4/4 stars
I'm not really into horror films, particularly most of the ones that come out currently. I've never been particularly interested in a movie that's just supposed to scare me, and never mind making me think or providing anything constructive. That said, I do enjoy being scared by a movie if it's in the right way. For instance, I'm a fan of every movie in which Anthony Hopkins plays Hannibal Lecter. It's a frightening performance, but it's also a real character with depth, philosophy and emotion. There are only six or seven moments where Let the Right One In is trying to be scary, and all of them are scary in the right way.
The premise of Let the Right One In, expressed as well as I am able, is an attempt at a realistic examination of the idea of a vampire. The complications of a vampire's existence, the odd hours, odd habits, and the continual cost in human life are things that go unnoticed if the story is set in a metropolitan center where the rich are eccentric and a few people are expected to disappear now and then. In this film, set in a close-knit suburb of Stockholm with planes of Million Program apartment windows vigilently watching in the night, word travels fast that something is amiss. The movie is visually distinctive, with motifs of blood, pale skin, vast white snow and black sky. The landscape is perfect for the story that is being told; there's a sense of bleakness and claustrophobia that pervades the day in, day out narrative construction. The acting also draws one into the film, even if they're watching without the benefit of understanding the spoken dialogue. Particularly the young actors Hedebrant and Leandersson are engrossing and disturbing in the main roles.
One of the things I like most about the film was the way that realistic violence and horror fantasy violence were played off of each other. While the vampire is monstrous when it attacks, the real impact of the death it causes comes from the scenes in which its human helper hunts on its behalf. Supernatural violence is also juxtaposed with human on human violence when the main character is terrorized by school bullies by day, and the town is victimized by the vampire by night. In both cases the brutality escalates over time with each offense piling on the last. What should we make of the fact that the vampire kills to sustain itself, while human cruelty is often completely lacking in purpose? This exploration of violence, as well as the contrast between the mundane world and the otherworldly force that enters it, are among the more intriguing ideas that are explored here. Let the Right One In is an intricate, masterfully crafted and darkly beautiful film. It is both dramatic and frightening, alternately chilling and fascinating.
Note: The dialogue in Let the Right One In is in Swedish. An English dub exists on the DVD I have sitting next to me, but I have not attempted watching it. The subtitles on the DVD are different (and somewhat noticeably inferior) from the ones I saw in the theatrical version.
Showing posts with label 4 stars. Show all posts
Showing posts with label 4 stars. Show all posts
Tuesday, April 7, 2009
Wednesday, February 11, 2009
The Wrestler
4/4 stars
The Wrestler is an impeccably real experience, a gritty movie about a man’s dirty, small and ever-contracting world. Mickey Rourke’s performance has been the focus of the movie’s acclaim, but what sealed it for me was the veracity of the life that Darren Aronofsky gave him as a boundary to that performance. Rourke plays Randy “The Ram” Ramzinski, a washed up legend of a pro-wrestler. He has sacrificed his body and everything else in his life for years over his passion for the ring, and is now left with pitifully little to show for it. I was reminded (as I often am) of Michael Mann’s work. Wrestling is for Ramzinski what Mann would call “the elevated experience of his life,” and like Mann’s characters, his passion for it leaves little else in his world intact. He lives in a trailer park and is behind on rent; he relies on neighborhood kids and a stripper named Cassidy (Marisa Tomei) for companionship. He believes that he and Cassidy may have a future together, and the movie illustrates that they do have a lot in common. They’re both in the body business and are both the worse for wear; the time it has bought them is running out. Rourke gives a performance of incredible commitment and believability, to say nothing of its physical aspects. His loneliness, his regrets, his good heart and his bad decisions, Rourke makes them all tangible.
I was almost deterred from giving The Wrestler a perfect score by a number of small factors. The first is Evan Rachel Wood, who is inexplicably popular among both critics and real people. I got tired of her big sad eyes and the camera that never tired of drinking in her good looks in Across the Universe. Here in The Wrestler, she didn’t really have time to annoy me, but it was difficult not to notice that she didn’t really do much. A lot of people have said she’s brilliant; even Mickey Rourke has sung her praises, but whenever I see one of her performances, I see acting and not the character. Perhaps Rourke and others have seen some better movies than I have. Another problem is that at times Randy does things that seem so improbably stupid that I have trouble continuing to sympathize with him. The best example may be when he blows off his daughter to go drinking, then comes crawling back for forgiveness, so soon after regaining her love the first time. You’ll recognize other examples for yourself. What I came to realize though, is that while we may not see the world on Randy Ramzinski’s terms, and he may not behave as we wish he would, we still understand him. Like an underdog sports team, we root for him even when rooting for him is hard. In the end, I was moved by the foolish extent of his dedication, smiling at his self sacrificing bravado. The Wrestler is one of those movies that sounds depressing but isn’t; it enriches you by allowing you to feel for another person’s small triumphs.
The Wrestler is an impeccably real experience, a gritty movie about a man’s dirty, small and ever-contracting world. Mickey Rourke’s performance has been the focus of the movie’s acclaim, but what sealed it for me was the veracity of the life that Darren Aronofsky gave him as a boundary to that performance. Rourke plays Randy “The Ram” Ramzinski, a washed up legend of a pro-wrestler. He has sacrificed his body and everything else in his life for years over his passion for the ring, and is now left with pitifully little to show for it. I was reminded (as I often am) of Michael Mann’s work. Wrestling is for Ramzinski what Mann would call “the elevated experience of his life,” and like Mann’s characters, his passion for it leaves little else in his world intact. He lives in a trailer park and is behind on rent; he relies on neighborhood kids and a stripper named Cassidy (Marisa Tomei) for companionship. He believes that he and Cassidy may have a future together, and the movie illustrates that they do have a lot in common. They’re both in the body business and are both the worse for wear; the time it has bought them is running out. Rourke gives a performance of incredible commitment and believability, to say nothing of its physical aspects. His loneliness, his regrets, his good heart and his bad decisions, Rourke makes them all tangible.
I was almost deterred from giving The Wrestler a perfect score by a number of small factors. The first is Evan Rachel Wood, who is inexplicably popular among both critics and real people. I got tired of her big sad eyes and the camera that never tired of drinking in her good looks in Across the Universe. Here in The Wrestler, she didn’t really have time to annoy me, but it was difficult not to notice that she didn’t really do much. A lot of people have said she’s brilliant; even Mickey Rourke has sung her praises, but whenever I see one of her performances, I see acting and not the character. Perhaps Rourke and others have seen some better movies than I have. Another problem is that at times Randy does things that seem so improbably stupid that I have trouble continuing to sympathize with him. The best example may be when he blows off his daughter to go drinking, then comes crawling back for forgiveness, so soon after regaining her love the first time. You’ll recognize other examples for yourself. What I came to realize though, is that while we may not see the world on Randy Ramzinski’s terms, and he may not behave as we wish he would, we still understand him. Like an underdog sports team, we root for him even when rooting for him is hard. In the end, I was moved by the foolish extent of his dedication, smiling at his self sacrificing bravado. The Wrestler is one of those movies that sounds depressing but isn’t; it enriches you by allowing you to feel for another person’s small triumphs.
Sunday, January 18, 2009
Once
4/4 stars
Note: I found it quite impossible to discuss one of the primary reasons that I was impressed with this movie without revealing the ending. If you haven’t seen Once and value not knowing what happens, do not proceed.
Although it is impressive from an academic standpoint, Once can be a difficult movie to talk about in this way. Though the movie employs a very practiced and difficult cinematography, one that expresses an unbroken illusion of reality with the steady gaze of a documentarian, the effect is not to dazzle the audience with technical achievement. Rather, Once simply allows its characters’ charms to pull the viewer into its representation of their lives.
One would be remiss not to mention the music, of course. The music critic side of me feels the need to point out that it’s not earth-shattering stuff, but it has an honest, unpolished feeling that would likely draw me to it even without the benefit of the film. The way it works with the story though, is truly brilliant. As the two main characters come to know each other through music, that music communicates their love story. The music is integrated seamlessly into this film, it doesn’t appear to be shown off, we simply experience it the way the characters do. One scene in particular, in which Markéta Irglová walks through the night to get batteries for her walkman, then listens to it all the way back home is almost completely, perfectly engrossing.
Of course, like the brilliant and heartbreaking film Before Sunrise, which is a favorite of mine, Once ends with our movie couple separated by the circumstances of the world. Their moment is over, and unlike in the other film, it remains unfulfilled. I like happy endings as much as anyone else, but they do leave you with less to think about, and less to feel as well. This is a story that exists in the spaces of hope and curiosity and enchantment that are closed far too quickly in life. While some fortunate relationships manage to gel within that time, we’ve all experienced ones that did not. Once (and I do feel that the title is appropriate only if we’re viewing the film this way) is a memory of those occasions.
Note: I found it quite impossible to discuss one of the primary reasons that I was impressed with this movie without revealing the ending. If you haven’t seen Once and value not knowing what happens, do not proceed.
Although it is impressive from an academic standpoint, Once can be a difficult movie to talk about in this way. Though the movie employs a very practiced and difficult cinematography, one that expresses an unbroken illusion of reality with the steady gaze of a documentarian, the effect is not to dazzle the audience with technical achievement. Rather, Once simply allows its characters’ charms to pull the viewer into its representation of their lives.
One would be remiss not to mention the music, of course. The music critic side of me feels the need to point out that it’s not earth-shattering stuff, but it has an honest, unpolished feeling that would likely draw me to it even without the benefit of the film. The way it works with the story though, is truly brilliant. As the two main characters come to know each other through music, that music communicates their love story. The music is integrated seamlessly into this film, it doesn’t appear to be shown off, we simply experience it the way the characters do. One scene in particular, in which Markéta Irglová walks through the night to get batteries for her walkman, then listens to it all the way back home is almost completely, perfectly engrossing.
Of course, like the brilliant and heartbreaking film Before Sunrise, which is a favorite of mine, Once ends with our movie couple separated by the circumstances of the world. Their moment is over, and unlike in the other film, it remains unfulfilled. I like happy endings as much as anyone else, but they do leave you with less to think about, and less to feel as well. This is a story that exists in the spaces of hope and curiosity and enchantment that are closed far too quickly in life. While some fortunate relationships manage to gel within that time, we’ve all experienced ones that did not. Once (and I do feel that the title is appropriate only if we’re viewing the film this way) is a memory of those occasions.
Monday, September 15, 2008
The Matrix (new full length review)
4/4 stars
The Matrix is one of the most watched and emulated masterpieces of the last ten years, a commercial success and an aesthetic touchstone. But what is it that really makes it so good? On a basic level, the plot is fascinating, unpredictable and well executed. The movie follows the blueprint of many of the great blockbusters by combining action, mystery and romance. The visuals, of course, are innovating and immersive. The performances are also well handled, Keanu Reeves isn't exactly introspective, but he strikes the right notes; Hugo Weaving is merciless and imposing; and Laurence Fishburne makes Morpheus into a figure of admiration and charisma.
The key to the film's greatness though, in my opinion, is its mastery of each of the genres that it borrows from. The first hour or so of The Matrix is the most atmospheric and stylish neo-noir I've ever seen, so much so that when Christopher Nolan set out to create his own noir film Memento, the reuse of Joe Pantoliano and Carrie-Anne Moss from this film seemed wise yet intuitive. The opening act of The Matrix is moody, paranoid and suspenseful. It also presents its fictionalized subculture (in this case drugs and computer hacking) fearlessly, a mark of both great neo-noir (Brick, for example) and great dystopian sci-fi. Which brings us to the next genre: when The Matrix trades its grimy city streets for an even grimier post apocalyptic wasteland, it realizes the futuristic weirdness of a science fiction landscape perfectly. The "real world" of the Wachowski brothers' creation is imagined in thorough and thoughtful detail, with a number of strange yet logical eccentricities (the hovercraft, their EMP weapons, the flavorless food that comes from a faucet) that make it memorable.
The Matrix also utilizes two distinct action film genres in a clever combination that was one of its most borrowed traits. One is American style pseudo-realism, with its obsession for authentic guns and modern military technology. The other is the foreign martial arts film, whose conventions are worked into The Matrix in clever and unexepected ways (the virtual dojo scene between Reeves and Fishburne for instance). But the true brilliance here is the way that the two are seamlessly combined in the film's final act. Neo must use the fighting techniques represented by both on his way to final victory. This style of fighting may be the truest part of the vision the Wachowski brothers brought to the film.
Finally, there is the often cited philosophical core of the film. Those doubting the sincerity behind the use of this term may want to familiarize themselves with its definition. Ponderance of reality, of what is known, what can be discerned from the senses, and of the true nature of existence is the very core of philosophy. In short, Jules and Vincent arguing about the intention behind a footrub in Pulp Fiction is not really philosophy, Morpheus's question "have you ever had a dream, Neo, that you were so sure was real..." most certainly is.
(Note: One of the first film reviews I ever wrote, as a homework assignment in the 9th grade, was of this very film. I hope this second attempt is an improvement.)
The Matrix is one of the most watched and emulated masterpieces of the last ten years, a commercial success and an aesthetic touchstone. But what is it that really makes it so good? On a basic level, the plot is fascinating, unpredictable and well executed. The movie follows the blueprint of many of the great blockbusters by combining action, mystery and romance. The visuals, of course, are innovating and immersive. The performances are also well handled, Keanu Reeves isn't exactly introspective, but he strikes the right notes; Hugo Weaving is merciless and imposing; and Laurence Fishburne makes Morpheus into a figure of admiration and charisma.
The key to the film's greatness though, in my opinion, is its mastery of each of the genres that it borrows from. The first hour or so of The Matrix is the most atmospheric and stylish neo-noir I've ever seen, so much so that when Christopher Nolan set out to create his own noir film Memento, the reuse of Joe Pantoliano and Carrie-Anne Moss from this film seemed wise yet intuitive. The opening act of The Matrix is moody, paranoid and suspenseful. It also presents its fictionalized subculture (in this case drugs and computer hacking) fearlessly, a mark of both great neo-noir (Brick, for example) and great dystopian sci-fi. Which brings us to the next genre: when The Matrix trades its grimy city streets for an even grimier post apocalyptic wasteland, it realizes the futuristic weirdness of a science fiction landscape perfectly. The "real world" of the Wachowski brothers' creation is imagined in thorough and thoughtful detail, with a number of strange yet logical eccentricities (the hovercraft, their EMP weapons, the flavorless food that comes from a faucet) that make it memorable.
The Matrix also utilizes two distinct action film genres in a clever combination that was one of its most borrowed traits. One is American style pseudo-realism, with its obsession for authentic guns and modern military technology. The other is the foreign martial arts film, whose conventions are worked into The Matrix in clever and unexepected ways (the virtual dojo scene between Reeves and Fishburne for instance). But the true brilliance here is the way that the two are seamlessly combined in the film's final act. Neo must use the fighting techniques represented by both on his way to final victory. This style of fighting may be the truest part of the vision the Wachowski brothers brought to the film.
Finally, there is the often cited philosophical core of the film. Those doubting the sincerity behind the use of this term may want to familiarize themselves with its definition. Ponderance of reality, of what is known, what can be discerned from the senses, and of the true nature of existence is the very core of philosophy. In short, Jules and Vincent arguing about the intention behind a footrub in Pulp Fiction is not really philosophy, Morpheus's question "have you ever had a dream, Neo, that you were so sure was real..." most certainly is.
(Note: One of the first film reviews I ever wrote, as a homework assignment in the 9th grade, was of this very film. I hope this second attempt is an improvement.)
Friday, September 12, 2008
25th Hour
4/4 stars
I'm the type of viewer who can be quite satisfied with a movie that has little more by way of action than interesting conversation. For the first hour or so of 25th Hour, it is that kind of film, patient and meditative, establishing characters through conversations that are snappy and intelligent, but also flavorfully coarse. The vulgarity adds to the urgency already underpinning these scenes, because tomorrow the main character goes to prison. These characters have an edge, they are neither a stand in for the audience nor the writer, but solid, grounded individuals who seem to live in the same world that we do. In the second half of the film, the dimensions of these characters are tested, they are pushed to make difficult choices. They reveal their flaws, and crack in the places that are weak.
The acting in this film is extraordinary. Edward Norton plays the condemned man with an air of forced calm and an always clear impression of the rage and despair beneath it. He always seems about to boil over, and begins to on one or two occasions, but there is such reserve even in these moments as to suggest much more still contained. Rosario Dawson walks a fine line in her performance. She plays a character who may not be trustworthy, but does so with an intense and compelling honesty nonetheless. Phillip Seymour Hoffman plays a man who willingly suffers for his principals, but is unsure of what the world expects of him. His sacrifices as a teacher go unappreciated, and he is tempted to allow himself one particular indiscretion to compensate for this. Anna Paquin is that temptation, a student, and she also has a delicate balance to keep. Though she is seductive, the vulnerability of her performance conveys the unsung truth of the situation: the damage that would be done to the teacher should their romance come to fruition is secondary to the damage that would be done to her. Finally, there's Brian Cox as Norton's father, who only seems underused until he tips his hand in the film's final act.
The events of this film threaten to overwhelm its characters, but without seeming unrealistic or squelching the smaller nuances that make them unique. Like anything by Spike Lee, the film is contemporary and somewhat political, but not in a way that overshadows its humanity. The presence of New York City is essential to the movie, it informs it visually, culturally and politically. The look of the movie is gorgeous and clean, particularly as it serves to illustrate two extended sequences that bookend the film. They are monologues of explosive and emotional poetry, delivered by Norton and Cox that shape the way we come to the film, and our impression as we leave it. 25th Hour is a movie that is compelling both in terms of drama and filmmaking, and is among the best efforts of everyone involved.
I'm the type of viewer who can be quite satisfied with a movie that has little more by way of action than interesting conversation. For the first hour or so of 25th Hour, it is that kind of film, patient and meditative, establishing characters through conversations that are snappy and intelligent, but also flavorfully coarse. The vulgarity adds to the urgency already underpinning these scenes, because tomorrow the main character goes to prison. These characters have an edge, they are neither a stand in for the audience nor the writer, but solid, grounded individuals who seem to live in the same world that we do. In the second half of the film, the dimensions of these characters are tested, they are pushed to make difficult choices. They reveal their flaws, and crack in the places that are weak.
The acting in this film is extraordinary. Edward Norton plays the condemned man with an air of forced calm and an always clear impression of the rage and despair beneath it. He always seems about to boil over, and begins to on one or two occasions, but there is such reserve even in these moments as to suggest much more still contained. Rosario Dawson walks a fine line in her performance. She plays a character who may not be trustworthy, but does so with an intense and compelling honesty nonetheless. Phillip Seymour Hoffman plays a man who willingly suffers for his principals, but is unsure of what the world expects of him. His sacrifices as a teacher go unappreciated, and he is tempted to allow himself one particular indiscretion to compensate for this. Anna Paquin is that temptation, a student, and she also has a delicate balance to keep. Though she is seductive, the vulnerability of her performance conveys the unsung truth of the situation: the damage that would be done to the teacher should their romance come to fruition is secondary to the damage that would be done to her. Finally, there's Brian Cox as Norton's father, who only seems underused until he tips his hand in the film's final act.
The events of this film threaten to overwhelm its characters, but without seeming unrealistic or squelching the smaller nuances that make them unique. Like anything by Spike Lee, the film is contemporary and somewhat political, but not in a way that overshadows its humanity. The presence of New York City is essential to the movie, it informs it visually, culturally and politically. The look of the movie is gorgeous and clean, particularly as it serves to illustrate two extended sequences that bookend the film. They are monologues of explosive and emotional poetry, delivered by Norton and Cox that shape the way we come to the film, and our impression as we leave it. 25th Hour is a movie that is compelling both in terms of drama and filmmaking, and is among the best efforts of everyone involved.
Friday, September 5, 2008
High Fidelity
4/4 stars
Even though this movie came out in 2000, it feels to me like it's been around forever; it just informed so much of my adolescence. A must for music geeks, Nick Hornby fans, or anyone who likes a good romantic comedy.
Written June 26, 2007.
Even though this movie came out in 2000, it feels to me like it's been around forever; it just informed so much of my adolescence. A must for music geeks, Nick Hornby fans, or anyone who likes a good romantic comedy.
Written June 26, 2007.
A Fish Called Wanda
4/4 stars
A comedic experiment between two Pythons and two other talented actors that pays off to great effect. Undoubtedly one of the most hilarious movies ever made, in fact (if Wikipedia is to be believed), it's so funny it killed a guy once. Justice demands four stars.
Written June 26, 2007.
A comedic experiment between two Pythons and two other talented actors that pays off to great effect. Undoubtedly one of the most hilarious movies ever made, in fact (if Wikipedia is to be believed), it's so funny it killed a guy once. Justice demands four stars.
Written June 26, 2007.
Memento
4/4 stars
I don't really know what to say about this movie. It's amazing. Three actors carry almost the entire movie, and one fairly complicated plot. Thematically dense. A triumph for its director, Chris Nolan. Stands up well to repeated viewings, and in fact almost demands them. It's a sad thing when you finally understand all this movie's mysteries, because unraveling them is such fun.
Written June 26, 2007.
I don't really know what to say about this movie. It's amazing. Three actors carry almost the entire movie, and one fairly complicated plot. Thematically dense. A triumph for its director, Chris Nolan. Stands up well to repeated viewings, and in fact almost demands them. It's a sad thing when you finally understand all this movie's mysteries, because unraveling them is such fun.
Written June 26, 2007.
Casino Royale
4/4 stars
It's great to see a lot of what this movie brings to the 007 baccarat table: a renewal for the franchise, a story worth paying attention to and a longer running time (my taste in how long a movie should be runs closer to three hours than two). Daniel Craig resembles both Connery and the grittier Bond of the books, and he was a great choice. The only thing the movie is missing would be the baccarat, replaced with nonsensical poker action, making you wonder who the change is meant to please.
Written June 26, 2007.
It's great to see a lot of what this movie brings to the 007 baccarat table: a renewal for the franchise, a story worth paying attention to and a longer running time (my taste in how long a movie should be runs closer to three hours than two). Daniel Craig resembles both Connery and the grittier Bond of the books, and he was a great choice. The only thing the movie is missing would be the baccarat, replaced with nonsensical poker action, making you wonder who the change is meant to please.
Written June 26, 2007.
Terminator 2: Judgement Day
4/4 stars
A masterpiece of the action genre. Doesn't insult your intelligence and maintains strong pacing, with a number of outstanding setpieces.
Written June 26, 2007.
A masterpiece of the action genre. Doesn't insult your intelligence and maintains strong pacing, with a number of outstanding setpieces.
Written June 26, 2007.
Brokeback Mountain
4/4 stars
Successful on many levels. Works as a period piece, artistically directed (Ang Lee is a favorite director) and does a good job getting the audience to really care about an unconventional relationship. Great performances too.
Successful on many levels. Works as a period piece, artistically directed (Ang Lee is a favorite director) and does a good job getting the audience to really care about an unconventional relationship. Great performances too.
Collateral
4/4 stars
Beautifully shot, tense action and strong characters, plus great work by Cruise and Foxx. Definitely worthwhile, and it made me a fan of Michael Mann's work.
Written June 26, 2007.
Beautifully shot, tense action and strong characters, plus great work by Cruise and Foxx. Definitely worthwhile, and it made me a fan of Michael Mann's work.
Written June 26, 2007.
The Silence of the Lambs
4/4 stars
A great combination of mystery and suspense with intelligence, depth and character. Plus a defining moment for Hopkins.
Written June 27, 2007.
A great combination of mystery and suspense with intelligence, depth and character. Plus a defining moment for Hopkins.
Written June 27, 2007.
V for Vendetta
4/4 stars
Political paranoia at its best. A new addition to the great dystopian classics. Also succeeded in capturing a very graphic novel feel (or perhaps the cinematic feel of the graphic novel). This movie marked the first time I've ever been really disappointed over a comic movie being overlooked at Oscar time.
Written June 27. 2007.
Political paranoia at its best. A new addition to the great dystopian classics. Also succeeded in capturing a very graphic novel feel (or perhaps the cinematic feel of the graphic novel). This movie marked the first time I've ever been really disappointed over a comic movie being overlooked at Oscar time.
Written June 27. 2007.
Pulp Fiction
4/4 stars
Never duplicated, this movie blends early 90s dialogue heavy indie with the feel of 60s and 70s crime films and truly lives up to its name. Incredibly well written, directed, photographed and acted. In short, everything is dead on.
Written June 28, 2007.
Never duplicated, this movie blends early 90s dialogue heavy indie with the feel of 60s and 70s crime films and truly lives up to its name. Incredibly well written, directed, photographed and acted. In short, everything is dead on.
Written June 28, 2007.
Good Will Hunting
4/4 stars
I don't have a lot to say about this one. Matt Damon's character is well layered, and Robin Williams demonstrates that he is a great actor, despite appearing in some pretty bad movies.
Written June 30, 2007.
I don't have a lot to say about this one. Matt Damon's character is well layered, and Robin Williams demonstrates that he is a great actor, despite appearing in some pretty bad movies.
Written June 30, 2007.
Thursday, September 4, 2008
Little Miss Sunshine
4/4 stars
The characters are so brilliantly realized that I was sad to see it end. Perfect casting. An excellent, thoughtful comedy.
Written July 10, 2007.
The characters are so brilliantly realized that I was sad to see it end. Perfect casting. An excellent, thoughtful comedy.
Written July 10, 2007.
Snatch.
4/4 stars
Guy Ritchie perfects his style in this film. The pace is intense but not overwhelming, the visual techniques stylish and original , and most importantly, the criminal world is completely engrossing. On a side note, close listening with the aid of subtitles will reveal that Brad Pitt is not, in fact, entirely incomprehensible.
Written July 10, 2007.
Guy Ritchie perfects his style in this film. The pace is intense but not overwhelming, the visual techniques stylish and original , and most importantly, the criminal world is completely engrossing. On a side note, close listening with the aid of subtitles will reveal that Brad Pitt is not, in fact, entirely incomprehensible.
Written July 10, 2007.
Heat
4/4 stars
This movie epitomizes everything that's great about Michael Mann's technique, and pairs it with a script that's epic in its handling of the internal lives of so many interconnected characters. The acting and cinematography are also amazing. A masterpiece.
Written July 18, 2007.
This movie epitomizes everything that's great about Michael Mann's technique, and pairs it with a script that's epic in its handling of the internal lives of so many interconnected characters. The acting and cinematography are also amazing. A masterpiece.
Written July 18, 2007.
Great Expectations
4/4 stars
An excellent combination of the classic with a modern style and psychological approach. Very well made.
Written July 22, 2007.
An excellent combination of the classic with a modern style and psychological approach. Very well made.
Written July 22, 2007.
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