I read the Hot Fuzz script. I had seen countless clips. I met Edgar Wright. I spent all day on the 19th pulling overwhelmingly positive reviews. I felt as if I had seen the film, without actually seeing it. And still, none of that could have prepared me for how amazingly funny and brilliantly violent the film was.
You know the premise. You know that it pays homage to Point Break and Bad Boys II. You know that an old woman gets kicked in the face (and that, my friends, is some funny shit). But trust me, there's more funny shit than they can show in the commercials. And it's so ridiculously over the top violent and absurdly silly and well written and directed that it works way better than the movies it spoofs, even when it crosses from action movie spoof to action movie actuality at the end. Edgar Wright has quite a knack for directing action scenes.
There's just so much that works so well, not the least of which is the cast. Simon Pegg and Nick Frost pretty much reprise the relationship dynamic that worked so well for them in Spaced, Shaun of the Dead, and... real life, as all the pre-Fuzz interviews reiterate. What's also awesome about Hot Fuzz is the supporting cast. Bill Nighy, Jim Broadbent, Timothy Dalton, Paddy Considine (who was unexpectedly hilarious to someone who had only seen him in In America), Martin Freeman, cameos by Cate Blanchett and Peter Jackson... basically a dream cast of wonderful British character actors.
On a side note, I think Simon Pegg is on the verge of breaking out into a big-ass star, and I couldn't be happier. Best evidence of this? My rather mainstream roommate saying to me: "So I was on IMDB this morning trying to find out if Simon Pegg was married..."
I really think that Hot Fuzz is one of those movies that affirms your love of movies. Not because it's good (even though it is), but because it was written and directed by two people who are making movies because they love movies. And you've gotta love that.
Sunday, April 22, 2007
Wednesday, April 11, 2007
When Bad Movies Attack
I watch a lot of random bad movies on cable. Frequently, I'll find some way to justify watching something bad - "oh, it has Gary Oldman/Christopher Walken in it" (I use that one a lot) or "come on, it's Billy Madison, how can you not love Billy Madison." But I cannot, for the life of me, figure out why I got sucked into watching Rumor Has It.
Admittedly, the movie wasn't horrible - I've seen worse romantic comedies (Runaway Bride and Forces of Nature immediately spring to mind). In case you're unfamiliar with the plot, a young woman (Jennifer Aniston) returns home to Southern California for her younger sister's wedding, where she realizes that her mother and grandmother may have been the inspiration for Mrs. Robinson and Elaine in The Graduate. So she seeks out Beau Burroughs (aka Benjamin Braddock - played by Kevin Costner) and ends up sleeping with him and freaks out, because she thinks he may be her father. This much of the film is actually not that bad in theory, but the execution is questionable. Jennifer Aniston is cute enough (although suspension of disbelief is required to figure out why someone as attractive as her can't meet men), but I haven't found Kevin Costner attractive since Bull Durham and even that's only because of the "Well, I believe in the soul..." speech* he gives to Susan Sarandon's character. Now I really want to watch Bull Durham...
Anyway, because having Jennifer Aniston end up with a man old enough to be her father is vaguely icky, there is another character. Enter Mark Ruffalo, whose character is completely superfluous. He plays Jennifer Aniston's fiance and is basically only there at three key points in the film: the beginning, to establish their relationship; the middle, to tell her that the engagement is off because she's fooling around with Kevin Costner; and the end, to tell her that he accepts her apology and wants to marry her. I adore Ruffalo as an actor, but there is nothing interesting about his part in the film. I guess Rumor Has It gets points for having a cute idea, but unfortunately, it still... sucks.
And yes, I am fully aware that I devoted nearly 500 words to a crappy romantic comedy. I'm sorry. What do you want from me?
*Well, I believe in the soul, the cock, the pussy, the small of a woman's back, the hanging curve ball, high fiber, good scotch, that the novels of Susan Sontag are self-indulgent, overrated crap. I believe Lee Harvey Oswald acted alone. I believe there ought to be a constitutional amendment outlawing Astroturf and the designated hitter. I believe in the sweet spot, soft-core pornography, opening your presents Christmas morning rather than Christmas Eve and I believe in long, slow, deep, soft, wet kisses that last three days.
*swoon*
Admittedly, the movie wasn't horrible - I've seen worse romantic comedies (Runaway Bride and Forces of Nature immediately spring to mind). In case you're unfamiliar with the plot, a young woman (Jennifer Aniston) returns home to Southern California for her younger sister's wedding, where she realizes that her mother and grandmother may have been the inspiration for Mrs. Robinson and Elaine in The Graduate. So she seeks out Beau Burroughs (aka Benjamin Braddock - played by Kevin Costner) and ends up sleeping with him and freaks out, because she thinks he may be her father. This much of the film is actually not that bad in theory, but the execution is questionable. Jennifer Aniston is cute enough (although suspension of disbelief is required to figure out why someone as attractive as her can't meet men), but I haven't found Kevin Costner attractive since Bull Durham and even that's only because of the "Well, I believe in the soul..." speech* he gives to Susan Sarandon's character. Now I really want to watch Bull Durham...
Anyway, because having Jennifer Aniston end up with a man old enough to be her father is vaguely icky, there is another character. Enter Mark Ruffalo, whose character is completely superfluous. He plays Jennifer Aniston's fiance and is basically only there at three key points in the film: the beginning, to establish their relationship; the middle, to tell her that the engagement is off because she's fooling around with Kevin Costner; and the end, to tell her that he accepts her apology and wants to marry her. I adore Ruffalo as an actor, but there is nothing interesting about his part in the film. I guess Rumor Has It gets points for having a cute idea, but unfortunately, it still... sucks.
And yes, I am fully aware that I devoted nearly 500 words to a crappy romantic comedy. I'm sorry. What do you want from me?
*Well, I believe in the soul, the cock, the pussy, the small of a woman's back, the hanging curve ball, high fiber, good scotch, that the novels of Susan Sontag are self-indulgent, overrated crap. I believe Lee Harvey Oswald acted alone. I believe there ought to be a constitutional amendment outlawing Astroturf and the designated hitter. I believe in the sweet spot, soft-core pornography, opening your presents Christmas morning rather than Christmas Eve and I believe in long, slow, deep, soft, wet kisses that last three days.
*swoon*
Saturday, April 07, 2007
See You at the Grindhouse
Sometimes, you go to a movie and come out feeling enlightened, educated, like a better person for having seen it. Sometimes you admire the technical achievements of a film. And sometimes, you just come out thinking "Damn, that was fun."
Grindhouse is obviously the third option. It's been so long since I went to see a movie and marveled at how much fun I was having. I mean, Blades of Glory was funny when Will Arnett and Amy Poehler had center stage, Zodiac was gripping and thrilling, and Reno 911: Miami was entertaining but ultimately rather disappointing, to name a few recent movie escapades. But Grindhouse was just plain fun. Gross-out, jump-out-of-your-seat, grip-the-chair-arms-in-terror, laugh-your-ass-off-when-it's-done fun. It's clear that Tarantino and Rodriguez really love the genre to which they're paying homage.
I liked Robert Rodriguez's Planet Terror for its sheer awe-inspiring intentional badness. The plot makes no sense (is there a plot?), the dialog is hokey and the movie is horribly underlit. But it's all in good fun, and when you're not cringing at the extreme gore, you're probably laughing at the absurdity of it. "It's a no-brainer," Josh Brolin says of a head that has... well, no brain. And even though it's quite possibly the most obvious pun on the planet, it's really fucking funny. Rodriguez only shoots on digital these days, and he used that to good effect, scratching up the "film" to an occasionally unwatchable degree, which just adds charm.
Death Proof, Tarantino's contribution to the film, could stand alone as an actual good film. Whereas Rodriguez's installment only really works as part of the Grindhouse gimmick, Death Proof is good - well-acted and genuinely suspenseful, with a great cast of characters. So what if Tarantino likes to have his characters sit around and talk? The banter is witty and engaging, and he writes interesting characters. The girls are sassy and feminine and assertive. Kurt Russell's "Stuntman Mike" is simultaneously seductive and scary, and then batshit crazy, in an awesome way, of course. And then when the car chases start... holy shit. The stuntwork and driving are mindblowing.
And then there were the faux-trailers. Would it surprise you to hear that Edgar Wright's was my favorite? Didn't think so. Plus, Will Arnett did the voice over for it. One of my favorite actors working with one of my favorite up-and-coming directors? I only hope they collaborate again in the future. The other trailers were good too, but I don't want to spoil too much of the amazingness.
Seeing Grindhouse at the movie theaters at The Grove - with their leather seats, stadium seating, and computerized snack bar ordering system - was probably antithetical to the whole grindhouse experience. Regardless, there's something about the shared moviegoing experience - the hushed whispers during the coming attractions, the smell of popcorn, the feeling of anticipation as the film begins - that makes me think that Grindhouse won't translate quite as well to DVD. The individual films, perhaps, especially Tarantino's. But Grindhouse as a whole is an experience that you've got to get off your ass and go to the theaters to see.
Grindhouse is obviously the third option. It's been so long since I went to see a movie and marveled at how much fun I was having. I mean, Blades of Glory was funny when Will Arnett and Amy Poehler had center stage, Zodiac was gripping and thrilling, and Reno 911: Miami was entertaining but ultimately rather disappointing, to name a few recent movie escapades. But Grindhouse was just plain fun. Gross-out, jump-out-of-your-seat, grip-the-chair-arms-in-terror, laugh-your-ass-off-when-it's-done fun. It's clear that Tarantino and Rodriguez really love the genre to which they're paying homage.
I liked Robert Rodriguez's Planet Terror for its sheer awe-inspiring intentional badness. The plot makes no sense (is there a plot?), the dialog is hokey and the movie is horribly underlit. But it's all in good fun, and when you're not cringing at the extreme gore, you're probably laughing at the absurdity of it. "It's a no-brainer," Josh Brolin says of a head that has... well, no brain. And even though it's quite possibly the most obvious pun on the planet, it's really fucking funny. Rodriguez only shoots on digital these days, and he used that to good effect, scratching up the "film" to an occasionally unwatchable degree, which just adds charm.
Death Proof, Tarantino's contribution to the film, could stand alone as an actual good film. Whereas Rodriguez's installment only really works as part of the Grindhouse gimmick, Death Proof is good - well-acted and genuinely suspenseful, with a great cast of characters. So what if Tarantino likes to have his characters sit around and talk? The banter is witty and engaging, and he writes interesting characters. The girls are sassy and feminine and assertive. Kurt Russell's "Stuntman Mike" is simultaneously seductive and scary, and then batshit crazy, in an awesome way, of course. And then when the car chases start... holy shit. The stuntwork and driving are mindblowing.
And then there were the faux-trailers. Would it surprise you to hear that Edgar Wright's was my favorite? Didn't think so. Plus, Will Arnett did the voice over for it. One of my favorite actors working with one of my favorite up-and-coming directors? I only hope they collaborate again in the future. The other trailers were good too, but I don't want to spoil too much of the amazingness.
Seeing Grindhouse at the movie theaters at The Grove - with their leather seats, stadium seating, and computerized snack bar ordering system - was probably antithetical to the whole grindhouse experience. Regardless, there's something about the shared moviegoing experience - the hushed whispers during the coming attractions, the smell of popcorn, the feeling of anticipation as the film begins - that makes me think that Grindhouse won't translate quite as well to DVD. The individual films, perhaps, especially Tarantino's. But Grindhouse as a whole is an experience that you've got to get off your ass and go to the theaters to see.
Friday, April 06, 2007
Lemon, what happened in your life to make you believe people are good?
I'm a bit surprised I'm saying this, but I think that I might like 30 Rock more than The Office. Nothing against Michael Scott and company, but the sheer absurdity of 30 Rock's asides plus Alec Baldwin plus Kenneth the Page is just too good. And when you throw Will Arnett into the mix? We're talking almost Arrested Development levels of amazingness.
Revisiting 30 Rock's first season on DVD, you can see how it found itself and developed into a worthy successor to Arrested Development as the most under-appreciated comedy on television. The show may have started off on rough footing, but even when it was struggling, it showed signs of the truly brilliant show it has the potential to become. And it did become that show, thanks in part to stellar performances all around, great guest casting, and awesomely geeky Star Wars references, my personal favorite being:
Liz: The Hair asked ME out.
Jenna: What? THE The Hair? Well, what did you say?
Liz: I had to say yes. I mean, he looked at me with those crazy handsome guy eyes... it was like the Death Star tractor beam when the Falcon--
Jenna: No, Liz, do not talk about stuff like that on your date. Guys like that don't like Star Trek--
Liz: WARS!
My favorite episodes of the first season would have to be Fireworks, Black Tie, and Jack-Tor, with Blind Date and The Head and the Hair getting honorable mention. Fireworks and Black Tie feature some great guest appearances by Will Arnett, Rip Torn, Isabella Rossellini, and Paul Reubens - a random assortment of actors if you've ever seen one. Jack-Tor features some of Alec Baldwin's funniest moments in a montage of his character filming a promotional video.
And there are just so many awesome little touches, like the names of the ridiculous sketches on The Girly Show (30 Rock's show within a show), Jenna's obsession with her sexuality, Tracy's entourage of Griz and Dot Com, Jack's uptight personal assistant, and Liz's moments of sheer nerdery. Plus, the movie references are plentiful.
Wednesday, April 04, 2007
Baseball season is here!
YankeeGirl247: i'm so bummed i'm going to be missing andy pettite's opening game tomorrow
lawnwranglergirl: what time is the game?
YankeeGirl247: 1
lawnwranglergirl: well i'll be watching the gameday.... which is to watching the real game what methadone is to heroin
YankeeGirl247: .....right
lawnwranglergirl: what time is the game?
YankeeGirl247: 1
lawnwranglergirl: well i'll be watching the gameday.... which is to watching the real game what methadone is to heroin
YankeeGirl247: .....right
Saturday, March 31, 2007
I Am an Unabashed Will Arnett Fangirl
Let's Go to Prison was supposed to show the world as a whole that Will Arnett was the funniest man on the planet. But, it wasn't very good,* and no one went to see it, and the genius that is Will Arnett remained hidden to everyone except those who worshiped Arrested Development. That's okay. Because along came Blades of Glory. Ostensibly, Blades is Will Ferrell and Napoleon Dynamite-- I mean, Jon Heder's show, and as unlikely as it may seem, Will Arnett and Amy Poehler totally steal said show. Between skating to Marky Mark and the Funky Bunch's "Good Vibrations," laying on a bearskin rug, and just being all out over the top ridiculous, Will Arnett was clearly the audience favorite during the 8:15 show at the Grove.
The film itself was funny - not in the same league as Anchorman or Zoolander, though. There are some lapses in logic/abandoned plot threads that you're willing to overlook in the name of being entertained, and I don't particularly think that Jon Heder is funny, but he didn't invoke anger in me the way that he did in Napoleon Dynamite. And sure, the two are funny in that "oh man they are acting so gay - not that there's anything wrong with that" sort of way. But Will Arnett and Amy Poehler (and to an extent, Jenna Fischer - who, I must say, looked totally hot) were just so wonderfully over the top and inappropriate, they easily stole the show. An ice skating routine dramatizing the relationship between Marilyn and JFK? So beautifully absurd. And incest, when played by a real life husband and wife, is just funny.
*It did have a few extremely funny moments. Will Arnett singing "Move This" definitely qualifies, as does... okay that was it. Will in general was quite funny. Dax Shepard? Eh... not so much.
The film itself was funny - not in the same league as Anchorman or Zoolander, though. There are some lapses in logic/abandoned plot threads that you're willing to overlook in the name of being entertained, and I don't particularly think that Jon Heder is funny, but he didn't invoke anger in me the way that he did in Napoleon Dynamite. And sure, the two are funny in that "oh man they are acting so gay - not that there's anything wrong with that" sort of way. But Will Arnett and Amy Poehler (and to an extent, Jenna Fischer - who, I must say, looked totally hot) were just so wonderfully over the top and inappropriate, they easily stole the show. An ice skating routine dramatizing the relationship between Marilyn and JFK? So beautifully absurd. And incest, when played by a real life husband and wife, is just funny.
*It did have a few extremely funny moments. Will Arnett singing "Move This" definitely qualifies, as does... okay that was it. Will in general was quite funny. Dax Shepard? Eh... not so much.
Wednesday, March 21, 2007
Zodiac
I once heard the main theme from True Romance in a commercial. I recognized it, but I couldn't recall from where I recognized it. This drove me absolutely crazy, especially because the playful xylophone-filled tune doesn't scream True Romance. I racked my brain for quite some time trying to figure out where I had heard the music before until it hit me one day at dinner and with a mouth full of chicken I triumphantly shouted, "True Romance!" The rest of my family was a bit confused. But I was happy. The feeling of accomplishment I got from figuring it out was quite good. And I think that's why I liked Zodiac so much. Although it isn't really comparable with regard to scale, I could completely identify with Robert Graysmith and his insatiable desire to find out who the Zodiac Killer was.
Yes, the movie is long. IMDB tells me it is 158 minutes. However, it does not feel that long. It is incredibly suspenseful in parts and genuinely looks like a film from the 1970s. It's substantially funnier than one might expect. The acting was fantastic all around, and only once did my mind wander and imagine Jake Gyllenhaal and Mark Ruffalo making out. Just kidding. Kind of. But flights of fancy aside, Zodiac is a smart, tense thriller that is haunting in its open-ended-ness. Go see it instead of wasting your time with 300.
Yes, the movie is long. IMDB tells me it is 158 minutes. However, it does not feel that long. It is incredibly suspenseful in parts and genuinely looks like a film from the 1970s. It's substantially funnier than one might expect. The acting was fantastic all around, and only once did my mind wander and imagine Jake Gyllenhaal and Mark Ruffalo making out. Just kidding. Kind of. But flights of fancy aside, Zodiac is a smart, tense thriller that is haunting in its open-ended-ness. Go see it instead of wasting your time with 300.
Monday, March 19, 2007
Musical Memories
It's amazing how one song or album can bring you so vividly back to a place. I first discovered the Arcade Fire shortly before my trip to Cannes last year. I was flying all by myself, and after I had exhausted the possibilities of the inflight video on demand entertainment system (which was actually quite good), it was time for the iPod. I listened to Funeral. And I listened to it again. And again.
And when I heard "Wake Up" on Lauren's mix CD the other day, it was a crazy flashback. No longer was I in a rental car heading east on the 10. I was sitting in the Paris airport, waiting to board a flight to Nice, filled with equal parts excitement and fear. I was relaxing in a bunk bed, writing mini-reviews of the three movies I had seen earlier that day. I was sitting on the balcony at 4 AM, trying to sober up and squeeze in a few hours of sleep before I headed out for the next day's 8 AM screening. Damn, I had a good time.
I wish I could go back this year.
And when I heard "Wake Up" on Lauren's mix CD the other day, it was a crazy flashback. No longer was I in a rental car heading east on the 10. I was sitting in the Paris airport, waiting to board a flight to Nice, filled with equal parts excitement and fear. I was relaxing in a bunk bed, writing mini-reviews of the three movies I had seen earlier that day. I was sitting on the balcony at 4 AM, trying to sober up and squeeze in a few hours of sleep before I headed out for the next day's 8 AM screening. Damn, I had a good time.
I wish I could go back this year.
Monday, March 12, 2007
Let's Go to Prison... or not.
One of the perks of my internship is free DVDs. Basically, all the studio's new releases are delivered on Tuesday and the marketing department takes what they want, starting with the execs and ending with the interns if there is anything left by then. Last week, it was only Magnum, P.I., which I politely declined. This week... jackpot. In a way.
Let's Go to Prison.
I would not buy this movie. I even felt guilty putting the monthly cost of my Netflix subscription towards it. But free? I'll take it!
So I watched it.
I wouldn't go so far as to say it was a waste of time, and after all, there is something alluring about a free DVD but... I think disappointed is the best word for it. After all, Bob Odenkirk + Will Arnett + a couple of Reno 911/The State writers seems like an awesome combination. But... it isn't. I definitely laughed, specifically at Will Arnett. Specifically at him singing "Move This." Oh dear lord can that man spin gold from straw. Hopefully Blades of Glory will end the string of bad movies he's made post-Arrested Development (although to be completely honest, I don't think it will), but even if it doesn't, he's sure to be the bright spot in it.
Let's Go to Prison.
I would not buy this movie. I even felt guilty putting the monthly cost of my Netflix subscription towards it. But free? I'll take it!
So I watched it.
I wouldn't go so far as to say it was a waste of time, and after all, there is something alluring about a free DVD but... I think disappointed is the best word for it. After all, Bob Odenkirk + Will Arnett + a couple of Reno 911/The State writers seems like an awesome combination. But... it isn't. I definitely laughed, specifically at Will Arnett. Specifically at him singing "Move This." Oh dear lord can that man spin gold from straw. Hopefully Blades of Glory will end the string of bad movies he's made post-Arrested Development (although to be completely honest, I don't think it will), but even if it doesn't, he's sure to be the bright spot in it.
Thursday, March 08, 2007
P-p-p-p-p-p-p-lease, Eddie!
One of the things I've been doing at work is compiling a list of film-related websites. While working on that task, I found this article:
Who Delayed Roger Rabbit?
I love Who Framed Roger Rabbit. It's quite possibly one of my favorite movies of all time, and the above article is incredibly interesting. It also explains why Roger Rabbit seems to have such a small presence at the Disney theme parks. Anyway, it's worth a read if you have any interest in the film.
Who Delayed Roger Rabbit?
I love Who Framed Roger Rabbit. It's quite possibly one of my favorite movies of all time, and the above article is incredibly interesting. It also explains why Roger Rabbit seems to have such a small presence at the Disney theme parks. Anyway, it's worth a read if you have any interest in the film.
Thursday, March 01, 2007
Movies in Brief, Volume 2
The latest movie reviews I don't particularly feel like devoting an entire entry to:
Factory Girl
Here's the thing about Factory Girl: it suffered from pretty lackluster buzz, its most recognizable star was Jimmy Fallon (which isn't necessarily a bad thing), and it had Sienna "the biggest thing I've done in my career is Jude Law" Miller in the title role. But it didn't really suck. It had some problems, but overall, it was actually a pretty good movie. Sienna Miller did a fantastic job. And on a shallow note - which, I have to add, almost all my "movie reviews" have, and that makes me a little sad, because I'm really not shallow - Hayden Christensen was a very sexy Bob Dylan - oh wait, excuse me, "Billy Quinn." Oh! I almost forgot to add: Two members of the Velvet Underground are played by Weezer bandmembers Pat and Brian. Weezer lives!
Half Nelson
I got this movie from Netflix right before the Oscars, and I was determined to watch it before the ceremony. That didn't work, but since the Oscars end at 9:30 on the West Coast, I popped it in as soon as I got home from the Oscar party I attended. Oh man. I was completely blown away. The film was incredible, and Ryan Gosling really did give a great performance. If only half the people who have seen him in The Notebook would give this film a chance...
Howl's Moving Castle
Not quite as good as Spirited Away, but still quite good. I started watching it in Japanese with subtitles - and I don't have a problem with subtitles - until I remembered that Batman himself, Christian Bale, voiced Howl. So it was to dubbed in English I went.
Badlands
Badlands had been on my to-see list for quite some time now - I adore films of the 1970s. It is an odd little movie. It's a movie about a killer, but there's not a lot of violence, and most of the film relies on narration from Sissey Spacek, which seems to go against every screenwriting rule you've been taught, and there are lots of gorgeous, lingering nature shots. Of course, it actually works, because Terrance Malick is an extremely talented director and because directors were able to get away with weird stuff like that 35 years ago. And I have to say, I was quite impressed by Martin Sheen in this movie.
However, the most notable thing about this movie, for me, is the main theme. It's a seemingly uncharacteristic melodic/percussive piece that was paid homage to by Hans Zimmer for the score of True Romance, a similar seemingly uncharacteristic film. Some time ago, I heard this theme in a commercial or movie trailer or something, and nearly jumped out a window because I simply could not remember where it had come from. I eventually did remember that it was from True Romance and in turn Badlands and then I was happy. But that was one of those things that made my brain hurt for a few days...
Infernal Affairs
As you probably know, Infernal Affairs is a Hong Kong action film that was remade as The Departed, one of my favorite films in recent memory. both films have the same basic plot - a cop undercover with the mob and a dirty cop with ties to the mob are both assigned to find themselves and are trying to find each other. Chaos and much violence ensue. While I'm partial to The Departed, Infernal Affairs is a great, entertaining movie in its own right.
The major difference between Infernal Affairs and The Departed is the running time - Infernal Affairs moves so quickly, it's about an hour shorter than The Departed. This is not to say that The Departed moves slowly; Infernal Affairs just moves at that much of a breakneck pace.
Spaced
Ok, so it's a British TV series, not a film, and I've already devoted an entire post to it. But I finally finished the whole series and it really is brilliant. However you can get your hands on it, do so. And hope that they eventually see how lucrative a region 1 release would be. Also, I really wanted to share this exchange:
Factory Girl
Here's the thing about Factory Girl: it suffered from pretty lackluster buzz, its most recognizable star was Jimmy Fallon (which isn't necessarily a bad thing), and it had Sienna "the biggest thing I've done in my career is Jude Law" Miller in the title role. But it didn't really suck. It had some problems, but overall, it was actually a pretty good movie. Sienna Miller did a fantastic job. And on a shallow note - which, I have to add, almost all my "movie reviews" have, and that makes me a little sad, because I'm really not shallow - Hayden Christensen was a very sexy Bob Dylan - oh wait, excuse me, "Billy Quinn." Oh! I almost forgot to add: Two members of the Velvet Underground are played by Weezer bandmembers Pat and Brian. Weezer lives!
Half Nelson
I got this movie from Netflix right before the Oscars, and I was determined to watch it before the ceremony. That didn't work, but since the Oscars end at 9:30 on the West Coast, I popped it in as soon as I got home from the Oscar party I attended. Oh man. I was completely blown away. The film was incredible, and Ryan Gosling really did give a great performance. If only half the people who have seen him in The Notebook would give this film a chance...
Howl's Moving Castle
Not quite as good as Spirited Away, but still quite good. I started watching it in Japanese with subtitles - and I don't have a problem with subtitles - until I remembered that Batman himself, Christian Bale, voiced Howl. So it was to dubbed in English I went.
Badlands
Badlands had been on my to-see list for quite some time now - I adore films of the 1970s. It is an odd little movie. It's a movie about a killer, but there's not a lot of violence, and most of the film relies on narration from Sissey Spacek, which seems to go against every screenwriting rule you've been taught, and there are lots of gorgeous, lingering nature shots. Of course, it actually works, because Terrance Malick is an extremely talented director and because directors were able to get away with weird stuff like that 35 years ago. And I have to say, I was quite impressed by Martin Sheen in this movie.
However, the most notable thing about this movie, for me, is the main theme. It's a seemingly uncharacteristic melodic/percussive piece that was paid homage to by Hans Zimmer for the score of True Romance, a similar seemingly uncharacteristic film. Some time ago, I heard this theme in a commercial or movie trailer or something, and nearly jumped out a window because I simply could not remember where it had come from. I eventually did remember that it was from True Romance and in turn Badlands and then I was happy. But that was one of those things that made my brain hurt for a few days...
Infernal Affairs
As you probably know, Infernal Affairs is a Hong Kong action film that was remade as The Departed, one of my favorite films in recent memory. both films have the same basic plot - a cop undercover with the mob and a dirty cop with ties to the mob are both assigned to find themselves and are trying to find each other. Chaos and much violence ensue. While I'm partial to The Departed, Infernal Affairs is a great, entertaining movie in its own right.
The major difference between Infernal Affairs and The Departed is the running time - Infernal Affairs moves so quickly, it's about an hour shorter than The Departed. This is not to say that The Departed moves slowly; Infernal Affairs just moves at that much of a breakneck pace.
Spaced
Ok, so it's a British TV series, not a film, and I've already devoted an entire post to it. But I finally finished the whole series and it really is brilliant. However you can get your hands on it, do so. And hope that they eventually see how lucrative a region 1 release would be. Also, I really wanted to share this exchange:
Daisy: How you feeling this morning?Hee. It also earns points for Tim's pure unadulterated hatred of The Phantom Menace and (nerd alert) the use of the original Ewok song. Oh, yeah, and I met the director. ;)
Tim: Very rough, actually. I swear to god that I will never drink again... until lunchtime.
Daisy: Very wise.
Tim: So, how's it feel to be 26?
Daisy: Hmmm... a bit gassy.
Tim: Well, gettin' old. You'd be dead in 4 years if this was Logan's Run.
Daisy: Ugh, that'd be terrible.
Tim: I know, I look like a twat in a jumpsuit.
Daisy: Don't say that, Tim. That's a horrible word that hates women.
Tim: What, twat?
Daisy: No, jumpsuit.
Sunday, February 25, 2007
Reno 911!: Miami
Hmmm.
That would be how I feel about the Reno 911 movie.
On one hand, how can you not love the sheer inappropriateness brought about by an R rating, cameos by The Rock and Paul Rudd, and a reunion of the team behind the best sketch comedy show you never watched, The State. But... sitting here an hour after the movie got out, the most memorable thing about the movie was the cover version of "Police and Thieves," which made me think "Oh no, someone covered this song and now there will be people who don't know it's by The Clash!"
I mean, yeah, it was funny. I laughed. And really, it would have made a great 30 minute episode. But a 90 minute movie (err... not even 90 minute movie)? Not so much. Even though it doesn't seem right to complain about a complete and total lack of coherence in the plot for a movie like this, I will. Because it all seemed like a bunch of sketches stuck together. And sure, nudity and profanity are fun, but when that's not what originally made the show funny, it seems like a crutch to fall back on for cheap laughs.
I was super glad to see the Stella boys. I definitely squealed when I saw David Wain and was kind of surprised that there wasn't much more of a reaction. There was a bit more of a buzz when Michael Showalter and Michael Ian Black showed up, but that's probably due to Michael Ian Black's I Love the 80s work. Also, Paul Rudd's Scarface impression was pretty hilarious, probably one of the most amusing parts of the movie for me.
I know I haven't seen Hot Fuzz yet, but based on the screenplay, I think it did the action movie spoof descending into action movie actuality with a climactic shootout better. Also, Hot Fuzz trailer on the big screen? Hi-larious. Either the trailer was different than the one I had previously seen, or I got more out of it having read the script. The sight of Nicholas Angel on what appeared to be some form of public transportation despondently clutching his plant was brilliant, and it just looks so good. Also: Simon Pegg - swoon. I'm stoked.
(Ok I just went back and watched the trailer on apple.com/trailers and it's the one I just saw in the theater, so I guess I just got more out of it after reading the script.)
So yeah, Reno 911!: Miami definitely has its funny moments... sadly, the funny moments just aren't enough to fill out the entire hour and a half.
Ohhhhh... Kiss Kiss, Bang Bang is on right now. Goddammit, do I ever have a thing for Robert Downey Jr. in this movie.
That would be how I feel about the Reno 911 movie.
On one hand, how can you not love the sheer inappropriateness brought about by an R rating, cameos by The Rock and Paul Rudd, and a reunion of the team behind the best sketch comedy show you never watched, The State. But... sitting here an hour after the movie got out, the most memorable thing about the movie was the cover version of "Police and Thieves," which made me think "Oh no, someone covered this song and now there will be people who don't know it's by The Clash!"
I mean, yeah, it was funny. I laughed. And really, it would have made a great 30 minute episode. But a 90 minute movie (err... not even 90 minute movie)? Not so much. Even though it doesn't seem right to complain about a complete and total lack of coherence in the plot for a movie like this, I will. Because it all seemed like a bunch of sketches stuck together. And sure, nudity and profanity are fun, but when that's not what originally made the show funny, it seems like a crutch to fall back on for cheap laughs.
I was super glad to see the Stella boys. I definitely squealed when I saw David Wain and was kind of surprised that there wasn't much more of a reaction. There was a bit more of a buzz when Michael Showalter and Michael Ian Black showed up, but that's probably due to Michael Ian Black's I Love the 80s work. Also, Paul Rudd's Scarface impression was pretty hilarious, probably one of the most amusing parts of the movie for me.
I know I haven't seen Hot Fuzz yet, but based on the screenplay, I think it did the action movie spoof descending into action movie actuality with a climactic shootout better. Also, Hot Fuzz trailer on the big screen? Hi-larious. Either the trailer was different than the one I had previously seen, or I got more out of it having read the script. The sight of Nicholas Angel on what appeared to be some form of public transportation despondently clutching his plant was brilliant, and it just looks so good. Also: Simon Pegg - swoon. I'm stoked.
(Ok I just went back and watched the trailer on apple.com/trailers and it's the one I just saw in the theater, so I guess I just got more out of it after reading the script.)
So yeah, Reno 911!: Miami definitely has its funny moments... sadly, the funny moments just aren't enough to fill out the entire hour and a half.
Ohhhhh... Kiss Kiss, Bang Bang is on right now. Goddammit, do I ever have a thing for Robert Downey Jr. in this movie.
Friday, February 16, 2007
How's that for a slice of fried gold?
So the Hot Fuzz hype is in full force at work. It's kind of awesome, and it's renewed my desire to see Spaced, Simon Pegg, Nick Frost, and Edgar Wright's first project together. If there were any justice in the world, this show would be available on region 1 DVD. Alas, it is not. That doesn't mean I didn't pursue other methods of obtaining it.
Spaced is about two strangers who pose as a couple to get a good deal on an apartment. It's got more pop culture references than you could possibly take in in one viewing, it's incredibly funny, and surprisingly touching. Tim's obsession with Gillian Anderson is hilarious, Daisy's complete inability to write is all too relateable, and Mike's desire to invade Paris is absurdly amazing. And Simon Pegg is just so damn adorable as Tim.
But truly, the great thing about Spaced is its ability to balance Evil Dead references with poignant passages like this one:
Sigh. So good. I cannot wait for Hot Fuzz. And I'm kind of in love with Simon Pegg.
ETA: I met Edgar Wright at work today (2/22)! *swoon*
Spaced is about two strangers who pose as a couple to get a good deal on an apartment. It's got more pop culture references than you could possibly take in in one viewing, it's incredibly funny, and surprisingly touching. Tim's obsession with Gillian Anderson is hilarious, Daisy's complete inability to write is all too relateable, and Mike's desire to invade Paris is absurdly amazing. And Simon Pegg is just so damn adorable as Tim.
But truly, the great thing about Spaced is its ability to balance Evil Dead references with poignant passages like this one:
Life just isn't like the movies is it? We're constantly led to believe in resolution in the establishment of the ideal status qua, and it's just not true. Happy endings are a myth. Designed to make us feel better about the fact that life is just another thankless struggle.
Sigh. So good. I cannot wait for Hot Fuzz. And I'm kind of in love with Simon Pegg.
ETA: I met Edgar Wright at work today (2/22)! *swoon*
Tuesday, February 13, 2007
Rebel Without a Planetarium
Thanks to the fact that I attended a Catholic high school, I've been somewhat put off the religion I was raised to believe. In its place, I've joined the church of Hollywood. No, not Scientology. I've become a lover of movies, a worshipper of the auteur, one who bows at the many altars of Paramount, Universal, and Warner Bros.
Moving out to LA, then, has been a sort of a pilgrimage to the holy land. It's surreal, wonderful, and a bit scary. And the potential for a religious experience, of sorts, is right under your nose at all times. Although my tastes run more towards the iconoclastic directors of the 1970s like Scorsese and Altman, I still appreciate classic Hollywood films, and there's one classic I appreciate more than the rest: Rebel Without a Cause. Accordingly, my first true religious experience came via a visit to Griffith Observatory.
It was quite surreal, not to mention a very fun trip, with some amazing views of the city. And as I stood outside the front of the observatory, staring at a bust of James Dean with the Hollywood sign in the background, taking it all in by myself, I got a little chill. I'm really here. Hooray for Hollywood, indeed.
Moving out to LA, then, has been a sort of a pilgrimage to the holy land. It's surreal, wonderful, and a bit scary. And the potential for a religious experience, of sorts, is right under your nose at all times. Although my tastes run more towards the iconoclastic directors of the 1970s like Scorsese and Altman, I still appreciate classic Hollywood films, and there's one classic I appreciate more than the rest: Rebel Without a Cause. Accordingly, my first true religious experience came via a visit to Griffith Observatory.
It was quite surreal, not to mention a very fun trip, with some amazing views of the city. And as I stood outside the front of the observatory, staring at a bust of James Dean with the Hollywood sign in the background, taking it all in by myself, I got a little chill. I'm really here. Hooray for Hollywood, indeed.
Saturday, February 10, 2007
Bayliss and Bolander and Munch, oh my!
So I've temporarily (or maybe not so temporarily) relocated to Los Angeles. Needless to say, it's weird. Being that I had to pack my entire life in two 50 lb suitcases, I had to leave a lot of my DVDs at home. I only brought 8 with me, and it makes me kinda sad. One of the things I had to leave at home was the 7 season box set of Homicide: Life on the Street, which I got for Christmas. It makes me really sad because over break I was well on my way to not watching any movies until I got through all 7 seasons of Homicide (and the movie).
Ok, that's a lie, because I did take a break to watch both Munich and some vintage first season SNL. But it would also be a lie to say that I didn't immensely enjoy Homicide. It is easily the best show that you (or I) never watched while it aired from 1993 to 1999. Homicide is different from L&O or CSI in that it is the complete opposite of a procedural. There's no formula; no "the special guest star did it," and often no closure. The detectives' personal lives were sometimes more important to the story than the crime committed. Probably because of its unique, gritty approach, Homicide was criminally underwatched during its 7 season run (I'm sensing a trend here in my TV loves - Homicide, The Ben Stiller Show, Mr. Show, Sports Night, Arrested Development), but that only seems to make it better, knowing you were one of a small, select group that got to experience this phenomenal show.
One of the things that set Homicide aside from the rest of the cop shows on the air was its excellent use of music. It didn't do the end of episode/heartfelt tune montage that House pretty much does weekly. Whoever was in charge of selecting music for the series did so with care and attention to something other than the pop charts. A 4th season episode has Munch (yes, Richard Belzer's John Munch of Law & Order: SVU originated on Homicide) listening to Leonard Cohen's "Suzanne," which is quite possibly the best artist ever for Munch to be listening to.
Anyway, the point of this all is to say if you have not seen Homicide: Life on the Streets, I implore you to check it out. You'll be rewarded with one of the best series of the 1990s, and you'll find yourself wondering: "Why didn't I watch this when it was on?"
Completely unrelated, I burned my elbow on the oven yesterday and now it is painful to lean on. I'm a spaz.
Ok, that's a lie, because I did take a break to watch both Munich and some vintage first season SNL. But it would also be a lie to say that I didn't immensely enjoy Homicide. It is easily the best show that you (or I) never watched while it aired from 1993 to 1999. Homicide is different from L&O or CSI in that it is the complete opposite of a procedural. There's no formula; no "the special guest star did it," and often no closure. The detectives' personal lives were sometimes more important to the story than the crime committed. Probably because of its unique, gritty approach, Homicide was criminally underwatched during its 7 season run (I'm sensing a trend here in my TV loves - Homicide, The Ben Stiller Show, Mr. Show, Sports Night, Arrested Development), but that only seems to make it better, knowing you were one of a small, select group that got to experience this phenomenal show.
One of the things that set Homicide aside from the rest of the cop shows on the air was its excellent use of music. It didn't do the end of episode/heartfelt tune montage that House pretty much does weekly. Whoever was in charge of selecting music for the series did so with care and attention to something other than the pop charts. A 4th season episode has Munch (yes, Richard Belzer's John Munch of Law & Order: SVU originated on Homicide) listening to Leonard Cohen's "Suzanne," which is quite possibly the best artist ever for Munch to be listening to.
Anyway, the point of this all is to say if you have not seen Homicide: Life on the Streets, I implore you to check it out. You'll be rewarded with one of the best series of the 1990s, and you'll find yourself wondering: "Why didn't I watch this when it was on?"
Completely unrelated, I burned my elbow on the oven yesterday and now it is painful to lean on. I'm a spaz.
Thursday, February 08, 2007
To Widescreen or Not to Widescreen?
If there's one thing I take more seriously than anything else in my film snobbery, it's aspect ratio. There's nothing that bothers me more than watching a widescreen movie in pan and scan, or, on our HDTV at home, watching a standard definition TV show stretched out to 16:9. Say what you will about the size and shape of the TV, but I want to watch a movie in the format the director intended. That being said, even though I own the DVDs in widescreen, there's something I can't object to when it comes to the Star Wars trilogy in pan and scan. 10 year old Christina didn't care about the aspect ratio of Star Wars when she first saw it.
Point? I came home from my internship the other day and The Empire Strikes Back - my personal favorite of the trilogy - was on TV. And watching it made me happy. It made me remember why I loved movies so much in the first place. And I didn't care that it wasn't in widescreen.
Point? I came home from my internship the other day and The Empire Strikes Back - my personal favorite of the trilogy - was on TV. And watching it made me happy. It made me remember why I loved movies so much in the first place. And I didn't care that it wasn't in widescreen.
Wednesday, February 07, 2007
Great Expectations (1998)
Confession #1: I have never read Great Expectations.
Confession #2: I kind of love Alfonso Cuaron's film adaptation, probably because I've never read the book.
Confession #2: I kind of love Alfonso Cuaron's film adaptation, probably because I've never read the book.
Friday, February 02, 2007
Ch-ch-ch-ch-changes, turn and face the strain...
White text on a black background was giving me a headache.
Wednesday, January 31, 2007
"I like to remember things my own way... how I remembered them. Not necessarily how they happened."
On my way to the bank, I spotted this garage:
After doing an image search and coming up unsuccessful, I pose the question to you: Is this in fact the garage featured in David Lynch's Lost Highway?
After doing an image search and coming up unsuccessful, I pose the question to you: Is this in fact the garage featured in David Lynch's Lost Highway?
Sunday, January 21, 2007
Movies in Brief, Volume 1
Relocating to LA has made me a busy, busy person. Here's all the movies I've seen since the move that I haven't had time to write about yet.
California Split: A lesser Robert Altman movie, but still, a really good one. I think Elliott Gould was one of the most awesome actors of the 1970s.
Code 46: A weird combination of Blade Runner, Lost in Translation and Brief Encounter with a vaguely Oedipal story on top of all that. But somehow it really really works. It's a romance, but it's not sappy, and it's futuristic without being sci-fi-nerdy. Tim Robbins and Samantha Morton are perfectly cast - they aren't the first pair that comes to mind when you think of a great couple, but they work so well together.
Derailed: I had no desire to see this when it came out, but it was on cable and I TiVo'd it because Clive Owen is the epitome of hot. I saw the twist coming from a mile away, and Vincent Cassel, who I normally like, just sort of irritated me. The frustrating thing is that the film started off quite promisingly, and if it hadn't had the twist, it probably would have been much more enjoyable. Needless to say, I deleted this from the DVR as soon as I finished watching it.
Dreamgirls: As a general rule, I enjoy stage musicals yet have a problem with movie musicals. I don't really know why, but I'm much more willing to accept someone breaking out into song on stage than I am to accept it on screen. The singing was good, but the acting underwhelmed me. And I strongly dislike Jamie Foxx (for stealing an Oscar from an extremely deserving Don Cheadle), so it had a strike against it going in. The film wasn't bad... but I can't honestly say it really appealed to me. On a shallow note, I was extremely thrilled to see my favorite office worker John Krasinski put in a cameo appearance.
For Your Consideration: Speaking of John Kraskinski, he had a cameo in this film as well (although I knew about this one). I absolutely loved it. I understand that it didn't have the universal appeal of Best in Show or A Mighty Wind, but I'm in on the joke. It felt even more appropriate to see it here in LA, in Hollywood. Ricky Gervais was an excellent addition to Guest's repertory company, each and every member of which was in top form.
Wordplay: It's wonderfully nerdy, but in a great way. Yes, people doing crossword puzzles are actually quite compelling. Plus, it's got nerd-girl heartthrobs Jon Stewart and Mike Mussina. How can you go wrong?
California Split: A lesser Robert Altman movie, but still, a really good one. I think Elliott Gould was one of the most awesome actors of the 1970s.
Code 46: A weird combination of Blade Runner, Lost in Translation and Brief Encounter with a vaguely Oedipal story on top of all that. But somehow it really really works. It's a romance, but it's not sappy, and it's futuristic without being sci-fi-nerdy. Tim Robbins and Samantha Morton are perfectly cast - they aren't the first pair that comes to mind when you think of a great couple, but they work so well together.
Derailed: I had no desire to see this when it came out, but it was on cable and I TiVo'd it because Clive Owen is the epitome of hot. I saw the twist coming from a mile away, and Vincent Cassel, who I normally like, just sort of irritated me. The frustrating thing is that the film started off quite promisingly, and if it hadn't had the twist, it probably would have been much more enjoyable. Needless to say, I deleted this from the DVR as soon as I finished watching it.
Dreamgirls: As a general rule, I enjoy stage musicals yet have a problem with movie musicals. I don't really know why, but I'm much more willing to accept someone breaking out into song on stage than I am to accept it on screen. The singing was good, but the acting underwhelmed me. And I strongly dislike Jamie Foxx (for stealing an Oscar from an extremely deserving Don Cheadle), so it had a strike against it going in. The film wasn't bad... but I can't honestly say it really appealed to me. On a shallow note, I was extremely thrilled to see my favorite office worker John Krasinski put in a cameo appearance.
For Your Consideration: Speaking of John Kraskinski, he had a cameo in this film as well (although I knew about this one). I absolutely loved it. I understand that it didn't have the universal appeal of Best in Show or A Mighty Wind, but I'm in on the joke. It felt even more appropriate to see it here in LA, in Hollywood. Ricky Gervais was an excellent addition to Guest's repertory company, each and every member of which was in top form.
Wordplay: It's wonderfully nerdy, but in a great way. Yes, people doing crossword puzzles are actually quite compelling. Plus, it's got nerd-girl heartthrobs Jon Stewart and Mike Mussina. How can you go wrong?
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