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Reviews
Hostel (2005)
Blood-soaked revulsion a sadistic fantasy
Another torturous gratuity of some of the most repulsive hacking Jeffrey Dahmer could conceive, "Hostel" plays calculatingly and chillingly well as a gore fest cum revenge flick, with an anarchic signature Tarantino twist to boot. Cautionaries like "not for the squeamish" and "seduction kills" are splattered all over the wall of this malodorous, if irresistible, concept of a film like the mutilated body parts and bloody carnage which inevitably ensue, yet "Hostel", unlike countless other slasher flicks that are impetuous in presenting shock and awe, builds its terror casually and methodically. Allowing plenty of exposure to the clichéd "to-be-mutilated party animal teenagers who unknowingly become seduced by a fatal excursion", and offering up plenty of gorgeous European scenery and babes galore, the film's anticipation of horror is consequentially profound. You anxiously hang around and wonder, "How is this going to play out?". And once the neon ecstasy of the "hostel" becomes the darkest and most blood-curdling dungeons of despair imaginable, if you don't find yourself gagging and shying away from the punishing grotesqueness that eventually blackens the screen, you might want to ask yourself if you're a sadist at heart. And you thank your lucky stars that your life isn't under the knife of one of these trigger- or should I say, "blow-torch, chainsaw, drill"- happy maniacs. At times, it's a bit too excruciating and mind-numbing to absorb, and the pace is a bit drawn-out in places. In the end, there's a sore lack of empathy for any of the so-called characters, the bludgeoned or the bludgeoners, because as usual, the victims play right into their killers' machinations, and the killers are strictly capricious madmen. Just when you think one of them has the heart not to "finish the job" (or the privilege, however you want to put it), it's simply a convulsion of their manic nature, and they turn out to be the ghouls we figured them to be after all. These elements would usually make for tripe horror, and "Hostel" would fall into the category of yet another recycled morass of a gore fest. Yet one has to keep in mind that at the helm of this production is the ever-industrious Quentin Tarantino, and you had better believe that everyone's going to get what's coming to them. This is not so much a chilling and horrifying film as it is a cold and unflinching trip into the darkest places imaginable. For the price of admission, you're going to get gore, gore, and babes galore, and if that isn't enough, the last drop of blood will be shed until the credits roll. "Hostel" is blood-soaked, soberly crafted horror featuring the most gruesome images you won't be soon to forget. Could you expect anything less? *** out of ****
Wedding Crashers (2005)
Crashers is Cool and Classy Summer Fun
Aside from all of the Hollywood hogwash we've endured throughout the blazes of summer, "Wedding Crashers" falls in a class of its own, and can be welcomed as a bawdy, smart, and often tender fix on romantic antics and mostly classy comedy. Hysterical leads Owen Wilson and Vince Vaughn really elevate the film's chaffing premise to grand comedic heights, with their jovial, affable chemistry, and witty deliverance of surprisingly smart one-liners. Rather than resorting to puerile scatological butts, "Crashers" offers clever romantic skylarking for sophisticated crowds, as well as classic raunchy escapades for more demure laughter, working on many comical levels. The story showcases the goofy, albeit charming Wilson- meeting and falling for the dashing and spirited Rachel Adams, who is dying for someone of Wilson's convivial nature to come along and whisk her away from a potentially imprisoning relationship, at Secretary of Treasury Christopher Walken's other daughter's wedding, which Wilson and Vaughn initially scheme to "crash". While Wilson is struggling with a growing affection for Claire Cleary which is tempering his wild-spiritedness by the day, Vince Vaughn is enduring torture of different sorts in the form of an abnormal virgin and a gay nudist art show. Eventually, you'd expect this scenario to cause a clashing between the two "invincible party animals", and you'd be right. The comedy, however, is hardly mired by Wilson and Adams' watery romance, and rather, works in between Wilson's pontifications of "the special somebody" and antique bike venturing along the beach, and you're left with a sweet and slushy romantic comedy. The laughs are pretty consistent throughout, as there always seems to be some comical edge in between inevitable sappiness. You'll have one particularly syrupy scene with Wilson and Adams wandering the hallways "searching the night for one another", immediately followed by Vince Vaughn strapped to a bed in a not-so-pleasant hysterical episode. It's comfortably tender as well as brassily campy, and overcomes many platitudes with its nonstop charms and innuendos. Wilson and Vaughn are perhaps the perfect comedic team, and are totally believable as the shrewd and quirky chick magnets they expertly play. The concept of "one night stands" has never been funnier, and the idea they are game players in "bagging babes" with their "rules of conduct" tunes the comedy quite affably, resulting in a crafty smartness that is often AWOL in other farcical fluff. "Crashers" cruises with charming, jovial, and surprisingly sharp dialog and humor, cool and whimsical characters, and amusing scenarios that provide top of the line comedy for just about any crowd in search of something refreshingly funny to weather down the blazes of the dog days of summer. Wilson and Vaughn are a real comic treat, and "Wedding Crashers" is one terrifically funny showcase of their synergistic savvies. Here's something rare: it's a comedy where you needn't check your brain at the door to have a laughingly good time, while also inviting you to lighten up and enjoy its routinely hilarious antics. ***1/2 out of ****
Charlie and the Chocolate Factory (2005)
A sweet and loony adventure complete with awes, chimeras, and delights
A marvelously delectable, albeit bizarre and ingratiating concoction, "Charlie and the Chocolate Factory" assembles enough "freaks and treats" for deliciously satisfying entertainment that will have you scratching your head in bemusement in strange areas and licking your lips in its visual feast. The new "Wonka" tale of the fantastic world of sweet delights is far less "charming" in terms of innocence and conventional in terms of story structure than the Gene Wilder version of Dahl's masterpiece, but rather, it deviates as an eccentric, thrilling, and downright psychedelic adventure into the realms of fruitful imagination and awesome aberration. In some respects, it's still that endearing little tale of a wondrous happening realized for an indigent little boy, Charlie Bucket, who dreams of bigger and better things, yet stays dear and true to his family in any matter. Freddy Highmore instills the adorable innocuous, curious, and faithful nature of Charlie Bucket, and gives us plenty of reason to cheer for his golden day of fun being realized, even after the selfless lad initially declines the "golden ticket", out of concern for his family's living conditions. On the other hand, a child of a different nature, Willy Wonka, is explored on less empathetic terms, and we can only gather from his various reflections that his eccentric, uncanny, and somewhat eerie nature is founded on repression and emotional neglect, leading him to eventually realize that "chocolate is the only thing that makes sense". Willy Wonka, we come to realize, is one strange, unadulterated hermit, who has compassion for his "Oompa-Loompas" and a zealous proclivity for chocolate, but has little concern for anyone or anything else the world over. Perhaps nothing can explain some of his capricious, agitated tendencies, or his ghastly, gleeful countenance, or his mousy articulation, or anything else, for that matter. Through the bizarre and fascinating journey through Willy Wonka's factory, we become immersed in a visual feast of dazzling set designs, gorgeous colors, and marvelous, innovative visual effects that enthrall our senses and compensate for whatever bizarreness we encounter along the way from Depp's "Wonka in Neverland". It's a wickedly gorgeous, thrilling, and freaky adventure of a movie that can be sweet and ravishing, fruitful and wondrous, or bizarre and zany whenever it pleases, and we get a sweet taste of it all throughout. For those who detract and even dismiss the cinematic quality of the film for Depp's "zany, over-the-top, creepy" interpretation of Willy Wonka, I would argue that one can easily get past this weirdness by absorbing all of the visual splendor, or beating to the trippy, zany Danny Elfman score, or appreciating some fantastic talent all around from the adorable cast of children, to enjoy a perfectly delightful film experience. It's wild and crazy, but it's also sweet, thrilling, and fascinating- a real treat for those who can stomach Johnny Depp's bizarre, inexplicable antics, and I can assure you, there are plenty of reasons why you can. I wouldn't entrust my child in this Wonka's hands, but I wouldn't deny my child this wonderful cinematic experience, either. I'll take Tim Burton's crazy and exciting trip in Willy Wonka's wondrous factory any day over flocking to much of the uninspired, banal refuse that's normally hogging multiplexes in the summertime. You don't even need the heart of a child that explodes with joy at the finding of that last golden ticket to enjoy this "Chocolate Factory"- just bring an open mind and a thirst for adventure and visual delight, and you may discover a real treat indeed. Much of it may even dance in your mind long after a regular "sugar rush" and some of the Oompa-Loompa singing numbers are not to be missed or forgotten! ***1/2 out of ****
War of the Worlds (2005)
Run for your lives and have a popcorn-munching good time- the world is under attack!
"War of the Worlds" delivers as genuine popcorn, roller-coaster escapist fare, far from monumental or even inspiring, yet hardly derivative and implausible to the extent of unadulterated folly. The effects are nothing short of spectacular, and certainly steal the show here, "mind-blowing" away any plot holes that might undermine the film's dramatic, terrifying atmosphere. From ravaged buildings to gigantic craters to "lightning portals", the visual behemoths throughout the film are enough to leave you gasping with terror and astonishment- gotta hand it to those CGI wizards- the effects are ingeniously devised here. Tom Cruise supplies heartfelt emotion and vigilant resolve to his starring role as a "blue-collar, not-so-committed father", once again "on the run" (read Minority Report), who, as to be expected in a Spielberg film, comes to terms with the important, life-sacrificing values in life (e.g. family), and partially flees for his and his family's life, and partially combats the unidentified foes to mankind, which I suppose, elevates him to heroic status in the film. Dakota Fanning is pitch-perfect as the Cruise's terrified and remarkably wary daughter, who presumably is the heart and soul of the theme of human suffrage. Perhaps the character development is somewhat insufficient and the latter third of the movie gets bogged down in "Spielberg syrup", yet as a summer thriller, "War of the Worlds" is surely a must-see. There are plenty of chills with its conveyance of panic and paranoia- whether it be the destruction shots taking a backstage to the mass hysteria of humans- behaving like selfish ants under the focus of malicious aliens, or the scenes of carnage and wreckage- it seems a reality that this is the end of the world as we know it. The film also succeeds on suspense- the kind of man-being-cornered-by-creatures scenario exhibited in "Jurassic Park" that works so well in evoking the sense of dread in times of crucial survival. In the midst of the panic and chaos, we as the viewers experience the pain and turmoil of death, destruction, separation, and survival, and when we witness the human suffering of this clandestine "war", we are horrified by its monstrous casualties and root for the victory of man over these not-so-friendly extraterrestrials. Spielberg's direction of this bleakness is appropriately gloomy and tremulous, which serves to convey the horror and turmoil in a remarkably effective way.
Though it's far from the definitive, quintessential blockbuster, with enough plot holes to fuel the aliens' spaceships, and especially lacking in sufficient character development and satisfying resolution, "War of the Worlds" is just fun enough, terrifying enough, and dramatic enough, for a definite recommendation. For the most part, this is an end-of-the-world thriller with heart and brains, and it truly delivers as entertainment with awesome, terrifying onslaught. *** out of ****
House of Wax (2005)
Chilling Wax
"House of Wax" traffics plentifully in clichéd, campy territory, with Paris Hilton surprisingly enough sub par to the events at hand, yet isn't mired too much in wax to be dismissed as "another hysterical, implausible" teen horror flick. It has elements of sophomoric hilarity, specifically the awfully lax acting, not confined to wax sculpture Paris Hilton, but virtually the entire cast, as they run around fussing and screaming, and as is the accustom for these kinds of flicks, inexplicably find themselves seeking their own grisly fates with every ludicrous misstep they take. That said, "Wax" is also exceedingly creepy and horrific in many parts, and the sheer grotesque images of human flesh-manufactured wax sculptures as well as the excruciating process of "wax manufacturing" evokes tingling chills down your spine that is hardly gratifying, yet these elements are sufficiently scary enough for a worthy "shriek". There's not much to be made of the premise, which consists of several doting "teenagers" (most of whom are in their mid-20s, by logic) taking a wrong turn on a swamplands road trip and detouring to a terrifying town of their grisly fates- where afflicted, despondent brothers perpetrate gruesome killings and mold their victims' flesh into wax sculptures to boast their literally human, "community of wax". Not to be ignoble, but the "players of death", or the characters who stumble upon the hell of "house of wax", destitute of even the slightest thread of common sense, are almost worthy of their gruesome fates, and Paris Hilton's function and purpose in herself is for the audience to root and eventually cheer for her not-so-heiress demise. The editing work is surprisingly effective here, moreso as the film etches along, and much of the graphic material is actually jolting and unforeseeable, with the shots being exceptionally well orchestrated and encompassing of every action. Surely enough, "Wax"'s respect in the originality department is destitute, as its entire premise has been recycled and burned into wax many times over, almost mimicking exactly "The Texas Chainsaw Massacre". Yet despite its campy nature, clichéd material, and inept acting, there's enough to be said of "House of Wax" for delivering its fair share of spine-tingling terror and jaw-dropping carnage that makes for a fairly effective horror with some truly horrific elements. Don't take it too seriously, ignore Paris Hilton's minimal annoyances, and stay jolted to your seat with awe at the freakish horror of the scorching, oozing process of wax as it makes wonders out of mortifying human flesh. Sounds creepy? "Wax" transcends the "teen slasher" genre and actually looms some chilling, gory horror. *** out of ****
Sin City (2005)
Grotesquely Gorgeous- A Splendid Cult Classic
"Sin City" is a loathsomely gorgeous creation, perhaps the most brutally depraved concept to audaciously deem itself an aesthetic piece of art- it's a harrowing portrait of the decadence of a grotesque criminal underworld, supplanting elements of gore and vengeance for congenial cinematic structure, yet dare I castigate the film for those reasons- rather, it's a disgustingly beautiful contrivance of most ingenious proportions. "Sin City" is a dazzlingly bleak portrait of a truly grimy universe: bang, bang, slash, slash, yeah baby, yeah, bang, bang, etc. Instead of reducing itself to a formulaic, machismo gore fest, "Sin City" transcends its depravity into aesthetic, artistic brilliance- adhering to an atmosphere of darkness with obscure shading, and punctuating elements of ugliness, aberration, and awfulness with assorted hues, and the effect is that the depravity and vileness that constitute "Sin City" are more gorgeous and delectable elements than ever, and one develops a guilty satiation for otherwise deplorable and odious content. In "Pulp Fiction" chronology, it tells three dismal, grotesque stories of vengeance involving many scathing, loathsome people (all of whom are destined to the road to perdition if they haven't already visited there) and as we find ourselves immersed in a decaying world of murder, lust, mayhem, and redemption, there is an undeniable intoxication about the style that makes the entire "grueling" experience nothing less than deadly gorgeous eye candy, and this is sheer cinematic greatness, if nothing else. Make no bones about it, the film is not content to be sensitive to its grisly subject matter, and never compromises vile obscenity and lascivious sexual puns in its dialog, nor mortifying, nauseating violence, nor bare flesh nudity (whether bewitching or bestial), because "Sin City", for better or for worse, is unabashed to its nature, and faithfully exacerbates its graphic content into naked, blemished art for the inquisitive, lustful eye. The grizzly narrative will give you a good idea of the characters' senses as well as the theme, if you haven't already registered that this is about as drably noir as they come. Performances are polished to perfection, and each actor reserves dimensions to otherwise one-dimensional characters (Mickey Rourke is pitch-perfect at conveying angst and machismo, yet mortifying grief and apprehension in his relentless pursuit of vengeance, while Benicio Del Toro (head attached) is sneeringly villainous and charming, and Bruce Willis carries the persona of a hit-man with a heart of gold), in three cleverly united stories of vengeance that all culminate in despair for each. A truly deplorable concept of a film, highlighted by discomposed heads, repulsive flesh, grisly murder and mayhem- all electrified as one uncannily gorgeous creation that solidifies itself as a true cult classic delivering all the luscious eye candy and noir that film buffs will be salivating over, and then some. Who would've imagined a world of ugliness and filth could be so wholesomely glittering with beauty and genius? Frank Miller and Robert Rodriguez have realized just that with this marvelous "Sin City", certainly worth an engaging trip to the dark side of humanity- and beauty. **** out of ****
Guess Who (2005)
Consistently Comic, Cultural "Mac Attack"
To be confessional, I didn't have the bar set high for this recent installment of "the comical bridges of the races" Bernie Mac-Ashton Kutcher product. Surprised as I was, "Guess Who" very much surpassed those expectations and worked throughly well as a hilarious comedy that attacks cultural differences with an irreverent, raunchy, and jovial punch. Simply put, here is a film that could have excelled with any number of premises, given the inimitable charisma and comic wit of Bernie Mac, who flat out carries the show on his own piercing, sarcastic own. Ashton Kutcher works well with what he is given, yet his character comes across as a trite, clumsy bumpkin to Mac's ferocious flare, and is merely the butt of every comedic catastrophe, rather than a multi-dimensional character who can hold a candle to thwarting his own preordained chagrin. Kutcher gets involved with "his other half", is initially terrified at meeting her father (he's better with moms), and all hilarity ensues when he and "the father with the bulging eyes and capricious temperament" get uncomfortably and frolically acquainted with one another, eventually realizing that maybe this relationship will require some self-depreciation and frenzy to eventually be accepted. To be certain, much of the comedy adheres to the "racial tension" theme, and there is of course plenty of the proverbial cultural clash that abounds- consummating with, you guessed it, a torrential family dinner scene in which Kutcher's "empowerment" eventually gets the best of him, but "Guess Who" isn't content to strictly deplore racial boundaries, as it also works effectively as a howlingly funny "meet the father from hell" scenario, succeeding solely on Mac's uncannily nimble charisma and wit, who has an aura about him that would make any future son-in-law shrink to his skin, or to a greater extent, be obliged to sleep and "spoon" with the man! Of course, while this is consistently amusing and funny, what we're mostly left with toward the end are the platitudes of mawkish sentimentality, of "rekindling the love we lost" that seem to always hobble the comedy of even the most outrageous of premises, as if the premise has been exhausted enough and becomes more of an "endearing love story" than a convivial comedy... Why is that? Anyhow, I would solidly recommend "Guess Who" for its cutting, raucous comedy and for Bernie Mac's spunky, fleeting charisma that really gives a convincing element to this otherwise wired premise. The laughing stock might not be constant throughout the film, yet there is just enough humor to enjoy and laugh yourself silly. After all, watching Bernie Mac popping a blood vessel over a basketball game, debasing a man's character for not being avid in sports, or keeping a cautious and close body near Kutcher's "nighttime affairs" is certainly worth the price of admission! *** out of ****
The Incredibles (2004)
Paramount Pixar- Engineered to Perfection
"The Incredibles", without question, falls nowhere short of its title: a spectacular pack of dynamite thrills, comical and compelling humor, and stupendously dazzling visuals, an animated masterpiece for both adventure-craving children and cynical, adulterated parents alike, transcending a seemingly trite and cartoonish premise into marvelous entertainment that delivers all the goods that should be the standard for all Hollywood productions. Beginning with the exploits (or lack thereof) of a wrongfully disgraced gargantuan of a superhero Bob Parr (a.k.a. Mr. Incredible), his equally vigorous wife, and quarrelsome, prodigal children, "The Incredibles" could have resorted to strictly a nimble "superheroes saving the day" scenario, supplanting mindless action and explosion for character development and dialog. I am pleased to report that the film instead bypasses this clichéd premise and offers a simple, delightful, and often hilarious tale about a man who once conquered the scum of the earth in a supersuit, mask, and cape, who has now been reduced to intervening in family feuds, grovelling to his uptight boss, and combating the inconveniences of commute, his only escape being nights hanging out with his ex-superhero buddy Frozone ("Where's my supersuit?") and reliving the "golden days"; a perfectly endearing story we could all relate to and appreciate. Cleverly written, and with various cultural jabs (e.g. frivolous lawsuits), this story in and of itself would be plenty to be enjoyed; then again, with Pixar at the helm, it had to live up to its name and succeed as dynamite entertainment, now didn't it? One hilarious escapade leads to another, and soon enough, you guessed it, Bob Parr is once again called to arms as "Mr. Incredible". The dialog here is truly ingenious, offering distinct dimensions to each and every character and giving them their own valuable, memorable traits- with the family, these traits are brilliantly infused into their roles of action, which in effect, elevates all of their actions as superheroes to gratifying heights of excitement. Surprisingly enough, hardly ever is the dialog in this "family-oriented flick" ever bland or cheesy; it's almost entirely fresh and original, and always amusing. The visuals, without mention, are absolutely dazzling: the action mixes richly with the colors, the explosions are sheer dynamite- an amazing feat for "animation", and the characters' facial features and motions very much satisfy their accepted personalities; this is perhaps the most wonderful, ground-breaking animation I've ever seen displayed in film. The manner in which the film somehow achieves the weight of being a perfectly innocuous "family flick", gratifyingly clever and original comedy, and delivering some dynamite bang-for-your-buck, is enough to solidify this Pixar wonder (would you expect anything else from Pixar?) as a masterpiece. "The Incredibles" works ably and incredibly at balancing and surpassing so many expectations, and sustains itself from becoming a clichéd, brainless animated actioner, and rather succeeding as a clever, fresh, and marvelously rollicking entry in both the superhero and animated comedy genres. "Dahling, Dahling... For incredible, eye-popping entertainment, rejoice with "The Incredibles": it offers nearly everything that's been sorely missing in the doldrums of Hollywood entertainment today. **** out of ****
The Amityville Horror (2005)
Abysmal, Derivative Mess of Horrifying Proportions
Apparently the standard for horror films these days is all shock and no suspense, mind-numbing contrivance over crucial plot development: "The Amityville Horror" is yet another abysmal failure that is more content to provide a cheap thrill here and there than it is to adhere to the conventions of suspense-crafting and any cinematic development whatsoever. Rather than immersing us into the psyches of the inhabitants of the estate, "Amityville" plunges us into a catastrophically disheveling, incoherent frenzy of camera distortions and grotesque facades, desperately plodding for one shocking sequence after another, entirely lacking the psychological/character development of nay, a classic for the genre, "The Shining". And what's even more insulting to a viewer with any expectations whatsoever for a decent horror picture is that here is a film that is ostensibly derived from a myriad of far superior horror pictures (that it is a remake of a mediocre horror is enough to be said), while supplanting the most awfully banal and contrived "scares" (bathtub horrors, closet snatching, etc.) for a potentially engaging story of a family demonized by a possessed house that, if handled even at modest cinematic value, could've made for a psychologically exciting horror. Instead, what we're left with in this "Amityville Horror" is cardboard, barren acting (Ryan Reynolds, unlike Jack Nicholson in a much similar, yet significantly more evolved horror, is astonishingly unconvincing as a man being driven to madness, and his character is hardly developed enough to appreciate this descension), while Melissa George is equally impassioned as his much-too placid wife who can't even carry a shriek for a scare. I can hardly decide which is more maddening: the agony of standing scene after scene crashing and burning into dire implausibility and predictability, or the inanity of the characters, perhaps casualties of a platitudinous screenplay, who haven't the acuity to discern right away that they have entered ground zero into a world of hell. Perhaps the only workings of this abysmal, derivative, and pathetically predictable mess are some clever editing work in scarce areas. Otherwise, what can be said about "Amityville" that hasn't been exhausted in countless other disappointing attempts at shock without suspense; a bang and a shriek around every corner, albeit not a scintilla of plot or character development. I don't typically weigh horror films as great as serious cinematic pieces, yet I do expect the film to provide me a reason to shriek at its scares; "Amityville" is unfortunately, a "scarefest" without coherence or reason. "Get out while you still have a chance", out of seeing "Amityville", that is... *1/2 out of ****
Constantine (2005)
Visually outstanding, yet drab and underwhelming
At times dark and brooding, at times edgy and fun, and at times drab and floundering, "Constantine" is a decent outing, yet doesn't quite live up to its rollicking and intriguing premise. Keanu Reeves breezes through his role as an energetic, yet ailing, supernatural detective, who has ventured to the depths of hell (and even plunges into hell in consciousness) and decides to abet a confused, agnostic fellow detective (the gorgeous Rachel Weisz) in her sister's mysterious suicide. By the numbers action ensues, with the eerie visual effects confounding and the drab, cloyingly ponderous dialog compromising an otherwise arresting and exhilarating piece of entertainment. Instead, what with Reeves' typical wooden acting and some bedraggled, destitute dialog ("Welcome to my life"; "Not like in the movies, huh?"), "Constantine" is scarcely engaging, or much convincing, in the absence of its outstanding visuals, often coming across as a tedious visit to the "dark side" whose menacing premise can hardly be complimented by factors gone awry. Is it faithful to the comic book of its inspiration? I wouldn't know. Does this sound uncannily familiar: brazen, glum "hero" repels invisible evil threatening war upon mankind? Hint: "Whoa..." It's seldomly inventive, and the surprise twist is as befuddling and "so what" as Reeves' signature dismal performance. Hey, if you're into "Keanu condemnation", supernatural drivel, or fascinated by a lavishing Rachel Weisz, then you might thoroughly enjoy "Constantine" for what it's worth. For me, it's a bit ponderous and grim to be action dynamite, another squandered premise with hackneyed and lifeless execution. Nothing more than a bang-bang, snooze-snooze action/horror rehash, akin to a lame version of "The Matrix" meets "The Terminator" meets "The Punisher". **1/2 out of ****
Napoleon Dynamite (2004)
Funny Fluff
"Napoleon Dynamite" is one innocuous, offbeat, wacky little comedy with plenty of pleasant drollery to classify as one of the better funnies of the new millennium. It's as simple as apple pie and as inane as a black cactus, and it's often hilarious in its own right without having to resort to being crude or lewd. Some may own that the film is pointless, a guileless crock of shallowness void of any conspicuous plot, character development, or even resolution, while others may extol it as a most ingenious, timeless concoction of comedic greatness; I suppose critical intelligentia could go either way, depending upon one's appreciation of comedy and film. I personally found "Napoleon Dynamite" to be nothing more than an innocuous and inane diversion, and while I wouldn't particularly elevate it to cult-classic status, I will say that I thoroughly enjoyed its world of frothy hollowness, and found myself laughing (though hardly hysterically) at the sheer zaniness of it all. The story (if there is one to be found) is about a social outcast (in laments terms a careless loser) named Napoleon Dynamite who hangs his buckteeth out for all to observe his exasperation and nonchalance about life. He has a considerably insignificant existence, sneering at anyone who bothers him with a question, drawing abysmal pictures, haplessly playing tether-ball, and following his equally meek and mawkish brother, who chats online, purchases time machines, is into judo-karate, and relates his existence to his narcissistic, shallow "uncle", while occasionally feeding his cow some "grub" on their Idaho farm. That is, of course until Napoleon meets a curious fellow outcast named Deb and decides to campaign on behalf of his new friend, Pedro for school president ("Vote for Pedro" can now be recognized on T-shirts, bumper stickers, you name it); now he's really meeting people and going places, however you want to put it. "Napoleon Dynamite" is of course wholesomely hollow, yet funny and endearing, in its droll study of "the life of a nobody". I can definitely understand its LDS appeal, as many Mormons I know could identify with many of the same interests presented in the film. A cultural phenomenon? Hardly! I just took "Napoleon Dynamite" for what it is on the surface, and found myself consistently amused by the jarring absurdity of it all (e.g. what is Napoleon always fleeting from?). It's a light-hearted, innocuous, and meaningless little comedy, hardly a cinematic dreck yet hardly Citizen Kane; a charming, feel-good film that, in my opinion, should neither be extolled nor dismissed. See it for yourself, and maybe you'll get "lucky" and actually be amused by this independent whim, not a cinematic gem. *** out of ****
Hitch (2005)
Innocuous Drollery Amounting to Formulaic Date Flick
"Hitch" is Will Smith's romantic comedy debut smash, innocuous, crowd-pleasing drollery, yet hardly flat-out-hilarious, as I found myself puzzled by the lack of edge and energy in executing a perfectly adorable and entertaining premise... Will Smith is the go-to man for advise about channeling and pleasing the inscrutable- women, providing plenty of romantic pick-up tips while not so much reverting to libido-sensual ism as much as emotional connection, provided, with "the woman you love, not the woman you desire to "hit and then quit". A good deal of his advise, many men and women alike, will find to be quite applicable to their own "date scene", e.g. "don't rub too low (sex), too high (friends), go 90 percent and let her go the other 10 on a kiss, get in touch with her inner quirks/deficiencies, etc. etc. etc., and Alex Hitchen's remedies for curing the common man are, well, quite convincing and incendiary. How can you possibly lose with such a delightful premise: Will Smith lending his suavity and drollery as the man with all the answers, Kevin James as his most important client looking to score with a prestigious goddess named Allegra Cole (while boogieing around with erroneous dance moves), and throw in the necessary impossible romance with the gorgeous Eva Mendes (she pledges that dating is not her deal until "HE" comes around, and you have one fine, hilarious, and impeccable two hours of romance and comedy for your money, right? Well, for the most part, "Hitch" is pretty entertaining: Smith, James, and Mendes shine, Hitch plays it cool in giving advise while wooing women himself, and if you're into shtick and slapstick, it never fails to deliver. I suppose my main complaint with "Hitch" is that it plays it overly safe as it progresses: it lacks edge and surprise in its comedy (while the rest of the audience was giggling away, I found myself completely unmoved by "Hitch"'s rather banal comedic attempts), and finds itself lingering forever towards the end in a hackneyed rehash of the same old hokum that compromises most romantic comedies, and one could figure its inevitable resolution a "hitch to the moon" away. I found myself increasingly puzzled as to why "the date doctor" was being assailed instead of being hailed, further confirming men's confusion and predicament with falling in love with women. Don't get me wrong, "Hitch" is certainly not without its share of amusement and entertainment, but it feels too grounded, too conventional, and too innocuous, that it never elevates itself above its obvious premise, and truth be told, like such blockbuster comedy concepts as "Bruce Almighty" and "What Women Want" fails to cover its fruitful premise in a fulfilling way, amounting to nothing more than a romantic comedy that is clever in ideas, yet formulaic in execution. "Hitch" is certain to be THE date blockbuster and romantic comedy of the year, yet it is a shame that in conclusion, I have to objectively say that the funniest, most rewarding scenes were of course, in the trailer. Entertaining and sweet, yet frustratingly formulaic and tepid... **1/2 out of **** ANOTHER NOTE: I noticed that some of the funny scenes in the trailer were completely left out in the movie, leaving me to wonder whether they will be included in the DVD for "curious consumer profit"???
Ray (2004)
Where the Music Flows
This film compassionately highlights the career and personal life of the legendary Ray Charles (played to uncanny perfection by Jamie Foxx), in depicting the torments, troubles, and huge talents of the man behind such unforgettable melodies as "Hit the Road Jack", "Unchain my Heart", and "Georgia On My Mind". "Ray" hardly sugarcoats any detail of Ray Charles Robinson, as it searingly explores such tragic experiences as his little brother's shocking, untimely death, his gradual deprivation of sight, his getting financially deceived in due of his blindness, and the degradation of his lifelong heroin addiction, which eventually tainted his music career and his family. We also learn that Ray Charles, aside from these disfiguring tragedies, also encountered many troubles when he reverted to adultery with one of his singers, Margie Hendricks (Regina King) while on tour and away from his wife and son. And "Ray" also, of course, chronicles Ray Charles' overcoming extreme adversities and rising to the top as one of the greatest, most beloved musicians the world has ever known, covering: how he got there, his troubles behind-the-curtain, and his dazzling performances on stage. In short, Jamie Foxx virtually steals the show here, perfecting every "twitch", idiosyncrasy, accent, gesture, whim, and emotion of this legendary and very human figure, and he literally disappears into this role, with such conviction and empathy that one can hardly accept that he is acting, but living the role of Ray Charles. The rest of the performances are top-notch, especially Sharon Warren as Ray's mother (deep, true, and heartbreaking) and C.J. Sanders as Young Ray (if this is this boy's debut, then he has a dream career ahead of him), as well as the accompanying roles of Kerry Washington as his wife Della and Regina King as his afflicted mistress Margie; some genuine and terrific talent all around. Loved the art-set direction, from the prominent star-studded studios and clubs to the gentle fields of Ray's childhood farm. The direction of Taylor Hackford is mostly rich and absorbing, especially when depicting Ray Charles' demons, tremors, and flooded memories of his troubled childhood, except when it seems hurried, snapping from one emotionally involving scene to another extraneous story, as if compelled to seem more lively than affecting, which compromises the emotional depth of some otherwise powerful, engaging scenes. "Ray" is mostly a comprehensive, endearing, rewarding, and enormously well-acted study of the challenged life of a marvelous musical genius, who overcame one adversity after another to aspire to becoming more than just another Nat King Cole, yet as the legendary, unforgettably adroit and captivating, Ray Charles. Jamie Foxx will certainly garner a much-deserved Oscar for his vivid and seamless portrayal of this remarkable figure, and for ultimately carrying this decent film, perfecting perhaps one of the most dynamic and imitative performances in cinema. You needn't be a major fan of Ray Charles to get engaged with this fantastic drama and touched by Foxx's charismatic performance. "Unchain your heart" and experience the rave of "Ray", at the very least for Jamie Foxx's impeccable performance... ***1/2 out of ****
Mr. Smith Goes to Washington (1939)
"Honest Politician" Saves the Day
"Mr. Smith Goes to Washington" is chiefly about the right and duty of every American to stand tenaciously for their beliefs, for their defense, and for the truth. Jimmy Stewart plays a naive, yet charitably-hearted and popular icon named Jefferson Smith who realizes that the political office can be effective and reverent if it operates solely for the people, rather than "grash" or garish, entrenched special interests. Selected by Virginia political bigshot Jim Taylor, who influences every affair in the state, from the political landscape to the savage press, and in turn Governor Hubert Hopper as well, to succeed a perished senator, Mr. Smith goes to Washington oblivious of the sordid and ruthless nature of American politics, and is merely stupefied by the majesty of the Capitol Building, enthralled by a visit to the Lincolm Monument, greatly reveres his colleague, Senator Joseph Paine, and wants to serve only with the best intentions for the citizens of his state. An exceedingly nervous and modest fellow (hardly the candidate of a record filibuster), when Smith meets Senator Paine's gorgeous daughter, he fumbles with his hat and clumsily drops it to the ground, which gives the viewer the concern that if he hasn't the backbone to regularly converse with an attractive woman, then how can he possibly survive the trials and hardships of the United States Senate? His secretary, Clarissa Saunders, initially dismisses Smith's "superficial morality", yet is eventually captivated by his poetic innocence and honesty and assists him in creating propositions and offering advice, while secretly falling head over heels for him. During his first day in Congress, Smith trembles relentlessly in presenting his case for the construction of a National Boy's Camp, and is scoffed, sneered, and humiliated by 96 members of the Senate. It turns out that his noble aspirations may be in peril, when it is revealed that a dam will be constructed in the proposed spot of his camp, of all terrible ironies. Thus ensues a heartwarming, hilarious, and incendiary confrontation between the innocuous, noble Mr. Smith and the rest of the tainted Senate, as well as the imposing "big shot" Jim Taylor, in a captivating look at how democracy and goodness should prevail when honest, tenacious men like Jefferson Smith hold their ground, stand up for their beliefs, and act impervious to any derision of their enterprise. It lacks a satisfiable and comprehensive resolution, and it may be at times overly condescending, sugarcoated and sentimental, and somewhat politically pretentious and fantastic, yet "Mr. Smith Goes To Washington" is profound, eliciting a noble statement about democracy and teaching us that it is "the lost causes that are worth fighting for". In Jefferson Smith, we see an American hero, standing courageously, against all odds, for the honor, good will, and dignity of political representation. A fine and noble film indeed that is definitely a timeless and timely American classic. ***1/2 out of ****
It's a Wonderful Life (1946)
A Timeless American Classic
I honestly cannot conceive how anyone who possesses a heart, mind, and soul can detract from this wonderful, brilliant, classic piece of American cinema. Aside from being THE movie to view over and over every Christmas season on television, "It's A Wonderful Life" is a fantastic celebration of the human soul, and sends volumes of universal hope: that when we find ourselves at the brink of disaster, it is crucial to realize that miracles can definitely befall us, as George Bailey discovers with his guardian angel Clarence. This is a whimsical, endearing, and somewhat somber story about life in America, and how accumulating enough fame and friends can salvage you from any financial or personal burden which troubles you. George Bailey is a timeless American icon: ascetic, gregarious, and pompous- a character we can all relate to. His inherent responsibility is to retain his father's banking business and to ensure that his life-long nemesis, the squalid, sinister Mr. Potter, does not succeed in taking over the business and eventually the town of Bedford Falls. We soon learn that a critical error has been committed which has plunged George's bank into potential bankruptcy and what's worse, has possibly landed him some serious jail time. All of this despair and turmoil befall the typically fortunate Bailey and dangerously consumes him to the extent that he silences his daughter's playing on the piano, relinquishes his distress upon his loving wife and children, and storms out of the house to get dazed at a bar, and eventually finds himself at the edge of a bridge, contemplating suicide. The story is atmospheric of George Bailey, following him through times of good and times of despair, so that we get the sincere impression that suicide was once the very last intention on Bailey's animated and ambitious mind. At an early age, he proclaims to his lover and future wife, Mary, "I'm shaking' the dust of this crummy little town off my feet and I'm gonna see the world", and woos Mary with such romantic and cocky gestures as "You want the moon? I'll throw a lasso around it for you". We learn that he has had quite a fortunate and prosperous life, and up until his recent downfall, could be said to be the happiest, most important man in Bedford Falls. Hardly a blessing in disguise, it takes a whimsical guardian angel named Clarence to really remind George of his wonderful and important existence, as in reflection, he not only prospered in bliss in his personal affairs, yet also impacted the lives of countless acquaintances throughout the time, some of whom wouldn't have even existed without him, if that is too marvelous to conceive! This is the quintessential, seminal American classic, most enjoyed around the cheery, reflective holiday season, that reminds us about the riches we enjoy in life, how we can easily be bereaved of them, and how taking a good, hard look in the scope of reality, we can realize the true importance of our wonderful existence. George Bailey eventually learns that it is not the present, mundane, or discouraging details which define our lives, but the whole of our existence: our contributions, successes, fortunes, possessions, and impressions we achieve throughout our time upon the earth, and to simply enjoy everything we are so very blessed to receive. This is a beautiful, timeless film, featuring wonderful direction, superb acting by James Stewart as the protagonist George Bailey, Donna Reed as the love of his life, and Lionel Barrymore as the emblematic "scrooge" antagonist. It's one of the most endearing, poignant, and important films you will ever have the privilege to experience, particularly around the holiday season, when you are reflecting upon what you should be thankful for, and forgetting as best you can any negative details which may diminish your joy. George Bailey: "Isn't this wonderful, I'm going to jail!" This is the kind of happy, fearless spirit we should all aspire to become! "It's A Wonderful Life" is a truly wonderful movie. **** out of ****
Sideways (2004)
Sour Grapes
"Sideways" is an all around excellent story and film- a hilarious, endearing, entertaining concoction of human exploration, reflection, development, consternation, etc., deftly acted, written, and richly perfected in almost every respect: it's an irresistible and brilliantly clever piece of genius. Following a frustrated and agitated, yet unusually eloquent and erudite wannabe "wine connoisseur" (Paul Giamatti) and his virtual opposite shallow, gregarious, and hollow best friend (Thomas Haden Church), as they venture the gorgeous and breezy California countryside touring wine factories, meeting and romancing women (though the latter is engaged), reflecting on the bemusements of life and experiencing a week's surprising adventure neither had anticipated. The former, Miles, is only mildly content (and hardly ecstatic) about the prospects of the publication of his novel, and the wedding of the latter, Jack, provides the two friends an opportunity to celebrate, or as Jack bluntly puts it, "party and get laid". Miles is very conscientious, yet subdued, exploding with ideas yet adrift about his own seemingly anemic existence. At one point he exclaims, "I am nothing but a smudge of excrement upon a skyscraper"; "I have absolutely nothing to show for my life", and we realize that he is exceedingly insecure and unhappy with himself. For the disgruntled Miles, this is a journey of self-exploration, enlightenment, and realization: he is unhappily divorced and tepid about becoming romantically involved with any woman in the near future, even with a woman who seems to take a remarkable fancy to him (Virginia Madsen),and is his complement in the world of wine and its beautiful and celestial design, taste and spirit. His precarious and engaged friend Jack, on the other hand, woos a waitress on their trip (Sandra Oh), and professes his "dying love" to her after merely a day of rather unadulterated acquaintance, and hardly takes a moment to reflect upon his fiancée, to whom he is a week away from marrying, and whose messages leave Miles exhorting, "You should check your answering machine", as if he is confused and squandering in the world of love. This is a remarkably clever and meticulously (yet quirkily) structured character study- of realizing the importance of existence and placement in our world, and of seizing opportunities and making the very best of life, even when overwhelming tribulations make it difficult for us to appreciate happiness, much less, our own existence. Alexander Payne's direction is astute, yet often fragmented, particularly in scenes of easy absorption, and always playing with transcendent moods throughout the film. The helm of "Sideways" is the its ingenious and comprehensive screenplay, covering practically every human emotion with all the adulteration, honesty, pragmatism, wit and wisdom you might imagine, and one of the most delectably quotable screenplays I have ever encountered. There are instances of hilarity (Thomas Haden Church is the constant comedic relief here) and instances of depth and absorption (Maya reflecting on the values of wine, Miles relating his miseries and hapless existence to her), and "Sideways" is an all around beautiful, enjoyable, endearing, and wholly entertaining work of film, developed realistically through character and circumstance, carried by excellent talent rather than technical extravaganza. We feel compassion and sorrow for Miles because we realize his troubles are hardly his faults, and that his kindness and wisdom should be appreciated more fairly than his existence allows. Kudos to Alexander Payne for an absorbing and adulterated screenplay and rich, attentive direction, Paul Giamatta for his insightful and neurotic performance as Miles, Thomas Haden Church for his genial and hilarious comic relief as Jack, and the tour-de-force Virginia Madsen as the tender eye of every soul Maya, in a film that is guaranteed to be appreciated and cherished for many years to come. "Sideways" is a truly wonderful "slice of life" masterpiece. **** out of ****
Mr. Deeds (2002)
Formulaic Sandler Romp
"Mr. Deeds" features the "affable comic genius" of Adam Sandler as a countryside rube who somehow inherits $60 billion from the will of his estranged uncle whom, until recently, never even had the chance to meet, and travels to the Big Apple to tangle with extortionate media moguls and corporate thieves out to bereave him of his fortunes. Here is a film that is marred with a hackneyed, unoriginal formula of a plot: lowly innocent receives fortune, spends as he pleases, hires eccentric, yet amiable butler, meets girl, falls in love, discovers she only digs him for her profession and his money, loses fortune to villain, reclaims fame and fortune through emotionally connecting to avaricious board members, falls back in love, is a renowned hero and study, blah, blah, blah, you get the picture. Such a bland and ingenuous formula is hardly buoyed by the dismal acting of Sandler and Wyona Ryder, whose chemistry is comparable to a wrangling cat and dog. To keep it pithy, "Mr. Deeds" is about as charming and original as white plaster on a wall. And it even exhausts itself of decent material after awhile, with an awfully languid flow of ideas, if you ask me! Despite his noble intentions, couldn't Deeds spend more of his billions on whims rather than charity (hey, it's supposed to be an amusing comedy, and what's the fun in following a "philanthropic billionaire"?). Yet, for all its many deficiencies, there are some bearable elements to enjoy here. The scenes with the butler (John Tuturro) are fairly amusing (especially when he hammer Deeds' "peculiar foot"). Hey, even the scene with Deeds outfoxing the Wall Street tycoons at the end is, only a few $ billion short of inspired. Yet, most of "Mr. Deeds" is rife with bland formula, cloying gags, implausibility, and is essentially a typical Sandler circus, replete with (you guessed it) many of his costars from previous films. I have yet to view the original 1939 classic from which this dreck is inspired, yet I am certain this is a travesty of a classic concept in comparison with that film. If you enjoy routine Sandler humor, Sandler material, Sandler formula, and Sandler resolution, then you'll find this comedy delightfully funny. For anyone else, this is simply a cinematic ally and intellectually bankrupt billionaire romp with few moments of good appraisal and interest. Avoid "Mr. Deeds"; see the original instead: I'm sure it is leaps and bounds better than this! *1/2 out of ****
Finding Neverland (2004)
Memoirs of an Imaginer
"Finding Neverland" brilliantly and passionately chronicles the enchanting and fascinating identity of James R. Barrie, the imaginer behind one of the most beloved and inspiration children fantasies, "Peter Pan". The film deftly explores Barrie's many personal inspirations behind the making of his "Peter Pan", as his experiences with Sylvia (Kate Winslet) and her adorable, remarkable children become the dominant subjects of Barrie's ideas, fantasies, and emotions. Take a critical look inside the mind behind the magic of "Neverland", and you will discover that his personal background was every bit as human, endearing, and enchanting as is professed in the "fairy tale", Peter Pan: Barrie is fascinated with the prospect of dreams becoming reality, and his life's effort is to somehow bestow his wonderful, magical outlook on life's whims and wonders onto the lives of innocent souls who might become better developed in life with these unfettered hopes and dreams. Johnny Depp perfects a curious Scottish accent to lend his eclectic, imaginative personality to the magical architect, in a way that impressively studies perhaps Barrie's idiosyncratic, quirky nature. One discerns that Depp seems to have provided a lot of study and calculation of Barrie in acting as convincingly passionate as Barrie purported to be, in his remarkably adept and human portrayal of this remarkably human character. This is definitely an Oscar-worthy performance, and Depp is so absorbed in his portrayal of this mystifying imaginer that if it weren't for an "allusion" to his recent Jack Sparrow in "Pirates of the Caribbean" (in imagination, Barrie plays "surly pirate" with the children), one would conclude that Barrie was the only role he was born to play. Kate Winslet, through most of the film, is much dissociated with the action, yet much immersed in the film's somber theme, as Sylvia, and distinctly grows into an important object of Barrie's heart and soul and compassion with the film's progression; a fine, genuine performance as a tragically disparaged, yet cherished, woman. As a film, this is essentially a "theater" of exploration, into the depths of hear and soul, and how it is sometimes best to "keep pretending forever" in order to evade the disparities of life, as Barrie apparently realized in his beloved "Peter Pan". This was a man who cherished the wondrous fruits of life, in finding companionship and inspiration with innocence (with the children, particularly Peter, who is inspired to challenge his surroundings to develop into his manhood), and realizing it is essential that life accept the notion that to "never grow up" and stay young at heart forever is to entertain your hopes and dreams, in flying to escape to an imaginary world, say, "Neverland". Perhaps "Finding Neverland" is at times overly sentimental in its message and excessively fantastic in exploring the realms of James Barrie (sometimes lingering too heavily on fragmented social themes), yet it is precisely adroit in bringing Te "theater of Barrie's heart, mind, and soul" into the conscience of a perhaps busy and disillusioned contemporary audience, who have perhaps yet to realize the spirit of this remarkable, fascinating imaginer who realized the essentials and realities in life through acquaintance, discovery, and experience: courage, hope, tragedy, development, happiness forever. ***1/2 out of ****
American History X (1998)
A Searing Blow to the Face, A Cultural Cornerstone
"American History X" is one of the most graphic, brutally honest, harrowing, and challenging films you'll ever get to experience. Period. Featuring Edward Norton as a reformed Neo-Nazi, immersed into an endless cycle of hate and just released from prison with a dire awakening for tolerance, this is a study that doesn't question its subjects' animosities and hostilities as much as it delves into their world, consumed by social depravity and intolerance towards all, endeavoring wherever and whenever they might simply to promote white supremacy across America. The narrative is Derek Vinyard (Norton)'s younger brother Danny (Edward Furlong), who is assigned, nay, obligated, to write a paper detailing his influence Derek's path to social degradation so that he might better understand how to grip with his embedded anger and perhaps relinquish it. There's nothing pretty about this harrowing and powerful story, yet it demands to be hearkened: it's brutal and incendiary, taking us deep inside a culture of hate, and having us understand the roots of the subjects' animosities. It's timeless and timely, unequivocal and unflinching, and it is about as uncompromising as a series of dour blows to the face, and then some. Watching this incredibly potent and brutally honest study of the roots, repercussions, and reformations of a culture of hate is a transformation of reckoning: its tone is dark (manifested in black and white cinematography), and whatever message that is trying to be conveyed, it is sincere, yet not entirely hopeful. Edward Norton is astoundingly human, in encompassing the chastity, and evoking the chilling menace of deep-seated abomination. This is one of the most powerful human studies I have ever endured: it is intent on tackling the most consuming quality of man in examining its sources and its brutal extent of barbarity and inhumanity, even showing us that hate and prejudice is so powerful it can collapse even the dearest relations. The plot is structured scatalogically rather than chronologically, so that multiple themes can be examined at once, never settling for the here and now, but rather than the then and now to advance its themes and an understanding of its subjects' plighted deviances. In conclusion, one can hardly excoriate "Histoy" for exonerating Derek, Danny, and their Neo-Nazi cults, but rather, the film barrages the culture of hate, wherever and however it exists, because in the end, it squanders even the brightest potentials (e.g. Derek) and makes enemies of us all. The ending is exceedingly disturbing for me, as it virtually contradicts some critical and seemingly discernible themes developed throughout the film, of acceptance and tolerance through brutal reformation. Perhaps the message that Kaye is trying to elicit is that the cycle of hate perpetuates throughout cultures, and consumes and ultimately destroys its subjects. "American History X" is a contemporary cornerstone for cultures everywhere, that will only re assuredly resonate through time. **** out of ****
In Good Company (2004)
A Company That Works
Dennis Quaid and incoming star Topher Grace ignite the screen with remarkable synergy in a comedy that touches the values of friendship, family, fortune, and fate, and what a decent "company" that is assembled here. This is an endearing film exploring the unlikely relationship between a 23-year World Com veteran and his youthful hot shot "boss", as they clash heads and renew alliances, all in the course of combating corporate cut-throating. Quaid and Grace work with some surprising synergy together, and it is increasingly amusing throughout the film to watch their peculiar and uncomfortable relationship develop actually flourish against all odds, a father-son, yet executive and official, bond. Dan Foreman (Quaid) is experiencing somewhat of a midlife crisis, and appears tarnished by his unseemly demotion, plunging into mortgage to support his daughter (Scarlet Johansson)'s NYU college tuition, and even discovering an unexpected child is on the way ("When he's 21, I'll be...72!"). Life deals us dour blows sometimes, but there's always family and friendship to revive our sanity along the way, and "In Good Company" denotes the trials and tribulations of life with comedy, refinement, and honesty. We witness Dan Foreman doing his absolute best to support his family, yet enduring numerous threats to his stability. Just when he dismisses newcomer "chieftain" Carter Duryea (Grace) as juvenile and insignificant, he surprisingly develops a love-hate relationship that spans from executive to fatherly affairs. Here is a dramedy that is about connecting with and trusting the unknown and learning to dismiss our adversities with laughter and honesty. Learning to live with the most unlikeliest of relations, combating the surly corporate downsizing cycle with compassion and temerity, and at the end of the day, realizing that we can accept the adversities of our lives without succumbing to them. This is a well-meaning, fresh comedy laced with some corporate and personal dramas we can all relate to, yet lacking much of a satisfying resolution in tying all of the scenarios and problems together in something of a cop-out polished ending. "In Good Company" is a hearty and refreshing effort, ultimately an exceptionally earnest, deft and important character piece, and a marvelously collaborative and human ensemble from some exceedingly promising stars in Dennis Quaid, Topher Grace, and Scarlet Johansson, who all deliver some fine and human performances. ***1/2 out of ****
A Series of Unfortunate Events (2004)
Lemony and Snickering
Every so often, a film like "Lemony Snicket's..." comes along, a film of such uncanniness and bizarreness that it is ungeneric: partially delectable and visually sumptuous and partially lewd and abysmal; a torrential and primitive children's fantasy with aspects of low-brow perversity and shocking unconventionality; gorgeous eye candy with a bewildering and capricious premise. Featuring the manic, comic genius of Jim Carrey (the only familiar regularity in the film) appearing as several versions of himself through various titular "events", as a sinister and wily thespian seeking the fortune of the Baudelair family in plotting to "kill" the family's three surviving and of course, unfortunate children. Named "Count Olaf" (yet with several aliases), he instantly afflicts the poor children (who certainly deserve better) with dire, tiring labor, isolation, and fulmination. Through "a series of unfortunate events" described by the titular narrator (Jude Law) evoked by the children's evasions from Olaf and Olaf's pursuit of the children, the children are sent abound in an oblique, yet extravagant world of physical and visual aberrations (three-eyed frogs, uncorroborated house at the edge of cliffs, amiable serpents, dreary, discolored skies, etc.), and this is one strange, yet wholesomely delectable, adventure (if one could deem it as such). "Lemony Snicket" is a wildly imaginative, innovative, Tim Burton-esquire, bizarre, yet always sumptuous children's odyssey, featuring some welcome cameos from John Cleese as the zesty and amazon-bound Uncle Monty, Meryl Streep as the erratic and verbose Aunt Josephine, and others: watch for Catherine O'Hara, Luis Guzman, Jennifer Coolidge, and Dustin Hoffman. There's something about "Lemony Snicket" aside from its conspicuous barbarity that is unsettling: the solemn and unadulterated themes of death and tragedy immersed in a seemingly harmless children's tale can be received as exceptionally unseemly. The resolution itself is bizarre and torrential: the children's final escapade involves an obligated marriage between the girl and Count Olaf! "Lemony Snicket" is an audacious, vivacious, torrential, and unconventional revolution of the typical childish innocence of "Harry Potter", and weirdly enough, it's as whimsical as it is abysmal: perhaps the most enigmatic "child's story" I have ever experienced, and certainly entertaining in the bizarreness of its visual grandeur and comical disguise of thematic abjectness. *** out of ****
The Aviator (2004)
The Lone Dreamer
"The Aviator" is a sumptuous, potent, marvelous, riveting, and endearing film about the mechanisms, trials, and tribulations of the legendary, illustrious, and exceptionally eccentric Howard Hughes, that is hardly a biography of the figure as much as it is a subtle study of his seminal and bewildering reputations during the "height of altitude" of his life. It is exalted by compassionate, riveting direction by "the master" Martin Scorcese, seamless acting by Lenoardo DiCaprio, who proves here that he can channel the most bewildering of figures, capturing his clandestine ambitions, demands, eccentricities, and repulsions to a captivating tee; a succulent and satirical screenplay encompassing the climate of the "Hollywood Golden Age", and some ingenious and meticulous technical designs throughout. The scenes of Hughes piloting his seemingly infeasible designs of aircraft are riveting and stunning, and the searing music of Howard Shore in accompanying these triumphs wings the thunder that is to be felt for breaching the realms of aviation potential. We get a distinct feeling of ambition realized and diminished with Hughes' flights and falls, realized meticulously by Martin Scorcese's majestic scope, like a breathtaking roller-coaster through the ferocious sky. Aside from his aviation mechanisms and propensity for power and perfection, we learn about Hughes' diatribes and altercations against his political and financial enemies, whom he feels "want to go to war with him", and moreover, his obsessive-compulsive tendencies and reclusive, manic abjections, which can hardly be understood by the photogenic, torrential public, which Hughes feels busies itself in triviality and scrutiny, while his preoccupation is relentless, yet invisible, ambition. Hughes is presented as exceedingly ambitious and brilliant, yet deeply conflicted, tormented, and crippled, both socially and emotionally- he is a man with many wily ideas, yet a disillusioned conscious, which often leaves him rambling and reiterating to himself, always beyond his psychological control. When he isn't dreaming, he fantasizing, demented, and deranged with the world, exhibiting caprice towards his clients and friends, and unhinged malice towards his enemies who would destroy him, namely Pan-Am and Senator Brewster (played astutely by Alan Alda). DiCaprio elicits much empathy and understanding for Hughes' seemingly inexplicable demons, and here is a character tortured by his own torrential conscience at odds with the scrutiny of the world. Cate Blanchett offers some quirky, zesty talent in the role of the illustrious and loquacious Hollywood goddess Katherine Hepburn, a particular mistress of Hughes early in his career with whom who experiences exhilarating flight and special romance. As a story, this is a challenging study about a challenging and challenged figure in challenging and unparalleled times. As a film production, it's as marvelous, riveting, and a auspicious, working thunderously as a fantastic drama interwoven with some rocketing aviation and gleaming production design, as well as shrewd direction, acting, and dialog. "The Aviator" is one of the year's best and most important films, a critical yet complimentary look at a marvelous, yet conflicted figure, and an entertaining and rewarding piece of film that is destined to be appreciated and adored through time, in "the way of the future"... "Show me the blueprints" of Oscar! **** out of ****
Million Dollar Baby (2004)
Eastwood TKO
Grizzly, testosterone-driven Clint Eastwood hits the emotional juggler in a film that succeeds as a simplistic, yet profoundly meaningful and poignant masterpiece of the human soul and spirit: of coming out from the hollow shadows of apathy and defeat to realizing our ambitions and giving our best to fulfill all that we've been given in life. "Million Dollar Baby" is a mirthful and uplifting journey as well as a brutal and harrowing wake-up call: it bleeds with compassion for its characters, each representing a slice of the "hard-knocked life", and delivers many eclectic punches yet never holds back on its powerful theme. The acting here is impeccable: Eastwood delves inside the troubled and ostensibly conflicted Frankie Dunn with naked solemnity; Freeman is portentous as always in his scruffy narration, astute observance, facetious relief and unwavering empathy; Swank, of course, the highlight of this remarkable film, is nothing short of marvelous and outstanding, channeling the deep-seated wounds, abjections, and ambitions of Maggie Fitzgerald as if this challenged life paralleled her own. The plot revolves around boxing, yet its underlying theme that rings deep and true for Maggie is survival through overcoming adversity and despair: we feel engaged in the understanding that whatever punches she releases, she is relinquishing her justified bouts against life with as much passion and vigor as she can stomach, which indeed is ameliorated by her "boss", trainer, and inspiration, Frankie. There is nothing more emotionally absorbing than rooting for a genuine innocent like Maggie who has somehow overcome neglect, discouragement, and poverty, in exalting herself as a champion in her ultimate, and single, passion in life. Not to be mistaken, the film also very much encompasses Frankie Dunn (Eastwood), who seems to bear enormous guilt and emotional distress that could perhaps be remedied in giving this "girlie" a shot in life, as if embracing Maggie as the daughter he never knew and always desired. The emotional intensity of "Million Dollar Baby" is virtually seamless and unequaled to anything I've experienced in quite many years; such as the aspiration that Maggie eventually realizes from her ravaged-turned rewarding existence, the emotional impact by the end is something one couldn't possibly anticipate, but almost definitely experiences. The veritable narration also resonates with many of the film's events, as if resounding themes, most especially: "You can only protect yourself" and "Hold back too long, and you'll lose the fight": it becomes heart-pounding and true beyond anything you can imagine... "Millon Dollar Baby" is one of the most engaging, invigorating, hearty, and harrowing films you will ever get the "shot" at enduring. Its climates of moral adversity, affliction, survival, and redemption culminate as one powerful, emotionally brutal "knockout" of a message and a masterpiece that is deeply felt and appreciated on nearly every level. Another note: the use of shadow and darkness throughout the character structure of the film is impressive and telling, serving to deepen the emotional subtlety of its core. Simple, yet hardly guileless, and resoundingly potent and true: this is one of the most fulfilling and affecting experiences delivered in cinema with one indelible mantelpiece of a message: "Only you can protect yourself": fight for what is within you, regardless if nobody's watching and only you can see it, and do what you must to fulfill your fervent, aching soul: whatever is infeasible to your surroundings can be achieved from one's impetuous direction, as Maggie Fitzgerald teaches us. Excoriation is not an option: it's either the shot that beats you or the shot that engenders you. **** out of ****