I've been to busy scrambling to watch all the Oscar-nominated films to blog about them (or anything else for that matter), but with the Oscars merely a few hours away, here is a quick look at how I think the event will play out. I'll likely provide more in-depth reviews or at least some brief words about most of these films in the near future, but here is a list of the nominees and my predictions (and occasionally my two cents on my own personal picks for particular categories if they differ from what I expect to win).
THE OSCARS:
1. Best Picture: The Hurt Locker
2. Best Actor: Jeff Bridges for Crazy Heart
3. Best Actress: Sandra Bullock for the Blind Side; Should win: Gabourey Sidibe for Precious
4. Best Supporting Actor: Christoph Waltz for Inglorious Basterds
5. Best Supporting Actress: Mo’Nique for Precious
6. Best Director: Kathryn Bigelow for The Hurt Locker
7. Best Screenplay (directly for screen): The Hurt Locker
8. Best Adapted Screenplay: Up in the Air
9. Best Cinematography: Avatar; Should win: The Hurt Locker
10. Best Editing: The Hurt Locker
11. Best Art Direction: Avatar
12. Costume Design: The Young Victoria
13. Best Makeup: Il Divo; Should win: Star Trek
14. Best Music (Original Score): Up
15. Best Music (Original Song): "The Weary Kind" in Crazy Heart
16. Best Sound Mixing: The Hurt Locker
17. Best Sound Editing: Avatar
18. Best Visual Effects: Avatar
19. Best Animated Film: Up
20. Best Foreign Film: The White Ribbon
21. Best Documentary: The Cove
22. Best Documentary Short: China’s Unnatural Disaster: The Tears of Sichuan Province
23. Best Short Film (Animated): French Roast ; My pick: Wallace and Gromit
24. Best Short Film (Live Action): Miracle Fish
So, there you have it. I expect Avatar and The Hurt Locker to take home the most statues, but the question is which will take home the most coveted statues (i.e. Best Picture, Best Director). I've seen damn near every nominated film this year, with the exception of Invictus, The Blind Side, the documentaries (save The Cove), and most of the animated and live action shorts. Here I have listed what I expect to win, so keep in mind that this list does not perfectly reflect my personal taste (and in fact, I have noted some of my picks in certain categories). The Oscars are on tonight at 5:30 PM: let's see how I do.
Sunday, March 7, 2010
Saturday, February 13, 2010
A SERIOUS MASTERPIECE (A SERIOUS MAN)
Sorry for neglecting you Blog. Trying to prep for the Oscars though, so mad movie-watching going on and many mondo reviews will grace your face in the coming weeks. Here's a recent DVD release (hit the shelves on 2/9/10) that also happens to be nominated for Best Picture and Best Screenplay (not based on previous work).
A SERIOUS MAN (09):
The Coen Brothers have done it again. Not that I’m surprised. A Serious Man may be their most serious and most personal film to date, in addition to being one of their best. While it doesn’t boast the entertainment or replay value of Coen classics such as The Big Lebowski or O Brother Where Art Thou, A Serious Man is a brilliant film with the prolific duo’s signatures all over it.
It is loaded with their unique brand of dialogue, delivered matter-of-factly by a game cast. At times, this movie reminded me of Falling Down, but it stays (more) grounded in the realm of reality. Here, our doormat protagonist never explodes (violently), but rather shifts perspective, beginning to question life as he knew it and as things fall apart around him, making compromises in ethics and beliefs.
The storyline concerns Larry Gopnik, a quiet middle-aged Jewish man living in the American Midwest. Presented in slice-of-life format, we watch Larry’s life crumble as dilemmas pile up and disturb his mundane existence. The film is quite dramatic but at heart it is a black comedy teeming with uncomfortably funny moments. The humor is dark and offbeat but inspired and injected admirably into an atmosphere of bleak despair.
The ending, as is typical of Coen fare, is sure to leave some scratching their heads or screaming at the screen. Viewers that detest ambiguity or need everything wrapped up succinctly and tied with a cute little bow need not apply, but those that desire some food for thought will not be hungry when the credits roll. I loved the ending, and in fact, would go so far as to say that it is perfect given the themes and events that have preceded it.
This film is about life itself and its biggest questions and whether asking these questions (i.e. trying to be “a serious man”) will have a profound (or any) effect on one’s quality of life. The audience is left to ponder the message, making their own meanings. Some will choose to believe that he acted immorally and God reacted with punishment. On the contrary, I inferred that life is a series of events and insurmountable challenges that are often beyond our control: we attach greater weight to some, and certain things seem so important as to change our existing views or behaviors, but nothing we do will alter the haphazard and indiscriminate nature of life itself. Highly recommended: one of the best films of the year, but not for all tastes.
9.2/10
A SERIOUS MAN (09):
The Coen Brothers have done it again. Not that I’m surprised. A Serious Man may be their most serious and most personal film to date, in addition to being one of their best. While it doesn’t boast the entertainment or replay value of Coen classics such as The Big Lebowski or O Brother Where Art Thou, A Serious Man is a brilliant film with the prolific duo’s signatures all over it.
It is loaded with their unique brand of dialogue, delivered matter-of-factly by a game cast. At times, this movie reminded me of Falling Down, but it stays (more) grounded in the realm of reality. Here, our doormat protagonist never explodes (violently), but rather shifts perspective, beginning to question life as he knew it and as things fall apart around him, making compromises in ethics and beliefs.
The storyline concerns Larry Gopnik, a quiet middle-aged Jewish man living in the American Midwest. Presented in slice-of-life format, we watch Larry’s life crumble as dilemmas pile up and disturb his mundane existence. The film is quite dramatic but at heart it is a black comedy teeming with uncomfortably funny moments. The humor is dark and offbeat but inspired and injected admirably into an atmosphere of bleak despair.
The ending, as is typical of Coen fare, is sure to leave some scratching their heads or screaming at the screen. Viewers that detest ambiguity or need everything wrapped up succinctly and tied with a cute little bow need not apply, but those that desire some food for thought will not be hungry when the credits roll. I loved the ending, and in fact, would go so far as to say that it is perfect given the themes and events that have preceded it.
This film is about life itself and its biggest questions and whether asking these questions (i.e. trying to be “a serious man”) will have a profound (or any) effect on one’s quality of life. The audience is left to ponder the message, making their own meanings. Some will choose to believe that he acted immorally and God reacted with punishment. On the contrary, I inferred that life is a series of events and insurmountable challenges that are often beyond our control: we attach greater weight to some, and certain things seem so important as to change our existing views or behaviors, but nothing we do will alter the haphazard and indiscriminate nature of life itself. Highly recommended: one of the best films of the year, but not for all tastes.
9.2/10
Friday, February 5, 2010
2 days until Superbowl Sunday, but if you need something to curb your excitement and distract you in the meantime, I've got just the thing: this awesome head-scratcher about murder at sea. It was just released on DVD/Blu-ray this past Tuesday, February 2, 2010.
TRIANGLE (09):
My hat’s off to writer-director Christopher Smith (Creep, Severance) for this involving, juicy morsel of brain food. This is a supernatural murder mystery/psychological thriller that will have your mind running in circles. Some viewers will be frustrated with the confusing nature of the storytelling, but those seeking some mental exercise with their excitement will be greatly rewarded.
I’ll spare you the intimate plot details and intricacies, but the bare-bones of it is as such: a woman named Jess (Melissa George) reluctantly joins five other companions on a yachting trip that goes dangerously and mysteriously awry when an “electrical storm” leaves them stranded and forced to board a ship that appears to be eerily deserted. Then people start to die at the hands of a masked killer, and a mind-boggling mystery unfolds.
This is not merely a slasher flick on a boat though, mind you (though it will get your heart racing). It is a movie that infuses the best elements of several genres, a magnificent mishmash that will keep you guessing and have you performing mental gymnastics to deconstruct and dissect it all days later.
My only pet peeve with this flick is that it is far too reminiscent of the superior Spanish film Timecrimes (07), which in turn, is rather like a more entertaining thriller version of the brilliant “hard” science fiction film Primer (06). While each of these films is well worth watching, they share a common “time travel theory,” so if you’ve seen one it spoils a little bit of the fun in the others. Still, each puts their own unique spin on this provocative plot device, so fans of Triangle should hunt down copies of Timecrimes and Primer, and vice versa. Highly recommended.
8.2/10
P.S.: SPOILER ALERT! (DO NOT READ UNTIL AFTER YOU HAVE SEEN THE FILM):
For those who feel like their minds have been raped and don’ think you entirely grasp the fundamental concepts or meaning of this film, here’s my take on it. The time loop Jess is perpetually experiencing leads me to believe that she is in purgatory, or at least some form of it.
The car accident begins and ends the loop, which serves as punishment for the horrendous way she treated her son (we see the “bad” version of her screaming at him and then killed by the “good” version of her that is trying to fix things and escape the loop). The cab driver is akin to the Grim Reaper, bringing her back to the dock to start the whole ordeal over again (something he says subtly suggests that he, unlike everyone but her, is aware of the time loop and knows full well that the car accident will recur and that she will be waiting here for him evermore).
If you are still nitpicking and are irked by her memory loss, I would argue that the events and her memory of them are subject to fate (a supernatural force which defies memory) or that she has a memory lapse each time that she falls asleep on the yacht. I watched parts of the movie more than once and this theory holds up under scrutiny. Christopher Smith did an excellent job with the details, and if you still can’t wrap your head around this, he only deserves more credit for making such an inspired brain-tickler.
TRIANGLE (09):
My hat’s off to writer-director Christopher Smith (Creep, Severance) for this involving, juicy morsel of brain food. This is a supernatural murder mystery/psychological thriller that will have your mind running in circles. Some viewers will be frustrated with the confusing nature of the storytelling, but those seeking some mental exercise with their excitement will be greatly rewarded.
I’ll spare you the intimate plot details and intricacies, but the bare-bones of it is as such: a woman named Jess (Melissa George) reluctantly joins five other companions on a yachting trip that goes dangerously and mysteriously awry when an “electrical storm” leaves them stranded and forced to board a ship that appears to be eerily deserted. Then people start to die at the hands of a masked killer, and a mind-boggling mystery unfolds.
This is not merely a slasher flick on a boat though, mind you (though it will get your heart racing). It is a movie that infuses the best elements of several genres, a magnificent mishmash that will keep you guessing and have you performing mental gymnastics to deconstruct and dissect it all days later.
My only pet peeve with this flick is that it is far too reminiscent of the superior Spanish film Timecrimes (07), which in turn, is rather like a more entertaining thriller version of the brilliant “hard” science fiction film Primer (06). While each of these films is well worth watching, they share a common “time travel theory,” so if you’ve seen one it spoils a little bit of the fun in the others. Still, each puts their own unique spin on this provocative plot device, so fans of Triangle should hunt down copies of Timecrimes and Primer, and vice versa. Highly recommended.
8.2/10
P.S.: SPOILER ALERT! (DO NOT READ UNTIL AFTER YOU HAVE SEEN THE FILM):
For those who feel like their minds have been raped and don’ think you entirely grasp the fundamental concepts or meaning of this film, here’s my take on it. The time loop Jess is perpetually experiencing leads me to believe that she is in purgatory, or at least some form of it.
The car accident begins and ends the loop, which serves as punishment for the horrendous way she treated her son (we see the “bad” version of her screaming at him and then killed by the “good” version of her that is trying to fix things and escape the loop). The cab driver is akin to the Grim Reaper, bringing her back to the dock to start the whole ordeal over again (something he says subtly suggests that he, unlike everyone but her, is aware of the time loop and knows full well that the car accident will recur and that she will be waiting here for him evermore).
If you are still nitpicking and are irked by her memory loss, I would argue that the events and her memory of them are subject to fate (a supernatural force which defies memory) or that she has a memory lapse each time that she falls asleep on the yacht. I watched parts of the movie more than once and this theory holds up under scrutiny. Christopher Smith did an excellent job with the details, and if you still can’t wrap your head around this, he only deserves more credit for making such an inspired brain-tickler.
Thursday, February 4, 2010
SIN CITY LITE (GIVE EM' HELL MALONE)
Here's my two cents on another recent DVD/Blu-ray release (hit the shelves on January 26, 2010).
GIVE EM’ HELL MALONE (10):
This is Sin City Lite: a cinematic comic book set in a Noirverse (an alternative universe with a neo-noir atmosphere). Still, Malone is a fun film, and Thomas Jane (of The Mist, HBO’s Hung) does a great Sam Spade impression, spewing Dashiell Hammett dialogue as the hard-drinking hard-boiled detective Malone.
And he’s got a game supporting cast: Ving Rhames is good in a familiar role as a thug for hire with a chip on his shoulder, and the guy who plays the maniacal Matchstick does his best Joker (Heath Ledger’s version) impression, but it works more often that not. There’s also a sexy femme fatale, and a Sinatra-obsessed crooner played by 3rd Rock From the Sun’s French Stewart (he was the weird one who’s eyes never seemed to open).
Most of the ideas aren’t new: in fact, a lot of Malone is a rehash of clichés and it is teeming with stereotypical characters, but everything we’ve seen before is presented in a not-so novel but oh-so captivating way. The film is equipped with the requisite dark humor, and if that’s your bag you will be pleased to discover that it is peppered with funny dialogue (not hysterical though, mind you). It scores points with me for a high body count, relentless pacing and some stylish directing.
A couple things peeved me here and there (i.e. the dearth of originality, Matchstick making the same stupid mistake twice), but nothing detracted greatly from my enjoyment of what is one of the better straight to DVD releases in recent memory. The rest of the action never quite lives up to the in your face insane opening scene, but there is plenty of the red stuff and ample reasons to keep watching (especially if you like neo-noir detective stories).
Essentially, this is an ultraviolent, but good-humored thrill ride. Despite all the blood spray, it sports a breezy and somewhat silly tone, exuding an awareness that says: this is supposed to be entertaining and fun and not a heavy high-concept head smacker. If you dug Shoot Em’ Up, Sin City, or the recent British import The Tournament, go get your gritty little hands on a copy of Malone A.S.A.P. ‘cuz this will be right up your alley.
7.3/10
GIVE EM’ HELL MALONE (10):
This is Sin City Lite: a cinematic comic book set in a Noirverse (an alternative universe with a neo-noir atmosphere). Still, Malone is a fun film, and Thomas Jane (of The Mist, HBO’s Hung) does a great Sam Spade impression, spewing Dashiell Hammett dialogue as the hard-drinking hard-boiled detective Malone.
And he’s got a game supporting cast: Ving Rhames is good in a familiar role as a thug for hire with a chip on his shoulder, and the guy who plays the maniacal Matchstick does his best Joker (Heath Ledger’s version) impression, but it works more often that not. There’s also a sexy femme fatale, and a Sinatra-obsessed crooner played by 3rd Rock From the Sun’s French Stewart (he was the weird one who’s eyes never seemed to open).
Most of the ideas aren’t new: in fact, a lot of Malone is a rehash of clichés and it is teeming with stereotypical characters, but everything we’ve seen before is presented in a not-so novel but oh-so captivating way. The film is equipped with the requisite dark humor, and if that’s your bag you will be pleased to discover that it is peppered with funny dialogue (not hysterical though, mind you). It scores points with me for a high body count, relentless pacing and some stylish directing.
A couple things peeved me here and there (i.e. the dearth of originality, Matchstick making the same stupid mistake twice), but nothing detracted greatly from my enjoyment of what is one of the better straight to DVD releases in recent memory. The rest of the action never quite lives up to the in your face insane opening scene, but there is plenty of the red stuff and ample reasons to keep watching (especially if you like neo-noir detective stories).
Essentially, this is an ultraviolent, but good-humored thrill ride. Despite all the blood spray, it sports a breezy and somewhat silly tone, exuding an awareness that says: this is supposed to be entertaining and fun and not a heavy high-concept head smacker. If you dug Shoot Em’ Up, Sin City, or the recent British import The Tournament, go get your gritty little hands on a copy of Malone A.S.A.P. ‘cuz this will be right up your alley.
7.3/10
Wednesday, February 3, 2010
THE ADVENTURES OF A SOCIOPATH (I HOPE THEY SERVE BEER IN HELL)
This one's a recent DVD release (hit the shelves on January 26, 2010) and a comedy that's sure to divide audiences.
I HOPE THEY SERVE BEER IN HELL (09):
I hope they do too, because a cold beverage will be just what I need whilst roasting in the fiery pits of damnation for all eternity. Based on the semi-autobiographical novel by Tucker Max, this is a dark comedy about a sex-crazed sociopath.
I’ve met (or at least observed) plenty of guys like Tucker and I think Matt Czuchry served up an admirably accurate portrayal of an extreme narcissist. In fact, we’ve all probably met people who brashly act without regard for others or the consequences they may face as a result of said selfish actions. Tucker does whatever the hell he wants, and thusly comes off as quite the proverbial A-hole. And that is precisely why I believe the majority of viewers will not enjoy this film, and in fact, many of you may get so upset with the brazen behavior and abhorrent antics of the protagonist as to violently throw shoes at your TV set or vehemently press the eject button ‘til it breaks long before the end credits.
I, however, the connoisseur not the critic, found things to admire in this ugly portrait of a misguided man-boy with a mean streak and a malevolent mouth. Notably the delicious dialogue. I ate up the mean-spirited put-me-downs and witty yet scandalously scathing invectives like a death row inmate would his last meal. Again, most will find all the verbal abuse shockingly offensive and crude (which the brunt of it is), but there are plenty of people with mouths that spew filth like a backed-up leaky faucet and why Disney-fy inherently dark subject matter.
I appreciate the honest depiction of a real character type and while it does make for some unpleasant viewing, I cannot deny that it peaked my interest and even had me smirking intermittently. Even the scene involving (literal) potty humor had me chuckling under my breath nervously. And while our anti-hero Tucker is by nature an intractable inhuman chauvinist, he gets his comeuppance and even learns his lesson and realizes how poorly he treats those around him.
But it’s not the fairy tale ending it appears to be as Tucker reveals that he has not rapidly changed from a frog to a prince, and that he may have seen the error of his ways but one good deed does not a do-gooder make. And I love this aspect most of all, because people do not change dramatically (or abruptly for that matter) in real life, so as unhappy a thought as it may be, it’s nice to see that Tucker is largely the same bastard he always was, but a bastard baby-stepping his way toward a more humane existence. Bottom line: some dudes might dig it (if you like raunchy comedies with somewhat unlikable but true-to-life protagonists), but ladies beware.
6.4/10
I HOPE THEY SERVE BEER IN HELL (09):
I hope they do too, because a cold beverage will be just what I need whilst roasting in the fiery pits of damnation for all eternity. Based on the semi-autobiographical novel by Tucker Max, this is a dark comedy about a sex-crazed sociopath.
I’ve met (or at least observed) plenty of guys like Tucker and I think Matt Czuchry served up an admirably accurate portrayal of an extreme narcissist. In fact, we’ve all probably met people who brashly act without regard for others or the consequences they may face as a result of said selfish actions. Tucker does whatever the hell he wants, and thusly comes off as quite the proverbial A-hole. And that is precisely why I believe the majority of viewers will not enjoy this film, and in fact, many of you may get so upset with the brazen behavior and abhorrent antics of the protagonist as to violently throw shoes at your TV set or vehemently press the eject button ‘til it breaks long before the end credits.
I, however, the connoisseur not the critic, found things to admire in this ugly portrait of a misguided man-boy with a mean streak and a malevolent mouth. Notably the delicious dialogue. I ate up the mean-spirited put-me-downs and witty yet scandalously scathing invectives like a death row inmate would his last meal. Again, most will find all the verbal abuse shockingly offensive and crude (which the brunt of it is), but there are plenty of people with mouths that spew filth like a backed-up leaky faucet and why Disney-fy inherently dark subject matter.
I appreciate the honest depiction of a real character type and while it does make for some unpleasant viewing, I cannot deny that it peaked my interest and even had me smirking intermittently. Even the scene involving (literal) potty humor had me chuckling under my breath nervously. And while our anti-hero Tucker is by nature an intractable inhuman chauvinist, he gets his comeuppance and even learns his lesson and realizes how poorly he treats those around him.
But it’s not the fairy tale ending it appears to be as Tucker reveals that he has not rapidly changed from a frog to a prince, and that he may have seen the error of his ways but one good deed does not a do-gooder make. And I love this aspect most of all, because people do not change dramatically (or abruptly for that matter) in real life, so as unhappy a thought as it may be, it’s nice to see that Tucker is largely the same bastard he always was, but a bastard baby-stepping his way toward a more humane existence. Bottom line: some dudes might dig it (if you like raunchy comedies with somewhat unlikable but true-to-life protagonists), but ladies beware.
6.4/10
Friday, January 29, 2010
BIO HAZARD (BAD BIOLOGY)
As a result of a freak accident that felt an awful lot like a near death experience (white blinding lights and whatnot), I have developed a welt on my forehead that is akin to the beast that calls Mikhail Gorbachev’s shiny dome its humble abode It’s like a Harry Potter birthmark only it’s odious not ominous, and unfortunately it doesn’t come with an inherent knack for sorcery and won’t get me any cred or rep at Hogwart’s next semester when I try running through a brick wall (a.k.a. portal to Wizard Land!) again (only this time I’ll make it and my head won’t bleed!). Guess I’ll just have to sport the Nelly look for about a few days.
This one's for the horror fans and admirers of fantastically strange cinema
BAD BIOLOGY (08):
B-movie haters beware! Also, people that don’t appreciate exorbitant amounts of gratuitous nudity and sex and shockingly offensive and disturbing material pertaining to the subject of sex and reproductive anatomy should never lay eyes upon this twisted yet fascinating film.
Something this original but this spectacularly strange could only come from the warped mind of a perverted genius. And it did, in this humble horror fans opinion, because director Frank Henenlotter proved he was full of unique ideas in the ‘80s with Basket Case (’82) and the brilliant cult classic Brain Damage (’88), and it is clear that he has not lost his touch.
This is one filthy flick (it could almost be mistaken for a porno trying to be a really cool, subversive movie and succeeding) and it doesn’t have the highest of production values, but it does boast one hell-of-an intriguing and undeniably ballsy premise. I don’t want to say too much, but it wouldn’t spoil the fun of I did. There’s a chick with 7 clitorises and a boy with a monster cock (literally) with a mind of its own.
This is a tongue firmly in cheek, ridiculously over the top horror comedy about two members of opposite sexes with bizarre anatomical anomalies and the chaos that results when their lives intersect. Henenlotter wisely employs stop animation and puppetry for perfectly pertinent scenes and the choice noticeably enhances the surrealist effect that he is trying to achieve. It reminded me a bit of Team America World Police, because the actual events or dialogue are ridiculous and zany, but the use of puppetry takes it to the next level of comic genius.
I’m not going to lie: the low budget shows, but that’s part of the fun, because this movie doesn’t need big explosions to captivate: it’s got a biological nightmare and old school special FX to do that. Pop it in if you wanna see some skin and something really really different. But stay away if you don’t dig T & A and if you just can’t stand somewhat amateurish productions. Come to think of it, I’d be hard pressed to recommend this to just about anyone I know, but ‘80s horror fans will get their sh*ts and giggles watching this one-of-a-kind novelty that is sure to become a cult classic.
7.3/10
This one's for the horror fans and admirers of fantastically strange cinema
BAD BIOLOGY (08):
B-movie haters beware! Also, people that don’t appreciate exorbitant amounts of gratuitous nudity and sex and shockingly offensive and disturbing material pertaining to the subject of sex and reproductive anatomy should never lay eyes upon this twisted yet fascinating film.
Something this original but this spectacularly strange could only come from the warped mind of a perverted genius. And it did, in this humble horror fans opinion, because director Frank Henenlotter proved he was full of unique ideas in the ‘80s with Basket Case (’82) and the brilliant cult classic Brain Damage (’88), and it is clear that he has not lost his touch.
This is one filthy flick (it could almost be mistaken for a porno trying to be a really cool, subversive movie and succeeding) and it doesn’t have the highest of production values, but it does boast one hell-of-an intriguing and undeniably ballsy premise. I don’t want to say too much, but it wouldn’t spoil the fun of I did. There’s a chick with 7 clitorises and a boy with a monster cock (literally) with a mind of its own.
This is a tongue firmly in cheek, ridiculously over the top horror comedy about two members of opposite sexes with bizarre anatomical anomalies and the chaos that results when their lives intersect. Henenlotter wisely employs stop animation and puppetry for perfectly pertinent scenes and the choice noticeably enhances the surrealist effect that he is trying to achieve. It reminded me a bit of Team America World Police, because the actual events or dialogue are ridiculous and zany, but the use of puppetry takes it to the next level of comic genius.
I’m not going to lie: the low budget shows, but that’s part of the fun, because this movie doesn’t need big explosions to captivate: it’s got a biological nightmare and old school special FX to do that. Pop it in if you wanna see some skin and something really really different. But stay away if you don’t dig T & A and if you just can’t stand somewhat amateurish productions. Come to think of it, I’d be hard pressed to recommend this to just about anyone I know, but ‘80s horror fans will get their sh*ts and giggles watching this one-of-a-kind novelty that is sure to become a cult classic.
7.3/10
Wednesday, January 27, 2010
BRAZILIAN BADASSES AND THE FIRST FIBBER (ELITE SQUAD AND THE INVENTION OF LYING)
Two reviews today: Elite Squad is from a couple years back but probably just made it's way up to America fairly recently...it may be hard to find, but you should find it. Invention of Lying is a new DVD/Blu-ray release, which just hit the shelves on Tuesday, January 26th, 2010.
ELITE SQUAD (07):
Fans of the brilliant Brazilian movie City of God (04) need to check this out stat. This flick takes the viewer on another harrowing journey into the slums of Brazil. Only this time, we are treated to a contrasting (or alternative) point of view: we see the action through the eyes of a high-ranking member of a special unit of the police force.
It’s 1997, Rio de Janeiro, Brazil, and Captain Nascimento must select a replacement for his job as leader of the Tropa de Elite (Elite Squad), a unit composed only of the most talented (as in good at killing bad guys) and upstanding (as in good at killing bad cops) Dirty Harrys. In the mean time he must also take on dope dealers and criminal thugs in preparation for the arrival of the Pope.
This is like The Shield Brazilian-style, so seek it out if you dig intense crime dramas. Like City, this one’s got plenty of realistic action and bloodshed, yet also boasts great characters that are fully realized by good actors. In a way, this reminded me of The Hurt Locker (09), because we are presented with three in-depth characterizations, and the individuality and nature of each is well conceived and explored and utterly significant to the storyline, and ultimately to the chief insights and implications of the movie itself.
I expected a hardheaded action flick, but got more than I bargained for. Though it’s not quite on the same level of Supreme, Jaw-dropping, Cinematic Genius that I attribute to City of God, Elite Squad is another excellent expose on the Brazilian slums and the people and violence that exist there everyday. Hunt it down and see what the other half lives like, and what a different world it is for many of the folks down there who face or beget death nearly everyday.
8.5/10
THE INVENTION OF LYING (09):
I avoid romantic comedies like the plague or Scientologists, but this one had a promising premise so I gave it a try. It was a wise decision because I got quite a few laughs out of Ricky Gervais’ high-concept comedy. Imagine a world without lying: a world where everyone is like Jim Carrey in Liar Liar.
This alternative universe allows for ample hilarity, with the characters that inhabit it being brutally honest about everything from their immediate feelings about each other to the act of masturbation. The gimmick wears kind of thin eventually, especially because most of the jokes are aimed at poor genetics (what is this Gattaca?). But I could ignore this small weakness and the fact that the storyline gets rather predictable, because the laughs continue and boredom never set in.
In addition to a fine cast (Tina Fey, Jonah Hill, Rob Lowe, Louis C.K.) the film is peppered with great cameos, serving up scenes with the likes of Edward Norton, Philip Seymour Hoffman, Jason Bateman and Christopher Guest. It’s worth mentioning that the film has the gusto to insinuates that a world without lying is not in fact a better one, and that lying serves a valuable function in certain contexts. I rather appreciated this more comprehensive analysis of the phenomenon of the fib, and not the black and white good or bad and no in-between line of thought that typical genre fare may espouse.
If you enjoyed Ghost Town (08) you’ll love Invention. If you’re looking for a rom-com that your lady will love but that isn’t so overtly melodramatic and schmaltzy as to induce vomiting (and will in fact tickle your funny bone as well), then pop this sucker in the DVD/Blu-ray player. If you are a Ricky Gervais fan or have a case of the Mondays and just want to smile and forget the frustrations and grievances of the day, then you should give this a whirl.
7.1/10
ELITE SQUAD (07):
Fans of the brilliant Brazilian movie City of God (04) need to check this out stat. This flick takes the viewer on another harrowing journey into the slums of Brazil. Only this time, we are treated to a contrasting (or alternative) point of view: we see the action through the eyes of a high-ranking member of a special unit of the police force.
It’s 1997, Rio de Janeiro, Brazil, and Captain Nascimento must select a replacement for his job as leader of the Tropa de Elite (Elite Squad), a unit composed only of the most talented (as in good at killing bad guys) and upstanding (as in good at killing bad cops) Dirty Harrys. In the mean time he must also take on dope dealers and criminal thugs in preparation for the arrival of the Pope.
This is like The Shield Brazilian-style, so seek it out if you dig intense crime dramas. Like City, this one’s got plenty of realistic action and bloodshed, yet also boasts great characters that are fully realized by good actors. In a way, this reminded me of The Hurt Locker (09), because we are presented with three in-depth characterizations, and the individuality and nature of each is well conceived and explored and utterly significant to the storyline, and ultimately to the chief insights and implications of the movie itself.
I expected a hardheaded action flick, but got more than I bargained for. Though it’s not quite on the same level of Supreme, Jaw-dropping, Cinematic Genius that I attribute to City of God, Elite Squad is another excellent expose on the Brazilian slums and the people and violence that exist there everyday. Hunt it down and see what the other half lives like, and what a different world it is for many of the folks down there who face or beget death nearly everyday.
8.5/10
THE INVENTION OF LYING (09):
I avoid romantic comedies like the plague or Scientologists, but this one had a promising premise so I gave it a try. It was a wise decision because I got quite a few laughs out of Ricky Gervais’ high-concept comedy. Imagine a world without lying: a world where everyone is like Jim Carrey in Liar Liar.
This alternative universe allows for ample hilarity, with the characters that inhabit it being brutally honest about everything from their immediate feelings about each other to the act of masturbation. The gimmick wears kind of thin eventually, especially because most of the jokes are aimed at poor genetics (what is this Gattaca?). But I could ignore this small weakness and the fact that the storyline gets rather predictable, because the laughs continue and boredom never set in.
In addition to a fine cast (Tina Fey, Jonah Hill, Rob Lowe, Louis C.K.) the film is peppered with great cameos, serving up scenes with the likes of Edward Norton, Philip Seymour Hoffman, Jason Bateman and Christopher Guest. It’s worth mentioning that the film has the gusto to insinuates that a world without lying is not in fact a better one, and that lying serves a valuable function in certain contexts. I rather appreciated this more comprehensive analysis of the phenomenon of the fib, and not the black and white good or bad and no in-between line of thought that typical genre fare may espouse.
If you enjoyed Ghost Town (08) you’ll love Invention. If you’re looking for a rom-com that your lady will love but that isn’t so overtly melodramatic and schmaltzy as to induce vomiting (and will in fact tickle your funny bone as well), then pop this sucker in the DVD/Blu-ray player. If you are a Ricky Gervais fan or have a case of the Mondays and just want to smile and forget the frustrations and grievances of the day, then you should give this a whirl.
7.1/10
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