The Bronze.

The Bronze Has Moved

2009-05-06T18:43:00.000-07:00

The Bronze can now be found at www.thebronze.weebly.com

The Bronze 2.0 is Forthcoming

2009-05-05T21:36:00.000-07:00

The recent lack of posting is a result of my attention being focused on making a new web site. Fairly soon I will be launching a new and improved version of The Bronze. I hope to have it ready by the end of the week. Until then, thank you for your patience.

Three Monkeys Debuts on The Auteurs

2009-04-25T13:45:00.000-07:00

"The Auteurs and Zeitgeist Films are celebrating Turkish filmmaker Nuri Bilge Ceylan this month by showing his two newest films on The Auteurs for free.

Ceylan’s newest film, Three Monkeys, which garnered him the Best Director award at the 2008 Cannes Film Festival, will be debuting online and shown for free at The Auteurs on April 26, and the filmmaker’s previous movie, Climates (winner of FIPRESCI prize at Cannes in 2006) will be playing online for free from April 23 to May 3.

Three Monkeys will be also be opening theatrically in New York on May 1st. To find out more information, visit Zeitgeist Films."

Adventureland

2009-04-05T11:06:00.000-07:00

New Movie Review.

Written and directed by Greg Mottola

Starring Jesse Eisenberg, Kristen Stewart, Martin Starr, Ryan Reynolds, Bill Hader

Adventureland is Greg Mottola's third film, and his follow-up to Superbad. Those looking for a film like Superbad will be disappointed here, those more in the mood for a serio-comedy will be more than pleased. Superbad was a film written by Seth Rogen and Even Goldberg, and it was truly their film. With Adventureland, Mottola has written the script as well which he says is partly autobiographical, hence the film comes across as very personal.

The story follows a college grad, James Brennan, played by Eisenberg, who needs to earn some money over the summer if he is to go to university in New York as he has dreamed. Unfortunately his impressive academics can't score him a good job, so he has to spend the summer at Adventureland, a local amusement park that hires any willing applicants. The job is anything but glamorous, but it is here James will come out of his shell, make important friends, and meet his first love, Em, played by Kristen Stewart.

The film is being promoted as full-on comedy, but it is actually much more concerned with its characters than laughs. I was touched by how fair it was to each of its characters. Even Connell, played by Ryan Reynolds, who in any other movie would be a cardboard bad guy, is likable and easy to empathize with. He poses the main obstacle between James and Em's love, but Connell is far too sad and pathetic to be angry with. Reynolds plays him perfectly, making sure to avoid stereotypes, and to add an endearing sensitivity. The supporting cast is wonderful, and many of the characters get moments other movies wouldn't let them have. Joel (played by Apatow alum, Martin Starr) quickly bonds with James and becomes a sort of third wheel for the leads. During one scene, a bunch of employees are talking after work, quietly James and Em slip off to be alone. The camera then focuses on Joel as he notices and looks on, sad and lonely.

Eisenberg and Stewart are both superb and have a wonderfully unexpected chemistry on screen. I last saw Eisenberg in The Squid and the Whale, another brilliant film. His character in Adventureland is certainly similar, almost as if it is the same guy a few years later. It's hard to complain though as he may the the most likable awkward leading man this side of Michael Cera. His character, like all others in the movie are fully realized human beings and he really brings James to life. However it is Kristen Stewart who steals the show. She now joins the ranks of incredible young actresses such as Ellen Page or Olivia Thirlby who are going to have amazing careers. She makes Em one of the more memorable characters in recent comedies. She is smart, witty, vulnerable, confused and Stewart plays every little emotion as real as possible. This is a script in need of admiration as it actually understands the female lead rather than just involving her in the plot. In fact, all of the characters are understood and respected.

Each character is a flawed human being. Everyone makes mistakes, but they are good people and we care for them. In life, good people are doomed to do stupid things and hurt each other. Adventureland is a film that knows this and sees the big picture and is proud of our small triumphs, in spite of our many failures. The film takes place in 1987, and feels truly nostalgic. It is written and directed by a man in his 40s, but he does not degrade the teens and twenty somethings, like so many comedies have. He sees them as smart and thoughtful people worth telling real stories about. The young love in this film is treated with care far too rare in movies.

The film is very funny, but never in a ridiculous way. Nothing really happens that is out of the ordinary. The laughs are natural and never cheap. The movie is more of a drama than some might expect and it certainly fits in more with The Squid and the Whale (although they are quite different) than Superbad. Mottola shows lots of promise and I can't wait to see his next feature, Paul, which is written by and starring the Shaun of the Dead/Hot Fuzz guys Simon Pegg and Nick Frost (The drool inducing synopsis on IMDB for that one is "Two British comic-book geeks travel across the USA together"). Mottola has made a film where the young characters are realistic, flawed and beautiful. We care about them deeply, and for that the film maker should be praised. Adventureland is the most emotionally resonant comedy since Juno, and my favourite film of 2009 so far.

Alan Moore Loves Zack Snyder's Watchmen

2009-04-01T11:00:00.000-07:00

In a recent interview Alan Moore revealed he saw Watchmen, the film adaptation of his acclaimed comic book series from the 1980s. Moore is infamous for hating Hollywood, and even said he would never watch the movie. He even refused to receive any money from Warner Brothers. In a change of heart, after being convinced by a friend, Alan watched the movie. His reaction was very different from what any of us expected...

"I actually loved it. I couldn't believe it. Zack did a wonderful job of bringing my vision to the screen. It is very much like watching my own dreams come true. I did not think it was possible, but the movie does convey all the themes of the comic. I am eager to see the full cut of the film and I'm very excited about the idea of Snyder adapting more of my work. I was on the phone with him today to apologize and we started talking about making Lost Girls, a comic I worked on with my wife, into a feature film. Hopefully you'll hear more about that soon."

An Evening with Kevin Smith in Vancouver

2009-03-29T04:35:00.000-07:00

The Kevin Smith Q & A on Friday was awesome.

"The New Great American Director"

2009-03-25T15:10:00.000-07:00

In a recent post on his blog, Roger Ebert has given the prestigious title of "The new great American Director" to film maker Ramin Bahrani.

"After three films, each a master work, he has established himself as a gifted, confident filmmaker with ideas that involve who and where we are at this time. His films pay great attention to ordinary lives that are not so ordinary at all."

It is certainly hard to disagree with Ebert, even though I have only seen one of Bahrani's films, Chop Shop, which is a film that nearly made my top ten list from last year. I have his other critically acclaimed film, Man Push Cart, which I plan to watch as soon as I finish this post. His upcoming feature, Goodbye Solo looks incredible and is one of my most anticipated films of this year. It begins it's limited release on Friday.

I also think Bahrani should be celebrated as important if only because he is a true auteur in an industry with so few left. Also, his characters are as fascinating and as interesting as any others being created today.

"Bahrani doesn't categorize his characters. I called them outsiders in one of our conversations at Toronto 2008, and he said he liked that. 'It's not just 'emigrant.' It's different. Their lives are asking, How should I be as a person, how should I be behaving, why is the world this way? You could put me in a room full of people who look just like me and I would feel like I don't understand. Those are the questions. It's in every Herzog film: How do you live in this world? How is the world like this? What else is there to think about?'"

I just thought I should bring attention to Ebert's post, as he has given directors this title before. He does it before the mainstream catches on. The other time I can think of was when he predicted that Scorsese would eventually be one of the most important American film makers.

You can find Ebert's full article here

You can find a trailer for Goodbye Solo here

I Love You, Man

2009-03-20T14:14:00.000-07:00

New Movie Review.

Written by John Hamburg and Larry Levin
Directed by John Hamburg
Starring Paul Rudd, Jason Segel, Rashida Jones, Andy Samberg

I've said it before, we are living in a truly wonderful era of comedy, and it has shown no signs of stopping. This is mostly attributable to Judd Apatow who has reinvented the adult comedy and is responsible for bringing attention to a new generation of comedic actors. Most of the great comedies of recent years have either been produced, written, or directed by Judd Apatow. His name is absent from the credits of I Love you, Man, but his influence is easily detectable. Also, the two stars of the film, Paul Rudd and Jason Segel, are Apatow regulars.

The plot is simple and at first glance, trivial. Real estate agent Peter Klaven (Paul Rudd) gets engaged to Zooey (Rashida Jones). Peter realizes he doesn't have any close guy friends, and he begins a search for a friend he can make his best man at his wedding. He keeps this secret from his fiancee, but his mother and gay brother Robbie (Andy Samberg) actively try to help him and set him up on "man dates" which, of course, lead to some hilarious results. Meanwhile, Peter is trying to sell Lou Ferrigno's (TV's The Incredible Hulk, playing himself) House. At an open house he meets Sydney Fife (Jason Segel), the first promising candidate for the best man position. He is not at the open house because he is interested in buying a home but rather to pick up girls and eat free food. Sydney is pretty much the opposite of Peter.

Peter gets along with women better than he does with men, as he is an honest, sensitive type. Sydney is open and in touch with his manliness, and perhaps in a way, is even more honest. Peter is about as awkward as possible, straining to act cool and failing miserably in every scene. Paul Rudd handles the comedic timing wonderfully, and manages to earn a laugh every time Peter tries to impress. Sydney is effortlessly cool. He invites Peter to his home, and shows him his garage which has been converted into "The Man Cave" complete with several TVs, every instrument needed for a rock band and even what Sydney refers to as a "jerk-off station". Essentially, Sydney is a guy friend we would all like to have. He is incredibly fun and helps Peter loosen up and enjoy himself. Sydney speaks frankly about everything, but not in an obscene way like this type of character might in a poorer comedy, rather he is open and helps those he speaks to to open up as well. It is remarkable that Jason Segel takes this hedonistic character and makes him into a plausible, human best friend.

Both lead actors do a tremendous job of making the movie feel authentic. Paul Rudd has established himself as yet another Apatow regular who can be a dependable leading man. Jason Segel finally departs from his sensitive guy character he has been playing since Freaks & Geeks, and is just as effective. We love these characters equally, and it's mostly because it is easy to relate to them. Some might relate more to Peter, some to Sydney. Either way, I think if you connect to the film personally, as I did, there is something behind the laughter worth discovering.

I Love You, Man is consistently burst out laughing funny as well as somewhat serious and real. It's very exciting to see that there are other film makers and writers who can maintain the level of quality that Judd Apatow has introduced to the genre. Using actors familiar with this style helps, I imagine, but more importantly it is that Apatow has shown that making comedies shouldn't be about grossing people out, or creating ridiculously silly situations, or having the most gratuitousness possible. It's about making something real, connecting with the audience, and finding things we can all laugh about.

Hack Snyder

2009-03-06T14:12:00.000-08:00

"Snyder’s take on “Watchmen” is like a karaoke singer who hits most of the notes but doesn’t understand the lyrics to the song. The filmmaker has recreated a majority of the panels from his source material, but he’s compiled them in such a way that makes for a brutal, disjointed, misguided experience."

-Adam Fendelman

"I'll only screw it up this much, Dave"

Zack Snyder explains his intentions to Watchmen co-creator/illustrator Dave Gibbons. All Dave does is confusedly stare in to the abyss of stupidity.

Watchmen

2009-03-05T15:02:00.000-08:00

New Movie Review.

Written by David Hayter and Alex Tse
Directed by Zack Snyder
Starring Billy Crudup, Jackie Earle Haley, Patrick Wilson, Malin Akerman, Matthew Goode, Jeffery Dean Morgan

Watchmen was the most frustrating movie experience of my life. It is adapted from my favourite work in comics, that also happens to be one of my favourite works in fiction, period. My lofty expectations, admittedly, may have been impossible to satisfy, but at first, it seemed a possibility. The opening sequence of the film is quite good. Then the opening credits, which are accompanied by Bob Dylan, are some of the best I've seen. It isn't long after that when cracks start to show. The original score is, for the most part, very poor. The musical cues are laughable. The acting seems top notch until a couple characters are introduced. The second half completely falls apart.

The score is so standard and out of place, it takes you right out of the film. Stupid action music that should stick to Mortal Kombat and the like. Horribly cheesy guitar twangs. Generic ominous music underlining the emotions so Mr. Snyder doesn't actually have to bring them to life. One piece of music actually works quite well though. The character Dr. Manhattan has a brilliant sequence, and I mean brilliant, where we see time through his perspective. He describes different things happening in his life as if they were all occurring at once. The music during this scene is restrained, cold, but beautiful, much like Dr. Manhattan himself. That success is, of course, undone by the numskull choices throughout the remainder of the movie.

It is a shame that the actors give such noble performances for this movie. Patrick Wilson and Jackie Earle Haley bring the incredible characters of Nite Owl and Rorschach to life in an extraordinary way. It is Billy Crudup's turn of Dr. Manhattan that impresses the most, however. His voice is distant, calm, with the slightest hints of empathy and power, exactly how it should be. The rest of the main cast are also great, Malin Akerman, and Jeffrey Dean Morgan have tough roles to play, and they admirably succeed. I am sure that Matthew Goode's performance is also very good, but his role suffers from editing, and lack of execution in the final act which is hardly his fault. It is in the supporting cast that we find some really bad acting.

First off, Robert Wisden as a caricature of Richard Nixon. He has the most ridiculous makeup on, intended to increase his likeness to Nixon, but what it does is look fake and cartoonish. What makes it worse is that there isn't supposed to be a single scene with Nixon. Such an addition is absurd and ill-advised. That is outdone, believe it or not, with what I am claiming to be the most embarrassing performance in a serious movie ever. Carla Gugino plays Sally Jupiter, the mother of Laurie (Akerman) who resides in a rest home in California. In actuality, Gugino is 37, but her character must at least be in her late 60s. The makeup here, is even worse. The acting, is even worse than that. She completely misfires, failing to bring any aspect of the original character to life. In the comic she came off warm, sad, and a little pathetic. Gugino plays her bitchy and spunky, and appears to be as able-bodied as they come. In flashbacks, she gets to play her own age and she is just as bad. I even went a bit red in the face when watching her read her lines. Her screen time is minimal, but her performance is poisonous enough to infect the film even when she isn't there.

As someone who adores the source material, the first half wasn't all that bad. Much of the dialogue and narration is word for word accurate. The set design is wonderful, with an awe-inspiring attention to detail. However, to say, like so many have, that Zack Snyder is faithful to the source material is absolutely incorrect. For the most part he is faithful to the surface of source material, but he isn't as true to the tone, the themes, the grit, and sometimes even the characters. The ending is changed, which is beyond unforgivable. The new ending presents a plot-hole so large it is appalling.

I have to give credit, where credit is due. Zack Snyder's visuals, although hardly appropriate for the movie, are astounding. There is a place for him in the industry, and despite my current homicidal fantasies, I actually think the guy will make some good stuff, at least to look at. Tackling the intellectually complex Watchmen? Bad idea. Zack Snyder's movie occasionally feels like a 12 year old's book report come to life.

Thankfully, the source material is so strong, that some of it's richness comes through in the movie. Dr. Manhattan's scenes work like magic. The film is somewhat thought-provoking, even if the-supposed-to-be-a-shocker ending is glossed over. Most critics are discussing the themes of the story in their reviews, something I'll only do if talking about the comic. Several sequences are a joy to behold, seeing the comic come to life. Alas, the (mostly) superb acting, and several well-executed parts are not enough to redeem what this film really is, a revolting failure.

Snyder's brash, overdone style is so wrong for the movie. Everything looks artificial, but the comic book felt so gritty and real. A Kubrickian approach would have been better suited (Watchmen is more Clockwork Orange than it is 300), but still, the comic should never have been adapted to the screen. The original Watchmen is a master work, the crowning achievement of it's medium, the Citizen Kane of comics, and here it has been sullied. I demand retribution.

The Auteurs Poll Results

2009-03-05T14:50:00.000-08:00

The results for The Auteurs Poll I conducted are in. You can go to the site where I posted them to see detailed results and discussion.

As voted by 95 users on The Auteurs.com, here are the 10 best films and directors:

The Top Ten Films

1. Citizen Kane – Orson Welles (1941) USA

2. 2001 A Space Odyssey – Stanley Kubrick (1968) USA

3. 8 ½ – Federico Fellini (1963) Italy

4 (tie). The Rules of the Game – Jean Renoir (1939) France

Seven Samurai – Akira Kurosawa (1954) Japan

6 (tie). The 400 Blows – Francois Truffaut (1959) France

Vertigo – Alfred Hitchcock (1958) USA/UK

8. The Passion of Joan of Arc – Carl Theodre Dreyer (1928) France

9 (tie). The Godfather – Francis Ford Coppola (1972) USA

Rashomon – Akira Kurosawa (1950) Japan

Stalker – Andrei Tarkovsky (1979) Russia

Taxi Driver- Martin Scorsese (1976) USA

—————————————————————————————————————————-

The Top Ten Directors

1. Stanley Kubrick

2. Federico Fellini

3. Alfred Hitchcock

4 (tie). Ingmar Bergman

Akira Kurosawa

Orson Welles

7. Francis Ford Coppola

8. Andrei Tarkovsky

9. Martin Scorsese

10. Jean-Luc Godard

The Auteurs Poll: My Submission

2009-03-02T15:36:00.000-08:00

For The Auteurs Po ll, which I have mentioned on this site before, I had to compile a top ten list of, what I think are, the ten greatest films. It wasn't easy. I've been working on my list since the beginning of February and have only just recently finished it. Currently, I'm working on counting everybody's lists (over 90 sent in so far), and will soon be publishing the results. In the meantime, here is my submission:

The 10 Greatest Films, listed in alphabetical order:

8 ½ – Federico Fellini (1963) Italy

2001: A Space Odyssey – Stanley Kubrick (1968) USA

Aguirre, the Wrath of God – Werner Herzog (1972) Germany

Apocalypse Now – Francis Ford Coppola (1979) USA

Citizen Kane – Orson Welles (1941) USA

The Decalogue – Krzysztof Kieslowski (1989) Poland

Fitzcarraldo – Werner Herzog (1982) Germany

Princess Mononoke – Hayao Miyazaki (1999) Japan

Seven Samurai – Akira Kurosawa (1954) Japan

Synecdoche, New York – Charlie Kaufman (2008) USA

The Masterpieces. Vol III The Enigma of Kaspar Hauser

2009-02-16T11:53:00.000-08:00

mas⋅ter⋅piece
–noun

1.	a person's greatest piece of work, as in an art.

2.	anything done with masterly skill

3.	a consummate example of skill or excellence of any kind

The Masterpieces is an ongoing list of the greatest achievements in cinema from around the world. The only requirement is that no movie released in the last year can be added. These are the films that set the highest standards for their art form and respective genres. They can be important socially and universally or they can resonate on a deeply personal level or they can simply be incredibly entertaining.

-----------------------------------------------------------------------------------------------------------------
The Enigma of Kaspar Hauser

Written & Directed by Werner Herzog

"Do you hear that screaming all around us? The screaming that man calls silence"

When the film opens up with this quote on screen, along with an image of a wheat field swaying in the wind, without a sound, you realize you are in for a profound cinematic experience. Courtesy of one of the world's best film makers, Werner Herzog (the self proclaimed "soldier of cinema"), The Enigma of Kaspar Hauser is a film that will get you every way a film can. It will grab your heart, engage your mind and enrich your soul.

The story is of Kaspar Hauser, a man who has been raised in isolation, without having ever seen another person. His mysterious keeper, a man who keeps him fed and chained in a make shift prison, eventually lets him out. He teaches Kaspar to stand and walk, and to write. The man then brings Kaspar to a nearby village, and leaves him standing in the middle of town, alone, with a letter firmly grasped in his left hand, the bible and his hat in his right hand. The letter explains who Kaspar is and that he should be put to use as seen fit. He quickly becomes the object of the townspeople's curiosity. In some cases, people become emotionally attached to him, others ridicule him. The more important figures of the town regard him as an interesting scientific specimen and take notes on him as if he is some sort of discovery to be analysed, not a real human being to be understood.

A family takes him into their home and, along with other people, teach him how to live. Eventually Kaspar is introduced to the workings of society. At this point, he is able to adequately articulate himself. He finds so many traditions and rules bizarre. It is here that he begins to make observations and make incredible statements. When seated at a table with an older woman, he asks, "why do the women only cook and clean?". She tells him to ask the men. He finds this social standing unnatural and confusing. How is it that such an uncivilized man seems so much more civil than those raised in society.

When Kaspar is introduced to music, and listens to another man playing piano, he proclaims "the music, it feels strong in my heart". Kaspar is so pure and untainted, it is emotionally revelatory. He is the most endearing human subject in all of cinema.

He is told again and again that he is wrong, and must adjust to the society he finds absurd. In most cases, he seems wiser and more thoughtful then the people trying to teach him. One man performs a test of logic on Kaspar. He tells him there are two villages. One made completely of liars, and the other made completely of people who tell only the truth. The man asks Kaspar, if he was to meet a man outside of the villages, how could you find out which village the man was from. The man performing the test says there is only one logical answer. Of course the answer Kaspar gives is not that one answer, but it is a more clever one. The man says he fails the test. Through Kaspar Hauser's observations, we see the flaws and stupidity of our civilization. It is a film that will capture your heart but also infuriate you.

Herzog's use of image is as always incredible, but what stands out is his casting of Bruno S. for the lead. Bruno S. was a street musician who had spent much of his life in and out of mental institutions. The performance that Herzog gets out of Bruno is nothing short of earth shattering. So inspired by this man he had discovered, Herzog would go on to write a screenplay for him in three days which would become the film, Stroszek, a film as revered as The Enigma of Kaspar Hauser.

After being taught reading, writing, speaking, manners, and piano, Kasper becomes somewhat of a legend. It isn't long before important people from all over want to meet him. A big, formal social gathering is held for people to meet this incredible man. Kaspar is to perform a Mozart sonata on the piano for all those attending. It is a crude attempt, as he fails to play it properly. Nonetheless, the music feels strong in my heart.

The Bronze. 2008 Academy Award Hopes and Predictions

2009-02-14T12:42:00.000-08:00

It's Oscar time and Parker and I have made some predictions. We are including both what we think will win and what we hope to win.

Best Documentary, Features

The Betrayal - Nerakhoon
Encounters at the End of the World
The Garden
Man on Wire
Trouble the Water

Adam's Take.

Heart-
My heart definitely goes for Encounters, one of my favourite films of the year, that just narrowly missed out on making my top 10 list. Herzog's documentaries continue to be one of the most consistent sources of invaluable insight and profound cinematic poetry.

Head-
My head says Man on Wire. It was one of the most well recieved films of the year, and the mere fact it onvolves the Twin Towers will capture the imaginations of American Oscar voters. Plus Mr. Oscar never show no love to Herzog.

Parker's Take.

Heart-
My Heart also goes out to Herzog's latest masterpiece, but I believe it is too beautiful for most people to appreciate and therefore take home the little gold man.

Head-
Man On Wire will almost certainly win this category to mind, as it is a great movie all about the indomitability of the human spirit, which the Academy will eat up.

Best Foreign Language Film of the Year

Der Baader Meinhof Komplex
Entre Les Murs
Revanche
Okuribtio
Val Im Bashir

Adam's Take.

Heart-
My pick is Entre Les Murs, one of my top ten films of 2008, and a true human masterpiece.

Head-
My head says Val Im Bashir (or "Waltz with Bashir"), as it is an animated film which did not recieve a nom in that category, thus Oscar voters can kill two birds with one stone. And they loves them some bird killin'.

Parker's Take.

Heart-
Entre Les Murs captured the different levels of interactions that happen in school in a way that no movie before has, making it my favourite for this category.

Head-
It will recieve some tough competition, but I still think Entre Les Murs will take it in the end.

Best Animated Feature Film of the Year

Bolt
Kung Fu Panda
Wall-e

Adam's Take.

Heart-
Wall-E owns most movies of 2008, let alone other animated features.

Head-
Wall-E is an absolute shoe-in. But then again, Benjamin Button was nominated for best picture. Anything can happen.

Parker's Take.

Heart-
The little robot captured my heart like no other, so I vote Wall-E.

Head-
Wall-E. Straight up.

Best Achievement in Visual Effects

The Curious Case of Benjamin Button
The Dark Knight
Iron Man

Adam's Take

Heart-
Tought one. Both Button and The Dark Knight make subtle use of CGI, which is admirable. But with The Dark Knight, it's nearly undetecable. Which is, to my mind, more impressive.

Head-
Benjamin Button will likely take this one.

Parker's Take.

Heart-
My heart is cast for The Dark Knight, in part because it deserves it and in part because It got shafted for a Best Picture nom.

Head-
Undoubtedly, Benjamin Button will win this and every other category it's nominated for.

Best Achievement in Sound Editing

The Dark Knight
Iron Man
Slumdog Millionaire
Wall-E
Wanted

Adam's Take.

Heart-
Dark Knight, no question. The sound was such an intrinsical part of the film

Head.-
Toss up but I'm going to say The Dark Knight.

Parker's Take.

Heart-
Once again, voting on The Dark Knight.

Head-
I'm Going to stick with my initial reaction and say Dark Knight.

Best Achievement in Sound

The Curious Case of Benjamin Button
The Dark Knight
Slumdog Millionaire
Wall-E
Wanted

Adam's Take.

Heart-
The Dark Knight for aformentioned reasons.

Head-
The Oscar people will love to further confuse the public with the two sound categories by splitting the winnings. Slumdog.

Parker's Take.

Heart-
My Heart goes out to Wall-E on this one.

Head-
It's a bit of a coin toss, but Wall-E will take it in the end.

Best Achivement in Music Written for Motion Pictures, Original Song

Jai Ho (Slumdog Millionaire)
O Saya (Slumdog Millionaire)
Down to Earth (Wall-E)

Adam's Take.

Heart-
Jai Ho is more lively and ultimately more impressive but O Saya has M.I.A. So O Saya it is.

Head-
Jai Ho.

Parker's Take.

Heart-
O Saya; You can't go wrong with an M.I.A. Breakdown.

Head-
I have a sneaky suspicion that "Down to Earth" will sneak out of nowhere to assassinate the others.

Best Achievement in Music Written for Motion Pictures, Original Score

The Curious Case of Benjamin Button
Defiance
Milk
Slumdog Millionaire
Wall-E

Adam's Take.

Heart-
Slumdog by far. The music was so alive and it always set the tone for the film.

Head-
Slumdog. It is the best, but also the score that stands out most.

Parker's Take.

Heart-
Bright and Vibrant, Slumdog Millionaire is an all around and amazing soundtrack.

Head-
Slumdog Millionaire.

Best Achievement in Makeup

The Curious Case of Benjamin Button
The Dark Knight
Hellboy II: The Golden Army

Adam's Take.

Heart-
The Dark Knight. While Benjamin Button is more technically impressive, TDK has the brilliant reinvention of the Joker which is enough for me.

Head-
Benjamin Button will take it.

Parker's Take.

Heart-
The Dark Knight Succeeds on a smaller scale, with impressive details like make up on the Jokers hands to add additional depth to the film.

Head-
Hollywood won't miss the chance to give Benjamin Button Another oscar, even when it is at least deserving in this category.

Best Achievement in Costume Design

Australia
The Curious Case of Benjamin Button
The Duchess
Milk
Revolutionary Road

Adam's Take.

Heart-
Benjamin Button certainly impresses me the most out of the nominees, but I have to wonder how The Dark Knight missed out.

Head-
Benjamin Button most certainly.

Parker's take.

Heart-
More subtle than the other nominees perhaps, but Revolutionary Road captured the feeling of an era in a quiet, impressive way.

Head-
Benjamin Button or The Duchess, but an edge to Benjamin.

Best Achievement in Art Direction

Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Duchess
Revolutionary Road

Adam's Take.

Heart-
The Dark Knight took Chicago and made it Gotham. No film had a more impressive mise-en-scene.

Head-
Benjamin Button will take it, and it is a deserving victor.

Parker's Take.

Heart-
The Dark Knight is most definitely deserving of this award.

Head-
Benjamin Button.

Best Achievement in Editing

The Curious Case of Benjamin Button
The Dark Knight
Forst/Nixon
Milk
Slumdog Millionaire

Adam's Take.

Heart-
The Dark Knight's editing was so unique, and made a huge overall contribution the the feel of the film.

Head-
An extremely tight race bewteen TDK, Slumdog and Button. I'm going to say Slumdog though.

Parker's Take.

Heart-
Slumdog's editing created a feeling of movement that I really enjoyed.

Head-
Slumdog Millionaire.

Best Achievement In Cinematography

Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Reader
Slumdog Millionaire

Adam's Take.

Heart-
The Dark Knight. The cinematography was masterful.

Head-
Tight, but Wally Pfister's work on The Dark Knight was clearly the best and I think the Academy will recognize that.

Parker's Take.

Heart-
The Dark Knight will take it home.

Head-
The Dark Knight, for being amazing.

Best Writing, Screenplay Based on Material Previously Produced or Published

The Curious Case of Benjamin Button - Eric Roth & Robin Swicord
Doubt - John Patrick Shanley
Frost/Nixon - Peter Morgan
The Reader - David Hare
Slumdog Millionaire - Simon Beaufoy

Adam's Take.

Heart-
Certainly not Eric Roth's script, which is devoid of substance. Not Slumdog, as it's the directorial aspects of that film that impress me. It's a toss up between the other 3, and I'll settle on Shanley's adaptation of his play, Doubt.

Head-
Slumdog. Happy endings, yay!

Parker's Take.

Heart-
I'll take Doubt, not because it's great, but because it's the best choice.

Head-
For giving the world something it has already seen, Eric Roth for his work on Benjamin Button.

Best Writing, Screenplay Written Directly for the Screen

Frozen River - Courtney Hunt
Happy-Go-Lucky - Mike Leigh
In Bruges - Martin McDonagh
Milk - Dustin Lance Black
Wall-E - Andrew Stanton & Pete Docter & Jim Reardon

Adam's Take.

Heart-
McDonagh's immensely rich masterpiece of a script for In Bruges by far.

Head-
Frozen River is too small. Happy-Go-Lucky and In Bruges are too not American. Wall-E has a shot, but I think this is how the Academy will honour Milk.

Parker's Take.

Heart-
In Bruges was my pick for best movie of the year, so I'll stick with it here.

Head-
Milk will probably have this in the end.

Best Achievement in Directing

Danny Boyle for Slumdog Millionaire
Stephen Daldry for The Reader
David Fincher for The Curious Case of Benjamin Button
Ron Howard for Frost/Nixon
Gus Van Sant for Milk

Adam's Take.

Heart-
With Milk, Gus Van Sant managed to find a happy medium between his more artsy work and his Hollywood outings. His use of stock footage was brilliant as well.

Head-
Danny Boyle's excellent work in Slumdog will be rewarded deservedly.

Parker's Take.

Heart-
Danny Boyle's energetic directing captured my attention from the begining to the end.

Head-
Slumdog Millionaire will take the gold.

Best Performance by an Actress in a Supporting Role

Amy Adams for Doubt
Penelope Cruz for Vicky Cristina Barcelona
Viola Davis for Doubt
Taraji P. Henson for The Curious Case of Benjamin Button
Marisa Tomei for The Wrestler

Adam's Take.

Heart-
It's 50/50 between Adams and Tomei for me. If I have to choose, I'll say Tomei, because she contributed to a better film.

Head-
Viola Davis created an incredible scene in Doubt, and I think it earned her an Oscar.

Parker's Take.

Heart-
I have to go for Marisa Tomei for creating an amazing character.

Head-
I do believe Viola Davis has it on the strength of her one scene.

Best Performance by an Actor in a Supporting Role

Josh Brolin for Milk
Robert Downey Jr. for Tropic Thunder
Philip Seymour Hoffman for Doubt
Heath Ledger for The Dark Knight
Michael Shannon for Revolutionary Road

Adam's Take.

Heart-
It's great to see Shannon nominated but there is absolutely no contest here. Heath Ledger's iconic master performance

Head-
Shoe-in for the late Ledger. If any other nominee won they would be ashamed to take the stage.

Parker's Take.

Heart-
Heath Ledger in no contest.

Head-
Heath Ledger, for one of the best performances I have ever seen.

Best Performance by an Actress in a Leading Role

Anne Hathaway for Rachel Getting Married
Angelina Jolie for Changeling
Melissa Leo for Frozen River
Meryl Streep for Doubt
Kate Winslet for The Reader

Adam's Take.

Heart-
Had Kate Winslet been nominated for Revolutionary Road, it would be an easy pick. It's tight between Hathaway and Winslet, but Winslet was the overall best actress of 2008.

Head-
Kate Winslet. Nazis.

Parker's Take.

Heart-
Anne Hathaway in one of my favorite performances of the year and of the past few as well.

Head-
Unfourtunately, Hathaway will lose out to Kate Winslet. Weddings just can't compare to naked Nazis.

Best Performance by an Actor in a Leading Role

Richard Jenkins for The Visitor
Frank Langella for Frost/Nixon
Sean Penn for Milk
Brad Pitt for The Curious Case of Benjamin Button
Mickey Rourke for The Wrestler

Adam's Take.

Heart-
Mickey Rourke, no question. Penn was brilliant though.

Head-
3 way toss up between Penn/Pitt/Rourke. I'm counting on the Academy to make the right choice. Mickey Rourke.

Parker's Take.

Heart-
I'm all for Mickey Rourke. Brilliant.

Head-
Sean Penn for a deservedly amazing job.

Best Motion Picture of the Year

The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Reader
Slumdog Millionaire

Adam's Take.

Heart-
This dissapointing group of nominees is nowhere near being a representation of 2008's best films. Only one movie here was on my top ten list and thats Milk. However, there are 7 films I'd rather win.

Head-
Slumdog Millionaire. Happy ending. Classic love story. Undeniably fun. Undeserved.

Parker's Take.

Heart-
Not the years best, but I'll take Milk over the others any day,

Head-
Slumdog Millionaire. The perceived underdog will win.

Prepare yourselves for Wolverine's no holds-barred Oscar night on Feb. 22

2008 Top 10 - Parker's Take

2009-02-14T01:51:00.000-08:00

Well, after a very prolonged absence from posting on The Bronze I have returned with a vengeance. For the first time since the inception of this blog I have decided to post a list of the best movies of the year: Parker style. So without further written ado, I present my choices for the ten best 2008 had to offer.

Top Ten Films of 2008
- from 10-1, with 1 being the best

10. Forgetting Sarah Marshall

9. The Fall

8. Slumdog Millionaire

7. Rachel Getting Married

6. Milk

5. Wall-E

4. The Wrestler

3. Synecdoche, New York

2. The Dark Knight

1. In Bruges

The Auteurs "Sight & Sound" Poll

2009-02-12T12:22:00.000-08:00

I've decided to bring some attention to a little project I have in the works.

Modeled after the famous "Sight & Sound" poll conducted every 10 years since 1952, I have begun a poll on the forums on theauteurs.com

The way the original poll works, 100 critics submit a list of, what is in their opinion, the 10 greatest films of all time. In the last 2 polls (1992 & 2002), Sight & Sound has also made a secondary list using the same format but with 100 directors. So, I thought it was only fair that non-professionals had their say. The online community on The Auteurs, is, to my knowledge, the most diverse and intelligent group of film lovers on the internet. There are users from all over the world, of every age, each with different but respectable and refined taste. It is my belief that the collective opinions of the users at The Auteurs is, at least almost, as trustable and important as the critics or the film makers. I am waiting in anticipation to see the final product, which I'm sure will be as quotable a top 10 as any.

As of right now there are already 78 registered voters, with 28 top 10 lists submitted. Voting closes on the first of March.

I am accepting registration from any users on the site, so if you are interested, sign up at theauteurs.com (which you should do anyways, as it is a brilliant site), and then go to the thread I created in the forums, and follow the instructions from there.

The Curious Case of Forrest Gump

2009-01-24T04:09:00.000-08:00

It appears the video I posted has been taken down. I apologize.

You can find the same video here

The Curious Case of Forrest Gump - watch more funny videos

Oscar Disappointment

2009-01-22T10:01:00.000-08:00

Eric Roth has convinced the Academy once again that he has written a story with actual content, that is actually substantial.

Only one film from my top ten list was nominated for best picture.

The best female performance of the year wasn't nominated.

Bill Irwin's endearing turn as a loving father in Rachel Getting Married was forgotten, although I'm sure the voting was tight.

The best original song of the year, that actually won at the Golden Globes, is not even nominated.

Kate Winslet's inferior performance in The Reader is nominated, rather than her work in Revolutionary Road. I guess it's because The Reader has Nazis.

Leonardo DiCaprio's career best was not honoured.

The Dark Knight is pretty much snubbed. I thought it to be a natural step for the Oscars to allow a comic book film to be nominated, after giving Lord of the Rings so many awards.

There are things for me to be happy about, however.

In Bruges is nominated for best screenplay.

The brilliant french film Entre Les Murs is nominated for best foreign film.

I will get to see Mickey Rourke win best actor.

Heath Ledger will win, although who knows if it's for the right reasons anymore. Doesn't matter because he deserves it.

Richard Jenkins is nominated.

Michael Shannon is nominated.

The documentary Encounters at the End of the World, which was about 2 spots short from making my top ten, is nominated.

Anyways, there are some bright points, but overall I'm disappointed. In a big way. Especially after the Oscars were so satisfying the last few years. Now I get to live through one of the weaker Best Picture categories I can recall.

Here is a complete list of noms:

Best Motion Picture of the Year

Nominees:

The Curious Case of Benjamin Button (2008): Ceán Chaffin, Kathleen Kennedy, Frank Marshall

Frost/Nixon (2008): Brian Grazer, Ron Howard, Eric Fellner

Milk (2008): Bruce Cohen, Dan Jinks

The Reader (2008): Nominees to be determined

Slumdog Millionaire (2008): Christian Colson

Best Performance by an Actor in a Leading Role

Nominees:

Richard Jenkins for The Visitor (2007/I)

Frank Langella for Frost/Nixon (2008)

Sean Penn for Milk (2008)

Brad Pitt for The Curious Case of Benjamin Button (2008)

Mickey Rourke for The Wrestler (2008)

Best Performance by an Actress in a Leading Role

Nominees:

Anne Hathaway for Rachel Getting Married (2008)

Angelina Jolie for Changeling (2008)

Melissa Leo for Frozen River (2008)

Meryl Streep for Doubt (2008/I)

Kate Winslet for The Reader (2008)

Best Performance by an Actor in a Supporting Role

Nominees:

Josh Brolin for Milk (2008)

Robert Downey Jr. for Tropic Thunder (2008)

Philip Seymour Hoffman for Doubt (2008/I)

Heath Ledger for The Dark Knight (2008)

Michael Shannon for Revolutionary Road (2008)

Best Performance by an Actress in a Supporting Role

Nominees:

Amy Adams for Doubt (2008/I)

Penélope Cruz for Vicky Cristina Barcelona (2008)

Viola Davis for Doubt (2008/I)

Taraji P. Henson for The Curious Case of Benjamin Button (2008)

Marisa Tomei for The Wrestler (2008)

Best Achievement in Directing

Nominees:

Danny Boyle for Slumdog Millionaire (2008)

Stephen Daldry for The Reader (2008)

David Fincher for The Curious Case of Benjamin Button (2008)

Ron Howard for Frost/Nixon (2008)

Gus Van Sant for Milk (2008)

Best Writing, Screenplay Written Directly for the Screen

Nominees:

Frozen River (2008): Courtney Hunt

Happy-Go-Lucky (2008): Mike Leigh

In Bruges (2008): Martin McDonagh

Milk (2008): Dustin Lance Black

WALL·E (2008): Andrew Stanton, Pete Docter, Jim Reardon

Best Writing, Screenplay Based on Material Previously Produced or Published

Nominees:

The Curious Case of Benjamin Button (2008): Eric Roth, Robin Swicord

Doubt (2008/I): John Patrick Shanley

Frost/Nixon (2008): Peter Morgan

The Reader (2008): David Hare

Slumdog Millionaire (2008): Simon Beaufoy

Best Achievement in Cinematography

Nominees:

Changeling (2008): Tom Stern

The Curious Case of Benjamin Button (2008): Claudio Miranda

The Dark Knight (2008): Wally Pfister

The Reader (2008): Roger Deakins, Chris Menges

Slumdog Millionaire (2008): Anthony Dod Mantle

Best Achievement in Editing

Nominees:

The Curious Case of Benjamin Button (2008): Angus Wall, Kirk Baxter

The Dark Knight (2008): Lee Smith

Frost/Nixon (2008): Daniel P. Hanley, Mike Hill

Milk (2008): Elliot Graham

Slumdog Millionaire (2008): Chris Dickens

Best Achievement in Art Direction

Nominees:

Changeling (2008): James J. Murakami, Gary Fettis

The Curious Case of Benjamin Button (2008): Donald Graham Burt, Victor J. Zolfo

The Dark Knight (2008): Nathan Crowley, Peter Lando

The Duchess (2008): Michael Carlin, Rebecca Alleway

Revolutionary Road (2008): Kristi Zea, Debra Schutt

Best Achievement in Costume Design

Nominees:

Australia (2008): Catherine Martin

The Curious Case of Benjamin Button (2008): Jacqueline West

The Duchess (2008): Michael O'Connor

Milk (2008): Danny Glicker

Revolutionary Road (2008): Albert Wolsky

Best Achievement in Makeup

Nominees:

The Curious Case of Benjamin Button (2008): Greg Cannom

The Dark Knight (2008): John Caglione Jr., Conor O'Sullivan

Hellboy II: The Golden Army (2008): Mike Elizalde, Thomas Floutz

Best Achievement in Music Written for Motion Pictures, Original Score

Nominees:

The Curious Case of Benjamin Button (2008): Alexandre Desplat

Defiance (2008): James Newton Howard

Milk (2008): Danny Elfman

Slumdog Millionaire (2008): A.R. Rahman

WALL·E (2008): Thomas Newman

Best Achievement in Music Written for Motion Pictures, Original Song

Nominees:

Slumdog Millionaire (2008): A.R. Rahman, Gulzar("Jai Ho")

Slumdog Millionaire (2008): A.R. Rahman, Maya Arulpragasam("O Saya")

WALL·E (2008): Peter Gabriel, Thomas Newman("Down to Earth")

Best Achievement in Sound

Nominees:

The Curious Case of Benjamin Button (2008): David Parker, Michael Semanick, Ren Klyce, Mark Weingarten

The Dark Knight (2008): Ed Novick, Lora Hirschberg, Gary Rizzo

Slumdog Millionaire (2008): Ian Tapp, Richard Pryke, Resul Pookutty

WALL·E (2008): Tom Myers, Michael Semanick, Ben Burtt

Wanted (2008): Chris Jenkins, Frank A. Montaño, Petr Forejt

Best Achievement in Sound Editing

Nominees:

The Dark Knight (2008): Richard King

Iron Man (2008): Frank E. Eulner, Christopher Boyes

Slumdog Millionaire (2008): Tom Sayers

WALL·E (2008): Ben Burtt, Matthew Wood

Wanted (2008): Wylie Stateman

Best Achievement in Visual Effects

Nominees:

The Curious Case of Benjamin Button (2008): Eric Barba, Steve Preeg, Burt Dalton, Craig Barron

The Dark Knight (2008): Nick Davis, Chris Corbould, Timothy Webber, Paul J. Franklin

Iron Man (2008): John Nelson, Ben Snow, Daniel Sudick, Shane Mahan

Best Animated Feature Film of the Year

Nominees:

Bolt (2008): Chris Williams, Byron Howard

Kung Fu Panda (2008): John Stevenson, Mark Osborne

WALL·E (2008): Andrew Stanton

Best Foreign Language Film of the Year

Nominees:

Der Baader Meinhof Komplex (2008)(Germany)

Entre les murs (2008)(France)

Revanche (2008)(Austria)

Okuribito (2008)(Japan)

Vals Im Bashir (2008)(Israel)

Best Documentary, Features

Nominees:

The Betrayal - Nerakhoon (2008): Ellen Kuras, Thavisouk Phrasavath

Encounters at the End of the World (2007): Werner Herzog, Henry Kaiser

The Garden (2008/I): Scott Hamilton Kennedy

Man on Wire (2008): James Marsh, Simon Chinn

Trouble the Water (2008): Tia Lessin, Carl Deal

Best Documentary, Short Subjects

Nominees:

The Conscience of Nhem En: Steven Okazaki

The Final Inch: Irene Taylor Brodsky, Tom Grant

Smile Pinki: Megan Mylan

The Witness from the Balcony of Room 306: Adam Pertofsky, Margaret Hyde

Best Short Film, Animated

Nominees:

La Maison en Petits Cubes: Kunio Kato

Ubornaya istoriya - lyubovnaya istoriya (2007): Konstantin Bronzit

Oktapodi (2007): Emud Mokhberi, Thierry Marchand

Presto (2008): Doug Sweetland

This Way Up (2008): Alan Smith, Adam Foulkes

Best Short Film, Live Action

Nominees:

Auf der Strecke (2007): Reto Caffi

Manon sur le bitume (2007): Elizabeth Marre, Olivier Pont

New Boy (2007): Steph Green, Tamara Anghie

Grisen (2008): Tivi Magnusson, Dorthe Warnø Høgh

Spielzeugland (2007): Jochen Alexander Freydank

Best of 2008. Top Ten List

2009-01-10T16:38:00.000-08:00

2008 seemed to be a much poorer year in film than 2007, but by the end the 10 best movies rival that of last year. I also have to give honourable mentions to 9 movies, the most I ever have. 2007 was still far superior in comedy, but 2008 excelled with a tremendous blockbuster, riveting dramas, brilliant small pictures, and stunning originality. Every movie that ended up on my list is wholly unique, and it's difficult to compare any of them to any previous year's films, let alone with each other. This made it an especially difficult list to make, but ultimately a more rewarding one. The best films of 2008 were...

Honourable Mentions
-in alphabetical order

Chop Shop (Bahrani)

Encounters at the End of the World (Herzog)

The Fall (Tarsem)

Forgetting Sarah Marshall (Stoller)

Frost/Nixon (Howard)

My Winnipeg (Maddin)

Religulous (Charles)

Slumdog Millionaire (Boyle)

Snow Angels (Green)

Top Ten Films of 2008
-from 10-1, with 1 being best

10. Revolutionary Road (Mendes)

9. Rachel Getting Married (Demme)

8. Milk (Van Sant)

7. Wall-E (Stanton)

6. The Wrestler (Aronofsky)

5. Paranoid Park (Van Sant)

4. Entre Les Murs (Cantet)
Note: Known in North America as "The Class"

3. In Bruges (McDonagh)

2. The Dark Knight (Nolan)

1. Synecdoche, New York (Kaufman)

Best of 2008. Performances

2009-01-10T15:35:00.000-08:00

2008 was yet another male dominated year in movie roles, and that shows through when looking at the year's best performances (don't blame me, it's the industry's fault). All in all there were many great performances from both sexes, and I have decided to highlight what I thought were the best. For each category, I narrowed it down to three, and chose one as the best.

.Best Supporting Actress

Runners-up...

Amy Adams, Doubt

Kathy Bates, Revolutionary Road

The best...

Olivia Thirlby, Snow Angels

Note: I actually think the best supporting performances by females were in Synecdoche, New York, but there were so many great actresses that I couldn't single one out.

.Best Supporting Actor

Runners-up...

Bill Irwin, Rachel Getting Married

Michael Shannon, Revolutionary Road

The best...

Heath Ledger, The Dark Knight

.Best Actress

Runners-up...

Anne Hathaway, Rachel Getting Married

Meryl Streep, Doubt

The best...

Kate Winslet, Revolutionary Road

.Best Actor

Note: Coincidentally working with my system, there were truly 3 stand out lead male performances. There were a few great ones, but 3 stand as some of the best performances of the decade. Each role is the best of each respective actor's career.

Runners-up...

Leonardo DiCaprio, Revolutionary Road

Sean Penn, Milk

The best...

Mickey Rourke, The Wrestler

Best of 2008. DVDs

2009-01-02T13:07:00.000-08:00

There were, of course, many great movie/TV releases on DVD and Blu Ray this year, but a select few did stand above the rest. The must have releases of 2008 are...

Dr. Horrible's Sing-Along Blog (DVD)

The Internet musical sensation from Joss Whedon was one of the biggest events of 2008 and now it's a must own DVD. Not only is the masterpiece included, but so are some cool special features and a brand new full length commentary musical. The cast and writers provide commentary through delightful song and everyone gets their moment, even "groupie #3".

Baraka (Blu Ray)

A little known cinematic treasure known as Baraka was released on Blu Ray, and it stands as one of the most incredible visual experiences one can have in their own homes. The clarity is unmatched and the film itself is a unique and beautiful masterpiece.

The Dark Knight (Blu Ray)

Yes, The Dark Knight was one of the year's best films, and it's visual and audio quality on Blu Ray is remarkable. The IMAX shots are especially glorious. However, what makes this one of the best 2008 releases is it's revolutionary special features. Through "BD-Live", viewers can access a host of online features. The two biggies, which in my opinion, have changed home video forever. First off, 100 000 owners of the Blu Ray (me included) we're able to chat with director Christopher Nolan during an online community screening of the film. Also, anyone, using the web cam on their computer, can record their own "picture-in-picture" commentary for the movie.

The Godfather: The Coppola Restoration (Blu Ray)

An absolute must-own for all cinephiles, this collection includes all 3 parts of The Godfather in gorgeous high definition. It doesn't look perfect, but in comparison to prior releases of these films, it is very impressive. The features are extensive, and Part I & II are two of the best films ever made.

Worst of 2008.

2008-12-30T12:24:00.000-08:00

I don't see very many bad movies in the theater each year because I avidly avoid them. However, I usually do end up seeing a handful of terrible films. Last year I suffered through Transformers and the abysmal Waitress. I can't hand out the title, "Worst Movie of the Year", I can only say "Worst Movie I Saw This Year", and the flick that deserves this is Repo! The Genetic Opera. A movie worse than anything I've seen in at least a couple years, and that includes watching Wes Craven's Shocker on TV. Anyways, I wholeheartedly insist that everyone should avoid Repo! at all costs.

In other news, my top ten list of the year's movies is likely to come a little late thanks to The Wrestler not being in theaters here until January 9th. As soon as I see that movie I can finalize the list and post it, so expect it on January 10th.

Until then, happy new year.

Best of 2008. Music

2008-12-26T21:18:00.000-08:00

Last year, there was an obvious choice for best album. Radiohead's In Rainbows stood far above the rest, and it still does. It was again the album I listened to the most this year. Nothing stood alone as the definitive masterpiece of the year, so, I will not be picking a best album this year but instead listing the albums I enjoyed the most. Here they are:

EDIT: if I had a gun to my head I would go with TV on the Radio's Dear Science as the #1

Conor Oberst by Conor Oberst

Dear Science, by TV on the Radio

Death Magnetic by Metallica

Evil Urges by My Morning Jacket

Fleet Foxes by Fleet Foxes

A Mad & Faithful Telling by Devotchka

Með suð í eyrum við spilum endalaust by Sigur Ros

Modern Guilt by Beck

Narrow Stairs by Death Cab for Cutie

All of these albums have great covers, which is far too rare.

More "Best of 2008" on the way in the coming weeks.

Merry Christmas!

2008-12-24T13:49:00.000-08:00

The Masterpieces Vol II. The Royal Tenenbaums

2008-12-23T01:09:00.000-08:00

mas⋅ter⋅piece
–noun

1.	a person's greatest piece of work, as in an art.

2.	anything done with masterly skill: a masterpiece of improvisation.

3.	a consummate example of skill or excellence of any kind: The chef's cake was a masterpiece.

Written by Wes Anderson & Owen Wilson
Directed by Wes Anderson

The Royal Tenenbaums is a profoundly special work of cinema. Like all of Wes Anderson's films, its value can only be appreciated with multiple viewings. In fact, to be honest, I barely liked it upon it's release in 2001. I think this is because of Anderson's overwhelmingly dominant and unique style. The most common criticism associated with his body of work is "style over substance". Initially, for me, such an accusation seems preposterous. However, after reflection I realize after one viewing of The Royal Tenenbaums, it is the style that makes the first impression. I have seen the film quite a few times now, and with each viewing, it becomes considerably more substantial. Further examination reveals a remarkable complexity and intricacy, like a truly great work of fiction.

Each character is treated with such love and care by Anderson, it can be a wonder to behold. Many of his characters disagree with each other, hate each other and hurt each other. Yet, it is clear that Wes Anderson loves them all fervently and equally. Is this not powerful in itself? Perhaps even important? The Royal Tenenbaums is the best example of this because there are so many key characters, so many unique profiles with an astounding depth.

I'm realizing it doesn't sound like I'm writing about a comedy, but I am. This movie is very funny. The humour found here is so far removed from the typical American comedy that it's off putting. There is a rare level of class wherein the jokes all serve the story or the characters. Anderson himself stated that nearly everything he does in his films serves the purpose of "bringing the characters forward". One might synopsize that the film is about the character Royal Tenenbaum, a deranged father, trying to earn his family back. Yes, it is about that but it is about every single relationship between every single person in the movie. While all aren't given equal screen time, I still see them as important. How heartbreaking is Margot's neglecting of her seemingly infatuated husband? How interesting is the rivalry between Royal and Henry, even if there only a few brief instances that contribute to it? An entire movie could have been devoted to any of the sole relationships and conflicts.

The difficult to penetrate surface contains a uniquely cinematic soul and a heart of gold, with layers of richness, humour and sadness that add up to one of the best films of the current decade. For newcomers to Anderson's work, I find it's best to watch his films chronologically, or at least with his debut film Bottle Rocket, followed by his sophomore piece, Rushmore. With Bottle Rocket, he had a far more constrained budget and was not yet able to fine tune every detail of each frame as he does now. In the case of Rushmore, he displays a much stronger level of attention to detail but it is still not at the profound level of Tenenbaums and later films. I think if you start out in this manner, you can ease into his work, and the initial viewings are all the more rewarding. I don't mean to point out the meticulously crafted production design and costumes and all other aspects of the visuals as flaws. I only mean that at first the flashiness can distract one from the inner workings of this auteur's brilliant works.

It's a shame that some may be turned off, or at least led astray by the balanced and vibrant visual quirks, because Wes Anderson is one of the finer film makers alive today. He is one of America's strongest voices in movies and this is one of his strongest films. And it's not even his only masterpiece.

List Logic

2008-12-21T16:02:00.000-08:00

It's that time of year again and top ten lists of the year's best movies are showing up everywhere. Everybody loves lists. They're simple, they rarely offer any thoughtful writing, and they rank the 10 best movies so that people know what to see, that they haven't already. Some years, there are far more than 10 movies worth mentioning, but too bad for them. It sounds like I might be against such lists, but that is not the case.

I bring this up because critic Roger Ebert has rebelled against the system this year. Instead of posting the normal list, he refused to rank films. His list is a top 20 in alphabetical order. Good for him, right? Ranking films isn't the best way to celebrate cinema, but I believe he has made a mistake. I agree it's silly to rank films but it is necessary to draw people's attention. By making an alphabetical top 20 he has removed the emphasis from any of the movies. Now, it's just a list of movies he really likes, and no one will be as compelled to check out his number one, two or even ten (even though ten is the lowest, simply by being numbered it draws more attention). His list will still have an influence because of his deserved popularity, but if this became a trend amongst all critics, I fear many people would lose some interest.

The top ten list is a means to get anyone, even the most casual of moviegoers to see what deserves to be seen. Even if a hypothetical #11 is just as great as 10, 9 and 8, the top ten list is still important. It is unfair to number 11, yes, but that's the price of grabbing the attention of a reader skimming through a newspaper. Many critics have a method of getting around this. I, like many, have an "honourable mentions" portion that alphabetically lists other great movies. I know it's not as influential, but at least the worthy get mentioned. So I do believe in the top ten list, but one of it's biggest flaws is that for most critics, it loses some relevance. Opinions change, two years later one realizes their number 9 should have been number 3. This is a bit silly. Really, ranking is the method with the greatest impact, but it shouldn't be read into too deeply.

For example, I will post my top ten list from last year, followed by a revised list to see how much has changed in a year.

My top ten list from 2007:

1. Juno
2. Ratatouille
3. There Will Be Blood
4. Superbad
5. Once
6. Hot Fuzz
7. Knocked Up
8. No Country For Old Men
9. Into The Wild
10. Before The Devil Knows You’re Dead/The Savages (Tie)

Honorable mentions…
4 Months, 3 Weeks, 2 Days, Away From Her, The Darjeeling Limited, Eastern Promises, Rescue Dawn, Zodiac

Now, here is a revised list of how I feel now:

1. Juno
2. Ratatouille
3. Once
4. There Will Be Blood
5. No Country For Old Men
6. The Darjeeling Limited
7. Rescue Dawn
8. 4 Months, 3 Weeks, 2 Days
9. Into The Wild
10. Knocked Up

Honourable Mentions…
Away From Her, Before The Devil Knows You’re Dead, Hot Fuzz, The Savages, Superbad, Zodiac

Now, there have been some changes of course, but there isn't a single movie in the top ten or honourable mentions list that wasn't there before. Only the order has changed. This wont always be the case. Ten years from now I might discover a brilliant obscure 2007 picture that makes Juno look like What Happens In Vegas. Whatever. It doesn't matter. My goal, which was to put emphasis on the year's best movies was accomplished. The order has since changed but it's the same movies I wanted to honour in the first place. Top ten lists are important, and should continue to be an end of year event. As long as people take them as a semi-serious guide of what to see, but not a serious guide to which 2007 great movie was better than another 2007 great movie. Just see them both. Please.

All lists published on the Bronze can be found here

Frost/Nixon

2008-12-13T18:41:00.000-08:00

New Movie Review.

Written by Peter Morgan, based on his play
Directed by Ron Howard
Starring Michael Sheen, Frank Langella, Sam Rockwell, Oliver Platt, Kevin Bacon, Matthew McFayden

Frost/Nixon is the mostly factual account of when Playboy talk show host David Frost (Michael Sheen) ambitiously decided to interview the most controversial man in America, perhaps even the world at the time, Richard Nixon. Nixon (Frank Langella) had surrendered his place in the White House but had not yet confessed any involvement in illegal activity. The world wanted an admission of guilt and Frost was the least likely candidate to get it. Nixon's people considered David Frost such a lightweight interviewer that they actually took the offer. Better to go with Frost than someone serious, that proposes a threat to Nixon's reputation. Frost, however, was determined. He hired a crack team to help his cause, including friend/producer John Birt (Matthew McFayden), and two experienced journalists James Reston Jr. (Sam Rockwell) and Bob Zelnick (Oliver Platt). Together, they frantically research, strategize and fight over the best ways to nail the former president. This process is entertaining in it's own right, mostly due to the anticipation of getting to the actual interviews. When the film arrives to the point where Frost and Nixon are seated across from each other, with cameras rolling, it's the most exciting thing in film this year other than a slightly more theatrical match up between the Batman and the Joker.

This story is about the men and where they were in life and what the interviews meant to them. Peter Morgan, who wrote the play and the film's screenplay is more interested in Frost as an unlikely hero and Nixon as a tragic figure than he is in exploring the politics surrounding the situation. The interviews truly play out like a boxing match. They first meet at Nixon's California residence, and it seems they assess each other, or keeping with the boxing analogy, they "weigh" each other. It is abundantly clear that Nixon is a heavyweight and Frost barely registers on the scale. Both sides practice and learn their opponent's weaknesses. When the first of four interviews begins, Nixon is calm, prepared and confident while Frost is alarmingly timid. Frost's "trainers" call for a break, pretending that the tapes need to be switched. Both fighters retreat to their corners. I half expected Frost to be offered a water bottle and stitches. These scenes are masterful and command an impressive level of suspense and fascination.

Ron Howard is certainly no more than a technician, when it comes to the craft of film, but he is an apt one. His career isn't spotless but he has had success with films such as Apollo 13 and A Beautiful Mind. However he is also responsible for ED TV and The Da Vinci Code. Nonetheless, his best work is in this movie, which feels much less Hollywood than anything else he has done. A lot of the credit should go to Peter Morgan who is also responsible for recent movies The Queen and The Last King of Scotland. His writing is intelligent and sophisticated but also accessible and clever. Morgan offers us an insightful look at two men at a crossroads in life. Frost was in the middle of a successful career, but it began to unravel as he poured all of his attention and money into the Nixon project. His career, and reputation depended on the success of the interviews. On the surface, Nixon and his people wanted to deter the public from suspecting him of illegal activity and also gain some of the respect he had lost. However, as Frank Langella's performance suggests, it seems Nixon secretly needed to confess. He seems lonely, lost, damaged by guilt and regret. Ultimately, the interviews might be good for both men. For Frost it serves as a incredible achievement, for Nixon a vital catharsis.

Obviously, this is a film that relies on the portrayals of it's leads. Both Langella and Sheen give equally deep and committed turns. Langella's Nixon strikes a perfect balance between being an unlikable man who could not get along with those around him and a sympathetic character who desperately wanted to seve his country. Sheen is charismatic and arrogant, but he also has a subtle vulnerability that connects him to the audience. If Frost was played at a more impersonal and greater distance, he would have just seemed like an egotistical womanizer. Thankfully, Sheen hints at so much more. Rockwell and Platt give inspired supporting performances as the two men helping Frost. Rockwell still remains an under appreciated actor who had two other great roles this year in Snow Angels and Choke. Platt has always had a hit or miss career but he is delightful here. An odd thought crossed my mind while watching him act. Oliver Platt could play Roger Ebert if a movie was ever made requiring one to do so. They don't look alike but there is a similar intangible quality. Kevin Bacon has a key role as Nixon's right hand man. Through his perception we are able to see Nixon in a different light.

The film was different than what I had expected. I thought it to be a serious and politically minded drama. It feels more like a character study crossed with a thriller. There is a welcomed, natural humour in each character that lightens the mood but subtly strengthens the bond between the viewer and the film. Frost/Nixon is a remarkable entertainment that shouldn't be missed.

The Masterpieces. Vol I. 2001: A Space Odyssey

2008-12-07T16:17:00.000-08:00

mas⋅ter⋅piece
–noun

1.	a person's greatest piece of work, as in an art.

2.	anything done with masterly skill: a masterpiece of improvisation.

3.	a consummate example of skill or excellence of any kind: The chef's cake was a masterpiece.

Directed by Stanley Kubrick
Written by Stanley Kubrick & Arthur C. Clarke

2001: A Space Odyssey is an undeniable masterpiece. It remains the most visually stunning film ever made. It's soundtrack is perfect and compliments the goings-on in the film better than anything before or after it. The character of "HAL", the corrupt computer that turns on a spaceship crew, has remained in pop culture with countless references in TV & film. Anthony Hopkins even claims to have used "HAL" to help find the voice of Hannibal Lecter, which he won an Oscar for portraying in Silence of the Lambs. I've always found it odd that "HAL" is the most popular part of the movie.

I savour every moment from beginning to end, but I do have a stronger affection for the opening and closing of the film. It begins with a pitch black screen, which holds for quite a while. Then we follow a group of apes at the dawn of time, fascinated by a black column sticking out of the ground. There are many great discussions to be had regarding this mysterious monolith. It has been suggested that they are some form of marker left by an alien race. What does it mark? Perhaps human progress. We see two more monoliths throughout 2001, and that theory seems concrete. Do the monoliths cause our progress? This is something Kubrick himself allegedly said. Whether that's true or not, it is clear that the film is a philosophical one. It is, as art always is, open to interpretation. Different people can see the movie and take away their own philosophical musings. Some see it as completely religious. Others see it as a story devoid of any evidence of a god. The film is a conversationalist's dream. Moreover, it is a movie lover's dream.

Kubrick and Clarke dreamed up a work of science fiction yet to be matched. Rich story aside, just watching the film and listening to it's euphonious soundtrack is an experience to behold. 2001 is filled to the brim with overwhelmingly incredible imagery. Consider the fact that film was released in 1968, 9 years before Star Wars. I still don't think any movie has portrayed space as successfully. It was apparently a requirement for astronauts in training to watch the movie. 2001: A Space Odyssey is one of the most profound and rewarding movies I have ever seen. Much like the monoliths left, perhaps by more advanced life, Kubrick's film provokes us to explore our intellect, and to progress.

upcoming goodness + the best site(s) on the internet

2008-12-05T03:18:00.000-08:00

OK, so I haven't posted anything new in a while, but there are exciting things on the way. My annual top ten list and other best of 2008 stuff will be posted soon. I'm going to launch a new column on the site. "The Masterpieces". Essentially, it is a rip off of Roger Ebert's ongoing "Great Movies", which you can find here. Basically, I will, from time to time, add a movie (any movie, as long as it's worthy) to a growing list of what I consider to be true masterpieces. I'm not sure if I'll write full reviews or try something new...We'll see. Hopefully, I'll see some new movies soon so I can post some reviews as well. I plan to see Doubt upon release, as well as The Curious Case of Benjamin Button, but the truth is that I've seen most everything I plan to in the near future. I'm going to do some thinking and try to come up with some more neat stuff. Wish me luck.

In the meantime, I highly recommend a trip to criterion.com and their partners theauteurs.com. Since Criterion redesigned their site last month (click here for a sick intro video to their site), this has been my favourite place on the Internet. The Auteur's forums have a great community of film lovers discussing anything to do with movies. I myself tend to post everyday under my creative online handle, "Adam Cook".

The best thing to come of the Criterion/Auteurs partnership is a monthly online film festival. Each month on The Auteurs, there will be a themed festival featuring Criterion films. Right now it is "Cruel Stories of Youth". The best part of the festival? All the movies are available to watch, in considerably high quality...for free. So head on over and start watching here. I watched the film, Fat Girl. I recommend it. I'll try to check out as many films in the festival each month as I can and I'll post my thoughts here.

Synecdoche, New York

2008-11-15T03:51:00.000-08:00

New Movie Review.

Written & directed by Charlie Kaufman
Starring Phillip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener, Diane Weist, Emily Watson, Jennifer Jason Leigh, Hope Davis and Tom Noonan

Synecdoche, New York is the latest film written by genius screenwriter, Charlie Kaufman. However, thanks to Spike Jonze (who collaborated with Kaufman on Adaptation and Being John Malkovich) being busy with his next film, Kaufman slips into the director's chair for the very first time. He has stated in the past that he was interested in directing, but it's no surprise that the neurotic Kaufman had to be kinda forced into making the decision to do so. It's understandably nerve wracking going into this film, worrying if the talented writer can bring his words to life as well as Jonze and Gondry did. Oh, he can, and he does.

The film is difficult to describe so I'll just give a very general synopsis. Synecdoche follows a new york theater director named Caden Cotard, played by master thespian Phillip Seymour Hoffman, from roughly age 40-90 as he tries to create his masterpiece in a giant warehouse in New York. His central aim is to tackle mortality, but he wants his work to encompass everything it can. As the years pass, his production gets more and more out of hand, with hundreds of hired actors and incredibly elaborate sets. Eventually he builds a scale model of New York. Of course, for the scale New York to be accurate it must incorporate the warehouse, and inside that warehouse needs to be another scaled version of the city. So we get somewhat of a Russian doll effect except, oddly enough, each New York seems to be the same size. This is the type of "dream logic" you'll need to be prepared for in Synecdoche, New York.

A common complaint I'm hearing is confusion over unrealistic things in the movie. For example the scaled New Yorks which all are the same size or the more infamously mentioned burning house. Hazel, played by Samantha Morton, purchases a house while it's on fire. She mentions her concern of the fire once to her realtor, but that's all. For the remainder of the film, which works out to about 40 years within it, the fire remains, constant, but the house never burns down. That this is something people are whining about irritates me. It seems that most moviegoers are unwilling to think in any other way than literally. Some may argue that they don't like being slapped in the face with a metaphor, which is fine, but most are completely turned off by thinking outside the box at all. Those people shouldn't see Kaufman movies. Too bad, because he is the most important screenwriter (and, now, perhaps film maker) alive. Kaufman would be the first to tell you that everything in the movie is open to interpretation, but regarding the burning house, I was reminded of lyrics written by Issac Brock of the band Modest Mouse; "Every one's a building burning with no one to put the fire out/Staring at the window, looking out/Waiting for time to burn us down". How appropriate considering the most obvious theme of the film is death and how we ignore it's inevitability.

There are several pieces of evidence throughout the film of people ignoring something. There's the burning house, of course, and Cotard's therapist, played by Hope Davis in another terrific bit part, has terrible blisters from her tight fitting shoes which go unmentioned and she smiles through her teeth. There are more than a couple brilliant monologues regarding our mortality and thankfully they are laced with necessary, albeit dark, humour. Kaufman also tackles a familiar subject which is false expectations.

His disbelief in romantic love lead to Eternal Sunshine of the Spotless Mind and it's no surprise he explores such disappointment even further. Caden Cotard goes through heartbreak, yes, but really he never experiences love in the first place. At least not in it's commerical form. He is lonely when he is alone and when he's with someone. He cries when he becomes intimate with a woman. He tries only to use everyone in the way he wants them. Cotard wants no one to be themselves. This is something we may all be guilty of, wanting everyone to be a version of themselves that pleases us best. In life we direct and manipulate those around us like Cotard directs his actors. What he expects and wants is not possible. In the end he is left with the approximation of an ideal, a flawed microcosm, or an illusive synecdoche.

Kaufman delivers plenty of devastating insights such as that no one ever really knows us, not truly. Depressing but truthful, this film is more than a common movie, it is a work of great fiction worthy of being studied for years to come. I know I will. Synecdoche strikes me as a film I will receive endless value from. I believe that every time I watch it, I will interact with it differently and sometimes find something new. Something that made me sad may make me laugh years down the line, and vice versa. It will remain thought-provoking but new and different thoughts will be conjured each time. This is living, breathing art that one could appreciate forever.

I could mention that Phillip Seymour Hoffman is yet again Oscar-worthy (surprise!). That each supporting actress is so perfect I can't single any of them out and that all of them should receive the award for best supporting actress. I could mention how special the sets are, that there's some of the best make up work I've ever seen. I could mention that the score is wonderful and that the song, "Little Person" is now a favourite of mine thanks to how it's used. I could mention a great many other immense successes, but I'll get to that a little further down the line. Maybe after I've seen the movie a few more times. Initially, the aspect of Synecdoche, New York that I'm focused on is that it's one of the most rich, fulfilling, satisfying, cathartic and significant movie experiences of my life.

My Take on the Election...

2008-11-04T13:52:00.000-08:00

So, alas, election day is upon us. Time for me to shamelessly force my opinion onto the Internet, which is really what I always do here anyhow. Now I don't know if Obama is gonna be super awesome fixer president guy, but I do know it will truly suck if McCain wins. If the American public decides to go with him, I will have totally lost faith in them. I will deem them so morally defective that I could no longer share the continent with them. Therefore, I will pimp away to Australia spending long days on my Outback porch rocking the didgeridoo. Of course, I will also be on acid at the time and using only this notorious Australian instrument, I will create a retooled version of the song "Lucy in the Sky with Diamonds" that is completely unrecognizable in music or lyric. I will be enthusiastically accompanied on vocals with the ghost of Steve Irwin, not a mean ghost but more of a Casper + Christina Ricci dynamic. When he's not spending his time pissing off ghost animals to boost his ratings (spooooky ratings) we will help out those in need and solve small time crimes. Such adventures will be published as fictional pulp novels with titles such as "The Kangaroo Caper". We will still maintain our musical duo and create top 40 hits, such as "You Say G'Day, I Say G'night". All of this will occur on my aforementioned outback porch whilst tripping on the also aforementioned acid.

Steve says "Happy Voting!"

*oh, and for those who find that my usage of Steve Irwin is in poor taste, keep in mind I could have easily gone down the "too soon" path and referenced a more recently deceased Australian. Damn, I should have done that instead. Seriously imagine me and the Joker pimping around the outback causing trouble in all the wrong places. Wacky fun.

Zack and Miri Make a Porno

2008-10-31T01:48:00.000-07:00

New Movie Review.

Written by Kevin Smith
Directed by Kevin Smith
Starring Seth Rogen, Elizabeth Banks, Craig Robinson, Jason Mewes, Jeff Anderson

The main goal of a movie like Zack and Miri Make A Porno is to make you laugh. In that regard, the film is a wonderful success. If the second goal is to contain some heart and make you feel it is also a success. So, yes, this is a successful movie, but as far as Kevin Smith's movies go, this is a bit of a disappointment.

I don't want to sound too negative throughout this review, as this is a nearly great comedy that I highly recommend, but I must declare I am a big fan of Kevin Smith. My favourite film ever is Chasing Amy, with many others of his high up on my list. Out of his filmography, Make A Porno ranks above only Jersey Girl, a movie most Smith fans have tried to forget. It has some great dialogue but it lacks some of the quotables of his other films. More importantly, there is no attempt at raising the bar substance wise, making this the third lateral movement in a row after the surprisingly meaningful, insightful and affecting Chasing Amy and the almost equally great but far more ambitious following film Dogma. Both those movies had the great dialogue, the great heart but they also had something to say.

Kevin Smith is at the top of his game, however, in one very touching sequence. Eventually, longtime best friends Zack (Seth Rogen) and Miri (Elizabeth Banks) have to "perform" on screen together. The ensuing result is of considerable emotional weight. As Zack later puts it, "we were supposed to f**k, but ended up making love". The story of two friends discovering what was under their noses all along is told very well here.

In comparison to Smith's other work this is most like Clerks II. They follow somewhat similar formulas, but Clerks II worked much better for a few reasons. First off we already knew and loved the characters from Clerks and the story of two male best friends was much closer to Smith's heart giving it a stronger sense of sincerity and resonance. Also, telling a story about two dudes digging each other as buds is way less common than boy loves girl.

Like I said, the movie is hilarious and is quite sweet but it has the added bonus of being about making a porno. This adds freshness and fun to an otherwise formulaic film. The highlight of the movie has to be the scenes where longtime best friends, Zack and Miri are, along with some new found pals, shooting their flick. It captures the fun of doing something creative and collaborating with other people to make it happen. Quite simply, it may inspire you to do a little filming of your own. Perhaps not pornography, but I'm sure you get the point nonetheless. It accomplishes what Michel Gondry's Be Kind Rewind tried to do, and it tried really really hard whereas Make A Porno makes it look effortless. The ragtag group of people Zack and Miri scrounge together are a mixed bag. Each character seems interesting enough, and each actor portraying them seems on their game, but Smith seems only interested in exploring the title characters and Deleany, played by a never better Craig Robinson (Knocked Up, Pineapple Express). This is a shame and gives the move a much narrower feel than what may have been best. You'll certainly notice this after a "three months later..." cut that just doesn't feel right and doesn't convey the scope that was seemingly intended.

One worry I had going in was that Seth Rogen's overbearing personality would overshadow Kevin Smith's as a director. Instead both their personalities intertwine in comedic harmony. This is a great pair. However, The show stealer is star on the rise Elizabeth Banks who plays funny well and plays real even better. She has a similar effect on the movie that Rosario Dawson did on Clerks II; and that's no small compliment. As far as 2008 goes, Zack and Miri Make a Porno falls short of Forgetting Sarah Marshall but ranks ahead of Pineapple Express or Tropic Thunder. So overall, this isn't a Kevin Smith classic, but it is a more than worthwhile comedy.

Rachel Getting Married

2008-10-16T02:36:00.000-07:00

VIFF 08 Movie Review.

Written by Jenny Lumet
Directed by Jonathan Demme
Starring Anne Hathaway, Rosemarie DeWitt, Bill Irwin, Debra Winger, Tunde Adebimpe and Mather Zickel

Rachel Getting Married is one of my favourite films of the year. It's a completely original, unique experience I'll never forget and one that I'll always treasure. First off there's the plot which follows Kym, played by an Oscar worthy Anne Hathaway, just out of rehab to join her family for the weekend as her sister, Rachel, is getting married. Family drama ensues. Don't get me wrong, the story is interesting on it's own, but deserving more attention is the actual wedding. This is the best fictional wedding in film. When the credits roll, it feels as if you did indeed attend Rachel and Sidney's ceremony, and it's a shame to have to leave. This is one of the most remarkable accomplishments in cinema this decade.

Rachel (Rosemarie DeWitt) is marrying Sidney (Tunde Adebimpe) at a backyard wedding with both families coming together for the very first time. Rachel, and her family, are white. Sidney, and his family, are black. This is never an issue. This is never brought up. The wedding displays their cultural diversity with various celebrations, dances and music. A testament to our (slowly) evolving society. The two families get along, ecstatic that bride and groom are happy. Many give colourful toasts, that are either sweet, funny, touching or all that at once. All of these speeches are completely authentic and help achieve a realistic, emotionally involving setting.

None of this would work without a superb cast. Anne Hathaway is absolute perfection as Kym, she plays a very troubled young woman who has occasional emotional outbursts but her performance is somewhat reserved. Hathaway doesn't look to exaggerate any particular aspect of her character. She gives as human a rendering as one can. It's a bit early, but Anne Hathaway is my pick for best actress so far this year. All the supporting players make up one of the most memorable casts of the year, at least up there with The Dark Knight and In Bruges, perhaps more so due to the size of the ensemble. Rosemarie DeWitt is great as Rachel. She and Tunde Adebimpe make for a very convincing engaged couple. The supporting actor that stands out the most for me is Bill Irwin. He plays the father with such convincing love, that it's overwhelming. He brings happiness to his character complimented by a hidden reservoir of sadness we catch a couple devastating glimpses of. Irwin does not get prominent roles in film but he has won a Tony award. If it weren't for Heath Ledger's Joker, this would be my favourite supporting performance of the year.

Jonathan Demme has crafted a wonderful film from Jenny Lumet's one of a kind screenplay. With the help of his cinematographer Declan Quinn, Demme has made a visually unprecedented film. It feels as if we are attending the wedding, moving from room to room, observing. I highly recommend this special movie to everyone, especially if you feel like going to a wedding.

Sugar

2008-10-16T00:00:00.000-07:00

VIFF 08 Movie Review.

Written by Anna Boden & Ryan Fleck
Directed by Anna Boden & Ryan Fleck
Starring Algenis Perez Soto

Sugar is the story of a Dominican teenager working towards his goal of becoming a professional pitcher in Major League Baseball. Miguel Santos, or "Sugar", is eventually recruited to the US minor leagues, and we get to follow his journey to the MLB. This is the next film from writing/directing duo Anna Boden and Ryan Fleck, the pair who brought us the masterful Half Nelson. While this film isn't as powerful and doesn't feature a performance of the same magnitude that Ryan Gosling had, it's a worthy follow up and the best sports film of the year.

Great sports films are about as hard to come by as great horror movies. These genres, in my opinion, have very similar history and patterns. Both usually follow a very simple formula, with sports movies we follow an underdog team to an unlikely victory or a a players personal journey to fame and fortune. It's no less than ridiculous, that almost every sports movie made, even ones being released this year, fall into those descriptions. So, when something comes along that doesn't follow a formula, I give it full attention. Sugar is different because it barely follows any of the actual baseball games. It only shows what Santos does, how his pitching performance goes. It only shows what's important for the character as this movie is somewhat of a character study. We really get in the mindset of a foreigner struggling to understand America and struggling to improve his game. Another breath of fresh air is that Santos isn't a star. He is an average pro who may never really be a starting pitcher. For once we get insight into the journey of someone normal, not someone destined to make it.

One of the most interesting insights we are afforded is that of seeing the process of how a player in the Dominican Republic is scouted and signed. It's fascinating, and very different than one might expect. I attended a Q & A with both Boden and Fleck, and Fleck said what inspired him to make this movie, besides loving baseball, was his curiosity in how this process works and also wanting to tell the story of an average player. They succeeding in doing so, as the story is very engrossing and it goes to surprising places, including a terrific ending.

One of the more interesting things I found out at the Q & A was that Algenis Perez Soto was a non-professional actor who could not speak english. Throughout the film, Soto's character learns more and more english as he arrives in the US. The actor actually went through the very same learning experience. This really helps the movie feel authentic. Soto is very believable and likable as the title character. He brings a soft sincerity lost in most Hollywood pictures.

The movie never shows the scoreboard when a game ends. This film is not interested in such things, it only wants to tell this one man's story. As a result, Sugar might not please all sports movie enthusiasts. However, I savoured every minute of this rare gem. This is simply one of the best, freshest sports movies of the decade.

Religulous

2008-10-08T13:59:00.000-07:00

VIFF 08 Movie Review.

Written by Bill Maher
Directed by Larry Charles
Starring Bill Maher

“Religion is detrimental to the progress of mankind”.

This is the thesis Bill Maher uses to introduce his film, Religulous, directed by Larry Charles (Borat). I wish it wasn’t so simple, but if you agree with his statement, this is your movie, if you don’t, it probably isn’t. However, I urge everyone to see it. While it likely wont be changing all people’s views on faith, it is thought provoking. This is probably the best conversation starter in theaters this year.

The director, Larry Charles is no newcomer to controversy. Two years ago he brought us the brilliant Borat, which immediately divided audiences with it’s offensive content. While Borat was accused of racism, it was actually meant to expose the prejudice of the “Land of the Free”. This time around, Charles is taking on religion which should spark even stronger controversy. Also, audiences will be divided within the first 30 seconds of the trailer. A shame, really, as this is one of the most thoughtful and powerful films of the year.

We follow famous stand-up comedian Bill Maher on his quest to prove not that there’s no God, but that it’s impossible to know if one exists. As he puts it, he preaches the church of “I don’t know”. He interviews people of various faiths, but Catholicism is his primary target. He pretty much only goes for the easy victims. For example, an actor performing as Jesus, a holocaust denying Rabbi and the people inside a truck stop chapel. While his choice in interviewees seems like cheating, Bill Maher actually gives them all a chance to have their say. He is surprisingly fair to everyone he interviews. OK, maybe not the Holocaust denier. Maher listens to everyone carefully. In each conversation he goes on to debunk everything they say, and he does so respectfully. It’s clear that Maher is very well read and informed. Of course, none of his subjects give in, but they do manage to make fools of themselves again and again, and make no mistake about it, Maher and Charles never cease to capitalize on their ignorance and they do it in hilarious fashion.

Religulous actually harbours some very sweet moments. One display of kindness and sincerity from a Christian found in the truck stop chapel is very powerful. Bill Maher asks the man to pray and the ensuing prayer is sincere and heartwarming. Maher isn’t looking to insult everyone with faith. What he wants is to point out the flaws of organized religion and have people reason with him, instead of having blind faith. He mentions being terrified by having a religious government. Again and again he points out how religion contributes to many of the world’s problems. Maher’s argument is a convincing one.

At the end of the film, he nearly pleads for the world to wake up and change. This is something I feared he would do. However, by the end of the movie he has done such a good job of supporting his ideas, that it comes off extremely well. The last few minutes are deathly serious and astoundingly powerful. I was moved and enraged. This is one of those rare movies that makes you want to do something about what it’s saying.

Unfortunately, I fear that Religulous will suffer from the “Fahrenheit 9/11” effect. By this I mean that only the supporters of the film’s cause will go see the movie, thus completely ruining the possible effect Bill Maher hopes it to have. Once again I urge everyone to see it, as it is one of the funniest movies of the year, It’s one of the most powerful, but moreover, it’s the most important.

Blindness

2008-10-02T12:59:00.000-07:00

VIFF 08 Movie Review.

Written by Don McKellar
Directed by Fernando Meirelles
Starring Julianne Moore, Mark Ruffalo, Gael Garcia Bernal, Alice Braga & Danny Glover

In Fernando Meirelles's latest film, a city is struck by an epidemic of blindness. Those afflicted with the "white sickness", named such because it is a white blindness as opposed to the traditional darkness, are placed in quarantine in an abandoned mental hospital. Once you're put in the quarantine, you can not leave. Military personnel have the exits surrounded, and are willing to kill those who try to escape. When a husband and wife arrive early on, played by Julianne Moore and Mark Ruffalo (no characters are given names), they step up as leaders and try to bring kindness and order inside the quarantine. Julianne Moore's character has a secret, she can see. She followed her husband, not wanting to be separated. Soon the building is overflowing with too many people, and the mini-society they had formed begins to crumble.

I have not read the book, so I can not compare the two. I have noticed many critics are attacking the film and claiming it to be an insult to the Nobel Peace Prize winning novel by Jose Saramago. I'm sure most would agree the go-to opinion would be the original author's. When Saramago saw Blindness, he told the director, "Fernando... I'm as happy with the movie... as I was when finished the book". You can even see his initial, very emotional reaction, while in the theater, on YouTube. It's not often an author praises a film adapated from his work, I can only think of when Phillip K. Dick said he loved Blade Runner. The only example where the author was wrong I can think of is Stephen King hating Kubrick's The Shining.

Fernando Meirelles is a world-class film maker. His last three films are all attempts at masterpieces. It seems he is only interested in setting the bar as high as it can go, and never compromising. I have all the respect in the world for him and if he doesn't always reach the bar, he comes close. City of God was a masterpiece, and The Constant Gardener, like Blindness, had it's flaws. Also like Blindness, those flaws are forgivable and fade away from memory, while the important points of each film linger on and on.

This film is shot like no other before it. It is somewhat experimental, but I was never distracted, at least not in a bad way. Cesar Charlone, the film's cinematographer deserves to mentioned come Oscar time early next year. There is frequent over exposure and brilliant use of shadow and reflection. One particular shot when Julianne Moore first arrives at the quarantine is astonishing. The camera sits in one spot, while she walks around and in several rooms off camera, but we can always see her in a reflection in the windows and clear glass walls.

People will be divided by the film's brutality in certain scenes. There is a specific sequence receiving much criticism. A cruel, group rape scene, in which the women are humiliated and used. Does this scene make you angry? Uncomfortable? Miserable? Don't let that stop you from thinking about what it may mean or represent. In an allegorical sense it could mean the raping of women's rights. Anyways, it's supposed to make you feel that way, it is the director's intention to go to these dark places. Film can not always be entertaining and enjoyable. We must be honest about the depths of human indecency, to earn the right to tell the stories of unwavering kindness. And if you look close enough, you will find that that unwavering kindness is in Blindness.

The acting is solid, but Julianne Moore steals the show. She conveys through her eyes, the weight that is on her shoulders from having to be the only one who sees, the only one who can ultimately guide everyone to freedom. Mark Ruffalo is very good as always, and plays his role in an everyman fashion hard to find in Hollywood. The always superb Gael Garcia Bernal is a little too at home playing the sadistic "King of Ward 3". This is the man, who sets the aforementioned rape in motion. In one scene, he sings to everyone through the PA system, happy as can be, laughing in between lines.

I do have a problem with the inconsistent narration from Danny Glover's character. In two or three instances, he has a brief narration that feels very out of place. Each time we hear his thoughts, he merely describes his feelings or what is taking place, mind you he does it eloquently. It is completely unnecessary and beneath a film of such substance because it halts our own thoughts and conclusions and subjects us to his, which at least for me, were already what I was thinking about on my own. It almost seems like it's an attempt to think for the audience so they don't have to. Fortunately I'm discussing just two minutes out of a two hour picture but it still degrades the quality.

I have had a couple good discussions about what this film means, and most people I talk to, myself included have several ideas. My favourite theory can't be fully discussed because it involves the final act in explaining it. I do get somewhat of a pro-anarchist vibe, as these people all struggle to survive in the hospital, where they create a mini-society. The blind are leading the blind. Mark Ruffalo's character begins a democracy and "The King of ward 3" starts a supposed monarchy. It all crumbles. These people can not be free until they let go of such notions.

Blindness can be seen as how humans would actually react to the devastating "white sickness", or it can be taken allegorically in several ways. How many recent mainstream movies can you say that about? This may be the most thought-provoking film since Children of Men. That was a masterpiece, and this may be flawed, but Blindness is an admirable effort that mostly succeeds. Despite that the vast majority of critics dislike this movie, I highly recommend it. Especially to those who like being challenged by cinema. Otherwise, what's the point?

Ballast

2008-10-01T11:40:00.000-07:00

VIFF 08 Movie Review.

Written & Directed by Lance Hammer
Starring Micheal J. Smith, JimMyron Ross & Tarra Riggs

Ballast is the story of how the suicide of one man effects his twin brother, ex-wife and son. The film begins with an exquisite shot of a young black male running in a field as a massive flock of birds takes off in flight. The brilliant title then fills the screen, causing a surprising emotional stir, considering it's the first minute of the movie. Unfortunately, that holds as the peak of the movie's power.

Next we see Lawrence, sitting on the couch in his obviously poverty effected home in the Mississippi Delta. Down the hall, lying in bed, is his dead twin brother. He has been there for a few days, but Lawrence is trapped by his despair. Fortunately, a concerned neighbour inquires about Lawrence's wellness and calls an ambulance. Lawrence, along with his brother, ran the local convenience store together, but now he just stays at home. Marlee, the ex-wife eventually expresses interest in running the store with the help of her troubled young son, James.

This is Lance Hammer's first feature film, which surprised me. This is a movie that sets out to be something and succeeds. I was fortunate to be present at a Q & A where he shed light on his inspiration. Hammer, when visiting the Mississippi Delta, felt a profound feeling of sadness and longing, particularly when in the poverty stricken area that he eventually filmed the movie in. He claims the landscape, housing and people made him feel this one thing so strongly that he wanted to put it in film. He uses several techniques to accomplish his goal; he casted local non-professionals; he gives the film a somber, blue tint; and made the decision to exclude all use of music. Hammer's most interesting decision was to not use a script. Of course, he wrote a script, but only as a guideline. Hammer would just describe a scene to his actors and ask them to say what they naturally would. This is a move that certainly pays off. Hammer is able to successfully convey the aforementioned feeling in every frame of his picture, but that's all Ballast really does.

The characters are merely there to help contribute to the mood. The plot is a little less than involving and a little more than slow-moving. While I admired the artistry and lack of convention, despite my best efforts, I found my mind wandering off a couple times. I feel a little guilty, because movies like this need support to live, but I can't recommend it to everyone.

I have to elaborate on how much I love the title as it is so rare that there is any figurative thought behind one. Ballast is something that gives stability. Each of the characters in this film are recovering from the trauma of someone close to them taking his own life. Each person is looking for stability, so they can move on. I only wish that there was more to the film than a great title and a consistent mood.

It is clear that Lance Hammer is a very talented film maker who should go on to great things. His control over tone, mood and his use of the non-professional actors he personally casted are most impressive. Supporters of indie film, or actual aspiring film makers will likely enjoy as well as learn a few things from Ballast. Other movie goers may have trouble paying attention.

The Masterpieces.

2008-09-30T03:46:00.000-07:00

The Masterpieces is an ongoing list of the greatest films ever made. Any film can qualify, the only requirement being a movie can't be added until at least one year after it's initial release. Other than that, it's fair game. These are the films that set the highest standards for their art form and respective genres. They can be important socially, universally, or personally, or they can simply be damn entertaining. As long as a movie can be considered to have achieved true greatness, it can be added to The Masterpieces.

An alphabetical list of all films added to The Masterpieces (click to see the original article)...

2001: A Space Odyssey

The Enigma of Kaspar Hauser

The Royal Tenenbaums

The Bronze. Lists

2008-09-30T00:09:00.000-07:00

Here is a summary of all lists published on The Bronze.

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Adam's Top Ten 2005

1. Serenity
2. Crash
3. Batman Begins
4. The 40 Year Old Virgin
5. Sin City
6. The New World
7. The Constant Gardener
8. Brokeback Mountain
9. Walk The Line
10. Oldboy
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Adam's Top Ten 2006

1. Children of Men
2. Clerks II
3. Little Miss Sunshine
4. The Departed
5. Letters From Iwo Jima
6. Borat
7. Blood Diamond
8. Pan’s Labyrinth
9. Babel
10. The Prestige
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Adam's Top Ten 2007

1. Juno
2. Ratatouille
3. There Will Be Blood
4. Superbad
5. Once
6. Hot Fuzz
7. Knocked Up
8. No Country For Old Men
9. Into The Wild
10. Before The Devil Knows You’re Dead/The Savages (Tie)
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List Logic
An article about the point of top ten lists, and why they work. The article includes a revised Top Ten 2007 list.
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Adam's Top Ten 2008

1. Synecdoche, New York
2. The Dark Knight
3. In Bruges
4. Entre Les Murs
5. Paranoid Park
6. The Wrestler
7. Wall-E
8. Milk
9. Rachel Getting Married
10. Revolutionary Road

Parker's Top Ten 2008

1. In Bruges
2. The Dark Knight
3. Synecdoche, New York
4. The Wrestler
5. Wall-E
6. Milk
7. Rachel Getting Married
8. Slumdog Millionaire
9. The Fall
10. Forgetting Sarah Marshall
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The 10 Greatest Works of Joss Whedon (as of July 2008)

1. Once More With Feeling (Buffy the Vampire Slayer Season 6, Episode 7)
2. Serenity
3. The Body (Buffy the Vampire Slayer Season 5, Episode 16)
4. Hush (Buffy the Vampire Slayer Season 4, Episode 10)
5. Restless (Buffy the Vampire Slayer Season 4, Episode 22)
6. Dr. Horrible's Sing-A-Long Blog
7. The Chain (Buffy the Vampire Slayer Season 8, issue #5)
8. Objects in Space (Firefly Episode 14)
9. Waiting in the Wings (Angel Season 3, Episode 13)
10. Fray
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The Masterpieces, an ongoing list of the best movies of all time can be found here.

Il Divo

2008-09-28T15:58:00.000-07:00

VIFF 08 Movie Review.

Written & Directed by Paulo Sorrentino
Starring Tony Servillo, Anna Bonaiuto, Piera Degli Esposti and Giulio Bosetti

Il Divo is the story of Italian Prime Minister Giulio Andreotti's last couple years in office. He served as such from 72-73, 76-79, and 89-92. This film is so rich in politics and information, that one would assume it would unwatchable if politics did not interest you or if you knew nothing of Italian history. The movie even starts with tons of text on the screen, given you some background in political groups and events, but it's hard to absorb, and doesn't exactly tell you everything you need to know. At this point, I was a bit nervous, until the somewhat Tarantino-ish opening began, showing a bunch of political figures being killed to some Italian pop song. Nice. It turns out, that a serious political movie can be funny and a lot of fun, in the right hands.

There is humour throughout the film, and pride taken in making the direction interesting. When we are introduced to Andreotti's political pals, it does it in slow mo, as they all walk together, kind of like in Kill Bill when Lucy Liu and her people are walking down the hall. It keeps the film interesting, for those who nothing of Italian politics. Those who do have a knowledge of such things will probably be in cinematic heaven. I think there's serious "favourite movie" potential for some people here.

As one would hope in a bio-pic, the acting is top-notch. Toni Servillo as Anderotti would be a shoe-in for an Oscar nomination if Il Divo was American. He's subdued and meticulous, crafting one of the more memorable screen performances of recent years. He as at once distant and hard to like, but oozing with an odd charisma, that in certain moments is irresistible. The supporting cast are all perfect. The character who seems to advise Anderotti is the perfect complimentary personality to Anderotti. Instead of being quiet, reserved, mysterious, he is loud and open, and lots of fun. One outstanding moment is when he finally gets a moment to himself inside a giant empty room in Anderotti's mansion, he takes a run and slides across the floor and yells.

Things like this make Il Divo sublime entertainment as well as unmatched political brain candy. For some, that combo could be the best thing ever, or some may like only one of the two. Either way, there's no denying that this is masterful film making from Paulo Sorrentino. This is certainly one of the best films of the year, so for anyone who can withstand the political content, it is a must-see.

Momma's Man

2008-09-26T01:12:00.000-07:00

VIFF 08 Movie Review.

Written & Directed by Azazel Jacobs
Starring Mike Boren, Flo Jacobs & Ken Jacobs

Momma's Man is the story of middle aged man, Mike, who abandons his wife and baby in California, to return to the apartment he grew up in with his parents in New York. His parents are pleasantly surprised to see their son, but it's odd that he showed up all of a sudden. Mike says he flew out cause of work, and there was a screw up with the plane, so he has to stay for a night. A night becomes a weekend which becomes another week etc. "Mikey" as his parents call him, has fled adulthood for the simple comfort of the childhood he once knew. He spends nearly all his time at home in his old room, flipping through old comic books, notes, song lyrics and finding all sorts of mementos.

His wife calls him constantly, trying to get an explanation. Eventually, Mike turns his phone off, silencing his wife, and his real life. The parents play dumb for most of the time. part of them does want him to stay home and be their little boy. Especially the mom, who longs for when Mike was a child, and when she was a younger woman. Seemingly everyone portrayed dreams of being in a different state of their life. Regret and nostalgia being a powerful combo to consume the present.

Of course he can't stay forever, but what will motivate him to move on? I believe it comes when he meets with an old girlfriend from high school. In his room he finds a note from Bridgette, a girl he liked. In it she curses him for hurting her. This prompts Mike to call her and ask her to get some coffee. He explains to Bridgette that he wanted to meet so he could apologize for hurting her. One must wonder, however, if his real reason is to have yet another memento to connect him to simpler times. When he sees her, and the baby she brings to the coffee shop, she doesn't connect him to the past, but reaffirms his responsibilities as an adult, a father and as a husband.

It's very easy to relate to this film. Growing up is scary, even when you've already done it. Being young, or at least younger is something everyone thinks about. Once you've started a family, you still fondly think of when you'd lie in your mother's arms. Perhaps the most touching moment of the film is when the mom embraces Mikey and he begins to cry. In an odd way, Momma's Man is at least partly an ode to parents and their unique bond to their children. I figure that's why writer/director Azazel Jacobs casted his real parents for the role, and shot the movie in the actual apartment he grew up in. In a way, Azazel Jacobs, like Mike, returns home to capture his childhood.

Jacobs is a very talented film maker. Momma's Man moves a little too slowly, but it's admirable that this story was given such a treatment. Instead of making the movie follow a traditional narrative, Jacobs merely presents an environment and explores the behavior of the people within it. Such a method should be praised, as it is far too rare in film. I eagerly look forward to his next project.

As thoughtful as the film is, the slow pace is damaging. Personally, I usually appreciate a slow careful pace, but here, even I was a little antsy. If you need something exciting or particularly funny in a movie it may be best to avoid Momma's Man. If you can be patient, I recommend you give it a try. It's not the greatest movie, but it'll give you something to think about, and it will make you feel. Two of the most important things a movie can do.

VIFF 08

2008-09-22T12:58:00.000-07:00

Beginning on September 25th, 2008, the 27th Vancouver Film Festival Begins. It will be my first time attending and I'm really excited. I'm seeing 12 movies in about two weeks, so my head may explode with happiness...Or, if the movies suck, it may implode with disappointment. Anyways, I'm going to try to write about as many of the movies as possible. Below is an alphabetical list of the movies I'm going to see.

Ballast
Blindness
The Class
Hunger
Il Divo
Momma's Man
Rachel's Getting Married
Real Time
Religulous
The Secret of the Grain
Sugar
Tokyo!

Burn After Reading

2008-09-16T01:14:00.000-07:00

New Movie Review.

Written by Joel & Ethan Cohen

Directed by Joel & Ethan Cohen

Starring Francis McDormand, George Clooney, John Malkovich, Tilda Swinton, Brad Pitt

Here is yet another great movie to be added to the Coen's already overwhelmingly impressive filmography. Like how The Big Lebowski came right after Fargo, Burn After Reading follows the Oscar-winning No Country For Old Men, and it provides the reminder that the Coens can do the serious thriller thing, and impress everyone, but still do the wacky comedy just as well. I wouldn't go as far as to say this is as good as The Big Lewbowski, but it's in my Coen top five.

The story kicks into gear when an airhead gym employee, Chad, played by Brad Pitt, finds a disc in the locker room. The disc contains what he describes as "C.I.A. shit". Thinking it's highly valuable top secret information, he along with co worker Linda Litzke decide to organize returning it to it's owner in exchange for a reward. In Chad's mind, he's being a good samaritan, but in an instantly classic scene when he and Linda phone Osborne Cox (John Malkovich), the ex-C.I.A. agent, that the disc belongs too, it quickly and somewhat accidentally becomes black mail. Chad and Linda become obsessed with somehow capitalizing on the situation,to get much needed cash. Linda has been planning on getting some plastic surgeries done, and the money from this could pay for it. Meanwhile, George Clooney's character, Harry, is having an affair with Osborne Cox's wife Katie, played by fellow Micheal Clayton alumni Tilda Swinton. The wonderful Richard Jenkins plays the manager at the gym who longs for Linda, unbeknownst to her.

The Coens once again paint a dark picture of humanity. Everyone in this movie is either greedy, self-centered, cheating, paranoid, vain or all of the above. Nearly every Coen movie is about normal people getting involved with dirty money and shady dealings. You might think it would have gotten old after 20 years of film making, but it's interesting each and every time. Just because all the characters have their vices doesn't mean they aren't likable. Every character in their own way is interesting and earns at least a slight bit of empathy. The other common trait of Coen movies is that the normal people get hurt for getting in such business, and things get real ugly here.

Of course the screenplay and direction are Coen-y, and near perfect, but the performances are outstanding and make Burn After Reading worth seeing on thier own. The most surprising turn is by Brad Pitt, who is a revelation here. In the trailer, it was obvious he was gonna be silly and fun, but it doesn't take long to realize he's doing something special. His comedic stylings are uproarious and brilliant. In two particular scenes, the first being the time he phones Cox, and second being when Chad meets Cox are comedic heaven. Brad Pitt is becoming a very respectable actor with last year's performance as Jesse James, what he has done here and hopefully in what he does in David Fincher's The Curious Case of Benjamin Button, coming out later this year. Frances McNormand is Oscar worthy with what may be her best work since Fargo. Her character isn't quite as memorable, but she's not far off either. This is my favourite George Clooney role, and it's great to see him at his twitchy, paranoid best rather than seeing him play himself. John Malkovich is perfect, but that goes without saying, I think. Tilda Swinton is very good, but I question her staying power as a Hollywood top dramatic actress. The always enjoyable J.K. Simmons (Juno, Spiderman) shows up and does his thing with only a couple of minutes of screen time, but he nails it. The cast is one of the best this year, and in Coen canon it's beaten only by Fargo and Lebowski.

In a breezy 96 minutes, the Coens tell a comical, dark, hilarious, sad, surprising story. Each of their best films are sacred, precious, so different and smart that we will never see a successful imitation. Each must be savoured, appreciated, recognized. It's important to know how vital the Coens have been to American film, without whom we would be missing a vast portion of cinematic genius of the 80's, 90's and the early 21st century. These are film makers that will be revered, and studied years after they are gone. They are in their prime and they have 4 more movies on the docket, all set for release in the next couple years, according to IMDB. So, enjoy it while it lasts, because there will never, ever, be film makers quite like the Coen Bros.

Hamlet 2

2008-09-04T23:40:00.000-07:00

New Movie Review.
Written by Andrew Fleming & Pam Brady
Directed by Andrew Fleming
Starring Steve Coogan, Catherine Keener, Elisabeth Shue, David Arquette

Hamlet 2 is the last hurrah of summer comedies, and as such, it's a bit underwhelming. The laughs are infrequent, and not exactly rumpus inducing. However, thanks to an above average start as well as finish, and a brilliant performance from Brit star, Steve Coogan, it's undeniably not terrible. It even manages to slide past mediocrity! It earns such a fervently expressed accolade by telling a conventional story in a slightly less than conventional fashion...Kinda.

The story follows a wacky, perhaps substandard, drama teacher Dana Marschz (don't worry, no one in the movie can pronounce his last name either) as he tries to keep drama class in school by putting on the ambitious original play, Hamlet 2. The movie seems to take aim at all inspiring teacher movies, such as Mr. Holland's Opus or Dead Poets Society, but it actually is one. Yes, it's a silly comedy with appropriately silly antics, but that's merely a charade to cover up that it really is an inspirational teacher movie that even seems to try to win over our hearts by the end credits. Deceptive methods aside, the conventional plot is presented in a peculiar way. Particularily the opening 15 minutes, which hands-down is the best part of this film, where we are immediately thrown at Coogan's character in a frantic, messy fashion. It feels like they didn't really know how to start this movie, or how to introduce the players, and it actually benefits it, becuase it feels fresh. Accidental success is no less succesful than other successes. Right? The movie loses it's unorthodox feel after a bit and soon it's nothing special, and nothing all that entertaining.

It's a long wait until it picks up again when Dana, and his students, finally perform the play to close out the picture. Even then, we only see two musical sequences, and while fun, they are not great. The hyped song, "Rock Me Sexy Jesus", is good and worth a chuckle, but nothing more. Then the movie ends, and it quickly escapes your memory, everything, except Steve Coogan.

Steve Coogan gives us a comedic performance for the ages. I'm not familiar with his previous work (other than Tropic Thunder and a memorable bit part in Hot Fuzz), but after seeing him in Hamlet 2, I'm convinced he's one of the most gifted comedic actors on this planet. He's the first to surpass Jim Carrey with use of facial comedy. He, like Carrey, has an uncanny awareness and subsequent control of his face, and he puts it to use with full force. It's very rare he delivers a line without some sort of hysterical contortion. After delivering his dialogue, the camera tends to sit on Coogan, as he delivers one of a variety of brilliant expressions, as if to be a signature for each line. I won't go as far as to say he's subtle, but compared to Carrey he's the utmost version of understated. Pretty much every laugh comes from Coogan's role, which prompts the realization that this could have been a train wreck, without such a conductor as Steve Coogan.

Hamlet 2 is co-written by Pam Brady, co-writer of South Park and Team America. I expected more from someone affiliated with some of the most brilliant, and thoughtful comedy in history. Oh well. The movie may be full of disappointment and David Arquette (annoying even with only having a couple brief lines) but it gives us an endlessly promising actor, already renowned in the Mother Country (lets just ignore that he was accused of eagerly supplementing his friend Owen Wilson's drug addction which lead to the infamous suicide attempt). More specifically it gives us a performance worth seeing. I can't reccomend you spend your hard earned cash at the theatre, but it's a must rent.

Boy A

2008-08-23T23:50:00.001-07:00

New Movie Review.

Written by Mark O'Rowe
Directed by John Crowley
Starring Andrew Garfield, Peter Mullan, Shaun Evans and Katie Lyons

Boy A is a heartbreaking drama about a child criminal (Andrew Garfield), who, after 14 years, is released back into society to start again. In the opening scene, we are introduced to the two main characters, the child criminal, now 24, and his fatherly caseworker, Terry. We are thrown into the story with practically no exposition. Straight away, Terry (Peter Mullan) tells "Boy A" he can name himself. After some consideration, he settles on the name Jack. He must assume a new identity to avoid a life of scrutiny and danger. There are people out there who would like to exact revenge. He starts his new life in Manchester, he gets a job with some sort of shipping company. He loads the company van with packages and delivers them around town. This will come into play later, in a powerful and important scene, when Jack discovers a car that skidded off the road. He frequently meets with Terry to discuss his reintegration into a normal life as well as his coming to terms with his past.

As the movie goes on, we see flashbacks to Jack's childhood leading up to the incident that lead to his incarceration. We see him as a passive boy, who's best friend, Phillip, is a budding sociopath. We learn early on that Phillip took his own life from the guilt. Soon we discover they murdered a little girl, but it is not until the end of the film that we see what happened. Even then, we don't see the actual murder. Jack is portrayed as a broken but well-meaning person with a nearly unbearable weight on his shoulders. He does, however, make friends at work despite his social awkwardness. He even gets a girlfriend, Michelle, played by Katie Lyons. They begin to fall in love, he and his friends become close and he becomes somewhat of a town hero. Of course, we know this can't last.

It's surprising how long it does last, percentage wise, in the plot of this film. The major conflict emerges late in Boy A. Once it arrives, what has been a thoughtful but slow film becomes fast-paced and devastating. Unfortunately, in society, a person can end up being defined by one action, one mistake. That is the case here. We see Jack as not just ordinary but a valuable member of the community, certainly not as a murderer. That is the point of Boy A, that Jack as an adult is responsible and kind hearted, and not the killer he was sentenced as. Of course taking a life is nothing short of horrific, but he was a child then. Now Jack has become the victim, and the inner struggle is too much to bear.

I was unsure of Boy A early on, especially because it relied so much on Andrew Garfield's performance. Thankfully, Garfield ends up being successful in creating his sympathetic, tortured character. Peter Mullan is also very good as Terry, bringing just the right amount of charm and sincerity to the role. They are both instantly likable on screen, and their relationship is one of the most interesting things in the movie. Katie Lyons is another endearing personality that helps the film's cautious pace work.

John Crowley's direction allows the movie to take it's time with each detail to develop every scene carefully. He knows he must present Jack as a believable human being or the film's point is lost. The sensual scenes between Jack and Michelle are masterful and achieve a level of realism in their relationship. I was disappointed that Crowley decided not to show the murder, which would have contributed a lot to the film. It's almost cheating to do so, it makes it too easy to be on Jack's side. A more fair film would have let us see the crime. I think Boy A could have been more provocative if they did.

The movie is rather slow but it pays off late, when the levee breaks. I was deeply affected by the ending, one of the more memorable sequences in movies this year. I don't think I can recommend this to all casual moviegoers, but if you're patient it's worth it. Or, if you are someone who believes strongly in second chances, you will believe strongly in Boy A.

Pineapple Express

2008-08-06T12:36:00.000-07:00

New Movie Review.

Written by Evan Goldberg & Seth Rogen
Directed by David Gordon Green
Starring Seth Rogen, James Franco & Danny McBride

The latest Apatow production is Pineapple Express, a stoner action comedy starring Freaks & Geeks alumni Seth Rogen and James Franco. For those who don't know what Freaks & Geeks is, find out and watch it. It was how these guys got their start, discovered by Judd Apatow himself. It's great to see Rogen and Franco on screen together again, and it's especially great to see Franco doing comedy again. Rogen wrote the script alongside his childhood best friend Evan Goldberg, with whom he wrote Superbad. The story follows Dale Denton (Rogen) and his drug dealer Saul Silver (James Franco) on the run from some very bad people including a drug kingpin (Gary Cole) and a corrupt lady cop (Rosie Perez). Dale witnessed a murder and left his "Pineapple Express" joint he purchased from Saul at the scene. Ted Jones, the drug kingpin, discovers the joint, identifies it as the rare Pineapple Express which only Saul Silver sells and the chase begins.

From start to finish this movie is very fun, hilarious and even a bit sweet. The story of the budding relationship between drug dealer and buyer here is sincere. We see them go from virtual strangers to best friends, and it's very believable. The characters are also quite endearing. Saul is obviously very lonely and spends his time in his apartment watching TV, when Dale initially comes over just to buy some weed, Saul tries to get him to stay to hang out. Franco gives one of the better performances of the year by completely sinking into the character and making him a sympathetic, lovable person. Quite simply, James Franco is the best part of Pineapple Express. Dale is a 25 year-old process server who is in a relationship with a high school senior. Early on, we see him visit Angie (a very well acted small part by Amber Heard) in between classes. Interrupting their conversation is a high school jock who seems to have the hots for Angie, making Dale very uncomfortable. Dale is obviously insecure and Rogen brings a really sweet quality to his character instead of making him seem pathetic. Seth Rogen isn't exactly a method actor, but for what he does, he may be the best. When it comes to line delivery, improv and just the right amount of realism, Rogen is the man. The comedic chemistry between these two actors is undeniably awesome. A comic duo for the ages that hopefully will be reunited again.

The supporting cast is very good, but I don't see what the big deal is about Danny McBride. He plays Red, a middleman between Saul and Ted, who has to decide whether to sell out his friend or join him. Now, the character is kind of funny and he gets some great lines, but whenever he showed up in the movie, I kind of wish he didn't so we could have more Rogen on Franco only action. Craig Robinson and Kevin Corrigan are great and make their two characters, a pair of hit men after our heroes, more interesting than one might expect. Bill Hader pops up (when doesn't he?) as well. The film opens with a black & white flashback to when the US government was first testing marijuana. Hader is very funny as the guy who gets to test the weed.

The screenplay here is not as solid or laugh heavy as Goldberg and Rogen's Superbad, but it does deliver. However, there are some disappointing, major flaws. First of all, the movie works best when it's somewhat grounded in realism. I'm not saying get rid of the action or car chases, but a specific scene comes to mind. There's a point where Dale goes to Angie's house to have dinner with her family. It goes about as bad as possible, as the parents figure out Dale is stoned. What doesn't work, is the dad gets furious and grabs his gun, and fires it at Dale, seemingly trying to kill him. This bizarre act is so over the top I was taken right out of the movie. Before that point in the film, my subconscious was dreaming of handing out another perfect score to the Apatow clan. The next flaw is a scary one as it is a sign of weak writing. The wonderful subplot that is the love story of Dale and Angie is left unfinished. One of the best parts of the whole movie is a phone call between the two of them, but it ends up being the last we hear of that storyline. It's an unforgivable lazy mistake to leave that open-ended, especially when one more scene would have been enough and it could have been one of the more affecting moments of Pineapple Express. Luckily, this movie has more successes than shortcomings so we can try and forget the bad, but no one can claim this movie is perfect.

Uber-talented indie director David Gordon Green made an unexpected career move by signing on to do this film. Thank the heavens he did, because he was the perfect choice for Pineapple Express. He has a real eye for comedy and brings the film up a level of credibility and quality. He and director of photography Tim Orr made this movie look beautiful and even sophisticated. Whether it's Dale trying to drive out of a tight parking spot, or Saul doing the worm, it all looks a little better than it should. It's a rare occurrence having such an artistic director do this, but I hope to see it again. I also hope that the mainstream exposure will help Green be noticed as one of the better directors working today.

Pineapple Express is not on the level of the Apatow classics (The 40 Year-Old Virgin, Knocked Up, Superbad, Forgetting Sarah Marshall) but it's still better than nearly all else in the world of comedies today. It is a lot of fun, with memorable lead performances and a little heart and sincerity which helps make it one of the best comedies of the year.

My Winnipeg

2008-08-04T21:51:00.000-07:00

New Movie Review.

Written & Directed by Guy Maddin
Starring Ann Savage, Amy Stewart, Brendan Cade, Wesley Cade

Guy Maddin's My Winnipeg is a surreal mix of fact and fantasy in the form of a documentary. It follows writer/director Maddin's bizarre decision to reenact his childhood in Winnipeg, a place he claims to have never left. He states at the beginning of the picture that his goal is to move on and finally leave Winnipeg. Easier said than done, it seems, as we see him on a never ending train ride out of town throughout the film. He has hired actors to play his family. His two brothers, one who would die at 16, his sister, his mother and even his chihuahua (now replaced with his girlfriend's pug). Oddly, in the film, he claims the actress playing his mother is actually his mom who agreed to do the project, but it is an actress by the name of Ann Savage. This is the type of deception you are subjected to during My Winnipeg. Maddin, who narrates nearly the entire 80 minutes, spins stories of his youth as well as Winnipeg's. The tricky thing is, sometimes the stories seem a little far-fetched, while some stories are very believable and in fact true. It becomes obvious he is embellishing or perhaps completely making things up. However, it doesn't matter that some things are fact and others are fiction, because they're all true. What do I mean? That's as hard to explain as the movie itself.

The type of stories you'll hear are how, after a stable fire at a racetrack, horses fled into a river and froze to death, with their heads above the ice. The townspeople would visit the dead horses for romantic walks and picnics. Or how Maddin himself, was born in the dressing room at the Winnipeg arena during a hockey game. Whether he was actually born there during the game isn't the point, he was born with hockey coursing through his veins.

I have to mention that this is the first and only Guy Maddin film I have seen. More specifically, all in one day, I discovered who he was, that he has made great films, that My Winnipeg was playing downtown and now I'm writing this review. I am now compelled to seek out all his previous work, in the hope of finding the same originality and flare evident here. My Winnipeg is such a fantastic breath of fresh air to enjoy amongst summer blockbusters. A reminder that convention is the enemy and that artistry and depth are to be valued more than explosions and one-liners. That success isn't always making a movie that people want but making a movie the film maker is driven to make. Maddin shoots his film in black and white, with a silent film era-like nostalgia, and mixes it with historical archive footage. The result is a very unified, potent look that makes for one of the most memorable visual experiences to be had in a movie theatre this year.

Guy Maddin's narration is pitch-perfect. His voice is commanding but gentle, and he weaves in and out of dreamlike prose in a hypnotizing manner. He makes sure to repeat himself. "Winnipeg...Winnipeg...Winnipeg". He describes Winnipeg as a sleepy place. "...It has 10 times the sleepwalking rate of any other city". As he repeats this, we see him dozing on the train. We become mesmerized. It is clear he has issues with family. The portrayal of his mother is sometimes frightening. This is a very personal work, but strangely it feels universal. He guides us through his history and we relate and recall our own.

My Winnipeg is very much a meditation on memory. Maddin describes his unique childhood home to us, but admits it always changes shape and size in his dreams. However, it's still his home. The whole fact vs. fiction thing is very much a recurring theme. The film is also an examination of how where we come from shapes the person we will become. This is a thought I had previously dismissed, but this movie has caused to me to reconsider. It isn't necessarily the specific location that affects us, although it is a factor, but rather the idiosyncrasies that subtly creep into our essence. Everything in this film is somehow relevant to Maddin's self. Even though the history of Winnipeg recounted here is occasionally before his time, it is in his blood.

My Winnipeg reminds me of last year's I'm Not There (the Bob Dylan bio-pic) in that they are both unorthodox deconstructions of a human being. This is a much better movie though. It is very, very funny, particularly in the early-going. By the end it is also cold, lonely and sad. It is also some of the finest film making I've seen this or in any recent year.

Just A Quick Notice...

2008-08-03T13:28:00.000-07:00

It has been brought to my attention that because I don't necessarily put movie titles in the titles of my reviews that it is difficult to navigate the archives of The Bronze. So, for now on the title will simply be the title of what film I am reviewing. I will go back and change the old titles as well.

Tropic Thunder

2008-07-30T19:23:00.000-07:00

Advanced Movie Review.

Written by Ben Stiller, Justin Theroux and Etan Cohen
Directed by Ben Stiller
Starring Ben Stiller, Robert Downey Jr., Jack Black, Nick Nolte, Jay Burachel, Brandon T. Jackson and Tom Cruise

Tropic Thunder is the latest blockbuster comedy from Ben Stiller. Packed with stars, the movie follows a group of prima donna actors filming a war epic. There’s Ben Stiller’s character, Speedman, a washed up action star who tried to go serious by playing a mentally handicapped character in his last film. Unfortunately, it was considered the worst film & performance of all time, as Robert Downey Jr.’s character puts it, for going “full retard”. Never go full retard. Downey Jr. plays a renowned Australian eccentric actor (its nice to hear him put on his flawless accent he used in Natural Born Killers), Kirk Lazarus, with previous awards a plenty. Jack Black plays a successful comedian, "Fats", who gained fame from from a “Nutty Professor” like franchise. The rest of the cast is rounded out by a nerdy Jay Burachel as Kevin and rap mogul sensation Alpa Cino (played by Brandon T. Jackson), the face of popular beverage “Booty Sweat”. All the egos start to get in the way, and first time director Damien has to make a change. With increased pressure from an insane studio exec played by Tom Cruise, Damien turns to Nick Nolte's character, the writer of the book the film is based on. He suggests to shoot the movie guerilla style by rigging cameras in the jungle and putting the actors in the middle of an authentic war situation. The director agrees, and the fun begins.

The somewhat one-joke premise is silly and although funny at first, a bit stale. Ben Stiller’s directing is a mixed bag. He occasionally shoots it all wrong, treating it like it’s an actual war epic, thus draining the humour out of some short sequences. It simply does not always work. Luckily his script is funny and contain enough surprises throughout to keep it interesting. A big surprise is the unadvertised performance from Tom Cruise.

Cruise is pretty much pegged as a nut case these days and there’s a lot of hating going on (from me included) but his character is a big highlight of Tropic Thunder. I'm not going to claim that Cruise's career is revived just like that but Ben Stiller may have single-handedly gave him a good head start for doing so. Every scene he is in is magic, yelling with raging lunacy. This begs the question why is Tom Cruise only great when playing a crazy person? Think Magnolia, people. Cruise's memorable role culminates with, perhaps, the best end credits I have ever seen. Ben Stiller is good as the lead, but doesn't do anything interesting. Not like Robert Downey Jr., anyways. Downey Jr.'s character, Kirk, actually dyes his skin black to take on the role of an African-American. The ensuing performance is one of the best of the year. He has always been a great actor, but with his parts in Iron Man and Tropic Thunder he should be propelled to the highest pinnacle of fame, and deservedly so. Jack Black is great as always, especially once "Fats" starts going through withdrawal after losing his drugs. It's very nice to see Jay Burachel in the middle of this star-studded cast. I've personally followed his career since he was on "My Hometown" and "Popular Mechanics For Kids". He was great in the Judd Apatow creation, Undeclared, and more recently in Apatow's Knocked Up. He is very good here, and doesn't get too overshadowed by the bigger personalities. The entire supporting cast is superb, especially Bill Hader, who seems to be getting in bit parts in every second comedy released.

This movie is certainly hit and miss, the premise wears thin after a while but the performances continue to excel. There are a few good laughs throughout and Downey Jr. and Cruise are reason enough to see Tropic Thunder. There are a couple better choices out there, but if you've seen them already there's no good excuse to skip this one.

Top Ten List: The 10 Greatest Works of Joss Whedon

2008-07-20T01:06:00.000-07:00

If you don't know who Joss Whedon is, you are really missing out. He is one of the greatest talents in film, television and comic books (Buffy, Angel, Firefly/Serenity, Astonishing X-Men). Joss is also a true visionary, in his own way, he is changing the world. Whether it be from his outspoken feminism/support of the charity Equality Now, or his attempt at changing how we view art, or, of course, his actual art, he is making a difference. With the release of his newest film, Dr. Horrible's Sing A-Long Blog this week and his next TV show, Dollhouse, coming next year, I thought it a good time to take a look at Joss's best work.

10. Fray
Joss Whedon's first foray into comics remains one of his most memorable. A brilliant graphic novel set in the "Buffyverse", but in the future, starring a slayer known as Fray.

9. Angel Season 3 Episode 13 "Waiting In The Wings"
One of the best episodes Angel has to offer. Angel and the gang decide to go out to see a ballet Angel once saw in the 1800s. When they get there, Angel realizes it is literally the same ballet he saw long ago. Featuring unforgettable, key character moments for all the main players, as well as a great guest role by Summer Glau, who would go on to play River in Firefly/Serenity.

8. Firefly Episode 14 "Objects In Space"
The very last episode of Firefly, which actually didn't air on television, is the best, along with "The Message", which was written but not directed by Joss (hence no inclusion on the list). It features a peculiar bounty hunter named Early as he attempts to kidnap Simon and River. Having much to do with existentialism and River's unique perspective, which seem to go hand in hand, Objects In Space is one of Joss's richer episodes.

7. Buffy The Vampire Slayer Season 8 Issue #5 "The Chain"
The Chain is the best issue and/or story arc so far in Joss's Season 8. It is actually the best comic book issue I've ever read. Profoundly moving and important, The Chain is a masterpiece of the medium.

6. Dr. Horrible's Sing-A-Long Blog
Joss Whedon's latest film was a 42 minute musical released on the internet for free, inspired by the recent writer's strike. Self funded with virtually no middle man, Dr. Horrible's Sing-A-Long Blog is a milestone in film/TV distribution, and Joss will be remembered as a true pioneer for the industry. It helps that the actual piece is absolutely brilliant.

5. Buffy The Vampire Slayer Season 4 Episode 22 "Restless"
Restless remains one of the better, if not best, films/episodes that portray dreams. The Scoobies do battle in their heads with a mysterious foe as they all sleep in Buffy's living room. Almost entirely shrouded in metaphor, Restless may be the most daring season finale in TV history.

4. Buffy The Vampire Slayer Season 4 Episode 10 "Hush"
Hush stands as one of the most revered episodes of Buffy as well as TV in general. Nearly a completely silent episode, as the "Gentlemen" steal all the voices in Sunnydale. Far scarier than TV can usually accomplish and often hilarious.

3. Buffy The Vampire Slayer Season 5 Episode 16 "The Body"Perhaps the best examination of losing a loved one in TV history. The episode contains no music at all and some of the most heartbreaking moments in BTVS's 7 year run.

2. SerenityThe big screen continuation of the unfairly canceled Firefly, Serenity proved Joss's talents translate to motion pictures just as well as TV. This may be the best example of Joss's incredible writing and certainly his best job of directing ever. Look for the incredible long take "oner" early on that begins at one end of the spaceship and ends at the other, all the while introducing each member of the crew.

1. Buffy The Vampire Slayer Season 6 Episode 7 "Once More With Feeling"
The best episode of the best TV show ever, Once More With Feeling is a masterpiece. Combining his great dialog, his bold ideas and a secret talent for writing great songs, Joss crafts one of the more memorable musicals in screen history. The soundtrack never gets old, and neither does the episode. Fans all over the world now gather at group sing-a-longs (myself included), celebrating something remarkably special.

The Dark Knight

2008-07-18T03:37:00.000-07:00

New Movie Review.

Oh, come on, The Dark Knight gets 3 photos

Written by Christopher & Jonathan Nolan
Directed by Christopher Nolan
Starring Christian Bale, Heath Ledger, Aaron Eckhart, Maggie Gyllenhaal, Gary Oldman, Micheal Caine & Morgan Freeman

OK. The wait is over, and I need to get this out of the way right now...The Dark Knight is not perfect. Oh, oops, sorry, actually it is. All those with seemingly unsatisfiable expectations, you needn't worry. I, like many, have been waiting for this sequel for over three years, but it wasn't until the movie started that I realized I didn't truly know what I was waiting for. The Heath Ledger (I'll get to him later) hype had occupied my mind more than anything else, and it kept me from completely understanding what I was expecting. I did know that I expected an improvement on Batman Begins, an excellent movie to begin with, but The Dark Knight surpasses it's predecessor in every aspect by prodigious margins.

Batman (Christian Bale) has been on The Joker's (Heath Ledger) tail for a while and with the help of good friend Jim Gordon (Gary Oldman) as well as the newly appointed D.A. Harvey Dent (Aaron Eckhart), they hope to take the insane criminal mastermind down. Dent may be the only man, not wearing a bat costume, that's brave enough to take down crime at any cost, to protect Gotham city. Things are not so simple however as The Joker threatens to kill more and more unless The Batman reveals his true identity. How Batman/Bruce Wayne, as well as those close to him, will react to this disastrous situation is fascinating. To make matters worse, every time a step in the right direction is taken towards putting a stop to the Joker's madness, it is revealed that those steps are apart of the Joker's grand plan. I do not want to spoil anything, so I will not go into specific details, but the events unravel in tragic, devastating ways.

Christopher Nolan has crafted the perfect Batman story. This is the best single tale in the extensive Batman mythos. I have trouble imagining a better movie or comic book ever coming to be (never say never). Needlessly to say this is the best shot movie of the year and then some. Nolan appropriately highlights the explosions and various action. More importantly he magnifies the small character moments, getting us so emotionally involved we forget we are watching a movie. Surprisingly, he creates his most suspenseful film and in the most dire of scenes, we actually lose our nerves (in a good way). He does what great directors aspire to do, but it's a rare happenstance, Nolan grabs his audience early on and never lets go. He commands us, we bend to his will. This is the epitome of masterful film making. The screenplay is full of surprises and daring decisions. The story unfolds in an epic fashion, a crime-drama of the highest quality. Important events are scattered through the beginning, middle and end, always at just the right time. The script has it's humour, but less so than Begins. Knight is relentlessly dark and bleak, it contains the strongest of moral complexities. Yes, Batman is forced to make tough decisions, but so do many key characters as well as all the citizens of Gotham. How would you react? At one point The Joker puts a televised hit out on a character. He threatens to blow up a hospital if that character is not dead in 60 minutes. There are no easy answers to the dilemmas contained herein and the consequential soul-searching is not always pleasant. Overall, the dialog is a lot tighter, another factor in making The Dark Knight so believable we find ourselves lost within it.

Of course the acting is tremendous. The supporting cast is flawless, providing one of the deeper casts of characters in recent memory. Leading the way is Aaron Eckhart, who plays his character perfectly, with just the right amount of emotion and complexity. Harvey Dent is one of my favourite characters from the comic books, and it is very pleasing to see him get a proper treatment. Also of note, Maggie Gyllenhaal replaces Katie Holmes (one of very few downsides to Batman Begins) as Rachel Dawes, and is much better and therefore much less distracting than Holme's
sub-par, boring, unlikeable performance. Two wonderful actors, Micheal Caine and Morgan Freeman, get much less screen time this go-around. This is most appropriate because it is hard not to smile when they are in frame, and The Dark Knight ain't meant to be too smiley. Gary Oldman continues his brilliant job as the endearing, admirable Lt. Jim Gordon. Oldman brings a kindness as well as a respectable matureness to the role and it is a terrific effort.

Christian Bale brings the true Batman of the comic books to life. He embodies The Dark Knight like none before him, and it's hard to imagine anyone else ever taking the part. Bale is fierce, confident, conflicted, and powerful as Batman. His "bat rasp" is put to even better use, he strikes fear in his enemies as well as the audience. As Bruce Wayne, Bale is arrogant and incontrovertibly intelligent. He gives his character such an intricate level of substance that it's difficult not to think Oscar. I truly think Christian Bale is one of the better actors working today. He could play anything. He could take the most serious award-contending roles, which he sometimes does do, but here he takes a character that has been degraded in the past and manages to turn it into a most serious award-contending role. This is surprising to some, but for an avid reader of the source material, it is nothing short of necessary to make the movies as great as they should be.

Now for what I assume everyone is curious about, Heath Ledger's invention of The Joker. The late Ledger was already an accomplished actor with such brilliant turns in, among others, Monster's Ball, Brokeback Mountain and I'm Not There. But here is his master work. His performance is nothing short of awe-inspiring, to put it in perspective, it is of Daniel Day-Lewis quality. Ledger's Joker is menacing, horrifying, thunderous and darkest of dark. Some scenes, and you can certainly credit the writing and directing for this, are unexpectedly terrifying. I really want to get the point across that this is the most frightening, haunting and harrowing picture of the year, and that Heath Ledger deserves infinite praise for making it so. He absolutely disappears into the character, like few in the trade can, there is no trace of him in the film. The unforgettable, hostilely enigmatic performance is, in my mind, a no-brainer to win the Supporting Actor Oscar. I would be very disappointed otherwise. Though it is hard to escape the movie without being disappointed. We have lost an immensely talented actor, who would have had a long, magnificent career.

The Dark Knight is not comic-booky at all. It is ironic that the actual comic books the movie is based on are not "comic-booky" either. It is unfortunate that such a limitless medium is seen in such a specific way by those who have not discovered it's possibilities. The movie is assuredly not as simple as good versus evil, but rather an examination of what good and evil really are and if they even exist. An elaborate meditation on right and wrong. A piece of extraordinary depth. This is why we go to the movies: To be moved, challenged, surprised and entertained. The Dark Knight is a crime-drama on par with the greatest works in the genre (Scorsese, Mann, Coppola). It is also, quite easily in fact, the greatest superhero film of all-time. Most importantly, it is one of the better motion pictures to ever grace the sacred silver screen.

Hellboy II: The Golden Army

2008-07-13T00:24:00.000-07:00

New Movie Review.

Instead of an image of the hero, marvel at one of the film's many awe-inspiring creatures

Directed by Guillermo Del Toro
Written by Guillermo Del Toro
Starring Ron Perlman, Selma Blair, Doug Jones

Four years after the original, Hellboy is back, and although there wasn't a lot of demand for a sequel, it proves to be a welcome addition to the list of summer 2008 blockbusters. This time around, "Red" has to stop an ancient mythical prince from summoning The Golden Army, an indestructible force of 70 times 70 mechanical warriors to take back the world that was once his. Whatever, the plot isn't really important. It just works as a vessel for visionary director Guillermo Del Toro to work his remarkable imagination. And he does.

The first Hellboy seemed impressive in 2004, but it visually pales in comparison to The Golden Army. From start to finish there are dozens of breathtaking creatures that raise the bar of fantasy. The sequel is a lot more rooted in fantasy/fairy tale territory than typical superhero stuff. Which is a good thing because Del Toro knows a few things about fantasy and fairy tales, he directed the masterpiece Pan's Labyrinth. For example, in a brilliant early scene, Hellboy and his team encounter hundreds of little "tooth fairies", vicious little killers who have a habit of stealing their victim's teeth. Or when the team infiltrate the "Troll Market", a place for the things that go bump in the night to shop, which may actually top the Tatooine bar scene in the first Star Wars film. A couple delightful surprises wait there, and I wont spoil them. Or when the prince throws a harmless looking green jumping bean at Hellboy, that once it finds water, becomes something rather spectacular, maybe even beautiful. Like Pan's Labyrinth, the film has a way of balancing makeup/costume effects with CGI. The result is authentic looking creatures that completely engross you into the movie's reality. Why other directors don't instate such style is quite the mystery to me.

The characters are all back, aside from Myers, which admittedly disappointed me...Until the Seth McFarlane (Family Guy) voiced Johan Krauss was introduced. A brilliant addition to the team, he seems to be a gas-like entity contained in some strange suit. His ability? He can possess inanimate objects, a power that will ultimately be underused because it's way too useful. Hellboy is up to his old smoking cigars/petting kittens/pissing off authority antics, as well as some new ones as well (a duet of Barry Manilow between Red and Abe Sapien may occur). Ron Perlman enthusiastically continues his great performance with just the right mix of brawn and sensitivity, making Hellboy very endearing. Del Toro regular Doug Jones (played multiple creature parts in Pan's Labyrinth) does triple duty as the more interesting this time around Abe Sapien as well as the film's two best creatures, The Chamberlain and The Angel of Death. Selma Blair again fails to impress as Liz, but the writing for her character isn't necessarily very strong. Jeffrey Tambor of Arrested Development gets more screen time but not more to do. He's still grouchy and only there for minor conflict and a couple weak laughs.

The characters are fun, and certainly are a big part of the experience, but it's the visuals that make this really worth seeing. Del Toro goes no holds-barred this time around, and it's sure to get any Lord of the Rings geek excited for his upcoming adaptation of The Hobbit. The plot is a bit trivial and the storytelling isn't up to the par of Del Toro's best work. The Hellboy films feel more like a mix of Pan's Labyrinth and Men In Black than a typical superhero movie. I wouldn't rank them amongst Iron Man, the Spiderman films (well, maybe #3) or the new Batman movies but it really isn't cut from the same cloth anyhow. So, striking visually, a bit weak story-wise, but a fun summer movie I highly recommend.

Modern Guilt

2008-07-11T01:28:00.000-07:00

I have just finished listening to Beck's latest album, Modern Guilt. It's really fantastic, and although I have only heard it once through it could be his best release yet. Right up there with Odelay, Sea Change and The Information for sure.

tricky business

2008-07-10T04:10:00.000-07:00

he says he wont come around here no more
strange
i thought i saw his face but it was just the mirror
time to stop timing everything i suppose
tricky business, that
just when you've finished do you realize what you started
no use using useless excuses
back to the drawing board
all out of ink and i'm afraid of lead poisoning
i'll just sit and wait
oh, i've finished

Michael Bay's Rejected Dark Knight Script

2008-07-07T23:16:00.000-07:00

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whoever made this is a genius

Christopher Nolan Retrospective

2008-07-07T14:36:00.000-07:00

Christopher Nolan is easily one of the best directors working today. He has a perfect track record thus far, and with the release of The Dark Knight on July 18th, his streak is sure to continue. At the age of 37, he has 5 great films under his belt. It begs the question why Nolan's name isn't always mentioned among the great film makers to emerge out of the 90s, such as Kevin Smith and Quentin Tarantino (who is nearly 10 years Nolan's senior). I figure it's a good time to look back on Nolan's first decade in film.

Following (1998)

His first feature film was very low budget, but very high quality. Nolan personally shot the black & white movie in 1996 for only $6000. The strength of the storytelling quickly puts the thought out of your mind that it was made so cheap. The scenes are shown out of chronological order, forcing the viewer to put together the pieces before the superb twist ending. A great film, a must-see.

Memento (2000)

Perhaps Nolan's best film so far, Memento is a wholly original suspense thriller masterpiece. The film is shown completely backwards to disorient the viewer to match how the short term memory disorder suffering protagonist feels. Like Leonard, played brilliantly by Guy Pearce, we see each scene without knowing what came before it. He is a widower, trying to find the man responsible for his wife's death. Some of the best storytelling I have ever witnessed culminates in a devastating fashion.

Insomnia (2002)

Nolan's only remake, Insomnia, is based on a Norwegian film of the same name. I have yet to see the original, even though I own it (lazyyyy), but I've heard Nolan's retelling is superior. The plot follows two detectives sent to Alaska to solve a homicide. It just so happens it's the "sunny season", when the sun stays up 24/7, causing main character Will Dormer (a great performance from Al Pacino) to suffer from insomnia. Being unable to sleep affects his work and his personal life and the consequences are dire. This may be the movie that stands out the least in Nolan's career, but it is undeniably suspenseful and another great story from a master storyteller.

Batman Begins (2005)

The prospect of Batman Begins was likely more exciting for me than anyone else. One of my favourite directors is chosen to co-write and direct a movie about my favourite comic book character, and they hire my favourite actor in the lead. I knew the movie was going to be great, but maybe not this great. It is the first Batman film that actually feels like the comic book, perfectly portraying The Dark Knight as a a frightening figure and Bruce Wayne as lonely man who must do good but hide his intentions from the public and all that are close to him. Considering Batman has no super powers, the film is actually somewhat plausible in the real word. One of the better superhero movies ever made.

The Prestige (2006)

Nolan again teams up with Christian Bale to make The Prestige, an intelligent period film about two rival magicians whose obsession with beating each other swallows their lives. The acting was electric, and the movie itself unraveled like a magic trick. Regrettably, I figured out the twist early on, but ultimately this is a film about two men tragically wasting themselves, and it's remarkably effective.

I have to admit, my expectations for The Dark Knight are dangerously high, even with early praise affirming what I have hoped. None higher, however, are my expectations for the remainder of Christopher Nolan's already accomplished career. I have no doubt he has more masterpieces in store.

As a bonus, here is a great little short film Nolan made while in College, titled Doodle Bug.

Hancock

2008-07-06T13:14:00.000-07:00

New Movie Review.

Directed by Peter Berg
Written by Vy Vincent Ngo & Vince Gilligan
Starring Will Smith, Jason Bateman & Charlize Theron

Hancock is the latest Will Smith blockbuster. It follows a disgruntled drunkard, John Hancock (Will Smith), with super powers who tends to cause just as much trouble as he stops. For example, when he saves a man from getting hit by a train, Hancock causes a train wreck. It doesn't help that every time he makes an entrance by landing in a street and ruining the road. The people of L.A. have taken notice, and would rather Hancock disappeared and left the city alone. Luckily, it just so happens the man, Ray (Jason Bateman), who was saved from the train is in Public Relations and wants to help shed a new light on Hancock. The two work together on Hancock's image and become friends. Ray has a wife, Mary (Charlize Theron), who is apprehensive of her husband's new friend. Her motives are mysterious and come up later in the film.

The movie's story is somewhat interesting but is average at best. The initial plot is shallow, and when it attempts to deepen in the questionable third act, it fails in a big way. The writing is amateurish and perhaps even laughable. Despite this, I'm giving Hancock an ever so slightly positive review.

Peter Berg's direction is an odd decision for such a silly action comedy, but it ends up being one of the saving graces. I'm a big fan of Berg's unique and very recognizable style that helped make Friday Night Lights my favourite sports film of all time. With last year's The Kingdom, an unfairly bashed flick, his style once again put emphasis on the smallest emotional moments. He is able to highlight the emotional moments in this movie as well, which is ridiculous because the movie does not earn it's audience over in that way. Still, when Berg does his thing it's hard not to feel anything. The other saving grace is the acting.

Will Smith is very good as usual, and it's fun to see him play a character with a bit more edge instead of copping out Tom Hanks style by only playing audience pleasing roles. Smith cusses and disses with an admirable ease while still subtly having that nice guy just below the surface. Jason Bateman is also a big highlight of the movie, adding his comic style he used in Arrested Development and Juno. He makes his character funny, sympathetic and very likable. Charlize Theron also does a good job here but she a brings a serious element that seems out of place.

The performances are very good and in the case of Smith and Bateman, very fun. The story may be forgettable, but Peter Berg's directing, even if it is out of place, helps make this a fun blockbuster. Certainly not a movie that needs to be seen, but it's an enjoyable way to spend a couple hours on a summer night.

Awesome.

2008-07-04T00:54:00.001-07:00

I just copied and pasted this from film.guardian.co.uk....
seriously incredible news for film lovers.

Missing scenes from Fritz Lang's Metropolis turn up after 80 years

Kate Connolly in Berlin
Thursday July 3, 2008
guardian.co.uk

Whole again ... Fritz Lang's Metropolis

The cinematic world was today celebrating the rediscovery of missing scenes from German director Fritz Lang's legendary silent film Metropolis - thought lost for 80 years, until they were found in the archive of a museum in Argentina.

Key scenes cut from the science fiction picture - either because they were considered to be too brutal or too long - will now be available for the first time since May 1927, when the original version was last shown in Berlin, where it flopped badly.

Silent Bob Speaks About The Dark Knight

2008-06-30T02:10:00.001-07:00

Kevin Smith, the lucky bastard, has seen The Dark Knight. Here's what he had to say...

Courtesy of Peter Sciretta over at SlashFilm.com, I caught an early screening of “The Dark Knight” yesterday evening.

Without giving anything away, this is an epic film (and trust me: based on the sheer size and scope of the visuals and storytelling, that’s not an overstatement). It’s the “Godfather II” of comic book films and three times more earnest than “Batman Begins” (and fuck, was that an earnest film). Easily the most adult comic book film ever made. Heath Ledger didn’t so much give a performance as he disappeared completely into the role; I know I’m not the first to suggest this, but he’ll likely get at least an Oscar nod (if not the win) for Best Supporting Actor. Fucking flick’s nearly three hours long and only leaves you wanting more (in a great way). I can’t imagine anyone being disappointed by it. Nolan and crew have created something close to a masterpiece.

Dr. Horrible's Sing-Along Blog Announcement

2008-06-28T19:29:00.000-07:00

Master of TV, Comics and Film and everything, Joss Whedon, has announced the release of his next project "Dr. Horrible's Sing Along Blog". A musical about a supervillian (That sounds fantastic!!!). He's doing something really special, me thinks, and I thought I would attempt to bring attention to it. If you're a Joss fan, get pumped. If you're not a Joss fan, get pumped anyway, watch Dr. Horrible, become a fan, and then thank me. Anyways, you should hear this from the horse's mouth. Here's what Joss has to say:

Dear Friends,

At last the time has come to reveal to you our Master Plan. BEWARE! Those with weak hearts should log off lest they be terrified by the twisted genius of our schemes! Also pregnant women and the elderly should consider reading only certain sentences. Do not mix with other blogs. Do not operate heavy machinery while reading this blog. You must be this tall to read. ‘Kay?

It is time for us to change the face of Show Business as we know it. You know the old adage, “It’s Show Business – not Show Friends”? Well now it’s Show Friends. We did that. To Show Business. To show Show Business we mean business. (Also, there are now other businesses like it.)

ONE WEEK ONLY! AN INTERNET MINISERIES EVENT!

"Dr. Horrible’s Sing-Along Blog" will be streamed, LIVE (that part’s not true), FREE (sadly, that part is) right on Drhorrible.com, in mid-July. Specifically:

ACT ONE (Wheee!) will go up Tuesday July 15th.

ACT TWO (OMG!) will go up Thursday July 17th.

ACT THREE (Denouement!) will go up Saturday July 19th.

All acts will stay up until midnight Sunday July 20th. Then they will vanish into the night, like a phantom (but not THE Phantom – that’s still playing. Like, everywhere.)

And now to answers a few Frequently (soon to be) Asked Questions:

1) Why, Joss? Why? Why now, why free, why us?

Once upon a time, all the writers in the forest got very mad with the Forest Kings and declared a work-stoppage. The forest creatures were all sad; the mushrooms did not dance, the elderberries gave no juice for the festival wines, and the Teamsters were kinda pissed. (They were very polite about it, though.) During this work-stoppage, many writers tried to form partnerships for outside funding to create new work that circumvented the Forest King system.

Frustrated with the lack of movement on that front, I finally decided to do something very ambitious, very exciting, very mid-life-crisisy. Aided only by everyone I had worked with, was related to or had ever met, I single-handedly created this unique little epic. A supervillain musical, of which, as we all know, there are far too few.

The idea was to make it on the fly, on the cheap – but to make it. To turn out a really thrilling, professionalish piece of entertainment specifically for the internet. To show how much could be done with very little. To show the world there is another way. To give the public (and in particular you guys) something for all your support and patience. And to make a lot of silly jokes. Actually, that sentence probably should have come first.

2) What happens when it goes away? Does it go to a happy farm for always like Fluffy did when mommy was crying and the neighbor kept washing his fender?

No, Dr horrible will live on. We intend to make it available for download soon after it’s published. This would be for a nominal fee, which we’re hoping people will embrace instead of getting all piratey. We have big dreams, people, and one of them is paying our crew.

And somewhat later, we will put the complete short epic out on DVD – with the finest and bravest extras in all the land. We’ll go into greater detail about that at Comiccon, but we’re changing the face of Show Friendliness a second time with that crazy DVD.

3) Joss, you are so kind, and generous, and your forehead is like, huge, like SCARY, like I think I can see Cary Grant and Eva Marie Saint hanging off it… what can WE do to help this musical extravanganza?

What you always do, peeps! What you’re already doing. Spread the word. Rock some banners, widgets, diggs… let people know who wouldn’t ordinarily know. It wouldn’t hurt if this really was an event. Good for the business, good for the community – communitIES: Hollywood, internet, artists around the world, comic-book fans, musical fans (and even the rather vocal community of people who hate both but will still dig on this). Proving we can turn Dr Horrible into a viable economic proposition as well as an awesome goof will only inspire more people to lay themselves out in the same way. It’s time for the dissemination of the artistic process. Create more for less. You are the ones that can make that happen.

Wow. I had no idea how important you guys were. I’m a little afraid of you.

4) Joss, do you ever answer a question simply or coherently?

Shledzguohn?

There’ll be more questions, and more long, long answers, but for now I’m just excited that we’re actually making this happen. We (and a lot of other people -- gushing to commence soon) worked very hard on the show and we hope/think you guys will be pleased. Until July 15th , I remain, yours truly, -j, of the firm j, j, m & z.

You can check out the trailer right here:

Teaser from Dr. Horrible's Sing-Along Blog on Vimeo.

Wall-E

2008-06-28T17:52:00.000-07:00

New Movie Review.

Wall-E examines one of his treasures

Written by: Andrew Stanton
Directed by: Andrew Stanton
Starring: Ben Burtt, Fred Willard, Sigourney Weaver, Jeff Garlin

Pixar has one again delivered a classic, which really, is not a surprise. This, however, does not mean Wall-E isn't surprising. The film pushes the boundaries of Western mainstream animation with an admirable amount of gusto. What we have here may be the greatest animated film in American history (I, as a critic, can't help but remain partial to Ratatouille). I'm not certain that by the end of 2008, Wall-E will stand as the best movie of the year, but I'll bet it's the most special, and maybe even most important. This is a family movie that doesn't know it's a family movie. Yes, it's rated "G" in the USA and Canada but so was 2001: A Space Odyssey, and I have no problem naming the two films in the same sentence, which in my opinion, is the largest of compliments. It doesn't need swearing or adult-only themes to work. We have a science fiction story that has a lot to say about where were going, and please do not just write it off as another global warming movie. Yes, global warming and how we treat our planet is the main concern here, but the film is remarkably effective then when you leave the theater, you will notice the first tree or plant you see and be filled with regret. I believe Wall-E to first and foremost be a science fiction film, but that's certainly not all.

It is roughly 700 years in the future, we left earth some time ago when it became a barren wasteland. The first time we see Wall-E, the one robot left behind to pick up our trash, he is compressing garbage and making gigantic junk piles that resemble skyscrapers. The first time we are presented with the image of earth in this way, Wall-E working away on one of many piles, the title of the film fills the screen. We quickly realize this isn't the standard kid's flick. The image is so unexpectedly haunting, definitely one of the most effective visions of our planet's future. Wall-E appears to be alone on earth except for a cockroach that tends to follow him around. Wall-E should stick to his task, but he has developed a personality, and a winning one at that. He collects objects that peak his interest, such as a Rubik's cube and a light bulb. The item that has captured his artificial imagination most effectively is a VHS copy of Hello Dolly which he routinely watches. As he watches, two characters on screen hold hands, Wall-E simultaneously interlocks his own robotic hands. He has developed longing. Soon, his simple life is interrupted by the arrival of a spaceship bearing a female robot, EVE, sent to locate some sign of life. Wall-E is at once obsessed and does not leave EVE alone. The unlikeliest of romances begins, and what a memorable one it is. By the end, the strength of the romance is enough to love the picture. Once EVE finds what she needs, she blasts into orbit, Wall-E tags along.

They end up at Axiom, a space station, our advanced civilization. People, it seems, have changed. Everyone is obese and exerts little to no effort in their daily lives. Computers and robots control everything. Even the human man leading the people ultimately answers to a robot (a robot with an ominous red eye much like HAL from 2001, an homage to a great inspiration but perhaps even an equal) No one walks anymore, they float around in chairs with a projected TV screen. They have forgotten how to live. The poignancy only increases. I could keep going on about the brilliant vision of the future but to be surprised is better.

I mentioned that Wall-E primarily works as Sci-Fi, and secondly as a romance, thirdly comes comedy. I don't know if I could go as far as to actually call it a comedy, but there are hearty laughs abound. Wall-E's curiosity is charming and often leads to a pleasantly hard to predict and hilarious result. The gags should please the young, old, and in between alike, but I'm not quite sure how young kids will react to this movie as a whole.

The opening 30 minutes is practically dialog free. We eventually gain some minor human characters who speak a little, but speech is very minimal nonetheless. The visuals are stunning and captivating, and in the right mood, a young child may be engrossed. I wouldn't be surprised though, if a child might fidget and lose interest, at least for part of it. The more patient, thoughtful viewer will be in paradise the entire time.

Andrew Stanton (Finding Nemo) has crafted a masterpiece. An animated film that is not afraid to please adults first. Filled with dark undertones as well as a large dose of hope, one can experience a range of emotions during Wall-E. I was moved and haunted to an extent few movies can accomplish. Pixar has really outdone themselves by bringing us an American animated movie as thoughtful as a Miyazaki film (Spirited Away, Princess Mononoke), to me that is the highest of accolades. Wall-E is, without a doubt, one of the greatest animated films of all time and perhaps one of the best Sci-Fi films as well. Go see Wall-E, it's flawless.

Various Shenanigans

2008-06-20T03:59:00.000-07:00

Hullo...

So I just finished doing extra work for Caprica, a spin-off of Battlestar Galactica. It was super fun but I worked 30 of the last 48 hours so I'm a bit tired (but I did touch Eric Stoltz). Also, I have a hectic sched which has already been set in motion. The highlights of which are; Cirque Du Soleil, a Can't Stop The Serenity screening, a road trip to Kamloops, 2 Matthew Good concerts and a fun evening at Playland. So, no new review this weekend (remember I did drop 2 last week) but I will return with my take on the highly anticipated Wall-E, next friday.

The Incredible Hulk

2008-06-15T01:41:00.000-07:00

New Movie Review.

The early scenes are best, when Bruce Banner is Bruce Banner, such as in the pic here

Directed by: Louis Leterrier
Written by: Zak Penn & Edward Harrison
Starring: Edward Norton, Tim Roth, Liv Tyler, William Hurt

Marvel Studios has provided another successful film with their sophomore entry. Not nearly as good as Iron Man, The Incredible Hulk nonetheless provides quite a bit of fun just in time for the summer season. There are some problems, though.

For starters, Bruce Banner is way more interesting than The Hulk. With Iron Man, Tony Stark puts on a suit but nothing else really changes. The Hulk, is a dim-witted, mute, mini Godzilla. Every time Banner got green, I was very anxious to get back to the real man. One of the reasons for that is Edward Norton, who is excellent in this role. He brings depth to a character somewhat lacking depth. Every time, the real human is swapped for a ridiculous CG beast, I'm taken right out of the movie. In fact, the Hulkless first twenty minutes is the highlight of the movie.

The other performers are hit and miss. William Hurt is a bit dull as General Ross, the man who wants to use Bruce Banner's unique problem as a means to advance military prowess. With the power of the Hulk harnessed, I suppose he would make super soldiers or some such nonsense. Liv Tyler is the general's daughter and the love interest. Her performance is pretty average and contributes very little to the proceedings. Worse yet, she shares no on-screen chemistry with Norton (unlike Downey Jr. and Paltrow in Iron Man). Tim Roth plays the power-hungry Emil Blonsky with a welcomed fierceness. Unfortunately, he's shorted as far as lines go, but he makes superb usage out of his material.

The writing is only average, and the direction is nothing special. The action sequences are sleep-inducing. I caught my mind wandering numerous times during the final battle. We're expected to buy into the Marvel universe, and for the most part, I do. But how can I when I'm watching two lifeless cartoons duke it out. Either CGI needs to advance quickly or Marvel needs to take a cue from Guillermo Del Toro (Hellboy, Pan's Labyrinth) and go for outstanding makeup and costumes with subtle CG effects. I don't see how that's too much to ask. I'm starting to complain too much...

The fact is, this movie is very fun, more so at first than during the climax, yes, but it's a worthwhile experience. Edward Norton adds credibility, even if he doesn't blow us away like Robert Downey Jr. did oh so recently. The story is OK and a fun surprise appearance in the final scene makes things more interesting. Marvel Studios are off to a good start but they need to keep delivering, preferably at the level that Iron Man did. The Incredible Hulk is good, but if not for all the excitement surrounding Marvel right now, it might have been forgettable.

The Happening

2008-06-14T21:53:00.000-07:00

New Movie Review.

All is forgiven, M.

Directed by: M. Night Shyamalan
Written by: M. Night Shyamalan
Starring: Mark Wahlberg, Zooey Deschanel, John Leguizamo

Lets begin by addressing M. Night Shyamalan's career. I don't really understand all the hate. Yes, he has made two bad movies in a row (Two!! That's twice as many as one!). This was all the more disappointing because he made 3 great movies previous to the duds. I just don't get how people can lose faith so quickly. What's more perplexing is The Happening is, according to Rotten Tomatoes.com, his worst received film yet. Maybe, I'm missing something. I just call 'em as I see 'em, and what I see is a brilliant, original film maker who has done more good than bad with his art. Perhaps The Sixth Sense attracted too much attention. Perhaps there would be less hate if he had a smaller following. In an odd way, his movies are small and quiet. Rare is action or any Hollywood influence a part of his projects. Shyamalan makes movies about supernatural happenings, and it's effect on real people. Usually he focuses on his characters above all else. This is not the case here, yes there is character development abound, but the "world event" occurring is what's important.

One morning in Central Park, NY, people abruptly halt and begin to commit suicide. The bizarre epidemic spreads throughout the north-eastern states. When Elliot Moore (Mark Wahlberg, unconvincing as a school teacher) gets word of this, he gets his wife Alma (Zooey Deschanel), and his friend/colleague Julian (John Leguizamo) who has a daughter named Jess, and they skip town via train. The train stops in the middle of nowhere, and hope of survival becomes less and less possible.

One surprise is that there's no surprise. There's no trademark twist here. Shyamalan could have kept what's killing everyone a secret until the end. It would have been a larger shock, but knowing early on benefits the experience. We are able to dwell on what's happening, yes indeed, The Happening is thought-provoking. Message aside, the film truly excels at creating suspense and occasional terror. Beginning with the stellar opening credits, a suspenseful mood is created. It is sustained until even after the movie ends. Seeing people needlessly take their own lives is everything it should be; saddening, horrifying, and disturbing. It's smart, it's scary, and best of all it's plausible within the real world. The Happening is terrific entertainment.

The acting is a bit strange. Both Wahlberg and Deschanel seem a bit stiff, and their delivery is occasionally silly. It's so obvious that I find it impossible to believe they didn't notice this during filming. To be honest, it doesn't really bother me. In fact, in the case of Wahlberg, I find it appealing. The supporting cast is very solid, especially all the strangers our heroes run into.

The Happening has a strong start, a strong middle and a strong conclusion with scares along the way. James Newton Howard's score is great, and really sets the tone. The acting is questionable, but it's not too damaging. M. Night Shyamalan has had a rough streak, but it ends here. He has written and directed a thoughtful and spectacular suspense picture that also manages to be a powerful parable. Highly recommended.

Kung-Fu Panda

2008-06-08T02:55:00.000-07:00

New Movie Review.

Of course, Kung-fu master Shifu eventually decides to properly train Po

Directed by: Mark Osborne & John Stevenson
Written by: Jonathan Aibel & Glenn Berger
Starring: Jack Black, Angelina Jolie, Dustin Hoffman, Seth Rogen, Ian McShane, David Cross, Lucy Liu, Jackie Chan

It's hard to dislike a movie that means well. It is also hard to like a movie that doesn't really do anything new. These two factors balance out to make Kung-Fu Panda, the latest animated hit, pretty average.

I'm getting tired of big name celebs being the main selling point for animated films. Last year's Ratatouille used some name actors but didn't exploit it like most. Also, if you've seen Ratatouille you should be able to tell that the hired players were chosen only because of their talent. Panda has been touting the blockbuster cast in a disgusting manner. After this year's Horton Hears A Who, which did the same with Jim Carrey and Steve Carell, I expected similar results. It turns out that Jack Black's personality enhances this movie and his job is likely the highlight. The rest of the cast aren't bad but the usage of famous actors (Dustin Hoffman, Angelina Jolie, Jackie Chan) is nonetheless pointless.

The film opens up with a superb 2D (with some 3D) sequence. The animation here is fresh and exciting. The narration is entertaining and hilarious. Then it gives way to CG. Turns out our hero, a rotund panda named Po (Black), was only dreaming. Too bad. I'm not against 3D animation, I just think that it's not always the right choice. Especially when the studio in question isn't raising the bar. No film has matched the stunning visuals of Ratatouille, although Pixar's next project, "Wall-E", is poised to take a stab at it later this month.

The story is very basic. The unlikely hero Po, a big fan of Kung-Fu, is accidentally selected as the chosen one. Well, at least it seems like that, but the wise kung-fu master states "there are no accidents". The "Furious Five", which is the local quintet of Kung-Fu experts, are surprised and disappointed that one of their members was not chosen. Their master, Shifu (Hoffman), is outraged and at first attempts to subtly convince Po to quit. I assume you can see where this is going, and that's the the problem with the film. It is so familiar you probably could have the entire plot mapped out before the movie even starts. Luckily, the execution here is very good, and the movie, overall, is quite fun. The beginning and end are especially enjoyable while the middle is a little weak sauce. The head of steam gained by the excellent opening doesn't take long to run out and the flick doesn't get it back until the 3rd act.

The plot and animation are a bit tired but Jack Black propels Kung-Fu Panda past mediocrity. It is fun, and the kids will love it, but it is certainly not must-see material. There are however, worst ways to past the time until The Dark Knight arrives in just over a month. What other purpose could any piece of art or entertainment serve until July 18th, anyways?

I Will No Longer Suck.

2008-06-07T20:07:00.000-07:00

I have not posted very many reviews as of late, or posted anything at all really. It's mostly because I haven't seen too many new movies recently, and also, find it a waste of time to post a review weeks after a movie release. For example, I still plan to see the new Indy Jones flick, but a review seems irrelevant at this juncture. However, I will be seeing Kung-Fu Panda this evening, and you can expect a review before weekend's completion. It will be the review to kick off my new promise. You see, another one of my problems is laziness and lack of motivation. So I figure if I put it in writing on the inter-web, I have to follow my promise or the inter-web-Dieties will have my critic-soul on a godlike china platter. So here is the aforementioned promise: I swear there will be at least 1 new review each week on The Bronze. Of course, if I am on vacation or dying, I may not have access to a computer. But no other excuses. I swear. So here's to a brighter, more efficient, frequently updated inter-web future.

Zack and Miri Teaser Trailer

2008-05-30T02:07:00.000-07:00

Kevin Smith has put together some teaser footage for his upcoming flick, Zack and Miri Make A Porno. You can check it out at Quick Stop Entertainment.

CAPcast Episode 1

2008-05-12T13:14:00.000-07:00

In which our heroes give their podcast a title, ponder the meaning of "tweens", and discuss the importance of Samuel L. Jackson

CLICK THE TITLE TO LISTEN

Forgetting Sarah Marshall

2008-05-03T22:16:00.000-07:00

New Movie Review.

Written by Jason Segel
Directed by Nicholas Stoller
Starring Jason Segel, Kristen Bell, Mila Kunis, Russell Brand

Forgetting Sarah Marshall is yet another classic produced by Judd Apatow. This time the Freaks & Geeks alumni in the spotlight is Jason Segel. Segel wrote the script and has the starring role of Peter. Peter is a composer for the TV show "Crime Scene", the star of which is Sarah Marshall (Kristen Bell), his longtime girlfriend. Early on, Peter is dumped by Sarah in one of the better breakup scenes I have ever seen. Yes it's hilarious that Peter happens to be nude when she breaks the news but the performances are what's really impressive. Having difficulty getting over being single, Peter leaves for a vacation in Hawaii. However, it turns out Sarah is there, when he arrives, with her new boyfriend, a famous pop star named Aldous Snow (Russel Brand).

Yes, the plot in it's simplest form doesn't sound too great. In comparison to 40-Year Old Virgin or Knocked Up it seems almost sitcom-y. Luckily, that isn't the case. The plot merely provides a scenario for all the actors to shine. Also, it is evident that this was written straight from the heart, and the sincerity is quite powerful. The laughs come quick in this movie and they're big laughs at that, very few cheap jokes and gags to be found. Nearly every funny part comes from the strength of the writing or the acting rather than vulgarity or slap stick. That's not to say the movie isn't dirty, but it certainly is all in good taste. Some scenes are absolute magic.

Director Nicholas Stoller is a master of comedic editing. Flashbacks/forwards rush to the screen out of nowhere, and are gone just as quick, but they enhance the movie extensively. An example of this method is when Peter is asked by a friendly local to help cook a pig. The movie quickly flashes forward to Peter having to slaughter the animal. It's loud and surprising and is one of the funniest moments in the entire film. Stoller is another person Judd Apatow has been loyal to, having been a writer on the short-lived series Undeclared.

The performances are shockingly perfect. Apatow is known to have said that out of all the young actors he worked with on Freaks & Geeks, Jason Segel was the one he thought would make it big in movies first. For those unaware of the talented cast of the TV show, it included James Franco and Seth Rogen (who are reunited in the upcoming Pineapple Express). It's very easy to see why Judd thought that. Segel may be playing just another version of his character from Freaks & Geeks and Undeclared, but he has now mastered it. He has always been great at playing the sensitive, low self esteem guy, but Segel steps it up here. To see him in this movie is to see legendary comedic work, he delivers the lines in ways no one else could and always, in a way, plays it serious. His character is not sacrificed for comedy. He has created a real man who cries several times earning sympathy not pity or shame. Jason Segel is excellent, but long time fans knew he had it in him. The bigger surprise is how superb everyone else is. Kristen Bell fearlessly takes on the role of Sarah Marshall, and manages to never play the bitch, which so many actresses would have. Bell gives Marshall humanity even when we don't like her. This pays off big later in the film, when our perspective changes. Mila Kunis is a revelation in this film. Her role is so key to making the movie really work and she delivers perfection. She shows such an awareness of her acting that we have never seen from her in That 70's Show. She doesn't use tricks, her facial expressions are varied and real and her use of the tone of her voice is genius. Somewhat unknown actor Russel Brand is brilliant as Aldous Snow. The egotistical pop star is not the hardest part to play but he elevates his character beyond expectation. The four main players all deserver to be stars, and with this movie they show that that could be in either comedy or drama. The supporting cast is remarkable, led by Paul Rudd as a stoner surfer and Jonah Hill as a waiter obsessed with Aldous Snow.

It's a bold statement, but thanks to Judd Apatow I believe this to be the true golden age of comedies. Consistently, we are seeing comedies that while being hilarious manage to convey meaning as well as provide at least a little insight. It is truly a great time to be a lover of film. Especially when it seems there's always another great comedy around the corner. With Forgetting Sarah Marshall, the streak continues and Jason Segel has now emerged as a star and a superb writer. It seems the list of great actors, writers and directors working with Apatow keeps growing. So knowing that, let me suggest a scary thought. That even after living through The 40 Year Old Virgin, Knocked Up, Superbad and Forgetting Sarah Marshall that the best is still to come.

The Tracey Fragments

2008-04-21T00:39:00.000-07:00

New Movie Review.

Tracey Berkowitz: "When a horse falls, foam comes out of its mouth. When it falls, the legs of the horse thrash and the horse is no good... So somebody shoots it. The horse turns into glue. A machine puts the glue into bottles and children squeeze the bottles to get the glue out and stick bits of paper onto cards. Glue gets on the children's hands and the children eat the glue. And the children become the horse."

Written and Directed by Bruce McDonald
Starring Ellen Page

Tracey Berkowitz is a 15 year old girl, alone, in her underwear, on a bus, wrapped in a curtain. Perhaps she should rethink her life a little. Over the course of The Tracey Fragments, she does. She recounts the events that lead her to this moment. It all started when her brother, Sonny, went missing. What makes matters worse is that Tracey was in charge of her Little brother’s well-being. Her deadbeat parents are furious and distraught. Tracey decides it is her responsibility and sneaks out to search for her sibling.

Knowing Bruce Mcdonald, The Tracey Fragments is likely more than meets the eye (and what meets the eye is incredible). I believe that in Tracey we have a symbolic 15 year old. Thanks to society, she has been desensitized and exposed to too much too soon. Like so many young people today, primarily girls, she has been stripped of her innocence and forced to mature, leaving a strange mix of experience, anger and naivete'. Sonny, her young brother, who, through flashbacks, we only see acting as a dog represents her lost innocence. The ensuing journey then, is the all too relatable wild goose chase to reclaim what is lost forever. Perhaps a simple concept, but the complex presentation heightens the effect.

The film is composed with multiple frames at once (think 24 but way more experimental). Occasionally there is only a small box somewhere onscreen. Sometimes the screen is full with many angles and even separate scenes. The style takes some getting used to and isn't always perfect. However, this is the first time I have seen this, and it is revolutionary. I certainly hope to see this built upon in the future.

As for the acting, the supporting players are apt but minor. The one, giant role in this movie is a superb performance from Oscar-nominee Ellen Page. Like many, I have seen a few of Page's roles and am convinced of her award winning future. Tracey Berkowitz stands as Exhibit C for evidence of her immense talent, her surprising turn in Hard Candy being B and the now legendary Juno as A (however, I have been unable to see her genius in "An American Crime" as of yet). She is small and she is gargantuan, the somewhat provocative material appears to be a cakewalk for her. She suavely cusses without any minuscule sign of inhibition. Her eyes contain a remarkable vulnerability but there is power behind them, like a deceptive blue flame. I can not think of a better actress.

The Tracey Fragments is a successfully experimental film from legendary Canadian director, Bruce McDonald. It is certainly not for everyone. It is complex, and even with a 77 minute running time with multiple frames at once, the pacing requires patience and may deter most viewers. The moviegoer who appreciates more complex artistry should be more than satisfied. Powerful acting, interesting storytelling and original film making add up as quite the treat for the right audience. Such a tale of lost purity is all too poignant. Through Ellen Page's creation of Tracey Berkowitz, we see a girl chewed up, swallowed, and spit back out, used to the furthest extent. What evokes the greatest sadness, however, is that we see within her some remaining innocence, but there are only fragments.

I'm Going To Disneyland!

2008-04-17T21:58:00.000-07:00

Right now, I'm sitting at the Vancouver International Airport waiting to board my flight to L.A. As I am going to Disneyland with my girlfriend, Nicole. I will not be back until the 24th, and I may not get a chance to post while I am down here. So, I shall leave with this video...
...and I actually had to board my flight without posting this, so what started in Vancouver is now in Anaheim. I have free internet, so I will be able to post. First up, a review of The Tracey Fragments which should be up within the next 48 hours.

Hilarity.

2008-04-07T18:43:00.000-07:00

Straight from the set of Kevin Smith’s Zack And Miri Make A Porno - starring Seth Rogen, Elizabeth Banks, Jason Mewes, Traci Lords, Craig Robinson, Jeff Anderson, Katie Morgan and Ricky Mabe - comes a cautionary tale about just what it takes to get ahead in Hollywood…

"I'm F**king Seth Rogen"

Snow Angels

2008-03-31T01:13:00.000-07:00

New movie review.

Michael Angarano and Olivia Thirlby are the best thing about Snow Angels

Written by: David Gordon Green
Directed by: David Gordon Green
Starring: Sam Rockwell, Kate Beckinsale, Michael Angarano and Olivia Thirlby

2008 is poised to be another excellent year for movies. There are more great films at this point (March 31st as I write) of this year than there was during the now legendary 2007. Oddly enough, there has been a common thread through all the quality material thus far, everything is dark. This trend continues with David Gordon Green's Snow Angels.

The movie's tone is set in the opening scene. A high school marching band is practicing for an upcoming football game in Snowy Small Town, USA (no precise location is given). Citizens are shown going about their day. The marching band make some mistakes much to the chagrin of the band teacher. Two loud gunshots in the distance interrupt the normalcy. "Weeks Earlier" flashes on the screen. For the remaining duration, we will see the events that led to this unseen incident.

This is one of those rare movies where it is difficult to decide who is the main character. I'll just start with Artie (Michael Angarano), a teenager (and member of the aforementioned school band) who spends his free time working at a local Chinese restaurant. Also working at the restaurant is Artie's old babysitter Annie (Kate Beckinsale). Annie is unofficially separated from her husband, Glenn, played by Sam Rockwell. Glenn, we discover, attempted suicide, and is battling alcoholism. Their young daughter lives with Annie, understandably. However, when Glenn takes his daughter out for the day we see that he is caring and trying his best to become the best man he can. Our sympathies are earned twofold when a very sober Glenn asks his wife out on a date, and his hidden charm emerges. Unbeknownst to Glenn, Annie has already begun another relationship with a married man, Nate (Nicky Katt). The sweet man we caught a glimpse of, disappears when Glenn discovers their affair. Things begin to spiral out of control. Soon, Annie and Glenn are pushed to the boundaries of their emotional endurance, which worsens moreover with an unexpected tragedy.

Meanwhile, Artie has begun a relationship with a new student, Lila Raybern, played by the remarkable Olivia Thirlby (the best friend in "Juno"). They take to one another quite quickly, and one of the sweetest on-screen teen romances of recent memory ensues. With the character of Artie, whom we witness doing drugs, we are not given one of the usual two extremes. Instead of the ridiculous, glorified stoner, or the bad kid who does bad things, we get realism. Artie is a normal teen, and he faces some tough problems, such as his parent's impending divorce. We understand his choices, and we are therefore more forgiving.

Realism is where Snow Angels excels. Green has written and directed a painstakingly poignant slice of life. The very talented, near-perfect cast, helps accomplish this effect. Sam Rockwell is terrific, and remains one of the more interesting actors around. He plays his character so gently, that events later in the movie are made all the more devastating. Beckinsale is the one weak link. Mind you, she's good, but that makes her the only thing less than great in the whole picture. It's a bit of a stretch to see her as a lower class, small town citizen. The young couple in the film are absolutely spot on. Olivia Thirlby proves once again that she has an enormous amount of promise. Critic Richard Roeper went as far as too say she has a brighter future than Ellen Page. I wouldn't make such a bold statement but Thirlby is at least second to Page, with no competition, in the young actress category. Michale Angarano is wonderful and completely believable. Bumbling yet sweet, he comes off as sort of a toned down Michael Cera. The supporting cast, led by Nicky Katt, are also very effective.

Snow Angels is a somber picture, with an impressive sustaining mood. Here we see the highs and lows of human relationships. The crumbling family, marred by Annie's infidelity and Glenn's substance abuse represent the worst case scenario. Artie and Lila's relationship, which is by far the best thing in this movie, is bright, endearing and sincere. The plot gets extreme at the end. What's shocking is how believable it is, easily this could be a true story. If you want to have a good time at the theater, avoid this one. If you want to see a truly great film, don't.

Paranoid Park

2008-03-17T00:58:00.000-07:00

New Movie Review.

Gabe Nevins as a skateboarder with a guilty conscience

Directed by: Gus Van Sant
Written by: Gus Van Sant
Starring: Gabe Nevins, Daniel Liu, Taylor Momsen

One of the main draws of seeing a film is the performances. Sometimes an actor or actress are so impressive in a role, that it seems like a complete art all by itself. Peculiar then, how Gus Van Sant's recent movies have been so great without using actors, but everyday people instead. While Paranoid Park is not a masterpiece like Van Sant's Elephant, the director is again able to create a unique mood, partly attributable to the amateur cast. Both films focus on high school students, and I am now convinced that no one can shoot a high school like Gus Van Sant. The way the movie is actually put together is nowhere near amateurish. It is experimental, but expertly pulled off with astonishing results.

The movie follows a skateboarder named Alex (Nevins), who may be involved with a murder near the popular skate park, Paranoid Park. Although it is unclear exactly what happened until later, he appears to have a guilty conscience. We become more suspicious when the story Alex told the detective investigating the case, is contradicted by a flashback. The entire movie is non-linear, and unlike the typical "Rashomon" approach, it is not always clear whether or not the movie is showing a flashback or flash-forward, it is just always moving sideways. Alex narrates the picture by reading out loud a letter or story he seems to be writing, and the movie jumps along in the order he describes his story. A bit incoherent, but after all as he says, he "didn't take creative writing".

Non-actor Gabe Nevin's narration is spoken like any average teenager would read their homework aloud in class. He's a bit nervous and makes the occasional error. This is a brilliant artistic choice and cements the realistic portrayal of adolescence. Not just his guilt, but all the other feelings Alex has are felt by the viewer even when the feelings are not voiced, just observed. His parents are going through a divorce, and he's stuck in a relationship with a girl he has no real feelings for. It's obvious he wants to and should leave her, but she's easy, and Alex's friends think it's crazy to pass up "free sex". After all, as his apparently best friend Jarrod eloquently puts it, "getting laid is better than not getting laid".

As the movie seamlessly moves side to side, all the scenes blend together. This is the way Alex is drifting through life, without paying attention to much of anything. The film is inter cut with footage of random people skateboarding. The way it is presented is dreamlike and hazy, suggesting that the lives of teens is sort of like a dream, or being asleep. However, sooner or later, we are exposed to what is dark in this world and in fellow human beings, and we must wake up.

We are able to see Alex before and after the incident at the park, and we can see that he will never be the same once he goes there. In a midway scene, Jarrod tells Alex that they should check out Paranoid Park for the first time. It's where the cooler, more advanced skaters go. Alex insists he is not ready for Paranoid Park. Jarrod replies "no one is ever really ready for Paranoid Park". Reluctantly, Alex gives in and agrees to go. Time to wake up.

Funny Games

2008-03-16T02:59:00.000-07:00

New movie review.

...something tells me he ain't gonna use those for golfing...

Directed by: Michael Haneke
Written by: Michael Haneke
Starring: Naomi Watts, Tim Roth, Michael Pitt, Brady Corbet

Funny Games is a brilliant deconstruction of movie violence from writer/director Michael Haneke. The movie is actually a remake of Haneke's 1997 Austrian film of the same name. I have not seen the original but apparently little has changed in the American update. This fact alone should put the idea to rest that this is a deliberate response to "torture porn". The film doesn't attack "Hostel", it attacks our desensitized views of violence (and yes it can be argued that Hostel is a guilty party).

The movie begins with a small family, on the road to their vacation home, composed of Ann (Watts), the mother, George (Roth), the father and the son, named after his dad. Not long after their arrival, two strange young men begin to harass them. The two young men go by several names throughout the film, the most consistent of which is Peter (Corbet) and Paul (Pitt). The "games" begin, and soon the family is fearing for their lives. I don't want to give away much more than that.

The acting is pitch-perfect, with standout performances from Naomi Watts and the extremely creepy Michael Pitt. Also, Tim Roth gets back to his Reservoir Dogs roots by screaming in pain a lot. There is no weak link, in fact only strong ones, in the small cast. Even the small boy, played by Devon Gearhart, is 100% believable. This believability is very important because the movies point relies on realism.

The entire movie, from beginning to end, seems like it could have actually happened. This is terrifying. Haneke's point is to ground the violence in reality. This way we can appreciate how terrible it is. In the end, violence on screen is not so different than in real life. So, if people go see movies specifically to see human beings tortured and killed, what does that say about them? The interesting thing is, there is pretty much no violence shown (only one scene is an exception), only character reactions and blood splatter. Surprisingly, this does not take away from the horror or suspense, the movie even benefits from this approach.

Funny Games is an excellent film, that begs us to reflect on ourselves. Superb acting and masterfully crafted, the film is a must see for the movie goer who wants more out of a story than entertainment. From the startling opening credits to the unsettling end credits, Funny Games is always (almost) unbearably suspenseful.