Reviews

The early part of this film, perhaps the first 15 minutes or so, constitutes some of the most painful moments of my entire movie-viewing life. The filmmakers repeatedly chose to blast the film with absolutely obnoxious, offensive, crude and un-listenable rap music that plays too long and WAY too loud. If I hadn't just spent $5.99 to rent the movie, I absolutely would have turned it off. I'm glad I didn't turn it off, though, because once we got past the rap-fest, it settled into a pretty good movie. Paul Dano is excellent as the earnest, well-meaning day trader who sparks a worldwide rift in the stock market. It's a classic case of the little guy who stands up to the powers at the top. There's still some rap that I could live without throughout the movie, but those first few minutes appear to betray some sort of mental breakdown on the part of the director, music supervisor, and editor. Watch with caution.

No, this movie isn't for everyone, but if you're like me and enjoy that quirky, low-budget scary movie that comes along every once in a while, then "The Haunting of Marsten Manor" is a real treat. No, it doesn't look like a Hollywood movie. It has that home-made feel that makes it all the more creepy and scary. The effects are great, and the Civil War ghosts (including C. Thomas Howell) are a unique element. Approach this film with the right mindset, and you just may find yourself "spooked!"

I just watched the first 40 minutes of this movie, and I had to shut it off. The acting is good. In fact, I especially like all of the leads - always have. But the story is stupid and obnoxious. And there are issues. Serious issues. For one, it's extremely crass. There's almost enough porn to qualify as a porn movie. But that's not what bothered me. What I HATED about this movie was its complete detachment from reality when it comes to New Jersey, where the film is set. Joseph-Gordon Levitt's character Johnny is a self-obsessed guido jackass, and his friends are all the same. Everyone in the movie uses the same fake Brooklyn accent that ignorant Hollywood types think is the way New Jerseyans sound. Maybe they should listen to Meryl Streep, Jack Nicholson, Ray Liotta, Peter Dinklage, Kevin Spacey, Jason Biggs or Zach Braff. These are all well-known people who live in Hollywood and speak with an ACTUAL New Jersey accent. I don't think anyone involved with this movie has ever been to New Jersey. It seems as though the entire research effort for this film involved watching a few episodes of "Jersey Shore." For those who think reality shows are real, please note that Snookie and her friends are NOT from New Jersey, and that show is by far the least popular program at the real Jersey Shore. And one more thing, Mr Levitt: if you're going to do the Catholic confession scene in a movie (especially if you're going to do it over and over again) it might be a good idea to find out how it really works and looks. Among other things, you missed the fact that Catholics do not call it "The Lord's Prayer." For your penance, please say 20 "Our Father's" and stay the hell out of New Jersey! P.S. It wasn't funny, either - not even a little.

I'll start off with something positive: all of the performances in "The Moment" were quite good. The casting was really spot-on, and all the actors performed admirably. Jennifer Jason Lee does a great job capturing the essence of a woman completely detached from reality. Beyond that, I couldn't find anything I liked about this movie, starting with the extreme shaky-cam throughout (was this movie shot from a canoe?) to the awkward, mumbling lost-soul characters, the too- close close-ups, constant loss of focus, the confusing time-jumps forward and back and around again, and the dialogue that just never rang true for me. If I saw that refrigerator butter dish one more time I was going to scream. I couldn't help but wonder "Who put up money for this?" At the after-party at the Tribeca Film Festival, the crowd was quiet and polite during the Q&A, and the only audience question was from someone curious about the therapist scenes. That's a clue. In the unofficial poll I conducted among people I spoke with at the party, the only folks who liked the movie were either psych patients or psychology students. So I guess the bottom line is, if you're crazy, you'll love this movie.

My first IMDb review of The Comedy was posted and then soon removed. I'm not sure why. I guess it was too "honest." Sometimes, a really awful movie gets made, but it seems that IMDb doesn't allow you to go into any detail about how bad it is. So I'll keep this one short. Save your money. And your time. Go see a movie that actually was made from a SCRIPT. You know, one with A STORY. I know some people think it's a brave artistic choice to create a lead character who is unlikable. Fine, go for it. But give him something to do!! This is just a great example of the worst in indie film. I was going to end my review there, but IMDb says it's too short. I've now spent more time on this review than The Comedy's auteur spent on its script!

I understand why this movie was not a hit. It's a little slow, and much of it is pretty depressing. But if you stick with it, you'll be rewarded with a movie that's sweet and genuine and quite creative and inventive in some of the methods it uses to tell its story. It did, however, trigger one of my pet peeves. I've always been annoyed by Non-Americans pretending to be Americans. Even though Kate Beckinsale's American accent is perfect, while watching the film, I kept hearing her say things that an American would never say. "How could this happen?" I wondered. Answer: The writer/director and his co-writer are both Europeans. At one point, she says she had an appointment, but the man "didn't turn up." Ever hear an American say that? To me, it's like a slap in the face that distracts from the story and makes me wonder who the hell made this film that wouldn't catch such a thing. Later in the movie, the same character says twice that she flew from Chicago "out to Mexico." Anyone with the vaguest understanding of North American geography would say they flew "down to Mexico." Nonetheless, I would recommend this to anyone who enjoys a serious look at family relationships and the strains that come along with aging parents and siblings spread far and wide.

Director Alexandra Berger has chosen an unusual subject for her debut feature documentary, and the result is unusually good. Danland follows Dan "Porno Dan" Leal, a successful pornographer, as he searches for real love in his own life, forever complicated by the trappings and temptations of his chosen career. The film follows Dan for several years as he falls in and out of love with various women, all while carrying on a busy schedule as a maker (and star) of porn films. While this movie is not pornography, some scenes are rather graphic, so the timid may want to steer clear. But if you appreciate a raw, honest story, it doesn't get much better than this. Danland succeeds in humanizing a subject that many would write off as simply a frat boy out of control. Berger manages to get under Dan's skin numerous times, bringing out a side that is vulnerable, lonely, and tragically sad. Yet, there are laughs as well, such as when Dan manages to turn the tables and get under the filmmaker's skin. Berger's awkward expression when she is spontaneously recruited by Dan to shoot an unfolding porn scene is well worth the price of admission. In the end, Danland is a human tale, demonstrating the fact that deep down, whether we're porn stars or accountants, we all just want to be loved.

When I heard that the director of Bubba Ho-Tep had made a new movie, I had to see it. It was a midnight movie at the Sundance Film Festival, and it did not disappoint. Buckle your seat belt if you get the chance to see this one, because there are lots of twists, turns, and unexpected surprises. If you have a hard time with a story that goes to unexpected places and keeps you on your toes, you may not enjoy "John Dies," but if you appreciate absolutely unfettered creativity and a willingness to include everything but the kitchen sink, then you should run to see this movie. Here you've got mind-bending drugs, time travel, exploding monsters, an alternate universe, and laughs – lots of BIG, all-out laughs – and Paul Giammatti! Far too wacky and weird to ever be mainstream, it's the kind of movie that true film fanatics will always cherish.

This film was one of two real standouts for me at the Sundance Film Festival 2012. Lead by two Oscar-worthy performances from Mary Elizabeth Winstead (Kate) and Aaron Paul (Charlie), "Smashed" accomplishes the impossible by addressing a very serious topic with depth and sympathy and realism, while still finding time to make the audience laugh hysterically now and then. Director James Ponsoldt and his co-writer Susan Burke deserve high praise for pulling off that feat. Additional kudos go to "Parks and Recreation's" Nick Offerman, as the deadpan sad- sack co-worker who takes Kate to AA and starts her on the road to sobriety. In a role that's the opposite of uber-confident Ron Swanson, he's hilarious as the always-ill-at-ease Dave.

This is one of those rare movies that is just like life: sometimes very funny, sometimes very sad, but always real. I hope it gets the audience it deserves.

Save the Date is a very enjoyable romantic comedy with a great cast and a fine script. No, it doesn't have any explosions or aliens from Mars – but neither does my life, so I could really identify with the characters in this little film. Lizzy Caplan is the shining light here, as the non- committal heroine, Sarah. She's joined by a number of actors with familiar faces, if not well- known names, ranging from Mark Webber as the new guy in her life, to her former "Freaks and Geeks" cast member, Martin Starr, who has graduated from playing Bill Haverchuck, perhaps the nerdiest character ever to hit television, to credible roles like this one, as Andrew, a rock drummer and future brother-in-law to Sarah. There's also some fine work by Geoffrey Arend, as Kevin, Sarah's fiancée at the story's start. The laughs are genuine and the characters are likable. As in the case of most rom-coms, you will not have to bust out your thinking cap to follow it or guess where it may lead, but then what's wrong with that? It's good clean fun all around.

"What's wrong with Hollywood?" you say? Well, for one, there's no one there who recognized the genius in this film, released as "The Flyboys," rather than "Sky Kids," the original title. And let me clear the air right away by letting you know that I am in no way involved with this film and I don't know anyone who was. I just saw it at the Garden State Film Festival, where it won the top prize, as I believe it has at every other festival where it appeared. As someone else mentioned, the audience was cheering and applauding throughout the movie. How often does that happen when you go to a movie down at the Cineplex? The filmmakers did a beautiful job of capturing the excitement of the adventure while still maintaining the humanity and innocence of the two boys, played perfectly by Jesse James and Reilly McClendon. Yes, there's a hint of sappiness here and there, especially at the ending, but WHAT'S WRONG WITH THAT? And while there may be a few elements too rough for the youngest viewers, this is still a great film for the whole family. I only wish that Hollywood would wake up to the fact that people really enjoy this type of movie. Until they do, I guess we'll just have to settle for "Snakes on A Plane 2."

A friend gave me the DVD, saying he bought it but hated it. I figured it's based on a Stephen King book - how bad could it be? As soon as I started watching I remembered why I never bothered to see this when it was new. Cheesy costumes and effects and idiotic banter abound. And with all their visions of the future, did no one involved with this film think that maybe after 40 years, 80's hairstyles would have faded away? If you think Governor Schwarzenegger is hard to understand, check out Arnold circa 1986. Incredible! And maybe they thought he would sound better if they gave him a co-star, Maria Conchita Alonso, who was also English- challenged. There are a number of scenes where the two of them are conversing, and I had no idea what either of them were saying. I can only credit the Barcalounger people for my having actually seen the whole film - I wanted to get up and shut it off, but I was too comfortable. Still, now that I've seen it all, I wish I hadn't. Seeing a respected athlete and star like Jim Brown with that ridiculous skunk hairdo made a painful experience agonizing. Throw in Jesse Ventura for some outrageously bad acting, and you've got a total loser here. Don't waste your time on this cinematic turd.

I'm not one to trash other people's movies, but I make an exception when they waste an hour and a quarter of my time and return NOTHING. I'll try to be nice and say that the actors are all good, because they are, but there's no story here! Angel's father kicked him out. That's it - no need to see the movie because not much else happens. The only thing that holds your attention through any given scene is trying to figure out what the hell is going on. I spent 5 to 8 minutes at the start of each too-long scene just trying to figure out who the characters were and why they were talking to each other. Right around the time I get a clue, the scene is over and we're on to some other bit of pointless confusion. With dozens of great independent films being made (and ignored) every year, how does garbage like THIS get on HBO?

Here's a great example of what an independent film should be - a simple story about real people and the joys, trials, and tribulations they face on their journey through life. Alan Cumming is brilliant as the carefree head of a huge immigrant family. Tim Guinee's understated portrayal of a shy man fighting the system and his own society is at the heart of this movie's appeal. And Elizabeth Reaser is just incredible in her role as the "mail order bride" from Germany. The way the two would-be lovers find their way to each other's hearts parallels the way they work together to find acceptance in the community. A great script, superb performances, and beautiful scenery make for a truly charming piece of work.

Well, at least this movie was short - only about an hour and ten minutes. Yet I still want to kick myself for wasting that much of my life on this movie. I'm not one to bash filmmakers - I can appreciate the effort in almost anything. But when you make me sit and wait and wait and wait for some kind of reason for the existence of the film, let alone any kind of resolution of the story, and you leave me with nothing, then I'm just plain annoyed. I don't think I'm spoiling anything when I tell you there's almost no story at all here. If you read the synopsis provided by the filmmakers, you already know the whole story, what little there is. Films like this are what give indie film a bad name. Though Cindi Williams gives a credible performance as the lost-soul heroine of the movie, there is no other redeeming quality I can find here. I felt this movie was a complete waste of time.

One of the other writers who commented on this movie says he could identify with it as the gay son of a mentally ill parent. If you are a part of that microscopic universe, you may also enjoy this work, but if you are anyone else, I would strongly recommend another choice for your entertainment pleasure. I have to agree with the other comment writer who felt like he had spent 2 hours watching a young man masturbate. That may be fun for the young man, but for the rest of us, it's just torture. The combination of bad amateur video, drama queen wailing, and scenes that run on forever was more than I could stand, though I did sit through the whole thing at Sundance. I'll agree that the concept is intriguing.

Many young people have now captured a good deal of their lives on video. Let's hope that some of them have a better talent for presenting it as something that more of us can conect with.

I saw Colin Fitz at the Long Island Film Festival in 1997, and have been waiting ever since to see it again. This film is a perfect example of all that is wrong with the film business -- not because there's anything wrong with the movie. The problem is that this film should have been a big hit, but was never even released. I understand there was a legal battle involving the film that hampered efforts to get distribution, but I don't think that was the only problem. I believe that no distributor was willing to sign on because they didn't know how to sell a film about two guys spending the night in a cemetery. How about this: "This is a great, intelligent, well-acted, hilarious movie. You'll love it!" But unfortunately, it had no big stars, and no explosions, and you couldn't sum up the story in three words, so it was left to die alone. How sad. If you ever have the chance to see this movie, by all means do so. You will not be disappointed.

I saw this movie at Sundance and was very surprised that it went home with no awards. Though I'm not familiar with the book, I can say that Jessica Scharzer does a masterful job of telling a delicate story in a very real and touching way. It is never easy to handle a story about a traumatizing event, but to do it with such sensitivity, in the midst of a HILARIOUS movie, is pure genius. A great deal of the credit must go to Kristen Stewart for her portrayal of a girl whose emotions are always known to the audience, though she hardly ever says a word. Anyone who has been to high school should get a big kick from some of the send-ups in "Speak." And for anyone who has doubted the talents of Steve Zahn, just look for the scene where he sees what Melinda (Stewart) has done in the supply closet.

I hope to see this movie in theaters soon, and I give it my highest recommendation. And no, I don't know anyone who was involved with it. I just wanted to give credit where credit is due. Go see this movie!

I saw this movie at Sundance. I am not a basketball fan, nor am I particularly interested in Native American affairs. But I LOVED this movie, and it seemed as if everyone else in the theater did too. It was by far the best film I saw at the festival this year. There are a few flaws you have to overlook - James McDaniels' character is remarkably insensitive to Indian culture, and says some things that no kind intelligent person would, though the character is supposed to be both kind and intelligent. But forget that - McDaniel still makes you believe he's real, and the girls who play the losers-turned-winners on his team are marvelous. For whatever issues of believability you may have, how can you knock a movie that makes people stand up and cheer? And gives us a conclusion that may not be the easy predictable one? The world needs more movies like this. Go see it. You won't be sorry!

I saw this one at Sundance, and I can't figure out why it won the directing award. It was painfully slow and literally colorless. It's the type of movie that is only appreciated by film fest snobs who think any movie that a lot of people like must be beneath them.

The jury at Sundance this year seemed to be making a conscious effort to reward the underdog, ultra-low-budget films. That's all well and good, but this wandering, dragging mess looks like a home movie. Mini-DV shot in a snow-covered gray winter results in a drab look for a drab movie.

Certain motifs (snakes) are beaten to death in spite of the fact that they add nothing to the story and make no sense as symbols.

Now, it wasn't all bad. Vera Farmiga is phenomenal in her role as a mother with a drug problem. She will be going places, and she deserves it. Her co-star Hugh Dillon also does a fine job. Frankly, there are many fine moments in this movie, but they just don't fit together very well.