E:
Borat was such a huge breakout hit, Sasha Baron Cohen tries to strike gold twice here with the 2nd of 3 characters from his Da Ali G show. But it doesn't work so well here. A lot of people think it didn't work mainly because we already saw the schtick in Borat. Yeah, we did, but we could watch more of it if it weren't so mean-spirited this time around.
The biggest difference between the two films is this;
the humor in Borat was in finding how far people can be pushed, how much are they willing to accept from a foreigner when faced with cultural differences.
The attempt at humor in Bruno was in trying to push homosexuality in people's faces and seeing how much can they accept or how revolted they become. Baron Cohen simply turns up the gay until each person is uncomfortable whether they like it or not.
I'm no homophobe, but if a naked man crawled into my tent, I'd be pretty upset too.
The most humorous parts of the film center not on making people uncomfortable with homosexuality, but in pushing the boundaries of sensibility in other ways - the baby auditions for example. The lengths to which those parents are willing to go is funny, and Bruno didn't have to get naked to make it so.
Although, the focus group was pretty funny...
Monday, December 28, 2009
Friday, December 18, 2009
Year One
E:
For whatever reason, we added this to our Netflix queue. It was duuuumb. Jack Black and Michael Cera play a couple guys from caveman days apparently. They get kicked out of their tribe, then run into Cain and Abel, and whatever...
I don't think there was a single genuine laugh in the moobie.
I can't believe frickin Harold Ramis directed this. I mean... Caddyshack! Vacation! Groundhog Day! The guy wrote Animal House! Meatballs! He wrote frickin Ghostbusters!
And watching the special features, you'd think he had another classic on his hands.
Oh Harold...
For whatever reason, we added this to our Netflix queue. It was duuuumb. Jack Black and Michael Cera play a couple guys from caveman days apparently. They get kicked out of their tribe, then run into Cain and Abel, and whatever...
I don't think there was a single genuine laugh in the moobie.
I can't believe frickin Harold Ramis directed this. I mean... Caddyshack! Vacation! Groundhog Day! The guy wrote Animal House! Meatballs! He wrote frickin Ghostbusters!
And watching the special features, you'd think he had another classic on his hands.
Oh Harold...
Sunday, December 13, 2009
Leave Her To Heaven
E:
A little back story as to how we ended up with this in our Netflix queue:
I've always been a big fan of the film noir genre (as I've mentioned before). This past summer, G & I watched Laura, a bona-fide film noir classic (great, great film - see my June 8 rebiew). After the film, we watched a documentary about the life of star Gene Tierney. Amongst the craziness of her CRAZY life, they mentioned this film Leave Her To Heaven. It got her an Oscar nomination (always ear catching), so we added it.
And good thing we did.
Another juicy old film in that classic Douglas Sirk melodrama mold. Directed by John Stahl, who also directed the original Magnificent Obsession in the 30's (not the Rock Hudson version), and Imitation of Life (G owns that one!), it's about two people who meet on a train and fall in love. Turns out she's not what he thinks she is, not in the least.
And that's all you're getting out of me as far as the plot.
Gene puts on a great show - turning from one person into another on a dime. Everyone else just has to stand back and watch her.
Definitely a fun one to watch.
A little back story as to how we ended up with this in our Netflix queue:
I've always been a big fan of the film noir genre (as I've mentioned before). This past summer, G & I watched Laura, a bona-fide film noir classic (great, great film - see my June 8 rebiew). After the film, we watched a documentary about the life of star Gene Tierney. Amongst the craziness of her CRAZY life, they mentioned this film Leave Her To Heaven. It got her an Oscar nomination (always ear catching), so we added it.
And good thing we did.
Another juicy old film in that classic Douglas Sirk melodrama mold. Directed by John Stahl, who also directed the original Magnificent Obsession in the 30's (not the Rock Hudson version), and Imitation of Life (G owns that one!), it's about two people who meet on a train and fall in love. Turns out she's not what he thinks she is, not in the least.
And that's all you're getting out of me as far as the plot.
Gene puts on a great show - turning from one person into another on a dime. Everyone else just has to stand back and watch her.
Definitely a fun one to watch.
Saturday, November 28, 2009
The Taking of Pelham 123
E:
I like Travolta, I like Denzel. I like New York, I like the subway. The MTA let Tony Scott actually shoot down in the subways. It made for a grittier, more realistic look that's for sure. The moobie had a lot of potential. The set-up was good, the chemistry between the two main characters was palatable. Travolta gave it his all - doing his best to be a badass, but he's too jovial to pull it off completely. Denzel did his best to be an average guy, but he's too cool to pull that off completely too. And the end, after all of Tony Scott's crazy camera work and editing...eh, the end just didn't live up to the story's crescendo of action Tony led us though for an hour and a half.
I like Travolta, I like Denzel. I like New York, I like the subway. The MTA let Tony Scott actually shoot down in the subways. It made for a grittier, more realistic look that's for sure. The moobie had a lot of potential. The set-up was good, the chemistry between the two main characters was palatable. Travolta gave it his all - doing his best to be a badass, but he's too jovial to pull it off completely. Denzel did his best to be an average guy, but he's too cool to pull that off completely too. And the end, after all of Tony Scott's crazy camera work and editing...eh, the end just didn't live up to the story's crescendo of action Tony led us though for an hour and a half.
Sunday, November 22, 2009
The 39 Steps
E:
I'm a big Hitchcock fan. And in the spirit of full disclosure, G and I saw the Broadway play based on this Hitch moobie. We loved it so much we had to Netflix the DBD.
Hitchcock's filmography can be broken down into three broad phases: English silent moobies, English sound moobies and his Hollywood era. The Hollywood era being the longest and containing his most famous films. The 39 Steps was one of his English sound films.
Made in 1935, it's the story of an ordinary man thrown into extraordinary circumstances. At a vaudeville show, he crosses paths with a spy. She asks for his help, he finds her dead in the morning. Now on the run, he has to save himself and stop group of spies from stealing top-secret information.
It's a lot of fun. Especially after seeing the play. I recommend both.
I'm a big Hitchcock fan. And in the spirit of full disclosure, G and I saw the Broadway play based on this Hitch moobie. We loved it so much we had to Netflix the DBD.
Hitchcock's filmography can be broken down into three broad phases: English silent moobies, English sound moobies and his Hollywood era. The Hollywood era being the longest and containing his most famous films. The 39 Steps was one of his English sound films.
Made in 1935, it's the story of an ordinary man thrown into extraordinary circumstances. At a vaudeville show, he crosses paths with a spy. She asks for his help, he finds her dead in the morning. Now on the run, he has to save himself and stop group of spies from stealing top-secret information.
It's a lot of fun. Especially after seeing the play. I recommend both.
Tuesday, November 10, 2009
The Namesake
E:
I had thought Mira Nair's film would be focused more specifically about a man's identity crisis. But it's about his entire story from beginning to modern day. How his parents met, how he was first born, how he grew up and THEN about his identity crisis.
No real new territory here. It's about Indian roots, we've seen moobies about Indian culture. I think the only cinematic revelation is the fact that Indian women can be selfish bitches too.
It was alright.
I had thought Mira Nair's film would be focused more specifically about a man's identity crisis. But it's about his entire story from beginning to modern day. How his parents met, how he was first born, how he grew up and THEN about his identity crisis.
No real new territory here. It's about Indian roots, we've seen moobies about Indian culture. I think the only cinematic revelation is the fact that Indian women can be selfish bitches too.
It was alright.
Thursday, October 29, 2009
The Misfits
E:
Marilyn's last film she completed. Clark Gable's last film too. Marilyn was such a wreck on set - late, forgetting her lines, unstable behavior (her marriage to Arthur Miller was coming to its end) - Gable hated working with her. He's quoted as saying, "I'm glad this picture's finished. She damn near gave me a heart attack." Gable died 10 days after filming wrapped.
The moobie centers around a group of people who have very little in common but end up together as a group of friends. Marilyn's Roslyn falls for Gable as a cowboy named Gay (short for Gaylord, no less - interesting how the English language evolves). Together with an older landlady Isabelle and mechanic Guido they meet up with another cowboy Perce. To make some money, the men go out "Mustanging," wrangling horses to sell for slaughter.
The first half of the moobie was actually pretty boring. It seemingly lacked focus and pacing. But the second half is absolutely compelling. Unfortunately, without the first half, the second half would make no sense. If the beginning were better, this one would be a classic.
Marilyn's last film she completed. Clark Gable's last film too. Marilyn was such a wreck on set - late, forgetting her lines, unstable behavior (her marriage to Arthur Miller was coming to its end) - Gable hated working with her. He's quoted as saying, "I'm glad this picture's finished. She damn near gave me a heart attack." Gable died 10 days after filming wrapped.
The moobie centers around a group of people who have very little in common but end up together as a group of friends. Marilyn's Roslyn falls for Gable as a cowboy named Gay (short for Gaylord, no less - interesting how the English language evolves). Together with an older landlady Isabelle and mechanic Guido they meet up with another cowboy Perce. To make some money, the men go out "Mustanging," wrangling horses to sell for slaughter.
The first half of the moobie was actually pretty boring. It seemingly lacked focus and pacing. But the second half is absolutely compelling. Unfortunately, without the first half, the second half would make no sense. If the beginning were better, this one would be a classic.
Saturday, October 17, 2009
He's Just Not That Into You
E:
An ensemble moobie headed by Ginnifer Goodwin of Ed and Big Love fame, it's supposed to be about connections and missed connections in modern dating. But so many of the characters are either nondescript, unsympathetic or downright unlikeable. There's a fair amount of promise in the set-up, but too many characters with nebulous trajectories muddy the overall picture and too many cliches make the others too easy to read.
And, of course in this moobie world they're all interconnected. In a city of more than 600,000 people (it takes place in Baltimore) does anyone expect these few to really be connected by the dots?
An ensemble moobie headed by Ginnifer Goodwin of Ed and Big Love fame, it's supposed to be about connections and missed connections in modern dating. But so many of the characters are either nondescript, unsympathetic or downright unlikeable. There's a fair amount of promise in the set-up, but too many characters with nebulous trajectories muddy the overall picture and too many cliches make the others too easy to read.
And, of course in this moobie world they're all interconnected. In a city of more than 600,000 people (it takes place in Baltimore) does anyone expect these few to really be connected by the dots?
Saturday, October 10, 2009
Gentlemen Prefer Blondes
E:
After swimming in Hollywood in more than 10 small and uncredited roles, 1953 was Marilyn's breakout year. Niagara and this moobie. Still unsure of this contract player, the studio gave her second billing below Jane Russell. But she didn't care. When told she was not the star of the film she replied, "Well whatever I am, I'm still the blonde."
It's a cute film. The girls have great chemistry and apparently got along very well behind the scenes too. Jane Russell is awesome with Howard Hawks' trademark dialogue. Marilyn does alright with it too, but it's her vixen schtick that steals this show as she lays down her patented litmus test of female sexuality for decades to follow.
The "Diamonds Are A Girl's Best Friend" showpiece number is pretty amazing. S&M bondage girls tied up in the chandeliers, Marilyn shaking her moneymaker -"Tiffany's! Cartier!" It's priceless.
And Jane Russell getting knocked into the pool is a fun gaffe. We rewound it a few times to watch it in slow motion.
:p
After swimming in Hollywood in more than 10 small and uncredited roles, 1953 was Marilyn's breakout year. Niagara and this moobie. Still unsure of this contract player, the studio gave her second billing below Jane Russell. But she didn't care. When told she was not the star of the film she replied, "Well whatever I am, I'm still the blonde."
It's a cute film. The girls have great chemistry and apparently got along very well behind the scenes too. Jane Russell is awesome with Howard Hawks' trademark dialogue. Marilyn does alright with it too, but it's her vixen schtick that steals this show as she lays down her patented litmus test of female sexuality for decades to follow.
The "Diamonds Are A Girl's Best Friend" showpiece number is pretty amazing. S&M bondage girls tied up in the chandeliers, Marilyn shaking her moneymaker -"Tiffany's! Cartier!" It's priceless.
And Jane Russell getting knocked into the pool is a fun gaffe. We rewound it a few times to watch it in slow motion.
:p
Sunday, September 27, 2009
The Class
E:
Some of my favorite moobies were Palme d'Or Winners at the Cannes Film Festival: Black Orpheus, The Conversation, Blow-Up, Taxi Driver, Apocalypse Now, The Piano, Pulp Fiction, Dancer in the Dark, Elephant. But in the past few years, the jury hasn't picked so well. Is it the lack of films to choose from? Is it merely a reflection of the ebb and flow of films out there? Every decade has an amazing selection of winners - Black Orpheus won in 1959, even the 80s had The Mission and Wild at Heart. And the 00s started with the brutal Dancer in the Dark.
But The Child - it was ah-ight. 4 Months, 3 Weeks & 2 Days - it was ah-ight. And The Class - it was ah-ight.
It's about a teacher putting up with the adolescent madness of a room full of punk-ass kids. If you want to endure that for a couple hours - watch this film.
Some of my favorite moobies were Palme d'Or Winners at the Cannes Film Festival: Black Orpheus, The Conversation, Blow-Up, Taxi Driver, Apocalypse Now, The Piano, Pulp Fiction, Dancer in the Dark, Elephant. But in the past few years, the jury hasn't picked so well. Is it the lack of films to choose from? Is it merely a reflection of the ebb and flow of films out there? Every decade has an amazing selection of winners - Black Orpheus won in 1959, even the 80s had The Mission and Wild at Heart. And the 00s started with the brutal Dancer in the Dark.
But The Child - it was ah-ight. 4 Months, 3 Weeks & 2 Days - it was ah-ight. And The Class - it was ah-ight.
It's about a teacher putting up with the adolescent madness of a room full of punk-ass kids. If you want to endure that for a couple hours - watch this film.
Wednesday, September 16, 2009
Some Like It Hot
E:
OK. Here's the deal. When it comes down to it, classics tend to be classics because they're really good. Some Like It Hot is really, REALLY good! Marilyn Monroe's second film with one of my all-time favorite directors Billy Wilder (after The Seven Year Itch four years earlier), she really gets to stretch her comedic chops in a film that's filled to the brim with slapstick comedy, great one liners and awesome performances by Tony Curtis and Jack Lemmon. Lemmon was nominated for an academy award for this - that''s how good he was. An Oscar nom for a comedy!
The film follows two down-on-their-luck musicians during the depression. After escaping from a mob boss, they pose as women to join an all women's band on the way to perform in Florida. As a side note, much of the Florida resort scenes were shot at the Hotel del Coronado in San Diego where I grew up. I saw frames pictures of behind-the-scenes lining the halls years before I ever saw the moobie.
Among the women in the band, they meet the voluptuous singer/ukulele player Kandy Kane (Kowalczyk) played by Monroe to a tee. Curtis' Joe disguised as Josephine takes on yet another disguise to woo Kandy Kane under false pretenses. And Lemmon's Jerry disguised as Daphne takes one for the team and ends up spending some one-on-one time with an old timer to give Joe/Josephine/Junior the opportunity to get Kandy.
Madcap, screwball, slapstick at it's best - this moobie deserves to be on everyone's list.
OK. Here's the deal. When it comes down to it, classics tend to be classics because they're really good. Some Like It Hot is really, REALLY good! Marilyn Monroe's second film with one of my all-time favorite directors Billy Wilder (after The Seven Year Itch four years earlier), she really gets to stretch her comedic chops in a film that's filled to the brim with slapstick comedy, great one liners and awesome performances by Tony Curtis and Jack Lemmon. Lemmon was nominated for an academy award for this - that''s how good he was. An Oscar nom for a comedy!
The film follows two down-on-their-luck musicians during the depression. After escaping from a mob boss, they pose as women to join an all women's band on the way to perform in Florida. As a side note, much of the Florida resort scenes were shot at the Hotel del Coronado in San Diego where I grew up. I saw frames pictures of behind-the-scenes lining the halls years before I ever saw the moobie.
Among the women in the band, they meet the voluptuous singer/ukulele player Kandy Kane (Kowalczyk) played by Monroe to a tee. Curtis' Joe disguised as Josephine takes on yet another disguise to woo Kandy Kane under false pretenses. And Lemmon's Jerry disguised as Daphne takes one for the team and ends up spending some one-on-one time with an old timer to give Joe/Josephine/Junior the opportunity to get Kandy.
Madcap, screwball, slapstick at it's best - this moobie deserves to be on everyone's list.
Tuesday, September 8, 2009
Sympathy For Mr. Vengeance
E:
After making the highly successful Joint Security Area, Chan-wook Park gained some financial and creative freedom. Sympathy For Mr. Vengeance is the result. The first of his so-called Revenge Trilogy (Oldboy being the best of the three), it's about two men who need to take revenge - on each other.
The first act is hard to follow, perhaps because I don't speak Korean. Some time jumping. Some events hard to attach to which characters. But if you stick with it, this hard-hitting moobie pays off in spades.
I can't really give away too much, except that the young man with the green hair is deaf and he has a sister and a girlfriend. At first I thought it was only one girl. Maybe this one bit of information will help you get through the first act a little easier.
Regardless...watch it! Watch the whole trilogy! (saving Oldboy as the finale)
After making the highly successful Joint Security Area, Chan-wook Park gained some financial and creative freedom. Sympathy For Mr. Vengeance is the result. The first of his so-called Revenge Trilogy (Oldboy being the best of the three), it's about two men who need to take revenge - on each other.
The first act is hard to follow, perhaps because I don't speak Korean. Some time jumping. Some events hard to attach to which characters. But if you stick with it, this hard-hitting moobie pays off in spades.
I can't really give away too much, except that the young man with the green hair is deaf and he has a sister and a girlfriend. At first I thought it was only one girl. Maybe this one bit of information will help you get through the first act a little easier.
Regardless...watch it! Watch the whole trilogy! (saving Oldboy as the finale)
Tuesday, September 1, 2009
I Love You, Man
E:
That crew of people all making comedies together need some new blood. That's not to say I didn't like this film. Paul Rudd plays the main character Peter who, upon engagement realizes he has no one to stand up as his best man...so he goes out looking for one. He finds the rascally ne'er do well Sydney Fife and hilarity ensues. Sydney helps Peter find the inner guy and fiance Zooey (the gorgeous Rashida Jones, Harvard graduated daughter of Quincy Jones & Peggy Lipton) learns to share him.
Like, I said - it was enjoyable, mild-mannered comedy. Nothing laugh-out-loud gut busting...even with Lou Ferigno in the moobie. We all know, when Lou's in the mix they're gunning for laughs.
As much as I like the entire crew I just wonder whether ALL the comedies have to include Rudd, or Segal or Rogen or Hill?
The Hangover - for which I DID gut-bust - proves that the answer is no.
That crew of people all making comedies together need some new blood. That's not to say I didn't like this film. Paul Rudd plays the main character Peter who, upon engagement realizes he has no one to stand up as his best man...so he goes out looking for one. He finds the rascally ne'er do well Sydney Fife and hilarity ensues. Sydney helps Peter find the inner guy and fiance Zooey (the gorgeous Rashida Jones, Harvard graduated daughter of Quincy Jones & Peggy Lipton) learns to share him.
Like, I said - it was enjoyable, mild-mannered comedy. Nothing laugh-out-loud gut busting...even with Lou Ferigno in the moobie. We all know, when Lou's in the mix they're gunning for laughs.
As much as I like the entire crew I just wonder whether ALL the comedies have to include Rudd, or Segal or Rogen or Hill?
The Hangover - for which I DID gut-bust - proves that the answer is no.
Monday, August 24, 2009
Shadow Of A Doubt
E:
A wartime film noir, Hitchcock's favorite of his own moobies, Joseph Cotten...what could go wrong?
Sigh. I wasn't that into it.
I'm a huge fan of film noir. I've always loved the chiarascuro lighting, the suits, the hard-boiled attitudes, the femme fatale. This film turns all that on its head and sets the drama in the suburbs. A dangerous man on the run - he runs to his family. They don't know what he's really about - but his favorite niece is starting to get the clue.
Supposedly Hitch loved this one because he liked the idea that there's no place to hide, not even in the mild-mannered suburbs. Surprisingly this moobie doesn't stand the test of time as well as so many of his others. I know that a lot of the cinematic story tricks we today find cliche were once innovative, and I know that Hitch was one of the best innovators around. But the tricks in Shadow Of A Doubt have been used so often since 1943, they're impossible to overlook.
If you're going to choose a Hitchcock film, there are plenty of others to choose from. It's important to know his stuff, but this one is no longer one of his best.
A wartime film noir, Hitchcock's favorite of his own moobies, Joseph Cotten...what could go wrong?
Sigh. I wasn't that into it.
I'm a huge fan of film noir. I've always loved the chiarascuro lighting, the suits, the hard-boiled attitudes, the femme fatale. This film turns all that on its head and sets the drama in the suburbs. A dangerous man on the run - he runs to his family. They don't know what he's really about - but his favorite niece is starting to get the clue.
Supposedly Hitch loved this one because he liked the idea that there's no place to hide, not even in the mild-mannered suburbs. Surprisingly this moobie doesn't stand the test of time as well as so many of his others. I know that a lot of the cinematic story tricks we today find cliche were once innovative, and I know that Hitch was one of the best innovators around. But the tricks in Shadow Of A Doubt have been used so often since 1943, they're impossible to overlook.
If you're going to choose a Hitchcock film, there are plenty of others to choose from. It's important to know his stuff, but this one is no longer one of his best.
Sunday, August 9, 2009
New In Town
E:
I can't believe I let G talk me into watching this...
cliche city/country conflict, predictable storyline, Harry Connick, Jr. can't act, Renee Zellweger's character was too much of a bitch to care whether or not she accomplishes anything...
They spent how much money making and marketing this thing?
And...why?
I can't believe I let G talk me into watching this...
cliche city/country conflict, predictable storyline, Harry Connick, Jr. can't act, Renee Zellweger's character was too much of a bitch to care whether or not she accomplishes anything...
They spent how much money making and marketing this thing?
And...why?
Saturday, August 1, 2009
In The Heat Of The Night
E:
The Oscar race 1967. The turn of the tide. Moobies were different before then; they weren't the same after. 5 moobies from 5 different corners of the cinematic world. A collection that signaled the end of an era.
Arthur Penn's Bonnie And Clyde was so fresh, so hard hitting, so...cool! The Graduate - satirizing the bourgeoisie. Doctor Dolittle - a tepid studio musical, the lone holdover. Guess Who's Coming To Dinner - a soft approach to America's bubbling racial turmoil (also starring Sidney by the way). And In The Heat Of The Night - a much harder take.
A man is found murdered in a small Mississippi town. The white sheriff and his deputies arrest a black man only because he's unfamiliar and he's at the train station. They figure he's looking to escape. Turns out he's a big city detective and he's much better equipped to handle the murder case than the rest of them combined. Of course none of these white men want to admit that a black man could be better than any of them, but the sheriff has to swallow his pride and begrudgingly acccept his help.
It's a great moobie.
First of all, Sidney Poitier was amazing. He should have been nominated for his work and the fact that he wasn't speaks to the fact that although the academy was ready to address the issue of racial tension, it wasn't ready to embrace it. Sidney portrayed Mister Tibbs with such subtlety and fire and cool all at the same time, and Rod Steiger's Sheriff Gillespie was the perfect counterpoint. Conflicted and proud, he finally comes to respect Tibbs as they work together to solve the murder.
The Academy Award Ceremony was postponed that year due to Martin Luther King, Jr.'s assassination.
G:
I finally saw the scene where he says "They call me MR. TIBBS" whooo hoo! nice. Oh, and when he slapped the rich white man, guuuuuuurl. This one is worth watching.
The Oscar race 1967. The turn of the tide. Moobies were different before then; they weren't the same after. 5 moobies from 5 different corners of the cinematic world. A collection that signaled the end of an era.
Arthur Penn's Bonnie And Clyde was so fresh, so hard hitting, so...cool! The Graduate - satirizing the bourgeoisie. Doctor Dolittle - a tepid studio musical, the lone holdover. Guess Who's Coming To Dinner - a soft approach to America's bubbling racial turmoil (also starring Sidney by the way). And In The Heat Of The Night - a much harder take.
A man is found murdered in a small Mississippi town. The white sheriff and his deputies arrest a black man only because he's unfamiliar and he's at the train station. They figure he's looking to escape. Turns out he's a big city detective and he's much better equipped to handle the murder case than the rest of them combined. Of course none of these white men want to admit that a black man could be better than any of them, but the sheriff has to swallow his pride and begrudgingly acccept his help.
It's a great moobie.
First of all, Sidney Poitier was amazing. He should have been nominated for his work and the fact that he wasn't speaks to the fact that although the academy was ready to address the issue of racial tension, it wasn't ready to embrace it. Sidney portrayed Mister Tibbs with such subtlety and fire and cool all at the same time, and Rod Steiger's Sheriff Gillespie was the perfect counterpoint. Conflicted and proud, he finally comes to respect Tibbs as they work together to solve the murder.
The Academy Award Ceremony was postponed that year due to Martin Luther King, Jr.'s assassination.
G:
I finally saw the scene where he says "They call me MR. TIBBS" whooo hoo! nice. Oh, and when he slapped the rich white man, guuuuuuurl. This one is worth watching.
Monday, July 20, 2009
I've Loved You So Long
E:
Kristin Scott Thomas, she of the big doe eyes and high cheeks bones. Screen debuted in a Prince vehicle of all things. Hit her stride with the weddings and the funerals moobie, and rode the zeitgeist of The English Patient (whether you like it or not). She's still around, just not around our neighborhood.
Since Gosford Park, she's mainly stayed at home and made French films. This latest, after the phenomenal Tell No One, validates Kristin as an acting presence to be reckoned with.
She plays a woman re-entering a public life after 15 years in prison. Her sister holding her hand as she takes her first steps, as they rekindle their relationship, learning about each other, learning about their pasts.
She had become a closed book after all those years alone in prison, now she has the chance to slowly unfold. The people she meets on her journey back into society are as varied as her reactions are not. But she learns to let them in as they learn about her time locked up and the reasons behind it.
The moobie crescendos to an emotional breakthrough with her sister. And the hope that our beloved Kristin will have a life filled with the promise of her second chance.
Kristin Scott Thomas, she of the big doe eyes and high cheeks bones. Screen debuted in a Prince vehicle of all things. Hit her stride with the weddings and the funerals moobie, and rode the zeitgeist of The English Patient (whether you like it or not). She's still around, just not around our neighborhood.
Since Gosford Park, she's mainly stayed at home and made French films. This latest, after the phenomenal Tell No One, validates Kristin as an acting presence to be reckoned with.
She plays a woman re-entering a public life after 15 years in prison. Her sister holding her hand as she takes her first steps, as they rekindle their relationship, learning about each other, learning about their pasts.
She had become a closed book after all those years alone in prison, now she has the chance to slowly unfold. The people she meets on her journey back into society are as varied as her reactions are not. But she learns to let them in as they learn about her time locked up and the reasons behind it.
The moobie crescendos to an emotional breakthrough with her sister. And the hope that our beloved Kristin will have a life filled with the promise of her second chance.
Sunday, July 12, 2009
His Girl Friday
E:
I know this is supposed to be a classic, and G actually enjoyed it, but I just couldn't get into it. There was just so, much, TALKING! Non-stop, wall-to-wall talking. Instead of anything actually happening, they just talked about it. It was exhausting. It was directed by Howard Hawks who was famous for his snappy dialogue. And I've even seen (and enjoyed, mind you) several other Howard Hawks films - To Have And Have Not, The Big Sleep, and Bringing Up Baby just to name a few. But this was too much.
I know other women who like the film. At the core of the story (and it took me viewing it a second time when G watched it to get this), it's about a woman who ends up realizing her true destiny as a newspaper reporter rather than succumbing to the average 1940's woman's ideal existence as a housewife and mother. So I can see how the theme is appealing. And women love to talk so maybe it's easier for them to watch, so if you're a woman check it out. If you're a man, just skip it.
I know this is supposed to be a classic, and G actually enjoyed it, but I just couldn't get into it. There was just so, much, TALKING! Non-stop, wall-to-wall talking. Instead of anything actually happening, they just talked about it. It was exhausting. It was directed by Howard Hawks who was famous for his snappy dialogue. And I've even seen (and enjoyed, mind you) several other Howard Hawks films - To Have And Have Not, The Big Sleep, and Bringing Up Baby just to name a few. But this was too much.
I know other women who like the film. At the core of the story (and it took me viewing it a second time when G watched it to get this), it's about a woman who ends up realizing her true destiny as a newspaper reporter rather than succumbing to the average 1940's woman's ideal existence as a housewife and mother. So I can see how the theme is appealing. And women love to talk so maybe it's easier for them to watch, so if you're a woman check it out. If you're a man, just skip it.
Monday, July 6, 2009
Let The Right One In
E:
Man, what a crazy picture. It's about a kid who gets bullied at school. He keeps to himself at home (his mother doesn't pay him much mind). He meets another kid in the building where he lives. Turns out, she's a vampire.
The title refers to an age-old superstition that a vampire must be asked before he (or she as the case may be) can enter, and it's a telling moment when she asks the question and he finally relinquishes a deliberate answer.
In it's own way it's a new sort of romance. It's touching. These two form their own relationship on their own terms. Sure, the terms take place in darkness and take the lives of others, but each has found someone that fills the voids in their little hearts.
In the end, I didn't know whether to be happy or sad at their fates. But it felt like theirs was unavoidable.
this is definitely one to watch.
Man, what a crazy picture. It's about a kid who gets bullied at school. He keeps to himself at home (his mother doesn't pay him much mind). He meets another kid in the building where he lives. Turns out, she's a vampire.
The title refers to an age-old superstition that a vampire must be asked before he (or she as the case may be) can enter, and it's a telling moment when she asks the question and he finally relinquishes a deliberate answer.
In it's own way it's a new sort of romance. It's touching. These two form their own relationship on their own terms. Sure, the terms take place in darkness and take the lives of others, but each has found someone that fills the voids in their little hearts.
In the end, I didn't know whether to be happy or sad at their fates. But it felt like theirs was unavoidable.
this is definitely one to watch.
Monday, June 29, 2009
Dark Passage
E:
The last of the Bogey & Bacall onscreen pairings, Dark Passage is an interesting entry into the film noir canon. Bogey plays Vincent Parry, a man escaped from San Quentin to find the real person behind the crime for which he was committed - murder. Bacall plays a woman who helps him along the way.
The first third of the film is shot in first person point of view. A novel new method in the 40s. Now it looks like a gimmick. Once the camera shifts to a narrative function, the film gets better. Overall it isn't Bogey's best, but there are a few twists that surprised me, especially that window - whoa! But really...you can't go wrong with a Bogey moobie.
The last of the Bogey & Bacall onscreen pairings, Dark Passage is an interesting entry into the film noir canon. Bogey plays Vincent Parry, a man escaped from San Quentin to find the real person behind the crime for which he was committed - murder. Bacall plays a woman who helps him along the way.
The first third of the film is shot in first person point of view. A novel new method in the 40s. Now it looks like a gimmick. Once the camera shifts to a narrative function, the film gets better. Overall it isn't Bogey's best, but there are a few twists that surprised me, especially that window - whoa! But really...you can't go wrong with a Bogey moobie.
Thursday, June 25, 2009
The Way Home
E:
G had seen this years ago and wanted me to check it out, so I netflixed it. It's about a young boy from the city forced to spend some time with his grandma out in the country. He brings his gameboy and robot toys - she lives out on a farm in the middle of nowhere with no running water and no electricity.
First of all, this kid is a major brat. Unforgivably ungrateful, self-centered and full of false pride. If G hadn't been the one to suggest I watch this, I would have turned it off half-way through. Second, the grandmother is far too passive, letting the boy talk smack to her, steal her few possessions, and allowing him to continue his ungrateful ways.
In the end, he does learn some gratitude and love but I don't feel like there was enough redemption to make the moobie worthwhile.
G had seen this years ago and wanted me to check it out, so I netflixed it. It's about a young boy from the city forced to spend some time with his grandma out in the country. He brings his gameboy and robot toys - she lives out on a farm in the middle of nowhere with no running water and no electricity.
First of all, this kid is a major brat. Unforgivably ungrateful, self-centered and full of false pride. If G hadn't been the one to suggest I watch this, I would have turned it off half-way through. Second, the grandmother is far too passive, letting the boy talk smack to her, steal her few possessions, and allowing him to continue his ungrateful ways.
In the end, he does learn some gratitude and love but I don't feel like there was enough redemption to make the moobie worthwhile.
Monday, June 8, 2009
Laura
E:
Starring Gene Tierney, this Oscar winning (for best cinematography) film noir classic is credited to Otto Preminger. Apparently somebody named Rouben Mamoulien started the picture, but some behind the scenes shenanigans nipped him in the bud. And watching the special features about Gene's life...man! She led a tragic existence.
The film starts with police detective Mark McPherson investigating Laura's murder. Through flashbacks we get to know her, and through the memory lenses of her various beaus we see that she was very deeply loved.
The more McPherson learns about her, the more he too becomes enamored with her.
Then she turns up.
It's a good twist for this moobie.
Together, McPherson and Laura piece together who was actually murdered and who committed the crime.
I've been on a film noir kick lately (it rears its head periodically for me) and this one didn't disappoint. The femme fatale, the chiarascurro lighting, the cop, the fedoras, the dialogue...it takes me back to a time to which I have no real experience - I wasn't born until the '70s. But the distinct lines of masculinity and femininity are very appealing. The conviction with which these characters conduct themsleves is such a far cry from the ambiguity of the '00s.
Murder is a line that shouldn't be crossed but sometimes someone oversteps that boundary in the name of love. The reasons behind crimes of passion always run deeper, and sorting out the intriguing mess can be absolutely riveting.
Starring Gene Tierney, this Oscar winning (for best cinematography) film noir classic is credited to Otto Preminger. Apparently somebody named Rouben Mamoulien started the picture, but some behind the scenes shenanigans nipped him in the bud. And watching the special features about Gene's life...man! She led a tragic existence.
The film starts with police detective Mark McPherson investigating Laura's murder. Through flashbacks we get to know her, and through the memory lenses of her various beaus we see that she was very deeply loved.
The more McPherson learns about her, the more he too becomes enamored with her.
Then she turns up.
It's a good twist for this moobie.
Together, McPherson and Laura piece together who was actually murdered and who committed the crime.
I've been on a film noir kick lately (it rears its head periodically for me) and this one didn't disappoint. The femme fatale, the chiarascurro lighting, the cop, the fedoras, the dialogue...it takes me back to a time to which I have no real experience - I wasn't born until the '70s. But the distinct lines of masculinity and femininity are very appealing. The conviction with which these characters conduct themsleves is such a far cry from the ambiguity of the '00s.
Murder is a line that shouldn't be crossed but sometimes someone oversteps that boundary in the name of love. The reasons behind crimes of passion always run deeper, and sorting out the intriguing mess can be absolutely riveting.
Monday, June 1, 2009
This Gun For Hire
E:
A film noir classic. We Netflixed this one to watch more Veronica Lake and she delivers. This picture has two main plots that intersect. Alan Ladd plays Raven, a hitman. After being double-crossed by the man who hired him - he hunts him and his boss down. Meanwhile, Lake plays Ellen, a girl hired by the double-crosser to entertain the boss. Ellen and Raven meet on a train. He takes her hostage to aid in his escape from the police (one of which happens to be Ellen's boyfriend).
I love the hard-boiled attitude. Alan Ladd plays it straight and cool the entire time. And Veronica Lake is no slacker. She plays it just cool.
I think the big boss rolled over too quickly near the end, but all in all it makes for a great popcorn picture.
A film noir classic. We Netflixed this one to watch more Veronica Lake and she delivers. This picture has two main plots that intersect. Alan Ladd plays Raven, a hitman. After being double-crossed by the man who hired him - he hunts him and his boss down. Meanwhile, Lake plays Ellen, a girl hired by the double-crosser to entertain the boss. Ellen and Raven meet on a train. He takes her hostage to aid in his escape from the police (one of which happens to be Ellen's boyfriend).
I love the hard-boiled attitude. Alan Ladd plays it straight and cool the entire time. And Veronica Lake is no slacker. She plays it just cool.
I think the big boss rolled over too quickly near the end, but all in all it makes for a great popcorn picture.
Monday, May 18, 2009
Role Models
I'm not sure what to say about this moobie. It definitely had its funny moments. That kid Bobb'e was definitely the highlight - he's hilarious. But overall it's somewhat formulaic.
Monday, April 27, 2009
The Big Sleep
E:
This picture was Bogey and Bacall's second of five films together. I'm a big fan of the film-noir genre what with all the double entendre, all the plot-twisting and all the hard-boiled attitude and this is considered one of the all time classics.
It's about a private detective hired by a rich family to find a solution to a problem. Following the trail of the case, he crosses paths with murder, blackmail, some big players and some small ones, some sexiness, some craziness and some unexpected answers. It's tough to follow (G kept asking me 'who's that? what happened to so-and-so?'), but it's fun to try and that rat-a-tat-tat dialogue keeps you on your toes.
Filmed in 1944 it wasn't released until 1946 (if you add this one to your Netflix queue, which you should, be sure to watch the extras!) to parlay the success of Bacall's newfound fame. By that time - she and Bogey were married. He had his new young bride, he was at the height of his powers and fame and delivered yet another great performance for the ages.
Be sure to watch this moobie!
G:
I recommend you watch this in *one* sitting (not like me, in 4 separate sittings after 11pm); that is why I kept asking E so many questions...ok? The plot is a bit convoluted...but listen to the witty dialogue, current moobies don't have that anymore.
This picture was Bogey and Bacall's second of five films together. I'm a big fan of the film-noir genre what with all the double entendre, all the plot-twisting and all the hard-boiled attitude and this is considered one of the all time classics.
It's about a private detective hired by a rich family to find a solution to a problem. Following the trail of the case, he crosses paths with murder, blackmail, some big players and some small ones, some sexiness, some craziness and some unexpected answers. It's tough to follow (G kept asking me 'who's that? what happened to so-and-so?'), but it's fun to try and that rat-a-tat-tat dialogue keeps you on your toes.
Filmed in 1944 it wasn't released until 1946 (if you add this one to your Netflix queue, which you should, be sure to watch the extras!) to parlay the success of Bacall's newfound fame. By that time - she and Bogey were married. He had his new young bride, he was at the height of his powers and fame and delivered yet another great performance for the ages.
Be sure to watch this moobie!
G:
I recommend you watch this in *one* sitting (not like me, in 4 separate sittings after 11pm); that is why I kept asking E so many questions...ok? The plot is a bit convoluted...but listen to the witty dialogue, current moobies don't have that anymore.
Friday, April 17, 2009
Pineapple Express
Starring Seth Rogen and James Franco as a pothead and his dealer on the run after witnessing a murder, this Judd Apatow produced moobie got some good rebiews.
It had some funny moments and some funny lines and the characters were likeable enough. Rogen doing his usual schlubby everyman schtick. Alright. Rosie Perez miscast as a policewoman. eh. Gary Cole miscast as the bad guy (wasn't bad enough). I kept thinking he'd ask Rosie Perez to come in on Saturday. James Franco was good as the sensitive drug dealer, and Danny McBride steals his scenes as a drug middleman with 9 lives. Maybe the fact that I'm not a pot smoker made this moobie just alright. Although I think the fact that the moobie was just alright made me feel that way.
It had some funny moments and some funny lines and the characters were likeable enough. Rogen doing his usual schlubby everyman schtick. Alright. Rosie Perez miscast as a policewoman. eh. Gary Cole miscast as the bad guy (wasn't bad enough). I kept thinking he'd ask Rosie Perez to come in on Saturday. James Franco was good as the sensitive drug dealer, and Danny McBride steals his scenes as a drug middleman with 9 lives. Maybe the fact that I'm not a pot smoker made this moobie just alright. Although I think the fact that the moobie was just alright made me feel that way.
Friday, April 10, 2009
Tell No One
E:
I was interested in seeing this moobie when it was in the theaters but we never got around to it. It was during our mad dash to see Oscar contenders and even though Tell No One had some good buzz, unfortunately we weren't focused on it...too bad. I loved it!
It stars François Cluzet (looking very much like a French Dustin Hoffman) as Alexandre, a man who lost his wife several years ago only to receive a strange email seemingly from her 8 years later.
It's a whodunit murder mystery cast in the best Hitchcockian mold I've seen in years. A lot of unexpected twists and turns right up to the end. This moobie was so good I was tempted to watch the DBD over again when it finished!
Tell No One has a wonderful supporting cast as well, including Marie-Josée Croze (one of the gorgeous women of The Diving Bell and The Butterfly) as Margot his dead wife, Marina Hands (also in Diving Bell) as his lesbian sister and Kristin Scott Thomas her lover.
This one is highly recommended.
Highly.
Recommended.
G:
I really wanted to contribute to this rebiew...cuz it was really good! I was hooked from the beginning. Good stuff. Watch it.
I was interested in seeing this moobie when it was in the theaters but we never got around to it. It was during our mad dash to see Oscar contenders and even though Tell No One had some good buzz, unfortunately we weren't focused on it...too bad. I loved it!
It stars François Cluzet (looking very much like a French Dustin Hoffman) as Alexandre, a man who lost his wife several years ago only to receive a strange email seemingly from her 8 years later.
It's a whodunit murder mystery cast in the best Hitchcockian mold I've seen in years. A lot of unexpected twists and turns right up to the end. This moobie was so good I was tempted to watch the DBD over again when it finished!
Tell No One has a wonderful supporting cast as well, including Marie-Josée Croze (one of the gorgeous women of The Diving Bell and The Butterfly) as Margot his dead wife, Marina Hands (also in Diving Bell) as his lesbian sister and Kristin Scott Thomas her lover.
This one is highly recommended.
Highly.
Recommended.
G:
I really wanted to contribute to this rebiew...cuz it was really good! I was hooked from the beginning. Good stuff. Watch it.
Monday, April 6, 2009
Towelhead
E:
It's a coming of age story about a young middle eastern girl growing up in the white world of early 90's Texas at the onset of the first Iraq War.
With the body of a girl much older and horrible role models in both her co-dependent mother and her ill-prepared, self-absorbed father she ends up victim to her own confusion in the gray area between acceptance and her own burgeoning sexuality. Lacking any direction and supervision, she's out there on her own facing racism and sexual advances. Summer Bishil gives a great screen debut as the central character Jasira. Aaron Eckhart plays a morally disorganized red state neighbor and Toni Collette plays the one guiding light in Jasira's life.
It's not perfect by any means, but it's an interesting moobie. And hopefully we'll be seeing more of Summer Bishil in the future.
It's a coming of age story about a young middle eastern girl growing up in the white world of early 90's Texas at the onset of the first Iraq War.
With the body of a girl much older and horrible role models in both her co-dependent mother and her ill-prepared, self-absorbed father she ends up victim to her own confusion in the gray area between acceptance and her own burgeoning sexuality. Lacking any direction and supervision, she's out there on her own facing racism and sexual advances. Summer Bishil gives a great screen debut as the central character Jasira. Aaron Eckhart plays a morally disorganized red state neighbor and Toni Collette plays the one guiding light in Jasira's life.
It's not perfect by any means, but it's an interesting moobie. And hopefully we'll be seeing more of Summer Bishil in the future.
Thursday, April 2, 2009
Elegy
E:
I have mixed feelings about this moobie. For starters, even though it's portrayed as unusual, I still can't quite wrap my head around a young Penelope Cruz involved with an old Ben Kingsley.
Ben plays a professor given to anti-marriage rhetoric on talk shows, meeting regularly with fellow old man Dennis Hopper, intermittent trysts with a career woman who shows up when she pleases and a strained relationship with his son. Penelope plays a student who takes him up on his offer to go out once the semester is over. They end up in a relationship. He, once a master of his domain, finds himself anxious and insecure until - slowly but surely, it all implodes.
What does it all mean? This part I like...it reminds me of a 2nd century BC Greek philosopher I come back to time and time again - Epictetus. A Stoic, he asserts the following: we have control only over these things - our actions and our reactions to the actions done to us by others. That's it. And that, it turns out, is what this moobie is about.
I have mixed feelings about this moobie. For starters, even though it's portrayed as unusual, I still can't quite wrap my head around a young Penelope Cruz involved with an old Ben Kingsley.
Ben plays a professor given to anti-marriage rhetoric on talk shows, meeting regularly with fellow old man Dennis Hopper, intermittent trysts with a career woman who shows up when she pleases and a strained relationship with his son. Penelope plays a student who takes him up on his offer to go out once the semester is over. They end up in a relationship. He, once a master of his domain, finds himself anxious and insecure until - slowly but surely, it all implodes.
What does it all mean? This part I like...it reminds me of a 2nd century BC Greek philosopher I come back to time and time again - Epictetus. A Stoic, he asserts the following: we have control only over these things - our actions and our reactions to the actions done to us by others. That's it. And that, it turns out, is what this moobie is about.
Monday, March 23, 2009
What Ever Happened To Baby Jane?
E:
Bette Davis and Joan Crawford didn't get along. It's been well documented, it was legendary. I'm surprised they made a moobie together at all, but when they did they chose the perfect picture to showcase their dislike.
What Ever Happened to Baby Jane is about two elderly sisters. Bette plays Jane, a washed-up child vaudeville star. The other saw her star on the rise as her sister's was falling to become a star in her own right on the silver screen. Joan as the now paralyzed and wheelchair-bound Blanche gives a very understated performance in the face of the stellar Bette Davis' Oscar nominated turn. Bette's grotesque, gothic deterioration into madness is not one to be missed.
There aren't too many details one can provide about this moobie without giving away the fun. All I can say is, give it a try if you're in the mood for an old picture. It's campy old-school at its best.
Bette Davis and Joan Crawford didn't get along. It's been well documented, it was legendary. I'm surprised they made a moobie together at all, but when they did they chose the perfect picture to showcase their dislike.
What Ever Happened to Baby Jane is about two elderly sisters. Bette plays Jane, a washed-up child vaudeville star. The other saw her star on the rise as her sister's was falling to become a star in her own right on the silver screen. Joan as the now paralyzed and wheelchair-bound Blanche gives a very understated performance in the face of the stellar Bette Davis' Oscar nominated turn. Bette's grotesque, gothic deterioration into madness is not one to be missed.
There aren't too many details one can provide about this moobie without giving away the fun. All I can say is, give it a try if you're in the mood for an old picture. It's campy old-school at its best.
Sunday, March 15, 2009
Frozen River
E:
I had heard about this one during all of the Oscar buzz but I wasn't in any hurry to see it. Kind of a mistake. The moobie is definitely worth the time.
It's about a down on her luck woman who's man just took the money and ran. Forced to try alone to keep a roof over her and her children's heads she resorts to measures far outside her comfort zone. Melissa Leo does in fact turn in a bravura performance here and the supporting cast, namely her son and her smuggling cohort, turn in great performances. The cold is almost its own character in the film - it kind of reminded me of Fargo. And it offers no pat answers about right or wrong, about judgement or apathy; it simply presents the choices and where those choices lead.
I highly recommend it.
One thing I am curious about though, is why did Melissa get such high (albeit well deserved) accolades while Michelle Williams was virtually ignored for her equally riveting performance in Wendy and Lucy?
I had heard about this one during all of the Oscar buzz but I wasn't in any hurry to see it. Kind of a mistake. The moobie is definitely worth the time.
It's about a down on her luck woman who's man just took the money and ran. Forced to try alone to keep a roof over her and her children's heads she resorts to measures far outside her comfort zone. Melissa Leo does in fact turn in a bravura performance here and the supporting cast, namely her son and her smuggling cohort, turn in great performances. The cold is almost its own character in the film - it kind of reminded me of Fargo. And it offers no pat answers about right or wrong, about judgement or apathy; it simply presents the choices and where those choices lead.
I highly recommend it.
One thing I am curious about though, is why did Melissa get such high (albeit well deserved) accolades while Michelle Williams was virtually ignored for her equally riveting performance in Wendy and Lucy?
Tuesday, March 10, 2009
To Have And Have Not
E:
This 1944 Howard Hawks picture was the very first onscreen pairing of Humphrey Bogart and newcomer Lauren Bacall. While not the best of either's oeuvre, it's a nice introduction. Based on some Ernest Hemingway material, the story takes place in the Caribbean in the 40s. An American fishing boat captain falls for a girl stuck in town and accidentally gets caught up in the local island resistance movement.
They sure don't write dialogue the way they used to, that's for sure. For me, that's the big draw here. The film itself is just alright compared to other films of that era. But that dialogue. Each exchange is filled with sharp dialogue, quick-witted repartie. It's so fun to listen. It's here Bacall utters her famous line " You don't have to act with me Steve. You don't have to say anything and you don't have to do anything. Not a thing. Maybe just whistle. You know how to whistle don't you Steve? You just put your lips together and blow."
G: 'Slim' (LB's character)....loved her.
This 1944 Howard Hawks picture was the very first onscreen pairing of Humphrey Bogart and newcomer Lauren Bacall. While not the best of either's oeuvre, it's a nice introduction. Based on some Ernest Hemingway material, the story takes place in the Caribbean in the 40s. An American fishing boat captain falls for a girl stuck in town and accidentally gets caught up in the local island resistance movement.
They sure don't write dialogue the way they used to, that's for sure. For me, that's the big draw here. The film itself is just alright compared to other films of that era. But that dialogue. Each exchange is filled with sharp dialogue, quick-witted repartie. It's so fun to listen. It's here Bacall utters her famous line " You don't have to act with me Steve. You don't have to say anything and you don't have to do anything. Not a thing. Maybe just whistle. You know how to whistle don't you Steve? You just put your lips together and blow."
G: 'Slim' (LB's character)....loved her.
Wednesday, March 4, 2009
Mother
E:
Albert Brooks has his own subdued style of comedy and he makes moobies his own way. Mother is no exception. It's about a guy who is trying to figure out why he is the way he is. Why do his relationships fail. Why does he second guess himself in life, both personally and professionally.
He hits upon the great idea to move back in with his mother, back to the seat of all his issues.
If you like Albert Brooks, you'll like this moobie. If you're a grown-up with a grown mother, you'll like this moobie. If you like Debbie Reynolds, you'll like this moobie.
I guess that's most people.
G:
"It's the PROTECTIVE ICE"
Albert Brooks has his own subdued style of comedy and he makes moobies his own way. Mother is no exception. It's about a guy who is trying to figure out why he is the way he is. Why do his relationships fail. Why does he second guess himself in life, both personally and professionally.
He hits upon the great idea to move back in with his mother, back to the seat of all his issues.
If you like Albert Brooks, you'll like this moobie. If you're a grown-up with a grown mother, you'll like this moobie. If you like Debbie Reynolds, you'll like this moobie.
I guess that's most people.
G:
"It's the PROTECTIVE ICE"
Thursday, February 26, 2009
East of Eden
E:
This moobie was loosely based on the 1952 John Steinbeck novel of the same name. The only James Dean film released before his death, East of Eden is not only his best work but the piece that truly set the mold for his legacy. Dean plays Cal, the dark and brooding brother to Aron - the golden boy in their father's eye. A classic retelling of The Bible's Cain and Abel, watching Dean try to maintain a respectable relationship with his brother's girl, hopelessly try to win his father's approval and try to uncover the mysterious truth about their mother will keep you in your seat until the final tragic disaccord.
It was shot beautifully in Mendocino, CA filling in for WWI era Salinas and Monterey (to this day Mendocino looks virtually unchanged), and went on to win the Golden Globe for Best Picture. East of Eden was released in March of 1955, just 6 months before Dean's death. The following January he was given the first posthumous Best Actor Oscar nomination in award history. It was really his only shot. Unfortunately it went to Ernest Borgnine playing against type in Marty. A good performance to be sure, a far cry from Sgt. Fatso in From Here to Eternity, but do we remember it 50 years later? The answer is not really. But we sure remember James Dean on top of that train, behind that ice and and caught in that desperate struggle to find the good in himself, trying for nothing more than to be be loved.
This moobie was loosely based on the 1952 John Steinbeck novel of the same name. The only James Dean film released before his death, East of Eden is not only his best work but the piece that truly set the mold for his legacy. Dean plays Cal, the dark and brooding brother to Aron - the golden boy in their father's eye. A classic retelling of The Bible's Cain and Abel, watching Dean try to maintain a respectable relationship with his brother's girl, hopelessly try to win his father's approval and try to uncover the mysterious truth about their mother will keep you in your seat until the final tragic disaccord.
It was shot beautifully in Mendocino, CA filling in for WWI era Salinas and Monterey (to this day Mendocino looks virtually unchanged), and went on to win the Golden Globe for Best Picture. East of Eden was released in March of 1955, just 6 months before Dean's death. The following January he was given the first posthumous Best Actor Oscar nomination in award history. It was really his only shot. Unfortunately it went to Ernest Borgnine playing against type in Marty. A good performance to be sure, a far cry from Sgt. Fatso in From Here to Eternity, but do we remember it 50 years later? The answer is not really. But we sure remember James Dean on top of that train, behind that ice and and caught in that desperate struggle to find the good in himself, trying for nothing more than to be be loved.
Saturday, February 21, 2009
The Bicycle Thief
E:
There's a certain element of honesty in foreign films that is often lacking in domestic cinema. The sheer fact that the word "cinema" isn't often paired with anything remotely American is evidence enough. This moobie is not simply honest, it's unafraid to be honest about the gray areas of morality that only cable television seems to thrive on these days.
It's a small story about an unemployed man in financially stricken times. Afforded an opportunity to take a small government job, he revels in the chance to once again provide for his family. On the first day, his bicycle - his sole means of transportation and a requirement for his employment - gets stolen. Angry, frustrated and determined to keep his job, he enlists the help of his young son to find it.
Make no mistake, this isn't a feel good moobie. It's post-war Italian cinema. And for anyone who wants to take moobie-watching seriously, it's essential viewing.
There's a certain element of honesty in foreign films that is often lacking in domestic cinema. The sheer fact that the word "cinema" isn't often paired with anything remotely American is evidence enough. This moobie is not simply honest, it's unafraid to be honest about the gray areas of morality that only cable television seems to thrive on these days.
It's a small story about an unemployed man in financially stricken times. Afforded an opportunity to take a small government job, he revels in the chance to once again provide for his family. On the first day, his bicycle - his sole means of transportation and a requirement for his employment - gets stolen. Angry, frustrated and determined to keep his job, he enlists the help of his young son to find it.
Make no mistake, this isn't a feel good moobie. It's post-war Italian cinema. And for anyone who wants to take moobie-watching seriously, it's essential viewing.
Thursday, February 19, 2009
Kung Fu Panda
E:
I wasn't entirely excited to see this moobie, but I was pleasantly surprised. The intro alone was enough to get just about anyone interested - a great stylized animation dream sequence. The story is fairly formulaic, but the animation felt fresh and the camerawork very modern.
The majority of the voice work was fine. The standouts for me being Ian McShane of Deadwood fame (awesome bad guy voice) and James Hong. I don't know why, I just love that guy.
If your kids haven't already seen it I'm sure it would be a satisfying way for them to spend their afternoon.
I wasn't entirely excited to see this moobie, but I was pleasantly surprised. The intro alone was enough to get just about anyone interested - a great stylized animation dream sequence. The story is fairly formulaic, but the animation felt fresh and the camerawork very modern.
The majority of the voice work was fine. The standouts for me being Ian McShane of Deadwood fame (awesome bad guy voice) and James Hong. I don't know why, I just love that guy.
If your kids haven't already seen it I'm sure it would be a satisfying way for them to spend their afternoon.
Monday, February 16, 2009
Man On Wire
E:
This film chronicles Philippe Petit's successful highwire walk between the World Trade Center's twin towers and the life that leads up to the attempt.
I loved it! I see probably just a few more documentaries than the average person, but this is more like a regular moobie than the average documentary. It's very compelling to see old footage of Petit in training. It's interesting to see old photographs of the Frenchman and his cohorts. But more than anything, the narrated recreated scenes are absolutely riveting. It's amazing what these people got away with, there's no way it could be done in our modern age of fear. To see the final result - a man on a wire that far up in the sky - is nothing short of breathtaking.
This film chronicles Philippe Petit's successful highwire walk between the World Trade Center's twin towers and the life that leads up to the attempt.
I loved it! I see probably just a few more documentaries than the average person, but this is more like a regular moobie than the average documentary. It's very compelling to see old footage of Petit in training. It's interesting to see old photographs of the Frenchman and his cohorts. But more than anything, the narrated recreated scenes are absolutely riveting. It's amazing what these people got away with, there's no way it could be done in our modern age of fear. To see the final result - a man on a wire that far up in the sky - is nothing short of breathtaking.
Friday, February 6, 2009
In Bruges
E:
Maybe I'm not English enough. This film and I just didn't bond very well and I'm kinda shocked that it garnered a best screenplay nod. Sure the story unfolded with solid metered bits of information, but it was kinda boring. I wanted the moobie to end so I could send it back to Netflix.
I will admit that I kinda liked the ending, although it was a bit maudlin. And I liked the two main performances. Colin Farrell playing basically a brat and Brendan Gleeson as the father figure.
I can see why it made less than $8 million stateside.
Maybe I'm not English enough. This film and I just didn't bond very well and I'm kinda shocked that it garnered a best screenplay nod. Sure the story unfolded with solid metered bits of information, but it was kinda boring. I wanted the moobie to end so I could send it back to Netflix.
I will admit that I kinda liked the ending, although it was a bit maudlin. And I liked the two main performances. Colin Farrell playing basically a brat and Brendan Gleeson as the father figure.
I can see why it made less than $8 million stateside.
Monday, February 2, 2009
Rosemary's Baby
E:
This was Roman Polanski's first American film. A lot of people rank it amongst the all time scariest. I disagree. It's from another era. I definitely found the moobie unsettling... a little goosebumpy even, but not truly scary. Mia Farrow was a good casting choice - apparently not a first choice but I think her meek facade helped the characterization. She plays Rosemary. She and her husband move into a new apartment next door to an odd older couple. Upon learning she's pregnant, some unusual events lead her to believe that the people around her (husband, old couple next door) are plotting something sinister.
This film is pivotal in the history of scary moobies. I can appreciate that this was an extremely different approach to horror than its cinematic predecessors. I mean really, The Blob? Creature from the Black Lagoon? Rosemary led the way for anything like The Shining to ever occur.
It's worth a view. If only to understand where psychological horror began.
G:
"There's an undertaste..." my favorite line.
This was Roman Polanski's first American film. A lot of people rank it amongst the all time scariest. I disagree. It's from another era. I definitely found the moobie unsettling... a little goosebumpy even, but not truly scary. Mia Farrow was a good casting choice - apparently not a first choice but I think her meek facade helped the characterization. She plays Rosemary. She and her husband move into a new apartment next door to an odd older couple. Upon learning she's pregnant, some unusual events lead her to believe that the people around her (husband, old couple next door) are plotting something sinister.
This film is pivotal in the history of scary moobies. I can appreciate that this was an extremely different approach to horror than its cinematic predecessors. I mean really, The Blob? Creature from the Black Lagoon? Rosemary led the way for anything like The Shining to ever occur.
It's worth a view. If only to understand where psychological horror began.
G:
"There's an undertaste..." my favorite line.
Monday, January 26, 2009
Teeth
E:
I had heard about this film when it was about to be released, I don't think it ever went wide. It's a strange and interesting little moobie - a cross between something attempting to be a horror film and a dark comedy. It's about a girl raised in the shadows of nuclear reactors coming of age, learning about her body. All of the boys around her are rapists as she learns the hard way (no pun intended), but what she also learns is that she has a genetic mutation. Vagina Dentata - yes, teeth.
The film isn't perfect by any means. Slow in some parts, some leaps of logic in others, some just outright dumb. Some characters too weak, some developed way over the top. But it's an interesting take on empowerment. It has some funny parts and some interesting ideas.
If you thought you might like it, check it out. If you don't think you'll like it, then I won't bother trying to change your mind.
G: (my 2 cents)
Oh, sure they showed the penises (after they were 'bitten' off), but they didn't show the vagina dentata! what's up with that?!?
I had heard about this film when it was about to be released, I don't think it ever went wide. It's a strange and interesting little moobie - a cross between something attempting to be a horror film and a dark comedy. It's about a girl raised in the shadows of nuclear reactors coming of age, learning about her body. All of the boys around her are rapists as she learns the hard way (no pun intended), but what she also learns is that she has a genetic mutation. Vagina Dentata - yes, teeth.
The film isn't perfect by any means. Slow in some parts, some leaps of logic in others, some just outright dumb. Some characters too weak, some developed way over the top. But it's an interesting take on empowerment. It has some funny parts and some interesting ideas.
If you thought you might like it, check it out. If you don't think you'll like it, then I won't bother trying to change your mind.
G: (my 2 cents)
Oh, sure they showed the penises (after they were 'bitten' off), but they didn't show the vagina dentata! what's up with that?!?
Friday, January 23, 2009
Rebel Without A Cause
E:
When was the last time you saw this moobie?
As we all know, James Dean made only 3 films. East of Eden, Rebel Without A Cause and Giant. Only East of Eden was released before his fatal car crash where Highway 41 meets Highway 46. Of the three, it is Rebel more than anything else in his oeuvre that solidified his status as a matinee idol and cemented his image in our collective consciousness forever. It's easy to see how the mythology surrounding the man contributed to the legend he has become.
Dean serves this character Jim Stark quite well. Stark is a troubled teen who feels emotionally abandoned by the people meant to guide him through his formative years - his parents. His mother does nothing but nag and his father too spineless to recover from her. As Jim says early in the film, they're tearing him apart.
In a new city, in a new school, he meets with trouble. Trouble bites back turning into more trouble. With neither guidance nor integrity from his parents, Jim seeks solace in a couple of other misfit kids. Unfortunately, one of them is too close to the edge.
Of course Rebel made a star out of Dean and won both critical acclaim and box office gold. But it's relatively difficult to understand how the subject matter of the film was truly received. From what I understand, the content - teen angst - was a completely new and innovative topic. Growing up in the 80's where teen angst was king, I can only imagine what it must have been like to see something like this for the very first time.
Taking a look at the moobie with fresh eyes definitely made for an interesting evening. The colors of that day were so saturated - extreme vibrant reds and greens and yellows. It's a far cry from the realistic colors we're accustomed to these days. Scripts and acting tended towards melodramatic those days too, almost as if everything - the colors, the emotions, the events were all forced into the hyperreal specifically to distance film from television; quite the opposite of today's pictures.
The emotional impact of the events, however, remain the same. It's a good film. There are moments where it veers into the theatrical, but overall it stands the test of time. Seeing this film today versus even 10 years ago, I have a deeper understanding of these characters and a clearer picture of the elements at play. I never even thought about Plato being gay before. Watching it this time around it was all too obvious. Now instead of taking Dean's angst for granted, I can appreciate that his rebellion does in fact have a cause.
When was the last time you saw this moobie?
As we all know, James Dean made only 3 films. East of Eden, Rebel Without A Cause and Giant. Only East of Eden was released before his fatal car crash where Highway 41 meets Highway 46. Of the three, it is Rebel more than anything else in his oeuvre that solidified his status as a matinee idol and cemented his image in our collective consciousness forever. It's easy to see how the mythology surrounding the man contributed to the legend he has become.
Dean serves this character Jim Stark quite well. Stark is a troubled teen who feels emotionally abandoned by the people meant to guide him through his formative years - his parents. His mother does nothing but nag and his father too spineless to recover from her. As Jim says early in the film, they're tearing him apart.
In a new city, in a new school, he meets with trouble. Trouble bites back turning into more trouble. With neither guidance nor integrity from his parents, Jim seeks solace in a couple of other misfit kids. Unfortunately, one of them is too close to the edge.
Of course Rebel made a star out of Dean and won both critical acclaim and box office gold. But it's relatively difficult to understand how the subject matter of the film was truly received. From what I understand, the content - teen angst - was a completely new and innovative topic. Growing up in the 80's where teen angst was king, I can only imagine what it must have been like to see something like this for the very first time.
Taking a look at the moobie with fresh eyes definitely made for an interesting evening. The colors of that day were so saturated - extreme vibrant reds and greens and yellows. It's a far cry from the realistic colors we're accustomed to these days. Scripts and acting tended towards melodramatic those days too, almost as if everything - the colors, the emotions, the events were all forced into the hyperreal specifically to distance film from television; quite the opposite of today's pictures.
The emotional impact of the events, however, remain the same. It's a good film. There are moments where it veers into the theatrical, but overall it stands the test of time. Seeing this film today versus even 10 years ago, I have a deeper understanding of these characters and a clearer picture of the elements at play. I never even thought about Plato being gay before. Watching it this time around it was all too obvious. Now instead of taking Dean's angst for granted, I can appreciate that his rebellion does in fact have a cause.
Monday, January 19, 2009
Pirates of the Caribbean: At World's End
E:
This moobie was just dumb.
It looked real pretty, but it didn't mean anything.
The plot was convoluted and the writing was cheesy.
I wasted three hours of my life that I will never get back.
Just dumb.
This moobie was just dumb.
It looked real pretty, but it didn't mean anything.
The plot was convoluted and the writing was cheesy.
I wasted three hours of my life that I will never get back.
Just dumb.
Monday, January 12, 2009
Elephant
E:
I've seen this moobie before several times. It's one of those films in which you don't quite catch everything the first time around. The opening scenes don't prepare you for the events that unfold and ultimately its languorous pace belies its final impact.
Gus Van Sant has made a career out of making art house fare. Some pictures definitely more successful than others. I enjoy his indie stuff. I like a lot of his more mainstream work, too (Good Will Hunting, Finding Forrester, Milk). This one, however, is my favorite Van Sant film.
It's about a day in the life of several high school students. The day takes a turn for the worst.
I love watching these kids. Every little action reveals something about them. So much is conveyed by simple motions, glimpses even hinted at off screen. Van Sant really allows us the time to take it all in; to catch up to his time-bending narrative structure, to remember where everyone stands when the day takes its turn. He gives us a clue as to why it happens and even a glimpse into the culprits' resolve.
Watch it a couple times. It'll surprise you.
I've seen this moobie before several times. It's one of those films in which you don't quite catch everything the first time around. The opening scenes don't prepare you for the events that unfold and ultimately its languorous pace belies its final impact.
Gus Van Sant has made a career out of making art house fare. Some pictures definitely more successful than others. I enjoy his indie stuff. I like a lot of his more mainstream work, too (Good Will Hunting, Finding Forrester, Milk). This one, however, is my favorite Van Sant film.
It's about a day in the life of several high school students. The day takes a turn for the worst.
I love watching these kids. Every little action reveals something about them. So much is conveyed by simple motions, glimpses even hinted at off screen. Van Sant really allows us the time to take it all in; to catch up to his time-bending narrative structure, to remember where everyone stands when the day takes its turn. He gives us a clue as to why it happens and even a glimpse into the culprits' resolve.
Watch it a couple times. It'll surprise you.
Sunday, January 11, 2009
August Rush
E:
This moobie was so sappy. Which is disappointing because the idea was really good. The script was cheesy and the editing didn't quite work. The characters made decisions strictly to move the story along, not because anything made any sense. It was so frustrating.
Again, it's disappointing because there was so much potential. Freddie Highmore is an awesome little actor. And his acting here is great, it's just too bad the story fell short.
Robin Williams was sorely miscast as the Fagan character. He hams it up being crazy and menacing. Keri Russell looks great but that's about it. Jonathan Rhys Meyers was pretty lame just like in everything else he's been in and his singing was horrible. Why do they let him sing?
I wouldn't bother with this one.
This moobie was so sappy. Which is disappointing because the idea was really good. The script was cheesy and the editing didn't quite work. The characters made decisions strictly to move the story along, not because anything made any sense. It was so frustrating.
Again, it's disappointing because there was so much potential. Freddie Highmore is an awesome little actor. And his acting here is great, it's just too bad the story fell short.
Robin Williams was sorely miscast as the Fagan character. He hams it up being crazy and menacing. Keri Russell looks great but that's about it. Jonathan Rhys Meyers was pretty lame just like in everything else he's been in and his singing was horrible. Why do they let him sing?
I wouldn't bother with this one.
Friday, January 9, 2009
Lady Sings The Blues
E:
G & I try to switch up our netflix queue. We alternate between an old moobie and a new one. Our latest was an old one. Lady Sings The Blues is from 1972, a great year by any measure. This was Diana Ross' film debut and I thought she did a good job. But overall I wasn't that happy with the film. It's supposed to be the story of Billie Holiday, the great jazz singer. But, as I am a huge fan of jazz music, I am somewhat familiar with her story; and this didn't look all that familiar. There were some similarities with what I remember about her life but a lot of things that I had never heard about. I googled her story after finishing the film in a state of confusion and sure enough, they took a LOT of liberties.
If you don't care how true it is, I guess the movie is alright. Like I said, Diana Ross did a good job for her first time out - depicting a junkie and all. And Billy Dee Williams is his normal suave self. But there are plenty of other good moobies to choose from.
G & I try to switch up our netflix queue. We alternate between an old moobie and a new one. Our latest was an old one. Lady Sings The Blues is from 1972, a great year by any measure. This was Diana Ross' film debut and I thought she did a good job. But overall I wasn't that happy with the film. It's supposed to be the story of Billie Holiday, the great jazz singer. But, as I am a huge fan of jazz music, I am somewhat familiar with her story; and this didn't look all that familiar. There were some similarities with what I remember about her life but a lot of things that I had never heard about. I googled her story after finishing the film in a state of confusion and sure enough, they took a LOT of liberties.
If you don't care how true it is, I guess the movie is alright. Like I said, Diana Ross did a good job for her first time out - depicting a junkie and all. And Billy Dee Williams is his normal suave self. But there are plenty of other good moobies to choose from.
Thursday, January 8, 2009
Black Orpheus
E:
I watched this again recently. It's a retelling of the ancient Greek myth of Orpheus and Eurydice, but set during Carnaval in Rio de Janeiro. I wasn't familiar with the Greek love story beforehand but when I first saw this film years ago it stuck with me.
It's very lyrical and haunting and the music is phenomenal (I bought the soundtrack after seeing it). The story blurs the line between fantasy and reality while being self referential at the same time. When meeting Eurydice he reminds her that their story is thousands of years old.
The moobie won the 1959 Palme d'Or at Cannes and the 1960 Oscar for Best Foreign Language Film so it's got some cred.
It is in Portuguese, so if you're not in the mood for subtitles save it for another time. But it's a brilliant film. I highly recommend it.
I watched this again recently. It's a retelling of the ancient Greek myth of Orpheus and Eurydice, but set during Carnaval in Rio de Janeiro. I wasn't familiar with the Greek love story beforehand but when I first saw this film years ago it stuck with me.
It's very lyrical and haunting and the music is phenomenal (I bought the soundtrack after seeing it). The story blurs the line between fantasy and reality while being self referential at the same time. When meeting Eurydice he reminds her that their story is thousands of years old.
The moobie won the 1959 Palme d'Or at Cannes and the 1960 Oscar for Best Foreign Language Film so it's got some cred.
It is in Portuguese, so if you're not in the mood for subtitles save it for another time. But it's a brilliant film. I highly recommend it.
Wednesday, January 7, 2009
Cool Hand Luke
E:
I got this DBD as a Christmas present. I love it. It's one of my favorite moobies.
It is, without a doubt, one of Paul Newman's finest performances. He plays a guy who was basically so bored and dissatisfied with the world he landed himself in a road-working prison. He challenges convention and authority. Sometimes to his advantage, sometimes to his detriment. I think there's a bit of Luke in all of us. Or at least we hope there is.
Newman was 42 when he did this picture. Look at him and let that little bit of reality soak into your head. I've never looked like that. Maybe by the time I'M 42 maybe I can. George Kennedy won an Oscar for his performance as Dragline and he beat out some other major performances to get it (1967 was a great year for the oscars). Strother Martin plays the Captain with such sleaze. The cast of supporting characters all put in fine work too - Dennis Hopper & Harry Dean Stanton among others. And the always incredible Conrad Hall did some really good work behind the camera here, the film looks amazing.
All in all, this is a great picture everyone should see.
G:
Paul Newman is SO HOT in this moobie. Also, I had a hard time watching the scene where he's digging that hole. ugh. And the egg eating scene is great.
I got this DBD as a Christmas present. I love it. It's one of my favorite moobies.
It is, without a doubt, one of Paul Newman's finest performances. He plays a guy who was basically so bored and dissatisfied with the world he landed himself in a road-working prison. He challenges convention and authority. Sometimes to his advantage, sometimes to his detriment. I think there's a bit of Luke in all of us. Or at least we hope there is.
Newman was 42 when he did this picture. Look at him and let that little bit of reality soak into your head. I've never looked like that. Maybe by the time I'M 42 maybe I can. George Kennedy won an Oscar for his performance as Dragline and he beat out some other major performances to get it (1967 was a great year for the oscars). Strother Martin plays the Captain with such sleaze. The cast of supporting characters all put in fine work too - Dennis Hopper & Harry Dean Stanton among others. And the always incredible Conrad Hall did some really good work behind the camera here, the film looks amazing.
All in all, this is a great picture everyone should see.
G:
Paul Newman is SO HOT in this moobie. Also, I had a hard time watching the scene where he's digging that hole. ugh. And the egg eating scene is great.
Saturday, January 3, 2009
The Bucket List
E:
I saw this DBD at my uncle's house...man, they have a video library over there! Alphabetized, numbered with AFI top 100, they even have a VCR to play the VHS tapes they still have on the shelves.
The movie stars Jack Nicholson and Morgan Freeman as two old guys nearing the end of their days. They meet and become friends, bonding over their common terminality. They embark upon a tour around the world to see things and do things before they kick the bucket. It's a nice little feel good (or sad) moobie. Both actors are nice enough in their roles. I was happy with it. I'm not going out to buy it or anything, but if you told me you got it in your netflix I'd say I liked it.
I saw this DBD at my uncle's house...man, they have a video library over there! Alphabetized, numbered with AFI top 100, they even have a VCR to play the VHS tapes they still have on the shelves.
The movie stars Jack Nicholson and Morgan Freeman as two old guys nearing the end of their days. They meet and become friends, bonding over their common terminality. They embark upon a tour around the world to see things and do things before they kick the bucket. It's a nice little feel good (or sad) moobie. Both actors are nice enough in their roles. I was happy with it. I'm not going out to buy it or anything, but if you told me you got it in your netflix I'd say I liked it.
Friday, January 2, 2009
The Astronaut Farmer
E:
Billy Bob Thornton can't be this hard up for a gig. The idea behind the story has some merit - a man tries to fulfill his own dreams. But the path to the screen was paved with crap. The script had a lot of holes, the acting was lame (sorry Billy Bob), the CGI was like a cartoon.
The cinematography was nice though.
Sometimes.
G:
I told E I wasn't going to do the DBD rebiews, BUT, I just had to put in my 2 cents for this one...cuz it was *so* bad. Man builds a rocket (yeah right), crashes the rocket & survives (yeah right), builds *another* rocket (yeah right), then flies into orbit while his kid is at mission control (yeah right). OMG...
Billy Bob Thornton can't be this hard up for a gig. The idea behind the story has some merit - a man tries to fulfill his own dreams. But the path to the screen was paved with crap. The script had a lot of holes, the acting was lame (sorry Billy Bob), the CGI was like a cartoon.
The cinematography was nice though.
Sometimes.
G:
I told E I wasn't going to do the DBD rebiews, BUT, I just had to put in my 2 cents for this one...cuz it was *so* bad. Man builds a rocket (yeah right), crashes the rocket & survives (yeah right), builds *another* rocket (yeah right), then flies into orbit while his kid is at mission control (yeah right). OMG...
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