Tuesday, February 03, 2004
My Top 10 of 2003
What a strange year.
"The Matrix" sequels failed (thank god) while 2 ocean films won the summer, some of the best acting showed up in films that somehow missed the mark, and Miramax doesn’t have a best picture nominee for the first time in 12 years.
Cool.
Seriously, kudos to Charlize Theron and Keisha Castle-Hughes for their outstanding performances in “Monster” and “Whale Rider,” respectively. Too bad the films as a whole weren’t that special. Here’s to Sean Penn finally, and deservedly, winning the Oscar. Raise another glass for Peter Dinklage, the dwarf actor who gave one of the year’s finest performances in “The Station Agent.” Ditto for Paul Giamatti in “American Splendor,” the Academy’s biggest oversight.
Here’s to conventional wisdom being thrown out the door. Who would’ve thought a pirate movie, box office poison for the last 25 years or so, would become such a huge hit? And sure fire winners, a la "The Hulk," crashed and burned because, let’s face it, that movie just plain stunk. Most of the sequels weren’t that bad – "Terminator 3," "2 Fast 2 Furious," and even – surprisingly – "American Wedding" were actually entertaining.
2004 marked the return of Kevin Costner, proved that Robert Rodriguez is a first class hack, saw Johnny Depp, after acting for 20 years, finally land a “break-out” role, watched as documentaries ("Winged Migration," "Spellbound," "Capturing the Friedmans") rode the Michael Moore wave into the mainstream, and finally brought an end to that pesky, uneven trilogy about the one true ring that everyone seems to love so damn much.
Notable films I did not see: "In America," "House of Sand and Fog," "The Secret Lives of Dentists," "The Fog of War," "The Cooler," "Peter Pan," "Shattered Glass," "The Missing," "Intolerable Cruelty," Abbas Kiarostami's "Ten," "Dirty Pretty Things"
Notable films I did not see nor care to: "Kill Bill Vol. 1," "Matrix Revolutions," "Bruce Almighty," "Anger Management," "Gigli"
On to my top films of 2003:
1. "City of God" – This Brazilian “Godfather” was snubbed in the foreign film category last year, yet managed to receive 4 well-deserved nominations this year (one for directing). It’s the most viscerally made film of the year, and solidifies Central and Latin America (after “Amores Perros”) as a rising force in world cinema.
2. "Capturing the Friedmans" – This documentary is not so much about child molestation as it is about the disintegration of family and home. The film makes no judgment on whether or not Arnold and Jesse Friedman were actually guilt of nearly 300 counts of child molestation, leaving it up to the viewers to weigh the evidence and decide for themselves.
3. "X2" – Bigger and better then the first film, “X2” might be the ultimate superhero film to date. Ian McKellen is better here than in “Lord of the Rings,” and Hugh Jackman's Wolverine is the coolest bad boy since Snake Plissken. Thanks to Bryan Singer for keeping these films character driven - don't think the audience doesn't notice.
4. "Mystic River" – The best acted film of the year, and directed with admirable restraint by Clint Eastwood. The dark story about murder, redemption and child molestation (again) may not be for everyone, but Sean Penn deserves the Oscar – sorry, Mr. Murray – and Tim Robbins delivers his best performance to date.
5. "American Splendor" – The second best acted film of the year, and the funniest – sorry, Nemo. Playing underground comic book writer Harvey Pekar, Paul Giamatti deserved an Oscar nomination over, say Jude Law, and Hope Davis is also award worthy as Pekar’s neurotic wife, Joyce.
6. "Big Fish" – Tim Burton’s best film since Ed Wood, and his most emotionally resonant work to date. Albert Finney’s tall tales (told in flashback with Ewan MacGregor) never pander to Forrest Gump-like qualities, and Billy Crudup is dead on as the son who just wants to hear his dying father tell the truth for once in his life.
7. "The Good Thief" – This little-seen heist flick from Neil Jordan is a remake of 1955’s Bob Le Flambeur, and oozes with style, jazz, and the vistas of Monte Carlo. Nick Nolte gives one of his best, most textured performances as an ex-heroin addict out for one last score.
8. "Master & Commander" – This seafaring epic is the best crafted film of the year, in terms of direction, sets, and detail (sorry Lord of the Rings). Russell Crow is fine as sea captain Jack Aubrey, but it’s Paul Bettany who was robbed of an Oscar nomination as the ship doctor. Magnificent ship-to-ship battles bookend this story about the loyalty of two men who refuse to fail.
9. "Finding Nemo" – Pixar’s best feature to date, featuring superb voice performances by Albert Brooks and especially Ellen DeGeneres. A few too many close calls and near death experiences hinder the effectiveness of the overall storytelling, but this remains a fine film and one of the year’s biggest hits.
10. "Lost in Translation," "Cold Mountain" (tie) – Neither of these films are flawless, but both have so many admirable qualities that I had to include them together. In “Translation,” Bill Murray is at his best as a disillusioned actor pitching whiskey in Japan, but the sparseness of the script left me a bit cold. Likewise, while meandering at times, “Mountain” had enough lush photography, wonderful acting (even by Renee Zellweger, who for once didn’t ruin a film) and a supporting cast that was more interesting than the main characters.
Runners Up (in alphabetical order): All the Real Girls, Casa de Los Babys, Elephant, The Italian Job (a fun remake), The Last Samurai, Lord of the Rings: Return of the King (better than Part 1, not as good as Part 2), Open Range (Costner’s best in years), Pirates of the Caribbean (er… Johnny Depp), Spider, The Station Agent (the year’s best film without an ending), Swimming Pool, 21 Grams (I thought a linear story would’ve been more effective)
The Worst (in alphabetical order): Bad Boys 2, Cabin Fever, The Hulk, Identity, League of Extraordinary Gentlemen, Old School , Once Upon a Time in Mexico (despite Johnny Depp in another great, movie-stealing role)
I’m keeping it short this year… up to my eyeballs in producing and directing my film “Pieces of a Girl,” which is set to start shooting March 22. Maybe it’ll make someone’s list next year.
Please post your comments below and tell me what you liked and disliked... because I care.
"The Matrix" sequels failed (thank god) while 2 ocean films won the summer, some of the best acting showed up in films that somehow missed the mark, and Miramax doesn’t have a best picture nominee for the first time in 12 years.
Cool.
Seriously, kudos to Charlize Theron and Keisha Castle-Hughes for their outstanding performances in “Monster” and “Whale Rider,” respectively. Too bad the films as a whole weren’t that special. Here’s to Sean Penn finally, and deservedly, winning the Oscar. Raise another glass for Peter Dinklage, the dwarf actor who gave one of the year’s finest performances in “The Station Agent.” Ditto for Paul Giamatti in “American Splendor,” the Academy’s biggest oversight.
Here’s to conventional wisdom being thrown out the door. Who would’ve thought a pirate movie, box office poison for the last 25 years or so, would become such a huge hit? And sure fire winners, a la "The Hulk," crashed and burned because, let’s face it, that movie just plain stunk. Most of the sequels weren’t that bad – "Terminator 3," "2 Fast 2 Furious," and even – surprisingly – "American Wedding" were actually entertaining.
2004 marked the return of Kevin Costner, proved that Robert Rodriguez is a first class hack, saw Johnny Depp, after acting for 20 years, finally land a “break-out” role, watched as documentaries ("Winged Migration," "Spellbound," "Capturing the Friedmans") rode the Michael Moore wave into the mainstream, and finally brought an end to that pesky, uneven trilogy about the one true ring that everyone seems to love so damn much.
Notable films I did not see: "In America," "House of Sand and Fog," "The Secret Lives of Dentists," "The Fog of War," "The Cooler," "Peter Pan," "Shattered Glass," "The Missing," "Intolerable Cruelty," Abbas Kiarostami's "Ten," "Dirty Pretty Things"
Notable films I did not see nor care to: "Kill Bill Vol. 1," "Matrix Revolutions," "Bruce Almighty," "Anger Management," "Gigli"
On to my top films of 2003:
1. "City of God" – This Brazilian “Godfather” was snubbed in the foreign film category last year, yet managed to receive 4 well-deserved nominations this year (one for directing). It’s the most viscerally made film of the year, and solidifies Central and Latin America (after “Amores Perros”) as a rising force in world cinema.
2. "Capturing the Friedmans" – This documentary is not so much about child molestation as it is about the disintegration of family and home. The film makes no judgment on whether or not Arnold and Jesse Friedman were actually guilt of nearly 300 counts of child molestation, leaving it up to the viewers to weigh the evidence and decide for themselves.
3. "X2" – Bigger and better then the first film, “X2” might be the ultimate superhero film to date. Ian McKellen is better here than in “Lord of the Rings,” and Hugh Jackman's Wolverine is the coolest bad boy since Snake Plissken. Thanks to Bryan Singer for keeping these films character driven - don't think the audience doesn't notice.
4. "Mystic River" – The best acted film of the year, and directed with admirable restraint by Clint Eastwood. The dark story about murder, redemption and child molestation (again) may not be for everyone, but Sean Penn deserves the Oscar – sorry, Mr. Murray – and Tim Robbins delivers his best performance to date.
5. "American Splendor" – The second best acted film of the year, and the funniest – sorry, Nemo. Playing underground comic book writer Harvey Pekar, Paul Giamatti deserved an Oscar nomination over, say Jude Law, and Hope Davis is also award worthy as Pekar’s neurotic wife, Joyce.
6. "Big Fish" – Tim Burton’s best film since Ed Wood, and his most emotionally resonant work to date. Albert Finney’s tall tales (told in flashback with Ewan MacGregor) never pander to Forrest Gump-like qualities, and Billy Crudup is dead on as the son who just wants to hear his dying father tell the truth for once in his life.
7. "The Good Thief" – This little-seen heist flick from Neil Jordan is a remake of 1955’s Bob Le Flambeur, and oozes with style, jazz, and the vistas of Monte Carlo. Nick Nolte gives one of his best, most textured performances as an ex-heroin addict out for one last score.
8. "Master & Commander" – This seafaring epic is the best crafted film of the year, in terms of direction, sets, and detail (sorry Lord of the Rings). Russell Crow is fine as sea captain Jack Aubrey, but it’s Paul Bettany who was robbed of an Oscar nomination as the ship doctor. Magnificent ship-to-ship battles bookend this story about the loyalty of two men who refuse to fail.
9. "Finding Nemo" – Pixar’s best feature to date, featuring superb voice performances by Albert Brooks and especially Ellen DeGeneres. A few too many close calls and near death experiences hinder the effectiveness of the overall storytelling, but this remains a fine film and one of the year’s biggest hits.
10. "Lost in Translation," "Cold Mountain" (tie) – Neither of these films are flawless, but both have so many admirable qualities that I had to include them together. In “Translation,” Bill Murray is at his best as a disillusioned actor pitching whiskey in Japan, but the sparseness of the script left me a bit cold. Likewise, while meandering at times, “Mountain” had enough lush photography, wonderful acting (even by Renee Zellweger, who for once didn’t ruin a film) and a supporting cast that was more interesting than the main characters.
Runners Up (in alphabetical order): All the Real Girls, Casa de Los Babys, Elephant, The Italian Job (a fun remake), The Last Samurai, Lord of the Rings: Return of the King (better than Part 1, not as good as Part 2), Open Range (Costner’s best in years), Pirates of the Caribbean (er… Johnny Depp), Spider, The Station Agent (the year’s best film without an ending), Swimming Pool, 21 Grams (I thought a linear story would’ve been more effective)
The Worst (in alphabetical order): Bad Boys 2, Cabin Fever, The Hulk, Identity, League of Extraordinary Gentlemen, Old School , Once Upon a Time in Mexico (despite Johnny Depp in another great, movie-stealing role)
I’m keeping it short this year… up to my eyeballs in producing and directing my film “Pieces of a Girl,” which is set to start shooting March 22. Maybe it’ll make someone’s list next year.
Please post your comments below and tell me what you liked and disliked... because I care.
Monday, October 13, 2003
Lost in Translation
(2003)
Written & Directed by Sofia Coppola
Cast:
Scarlett Johansson .... Charlotte
Bill Murray .... Bob Harris
Giovanni Ribisi .... John
Okay, so I don't blog as much as I should... I'm trying to finish up a screenplay for a film I'm shooting this winter. It's almost done, so whether or not that was a factor in my non-blogging, we'll see... on to the film...
For starters, I didn't care for this Coppola's debut film, "The Virgin Suicides." And this film looked, well, a lot like Bill Murray's "About Schmidt." Going in, expectations were low, and coming out, they were much higher -- if not hot, then at least glowing. Murray indeed gives a fantastic performance as a famous actor staying in Tokyo to endorse a whiskey, and its during his sleepless nights that he meets Charlotte (Johansson), a young wife who's husband is a photographer and always off on assignment. Both souls, while divided by age, are lost, experiencing trials of love, marriage and career. The movie is sometimes too sparse for its own good, like its tryign to be "artful" or carry unintentional "weight"... as evidenced by an important yet unintelligible line of dialogue spoken near the film's end, that means a great deal to the characters but nothing to us, since we can't hear it. Some people might find that frustrating -- along with the lugubrious pace and static shots of people doing little or nothing at all -- but in its own way adds to the mood of the piece. I've never been a fan of Johansson's, either, but she's aptly alluring here, but leaving the theater I kept wondering why she would ever marry a schmaltz like Ribisi in the first place. Coppola's second film (while not up to par with her father's best work, or even her brother's debut film last year ,"CQ") establishes her as a gifted up-and-comer, but it really doesn't matter... as long as she's got her daddy's name as executive producer, she can make whatever she wants.
I promise that I'll blog later in the week about another new film I caught, John Sayles' latest "Casa de los Babys." Until then...
Written & Directed by Sofia Coppola
Cast:
Scarlett Johansson .... Charlotte
Bill Murray .... Bob Harris
Giovanni Ribisi .... John
Okay, so I don't blog as much as I should... I'm trying to finish up a screenplay for a film I'm shooting this winter. It's almost done, so whether or not that was a factor in my non-blogging, we'll see... on to the film...
For starters, I didn't care for this Coppola's debut film, "The Virgin Suicides." And this film looked, well, a lot like Bill Murray's "About Schmidt." Going in, expectations were low, and coming out, they were much higher -- if not hot, then at least glowing. Murray indeed gives a fantastic performance as a famous actor staying in Tokyo to endorse a whiskey, and its during his sleepless nights that he meets Charlotte (Johansson), a young wife who's husband is a photographer and always off on assignment. Both souls, while divided by age, are lost, experiencing trials of love, marriage and career. The movie is sometimes too sparse for its own good, like its tryign to be "artful" or carry unintentional "weight"... as evidenced by an important yet unintelligible line of dialogue spoken near the film's end, that means a great deal to the characters but nothing to us, since we can't hear it. Some people might find that frustrating -- along with the lugubrious pace and static shots of people doing little or nothing at all -- but in its own way adds to the mood of the piece. I've never been a fan of Johansson's, either, but she's aptly alluring here, but leaving the theater I kept wondering why she would ever marry a schmaltz like Ribisi in the first place. Coppola's second film (while not up to par with her father's best work, or even her brother's debut film last year ,"CQ") establishes her as a gifted up-and-comer, but it really doesn't matter... as long as she's got her daddy's name as executive producer, she can make whatever she wants.
I promise that I'll blog later in the week about another new film I caught, John Sayles' latest "Casa de los Babys." Until then...
Monday, September 29, 2003
Under the Tuscan Sun
2003
Directed by Audrey Wells
Written by Frances Mayes (book), Audrey Wells (screenplay)
Cast:
Diane Lane .... Frances
Sandra Oh .... Patti
Lindsay Duncan .... Katherine
Raoul Bova .... Marcello
Vincent Riotta .... Martini
For an early birthday present, my friend Amy bought me lunch at Cheddars and my friend Sarah took me to the movies... only she chose the movie. It wasn't that I didn't want to see this... because I love Diane Lane, nearly had her in my film, and will... its just that this looked way too much like a Lifetime movie of the week, aimed solely at the ladies. In a way, it was... but i enjoyed it nonetheless. It's not original, mostly predictable and strictly by-the-numbers filmmaking, but here it manages to work more often than not, thanks largely in part to Lane's charming performance. Based on the (I guess) popular non-fiction book, the film takes liberties (in real life, Frances took the trip to Italy with her husband; in the film, lane -- as Frances -- gets dumped by her husband and takes the trip almost in mourning). And her trials and tribulations of spontaneously buying a villa in tuscany, fixing it up, meeting various men who adore her seem pertty routine. But the film has a charm and humor usually missing from films of this type, and its pretty grim look at love and second chances is a welcome -- if sometimes depressing -- addition. It overstays its welcome, running maybe 20 minutes and a sappy conclusion too long, but those of you who think you'll like a film of this type probably will, and those of you who don't, well, you might enjoy it more than you think.
P.S. - Okay, this is getting depressing... in addition to Warren Zevon, Johnny Cash, Charles Bronson & John Ritter... goodbye Elia Kazan (one of my favorites, despite the HUAC incident), George Plimpton, Robert Palmer & the great, great Donald O'Conner (made me laugh, indeed). I hope there's a really great party happening somewhere...
Directed by Audrey Wells
Written by Frances Mayes (book), Audrey Wells (screenplay)
Cast:
Diane Lane .... Frances
Sandra Oh .... Patti
Lindsay Duncan .... Katherine
Raoul Bova .... Marcello
Vincent Riotta .... Martini
For an early birthday present, my friend Amy bought me lunch at Cheddars and my friend Sarah took me to the movies... only she chose the movie. It wasn't that I didn't want to see this... because I love Diane Lane, nearly had her in my film, and will... its just that this looked way too much like a Lifetime movie of the week, aimed solely at the ladies. In a way, it was... but i enjoyed it nonetheless. It's not original, mostly predictable and strictly by-the-numbers filmmaking, but here it manages to work more often than not, thanks largely in part to Lane's charming performance. Based on the (I guess) popular non-fiction book, the film takes liberties (in real life, Frances took the trip to Italy with her husband; in the film, lane -- as Frances -- gets dumped by her husband and takes the trip almost in mourning). And her trials and tribulations of spontaneously buying a villa in tuscany, fixing it up, meeting various men who adore her seem pertty routine. But the film has a charm and humor usually missing from films of this type, and its pretty grim look at love and second chances is a welcome -- if sometimes depressing -- addition. It overstays its welcome, running maybe 20 minutes and a sappy conclusion too long, but those of you who think you'll like a film of this type probably will, and those of you who don't, well, you might enjoy it more than you think.
P.S. - Okay, this is getting depressing... in addition to Warren Zevon, Johnny Cash, Charles Bronson & John Ritter... goodbye Elia Kazan (one of my favorites, despite the HUAC incident), George Plimpton, Robert Palmer & the great, great Donald O'Conner (made me laugh, indeed). I hope there's a really great party happening somewhere...
Monday, September 22, 2003
Once Upon a Time in Mexico
2003
Written and Directed by Robert Rodriguez
Cast:
Antonio Banderas .... El Mariachi
Salma Hayek .... Carolina
Johnny Depp .... Sands
Mickey Rourke .... Billy
Eva Mendes .... Ajedrez
We can dispell this myth right now -- Robert Rodriguez is no Sergio Leone. He's barely even Sergio Pastore. Who's he, you ask? Exactly my point. Supposedly part 3 of his "El Mariachi" series, this film doesn't really continue the story, because there's no story to continue. Instead, Rodriguez, filming a script he supposedly wrote in 7 days (and it shows), throws scenes and characters into the mix with reckless abandon, never really caring where they go or what purpose they serve. Banderas is back and the Mariachi (otherwise known as "EL," as in "The"), who's hired (I think) by a rogue CIA agent played by Jonhhy Depp to assassinate the leader of a drug cartel (Willem Dafoe) who's planning on overthrowing the president of Mexico on the Day of the Dead. There's also a retired FBI agent (Rueben Blades), a fiesty young DEA agent (Eva Mendes), Dafoe's right hand man who carries aorund an ugly little dog (Mickey Rourke, playing the man, not the dog) and a double crossing hitman (Danny Trejo), all of whom are supposed to serve a purpose which was lost on me. Rodriguez credits himself as writer and director, and the film also boasts he "Shot, Chopped & Scored" it as well...what that means to you laymans is that he ran the camers and served as his own DP, edited the film, and composed the music. What it REALLY means is that the whole thing is an incomprehensible mess, with badly lit and composed shots, confusing editing (especially in the action sequences) and lots and lots of standard flamenco guitar. So this film is horrible? Yes. Do I recommend seeing it. Yes. ONLY because of Johnny Depp's second best performance of the year; he gives a one dimensional character the full treatment, implementing his arsenal of quirks and tricks that makes every second he's on screen captivating, no matter the film. It's too bad he's surrounded by such dreck.
Written and Directed by Robert Rodriguez
Cast:
Antonio Banderas .... El Mariachi
Salma Hayek .... Carolina
Johnny Depp .... Sands
Mickey Rourke .... Billy
Eva Mendes .... Ajedrez
We can dispell this myth right now -- Robert Rodriguez is no Sergio Leone. He's barely even Sergio Pastore. Who's he, you ask? Exactly my point. Supposedly part 3 of his "El Mariachi" series, this film doesn't really continue the story, because there's no story to continue. Instead, Rodriguez, filming a script he supposedly wrote in 7 days (and it shows), throws scenes and characters into the mix with reckless abandon, never really caring where they go or what purpose they serve. Banderas is back and the Mariachi (otherwise known as "EL," as in "The"), who's hired (I think) by a rogue CIA agent played by Jonhhy Depp to assassinate the leader of a drug cartel (Willem Dafoe) who's planning on overthrowing the president of Mexico on the Day of the Dead. There's also a retired FBI agent (Rueben Blades), a fiesty young DEA agent (Eva Mendes), Dafoe's right hand man who carries aorund an ugly little dog (Mickey Rourke, playing the man, not the dog) and a double crossing hitman (Danny Trejo), all of whom are supposed to serve a purpose which was lost on me. Rodriguez credits himself as writer and director, and the film also boasts he "Shot, Chopped & Scored" it as well...what that means to you laymans is that he ran the camers and served as his own DP, edited the film, and composed the music. What it REALLY means is that the whole thing is an incomprehensible mess, with badly lit and composed shots, confusing editing (especially in the action sequences) and lots and lots of standard flamenco guitar. So this film is horrible? Yes. Do I recommend seeing it. Yes. ONLY because of Johnny Depp's second best performance of the year; he gives a one dimensional character the full treatment, implementing his arsenal of quirks and tricks that makes every second he's on screen captivating, no matter the film. It's too bad he's surrounded by such dreck.
Sunday, September 14, 2003
American Splendor
2003
Directed by Shari Springer Berman & Robert Pulcini
Writing credits: Harvey Pekar (comic book series American Splendor) and Joyce Brabner (comic book series Our Cancer Year), Shari Springer Berman & Robert Pulcini
Cast:
Paul Giamatti .... Harvey Pekar
Harvey Pekar .... Real Harvey
James Urbaniak .... Robert Crumb
Hope Davis .... Joyce Brabner
Joyce Brabner .... Real Joyce
One of 2003's finest so far. Before seeing this film, I had no idea who Harvey Pekar was. I had an inkling of knowledge about Robert Crumb's underground comics, but have never read any. I still don't know much, but this hilarious biopic details the life of one of underground comic's most revered writers. Paul Giamatti vies with Jonny Depp for this year's best actor, and in many ways, surpasses him. He embodies Pekar, with all his gruffness and facial smirks, but its deeper than that; look no further than the real Harvey, who appears in ths film in interview segments, sometimes alongside Giamatti. The performance is striking. Davis is also wonderful as Joyce, a fan first who became Harvey's 3rd wife. Pekar, a lifelong file clerk at a V.A. hospital, started writing "American Splendor," a comic book about his daily experiences, in the 1970s, and after friend Crumb began illustrating it, it became a popular landmark in independent comic book publishing. This film, ingeniously put together, uses comic book frames, normal movie storytelling, interviews, and documentary footage to splice together the extroardinaty life of an ordinary man.
Directed by Shari Springer Berman & Robert Pulcini
Writing credits: Harvey Pekar (comic book series American Splendor) and Joyce Brabner (comic book series Our Cancer Year), Shari Springer Berman & Robert Pulcini
Cast:
Paul Giamatti .... Harvey Pekar
Harvey Pekar .... Real Harvey
James Urbaniak .... Robert Crumb
Hope Davis .... Joyce Brabner
Joyce Brabner .... Real Joyce
One of 2003's finest so far. Before seeing this film, I had no idea who Harvey Pekar was. I had an inkling of knowledge about Robert Crumb's underground comics, but have never read any. I still don't know much, but this hilarious biopic details the life of one of underground comic's most revered writers. Paul Giamatti vies with Jonny Depp for this year's best actor, and in many ways, surpasses him. He embodies Pekar, with all his gruffness and facial smirks, but its deeper than that; look no further than the real Harvey, who appears in ths film in interview segments, sometimes alongside Giamatti. The performance is striking. Davis is also wonderful as Joyce, a fan first who became Harvey's 3rd wife. Pekar, a lifelong file clerk at a V.A. hospital, started writing "American Splendor," a comic book about his daily experiences, in the 1970s, and after friend Crumb began illustrating it, it became a popular landmark in independent comic book publishing. This film, ingeniously put together, uses comic book frames, normal movie storytelling, interviews, and documentary footage to splice together the extroardinaty life of an ordinary man.
Wednesday, September 10, 2003
Thirteen
(2003)
Directed by Catherine Hardwicke
Written by Catherine Hardwicke & Nikki Reed
Cast:
Evan Rachel Wood .... Tracy
Holly Hunter .... Melanie
Nikki Reed .... Evie
Jeremy Sisto .... Brady
It's a shame when a potentially good movie disappoints because the director doesn't know when enough is enough. Take 'Requiem for a Dream'. Or the last 3-4 Spielberg films -- I mean, the guy just doesn't know when to end a story. 'Thirteen' falls into a similar category, but not for that reason. First-time director Hardwicke does an admiral job of bringing co-star amd co-writer Reed's psuedo-true story to the screen, but I guess she thought all the blurry, shaky, handheld, and badly lit scenes added to the "drama." It doesn't. A technique worked to perfection in the Dogme film "The Celebration" fails miserably here, because the director -- to me, anyway -- didn't quite know how to utilize the style. Regardless, this is a powerful story of a good girl gone wrong, about an innocent 13-year-old who falls in with the "bad" girl and is introduced to a life of stealing, drugs, sex, and self-mutilation. Admirable is that the script was written by then 13-year-old Reed (who in real life was the innocent), and the fact that she also plays the "bad" girl to great effect. More admirable is Holly Hunter, who hasn't had a really meaty role in years, and has some astonishing moments here as the clueless mom. But most admirable -- most unbelievably undeniably and utterly fantastic -- is the performance by Evan Rachel Wood, a true star at age 15 and destined for greatness. She's that good, and I can only hope Amber (starring in my film this winter) can match this girl's intensity and honesty on screen. The film also suffers form too many badly written scenes, where characters wouldn't have misunderstandings if they'd just TALK and not skirt the issue in typical movie dialogue fashion, but overall it's an interesting and ultimately moving piece that shows how kids can get sucked into a life they never imagined, and the difficulty it is getting out.
Directed by Catherine Hardwicke
Written by Catherine Hardwicke & Nikki Reed
Cast:
Evan Rachel Wood .... Tracy
Holly Hunter .... Melanie
Nikki Reed .... Evie
Jeremy Sisto .... Brady
It's a shame when a potentially good movie disappoints because the director doesn't know when enough is enough. Take 'Requiem for a Dream'. Or the last 3-4 Spielberg films -- I mean, the guy just doesn't know when to end a story. 'Thirteen' falls into a similar category, but not for that reason. First-time director Hardwicke does an admiral job of bringing co-star amd co-writer Reed's psuedo-true story to the screen, but I guess she thought all the blurry, shaky, handheld, and badly lit scenes added to the "drama." It doesn't. A technique worked to perfection in the Dogme film "The Celebration" fails miserably here, because the director -- to me, anyway -- didn't quite know how to utilize the style. Regardless, this is a powerful story of a good girl gone wrong, about an innocent 13-year-old who falls in with the "bad" girl and is introduced to a life of stealing, drugs, sex, and self-mutilation. Admirable is that the script was written by then 13-year-old Reed (who in real life was the innocent), and the fact that she also plays the "bad" girl to great effect. More admirable is Holly Hunter, who hasn't had a really meaty role in years, and has some astonishing moments here as the clueless mom. But most admirable -- most unbelievably undeniably and utterly fantastic -- is the performance by Evan Rachel Wood, a true star at age 15 and destined for greatness. She's that good, and I can only hope Amber (starring in my film this winter) can match this girl's intensity and honesty on screen. The film also suffers form too many badly written scenes, where characters wouldn't have misunderstandings if they'd just TALK and not skirt the issue in typical movie dialogue fashion, but overall it's an interesting and ultimately moving piece that shows how kids can get sucked into a life they never imagined, and the difficulty it is getting out.
Thursday, September 04, 2003
Hell House
2001
Directed by George Ratliff
This is not a horror film, but in a way, it is. This documentary explores the behind-the-scenes efforts of "Hell House," a Christian haunted house performed annually in October by the youth members of Trinity Church (Assemblies of God) in Cedar Hill, TX. We see the organization and planning of the event, including auditions, construction, scripting and rehearsals, and pieces of the actual haunted house as well. It's far form typical -- no scary mummies or vampires here -- but instead visitors are lead through a series of staged scenes depicting all the things that cause you go go to Hell -- abortion, drunk driving, familial abuse, school shootings, date rape, raves, drugs... What's scary are the lengths these fanatics go to try and scare the visitors into converting to Christianity -- there's actually a room with people at the ready for anyone who just can't take the horror and wishes to "save" themselves on the spot. All this aside, its a pretty cool production, documents here primarily through the eyes of the Trinity pastor and one family (a father whose wife left them after having an affair with a man she met on the Internet and his 3 kids, one of whom has Cerebral Palsy and another, a cute teenage girl, who's both a cheerleader AND super-excited to win the role of "abortion girl"). I want to attend this thing one of these years, just to say I've done it.
Directed by George Ratliff
This is not a horror film, but in a way, it is. This documentary explores the behind-the-scenes efforts of "Hell House," a Christian haunted house performed annually in October by the youth members of Trinity Church (Assemblies of God) in Cedar Hill, TX. We see the organization and planning of the event, including auditions, construction, scripting and rehearsals, and pieces of the actual haunted house as well. It's far form typical -- no scary mummies or vampires here -- but instead visitors are lead through a series of staged scenes depicting all the things that cause you go go to Hell -- abortion, drunk driving, familial abuse, school shootings, date rape, raves, drugs... What's scary are the lengths these fanatics go to try and scare the visitors into converting to Christianity -- there's actually a room with people at the ready for anyone who just can't take the horror and wishes to "save" themselves on the spot. All this aside, its a pretty cool production, documents here primarily through the eyes of the Trinity pastor and one family (a father whose wife left them after having an affair with a man she met on the Internet and his 3 kids, one of whom has Cerebral Palsy and another, a cute teenage girl, who's both a cheerleader AND super-excited to win the role of "abortion girl"). I want to attend this thing one of these years, just to say I've done it.
