Reviews

Caught this at the Cinema 21 in Portland, Oregon last week - and was knocked over by how funny it was.

James Westby continues to improve as filmmaker - delivering his most polished, unrepentant comedy yet. Melik Malkasian kicks in a strong performance as the veteran Spanish porn director Domingo - who parlays a retrospective of his classic films into a half-pickled, ego roller-coaster involving his estranged wife (Cara Seymour in a choice role) and his favorite male porn actor (John Breen).

Full of shameless pot-smoking, nudity and sex - Westby manages to push the trash envelope while keeping the script tight and intelligent. This one is full of choice zingers and great (sometimes uncomfortable) laughs. The audience I watched this with was howling all throughout - something I haven't seen in years. The vibe was a cross between John Waters and Judd Aptaow - shameless and sharp. At the same time, the film has a certain dramatic sweetness - as you watch Domingo struggle to recover his mojo, you start to root for him, despite his personal shortcomings.

Easily one of the funniest indie films in recent memory - and hopefully a harbinger of things to come from this team.

Just caught the Portland premiere and have a few thoughts.

Very thankful this film was made. Until now, it seemed like I was fairly alone in knowing about Harvey's legacy. After "Milk" starts getting attention....I hope that a whole new generation will come to know the Mayor of Castro Street (see Randy Shilt's book) and the importance of the gay rights movement.

That being said, Van Sant's "Milk" is great marriage of art and history. Instead of a dry portrait of an assasinated leader, we get a beautifully rendered flavor of the times, and an intimate vision of a man finding his place within a community and history.

Casting is brilliant. Penn inhabits Harvey Milk in a way that few actors I believe would be capable. His physicality and energy is very believable - and it's easy to forget what actor you're watching. After a while...it's just Harvey. I could go on about the supporting cast...all very solid in their own way. James Franco (Scotty) stands out as well....showing his range and willingness to expand as an actor.

Kudos all the way around...I see this film getting several nods at Oscar time.

Additionally...Rob Epstein's Oscar-winning 1984 documentary "The Times of Harvey Milk" is a definite must for anyone who enjoyed this film. I watched it right after "Milk" - and am still impressed with how affecting it is.

Like the man said....you're right to have a bad feeling.

What can I say? Very disappointing and tedious are a couple words that come to mind. While you can't blame George and Steven for going back to the Indy well, you have to wonder why they couldn't come up with a better, more believable, and well-written premise.

One of the things I enjoyed most about "Raiders" was how crisp and fun the writing/delivery was. Also, Indiana Jones wasn't superhuman and most of the action was believable. Not so, in this latest incarnation. I won't go down the list of WTF issues here, other than to say that when the bomb drops - it's just the beginning.

I saw "Raiders" in the theater 13 times when it first came out. Sad to say, I won't be watching this one again....even on DVD.

Selah, Indy (George and Steven)....it's time to hang up the hat.

After watching 103 minute edited version (the only celeb commentary by Harry Belefonte), one has to wonder why this film isn't more available to the general public. It is by far, one of the best documentary efforts to chronicle Martin Luther King Jr. as he helped push the civil rights movement forward into the public consciousness.

What makes this film special (in its condensed version) is the plainly laid out - but thoughtfully edited - chronology of Dr. King's various actions, speeches - and the public response. Other than Belafonte's opening statement, the film has no narration - which gives it an urgency. This is punctuated by King's powerful oratory (including the entire I Have A Dream speech...and segments of many others), along with footage of demonstrations, marches and material that is often hard to watch due to the racially charged violence.

Still, it is a potent reminder of our history - and should be seen by all.

*** This comment may contain spoilers ***

I'd seen this when it came out in 1997 and had mixed feelings - not knowing the director that Del Toro would evolve into. Having seen his newer films, I decided to revisit this. I still feel the same. The main issue is the script. Character believability and the ease with which certain problems are resolved - is central to the problem. Whether it's effectively powering up an ancient subway system with a pair of eyeglass frames or surviving the vortex of a monster gas explosion that manages to kill almost everything else...plausibility suffers badly in the third act. That being said...there is much to be scared of here. There are many great moments and tensely directed scenes - unfortunately, they are often broken up by ham-fisted writing and the aforementioned convenient solutions. I loved the creature FX, production design - and the cinematography was solid. I wonder how much control Del Toro had on this film and if studio interference might have played a role in the neatly resolved finale. To Del Toro's credit, he has gone on to make much better films. In truth, there is a much better film within Mimic.

Saw this at the Clinton Street Theater in Portland, OR - and very impressed! Shot on B/W 35mm in the Portland area, this is a film that successfully blends simplicity and wonder - and really deserves repeated viewings.

One of my favorite short features - for its story about a son and mother dealing with grief - each in their own way.

Great direction, beautiful B/W cinematography, remarkable performances and a compelling story.

Has an almost Hichcockian flavor that delivers a satisfyingly dark twist to the finale.

Definitely a must-see...

Just saw the national premiere here in Portland - and having

actually worked as an extra on the film, it's very interesting to see

the final product. I knew Van Sant was using long shots, similar to

his work in Gerry, but the construction of the film was something

else.

Elephant is like a dream. That's the closest I can get to explaining

it. The camera moves through the halls and bowels of the school;

like a ghost eavesdropping on the absurd and occasionally

sublime. Inane chitchat. False bravado. Adolescent mumbling.

The camera hovers over and around the kids, exposing the odd

and quite natural pain of daily existence in high school.

Somewhere inside, you feel each one of these characters - often

most, when they aren't saying anything at all.

And then, all hell breaks loose - ala Columbine.

There are no answers to the issues that are presented - and in the

end you feel that stange sensation of having seen something

great, but needing someone else to help you explain it. At times,

the style of the film might cause a few sighs - as U.S. audiences

are accustomed to a little tighter editing. That, and the

conversations tend to wander off - much as they do in real life, so

some patience is required. Still, there are some beautiful and

honest moments to be found - as well as real feelings of fear and

loathing.

Gus Van Sant has created a vision that stands in direct contrast to

Hollywood convention. Had it not won at Cannes, it would most

likely be going directly to HBO. Thankfully, it will receive wider

distribution - and hopefully be the fodder for much discussion.

Peter Davis created one of the most moving accounts of the Vietnam War and the attitudes at home when he produced "Hearts and Minds".

The film looks unflinchingly at the nature of power and horrible consequences of war. It is very much a pro-peace film, but uses the people who were there to speak for themselves. It also seeks to probe deeper underneath the American psyche of the times and evolves into a historical document about the violent social rupture that happened between the fifties and the sixties.

In many ways, it feels like a punch in the gut to watch the film. So many ideologies are laid bear....so many were false or misleading.

In the end, the film leaves you thinking about the price of war - and who is given the task to bear that price.

Truly deserving of the Oscar it received - and worthy of repeated viewing.

Blade II is pretty much what you might expect.

Packed with action from top to bottom, lots of juicy CG/makeup FX and more one liners than you can shake a crucifix at.

So why did it disappoint me?

Well, I was probably expecting too much...considering how good the first Blade was....but the truth is a little more basic.

Too much of a good thing (ie: kung fu action, CG FX) does not a good movie make. After about the fifth Matrix-style, video-game inspired, rap-scored beat down, I had to keep myself from yawning too obviously.

Too bad...the premise of Blade hooking up with other vampires to take out a new bloodsucking mutation could have been decent premise (for a B movie)....if it hadn't have been written to salve the minds of PS2 junkies.

Not that there aren't a few bright moments. The film looks great and throws in the occasional original visual punch that made its predecessor so much fun.

And of course, Wesley Snipes is all that....and a bag of chips.

If you're looking for some supreme eye candy with a little futurism - this is the movie for you. Iara Lee lets the subjects speak for themselves as she probes the outer rim of future consciousness. Begins with the hyperreality of Japanese recreational parks - and ends exploring the concept of digital soul capture via brain scan. Curious about cryogenics? Cyber-sex? A.I.? This film addresses them all - with a peppering of experts, artists and kooks. Some excellent ambient mixes provide the soundtrack....

Yeah...it's bad...the cast is ugly and you can bearly see anything when the 'flying piranha' come to call, but hey - it's unadulterated cheese that actually is better than Joe Dante's original. The acting (for what its worth) is much better than in Piranha - and hell - you get to see Lance (the Brooder) Henricksen ham it up as a resort cop. More laughs, cheesecake and bad scoring than you can shake a mutant flying carnivore at.

Without a doubt the best sci-fi pic of the new year...no stars with the minor exception of Vin Diesel (Saving Private Ryan) - but a well executed, sharply written, decently acted and more important - convincing example of good filmmaking. The creatures harken toward Alien and the directing makes sure you don't always see what's coming next. To be honest...this is much more of a tie-in to the Aliens series than Alien Resurrection ever was. Vin Diesel is most likely the next great action hero - and by all appearances - he's got a brain on him. Thank the maker! Excellent