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Post by grubl on Jul 13, 2010 16:23:07 GMT -5
I saw a lot of films over the past week and was pleased that this year in movies is turning out to be substantially better than 2009, what I consider to be the worst year for American cinema since the industry began. I saw four new films, three were exceptional and the other one was fairly decent.
WINTER'S BONE (Granik)- Does a great job of convincingly immersing us into this cold, hard life in the Ozarks. The performances are first rate all around. The atmoshpere is so strong and done to a tee. If you've ever lived near the woods in late fall/early winter you'll know what I mean. This is patient, smart filmamking. I highly recommend it.
TOY STORY 3 (Unkrich) - Very intense, very sad, maybe a little bit more grown-up and honest than I wanted it to be. It was so dark that by the end I was willing to believe that any and all of the main characters were going to die. This movie did not hold back. Again, strong recommendation.
RESTREPO (Hetherington/Junger) - Firsthand documentary filmed at the most desolate and dangerous US outpost in Afghanistan. Pretty moving and gripping, but it is hard to miss with such access and time. I know that there have been a plethora of quality war documentaries over the past seven or eight years, but this one stands out and is again a strong recommendation from me.
THE GIRL WITH THE DRAGON TATTOO (Opley) - Interesting enough, some strong acting. I think that reading the book (which I haven't) may have been vital in hooking into the level of tension that was intended as the protagonists begin to unravel the films mysteries. That aspect was not interesting and, obviously, not a success in the film.
The picture prides itself in pushing the envelope in several brutal scenes that meld rape and violence with an odd eroticism. These were definitely intense, disturbing scenes, but I still felt like I was being a little too manipulated through the process (compared to the brilliant Korean director Chan-wook Park, who is able to pull of similarly thematic scenes with such confidence and bravado that I don't question a thing). Ultimately, the movie tries a little too hard to be edgy and cool which somewhat puts me off. Enjoyable in some was, but I could take it or leave it.
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Post by james on Jul 13, 2010 17:01:26 GMT -5
WINTER'S BONE (Granik)- Does a great job of convincingly immersing us into this cold, hard life in the Ozarks. The performances are first rate all around. The atmoshpere is so strong and done to a tee. If you've ever lived near the woods in late fall/early winter you'll know what I mean. This is patient, smart filmamking. I highly recommend it. TOY STORY 3 (Unkrich) - Very intense, very sad, maybe a little bit more grown-up and honest than I wanted it to be. It was so dark that by the end I was willing to believe that any and all of the main characters were going to die. This movie did not hold back. Again, strong recommendation.
THE GIRL WITH THE DRAGON TATTOO (Opley) - Interesting enough, some strong acting. I think that reading the book (which I haven't) may have been vital in hooking into the level of tension that was intended as the protagonists begin to unravel the films mysteries. That aspect was not interesting and, obviously, not a success in the film. The picture prides itself in pushing the envelope in several brutal scenes that meld rape and violence with an odd eroticism. These were definitely intense, disturbing scenes, but I still felt like I was being a little too manipulated through the process (I am reminded of the brilliant director Chan-wook Park, who is able to pull of scenes with such confidence and bravado that I don't question a thing). Ultimately, the movie tries a little too hard to be edgy and cool which somewhat puts me off. Enjoyable in some was, but I could take it or leave it. - I liked this movie, too. God knows, it's also one of the few American films I've seen in the past couple of years to acknowledge economic hardship. (There's a fine scene late in the movie when Ree, the lead character, looks through a photo album at pictures of some of her family members from years past, in more prosperous times. No dialogue, yet that scene shows you plenty about what economic collapse has done to the area where the movie takes place). And if you're into crime movies, this is a good one. Toy Story 3 - you're not kidding. Pixar movies sometimes flirt with dark themes, but there's one scene near the end that's absolutely bleak. I though it was a great film (and not in spite of that scene, which works just fine). The Girl With the Dragon Tattoo - I haven't seen the film, but I read the book. It is heavy with exposition and a "and then this happened" narrative style. There's been some sort of controversy as to whether Stig Larsson (who had never written any published fiction before this novel) actually wrote any of his three mysteries. My response - Dragon Tattoo reads like the work of a first-timer, so I'm not sure why there's a controversy. James |
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Post by grubl on Jul 13, 2010 19:35:35 GMT -5
What else is out there worth seeing? I'm, beginning to feel optomistic. 2008 was very good, then a sharp decline.
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Post by james on Jul 16, 2010 5:41:03 GMT -5
What else is out there worth seeing? I'm, beginning to feel optomistic. 2008 was very good, then a sharp decline. A few other movies I've really liked this year are Solitary Man, Please Give, The Killer Inside Me, Exit Through the Gift Shop, Mother, Cyrus, Shutter Island, Predators and The Kids Are Alright. I also saw The Agony and Ecstasy of Phil Spector. I'm not going to not recommend seeing it, but I had real issues with the movie - things that made me very angry. (Also, it's not really a 2010 movie; it's a 2008 BBC documentary getting a belated theatrical release I'm not sure it deserves). James |
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Post by grubl on Jul 16, 2010 17:05:27 GMT -5
Thanks. The only one of those that I saw was SHUTTER ISLAND, which left me cold. Sorcese is still one of my favorites, but he hasn't been great for a few decades.
I do want to see THE KIDS ARE ALL RIGHT and EXIT THROUGH THE GIFT SHOP. I'm hearing that CYRUS really missed the mark.
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Post by Eddie Love on Jul 17, 2010 9:25:31 GMT -5
THE GIRL WITH THE DRAGON TATTOO [/b] (Opley) - Interesting enough, some strong acting. I think that reading the book (which I haven't) may have been vital in hooking into the level of tension that was intended as the protagonists begin to unravel the films mysteries. That aspect was not interesting and, obviously, not a success in the film. The picture prides itself in pushing the envelope in several brutal scenes that meld rape and violence with an odd eroticism. These were definitely intense, disturbing scenes, but I still felt like I was being a little too manipulated through the process (I am reminded of the brilliant director Chan-wook Park, who is able to pull of scenes with such confidence and bravado that I don't question a thing). Ultimately, the movie tries a little too hard to be edgy and cool which somewhat puts me off. Enjoyable in some was, but I could take it or leave it.[/quote] The Girl With the Dragon Tattoo - I haven't seen the film, but I read the book. It is heavy with exposition and a "and then this happened" narrative style. There's been some sort of controversy as to whether Stig Larsson (who had never written any published fiction before this novel) actually wrote any of his three mysteries. My response - Dragon Tattoo reads like the work of a first-timer, so I'm not sure why there's a controversy. James[/quote] I completely agree the writing in GWTDT is methodical, if not pedestrian, but I don't think that's accidental, as Larrsson loves all the back-stories and even those trips to IKEA. The books are clearly informed by his love of other writers like Sue Grafton and Val McDermid. Michael Connelly, for instance, especially in his early books, would often lull you with dense paragraphs of detail. It's a technique that may be a bit counter-intuitive, but draws you deeper into the work even if you're reading stuff that isn't necessarily interesting. When the inevitable backlash to these books becoming an international sensation occurs, if it hasn't already started, I don't think it's fair to slag them for being any less well-written than Karin Slaughter or Jeffrey Deaver, simply because they're more popular. (If people wanna, criticize Lisbeth's boob job in the second book, well...) I mention this largely because I sense that criticism coming, for instance A.O. Scott, who I kind of like, said something snarky about the books in his review of the second film on AT THE MOVIES. Which is fine, on it's own, but that seems to be in keeping with the Times' diabolical hatred of any fiction that becomes popular without first receiving the imprimatur of critical approval. The hysterical trashing Dan Brown's books get in the reviews of their film versions is a perfect case in point. You would think these were the gravest offenses in the history of the written word, given how overboard the bile gets. Reading fiction is, of course, the rarefied pursuit of the cultivated, therefore if something is consumed, even...enjoyed(!?!) by the masses, it most be suspect. (The Times' has a similar policy on Broadway shows that feature movie stars and, are thus, impervious to their critical reception as they'll draw an audience regardless. ) It's been cool to watch the Millennium Trilogy cult grow from the vantage point of ground zero, which was the great crime fiction blog The Rap Sheet: therapsheet.blogspot.com/ |
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Post by james on Jul 17, 2010 9:48:50 GMT -5
I liked the book, and I particularly liked the political critique that Larsson often brings to the narrative. I'm not slagging it. But, again, it does read at times like someone's first novel - there's a lot of third person exposition that I think a more experienced writer wouldn't have used (or would have integrated into the story through character and plot). It's my understanding that the accusation that he didn't write his books comes from a former newspaper colleague who might have an axe to grind.
James
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Post by james on Jul 17, 2010 9:54:44 GMT -5
The Times' has a similar policy on Broadway shows that feature movie stars and, are thus, impervious to their critical reception as they'll draw an audience regardless. In this case, I can understand it, though. Move acting and theater acting are two different things, and acting in a play or musical night after night requires serious discipline that even a great movie star might not have (and most movie starts these days, in America at least, aren't coming from a theater background). Jeremy Piven flaming out of Sped the Plough because he didn't have the work ethic to act every night is a good example. I can understand someone who loves theater being annoyed when a production is headlined by movie people who've never done any theater work before, and might not be very good at it. James |
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Post by Eddie Love on Jul 17, 2010 9:57:48 GMT -5
I liked the book, and I particularly liked the political critique that Larsson often brings to the narrative. I'm not slagging it. Oh no, I didn't mean to suggest you were. I agree with your take on the book to a large extent. I just wanted to tee off on my larger beef with the haters. |
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Post by Eddie Love on Jul 17, 2010 10:33:44 GMT -5
The Times' has a similar policy on Broadway shows that feature movie stars and, are thus, impervious to their critical reception as they'll draw an audience regardless. In this case, I can understand it, though. Move acting and theater acting are two different things, and acting in a play or musical night after night requires serious discipline that even a great movie star might not have (and most movie starts these days, in America at least, aren't coming from a theater background). Jeremy Piven flaming out of Sped the Plough because he didn't have the work ethic to act every night is a good example. I can understand someone who loves theater being annoyed when a production is headlined by movie people who've never done any theater work before, and might not be very good at it. James I'm thinking of several cases where Ben Brantley's review in the Times was simply not accurate or fair in terms of what was onstage and, I believe, this is informed by a prejudice, not against film stars per se, but against the notion that productions can open on Broadway that are critic-proof because of their star casting. I saw Denzel as Brutus in JULIUS CAESAR and he was great in an intelligent production that thrilled the audience I saw it with and was then savaged. Because...it was too violent? Um...okay. I guess I missed all those productions of the play where Caesar is repeatedly stabbed offstage. This was a ludicrous judgment. Similarly, Jude Law's wonderful Hamlet got a snarkly write-up from Brantley. Both Law and Washington are theater trained actors and excellent ones. They just happened to have the misfortune of bringing to town Shakespearean dramas that people actually wanted to see, as opposed to being told they had to by the Times. I understand that opinions differ, and this isn't always the case as Denzel and Scarlett got raves this past season. But I'm sorry, this is a major, lazy fixation you will note repeatedly if you read Ben Brantley. (He has others, for instance, quoting the Times' review of an original production when reviewing a revival as if this points to some empirical fact about the original's quality.) It is fascinating to see a film star on stage though and note their facility with the different medium. Julia Roberts, for instance, (who was criticized by Brantley for being stiff and brittle in her performance of a character who was...stiff and brittle) was at a disadvantage in that you're used to seeing that face in close-up where she can convey so much more. Denzel, meanwhile, needs no such allowances as he's a magnetic presense onstage. Also, I don't think I've ever seen that kind of effortless movie-star charisma in a Shakespearean role. I agree there are differences between the two mediums, but I'm not really sure what they are, it seems mysterious, in fact. Maybe the two best actors I've ever seen onstage -- Kevin Kline and Christopher Plummer, I wouldn't rank in my top 50 of film actors. |
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Post by Derrick on Jul 17, 2010 12:52:42 GMT -5
Thanks. The only one of those that I saw was SHUTTER ISLAND, which left me cold. Scorsese is still one of my favorites, but he hasn't been great for a few decades. I think he hit a slump after CAPE FEAR. The four films he made after that didn't work at all for me, especially CASINO as I think it was too soon after the spectacular work Scorsese, DeNiro and Pesci did in GOODFELLAS for them to be teaming up again. Scorsese got his mogo back with GANGS OF NEW YORK. |
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Post by grubl on Jul 17, 2010 13:01:02 GMT -5
I thought CASINO and BRINGING OUT THE DEAD worked. But, there has been nothing to equal the incredible work he did on TAXI DRIVER and RAGING BULL (with MEAN STREETS and GODDFELLAS close behind). Those were some of the finest films ever made. I miss that Scorsese.
Other early ones worth seeing are ALICE DOESN'T LIVE HERE ANYMORE and THE KING OF COMEDY.
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Post by grubl on Jul 20, 2010 13:21:23 GMT -5
Two films that I desperately want to see are only showing at the IFC theatre in NYC. If you live in the greater New York area (which I sadly don't anymore) I suggest that you go see them! The previously mentioned HENRI-GEORGES CLOUZOT'S INFERNO , a documentary about Clouzot's infinished, supposedly revoluotionary epic and, starting Friday, Todd Solondz's sequel to his 1998 HAPPINESS, entitled LIFE DURING WARTIME.
I live near San Francisco, and we usually get stuff early, but no sign of these two showing up anytime soon.
Not even LA (where I also used to live and see plenty of early releases) is getting these anytime soon.
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Post by grubl on Jul 24, 2010 22:30:04 GMT -5
I just saw JOAN RIVERS: A PIECE OF WORK and that was the best film going experience I've had in 2010 so far. Such an open and honest look at this woman. No matter what your pre-concieved notions of her may be, it is hard for me to see anyone not feeling some warmth for her after seeing this. I highly recommend it.
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