Che (2008)

Two films about Che Guevara (Benicio Del Toro). One film about the successful revolution in Cuba, the other about the less than successful revolution in Bolivia.

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While attempting to overthrow the government of Bolivia, Ernesto "Che" Guevara stuck religiously to the playbook of the Cuban Revolution. This lead directly to his execution on October 9, 1967. They say that the definition of insanity is doing the same thing over and over again expecting different results. Yet is it not equally insane to do the same thing and expect the same results. By it's very definition, Revolution changes everything. Not just the country in question, but the world around it. After Cuba fell, the Capitalist world was on watch. Che didn't stand a chance. 

After the revolutionary hit that was Sex, Lies and Videotape, Steven Soderbergh spent the better part of the 90s making commendable flops. The world had changed, yet he remained the same. Eventually he learned the delicate art of playing the Hollywood game while still holding true to his own muse, but I think those years adrift really stuck with him. Aside from the late Orson Welles, I cannot think of a filmmaker better suited to bring this tale of failed ambition to the screen.

The King's Speech (2010)

Introverted and stammering Bertie (Colin Firth), AKA Prince Albert, the Duke of York, AKA King George VI, begins taking elocution lessons with Lionel Logue (Geoffrey Rush) and the two form a very special bond.

I finally watched this one again after seeing it (and absolutely adoring it) in the theater. And yes, it’s just as good as the first time. The acting is superb (I like seeing Helena Bonham Carter in a non-batshit-crazy role!) and Colin Firth especially is just divine. Can you beat Colin Firth? I mean, really? I love him.

I’m getting sidetracked. But seriously, Colin Firth really carries this movie. The plot is uncomplicated but he really makes the story sing. Combine his performance with the beautiful photography and perfect soundtrack and you’ve got yourself a winner. Not to downplay Alexandre Desplat’s wonderful original music, but the use of Beethoven during the all-important speech and again just before the credits? Amazing. We’re talking goosebumps and misty eyes over a piece of music. But maybe that’s just me.

This film won the Oscar for Best Picture (and Best Actor, and Best Director, AND Best Original Screenplay) for a reason! Watch it, enjoy it, and thank me later.

Black Swan (2010)

After Nina (Natalie Portman) is unexpectedly promoted to prima ballerina for a production of Swan Lake, creepy shit starts to happen.

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Do any of these statements sound familiar?

1) I don't watch action films.

2) I only watch comedies.

3) Musicals? Yeesh! I can't STAND them!

Well you know what I can't stand? People who outright dismiss entire genres of film! In full disclosure, I used to be among these ranks. For years I dismissed musicals as a whole. They were so old-fashioned and campy. It wasn't till about two years ago that I finally sat down and watched West Side Story. I was blown away. The music! The colors! The movement! Few films made today are as alive as that film is. Sure there are genres that reek of shit. Video stores are stacked to the brim with shitty horror films. But that's no reason to dismiss them all. Great stories of surprising depth can be told through the prism of any genre, including horror. Don't let a few rotten apples spoil the whole bunch. You just might be depriving yourself of a bona fide masterpiece!

Double-Bill: Samurai Showdown

Seven Samurai and 13 Assassins

The Specials (2000)

The seventh best superhero team in the world have some serious personal issues to deal with.

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Prior to 1961, super-heroes lead relatively problem-free lives. Sure they had to battle super-villains and save the world, but did they ever have to make sure they had enough change to wash their uniform at the local laundromat? How is an audience supposed to relate to a God? They are by definition, perfect. All of this changed when Stan "the man" Lee introduced the world to The Fantastic Four and the rest of the Marvel Universe. Suddenly a super-hero's personal life could be just as interesting and drama-filled as his or her heroic exploits. Expand this to the logical end-point and you get The Specials. Not once in the entire film do you get to see them in action. The entire 82 minute run-time is dedicated to vanity, insecurity, infidelity and idiocy. So many great lines and such an amazing cast. If you like your comedy dark and cutting, this is the film for you! Sure they might not be The Avengers, but they'll do in a pinch.

Pixar does Avengers!

Way too tired/have too much boring stuff to do to write an intelligent coherent blog post. So I thought I'd just share this picture.

You're welcome.

Run Lola Run (1998)

A young woman (Franka Potente) has 20 min to get 100,000 dm in order to save her boyfriend's life. There are three ways for this to go down. All of them entertaining.

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If I wanted I could turn this review into a dissertation on chaos theory and free will v. determinism. Or I could use it as a means to reflect on our media-saturated culture. Perhaps I could just keep it simple and tell you that this film is really really fun and has a great soundtrack. Three totally different paths. Which one should I take? Which one is the right one? I mean they're all equally valid. And I guess that's the real answer, isn't it? Any film that can provoke such philosophical and cultural discussion while simultaneously being a fun watch, must be one heck of a film.

"The ball is round, a game lasts 90 minutes, everything else is pure theory. Off we go!"

The Poseidon Adventure (1972)

It's New Year's Eve, and the passengers of the SS Poseidon are celebrating. When the ship is flipped over by a massive wave shortly after midnight, killing many of the passengers, a small group decides to follow the opinionated and rebellious Reverend Scott (Gene Hackman) to presumed safety. Who will make it out alive? Dun dun dunnnn....

This film is a cult classic, extremely quotable, and one of my favorites. It's epic, it's campy, and it's full of memorable performances. Reverend Scott and Mike Rogo (Ernest Borgnine) butt heads the entire time, Linda Rogo (Stella Stevens, and the best character in the movie) throws in her cheeky one-liners, the Rosens (Jack Albertson and Shelley Winters) are old and adorable and sappy, the kids are kinda bratty, and lounge singer Nonnie (Carol Lynley) is so annoying you wish she'd stayed back with the others.

This film is good pure entertainment. Yes, the acting is over-the-top, yes that "Morning After" song will get stuck in your head, yes you may never want to go on a cruise ship again. But it's a fun watch, I promise!

And if you're wondering what gear you need to survive a cruise ship disaster, just ask Linda Rogo.

"Just panties, what else do I need?"

Tetro (2009)

A young man (Alden Ehrenreich) arrives in Buenos Aires hoping to reconnect with his older brother Tetro (Vincent Gallo). Nothing goes as expected.

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Francis Ford Coppola's career has covered the full spectrum of quality. He's made masterpieces like The Godfather, The Godfather Part II and Apocalypse Now. He's also made crap like Jack. Since the early 80s people have been trying to write him off as "past his prime". I've been guilty of this myself. But the more I examine his career, the more I admire it. So what if people have written him off? There's something freeing in that. It's like that verse in John Lennon's song "God":

I was the dream weaver
But now I'm reborn
I was the Walrus
But now I'm John. 

Gradually all the expectations fall away and you are free to just create. Free to follow your own muse and simply make what is interesting to you. Sure some films will be bad, but others will be good. Tetro definitely isn't The Godfather, but it's absolutely on par with The Conversation. And for my money, that's pretty damn good.

Double-Bill: Faking It

How To Steal A Million and F For Fake

Mr. Holland's Opus (1995)

Glenn Holland (Richard Dreyfuss) wants to be a great composer, and takes a high school teaching job that he expects will give him some free time to work on his music. What he thinks will be a temporary position, ends up being a 30 year adventure in teaching and inspiring his students and attempting to bond with and understand his deaf son Cole.

This is a classic feel-good movie. We see Mr. Holland's career from the 1960s to the 90s, and how his attitude about his work grows and changes with each life that he touches. We see the once-terrible student orchestra blossom under his instruction. We see the insecure girl become confident and use that confidence to propel her life far beyond the music classroom. We see him struggling to identify at all with his son, and eventually we see him reach out the only way he knows how: through music. As a music-lover myself, I absolutely love how the film establishes how music can be more than just an interest; it can be a way of viewing the world.

With standout performances from Dreyfuss, Glenne Headly as his wife Iris, and William H. Macy as the uptight vice-principal Gene Walters, this film is a must-see for teacher, music-lovers, whoever. Yes, it's emotional (bordering on sappy) and sure, maybe teachers don't typically see the results of their life's work laid out in front of them in such a grandiose fashion, but this is a movie! And a very good one at that.

Beyond The Valley Of The Dolls (1970)

A trio of female rockers called The Carrie Nations come to Los Angeles with dreams of stardom, what they find is absolute cinematic insanity.

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Nobody makes movies like Russ Meyer. Ridicule his subject matter all you want, the man had a vision. There is no way to mistake his work for someone else's and vice-versa. His world-view was uniquely his. Sure that world-view included women with inhumanly large breasts, but so what? So did Fellini's! If  photographing some giant cans was all it took to make it in the film world, half the San Fernando Valley would have three-picture deals at Fox. And I don't care if you do Pilates, eroticism alone can only hold an audience's interest for a so long. So what is it that sets Russ apart from the rest? Well of course there's the precise framing and the perfectly paced editing, but more than anything, there's the sense of fun. It overwhelms the entire picture. Fun is the thing that keeps viewers coming back again and again and again, even through the dark/moralistic conclusion. It's HIS happening and it freaks US out!

The Iron Giant (1999)

Young Hogarth is full of mischief and loves adventure and make-believe. But when he stumbles upon and befriends a massive robot with a big personality, he has no idea that he's about to go on the biggest adventure of his life. With help from hepcat artist Dean (Harry Connick Jr.), he's able to avoid his mother's (Jennifer Aniston) prying eyes and, for a while, stay one step ahead of government stooge Kent Mansley (Christopher McDonald). But the Iron Giant is too big to hide forever...

I love love LOVE this movie. It's written beautifully (by director Brad Bird, who went on to write/direct The Incredibles and Ratatouille), we laugh, we cry, the whole bit. And did you know that the Iron Giant is voiced by Vin Diesel?? Easily the best thing he's ever done. The Giant reminds me of the old Universal monsters, Frankenstein specifically. He's stumbling around, unsure of where he belongs or what he's supposed to do, and accidentally causing destruction. But he's got a lot of heart and ultimately is evolved enough to make selfless choices.

Despite being animated, this one isn't "just for kids" and I very highly recommend it if you haven't seen it. It's currently streaming on Netflix! Bring a box of tissues...or is it just me who bawls at movies about giant robots?

Enjoy!

Touch Of Evil (1958)

A car-bombing on the US/Mexico border pits a righteous Mexican cop (Charleton Heston) against his corrupt gringo counterpart (Orson Welles).

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I know everyone loves to hold up Citizen Kane as the ultimate auteur film, but I'd like to make the case for a different Orson Welles film. In the hands of a lesser filmmaker, Touch Of Evil could have been absolute trash. Yet despite the cheap title, incomprehensible plot, Charlton Heston playing a Mexican and numerous scenes of an innocent white woman being menaced by lustful Latinos, it's actually a rather amazing film. This is all due to Welles and his camera. Right from the beginning with the endless crane-shot, you are made aware that this is not your average suspense-thriller. And from there the train just keeps rolling. So what if the source material is crap? Orson swung for the fences...and knocked it out of the park! As his 58-page memo critiquing the studio's tinkering with the final cut can attest, he was playing for keeps. Which brings me back to where we began: Citizen Kane had the benefit of an extremely solid (and Oscar winning) script, this film had only Orson. His iconoclastic style was the film's salvation.

The People vs. George Lucas (2010)

Ah, George Lucas. To some he's a pioneer in the world of film-making, a genius of special effects. To some he's a destroyer of childhoods. To many, he's both. This documentary is told from the point of the view of the loyal, opinionated, and divided fans.

The treatment of Star Wars is an interesting case of creator's vision vs fan expectations. For many of those fans who grew up with the original trilogy, being told that that version isn't what Lucas really wanted and seeing it changed is like a slap in the face. So who does Star Wars belong to? Is it fair to take something back as a creator, alter it, and limit availability of the original that everyone came to know and love? Are we taking all of this too seriously? After all, it's "only a movie"...

I recommend this documentary for anyone who feels passionately one way or the other about this subject. The fans are certainly passionate, and the creative ways in which they express that passion is definitely worth a watch. It's currently streamable on Netflix, so no excuse!

And Han definitely shot first.

Double-Bill: Defining Comedies II

Wet Hot American Summer and Mystery Team

Soundtracks Of My Life: Amores Perros

Every time a great soundtrack comes out I am faced with a dilemma: Do I buy the album and get stuck with doubles of a bunch of songs I already have, or do I just pick up the individual tracks off of iTunes? What about the songs that are "album only"? Sure I could probably track it down somewhere as a free mp3, but I guess I'm old fashioned and still believe in paying for things. Fortunately this is not really a problem with foreign film soundtracks.  Soundtracks like this one (and the one for City of God) can serve as a wonderful entrée to a whole new sonic world. It makes perfect sense that Alejandro González Iñárritu was a DJ prior to becoming a filmmaker. Not only are the songs perfect for the film, they're perfect for life! Even the 2nd disc which consists entirely of music inspired by the film is great. You no longer have to listen to NPR for world music!

¡Viva México, Cabrones!

Key Tracks: Si Señor, La Vida Es Un Carnival, Dame El Poder, Me Van A Matar

The Avengers (2012)

Let me start this by saying I am not an Avengers superfan. As of this writing, I haven't seen Iron Man 2 or any of the Hulk movies, nor have I read a single superhero comic book. I was worried that this film would be appreciated only by people very familiar with all the backstories (remind me what S.H.I.E.L.D. is again?) and that I would be sitting there very confused.

So glad I was wrong! This movie is FUN. It has crazy superhero action, funny quips (mostly from Downey Jr as Iron Man, go figure) and it doesn't alienate non-fans with you-have-to-read-the-comic moments. I suppose I saw enough of the superhero movies (Thor, Captain America and Iron Man) to follow it, but I had such a good time watching it that I didn't mind the very few moments of WTFness. What exactly is a "tesseract"? Who cares! Did I just see the Hulk beat up a jet? Yes, yes I did. Speaking of the Hulk, he's by far the best part. While other characters get their little one-liner jabs in, the Hulk just pummels people. Awesome!

The characters all get their little moment in the sun, Loki's pretty awesome as far as villains go (he's like the Pete Campbell of supervillains: jealous, petty, and greasy-looking), and it's a damn good ride. I haven't had that much fun in a movie theatre in a while! Go see it!

And who the hell is Thanos?

Detroit Rock City (1999)

A group of four friends (Giuseppe Andrews, Edward Furlong, James DeBello and Sam Huntington) ditch school to attend a KISS concert in Detroit...rock city.

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I firmly believe that the best rock & roll is dumb rock & roll. There's an immediacy to it. The groove is hard and the emotions are raw. Everything is life and death...just like when you're in high school. Sure this film isn't Fellini and sure KISS aren't The Beatles, but so what? I love albums like Tommy, Pet Sounds and Dark Side of the Moon as much as the next guy. They are monumental works that prove what rock and roll is capable of. But when I really want to just let loose, I put on Meat Loaf, Andrew W.K. or KISS. The same goes for film. You can only watch L'avventura and Stalker so many times. Sometimes you just need to lose your mind in Detroit...Rock City.

How to Be Max Fischer

Max Fischer (played by Jason Schwartzman in the film Rushmore (1998)) is quite the cool kid, in his own weird little way. Here's how to be more like him...which is what you want, right? Of course you do.

Step One: Dress the part. Max doesn't just look like he belongs at Rushmore Academy, he looks like he runs the place. Navy blazer, smart tie, red beret...it's a classic look. Apparently others have the same idea...click here for a whole bevy of Fischer-inspired outfits via Polyvore!

Okay, some of the outfits are in fact about MOUNT Rushmore, not the film. Whatever.

Step Two: Learn Latin! Or better yet, save it!

Step Three: Get involved! Max is the editor of the yearbook, publisher of the Yankee Review, president of the French Club, represents Russia in the Model United Nations, vice-president of the Stamp & Coin Club, captain of the debate team, manager of the lacrosse team, president of the Calligraphy Club, founder of the astronomy society, captain of the fencing team, participates in track and field, 2nd chorale choirmaster, founder of the bombardment society, is a yellow belt in kung fu club, founder of the Trap & Skeet Club, president of the Rushmore Beekeepers, founder of the Yankee Racers, and the director of the Max Fischer Players. What the hell are you doing with YOUR free time?

Step Four: Apologize and forgive. Max isn't perfect by any means, but he knows when he's been a jerk. He even offers a part in a play to his sworn enemy. What a guy!

Step Five: Be a badass. When you DO need to be a jerk, make sure you're a badass about it. You know what I'm talking about.

Remember: Take dead aim on the rich boys. Get them in the crosshairs and take them down. Just remember, they can buy anything but they can't buy backbone. Don't let them forget it. Thank you.

Double-Bill: Defining Comedies

Airplane! and This Is Spinal Tap

Kinsey (2004)

A biopic on the infamous Dr. Alfred Kinsey (Liam Neeson) whose research on human sexuality brought about a firestorm of controversy in post-war America.

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It's sad how fast this film was forgotten, even in the year of it's release. The only Oscar it was up for was Best Supporting Actress. It's the middle-child of Bill Condon's filmography, sandwiched between the much better received Gods and Monsters and Dreamgirls. Yet of those three, Kinsey is easily the more important film. Were it  to be released today amidst the waves of gay teen suicides and Rick Santorum's war on reproductive freedom, it would likely provoke a firestorm. Well like mama always said: It's never too late to start a revolution! If you haven't seen this film yet, see it. If you have seen it, show it to a friend. Show it to multiple friends! Let the good word spread like VD!

Catch Me If You Can (2002)

After the divorce of his parents, Frank Abagnale Jr. (Leonardo DiCaprio) begins a life as a successful con artist by impersonating a pilot, a doctor and a lawyer.

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I'm not sure if Steven Spielberg set out to chronicle the the 1960's American zeitgeist with this film, but all the sign posts are there. We begin in 1963 (the year of the Kennedy assassination) with the dissolution of the happy 1950s American family. And though he doesn't attend Woodstock or join a commune, Frank is just as adrift in this new world as the rest of his Baby-Boomer brethren. He is continually and  desperately trying to get back to that time when he was safe and all was right in the universe. And while the film ends in 1969, it foreshadows the 80s when all of the wild kids would settle down, become yuppies and work for "the man". It's pretty brilliant allegory. Or maybe Spielberg was just trying to make fun caper film? Or a film about his parents' divorce? Well,  regardless of intention, the resultant film is pretty nifty stuff.

How To Steal a Million (1966)

Nicole Bonnet (Audrey  Hepburn) is the daughter of a legendary art collector...and art forger. When he lends his prized Cellini Venus sculpture to a museum (which is also a fake) without realizing that the sculpture must undergo tests to prove its authenticity, Nicole plans to steal the piece to protect her father. Who will help her? Why that dashing, handsome burglar (Peter O'Toole) she caught in her home, of course!

This film is eye candy! Yes, Peter O'Toole as Simon Dermott is a total stud muffin, but I'm mostly referring to the colorful photography and costumes...Givenchy strikes again! Hepburn zips around in this teeny car in this very mod all-white outfit that includes matching helmet and round sunglasses. My favorite get-up is above...while trying to be incognito, she wears all black lace including a lace mask, and you can see her silver eye makeup shimmering underneath. It's all chic as hell.

Combine the visuals with solid performances from the leads, a lovely score by Johnny Williams (maybe you've heard some of his other work...Star Wars or a billion others, maybe?) and a fun plot, and you've got yourself a stylish and enjoyable film! And it's Audrey Hepburn...hard to go wrong there!

As of this writing, this film is available to watch instantly on Netflix. What are you waiting for?

Go (1999)

Three interconnected stories spell out the particulars of one wild night in Los Angeles and Las Vegas.

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The Star Wars series aside, films don't change as the years go by. What changes is the viewer. Released between my freshman and sophomore years of high school, Go was a big film for me. I'd just started hanging out with a new group of friends and was experiencing a lot of firsts. Though I wasn't having nights as wild as the one depicted, Go felt true to the life I was living. So what if my point of reference character was Claire? Having recently re-watched it at the age of 28, the film now feels like a eulogy. A requiem for those nights when we were immortal and the most important question was, "What's next?" I don't give a fuck if the depiction of rave culture is 'inaccurate' and I don't care if it's a 'rip-off' of Pulp Fiction; this film has elicited strong emotional responses from me at two drastically different times in my life. How many films in your life can you honestly say that about?

May Day

“My aesthetic is that of the sniper on the roof.” ― Jean-Luc Godard