled man calls a random white nurse a cow. Was the nurse a shill for the director's paean of white guilt? Does insulting white people punish them for being racists? Is 80s-style white self-punishment coming back in vogue? Ryan Philippe's character was laughable. After he accidentally kills his would-be black buddy he torches his car and starts a bonfire of the vanities. The ashes disperse and in a desperate nod to PT Anderson (a filmmaker with really strong talent), suddenly it's snowing in Los Angeles.
Matt Dillon's character got the greatest pass of the movie. He had the luxury of being a complete and overt racist. After he brazenly fondles a black woman, (Thandie Newton) humiliating her before her husband (a great acting effort, expended by the great Terrance Howard but his character is ridiculously written); he gets to be the biggest hero as he pulls her from a burning SUV (a situation that could only possibly overlap in a small town like Mayberry). In this drippy, melodramatic scene Matt Dillon dives back into the exploding vehicle to save Ms. Newton's embattled character from certain death. The moment becomes strangely erotic. The same way I imagine Thomas Jefferson and Sally Hemming were erotic nothing like being raped by your oppressor! After about a hundred years or so, you might learn to actually like it
Is Mr. Haggis suggesting as Warren Beatty suggested in his 1994 farce, Bulworth: that racist whites can find redemption in mating with black people? Or is this the ultimate form of ethnic cleansing? It certainly was for hundreds of years during western European slavery. It is a compelling argument to state that we are currently smack-in-the-middle of the same racist regime! Our present time reality makes the surrealism of Alice in Wonderland pale by comparison. The fact that we can actually make entertainment products that decry our predicament is probably the secret that will make this film financially successful. Irony thick as blood.
In the future, after the dust has cleared from the fallout of our modern Babylon state, this movie will be seen as a propaganda film. Haggis is manipulating everyone. At first I was going to make an effort to seriously deconstruct the film but now I realize its just cultural manipulation, pure and simple. Haggis has taken a leadership position as he abrogates the effects of white racism. Indeed, racism as we understand it in America was fueled by European colonization and nothing other. It's an entirely fair indictment of our European forbearers. Indeed, fixing the blame does not have to constitute hating white people or any oppressor in the context of Tyranny. Modern "racism" as we know it today, is a mere orphan of race-tyranny.
Well, at least Mr. Haggis as sparked a conversation. But like the infamously popular academic text, The Bell Curve, over a decade ago -- which also sparked a national dialogue on race issues, albeit supported by soft-science on the academic front -- it is a dubious distinction of false merit. Paul haggis has confessed his racism to the world and he's getting paid handsomely for it. And that reality is the greatest irony of all.
Blade Runner
(1982)
Stop The Presses. Now, Lets Go See The Ultimate Film ...
1 March 2005
Ridley Scott is an artist.
Most modern filmmakers attend "holonised" film schools with monolithic visions of wetting down a tarmac. Most modern filmmakers cannot even draw a straight line. Further, most filmmakers, today, just don't measure up to the precedents put forth by this man.
Bladrunner is a once-n-a-lifetime cinema experience. the talent cache is enormous; from the production design of Syd Mead (credited as Visualist) to the fine, laconic acting of Harrison Ford.
Sean Young, Rutger Hauer, Daryl Hannah, Edward James Olmos also contribute career defining performances.
The Vangelis (Chariots Of Fire) soundtrack is TIMELESS. I'd go on, but I'm getting verklimpt just writing about this film. I'm gonna go load up the DVD player. Go do yourself a favour and follow my lead.
Most modern filmmakers attend "holonised" film schools with monolithic visions of wetting down a tarmac. Most modern filmmakers cannot even draw a straight line. Further, most filmmakers, today, just don't measure up to the precedents put forth by this man.
Bladrunner is a once-n-a-lifetime cinema experience. the talent cache is enormous; from the production design of Syd Mead (credited as Visualist) to the fine, laconic acting of Harrison Ford.
Sean Young, Rutger Hauer, Daryl Hannah, Edward James Olmos also contribute career defining performances.
The Vangelis (Chariots Of Fire) soundtrack is TIMELESS. I'd go on, but I'm getting verklimpt just writing about this film. I'm gonna go load up the DVD player. Go do yourself a favour and follow my lead.
Diary of a Mad Black Woman
(2005)
How Darren Grant Sold The Most Unlikely Film To The Masses
26 February 2005
Darren grant is a cool cucumber. After over 120 Music videos and commercials in just 8 years, the youngish helmer has delivered with "Diary of A Mad Black Woman". This debut director has entered the Hollywood fray on par with any big shooter. As a former Madison Avenue, ad agency creative director, I will admit I am biased because he directed an award- winning commercial for me 2 years ago.
Still, Mr. Grant pulled off the same trick he did with our controversial cinema/TV commercials (which featured a cigarette executive as a lethal "Hitman"): he took a complex, ethnically esoteric subject and simplified it, making it digestible for the masses. Slap me around a little, but I think that's what a good Director should do. The playwright, Tyler Perry has had things cooking for years on the Chittlin' Circuit, bringing his own unique brand of urban theatre to working-class, black America. Mr. Perry came to Hollywood as a pre-packaged star. And Hollywood has acknowledged his presence in grand fashion.
The rather surreal Madea character is more than just a man-in-drag; it is Perry's vessel of choice. Via Madea, he can impart a spiritual gospel that reflects his experience growing up in the black church. He can also channel his insights on politics and perhaps give a few pointers to wayward minorities who feel they are up against it. The rest of the characters in DIARY OF A MAD BLACK WOMAN: Helen, Charles, Orlando, Debrah, Brenda, Tiffany and Myrtle not to mention, Brian, Madea and Joe all played by Tyler Perry, serve to hone Mr. Perry's particular brand of cultural propaganda. To wit, love it or hate it, there is a well- defined black American subculture that cannot be ignored.
DIARY OF A MAD BLACK WOMAN is indeed complex. Whereas Robin Williams in "Mrs. Doubtfire" was, deliberately in drag as a scheming septuagenarian and as was Martin Lawrence in the "Big Momma's House" Tyler Perry's Madea is a REAL woman! He's also Madea's dirty-old-man of a brother and takes off the makeup to play handsome young attorney. Tyler is almost on par with Eddie Murphy as he bandies about in multiple roles. Again, credit Darren Grant's deft understanding of the characters' interaction. The only criticism here is that Tyler Perry is actually a more convincing actor when he is talking to himself(s)!
Kimberly Elise is a true A-list acting talent. If Madea is comic relief, Elise's Helen fulfills the dramaturgy aspect of the film. She admirably holds her own with screen legend, Cicely Tyson as her mother. Steve Harris is menacingly effective as an Ike Turner-esque, booji Atlanta attorney who emotionally terrorizes his wife and associates. Shemar Moore gives a breakout performance that is sure to take him to the next level in Hollywood. Watch as he is next transformed into a mainstream matinée idol
What's most important about this film is how it OWNS the right to speak of an ethnic genre. Darren Grant and Tyler Perry have cleverly positioned themselves as experts on American black culture. And how there are thousands of similar stories yet untold. Look for this director to, perhaps, do what Spike Lee intended; what Carl Franklin suggested; and what the Van Peebles' aspired to do: become the definitive, fresh, new voice in Black American film.
###
Still, Mr. Grant pulled off the same trick he did with our controversial cinema/TV commercials (which featured a cigarette executive as a lethal "Hitman"): he took a complex, ethnically esoteric subject and simplified it, making it digestible for the masses. Slap me around a little, but I think that's what a good Director should do. The playwright, Tyler Perry has had things cooking for years on the Chittlin' Circuit, bringing his own unique brand of urban theatre to working-class, black America. Mr. Perry came to Hollywood as a pre-packaged star. And Hollywood has acknowledged his presence in grand fashion.
The rather surreal Madea character is more than just a man-in-drag; it is Perry's vessel of choice. Via Madea, he can impart a spiritual gospel that reflects his experience growing up in the black church. He can also channel his insights on politics and perhaps give a few pointers to wayward minorities who feel they are up against it. The rest of the characters in DIARY OF A MAD BLACK WOMAN: Helen, Charles, Orlando, Debrah, Brenda, Tiffany and Myrtle not to mention, Brian, Madea and Joe all played by Tyler Perry, serve to hone Mr. Perry's particular brand of cultural propaganda. To wit, love it or hate it, there is a well- defined black American subculture that cannot be ignored.
DIARY OF A MAD BLACK WOMAN is indeed complex. Whereas Robin Williams in "Mrs. Doubtfire" was, deliberately in drag as a scheming septuagenarian and as was Martin Lawrence in the "Big Momma's House" Tyler Perry's Madea is a REAL woman! He's also Madea's dirty-old-man of a brother and takes off the makeup to play handsome young attorney. Tyler is almost on par with Eddie Murphy as he bandies about in multiple roles. Again, credit Darren Grant's deft understanding of the characters' interaction. The only criticism here is that Tyler Perry is actually a more convincing actor when he is talking to himself(s)!
Kimberly Elise is a true A-list acting talent. If Madea is comic relief, Elise's Helen fulfills the dramaturgy aspect of the film. She admirably holds her own with screen legend, Cicely Tyson as her mother. Steve Harris is menacingly effective as an Ike Turner-esque, booji Atlanta attorney who emotionally terrorizes his wife and associates. Shemar Moore gives a breakout performance that is sure to take him to the next level in Hollywood. Watch as he is next transformed into a mainstream matinée idol
What's most important about this film is how it OWNS the right to speak of an ethnic genre. Darren Grant and Tyler Perry have cleverly positioned themselves as experts on American black culture. And how there are thousands of similar stories yet untold. Look for this director to, perhaps, do what Spike Lee intended; what Carl Franklin suggested; and what the Van Peebles' aspired to do: become the definitive, fresh, new voice in Black American film.
###
Viva Las Nowhere
(2001)
Almost ... a great movie
28 January 2005
Warning: Spoilers
The variables for a Coen-like classic were all in place:
A remote location. Eccentric, aloof, clueless people. Deft performances by Patricia Richardson and Jimmy Caan. In fact, there was so much good stuff going on in the first hour that you didn't really mind that a New York Jew would end up in Kansas singing folk songs (can you say: Bob Dylan?). Unfortunately, the stories start to meander hopelessly in the second act. The most interesting characters are killed off - although in a superbly comical way - and we are left with random schlock throughout.
Gone from the film are Lacey Kohl as a wayward, talented bohemian singer, Tim Abell as "Merle" a former marine and Patricia Richardson's better half, "Helen" ... We have to endure a morose slapstick-theatre where all promises made in the first act are left unfulfilled. Even the "where-are-they-now" comic-vignettes during the end credits cannot salvage the mess left in its wake.
Somehow there is a fine line between "Dark Comedy" and "Darn Stupid" and methinks the director's personal arrogance has blinded him to this demarcation. Hopefully, there is another "Bio Dome" in the future for Mr. Bloom.
A remote location. Eccentric, aloof, clueless people. Deft performances by Patricia Richardson and Jimmy Caan. In fact, there was so much good stuff going on in the first hour that you didn't really mind that a New York Jew would end up in Kansas singing folk songs (can you say: Bob Dylan?). Unfortunately, the stories start to meander hopelessly in the second act. The most interesting characters are killed off - although in a superbly comical way - and we are left with random schlock throughout.
Gone from the film are Lacey Kohl as a wayward, talented bohemian singer, Tim Abell as "Merle" a former marine and Patricia Richardson's better half, "Helen" ... We have to endure a morose slapstick-theatre where all promises made in the first act are left unfulfilled. Even the "where-are-they-now" comic-vignettes during the end credits cannot salvage the mess left in its wake.
Somehow there is a fine line between "Dark Comedy" and "Darn Stupid" and methinks the director's personal arrogance has blinded him to this demarcation. Hopefully, there is another "Bio Dome" in the future for Mr. Bloom.
Out of left field ...?
29 November 2004
Michel Gondry is without question a peerless craftsman. His commitment to visual excitement is unmatched. Charles Kaufman seems to be opposite of Gondry in many ways. Whereas his meandering storytelling allows for lots of visual experiments, it leaves a lot to be desired in congruency. Kaufman writes weak stories - but he is big on "wonderment" - which would make teaming up with Spielberg a big payday for him. This movie is pseudo- intellectual in that is obviously inspired by a random quote from an obscure 18th century British poet. I am not convinced that the writer is some authority on Alexander Pope. The films premise is stunted because the driving force behind it should be the 'memory erasing technology', which is never defined for the audience. In the 1981 Ridley Scott film Blade Runner, there is a defined concept of memory remnants that are artificially installed in human(oid) replicas. Having clearly defined a thriving world of cloning in a neo-futuristic setting the audience is comfortable with whatever grows from (that) backbone of reason. Being categorised as a COMEDY does not exempt 'SPOTLESS' from this crucible of relevance. Thus the film is a failure in this regard. Jim Carey is perfect as the protagonist/victim; Kate Winslet looks great suppressing her upper-British accent; Kirsten Dunst and the other supporting cast are seemingly contrived and annoying for the most part. Once again, Gondry prevails here having his way, flexing his visual muscle. A director's film for sure .
Clockers
(1995)
Urbanism
26 February 2004
Mekhi Phifer's first film.
Malik Sayeed's saturated photography.
Spike's bold direction.
The Ulcers. The Pepto Bismo!
Delroy Lindo is menacing (yamon!). Harvey Keitel redeems his Bad Lieutenant.
Boundless, Frightening Urbanism.
Clockers is a day n the life of the underclass and those that exploit them.
See it and raise your urban I.Q.
-bk
Malik Sayeed's saturated photography.
Spike's bold direction.
The Ulcers. The Pepto Bismo!
Delroy Lindo is menacing (yamon!). Harvey Keitel redeems his Bad Lieutenant.
Boundless, Frightening Urbanism.
Clockers is a day n the life of the underclass and those that exploit them.
See it and raise your urban I.Q.
-bk
The Passion of the Christ
(2004)
A Spiritual Renaissance?
24 February 2004
Well, this one was amasing. The true-to-the-word accuracy is reminiscent of a Shakespearean performance. Jim Caviezel has done a DiNero. Or a Pacino. He as ascended to the heights of the acting class and Mel - well Mel was always there. I saw it in him over 20 years ago in "A Year of Living Dangerously" - start your Mel Library with that one! He is a "God" amongst mortal thesbians. In my religion of Islam, Jesus is known as Isa (Isa alai-hiss Salaam). A revered prophet of God. He is also a prophet of the Jews. Yet, The Passion moves me with divinity.
This film will reveal facets of characters that were never honestly depicted in any film before: such as a conflicted Mary Magdalen (played with aplomb by Monica Belucci), a three-dimensional Judas (by Luca Lionello); and Hristo Shopov's mercilous Pontius Pilate.
The film is a neo-baroque depiction from the chronicles God (even ancient Aramaic tongues are spoken thruout!). A Truth so well depicted, that the major religions of our time will collectively applaud it's intent. The timing of this film is important for Americans, too, as the moral deficit of the country declines to rather amasing lows.
If you are of African descent you will be disappointed to find that Jesus doesn't get any DARKER. Thus, a racial "suspension-of-disbelief" will be required in order to digest the film as a Biblical Metaphor.
All in all, I think you'll find this to be the most important film of the decade; as it will contribute to a real spiritual renaissance in the Christian world. God willing.
This film will reveal facets of characters that were never honestly depicted in any film before: such as a conflicted Mary Magdalen (played with aplomb by Monica Belucci), a three-dimensional Judas (by Luca Lionello); and Hristo Shopov's mercilous Pontius Pilate.
The film is a neo-baroque depiction from the chronicles God (even ancient Aramaic tongues are spoken thruout!). A Truth so well depicted, that the major religions of our time will collectively applaud it's intent. The timing of this film is important for Americans, too, as the moral deficit of the country declines to rather amasing lows.
If you are of African descent you will be disappointed to find that Jesus doesn't get any DARKER. Thus, a racial "suspension-of-disbelief" will be required in order to digest the film as a Biblical Metaphor.
All in all, I think you'll find this to be the most important film of the decade; as it will contribute to a real spiritual renaissance in the Christian world. God willing.
The Passion of the Christ
(2004)
Isa alai-hiss-salaam
23 February 2004
Well, I must say after having screened the PASSION, I am impressed. Jim Caviezel is an inspired actor. I can understand Mel's choice. I am a MUSLIM and a True Believer. Isa (or Jesus) as Xtians call him, is a revered profit of God even in Islam. Indeed, we all agree on his passion for God - but depart at his death and ultimate succession by the Hazrat Muhammad (pbuh).
This film is a regal tribute to all the Hazrats and their Passion for God. There is no "anti-semitism" here, either. This film is a marvelous depiction if the written word. Jewish True Believers who read the New Testaments for their edification will easily understand. As even Muslims do.
This is a timely retelling of important Chritian lore. There should be no attempt to sensor it. Inshallah.
This film is a regal tribute to all the Hazrats and their Passion for God. There is no "anti-semitism" here, either. This film is a marvelous depiction if the written word. Jewish True Believers who read the New Testaments for their edification will easily understand. As even Muslims do.
This is a timely retelling of important Chritian lore. There should be no attempt to sensor it. Inshallah.
How to Lose a Guy in 10 Days
(2003)
A light, modern classic
9 November 2003
The spainish director Pedro Almadobar is famous for would be proud. If you read my other reviews you'll understand how specious I find american culture to be. But HTLAG10DAYS succeeds where "Sabrina" failed a few years ago. Helmer, Donald Petrie obviously has studied Pedro and american comedies from 60s and with the help of famed producer Robert Evans - he's created a light, modern classic. The perfomances by Matt McConaughey and Kate Hudson are worthy of predecedors like Tony Curtis and Natalie Wood. The plot was perfectly constructed to create the wonderful, calculated combustible ending. There is one outstanding weakness in this film and all American cinema, however. That is SEX. There is a dearth of honest Sexual Passion in American cinema. It is practically non-existent. And it is rather sad, actually. Indeed, that failure is what short circuits HTLAG10DAYS and will doom it to fade into Blockbuster oblivia.
But it will still be a light, modern classic. Good work.
But it will still be a light, modern classic. Good work.
2 Days in the Valley
(1996)
I know why I missed this one ...
30 October 2003
This is nothing like Pulp Fiction. Pulp fiction is a deft piece of work crafted by a REAL story teller and artist. John Herzfeld is an "LA" movie veteren. Thats about it. This film does IMITATE the styles of artists like Robert Altman and Quentin Tarantino. But thats about as far as I'll go to compare anything those two titans have done and what Mr. Herzfeld has accomplished. At least he's done more movies than I have. But I have to admit, once I compelete my first film - he'll be left in the dust - yet AGAIN. Good casting though. I'm sure he had a big Bel Air party and hired talent that way. Perhaps he should've gotten a couple of script writers drunk too ...
Remember: QUALITY not quantitiy, people!
Remember: QUALITY not quantitiy, people!
Scary Movie 3
(2003)
Scary Movie -- NOT ...!
28 October 2003
The entire concept of "Scary Movie" is based in black american culture. Indeed, white people have never referred to HORROR using this term UNLESS they have had exposure or were raised in an african american community.
Quite literally,"Scary Movie" is a black term, and all the jokes and gags were effectively "fresh" as they were executed from the Wayans point-of-view. To create these this kind of unique satire you have to ask: "How would a kid from Harlem see holly wood horror?"
Mr "Airplane" Zucker creates a fallow, hostile rendition of what the Wayans clan executed organically and naturally. The film exploits and insults rather than entertain. Zucker's team has simply rehashed their pallid style of zany slapstick, which may have influenced this series in the first place, but the servant has become the master in this case.
Fortunate for the Wayans troop, hollywood will never quite "get" the point of their kind of humour.
Quite literally,"Scary Movie" is a black term, and all the jokes and gags were effectively "fresh" as they were executed from the Wayans point-of-view. To create these this kind of unique satire you have to ask: "How would a kid from Harlem see holly wood horror?"
Mr "Airplane" Zucker creates a fallow, hostile rendition of what the Wayans clan executed organically and naturally. The film exploits and insults rather than entertain. Zucker's team has simply rehashed their pallid style of zany slapstick, which may have influenced this series in the first place, but the servant has become the master in this case.
Fortunate for the Wayans troop, hollywood will never quite "get" the point of their kind of humour.
The Mystic Masseur
(2001)
Call (him) Ismail ... Merchant
20 October 2003
As a Jamaican (and an accused "cooley!"), me gotta sey: Di movie was damn good. Me like it, mon. Long overdue me don't see no West Indian movies. Dem alla bout white people having raus with odder white people. Boring! Finally, Mistah Merchant, master of Bollywood has stepped up the game an produced anedder West Indian treat.
It is also worth mentioning that there are two other important "third world" films that everyone must see to immerse themselves in our indo-Caribbean culture. Country Man, a Jamaican made movie with action qualities and Salaam Bombay -- Mira Nair's best work.
More movies like these and we may yet restore virtue to the west.
It is also worth mentioning that there are two other important "third world" films that everyone must see to immerse themselves in our indo-Caribbean culture. Country Man, a Jamaican made movie with action qualities and Salaam Bombay -- Mira Nair's best work.
More movies like these and we may yet restore virtue to the west.
Spaceship
(2002)
The SUPER is in the details
16 October 2003
EXCELLENT use of everyday items as props. This is how you do a low (or NO) budget indie. It still has some of the typical pacing and tempo problems associated with american independent cinema but the HIGh concept and solid story-telling balances it out. Well, for me anyway. I look forward to seeing and hearing more from Mr. Mike.
The Idolmaker
(1980)
Perfection in modernism
11 October 2003
A lot of postings indicate that this movie could do well in even today's competitive film market. And it could indeed. The late Ray Sharkey gives a very strong award-calbre performance as a repressed performer in the guise of a songwriter/manager for a couple of 1950s style teen idols. A very young Peter Gallagher showed signs that he might have a bigger career than he has apparently had. It's funny how an actor can look so "exotic" and really not actually BE exotic. It's this kind of irony that carries IDOLMAKER to the heights of classic filmaking.
Never have I seen so many Anglo pirates.
24 September 2003
Never have I seen so many Anglo pirates. What ever happened to the Danes? And weren't the Africans in the middle passage less Pirate and more Slave? All seriousness aside, This was a wonderful Disney style cartoon come to life. You almost don't mind the puerile petulance of Keira Knightley's Elizabeth Swann character. My goodness, can she show just a little maiden-like vulnerability?? Orlando Bloom makes a decent pretty boy -- but alas, Depp is still prettier! He just can't hide that face. Finally, a movie worth going to the movies for.
-natch.
-natch.
The Matrix Reloaded
(2003)
A PAN-AFRICAN Point-of-View of THE MATRIX:
18 May 2003
Nona Gaye SURE is purty.
Jada ...over acted. What was Roy Jones doing inna movie??
Cornel West makes a funny and rather apropos cameo.
There is an obvious reference to SIGMUND FREUD as the `Architect'
The modern world just can't get over their resentment of him TELLING it Like It Is .
Freud's impact is (still) being felt BIG time. Too bad he wasn't comfortable enough with his Jewry to enter the early discussions on post-slavery consciousness and it's effect on the `white' psyche.
This new flick really delves into PHILOSOPHY. Nice.
Lots of references to BAUDRILLIARD. And Sarte.
If u're like me, u'll be disappointed by one BIG thing in the movie.
-- The actually movie is fine --
And the cast is actually 60/40 DARK people.
Its been said that the casting in MATRIX series makes Star Trek look like tokenism. ...BUT...
There is this LOVE SCENE scene between the Alfa Male (Keanu) and his Alfa Female (Carrie-Ann) . They could be almost be twins, ay?
Juxtaposed to the beat of a TRIBAL dance ... takes (us) right back to good old colonial England ... and 18th century Jamaica.
yawn Some things NEVER change.
That White-GOD thing is hardwired into the white psyche.
GREAT cliffhanger. The best cliffhanger since Star Wars or WHO shot JR(!)
It was a good series segment.
VERY clever, smart film. GREAT packaging.
Like Harry Potter, Star Wars and Starbucks -- a BRAND that people will Worship.
The Power of Myth.
Folks will PAY anything to be a "part" of the fanfare.
Just like Sub-urbia . sold lock n stock.
###
A former slave once said:
'I don't care if other people see it as poetry ...
Its just life to me .'
Jada ...over acted. What was Roy Jones doing inna movie??
Cornel West makes a funny and rather apropos cameo.
There is an obvious reference to SIGMUND FREUD as the `Architect'
The modern world just can't get over their resentment of him TELLING it Like It Is .
Freud's impact is (still) being felt BIG time. Too bad he wasn't comfortable enough with his Jewry to enter the early discussions on post-slavery consciousness and it's effect on the `white' psyche.
This new flick really delves into PHILOSOPHY. Nice.
Lots of references to BAUDRILLIARD. And Sarte.
If u're like me, u'll be disappointed by one BIG thing in the movie.
-- The actually movie is fine --
And the cast is actually 60/40 DARK people.
Its been said that the casting in MATRIX series makes Star Trek look like tokenism. ...BUT...
There is this LOVE SCENE scene between the Alfa Male (Keanu) and his Alfa Female (Carrie-Ann) . They could be almost be twins, ay?
Juxtaposed to the beat of a TRIBAL dance ... takes (us) right back to good old colonial England ... and 18th century Jamaica.
yawn Some things NEVER change.
That White-GOD thing is hardwired into the white psyche.
GREAT cliffhanger. The best cliffhanger since Star Wars or WHO shot JR(!)
It was a good series segment.
VERY clever, smart film. GREAT packaging.
Like Harry Potter, Star Wars and Starbucks -- a BRAND that people will Worship.
The Power of Myth.
Folks will PAY anything to be a "part" of the fanfare.
Just like Sub-urbia . sold lock n stock.
###
A former slave once said:
'I don't care if other people see it as poetry ...
Its just life to me .'
Spun
(2002)
Good art. See it for the Art ...
28 March 2003
Jonas Åckerlund debues in grande fashion. Mickey Roaurke is
back successfully. And Tony Kaye makes a great MC! If the
Oscars were cool like Cannes or Spirit, Mina Savori would get an
award. Either way, she can give herself one. Her best work ever.
Leguizamo's talent is a staple to confirm the integrity of any film.
This movie is an incestuous romp featuring a cast of industry
cronies and enthusiastic hangers-on. I know: i'm one of them --
the hanger's on that is... Thats not a negative comment, actually.
This is an important piece of film. The photography by neophyte
Eric Froms is daring but it's what you'd expect from someone
without a lot of long form experience. Good art. See it for the Art...
back successfully. And Tony Kaye makes a great MC! If the
Oscars were cool like Cannes or Spirit, Mina Savori would get an
award. Either way, she can give herself one. Her best work ever.
Leguizamo's talent is a staple to confirm the integrity of any film.
This movie is an incestuous romp featuring a cast of industry
cronies and enthusiastic hangers-on. I know: i'm one of them --
the hanger's on that is... Thats not a negative comment, actually.
This is an important piece of film. The photography by neophyte
Eric Froms is daring but it's what you'd expect from someone
without a lot of long form experience. Good art. See it for the Art...
Lick the Star
(1998)
underaged girls = drama
6 March 2003
what a captivating little short. Pedophillically (if you will) captured by cinematographer Lance Accord ( Adaptation, Being John Malkovich (1999) and Buffalo '66), this otherwise puerile, syllogical bore looks pretty tempting. Young, unknown Audrey Heaven has something. Sofia rocks. And thats about as deep as this commentary gets ...
Daredevil
(2003)
This movie suffers from a defined AESTHETIC deficiency. It has no style to call it's own
15 February 2003
If you haven't read the Frank Miller penned and drawn Daredevil comic book - DO yourself a favour and go out and buy the graphic novel compendium. Well within a comic book context they are nothing short of masterpieces. Indeed, it was his Daredevil/Electra series that elevated the medium and converted those who only read books with "just words" to the funnies. This movie suffers from a defined AESTHETIC deficiency. It has no style to call it's own. The Richard Donner directed Superman had a decidedly incredulous tone and a brilliant CMYK theme. Tim Burton's Batman had signature gothic style. And Sam Raimi succeeded with Spiderman in the same way (notice how I intentionally omitted X-Men). Daredevil fails as it juxtaposes the already stark (and passe) Hell's Kitchen in New York City. Rife with manufactured ironies (Hell, heat and Churches), the already rich character of a blind superhero is muddled by cliché Hollywood plot twists and forced cinematic buttresses.
Predictably, whenever Hollywood screenwriters adapt comic books they presume they are adapting an inferior medium. The truth is they are not. Screenwriters clumsily assemble mechanical shooting scripts that rely heavily on catch-of-the-day stylistic devices and planned instances of irony. As a result of this preoccupation they tend to tread too carefully and the audiences can feel it. Even if (you've) never read the adapted comic, you may pick up on this apprehension and find you're laughing at the most inappropriate times.
Sadly, this movie won't have the shelf life of the original Superman (which still makes this thirtysomething blush). It will make double its modest budget and fade away on a Blockbuster rental rack. Hopefully the MBAs over at 20th Century and Regency will go on a nice long vacation, re-read the old Daredevil comic series and hire Frank Miller to do the sequel (who co-wrote the screenplay(s) for the movie ROBOCOP - a cult classic with distinct tone and style). Hell, if they're lucky they might even score a more relevant director like Paul Verhoven. God willing.
Predictably, whenever Hollywood screenwriters adapt comic books they presume they are adapting an inferior medium. The truth is they are not. Screenwriters clumsily assemble mechanical shooting scripts that rely heavily on catch-of-the-day stylistic devices and planned instances of irony. As a result of this preoccupation they tend to tread too carefully and the audiences can feel it. Even if (you've) never read the adapted comic, you may pick up on this apprehension and find you're laughing at the most inappropriate times.
Sadly, this movie won't have the shelf life of the original Superman (which still makes this thirtysomething blush). It will make double its modest budget and fade away on a Blockbuster rental rack. Hopefully the MBAs over at 20th Century and Regency will go on a nice long vacation, re-read the old Daredevil comic series and hire Frank Miller to do the sequel (who co-wrote the screenplay(s) for the movie ROBOCOP - a cult classic with distinct tone and style). Hell, if they're lucky they might even score a more relevant director like Paul Verhoven. God willing.
Gangs of New York
(2002)
the bar has been impossibly set by a film that imbues, irony, humour, and relevance with responsibility.
24 December 2002
important work.
and how timely. america was borne of violence and rage; disconsolation and mania. perhaps no other culture in history besides spain has been more defiant and defensive about it's complex origins. Scorsese has triumphed where only Griffith, Lean, DeMille, and Kubrick have previously succeeded. he has commandeered a true epic that will inspire future filmakers to come.
the bar has been impossibly set by a film that imbues, irony, humour, and relevance with responsibility. bravo, my friend, martin.
and daniel day lewis will have another oscar for a performance that challenges the viewer to become a READER; and discover that new yorkers are indeed the heir to the lower-caste brogue of the motherland. his mucky, bald accent introduces string-theory of vernacular! somehow after watching him, you know that's how men did speak indeed in post-victorian america.
no you know, america. and there is no turning back.
and how timely. america was borne of violence and rage; disconsolation and mania. perhaps no other culture in history besides spain has been more defiant and defensive about it's complex origins. Scorsese has triumphed where only Griffith, Lean, DeMille, and Kubrick have previously succeeded. he has commandeered a true epic that will inspire future filmakers to come.
the bar has been impossibly set by a film that imbues, irony, humour, and relevance with responsibility. bravo, my friend, martin.
and daniel day lewis will have another oscar for a performance that challenges the viewer to become a READER; and discover that new yorkers are indeed the heir to the lower-caste brogue of the motherland. his mucky, bald accent introduces string-theory of vernacular! somehow after watching him, you know that's how men did speak indeed in post-victorian america.
no you know, america. and there is no turning back.
Sweet November
(2001)
This story is appropriately MODERN, deftly portraying the values of the day.
8 December 2002
See: This story is appropriately MODERN, deftly portraying the values of the day. Keanu Reeves eerie, euro-asian stare works when he is the callous advertising executive yet falls short when he (is supposed) to transform into a man of the heart. Theron is always pushing him off the screen; she is a gifted actress that happens to be beautiful, too. You get the sense that she's familiar with her characters way of living at least. The plot is certainly not dramaturgy, yet even as it drags on there are some fulfilling moments. A more successful handling of this concept would be A Warm December (1973) with Sidney Poitier (for a similar story from a culturally specific POV).
Monster's Ball
(2001)
White Man's Burden Redux
1 September 2002
What are you repulsed by? Perhaps it's having sex with women of African origin inspite of the fact that you are a White male raised in a racist culture that dehmanises them. Add to this predicament, that you are a retired, widowed prison corrections officer who's only son kills himself because he feels he's failed you because he is not racist enough. Even worse, you become enligthtened enough to realise that .. you were ALWAYS wrong.
This is a brilliant story told from the rather selfish perspective of the White male. Mark Forster has directed a tour de force so intricate and psychologically honest that the story literally TELLS itself. Indeed, I'd bet this story organically spewed from souls of screenwirters Milo Addica & Will Rokos. They won't top this fete anytime soon. Such a gateway of insight only comes around once in a lifetime.
As a huge fan of David Mamet and Sam Shepard I am biased to appreciate a well balanced story, illustrated with terse dialogue, structured acting and effective filmic devices (i.e., the use of "white" paint", "black" coffee and "chocolate" ice cream in the film).
Any film student will also appreciate the poetic use of foreshadowing and irony in this film. This truly is SOLID filmaking that takes real chances with provocative subject matter.
The acting is superb more because of the Direction. To be certain: this is a Director's Film. Every aspect of Thorton's and Berry's performances is the result of very savvy Direction and attention to dramatic detail.
Kudos to Mr. Forster. I look forward his upcoming film "Neverland" with great anticipation.
This is a brilliant story told from the rather selfish perspective of the White male. Mark Forster has directed a tour de force so intricate and psychologically honest that the story literally TELLS itself. Indeed, I'd bet this story organically spewed from souls of screenwirters Milo Addica & Will Rokos. They won't top this fete anytime soon. Such a gateway of insight only comes around once in a lifetime.
As a huge fan of David Mamet and Sam Shepard I am biased to appreciate a well balanced story, illustrated with terse dialogue, structured acting and effective filmic devices (i.e., the use of "white" paint", "black" coffee and "chocolate" ice cream in the film).
Any film student will also appreciate the poetic use of foreshadowing and irony in this film. This truly is SOLID filmaking that takes real chances with provocative subject matter.
The acting is superb more because of the Direction. To be certain: this is a Director's Film. Every aspect of Thorton's and Berry's performances is the result of very savvy Direction and attention to dramatic detail.
Kudos to Mr. Forster. I look forward his upcoming film "Neverland" with great anticipation.
Chinatown
(1974)
This film exceeds the category of Noir and depicts: Life
21 August 2001
Most American whites won't appreciate the parallel of this movie to Detlef Sierk's 1959 remake of Imitation of Life. In Sierk's film irony is thicker than blood as a young mulatto girl lives a lie in denial of her Negro heritage. While this is a seemingly common predicament in post-slavery America - upon critical examination - it is an awesome tragedy and a tragic tale of disposable humanity and lost virtue. In Roman Polanski's Chinatown a similar and very real feature of the arrogant American is realised. As an adolescent society, America has engaged in fervent incestual activity for over 300 years. American culture became incomparably wealthy from it's successful campaign of human tyranny and international slave trade, graduating to worldwide dominace of commerce and religion (ratified by the Monroe doctrine). Hubris took on a whole new meaning as fathers took their slaves who in many cases were actually their daughters(!) for mere sexual pleasure. Polanski, like the German born Sierk was guided by a perceptive europeon eye to exploit America's greatest weaknesses. Indeed, this is the FUNCTION of film noir: savvy exploitation of (a) society unaware of it's own predicament. This why it is a form of genius reserved only for the outsider.
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