2004 Film List - Page 13

Hey, what's this doing on Page 2?

I added 20 movies to my list on Page 1...this is what happens when you get lazy and don't update your list for 2 months.

Now that we're in the "Please Give Me An Oscar" month, I'm planning to update my list on a weekly basis.

Super Size Me
7.5 of 10
This is a fairly well edited documentary based partially on a very thin premise which hurts it in the area of impact content. Fast food all the time is bad for you, not a relevation. Overeating past when you are hungry and then reducing your excercise is also bad for you. Shocking.

However, the film does have its moments of solid content, especially the discussion around school lunches. Overall the film is like a well-spoken debater without much to say.

The Terminal - Steven Spielberg's latest may not score high on the plausibility scale, but it is a "feel good" movie in every sense of the world. Much of it is light and entertaining, but it is still capable of striking honest emotional chords. Spielberg's direction and camera work are as capable as ever, especially early on when the vast Terminal set is used to enhance the isolation of Hanks' Viktor Navorski or later in the climatic romantic scene where color and dazzling light signify movie magic. The script doesn't require much heavy lifting from the actors, but the stars are stars and there is some fun supporting work from Wes Anderson staple Kumar Pallana and Diego Luna.

Spielberg may never make another film as masterful as A.I., but with this film and Catch Me If You Can, he is still more than capable of delivering intelligent, entertaining work. B+

Next Up: Dodgeball: A True Underdog Story

Dodgeball: A True Underdog Story - Has it's entertaining moments and is surprisingly effective as a sports movie in getting you excited about the actual games, building suspense, getting you to root for the lovable underdogs, et. Several of the supporting actors/cameos near the end are fun. The comedy writing, though, is not particularly strong, with only the older veterans Stephen Root and Rip Torn able to draw consistent laughs from the material. I wanted Ben Stiller off the screen every moment he appeared, and Vince Vaughn appears to be near comatose. I know his character is a slacker, but he could at least have a pulse. Still on the level the film is shooting for, it is generally successful. B-

Next Up: The Bourne Supremacy, Maria Full of Grace

Only six first-run movies in the last month (and that involves stretching the definition)? I'm either slacking, broke, or both.

#130: Overnight - - A real-life chronicle of hubris.
#131: The Machinist - - Christian Bale's dire need of a sandwich threatens to overpower a pretty good mystery story.
#132: Screaming Men - Highly amusing documentary about Oulu, Finland's Screaming Male Choir.
#133: Actress Apocalypse - - Amateur exploitation flick from the guy who programs a local theater's midnight series.
#134: Reconstruction - ½ - Danish filmmakers think they're so f___ing clever.
#135: National Treasure - ¾ - Adequate adventure yarn.

Control Room
9 of 10
A terrific documentary on the use of the media and news to influence a major world event. The genius of this film is that it sheds light on the true complexities and difficulties, rather than playing hard to a caricature of one side (ie, how F 9/11 dealt with a similiar situation). Unlike Moore's effort, Control Room leaves the viewer touched by emotions that slip out accidentally and condradictions that plague the conflicts in the Middle East. How could a person not be touched when an anti-American journalist pines for his own chance at the American dream or when another Iraqi journalist looks on with shock and confused emotions as the famous Saddam statue is pulled down.

This documentary touches the human condition as it is shaped by the intense conditions of fundamental idealogies clashing.


Closer
10 of 10
Nichols film starts slow and deliberate as he establishes some basic relationships, but it quickly soars in act 2 as these relationships blow up in everyone's face. Seeing the destructive emotional offshoots of love, jealously and lust, play out among these characters is quite beautiful. This is not exactly reality, there is a charm and movie-like perfection to the interactions, but there is a tension inducing grittiness as well which is the film's appeal.

Roberts proves that she can be the real deal and gives one of her best efforts as a confused photographer that is unable to avoid hurting the men in her life, and Law and Portman are both solid as well. But it is Clive Owen who really shines as a both likeable and loathsome manipulator who uses honesty and truth to get what he wants.

It is a credit to Nichols that by the end of the film I felt a great deal of pity for all four characters who came together like a car wreck, rather fitting considering the opening scene in which Portman is hit.

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Edited my list to add the following:

Dodgeball ***1/2 stars. Very funny!

National Treasure ***. Predictable, but kinda fun anyways.

King Arthur ***. Dark and gloomy version of the well-known tale.

The Incredibles ****. Pixar's best yet. There must something in the water down there at PAS.

Sharktale ***. Enjoyed the references. Just as good as Shrek 2, but nowhere near The Incredibles.

Ju-On: The Grudge: Follows in the footsteps of many other Asian horror films in having plenty of atmosphere but little story to speak of. While it can be spooky, especially early on, the atmosphere is tarnished by the director showing the ghosts over and over again in a 180-degree turn from how he displayed his force of evil in Ringu. After awhile, they are more silly than eerie. Another problem is telling the story in reverse simply to add a measure of incoherency and try and cover the fact that the plot amounts to little more than a Friday the 13th-esque slasher film with haunted house pretensions. C+

The Bourne Supremacy - Who knew that Matt Damon would be the most believeable action star of his generation? The sequel is almost as intelligent and well done as the original, with director Paul Greengrass keeping the pace constantly moving and exciting. For car chase junkies, the film includes an excellent example. By injecting tension into exposition scenes, it alleviates the stumbling filler material that burdens many action films. A solid, veteran supporting cast also keeps the film serious and alleviates the need for Damon to carry the whole enterprise.

The problem with these films is they are not particularly memorable. These are not dialogue-rich films, and Jason Bourne has no particular style or attitude to latch onto. Like its predecessor, within a few weeks I doubt I'll remember much more about it than that I liked it. B

The Incredibles - Imaginative, inventive, and fun in both concept and execution, The Incredibles provides many pleasurable moments to the viewer. But what it doesn't provide is the real emotional connection that Brad Bird was able to establish so effortlessy with The Iron Giant. Always enjoyable, but perhaps a bit too familiar, the film lacks the sense of wonder and surprise found in even lesser Pixar work like Finding Nemo. B+

Maria Full Of Grace - A somewhat bland drama about a Colombian teenager who becomes a drug mule, the film is more interesting for its sociologic portrait and technical description of drug muling than as a storytelling experience. B- (additonal comments may make it into the Indy/Foreign thread if I get around to it)

Next Up: The Door In The Floor, Collateral, We Don't Live Here Anymore

Kinsey
8.5 of 10
While it is an all around solid film, in the end it has some trouble rising above some of the standard biopics (see Ray as a worse example). Kinsey is better at creating some sort of running theme to his life, but at the same time there is a sense of some important issues being glossed over. Lapses like that in the writing result in the film dipping into dryness at times rather than building real momentum.

Finding Neverland
10 of 10
On the other hand, Neverland builds momentum extremely well and this allows it to hit some later scenes with a full punch to the heart like real tear-jerkers should. The film is full of the imagination that we would associate with a story like Peter Pan, but it also takes on other challenges equally well, such as social boundries, relationship issues and coping with death.

Any one of those subjects is enough to build a film around, but Neverland has them deftly interwoven into one solid, satifying piece of finding and providing inspiration in and to others. It certainly had me choked up at times, yet thrilled for the little triumphs as well. It should surprise no one that Depp, Winslet and Julie Christie are all outstanding in their roles, while Hoffman shines in his cute one-dimensional bit part.

Don't be fooled into thinking this is a dry actors piece of costume drama. It has all of the magic of Peter Pan himself, both visually and in its story.

The Door In The Floor - While always watchable thanks to Jeff Bridges and Kim Basinger, the film rarely manages to achieve the dramatic depth it aspires to. While it can provide touching moments in showing a marriage irrevocably damaged by the death of children, the film fails to come alive. Bridges does what he can, but his character is a stereotypical eccentric artist given to quirks that probably worked better on the page. A teenage aspiring writer forms the third character in the triangle, but his character is given little to do beyond following the leads of others.

The film simply lacks energy and never achieves real dramatic weight. B-

Kitchen Stories - is a heartwarming movie about the unlikely friendship that develops between two lonely men involved in a Swedish research study on the kitchen habits of single men. An odd premise, but an emotionally satisfying and humorous one. B

Spanglish - There are a number of things to dislike about Spanglish: the flat, ugly look, Tea Leoni's nails-on-a-blackboard performance (yes, her character is supposed to be a self-obsessed bitch, but she goes far beyond the call of duty here slipping into caricature), voice-over narration that mostly doesn't work, the repeated failures at injecting humor into the serious dramatic scenes that come off as stupid and unnecessary, and a blatant attempt at replicating Nicholson's "Oscar" speech from As Good As It Gets that just doesn't work at all.

And yet, I still found enough good things about it to feel positively about the film. Sandler and Paz Vega have oodles of chemistry, all of their scenes are charming (save when Sandler is saddled with the aforementioned As Good As It Gets speech). While Sandler had already proven himself in Punch-Drunk Love, he again shows that he is more than capable of dropping his schtick and acting. The children are all well cast and do credible jobs in their roles. Cloris Leachman has fun in her comic relief role. The film presents a positive but realistic take on the complexities of parenting with its message that the right thing is often the hardest thing to do.

Thus while Spanglish can be a frustratingly made film and is no where near "As Good As It Gets", its heart is in the right place. B

Finally, some time off to get caught up on film watching.

Brian Dannelly's Saved! - A satire on fundamental religion that in itself becomes too preachy and becomes a victim of the things it is trying to parody. When it is all over, it ends up being derivative and plays out more like an after school special with uninspired performances and dialogue that lacks ingenuity.


Next Up: Closer

~Edwin

Robert Zemeckis' The Polar Express

~Edwin

Mike Nichols' Closer

~Edwin

Two documentaries:

Bus 174 - Also works as a commentary on Brazil's law enforcement, its jail system and how it treats its many homeless young children.

Control Room - Insightful and propagandist at the same time.

~Edwin

Ocean's Twelve
8 of 10 (bordering on a 7.5)
Yes, the film has some script issues in that it tries to incorporate way too much and ends up leaving most aspects without the attention they deserve. The result is that much of what was tight in the first film is much looser here.

But the direction is much better this time around with Soderbergh effectively making an art film out of a blockbuster. That might also be an issue for some people trying to enjoy the film as pop art, but I loved Soderbergh's choice of look, shot, and even music.

The cast is still funny, though at times they are hampered by the weak script. The style of humor is similar to the first, so if that was to your taste then you should get similar fun out of this go round.


Lemony Snicket's...
9 of 10
This fantasy has art direction as interesting and charming as seen in films like Willy Wonka, Popeye or Princess Bride and a story with a similar blend of fear and fun. The kids are wonderful and Jim Carrey gets to do what he does best by playing a villianous version of himself - a hammy actor.

There are tons of laughs thanks to both him and the kids. I was especially fond of a series of baby=monkey jokes. The film also takes you to plenty of fantastical worlds that are far more like set pieces than the reality of something like Harry Potter.

As a children's storybook fantasy film this is a homerun. Lots of rewatchability here.

Closer - rewatch
What can I say, I still loved it this time around as did my wife with her first viewing.

We Don't Live Here Anymore - Is a searing drama about 2 friendly couples whose dissatisfaction and self-loathing leads to betrayal and infidelity. Featuring powerful performances from Mark Ruffalo, Naomi Watts and particularly Laura Dern (who should be getting some awards but isn't), they play characters who have long buried their feelings in child rearing and the mundanities of the day-to-day, but who can no longer keep their emotions in check.

Like one of Bergman's chamber films, the characters are wound tighter and tighter until they are released and allowed to burst forth in painfully heated arguments and quiet scenes of regret for past decisions and present behavior. In presenting characters who's lives are disrupted, not by an event, but simply by the disconnection and emptiness they feel within themselves, We Don't Live Here Anymore is powerful and moving work. A-

Collateral - With assured direction by Michael Mann, an intriguing concept, and a layered performance by Tom Cruise, I enjoyed Collateral for much of it's running time. Unfortunately what had been an intelligent and well-paced battle of wills, descends into the hoariest of action movie cliches in the final 30 minutes or so as my eyes attempted to roll backwards into my skull. Instead of a movie I could recommend, it becomes a 2nd straight disappointment from Mann. B-

I have so much catching up to do -- life has gotten in the way of my being able to watch as many movies as I would have liked to. These reviews y'all have posted have been good reading - thx for posting. Up on my list now that I have a few days off are:

Closer
Lemony Snicket
Phantom
Meet the Fockers
and The Life Aquatic (which I'm seeing on Christmas Day with the fam)

Will post back with reviews...as time permits...

Jean Pierre-Jeunet's A Very Long Engagement

~Edwin

Updated: Oceans' Twelve, Saw, Garden State

After a second viewing of Spider-Man 2 on DVD, I downgraded it from a score of A- to B+. I'm not sure if this one will hold up after repeated viewings, and I'm a Spidey fan from way back.

Fixed.

~Edwin

Paul Greengrass' Bourne Supremacy - This was almost ruined by a hyperactive director who is so in love with his camera and uses it as a special effect. Preferred the first one in almost every way.


Next up: Kinsey

~Edwin

Bill Condon's Kinsey


Next Up: The Aviator

~Edwin

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Martin Scorsese's The Aviator


Next Up: The Phantom Of The Opera

~Edwin

Alex Proyas' I, Robot - Has some good ideas when Will Smith doesn't keep getting in the way. Still, one of the better science fiction films this year.

~Edwin

Updated with:
Taking Lives - Predictable, boring, schlock. The only good aspects are stolen from better films. **/*****

The Machinist - Not the most original story, but great execution. Very unsettling atmosphere, and a fantastic performance from Bale. ****/*****

Eligible 2004 Film Count: 98 (seen between 1/1/04 and 12/31/05)

2004 Film List

ALL RATINGS OUT OF (FIVE) STARS


Sideways


Eternal Sunshine of the Spotless Mind
Control Room
The Incredibles


The Aviator
Before Sunset
Collateral
Friday Night Lights
Harry Potter and the Prisoner of Azkaban
In Good Company
The Life Aquatic with Steve Zissou
Million Dollar Baby
Touching the Void
Shaun of the Dead


Anchorman: The Legend of Ron Burgundy
A Very Long Engagement (Un Long Dimanche de Fiançailles)
The Bourne Supremacy
The Girl Next Door
Hotel Rwanda
I ♥ Huckabees
Infernal Affairs (Wu Jian Dao)
Kill Bill: Vol. 2
Kinsey
Maria Full of Grace (Maria, Llena eres de Gracia)
The Motorcycle Diaries (Diarios de Motocicleta)
Napoleon Dynamite
Primer
The Return (Vozvrashcheniye)
The Sea Inside (Mar Adentro)
Spider-Man 2
Super Size Me
Team America: World Police
We Don't Live Here Anymore


The Butterfly Effect
Closer
Club Dread
Dawn of the Dead (2004)
Dogville
The Dreamers
Enduring Love
Garden State
Harold and Kumar Go to White Castle
House of Flying Daggers (Shi Mian Mai Fu)
The Hunting of the President
Intermission
Layer Cake
Lemony Snicket's A Series of Unfortunate Events
The Machinist
The Manchurian Candidate (2004)
Mean Creek
Mean Girls
The Merchant of Venice
Metallica: Some Kind Of Monster
Ocean's 12
Shrek 2
Vera Drake
The Yes Men


A Love Song for Bobby Long
Code 46
The Corporation
Dodgeball: A True Underdog Story
Eurotrip
Finding Neverland
Hellboy
Hidalgo
I'll Sleep When I'm Dead
King Arthur
The Ladykillers
The Lost Skeleton of Cadavra
Open Water
Outfoxed: Rupert Murdoch's War on Journalism
The Passion of the Christ
Saved!
Secret Window
Spartan


50 First Dates
After the Sunset
Alien Vs. Predator
The Chronicles of Riddick
The Day After Tomorrow
The Final Cut
I, Robot
Mindhunters
Sky Captain and the World of Tomorrow
The Stepford Wives
Troy
Van Helsing


Alexander
Coffee and Cigarettes
Man on Fire
National Treasure
Saw
Taking Lives
Undertow
The Village


Godsend
Raising Helen


Wicker Park