Track the Films You Watch (2006) (1 Viewer)

[Joe Karlosi]

I love the end of this film; perfect. I think GODFATHER III is better than it's usually given credit for, but it has to live up to the expectations set up by 1 and 2.

 

[Brook K]

Dave Chapelle's Block Party (2005, Michel Gondry)
Fun concert film with healthy doses of Chapelle's brand of comedy. While some of the supporting material is inexplicably repeated (like the double dose of the crazy old people in the crazy house), the music and performers are almost uniformly excellent. While the concert could have been filmed and edited better, Chapelle brings the funny and the Fugees bring the electricity that caps this enjoyable event. - B

Cabin in the Sky (1943, Vincente Minnelli)
Fun, exuberant musical comedy featuring the talents of Lena Horne, Eddie "Rochester" Anderson, and Louis Armstrong. The film delivers a couple of terrific numbers, like "Consequences, Consequences", and some top notch dancing, though also has a couple of duds and a pace that ebbs and flows as a result especially when giving the screen over to some of the less capable supporting actors. All-in-all, a good film, memorable for its cast and as Minnelli's debut. - B

 

[Brook K]

That Man Bolt (1973, Henry Levin & David Lowell Rich)
In an obvious attempt to create a Black James Bond franchise, Fred "The Hammer" Williamson starts as Jefferson Bolt. Given the curious occupation of "international currency transporter", and a resume that includes being a former Green Beret Captain with a masters in physics from MIT, Bolt is tasked with taking a briefcase of dirty cash from Hong Kong to Mexico City. The expected fisticuffs and action ensue. Williamson's outsized charisma and physicality brings an entertaining flair to the role that helps the film overcome a script riddled with hammy one-liners and an obviously inadequate budget which seems to have been spent on quality location photography instead of hiring more than 3 decent actors. - B-

The Spook Who Sat By The Door (1973, Ivan Dixon)
Based on an important underground novel, the film begins with the fictional story of the CIA's first black agent. Forced by activists to begin recruiting African-Americans, the CIA attempts to make the training so difficult that no one can pass. However, one man does, and they are forced to accept him. He endures five years of working in the basement and being a window-dressing tour guide, while learning everything he can. He then quits and takes this information back to Chicago where he uses it to begin training an underground guerilla/terrorist force aimed at striking back against the America's white power structure.

Unlike blaxsploitation brethern such as Black Gestapo, Spook is a serious work of protest that satirically rages against injustice. While the film uses mass acts of violence to dramatically emphasize its themes, the film is not a call to arms but a call for unity to better the dismal racial, class, and social problems present in the U.S. then, and now. For this remains a powerfully relevant film offering a message of hope and horror. While it does suffer from some 3rd act script problems, the microbudget is obvious, and the director would probably only be recognized today as Sgt. Kinchloe from Hogan's Heroes, The Spook Who Sat by the Door is worthy of taking a place beside other top films from this period of black cinema such as Superfly and Ganja & Hess. - B+

 

[Brook K]

Got to pick up the pace if I'm ever to get caught up:

The Illusionist (2006, Neil Burger)
Completely conventional Hollywood film, for better and worse. The technical aspects are well-executed, particularly the lighting, and it has a solid cast including Ed Norton and Paul Giamatti. Yet, I was slightly bored through the whole thing. The story may be different, but the by-the-numbers manner in which the plot unfolds is something we've seen a zillion times. I'll stick with the rating in my sig, even though 4 months removed from seeing the film, I barely remember a thing about it. - B-

The Flower of My Secret (1995, Pedro Almodovar)
Marisa Paredes stars as a successful author of trashy romances who has aspirations for more serious writing. She's also trying to desperately cling to a husband who seems to have lost interest in her. In Almodovar's inimitable style she will seek to break out of the twin traps of her professional and private lives. While Almodovar had still not quite reached the zenith of his cinematic prowess demonstrated in the film's that followed this one, the beginnings of his maturation can easily be seen, and this, along with the energy and emotion that he brings to every film, make for a very pleasurable experience. - B+

The Black Dahlia (2006, Brian DePalma)
Not DePalma at the top of his game as in the Hitchcock films or even Femme Fatale, but close. His precision camera movements are still as good as one can find in Hollywood right now. The actors are of higher quality than he has worked with in many of his films. While the script and plot execution are certainly not without flaws, The Black Dahlia is a successful film because, unlike so many of its modern "neo-noir" brethern, Depalma captures the feeling of seediness and especially shame present in many of the classic noir films. - B+

 

[Brook K]

Law of Desire (1987, Pedro Almodovar)
A film director, Pablo, and his transsexual sister, Tina (who is raising a daughter she fathered while a man), become involved with a dangerous young man (Antonio Banderas) whose obsessive desire for Pablo threatens all their lives in this outstanding film. The well-rounded story is both thriller and romantic melodrama wrapped around Almodovar's signature themes of sexual and moral confusion in an environment of hypocritical church authority. A year before his American breakthrough with Woman on the Verge of a Nervous Breakdown, Law of Desire is the best of his films I've seen before his fundamental changes brought on his masterful stretch from 1997-2005. Law pushes to the brink stylistically, but unlike some of his other films from this period, he never goes too far and overwhelms the story he's trying to tell. The ending is brilliantly unique and pure Almodovar. - B+

Matador (1986, Pedro Almodovar)
A former bullfighter still excited by killing, an obsessive female fan with the same yen for death, and a young man (Antonio Banderas) driven insane by his over-religious upbringing converge in Almodovar's crazed black comedy. This is Almodovar turned up to 11 in a film where insanity has a beauty all its own. It moves in fits and starts at times, which harms the overall flow, but there's no denying the unique qualities this one-of-a-kind director brings to filmmaking. - B

The Departed (2006, Martin Scorsese)
Thought it worked very well as a comedy that had me in stitches numerous times. It's actors are able to milk the comedy elements in the script exceedingly well. Scorsese's way of showing brutal violence as a matter-of-fact part of the everyday life of his film's character's is as strong as ever. But whether it was my familiarity with the story from seeing Infernal Affairs or a more fundamental problem with the film, it never worked for me on a "thriller" level or provided any sort of suspense. While it is certainly a good movie and I had a lot of fun with the comedy-filled first 2/3ds, I still found it somewhat underwhelming overall. It's a credit to the strength of the underlying story that I still feel compelled enough to give it a B+

 

[Brook K]

The Gunfighter (1950, Henry King)
Gregory Peck gives another outstanding performance as the titular gun fighter, Jimmy Ringo; a man ready to forget his hell-raising, criminal past to settle down with the woman and child he left behind. But he's haunted by his reputation as a feared killer and by the younger gunmen in every town who want to test their mettle against the legend.

Like its contemporary, High Noon, The Gunfighter also makes use of a real-time structure of impending danger to create suspense and foreboding, even if we never feel Peck is in the same physical danger as Gary Cooper. The film has a fine supporting cast, including Helen Westcott as the woman left beind, Millard Mitchell, Jean Parker, and Karl Malden as a bartender who both idolizes and fears Ringo. Using stark, b&w cinematography that reflects the melancholy mood of the film, Henry King's assured direction of this fascinating subject matter produces an emotional wallop while revealing sobering truths about a mythologized existence. - A-

Marie Antoinette (2006, Sofia Coppola)
In re-telling the story of this young Austrian Princess who becomes Queen of France at one of the few times in history it was a bad deal to be royalty, director Sofia Coppola jettisons the usual flowery language, witticisms and literary screenwriting one usually associates with period royal court films, in favor of a much more natural approach. Coppola "tells it like it was" by positing that "they" are pretty much just like us. Marie, Louis, and their entourages are teenagers. Much like teenagers throughout time, they are concerned with boys, girls, hanging out with friends, what to do on Saturday night, food, clothes, sex, etc., only this particular group of teenagers has the fortune, or misfortune, to rule France. Thus their teenage preoccupations and mistakes have an enormously higher degree of consequences than crashing your parent's car.

I found this an extremely interesting way to interpret this particular set of historical events; interesting enough that I saw it twice in the theater, something I haven't done in 2 or 3 years. The camera work is energetic, at times even hypnotic as it takes in the lushness of the surroundings at Versailles and all the sensory elements of the experiences of the characters. You can virtually taste the deserts as the camera lingers over them. The soundtrack which combines the expected period classical music with mostly 80's English New Wave tunes, may seem a questionable idea, but works perfectly within the context of the film. It makes the proceedings less historybookish and remote, and more a part of a universal experience.

Beyond these elements, Coppola also extracts an actual acting performance from star Kirsten Dunst, if not the best of her career, than easily the best of her adult career. She even manages to make the stiff-as-a-board, personality challenged Jason Schwartzman likeable, a yeomen effort indeed. Judy Davis, Steve Coogan, Rip Torn, and Asia Argento all make memorable impressions in supporting roles. While the film is hardly perfect, a too longish middle passage set at Marie's country retreat feels as if Coppola decided on an impromtu Terrence Malick tribute, this combination of mood, energy, theme, and sensation is one-of-a-kind. - B+

The Black Gestapo (1975, Lee Frost)
On the opposite side of the spectrum from films like The Spook Who Sat By the Door and Superfly is this film, which aside from the absence of pimps, is pure blaxploitation. The half-baked script drops us right into the story, with no set-up or context other than some inexplicable WWII newsreel footage of goose-stepping Nazi's Sieg Heiling and the same Hitler footage we've all seen hundreds of times. This is yet another movie where a black charity group is subverted from within by members who form a violent, criminal army (led by Mac from 80's TV staple Night Court ) , only instead of crimes, we mostly just see this army training and hanging out at their Playboy Mansion esque compound full of hot white chicks. Of course than it falls to the leader of the charity group, himself a self-titled "General"!? (we're given zero background on this guy or his group other than it is supported by the government), to single-handedly take down Mac's underworld empire.

This movie is brutally bad - shoddy wouldn't begin to describe the "filmmaking" on display, it's most likely offensive to just about any viewer, the acting such as it is, is terrible - and yet this almost achieves "so bad it's good" status. I got some laughs out of it, I could see MST3K types having a field day with the movie. I don't think I'd actively seek it out to watch again, but if I stumbled on it, I wouldn't turn it off. - C+

The Host (2006, Joon-ho Bong)
Due to a scheduling snafu, I only caught two films during the St. Louis International Film Festival. This SteveGon endorsed bit of inspired monster-goodness that was a box office smash in South Korea, was easily the best of the two. A hilariously over-the-top American scientist at a military base orders dangerous chemicals dumped in the sewer. Any monster movie fan knows what this will lead to - Human Chomping! A breathtaking monster rampage scene that simply has to be seen. Some of the best monster action in years.

From there the film settles down, introducing us to the usual disfuntional family with kids that is a staple of modern Godzilla films. Only director Joon-ho Bong does something truly innovative, he actually makes these people worth spending time with. The Host is that rarest form of monster movie where we don't mind so much when the monster isn't on the screen. Of course all the better when he? is, making for some quality suspense-filled scenes as the creature is lightning fast and has a propensity for hiding in bridge supports until it can snatch peole up with a long tentacle. Only a tacked on extra ending in which the creature and action CGI/FX isn't close to the same quality as the rest of the film, feels out of place and makes me wish it had been left out. Until that ending, I had it graded even higher. Still, definitely see it if it gets a theatrical or DVD release prior to the inevitable American remake. - B+

The District (2004, Áron Gauder)
The 2nd SLIFF film I saw was this animated work from Hungary. Set in a gritty, urban slum environment where the streets are controlled by white and gypsy gangs, a group of kids hits upon the idea of going back in time, planting dinosaurs in the ground, and then returning to the present, where there street is now sitting on a giant oil reserve thanks to those decaying animals. Then add in some "shocking" cartoon sex (meant to be transgressive I suppose, but it's extremely mild compared to Parker/Stone or even Ralph Bakshi), recycled Romeo and Juliet material, lots of racial epithets and fist fights, Hungarian hip-hop (which I'm hoping faired poorly in translation) and some social commentary in which racial differences are set aside when there's a mountain of money to be made, even if the underlying racism still exists, and you have this decidely underwhelming film. I could be wrong, but I'm pretty sure this was supposed to be a comedy. I might have chuckled once. Some of the highly stylized animation is cool, but at the end of the day, it can't shine in service to such a mediocre movie. - C-

Happy Feet (2006, George Miller)
Thoroughly underwhelming CGI animated tale of a penguin who dances instead of sings like all the other penguins. It basically exists on this single gimmick of dancing and/or singing animals as the script is recycled from dozens of other children's films, most of the characters are stereotypical caricatures, and it is only funny in extremely limited stretches. I also found it too sexualized for a children's film. The suggestive dancing and Prince's lyrics went over the top. Who listen's to "Kiss" and thinks that's an ok song for 5 year olds? - D

 

[Brook K]

The Death of Mr. Lazarescu (2005, Cristi Puiu)
A tragedy looking at the state of the Romanian healthcare system, this film describes Mr. Lazarescu's final night. A curmudgeonly chronic alcoholic with a myriad of health problems, his condition worsens as he is shunted from hospital to hospital by healthcare workers either too overwhelmed to provide the kind of care he needs, or who don't want to "waste" time on him because of his drunkenness. The one person able to go the extra mile for him is a female ambulance worker who becomes determined to get him some kind of care, even if it means driving him around all night.

The film's distanced style and muted emotions make it difficult to absorb at first, but as we gain more knowledge of Mr. Lazarescu and the people around him, one can't help but develop sympathy and pity for his plight. Suffers a bit from overlength and the story develops as a bit of a far-fetched perfect storm premise; everything that can go wrong does go wrong; yet it is generally evenhanded in allowing us to understand both sides of what is happening. A flawed system made worse with a lack of human compassion. - B

Sophie Scholl: The Final Days (2005, Marc Rothemund)
Tells the story of Scholl, her brother, and a few friends, who protested the Nazi government by spreading leaflets around their college campus. Caught and arrested, the police interrogate Sophie and try to get her to save herself by naming names. She refuses and instead goes to prison to await a show trial.

Solidly made in all respects, and interesting as history, the film really fails to bring life to the events and comes off as a dry and conventional effort. Other than the police inspector, the actors lack personality. The trial itself brings a bit of dramatics but with the film never straying from exactly the beats one expects, you could simply read about the events and get the same antiseptic delivery. - C+

 

[SteveGon]

I watched this again Monday night with Kissinger who knocked back a shot everytime someone got eaten.

 

[Brook K]

Holy Alcohol Poisoning Batman! I hope he survived the experience!

Only 8 more to go until I hit 2007 and can start posting in the other thread.

 

[Brook K]

Banging these last 06 viewings out:

Blood Diamond (2006, Edward Zwick)
Mixing powerful drama, romance, and a social message in classic Hollywood fashion, director Edward Zwick has created a superior piece of entertainment. Leonardo Di Caprio continues his evolution into an adult actor and turns in perhaps his best performance, commanding our attention in true leading man fashion. It's also nice to see Jennifer Connelly is eating again, and more than capable of delivering nuanced work despite the rather limited scope of her character. Lastly, Djimon Hounsou is impressively dynamic as his character serves as the film's lynchpin. The film's message may seem trite in comparison to the complexity of the problem of "blood diamonds" but better the issue receive some attention in the popular media rather than remaining buried. - B+

Changing Times (2004, André Téchiné)
Set in Algeria, the film tells the story of a man who ostensibly comes to Tangiers to work, but is really there to find his lost love who he hasn't seen in 30 years. Meanwhile, she is living in a loveless marriage to an alcoholic doctor. At the same time as the man from her past visits, her son also comes from Paris, bringing a woman and their child. The woman has a drug problem and is trying to meet her sister, who lives in Tangiers and is living a hand-to-mouth existence working at McDonalds. Everyone in the film is searching for something elusive.

The real attraction here are the older man and woman roles played by Gerard DePardieu and Catherine Deneuve. Onscreen together, they are a joy to watch as their characters stumble and meander toward renewing their relationship. Unfortunately the film tries to juggle many story threads, which takes us away from this central relationship and gives screentime to far less compelling events. In another movie, the problems of Deneuve's husband, played by the always watchable Gilbert Melki would be worth watching on their own. The story of Deneuve's son, a closeted homosexual who really came to Algeria to visit his boyfriend, takes on a different context. In this film though, they are a mere distraction we'd rather fast forward through to get back to watching Deneuve and DePardieu. - B-

The Great McGinty (1940, Preston Sturges)
Revist after getting the Preston Sturges box. Not quite as funny as I'd remembered, but Sturges' story of a hood who rises through a corrupt political machine to become governor is still plenty entertaining. - B+

Christmas in July (1940, Preston Sturges)
An underseen gem, Sturges creates a wonderful comedic house of cards that simply builds and builds throughout the film culminating in a wonderful payoff. Though the low budget is apparent, Sturges stock company - particularly William Demarest and Raymond Walburn - are terrific and Dick Powell gives a winning performance as the lead. It's bred in the bean! - A-

Night at the Museum (2006, Shawn Levy)
While Ben Stiller's style of humor does not make him the best choice for lead in a children's film, Night at the Museum is cheery and entertaining enough to be sucessful at what it wants to do. Once we get past the perfunctory and bland setup, we are whisked into a relatively exciting world with plenty of action and laughs when Stiller isn't trying too hard to crack jokes. - B

 

[Brook K]

Ballets Russes (2005, Daniel Geller, Dayna Goldfine)
This documentary relays the history of the Ballets Russes, which formed from the ashes of a famous touring ballet company of expatriate Russians in the 20's. Ballet Russe was then formed in the early 30's, only to fracture into competing company's when the egos of various participants (including Leonid Massine who took over one of the competing companies and who would later choreograph and dance in Powell & Pressburger's The Red Shoes ). The companies toured first in Europe and then helped bring Russian-style ballet to the United States and Australia. The companies not only were famous for their innovative choreography (at least in the early years) but for holding dancer tryouts while on tour, thus giving entree and serving as training ground to a number of American dancers (including future "Seven Brother" Marc Platt) and even employed an African-American and Native American dancers.

The film relays interesting history (and a good deal of juicy behind the scenes dirt) while also featuring some terrific footage of the ballet troupes in action. The film also includes interviews with many of the still living participants, many of whom remain in the dance world as teachers. I was a bit disappointed there was no mention of The Red Shoes when a number of other peripheral topics are discussed, but if you have any interest in dance or the tangential relationship some of the participants have to the film world, than Ballets Russes is well worth your time. - B

The Lady Eve (1941, Preston Sturges)
Yet another revisit of one of my favorite romantic comedies featuring a smoldering Barbara Stanwyck and a great supporting cast with Willliam Demarest, Charles Coburn, Eugene Pallette, Eric Biore, and more. Pikes Pale, the Ale That Won For Yale. Rah Rah. - A

Volver (2006, Pedro Almodovar)
Almodovar's latest is another celebration of the resiliency of women. Penelope Cruz is luminous and displays an inner fire that she doesn't show in her Hollywood work. While the story is thinner than his last few films, his absolute command of the medium, his inimitable energy and style, his ability to find the humor in virtually any situation, and his knack for obtaining wonderful performances from his actresses makes this another wonderful experience from one of our greatest living filmmakers. - B+

Closes out my 2006 viewing.