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Reviews
Suspect Zero (2004)
awful
There is admittedly some potential in the concept behind this film -- in the hands of Jonathan Demme or David Fincher, this story could have been something great. But this, unfortunately, is not the case with Merhige at the helm: the film meanders and stutters with pointless cliche. I felt so badly for the talented cast who were obviously struggling to get through this dreck. There is no way to identify with any of the characters' motivations -- it plays like a bunch of unrelated vignettes strung together (I had similar feelings about the semi-successful 'Shadow of the Vampire'). The pacing is slow and tedious, not unlike the equally insufferable 'Begotten'. There is nothing to grasp hold of and take from this movie. Skip this one.
Moonlight Mile (2002)
a very good film
I really liked this one. It had some great characters, and it managed to avoid many of the pitfalls that are so prevalent in the cookie-cutter dramas that Hollywood churns out these days. It was a small film, but I felt it was solid. There were times when it seemed a little too "made-for-TV/movie-of-the-week", but this was easily forgivable. I imagine that this would be a hard film to market, as it does not seem that it would cut into an exciting 30-second trailer -- which is exactly what I liked about it. It requires an investment from the viewer, but the payoff is there.
The Anniversary Party (2001)
A Love Letter to L.A.
I've seen this movie countless times and I think it's fantastic. Perhaps you have to live in Los Angeles and/or be connected with the entertainment industry to fully appreciate this film, but the characters are pitch-perfect. After watching this, I often feel exhausted, as if I've actually attended this party. I put this move in the same category as I do 'Permanent Midnight' and 'Laurel Canyon' -- (sometimes) harsh but loving tributes to L.A. and the "industry".
Vulgar (2000)
not bad, not bad . . .
While this film seems an obvious first effort on many levels, it has a narrative that is more appealing than many Hollywood blockbusters. Working under the limitations of a very small budget, the actors turn in big performances. Early distractions such as rough lighting and awkward camera work soon become invisible, leaving a gritty character study reminiscent of early Tarantino. Should Brian Johnson go on to achieve a measure of success in this 'biz', Vulgar would be a good one to go back and remake in a few years. Kevin Smith does a great job as a gay entertainment scout.
Permanent Midnight (1998)
brilliant
I love this movie. I've probably seen it at least 10 times. The last time I saw it, I was at the Red Cross donating platelets. The process takes up to 2 hours, and they let you bring in a movie to watch while you lie motionless in the donor chair. Imagine watching this film with fat needles stuck in BOTH of your arms . . .
Yes, this movie is choppy. Yes, this movie is uneven. But it all seems completely appropriate. None of that interfered with my total immersion into this gritty, stylish, and dark tale. Ben Stiller is absolutely fantastic. I found his performance very convincing. I think the best dramatic actors are those who came up through the avenues of comedy ("funny comes from a sad place"). Jim Carrey and Robin Williams are further proof of this -- no one can cry on cue like these guys.
Add in other terrific performances by Owen Wilson, Janeane Garofalo, Fred Willard, Peter Greene, Sheryl Ladd, Andy Dick, Charlie Fleischer, and even Jerry Stahl. There were some really shocking scenes in this film, especially the crack smoking scene where they jumped against the plate glass windows. Great film.
Paradise Lost: The Child Murders at Robin Hood Hills (1996)
inspires frustration and ultimately, apathy
Despite all the praise this documentary has received, I did not find it very moving at all. Granted, it was a horrible crime, and the footage of the three young victims' bodies was shocking and almost unwatchable. But most of this film serves only to expose the extreme incompetence of everyone involved in the case. With regard to the wrongly(?) accused boys -- never have I seen three innocent people put up such a weak, pathetic fight for their innocence. Most of the time, they stare doe-eyed and slack-jawed in front of the camera, seemingly uninterested in their own fates. Sure, these boys were only 16-17 years old and very scared, but they seem to have no intuition for survival whatsoever in this life-or-death situation. Any realistic grasp of the situation eludes these boys completely -- they behave almost as if they're playing a part in a movie. It is quite possible, and perhaps even probable, that they are indeed innocent, but they themselves do not seem to care, and so dear viewer, why should you? The overwhelming impression I get from these boys is that they lead very boring lives in a very stagnant town, and they know that this whole case is the most exciting thing that will ever happen to them. They seem interested not in the issue of their guilt or innocence, but rather in the surreal quality of their quasi-celebrity (in the end, Damien waxes romantic over the notion that his name will become famous in West Memphis as a synonym for "bogeyman", scaring generations of children to come). They are genuinely pleased with all of the attention they're receiving -- not that they have much to say, but they're just happy that someone is asking.
Session 9 (2001)
mixed feelings
This film did attempt to resist standard Hollywood formula, and there were some genuinely tense moments, but ultimately it engages in what I call "irresponsible storytelling": where the director can show any mish-mosh of unrelated scenes/dialog (red herrings and all), provided it's all made sense of in the last five minutes. Having seen this device used many times now, I've come to feel that it takes more than a tidy peek at the answer key for me to forgive a director his contrived roller-coaster narrative. Another good example of this was the disappointing Vanilla Sky -- or anything by M. Night Shyamalan (although in his case I do find it somewhat easier to forgive).
Shallow Hal (2001)
a very good movie
It appears as if the Brothers F. have finally found the magic combination of comedy and drama that make a movie great. This doesn't have the trademark gross-out scenes, but it's still very skewed humor, with just the right amount of touching emotional scenes. It's my favorite Farrelly film to date. They poke fun at everyone and everything, with a handful of excellent cameo appearances to top things off. See this one.
The Deep End (2001)
A real disappointment
The trailer for this film is a textbook example of Hollywood marketing tricks at their most deceptive. This movie delivered NOTHING that the trailer promised. There was no tension, no suspense, and no climax. It started out in second gear and remained stuck there the entire time. The dynamic between the family members was so stiff and artificial -- while a certain amount of dysfunction is to be expected, the fact that none of the family members discussed any of the issues looming right in front of their faces (read: elephant in the living room) -- how did the eldest son get his huge black eye? who is this new stranger lurking in and around their house?? -- recalls the flimsy misunderstandings of a bad "Three's Company" episode. Skip this one.
The Pledge (2001)
Sean Penn's third strike as a director
I thought I'd give Penn one more shot as a director, and I went to see this film. While certainly his best effort so far, this film rambles and ultimately falls apart. The first half of the film differs from the second half so markedly, you'd think a different (and less talented) director stepped in to complete the project. Jerry Black goes through an unbelievable metamorphosis from crimefighting pundit to total loon. It just doesn't play. There are far too many artsy pauses and fishing scenes where story and character development should be. A disappointment.