Summer Lovin

Like most guys I don’t live in the romcom genre much. There have been great ones because of their innovative scripts and performances:
“Moonstruck”, “The Philadelphia Story”, “When Harry Met Sally”, “Some Like it Hot”, “Groundhog Day”, “It Happened One Night” and of course the wonderfully contrived “Sleepless in Seattle”. “City Lights” may have been the genres’ great silent classic and proof that these films have been a staple of the film industry since its inception. After all movies are the perfect dates right? Yet the way Hollywood mass produces things, quality always wears thin and we have all been subjected to some outrageously bad romcoms. I don’t know why but “What Happens in Vegas” sticks in my mind but there are hundreds maybe thousands. (You hear that “Pretty Woman”?) Date movies or chick flicks have become the scourge of man’s existence.

Yet I still have a soft spot for “Annie Hall”. The fun way it dissected the relationship, its bits of absurdity and its unexpected conclusion. This was Woody Allens’ greatest moment, and as I’ve said on this blog before, it’s been a sad thing watching his films decline with each passing year. That classic came to my mind again as I watched “(500) Days of Summer”, the “Annie Hall” of Gen Y.

This generation so easily falls into a hipster pose but with this film we have none of the forced irony or ‘too cool for school” posing that makes older folks cranky. Joseph Gordon-Levitt plays Tom who wears old timey suits and ties rather than skinny jeans and a souvenir T-shirt. His love interest is Summer (Zooey Deschane) who also leans towards the classic, wearing vintage dresses. This is just one clever way that director Marc Webb (who also co wrote the script with Scott Neustadter) frames this story as timeless rather than as a bland modern romance. He also has filmed the story in older buildings, so although it’s set in LA which is so often cold and soulless on film, here it shows the character of a New York or Chicago backdrop.

Tom was an architecture student who now works as a greeting card writer. So, sure the movie doesn’t completely avoid being hokey. In fact his work attitude and rant at a meeting when he’s having love life troubles is a little overdone, but the movie is charming enough to forgive this. When Summer enters the workplace he is smitten and the countdown of the 500 days begins. The fun part is that since this is told from Tom’s point of view, the days are not in any order. Good days and bad days intermingle as we see their relationship without clear linearity. Opening narration even announces that “this is not a love story” so we watch the relationship knowing that it is short-term just like “Annie Hall”. I think in this day and age this makes the film more realistic and meaningful despite its flights of fancy. Zooey Deschanel is a bit cold but she does well in the role where she has to be a bit of a heavy. (Although I think Ellen Page would have rocked it) Her character is one who remains mysterious and is only revealed through Tom’s eyes, so she is always elusive and distant as crushes often are. Along the way we see two versions of a night (imagined versus actual) that I thought was brilliant. Tom even breaks out into song showing how we all live our lives and especially our romances through the filter of Hollywood expectations. In short this film is clever, well-performed, fun and defies hipster detachment with its sincerity. Isn’t that what romcoms are supposed to be? I also think the last line put a great bow on it. It’s like a brief romance itself, don’t over think it and you’ll have a lot of fun.

Stars Trapped in their Vehicles

Robin Williams, Brad Pitt, Tilda Swinton and Nicholas Cage are no slouches but these releases fall short despite their best efforts, usually due to over-indulgent writers/directors. I’m giving all of these two shakers each.

A pre-heart attack Robin Williams shot “The Worlds’ Greatest Dad” in Seattle and although that’s good for our local economy I wish this black comedy worked for me. Written and directed by fellow frantic comedian Bobcat Goldthwait, both the comedy and Williams are surprisingly understated. In fact Williams is so quiet that he almost disappears performance-wise and that doesn’t help. As a high school teacher, aspiring novelist and single parent, his character Lance Clayton seems to do all badly. Lance’s teenage son is a pervy arrogant fool (well-played by Daryl Sabara) who meets an early death which earns both he and his father the fame that eluded them both while he lived. The reverence and whitewashing we give to the dead is a great topic for satire and this film almost works; however, even a black comedy must have laughs. Caught up in its own dour plot machinations it wastes not only Williams but the great supporting cast. Too many music montages, an over-reliance on cutting to the goth girl and what feels like a tacked on Hollywood ending eventually bring it down. It’s a shame because I think if Bobcat played it less safe we might have a comedy in the “Heathers” vein instead of a film as repressed as Lance is.

I’m not going to lie; I am not a fan of Quentin Tarantino. I find his movies over-hyped and ridiculous. Long b-movie speeches interrupted by sensationalized hyper-violence and not a touch of reality. His fan base eats them up though and I was curious how he’d take on a period drama in his latest: “Inglorious Basterds”. Weighing in at two and a half hours it’s a long haul but for a war film it had surprisingly less torture than I suspected, unless you count the twenty minute scene set in a basement pub to be audience torture. I feel if someone had been allowed to edit Tarantino the film would have worked better but perhaps not. When all the top brass for the Third Reich are attending an event it’s a bit surprising to see that only two guards are posted. We also are supposed to believe that the “Basterds” are a super squad of Nazi hunters but we see very little of their tracking and hunting, only Eli Roth (the fellow torture-porn director of “Hostel”) happily beating a Nazi to death with a baseball bat. Pitt’s portrayal is complete caricature, kind of like Foghorn Leghorn in a uniform. However the two female stars, (Diane Kruger as a German film actress/spy and Mélanie Laurent as a Jewish survivor who is living covertly as a local theater owner) outshine their material. But the breakout performance here and probable Oscar nom is Christoph Waltz portraying a nefarious “Jew hunter” SS Officer. Acting well and in four languages he represents the quiet evil of the Nazis better than most war movie heavies outshining even the Hitler in this one. If only the film lived up to his performance with a little less conversation a little more action. (Thanks Elvis!)

Another Oscar worthy performance trapped in a bad film is Tilda Swinton as the title character in “Julia”. It begins as a naturalistic character-driven story where Julia is shown as a hopeless alcoholic who sleeps around and finds it hard to hold down a job or to attend her AA meetings. However soon she meets her neurotic Mexican neighbor who wants to kidnap her son from his wealthy grandfather and the film begins to turn into a marathon of the improbable. This time director Erick Zonca steers the two and half hour ship as Julia makes one bad decision after another, abusing the ten year old in question endlessly before the film literally transforms into a Mexican soap opera where evil-looking gangsters scream “Puta!” a lot with drawn weapons. One twist too many for me and an unbelievable ending to boot, which is a shame since Swinton really shined through this overlong story.

Finally we have the newest trend in action films- full-out apocalypse! We know Nicholas Cage can act from “Leaving Las Vegas” but since then he has chosen films more for their paychecks which is a shame. In “Knowing” we have numerology, crazy psychic kids, Matrix-like aliens with shiny mouths and a shitload of CGI! Cage is a single parent whose son loses out when a fifty-year old time capsule is opened at his school; while the other kids in his class get drawings from the past students (kind of an expensive and wasteful school project no?) he gets a page filled with numbers written by a creepy girl in the film’s prologue. Cage cracks the code which turns out to be a listing of the time, locations and casualties of all the major disasters in the world. Frantically he races off to witness elaborately staged plane and subway crashes but seems only slightly perturbed. The biggest disaster is this film itself. You’ve been warned! Here’s to better DVDs in 10!!

The 20 Best DVDs of 2009

As we finish up 2009, it's time again to look back at the DVD film releases of the past year and give thanks! Again, I am talking about new films on disk, most released theatrically in 2008 (unless noted as a 2009 release).There are many fine TV series and re-releases, but that's another blog. Happily we've reviewed many of these films already on this blog, so I've included the links. Most of these films I give four shakers to unless noted as the elusive fifth shaker.

With all the chaos in life, nothing beats getting lost in a good film. So here are my picks on the best twenty. I think any film lover on your list would appreciate any of these. (Why not do a gift basket and get them all? :)

Happy Holidays and Happy viewing! (When the January rental doldrums hit, I will offer up some additional good films of the past year)

1) Anvil: The Story of Anvil - Old Head bangers keep the dream alive into middle age. Review here.

2) The Cove (2009) - A dramatic doc on the battle to save dolphins from slaughter and captivity.

3) Days and Clouds – A successful Italian couple try to keep their marriage afloat and start over in a harsh economy. Review here.

4) Dear Zachary: A Letter to a Son about His Father – Began as a project to tell a son about his murdered father, director Kurt Kuenne successfully covers additional tragic twists in one of the most heart-wrenching films you'll ever see.

5) District 9 (2009) – A great sci-fi film on lost humanity that I think was totally overlooked this summer. Director Neill Blomkamp gives us an exciting story about aliens who become refugees in South Africa and how the corporation tasked with relocating them then seeks to exploit them for their weapons technology. 5 Shakers

6) Doubt - John Patrick Shanley's powerfully acted tale of the power struggle between a conservative nun and a progressive priest in a 1964 New York City parish. Our Reviews here. 5 Shakers

7) Eden - A simple but universal story of an Irish couple struggling with their ten-year marriage. Review here.

8) Frozen River - Another story of personal survival, Melissa Leo brings amazing truth and believability to her role of a mother struggling to keep her family afloat by any means possible. Jessi's Review here.

9) The Hangover (2009) - Todd Phillips directs a believable and likeable cast in a tale of the ultimate bachelor party gone bad in Las Vegas. Comedies about men who don't want to grow up are a Hollywood stable, but this one avoids the usual bathroom humor to deliver a fun and clever flick.

10) I've Loved You So Long – Another tale of family dynamics, this time two siblings who struggle to get reacquainted after a fifteen year absence. Kristin Scott Thomas is compelling as a shell-shocked woman who slowly reveals her secrets to her well-meaning but puzzled younger sister (Elsa Zylbertstein). Jessi's Review here.

11) Let the Right One In – An alternative vampire flick to the one which shall remain nameless. Original and creepy, the setting of a cold, dark, depressing Swedish town is spot on and the concept of a little girl vampire is spooky. Review here.

12) Milk – Director Gus Van Sant really captures the details and tone of the era in this timely biopic of Harvey Milk (Oscar winner Sean Penn) the first openly gay man to be voted into public office in America. A great supporting cast includes Josh Brolin who is brooding and intense as Dan White, a troubled fellow official on the San Francisco Board of Supervisors who feels threatened enough to murder.

13) Revolutionary Road – Though I didn't notice the trend before this is my third pick to focus on a troubled marriage. Based on the novel by Richard Yates, Sam Mendes delivers a film not really about the homogenized suburbs but about the compromises of marriage and conformity. Very similar in time period and theme to "Mad Men", seeing April (Oscar winner Kate Winslet) framed behind a picture window like a caged bird is tragic. Review here.

14) Sin Nombre (2009) – A Honduran girl falls for a Central American gang banger on a train heading to the US border. Review here.

15) Slumdog Millionaire – Last years' big Oscar winner tells the fairy tale odyssey of an 18-year-old Mumbai "slumdog" (Dev Patel) attempting to find his lost love (Freida Pinto) by going on a TV game show. Director Danny Boyle directs this story with energy and heart and a breakout final song unexpectedly paying tribute to big Bollywood dance numbers. Jessi's review here.

16) Star Trek (2009) – J.J. Abrams reboots the franchise for new fans and old trekkers alike. A great finish to a decade of some outstanding sci-fi! 5 Shakers Review here.

17) Summer Hours - As an aging widow reunites her adult children and their families to their childhood home; she realizes her possessions and legacy will become devalued once she passes on. A subtle but powerful film on how the global economy is not only splintering families, but undermining cultures, creating a society does not value its’ own history.

18) Up (2009) – Pixar does it again with an amazingly touching film on never being too old to live out your dreams.

19) Waltz with Bashir – An "animated documentary" for adults as ex-soldiers revisit their fractured wartime memories. Review here.

20) The Wrestler – Mickey Rourke's amazing comeback film of a tortured middle-aged wrestler trying to come to terms with his life while staging a final bout. This is the wrestling picture Barton Fink should have written.

'Star Trek' time travels in to save our day!

I used to work with a man who looked and acted deliberately like Data of Star Trek: The Next Generation. He later moved onto vampires but I did agree with him that our office would be more fun if we all wore the uniforms like those on the show. Yet TNG movies were too serious and more of a bore than their predecessors in the eighties with the classic original cast. Although those films got worse with each entry and began to look like 'beer bellies in space', they still retained that sense of wonderful cheesiness of the original series. In the fab sixties, Kirk and the crew which included plenty of mini-skirted fembots conquered the universe. Shatner kicked ass with a shoulder-rolling brawl set to a blazing horn section; A cosmic Don Draper. He also would bed down multi-colored alien babes as Spock and Bones argued logic versus emotion like a classic psych exam. My elder brother was an old school Trekkie and I recall as a boy going to a local mall to see Leonard Nimoy. (We didn't get close).

I didn't really watch TNG or the other spin-offs much. Yet I had "Star Trek" imbedded in my brain, a cultural touchstone and an example of how sci-fi could be fun as well as cerebral. Last year as I looked around an Apple Store one of the clerks (er Associates) was running down the features and programs of a Mac, when he asked casually "Hey have you seen this?" and played the new Star Trek trailer in Hi-def. I had no idea it was being remade. Suddenly it was all there in that three minute clip: JJ Abrams of "Lost", "Alias" and "Cloverfield" fame had rebooted the franchise with an origins story. Uhura was a super hottie! The guy from "Heroes" as Spock? 'Harold' from "Harold and Kumar" as Sulu? "Shaun of the Dead" as friggin Scotty? Leonard Nimoy - Are you serious? The original sounds effects even sounded hip. We both looked at each other in a WTF moment of nerdy joy. I saw the film as soon as it opened.

This would have been so easy to mess up but outside of one CGI snow monster that didn't thrill me as necessary, I am pleased to say that Abrams and company really nailed this! Chris Pine had extra large space shoes to fill with Kirk but has done it and here is the young captain, complete with his bar fights and the bedding of green girls, fully intact. He subverts authority follows his instincts and is brutally loyal to his team who form before our delighted eyes. Spock, Bones, Chekov, Uhura, Sulu and Scotty here are all thrown together for the first time and have their own heroic moments to shine. Eric Bana as Nero is the best villain since Khan and then there's the space-time continuum, the sci-fi device that opens the parallel universe and gets old and new Trek to fit together as it should. Zachary Quinto as Spock and Karl Urban as Bones stand out and really channel their TV counterparts. So loyal to the original campy Trek but retrofitted with added adrenalin, it is as fun as the original series and is as movies should be. In these hard times it is so timely to see Gene Rodenberry's original vision of a diverse crew of young explorers attempting to right the wrongs of a sometimes evil universe. Fun for mind, body and soul, "Star Trek" is one of the best DVDs of the year.

Corrupt leaders & other runaway trains

I wanted to see me some Italian corrupt politics riddled with assassination but I got more than I needed in Il Divo. Rather than just tell the story straightforward, which would have been gripping enough, director Paolo Sorrentino goes gonzo and thinks he’s Kubrick meets Scorcese but is neither as proven by his pretentious over-direction. Lead actor Toni Servillo plays the main character of long-time Prime Minister Giulio Andreotti like a grotesque caricature, hunching around, an expressionless Dracula save for the stagey (but really it’s all so stagey) soliloquies where he rants rapidly like a madman. Much like 2006’s visually beautiful but hollow “The Fall” this director knows how to make beautiful pictures, he just doesn’t know when the say ‘basta’ and tell a story. Subtlety is not sin signore; see ‘La dolce vita’ instead.

The frustrating age of Bush resulted in a backlash that produced not just a satirical film in last years’ “W.”, but also a one-man show, before he had even left office. Will Ferrell’s “You’re Welcome America, A Final Night with George W. Bush” being the latter. Ferrell is as always absurd and funny, his political satire spot-on, but weighing in at almost an hour and a half the show does get tired. It seems like a drawn out SNL sketch not helped by a dancing secret service man between scenes played by Ferrells’ brother. Maybe it’s just too soon.

The remake of “The Taking of Pelham 1-2-3” is a textbook example of how current Hollywood does thrillers bad with Tony “Top Gun” Scott pulling out all his tricks: The macho mustachioed men from Central ‘New Yawk’ casting, loud soundtrack booms with pulsating rock riffs, intermittent slow motion with over-saturated colors, super quick cuts and zooms, the overused helicopter shots and not one ounce of honest character development in the mix. Denzel Washington goes from a coffee spilling demoted MTA boss to a superhero chasing his nemesis on the Brooklyn Bridge with gun in hand. (I would say “Spoiler alert” but the tell-all trailer for this film already gives most of this film up). John Travolta is the brains of the subway-napping who eats up the scenery and all but gives his name and address to the dispatchers. In short this movie sucks. Scott constantly cuts to police officers and SWAT teams who do nothing with the exception of getting into three (Count em!) separate car crashes in one trip uptown. The filmmakers had unrestricted access to the NY subway system so it’s a shame this film pales in comparison to the original. That 70’s film directed by Joseph Sargent was shot with real grit and intelligence as it had the meticulous Robert Shaw matching wits with the great low-key Walter Matthau. Its classic ending was near perfect. They don’t make them like that anymore as this remake proves loudly.

Demonic Ambitions

Fall is upon us and Halloween approaches! I rented the Blu-Ray of the original “Halloween” and several other scary flicks to get in the mood and will cap off the month seeing the original “Psycho” accompanied by the Seattle Symphony Orchestra- good times!

In ‘Audience of One ‘ director Mike Jacobs shows us something pretty scary- real-life religious fanaticism which is growing by leaps and bounds in this country. In uncertain times it’s comforting to have religion, however when it stops being a personal expression of spirituality and goes all cultish it is downright dangerous. Folks who believe that they are on a “mission from God” ala the “Blues Brothers” will have no problem causing all sorts of mayhem since anyone against them must be “the devil”. Working Jim Jones’ old hood, Pastor Richard Gazowsky is introduced to us as a charismatic leader who seems harmless at first as he preaches the word to his San Francisco congregation. We are told that he didn’t see his first film “The Lion King” until he was 40, but that God then told him to make a film (“Star Wars meets The Ten Commandments”) and lo the misadventures begin!

A delusional man pressing his family and parishioners to make a film that he says has 200 million in financing for is fascinating but also a little sad. Church collections don’t go to help the unfortunate but instead fund massive film expenses such as creating unnecessarily elaborate costumes. Volunteers are pressed into crew and talent positions putting in long workdays where safety precautions are non-existent. This is kind of like the doc “Burden of Dreams” about the madness of director Werner Herzog while making “Fitzcarraldo'” with the important exception that Herzog is a great filmmaker, Gazowksy is just a fool. Even late in the film as we see that his fiasco has no funding and he is forcing his studio landlord (the city of San Franciso) to sue him for his back rent, he attends a filmmakers trade show promising vendors that he is planning on buying their high end equipment. In short he has no conscience. Why should he? God talks directly to him. Kind of like “Bowfinger” meets “Jesus Camp”.

As I’ve said before here, I hate the cinema of sadism that passes as horror. Splatter and gore has hardcore followers but I can’t help to think that it’s just not a good thing to get such pleasure watching people get tortured and killed. It reminds me too much of how Rome fell with its residents using death as entertainment in the Coliseum (Though I did like “Gladiator” which makes me a bit of a hypocrite).

Sam Raimi on the other hand, gave us the “Evil Dead” trilogy back in the eighties and early nineties, films that mixed the spookiness of folklore with rollercoaster thrills shot like great slapstick ala “An American Werewolf in London”. These films were scary fun and became better as the budgets went up. Raimi went on to do a respectable indie, “A Simple Plan” before moving on up to the big budget “Spiderman” series. Obviously his brother and he had an old spooky script that they never made and Raimi decided to dust it off and give his fans a little bit of retro horror. I’m glad he did.

In “Drag Me to Hell” he shows his ability to take all of the scariness of that original haunted wooded cabin and bring it to a normal suburban home in Southern California transforming ordinary objects into instruments of fear: a stapler, a handkerchief, a coin, a button, a ruler even a piece of cake. Yes a piece of cake – did you ever eye up a delicious pastry when dieting? Raimi and the demons at his disposal know of these inner conflicts.

Our heroine, bank loan officer Christine (Alison Lohman), is a former obese farm girl from a broken home who wrestles these inner demons as she reinvents herself in LA. When her relationship and career seem troubled, the evil spirits channel her fear of eating; the arm of a demonic woman, a fly, embalming liquid, maggots and blood all make their way into her mouth at some point in this flick. It all begins with her fixation on an old gypsy womans’ dirty dentures that she observes as she is trying to decide whether to give her another extension on her home loan. Being exploited by her boss (David Paymer) as she vies for a promotion (he has her bring him and her rival food of course) she is forced into deciding to evict this old woman, Mrs. Ganush (Lorna Raver), which sets off the action as she is then attacked, cursed and terrorized.

Raimi gives us plenty of shout-outs to the ‘Evil Dead’ films including using his trademark 1973 Oldsmobile Delta 88, a visual reference to the original poster art, cartoon violence in an old shed and Christine’s boyfriend (Justin Long, the Mac pitchman seen using Mac products) making a passing reference that he has a cabin in the woods. The film even opens with an 80’s era logo for Universal. A drawback is the flat acting by the young actors in the leads; old-timers Raver and Paymer fare much better. Lohman, Long and Dileep Rao (as the worlds' most knowledgeable spiritualist) all seem to play the film straight rather than give it the subtle twist of camp that it needed. Lohman especially seems more of a dullard than an ambitious and then horrified woman. A Bruce Campbell cameo also would have rocked it. This is nitpicky of course – this film as I witnessed makes men swear in disbelief and women scream in fright and that’s a lot of fun in the serious world of mass marketed torture porn. A definition of Irish blarney is when you can tell someone to go to hell and have them anticipate the trip. Raimi still has the charm.

Lose your Illusion

There have been many documentaries about the war in Iraq but Tony Gerber and Jesse Moss's “Full Battle Rattle” captures the motivation and policies of our military better than most. Ironically it was filmed in the US, in a mock Iraqi city in the Mojave Desert of California. The “city” is a battle training ground that seems to be a cross between a video game simulation and the town featured in “The Truman Show”. The make-believe hamlet is populated by Iraqi-Americans and other soldiers portraying the locals. There are meetings with the city council, confrontations at check points and even photo opportunities as building contracts and cash are handed out to buy good faith. Insurgents and assassinations also sneak in as programmed by the war game officials. A soldier and the man portraying the deputy mayor refer to their script as they discuss how to play a scene in one of the many surreal moments in this interesting film. When the same deputy mayor proudly shows video of his mock execution to his real family, his wife breaks into tears and we are reminded that this role playing is mirroring the real life violence effecting actual families. As the military personnel are shipped off after their training exercise you can really sense the anxiety as they leave a place where the dead were just actors or medical dummies to enter the very real chaos of war. I found this to be an interesting dissection of the logistics of modern war with the implied violence eerily foreshadowing the reality that awaits them.

In “Anvil! The Story of Anvil”, director Sacha Gervasi first introduces the Canadian rockers via old footage of the 1984 Japanese Super Rock Festival that they appeared at with The Scorpions, Whitesnake, Bon Jovi and other top bands. Members of Metallica, Motorhead, Guns N Roses and others are seen telling of their influence. We then cut to 2007 Toronto to see the band members working middle-class jobs while still holding onto the dream of making it big. Lead guitar/singer “Lips” (Steve Kudlow) and his long suffering best friend/drummer, Robb Reiner are mellow but often prone to explosive arguments like an old married couple. This is one of the many parallels of this film with the famed mockumentary “This is Spinal Tap”: We see the band making its’ way to the stage saying “Hello Cleveland!’, the silly album covers, an audio knob going to “11”, the foreign road manager girlfriend, the series of humiliating gigs, Stonehenge and the redeeming call from Japan. Yet somehow this flick does not mock its subjects, in fact the optimism of “Lips” in the face of all odds is actually inspiring and touching. Their families are still trying to support them and you can’t help but to pull for (or head bang for) this group as well.

Steven Soderbergh follows his dense but unmoving “Che (Parts One & Two)” with a small film about a high-end escort in Manhattan just prior to the election of 2008. “The Girlfriend Experience” uses real-life porn star Sasha Grey to portray Chelsea, a call girl just trying to make it in the world of the wealthy. Captured in a series of high-end restaurants and stores we see what may be a collapsing gilded era as Chelsea acts as ‘the girlfriend” of several nervous movers and shakers, which mostly means listening to them talk about finances. Her live-in boyfriend is a personal trainer also trying to leverage his relationship with his rich clients to get ahead. Their parallel realities comment about the materialism and superficiality of life. Sex, looks and money is all important, but this soullessness is also the death of real love. The film even has a trip to Vegas in it, the ultimate metaphor for the illusions of wealth and the American dream of success. However, again Soderbergh just doesn’t pull it off. This is yet another arty film that moves slowly and seems plot less. To mix it up a bit, it is edited in a confusingly deliberate non-chronological order which is reminiscent of “Memento”. The biggest problem is the monosyllabic, boring performance by Grey in the lead. I suspect a high end call girl would be intelligent and an excellent conversationalist. Grey seems more like a bored teenager here and that’s a GF experience that no one would pay for.

Quick review: “Watchmen” a sadistic abomination, torture porn and fanboys still ruling Hollywood!

The American dream: Elusive, then hard to maintain

As the US seems more divided than ever lately, I recently saw three new DVDs that deal with our freedoms in their own personal way.

In “Sugar” (2008), Anna Boden and Ryan Fleck’s follow-up to their very good “Half Nelson” (2006), we are introduced to a Dominican baseball player whose whole town depends on him making the minor leagues in the US and then possibly the majors. The pressure to succeed and the fish-out-of-water culture clashes of his life are examined in a very low-key, naturalistic style: Far too low-key for my tastes. Whereas in “Half Nelson” we had the Oscar nominated performance of lead actor Ryan Gosling taking us into the shadowy world of teachers who abuse drugs, here we have a non-actor, Algenis Perez Soto playing the lead. The fact that he isn’t an actor does increase the realism but since in 90% of this film the camera is pointed at him, the story would have benefitted if we could have had more insight into his mind. He just seems to stare vacantly most of the time as things occur almost randomly around him. This trend of almost hyper-realism, where we find ourselves stuck into one unstructured scene after another seems a bit lazy and pretentious to me. In one long shot we see ‘Sugar’ walking through a blurry entertainment arcade finally arriving at the edge of a bowling alley where his American counterpart is enjoying a game surrounded by friends. I know I was supposed to sympathize with his isolation here but I was too bored by the length of the take of his walk. That’s just me- ADD boy! His character then makes a questionable decision halfway through the film that seems unlikely given all we’ve been shown. So although this film came with high praise and had some nice plays, it just failed to score with me.

On the opposite end of the spectrum is “Sin Nombre” (2008), which although shot with equal realism gives us memorable imagery, strong dramatic performances and a tight story. Filmmaker Cary Fukunaga wrote and directed this tale of a group of Central American immigrants making their way to the American border. Casper (Edgar Flores) is a Mexican gang member of the scarily tattooed ‘Mara Salvatrucha’, who needs to prove his worth. Sayra (Paulina Gaitan) is a young Honduran girl just trying to follow her family to a better life. Both end up hitching on top of a rural train that snakes its’ way north. Somehow these images capture the beauty and sacrifice of these people. One touching scene has the train passing under a large statue of Mother Mary as many pray for her blessing. As the gang pursues Casper, he tries to thwart the advances of Sayra to no avail. Like good and evil itself these two seem trapped with each other. I found this film similar in my mind to “The Warriors” another surreal adventure of a road trip to redemption.

“State of Play” (2009) is based on a popular BBC mini-series and I’m sure if I had seen this I would have hated this film. In fact, I expected not to like it since it seemed super-hokey, which it is to some degree. However, although not the best political thriller ever it does make its’ points, have strong performances and is nicely shot. Russell Crowe plays Cal McCaffrey a veteran reporter for the fictional Washington Globe (a stand in for the Post); Della (Rachel McAdams) is a newbie blogger for the paper which has just been acquired though a merger by a global corporate media group. Helen Mirren is the editor who must weigh the pressure to sell papers with the infotainment demands of a 24-hour news cycle rather than taking the time to get the story told correctly. Stephen Collins (Ben Affleck), Cal’s old college roommate, is a congressman from Pennsylvania who oversees a committee investigating a defense contract corporation which eerily looks like Blackwater. The film opens with a series of killings that somehow link up to the death of a female Collins’ staffer who also was having an affair with him. Collin’s wife Anne (Robin Wright Penn) still pines for Cal in a ‘Casablanca’-like triangle that I found to be great old-timey Hollywood fun. The old-school vet reporter and newbie blogger team up to clear Collins’ name and get to the bottom of the killings in an attempt to bring the evil defense contractor out into the light while saving the paper from the pressures of its’ new owners.
There sure is a lot going on in this flick (since it is distilled from a mini-series) but it sucked me in and I enjoyed it! Director Kevin Macdonald (“Touching the Void”, “The Last King of Scotland”) really captures the surroundings from the messy newsroom, to the streets and eateries of DC, to the clean yet ominous halls of our government. He also gives some visual nods to “All the Presidents’ Men” with scenes at a creepy garage, the Watergate hotel, as well as extreme close-ups of copy being written, this time with a blinking cursor rather than the rifle-like cracks of typewriter strikes. Although it is flawed and a little too tidy in resolution, this film demonstrates how diligence is always needed to maintain our country’s morality in the face of a very complex, corrupt world. Sadly, this film also seemed like an epitaph for printed newspapers in a world overcome by the internet and bloggers (like me?).

A Shaky First Year!

Wow! As August comes to a close after flying by, a lot of great films hit which I would give four salt shakers to: Harvard Beats Yale 29-29, Trouble the Water, Tyson, The Class and Goodbye Solo. Normally I would choose one or two of these and tell you why to see them, but I didn’t want August to pass without acknowledging that this month marks the first anniversary of this blog!

Jessi and I worked together before she moved to New Mexico. I have seen so many friends come and go out of my little friendship fish bowl that I assumed we would e-mail once or twice a year before eventually losing touch. We are both frustrated creatives with the exception that Jessi works at it and I just repress it. Our e-mails would often turn to films we’d seen and we’d compare notes. As is obvious in this blog, some of the films she loved I hated and visa-versa. She then suggested this blog which I was dead against it since I see most blogs as self-indulgent and didn’t want to jump in that pool. However she convinced me to give it a try, nothing fancy just straightforward, concise reviews.

Last August, 'Salty Popcorn' began with Jessi’s post on 'Tsotsi'- I immediately countered thinking it was going to be the point-counterpoint deal, like the original Siskel & Ebert. We then both reviewed "The Savages" and "Surfwise", two great little indies and I put my best of all time list down. As we closed the most productive month ever, Jessi reviewed "Jumper" and I looked at "August" as we quickly realized it would never work for us to line up our viewing habits with the same films. We persevered somehow and this blog literally became my therapy.

Without going into detail we have both continued our struggle for meaningful work, again Jessi being more successful than I. I thought this blog would just die off since there were so many other places where folks could get opinions- but between Jessi and myself I feel we have added some original voice on the state of current home cinema. Even if we do have very light traffic, content is content.

I know one thing- as life gets me down - I do still find watching films to be my most favorite thing ever. This past year wasn't a banner year but through it all I have been able to watch many films I would never have had time for. Films inspire me and take me to a world as seen through someone else’s eyes. They touch and inform me- and remind me that the struggles of life are a common drama. I've seen artists who understand film as the 20th century art form and those who see it as a business churning out product. SP has allowed me the forum to yell at those who get it wrong and praise those who get it right. I’m still touched by heartfelt dramas and laugh loud at good comedies but unfortunately, more often than not, I feel like a hollow piece of crap has wasted my time and sucked out my soul. Yet that’s the point, I can suffer that turkey so you don’t have to. Even in my negative reviews I try to steer you to a similar film that got it right. So I thank you Jessi for nudging me into this. Happy Birthday ‘Salty Popcorn’! - Let’s keep the films popping and I’ll keep it shaking!

Your co-editor,

Tim

Dudeism

Two new releases this month tell of unusual male friendships- one for laughs and one for sentiment; both seemed overrated and predictable.

In “The Soloist” Jamie Foxx went with the advice of Robert Downey’s actor character in “Tropic Thunder” and didn’t play “full retard” just going with schizophrenia. Based on the true story of Los Angeles Times columnist Steve Lopez (played by Downey) who befriended a down-and-out man, Nathaniel Ayers (Foxx), who he discovers had some classical cello training at Julliard and then told his story in several articles. Director Joe Wright tries hard to beat the clichés and be original, but by playing loose with the facts (and doing hokey things like presenting a symphony internally from Ayers point of view), the film lays the melodrama on when understatement would have worked better. Downey as usual is great and Foxx keeps his character credible but this is another case of the actors being better than the material. With forced flashbacks and a skid row that seems to be more “Escape from New York” than the real streets of LA, Wright and the screenwriters kill the reality of film despite the two strong performances up front. Trying to play a meaningful violin piece with only two strings again doesn’t work.

On the wackier side of unusual male friendship is “I Love You Man” written and directed by John Hamburg although it seems way similar to the work of bro-mance comedy director Judd Apatow. Paul Rudd is Peter Klaven, an LA realtor who is getting married but seems to just realize that he has no male friends. He finally bumps into bohemian free-spirit Sydney Fife (Jason Segal) who he connects with on the rocky road to male bonding. Along the way there are jams in the man cave, scuffles with Lou Ferrigno and some forced awkward man-dates. Unfortunately for me all seemed like a Comedy Central made-for-TV movie and the only laughs are when Rudd tries to speak hip – saying things like “Slappa da bass mon! “, calling Sydney bizarre nicknames like “Joben” and generally mining the un-coolness of his character to the hilt. Segal as Fife on the other hand seems completely unreal whether when he is threatening people who ask him to curb his dog, launching an unauthorized billboard campaign for Peter or engaging in primal scream therapy. Needless to say this all builds to a downright stupid ending. Reworking date movies for male appeal is a good idea, but they need to be funny, this one is all premise no delivery- totally ... totes my goats!

Past Lives

I like scary movies but not torture porn. For example I was spooked by “The Blair Witch Project” because it was so inventive for its’ budget and it went for the root of what scares us: “There’s something out there in the dark trying to get us!” I also enjoyed the original Japanese versions of “The Ring” and “The Grudge”. Yet American horror movies of today are a dime a dozen, full of soundtrack jolts and cheap scares. To confess a guilty pleasure, I do TiVo all of the paranormal stuff for easy entertainment. I especially love ridiculous shows like “Ghost Adventures” where Scooby Doo is recreated and ghost teams startle each other on night vision camera.

One ghostly documentary “A Haunting in Connecticut” was made in 2002 but still airs frequently. It was genuinely spooky following a family who move into a large house which is offered at a surprisingly cheap asking price so that their son, who suffers from cancer, can be closer to his treatment hospital. The house which is next to a cemetery is actually an old funeral home and the sick boy who sleeps in the basement discovers that this is where the mortician did his thing. Needless to say as someone whose childhood home was also nearby a cemetery, I found this show scary. The main ghost even wore those black contacts which on its own freaks me out. So hoping for the best I rented the Hollywood film version which was recently released on DVD. My worst fears were realized as even the credits were filled with the quick cuts and soundtrack blasts that earmark the worst horror films of today. Virginia Madsen and Elias Koteas are two actors who try to ground all the unnecessary CGI vainly. Lifetime movie vet, Martin Donovan is featured as always playing the well meaning dad. (Spoiler) When the house burns the end titles tell us it was rebuilt and stands there to this day. Well the house does stand because it was never burned and therefore never needed to be rebuilt. Since “based on a true story” means nothing to Hollywood versions of ghost stories they obviously feel no shame in rewriting history like this, kind of like Fox News. It’s a shame though since as I say the original story was spooky before they rewrote. See the original version if you can.

Past glory is also what haunts the title character of “The Great Buck Howard’ played by the great John Malkovich. The story here however is not Howard himself but that of his assistant played by Colin Hanks. Based on the real life experiences of a former assistant to “The Amazing Kreskin”, Howard is a mentalist who performs mind reading, hypnosis and the like before finishing up with a few cornball songs. His act is dated, his audience dwindling and Howard is constantly repeating stories of his salad days, especially his appearances on “The Tonight show with Johnny Carson”. (I do love it when Buck calls Leno Satan!) The film wants to be quaint old-fashioned fun but is actually kind of predictable and dull. Hanks is likable enough but doesn’t seem to have the charisma of his dad Tom to pull off this one-dimensional character. (Hanks Sr. appears here briefly playing, of course, his father) The Howard role seems custom made for Malkovich but yet it is too cartoony and underwritten. Involving has-beens do make for interesting stories (“Sunset Boulevard”, “Raging Bull”, “All about Eve”, “My Favorite Year”. “The Wrestler” etc) but here the magic just isn’t there.

In the film version of Dickens’ “Great Expectations” there are haunting scenes of the crazy Miss Havisham still in her wedding dress trapped in the past, living in her rotting mansion. In 1975 the Maysles brothers made a bizarre documentary about a mother and daughter living in similar conditions. Edith Bouvier Beale was nearly eighty and her daughter “Little Edie” was in her fifties at the time of filming, both living in the squalor of their rotting East Hampton mansion. Both women were obviously mentally ill with “Little Edie” being absolutely manic doing dances with her head constantly wrapped in a makeshift scarf. It was a sad film to watch and yet the subjects seemed perfectly happy in their little world, delusional as they were. Their home and the film was perfectly named “Grey Gardens”

This year HBO returned to these subjects making a dramatic film that attempts to fill in the blanks on the plight of these women. Also titled “Grey Gardens” the filmmakers do a great job at recreating scenes of the original doc between flashbacks of the characters affluent earlier years. Drew Barrymore who has made some bad films really shines here playing little Edie from her teenage years into her fifties. She totally nails this character and has a great time doing so. Jessica Lange playing the elder Edie also brings to life the desperation and increasing madness of her character. Both women, along with Ken Howard who plays Mr. Beale and Jeanne Tripplehorn as a shell-shocked Jacqueline Kennedy Onassis (the womens’ famous cousin) have been nominated for well deserved Emmys. I think this film is best viewed after seeing the original documentary but in any case it is as haunting as the original. See it and then clean your home.

Love & War

As an audience member you really shouldn’t be too ahead of your characters or they come across as idiots. Just as in horror movies where it’s a constant battle of dumbness with folks going backwards into dark rooms, splitting up and of course assuming the maniac is dead and not kicking their weapon away or shooting them again. James Gray’s “Two Lovers” doesn’t have any murders- just the predictability. Leonard (Joaquin Phoenix) is supposed to be a manically depressed, but often witty, regular-Joe. He has it half-down not seeming to be any fun in the least and almost “Sling Blade” slow. He also is just not believable as a middle-class Jewish boy (nor is Isabella Rossellini- yeah you heard me, as his mom.) Predictably Vinessa Shaw is the nice Jewish girl who would save him versus the fragile and exploitative shiksa played by Gwyneth Paltrow doing her best to sell the “New Yawk” accent. This film has received good reviews and I did find the camera work atmospheric and the mood appropriately downbeat. However the all star casting goes against it making it seem a little like an SNL skit- though if I could just transplant Adam Sandlers’ character in “Reign over Me” into Phoenix’s place we may have had the likeability we needed as we watch this dude stumble through his love life. Robin Williams also did a great job in a similarly toned, little known film “Seize the Day” twenty years earlier –so I think Phoenix’s performance was the problem. Then he went on Letterman in that prank deal- Oy Vey!

Having given thirty choices for best releases this year so far, I am happy to give my first recommendation for the second half of 09. “Waltz with Bashir” is an “animated documentary” about the 1982 Lebanon war as seen by the Israeli foot soldier. Director Ari Folman is the basis of the main character who has his own repressed memory of the war jarred after a friend tells him of a recurring nightmare which features the many dogs he killed during that war coming back to get him. The animation seems to be rotoscoping (painting over a filmed image), but supposedly it is not. Actors were filmed for reference only. I think the animation serves its’ purpose, adding to the unreality and dreamlike nature needed as various characters recount their war stories. It also captures the absurdity and odd juxtapositions of war (creepy dead horses, an attack in an orchard, apartment dwellers watching a firefight from their balconies) which I found to be reminiscent of “Apocalypse Now”. As our heroes’ memory is stimulated by his comrades’ tales we realize why he has blocked them in the first place. Perhaps this films’ compelling visual style will pull one teenager away from their war porn video games long enough to give the joy of killing a second thought.

The Best DVD Releases of 2009 so far…

So here we are already at the mid-year point of 09! How can this be? As our little blog rolls along we continue to try to give shakers as they are due. Take a walk through a chain video store and see the sheer avalanche of DVD releases out there- most sadly to say just suck. So here’s my year to date picks on the best disks so far- note these only indicate new releases of the past year and not old films re-released. I’d also like to give a shout out to the release of the final season of “The Wire” representing a new high in TV drama. (Though this blog doesn’t usually weigh in on TV shows)

Some of these flicks were reviewed or mentioned previously on this blog, many others weren’t but trust me- all of these are good viewing! (Sorry The Reader and “The Curious Case of Benjamin Button” didn’t make the cut for me) Also all of these should link back to their Netflix pages for easy queuing. Let’s hope the second half of the year has some more good ones (which will include the Sin Nombre and Star Trek releases of course)

1. Alexandra


2. Days and Clouds


3. Dear Zachary


4. Doubt


5. Eden


6. Frontline: Bush's War


7. Frost/Nixon


8. Frozen River


9. George Carlin: It's Bad for Ya! (His final HBO concert)


10. Gran Torino


11. Happy-Go-Lucky


12. Home


13. I've Loved You So Long


14. I.O.U.S.A.


15. In Bruges


16. Iron Man


17. John Adams (3-Disc Series)


18. Let the Right One In


19. Mamma Mia!


20. Milk


21. Rent: Filmed Live on Broadway


22. Revolutionary Road


23. Role Models


24. Slumdog Millionaire


25. Smart People


26. Step Brothers


27. W.


28. The Wackness


29. WALL-E


30. The Wrestler

Looking down on who we are

Whenever we see a good film – we are often pulled out of intense action with a visual God’s eye view- a long aerial shot that seems to put the intensity of the characters’ dilemmas into a wider perspective. Hitchcock in particular loved this technique. In the days of the silents of Eisenstein we would often have these wonderful visual montages later scored to beautiful music. The art of film seems purer when we see simple images and music. Great documentaries like Koyaanisqatsi. (And other films of Godfrey Reggio) take aerial and time lapse photography with music to a height when they are able to equate the activities of man to the production of hot dogs via simple visuals and editing.

Now to celebrate Earth Day we have “Home” a film released on DVD, in theaters and on the internet simultaneously this past earth day to provide a simple story. Master aerial photography by director Yann Arthus-Bertrand provides stunning visuals of earth as Glenn Close tells the story of our world which soon becomes a cautionary tale of exploitation and abuse.

I love to see things told in pure visuals and the great footage shot and scored tells the tale of our abuse of the earth in a far more impactful way then all the graphs of “An Inconvenient Truth” The God’s eye view makes this story stronger and more foreboding. A brilliant blend of science and art make for a great film for the mind and eye. The warnings hypnotic films like these continue to sound need to be addressed or our future is bleak.