films in brief

More quick reviews....

Be Kind Rewind -

This is a loopy, crazy, not-all-that realistic film. But since when has Gondry been interested in realism? He's more determined to find creative ways to shoot things from a childlike perspective, and this lets him do that, as JB and Mos put together amateur remakes. It's fun and heart-warming, even if seemingly stupid at points.

Things We Lost in the Fire -

This overlooked drama didn't get much attention last year, but it should have. It features a great performance by Benicio Del Toro as a junkie who moves in with his best friend (DUCHOVNY!!!)'s family after said best pal dies (I know, it's sad to have Duchovny and then see him pulled away). His wife is Halle Berry, and his house is nice, but it's an awkward arrangement. This probably turned off people because it has the cliches of a typical indie relationship drama, but the performances are good (even Berry) and the pain seems real. Add Benicio to the lost of actors who couldn't get any notice last year.

Dead Again -

Back in 1991, Kenneth Branagh took a break from Shakespeare to direct and star in a supernatural murder mystery. It's funny to see him as a sarcastic 80's L.A. cop, but he pulls it off. He tries to help out amnesia victim Emma Thompson, who may have known him in a past life, as may have other crazy people. This has some interesting twists and enough suspense to make it worth watching.

King of California -

This likable quirkfest about a crazy guy who's still endearing (Michael Douglas, channeling good comedy vibes) is a solid pick. Read the Bill Wine review, it will give you everything I wanted to say.

http://www.kyw1060.com/pages/1037815.php?


Harry Potter and the Prisoner of Azkaban -

The only J.K. Industries film I hadn't seen all the way through was this, the third, which is when it really began to pick up. The kids are older, the stories are darker, and new characters are better (David Thewilis, Gary Oldman, and Timothy Spall all appear here). Also, they finally got a real director (Alfonso Cuaron). This is almost 2 and a half hours, but doesn't seem like it.

La Vie En Rose -

The film that got Marion Cotillard a surprise Oscar details the life of Edith Piaf. Like a lot of the recent musician biopics, it's got problems dramatically but the performances are amazing. Cotillard, a shy, soft-spoken, gorgeous actress, completely transforms into this wild, frightening, furious singer. The story moves around a lot, with flashbacks and flash forwards, which could have been smoother, but the imagery and the fire that she gives are great. The structure can be annoying, and the drama goes overboard, but you can't take your eyes off Cotillard for one second.

Post-awards blues, films in brief

I've been in my post-Oscar daze for several days now, or is it weeks? I was stunned by a show that didn't infuriate me for once. I was happy with most of the winners, and left kind of subdued by the whole thing. It was pretty low key. I am now in the weird state of not being upset.

The Independent Spirit Awards were much feistier. Rainn Wilson had some wild fun and I might have liked some of the winners there better (Tamara Jenkins and the almighty Phil finally got some rec for The Savages). For the foreign film category, people had to choose between Once, Persepolis, Lady Chatterly, and two very highly rated films that I want to see.... that's tough.

Some reviews.....

Margot at the Wedding -

Much like Who's Afriad of Virgina Woolf and other such emotional train wrecks, this a fun look at dysfunction. Nicole Kidman and Jennifer Jason Leigh are sisters from a privileged but crazy family who haven't spoken in years. Now they are putting it aside to celebrate Leigh's wedding to Jack Black, except that they're still bitter and sniping at each other. Both these actresses are great as unstable people who keep undermining each other, and there are fine supporting roles by JB (keeping comedy), Ciarin Hinds, John Turturro, and some good kid actors. This builds up a fine mess, but then... well, it's over too soon. Noah Bambauch almost had a considerable follow-up to the Squid and the Whale, but he might have done more... although, he's made his point. This family is effed up, and it's not stopping.

Rocket Science -

I almost saw this at the L.A. festival, but it was sold to an indie distributor. It seems right out of the Thumbsucker / Napoleon Dynamite / Igby Goes Down mode of a quirky film about a teenager trying to fit in and adjust to life. It's not anything new in the Sundance world, but it is enjoyable. The kids in this are funny, and the classic underdog story goes off track enough to make it different. Watch for Claire's flying boyfriend from Heroes.

Also, this has one big thing going for it: newcomer Anna Kendrick. She was very good. I hear she is getting a ton of offers now, and I hope to see more of her.

George Washington -

I'd wanted to see the first film of David Gordon Green, a new age indie guy who loves to make slice-of-life, realism driven, uncompromising films. Like his hero Terrence Malick, he gets a lot of great visuals out of the forgotten parts of the country. The problem with making things so much like reality is that the story can drag. Here, it seems like just a big picture of a poor Southern town, but when a boy accidentally dies, it picks up. This was pretty impressive for a young guy without any money or major actors (it was a festival sensation a few years ago). For those interested in this wave of indie neo-realism, it's an important piece.

Gone Baby Gone -

Maybe the biggest surprise of the year for me was finding out that people were praising Ben Affleck. He was getting good marks for directing and his brother for acting. I was skeptical, but it's true: Baffleck is remarkable behind the camera. This is a solid drama with some intense moments that that really hooked me. Casey Affleck is good as a detective who has to ask on some of his shady old pals to help him find a missing girl. I'm still wondering if Amy Ryan got snubbed too hard, because she does great in the most unflattering role a woman can have. Ed Harris and Morgan Freeman add with their usual charm, but Baffleck gets the most out of the supporting people, some of whom were real drifters from Mass. He builds up an interesting story that goes into unexpected places, and ends with a tough question. It's a strong emotional pull. In fact, I was thinking how this is really the movie that Mystic River was trying to be, but it doesn't fall apart at the end. Yes, it's good. Who knew? I can only hope that a certain someone realizes that he should never act again and stay behind the camera.