Change Your Image
SulphurMan
Reviews
Garage Days (2002)
Tired, Recycled Film-making.
"Garage Days" seems like an attempt to capitalize on a bunch of different genres by re-hashing them into a confused mess of film failure. Offering nothing new or fresh to the table, the film is un-entertaining and plods along at a predictable, ultra-flashy pace. The jubilent, carefree tone of the film is compromised here by weighty subject matter such as abortion and drug use. These "dramatic" elements of the film keep it from having a distinctive tone that engages the viewer when contrasted with the hyper active camera work, pointless interludes and predictable comedy. When all is said and done this is nothing more than a vanity piece trying to showcase cool clothing and little else. All of these combine to deliver an un-entertaining film experience. Pass on this one.
Buffalo '66 (1998)
A unique film, well worth checking out
Buffalo '66 is the kind of film that will separate audiences on many levels. It follows its own rules and stays very true to its own independent goals. Vincent Gallo should be respected for making a movie that features a lead character who isn't as cut and dry as most theater goers would probably prefer. Even though his character is obviously confused, insecure and borderline crazy, you still cant help but feel drawn to him and his demeanor. Somehow you empathize with Billy Brown even though he is quite clearly an a--hole. Everything from the cinematography to the acting to the dialogue really speaks to the gray area that lies somewhere between the black and white backbone of profit-driven film. Gallo's quite obviously got talent and Buffalo '66 puts it on display. Well worth renting.
The Brown Bunny (2003)
Nothing Short of a Modern Masterpiece.
"He's a destroyed soul, he will continue to act out until he peters out and dies. There's no epiphany, no catharsis, no awakening." -Vincent Gallo on The Brown Bunny
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Somewhere beneath the endless road shots, the torn, distant demeanor of its protagonist and the meditative, unusual pace of its filming , "The Brown Bunny" manages to fire a direct and compelling shot of minimalist neo-realism to anyone bold enough to reach out and absorb a piece of tragic cinema. Here, finally, is a piece of (truly) independent film-making that operates completely under its own terms and is concerned only about its character and the way in which he deals with losing the love of his life. This is essentially a love story, and its a sad, reflective piece of film that wont let go.
How he lost his love, and the circumstances under which he lost her are not really important to a film like this. Although the back story is briefly outlined in a beautifully detailed and masterfully filmed climax sequence, the majority of the film deals with Bud Clay's (Gallo) attempts to re-create the love he once had with Daisy (Chloe Seveigny) during a road trip from a racetrack in New Hampshire to one in California. Although the bearings are in place for a standard, predictable Americana road film (see: Easy Rider), instead we get a portrait of an insecure man dealing with loss, jealousy and denial. The films ability to be unique and genuine with these themes is striking.
Gallo takes us on a cross country trip that could have fallen prey to cliché sentimentality and exhausted scenarios. Instead, we see Bud Clay say almost nothing as he drives west, the camera taking the Point of View and the landscape becoming the dialogue. The neighborhood that we find Daisy's parents in speaks to the core of empty, lifeless American suburbia better than a clever screenplay would have and Gallo lets the images speak for themselves. The way in which the driving night rain of Ohio provides a backdrop for Gordon Lightfoot's song "Beautiful" seems to transcend the repetitive nuances of conventional, modern cinema. Consider the scene in which Bud rides his motorcycle into the distant mirage at the Utah Salt Flats. This scene, much like Gallo's screen presence throughout the film, embodies the distinctively bold yet lonely individualism that is often difficult to capture with words. When Bud pulls over at a rest stop to buy a Coca-Cola and ends up kissing a lonely woman, the wrinkles on her face and her aging, worn beauty silently captures the nostalgic element of love without saying anything at all. Rarely can a film capture so much with so little.
Discussing the emotional impact of The Brown Bunny is difficult, partly because of the films ability to convey a strong sense of unique individualism within the viewer, and partly because losing the love of your life is a universally applicable topic that speaks to the depths of human loss and tragedy. I would say that there is enough sensitivity in this film both artistically and personally to foster rich reflection on this topic, and that is saying huge things about the merits of this film. Although it requires a fair deal of individual effort to come to any conclusions with a film of this nature, I'm glad that there are filmmakers around today that want to stimulate the audience and encourage independent thought without compromising their own artistic vision.
Speaking of stimulation, this film contains a scene of incredibly graphic sexuality and thus I cannot recommend it to everyone. Yet somehow even this bold, audacious sequence speaks to the integrity of the film. Without this scene, the depths to which Bud's insecurities go would not be as clear as they could have been, and when you are dealing with a character this intentionally complex, you need to observe them under significant circumstances such as these. The degree to which this scene has turned so many heads and garnered so much discussion speaks to the elite power of sexual relationships in our society and perhaps to the skill of the film itself. Because sexuality exhibits such incredible force over human relationships, using this scene as an avenue to highlight Bud's deepest insecurities seemed appropriate within the films narrative structure.
Steering away from the Hollywood mainstream is sometimes easier said than done, and with this boldly independent production, Vincent Gallo deserves more than the scorn of theatre goers who cant sit still for a couple hours or the heat of his critics. In a repeating knock against the filmmaker, Gallo has been criticized for being a narcissist because he is behind all elements of the production from directing, to editing, to set layout, to filming, to acting, etc. I wonder if the same critics expect painters to commission others to paint all of the blues in their work, other to paint the reds, and so forth, leaving the artist with only a single color and a concept. This film was Gallo's vision, and his ability to be fiercely independent and honest has resulted in an uncompromising portrait of sadness and beauty.
10/10
Open Water (2003)
An Observant and Challenging Film. Excellent.
The overall disdain for this film further re-inforces my belief that the general movie going public would rather be sedated into a world of lazy, formulaic Hollywood dumbness than to actually go see a film that challenges them and provides some sort of new cinematic experience. "Open Water" is a great picture and I will tell you why.
First of all, I don't believe that this film is in any way shape or form a true "horror" movie. I don't think that it was marketed specifically as a horror film and I don't think that the director was shooting simply for terror-in-the-water effect. Naturally - like everyone else I was with at the theatre - I jumped out of my seat a few times. There were points that were undeniably chilling, but lets not get too caught up in that element of the film. A lazy, popcorn slugging mall rat is probably just looking to get "freaked out" the whole time, and if so, you have gone to the wrong movie. This is much more than a horror piece.
At the heart of this picture is human relationship, sacrifice, and most of all, fear of the unknown. There may be no better arena for the unknown than the middle of the ocean, and this film uses the water as a vehicle for character introspection and beautifully symbolic, artistic camera work.
The use of the dv camera is entirely warranted in this film and to be done any other way would have eliminated a unique sense of authenticity. How many family vacation films have you watched from some 'island in the sun' type place taken with the same type of camera? Chances are you've seen quite a few. I have, and because I have, I felt like I was watching a invisible bystander film every moment of this couple's tortured vacation, from getting in the car to leave, to flying there on a plane, to walking around the island, to laying on the hotel bed, to finally being stuck in the middle of the ocean surrounded by sharks. Absolutely brilliant and a rare yet fully warranted opportunity to use the dv camera. You see, sometimes this style of camera work makes complete sense if you're willing to get over the fact that it doesn't look as crystal clear as some CGI effects ridden space kingdom or something.
Furthermore, the shots captured by the director were nothing short of outstanding. The sunsets, the wildlife, the elements that made this documentary-ish - I thought that these shots were successfully woven into the fabric of the film to make it a complete, all encompassing trip. The end sequence during the thunderstorm was an excellent climax and provided a nice quick contrast to the calm normal monotony of the afternoon shots in a calm, gray ocean. If nice artistic touches, realistic character interaction and an attempt to absorb something a bit different than the other standard, predictable run of the mill offerings playing nearby don't appeal to you, avoid this at all costs. I applaud the scope of this film and I praise the director for not wanting to turn it into a cheap horror movie thriving only on thrills and chills.
Kill Bill: Vol. 2 (2004)
A Powerhouse. Plain and simple.
When all is said and done, Kill Bill Vol. 2 is quite simply one of the best Tarantino films out there. You will be hard pressed to find a film that better fuses the mans love for all shades of cinema and yet retains his unique style. Vol. 1 was a great, entertaining slice of film but it really cant stack up to Vol. 2. Here we have all of the things that go into a solid Q.T. picture: Excellent and engaging dialogue, eye poppping (forgive the pun) fight scenes and colorful charecters. Vol. 2 works on every level and watching it felt more relaxed and enjoyable than the first one. I think the key to Vol. 2 is to just chill out and watch what is given. RELAX, sit back and recieve it all. Thats how a good Tarantino film should work and boy does this deliver.
Eternal Sunshine of the Spotless Mind (2004)
A complete film from top to bottom
Eternal Sunshine of the Spotless Mind is one of those rare films that features every element of the filmmaking process in communal triumphant majesty. There isnt a single thing missing from this production. When all is said and done Im going to have a tough time finding a more enjoyable film than this in the coming season.
A good film must be based on a solid screenplay, and since this is Kaufman's best one to date, we are already off to a great start. Everything about this offering from him is focused, engaging and interesting. Perhaps its because he is now a seasoned veteran, or maybe its because the themes here are more personal and sentimental than his last few scripts, but whatever it is, he just totally dominates the craft of creating a screenplay here. True to form, he avoids all of the cheap, cliche sentimentality of Hollywood films and forces the audience member to interact with the subject matter and engage their mind in order to get anything out of the film - something that turns out to be a far more rewarding payoff than the standard silver platter method of emotional delivery that is plaguing most movies lately. I respect this dimension of his work and acknowledge that somehow he takes his skills to the next level with this one.
Throw in Gondry's excellent and inventive direction to the mix and the film is heading higher. His chamera techniques and use of light, movement and space is impeccable and he captures the essence of the emotions in a beautiful, unique way. I tip my hat to his directing, realizing that the subject matter called for something over the top and skilled. Thanks to Gondry's fine work, the words and ideas are given life through his phenomenal directing.
All you need is some top notch performances, and boy does this movie deliver here. Jim Carrey seems (oddly enough) made for this role, and his dramatic performance here exceeds any of his comdeic roles comparatively. He seems comfortable with his character, and his understated approach here gives his charecter form and shape. I knew Carrey could act decently if given the right material, but this really was a revelation I think. This performance should be his career defining role. With Kate Winslet its basically the same story - powerhouse acting on a higher level than we are used to lately. Too bad the academy will bypass these performances come oscar time for the conventional, cookie cutter teary routine from denzel washington or whoever else. These performances are the kind that deserve serious recognition.
The Passion of the Christ (2004)
Gibson's "The Passion of The Christ" is an intense, focused and memorable contribution to the world of Christian Art
"Reviewing" a film like this is a tall order and so it is with great caution that I approach this task. Trying to ignore the gigantic-media-hype-machine was difficult enough, and wading through the sea of controversy over the film was harder, but watching the single most pivotal moment in human history (for both the christian and the non-christian) rendered in graphic, brutal detail proved to be more difficult than I could have ever imagined.
The only way I can commence this task is by getting my bearings straight. Lets establish one thing - "The Passion" was released to movie theatre chains, cost the standard 9 dollar admission and offered all of the overpriced filmgoing luxuries that accompany an ordinary night out to the movies (sticky bathroom stalls included). Church, it wasnt. "No", I said behind the glass desk, "I think I'll pass on the super value combo meal this time". Somehow a tub of buttery popcorn and milk duds didnt seem appropriate for this type of event, and yet there I was, fielding the same routine questions that I had weeks earlier for "Lost In Translation". It is important to understand that this is a movie.
It is also important to understand the filmmaking context from which the project was spawned. Mel Gibson has been sharing his own faith beliefs through various media outlets for a few months now, and its obvious to all that this film was an offering, a "gift" from him to his God. If he did this simply to cash in, or to ignite controversy then he has a real talent for deception.
For centuries, many believers have used their creative talents for the glory of God and the church, using whatever medium they felt neccesary at the time. Michelangelo used marble and paint, Bach used musical instruments, and while in no way shape for form am I comparing Mel "Mad Max" Gibson to these eternal icons of individual creativity, I have to acknowledge the fact that this film is getting widespread exposure due to his "status" as a public figure, and that the potential to contribute something epic to the universal collection of christian art was very, very high. Since it is 2004 and film has finally become the central consumer outlet of artistic creativity and expression, it only seems appropriate that somebody like Gibson, a filmmaker, would self finance this sort of project and see it through to conclusion. It is important to understand that this is a piece of art created under the supervision of its director.
Nonetheless, I do not believe that this film was created to convert the non-believer, nor would I consider it a strong evangelistic tool. It is too vague, too violent and too selective to be considered as such. I also dont believe that this film was created simply to bolster or edify a believers personal faith. The film certainly does not lend itself to cheery sunday school rhymes or alter calls. It would be foolish to say that neither of these outcomes are possible, but like any good work of art, I believe that this film was created for the sole purpose of glorifying God, and to presuppose a certain emotional response from the audience would deny this very principle. Quite simply: It is what it is. Take it, or leave it.
So...what IS it?
Well, first I'd have to say that it is a remarkably made film, on par with some of the greatest historical epics of the last 50 years. The cinematography is outstanding and the location shots are just perfect. There is sense of immediacy here that is striking and every effort has been made to create an atmosphere of authenticity. The use of Latin, Aramaic and Hebrew was a nice touch and provided for a unique cinematic experience. The performances are, without a doubt, exceptionally delivered and inspired. Although the film doesnt lend itself well to character development (too much is pre-assumed here about the major players), the minimal dialogue and expressive gestures conveyed give them some dimension and much needed character. I was also quite impressed by Benedict Fitzgerald's screenplay and the way that it maintained an appropriate amount of restraint without losing the overall "force" of the dialogue. The lighting in this movie deserves special mention. The colors and moods captured in every shot were incredibly dramatic, appropriate and deeply affecting. It was a beautiful and engulfing film to look at from beggining to end.
The film was also an undeniably moving experience. You do not have to believe in God to recognize the universal horror of pain, and this film captured suffering in a way that few other films have before. Here is a movie where blood, ripped flesh and broken bones were not reduced to instruments of mere shock value, but were instead used to connect the viewer to larger ideas and concepts. The dramatic and intense scenes of violence created a powerful sense of human loss and suffering in a way that went beyond the crimson streams of blood that poured from Jesus' skin. The violence in this film was used to accentuate the deeply intense relationship between mother and child, friend and enemy, good and evil, God and Man. Beneath the blood, the tears and the agaony, I felt a clear sense of purpose and a universal message regarding our human condition being delivered here.
"The Passion of the Christ" is a rare film. It is a film that is infused with personal creativity and focus that also maintains the possibility of a valid individual subjective response. I can see reactions to this going in all directions, and thats fine. I do believe that it is a strong piece of work, and that it is one of the few spritually based masterpieces of our era. My hat is tipped to this entire production.
Requiem for a Dream (2000)
A truly powerful, gripping film. Exceptional.
Blown away. A modern masterpiece. Its going to be difficult for me to convey my thoughts about this film adequately, considering that it struck so deep but Ill give it an effort.
Requiem for a Dream is a film that I think the theatre going public needs to see more of. As difficult as it is to stomach, the subject matter presented here is done with nothing short of pure genius. The themes are treated with a realism that avoids all of the predictable cliches that could surround a "drug related" film. Fine tuned, ambitious shooting/editing/crafting techniques. Flawless, outstanding performances. A minimal yet interesting and engaging script. This film embodies the spirit of superb film making and then takes it to the next level. I see this as Aronofsky's excellent next step after PI, another engrossing film, but nowhere near as effecting and devastating as this.
It should be noted that this is not an easy film to watch. The climax in this movie is difficult and painful, even though you could see it coming a mile away. There is no light at the end of the tunnel, no silver lining, just pure tragedy. Sometimes I think that this sort of
depraved, depressing atmosphere has its place, and Requiem for a Dream illustrates this belief perfectly. We are left with a tragedy, a real true sense of loss. And yet, we havent been brought to this point by manipulative, morally obsessed tactics - the kind of thing that would surround something like reefer madness or any piece of film propoganda. We have been brought to the tragic climax/"message" of this film through Aronofsky's brilliant approach to film and the capabilities it posseses as communicator and artistic medium. He lets his bold, ambitious style speak for itself, and in the end we are allowed to formulate our own opinions based around the images presented to us. More often than not, those opinions will be ones of sadness and pain.
Why did this film strike so deep? I think that Requiem emobodies and illustrates the universal human desire for HOPE by showing us none of it whatsoever. It is concerned with the flip side of hope, the yin of the yang, the lack of it in any capacity. All we can think upon at the end of this film is the absence of hope, and that in itself is enough to instill a strong sense of it within us as viewers.
**** out of ****
21 Grams (2003)
An excellent, engaging and captivating piece of film. ****
21 Grams is the kind of film that comes alone once in a very short while. I say that because it is precisely the kind of film I would like to see more of.
In an age of over-hyped massively hyped faux-epics and tear jerking formulaic re-hashed cash cows, 21 grams stands firmly on its own, far from the mess that is the modern film industry. Viewing this movie was such a relief, and yet also such a massive challenge emotionally. The presented material here is thick and full of heavy sentiment and layers of melodramatic reflection. If that isnt your "bag" then go check out the latest offering from Will Ferrel or perhaps some smug Disney movie geared towards the holiday audience target market. Movies like 21 Grams are prepared to back its deep subject matter up with solid acting performances, appropriate and interesting filming techniques, and comprehensive scripts. It packed it all in and worked from within its own set of standards from the moment it started and never released until the final credits roll by. I applaud Innaritu's bold directorial style and hope to see much more from him in the future. His approach is so realistic and most importantly, so observant. His camera watches the charecters from the eye of the storm, engulfed in urban landscapes, consumer culture and conrete jungles, dealing with the tragedies thast beset our lives with an overwhelming sense of struggle, but also a pervasive element of hope and deliverance. His gritty approach to filming fit perfectly with the difficult and challenging subject matter here, and not once did he go overboard. This is film at its finest and its most inspiring.
Kill Bill: Vol. 1 (2003)
Electrifying "Kill Bill" operates under its own (excellent) terms
Quentin Tarantino's boldly proclaimed 4th film "Kill Bill: Episode 1" is a film that succedes on more levels than there are kung fu fighters in its majestic climax. It conquers its violent and surprisingly vacant subject matter with consistent doses of visual and sensory flourishes that co-exist seamlessly in a world where Mr. Tarantino has free reign over his ideas, and uses them to their most extreme and rewarding conclusions. Its violent, its mindless and you guessed it - its pure cinematic entertainment on a grade A level.
Before we go any further, lets jot it down for both good measure and vital importance: Quentin Tarantino has obviously got a thing for the world of motion pictures. Asian Kung-Fu flicks, Spaghetti Westerns and the gritty world of exploitation filmmaking are appropriate influences here, whilst big budget, objectively based, heart warming (and arguably maniuplative) epics are out. Unless youve lived under a *mutliplex* rock, you are probably familiar with his past features, films that focus on pulpy crime subject matter in a world of amoral, colofrul charecters who are no more than fanatsized creatures in the eternal planet of "cool". Kill Bill ambitiously takes this genre of filmmaking into the next era with a sense of reckless ambition and skill that pulsates each frame along at lightning fast rates, taking the viewer out for an experience once known as a night at the movies. Its important to note that rather than just recycling the similar dialogue based aspects that guided past efforts such as "Reservoir Dogs", "Pulp Fiction" and the overlooked "Jackie Brown", Tarantino gives us a breather and brings us along for a trip into wall-to-wall action territory. "Kill Bill" marvelously does for action what "Pulp Fiction" did for dialogue: It re-invents the genre by giving it new life steeped in both classic film history and equally fierce independant ambition. Its definately a Tarantino type of film that doesnt scream the name like a broken record over and over again. Spielberg's and Scorcese's everywhere, take note.
The plot of Kill Bill is...is...oh right, something about a bride who was left for dead, suddenly awakes and is out for vengeance, samurai style. The timeless yet firmly fixed and idealogically bankrupt plot structure provides the appropriate springboard for a trip into the previously mentioned genres of grindhouse filmmaking. Bringing an elemental yet still dignified approach to the main charecter (who's name is curiously bleeped out on screen) is Uma Thurman, the gen X femme fatale from 1994's massive Pulp Fiction. We get all the melodramatic conviction and endless energy of an actress taking a break from the cookie cutter assortment of predictable Hollywood roles set out for her and diving into a role with the possibility to really kick some butt. I knew this film was working when the supporting cast featured a refreshingly nice performance from Lucy Liu as O-Ren Oshi, a member of the DIVAS ensemble that takes top billing on a "To Kill List" devised by our heroine. The scenes involving her personal militia, herself and the bride will stand as some of Tarantino's best work for years to come. The cinematogrpahy, editing, charecter interaction, pacing, and the excellent soundtrack resound with a strong sense of achievement and purpose here, and you cant help but realize that youre sitting dangerously close to the edge of your seat for most of it. Besides, how many times can you REALLY say that you sat on the edge of your seat throughout your film going history? Im not talking about anticipating the films end either, Im talking about being stimulated on a visual level that seems completely assumed and natural. The kind that seem to have substance even if the plot isnt crying out for it with zealous self-righteous appeals. Its nice to experience this universe sometimes as opposed to the heavy, chin wagging, mind twitching CGI universe that landed a couple years ago.
If you are like this reviewer and youre not all that familiar with the film influences or genres being cited here, fear not and be thankful that you got an $8 crash cource in them rather than a late-fee ridden, year long excursion into your local blockbuster. Besides, sometimes its more enjoyable watching a skilled director distill these things for you than rummaging through the waste bin of important cinema. Its rare that Ill take style over substance, but in this case Im not going to deny it. Rather, I'll just sit back with the popcorn and gawk away at a film that knows how to achieve exactly what it sets out to mainly because it sets standards for itself that are precise and cliche, yet somehow fresh and entertaining. "Kill Bill Volume 1" works if you let it. This is a great film.
**** out of ****
Philip Jamieson, 2003 "Kill Bill: Volume 1" Written and Directed by Quentin Tarantino Starring: Uma Thurman, David Carradine, Lucy Liu, Michael Madsen, Vivica Fox and Daryl Hannah
set forth for an amitious film of this magnitude is what really captivates the viewer, and make no mistake about it - "Kill Bill" actually is the first tour de force of our short century.
Jackie Brown (1997)
this one merits another viewing...
Jackie Brown deserves more credit than it often gets...
If anything, it proves that Tarantino has a real knack for filmmaking, and that he isnt some indie fluke who made a couple masterpieces and then went downhill. What weve got here is a real piece of work. A film that is provacotive and entertaining, a film that features solid performances and skilled directing. Jackie Brown embodies the essence of a great film, and I will still stand by the claim I made when I first say the picture: If this came out before Pulp Fiction, in 1994, JACKIE would be viewed as Quentin's masterpiece.
But of course as we all know, it followed in the wake of the Pulp madness, and that was perhaps the films death knell. To out-do Pulp would be impossible - it is the greatest film ever made, but I dont think Tarantino was trying to make a film that out did it, I think he was trying to make a film that he would enjoy if he happened to catch it at the cinema back in the 70's. Its fun and it moves at a more methodical pace than its two predecessors (Pulp and Reservoir Dogs), but dont be fooled, its still chock full of brilliant dialogue and inspired segments. Keaton turns in a great performance here, and it just goes to show that he is incredibly underrated. Robert Forster brings a dose of charming reality to the film and he brings a warm and comfortable presence to his charecter. Pam Grier approaches her role as Jackie with the same detached yet confident "cool" that made her a legend in stuff like "Coffy". She's great, and she really keeps you glued to her every move. DeNiro is DeNiro - he is a classic actor and this shows why. He can do it all. Honestly I this is his best work since Raging Bull.
Jackie Brown is great, dont be told otherwise. Its an excellent contribution to the film world and should be viewed with a little more distance from the Pulp Fiction madness.
Lost in Translation (2003)
aspiring actors and directors: pay close attention to this gem
Seeing Lost In Translation for a second time really sealed this as the best film I will end up seeing this year. From top to bottom it is a powerhouse of quality acting, excellent writing and premiere directing. Sofia Coppola has a rich future ahead if she can keep cranking out films with this level of class.
The special effects, provacotive sexuality and spooon fed ideals that plague most films and keep viewers attached to the frequent outpouring of Hollywood sludge are not neccesary in a film like this. Coppola captures a world that is genuine and strikingly realistic. You often forget that you are watching a movie, let alone watching actors "act". Murray delivers perhaps the best performance I have seen in over 3-4 years as a troubled, confused and yet somewhat placid mid life movie star who comes across the young and also somewhat alienated Charlotte, portrayed with amazing conviction by Scarlett Johannsen. Murray's "Bob Harris" is what acting is all about. His work in this film is exactly what one wants from a standout performance - integrity, honesty and a bit of real conviction. Always staying true to the character he is portraying, Murray delivers the highlight of his career here. An Oscar should be waiting for him....
Coppola creates and displays these charecters - warts and all - with a rich attention to backdrop and detail. Her depiction of Tokyo could pass for a visual guidebok. Sounds, images, shapes, people...there is a level of visual examination here that most filmmakers have to skewer and manipulate in order to transport the viewer to their desired point of persepctive. Here, Coppola only needs to show Tokyo as it is to create an atmosphere that her charecters can experience and utilize.
I cant tell you how nice it was to buy a movie ticket, sit down in my seat, and watch a film that was so real, so honest and so genuine. I am so tired of watching movies that get by only because of their shock value, or their special effects, or their attractive A list cast. Films like this make the aforementioned efforts looks kind of silly, and I must admit, that fact brought a smile to my face - one that hasnt been there in awhile.
Lost In Translation will age like wine, and with the years this could be viewed as a seminal film in our new century of filmmaking.
**** out of ****
Pulp Fiction (1994)
Pulp Fiction. It is the REAL DEAL.
Ill go on record and claim that Pulp Fiction is probably the best motion picture Ive ever seen. After you have seen Pulp Fiction, things are just different, whether you like it or not.
Other films seem empty, boring, un-creative, formulaic, and bland compared to this monster. What happened with Pulp Fiction is more or less a pop culture phenomenon. This film single-handedly set the blueprint for every other film that followed it. Everything from high budget epics to teen romances draw on aspects of this flick. Some incredible things came with Pulp Fiction, and almost 10 years later it is still sending tremors throughout the motion picture industry.
Compelling and comedic dialogue, brilliant editing, top notch acting, bravado directing - this film encapsulates everything good, fun and clever about the filmmaking process and audience interaction with a film. Tarantino gets career high performances from John Travolta, Sam Jackson and Uma Thurman. You put these people under any other director and look what happens...not a whole lot. What happened with this movie was nothing short of pure genius on all counts. What you get here is a collection of entertainment, shock and disbelief. All of these things swarm into your mind as you watch this, and surrendering to them is enjoyable. How many movies could you just listen to? Ive had this movie on in another room as I did other things, and it was still pretty entertaining. The dialogue is obviously what sent this movie over the top, and with good reason - it is quite simply incredible.
Its hard to summarize my thoughts coherantly on this one...It is THAT good. If you havent seen this, rent it, watch it and enjoy it. Its one hell of a ride.
***** out of ******
Try Seventeen (2002)
Quite simply, this is an awful film.
I bought this DVD because it featured Franka Potente, and I am a huge fan of her work. I should not have been surprised to find that she turns in the only noteworthy performance and that her presence is the only thing that kept me from tossing a chair into the television screen.
Films like this bother me, and its obvious to see now why this never got a theatrical release. "All I Want" treads water in a sea of cliches, it features some terrible, awful acting from just about everybody, and it offers absolutely nothing in terms of pure entertainment. Predictability is in and throughout the film, and the director is trying to make something happen in terms of sexual chemistry, slapstick humour and dialogue that is not even remotely convincing.
Furtheremore, this film illustrates the sham that is Elijah Wood. Hate to break it to the teeny bopper squad out there, but the fact Elijah Wood is a payed and popular actor in Hollywood is a sign of Hollywood's total and utter decay. There are probably at least 1,000 other more talented male actors who could have taken on this role and given it more than the "furrowed brow-im confused-what is happening-this is all so new-oh golly gosh" expression that he kept delivering time after time in every scene. It just got boring watching him trip over this mindless material and after awhile it got plain obnoxious. He is overrated on every level and this film reinforces that belief.
Mandy Moore doesnt get a whole lot of screen time, which was surprising, but once again, its obvious why: she is at best a mediocre actress. The backup cast in this movie are weak and go down sour. Given lines that are re-hashed and cliche, I felt embarrased for most of them as they trudged through this disaster. Debby Harry? What the heck is Blondie doing in a flick like this? So very strange.
Like I said, only Potente offers something even remotely watchable here. Her performance is at the very least an honest charecter study and done with some sort of bravado. The fact that she took this role in the first place doesnt sit well with me though. I guess everyone makes bad decisions...
All I Want by Jefferey Porter. 2 out of 10. Seriously. Stay far away!
Waking Life (2001)
Engaging
"Waking Life" is a superb offering from Linklater and its one of the most enjoyable film experiences I can remember having. Intelligent and engaging, it is done with an artistic touch that is unique and beautiful. The dialogue manages to rise above simplistic "pop-philosophy" ideas and asks some deeper, more probing questions. I was very pleased with this and I would recomend it to anyone, anywhere, anytime. Fantastic stuff.
Mulholland Dr. (2001)
Outstanding - a Lynch Tour De Force!
Enough praise cannot be said about this film. Totally and utterly astonishing work form Lynch and definately one of his best works to date. I wouldnt even know where to start, so I wont, Ill just say that this one really delivers. When the end credits started to roll, I smoked a cigarette, gathered my thoughts, and immediately watched it all over again. Its rare that a film can be so engaging anymore. A job well done Mr. Lynch!
Die tödliche Maria (1993)
This is a GREAT film
Being a huge fan of Tykwer's work, I felt obligated to check out a very rare US screening of his debut feature, "Die Todliche Maria". It was being shown as part of a Tom Tylwer film retrospective by the local Goethe institude, and the man himself was present for discussion and dialogue concerning his films. It was a pleasure indeed. Tykwer proved to be a very thoughtful and intelligent individual with a real passion for films and the artistic/creative forces guiding them. It was a rare pleasure to meet him in person and something I will never forget.
Concerning the film itself, I must honestly admit that I was blown away by it. Deadly Maria is a dark film for Tykwer. Do not go check this out if you enjoyed the whimsical frenzy of Run Lola Run or the introspective and methodically paced Heaven. The camera work and most of the "basic" themes of this film were genuine Tykwer (working for the first time here with the remarkable Frank Griebe) but the overall atmosphere of the film made this a completely unique and engaging film on EVERY level. I dont think most of the people at the screening were all that moved by it, judging by the blank faces at the end of the film and the perplexed sentiment of many people I saw leaving the theatre. I was affected by this film on many levels, though, because I felt immersed in Marias world for the duration of the film. The character of Maria was displayed as the full package by the director, and for the first time in awhile I watched a true charecter study on film. It is relieving to know that some directors still want to have a main charecter that is examined on many levels and not just shallow surface level oriented stuff. We got an appropriate and sufficient amount of background throughout the film of her experience, making everything that happened after seem relevant and powerful. The scenes involving the young Maria were (I thought) very dark and very ominous. The colors were bleaker and the overall tone was different than the present day scenes (although they too were quite bleak). I could go on and on about how effective this film was, but I guess you just have to check it out for yourself. Nina Petri was just remarkable on all levels. Joachim Krol did a phenomenal job as the guy next door with bizarre obsessions. He is a fantastic actor.
I would put this towards the very top of Tykwer's work. In many ways, it is the dirty art house flick I think he was trying to make since he first started shooting 8mm as a kid. There are allot of surrealistic elements in this film too, and because he was able to convey them so well on such a minimal scale, my hat is tipped once again to the fantastic Tom Tykwer.
This should be released on DVD in the United States. My collection feels incomplete without it.
The Lord of the Rings: The Two Towers (2002)
A huge and jolting dissapointment
I am a huge fan of both the original Tolkien LOTR trilogy and the first film, the fellowship of the ring. Both possesed a certain intimacy and overall sense of strength due to the way in which they were original and engaging. Unfortunately, I cannot say the same about the Two Towers. TTT was a total and complete mess from top to bottom, a downward spiral of pathetic Hollywood money making schemes and an overall heap of cliche garbage.
Characters are as deep as a puddle at this point, and the sole desire of the movie seemed to be geared towards "awe inspiring" battle scenes,"scary" orcs and the sappy, melodramatic "bravery" of the heroes. Well, awe inspiring they were not. Predictable and bland is more like it. Gollum was the only shining light in this film, otherwise it was just a total piece of trash. It hurts me to say that, because I enjoyed the first film so much and the books are just absolutely phenomenal. I think P. Jackson must have polled a group of 11 year old boys on the way out of the Fellowship of the Ring last year and decided the go on their advice. They probably said stuff like "The dwarf gimli was so funny! heehee!", "the battle scenes were really awesome - wow!!!", "the Uruk Hai leader was scary! - eeek!!!" etc etc etc. After tabulating this information, it seems like he based the movie around these weak sets of standards and made it a long boring waste of time and money.
Many crazed and obsessed fans of this film have been defeated by the hype. I think they have been convincing themselves for the last year that since the first one was good, this one will be even better. When they were presented with this melodramatic b.s., somehow I feel like many of them just accepted it because they didnt want to be let down. Thats a real shame. I say embrace the dissapointing feeling and just be honest, rather than trying to convince yourself that it was the incredible triumph you think it was. Hey - if you liked it, you liked it. Im not going to argue with that. It just seems really pitiful when someone claims they dont like TTT and get ripped apart for speaking their opinion. Thats just depressing. I think many fans are unfortunately starting to equate the books with these movies, and claming that a true fan of the books MUST love TTT or else theyre not a real fan. Thats just sad, I think. will probably bring up the boneheaded argument "well why did you post this much if you hated it so much!?!?!". Im posting this in hope that maybe somehow, someway, anyone else out there who loved the books and was dissapointed with this movie can honestly feel like they arent the only one who is honest with themselves. A film series of this magnitude also deserves an even headed approach rather than just a bunch of blind Peter Jackson worshippers saying that it is the greatest movie of all time.
I would like to see a more charecter based and mature approach to the last film so that it can at least be seen as some sort of overall effort rather than just a good start and nothing more. This needs to improve, its gotten very weak.
Can you honestly claim that this film deserves a 9.0?????????
Das Experiment (2001)
Good stuff here
This is a strong and powerful film. The director sucesfully portrayed the demise of the characters and capped it off with a great climax that re-inforced the depths they eventually fell to. There is some great acting in this and some great camerawork. Bleibtreu has a strong screen presence and he was perfectly cast for this role. His acting was spot on brilliance. The guy that played the lead guard was also done very well. German films often make unbelievable situations look completely possible and this is no exception. Give most American directors this script and you wont be as convinced as Hirchbiegels take on it all. In only 2 hours he definately made the situation a believable, frightening and tense one. Great film worth checking out.
Der Krieger und die Kaiserin (2000)
Holy Mother of God
I saw this film in its US release and really enjoyed it. I especially enjoyed it in the context of Tykwer's and Potente's overall work. I enjoyed it but didnt think all that much of it a month later.
I viewed it for a second time 3 months later and was left speechless. There were scenes and shots in this film that tapped into every possible human emotion I think Ive ever felt. I dont know why it hit so hard, it just did. Potentes acting was utterly amazing! Her portrayal of a shy nurse was just monumental for her career. Tykwer took more time with this picture, clearly trying to acess the deeper and more complex parts of our minds than with his last fearure, Lola Rent. Although that film is one of my favourites, this one really out does it in terms of overall appeal. This is a true romance. A true love story. It reminded me of something almost hyper-Sheakespeare, the kind of love story that seems outdated and just not in swing with our contemporary and trite views on love and relationships. This isnt a love story based on Dawsons Creek or Titanic, its far too involved on too many levels to be viewed as such.
The pacing is intentionally slow, forcing the viewer to hang on every word spoken by the charecters and every detail shown by the camera. This dualist approach to a scene makes this picture really unique and special. His artistic vision combined with Potentes capacity to draw the viewer in with her body language is truly an excellent combination.
I cant wait to see what else Tykwer has in store for the future. He really is an exceptional filmmaker.
Lola rennt (1998)
No denying
***SPOILERS*** ***SPOILERS*** In one of my few and far between moments of absolute objectivity, I will say with assurance the following: Anybody who does not like this film has absolutely no grasp on the world of Art. Period.
This picture is a masterpiece of world cinema.
Tykwer has invested what seems like years into every frame of this movie. The concept is layed out in utter brilliance and confidence. The ideas mesh into a cohesive whole and form a very complete and rewarding film. Not only is the picture immensely enteratining, it is done with the care of a true artist, a true lover of film and a huge vision of what can be accomplished in a motion picture.
I give these accolades based on many scenes in the movie. I think of the scene in which Lola (played with remarkable kinetic energy by the always amazing Franka Potente) is trying in vain to think of somebody who can assuage her dilemna. She thinks and ponders, time running against her, hands pressing against her drowning mind. Tykwer throws in all of the people that cross her brain for a mere split second of on screen time as she sifts through them all one by one at light speed. This is train of though filmmaking done with bravado. I think of the pacing and all of the little nuances that contribute to the speed of the film, and yet give it some serious emotional depth at the same time. Think of Lola's rage and bitter anger when she finds her father in talks with his mistress at his office. Think of the way Lola and Mani lay in bed together and discuss life in its most simple and yet convoluted of terms. Think of the cartoons, the imagery, the casino, the music...
Allot of people may not have noticed, but the bank security guard who comes with Lola in the ambulance when she is hit by the truck turns out to be her REAL father. Yep, it was alluded to earlier in the film by Tykwer when her original father calls her a "cuckoos egg", inferring that her mother slept around. Well, turns around her mom slept with the security guard, producing Lola. This may explain the moment of connection between the two in the ambulance and it also explains his reaction when Lola is outside the bank screaming for her father and responds by saying something like, "I thought youd never come!" or something to that extent. It is sub plots like this that bring this film over the top and just contribute to its sheer strength as a film. If you look deeper into this film, you will find allot more than running.
When Lola comes into the casino towards the end, looking anything but posh and in contrast to the rest of upper crusties present, Tykwer captures what I consider to be one of the most powerful ensemble moments in film history, without ANY WORDS! Lola struts in, takes a gamble, screams her lungs out, and walks out (fair and sqaure) with a massive lump sum of money. Watch how after this happens, Tykwer pans the camera slowly across the room. Every face he captures is one of utter and complete shock. Where did he find these people? How did he capture such amazing honesty? Look again and tell me it isnt an awe inspiring scene.
Tykwer makes films for people who want to get whatever they want out of them. They are not black and white and they are not maniuplating. They are what they are. This work resembles the high octane punch of Picasso's 'Guernica', while his other landmark picture, "The Princess and the Warrior" has a slow burning and amazingly effective dose of Monet's Giverny paintings. He is both versatile and proffesional. If Run Lola Run goes down as his signature work, I would not be dissapointed.
It is the work of an artist and a genius.
Le violon rouge (1998)
Shocked
I wasnt expecting a film of this caliber. This will always stand out as one of the seminal motion pictures in my viewing career simply for its remarkable pacing and lovely premise. The plot line is very engaging and very clever. I enjoyed Sam Jacksons work in this the most I think. He just dominates the screen with a certain prowess that infers mental clarity. The scene in which he hears the violin played for the first time and tears build behind his eyes is just simply incredible. Ive never seen anything like it. I dont know how its possible to not be won over by this film. Its exceptional.
The Filth and the Fury (2000)
Simply Captivating
I didnt know all that much about the Pistols before viewing this documentary, and now after seeing it, I am hooked on this band and the punk culture that they inspired in the U.K. around this era. As a film, it is near seamless without anything worthy of complaint. There is a shot of Johhny Rotten singing God Save The Queen in the studio. He is motionless and yet the anger and spite in his voice really makes you take these guys seriously. They clearly didnt give a f--k about anybody but themselves and the culture that they represented. Their nihilism sends shivers down your spine. Culminating in what can only be called a shambolic performance, this documentary is beyond excellent. It captures the spirit of the era through stationary head shots, quirky yet brilliant post-editing and overall engagement. I dare you to watch this film and not feel the biting and oppresive culture surrounding the band. Utterly astounding. The best documentary ever put on film. Period.