I'll just go ahead and start out with a spoiler. It turns out that what I, you, and everyone we know want is to CONNECT with someone else. Nothing new there. That's the theme of most of the non-Bruckheimer films that you'll see. This film is so charming and funny, however, that you'll forget how familiar the plot is. "Me and You and Everyone We Know" is the first full-length feature by writer/director Miranda July. As far as I know, her work up to this point has consisted of short films and various types of performance art. Besides writing and directing this film, she takes the female lead as a cute, quirky artist in need of a break and some friends her own age. She meets another quirky soul (John Hawkes), a recent divorcée who is distracted from her charm by his broken heart and his two sons. Those sons are busy exploring internet sex and experimenting with the teenage neighbor girls, who have their own flirtation with an older man. This is a fun, charming little movie that is comfortable being a little movie. Miranda July shows a real talent for screen writing, with hilarious dialog and outrageous situations. She also has a really cute ass. Since this little movie doesn't try to overreach itself, the actors all shine in a way that they couldn't in a BIG, IMPORTANT FILM. John Hawkes, in particular, is very likable and real. I mentioned that most of the plot and themes are comfortably familiar, but there is one idea in "Me and You and Everyone We Know" that, as far as I am aware, is completely novel. It's called "back and forth." I can't describe it without falling on the floor laughing, but I'll try to depict it for you. )) <::> (( The great thing was that during our viewing there were problems with the sound. While they fixed it, we got to see the "back and forth" scene 3 or 4 times. It was funny every time. See it if for no other reason than the "back and forth." 5 stars out of 5.
Reviews
6 Reviews
Forty Shades of Blue
(2005)
Forty Shades of Bored
24 February 2005
Someone must have thought really highly of this film, or it wouldn't have won the Grand Prize at Sundance 2005. I was just forty shades of bored. "Forty Shades of Blue" chronicles the emotional journey of Laura, the Russian common-law wife of Alan James (Rip Torn), a legendary music producer with a drinking problem and a wandering eye. When Laura embarks on an affair with Alan's stony-faced son Michael (Darren Burrows) the ensuing love triangle should be as hot as the Memphis summer. Instead it falls flat. Even the sex scenes are drab. There are only two remarkable things about "Forty Shades of Blue." One is what could be described as a nuanced performance by Dina Korzun as Laura. This actress can say a lot without talking, which is merciful given the dreary quality of most of the dialog in this film. The other thing is her haunting rendition of the title song. Buy the single, skip the film. 2 stars out of 5.
Strähl
(2004)
Kick-ass cop movie
9 February 2005
Action-packed cop movies are fun in any language, and German is no exception. In fact, the language lends itself quite well to a Dirty Harry-style Swiss narc who likes to stomp ass first and ask questions later. Strahl is an obsessive, angry cop who actually gives a damn about his job. His violent temper and obsession with busting an Armenian drug trafficker get him mixed up in the Zurich underworld deeper than he intended. This familiar and beloved cop-movie plot works great in the able hands of first-time director Manuel Flurin Hendry. (This film was actually his senior project for film school.) The action is fast-paced and fun, and acting kudos go out to Roeland Wiesnekker, who plays Strahl. If this is what director Hendry did in film school, I'll be looking to see what he does after graduation. 4 out of 5.
The Puffy Chair
(2005)
P.Diddy LOVES this chair!
9 February 2005
For a single man, the late 20's can be a very interesting and pleasant phase of life. You still enjoy much of the freedom you had when you were younger, but without the poverty. You've got a real job, a decent car, and a place of your own with no roommate. You've probably even got a few wine glasses and some framed pictures on the wall. You've figured out how to look and act like an adult, while remaining a teenager on the inside. In "The Puffy Chair," Josh (Mark Duplass) is just such a guy (not a man, but a guy). He sets off on a road trip to deliver his dad's birthday present, a purple Lazy-Boy just like one Josh remembers from his childhood. It's clear he is looking forward to some solo time on the road, but first his girlfriend Emily (Kathryn Aselton) and then his brother Rhett (Rhett Wilkins) tag along. In true road-trip fashion the three encounter various challenges along the way, and hash out their relationships.
The dynamics between the emotionally reticent Josh and his effusive, impulsive brother are there mainly for comic relief. The main theme of "The Puffy Chair" is the tension between Josh, who is happy just being a guy and having a girlfriend, and Emily who craves at least some emotional validation if not a solid commitment. The painful, late-night "conversations" that result will be uncomfortably familiar to most. Don't be misled, though. "The Puffy Chair" deals with real feelings and relationship issues, but it is above all else a hilarious road-trip comedy.
The first full-length feature by the Duplass brothers (Mark and Jay), "The Puffy Chair" is unmistakably low-budget. I suspect the biggest budget item was the actual chair. The quality of the cinematography and lighting lies somewhere between cheap porn and after-school special. The performances, on the other hand, are very heartfelt and enjoyable. One nice independent-film touch is that Josh's parents are played by Mark Duplass's actual parents. In one pivotal scene, Mr. Duplass dispenses some of his own fatherly advice.
I caught Puffy Chair at Sundance, and I will be surprised if it hits the Cineplex any time soon. It's a delightful movie, but it doesn't have the breakout success potential of a "Napoleon Dynamite." This is more the "Brothers McMullen" of 2005. See it if you can, and keep an eye out for the next Duplass brothers effort. 4 out of 5 stars.
The dynamics between the emotionally reticent Josh and his effusive, impulsive brother are there mainly for comic relief. The main theme of "The Puffy Chair" is the tension between Josh, who is happy just being a guy and having a girlfriend, and Emily who craves at least some emotional validation if not a solid commitment. The painful, late-night "conversations" that result will be uncomfortably familiar to most. Don't be misled, though. "The Puffy Chair" deals with real feelings and relationship issues, but it is above all else a hilarious road-trip comedy.
The first full-length feature by the Duplass brothers (Mark and Jay), "The Puffy Chair" is unmistakably low-budget. I suspect the biggest budget item was the actual chair. The quality of the cinematography and lighting lies somewhere between cheap porn and after-school special. The performances, on the other hand, are very heartfelt and enjoyable. One nice independent-film touch is that Josh's parents are played by Mark Duplass's actual parents. In one pivotal scene, Mr. Duplass dispenses some of his own fatherly advice.
I caught Puffy Chair at Sundance, and I will be surprised if it hits the Cineplex any time soon. It's a delightful movie, but it doesn't have the breakout success potential of a "Napoleon Dynamite." This is more the "Brothers McMullen" of 2005. See it if you can, and keep an eye out for the next Duplass brothers effort. 4 out of 5 stars.
Brick
(2005)
Outstanding detective film-noir
5 February 2005
Warning: Spoilers
Brick Opening shot: A young man squats next to a stream, his head in his hands. What is he looking at? The body of a young woman, lying half in the stream. Next we jump to 2 days before, to follow Brendan (Joseph Gordon-Levitt), an intelligent, cynical high school student, self-exiled from the cliquish world of jocks, stoners, and socialites. He is stoically heart-broken 2 months after being dumped by his girlfriend Emily (Emilie DeRavin), who left him to pursue that world. A frightened phone call from the missing Emily asking for help and filled with incoherent references to a "brick" and "the pin" prompts Brendan to launch back into high school society. He does this in the movie detective style of Sam Spade ("The Maltese Falcon"), shaking things up with a relentless directness punctuated by well-timed acts of cunning. Once found, Emily recants and asks Brendan to forget everything she said. Of course, we know from the opening scene that things aren't going to go well for Emily, and by this point we also know that Brendan isn't likely to back off from anything.
After Emily's death, Brendan starts looking for answers in earnest, slicing through high school society and the underbelly of suburban California like a weedwacker. Much like the detectives played by Humphrey Bogart in "The Maltese Falcon" and "The Big Sleep" this battered tough-guy keeps shaking the tree until the answers he wants fall out. His search leads him to the rich femme fatale Laura Dannon (Nora Zehetner), an underworld kingpin (Lukas Haas), and a handful of assorted thugs in a completely amoral teenage world. Battered physically and emotionally, he maintains his cool while playing all sides against each other in an effort to achieve some justice for the girl he loved.
In "Brick," writer/director Rian Johnson pays homage in wonderful style to the classics of noir fiction. Setting the story in the world of high-schoolers allows him to make use of classic detective story characters without seeming redundant. We have a beautiful seductress with ambiguous motives, a dangerous vamp (played brilliantly by Meagan Good, which sounds like a porno name for some reason), a crime boss and his hired muscle, and even a Vice Principal who fills the role of the police captain. Of course, Brendan is the classic loner private eye, moving through a world of scum but never allowing the dirt to get under his skin.
Language is both the strength and weakness of "Brick." Johnson drew heavily from the fiction of Dashiell Hammet (creator of Sam Spade) when writing the film, and that spare, 1940's style permeates the dialog. Suffice to say that these kids do not talk like high-schoolers. That's fine, because a stylized manner of speech suits these extremely cool, stylized characters and sets the proper mood. On the other hand, while the story of "Brick" is not wildly original, it is an excellent, riveting piece of noir fiction which deserves to be appreciated on its own merits and not just in reference to old Bogart movies. The Bogartesque lingo is entertaining, but it occasionally distracts from the story. Also, the linguistic style may simply be confusing and off-putting to audiences not familiar with the older films on which it is based.
Interestingly, none of the principal cast members were familiar with the literary and film sources from which their characters were drawn. This is remarkable, because their characterizations are so dead on, and given without a trace of the self-conscious irony that so often passes for wit. Joe Gordon-Levitt in particular deserves to be a star after this performance. He appears in every scene of the film, channeling the best of Humphrey Bogart.
"Brick" won a special Jury Prize at Sundance, and my understanding is that it has, in fact, been picked up for distribution. I suspect that despite its quality, it may have difficulty finding an audience. I hope I am wrong, because it was by far the best film I have seen this year. 5 out of 5 stars.
After Emily's death, Brendan starts looking for answers in earnest, slicing through high school society and the underbelly of suburban California like a weedwacker. Much like the detectives played by Humphrey Bogart in "The Maltese Falcon" and "The Big Sleep" this battered tough-guy keeps shaking the tree until the answers he wants fall out. His search leads him to the rich femme fatale Laura Dannon (Nora Zehetner), an underworld kingpin (Lukas Haas), and a handful of assorted thugs in a completely amoral teenage world. Battered physically and emotionally, he maintains his cool while playing all sides against each other in an effort to achieve some justice for the girl he loved.
In "Brick," writer/director Rian Johnson pays homage in wonderful style to the classics of noir fiction. Setting the story in the world of high-schoolers allows him to make use of classic detective story characters without seeming redundant. We have a beautiful seductress with ambiguous motives, a dangerous vamp (played brilliantly by Meagan Good, which sounds like a porno name for some reason), a crime boss and his hired muscle, and even a Vice Principal who fills the role of the police captain. Of course, Brendan is the classic loner private eye, moving through a world of scum but never allowing the dirt to get under his skin.
Language is both the strength and weakness of "Brick." Johnson drew heavily from the fiction of Dashiell Hammet (creator of Sam Spade) when writing the film, and that spare, 1940's style permeates the dialog. Suffice to say that these kids do not talk like high-schoolers. That's fine, because a stylized manner of speech suits these extremely cool, stylized characters and sets the proper mood. On the other hand, while the story of "Brick" is not wildly original, it is an excellent, riveting piece of noir fiction which deserves to be appreciated on its own merits and not just in reference to old Bogart movies. The Bogartesque lingo is entertaining, but it occasionally distracts from the story. Also, the linguistic style may simply be confusing and off-putting to audiences not familiar with the older films on which it is based.
Interestingly, none of the principal cast members were familiar with the literary and film sources from which their characters were drawn. This is remarkable, because their characterizations are so dead on, and given without a trace of the self-conscious irony that so often passes for wit. Joe Gordon-Levitt in particular deserves to be a star after this performance. He appears in every scene of the film, channeling the best of Humphrey Bogart.
"Brick" won a special Jury Prize at Sundance, and my understanding is that it has, in fact, been picked up for distribution. I suspect that despite its quality, it may have difficulty finding an audience. I hope I am wrong, because it was by far the best film I have seen this year. 5 out of 5 stars.
Hustle & Flow
(2005)
Formulaic but completely entertaining
5 February 2005
It's hard out there for a pimp, y'all. Hustlin' up tricks in the Memphis heat is no picnic, and then you always have to worry about ho's getting pregnant, getting an attitude, or holding out on you. On top of all that there's the crushing overhead. For Djay (Terrence Howard), a low-rent Memphis pimp with a stable of 3 girls, one of whom is pregnant, the pleasures of being a small-businessman have run thin. A run-in with an old friend from his junior-high rapping days gets him thinking about music as a way to improve his situation. Before long, Key (Anthony Anderson) and the obligatory white boy (DJ Qualls, the skinny guy from "Road Trip") are laying down crunky rhythms while Djay flows (raps) on life as a Memphis pimp.
When you break it down, "Hustle & Flow" is a formulaic Cinderella story that doesn't really show us anything we haven't seen before. We saw most of it back in 2002 when it was called "8 Mile." What sets this film apart and makes it rock are the actors and the music. Naturalistic performances by Terrance Howard and Taraji Henson (as the pregnant one) lend a surprising emotional depth. Howard, in particular, dominates the screen in this potentially star-making performance. DJ Qualls and his Adam's apple are there primarily as comic relief, but he does give a heartfelt monologue about bringing rap back to the South. As it happens, southern rap is on the upswing, popularized by the style known as "crunk." "Hustle & Flow" will likely feed off of and feed into the southern rap phenomenon. The film sold for about 9 million bucks, the biggest deal ever at the Sundance Film Festival. For that money, there's a good chance it will show up at a cinema near you. If you like rap music at all, then I think you will find "Hustle & Flow" to be thoroughly entertaining, and I guarantee you'll be singing the songs afterwards. 4 out of 5 stars.
When you break it down, "Hustle & Flow" is a formulaic Cinderella story that doesn't really show us anything we haven't seen before. We saw most of it back in 2002 when it was called "8 Mile." What sets this film apart and makes it rock are the actors and the music. Naturalistic performances by Terrance Howard and Taraji Henson (as the pregnant one) lend a surprising emotional depth. Howard, in particular, dominates the screen in this potentially star-making performance. DJ Qualls and his Adam's apple are there primarily as comic relief, but he does give a heartfelt monologue about bringing rap back to the South. As it happens, southern rap is on the upswing, popularized by the style known as "crunk." "Hustle & Flow" will likely feed off of and feed into the southern rap phenomenon. The film sold for about 9 million bucks, the biggest deal ever at the Sundance Film Festival. For that money, there's a good chance it will show up at a cinema near you. If you like rap music at all, then I think you will find "Hustle & Flow" to be thoroughly entertaining, and I guarantee you'll be singing the songs afterwards. 4 out of 5 stars.
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