Wednesday, March 24, 2010

Repo Men (2010)

Repo Men takes place not so much in a dystopian future as a dystopian alternate reality. People can replace their organs, bones, and other body parts with artforgs, but the cost is so high that many people default on their payments. That's where Jude Law and Forest Whitaker come in. If you go 90 days without a payment, they track you down and repossess the Union's property without deference to that property's host.

Even if you haven't seen the trailer or TV spots, you can pretty much guess what happens: as the result of an accident, Law ends up with an artificial heart and a change of heart. He turns against the system. Violently. Really, really, violently.

The truth: I went into this one expecting little more than a) Law fighting against the system and b) violence and gore. This movie delivers on both counts. Around the halfway mark what started out as a smart, maybe even timely idea with a stylish execution goes off the rails, but it goes so spectacularly off the rails that it achieves its own kind of magnificence. There's a wildly erotic self-surgery scene, for Pete's sake. How can you not love it?

Law continues on his upward trend in my esteem. Once he's freed of the need to act the fop, he's also free to do the work. Though there was little moment I could have done without, he was otherwise delightful, as was Liev Schreiber in full oily salesman mode. For dedication to bananas-osity alone, C+.

Confidential to Jude Law: you know what would go well with your hairy forearms? Some chest hair. Do us a favour and stop waxing.

Tuesday, March 23, 2010

"If there is one thing the history of evolution has taught us, it's that life will not be contained."

Just like life and twice as large, Clancy Mother*uckin' Brown's performance in Highlander will not be contained, which is why it's the subject of my latest Culture article.

While you're there, don't forget to check out the Culture blog, which has replaced TV Thursdays (remember those?) in that I now recap half a dozen shows (including the currently airing Gossip Girl, Vampire Diaries, and Supernatural) in addition to whatever else I get around to blogging about. Try it; you'll like it.

Monday, March 22, 2010

Shutter Island (2010) and The Ghost Writer (2010)

Two mystery adaptations set on rain swept New England islands, supported by pathetic fallacy, directed by aging masters who have left their mark on the cinematic landscape, and nearly toppled by an Alexandre Desplat score? Hmm.

Depending on your point of view, Shutter Island will either make you think that Martin Scorsese's off his game or that he's exactly where he should be. I'm in the latter camp. His bombast is so dynamic and his vision so haunting that his experimentation with turning Dennis Lehane's pulp into a cross between a B-movie and a full-on psychological nightmare is easily forgivable (i.e., if it doesn't work for you).

Leonardo DiCaprio stars as a U.S. Marshal brought in to investigate a missing persons case at a facility for the criminally insane, only for his and partner Mark Ruffalo's questioning to bring them no closer to figuring out how Emily Mortimer could have "evaporated through the walls." DiCaprio's haunted by his time as a solider in WWII and the death of his wife (Michelle Williams), and the still-waking visions that plague him are as disturbing as the details of case that slowly reveal themselves.

Roman Polanski's The Ghost Writer is a far more current and political story, simultaneously smaller and grander in scale. Ewan McGregor's brought in as a ghost writer to finish former British PM Pierce Brosnan's memoirs after the last ghost and aide fails to get off the ferry one evening and washes up on shore three days later. Though McGregor initially sees his work as little more than turning something deadly boring into slightly more palatable prose for a handsome reward, the announcement that the Hague will investigate Brosnan for war crimes is enough to pique his interest to investigate his predecessor's sudden demise.

The Ghost Writer feels infinitely more claustrophobic, though no less isolated, than Shutter Island. The compound where the majority of the action takes place feels like just that, and Polanski fills each corner with tension. Seething resentments, recriminations, and resignation hang in the air. It's the best deployment of McGregor I've ever seen, and Olivia Williams stands out as femme fatale. Just switching to a red sweater is enough to make you nervous.

It's hard ignore the parallel between Polanski and Brosnan's Lang as men who take refuge in one country's refusal to extradite. Shutter Island may tell the more personal story, but it's The Ghost Writer that feels personal. Former, B+; latter, A-.

Tuesday, March 16, 2010

She's Out of My League (2010)

I went into this one with my eyes open but perhaps too wide: I fully expected this movie to suck horribly. Basically, I thought I would go see it because I like Jay Baruchel, I would like him in it, and that would be the end of it. Surprisingly, it's not.

It's not high above* the level of suckage I initially anticipated, and that's not necessarily a knock against it. It does play like a raunchy, less carefully plotted version of The 40 Year-Old Virgin, and I think a lot more work needed to go into Kirk's (Baruchel) friend circle. Devon (Nate Torrence), the married-young-and-still-innocent one, and Jack (Mike Vogel), the ladies' man (maybe?), were ill-defined but still more likable than Stainer (T.J. Miller), who gets the majority of the screen time and seemingly holds stronger sway over Kirk for reasons that are again unclear. Aside from the fact that they all work at the same place, I couldn't really get a handle on the bond between them, and I think it damaged the movie overall because Kirk's relationship with his friends plays a big role in his perception and handling of his relationship with Molly (Alice Eve).

In case the broadsheet didn't make it clear, the entire plot is found in its tagline: How can a 10 go for a 5? Eve's quite sweet in the role, and there's an awkward chemistry between her and Baruchel that rings true. Beneath the sex-farce, there's a better movie about the value of confidence and its ability to overcome a host of real and perceived relationship shortcomings. Aside from two drawn-out "set piece" jokes that would have been best left on the cutting room floor, though, the finished product isn't too far off from that idea. C

Also, Krysten Ritter (Gia of V-Mars fame) totally rocks as the bitchy best friend.

*Was "She's So High Above Me" on the soundtrack? Yes, yes it was.

Tuesday, March 09, 2010

Top 10 of 2009

Now that I have finally finished my own personal death race (tm Sars, of course), it's time for some unifying, concluding thoughts on last year's movies. Okay, here it is: meh. Bearing in mind the possibility that I can't count, I saw over 60 new releases last year (not including the ticket stub I can't identify). My overall feeling was that it was a blah year for movies. Even though 2007 is generally agreed upon as a spectacular, perhaps unbeatable year for movies, 2008 still had plenty to impress. Maybe I just saw too many stupid 2009 movies. Maybe there just isn't much to recommend this year.

Even so, there are movies from last year worth seeking out if you haven't already. My Top 10 for 2009:

Friday, March 05, 2010

Pop Culture Round Up: February 27 - March 5, 2010

Film - Women on the sidelines

Oscar alternative: The beauty of bad movies

Josh Schwartz Gives Us a Preview of the New Gossip Girl Episodes

Lady Gaga and Miss Piggy May Be One

Harlequin Titles Reveal Audience's Desires

Bringing New Understanding to the Director’s Cut

China's Only Independent Dance Company Led By Country's First Transsexual

Vampire Diaries: Why It's One of TV's Most Addictive Shows

Inside the Singular Hysteria of the Brutal Academy Awards Race

The Short Take: Neglect 2009 - Part V

Only four movies left. I think I just overheard someone recommend 2012.

Jennifer's Body (2009)

It's Jacob's favourite movie of the year, and you can actually see the Jacob-reality disconnect when you watch it. The ideas underneath are as powerful a statement as you can imagine about the nature of feminism and the role of sex in trying to present woman as person. Despite what others may tell you, Megan Fox is actually kind of awesome (or at least awfsome) in the this movie. She's well suited to the role, and she brings a lot of energy to it. So it's too bad that a) someone wants me to believe that Amanda Seyfried is plain and b) this movie does not have the courage of its convictions. The opening narration makes a stronger point than anything follows in the movie. At least Kyle Gallner continues to be amazing. Too bad he only seems to be in horror movies lately. D

Fame (2009)

It's always funny when you can compare newer movies to older movies and realize how much more ballsy people used to be. If not in subject matter, certainly in the things they would say to one another. Basically, it's a lackluster remake of a movie that was, despite its fluffiness, far braver the first time around. And I still like the original theme song better. C

Cirque du Freak: The Vampire's Assistant (2009)

Depending on your point of view, this was either a lackluster attempt to cash in on the current (and forever) vampire craze or delightful departure therefrom. While it's not a perfect movie, the relish with which John C. Reilly and Willem Dafoe approach their roles almost makes up for any deficiencies. Yes, it is obviously just a set up for a (yet to materialize) sequel. But it's cute and sweet, and the second act set at the camp is actually the movie's best. If I had to choose which Weitz brother vampire saga adaptation I'd rather watch again, it would be this one. C

Inglourious Basterds (2009)

I need someone to explain to me when and how I turned the corner on Quentin Tarantino. It's not like I didn't like him before just to be contrary. I have tried, several times over, to watch Pulp Fiction and the apparently underrated Jackie Brown. I have never successfully sat through either one once. But man, do I groove on Death Proof (though not the full director's cut) and now Inglourious Basterds. It seems weird to compare them, but I'll do it anyway: despite the massive, obvious differences, Basterds has got the same joyous, freewheelin' vibe and man on a mission plotting as Fantastic Mr. Fox. I bet a double bill, if you've got the stomach for both, would make for one helluva night. Though it's overly and unnecessarily long, it's also well-acted and well-plotted. Who knew revisionist history could be so fun? B+

Aside from a movie title-less Bytowne ticket stub from Sunday, January 10, thus concludes by 2009 clean up. Hurrah! On to the top 10.

Thursday, March 04, 2010

The Short Take: Neglect 2009 - Part IV

Turns out it will soon be time to move to the couch. It is not yet time.

Transformers: Revenge of the Fallen (2009)

Went to see this movie out of movie-related boredom. Said everything I need to say about it here. D

District 9
(2009)

This is one of those movies I wish hadn't fallen through the cracks of my massive lack of reviewing because it was one of the best movies of 2009. It's powerful, well-acted, and completely different from what you thought it was: ballsy, political conscious, and graphically violent. A smart movie with the power to surprise? That is something. A-

Whip It (2009)

I always want to put an exclamation point at the end of the title, and that's pretty much the review right there. The movie is never more than its girl-power tagline, "Be Your Own Hero," but, as girl-power movies go, that's a pretty good thing to be. Drew Barrymore makes for an assured presence behind the camera. Now if someone could just explain to me what the legal difference is between 18 and 21 in Texas inasmuch as you apparently can't legally consent to participate in roller derby until you are 21, that would be great. Because I'm pretty sure you're a legal adult at 18, so one of the movie's big conflicts sort of deflated for that reason. But, you know, otherwise cute and you go, girl and all that. B

The Hangover (2009)

I was so sure I had already reviewed this one, but, since it's one of the most popular movies this year, I'm pretty sure you've already seen it. You don't need me to tell you that it's funny (particularly Mike Tyson and a discussion about renaming roofies), but not the funniest shit ever warranting a sequel and, like, a girl version and whatever the crap else. It's sort of an one-note thing to begin with, okay? B-

(500) Days of Summer (2009)

Sadly, I told someone I had already reviewed this movie. That turned out not to be true. Sorry, Ames! I mentioned this exact scenario to my best friend, and she asked, "What would you say about it?" Well, I would say that it is inventive, particularly the two Ikea set pieces, Joseph Gordon-Levitt's dance number, and the reality divorcing from expectations. I would also say that it wears its devotion to The Catcher in the Rye a little too on its sleeve, that Tom (Gordon-Levitt) is a dough head, and that I would call Summer (Zooey Deschanel) a bitch, but that last remark wouldn't be fair. The movie prevents you from ever getting to know her in any meaningful way, so it's not right to blame Summer for that. Insight ultimately squandered on characters unworthy of it. B

G.I. Joe: The Rise of Cobra
(2009)

I had to go see this movie as part of a bargain, and the other person turned to me when it was over to apologize. Seriously. Joseph Gordon-Levitt, are you hurting for money? Come over, and I will make you a sandwich next time. We'll figure something out. Bring Christopher Eccelston with you. D-

Now it's time to move to the couch.

Wednesday, March 03, 2010

The Short Take: Neglect 2009 - Part III

Dinner = eaten. Saved by the Bell = watched.

The Men Who Stare at Goats (2009)

The movie is overall too shaggy to amount to much, though it does deliver excellent doses of George Clooney, Jeff Bridges, Stephen Root, Stephen Lang, Robert Patrick, Glenn Morshower*, and Kevin Spacey. Yes, Ewan McGregor also in this movie, but his whole point is react like Clooney is kind of bananas and eventually sort of fall in love with him, i.e. to be the audience. It's not exactly demanding. But Clooney dancing or Spacey inducing a terrible trip? That's good stuff. B

*Has he graduated from Hey! It's That Guy! College? I see him in stuff all the time now.

2012 (2009)

2012 is a) bloated, b) so boring that I went to the bathroom for something to do, and c) ridiculous. I sort of love how cheesy it is. It hits absolutely every trope you could possibly think of and then floods them. People have a right to fight for their survival, Chiwetel Ejiofor? Against a worldwide deluge? Okay, we'll get right on that. I mean, John Cusack's son's name is Noah, for pity's sake. D

Gamer (2009)

Cool trailer, endlessly gross and terrible movie. Doesn't even have the good sense to let the bottom fall out and embrace how truly terrible it is. Michael C. Hall sure seemed to be having fun, though. D

Moon (2009)

It's funny that someone didn't think to multiply Sam Rockwell or make Kevin Spacey a disembodied voice sooner. Those are both exactly the right choices to make. It's not a perfect movie, but it's haunting and beautiful and occasionally very funny. It bodes well for Duncan Jones' career. B+

9 (2009)

A very cool looking movie that isn't that exciting to watch. Shane Acker expanded it from his award-winning short, but the story almost seems better suited to a graphic novel than a feature film. Both the philosophic arguments and pulse-pounding chases that make up the movie make for amusing diversions, but it culminates in a rickety finish. B

The Time Traveller's Wife
(2009)

Read my Book vs. Film. Better yet, read the book.

The Soloist
(2009)

I never thought of Robert Downey Jr. as an actor in need of direction, and I'm not entirely convinced that that's the problem here. His character is ill-defined, but I doubt we should lay that at the feet of Downey exclusively. I'd sooner say that the problem is director Joe Wright, specifically the relationship between Wright and the material. He also made the lush, passionate, tragic Atonement, so it's not like he can't direct. But he doesn't know what to do here. He puts Jamie Foxx in a room with real life afflicted people. He attempts to show make music looks/feels like to Nathaniel through colour. None of it sticks. I do like that the movie makes it clear that Steve can't ever "fix" Nathaniel, that things just aren't like that, but I'm not sure you should hang a movie about the relationship between a journalist and a schizophrenic musician on the strength of any one's narration even if it is Downey. C

Time to move to couch.

Tuesday, March 02, 2010

The Short Take: Neglect 2009 - Part II

Turned on light. Ordered dinner. Back to typing. Discovered that I already reviewed some of these stubs. Hurrah!

The Boys Are Back (2009)

It's equal parts brave and stupid to write a book about how you pretty much almost killed your kids after your wife died, yet you give little evidence that you've truly redressed. Don't get me wrong, Clive Owen doesn't actually endanger children's lives. It just takes him a while to figure out how to be the parent to two kids on his own. And then he does. The end. B-

An Education (2009)

Jenny (Carey Mulligan) is repeatedly presented as whip smart, but she's so ridiculously naĂŻve, so willfully ignorant of the idea that there could be more skeletons in David's (Peter Sarsgaard) closet that you're practically glad she goes through what she does. Girl needed a good shaking to be honest. Screen adapter Nick Hornby, director Lone Scherfig, and Sarsgaard do what they can to find a little sympathy for Peter. Paul Englishby's score starts out strong in the opening credits (in fact, the opening credits are actually some of the movie's strongest work) but never lives up to its promise. At least Rosamund Pike makes for a delightfully dizzy dame. B+

Julie & Julia (2009)

By now everyone and their brother has told you that the Julia (Meryl Streep) parts are excellent and Julie (Amy Adams) comes across pretty poorly by comparison. I'll say no more except that I like Adams and only wish she'd be a bit more discerning with her script choices. On the other hand, maybe this is all she can get. Also, Streep, Stanley Tucci, and Jane Lynch together is heavenly. C

Adam
(2009)

Movie is cute, Hugh Dancy is particularly good, having Rose Byrne essentially write "This is my evil plan!" in giant letters in her day planner in order to create conflict is moronic. C+

Ninja Assassin (2009)

Amazing: a movie that stars Rain as a ninja assassin, and nothing happens. Someone may claim that there is a plot, but that person is wrong. There are flashbacks, and there are ninja assassinations. That is it. C

Food arrived! Will be back after eating break.

Monday, March 01, 2010

The Short Take: Neglect 2009 - Part I

Oh, blog, how you have been neglected in the last year plus. I think now my ticket stubs have hit critical mass: the pile is so big that it seems impossible to tackle them. I've decided that I am just going to work my way through them until they disappear. No system, no plan. Write a phrase, write a paragraph until they're all gone. Might back date the posts to break them up, but that's it. You with me?

Red Cliff (2008)

Plays at times like a John Woo parody rather than a John Woo movie, but then Takeshi Kaneshiro shows up as the hottest damn war strategist ever and makes it all worthwhile. Between that and Tony Leung's badassery, it's definitely worth checking out. Too bad we slow North Americans can't enjoy the two movie version they got in China. B

Mary and Max (2009)

I think I'm a little sensitive to movies where people finally get what they want when what they want is something small. Instead of beating us over the head with how deserving the protagonists are or what hard lives they live, Mary and Max's lives are presented as matter of fact (and odd and adorable) that the idea that all they each want is a friend is enough to break your heart. It's also nice to hear Philip Seymour Hoffman outside of his wheelhouse. Makes me want to send him a pom. A-

A Single Man (2009)

A Single Man is a sensory delight from start to finish, though perhaps not for the reasons Tom Ford would like me to point out. From John Hamm's rich voice on the other end of a phone line to Lee Pace showing up with a calabash pipe,* this movie is delicious. Ford's direction is, at times, too formal and too fussy, and Julianne Moore kind of goes off the rails. I never thought of her as an actress in need of direction, but there it is. Colin Firth finally found the exact right role for his cerebral, internal, occasionally sensual gifts, but he won't win the Oscar. It's a shame, really, because when is a role like this, one that takes place entirely behind a mask, going to come up again? A-

Crazy Heart (2009)

Crazy Heart is exactly the kind of small movie that showcases brilliant acting and little else. The story is shopworn and the coda unnecessary, but, man, who wouldn't want to draw near as Jeff Bridges worked out a melody sitting on his porch? Maybe Maggie Gyllenhaal is just inside by an open window, typing away at her computer. Robert Duvall's going to be here any minute now, and somehow you agree that it's a good idea for him to bring Colin Farrell along. You'd line up for that, wouldn't you? So the story hits its beats a little too hard and characters that could have been more are either buried under exposition or given short shrift. But the view is beautiful (thanks, DP Barry Markowitz), and how many more times are you going to get invited to a party like this? P.S. Bridges will obviously win. B+

Good Hair
(2009)

Your $1000 weave is on layaway. At what point do you realize that your priorities are seriously out of whack? The movie delivers a lot of new, surprising information (you'll practically do a double take when Raven-Symoné starts sliding her weave around) but shows no real interest in diving into the socio-political-economic reasons behind why black women approach their hair in such a way. On the other hand, I've gotten a lot of mileage out of "creamy crack." B

Legion
(2010)

I'm a big fan of bad movies (almost as good as great movies, I say, and just as valuable), so how bad does it have to be that I would tell people that not see it? Pretty fucking bad. Paul Bettany is kind of awesome in that his idea of showing Michael's love for humanity is to act like he wants to make out with whomever he's talking to (it helps that he's lookin' good in this movie), and there's something wonderfully offbeat about Kevin Durand. Aside from that, there's nothing redeem a movie so messy it can't even follow its inner logic. D-

The Wolfman (2010)

Emily Blunt, you sure do look good in period clothes. Anthony Hopkins, you've got some sort of Alan Rickman thing going on here with the way you add syllables to words (Rickman is the king of turning words you thought you knew and understood against you). Rest of the movie? You're cool for the first act, big on scares and atmosphere. The work that goes into the Benicio Del Toro's transformation is genius, the rest of the movie is not. Way too much atmosphere, not enough plot. Hugo Weaving's still cool beans. Should have told half the movie from his point of view and had it go ramming into Del Toro's. That would have been something. C

*Whoo! Foxy TV men!

Pop Culture Round Up: February 13 - 26

I just keep forgetting to publish this.

Where's diversity in Vanity Fair's Hollywood?

Actress's Performance a Bit Robotic... Literally

How to write an incendiary blog post

The sweet smell of morality

The Top 43 Sexiest U.S. Presidents

Walters to end Oscar interviews

Twins sought for National Gallery installation

BBC digitises Henry Moore films

The film fantasy of writers' lives

Connor Paolo Wants Eric Van Der Woodsen to Go Postal

Tut was a 'frail king' with broken leg

Oscar Spoilers: Best Original Song Artists Not Performing; But Contestants Invited From ‘So You Think You Can Dance?’

Sebastian Bach Saved Axl Rose’s Life!

Queen Victoria's passion for nudity goes on display in new art exhibition

Empathy May Drive Workplace Creativity

Drama pilots getting more diverse

Winterbottom defends extreme violence in his film

The Hurt Locker sees off Avatar at Baftas

Ten rules for writing fiction

Oscar night funds academy's other projects

Gossip Girl: Nate Is Serena’s Fairy Prince

Hee!

Tables of vampire traits

Mind - New Research Focuses on the Power of Physical Contact

bea arthur mountains pizza

'Avenue Q' puppet too busty for Colorado Springs