I loved a film called "Training Day" and I have spent a lot of time trying to find a worthy follow-up from any member of the creative team. First I looked into the other films of director Antoine Fuqua, only to find a long string of duds. Then I started to follow the screenwriter David Ayer, quickly finding the same. Now with "Brooklyn's Finest," Fuqua returns to the corrupt cop drama with a new screenwriter and it is the film that has convinced me to stop waiting for lightning to strike twice.
"Brooklyn's Finest" tells several stories, only one of which goes in an interesting direction. It is no coincidence that this plot-line requires the least amount of set-up. Most of "Finest" is unbearably slow and the sole element that sets the last thread apart is an undeniably suspenseful final scene.
American cinema and television has many fine entries in the police-corruption sub-genre: "Serpico", "Prince of the City" (both directed by the brilliant Sidney Lumet), "The Shield", and of course, "Training Day". Each of Fuqua and Ayer's films show that the greatness of "Training Day" was entirely due to the acclaimed performance of Denzel Washington, and he has the Oscar to prove it.
Friday, March 5, 2010
Sunday, February 28, 2010
'Shutter Island"
'Shutter Island" is a beautiful, haunting, densely layered thriller by an American master. It is a gorgeous, grotesque, mad symphony of a film. It is a spell-binding journey down an exceptionally twisty rabbit hole.
I spent much of the film patting myself on the back because I thought I had deciphered a major plot point due to a couple of telling shots. I would soon discover that although I was correct, it was but a tiny piece of an intricate puzzle. Soon I would pay for my premature self-congratulation, the end of the film contains a key subtlety that I sadly admit I missed. This final revelation which passes in the blink of an eye, and requires a finely-tuned ear elevates the film from a excellent genre piece to a film so nuanced it demands repeat viewings to fully explore its depth.
I spent much of the film patting myself on the back because I thought I had deciphered a major plot point due to a couple of telling shots. I would soon discover that although I was correct, it was but a tiny piece of an intricate puzzle. Soon I would pay for my premature self-congratulation, the end of the film contains a key subtlety that I sadly admit I missed. This final revelation which passes in the blink of an eye, and requires a finely-tuned ear elevates the film from a excellent genre piece to a film so nuanced it demands repeat viewings to fully explore its depth.
Sunday, December 13, 2009
"Everybody's Fine"
I approached "Everybody's Fine" with trepidation. I have a fondness for the original and the director of that film is best-known for "Cinema Paradiso," one of my very favorites.
I read two reviews prior to attending. The first review contained a long discussion of the difference between sentiment and sentimentality, this seemed to confirm my worst fears that they had transformed the somber tale of long-told lies into a typical 'home for the holidays' movie, as indicated by the trailer. The second review said the film was a 'victim of marketing' and I wholeheartedly agree with the latter assessment. Whoever put together the trailer should be shot, not only because it is so misleading, but also because it is an insult to both films. I can't fathom what they hoped to accomplish, audiences looking for holiday escapism will find its polar opposite, and those who enjoyed the original may avoid it entirely, fearing its ruination. One of the characters is an advertising executive and she remarks that clients pay her to "be economical with the truth", it's an apt summation of what is going on in the film, and I could imagine something similar being said as a rationalization for the trailer.
This version was written and directed by Kirk Jones, who made "Waking Ned Devine", the kind of film that demonstrates Jones would be equally capable of producing a lightweight comedy or a drama, further muddying expectations.
"Everybody's Fine" is a respectful and respectable remake, and one hopes that it will help spur the DVD release of the original.
I read two reviews prior to attending. The first review contained a long discussion of the difference between sentiment and sentimentality, this seemed to confirm my worst fears that they had transformed the somber tale of long-told lies into a typical 'home for the holidays' movie, as indicated by the trailer. The second review said the film was a 'victim of marketing' and I wholeheartedly agree with the latter assessment. Whoever put together the trailer should be shot, not only because it is so misleading, but also because it is an insult to both films. I can't fathom what they hoped to accomplish, audiences looking for holiday escapism will find its polar opposite, and those who enjoyed the original may avoid it entirely, fearing its ruination. One of the characters is an advertising executive and she remarks that clients pay her to "be economical with the truth", it's an apt summation of what is going on in the film, and I could imagine something similar being said as a rationalization for the trailer.
This version was written and directed by Kirk Jones, who made "Waking Ned Devine", the kind of film that demonstrates Jones would be equally capable of producing a lightweight comedy or a drama, further muddying expectations.
"Everybody's Fine" is a respectful and respectable remake, and one hopes that it will help spur the DVD release of the original.
Friday, November 13, 2009
"The Box"
"The Box" is written and directed by Richard Kelly whose debut feature was the nearly indecipherable, but ceaselessly interesting "Donnie Darko." He followed "Darko" with the equally indecipherable and completely uninteresting "Southland Tales." (To add insult to injury, "Southland" starred The Rock.) With these two films in mind, I was quite confident in my assumption that Kelly's penchant for impenetrable narratives was to blame when he takes the audience on an extended sojourn to what I can only guess was a version of purgatory. To confirm my suspicion that Kelly was unilaterally tacking on extraneous nonsense, I read Richard Matheson's short story and viewed the 1985 "Twilight Zone" episode from which "The Box" takes its inspiration. How right I was. Some of the best-looking scenes in "The Box" have absolutely no business being there. To be fair, not all of Kelly's additions are terrible. There are many apt references to Jean-Paul Satre's play, "No Exit." (I just happened to attend Imago Theatre's inventive production days later.) Kelly should know when to quit, he already had plenty of story to work with, given the tantalizing choice at the center of the film, and a perfect performance by Frank Langella. Instead, Kelly drowns the film in a sea of self-indulgence. Shame on him!
Saturday, November 7, 2009
"The Men Who Stare at Goats"
"The Men Who Stare at Goats" is one of those films which reveal the funniest moments in the trailer, moments like the one that inspired the title. George Clooney stares with hilarious intensity at a goat and manages to stop its heart. By the time that bit rolls around, you start to envy the goat.
It is true that what humor there is in "Men Who Stare at Goats" reminds one of a low-rent Coen Brothers imitation, but even that seems like undeserved praise. Jeff Bridges tries to channel "The Dude" from "The Big Lebowski" in his portrayal of a man trained in New Age techniques, but fails miserably. You'd be much happier renting "Lebowski" or better yet, making the trip downtown to Fox Tower to see the Coen's newest outing, "A Serious Man". Go for the real deal, accept no substitutes, especially one this poor.
It is true that what humor there is in "Men Who Stare at Goats" reminds one of a low-rent Coen Brothers imitation, but even that seems like undeserved praise. Jeff Bridges tries to channel "The Dude" from "The Big Lebowski" in his portrayal of a man trained in New Age techniques, but fails miserably. You'd be much happier renting "Lebowski" or better yet, making the trip downtown to Fox Tower to see the Coen's newest outing, "A Serious Man". Go for the real deal, accept no substitutes, especially one this poor.
Saturday, October 17, 2009
"Where the Wild Things Are"
In "Where the Wild Things Are" Spike Jonze has created a dreamscape so vivid and expansive that you wish you could visit. That's not to say that everything is peaceful in this land. There are some scenes that mildly frightened me, so I would advise caution when bringing little ones. (It seems that if a ruler of the Wild Things displeases his subjects, their next meal is served -ahem- ala King.)
Other critics have referenced recent live-action Seuss adaptations, "The Grinch" and "Cat in the Hat," usually with the prefix, "much better than", but then they proceed to say that the expansion to feature-length has still served to undercut the power of the source material. It is true that "Cat in the Hat" was nothing short of a desecration, and "Grinch" was mediocre and what's worse, completely unnecessary given the enormous shadow of Chuck Jones' animated classic. Still, to mention "Wild Things" in the company of those films seems a bit like comparing "Citizen Kane" to "Harold & Kumar go to White Castle." I believe that "Wild Things" is not only the antithesis of the Seuss films, it may well be the antidote. If an adaptation can not match the imagination and reverent care of this film, then the project should be scrapped.
The casting is ingenious, it is wonderfully disconcerting to hear the voice of Tony Soprano emanating from something that is almost cuddly despite his destructive rage. Max is played by Portlander Max Records, who imbues his character with surprisingly deep anger. The Wild Things themselves are brought to life by Jim Henson's Creature Shop, and I predict an Oscar win.
"Where the Wild Things Are" is beautifully photographed. Honestly, if the characters had done nothing but continue their Wild Rumpus throughout the length of the film I would have been satisfied, but they do much more. It is a film that encourages introspection, and one of the few that gives younger audiences the credit they deserve.
Note: I saw this film in the IMAX at Bridgeport and that it is the way it should be seen. Make the trip from wherever you are, you will not be disappointed.
Other critics have referenced recent live-action Seuss adaptations, "The Grinch" and "Cat in the Hat," usually with the prefix, "much better than", but then they proceed to say that the expansion to feature-length has still served to undercut the power of the source material. It is true that "Cat in the Hat" was nothing short of a desecration, and "Grinch" was mediocre and what's worse, completely unnecessary given the enormous shadow of Chuck Jones' animated classic. Still, to mention "Wild Things" in the company of those films seems a bit like comparing "Citizen Kane" to "Harold & Kumar go to White Castle." I believe that "Wild Things" is not only the antithesis of the Seuss films, it may well be the antidote. If an adaptation can not match the imagination and reverent care of this film, then the project should be scrapped.
The casting is ingenious, it is wonderfully disconcerting to hear the voice of Tony Soprano emanating from something that is almost cuddly despite his destructive rage. Max is played by Portlander Max Records, who imbues his character with surprisingly deep anger. The Wild Things themselves are brought to life by Jim Henson's Creature Shop, and I predict an Oscar win.
"Where the Wild Things Are" is beautifully photographed. Honestly, if the characters had done nothing but continue their Wild Rumpus throughout the length of the film I would have been satisfied, but they do much more. It is a film that encourages introspection, and one of the few that gives younger audiences the credit they deserve.
Note: I saw this film in the IMAX at Bridgeport and that it is the way it should be seen. Make the trip from wherever you are, you will not be disappointed.
You May Also Like:
"Adaptation" (Also directed by Jonze)
"Animal Farm" (1999 version also featuring the work of Jim Henson's Creature Shop)
"Being John Malkovich" (Also directed by Jonze)
"Adaptation" (Also directed by Jonze)
"Animal Farm" (1999 version also featuring the work of Jim Henson's Creature Shop)
"Being John Malkovich" (Also directed by Jonze)
Thursday, October 15, 2009
"Paranormal Activity"
The buzz that preceded "Paranormal Activity" was deafening. There were tales of unexplained happenings, such as Steven Speilberg's door locking on its own after a screening. Does "Paranormal Activity" live up to the hype? Yes, it does. That being said, you do have to go in with the right mindset. There is virtually no violence or gore here, "Paranormal Activity" provides its scares with a masterful use of sound effects. Is it the scariest movie ever made as some have declared? Well, I guess that depends on what scares you the most. If your worst fear is to be haunted by malevolent spirits, then this film is a vivid realization of your nightmares. For the rest of us whose fears are a different sort, "Paranormal Activity" still has the ability to burrow deep beneath your skin if you let it.
At first I felt kind of cheated that I was not able to attend a midnight screening and had to settle for one with a sparse audience on a weekday afternoon, I had read that being with a large group of spectators enhanced the experience. I think it is actually better seen with fewer people, because the film is not about sharing a scream with the auditorium, it is about the gradually increasing sense of dread, and that is a solitary experience localized entirely within your own brain.
For those who haven't seen it, I can think of no better way to spend Halloween night....
At first I felt kind of cheated that I was not able to attend a midnight screening and had to settle for one with a sparse audience on a weekday afternoon, I had read that being with a large group of spectators enhanced the experience. I think it is actually better seen with fewer people, because the film is not about sharing a scream with the auditorium, it is about the gradually increasing sense of dread, and that is a solitary experience localized entirely within your own brain.
For those who haven't seen it, I can think of no better way to spend Halloween night....
Sunday, October 4, 2009
'Capitalism: A Love Story'
I’ve read a handful of reviews of ‘Capitalism: A Love Story,’ and regardless of whether the critic in question enjoyed Moore’s film, many of them call it unfocused. I, on the other hand believe that Moore has finally made the film he has always wanted to make. This seems to be his summation, the cinematic equivalent of an emphatic ’I told you so.’ Yes, Moore takes aim at a plethora of targets, but they are all in support of his thesis that there has been a catastrophic failure, that it is indeed time to write our beloved capitalist system a ‘Dear John’ letter with a vitriolic pen. Does that always make for a film with laser-like precision? Perhaps not. Yet, I am perplexed beyond words to read critics extolling ‘Bowling for Columbine’ as Moore’s most focused work. In ‘Bowling’ Moore explored everything from white flight to this country’s gentle treatment of corporate criminals, even going so far as recycling his Corporate Cops skit from one of his T.V. shows. ‘Bowling’ was so scattershot that it nearly lost sight of its titular tragedy. ‘Capitalism’ finally gives Moore a canvas big enough to paint in broad strokes.
Sure, Moore falls prey to some of the same pitfalls that have plagued his previous efforts. Perhaps the most irritating of these is Moore’s habit of making fun of Americans, seemingly oblivious to the fact that he is one as well. After a brilliant montage that juxtaposes the fall of Rome with prominent American figures, Moore falls into his argument-weakening condescension. ‘How will future generations remember us? ’ For this? He then shows a goofy internet video of cats flushing toilets. Or for this? as he shows his first victim of foreclosure. Is the brief giggle elicited by the flushing felines really worth poking fun at the country he proportedly wishes to help rescue? Though this is nothing compared to his assertion in ‘Bowling’ that the only safe weapon is one in the hands of a Happy Canadian. When will Moore realize that when he does these things he plays right into the hands of those who say he hates America? Wouldn’t his point be better articulated if rather than featuring the potty-trained pets, he had instead highlighted a uniquely American triumph, and then set that against the same scenes of foreclosure, because this country is unfortunately capable of both?
Moore’s most persuasive point in favor of sweeping change comes when he shows a clip of Franklin Roosevelt proposing a second Bill of Rights. (Call me biased if you must, but I think it’s no coincidence that this country’s first handicapped president was the first to realize the need for programs to help the common man and the disadvantaged.)
I enjoyed ‘Capitalism A Love Story’ and I actually consider the fact that Moore goes beyond the current crisis the film’s greatest strength, for it is merely a symptom of an ill whole, the inevitable collapse of an unsound structure.
Sure, Moore falls prey to some of the same pitfalls that have plagued his previous efforts. Perhaps the most irritating of these is Moore’s habit of making fun of Americans, seemingly oblivious to the fact that he is one as well. After a brilliant montage that juxtaposes the fall of Rome with prominent American figures, Moore falls into his argument-weakening condescension. ‘How will future generations remember us? ’ For this? He then shows a goofy internet video of cats flushing toilets. Or for this? as he shows his first victim of foreclosure. Is the brief giggle elicited by the flushing felines really worth poking fun at the country he proportedly wishes to help rescue? Though this is nothing compared to his assertion in ‘Bowling’ that the only safe weapon is one in the hands of a Happy Canadian. When will Moore realize that when he does these things he plays right into the hands of those who say he hates America? Wouldn’t his point be better articulated if rather than featuring the potty-trained pets, he had instead highlighted a uniquely American triumph, and then set that against the same scenes of foreclosure, because this country is unfortunately capable of both?
Moore’s most persuasive point in favor of sweeping change comes when he shows a clip of Franklin Roosevelt proposing a second Bill of Rights. (Call me biased if you must, but I think it’s no coincidence that this country’s first handicapped president was the first to realize the need for programs to help the common man and the disadvantaged.)
I enjoyed ‘Capitalism A Love Story’ and I actually consider the fact that Moore goes beyond the current crisis the film’s greatest strength, for it is merely a symptom of an ill whole, the inevitable collapse of an unsound structure.
Saturday, August 15, 2009
Crippled Critic Concert Review: Monte Montgomery @ The Aladdin 8/14/09
I'll never forget my introduction to Monte Montgomery. I'd just purchased a copy of Edwin McCain's "The Austin Sessions" which contained a version of the Dire Straits tune, "Romeo & Juliet." I played this track for my father,
"Isn't that a good version?" I asked.
"Yeah, it is, but really you ain't heard nothin' yet."
With that, he popped in Monte Montgomery's version. My jaw dropped. Two words broke my nearly twelve minute stunned silence: "Holy shit!" From then on, I've been a certified "Montiac." I've seen Monte twice now, both times were at my favorite concert venue, The Aladdin Theater. The staff at the Aladdin is always incredibly accommodating to The Crippled Critic, making sure he has his favorite seat in the front row and a poster from the evening's performance. (This time Monte signed the poster.) Monte also delivered on "Juliet." It was his encore, and by the time it came I had the whole crowd chanting it. What a night!
"Isn't that a good version?" I asked.
"Yeah, it is, but really you ain't heard nothin' yet."
With that, he popped in Monte Montgomery's version. My jaw dropped. Two words broke my nearly twelve minute stunned silence: "Holy shit!" From then on, I've been a certified "Montiac." I've seen Monte twice now, both times were at my favorite concert venue, The Aladdin Theater. The staff at the Aladdin is always incredibly accommodating to The Crippled Critic, making sure he has his favorite seat in the front row and a poster from the evening's performance. (This time Monte signed the poster.) Monte also delivered on "Juliet." It was his encore, and by the time it came I had the whole crowd chanting it. What a night!
Thursday, July 16, 2009
Crippled Critic Concert Review: Jonny Lang @ The Roseland 7/14/09
Sometimes it pays to bring your own chair. In a standing-room only situation, the cripple is king. I was able to make a beeline for the front and position myself so that my footplates were touching the stage. It doesn't get any better than that. Or maybe it does, if you count the bonus of the mental chuckle I had watching the poor suckers around me having to stand for about 3 hours as I sat in a seat molded by computer to my back and butt.
I've wanted to see Jonny Lang for many years, but it never happened. I'd always talk myself out of it by remembering that the only Jonny Lang song I knew was "Breakin' Me."
In the intervening years, Jonny Lang released "Turn Around" which contained some wonderful songs. For some reason, he did not play the "hit" of the album, "Anything is Possible." This angered the critic from The Oregonian who gave this concert a lukewarm review. Although I too was eagerly awaiting "Anything is Possible", its conspicuous absence was far from a deal-breaker. He also didn't play "Breakin' Me" which was a shock, but still did little to dampen my enthusiasm for the show. Why? Because Jonny Lang's interaction with his band is amazing. If you can not appreciate "synchronicity" personified, than I pity you. (This was especially true in the largely instrumental encore.) Besides, watching Jonny Lang's face contort into expressions one would swear were only possible in animation is worth the price of admission all by itself...
I've wanted to see Jonny Lang for many years, but it never happened. I'd always talk myself out of it by remembering that the only Jonny Lang song I knew was "Breakin' Me."
In the intervening years, Jonny Lang released "Turn Around" which contained some wonderful songs. For some reason, he did not play the "hit" of the album, "Anything is Possible." This angered the critic from The Oregonian who gave this concert a lukewarm review. Although I too was eagerly awaiting "Anything is Possible", its conspicuous absence was far from a deal-breaker. He also didn't play "Breakin' Me" which was a shock, but still did little to dampen my enthusiasm for the show. Why? Because Jonny Lang's interaction with his band is amazing. If you can not appreciate "synchronicity" personified, than I pity you. (This was especially true in the largely instrumental encore.) Besides, watching Jonny Lang's face contort into expressions one would swear were only possible in animation is worth the price of admission all by itself...
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