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(10/26/06 7:07pm)
Everyone knows who Marie Antoinette was, at least in terms of popular culture. Most people know she was beheaded and coined the phrase, "Let them eat cake." She was a terrible, irresponsible ruler, yes, but what most people forget is the fact that she was sent off to Versailles at the age of 15 without a clue as to how one rules a foreign land. \nUsing Antonia Fraser's book as a template, director Sofia Coppola ("Lost in Translation") examines the life of Antoinette during her time spent at Versailles, along with all the ups and downs that came with it. Starring Kirsten Dunst (who appeared in Coppola's excellent directorial debut, "The Virgin Suicides") as the ill-fated queen, Antoinette is transported from Austria to France, literally stripped of all personal possessions, married off to the sexually unresponsive Louis XVI (played by a deadly serious yet still humorous Jason Schwartzman), and then expected to give birth to a son -- all of this before her sweet 16. \nCoppola pays great attention to the sumptuous decadence that was Versailles at the time. Everything is lavishly designed, but considering the French government allowed her full access to filming in the famed palace, what you see is more authentic than reproduction. The costumes are grandiose -- one can be certain that if "Marie Antoinette" collects any Oscars, it'll have this one in the bag. \nCoppola also fully makes this film her own, having precedence over the screenplay, soundtrack selection and ordering her personal cinematographer, Lance Acord, on the shots she wants. The influence of Terrence Malick and Stanley Kubrick's vastly underappreciated "Barry Lyndon" are evident in heaping doses here, although Coppola's treatment is certainly more sugary than its predecessors. \nThe soundtrack is in many ways what makes the movie. Coppola treats Antoinette as a pop culture icon, and while the usual period piece orchestration shows up, there is more 80s music than you can shake a scepter at. With selections from The Cure, New Order and Gang of Four, in addition to modern artists including Aphex Twin and The Strokes, the music will certainly bewilder some and impress others. I'm clearly part of the latter. \nThere is a lot to love amidst the occasional lull in pacing with "Antoinette," and Coppola's trademark study of disconnected youth found within all her films shines brightest here. In only three films she has cemented herself as one of the filmmakers who will help shape the future of cinema.
(10/26/06 7:05pm)
Director Christopher Nolan might just be a real magician. At only 36 years of age and with just five films under his belt, Nolan solidifies himself as an auteur with "The Prestige," jokingly noted by some as this year's "other magician movie." Yes, "The Illusionist" is still in theaters and is in some regards a better film, but ultimately "The Prestige" is a much meatier, layered trick. \nIn the London of old, two men are waging war against each other in the magic circuit. The first, Alfred Borden (Christian Bale), is an arrogant showman who thinks nobody has a trick greater than the one he is holding back from audiences around the country. The other, Angier (Hugh Jackman), is a spurned magician who seeks only to ruin Borden and steal his secrets. They used to be the best of friends, but a bout of accidental jealousy on Borden's behalf drowned their partnership in a water tank. \nAside from Bale and Jackman, both of whom have now solidified themselves as future Hollywood stars, they are accompanied by a most prestigious cast, which includes Michael Caine, Scarlett Johansson, Andy Serkis and -- wait for it -- David Bowie. While Caine is Caine and Johansson is a tad underused and misguided, the roles given to Serkis and Bowie are small yet excellent. Serkis shows he doesn't need to be in front of a green screen and playing a giant ape or Gollum to be a great actor. Bowie, on the other hand, waxes philosophical at one point; the next, he is covered in a shroud of electricity. \nBe forewarned, however: "Prestige" is a tough film to take in. Both Bale and Jackman are absolutely despicable for great strides, but their hatred for each other has made them this way, and just because they are cold and calculating that doesn't make them any less fascinating. \nThe other tough part is the story. Christopher Nolan co-wrote the screenplay with his brother Jonathan (who is also responsible for his brother's defined masterpiece, "Memento"), and they seemingly try to throw as many twists and turns in to throw the viewer off purposely. There are parts you'll never see coming and others in which, if you watch closely enough, you can see them performing from even the very back of the theater. Add in the fractured, time-jumping storytelling, and confusion can come easily. Then again, any film that is tough to crack should be granted a second viewing, which "Prestige" will surely warrant for some. \nDo not walk into "The Prestige" with notions of Nolan trying to out-do himself like the two warring magicians. This isn't "Memento Part Deux," and it should be judged accordingly. Christopher Nolan has made five films, not 25, so give it some time before making comparisons to films made only six years ago. "Memento," "Batman Begins," "Following" and even "Insomnia" are great works, but "The Prestige" has the potential to reach that same level, if only one could crack the secret of how Nolan pulled it off. I'll just have to see it again -- and watch closely.
(10/26/06 4:00am)
Director Christopher Nolan might just be a real magician. At only 36 years of age and with just five films under his belt, Nolan solidifies himself as an auteur with "The Prestige," jokingly noted by some as this year's "other magician movie." Yes, "The Illusionist" is still in theaters and is in some regards a better film, but ultimately "The Prestige" is a much meatier, layered trick. \nIn the London of old, two men are waging war against each other in the magic circuit. The first, Alfred Borden (Christian Bale), is an arrogant showman who thinks nobody has a trick greater than the one he is holding back from audiences around the country. The other, Angier (Hugh Jackman), is a spurned magician who seeks only to ruin Borden and steal his secrets. They used to be the best of friends, but a bout of accidental jealousy on Borden's behalf drowned their partnership in a water tank. \nAside from Bale and Jackman, both of whom have now solidified themselves as future Hollywood stars, they are accompanied by a most prestigious cast, which includes Michael Caine, Scarlett Johansson, Andy Serkis and -- wait for it -- David Bowie. While Caine is Caine and Johansson is a tad underused and misguided, the roles given to Serkis and Bowie are small yet excellent. Serkis shows he doesn't need to be in front of a green screen and playing a giant ape or Gollum to be a great actor. Bowie, on the other hand, waxes philosophical at one point; the next, he is covered in a shroud of electricity. \nBe forewarned, however: "Prestige" is a tough film to take in. Both Bale and Jackman are absolutely despicable for great strides, but their hatred for each other has made them this way, and just because they are cold and calculating that doesn't make them any less fascinating. \nThe other tough part is the story. Christopher Nolan co-wrote the screenplay with his brother Jonathan (who is also responsible for his brother's defined masterpiece, "Memento"), and they seemingly try to throw as many twists and turns in to throw the viewer off purposely. There are parts you'll never see coming and others in which, if you watch closely enough, you can see them performing from even the very back of the theater. Add in the fractured, time-jumping storytelling, and confusion can come easily. Then again, any film that is tough to crack should be granted a second viewing, which "Prestige" will surely warrant for some. \nDo not walk into "The Prestige" with notions of Nolan trying to out-do himself like the two warring magicians. This isn't "Memento Part Deux," and it should be judged accordingly. Christopher Nolan has made five films, not 25, so give it some time before making comparisons to films made only six years ago. "Memento," "Batman Begins," "Following" and even "Insomnia" are great works, but "The Prestige" has the potential to reach that same level, if only one could crack the secret of how Nolan pulled it off. I'll just have to see it again -- and watch closely.
(10/26/06 4:00am)
Everyone knows who Marie Antoinette was, at least in terms of popular culture. Most people know she was beheaded and coined the phrase, "Let them eat cake." She was a terrible, irresponsible ruler, yes, but what most people forget is the fact that she was sent off to Versailles at the age of 15 without a clue as to how one rules a foreign land. \nUsing Antonia Fraser's book as a template, director Sofia Coppola ("Lost in Translation") examines the life of Antoinette during her time spent at Versailles, along with all the ups and downs that came with it. Starring Kirsten Dunst (who appeared in Coppola's excellent directorial debut, "The Virgin Suicides") as the ill-fated queen, Antoinette is transported from Austria to France, literally stripped of all personal possessions, married off to the sexually unresponsive Louis XVI (played by a deadly serious yet still humorous Jason Schwartzman), and then expected to give birth to a son -- all of this before her sweet 16. \nCoppola pays great attention to the sumptuous decadence that was Versailles at the time. Everything is lavishly designed, but considering the French government allowed her full access to filming in the famed palace, what you see is more authentic than reproduction. The costumes are grandiose -- one can be certain that if "Marie Antoinette" collects any Oscars, it'll have this one in the bag. \nCoppola also fully makes this film her own, having precedence over the screenplay, soundtrack selection and ordering her personal cinematographer, Lance Acord, on the shots she wants. The influence of Terrence Malick and Stanley Kubrick's vastly underappreciated "Barry Lyndon" are evident in heaping doses here, although Coppola's treatment is certainly more sugary than its predecessors. \nThe soundtrack is in many ways what makes the movie. Coppola treats Antoinette as a pop culture icon, and while the usual period piece orchestration shows up, there is more 80s music than you can shake a scepter at. With selections from The Cure, New Order and Gang of Four, in addition to modern artists including Aphex Twin and The Strokes, the music will certainly bewilder some and impress others. I'm clearly part of the latter. \nThere is a lot to love amidst the occasional lull in pacing with "Antoinette," and Coppola's trademark study of disconnected youth found within all her films shines brightest here. In only three films she has cemented herself as one of the filmmakers who will help shape the future of cinema.
(10/19/06 4:00am)
Director Robert Altman and I used to be bitter enemies. Our introduction was the banal "Gosford Park" and was followed-up by films such as "McCabe & Mrs. Miller" and "3 Women" -- all of which did nothing for me. Yet, in the spring of 2006, a good friend told me I just hadn't seen the right Altman films, lending me "M*A*S*H" and "The Long Goodbye," plus the recommendation of "The Player." I proceeded to watch all three and was convinced I had pegged Altman wrong. So when opening night came for his latest achievement, "A Prairie Home Companion," I was there. \n"Companion" is the perfect material for a director obsessed with overlapping conversations and chaos confined to a single room or building. In this case, the chaos of a live radio show where a live audience applauds wildly serves Altman, but it isn't the audience's conversations we're hearing. It's all the personalities, musicians and technicians worth lending an ear toward. \nThe film is a fictional take on radio host Garrison Keillor's famed program of the same name up in Minnesota. Keillor's screenplay brings together an excellent cast, a legendary director and a slew of warm folk songs. I wouldn't say there is necessarily a story to the movie, but a series of performance pieces, behind-the-scenes chatter, a man (Tommy Lee Jones) who's come to town to shut down the radio show and a very loose detective yarn involving Guy Noir (Kevin Kline) and a mysterious blonde in a white trench coat (Virginia Madsen). All these people know it is their last show, but it sure doesn't feel like it. \nIn addition to those folks are many other recognizable faces. Meryl Streep and Altman alumna Lily Tomlin play sisters Yolanda and Rhonda Johnson respectively, with Lindsay Lohan in tow as Yolanda's daughter, Lola. Woody Harrelson and John C. Reilly play cowboys Dusty and Lefty, men with a penchant for bad jokes. The performances of these five are the stand-out scenes in the movie thanks to memorable songs and witty banter. \nSince "Companion" cuts through many of the songs to show what is going on backstage, the first supplement on the DVD is to see those performances unedited, all of which are impressive and humorous, especially in the case of Keillor's numerous commercial spots. In addition there is a commentary track with Altman and Kline going back and forth, yet I wish Keillor was included since Altman often remarks that it is Keillor's film more than his own. \nKeillor's commentary absence is made up for though in an hour-long making-of documentary, which is an excellent introduction to his show, his material and the assembly of a great cast for an even greater film. \nWhile he never actually speaks in the doc, it is important to make mention of the numerous appearances by director Paul Thomas Anderson ("Magnolia," "Boogie Nights"). PTA was handpicked by Altman to be his stand-by director, considering the auteur is now 81 years of age, and would've taken over the project had Altman passed away during the filming. They are often seen together, laughing and smiling, and I can only imagine the conversations between master and apprentice. \n"A Prairie Home Companion" is one of the best films I've seen so far this year, a remark I never thought I'd make considering the rocky start I had with Robert Altman. It was one of the most enjoyable experiences I've had in a theatre, and I'm glad to finally have a copy so I can feel the same way at home.
(10/19/06 3:31am)
Director Robert Altman and I used to be bitter enemies. Our introduction was the banal "Gosford Park" and was followed-up by films such as "McCabe & Mrs. Miller" and "3 Women" -- all of which did nothing for me. Yet, in the spring of 2006, a good friend told me I just hadn't seen the right Altman films, lending me "M*A*S*H" and "The Long Goodbye," plus the recommendation of "The Player." I proceeded to watch all three and was convinced I had pegged Altman wrong. So when opening night came for his latest achievement, "A Prairie Home Companion," I was there. \n"Companion" is the perfect material for a director obsessed with overlapping conversations and chaos confined to a single room or building. In this case, the chaos of a live radio show where a live audience applauds wildly serves Altman, but it isn't the audience's conversations we're hearing. It's all the personalities, musicians and technicians worth lending an ear toward. \nThe film is a fictional take on radio host Garrison Keillor's famed program of the same name up in Minnesota. Keillor's screenplay brings together an excellent cast, a legendary director and a slew of warm folk songs. I wouldn't say there is necessarily a story to the movie, but a series of performance pieces, behind-the-scenes chatter, a man (Tommy Lee Jones) who's come to town to shut down the radio show and a very loose detective yarn involving Guy Noir (Kevin Kline) and a mysterious blonde in a white trench coat (Virginia Madsen). All these people know it is their last show, but it sure doesn't feel like it. \nIn addition to those folks are many other recognizable faces. Meryl Streep and Altman alumna Lily Tomlin play sisters Yolanda and Rhonda Johnson respectively, with Lindsay Lohan in tow as Yolanda's daughter, Lola. Woody Harrelson and John C. Reilly play cowboys Dusty and Lefty, men with a penchant for bad jokes. The performances of these five are the stand-out scenes in the movie thanks to memorable songs and witty banter. \nSince "Companion" cuts through many of the songs to show what is going on backstage, the first supplement on the DVD is to see those performances unedited, all of which are impressive and humorous, especially in the case of Keillor's numerous commercial spots. In addition there is a commentary track with Altman and Kline going back and forth, yet I wish Keillor was included since Altman often remarks that it is Keillor's film more than his own. \nKeillor's commentary absence is made up for though in an hour-long making-of documentary, which is an excellent introduction to his show, his material and the assembly of a great cast for an even greater film. \nWhile he never actually speaks in the doc, it is important to make mention of the numerous appearances by director Paul Thomas Anderson ("Magnolia," "Boogie Nights"). PTA was handpicked by Altman to be his stand-by director, considering the auteur is now 81 years of age, and would've taken over the project had Altman passed away during the filming. They are often seen together, laughing and smiling, and I can only imagine the conversations between master and apprentice. \n"A Prairie Home Companion" is one of the best films I've seen so far this year, a remark I never thought I'd make considering the rocky start I had with Robert Altman. It was one of the most enjoyable experiences I've had in a theatre, and I'm glad to finally have a copy so I can feel the same way at home.
(10/12/06 4:00am)
Some time ago, I penned an article condemning the frequent Hollywood practice of remaking Asian films, mentioning in particular "The Departed," a remake of the highly successful Hong Kong thriller, "Infernal Affairs." Any regrets I had were dashed as the end credits began to roll; I realized Martin Scorsese and writer William Monahan took great source material and improved upon it tenfold. \nUtilizing the same plot devices which made "Affairs" so fascinating, "The Departed" pits two moles -- one in the police department, another in the Irish mob -- in a superbly crafted game of cat and mouse in the maze of Boston, Mass. Leonardo DiCaprio plays Billy Costigan, the Irish youth with a troubled family history who, rather than be accepted by the police force, is placed as a mole in Frank Costello's (Jack Nicholson) gang. Matt Damon is Colin Sullivan, raised by Costello to become a hot-shot detective in the bureau, all the while tipping off the fatherly Frank any time the heat gets too close to his operations. \nScorsese has assembled a cast to be remembered in the annals of cinema history. DiCaprio, Damon and Nicholson are joined by the likes of Mark Wahlberg, Martin Sheen, Alec Baldwin and newcomer Vera Farmiga, all of whom bring their A-game to the table.\nThis is DiCaprio's best performance to date, one-upping himself after his previous Scorsese collaboration, "The Aviator." He is a ferocious beast; when backed into a corner, DiCaprio explodes in a fury of rage and anguish, showcasing the range that Scorsese once brought out of Robert De Niro. Nicholson is equally in top form, providing a frighteningly amusing portrayal of a mob boss at his wit's end. Damon plays tough but likeable as a cover up to how much of a scumbag his character is, Sheen is the father figure DiCaprio never had, and both Baldwin and Wahlberg provide comic relief through their tough exteriors, talking shit as if it were their second language. \nAs many have already said, this is Scorsese's greatest achievement since his widely accepted masterpiece, "GoodFellas." However, to say so is also a bit of a disservice to whom I consider to be America's greatest living director, who, aside from the bizarre "Bringing Out the Dead," has shown us he is more than a master of the crime genre over the past 16 years. Whether it's epics such as "The Aviator" and "Gangs of New York," personal interest pieces such as "Kundun" or remaking the classic "Cape Fear," Scorsese tackles every project with the same passionate fire that has been burning since "Mean Streets" more than 30 years ago. \nIf any other director or cast were attached to this remake, I'm quite certain the results would prove disastrous. Aided by Scorsese's personal editor, Thelma Schoonmaker, and cinematographer Michael Ballhaus (who also shot "GoodFellas"), the pacing and framing are tight in assembly. Howard Shore's moody score is complimented by Scorsese's excellent musical selections, ranging from the often used Rolling Stones classic "Gimme Shelter" to an undeniably catchy cover of Woody Guthrie's "I'm Shipping Up to Boston" by the Dropkick Murphys. \nWhile I still love "Infernal Affairs," I already love "The Departed" more, but when thinking about the two in juxtaposition, Scorsese's vision is finely crafted and perfected to form, making the film his own. Cheers to you, sir, for proving me wrong.
(10/12/06 2:47am)
Some time ago, I penned an article condemning the frequent Hollywood practice of remaking Asian films, mentioning in particular "The Departed," a remake of the highly successful Hong Kong thriller, "Infernal Affairs." Any regrets I had were dashed as the end credits began to roll; I realized Martin Scorsese and writer William Monahan took great source material and improved upon it tenfold. \nUtilizing the same plot devices which made "Affairs" so fascinating, "The Departed" pits two moles -- one in the police department, another in the Irish mob -- in a superbly crafted game of cat and mouse in the maze of Boston, Mass. Leonardo DiCaprio plays Billy Costigan, the Irish youth with a troubled family history who, rather than be accepted by the police force, is placed as a mole in Frank Costello's (Jack Nicholson) gang. Matt Damon is Colin Sullivan, raised by Costello to become a hot-shot detective in the bureau, all the while tipping off the fatherly Frank any time the heat gets too close to his operations. \nScorsese has assembled a cast to be remembered in the annals of cinema history. DiCaprio, Damon and Nicholson are joined by the likes of Mark Wahlberg, Martin Sheen, Alec Baldwin and newcomer Vera Farmiga, all of whom bring their A-game to the table.\nThis is DiCaprio's best performance to date, one-upping himself after his previous Scorsese collaboration, "The Aviator." He is a ferocious beast; when backed into a corner, DiCaprio explodes in a fury of rage and anguish, showcasing the range that Scorsese once brought out of Robert De Niro. Nicholson is equally in top form, providing a frighteningly amusing portrayal of a mob boss at his wit's end. Damon plays tough but likeable as a cover up to how much of a scumbag his character is, Sheen is the father figure DiCaprio never had, and both Baldwin and Wahlberg provide comic relief through their tough exteriors, talking shit as if it were their second language. \nAs many have already said, this is Scorsese's greatest achievement since his widely accepted masterpiece, "GoodFellas." However, to say so is also a bit of a disservice to whom I consider to be America's greatest living director, who, aside from the bizarre "Bringing Out the Dead," has shown us he is more than a master of the crime genre over the past 16 years. Whether it's epics such as "The Aviator" and "Gangs of New York," personal interest pieces such as "Kundun" or remaking the classic "Cape Fear," Scorsese tackles every project with the same passionate fire that has been burning since "Mean Streets" more than 30 years ago. \nIf any other director or cast were attached to this remake, I'm quite certain the results would prove disastrous. Aided by Scorsese's personal editor, Thelma Schoonmaker, and cinematographer Michael Ballhaus (who also shot "GoodFellas"), the pacing and framing are tight in assembly. Howard Shore's moody score is complimented by Scorsese's excellent musical selections, ranging from the often used Rolling Stones classic "Gimme Shelter" to an undeniably catchy cover of Woody Guthrie's "I'm Shipping Up to Boston" by the Dropkick Murphys. \nWhile I still love "Infernal Affairs," I already love "The Departed" more, but when thinking about the two in juxtaposition, Scorsese's vision is finely crafted and perfected to form, making the film his own. Cheers to you, sir, for proving me wrong.
(10/05/06 7:39pm)
Never heard of "Jigoku?" Well count me in as a member of a large group of people who've probably never heard of this Japanese horror classic. \nLiterally translated into "Hell," "Jigoku" is a rather bold piece of filmmaking from Japan that was made way back in 1960. Two students, Shiro (Shigeru Amachi) and Tamura (Yoichi Numata), are driving along on a country road when suddenly a drunken man appears out of nowhere, and they run over him. Of course they speed off, all the while Shiro condemning his friend for the terrible deed, but this sad event in Shiro's life is only the beginning of what one might call "hell on Earth." \nThere are no monsters here. No creepy girls with jet black hair covering their faces nor vengeful brutes wielding weapons. Shiro's life is turned to ashes as everyone around him begins to pass away either by accident, serious illness or suicide. When Shiro's time finally comes, all of these people are seen again in the underworld. \nImagine Dante's "Inferno" but placed within a Buddhist context rather than a Christian one. Hell is a dark void littered with the forsaken. For being made in 1960, "Jigoku" smashes any sort of ratings system for the time; surely, nowadays, it would be given an R. People swimming in lakes of blood, bodies cut in half by enormous saws and crushed under spiked hammers -- Hell is one frightening place. \nWhile the DVD extras aren't plentiful, they are wholly educating. A 40-minute documentary, "Building the Inferno," gives some of Nakagawa's closest collaborators and director Kiyoshi Kurosawa ("Cure," "Pulse") a chance to elaborate on the film. As Kurosawa states, for its time, "Jigoku" would've had no real genre classification because a horror film had never been made before in Japan. Many of them agree, adding in the fact that Shintoho, the studio which released the film, was responsible for much of the controversial work floating around cinemas at the time. An essay provided by critic Chuck Stephens furthers this point by giving a broad historical background on Shintoho while also pointing out the fact that "Jigoku" was Nakagawa's first crack at such a film. Also included is a poster gallery featuring some of the studio's most bizarre work. \nWhether you're looking for a good scare or just an Asian horror fix, why not give "Jigoku" some attention? There's plenty of dark visual flair to be taken in from a poetically stylistic level while also giving the gore-hounds viewing material that would make even David Cronenberg blush.
(10/05/06 7:25pm)
I hate Jon Heder. There's no other way to put it -- I simply cannot stand an actor who has played the same exact person in every role he's been given. Sure there are great character actors in the world, but Heder isn't one of them. Always the disillusioned dork, he simply stumbles his way through each scene by constantly sighing or going "Uhhhhh."\nBilly Bob Thornton, at this point, is no better. In "Bad Santa," his asshole ways were hysterical; "Bad News Bears" he was so-so. Now with "Scoundrels" he is yet again that same sarcastic jackass, only this time it isn't funny anymore. I even saw a trailer before the movie started, "Mr. Woodcock," in which he plays his trademark role alongside Seann William Scott aka Stiffler from the "American Pie" flicks. One can only imagine how unfunny it'll be.\n"Scoundrels" is a remake of a British film of the same name from Robert Hamer. I haven't seen the original, but Hamer directed "Kind Hearts and Coronets" so I'm sure it's worth a look. Heder plays Roger, a down in the dumps meter maid whose apartment is loaded with self-help books that aren't doing a damn thing for him. After learning one of the kids he is big brother to thinks he sucks, Roger is handed a piece of paper with a number on it. He calls it, is given a time and place, then arrives at a class run by Dr. P (Thornton), who calls out his students that own such self-help crap, remarking, "You can't help yourself because your self sucks." \nAll Roger wants is a little confidence boost. There's a cute girl down the hall in his apartment named Amanda (Jacinda Barrett, "Poseidon") he just can't get a word with. Dr. P does his damnedest to turn Roger into a self-respecting man, and once Roger gets a date with Amanda, Dr. P goes and ruins it by dating her as well. Welcome to the rest of the movie: a series of arguments, attacks and asinine actions. \n"Scoundrels" is not funny, just plain pathetic. Todd Phillips used to be a quality director. I still laugh my ass off at the likes of "Old School" and "Road Trip." Next came "Starsky & Hutch," which was crap but forgivable. With "Scoundrels," I feel like I should be offering my condolences. I hope he can redeem himself with "Old School Dos."\nWhat makes things even worse is the movie is peppered with so many cameos by hilarious folks that do nothing. David Cross, Sarah Silverman, Ben Stiller, Luis Guzmán and Horatio Sanz seem to all be along for the ride only to collect a small paycheck. Oh, Michael Clarke Duncan is in it, too, but who really cares at this point?\nI'm sure after a few more movies, "Napoleon Dynamite" will be long forgotten, and he'll end up doing a season of VH1's "The Surreal Life." There, everyone will point and laugh because Heder is "that guy who danced in that one movie," he'll get laid by some failed celebrity and he'll die a little more inside. Now there's a performance of his I could finally laugh at.
(10/05/06 4:00am)
I hate Jon Heder. There's no other way to put it -- I simply cannot stand an actor who has played the same exact person in every role he's been given. Sure there are great character actors in the world, but Heder isn't one of them. Always the disillusioned dork, he simply stumbles his way through each scene by constantly sighing or going "Uhhhhh."\nBilly Bob Thornton, at this point, is no better. In "Bad Santa," his asshole ways were hysterical; "Bad News Bears" he was so-so. Now with "Scoundrels" he is yet again that same sarcastic jackass, only this time it isn't funny anymore. I even saw a trailer before the movie started, "Mr. Woodcock," in which he plays his trademark role alongside Seann William Scott aka Stiffler from the "American Pie" flicks. One can only imagine how unfunny it'll be.\n"Scoundrels" is a remake of a British film of the same name from Robert Hamer. I haven't seen the original, but Hamer directed "Kind Hearts and Coronets" so I'm sure it's worth a look. Heder plays Roger, a down in the dumps meter maid whose apartment is loaded with self-help books that aren't doing a damn thing for him. After learning one of the kids he is big brother to thinks he sucks, Roger is handed a piece of paper with a number on it. He calls it, is given a time and place, then arrives at a class run by Dr. P (Thornton), who calls out his students that own such self-help crap, remarking, "You can't help yourself because your self sucks." \nAll Roger wants is a little confidence boost. There's a cute girl down the hall in his apartment named Amanda (Jacinda Barrett, "Poseidon") he just can't get a word with. Dr. P does his damnedest to turn Roger into a self-respecting man, and once Roger gets a date with Amanda, Dr. P goes and ruins it by dating her as well. Welcome to the rest of the movie: a series of arguments, attacks and asinine actions. \n"Scoundrels" is not funny, just plain pathetic. Todd Phillips used to be a quality director. I still laugh my ass off at the likes of "Old School" and "Road Trip." Next came "Starsky & Hutch," which was crap but forgivable. With "Scoundrels," I feel like I should be offering my condolences. I hope he can redeem himself with "Old School Dos."\nWhat makes things even worse is the movie is peppered with so many cameos by hilarious folks that do nothing. David Cross, Sarah Silverman, Ben Stiller, Luis Guzmán and Horatio Sanz seem to all be along for the ride only to collect a small paycheck. Oh, Michael Clarke Duncan is in it, too, but who really cares at this point?\nI'm sure after a few more movies, "Napoleon Dynamite" will be long forgotten, and he'll end up doing a season of VH1's "The Surreal Life." There, everyone will point and laugh because Heder is "that guy who danced in that one movie," he'll get laid by some failed celebrity and he'll die a little more inside. Now there's a performance of his I could finally laugh at.
(10/05/06 4:00am)
Never heard of "Jigoku?" Well count me in as a member of a large group of people who've probably never heard of this Japanese horror classic. \nLiterally translated into "Hell," "Jigoku" is a rather bold piece of filmmaking from Japan that was made way back in 1960. Two students, Shiro (Shigeru Amachi) and Tamura (Yoichi Numata), are driving along on a country road when suddenly a drunken man appears out of nowhere, and they run over him. Of course they speed off, all the while Shiro condemning his friend for the terrible deed, but this sad event in Shiro's life is only the beginning of what one might call "hell on Earth." \nThere are no monsters here. No creepy girls with jet black hair covering their faces nor vengeful brutes wielding weapons. Shiro's life is turned to ashes as everyone around him begins to pass away either by accident, serious illness or suicide. When Shiro's time finally comes, all of these people are seen again in the underworld. \nImagine Dante's "Inferno" but placed within a Buddhist context rather than a Christian one. Hell is a dark void littered with the forsaken. For being made in 1960, "Jigoku" smashes any sort of ratings system for the time; surely, nowadays, it would be given an R. People swimming in lakes of blood, bodies cut in half by enormous saws and crushed under spiked hammers -- Hell is one frightening place. \nWhile the DVD extras aren't plentiful, they are wholly educating. A 40-minute documentary, "Building the Inferno," gives some of Nakagawa's closest collaborators and director Kiyoshi Kurosawa ("Cure," "Pulse") a chance to elaborate on the film. As Kurosawa states, for its time, "Jigoku" would've had no real genre classification because a horror film had never been made before in Japan. Many of them agree, adding in the fact that Shintoho, the studio which released the film, was responsible for much of the controversial work floating around cinemas at the time. An essay provided by critic Chuck Stephens furthers this point by giving a broad historical background on Shintoho while also pointing out the fact that "Jigoku" was Nakagawa's first crack at such a film. Also included is a poster gallery featuring some of the studio's most bizarre work. \nWhether you're looking for a good scare or just an Asian horror fix, why not give "Jigoku" some attention? There's plenty of dark visual flair to be taken in from a poetically stylistic level while also giving the gore-hounds viewing material that would make even David Cronenberg blush.
(09/28/06 4:00am)
As many have learned, "Fearless" marks the final time martial arts powerhouse Jet Li will perform his craft in front of the camera. He has become convinced that the culture of Wushu held so dear to him has become abused and tainted in so much of his Western output. It's a shame really, as I'm convinced that "Fearless" is Li in his finest hour. \nThe film is a somewhat loose biopic on Chinese Wushu master Huo Yuanjia, who as a child learned his art in secrecy from the rest of his familial clan, only to become one of the country's greatest warriors. In the early 1900s, a time when Western influence began to take great hold of Chinese tradition, he remained steadfast in respecting his own culture rather than adopting that of another. \nDuring this time period, numerous fighters of the West had come to China, and it's no surprise that Yuanjia successfully fought many of them. Perhaps what is most striking about the film's portrayal of combat is how honorable each match is. In a battle against Hercules O'Brien (played by human mastodon Nathan Jones), what begins as chaos and frustration for the brute ends with him bowing and thanking Yuanjia in traditional fashion before grabbing his arm and demanding the crowd's respect like any typical wrestling match. \nThis is Li's best performance as both an actor and a martial artist. The young Yuanjia is incredibly arrogant, willing to take on all in his path without thought of retribution. After he kills one of China's other masters, Yuanjia's mother and daughter are vengefully murdered, causing him to go on a journey ultimately leading to enlightenment. The once-cocky Li is soon seen as stoic, unwavering in expression as if his face were carved from stone, although a half-smile is occasionally seen. \nI see "Fearless" becoming Li's "Enter the Dragon." Every fight is gloriously crafted in detail and style -- a great throwback to his work before coming to America, along the likes of "Once Upon a Time in China." The film opens with Li fighting four different warriors, each using a different style. Hand-to-hand, spears and swords make up the first three while the final is katana versus three-part staff. At one point both men change weapons mid-fight and the Japanese warrior, realizing he is clearly no master of the technique, bows to Yuanjia and both men return their respective weapons before carrying on. It's all a matter of honor. Jet Li pays the same to his audience and fans by leaving them with his most memorable and awe-inspiring performance to date.
(09/28/06 4:00am)
The sky is a burning mixture of reds and oranges as the sun sets upon the horizon. For miles all one can see is nothing but the dusty, tree-less plains, with not even a mountain in sight. It looks just like a Western, yet we learn we aren't in the American west; rather, the Australian outback of the late 19th century. \n"The Proposition" opens with one of the greatest shoot-outs in recent history as two outlaws are pinned down in a ramshackle cabin by local authorities. Suppressed and beaten down, the men are Charlie Burns (Guy Pearce) and his younger brother Mike (Richard Wilson), two of the four members of the Burns gang who are responsible for a slew of brutal crimes. With Mike thrown in jail, Charlie is given a proposition by Captain Stanley (Ray Winstone): Kill your eldest brother and your youngest shall be set free. He has nine days to accomplish this, but the notorious Arthur Burns (Danny Huston) hasn't been seen in weeks. \nWhile the film does contain scenes of gritty brutality, it's not full of horseback chases or shoot-out after shoot-out. It's the journey of a man in painful isolation. Guy Pearce rides along on his steed, resembling a living corpse with his greased hair, yellowed teeth and skeletal frame -- he is the Grim Reaper, whose trusty scythe has been replaced by a revolver, searching for one more soul to collect. \nEvery performance here is bold and noteworthy. Winstone's conviction is believable, proclaiming that he will "civilize this land." At his side is Emily Watson playing the wife who quietly admires her husband, even though she could lose him at any given moment in this savage land. Huston plays Arthur Burns with such restraint that it is frightening. And while given only short amounts of screen-time, John Hurt and Aussie native David Wenham are each given roles worth remembering. \nThe biggest surprise is those who made the film. Helmed by the relatively green John Hillcoat, his direction consists of broad, masterful strokes upon a canvas worthy to be seen alongside so many auteurs of the genre. Perhaps even more unexpected, singer/songwriter Nick Cave wrote the solid screenplay and haunting soundtrack. In one of the many featurettes on the DVD, Hillcoat said he asked Cave to write the story because of his excellent narrative sense in all his musical work. This is Cave's first full-length screenplay, but you'd swear he's been doing it for years. \nFive featurettes totaling a half-hour and a Hillcoat/Cave commentary track are the only extras to be found on the DVD. Most of the featurettes are comprised of interviews with the actors, all of whom signed on because of the excellent script and the fact they could work with Nick Cave. For the creators, their time spent in these supplements details the lengths to which authenticity was pursued, especially when portraying the indigenous population under British rule and the racial divide between two cultures. Considering Hillcoat and Cave are Aussies, one would expect such accuracy. \n"The Proposition" is a film I cannot applaud enough, as it remains vastly unseen due to its limited release. Easily one of the best films of 2006 and perhaps the greatest western since Clint Eastwood's "Unforgiven," it deserves to be remembered for many years to come.
(09/28/06 2:58am)
The sky is a burning mixture of reds and oranges as the sun sets upon the horizon. For miles all one can see is nothing but the dusty, tree-less plains, with not even a mountain in sight. It looks just like a Western, yet we learn we aren't in the American west; rather, the Australian outback of the late 19th century. \n"The Proposition" opens with one of the greatest shoot-outs in recent history as two outlaws are pinned down in a ramshackle cabin by local authorities. Suppressed and beaten down, the men are Charlie Burns (Guy Pearce) and his younger brother Mike (Richard Wilson), two of the four members of the Burns gang who are responsible for a slew of brutal crimes. With Mike thrown in jail, Charlie is given a proposition by Captain Stanley (Ray Winstone): Kill your eldest brother and your youngest shall be set free. He has nine days to accomplish this, but the notorious Arthur Burns (Danny Huston) hasn't been seen in weeks. \nWhile the film does contain scenes of gritty brutality, it's not full of horseback chases or shoot-out after shoot-out. It's the journey of a man in painful isolation. Guy Pearce rides along on his steed, resembling a living corpse with his greased hair, yellowed teeth and skeletal frame -- he is the Grim Reaper, whose trusty scythe has been replaced by a revolver, searching for one more soul to collect. \nEvery performance here is bold and noteworthy. Winstone's conviction is believable, proclaiming that he will "civilize this land." At his side is Emily Watson playing the wife who quietly admires her husband, even though she could lose him at any given moment in this savage land. Huston plays Arthur Burns with such restraint that it is frightening. And while given only short amounts of screen-time, John Hurt and Aussie native David Wenham are each given roles worth remembering. \nThe biggest surprise is those who made the film. Helmed by the relatively green John Hillcoat, his direction consists of broad, masterful strokes upon a canvas worthy to be seen alongside so many auteurs of the genre. Perhaps even more unexpected, singer/songwriter Nick Cave wrote the solid screenplay and haunting soundtrack. In one of the many featurettes on the DVD, Hillcoat said he asked Cave to write the story because of his excellent narrative sense in all his musical work. This is Cave's first full-length screenplay, but you'd swear he's been doing it for years. \nFive featurettes totaling a half-hour and a Hillcoat/Cave commentary track are the only extras to be found on the DVD. Most of the featurettes are comprised of interviews with the actors, all of whom signed on because of the excellent script and the fact they could work with Nick Cave. For the creators, their time spent in these supplements details the lengths to which authenticity was pursued, especially when portraying the indigenous population under British rule and the racial divide between two cultures. Considering Hillcoat and Cave are Aussies, one would expect such accuracy. \n"The Proposition" is a film I cannot applaud enough, as it remains vastly unseen due to its limited release. Easily one of the best films of 2006 and perhaps the greatest western since Clint Eastwood's "Unforgiven," it deserves to be remembered for many years to come.
(09/28/06 2:45am)
As many have learned, "Fearless" marks the final time martial arts powerhouse Jet Li will perform his craft in front of the camera. He has become convinced that the culture of Wushu held so dear to him has become abused and tainted in so much of his Western output. It's a shame really, as I'm convinced that "Fearless" is Li in his finest hour. \nThe film is a somewhat loose biopic on Chinese Wushu master Huo Yuanjia, who as a child learned his art in secrecy from the rest of his familial clan, only to become one of the country's greatest warriors. In the early 1900s, a time when Western influence began to take great hold of Chinese tradition, he remained steadfast in respecting his own culture rather than adopting that of another. \nDuring this time period, numerous fighters of the West had come to China, and it's no surprise that Yuanjia successfully fought many of them. Perhaps what is most striking about the film's portrayal of combat is how honorable each match is. In a battle against Hercules O'Brien (played by human mastodon Nathan Jones), what begins as chaos and frustration for the brute ends with him bowing and thanking Yuanjia in traditional fashion before grabbing his arm and demanding the crowd's respect like any typical wrestling match. \nThis is Li's best performance as both an actor and a martial artist. The young Yuanjia is incredibly arrogant, willing to take on all in his path without thought of retribution. After he kills one of China's other masters, Yuanjia's mother and daughter are vengefully murdered, causing him to go on a journey ultimately leading to enlightenment. The once-cocky Li is soon seen as stoic, unwavering in expression as if his face were carved from stone, although a half-smile is occasionally seen. \nI see "Fearless" becoming Li's "Enter the Dragon." Every fight is gloriously crafted in detail and style -- a great throwback to his work before coming to America, along the likes of "Once Upon a Time in China." The film opens with Li fighting four different warriors, each using a different style. Hand-to-hand, spears and swords make up the first three while the final is katana versus three-part staff. At one point both men change weapons mid-fight and the Japanese warrior, realizing he is clearly no master of the technique, bows to Yuanjia and both men return their respective weapons before carrying on. It's all a matter of honor. Jet Li pays the same to his audience and fans by leaving them with his most memorable and awe-inspiring performance to date.
(09/21/06 4:00am)
The return of Brian De Palmais is something the film community has eagerly anticipated for quite some time. Consider it nearly a decade; after all, he's spent 10 years of making movies like "Snake Eyes" and "Mission to Mars," which have no real place in his filmography. "The Black Dahlia" is De Palma's return to form. \nBased on James Ellroy's ("L.A. Confidential") noir-ish novel of the same name, "Dahlia" follows officers Bucky Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart) from one brutal boxing match for charity to the sin-ridden streets of Los Angeles on the hunt for a child murderer. It is on this hunt that both of their worlds are given the 180, upon discovering the body of Elizabeth Short -- aka the "Black Dahlia" -- in a field during a stakeout. She's been cut in half, disemboweled, drained of blood and has a new smile that runs from ear-to-ear. \nAll the major players turn in top-notch performances. Scarlett Johansson as Kay Lake serves as the fascinating third party in a love triangle with Hartnett and Eckhart, while Hilary Swank's character Madeleine Linscott mysteriously resembles the Black Dahlia and uses her affinity to lure men into her bed. Between these four are all the right doses of obsession and sexual tension to prove De Palma is back, although Eckhart could've used more screen time to fully develop his mad fascination with Short's murder. And then there is Short, played by Mia Kirshner ("The L Word"), whose brief screen appearance is magnetic and, from the audience's side, voyeuristic. \nThe real case of the Short murder was never actually solved, and De Palma and Ellroy try their own spin on the subject. Granted, De Palma's style is in full force (see the long-take crane shot when Short's body is discovered), but "Dahlia" hits a roadblock by jumbling too many story details together. With this mess, the actual Black Dahlia murder serves more as a backdrop than an actual story -- it is only in odd coincidences and frustrations that it finds a place that acts as the dark cloud hanging above everyone's head. \n"Dahlia" is a film that deserves more than one viewing. Like much of De Palma's work, there is still something beneath the surface waiting to be dug up, which could either make perfect sense or tarnish the film further. Regardless, while story problems are rather hard to overlook, this film is still a great achievement for De Palma and noir in modern filmmaking.
(09/21/06 4:00am)
In the wake of the demise of "Arrested Development," easily the best comedy on TV in recent times, one might say that it was "The Office" that grabbed the torch and just kept running toward the finish line, while collecting Golden Globe and Emmy accolades along the way. \nDespite the somewhat common criticism that the American version doesn't compete with the British series, I would beg to differ. While it might've suffered a rocky start with only six episodes in Season 1, the 24 episode cannon of Season 2 is a massive accomplishment of sarcasm, political incorrectness, delirious absurdity, covered in the driest of deadpan coatings all throughout the daily blunders at Dunder-Mifflin. I'm sure if Ricky Gervais wasn't pleased he would've shut it all down long ago. \nJust like "Seinfeld" is always remembered for its key episodes of hilarity, "The Office" has them in full force. "Office Olympics" is possibly the greatest example of what to do with your workday boredom woes. In "The Fight" you get to see the ever-annoying Dwight Schrute (Rainn Wilson) fight in a karate class for little kids and get his ass kicked by Steve Carell -- made perfect when he gets on top of Wilson and tries hocking a loogie down his mouth like any elementary school bully. "Christmas Party" and the "Booze Cruise" both drive me to tears from laughing so hard. \nWhile many TV series on DVD tend to be lacking in extras, unlike Season 1, Season 2 is rife with supplements. Of the 24 episodes, 10 contain commentary tracks and all of them contain deleted scenes that total to almost two hours of unseen footage. A lot of the cut scenes are hysterical, and considering how many there are, you're practically getting an additional six episodes worth of comic delight. Speaking of episodes, also contained are the 10 "Accountants" Web-isodes from the NBC Web site covering that area of the office that never gets enough screen-time. \nTo turn things up another notch, included is one damn funny blooper reel, promo commercials for the "Office Olympics," the short film Carell makes during the "Valentine's Day" episode and fake PSAs for the commonly seen NBC "The More You Know" segments. \nWill Jim finally get the relationship he's always wanted with Pam? Will Dwight finally get some respect, or Michael ever get a clue? Season 3 begins tonight with the "Gay Witch Hunt" and I can only imagine how ridiculous it'll be. So while many of us are still mourning the loss of "Arrested Development," I say seek comfort in "The Office," knowing it won't be leaving the air any time soon.
(09/21/06 3:15am)
In the wake of the demise of "Arrested Development," easily the best comedy on TV in recent times, one might say that it was "The Office" that grabbed the torch and just kept running toward the finish line, while collecting Golden Globe and Emmy accolades along the way. \nDespite the somewhat common criticism that the American version doesn't compete with the British series, I would beg to differ. While it might've suffered a rocky start with only six episodes in Season 1, the 24 episode cannon of Season 2 is a massive accomplishment of sarcasm, political incorrectness, delirious absurdity, covered in the driest of deadpan coatings all throughout the daily blunders at Dunder-Mifflin. I'm sure if Ricky Gervais wasn't pleased he would've shut it all down long ago. \nJust like "Seinfeld" is always remembered for its key episodes of hilarity, "The Office" has them in full force. "Office Olympics" is possibly the greatest example of what to do with your workday boredom woes. In "The Fight" you get to see the ever-annoying Dwight Schrute (Rainn Wilson) fight in a karate class for little kids and get his ass kicked by Steve Carell -- made perfect when he gets on top of Wilson and tries hocking a loogie down his mouth like any elementary school bully. "Christmas Party" and the "Booze Cruise" both drive me to tears from laughing so hard. \nWhile many TV series on DVD tend to be lacking in extras, unlike Season 1, Season 2 is rife with supplements. Of the 24 episodes, 10 contain commentary tracks and all of them contain deleted scenes that total to almost two hours of unseen footage. A lot of the cut scenes are hysterical, and considering how many there are, you're practically getting an additional six episodes worth of comic delight. Speaking of episodes, also contained are the 10 "Accountants" Web-isodes from the NBC Web site covering that area of the office that never gets enough screen-time. \nTo turn things up another notch, included is one damn funny blooper reel, promo commercials for the "Office Olympics," the short film Carell makes during the "Valentine's Day" episode and fake PSAs for the commonly seen NBC "The More You Know" segments. \nWill Jim finally get the relationship he's always wanted with Pam? Will Dwight finally get some respect, or Michael ever get a clue? Season 3 begins tonight with the "Gay Witch Hunt" and I can only imagine how ridiculous it'll be. So while many of us are still mourning the loss of "Arrested Development," I say seek comfort in "The Office," knowing it won't be leaving the air any time soon.
(09/21/06 2:54am)
The return of Brian De Palmais is something the film community has eagerly anticipated for quite some time. Consider it nearly a decade; after all, he's spent 10 years of making movies like "Snake Eyes" and "Mission to Mars," which have no real place in his filmography. "The Black Dahlia" is De Palma's return to form. \nBased on James Ellroy's ("L.A. Confidential") noir-ish novel of the same name, "Dahlia" follows officers Bucky Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart) from one brutal boxing match for charity to the sin-ridden streets of Los Angeles on the hunt for a child murderer. It is on this hunt that both of their worlds are given the 180, upon discovering the body of Elizabeth Short -- aka the "Black Dahlia" -- in a field during a stakeout. She's been cut in half, disemboweled, drained of blood and has a new smile that runs from ear-to-ear. \nAll the major players turn in top-notch performances. Scarlett Johansson as Kay Lake serves as the fascinating third party in a love triangle with Hartnett and Eckhart, while Hilary Swank's character Madeleine Linscott mysteriously resembles the Black Dahlia and uses her affinity to lure men into her bed. Between these four are all the right doses of obsession and sexual tension to prove De Palma is back, although Eckhart could've used more screen time to fully develop his mad fascination with Short's murder. And then there is Short, played by Mia Kirshner ("The L Word"), whose brief screen appearance is magnetic and, from the audience's side, voyeuristic. \nThe real case of the Short murder was never actually solved, and De Palma and Ellroy try their own spin on the subject. Granted, De Palma's style is in full force (see the long-take crane shot when Short's body is discovered), but "Dahlia" hits a roadblock by jumbling too many story details together. With this mess, the actual Black Dahlia murder serves more as a backdrop than an actual story -- it is only in odd coincidences and frustrations that it finds a place that acts as the dark cloud hanging above everyone's head. \n"Dahlia" is a film that deserves more than one viewing. Like much of De Palma's work, there is still something beneath the surface waiting to be dug up, which could either make perfect sense or tarnish the film further. Regardless, while story problems are rather hard to overlook, this film is still a great achievement for De Palma and noir in modern filmmaking.