Okay, how about that one Sunday in April of '03? This is an "Emperor's New Clothes," type of movie. It has enough hard hitting sequences and tough gritty dialog that sometimes it's hard for people to look past the supposed "coolness," and say---"ummm it's just not a very good film." All style (and pretty phony style at that) and no substance. I like the scene where Pacino almost buys the zillion dollar hooker, though. Let's face it. There has simply NEVER been a realistic or good film about football. The best story ever was North Dallas Forty (terrible football sequences) and the most realistic looking football movie--practices and game situations was probably Rudy (annoying little guy who you almost had to root against). But this one is like an episode of Dallas on steroids. Oliver Stone is really in over his head sometimes and this is one of those times.
Reviews
32 Reviews
Ice Princess
(2005)
For better story and acting--try Ice "Castles". This one's weak.
4 February 2006
It has a lot of Disney warmth and good performances (albeit, bad writing,) from Joan and Kim. The younger performers are all of the Gilmore Girls variety, unable to hold a shot or a scene for more than a couple of seconds. Holly Lynn Johnson, in Ice Castles, is about twenty times more interesting than any of the people in this film and Ice Castles captures the beauty of the sport much better than this. I do think that this film contained some wonderful messages about passion and forgiveness, but the writing and the acting seemed to be struggling to rise above Lifetime movie status. So, not bad for Jr. High School girl entertainment, but even then, you could do better with Ice Castles.
A History of Violence
(2005)
Think Gilmore Girls with Matted Gore.
12 October 2005
One of the silliest, most amateurish films I've seen in years. I don't hate violence, I don't hate sex, I don't hate bad martial arts---but I (and apparently everyone in the movie theatre I went to,) hated this film. The acting in this film is atrocious. If you thought that no one could make top notch actors like Maria Bello and Ed Harris look bad, think again. And William Hurt is even sillier than he was in The Village. The audience I view this film with was laughing out loud at moments that certainly were not meant to draw laughs. Believe me, I am not a highbrow or a film snob. I loved Naked Lunch and I think this guy had an interesting premise here. But Hooooo boy! Stinker. Whoever did the sound track (monotonous) ought to have his Casio shoved up his butt.
Fahrenheit 9/11
(2004)
The part that makes cons squirm....
27 July 2005
is when he asks the senator if he would be willing to pass along some pamphlets concerning serving in the military to his daughter. The look on that "public officials," face captured all of the hypocrisy that this nation is quickly becoming famous for. Any conservative who never served himself and would never be willing to let a child of theirs serve, but has NO problem letting YOUR child serve would have to feel just a tiny bit de-nutted watching that scene unless they have absolutely moral character at all. Mike, you hit a home run in that scene and it's part of what made this movie an instant classic. I am a teacher and I solemnly promise that I will be showing this film to my students for years and reminding them of this arrogant administration and of how fearful and stupid we were as a nation. As a man who served in the United States Marines, my championing of this film is my personal kick in the balls to all cons who would sacrifice your child but never themselves or theirs. Right on, Mike.
Mule Skinner Blues
(2001)
Not Errol Morris good, but pretty darned good.
16 July 2005
Unlike a lot of people who reviewed this film and seem to think it's a crime to look at the lives of people who aren't doing all that well, I enjoyed Mule Skinner Blues and enjoyed these people. True, Beanie was a little annoying and his story got old quickly, but there are some no BS moments where we really get a contrast from the times that he is overly, "on." His description of falling into the depths of alcoholism is enough to scare you sober. Steve and Miss Jeannie are truly interesting characters and I loved "DUI Blues." I think that a bit more time could have been spent on exploring their artistry and a little bit less should have been spent on the making and premiere of Turnabout is Fairplay (sic).
Dogtown and Z-Boys
(2001)
Visually stunning, but....
23 May 2005
The personalities involved are sad and rather boring people. Only Jay struck me as genuine. Plus, the way these guys talk about themselves?...Okay, you were really talented skateboarders...I don't think you truly inspired fear and awe in the eyes of all who came into contact with you. On the toughness scale, skateboarders probably rank a half a notch below Mormon Missionaries and one notch above wiffle ball junkies. I stayed fairly interested in this film because I am from this area and I thought it was kind of cool to see the history of my neighborhood. But I have to say, in all the time that I've lived here I've never heard anyone speak in reverent tones about our communities glorious Dogtown past. I've never even heard anyone refer to it as Dogtown. I've never heard the Z boys even mentioned. I tend to think this movie is attempting to create a mystique and a narrative that never truly existed to any real extent.
In & Out
(1997)
This bites. (And I like gay people.)
20 January 2003
If this movie doesn't prove to everyone once and for all that Paul
Rudnick is a guy who writes comedies for dumb people, I don't
know what will. Try reading I Hate Hamlet. If you think In and Out is full of stupid
set ups and many lines that no human beings have actually ever
said before--you will be amazed at Rudnick's inability to sustain
two minutes of reality in that play. I know it's a farce, but episodes
of Gilligans Island have much more believable premises. They're
funnier too. I applaud Rudnick for bringing gay issues into the public eye, but I
don't think he has the talent to take on such a chore. He kind of
strikes me as one of those weird little gay guys who used to write
the scripts for the skits in the pep rallies for all of us dumb straight
people.
Rudnick is a guy who writes comedies for dumb people, I don't
know what will. Try reading I Hate Hamlet. If you think In and Out is full of stupid
set ups and many lines that no human beings have actually ever
said before--you will be amazed at Rudnick's inability to sustain
two minutes of reality in that play. I know it's a farce, but episodes
of Gilligans Island have much more believable premises. They're
funnier too. I applaud Rudnick for bringing gay issues into the public eye, but I
don't think he has the talent to take on such a chore. He kind of
strikes me as one of those weird little gay guys who used to write
the scripts for the skits in the pep rallies for all of us dumb straight
people.
Panic Room
(2002)
Just plain bad.
10 November 2002
I actually felt bad for the actors in this movie. Except for the dread
lock guy. His acting was even worse than the script itself, if that's
possible. I wonder if he could have done the "I'm really fed up with
this," hand gestures a few more times. The scene at the door with the cops has to be one of the most
idiotic exchanges I've ever seen on film. The child attacking the
killer with two syringes wasn't all that thrilling, but watching him
cold cock her into the fireplace almost made up for it and I
generally like kids a lot. I gave this a 2 and that was really more for the cleavage shots of
Jodie Foster than anything else.
lock guy. His acting was even worse than the script itself, if that's
possible. I wonder if he could have done the "I'm really fed up with
this," hand gestures a few more times. The scene at the door with the cops has to be one of the most
idiotic exchanges I've ever seen on film. The child attacking the
killer with two syringes wasn't all that thrilling, but watching him
cold cock her into the fireplace almost made up for it and I
generally like kids a lot. I gave this a 2 and that was really more for the cleavage shots of
Jodie Foster than anything else.
The Accidental Tourist
(1988)
Too subtle for the average viewer...
7 October 2002
But if you're smart and sensitive like I am you will love this film. Might be William Hurt's most simple, but complete acting job ever. Geena Davis (and maybe Hurt also,) are just a tiny bit too attractive in this film, but they are both such good actors that they pull you into their pain, hope and need for human contact and win in the end. Bill Pullman plays a deeper and richer character than any I've personally ever seen him play since. Macon's family is real (I don't care what Joe Average Typical American Family says,) and endearing. Edward is the best movie dog ever.
Dogtown and Z-Boys
(2001)
Oh, we were amazing....
6 October 2002
I live in Santa Monica and found the history lesson and nostolgia
worth watching, but the self congradulatory nature of this film had
me rolling my eyeballs about every ten seconds. Okay, you were different and really good at skateboarding. But
lines like, "we did a thousand things with a structure that the
architect never dreamed of." (Maybe 20 things...) And "It was like
Muhammad Ali knocking down Joe Frazier," got a little tough to
handle after the first half hour. I think that, if about half to three quarters of the interview footage of
the Zephyr team telling us what bad asses they were and what
"rock stars," they became could have been taken out, I would have
appreciated their talents even more. I guess I'm just one of those
who thinks that it should be the audience member who gets to see
what the people accomplish and then sit back and make their own
judgements about whether or not the subjects are worthy of that
kind of praise. One thing I really liked about "The Last Waltz," was that everyone
who watches it gets to make up their own mind about what kind of
musical influences the members were. I think it's kind of ironic that the subjects of this film talk about ego
getting in the way of the artistic nature of the sport, but they haven't
seemed to learn anything from it as they sort of ruin this film with
their grown up ego.
worth watching, but the self congradulatory nature of this film had
me rolling my eyeballs about every ten seconds. Okay, you were different and really good at skateboarding. But
lines like, "we did a thousand things with a structure that the
architect never dreamed of." (Maybe 20 things...) And "It was like
Muhammad Ali knocking down Joe Frazier," got a little tough to
handle after the first half hour. I think that, if about half to three quarters of the interview footage of
the Zephyr team telling us what bad asses they were and what
"rock stars," they became could have been taken out, I would have
appreciated their talents even more. I guess I'm just one of those
who thinks that it should be the audience member who gets to see
what the people accomplish and then sit back and make their own
judgements about whether or not the subjects are worthy of that
kind of praise. One thing I really liked about "The Last Waltz," was that everyone
who watches it gets to make up their own mind about what kind of
musical influences the members were. I think it's kind of ironic that the subjects of this film talk about ego
getting in the way of the artistic nature of the sport, but they haven't
seemed to learn anything from it as they sort of ruin this film with
their grown up ego.
Waking Life
(2001)
Pretty pictures and ideas worth listening to.
27 May 2002
Whenever anyone gets offended by a film like this--calls it
preachy--says the philosophy is shallow--whatever, I always find
that they seem to follow it up by trying to convince you that they are
even deeper thinkers and smarter than the director because
"they've heard this before." Wow. The most sadly ironic thing about
studying the human condition is that many times, when we've
reached that high plane of enlightenment, everything we've learned
leads us to nothing better than wanting to show others that we are
smarter than they are and sniff at other peoples attempts to make
some sense of things.
I didn't really have any preconceived notions coming in and I
watched it in sort of the same way I watched My Dinner With Andre.
Not thinking the director was trying to tell his audience the way
things really are, but simply tossing a few ideas around in a
technically interesting way. I found my time well spent and I think
this is certainly a beautiful little film. I was always taught that the
first step to enlightenment was to admit I don't know jack&^%&
about anything. So, I don't find it preachy and I have no problem
listening to a few different ideas about life and dream life. And
anytime someone wants to discuss human connection in a film of
all things, I'm willing to listen.
preachy--says the philosophy is shallow--whatever, I always find
that they seem to follow it up by trying to convince you that they are
even deeper thinkers and smarter than the director because
"they've heard this before." Wow. The most sadly ironic thing about
studying the human condition is that many times, when we've
reached that high plane of enlightenment, everything we've learned
leads us to nothing better than wanting to show others that we are
smarter than they are and sniff at other peoples attempts to make
some sense of things.
I didn't really have any preconceived notions coming in and I
watched it in sort of the same way I watched My Dinner With Andre.
Not thinking the director was trying to tell his audience the way
things really are, but simply tossing a few ideas around in a
technically interesting way. I found my time well spent and I think
this is certainly a beautiful little film. I was always taught that the
first step to enlightenment was to admit I don't know jack&^%&
about anything. So, I don't find it preachy and I have no problem
listening to a few different ideas about life and dream life. And
anytime someone wants to discuss human connection in a film of
all things, I'm willing to listen.
Mulholland Drive
(2001)
This film makes people who need plot--really angry....
27 May 2002
and they start throwing around phrases like "pretentious crap." and "Jackson Pollock bulls&^%" and accuse David Lynch of being the Emperor walking down the street with no clothes on. All I know is that I love a movie that is crafted in the "well made play" mode and has easy to follow plot lines.----Sometimes. But not all the time. And thank God there are brave directors like David Lynch--Robert Altman and a few others who know that there are many ways to tell a story and to tell it well. This is a beautiful, scary, frustrating, funny and sexy movie. I think I understand it, but who cares anyway? I kept me totally involved for two and a half hours and I kept praying for it not to end before I could decipher a little more. I give it a 9. Probably my favorite David Lynch film. I can't wait to watch it again.
Bridget Jones's Diary
(2001)
Decent
5 April 2002
This wasn't a total waste of time. I got through the whole thing, but
mostly because I think Renee Zellweger is quirky and sometimes
touching as an actress. And I think some of her scenes with Hugh
Grant were sort of funny. The light tone kept me from wanting to
gag as I did the night before when I tried to watch Crazy Beautiful.
At least this movie doesn't try to take itself too seriously. I can't, however--understand how Jim Broadbent won an Oscar for
his role--unless I'm remembering wrong and he won for Moulin
Rouge--He has been twenty times better than this in movies like
Life is Sweet. He can do stuff like this in his sleep and it's just not
much of a role.
mostly because I think Renee Zellweger is quirky and sometimes
touching as an actress. And I think some of her scenes with Hugh
Grant were sort of funny. The light tone kept me from wanting to
gag as I did the night before when I tried to watch Crazy Beautiful.
At least this movie doesn't try to take itself too seriously. I can't, however--understand how Jim Broadbent won an Oscar for
his role--unless I'm remembering wrong and he won for Moulin
Rouge--He has been twenty times better than this in movies like
Life is Sweet. He can do stuff like this in his sleep and it's just not
much of a role.
In the Company of Men
(1997)
Manipulates people well.
16 March 2002
This is presented as "cutting edge," and it has some nice acting
moments, but at it's base it is a pretty boring flick about things that
don't really happen in real life except in Jr. High school. And then
it's usually girls doing the mean things to other girls. Yes, boys
sometimes rate girls on who has the biggest boobs. And yes,
there are men out there who truly hate women (probably about
seven or eight less than the number of women who truly hate
men,) but the simple fact is that guys like the ones portrayed in
this movie just really aren't out there any more than a rich man like
Mr. Burns who wants to make a coat out of puppies is. I was in the
Marines and I've worked in academia and athletics and have seen
the biggest variety of guys anyone could come into contact with.
And never in my life have I heard any conversations between guys,
that sounded anything like the dialogue of this film in its "plotting,"
moments. To me this is manipulation at it's very best---using the
most base, nasty fantasies and then presenting it as sort of
"artsy," (when it's really not...the dialogue is like something out of
90210)--and hoping that geeks who don't actually know any better
will call it real life.
moments, but at it's base it is a pretty boring flick about things that
don't really happen in real life except in Jr. High school. And then
it's usually girls doing the mean things to other girls. Yes, boys
sometimes rate girls on who has the biggest boobs. And yes,
there are men out there who truly hate women (probably about
seven or eight less than the number of women who truly hate
men,) but the simple fact is that guys like the ones portrayed in
this movie just really aren't out there any more than a rich man like
Mr. Burns who wants to make a coat out of puppies is. I was in the
Marines and I've worked in academia and athletics and have seen
the biggest variety of guys anyone could come into contact with.
And never in my life have I heard any conversations between guys,
that sounded anything like the dialogue of this film in its "plotting,"
moments. To me this is manipulation at it's very best---using the
most base, nasty fantasies and then presenting it as sort of
"artsy," (when it's really not...the dialogue is like something out of
90210)--and hoping that geeks who don't actually know any better
will call it real life.
Amélie
(2001)
Here's a twin bill...
22 January 2002
I snuck into it after watching Monsters Ball. Both terrific movies but
the strangest double bill since I saw Ordinary People and The
Elephant Man. Well, the evening cost me twenty bucks so I
deserved a freebie. I am as enchanted with Audrey Tatou as I was with Audrey
Hepburn in Roman Holiday. You can take all the --Angela Jolie's
and Pamela Andersons you can find--line them up naked onscreen and I would trade 'em all for a smile from this young
actress any day (not to mention that she could act the thongs off of
any of them.) What a wonderful film. I haven't heard people laughing in a theatre
like that in a long, long time. And not a cum in the hair, or dog poop
joke in the entire film. Take a hint Hollyweird.
the strangest double bill since I saw Ordinary People and The
Elephant Man. Well, the evening cost me twenty bucks so I
deserved a freebie. I am as enchanted with Audrey Tatou as I was with Audrey
Hepburn in Roman Holiday. You can take all the --Angela Jolie's
and Pamela Andersons you can find--line them up naked onscreen and I would trade 'em all for a smile from this young
actress any day (not to mention that she could act the thongs off of
any of them.) What a wonderful film. I haven't heard people laughing in a theatre
like that in a long, long time. And not a cum in the hair, or dog poop
joke in the entire film. Take a hint Hollyweird.
The Last Waltz
(1978)
Not just the best rok dok....
7 January 2002
This might be one of the best uses of film I've ever seen. I've
shown it to dozens of friends and their comment is always
something like....."no,..... you didn't oversell it." If you want to know
more about the roots of rock and roll in North America you have to
see this movie. The Band could do it all and they do so in this film.
They back up some of the greatest musicians of all time and it's
seamless. Their own songs are perfection. Richard Manuel, Garth
Hudson, Robbie Robertson, Levon Helm and Rick Danko are
Canadian (and American) treasures and you will find yourself
drawn to their music once it gets into your system. If I ever had the
pleasure of meeting Martin Scorcese, the first thing I would say to
him is, thank you for this masterpiece.
shown it to dozens of friends and their comment is always
something like....."no,..... you didn't oversell it." If you want to know
more about the roots of rock and roll in North America you have to
see this movie. The Band could do it all and they do so in this film.
They back up some of the greatest musicians of all time and it's
seamless. Their own songs are perfection. Richard Manuel, Garth
Hudson, Robbie Robertson, Levon Helm and Rick Danko are
Canadian (and American) treasures and you will find yourself
drawn to their music once it gets into your system. If I ever had the
pleasure of meeting Martin Scorcese, the first thing I would say to
him is, thank you for this masterpiece.
Lantana
(2001)
Well worth seeing. Not brilliant.
21 December 2001
Warning: Spoilers
*Possible spoiler* This film almost lost me when Pete walked in the bar where Leo
was having a drink. I just feel like we are being asked to accept too
much coincidence in a movie which takes itself very seriously. I'm glad I didn't walk out, though. This film is worth seeing for the
second hour acting alone. Rush is a flat out wonderful actor and
Anthony LaPaglia does a great job centering the ensemble. I have to say that, although I found all of the women in this
ensemble to be talented and perfectly fine in their roles, I had a bit
of trouble with Barbara Hershey and though it's sad to say, I think
the problem is that she is tough to look at these days. It seems
like she is suffering from 1980's plastic surgery that is looking
rather weird now, in a Loni Anderson sort of way and that is sad,
because I think she is a brilliant actor. The part where Leo's wife
(who looks like a middle age woman ought to look and is strikingly
beautiful on screen,) says, "I like the wrinkles around my eyes,"
was almost embarassingly odd. Unless she was made up to look
like that, but I don't think that's the case. The movie ends in an interesting twist and I thought that the
characters were put through the wringer and came out the other
side with more of an ability to feel. It's a good story that takes a little while to develop. But you would
be well advised to stick with it. There is a lot to like in this movie.
was having a drink. I just feel like we are being asked to accept too
much coincidence in a movie which takes itself very seriously. I'm glad I didn't walk out, though. This film is worth seeing for the
second hour acting alone. Rush is a flat out wonderful actor and
Anthony LaPaglia does a great job centering the ensemble. I have to say that, although I found all of the women in this
ensemble to be talented and perfectly fine in their roles, I had a bit
of trouble with Barbara Hershey and though it's sad to say, I think
the problem is that she is tough to look at these days. It seems
like she is suffering from 1980's plastic surgery that is looking
rather weird now, in a Loni Anderson sort of way and that is sad,
because I think she is a brilliant actor. The part where Leo's wife
(who looks like a middle age woman ought to look and is strikingly
beautiful on screen,) says, "I like the wrinkles around my eyes,"
was almost embarassingly odd. Unless she was made up to look
like that, but I don't think that's the case. The movie ends in an interesting twist and I thought that the
characters were put through the wringer and came out the other
side with more of an ability to feel. It's a good story that takes a little while to develop. But you would
be well advised to stick with it. There is a lot to like in this movie.
In the Bedroom
(2001)
Not for emotional lightweights----
15 December 2001
---or those with TV bred attention spans. A superior film. Mr. Fields gets great performances out of
Wilkinson and Spacek (an actress who has earned and should be
getting roles like this every 6 months.) Marisa Tomei turns in the
best performance of her career. All three should receive Oscar
nominations if the academy is inclined to show any heart and
class this year. If you need constant, fast paced movement from conflict to conflict
to end, you might be better served taking your child to see Harry
Potter. But if you can handle intelligent drama with underlying
sadness and real human emotions that would rival Ibsen's
Ghosts, go and see this one. You will never see violence handled so expertly and in such a
brave fashion. But, because it is well crafted, the violence in this
movie is sad, haunting and unforgettable.
Wilkinson and Spacek (an actress who has earned and should be
getting roles like this every 6 months.) Marisa Tomei turns in the
best performance of her career. All three should receive Oscar
nominations if the academy is inclined to show any heart and
class this year. If you need constant, fast paced movement from conflict to conflict
to end, you might be better served taking your child to see Harry
Potter. But if you can handle intelligent drama with underlying
sadness and real human emotions that would rival Ibsen's
Ghosts, go and see this one. You will never see violence handled so expertly and in such a
brave fashion. But, because it is well crafted, the violence in this
movie is sad, haunting and unforgettable.
The Thin Blue Line
(1988)
Errol Morris is an Amerian Treasure
16 September 2001
This movie is almost too good. I am amazed at Morris' ability to
capture the perfect interview moments and piece little statements
together in a way that pushes the story along. And what a story. One character refers to Dallas County as "Hell
on Earth," and it's apparent that Mr. Adams drove into hell looking
for a job and came face to face with the devil in all his disguises. To anyone who has ever thought that documentaries were boring
and hard to follow, I reccomend this film. There is more of a story
here than in Gone With the Wind. PS. The ending is so good it will give you nightmares.
capture the perfect interview moments and piece little statements
together in a way that pushes the story along. And what a story. One character refers to Dallas County as "Hell
on Earth," and it's apparent that Mr. Adams drove into hell looking
for a job and came face to face with the devil in all his disguises. To anyone who has ever thought that documentaries were boring
and hard to follow, I reccomend this film. There is more of a story
here than in Gone With the Wind. PS. The ending is so good it will give you nightmares.
Chopper
(2000)
Too Good for Hollywood
22 April 2001
I won't go into a detailed explanation of the movie or wonder why
Mark Reads reasons for what he did weren't better explained (why
do so many people seem to feel uncomfortable when the reasons
for a persons complex nature aren't spelled out by the screen
writer?) I would just like to say that this is a very good film that is probably
too good for the Hollywood mainstream audience. I saw it last
night at the beautiful Aero in Santa Monica and there were only
about fifteen people in the audience on a Saturday night. If this
movie would have been made in LA you can be sure that all of the
reasons for Marks behavior would have been bundled up in a nice
neat package and the story would have been about a troubled
rogue cop (played by Tom Cruise,) who caught him and brought
him to justice. The story was handled beautifully and the ensemble acting was
wonderful. Everyone who had a hand in the making of this film
should be very proud. But most of the credit for this films success
should be given to Mr. Bana. This has to be one of the most
dimensional acting jobs I've seen in a long time. Compare his
post ear cutting off behavior to his first entering the night club
behavior. Bana is like Jack Nicholson at his best. By that I mean
he could have his back to the camera and you'd still know what he
is thinking. A total physical/behavioral performance. And one that I'm sure will barely make a ripple in Hollywood.
Mark Reads reasons for what he did weren't better explained (why
do so many people seem to feel uncomfortable when the reasons
for a persons complex nature aren't spelled out by the screen
writer?) I would just like to say that this is a very good film that is probably
too good for the Hollywood mainstream audience. I saw it last
night at the beautiful Aero in Santa Monica and there were only
about fifteen people in the audience on a Saturday night. If this
movie would have been made in LA you can be sure that all of the
reasons for Marks behavior would have been bundled up in a nice
neat package and the story would have been about a troubled
rogue cop (played by Tom Cruise,) who caught him and brought
him to justice. The story was handled beautifully and the ensemble acting was
wonderful. Everyone who had a hand in the making of this film
should be very proud. But most of the credit for this films success
should be given to Mr. Bana. This has to be one of the most
dimensional acting jobs I've seen in a long time. Compare his
post ear cutting off behavior to his first entering the night club
behavior. Bana is like Jack Nicholson at his best. By that I mean
he could have his back to the camera and you'd still know what he
is thinking. A total physical/behavioral performance. And one that I'm sure will barely make a ripple in Hollywood.
Straight Right
(2000)
This was on the Sundance Channel?
20 March 2001
I have to agree with the other post. This is a truly awful movie. Where did they get that girlfriend? The guy who played the lead is a nice looking man who spars in a realistic way, but he couldn't act his way out of a paper bag if you gave him a torch. Sundance actually had the man who wrote this in an interview discussing his "craft." Don't get me wrong. Anyone who can scrape the money together and get a film made deserves some credit for determination, but this poorly written-terribly acted mess should not be put in a place where anyone might possibly mistake it for independent film making.
Life Is Sweet
(1990)
Beautiful
20 March 2001
I'm starting to think that Mike Leigh could make a story about
boring people (like me) posting reviews online and make it and
them interesting. I don't think I'm being overly sentimental when I
say that, sometimes we need films that show us that, on the
whole, people are good and trying to do the best they can in a
difficult world. I don't see many directors who are willing to show
us flawed characters who fight through difficulties with heart and
humor and work things out without the aid of some ridiculous
device. Leigh is brave enough, creative enough and has enough
respect for his audience to show us, in Life is Sweet, that
sometimes caring and patience with those we love is our only
chance and what we are generally stuck with anyway.
boring people (like me) posting reviews online and make it and
them interesting. I don't think I'm being overly sentimental when I
say that, sometimes we need films that show us that, on the
whole, people are good and trying to do the best they can in a
difficult world. I don't see many directors who are willing to show
us flawed characters who fight through difficulties with heart and
humor and work things out without the aid of some ridiculous
device. Leigh is brave enough, creative enough and has enough
respect for his audience to show us, in Life is Sweet, that
sometimes caring and patience with those we love is our only
chance and what we are generally stuck with anyway.
Traffic
(2000)
I liked one of the movies.
28 January 2001
That is, the one that took place in Mexico. Who was the actor who
played General Salazar! That was one of the most physical and
strange performances I've ever seen. Del Toro and the actor who
played Manolo were wonderful as cop buddies. The Mexican movie was fast paced, never tried to grab at
sentimentality and forced one to keep up with the story and stay
alert. It worked for me and I saw real craftsmanship all the way
through. The San Diego movie lacked a sense of place, a sense of
urgency and a strong enough actress to make the story believable.
I thought that Catherine Zeta Jones was way out of her league
here. Of course, she didn't have much help. The writing in the San
Diego movie was ridiculous and the only ones who seemed to be
able to make it work were the cops with witness (Don Cheadle
was very good,) but even that element wasn't all it could have
been. Dennis Quaid was out and out awful in this film. The closing
scene where Cheadle kind of gets his revenge goes absolutely
nowhere and I have no idea why it was left in the movie except to
maybe let us know that Cheadles character was still trying. But
that's another thing. It takes Soderberg about two hours to define
Cheadles character when he has the witness guy go into a mono
about what motivates Cheadles character. I spent the previous two
hours wondering if these guys were good cops, buffoons, cared
about each other or themselves. The Cinncinatti/Washington movie was almost as bad, but it was
saved by some interesting filmaking. The characters were weak
and the situations they were placed in were almost silly. The drug
czar of the United States busts into a private school and drags a
student off by the collar. A drug dealer holds a gun to the head of
the Drug Czar of the United States and teaches him a little lesson
about who really has the power here. Okay. I think this is the major problem with this movie. Undefined
characters who move through the movie and are well photographed and are appealing, but one is never moved by them. I didn't feel for Catherine Zeta Jones when her son was
threatened. My heart didn't ache for Michael Douglas when he
found his daughter doing drugs in the bathroom. I didn't feel his
anger and frustration when he said, "I can't do this..." at the press
conference. Even in the Mexican movie, I felt little for Manolo's bride
as she worried about her missing husband, or her pain when he
died. The only actor who really drew any emotion out of me as a
viewer was Toro, who I felt was given a chance shine. But let's face
it, he didn't have to say too many of these lines. Other than that, the
only one I felt for was the kid who played the boyfriend of Michael
Douglas' daughter. I wanted to strangle him. But that might have
more to do with the fact that I really hate him on that Fox show. All in all, a very ambitious attempt and some beautiful filmaking,
but there is no substitute for a strong, believable storyline and
lines that a decent actor can be expected to be able to deliver. And
don't have the drug czar of the United States turn into a vigilante.
That is just plain stupid.
played General Salazar! That was one of the most physical and
strange performances I've ever seen. Del Toro and the actor who
played Manolo were wonderful as cop buddies. The Mexican movie was fast paced, never tried to grab at
sentimentality and forced one to keep up with the story and stay
alert. It worked for me and I saw real craftsmanship all the way
through. The San Diego movie lacked a sense of place, a sense of
urgency and a strong enough actress to make the story believable.
I thought that Catherine Zeta Jones was way out of her league
here. Of course, she didn't have much help. The writing in the San
Diego movie was ridiculous and the only ones who seemed to be
able to make it work were the cops with witness (Don Cheadle
was very good,) but even that element wasn't all it could have
been. Dennis Quaid was out and out awful in this film. The closing
scene where Cheadle kind of gets his revenge goes absolutely
nowhere and I have no idea why it was left in the movie except to
maybe let us know that Cheadles character was still trying. But
that's another thing. It takes Soderberg about two hours to define
Cheadles character when he has the witness guy go into a mono
about what motivates Cheadles character. I spent the previous two
hours wondering if these guys were good cops, buffoons, cared
about each other or themselves. The Cinncinatti/Washington movie was almost as bad, but it was
saved by some interesting filmaking. The characters were weak
and the situations they were placed in were almost silly. The drug
czar of the United States busts into a private school and drags a
student off by the collar. A drug dealer holds a gun to the head of
the Drug Czar of the United States and teaches him a little lesson
about who really has the power here. Okay. I think this is the major problem with this movie. Undefined
characters who move through the movie and are well photographed and are appealing, but one is never moved by them. I didn't feel for Catherine Zeta Jones when her son was
threatened. My heart didn't ache for Michael Douglas when he
found his daughter doing drugs in the bathroom. I didn't feel his
anger and frustration when he said, "I can't do this..." at the press
conference. Even in the Mexican movie, I felt little for Manolo's bride
as she worried about her missing husband, or her pain when he
died. The only actor who really drew any emotion out of me as a
viewer was Toro, who I felt was given a chance shine. But let's face
it, he didn't have to say too many of these lines. Other than that, the
only one I felt for was the kid who played the boyfriend of Michael
Douglas' daughter. I wanted to strangle him. But that might have
more to do with the fact that I really hate him on that Fox show. All in all, a very ambitious attempt and some beautiful filmaking,
but there is no substitute for a strong, believable storyline and
lines that a decent actor can be expected to be able to deliver. And
don't have the drug czar of the United States turn into a vigilante.
That is just plain stupid.
Magnolia
(1999)
Brings out the best in the viewer.
30 December 2000
I read these comments quite often and I have to say that the PT
Anderson film Magnolia must have something going for it, if
judged only by the many insightful comments I've seen (positive
and negative.) With the exception of the guy who botches up what
Stanislavski was trying to tell actors, I read very few comments that
weren't heart felt and passionate. And I think the director would
probably be pretty satisfied with that. I found this movie and it's characters aggravating and repetitive at
times and I did feel as if I was being banged over the head with a
not too subtle message. There were times I wanted to beg the
actors to just get on with it and quit wallowing in emotion. Even in
the rather animated moments of the Tom Cruise character's
seminars, I felt a little like, "Okay, we believe that you're a pretty vile
guy, now tell us something we don't know." But this movie keeps coming at you. And I think that might be the point. If you hear a line like, "We might
be through with the past, but the past isn't through with us," one
time, you might think, "hmmm, nice little line." When you hear it
three times and you are given three hours and countless, well
written examples of how that plays out, you are literally forced to
think about what it means in your life. Seeing every character
mouth the words "it's not gonna change, until you wise up," is like
having the director refuse to let you off the hook until you at least
consider the idea. In some ways, I think this is one of the bravest attempts I've ever
seen at asking an audience just what the hell we are doing with
our lives and also letting us know that there might be hope. Some
may take that as sitting in moral judgment of society, but I for one
appreciate the guy for having the balls to give it a go.
Anderson film Magnolia must have something going for it, if
judged only by the many insightful comments I've seen (positive
and negative.) With the exception of the guy who botches up what
Stanislavski was trying to tell actors, I read very few comments that
weren't heart felt and passionate. And I think the director would
probably be pretty satisfied with that. I found this movie and it's characters aggravating and repetitive at
times and I did feel as if I was being banged over the head with a
not too subtle message. There were times I wanted to beg the
actors to just get on with it and quit wallowing in emotion. Even in
the rather animated moments of the Tom Cruise character's
seminars, I felt a little like, "Okay, we believe that you're a pretty vile
guy, now tell us something we don't know." But this movie keeps coming at you. And I think that might be the point. If you hear a line like, "We might
be through with the past, but the past isn't through with us," one
time, you might think, "hmmm, nice little line." When you hear it
three times and you are given three hours and countless, well
written examples of how that plays out, you are literally forced to
think about what it means in your life. Seeing every character
mouth the words "it's not gonna change, until you wise up," is like
having the director refuse to let you off the hook until you at least
consider the idea. In some ways, I think this is one of the bravest attempts I've ever
seen at asking an audience just what the hell we are doing with
our lives and also letting us know that there might be hope. Some
may take that as sitting in moral judgment of society, but I for one
appreciate the guy for having the balls to give it a go.
A Dream!
27 December 2000
First off, I've only sat through about 10 martial arts films in my life. I
absolutely cannot stand them. When people talk about them, I find
myself wanting to burst their balloons and say something like,
"Yeah, they remind me a lot of pro wrestling." But if you feel the way that I do about martial arts movies---and
allow that to keep you from seeing this movie, you are really losing
out. I loved everything about this movie and I found nothing to
quibble about. -Dimensional, well crafted characters portrayed by "real" actors
who could mop the floor with most of Hollywood's acting talent and
I'm talking about their acting ability, not flying spin kicks.
-The effects were perfectly balanced with character and place and
the story never took a back seat to the wire dancing stuff. -The little actress who played Jen has more acting talent in her left
foot than the combined casts of Charlies Angels, Dude, Where's
My Car and Vertical Limit. Wait and see, some brilliant Hollywood
director will bring her to LA and cast her as the love interest in
MASH 2--- Go see this. Take kids. Take your parents. It proves once again,
what the best filmakers and playwrights have been trying to tell us
forever. It's all about story.
absolutely cannot stand them. When people talk about them, I find
myself wanting to burst their balloons and say something like,
"Yeah, they remind me a lot of pro wrestling." But if you feel the way that I do about martial arts movies---and
allow that to keep you from seeing this movie, you are really losing
out. I loved everything about this movie and I found nothing to
quibble about. -Dimensional, well crafted characters portrayed by "real" actors
who could mop the floor with most of Hollywood's acting talent and
I'm talking about their acting ability, not flying spin kicks.
-The effects were perfectly balanced with character and place and
the story never took a back seat to the wire dancing stuff. -The little actress who played Jen has more acting talent in her left
foot than the combined casts of Charlies Angels, Dude, Where's
My Car and Vertical Limit. Wait and see, some brilliant Hollywood
director will bring her to LA and cast her as the love interest in
MASH 2--- Go see this. Take kids. Take your parents. It proves once again,
what the best filmakers and playwrights have been trying to tell us
forever. It's all about story.
Tell Your Friends