A throwback to the days when slow to boil suspense and subtle intrigue were reason enough to screen a film. The film doesn’t require peeking through the fingers, seat belts or sending the kids next door to play. The ‘action’ takes place in your mind. So often these days, we, the viewers are spoon fed everything and the direction one looks to is spelled out thoroughly, lest one be burdened with the aspect of thinking. I’d have to say the last good film of this vibe was ‘Match Point’ (Woody Allen). What it has in common with ‘The Ghost Writer’ besides the fact that both were directed by infamous men (here Roman Polanski) of questionable character, is that they are well done.
The Ghost Writer concerns a writer (Ewan McGregor) hired to complete the memoirs of a former British Prime Minister (Pierce Brosnan) when the original ‘Ghost’ suddenly dies. While researching the PM, he uncovers, stumbles upon and is led to mysterious information regarding his subject. As befits most fine mystery films, that information comes from an array of interesting characters along the way. No disappointments here, as Tom Wilkinson, Robert Pugh, and the great Eli Wallach take turns throwing curve balls.
Kim Cattrall, as the PM’s Chief of Staff communicates more with posture and a sly wink than most blabbermouths making the rounds in Hollywood these days. Olivia Williams is outstanding as his smart but strictly photo op wife. Timothy Hutton, James Belushi and Jon Bernthal spice things up along the way to make this film recommended for one of those rainy days you haven’t a ghost of a chance to accomplish anything for the afternoon.
Monday, September 20, 2010
Friday, September 17, 2010
Kick-Ass
The great thing about movies that enter the realm of super heroes is that nothing is over the top. Anything goes, and that is precisely why I read them on a weekly basis while growing up. The sixties were a different era of course, and I could only afford new books on Saturday. But I spent the entire afternoon reading them. It was a time to let the imagination roam unfettered. Time would seem as if suspended while you studied and imagined the world beyond a single frame or page. So with ‘Kick-Ass’, I did exactly as I did so many years ago. Open it up, sit back and hopefully, watch in awe.
The movie opens slowly, and a foundation is laid out. This is very important due to many not having read the ‘Kick-Ass’ series. I had never heard of it. But the premise intrigued me and that was enough. So, in a sense, I was back to the Saturday afternoon atmosphere of seeing things for the first time, as they unfolded. And unfold they did.
The rise of ‘Kick-Ass’ was due to frustration with the status-quo. You don’t have to be into comics to understand this. However, it is the second ingredient to becoming ‘Kick-Ass’ (courage) that is uncommon. So young Dave (Aaron Johnson) has decided to change his world and the catalyst is the comic book super hero world he lives for. He creates an alter-ego ‘Kick-Ass’ and sets out to make a difference in his world. Along the way, he’ll meet allies, adversaries and find that recognition can be a two-edged sword.
Each page of ‘Kick-Ass’ yields additions to the film that are a surprise and very welcome. Christopher Mintz-Plasse is fine as the ignored son of the local mob boss (Mark Strong) who reckons he’ll be reckoned with one way or another. Nicholas Cage plays a comic book writer who has the added task of raising a daughter (Chloe Grace Moretz) alone. Chloe is a young dynamo who also happens to steal the movie (apologies to all the talent assembled, she is that good). I’m not getting into the characters here because you really need to watch the movie and let the story evolve.
The film is based on the Mark Millar comic book series. The writers worked closely with Millar . And for their efforts to bring forth a fresh and lively story to an old genre, writer Jane Goldman and writer-director, Matthew Vaughn have succeeded wildly. Oh and there will be more of these movies to come, that you can be sure of. After all, there’s a charismatic thirteen year old girl who simply must entertain the world, one more time before getting back to school.
The movie opens slowly, and a foundation is laid out. This is very important due to many not having read the ‘Kick-Ass’ series. I had never heard of it. But the premise intrigued me and that was enough. So, in a sense, I was back to the Saturday afternoon atmosphere of seeing things for the first time, as they unfolded. And unfold they did.
The rise of ‘Kick-Ass’ was due to frustration with the status-quo. You don’t have to be into comics to understand this. However, it is the second ingredient to becoming ‘Kick-Ass’ (courage) that is uncommon. So young Dave (Aaron Johnson) has decided to change his world and the catalyst is the comic book super hero world he lives for. He creates an alter-ego ‘Kick-Ass’ and sets out to make a difference in his world. Along the way, he’ll meet allies, adversaries and find that recognition can be a two-edged sword.
Each page of ‘Kick-Ass’ yields additions to the film that are a surprise and very welcome. Christopher Mintz-Plasse is fine as the ignored son of the local mob boss (Mark Strong) who reckons he’ll be reckoned with one way or another. Nicholas Cage plays a comic book writer who has the added task of raising a daughter (Chloe Grace Moretz) alone. Chloe is a young dynamo who also happens to steal the movie (apologies to all the talent assembled, she is that good). I’m not getting into the characters here because you really need to watch the movie and let the story evolve.
The film is based on the Mark Millar comic book series. The writers worked closely with Millar . And for their efforts to bring forth a fresh and lively story to an old genre, writer Jane Goldman and writer-director, Matthew Vaughn have succeeded wildly. Oh and there will be more of these movies to come, that you can be sure of. After all, there’s a charismatic thirteen year old girl who simply must entertain the world, one more time before getting back to school.
Thursday, August 26, 2010
Kalifornia
New on Blu-ray this week is 'Kalifornia'. Brad Pitt stars, alongside Juliette Lewis, David Duchovney and Michelle Forbes. The plot is a stretch, but as good an excuse as any to unleash Pitt's portayal of po' white trash maniac 'Early Grayce' upon the unsuspecting highway to hell. A creepy road movie (before Lewis rode shotgun in 'Natural Born Killers'), but one that solidified Pitt's rise as an actor playing unsavory roles. Duchovney, a writer researching a book on serial killers, offers a ride share to parolee Pitt on a cross country trip to California. For good measure, the respective girlfriends are along for the ride.
The movie has some hilarious moments (a dinner scene with Pitt). A prerequisite I suppose for a two hour film fraught with murder. Lewis is a child-like possession Pitt picks up along the way on his crash course with infamy. Duchovney and Forbes, both grizzled veterans of New York City's art snob scene plan on visiting the sites of famous murders on the way to the golden state. Forbes in particular, is excellent. She provides a strong presence and matches Pitt's hopped-up hillbilly character step for step. Duchovney, while adequate is more the stereotypical wimpy liberal than anything else.
If you're in the mood for a blood-soaked ride in a decent old Lincoln with suicide doors, buy-in. If not, take a detour and look for the hard to find 'Rain People' (American Zoetrope, 1969) from Francis Ford Coppola. Simply one of the finest, obscure road films of all time.
The movie has some hilarious moments (a dinner scene with Pitt). A prerequisite I suppose for a two hour film fraught with murder. Lewis is a child-like possession Pitt picks up along the way on his crash course with infamy. Duchovney and Forbes, both grizzled veterans of New York City's art snob scene plan on visiting the sites of famous murders on the way to the golden state. Forbes in particular, is excellent. She provides a strong presence and matches Pitt's hopped-up hillbilly character step for step. Duchovney, while adequate is more the stereotypical wimpy liberal than anything else.
If you're in the mood for a blood-soaked ride in a decent old Lincoln with suicide doors, buy-in. If not, take a detour and look for the hard to find 'Rain People' (American Zoetrope, 1969) from Francis Ford Coppola. Simply one of the finest, obscure road films of all time.
Friday, April 2, 2010
Up In The Air
George Clooney has earned his way into the category of trusted actor. It happened on the last feature I saw him in, Michael Clayton. Afterwards, I decided the films he takes on are worthy, period. There are few other actors in this category. Renee Zellwiger, Morgan Freeman, Christopher Walken, Jeff Bridges. The point is, Clooney chooses his projects wisely. Aside from 'Oceans', which he does for camaraderie, Clooney has climbed to the top, several steps above his previous status of 'charismatic with face value'.
'Up In The Air' finds George in the curious role of Ryan Bingham. Employment for Ryan is dependent on the expendibility of fellow professionals. He is a hired gun, who terminates and transitions employees for companies who would rather outsource their blood-letting. Ryan lives comfortably out of a carry-on suitcase. He has mastered the art of transition, thus he is an expert at what he does.
Back at the home office, Ryan's boss (Jason Bateman) has hired a recent firestorm of a grad (Anna Kendrick), who has plans on modernizing the way his company does business. Ryan is tasked with taking her on the road and indoctrinating her into his way of doing things. Along the way, Ryan's latest partner in the mile high club (Vera Farmiga) slowly evolves into something more. Transition is the major theme of 'Up In The Air'. That takes on many contexts in this fine drama fused with romance and comedic splashes.
'Up In The Air' is directed by Jason Reitman, who previously helmed the outstanding 'Juno' and a favorite of mine 'Thank You For Smoking'. Reitman is quite good at dealing with everyday situations coupled with exceptional dialogue. The actors are allowed the latitude to expand their characters while remaining on a smart pace. This occurs when room for expression is granted yet not allowed to linger. This fine line can also be observed in the editing which is very good as well.
As stated Mr. Clooney has elevated his stature, yet his supporting cast is undeniably outstanding. Vera Farmiga is truly wonderful as Mr. Clooney's mirror image throughout. She has a great script to indulge in and appears comfortable matching wits with Clooney. I also thought that Anna Kendrick was perfect for the role and spot on from her first scene to the last. Hers is a new world of a matter of fact 'company man' on the rise. Jason Bateman turns in another fine performance as Clooney's supportive but realistic boss. His previous role in 2009's 'State of Play' saw him scaling new heights as well.
The DVD is available in Blu-ray as well as regular DVD. It plays with a crystal clear picture and sounds great (screened on a Sony BVD-360 with a Samsung 40" 1080p HD set). Special Features include commentary from the director, Jason Reitman, and deleted scenes.
'Up In The Air' finds George in the curious role of Ryan Bingham. Employment for Ryan is dependent on the expendibility of fellow professionals. He is a hired gun, who terminates and transitions employees for companies who would rather outsource their blood-letting. Ryan lives comfortably out of a carry-on suitcase. He has mastered the art of transition, thus he is an expert at what he does.
Back at the home office, Ryan's boss (Jason Bateman) has hired a recent firestorm of a grad (Anna Kendrick), who has plans on modernizing the way his company does business. Ryan is tasked with taking her on the road and indoctrinating her into his way of doing things. Along the way, Ryan's latest partner in the mile high club (Vera Farmiga) slowly evolves into something more. Transition is the major theme of 'Up In The Air'. That takes on many contexts in this fine drama fused with romance and comedic splashes.
'Up In The Air' is directed by Jason Reitman, who previously helmed the outstanding 'Juno' and a favorite of mine 'Thank You For Smoking'. Reitman is quite good at dealing with everyday situations coupled with exceptional dialogue. The actors are allowed the latitude to expand their characters while remaining on a smart pace. This occurs when room for expression is granted yet not allowed to linger. This fine line can also be observed in the editing which is very good as well.
As stated Mr. Clooney has elevated his stature, yet his supporting cast is undeniably outstanding. Vera Farmiga is truly wonderful as Mr. Clooney's mirror image throughout. She has a great script to indulge in and appears comfortable matching wits with Clooney. I also thought that Anna Kendrick was perfect for the role and spot on from her first scene to the last. Hers is a new world of a matter of fact 'company man' on the rise. Jason Bateman turns in another fine performance as Clooney's supportive but realistic boss. His previous role in 2009's 'State of Play' saw him scaling new heights as well.
The DVD is available in Blu-ray as well as regular DVD. It plays with a crystal clear picture and sounds great (screened on a Sony BVD-360 with a Samsung 40" 1080p HD set). Special Features include commentary from the director, Jason Reitman, and deleted scenes.
Sunday, March 28, 2010
Hunger
The world has been dominated by overbearing, greed fueled and power mad religions, armies and monarchies since the rise of humanoids. It goes on to this very day in it's many forms. Some are refined and cloaked in self-righteousness. Others through blunt force evil. The common denominator is always the same: The conquest and subsequent enslaving of the innocent. What inevitably follows is the systematic attempt to destroy those who speak out against the tyranny. Though voices are silenced, the spirit endures. It is a reality the barbarian can never grasp. For it has no soul.
One such voice came in the form of Bobby Sands. The story of 'Hunger' concerns him, but it would be a mistake to believe that he was it's sole bearer. He was a representative of a much larger effort to see a united Ireland join the world of independent and free countries. A cause that stretched from the footsteps of men, women and children to the prisoners of the the notorious H-Blocks.
I had read about the hunger strike in 1987. A book by the name of 'Skylark Sing Your Lonely Song' documented the path taken by it's author, Bobby Sands. Each page of that book was more difficult to turn than the last. It was painful, yet necessary to understand what happened, what series of events that led to the strike.
I had heard rumors of movies under consideration to portray the life and times of the prisoners in the Maze. Over the years, I lost track of what might eventually get made. So when I came across 'Hunger' on Netflix, I was hopeful. Remembering the book, I went into the screening just wanting to see an accurate portrayal. What I found was a matter of fact retelling of the hunger strike without fanfare, special effects or heroic sappy dialogue.
There is an extended, one shot scene that features Sands (Michael Fassbender) and a priest named Father Dominic Moran (Liam Cunningham). The scene is brilliantly written and acted. The banter plods along, darts and sometimes dances until it gets to the heart of the matter. Clearly one of the finest moments in film that I have come across in some time.
The 'supplements' are filled with more on the story and the making of the film. We find out exactly who this 'Steve McQueen' is, hear from the actors and are treated to a BBC piece on the Hunger Strike that was never shown in the United States. I highly recommend these extras.
'Hunger' was crafted in sparse, stark tones by director, Steve McQueen. It is an intense, and direct portrait of a dynamic event that unfolded in the early 1980's. In many ways, it was one of the last powerful protest movements that the world would witness after decades of causes borne of action, not lip service. What had been won will be debated for centuries to come. What was lost, forever mourned by the descendants of freedom.
One such voice came in the form of Bobby Sands. The story of 'Hunger' concerns him, but it would be a mistake to believe that he was it's sole bearer. He was a representative of a much larger effort to see a united Ireland join the world of independent and free countries. A cause that stretched from the footsteps of men, women and children to the prisoners of the the notorious H-Blocks.
I had read about the hunger strike in 1987. A book by the name of 'Skylark Sing Your Lonely Song' documented the path taken by it's author, Bobby Sands. Each page of that book was more difficult to turn than the last. It was painful, yet necessary to understand what happened, what series of events that led to the strike.
I had heard rumors of movies under consideration to portray the life and times of the prisoners in the Maze. Over the years, I lost track of what might eventually get made. So when I came across 'Hunger' on Netflix, I was hopeful. Remembering the book, I went into the screening just wanting to see an accurate portrayal. What I found was a matter of fact retelling of the hunger strike without fanfare, special effects or heroic sappy dialogue.
There is an extended, one shot scene that features Sands (Michael Fassbender) and a priest named Father Dominic Moran (Liam Cunningham). The scene is brilliantly written and acted. The banter plods along, darts and sometimes dances until it gets to the heart of the matter. Clearly one of the finest moments in film that I have come across in some time.
The 'supplements' are filled with more on the story and the making of the film. We find out exactly who this 'Steve McQueen' is, hear from the actors and are treated to a BBC piece on the Hunger Strike that was never shown in the United States. I highly recommend these extras.
'Hunger' was crafted in sparse, stark tones by director, Steve McQueen. It is an intense, and direct portrait of a dynamic event that unfolded in the early 1980's. In many ways, it was one of the last powerful protest movements that the world would witness after decades of causes borne of action, not lip service. What had been won will be debated for centuries to come. What was lost, forever mourned by the descendants of freedom.
Good Hair
A daughter inquires of her father "why don't I have good hair?" The father cannot believe what he has heard and sets out to get some answers of his own. What he encounters is surprising, outrageous and fascinating.
He travels from Los Angeles to New York to Atlanta and India to find out why black culture deems European and Asian style hair to be more desirable than any other. Along the way he uncovers the purported reason's and issues that drive this belief. Our father gets to the truth through a series of 'stranger than fiction' observations and inquisitive humor, that only Chris Rock can masterfully employ.
Along the way we pass through an intricate world of weaves, religious sacrifice and competitive fires on par with prize fighting. It's a nine billion dollar annual business, that is only marginally controlled by the community it serves. Yet, it is also a profession that enables it's hard working professionals throughout the US to live the American dream.
Throughout the film, Mr. Rock virtually leaves no stone unturned to understand why his daughter should have to question her own head of hair. There are many explanations and justifications that are both zany and sad, but it all comes down to each individuals interpretation of what constitutes beauty.
My money is on the great Paul Mooney, who splashed a bit of humor on his sad but true realization:
"If your hair's relaxed, white people are relaxed -
If your hair is nappy,they're not happy."
He travels from Los Angeles to New York to Atlanta and India to find out why black culture deems European and Asian style hair to be more desirable than any other. Along the way he uncovers the purported reason's and issues that drive this belief. Our father gets to the truth through a series of 'stranger than fiction' observations and inquisitive humor, that only Chris Rock can masterfully employ.
Along the way we pass through an intricate world of weaves, religious sacrifice and competitive fires on par with prize fighting. It's a nine billion dollar annual business, that is only marginally controlled by the community it serves. Yet, it is also a profession that enables it's hard working professionals throughout the US to live the American dream.
Throughout the film, Mr. Rock virtually leaves no stone unturned to understand why his daughter should have to question her own head of hair. There are many explanations and justifications that are both zany and sad, but it all comes down to each individuals interpretation of what constitutes beauty.
My money is on the great Paul Mooney, who splashed a bit of humor on his sad but true realization:
"If your hair's relaxed, white people are relaxed -
If your hair is nappy,they're not happy."
Saturday, January 9, 2010
Take Out
A day in the life of an illegal immigrant in the Big Apple. Undocumented because those without breaks have to make their own way in this world. Nonetheless, Ding Ling (Charles Young) pushes onward, working day and night to keep the dream alive. As an aside, I hope anyone who sees this film realizes that Ding Ming and the millions like him are going to save America. We will fight them, discriminate against them and we will scorn them. They will fight back, and they will endure. Just like our ancestors did when they arrived in this country.
Ding's day begins with a rude wake-up call. It is courtesy of the loan sharks who smuggled him in and demand a hefty payment by the end of the day. Ming's co-workers, customers and ultimately the clock bear witness to his resolve to persevere. Will it be enough? In the world of realistic film making, the answers are never quite so neatly packaged as in traditional fare. But like most things, can be found if you look in the right place.
Jeng-Hua Yu, Wang-Thye Lee and Justin Wan are excellent in support of Mr. Young. Ms. Lee runs a taut take out shop as the lively 'Big Sis'. Wan and Yu are the co-worker's who sleep wok through the film. Wan in particular is great as 'Young' the wise owl friend who tries to help Ding master New York City. The film was written and directed by Sean Baker and Shih-Ching Tsou. I respect their efforts to ensure the film stayed clean of cliche and comfort. It felt real, grimy and authentic. And I might add it was a welcome relief from the focus group formula factory that is Hollywood.
Take Out is filmed in a style referred to as 'Cinéma vérité' (real cinema). This style strives to make the viewer a 'fly on the wall', and as unobtrusive to the process as such. Although technology is celebrated in film making as a 'green screen' CGI wonder, it will also take Cinéma vérité to it's logical state of unobstructed realism. I believe more movies will be employing this style. And without the obstacles that cameras and sound crews present, will be extremely interesting to see where the creators will take them.
2004, Bly-Ray, 87 min, color, English and Chinese w/English or Chinese subtitles. Extras include: Commentary with Directors Sean Baker and Shih-Ching Tsou and Actor Charles Jang, Cast and Crew Interviews, Deleted Scenes, et al.
Ding's day begins with a rude wake-up call. It is courtesy of the loan sharks who smuggled him in and demand a hefty payment by the end of the day. Ming's co-workers, customers and ultimately the clock bear witness to his resolve to persevere. Will it be enough? In the world of realistic film making, the answers are never quite so neatly packaged as in traditional fare. But like most things, can be found if you look in the right place.
Jeng-Hua Yu, Wang-Thye Lee and Justin Wan are excellent in support of Mr. Young. Ms. Lee runs a taut take out shop as the lively 'Big Sis'. Wan and Yu are the co-worker's who sleep wok through the film. Wan in particular is great as 'Young' the wise owl friend who tries to help Ding master New York City. The film was written and directed by Sean Baker and Shih-Ching Tsou. I respect their efforts to ensure the film stayed clean of cliche and comfort. It felt real, grimy and authentic. And I might add it was a welcome relief from the focus group formula factory that is Hollywood.
Take Out is filmed in a style referred to as 'Cinéma vérité' (real cinema). This style strives to make the viewer a 'fly on the wall', and as unobtrusive to the process as such. Although technology is celebrated in film making as a 'green screen' CGI wonder, it will also take Cinéma vérité to it's logical state of unobstructed realism. I believe more movies will be employing this style. And without the obstacles that cameras and sound crews present, will be extremely interesting to see where the creators will take them.
2004, Bly-Ray, 87 min, color, English and Chinese w/English or Chinese subtitles. Extras include: Commentary with Directors Sean Baker and Shih-Ching Tsou and Actor Charles Jang, Cast and Crew Interviews, Deleted Scenes, et al.
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