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A Year in Film: 2004 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | Essays/Reviews What follows are my OCD attempts to list and rate every movie I watch in any given year. (I've done the same for my year's reading in the book log.) Given that I watch some relatively obscure films, I've set it up so that the film title links to the IMDb page for the film so you can get more information easily. Starting in 2009, I began assigning out star ratings (out of five stars) to films I've watched. Five stars is equivalent to an A, 4½ to an A-/B+, four to a B, and so on. |
12-26 |
The Wire | I don't know if this show will get picked up for another season, but if it doesn't, I can at least be satisfied with a solid, powerful ending to an incredible season. Once again, The Wire becomes HBO's dark horse, mixing humor, realism, drama, social commentary, intelligent storytelling, and great characters to create what is possibly HBO's best show (yes, including Sopranos). Easily the best cop show ever made, and just as wonderful for its unblinking eye on society as for its perfectly realized characters on both sides of the law. |
12-24 |
The
Stepford Wives |
Wow. This was maybe the worst movie I've seen this year. "Shrill" doesn't begin to describe this hysterical (not funny, but in the literal sense), over-the-top, mess. And even if everything else were fine (which it isn't--the acting is awful, the direction bad, and the writing miserable), the painfully obvious rewrites alone ruin the movie (characters disappear without a trace, and it's clear that the writers changed their notion about the wives, but forgot to edit the screenplay, creating MASSIVE inconsistencies). Truly horrible, painful, and just awful. |
12-22 |
The
Terminal |
Enjoyed this pretty well, even if I wasn't blown away. It's a quiet, quirky little movie, filled with all sorts of great characters and fun storylines. Hanks is great, but so is the whole cast, and Spielberg has fun with detail work, something I don't usually notice from him. I liked it well enough, even the bittersweet ending; I just didn't think it was too amazing. |
12-11 |
Donnie
Darko: Director's Cut |
In most ways, superior to the original version--I loved the greater character development, especially of the father, and all the detail work really fleshed out the movie. My good friend Ryan complained that it took away some of the mystery, making it more explicitly a sci-fi thriller, and less psychological; that may be true, and I did enjoy the movie when it could be a little more loosely interpreted. Still, I think the character gains make up for that, and that in general, this is just a more character-oriented version of the film, something I love to see. |
12-8 |
Runaway
Jury |
Decent enough, but nothing special. It works because it's carried by stellar performances, but they're far better than the movie around them. The actual case is so distant as to be meaningless, and I disliked the movie's lapses into moralizing. Still, worth seeing if only for the bathroom confrontation between Hackman and Hoffman. |
12-7 |
My
Favorite Year |
Quite entertaining, though not as funny as I thought it would be; that didn't make it any less enjoyable to watch. It's Peter O'Toole's movie, all the way through, and he brings a real zest and joy to his role that makes the movie work, adding not only a great sense of humor and timing, but also all the emotional depth. An entertaining use of an hour and a half. |
12-5 |
Dr.
Strangelove |
On the big screen at the Belcourt. It doesn't matter how many times I see this--I crack up every single time. One of the greatest, funniest movies ever made, and easily in my top five films of all time. It may not be Kubrick's most impressive work, but it's easily his most accessible, and his most entertaining. One of the very few perfect films. |
12-4 |
The
Polar Express (IMAX 3-D) |
Really enjoyable, if slight. There's no real story, just a glimpse into an incredible world; but when the world is this interesting (more so than the main story) and wonderful, it's hard to complain too much. As for the IMAX 3-D, it is absolutely amazing--I can hardly imagine seeing the movie any other way. The rollercoaster turns, the gorgeous scenery, and the stunning visuals are all used expertly to create an incredible effect. If you have the chance, see this in 3-D--it makes a good movie absolutely incredible. |
12-4 |
Primer | I've been puzzling over this for a day now, and I still don't think I fully get the bewildering last 25 minutes or so (although this and this helped--SPOILERS). And yet, I liked it a lot. It was ridiculously intelligent, asking its audience to rise to the occasion. It played with ideas, emphasizing the "science" in sci-fi...and its creation of paranoia, confusion, and fear of the unknown is excellently done. Yes, some details never quite coalesce...and yet, it works, pulling you in, leaving you thinking for some time. Effective, thoughtful, true science-fiction. |
12-3 |
The
Celebration |
Oddly, though this is mainly known for being the first Dogme 95 film, it's worth seeing on its own. The low-key approach helps it, tho; with its focus on personal demons and the struggles of a family, the simple, intimate method helps greatly. The movie itself? Well, the story's been done before, but it's extremely powerful here, with devastating dialogue and truly haunting moments. A fascinating, devastating film. Quite excellent. |
12-1 |
Wit | It's well done: Nichols does an expert job putting it together, and Thompson's performance is incredible. And yet, somehow, the movie left me cold--I could never really establish an emotional connection with the admittedly aloof professor. (The only exception was her final conversation with her mentor.) It's perfectly crafted, and never sappy, but, ultimately, the movie doesn't let you in enough, meaning you can't be moved as much as you should be. |
11-29 |
Aileen:
Life and Death of a Serial Killer |
Haunting. Yes, there's some hypocrisy here, as Broomfield accuses everyone of trying to make money off of Aileen, yet obviously does so himself; still, his sympathy for--and rage at--her plight gives the film a needed human side. It's painful, yes, but also compelling, not only for its attacks on the justice system, but also for its portrait of a sad, lost soul. |
11-25 |
The
League of Extra- ordinary Gentlemen |
It's amazing how incredibly dumb this is--bizarre, given that it's a movie starring characters by Jules Verne, Oscar Wilde, and so forth. That's not to say there's not a certain small amount of entertainment--hell, Connery is always fun to watch--but the movie is beyond incoherent, and the relentless CGI, bad writing, and bland characters all get a bit wearying by the end. A shame, given the potential for cool that this had, and how good it starts off. |
11-25 |
Sliding
Doors |
Hadn't seen this in a long while, but I really enjoy it. Paltrow and Hannah do great jobs with their characters (only gripe is Tripplehorne's bizarrely evil other woman, but it doesn't break the movie), and the story is lots of fun--entertaining, and clever to see not the different stories are spun, but also how they differentiate between them. Very nicely done. |
11-21 |
Sideways | Really outstanding--another winner from Payne. It's a very human comedy, as Ebert puts it, with richly drawn characters and a moving, wonderful story at the heart of it. It dodges preachiness, and manages to completely reveal its characters without explicit soliloquies--the best scene, to me, is Giamatti and Madsen's conversation about why they love wine. And Giamatti...if there's justice, he'll be up for (and win?) an Oscar, as this incredibly talented actor once again demonstrates his gift, bringing Miles to life with amazing skill. |
11-20 |
Once
Upon a Time in Mexico |
Watched about the last 45 minutes or so of this on HBO. It's still really, really fun, even having seen it before; it's slick, stylish, and doesn't take itself too seriously. It doesn't make a single bit of sense, of course, but you can enjoy it, as long as you turn off your brain...and does it now go without saying that Johnny Depp steals the movie (as usual)? |
11-7 |
I
Heart Huckabees |
Imagine a slapstick comedy version of Waking Life, and you might have some approximation of this bizarrely unique film. I really liked it, although I can't describe or summarize it; it's equal parts philosophical discussion, surrealistic experiment, and Coen-ish comedy, and they all work. Really funny, thought-provoking, and always fascinating, even when you're not sure what is going on or why. Just go with it and enjoy the ride. |
11-6 |
The
Incredibles |
Yet another success from Pixar, with all the depth, hilarious gags, powerful emotion, brilliant visuals, and sense of fun you've come to expect. In some ways, it's a PG version of Watchmen, exploring many of the same ideas and themes--those of duty, power, and responsibility...you know what? Just go see it. It's a joy to watch, with their usual stunning graphics, funny as anything, and it has a thoughtful message aimed more at the adults than kids...in other words: business as usual for Pixar. That's the best news we could hope for. |
11-6 |
The Grudge | I enjoyed it overall, tho it's a bit creaky. Mainly it's a collection of effective scares connected in a fairly unsatisfying and slightly dull way. Still, lots of freaky bits (the elevator ride was my favorite)...although the movie's habit of cutting away at climaxes is frustrating. Still, entertaining and slightly creepy. (Whatever you thought, read Ebert's hilarious review.) |
11-5 |
Shaun
of the Dead |
Between this and Dawn of the Dead, it's been a great year for zombies. This was just fantastic--a great mix of absolutely hilarious comedy and truly great zombie mayhem and horror, and it manages to do both well while never slacking on the other--a rare feat, even more so when you consider how great this one's characters are. A great flick in every way. |
11-3 |
Saw | I think I enjoyed just how goofy and hilariously over the top it was. I loved the killer in the big black robe, and the absolutely moronic ending, and the WAAAY over-the-top acting, and the fact that the director, to quote Jim Ridley, "edits as though his gonads were getting shocked anytime a shot lasted longer than a second". Sure, it had a few nicely grisly moments, and an entertaining idea. But overall, I think I mostly enjoyed how bizarrely absurd it all was, which is a shame--in the right hands, this could have been an amazing horror film. |
11-2 |
Playtime | Another LONG movie drought ends, and this time, the movie lived up to the wait. What an absolute treat. There's no real plot (or dialogue) to speak of, but watching people simply be themselves offers more amusement than I can possibly explain. So many great sight gags, wordless takes, and hilarious expressions...just a joy of a film. (For a much better review than I can offer, check here for Ebert's, or here for the Nashville Scene's.) |
10-17 |
Spider | A bit slow and plodding, but engrossing and rewarding, in subtle ways. Much has been made of Fiennes's performance, but in the end, this is Cronenberg's baby, and it's his talent, sharp eye for camerawork, and careful pacing that makes this work. The story is okay, if a bit predictable, but it's Cronenberg's directing that makes the movie an unsettling success. |
10-17 |
Femme
Fatale |
Wow. So innovative and original--when it was called Mulholland Drive, and it was a few hundred times better. Basically, this is typical De Palma--a B-movie homage to an A-list director's work, only instead of Hitchcock, it's his take on David Lynch. It wasn't horrible, but it wasn't very good, and ultimately the ending is more irritating than surprising. |
10-14 |
Pretty good, but nothing brilliant. At times, Murphy is absolutely hilarious, and it makes you sorry he ever fell on such hard times, cinematically speaking; at other times, he becomes one of those "vulgar for vulgarity's sake" comedians, and it just becomes tedious. Still, more funny than not (esp. his Mr. T bit), and a decent way to kill some time this evening. | |
10-11 |
Rushmore | Still one of my all-time top-five favorite movies. No matter how many times I see it, it still cracks me up, makes me smile, and saddens me where it should. It's hilarious, nicely subtle and understated, and it's got a huge heart, not to mention the best acting job of Bill Murray's career. This is on my very, very short list of perfect films, and I absolutely love it. |
10-6 |
May | A gleefully twisted, extremely unsettling little film. It's less a pure horror film, and more of a psychological study of madness, but it's very willing to follow that insanity all the way to the bitter end. The characters are all well drawn, and the film's extremely sharp, with a good wit and some really freaky shots (particularly the final one). A nasty, dark little gem. |
10-6 |
Fifteen and Pregnant | Great. Weeks since I watch something, and I break the streak with this piece of garbage. (I watched this in my Child Development class, not because I wanted to.) *sigh* Between the title and the fact that it's a Lifetime movie, you pretty much know everything you need to about the movie (other than the joy of seeing Kirsten Dunst, who some guy leaves to date an ugly, misshapen girl; the movie is clearly science fiction). Let's never speak of this again. |
9-21 |
Invader
Zim Vol. 2: Progressive Stupidity |
Oh, rapturous joy that is Zim. Good stuff throughout, and if nothing else, I'm happy to finally have the Poop-Dogg episode available to me at all times. Jeez, tho, if some of those episodes (particularly the Halloween one) weren't viciously dark, even by my standards. Again, even as I laugh and love it--who the hell put this on Nickelodeon? |
9-19 |
Sky
Captain & the World of Tomorrow |
Excellent for what it is--an affectionate, loving homage to 30s-40s sci-fi serials. The style is beyond reproach, with almost every frame being freezable as artwork. The plot? Sure, it's a bit cheesy, but it fits directly in with the genre. No, it won't change your life, but it's one of the best B-movie adventure films in years, and it's a blast to watch. I really liked it. |
9-17 |
Monument
Ave. |
Quite good, and well done, tho a bit slight. The acting is all outstanding, especially the constantly surprising Leary, and the story, such as it is, is well-thought out. Sure, you've seen this story before, but this one has such a subtle way about it, such a focus on characters, that it's hard not to admire it for what it is. |
9-16 |
The
Knack... and How to Get It |
Absolutely hilarious social/sexual comedy from the guy who made A Hard Day's Night. It's definitely more than a little dated, but the sidesplittingly brilliant visual gags and great sense of humor still hold up perfectly, and the actual themes and ideas about people, fads, and sexuality are timeless. Very, very funny, well made, and perfectly acted. A real treat. |
9-14 |
Igby
Goes Down |
A really grating, smug attempt at comedy. It's hard to make a movie with no redeemable characters that people are still interested in, and this isn't up to the challenge. I don't know which was worse: the obnoxious characters, or the attempt at an emotional ending which the movie hadn't earned in any way. More shrill than funny, and really irritating. |
9-12 |
Six
Feet Under |
Just finished the fourth season with a stunning final episode. I've been a little bothered by how bleak this season has been, but the final ep managed to bring closure to the various storylines while simultaneously offering hope for what's to come. This is easily one of the best shows on television today (or ever), with some of the most realistically drawn characters I have ever seen, and the most serious, up-front, honest dealing with real issues that affect real people. With every new season, it just grows better and better. Outstanding. |
9-7 |
Demonlover | It sounded WAY cooler than it was. I expected a slick cyberpunk thriller about the murky morality of corporations; I got a generic, dull movie with nothing original to say. The plot frequently becomes incoherent, the characters are blank slates, the side stories have no point, and the ending is obvious about an hour into the movie. Quite weak. |
9-4 |
Hero | Less a standard martial arts film than "martial arts as visual poetry," but I like that kind of thing. And although the story gets a little heavy-handedly state-approved towards the end, the visuals are so incredibly breathtaking, the fights so beautifully choreographed, that I didn't care. It's so beautiful that it's almost less a movie, and more a piece of art. |
9-2 |
High
Noon |
As a movie, it's fascinating, but it's somewhat better from a thematic or academic point of view than as a Western (the gunfight is more than a little anti-climactic). It's an excellent film in most ways, tho, and I can see why it's a classic--timeless themes of bravery, sacrifice, great filming, and very cool to see on the big screen (thanks again, Belcourt!). |
9-2 |
Ali:
Fear Eats the Soul |
I thought there was a quiet beauty and power to this, but I can't say that I thought it was the classic that Ebert does. Still, it's fascinating to watch, knowing about the director's personal life, and it's definitely got some powerful ideas about racism, tolerance, and love, as well as numerous deeply moving scenes. You know, it really was very good; I guess I just wasn't as impressed as I expected to be. (Then again, I've never much been a fan of melodrama...) |
9-2 |
Soho
Square |
So now, not only can I not sleep, I've also subjected myself to a lame Se7en wannabe with no good qualities. Wait. That's not true. It was short. It also was badly made (you could barely make out the dialogue), uninteresting, and had a stupid ending that cheated in an effort to create a twist, but failed miserably. I guess there are worse things than insomnia. |
9-1 |
Fahrenheit
9/11 |
Ugh. Do I ever not feel like reviewing this, given the feedback I'll get from some people who read this (hi, Mom! hi, Maria!). Suffice to say, I was extremely impressed with parts of it, less so with others. Overall, it's a fascinating watch, and worth seeing, just to see what all the fuss is about. If you really want to know my opinion, you can always click here. |
8-26 |
Once
Upon a Time in the West |
This was pretty incredible already, but it was even better by virtue of seeing it on the big screen (thank you, Belcourt!). It made an already epic movie even more so--let me tell you, nothing erases the Death Wish tarnish on Bronson's reputation like seeing him blown up to massive size accompanied by that perfect instrumental score (and let's not even start on Fonda's incredible job as the sadistically evil Frank). Great duels, stunning use of the widescreen, a perfect score...yeah, it's a little long, but when it's this good, who cares? |
8-23 |
Party
Monster |
It was pretty good, although I don't think the directors knew the meaning of the word "restraint," but given the subject matter, I think that's okay. Culkin and Green both do great jobs, and the movie's pretty fascinating and even entertaining. I would put it in the same category of twisted biopic as Chopper (tho nowhere near as great). Still quite good, tho. |
8-22 |
Bloody Sunday |
It's been a long time since a movie made me this upset--not just drained, but angry. I know it's a biased film, one arguing against the British. But to dismiss it for that is to do it a great disservice--it's incredibly made, creating the most perfect sense of realism I've ever seen in a movie. That sense--and watching the horror unfold, in an incredibly realistic way--is what provoked the response in me. It's a tough film, but it's also a stunningly crafted re-creation, and it's creation of realism lends it an uncommonly devastating power. |
8-21 |
De-Lovely | I didn't hate it as much as Ria thinks I did, but I wasn't wild about it. It was glacially paced, and the fact that Kline was so good only served to emphasize how godawful Ashley Judd was. Despite the classic music and some well-staged numbers, the movie as a whole is pretty dull, dry, sappy, and ultimately just a misfire, except for Kline's great acting job. |
8-21 |
Tape | One review I read called this "Rashomon for the date-rape age," and that's a pretty good synopsis. It's more a movie about truth and perception than about any one truth in particular, and it's interesting in that aspect. Hawke borders on the annoying, but the movie keeps you involved, and Thurman's perspective adds an unexpected dimension to it all. |
8-18 |
You've seen this story about a million times before--the man brought "back to life" by the wacky antics of his dying friend--and there's nothing that makes this one unique, or even good, unless you enjoy unlikable, cliched characters that never ring true--they never, in fact, seem like anything other than artificial plot constructs. Truly mediocre, at best. | |
8-16 |
The Elephant Man |
Excellent, and quite Lynchian, although not to the extreme of his later movies. In fact, it makes something very clear--that for all his surreal techniques, bizarre humor, and focus on the darkest faces of human nature, Lynch is still capable of making a life-affirming, deeply touching and moving masterpiece like this one, without compromising himself, his values, or any aspect of his film. In fact, he somehow uses those tendencies to increase the emotional impact of his films. This may be one of his best, even if it is extremely atypical. |
8-16 |
The Hit | A pretty great, icy cool noir exercise. A man is escorted by two men to his execution, and that's the whole plot--and yet, much like The Limey, that doesn't do it justice. It's a great film about its characters and their natures, as well as being an excellent piece of crime drama. Shame it falls apart towards the end, but I guess it's the right ending for the film... |
8-16 |
The
Man on the Train |
I don't want to overexplain this film. I loved it too much--I might even say it is one of the less than a dozen perfect films I've ever seen. In depicting these two men--one a poetry teacher, the other a criminal--exploring the lives they could have lived, the director has created a quiet, funny, endearing, and deeply moving portrayal of human nature and desire. All right. I said too much. Just do yourself a favor: find this movie and watch it. |
8-13 |
CQ | Quite good. It's a nice mixture of cheesy nostalgia and introspection, and both turn out pretty well. It's not a perfect masterpiece--for once, a film that should have been longer!--but I really enjoyed it. I thought it was funny, well acted, and nicely written, with some great visuals. A really strong debut that makes me hope he's more than a one-time director. |
8-12 |
Amateur | Not as funny as the plot outline (an amnesiac is helped by a nymphomaniac virgin ex-nun while his porn star ex-wife runs from the mob) might suggest, but I still really liked it. It's more low-key and quirky than really funny, but it's entertaining, and much sweeter than I expected. A downer ending, but it didn't seem jarring--just right. A nice little gem. |
8-11 |
Dust | Great while it's going, but ultimately unfulfilling. I loved the two stories--the kid robbing the old lady vs. the revisionist Western--and sometimes they came together perfectly (love the change from 200 men to 20). But, although I enjoyed it while I watched it, it ultimately isn't as good or substantial as it needs to be, and it's finally just disappointingly lackluster. |
8-11 |
Dead
Ringers |
Well. That was messed up. The perfect fusion of Cronenberg's weird body horror fixation and a more mainstream (?) psychological horror. Incredibly well acted by Irons, although the slide into madness towards the end still seems arbitrary. Still, it's compelling viewing, and that disturbing type of film (those tools...eep.) that will stick with you for a while. |
8-10 |
The
Element of Crime |
Odd, surreal and beautifully filmed, but lacking plotwise. It's a story you've seen a hundred times before--the cop tracking the killer and the blurring of the lines between them--and it's more hauntingly told than interesting on its own terms, but it's the beautiful sepia filming that makes this stand out, not to mention that it's Lars Von Trier's debut film. |
8-9 |
City
on Fire |
Meh. Not bad, I suppose, but nothing very original or interesting. It's going to be watched simply because it's the inspiration for Reservoir Dogs, and for that I'm glad I watched it; it makes you appreciate QT's movie even more, since he pretty much improved everything he borrowed. Not a waste of time, but nothing too great or memorable. |
8-8 |
Real
Genius |
Um...I guess I just don't get it. This wasn't bad, but it wasn't the classic I've always heard it to be. Kinda funny in parts, but nothing really great or memorable. In all fairness, I watched it on Comedy Central, so it might have been edited to death, so I'm not writing it off. But I was a little underwhelmed by the whole thing. |
8-7 |
Collateral | Quite good. Not flawless--a lot of dubious coincidences, and the ending kinda falls apart, but it's nicely low-key, with more focus on character exploration--even for the minor ones--than action (which it also does very well, when it needs to). Not to mention the truly outstanding acting by Cruise and Foxx (!). An excellent example of the L.A. crime drama. |
8-2 |
The
End of the Affair |
This is everything that is stereotypically bad about period pieces. I know the story isn't happy, but this is so ridiculously glum, so aloof that it ruins the film. And don't even get me started on how melodramatic and ridiculously dogmatic (not to mention obvious) the plot is. Mainly, tho, I didn't care about any of these characters, or their story. Just dull, dull, dull. |
8-2 |
Hedwig
and the Angry Itch |
Honestly, I expected to hate it. I loved it. That's not to say it's flawless, but the music is excellent (forget the Rocky Horror comparisons, it's much closer to The Wall if David Bowie and Iggy Pop wrote it), the visuals stunning, and Hedwig, for all the gender confusion, is still universally recognizable as just a person looking for human connection. A great movie. |
8-1 |
Before Sunset |
FAR better than I expected a sequel to Before Sunrise to be. This was excellent--all of the sparkle and great conversation of the original, but with a more mature sensibility, and a fascinating "what might have been" aspect. This was not only a perfect sequel (maybe even better), it was like catching up with old friends--a wonderful continuation of that great date. |
7-30 |
The
Village |
Not awful, but HUGELY disappointing, especially coming from Shyamalan. Interesting themes and beautiful filming aside, the dialogue is stilted, the plotting loose (with GAPING plot holes and "twists" you can guess 30 minutes in), the characters flat--none of which I expect from him. It's like a first draft that never got fixed up, and the fact that it never becomes emotionally involving or even that interesting makes it his first major failure (even Signs was great till the mediocre ending). What a huge disappointment. |
7-23 |
Wild
at Heart |
Um. Yeah. So...that was something. Never boring, I can say that. I didn't dislike it, but it's definitely lesser Lynch--it's a bit scattershot, almost aimless, and it lacks the focus Lynch brings to his best work. Still, it's a Lynch film, with the frequent moments of genius, horrifying visions, and pure surrealism that implies. Not bad, just not one of his best. |
7-22 |
Blue
Velvet |
Why did I think this was horrible the first time I saw it? This was excellent--nightmarish and disturbing beyond words, but excellent nonetheless. Visually, it's beautiful throughout; beyond its compelling plot and acting, it's interesting to see it knowing that Twin Peaks was yet to come (sometimes, this seems like a more extreme dry run for that show). |
7-20 |
Quiz Show | An excellent piece of filmmaking. As just a historical re-enactment, it's very good, but Redford manages to make it a compelling drama, a morality play, and almost a thriller. The acting is all top-notch, and although it veers a little towards preachiness at the end, it's still one of the best classic Hollywood dramas I've seen in a while. |
7-20 |
Bad
Lieutenant |
I don't get it. I mean, I get that it's a bad cop who finds hope for himself, but so what? It's more of a wallowing in unpleasantness than a story about redemption, and surprisingly, it's really, really dull. And the completely nonsensical "redemption", not to mention the out-of-nowhere ending...sigh. Not worth the time, save for Keitel's fearless acting job. |
7-18 |
The
Grey Zone |
This may be the finest film to date about the Holocaust. By focusing on Jews who helped the Nazis in exchange for promises of longer life, it conveys not only the Holocaust's cost in lost lives, but also the emotional cost to self, pride, and morality. The film is a draining experience, raising troubling moral quandaries and filled with the most grimly realistic portrayal of life in the concentration camps I have seen. But for those who can handle it, the film is a powerful, emotionally devastating, compelling, deeply moving experience. |
7-18 |
Dodgeball:
A True Under- dog Story |
It's pretty much what you think--dumb, with occasional doses of pure hilarity (more than I expected). It's like a lesser cousin to BASEketball, but it's not without its charm, and it's helped hugely by the good cast. Sure, it's nothing brilliant, but nothing I regret, either. Stay through the credits for a terrifying image that will haunt your dreams for weeks. |
7-15 |
Images | Well, that sucked. Mainly a curiosity piece, since it's an early (and fairly obscure) Altman movie (which is nothing like an "Altman movie"), Images is a mess that wants to be a thriller exploring the fracturing of one woman's sanity. It's interesting to start off with, but it eventually just falls apart, becoming incomprehensible and just plain dull. Blech. |
7-13 |
Better Luck Tomorrow | I'm kinda divided on this one. On the one hand, it seemed like a mish-mash of stories I'd heard before; on the other hand, the sharp writing and above-average direction breathed some life into it, keeping it from seeming so familiar. I liked it pretty well. Well acted, and definitely far better written than the standard "teen movie". |
7-11 |
Anchorman:
The Legend of Ron Burgundy |
What do you want me to say about this? Was it dumb? Oh, yeah. But was it funny? HILARIOUS. I laughed uncontrollably throughout this movie. To some degree, it'll depend on your tolerance of Airplane! style silliness; some stuff is just funny no matter what. Can't say if you'll like it or not, but I laughed my ass off through the whole thing. |
7-3 |
Dogville | Easily the best film I've seen this year. To dismiss it as a vicious indictment of America is an injustice; the film about more than that (the minimalism of the set helps, making the movie more open to interpretation). Indeed, it could even read as a religious parable (in many ways, thematically speaking, this is the anti-Passion). Though it's relentlessly bleak (particularly the ending), it's a compelling, thought-provoking, devastatingly powerful work of art. Just don't go hoping for Our Town--it's more like Our Nightmare. |
7-1 |
The Bourne Identity | Pretty good. Nothing spectacular, but definitely a cut above your average popcorn flick, with a massively overqualified cast (Brian Cox, Clive Owen, Chris Cooper, and Julia Stiles in a random tiny part), an intriguing plot (tho the final "revelation" was kinda random and unconvincing), decent action...like I said, nothing special, but entertaining and fun. |
7-1 |
Spiderman 2 | I know there'll be people who complain it was slow. Me? I thought it was GREAT. It's easily the most character-driven superhero movie I've ever seen (except maybe for Unbreakable), with powerful emotional themes, GREAT action (the train sequence is dazzling), good humor (the elevator bit is hilarious), old-school Raimi (the first tentacle sequence is pure Evil Dead 2), and great acting all around, with Molina stealing the film as perhaps one of the best villains ever. Not just a great superhero movie, it's a great movie. Highly recommended. |
6-18 |
The Big Lebowski | Watched this at LebowskiFest, which was a dazzling and incredible weekend. If you love this movie, you owe it to yourself to check it out. It was fun to see this in a group...nice to know there are people out there just as obsessed/familiar/devoted to this as my little group. Great weekend. May try and write it up later... |
6-13 |
The
Same River Twice |
If Super Size Me was the ideal documentary as essay, this is the perfect documentary as chronicle of human experience. In showing the changes in five nature-loving, communal-living friends over 20 years, this manages to be both a loving elegy for one's youth and a beautiful portrait of the realities of aging. Magnificent and moving. |
6-13 |
Saved! | Proof that "holier-than-thou" condescension isn't limited to the religious right. Yes, religious zealots deserve it, but with a film this smug and self-righteous, it's hard to take the display of the very intolerance it's "mocking". Not to mention the horrible writing--the characters, such as they are, would kill to have one full dimension; as it is, they're walking cliches, at best. The only good part of this was the full Anchorman trailer, which was hilarious, and one of the funniest things I've seen in years. The movie sucked. Hard. |
6-12 |
Harry
Potter and the Prisoner of Azkaban |
I was so disappointed with the first one that I never saw the second, but this renewed my faith in the series. Gone is Columbus's "filmed book on tape" approach; Cuaron massively abridges the book, but brings better acting, better use of effects, more humor, and a more cinematic approach (better camera work/imagery). The result: the best HP film yet. Great. |
6-11 |
Rififi | The legendary (and justly so) heist sequence would be enough to insure this film's classic status, but it's only the beginning of great things about this film, which I would rank high among the greatest films I've seen. The philosophical, nihilistic core, the haunting dialogue, the minimal, shocking violence--it's an amazing piece of noir, and a stunning film. |
6-11 |
The
Legend of Boggy Creek 2 |
Ahhh...Mystery Science Theater 3000 goodness. And this particular film was a real pile of crap...which, naturally enough, made it a great episode. Good stuff. |
6-6 |
The
Cars That Ate Paris |
You know, with a title like that, you have certain expectations, and this failed to meet them. Just weird enough to be interesting, but not enough to be good, this would have benefited massively from at least five minutes of actual, you know, explanation. Mainly just interesting as a curiosity, as it's Peter Weir's first (?) film. |
6-6 |
The
Sopranos |
No worries--wouldn't spoil it for you. Suffice to say, it's been a rock solid season, and the final ep offered up some inevitables, some twists, and at least one fairly surprising development. Not as incredible as the Big Pussy hit, but still a damn good episode, a great finale, and this season has been a great return to form (after the misfiring season 4). |
6-1 |
The
Straight Story |
Yes, it is unmistakably a David Lynch film, G rating and all...and it's one of his best. The story is simple, but never too sweet--Lynch's odd touches, sense of humor, beautiful camera work, and understated approach (look at how he dodges sentimentality at the film's end) all serve to make this a perfect film in almost every way. A great, great movie. |
5-31 |
Gerry | You know, I expected to spend this review ranting about this being "pretentious"...and yet, I'm not going to. I can't say it was a perfect film--it's a little on the long side, and the "ending" is too random...and yet, there's a certain beauty in its long silences and beautiful vistas. An experiment, and not fully successful, but not uninteresting. |
5-30 |
Before
Sunrise |
Really wonderful. It's like just being outside a perfect date, and while you're watching it, it's so true to life you can't help but remember similar evenings. I loved this movie...well-written, well-acted, romantic, funny, sweet...no idea how it merited an R rating, but it's a perfect an wonderful date movie, and just a great movie on its own merit. |
5-30 |
Super
Size Me |
A great, great docudrama. It's like a Michael Moore film, but without Moore's huge ego and strident nature...softer in approach, but just as critical, Spurlock manages to make a hilarious film that's still informative, important, and even a little shocking (even when you know what will happen). Entertaining, compelling, all-around fascinating, and great. |
5-30 |
Laurel
Canyon |
Not bad, not bad at all...but nothing spectacular, either. The film works overall, and it's a great character study, but there's never that one moment or scene to really make it memorable or excellent. Everyone does a good job (particularly Frances McDormand), and I liked the movie pretty well. It's just missing a certain...I don't know. Something. |
5-30 |
Empire
of the Sun |
Why isn't this better regarded? Sure, Spielberg was still fighting his "Hollywood-izing" tendencies, but this is far closer to Schindler and Private Ryan than to Jaws. It's a powerful and even moving film, and the fact that it's beautifully filmed (the visuals at the stadium are breathtaking) doesn't hurt at all. A neglected masterpiece. |
5-28 |
Bridget Jones's Diary |
I felt about this a lot like I felt about Hannibal. That is, both were excellent, well-crafted books; when translated to film, the plots were mostly the same, but something got lost in the translation. Nothing specific--unlike Hannibal, this wasn't horrible...it just had none of the spark, fun, or depth of the book. Not awful, just "v. disappointing". |
5-28 |
Sanjuro | A followup to the excellent Yojimbo, this is the rare sequel that surpasses the original. It's a frequently funny, always interesting variation on the "man with no name" Westerns. A great story, likable characters, well-played action, a perfect ending...you know, it's easily my favorite Kurosawa to date--yes, even better than The Hidden Fortress. |
5-25 |
Edward
Scissor- hands |
SUCH a great movie. A fantastic blend of fairy tale, Frankenstein, and suburban satire, it (to me) was the first time Burton's style really meshed with his story. The ending is troublesome--the violence doesn't really fit the movie, although it does fit the Frankenstein side of it...it seems a little forced, but it doesn't stop it from being a wonderful film. |
5-20 |
Shrek 2 | Pretty fun. I liked it more when it was ribbing fairy tales or just letting its characters be themselves (particularly Banderas's Puss in Boots, who cracked me up with his very cat-like actions) than when it was forcing smarky pop-culture jabs. Not the equal of the first movie (which I liked, but not as much as some people), but fun anyhow. |
5-20 |
The
Hidden Fortress |
Really, really good. Just a blast in every way. This is the most fun of all the Kurosawa samurai films I've seen--less Shakespearean tragedy, more pure adventure. A lot of humor, a good plot, great action, and some fantastic characters. Probably the most enjoyable--not the best, but the most entertaining--Kurosawa film I've seen. |
5-20 |
Stranger
than Paradise |
THIS is what got Jarmusch recognized? Man...and I thought Dead Man was boring. It was nothing compared to this pile of meandering, stultifyingly dull suck. The more Jarmusch I watch, the more I think the fantastic Ghost Dog was an incredible fluke... |
5-20 |
Invader
Zim Vol. 1: Doom Doom Doom |
Words cannot express two things here: 1. How absolutely, incredibly, extremely weird, twisted, and bent this cartoon is, and 2. how ridiculously happy I am that it's finally out on DVD. Been enjoying this first volume, and just reveling in the bizarro goodness that is Zim. Now I just have to wait till August for volume 2... |
5-16 |
The
Company |
You know, considering that more than half this movie is nothing more than ballet performance (and that I don't like ballet), and the other half is plotless, even by Robert Altman standards...I still really liked it. It's so beautifully filmed...sure, it's a little dull in spots, but it works more than it doesn't, and it's visually stunning. A surprising gem. |
5-15 |
Dead
Man |
Blech. A couple of bright moments (one when I realized that Nobody is the same guy who shows up in the WAY better Ghost Dog: The Way of the Samurai), and a couple of spots of humor, but mostly just drug-out, pretentious, and dull, dull, dull. |
5-14 |
Hellboy | As opposed to Van Helsing (the other movie on my drive-in double feature), this ruled. Just a blast from start to end. A lot of fun--nothing brilliant, just a great comic book movie. I laughed a bunch, loved Perlman, and enjoyed the style of the whole thing. Wish the movie had something close to an ending, tho. |
5-14 |
Van
Helsing |
Too friggin much. The movie's not as bad as people make it out to be--for the first hour or so, it's kinda fun. But ultimately, it's WAAAY too long (over 2.5 hours!), and the plot (and its forced contrivances) ultimately just gets wearying, to say nothing of the relentless CGI. I was really tired of it by the end. It wasn't awful, but it wasn't very good, either. |
5-10 |
Felicia's Journey |
At first, this was great; a subtle, well-crafted, perfectly acted character study that builds more and more ominously towards something terrifying. And it builds, and it builds, and it...fizzles out entirely. So close to a great film, but the ending is just far too abrupt (and forced!), and ultimately it feels like too much setup, and not enough payoff. |
5-9 |
The
Impostors |
Not bad, but not great. I laughed a few times, and enjoyed the film greatly, but it doesn't work more often than it does. Still, there are definitely worse films, and I would be lying if I said I was sorry I watched it, if for no other reason than the dumb but funny subtitle joke. Like I said, nothing great, but likable enough in its own way. |
5-2 |
The
Happiness of the Katakuris |
There's gonna be no possible way to explain this movie. It's completely insane. Even if I tell you that it's as if Miike tossed a comedy, a horror film, a musical, and a family drama into a blender (with some Claymation bits), and this came out, it wouldn't even come close to conveying its sheer weirdness (or how damn entertaining it was). |
5-2 |
Almost Famous |
Rewatched most of this (about 2/3 before I crashed) with Ria, who'd never sat and watched this....and it's such a great movie. I've seen it several times (at least 4, but I think more), and every time I love it more. Just a great movie in every way. |
4-27 |
Alphaville | The story's equal parts Orwell, Dick, and Huxley, but the movie vacillates wildly between incompetent filmmaking (laughable music, a computer voice that sounds like a kid belching the alphabet) and incredible pretentiousness (it'd have been about 20 minutes shorter without all the shots of people walking). Just don't understand its classic status. |
4-26 |
Mona Lisa | It could have been just another bland neo-noir...it's a familiar story--ex-con helps a shady woman, gets in over his head, etc. And yet, it's more than that, due largely to Hoskins and Coltrane, who, rather than reveling in the usual bleakness of the genre, manage to bring hope, optimism, and even humor to the movie. Well worth a watch. |
4-25 |
The
Last Temptation of Christ |
Watched this with Ria, who'd never seen it. I still say this is one of the most devout, intelligent, thought-provoking movies about faith ever made. For all the controversy (arising from a misunderstanding of the film), it has more powerful ideas, more moving moments in any one scene than The Passion has throughout its whole running time. |
4-25 |
Before
Night Falls |
In some ways, this is brilliant--it's got incredible visual style and some great acting. In other ways, it's got incredible flaws. The biography, such as it is, is massively elliptical, with characters showing up and disappearing all the time...often, in fact, it doesn't even make sense. Still, it's better than many biopics (Ali, anybody?). |
4-24 |
Straw
Dogs |
An extremely disturbing film, and not just because of the violence...there's so much else, from the misogyny (does the woman "enjoy" the rape?) to the hateful depiction of every single character, to the pitiful "hero" who indirectly causes it all...what do I say? I know I didn't enjoy it (it made me want to go shower it off)...but was it good? I really don't know. |
4-24 |
Amarcord | You know, I can't explain why, but I liked it a lot. It was sweet...obviously autobiographical, and very nostalgic, but I think that helps it. There's no message, no true "meaning"...but that doesn't detract from the joy it brings, or the beauty it sometimes shows. (I appreciated it more after reading this interview with Fellini.) |
4-24 |
Bartleby | What a pile of garbage. It's dull, meandering, and never very interesting. The movie's only 75 minutes or so, and feels like it should be at least 30 minutes shorter. The added subplots (especially the Nazi dream bit) and characters don't help it, nor does the distractingly bland filming job. It's just a dull, boring, hard-to-finish mess. |
4-23 |
Yi
Yi (A One and a Two...) |
Quietly wonderful. There's so much good about this movie...there's no one moment I can pick out, since it's got none of those dramatic confrontations or epiphanies...it's just people living their own lives, dealing with their own crises, and struggling to understand life. I loved this movie...it's deceptively simple, but so rich and rewarding. |
4-22 |
Trees
Lounge |
Not bad, but nothing great. Sure, it's well acted all around, and I'm always happier with Steve Buscemi is in a movie (not to mention some Sopranos stars)...but as good as everyone says it is as a portrayal of alcoholism, it certainly doesn't have much of a story. The characters are well played, sure, but there's just no real plot to get involved in. |
4-17 |
The Big Lebowski | Finally got Maria to watch it, and she liked it okay. Didn't really understand my love for it. Me? I still think it's one of the funniest movies I've ever seen...I laugh every time, and like it more every time I see it. Hell, I'm much happier tonight just for having seen it again--it had been too long. Life is good. |
4-17 |
Menace II Society | A truly outstanding film, in almost every way. The dialogue and acting could not be more natural, the story is realistic without being condescending...I kinda feel like the last 20 minutes work overtime to give it a bleak ending, which makes it feel a little forced, but in a lot of ways, it's the right ending for the film. All in all, an impressive and powerful film. |
4-16 |
Kill
Bill: Volume 2 |
What to say? It's fantastic. It fleshes out entirely the somewhat flat characters of Volume 1, adding depth, emotion, and backstory to the incredible palette of style and color. Tarantino works his Travolta magic on Hannah and Carradine, who give stunning, even moving performances. The action, though more sporadic, has greater effect and purpose. And the final chapter...well, it's perfect. KB1 was a stunningly gorgeous action movie; KB2 makes the completed product a masterpiece. |
4-16 |
Uzumaki (Spiral) |
Weird, weird, weird, and creepy flick. If you can get past the first 20 minutes, which is a little goofy, this becomes some of the strangest, most unsettling stuff I've seen in a long time. Don't hold your breath for any explanations, tho. It's got some flaws (cheap effects, unnecessarily showy camera work), but it's very memorable and very unsettling. |
4-14 |
Roger
Dodger |
Interesting...a fascinating look at gender and sex, anchored by superb acting (especially Campbell Scott, who is fantastic) and some excellent writing. The ending is a little strange, tho...I liked that they tried to make Roger a real person without betraying his character...still, it was a little odd and unexplained. Overall, tho, really good. |
4-12 |
Dead
or Alive: Final |
Yeah...that was odd. Actually, it was a somewhat stylish and kinda fun riff on sci-fi movies...up until the really, really strange ending. After reading about the previous two parts in the sorta trilogy, I feel like I get the point of it, but it was still really strange...and yet, I think I enjoyed the flick okay. Nothing stellar, but definitely had some fun bits. |
4-10 |
The
Ladykillers (2004) |
It's still not quite a "Coen Brothers Film," but it's a lot closer than Intolerable Cruelty was. I enjoyed it pretty well...Hanks is hilarious, and there's some bursts of style and inventiveness. A little excessive with the profanity (it feels like it's there just to get an R rating, almost), but all in all, I thought it was pretty funny. Not great, but fun. |
4-9 |
The
Barbarian Invasions |
Okay, but not as good as Ebert made it out to be...really talky, and often a bit contrived. Somewhere in here, though, there's a moving story about a man whose pending death brings his family and friends back together, but it's often lost in meandering plotlines, and pointless or inappropriate discussions (i.e., the 9/11 thing). |
4-9 |
Mars Attacks! |
Apparently, I'm one of about three people on the planet who like this movie. I don't really get all the hatred for it...sure, it's far from brilliant, but isn't that kind of the point of poking fun at bad 50s sci-fi movies? And, yeah, it's awfully cynical and cruel, but I have a certain fondness for dark comedy anyways...whatever. I think it's funny. |
4-3 |
What
a Girl Wants |
Was only awake for about half of this, but I basically decided that A. I can see why Maria likes it (certain emotional elements are kinda touching), and B. I still didn't...too many flat characters (Colin Firth is a notable exception, but it's like he wandered in from some other movie) and too much bad writing sink it for me. |
4-3 |
Shallow Hal | You know, really, this isn't a very funny movie...but it has a surprisingly big heart to it (the scene with the kids?), and it's a lot visually trickier than most other mainstream films. Sure, it has flaws (isn't it just trading stereotypes?), but it's still a pretty good movie. Not that funny, but good. |
4-3 |
Ghost
Actress (aka Don't Look Back) |
Meh. Extremely slight (and fairly incomprehensible) ghost story from the guy who directed Ringu (which I haven't seen). Weak all around, with only one or two (very, very brief) creepy sequences of any note. Pretty instantly forgettable. It's a bad sign when a 75 minute movie seems way, way too long. |
4-3 |
Rhapsody
in August |
Outstanding. The first non-samurai Kurosawa film I've seen, and he manages to keep all his beautiful imagery intact while telling a more personal story. Not only is it a haunting look at life in Japan after the atomic bombs, it's a powerful story of family and history which never loses sight of its characters. Incredible film. |
4-2 |
The
Dinner Game |
How can you take a great idea (dinner with a bunch of idiots), not deliver it, and yet still have a pretty funny movie that doesn't hurt from the initial buildup? Well, this does...though its contempt for its characters sometimes derails it, but overall, it's a pretty funny movie. Sweet, if kind of odd and out of place, ending. |
4-1 |
Delicatessen | Been a while since I saw this, and I forgot how off the wall it was...I remembered the dark humor, but I forgot the odd, Gilliam-ish sensibility that makes a movie about cannibalism and the apocalypse fun. Not as stylish as their later films, but really good anyways... |
3-31 |
Romeo is Bleeding | So far over the top, it crippled the movie (prime examples: the HORRIBLE narration, Olin's ridiculously evil cackles). It wasn't awful, it just didn't know the meaning of the word "restraint". (then again, this is the guy who made The Ruling Class, which, incidentally, was a FAR better movie...) |
3-31 |
City
of Lost Souls |
I think I would have liked this more if A: it had made any sense at all, B: the subtitles were literate or coherent, C: the CGI wasn't so ubiquitous, and D: the bursts of manic Miike energy weren't so infrequent (tho you gotta love the surreal and WAY over the top cock fight bit). Nothing too great here. |
3-29 |
Mystery
Train |
I guess I didn't dislike it...it was just a little meandering and plotless for my taste. There's nothing bad about it, just nothing particularly memorable. |
3-28 |
The
Prince & Me |
Took Maria to see a sneak preview of this today. A little overly long, and nothing too great, but nothing too horrible, either...pretty much harmless, inoffensive fluff. |
3-27 |
Monty
Python's Life of Brian |
Been a long time, and I forgot how hilarious this really is. Another one of those films unfairly called blasphemous, when it's really just taking solid jabs at zealotry or being silly. Funny, funny...and always remember: "Blessed are the cheesemakers." |
3-27 |
Sisters | I mean, it's not bad...but it's not very original (it's mostly Psycho + Rear Window)....and, sure, there's flares of style...but I guess I just don't get why this is so revered, much less the whole De Palma worship among film buffs...can anyone explain it to me? Seriously? |
3-26 |
Secret
Window |
"Hey, let's take a decent Stephen King story with a complex and twisty (if familiar) ending, and completely scrap that interesting ending in favor of something simplistic, silly, and completely illogical!" Sigh. Watchable (thanks to Depp), but no more than that. |
3-25 |
No
Man's Land |
There's a certain really black humor to this story of soldiers in a life-threatening situation, but it becomes a subtle metaphor and discussion of the Serbian/Bosnian conflict. Bleak, and not really funny, but full of good characters and good writing...a haunting film. |
3-25 |
The
Anniversary Party |
Have you been looking for an insipid, self-congratulatory movie about solipsistic, obnoxious Hollywood types who want to lament their sad lot in life? This is the movie for you! It's boring, irritating, full of itself, and all around a waste of two hours of my life. |
3-24 |
Lenny Bruce: Swear to Tell the Truth | Meh...your basic "hit the high spots" kind of documentary (almost in the "True Hollywood Story" vein). Not great; it's mainly of interest thanks to Bruce's intriguing life, and the snippets of his material (which are only enough to whet my appetite for more)... |
3-22 |
Dawn
of the Dead (2004) |
This movie quite simply rocks, and rocks hard: a take no prisoners, brutal thrill machine. Thankfully, this is not the sanitized horror of late; this is the kind where anything--and I do mean anything--goes. Great stuff. (When you go, you better stay through the credits...) |
3-20 |
Eternal
Sunshine of the Spotless Mind |
Not what I expected, in that it wasn't really a comedy, but still really good. A little slow, sure, but the top-notch acting all around, solid writing, and inventive effects that actually serve the story (instead of vice versa) make it a memorable, if surreal, experience. |
3-18 |
The
Fog of War |
Easily among the best documentaries ever made. It succeeds not only as history, but as a philosophical and moral meditation on war, and, indirectly, an exploration of our current conflict. This should be required viewing for everyone in the country (and definitely GW). |
3-18 |
The
Tailor of Panama |
Surprisingly good (especially considering my feelings on the book). Bitterly cynical, but entertaining and interesting (and oddly relevant, if you think of the WMD issue...). Gotta love Brosnan's anti-Bond (or a more realistic Bond? A depressing thought). |
3-16 |
Throne
of Blood |
Great writing that adds depth and complexity to Shakespeare, stunning visuals like the moving forest...just brilliant. Shame about those seriously glacial sections that bring the whole thing down a bit...if not for those, this would be the best Kurosawa film I've seen. |
3-16 |
Escape
from New York |
I feel a lot like I did after I watched Assault on Precinct 13. Not a great film, but not without its charms, and well executed, especially given the low budget. Not particularly thrilling, but a great idea, and a well created environment. Decent. |
3-6 |
What in the hell did I just watch? All over the map in tone and style, from musical to comedy to melodrama to horror...fascinating as anything, tho, and often tear-inducingly hilarious, to put it mildly. Whatever else it is, it's unique and unforgettable... | |
3-6 |
Blech. Every time something moving, thought-provoking, or resembling character development shows up, it's crippled by heavy-handed writing, wretched direction, and horrendous pacing. The movie's saved only by Tom Wilkinson. Here's a far better review... | |
3-6 |
How friggin' awesome was this? Completely nutzoid, really derivative, overly showy, ridiculously violent--and all in really, really good ways. All in all, a complete blast--just a fun, entertaining Hong Kong action flick that's tailor-made for movie buffs. | |
3-3 |
(No, I'm not going to write about this every week, just the debut and the finale.) An intriguing, if really bizarre, opening to the series. A nice blending of Van Trier and King, and it looks to be well made. I'm biased, but I like it so far... | |
3-3 |
Remember that old cartoon with the dogs that looked like their masters? Imagine that, but with houses instead of dogs. A fun movie--not as good as American Movie, but that's a pretty high standard. Well worth a watch. | |
2-28 |
If you ask me, if it weren't for the much vaunted twist in this movie, no one would care about it. Not without moments of interest, but it was just kind of a jumbled mess to me. Lots of ideas and genres mixed together, but none of them well. | |
2-27 |
Really dark con movie. I really dug the noir stylings of the whole thing, but, man, is it dark. Not really what I expect out of a con movie, but I think as a result it's a better film as a whole. Excellently acted all around. | |
2-27 |
Almost campy melodrama, which makes its shifts into brutality all the more jarring. Kind of a deglamorized Bonnie and Clyde; there's no heroism here, anti- or otherwise--these are horrible people doing horrible things. An interesting artifact, but not much more. | |
2-26 |
Um...yeah. Not sure how to even begin with this one. Great visual style, and incredible use of color. The plot was almost incomprehensible, but I think I really liked it anyways. Completely nuts, but a lot of fun... | |
2-26 |
Justly classic, with its slippery notions of truth and stunning visuals. A great companion piece to The Thin Blue Line, with both films' continual revisiting and revising of the central event, as filtered through the eyes of people who may or may not be telling the truth. | |
2-26 |
Both a fascinating examination of the elusive nature of truth and a disturbing look at an incredible miscarriage of justice. Absolutely compelling viewing, and far more than just a simple documentary; rather, it's almost philosophical in its approach. | |
2-25 |
Not as powerful as I hoped, nor as disturbing as I feared. But Maia Morgenstern's performance as Mary is devastating...her portrayal of a mother watching the unthinkable happen to her son is heartbreaking. If you want, there's more thoughts here... | |
2-24 |
Solid, well-filmed, and intriguing...with a really bizarre, almost goofy conclusion. Still, a really good thriller. Better than most of the crap that comes out these days. | |
2-22 |
Watched most of this again today on HBO. Hardly brilliant, but awfully funny. Looks like the kind of movie that was fun to make, and fun to watch. | |
2-17 |
Off-the-wall, surreal, very French, and absolutely hilarious. A complete treat. I don't think I could summarize the plot, and I don't think I would want to. If you go, you need to stay through the credits... | |
2-14 |
Not very funny at all...yet, somehow, better, deeper, and sweeter than one should ever expect from an Adam Sandler film. A sweet core, but I kinda missed the lunatic humor of Happy Gilmore...still, better than expected. | |
2-10 |
Meandering but really fun. Funny, touching, and heartbreaking. Very scattered, but that's to be expected given its short story origins. Crudup's presence makes it sort of a complement to Almost Famous as a portrait of the 70s. | |
2-10 |
Outstanding. Beautifully shot, stylistically told, well-written and acted, and powerfully moving. One of the best of the year--top 3, at the very least. | |
2-6 |
A nice return to form for Burton, with somewhat of a more mature sensibility...rather than simply dwelling in fantasy, it becomes an exploration of it. Moving, funny, and vastly entertaining. A great flick. | |
2-6 |
Glacially slow, overly long, fairly uninteresting. Nicely shot, and well acted by Moore, but to no avail--this still sucked mightily. | |
2-6 |
Loved it, loved it, loved it. Not a plot-driven movie...more of just a free-form exploration of characters, a city, and film itself. Just loved it. | |
2-4 |
Unedited, which I hadn't seen before. A vicious satire on the media fixation on serial killers. Darkly humorous, but more disturbing, and not for all the usual reasons. | |
2-4 |
A really nicely photographed, fairly off-the-wall Japanese gangster film. Pretty fun stuff. | |
2-1 |
Really artsy and experimental. Not really very interesting, except as a window into the genesis of the far more compelling and thoughtful 12 Monkeys. | |
1-31 |
Yawn. I mean, well shot and acted, but incredibly dull. Just not much of note here. | |
1-28 |
A nice variation on a tale that's been done before. VERY low budget, but once you get beyond that, there are some great ideas and sequences in here. Not perfect, but, especially given the budget, solidly creepy. | |
1-28 |
Compelling and very powerful. The movie as a whole isn't perfect, but Gosling single-handedly makes it unforgettable and an insightful look at hatred and religion. This is what American History X could have been. | |
1-28 |
A vicious jab at zealotry on both sides (thankfully) of the abortion issue. Pretty funny, if a little depressing, and often hard to watch due to the (deserved) contempt for every character in the movie. | |
1-27 |
A reasonably clever and kinda fun adaptation of Macbeth. I liked it pretty well. Tierney and Walken bring a lot to it, and it's a good reminder of how timeless Shakespeare can be. | |
1-25 |
A great film, anchored by Theron's incredible performance, that really tries to understand the horrifying things that people are capable of. (It also contains the single most inappropriate end credits music ever.) | |
1-24 |
Really surreal, to put it mildly...a weird jumbling of social satire, black comedy, and teen drama. It's like nothing else I've ever seen, but I still liked it a heck of a lot. | |
1-24 |
Third time, and this movie still rocks ass. Just a joyous mix of style, action, and hints of something darker and more substantive...when part 2 finally comes out, this could be QT's best work yet. | |
1-24 |
Fascinating and ultimately depressing, made more so by the glimpses of the film that could have been. Why couldn't all these things have happened to Underworld or Legally Blonde 2? | |
1-22 |
Great Mamet dialogue + good acting - (plot or point) = Blah blah blah blah blah blah blah blah blah. Well done, but ultimately dull in spite of it all. | |
1-17 |
Mean-spirited, over the top, way too twisty...but somehow, kinda guilty fun, in spite of it all. | |
1-15 |
I feel like there's a trend on this log so far. Great acting, again, but the story defies belief. Still, pretty damn good, and Kingsley and Connelly make you forget the jumps in logic. | |
1-11 |
A twisted coming of age story. Nothing great here save the performance by Brian Cox, who brings incredible life into an otherwise blah movie. | |
1-10 |
Isn't racism funny? No? What about homophobia? Yeah, that's pretty funny too. I cried for Steve Martin's career. | |
1-9 |
Malkovich: awesome. Movie: not so much. Really dull, in fact. |
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1-9 |
Sadly mediocre. Great acting lost in over the top direction and a lackluster story. Acting really is great, tho. | |
1-6 |
A weird mix of drama, magical realism, and comedy. Works more often than not, especially thanks to Macy and Baldwin, but definitely not without problems (the drunk driver???). | |
1-4 |
Much better than the previews would have suggested. A really "manly" movie about men in battle and their companionship. A lot of fun, and really great from an atmospheric p.o.v. | |
1-3 |
Surreal...provides more of a starting point for discussions on school violence, rather than bringing anything new to the table...extremely disturbing and haunting. |
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1-3 |
Outstanding. Profoundly moving and powerful. A very personal film which touches you while never feeling heavy-handed. |
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| 1-1 |
Almost great, but merely good. A great store about men, honor, and war which gets set aside in favor of Hollywood grandstanding. Still pretty good, tho. |
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