E:
Another Hitch classic. I had never seen this one in it's entirety but now that I have it shot up to my list of Hitchcock faves. The set-up takes a little while, but once it gets going - boy - Hitch was in fine form with this one.
Cary Grant is all suave, Ingrid Bergman is all sexy.
Rent it.
Thursday, January 14, 2010
Saturday, January 9, 2010
The Proposal
E:
I think Sandra Bullock is the kind of girl you can take home to Mom. She's really pretty, but not obnoxiously so. She's funny, but not obnoxious. She seems like a nice normal girl but a movie star version so it's easy to root for her.
This moobie is a standard romantic comedy. Boy and girl don't like each other but get thrown together for whatever reason and end up in love. As a twist they get torn apart, but one chases after the other and all ends well.
It doesn't stray too far from the formula.
If you like romantic comedies, if you like Sandy, I'm sure you'll like The Proposal.
I think Sandra Bullock is the kind of girl you can take home to Mom. She's really pretty, but not obnoxiously so. She's funny, but not obnoxious. She seems like a nice normal girl but a movie star version so it's easy to root for her.
This moobie is a standard romantic comedy. Boy and girl don't like each other but get thrown together for whatever reason and end up in love. As a twist they get torn apart, but one chases after the other and all ends well.
It doesn't stray too far from the formula.
If you like romantic comedies, if you like Sandy, I'm sure you'll like The Proposal.
Sunday, January 3, 2010
Sabrina
E:
Man, that Billy Wilder made a lot of great moobies! I didn't realize this was part of his oeuvre. Made between Stalag 17 and The Seven Year Itch, Sabrina is a lighthearted film with a stellar cast: Humphrey Bogart, William Holden and Audrey Hepburn in her second major role. It's about a the chauffeur's daughter in love with the playboy son of the house. She leaves for school and comes home a woman.
I always like old movies where you can tell things never change. The rich younger brother with no responsibility. He charms the girls, he sleeps around a lot. The responsible older brother, the dad who cares about the family name, the young girl in love.
These are classic archetypical roles and yet here they're played so well and the script is so tight. Bogart is a badass even when he's in love. And so few of the modern actresses possess the glamour that Audrey brought to the screen.
Once again, the classics prove to be classic for a reason...
they're just so darn good.
Man, that Billy Wilder made a lot of great moobies! I didn't realize this was part of his oeuvre. Made between Stalag 17 and The Seven Year Itch, Sabrina is a lighthearted film with a stellar cast: Humphrey Bogart, William Holden and Audrey Hepburn in her second major role. It's about a the chauffeur's daughter in love with the playboy son of the house. She leaves for school and comes home a woman.
I always like old movies where you can tell things never change. The rich younger brother with no responsibility. He charms the girls, he sleeps around a lot. The responsible older brother, the dad who cares about the family name, the young girl in love.
These are classic archetypical roles and yet here they're played so well and the script is so tight. Bogart is a badass even when he's in love. And so few of the modern actresses possess the glamour that Audrey brought to the screen.
Once again, the classics prove to be classic for a reason...
they're just so darn good.
Monday, December 28, 2009
Bruno
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...
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...
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.
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