rating: *****
the story: A young director finds himself thrust into the world of Don Quixote.
review: By some fortuitous twist of fate, I ended up reading Don Quixote by Cervantes, for the first time, not long before finally getting to see Terry Gilliam's torturously-gestated The Man Who Killed Don Quixote. I don't think it's necessary to have read the book recently, but to have read it at all surely helps explain many if not most of Gilliam's subsequent creative choices for the film. You might even say that Gilliam's film is a modern updating of the book.
I think the reaction of most critics to the film owes to their ignorance of the book. I think the reaction of most critics owes to the fact that they really only know the story from the musical Man of La Mancha, whose fifty year existence is something of a drop in the bucket of the four hundred years the book has been in existence (Cervantes was a contemporary of Shakespeare). Those critics may not know how much the musical departs from the book. They might not even care. They might really be convinced that Don Quixote is the story of an irrepressible dreamer.
It is, in fact, Sancho Panza's story. Sancho is Don Quixote's squire, a peasant from the same neighborhood as the lord whose fortunes have been declining. Most of the misfortunes that befall Don Quixote, in their subsequent adventures together, fall on Sancho more harshly. Sancho spends the book doubting Don Quixote's sanity and going along with his flight of fancy mostly because he believes he'll end up with a higher station in life. At one point he gets to play governor of an "island," something Don Quixote has been promising him as the most likely outcome of their time together.
But what is Sancho's story? Well, it's much like Toby's. (Meanwhile, the name of this character in Gilliam's movie is most likely derived from a namesake character in Tristram Shandy, a book inspired by Don Quixote and much later adapted into Tristram Shandy: A Cock & Bull Story, which takes a much more literal metafictional approach to adapting the source material. Toby is also a supporting player in that story, and at least in the book, steals attention as shamelessly as Sancho.)
Toby is the young director played by Adam Driver. Toby's career sort of peaked early when he made a student film, called The Man Who Killed Don Quixote. He discovers a DVD copy of it by chance, in the present, and he decides to return to the village where he filmed it. There he comes across the cobbler (Jonathan Pryce) he'd convinced to play Don Quixote. Only now, the cobbler believes he is Don Quixote. It's a comparable development to how Cervantes first set Don Quixote on his path of knight-errantry.
But Toby is driven, like Sancho, mostly by ego. Going on the road with Don Quixote has nothing to do with believing in his quest. As with Sancho, Toby doesn't believe for a minute that the cobbler is really Don Quixote, and the audience is given a concrete reason to sympathize with him. As in the book, the character of Don Quixote becomes the very colorful window dressing the story uses to follow Toby's doubt, and how by the end he begins to believe.
So in short, the musical is about belief, while the book and this new movie are about doubt.
Toby's life is complicated by the fact that the main producer (Stellan Skarsgard) of the commercial he had set out to make when he becomes plunged into the world of Don Quixote, is something of a tyrant. (A character no doubt inspired by Gilliam's ridiculously complicated production history.) And the producer's wife (Olga Kurylenko) keeps trying to have an affair with him. And the girl Toby cast as Don Quixote's beloved Dulcinea has reentered his life as well, and keeps instigating him to look beyond his cynical outlook. She disagrees that his student production ruined her life. But their further relationship clarifies around the cobbler's adventures, and the story ends up coming full circle.
As I've said, most of the story beats in Gilliam's film come directly from Cervantes' book. Most of Gilliam's films throw their main characters into bewildering journeys, and sometimes the bewilderment becomes the viewer's as well. I think Toby provides a clear center, his perspective easy to understand, whether or not you see all the parallels with the book, the departures and many elements missing from the musical.
It actually becomes ironic, that we're once again living in an age like Cervantes'. A real argument could be made that what Don Quixote was really about was Cervantes complaining that his contemporaries no longer valued or understood the literature that he himself still cherished, which in his case as with his main character was chivalric fiction. Critics today, by their bewilderment of this film, admit that they have no real knowledge of the book itself. (Makes you really wonder when you read any review that claims, "the book was better.") Gilliam's instincts are well-established. His last movie, The Zero Theorem, was pretty straight-forward but a lot weirder by design. He never sets out to make The Man Who Killed Don Quixote weird for the sake of being weird (probably Tideland is the benchmark in Gilliam's work for that). It's probably his most straight-forward movie ever! Even The Fisher King makes you wait to find out what happened to Robin Williams. Here you know everything you need to almost right from the start, and the story becomes, as with most stories, waiting to see how things turn out.
Driver is perfect as Toby. I know there were many actors cast to play the character, and Don Quixote for that matter, over the years, but in the film as it ended up, it's difficult to imagine anyone else being able to lose himself in the role. Johnny Depp, at the time he was cast, had yet to break out as a true character actor, and so still retained his dreamy persona, when not sporting scissors for hands. Don Juan De Marco is an excellent example of Depp in his prime at that point in his career, and is similar to Don Quixote (a man who believes he is in fact the celebrated lover). Driver is able to sell the ego-driven Toby, the would-be lover, and the man who becomes completely overwhelmed by his later experiences, and finally someone capable of taking on, yes, the impossible dream, without ever making any of it feel like a caricature. It's a performance that needed to be grounded. By all rights, it's a career-defining performance, in Gilliam's, at long last, career-defining film.
My favorite Gilliam movie, before this, was The Imaginarium of Doctor Parnassus. I'm still working on fully appreciating Brazil. Arguably The Fisher King will remain his most accessible movie, and Twelve Monkeys will be the one the cool kids like. But The Man Who Killed Don Quixote, a movie he tried making for a quarter century, is quite literally a movie only he could make, in a career of movies only he could make. We live in an age where the idea of the remake is anathema, even as we never quite scoff at mere adaptations. But storytelling is always about retelling stories. The best stories are those that continue to resonate, even if a few details have to be updated every now and then, because they are continuously relevant. Gilliam includes Muslims and even Russians in his version. Muslims were in fact integral to Cervantes' version as well, and that's just one of the many ways Gilliam helps resurrect it. I think Toby's arc, from being lost in his own life to allowing himself to be lost in someone else's, is the whole point. In the movie, as in the book, there are characters who think they'll make things better by attempting to do so cynically, mostly so they can mock Don Quixote. But what Toby discovers is that the better version of himself, the one he can live with, has finally cut himself free from doubt. He no longer views Don Quixote as crazy. This isn't an impossible dream. It's about finally refusing to make compromises, and just doing something. Somewhere along the way, the spontaneous Toby who made the student film stopped existing. The course he set the cobbler on was the opposite one Toby took. This is a story of how they meet up again.
Anyway, it's also a damn good film, beyond anything else. You don't need to try and take life lessons from it. Things work out for Toby. The end.
Thursday, June 13, 2019
Wednesday, June 12, 2019
The tortured road to finally getting to watch The Man Who Killed Don Quixote...
Terry Gilliam's The Man Who Killed Don Quixote had a famously tortured production history. I don't really need to detail it here. The first efforts eventually documented in Lost in La Mancha (2002) led more than a decade later to Gilliam successfully completing the film. And then financiers decided he couldn't release it. And then Cannes let him screen it (out of competition). And then, in the US, it got a single day for cinematic screening earlier this year. And then the home video was finally announced, and that was last Tuesday.
Ah! Now it would be simple!
Ha! Of course not. Of course not!
I found a Blu-ray copy at Target, but I do not do Blu-ray. I figured Wal-Mart would definitely have it. But it didn't.
So I ordered a copy on Amazon. Simple enough, right? Except, no! Amazon didn't even have it officially listed. There were only "used" copies available. I ordered one of those. I checked out Redbox later, but Redbox didn't seem to have it, either.
I have to assume additional hoops were placed even for the home video release. You have to be very dedicated to have gotten a copy. I mean, in the age of the internet, it's somewhat standard practice at this point. I don't know if the movie can be found on cable, or Netflix, or some other service. But it shouldn't have been this hard!
I mean, I get why Gilliam's original production had problems. Some of it seemed avoidable, in hindsight. I'm glad he got to go back and finally make the thing. I'm still appalled that anyone involved in this effort could then decide they could possibly be justified in blocking it. I'm appalled that Gilliam didn't have willing investors from the usual channels, from the many, many movies that are made and released without notable incident. I'm appalled that distribution for the home video release was equally convoluted. In a sane world, most of this would have sounded positively insane.
But in a weird sort of way, if it weren't all so crazy, would it really be a Terry Gilliam movie?
So I will appreciate that it got made, and that I got a copy, and that I will get to enjoy it for years to come. We now live in a world where The Man Who Killed Don Quixote officially exists, and anyone who really wants to see it, can. That's pretty awesome.
Ah! Now it would be simple!
Ha! Of course not. Of course not!
I found a Blu-ray copy at Target, but I do not do Blu-ray. I figured Wal-Mart would definitely have it. But it didn't.
So I ordered a copy on Amazon. Simple enough, right? Except, no! Amazon didn't even have it officially listed. There were only "used" copies available. I ordered one of those. I checked out Redbox later, but Redbox didn't seem to have it, either.
I have to assume additional hoops were placed even for the home video release. You have to be very dedicated to have gotten a copy. I mean, in the age of the internet, it's somewhat standard practice at this point. I don't know if the movie can be found on cable, or Netflix, or some other service. But it shouldn't have been this hard!
I mean, I get why Gilliam's original production had problems. Some of it seemed avoidable, in hindsight. I'm glad he got to go back and finally make the thing. I'm still appalled that anyone involved in this effort could then decide they could possibly be justified in blocking it. I'm appalled that Gilliam didn't have willing investors from the usual channels, from the many, many movies that are made and released without notable incident. I'm appalled that distribution for the home video release was equally convoluted. In a sane world, most of this would have sounded positively insane.
But in a weird sort of way, if it weren't all so crazy, would it really be a Terry Gilliam movie?
So I will appreciate that it got made, and that I got a copy, and that I will get to enjoy it for years to come. We now live in a world where The Man Who Killed Don Quixote officially exists, and anyone who really wants to see it, can. That's pretty awesome.
Monday, May 27, 2019
2012 Capsule Reviews
Django Unchained
rating: *****
review: Jamie Foxx exhibits effortless cool in the title role of this initial period drama from Quentin Tarantino, featuring a thrilling showdown between Christoph Waltz and Leonardo DiCaprio. Tarantino reaches new heights of focus with this one.
Seven Psychopaths
rating: *****
review: A cult favorite waiting to happen, and a hugely enjoyable ensemble that helps make it happen, along with Martin McDonough's undeniable skills as a storyteller, perhaps never more apparent, to date, in a movie.
The Dark Knight Rises
rating: *****
review: Where Christopher Nolan reached greatness with the help of a transcendent performance from Heath Ledger with The Dark Knight, here he achieves it by boldly completing his vision of the Batman saga.
Beasts of the Southern Wild
rating: *****
review: A must-see fable from the real-life tragedy of Hurricane Katrina.
Killing Them Softly
rating: *****
review: The infrequent films of Andrew Dominik are always thrilling. Here he uses the gangster flick to critique the state of America.
Life of Pi
rating: *****
review: A transcendent book becomes a transcendent movie.
Total Recall
rating: ****
review: When a remake happens, especially of a well-known movie, it becomes difficult for most viewers to forget the prior version and just enjoy the merits of the new one. I haven't seen the original. I like this one quite a bit.
Mirror Mirror
rating: ****
review: Here's Tarsem distilled to his most accessible, with his version of Snow White, bursting with endearing charm, with fresh faces Lily Collins and Armie Hammer in the lead and Julia Roberts boldly embracing the villain's role.
A Thousand Words
rating: ****
review: At a time when they were both preparing to lay low, Eddie Murphy does what had been a typical Jim Carrey plot. It's the complete opposite of what Murphy is known for. Of course he nails it.
Savages
rating: ****
review: Oliver Stone's last great creative statement to date, stolen by supporting performances from Benicio Del Toro and John Travolta (his last great appearance in a film to date).
Flight
rating: ****
review: Denzel Washington's best recent performance (in a movie later somewhat copted by Tom Hanks in Sully), with a breakout cameo from James Badge Dale that Hollywood still hasn't caught up with.
Looper
rating: ****
review: Rian Johnson's high concept time travel story that's starting to look more and more old school Hollywood by today's standards: Joseph Gordon-Levitt plays the young Bruce Willis.
The Amazing Spider-Man
rating: ****
review: Peter Parker was never more endearingly earnest, and believable, than depicted by Marc Webb and Andrew Garfield.
Liberal Arts
rating: ****
review: Josh Radnor, in his second attempt, nailing the transition from sitcom star to filmmaker.
Silver Linings Playbook
rating: ****
review: Bradley Cooper becomes a movie star.
Coriolanus
rating: ****
review: This must-see Shakespeare adaptation stars Ralph Fiennes and Gerard Butler.
Zero Dark Thirty
rating: ****
review: The hunt for Bin Laden, compellingly centered around Jessica Chastain.
End of Watch
rating: ****
review: Sort of Training Day without the big Denzel Washington scene. But still compelling.
Argo
rating: ****
review: Alan Arkin sort of steals this one, but it's still a welcome peak into history, and one of its most unlikely stories.
Lawless
rating: ****
review: Tom Hardy steals this one in a supporting role as the brother who's nearly impossible to kill.
Hyde Park on the Hudson
rating: ****
review: Unexpectedly perfect casting with Bill Murray playing FDR.
Trouble with the Curve
rating: ****
review: Clint Eastwood probably at his most cuddly.
Prometheus
rating: ****
review: A lot of fans were disappointed, but as someone who's not particularly invested in the series, this is my favorite in the Alien sequence.
Les Miserables
rating: ****
review: Anne Hathaway completely steals it.
Marvel's The Avengers
rating: ****
review: Joss Whedon successfully sets the tone for the MCU.
Rise of the Guardians
rating: ****
review: Basically Frozen before Frozen, moreso than Tangled, without the Disney model.
This Means War
rating: ****
review: Chris Pine and Tom Hardy as romantic comedy spies. It totally works.
MIB 3
rating: ***
review: If Will Smith can't have Tommy Lee Jones to bounce off of, at least Josh Brolin can mesmerize in his Jones impersonation.
The Hobbit: An Unexpected Journey
rating: ***
review: As someone who stopped loving the Lord of the Rings films basically after Fellowship of the Ring, this was basically a step in the right direction, even if Peter Jackson still gets lost trying to keep the journey thrilling. But it gets better in later entries.
Wrath of the Titans
rating: ***
review: A straight action sequel to Clash of the Titans.
John Carter
rating: ***
review: This one's become a sort of cult favorite, with adherents insisting the trailer screwed it all up. But the truth is, the lead character, and not so much Taylor Kitsch, is too generic. Basically Disney preparing to acquire Star Wars.
Chronicle
rating: ***
review: A found-footage superhero flick. The only problem here is the complete charisma void in the cast.
Cloud Atlas
rating: ***
review: I think if the focus had centered on Tom Hanks, rather than a sprawling cast of characters played by a small number of actors, it would've been a greater success.
Skyfall
rating: ***
review: Daniel Craig's Bond forgets what made him cool, and just sort of tried to be artful.
For Greater Glory
rating: ***
review: An earnest historical Christian drama.
The Hunger Games
rating: ***
review: Having somewhat reluctantly read the books, I was shocked at how little effort was made to capture the story. I don't mind different interpretations. But this is like Peter Jackson randomly changing things in his Lord of the Rings, mistakenly believing he's making sound creative decisions. The epitome is the "girl on fire" dress that...doesn't nail it. At all.
Ice Age: Continental Drift
rating: **
review: An increasingly perfunctory series.
Wreck-It Ralph
rating: **
review: I think this was just a bad year for animated movies. This one's far too complicated.
Brave
rating: **
review: Pixar officially just makes a typical Disney film.
Hotel Transylvania
rating: *
review: I had to endure repeated screenings of this one. Whatever charm it possesses is betrayed by extremely obnoxious distractions.
rating: *****
review: Jamie Foxx exhibits effortless cool in the title role of this initial period drama from Quentin Tarantino, featuring a thrilling showdown between Christoph Waltz and Leonardo DiCaprio. Tarantino reaches new heights of focus with this one.
Seven Psychopaths
rating: *****
review: A cult favorite waiting to happen, and a hugely enjoyable ensemble that helps make it happen, along with Martin McDonough's undeniable skills as a storyteller, perhaps never more apparent, to date, in a movie.
The Dark Knight Rises
rating: *****
review: Where Christopher Nolan reached greatness with the help of a transcendent performance from Heath Ledger with The Dark Knight, here he achieves it by boldly completing his vision of the Batman saga.
Beasts of the Southern Wild
rating: *****
review: A must-see fable from the real-life tragedy of Hurricane Katrina.
Killing Them Softly
rating: *****
review: The infrequent films of Andrew Dominik are always thrilling. Here he uses the gangster flick to critique the state of America.
Life of Pi
rating: *****
review: A transcendent book becomes a transcendent movie.
Total Recall
rating: ****
review: When a remake happens, especially of a well-known movie, it becomes difficult for most viewers to forget the prior version and just enjoy the merits of the new one. I haven't seen the original. I like this one quite a bit.
Mirror Mirror
rating: ****
review: Here's Tarsem distilled to his most accessible, with his version of Snow White, bursting with endearing charm, with fresh faces Lily Collins and Armie Hammer in the lead and Julia Roberts boldly embracing the villain's role.
A Thousand Words
rating: ****
review: At a time when they were both preparing to lay low, Eddie Murphy does what had been a typical Jim Carrey plot. It's the complete opposite of what Murphy is known for. Of course he nails it.
Savages
rating: ****
review: Oliver Stone's last great creative statement to date, stolen by supporting performances from Benicio Del Toro and John Travolta (his last great appearance in a film to date).
Flight
rating: ****
review: Denzel Washington's best recent performance (in a movie later somewhat copted by Tom Hanks in Sully), with a breakout cameo from James Badge Dale that Hollywood still hasn't caught up with.
Looper
rating: ****
review: Rian Johnson's high concept time travel story that's starting to look more and more old school Hollywood by today's standards: Joseph Gordon-Levitt plays the young Bruce Willis.
The Amazing Spider-Man
rating: ****
review: Peter Parker was never more endearingly earnest, and believable, than depicted by Marc Webb and Andrew Garfield.
Liberal Arts
rating: ****
review: Josh Radnor, in his second attempt, nailing the transition from sitcom star to filmmaker.
Silver Linings Playbook
rating: ****
review: Bradley Cooper becomes a movie star.
Coriolanus
rating: ****
review: This must-see Shakespeare adaptation stars Ralph Fiennes and Gerard Butler.
Zero Dark Thirty
rating: ****
review: The hunt for Bin Laden, compellingly centered around Jessica Chastain.
End of Watch
rating: ****
review: Sort of Training Day without the big Denzel Washington scene. But still compelling.
Argo
rating: ****
review: Alan Arkin sort of steals this one, but it's still a welcome peak into history, and one of its most unlikely stories.
Lawless
rating: ****
review: Tom Hardy steals this one in a supporting role as the brother who's nearly impossible to kill.
Hyde Park on the Hudson
rating: ****
review: Unexpectedly perfect casting with Bill Murray playing FDR.
Trouble with the Curve
rating: ****
review: Clint Eastwood probably at his most cuddly.
Prometheus
rating: ****
review: A lot of fans were disappointed, but as someone who's not particularly invested in the series, this is my favorite in the Alien sequence.
Les Miserables
rating: ****
review: Anne Hathaway completely steals it.
Marvel's The Avengers
rating: ****
review: Joss Whedon successfully sets the tone for the MCU.
Rise of the Guardians
rating: ****
review: Basically Frozen before Frozen, moreso than Tangled, without the Disney model.
This Means War
rating: ****
review: Chris Pine and Tom Hardy as romantic comedy spies. It totally works.
MIB 3
rating: ***
review: If Will Smith can't have Tommy Lee Jones to bounce off of, at least Josh Brolin can mesmerize in his Jones impersonation.
The Hobbit: An Unexpected Journey
rating: ***
review: As someone who stopped loving the Lord of the Rings films basically after Fellowship of the Ring, this was basically a step in the right direction, even if Peter Jackson still gets lost trying to keep the journey thrilling. But it gets better in later entries.
Wrath of the Titans
rating: ***
review: A straight action sequel to Clash of the Titans.
John Carter
rating: ***
review: This one's become a sort of cult favorite, with adherents insisting the trailer screwed it all up. But the truth is, the lead character, and not so much Taylor Kitsch, is too generic. Basically Disney preparing to acquire Star Wars.
Chronicle
rating: ***
review: A found-footage superhero flick. The only problem here is the complete charisma void in the cast.
Cloud Atlas
rating: ***
review: I think if the focus had centered on Tom Hanks, rather than a sprawling cast of characters played by a small number of actors, it would've been a greater success.
Skyfall
rating: ***
review: Daniel Craig's Bond forgets what made him cool, and just sort of tried to be artful.
For Greater Glory
rating: ***
review: An earnest historical Christian drama.
The Hunger Games
rating: ***
review: Having somewhat reluctantly read the books, I was shocked at how little effort was made to capture the story. I don't mind different interpretations. But this is like Peter Jackson randomly changing things in his Lord of the Rings, mistakenly believing he's making sound creative decisions. The epitome is the "girl on fire" dress that...doesn't nail it. At all.
Ice Age: Continental Drift
rating: **
review: An increasingly perfunctory series.
Wreck-It Ralph
rating: **
review: I think this was just a bad year for animated movies. This one's far too complicated.
Brave
rating: **
review: Pixar officially just makes a typical Disney film.
Hotel Transylvania
rating: *
review: I had to endure repeated screenings of this one. Whatever charm it possesses is betrayed by extremely obnoxious distractions.
2011 Capsule Reviews
Warrior
rating: *****
review: Perhaps the most recent example of old school Hollywood, Tom Hardy's Marlon Brando moment (following in the footsteps of Leo DiCaprio in The Departed), and finally introducing Joel Edgerton to the big time. So no, it's not really an MMA movie. It's great drama, period.
The Adjustment Bureau
rating: *****
review: Matt Damon and Emily Blunt in the romance edition of The Matrix, arguably the best film adapted from a Philip K. Dick story.
Source Code
rating: *****
review: This was a really great year for high concept science fiction. Jake Gyllenhaal in his best movie, a time-repeats-itself drama that builds on the Avatar conceit of a crippled man given a second chance, and seizing it. The result ends up becoming a parable for rejecting the conclusions others take for granted, and finding the path to happiness.
Midnight in Paris
rating: *****
review: My personal favorite Woody Allen film, with Corey Stoll stealing it as Ernest Hemingway, with Owen Wilson at last finding a mature role, in which he discovers everyone's golden age is just another illusion.
The Tree of Life
rating: *****
review: Terrence Malick's most visionary, expansive vision, a truly ethereal experience anchored by Brad Pitt and Jessica Chastain in one of her first standout roles as parents just trying to keep it together.
Winnie the Pooh
rating: *****
review: A perfect version of the children's classic.
London Boulevard
rating: ****
review: Most gangster flicks seem to misunderstand glamourizing their subject matter with telling a compelling story. Colin Farrell plays one who desperately wants out because he realizes he's too good at it. But fate plays cruel tricks on all of us.
Harry Potter and the Deathly Hallows, Part 2
rating: ****
review: The final act in the saga has everything except that elusive spark that typifies the best entries in the series, including the later Fantastic Beasts.
Green Lantern
rating: ****
review: For most observers this is a notorious failure, but I think it brilliantly captures everything that's magical, and even transcendent, about its source material, with yet another standout spotlight for Ryan Reynolds, an actor with the rare gift to sell emotion and comedy equally well.
Fright Night
rating: ****
review: The late Anton Yelchin leads a strong cast that also includes Colin Farrell and David Tennant in a rare remake that merely enjoys the potential of the source material.
Immortals
rating: ****
review: Mostly dismissed as a 300 knockoff, this is another excellent example of Tarsem's visionary storytelling, allowing a pre-Superman Henry Cavill to play low-key while Mickey Rourke gets to play the Russell Crowe/Gerard Butler menace that was his template to its obvious conclusions, this time as the villain.
The Way Back
rating: ****
review: A terrific ensemble led by Jim Sturges when he was still considered lead actor material, with Ed Harris and Colin Farrell (pulling off a wicked Russian accent) in a story of endurance and redemption.
The Girl with the Dragon Tattoo
rating: ****
review: Christopher Plummer and Daniel Craig add considerable credibility to this Hollywood version of the literary smash hit, but Rooney Mara grabs the spotlight as Lisbeth Salander, in a performance that critics, audiences, and Mara herself have yet to fully appreciate.
Bridesmaids
rating: ****
review: An ensemble comedy classic headlined by Kristen Wiig but stolen by Melissa McCarthy's breakout performance.
Moneyball
rating: ****
review: I waited years to catch up with this one, fearing that it would be tedious, even though I was familiar, and interested, in the source material. But as it turns out, it really is a compelling spotlight for Brad Pitt, and a fine baseball movie, too.
Water for Elephants
rating: ****
review: Robert Pattinson in his one bid for standard Hollywood glory to date, and he nails it.
Larry Crowne
rating: ****
review: An underrated Tom Hanks/Julia Roberts pairing stolen by the criminally underrate Mbatha-Raw.
The Muppets
rating: ****
review: Jason Segal got a chance to make this thanks to the arguably superior Forgetting Sarah Marshall, but the sequel's better, and funnier.
Cowboys & Aliens
rating: ****
review: Despite being billed as James Bond Meets Indiana Jones, this is really another standout Daniel Craig vehicle with Harrison Ford putting in an excellent supporting turn.
Super 8
rating: ****
review: Yeah, yeah, J.J. Abrams doing his version of Spielberg. But it's really the welcome featured performance of Kyle Chandler that interests me. Guy gets too little recognition.
Horrible Bosses
rating: ****
review: Basically a version of The Hangover without, y'know, a hangover, just dimwit friends trying desperately to get out of trouble. The real highlight is the trio of big stars in supporting roles (Kevin Spacey, Colin Farrell, and Jennifer Aniston) playing the eponymous bosses, and clearly enjoying the opportunity.
Sucker Punch
rating: ****
review: Zack Snyder's big for an original vision typically made male viewers uncomfortable with a female cast.
Hanna
rating: ****
review: Saoirse Ronan convincingly takes top billing over Cate Blanchett and Eric Bana in this Joe Wright drama.
Mission: Impossible - Ghost Protocol
rating: ****
review: The fourth in the series effectively is the tonal reboot equivalent of the fourth Fast & Furious, the one that set the standard for what followed, and all it took was Tom Cruise joining the brief bandwagon of Jeremy Renner threatening to take everything over.
X-Men: First Class
rating: ****
review: Though overwrought in its Nazi details, this quasi-reboot nails it in finally centering the drama around Magneto and Professor X, brilliantly recast with Michael Fassbender and James McAvoy, respectively.
Fast Five
rating: ****
review: The year the MCU Avengers cycle ramped up production to meet its first
shared universe" destination later, the Fast & Furious films got there first, integrating all previous films and fatefully adding someone new: Dwayne Johnson.
The Descendants
rating: ****
review: George Clooney sought so desperately for a mature spotlight, but ironically all it really took was being willing to look vulnerable. And thus a perfect mature spotlight.
Machine Gun Preacher
rating: ****
review: Apparently the technical veracity of the real story behind the film is, ah, somewhat up for question, but this is as perfect a dramatic spotlight as Gerard Butler is ever going to find.
HappyThankYouMorePlease
rating: ***
review: Josh Radnor's initial attempt to replicate Zach Braff's movie success is a minor victory.
The Conspirator
rating: ***
review: The trial of the surviving Lincoln assassin conspirators centers around whether or not it was okay to condemn a woman (Robin Wright). I'm not sure it really succeeds, but it at least expands the traditional narrative of the events.
Hugo
rating: ***
review: Scorsese sort of reaches for Harry Potter, but betrays his greater interest in old Hollywood.
The Artist
rating: ***
review: An Oscar winner that leans heavily into the obvious. If this had been old Hollywood, the stars would've been more charismatic.
Mr. Popper's Penguins
rating: ***
review: Jim Carrey's last leading role (to that point) leans heavily on those adorable penguins, inexplicably leaving him little to do but play in support.
The Debt
rating: ***
review: I'm not part of the cult of Helen Mirren. I have enjoyed Mirren performances, but mostly I think too many filmmakers have mistakenly assumed her appeal is broad. I think her presence in the final act of this one spoils a terrific Sam Worthington/Jessica Chastain spotlight.
The Hangover Part II
rating: ***
review: The gang is back together! And it's good harmless fun letting them repeat themselves.
Captain America: The First Avenger
rating: ***
review: Chris Evans can do everything but make Cap compelling in a movie that basically just wants him to end up in ice after everything he goes through just to get in the fight.
Unknown
rating: ***
review: The Liam Neeson action vehicle was just getting underway when he starred in this amnesia flick.
Thor
rating: ***
review: The best thing about it is Tom Hiddleston's supporting role as Loki, which turned out to be exactly what later films needed.
Courageous
rating: ***
review: An urgent Christian drama with a breakout moment featuring a Hispanic dude pret3ending to be a gangster.
Spy Kids: All the Time in the World
rating: ***
review: I have yet to see the previous entries, but it just seems, in this one, that Robert Rodriquez gets lost in the action.
Puss in Boots
rating: ***
review: This Shrek spinoff is best appreciated as the never-gonna-happen-otherwise third Zorro flick starring Antonio Banderas.
The Green Hornet
rating: ***
review: I bet the studio is kicking itself for letting Seth Rogen star in this, when it could've easily, given the later MCU examples, cast a more traditional superhero actor, with the same comedic outlook, and gotten years of sequels out of it.
Hoodwinked Too! Hood vs. Evil
rating: ***
review: Here's another tiny minority in which I'm a part: I loved the first one. This one is comparatively too streamlined, leaning away, inexplicably, from the absurdist humor that defined the first one.
Conan O'Brien Can't Stop
rating: **
review: This is the only way I could possibly not feel bad for the guy who infamously won and lost the Tonight Show, by making it sort of clear that either he became an attention whore because of it, or maybe was all along. I can't believe the makers of this documentary didn't realize how unsympathetic they made this portrait, at the height of public sympathy for the guy.
Rise of the Planet of the Apes
rating: **
review: I thought this was all but a complete disaster. I have never seen the sequels.
Atlas Shrugged: Part 1
rating: *
review: Whoever financed this made no effort at all to make it compelling. Wow. Good job!
rating: *****
review: Perhaps the most recent example of old school Hollywood, Tom Hardy's Marlon Brando moment (following in the footsteps of Leo DiCaprio in The Departed), and finally introducing Joel Edgerton to the big time. So no, it's not really an MMA movie. It's great drama, period.
The Adjustment Bureau
rating: *****
review: Matt Damon and Emily Blunt in the romance edition of The Matrix, arguably the best film adapted from a Philip K. Dick story.
Source Code
rating: *****
review: This was a really great year for high concept science fiction. Jake Gyllenhaal in his best movie, a time-repeats-itself drama that builds on the Avatar conceit of a crippled man given a second chance, and seizing it. The result ends up becoming a parable for rejecting the conclusions others take for granted, and finding the path to happiness.
Midnight in Paris
rating: *****
review: My personal favorite Woody Allen film, with Corey Stoll stealing it as Ernest Hemingway, with Owen Wilson at last finding a mature role, in which he discovers everyone's golden age is just another illusion.
The Tree of Life
rating: *****
review: Terrence Malick's most visionary, expansive vision, a truly ethereal experience anchored by Brad Pitt and Jessica Chastain in one of her first standout roles as parents just trying to keep it together.
Winnie the Pooh
rating: *****
review: A perfect version of the children's classic.
London Boulevard
rating: ****
review: Most gangster flicks seem to misunderstand glamourizing their subject matter with telling a compelling story. Colin Farrell plays one who desperately wants out because he realizes he's too good at it. But fate plays cruel tricks on all of us.
Harry Potter and the Deathly Hallows, Part 2
rating: ****
review: The final act in the saga has everything except that elusive spark that typifies the best entries in the series, including the later Fantastic Beasts.
Green Lantern
rating: ****
review: For most observers this is a notorious failure, but I think it brilliantly captures everything that's magical, and even transcendent, about its source material, with yet another standout spotlight for Ryan Reynolds, an actor with the rare gift to sell emotion and comedy equally well.
Fright Night
rating: ****
review: The late Anton Yelchin leads a strong cast that also includes Colin Farrell and David Tennant in a rare remake that merely enjoys the potential of the source material.
Immortals
rating: ****
review: Mostly dismissed as a 300 knockoff, this is another excellent example of Tarsem's visionary storytelling, allowing a pre-Superman Henry Cavill to play low-key while Mickey Rourke gets to play the Russell Crowe/Gerard Butler menace that was his template to its obvious conclusions, this time as the villain.
The Way Back
rating: ****
review: A terrific ensemble led by Jim Sturges when he was still considered lead actor material, with Ed Harris and Colin Farrell (pulling off a wicked Russian accent) in a story of endurance and redemption.
The Girl with the Dragon Tattoo
rating: ****
review: Christopher Plummer and Daniel Craig add considerable credibility to this Hollywood version of the literary smash hit, but Rooney Mara grabs the spotlight as Lisbeth Salander, in a performance that critics, audiences, and Mara herself have yet to fully appreciate.
Bridesmaids
rating: ****
review: An ensemble comedy classic headlined by Kristen Wiig but stolen by Melissa McCarthy's breakout performance.
Moneyball
rating: ****
review: I waited years to catch up with this one, fearing that it would be tedious, even though I was familiar, and interested, in the source material. But as it turns out, it really is a compelling spotlight for Brad Pitt, and a fine baseball movie, too.
Water for Elephants
rating: ****
review: Robert Pattinson in his one bid for standard Hollywood glory to date, and he nails it.
Larry Crowne
rating: ****
review: An underrated Tom Hanks/Julia Roberts pairing stolen by the criminally underrate Mbatha-Raw.
The Muppets
rating: ****
review: Jason Segal got a chance to make this thanks to the arguably superior Forgetting Sarah Marshall, but the sequel's better, and funnier.
Cowboys & Aliens
rating: ****
review: Despite being billed as James Bond Meets Indiana Jones, this is really another standout Daniel Craig vehicle with Harrison Ford putting in an excellent supporting turn.
Super 8
rating: ****
review: Yeah, yeah, J.J. Abrams doing his version of Spielberg. But it's really the welcome featured performance of Kyle Chandler that interests me. Guy gets too little recognition.
Horrible Bosses
rating: ****
review: Basically a version of The Hangover without, y'know, a hangover, just dimwit friends trying desperately to get out of trouble. The real highlight is the trio of big stars in supporting roles (Kevin Spacey, Colin Farrell, and Jennifer Aniston) playing the eponymous bosses, and clearly enjoying the opportunity.
Sucker Punch
rating: ****
review: Zack Snyder's big for an original vision typically made male viewers uncomfortable with a female cast.
Hanna
rating: ****
review: Saoirse Ronan convincingly takes top billing over Cate Blanchett and Eric Bana in this Joe Wright drama.
Mission: Impossible - Ghost Protocol
rating: ****
review: The fourth in the series effectively is the tonal reboot equivalent of the fourth Fast & Furious, the one that set the standard for what followed, and all it took was Tom Cruise joining the brief bandwagon of Jeremy Renner threatening to take everything over.
X-Men: First Class
rating: ****
review: Though overwrought in its Nazi details, this quasi-reboot nails it in finally centering the drama around Magneto and Professor X, brilliantly recast with Michael Fassbender and James McAvoy, respectively.
Fast Five
rating: ****
review: The year the MCU Avengers cycle ramped up production to meet its first
shared universe" destination later, the Fast & Furious films got there first, integrating all previous films and fatefully adding someone new: Dwayne Johnson.
The Descendants
rating: ****
review: George Clooney sought so desperately for a mature spotlight, but ironically all it really took was being willing to look vulnerable. And thus a perfect mature spotlight.
Machine Gun Preacher
rating: ****
review: Apparently the technical veracity of the real story behind the film is, ah, somewhat up for question, but this is as perfect a dramatic spotlight as Gerard Butler is ever going to find.
HappyThankYouMorePlease
rating: ***
review: Josh Radnor's initial attempt to replicate Zach Braff's movie success is a minor victory.
The Conspirator
rating: ***
review: The trial of the surviving Lincoln assassin conspirators centers around whether or not it was okay to condemn a woman (Robin Wright). I'm not sure it really succeeds, but it at least expands the traditional narrative of the events.
Hugo
rating: ***
review: Scorsese sort of reaches for Harry Potter, but betrays his greater interest in old Hollywood.
The Artist
rating: ***
review: An Oscar winner that leans heavily into the obvious. If this had been old Hollywood, the stars would've been more charismatic.
Mr. Popper's Penguins
rating: ***
review: Jim Carrey's last leading role (to that point) leans heavily on those adorable penguins, inexplicably leaving him little to do but play in support.
The Debt
rating: ***
review: I'm not part of the cult of Helen Mirren. I have enjoyed Mirren performances, but mostly I think too many filmmakers have mistakenly assumed her appeal is broad. I think her presence in the final act of this one spoils a terrific Sam Worthington/Jessica Chastain spotlight.
The Hangover Part II
rating: ***
review: The gang is back together! And it's good harmless fun letting them repeat themselves.
Captain America: The First Avenger
rating: ***
review: Chris Evans can do everything but make Cap compelling in a movie that basically just wants him to end up in ice after everything he goes through just to get in the fight.
Unknown
rating: ***
review: The Liam Neeson action vehicle was just getting underway when he starred in this amnesia flick.
Thor
rating: ***
review: The best thing about it is Tom Hiddleston's supporting role as Loki, which turned out to be exactly what later films needed.
Courageous
rating: ***
review: An urgent Christian drama with a breakout moment featuring a Hispanic dude pret3ending to be a gangster.
Spy Kids: All the Time in the World
rating: ***
review: I have yet to see the previous entries, but it just seems, in this one, that Robert Rodriquez gets lost in the action.
Puss in Boots
rating: ***
review: This Shrek spinoff is best appreciated as the never-gonna-happen-otherwise third Zorro flick starring Antonio Banderas.
The Green Hornet
rating: ***
review: I bet the studio is kicking itself for letting Seth Rogen star in this, when it could've easily, given the later MCU examples, cast a more traditional superhero actor, with the same comedic outlook, and gotten years of sequels out of it.
Hoodwinked Too! Hood vs. Evil
rating: ***
review: Here's another tiny minority in which I'm a part: I loved the first one. This one is comparatively too streamlined, leaning away, inexplicably, from the absurdist humor that defined the first one.
Conan O'Brien Can't Stop
rating: **
review: This is the only way I could possibly not feel bad for the guy who infamously won and lost the Tonight Show, by making it sort of clear that either he became an attention whore because of it, or maybe was all along. I can't believe the makers of this documentary didn't realize how unsympathetic they made this portrait, at the height of public sympathy for the guy.
Rise of the Planet of the Apes
rating: **
review: I thought this was all but a complete disaster. I have never seen the sequels.
Atlas Shrugged: Part 1
rating: *
review: Whoever financed this made no effort at all to make it compelling. Wow. Good job!
Saturday, May 4, 2019
The Girl in the Spider's Web (2018)
rating: ****
the story: The focus shifts squarely to Lisbeth Salander.
review: Stieg Larsson's Millennium Trilogy became a full-fledged literary phenomenon a decade ago, a Swedish sensation that made its way to Americans with the first entry becoming known as The Girl with the Dragon Tattoo, which is the name it went by for the 2011 Hollywood adaptation headlined by director David Fincher and actors Rooney Mara as Lisbeth and Daniel Craig, then still at the height of his 007 fame, as crusading journalist Mikael Blomkvist. Arguably Craig's Blomvist was the lead character in the movie. Hollywood, unlike Sweden, never adapted the rest of the trilogy, which heavily swings the attention toward Salander, as with the later books written by David Lagercrantz, the first of which Girl in the Spider's Web adapts. With popular phenomenons, you never know exactly what audiences are responding to. I naturally assumed everyone else gravitated to Salander as an ultimately sympathetic figure, but now it seems attention was gained over morbid curiosity. If more fans had been like me, Girl in the Spider's Web would've been received quite differently.
As it is, the second Hollywood Salander movie landed as a dud. It's not because of the movie. Blomkvist, as in the books, take a clear backseat to Salander this time, cast as with much of the film without a star in mind. Lisbeth Salander is herself once again played by a relative unknown, a would-be star-making role for Claire Foy (as it more or less failed to be for Mara as well, somehow). The biggest name in the cast is actually Stephen Merchant, who wears a number of creative hats, playing the guy who creates the program celebrated hacker Salander spends the movie trying to protect, as well as his son, while she battles her evil twin sister.
The movie, as with its cast, seeks to present an authentic version of Sweden, moreso than its 2011 predecessor, and as such feels far more European than Hollywood. It's otherwise a fairly standard stylish thriller, except that it centers on Lisbeth Salander. The movie pivots but doesn't dwell on her real world mystique, hinging on all the familiar elements but more or less expecting audiences to care as much about Salander as they did a decade ago. Clearly a miscalculation. The trailer, featuring a hostile Salander attacking a man suspended upside down, didn't sell the story so much as the hope that Salander remained an icon, an archetypal feminist for a feminist age. But I think she ended up seeing too hostile, too alienating. This is a character who became increasingly humanized and sympathetic, as I said, in later book appearances. I cried reading Larsson's final entry, when the justice system finally acknowledges her, vindicating her.
But we don't really live in a world where we easily accept iconoclasts, rebels like Lisbeth Salander, and ironically a movie that celebrates her as her own worthy lead character ends up rejected, just as Salander was always envisioned by Larsson in his fictional tales, as just another eccentric outsider. But she is compelling, and she is worth celebrating, and Girl in the Spider's Web does an excellent job conveying that, as well as her infinitely complicated family history. Even heroes have sibling rivalry issues.
Bottom line, this is a movie that will remind you of what made Lisbeth Salander so memorable to begin with. You just have to remember that she was memorable, in and of herself, in the best possible way.
the story: The focus shifts squarely to Lisbeth Salander.
review: Stieg Larsson's Millennium Trilogy became a full-fledged literary phenomenon a decade ago, a Swedish sensation that made its way to Americans with the first entry becoming known as The Girl with the Dragon Tattoo, which is the name it went by for the 2011 Hollywood adaptation headlined by director David Fincher and actors Rooney Mara as Lisbeth and Daniel Craig, then still at the height of his 007 fame, as crusading journalist Mikael Blomkvist. Arguably Craig's Blomvist was the lead character in the movie. Hollywood, unlike Sweden, never adapted the rest of the trilogy, which heavily swings the attention toward Salander, as with the later books written by David Lagercrantz, the first of which Girl in the Spider's Web adapts. With popular phenomenons, you never know exactly what audiences are responding to. I naturally assumed everyone else gravitated to Salander as an ultimately sympathetic figure, but now it seems attention was gained over morbid curiosity. If more fans had been like me, Girl in the Spider's Web would've been received quite differently.
As it is, the second Hollywood Salander movie landed as a dud. It's not because of the movie. Blomkvist, as in the books, take a clear backseat to Salander this time, cast as with much of the film without a star in mind. Lisbeth Salander is herself once again played by a relative unknown, a would-be star-making role for Claire Foy (as it more or less failed to be for Mara as well, somehow). The biggest name in the cast is actually Stephen Merchant, who wears a number of creative hats, playing the guy who creates the program celebrated hacker Salander spends the movie trying to protect, as well as his son, while she battles her evil twin sister.
The movie, as with its cast, seeks to present an authentic version of Sweden, moreso than its 2011 predecessor, and as such feels far more European than Hollywood. It's otherwise a fairly standard stylish thriller, except that it centers on Lisbeth Salander. The movie pivots but doesn't dwell on her real world mystique, hinging on all the familiar elements but more or less expecting audiences to care as much about Salander as they did a decade ago. Clearly a miscalculation. The trailer, featuring a hostile Salander attacking a man suspended upside down, didn't sell the story so much as the hope that Salander remained an icon, an archetypal feminist for a feminist age. But I think she ended up seeing too hostile, too alienating. This is a character who became increasingly humanized and sympathetic, as I said, in later book appearances. I cried reading Larsson's final entry, when the justice system finally acknowledges her, vindicating her.
But we don't really live in a world where we easily accept iconoclasts, rebels like Lisbeth Salander, and ironically a movie that celebrates her as her own worthy lead character ends up rejected, just as Salander was always envisioned by Larsson in his fictional tales, as just another eccentric outsider. But she is compelling, and she is worth celebrating, and Girl in the Spider's Web does an excellent job conveying that, as well as her infinitely complicated family history. Even heroes have sibling rivalry issues.
Bottom line, this is a movie that will remind you of what made Lisbeth Salander so memorable to begin with. You just have to remember that she was memorable, in and of herself, in the best possible way.
Saturday, April 27, 2019
2010 Capsule Reviews
Inception
rating: *****
review: Christopher Nolan achieves his non-Batman trademark film with this mind-bending thriller packed with an all-star cast that helped reintroduce Tom Hardy.
Robin Hood
rating: ****
review: Dismissed as Ridley Scott and Russell Crowe rehashing their Gladiator collaboration, it feels for me like as authentic a version of the legend as we're likely to get.
I Love You, Phillip Morris
rating: ****
review: In hindsight a movie that stands as Jim Carrey's last stand as a lead actor with the ability to call his own shots, and a worthy addition to his string of surreal blending of comedy and drama, following The Truman Show and Eternal Sunshine of the Spotless Mind.
Remember Me
rating: ****
review: Robert Pattinson's first stab at a lead acting performance in Hollywood is a worthy addition to the troubled youth genre, and a keen and unexpected look at 9/11.
The Other Guys
rating: ****
review: Will Ferrell and Mark Wahlberg are a great comedic pairing (better here, perhaps than their two subsequent Daddy's Home movies), and also Adam McKay preparing for his later career.
Harry Potter and the Deathly Hallows, Part 1
rating: ****
review: The part with Harry, Ron & Hermione setting out on their own and finding the world even more bewildering than Hogwarts.
Wall Street: Money Never Sleeps
rating: ****
review: Oliver Stone right at the tail-end of still being taken seriously, at least getting to expand on one of his own previous statements, and making the most of it.
The Losers
rating: ****
review: A great action ensemble, featuring Idris Elba, Chris Evans, Jeffrey Dean Morgan, Zoe Saldana, and Jason Patric, with the kind of flair Robert Rodriguez previously brought to the movies.
True Grit
rating: ****
review: The definitive screen version of the story.
Clash of the Titans
rating: ****
review: Back when Sam Worthington was still a thing, he got to do a lot of interesting stuff, like this remake, immortalized by Liam Neeson uttering, "Release the kraken!"
Ondine
rating: ****
review: This quiet Colin Farrell drama proves you don't have to be flashy in order to do fantasy.
Somewhere
rating: ****
review: Sofia Coppola doesn't get near enough attention for the quality she consistently delivers in her movies, which cover a broad range of tones. This is another subdued study from 2010.
Get Him to the Greek
rating: ****
review: A rare instance of a breakout character from a movie (in this case, Aldous Snow from Forgetting Sarah Marshall) getting his own spinoff. The music's the best part!
Scott Pilgrim vs. the World
rating: ****
review: Based on the comic books, I've always described this as the geek version of (500) Days of Summer.
Valentine's Day
rating: ****
review: An ensemble romantic comedy packed with stars and memorable moments.
Cairo Time
rating: ****
review: A rare spotlight role for Alexander Siddig.
The Last Airbender
rating: ****
review: Considered emblematic of M. Night Shyamalan's fall from grace and loathed by fans of the original cartoons, it's good fun all the same.
Despicable Me
rating: ****
review: A perfect animated vehicle for Steve Carell. Debut of the Minions!
Iron Man 2
rating: ****
review: Somewhat universally considered among the worst of the MCU movies, it's actually among my favorites, a rare reflective entry. Plus the debut of Black Widow!
The Next Three Days
rating: ***
review: A minor Russell Crowe entry from when his career was treading water.
You Will Meet a Tall Dark Stranger
rating: ***
review: A minor Woody Allen ensemble pleasure.
The A-Team
rating: ***
review: Joe Carnahan's stab at the mainstream doesn't get the full pleasure of his wild impulses.
Hereafter
rating: ***
review: Clint Eastwood's stab at artful.
Winter's Bone
rating: ***
review: Jennifer Lawrence discovered! Otherwise a movie experience improved upon by the later Mud.
Unstoppable
rating: ***
review: Chris Pine gets upstaged by the train.
The Social Network
rating: ***
review: I'm more interested in it for the supporting performances of Andrew Garfield and Armie Hammer than following the activities of a self-centered jerk.
Machete
rating: ***
review: Robert Rodriguez seizes an opportunity provided by Grindhouse, but doesn't quite hit his Desperado/Once Upon a Time in Mexico/Sin City heights.
The Fighter
rating: ***
review: Christian Bale steals the movie as the far more interesting junkie brother.
Black Swan
rating: ***
review: Darren Aronofsky tends to get carried away with his fever dreams.
Shutter Island
rating: ***
review: Sort of like a version of Christopher Nolan that leans too heavily into expected territory.
How to Train Your Dragon
rating: ***
review: I know that it's based on a series of books, but it really feels as if this one's hurt by the existence of sequels.
Percy Jackson & the Olympians: The Lightning Thief
rating: ***
review: This is another one that's hurt by the existence of subsequent material.
Tron Legacy
rating: ***
review: All brilliant style that overpowers the story.
The Town
rating: ***
review: I appreciate how it revived Ben Affleck's career, but I guess I just ended up caring more about his brother Casey's Boston crime drama, Gone Baby Gone.
The Warrior's Way
rating: ***
review: I like to think of it as a kind of Pirates of the Caribbean in the old west, with a random South Korean inserted instead of Jack Sparrow.
Devil
rating: ***
review: M. Night Shyamalan's comeback bid actually kind of began with this, which he executive produced.
Death at a Funeral
rating: ***
review: Hilarious ensemble comedy.
Cop Out
rating: ***
review: I don't care if Kevin Smith hated making it, I loved watching it.
The Bounty Hunter
rating: ***
review: Hollywood in its early attempts at what to do with Gerard Butler post-300, in an unlikely romantic comedy that just made critics wary of Butler's manly persona uncomfortable (the stupid twats).
The Book of Eli
rating: ***
review: Here's an example of a twist ending that kind of diminishes the impact of the movie as a whole; learning that Denzel Washington was blind from the start would've made it much more interesting.
The Sorcerer's Apprentice
rating: ***
review: I wish Disney were still trying to do stuff like this (obviously an attempt to capture some of the Harry Potter magic) and not just buying everyone else's stuff. It gave Nicolas Cage something interesting to do that didn't make him look nuts.
The Prince of Persia: The Sands of Time
rating: ***
review: It's basically Gemma Arterton's movie.
The Wolfman
rating: ***
review: I think they overthought what was a dynamite concept in and of itself: Benicio del Toro in the iconic horror role.
Megamind
rating: ***
review: This is what Despicable Me looks like if it played too close to convention.
RED
rating: ***
review: Kind of wastes the premise and cast.
Salt
rating: ***
review: Kind of wastes an interesting character by throwing Angelina Jolie into having to deny allegations; Atomic Blonde later did this a lot better.
Alice in Wonderland
rating: ***
review: Overwhelming spectacle.
Shrek Forever After
rating: ***
review: The series had officially overstayed its welcome.
Jonah Hex
rating: ***
review: I'm a big Josh Brolin fan, so would probably watch it again for that reason alone. Probably missing the right balance for an odd comic book character like this.
Takers
rating: ***
review: Idris Elba's other action ensemble would've benefited from leaning more heavily on Paul Walker's Fast & Furious past (and future).
Tangled
rating: ***
review: Disney just before it figured out the Frozen formula.
Gulliver's Travels
rating: ***
review: The Jack Black version, which is a Jack Black version.
The Twilight Saga: Eclipse
rating: The one where Jacob is a creep again because Edward came back.
Knight & Day
rating: **
review: Tom Cruise and Cameron Diaz both seem like they weren't quite ready to make this one.
Skyline
rating: **
review: A kind of minor Independence Day.
Predators
rating: **
review: I'm not hugely sure why this is an ongoing franchise.
The Disappearance of Alice Creed
rating: **
review: It's a shame Gemma Arterton had to make stuff like this at the same time her Hollywood career was taking off.
Toy Story 3
rating: *
review: I know that this one's kind of universally beloved, but I find it to be a pointless rehash
The King's Speech
rating: *
review: A shameless act of Oscars pandering.
Stone
rating: *
review: A career low for Edward Norton.
Green Zone
rating: *
review: A career low for Matt Damon, Hollywood thinking it had defined the Iraq War.
Diary of a Wimpy Kid
rating: *
review: I'm not hugely sure why this feel-bad series of books happened, or why the movies happened.
rating: *****
review: Christopher Nolan achieves his non-Batman trademark film with this mind-bending thriller packed with an all-star cast that helped reintroduce Tom Hardy.
Robin Hood
rating: ****
review: Dismissed as Ridley Scott and Russell Crowe rehashing their Gladiator collaboration, it feels for me like as authentic a version of the legend as we're likely to get.
I Love You, Phillip Morris
rating: ****
review: In hindsight a movie that stands as Jim Carrey's last stand as a lead actor with the ability to call his own shots, and a worthy addition to his string of surreal blending of comedy and drama, following The Truman Show and Eternal Sunshine of the Spotless Mind.
Remember Me
rating: ****
review: Robert Pattinson's first stab at a lead acting performance in Hollywood is a worthy addition to the troubled youth genre, and a keen and unexpected look at 9/11.
The Other Guys
rating: ****
review: Will Ferrell and Mark Wahlberg are a great comedic pairing (better here, perhaps than their two subsequent Daddy's Home movies), and also Adam McKay preparing for his later career.
Harry Potter and the Deathly Hallows, Part 1
rating: ****
review: The part with Harry, Ron & Hermione setting out on their own and finding the world even more bewildering than Hogwarts.
Wall Street: Money Never Sleeps
rating: ****
review: Oliver Stone right at the tail-end of still being taken seriously, at least getting to expand on one of his own previous statements, and making the most of it.
The Losers
rating: ****
review: A great action ensemble, featuring Idris Elba, Chris Evans, Jeffrey Dean Morgan, Zoe Saldana, and Jason Patric, with the kind of flair Robert Rodriguez previously brought to the movies.
True Grit
rating: ****
review: The definitive screen version of the story.
Clash of the Titans
rating: ****
review: Back when Sam Worthington was still a thing, he got to do a lot of interesting stuff, like this remake, immortalized by Liam Neeson uttering, "Release the kraken!"
Ondine
rating: ****
review: This quiet Colin Farrell drama proves you don't have to be flashy in order to do fantasy.
Somewhere
rating: ****
review: Sofia Coppola doesn't get near enough attention for the quality she consistently delivers in her movies, which cover a broad range of tones. This is another subdued study from 2010.
Get Him to the Greek
rating: ****
review: A rare instance of a breakout character from a movie (in this case, Aldous Snow from Forgetting Sarah Marshall) getting his own spinoff. The music's the best part!
Scott Pilgrim vs. the World
rating: ****
review: Based on the comic books, I've always described this as the geek version of (500) Days of Summer.
Valentine's Day
rating: ****
review: An ensemble romantic comedy packed with stars and memorable moments.
Cairo Time
rating: ****
review: A rare spotlight role for Alexander Siddig.
The Last Airbender
rating: ****
review: Considered emblematic of M. Night Shyamalan's fall from grace and loathed by fans of the original cartoons, it's good fun all the same.
Despicable Me
rating: ****
review: A perfect animated vehicle for Steve Carell. Debut of the Minions!
Iron Man 2
rating: ****
review: Somewhat universally considered among the worst of the MCU movies, it's actually among my favorites, a rare reflective entry. Plus the debut of Black Widow!
The Next Three Days
rating: ***
review: A minor Russell Crowe entry from when his career was treading water.
You Will Meet a Tall Dark Stranger
rating: ***
review: A minor Woody Allen ensemble pleasure.
The A-Team
rating: ***
review: Joe Carnahan's stab at the mainstream doesn't get the full pleasure of his wild impulses.
Hereafter
rating: ***
review: Clint Eastwood's stab at artful.
Winter's Bone
rating: ***
review: Jennifer Lawrence discovered! Otherwise a movie experience improved upon by the later Mud.
Unstoppable
rating: ***
review: Chris Pine gets upstaged by the train.
The Social Network
rating: ***
review: I'm more interested in it for the supporting performances of Andrew Garfield and Armie Hammer than following the activities of a self-centered jerk.
Machete
rating: ***
review: Robert Rodriguez seizes an opportunity provided by Grindhouse, but doesn't quite hit his Desperado/Once Upon a Time in Mexico/Sin City heights.
The Fighter
rating: ***
review: Christian Bale steals the movie as the far more interesting junkie brother.
Black Swan
rating: ***
review: Darren Aronofsky tends to get carried away with his fever dreams.
Shutter Island
rating: ***
review: Sort of like a version of Christopher Nolan that leans too heavily into expected territory.
How to Train Your Dragon
rating: ***
review: I know that it's based on a series of books, but it really feels as if this one's hurt by the existence of sequels.
Percy Jackson & the Olympians: The Lightning Thief
rating: ***
review: This is another one that's hurt by the existence of subsequent material.
Tron Legacy
rating: ***
review: All brilliant style that overpowers the story.
The Town
rating: ***
review: I appreciate how it revived Ben Affleck's career, but I guess I just ended up caring more about his brother Casey's Boston crime drama, Gone Baby Gone.
The Warrior's Way
rating: ***
review: I like to think of it as a kind of Pirates of the Caribbean in the old west, with a random South Korean inserted instead of Jack Sparrow.
Devil
rating: ***
review: M. Night Shyamalan's comeback bid actually kind of began with this, which he executive produced.
Death at a Funeral
rating: ***
review: Hilarious ensemble comedy.
Cop Out
rating: ***
review: I don't care if Kevin Smith hated making it, I loved watching it.
The Bounty Hunter
rating: ***
review: Hollywood in its early attempts at what to do with Gerard Butler post-300, in an unlikely romantic comedy that just made critics wary of Butler's manly persona uncomfortable (the stupid twats).
The Book of Eli
rating: ***
review: Here's an example of a twist ending that kind of diminishes the impact of the movie as a whole; learning that Denzel Washington was blind from the start would've made it much more interesting.
The Sorcerer's Apprentice
rating: ***
review: I wish Disney were still trying to do stuff like this (obviously an attempt to capture some of the Harry Potter magic) and not just buying everyone else's stuff. It gave Nicolas Cage something interesting to do that didn't make him look nuts.
The Prince of Persia: The Sands of Time
rating: ***
review: It's basically Gemma Arterton's movie.
The Wolfman
rating: ***
review: I think they overthought what was a dynamite concept in and of itself: Benicio del Toro in the iconic horror role.
Megamind
rating: ***
review: This is what Despicable Me looks like if it played too close to convention.
RED
rating: ***
review: Kind of wastes the premise and cast.
Salt
rating: ***
review: Kind of wastes an interesting character by throwing Angelina Jolie into having to deny allegations; Atomic Blonde later did this a lot better.
Alice in Wonderland
rating: ***
review: Overwhelming spectacle.
Shrek Forever After
rating: ***
review: The series had officially overstayed its welcome.
Jonah Hex
rating: ***
review: I'm a big Josh Brolin fan, so would probably watch it again for that reason alone. Probably missing the right balance for an odd comic book character like this.
Takers
rating: ***
review: Idris Elba's other action ensemble would've benefited from leaning more heavily on Paul Walker's Fast & Furious past (and future).
Tangled
rating: ***
review: Disney just before it figured out the Frozen formula.
Gulliver's Travels
rating: ***
review: The Jack Black version, which is a Jack Black version.
The Twilight Saga: Eclipse
rating: The one where Jacob is a creep again because Edward came back.
Knight & Day
rating: **
review: Tom Cruise and Cameron Diaz both seem like they weren't quite ready to make this one.
Skyline
rating: **
review: A kind of minor Independence Day.
Predators
rating: **
review: I'm not hugely sure why this is an ongoing franchise.
The Disappearance of Alice Creed
rating: **
review: It's a shame Gemma Arterton had to make stuff like this at the same time her Hollywood career was taking off.
Toy Story 3
rating: *
review: I know that this one's kind of universally beloved, but I find it to be a pointless rehash
The King's Speech
rating: *
review: A shameless act of Oscars pandering.
Stone
rating: *
review: A career low for Edward Norton.
Green Zone
rating: *
review: A career low for Matt Damon, Hollywood thinking it had defined the Iraq War.
Diary of a Wimpy Kid
rating: *
review: I'm not hugely sure why this feel-bad series of books happened, or why the movies happened.
Redbox! (a look ahead)
Here's what I've got ahead in Redbox movies:
- Can You Ever Forgive Me? (2018) - Bridesmaids had the effect of instantly making a new star out of Melissa McCarthy, who seized the opportunity with a string of big hits. It's also given her the chance to make stuff like this, which I'm glad to see happened.
- Once Upon a Deadpool (2018) - The family-friendly cut of Deadpool 2; I was pleased to find a DVD release of it (stores stock the Blu-ray version). Glad this happened, too.
- The Girl in the Spider's Web (2018) - A second US movie finally happened. I was annoyed that Rooney Mara didn't get to reprise the role, but then I'm also a reader who's enjoyed the post-Larsson books. Lisbeth Salander's cultural impact seems to have dimmed considerably, but I still treasure her. So, I'm glad this movie happened, too.
- The Magnificent Seven (2016) I remember being underwhelmed by it in theaters, but am still interested enough to give it another chance. Even if seems to have been conceived as a mainstream Hollywood version of a Quentin Tarantino movie (which has also happened with Murder on the Orient Express, which echoes The Hateful Eight), which in this case is Django Unchained, it still gives Denzel Washington one of his more interesting recent roles (he and Liam Neeson seem to be going after stock movies a little too often these days), and it's got Chris Pratt in a featured role as well, and that's too interesting a career for me to ignore.
- Mary Queen of Scots (2018) It's got Margot Robbie, and Saoirse Ronan, who finally interested critics with a movie (Lady Bird) I have no interest in, of course. Being a fan of Yorgos Lanthimos fan, I've already seen the other 2018 women-in-a-historical-setting-are-rivals movie The Favourite. Figure this one will be less quirky (which is not a dig against Favourite; it's good quirky!).
- The Sisters Brothers (2018) I begin to understand how cult movies happen, in that they have to be ignored initially. So I'm glad I'm attuned to movies with that kind of potential, like this. I also happen to have a thing for westerns, thanks to my dad, so I'm always on the lookout.
- Skyscraper (2018) - Being a pro wrestling fan, I was happy to see Dwayne Johnson's movie career happen, and for it to subsequently become a rousing success. I don't try to see all of his material, but I like to watch the ones where he's doing something interesting. This one, for instance, features (for him) a more grounded character.
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