Seth's Film List
Slow starts are normal as I use DVD to catchup on last year for the first few months
I use Academy rules NY/LA release date criteria
Films listed Alpha, Top films (9 or above) in blue
71 total/32 theatrical
American Dreamz (6)
The Ant-Bully (5.5)
Apocalypto (9)
Babel (8.5)
Beerfest (3)
The Benchwarmers (1.5)
Blood Diamond (9)
Borat: CLAMBGNK (8.5)
The Break-Up (6.5)
Brick (8.5)
Cars (8)
Casino Royale (8.5)
Children of Men (10)
Clerks 2 (7.5)
Click (3)
Curse of the Golden Flower (7)
Dave Chappell's Block Party (8.5)
The Davinci Code (7.5)
The Decent (9)
The Departed (9.5)
The Devil Wears Prada (9)
Dreamgirls (9)
Employee of the Month (3)
Flags of Our Fathers (8)
Flushed Away (9.5)
The Fountain (9)
Friends with Money (7.5)
Happy Feet (4)
The Holiday (5)
Hostel (6.5)
Ice Age 2 (5)
The Illusionist (8)
An Inconvenient Truth (8)
Inside Man (8.5)
Invincible (8)
John Tucker Must Die (4.5)
Lady in the Water (6)
Last King of Scotland (9)
Letters from Iwo Jima (9)
Little Miss Sunshine (9.5)
Lucky Number Slevin (8)
Manderlay (9.5)
Marie Antoinette(9)
Miami Vice (9)
Mission Impossible 3 (8.5)
Monster House 3D (9)
My Super Ex-Girlfriend (4)
Night at the Museum (2.5)
Open Season (6)
Over the Hedge (8)
Pan's Labyrinth (9.5)
Pirates of the Carribean 2 (7.5)
The Presitige (9)
The Pursuit of Happiness(9)
The Queen (9.5)
Rocky Balboa (7.5)
A Scanner Darkly (8.5)
Silent Hill (3)
Snakes on a Plane (5.5)
Stranger Than Fiction (9.5)
Superman Returns (8.5)
Talledega Nights: Ballad of Ricky Bobby (7.5)
Tenacious D: Pick of Destiny (6)
Thank You for Smoking (9)
United 93 (9.5)
V for Vendetta (8.5)
Volver (10)
Why We Fight (8.5)
Wordplay (9)
X-Men 3 (8.5)
You, Me and Dupree (3.5)
With Bubble, Steven Soderbergh returns to his roots yielding some amazing results. This esoteric psychological drama showcases non-professional actors who are very confident in their roles giving raw realism to the ordinary people and the monotonous lives they portray.
This dark mystery purposely aims differently and as such audiences will react in the same manner, positively or negatively. Yet, I found it to be Soderberghs best work since Traffic.
Bubble - Steven Soderbergh's experimental film explores the seething discontent in a seemingly banal small town setting. Acting, dialogue, dramatics, camerawork, all are understated, and yet present characters chafing at the economic limitations their educational and geographic circumstances have imposed upon them. The performance Soderbergh draws out of the lead actress is extraordinary and the presentation is equally impressive, as a simple look or shot will convey a dark undercurrent to what we are watching. I was blown away by her reactions following the film's major event.
The music and Soderbergh's cutaways to the foreboding, barren landscape increase the hermetic atmosphere, that leads to the icing on the cake: as the credits roll we are greeted with the impassive faces of dolls and the factory surroundings that form much of the film's setting. These haunting images, reminiscent of Werner Herzog, end the film on a note of symbolic contemplation as we join the dolls in silently observing what we see before us. - A-
Nanny McPhee - A warm and magical family film that is a pleasant throwback to a more wholesome kind of family film free of gross-out "jokes" and pop culture references. It presents a simple message of self-reliance and family sticktoitiveness with healthy doses of humor and charm. It does get a little too silly at times with a CGI talking horse and a food fight, but this is material kids eat up and doesn't really detract from the overall film. Emma Thompson, Colin Firth and the acting ensemble all fit their roles well and imaginative sets and wonderful costumes add to the storybook atmosphere. I found the ending surprisingly affecting and the experience highly satisfying overall. - B+
Yes, Captain Hammer's here, hair blowing in the breeze. The day needs my saving expertise! - Captain Hammer, Corporate Tool
2002 Sight & Sound Challenge: 314 Last Watched: An Autumn Afternoon
Last 10 Films Watched: Mon Oncle Antoine - B / Late Autumn - A-
Paranoid Park - B / An Autumn Afternoon - A
Forgetting Sarah Marshall - B / Run, Fatboy, Run - B
Get Smart - C- / Rendition - B-
Springtime in a Small Town - B+ / Evan Almighty - C
THis is not a classic film, but it is a very fine flawless piece of work for what it is.
On the other hand, like far too much scifi/fantasy genre, it is occasionally inconsistent in its world creation rules, take the prologue for instance. If the ability of the leader-of-light is to freeze anyone he wishes to, why does he allow any fight to take place at all?
Night Watch establishes its tone and reality with a prologue delivered in English (the print is subtitled for the rest) so one can focus on the visuals. The prologue lays out the basic rules and history of the Night Watch universe. Vampires, witches, seers, shapeshifters are real--they are Others. They've been around since time immemorial, and since time immermorial Others have been fighting each other, mostly on the side of Light and Dark. Others can see one another, but can step in and out of 'the Gloom' an unexplained plane (of mosquitos/parasites?) that is deadly if entered without proper training. Each Other has an individual characteristic/power unique to them, though they fall into broad categories. It's complicated but sorting it out after the movie is tougher than actually watching the movie where it all makes good sense.
Anyway as the prologue establishes, a truce was established to prevent Others from slaughtering each other. The Light others were tired of defending human-prey from the Dark Others (like vampires) that fed upon them. So as part of the truce, the Night Watch was established to police Dark Others and enforce the truce and the Day Watch was established to police Light Others and enforce the truce. However the Night Watch/light Others were granted another authority in the truce, one that is the key conflict of the film.
And what the film ultimately begins to ask, is what drives people to actions labeled dark is a dark desire or a dark-abuse delivered at the hands of one labeled light? And since nothing is so simple in this film, it is both and more, because such an issue as one's affiliation is far more complex than mere chance, personal inclination, fate or even a single decision. There may be games going on at the top that are too complex by far, someone is playing dice with Others lives and the 'balance' of Light and dark may just be an illusion to control through misdirection--if all attention is focused on the conflict, who will notice how much a soldier is controlled.
Spoiler:
This is mostly speculation, based on how the Dark seems much more aware of latent others than the Light. The main character, Anton, is revealed to be set up in the climatic showdown (remember in the videogame how the badguy was initially killed by Anton, but he worked it through to discover a thread in which he won and then played that scenario out for the real thing) but I think even more so Anton was set up by a bargain between the badguy and the lead good guy who healed Anton. Anton would have probably declared for Dark, but he was specifically set up by a bargain between those guy as a form of live bait, the dark sacrificed a potential warrior for a particular deal we don't yet know of, but the dark also realized (probably through a more complete prophecy than we're given) that Anton was the father of the foretold 'great Other' The dark therefore connived a way to get Anton to estrange himself from his son but to keep the son alive (the bargain with the light to use Anton as bait to catch the witch breaking the truce, wwhile the ligh was unaware of Anton's Other-ness). Because Anton would be 'rescued' by the Light, it would also implant a dark-inclined warrior in the Night Watch, and would give the dark a trump card if Anton were ever likely to encounter his son before his son declared.
So I think the real conflict of the overarching series is not the light triumphing over the dark, but a revelation of a terrible power structure and exploitation of the Others by the 'truce' government they've been living under. Much of the movie hints at problems with 'crimes' of the soldiers and how this ruptures their relationships again and again as they enforce perhaps unjust laws and follow brutal orders. It's not apparent yet, but this could be the first flowering of the Russian equivalent to Godzilla--the cultural working out of fears, angers and guilts from a recently devasting past that has since gone through a paradigm shift.. So yes the balance will be upset, but it will be replaced by a completely new more transparent system that is neither light nor dark.
I expect the next film, DayWatch, will focus on the boy discovering exactly what his father discovered in Nightwatch. In fact I expect it to end on a similar betrayal revealing the corruption of the system.
So is this actually in general release now? I saw trailers for it a couple of times last year, in the winter and summer. Then I saw a trailer again before Manderlay today and it still had the "coming in 2005" tag on it.
SteveGon's seen it on DVD and wasn't impressed. The trailer has some cool eye candy but is one of those annoying ones that tries to pretend the film isn't subtitled. I'll check it out whenever it makes it here.
Yes, Captain Hammer's here, hair blowing in the breeze. The day needs my saving expertise! - Captain Hammer, Corporate Tool
2002 Sight & Sound Challenge: 314 Last Watched: An Autumn Afternoon
Last 10 Films Watched: Mon Oncle Antoine - B / Late Autumn - A-
Paranoid Park - B / An Autumn Afternoon - A
Forgetting Sarah Marshall - B / Run, Fatboy, Run - B
Get Smart - C- / Rendition - B-
Springtime in a Small Town - B+ / Evan Almighty - C
Manderlay - The 2nd film in Lars von Trier's "America" trilogy finds Grace and her father fleeing to the South where they happen upon a plantation where slavery is still practiced. With furious indignation, Grace, backed by her father's mob heavies, emancipates the slaves. But freedom will bring a whole host of unintended consequences to the people of Manderlay and Grace may not be able to control the events she has swung into motion.
With his typical provocative glee and challenging material, Von Trier's film seeks the heart of slavery not just as physical control of the body, but the ways that societies and governments control the minds of their people. Whether through laws, psychology, economics, or simpler means of force, there are always those with power and those without whether or not they fit Webster's definition of "slave".
Being set in the American South and dealing with such a volatile subject l