Modern Times

75 years after its release, I sat in my living room with my wife to watch "Modern Times". Most of it holds up just fine. There are a few interludes in the film that fall flat today, and the female foil to Chaplin's lead can seem completely superfluous, but these are small qualms. Charlie Chaplin was a man of seemingly all talents. Not only did he write, direct, star in, and produce "Modern Times", he also composed all the music that comprises the score. His famous tune "Smile" is laced throughout the second half of "Modern Times". It's an instrumental version that pops up several times. Its famous melody is always immediately recognizable. Part of me wishes more of "Modern Times" would have depicted Chaplin facing off against ridiculous gadgets of the technology age. This storytelling path is presented at the outset, but Chaplin soon veers the tale in a different, more broadly slapstick direction. I'm excited now to go back earlier than this 1936 release to enjoy more work from a master of early Hollywood.

I Have Never Forgotten You

This is the remarkable story of concentration camp survivor Simon Wiesenthal, who post-WWII became the world's foremost Nazi hunter. He tracked down more than 1,000 elusive Nazis who were exiled in disguise across the world: in Europe, South America, and North America. Wiesenthal was a man who did not sleep; his efforts were tireless. Unfortunately, this documentary suffers a lack of something. I'm not sure what. Trust me - I'm on board with Wiesenthal, the dude is a legend. But I found the proceedings dragged at times and Nicole Kidman's narration was flat and distracting. Still, even the title - "I Have Never Forgotten You" - is gripping. It is simultaneously Wiesenthal's promise to his fellow Jews past and future, and our promise to keep the memory of Wiesenthal's passion for justice and revelation of truth alive.

The Town

"The Town" will not bear a heavy impact on the future of filmmaking, but there are enough exceptional elements to it that certify the film as worthy of praise. Ben Affleck both stars and directs. His directing is impressive: sure and understated. Occasionally he'll place the camera at an unexpected angle or move the shot mid-scene. This can be jarring, but in "The Town" these maneuvers always work and do well to serve the story. Speaking of the story, it presents a couple of twists on the typical bank-robbers v. cops narrative. The twists are refreshing and feel real. Jeremy Renner seethes and mesmerizes as one of the robbers. He is excellent. Jon Hamm is good as their police foil, but unfortunately he is saddled with awful dialogue at times. He does his best with what he's given. "The Town" is a satisfying and surprising thriller that has me interested in Ben Affleck's next move. The man has re-proven his talent after a decade-plus of questionable career moves. Congratulation, brother: you're back on track.

All The President's Men

Taut, suspenseful, and worthy of all its plaudits. This is fine, measured filmmaking. Both Robert Redford and Dustin Hoffman shine as investigative reports who decide to get to the bottom of the Watergate scandal. Their work is probably well known now to anyone even casually interested in U.S. political scandals, but at the time of this film's release it must really have been a revolutionary gong. President Richard Nixon and his administration are savaged. Jason Robards rounds out the excellent cast, playing the seen-it-all-before boss of the newsroom. He is winning as an ally (and occasional nemesis) to Hoffman and Redford's impassioned upstarts.

The Kid Stays In the Picture

Rubbish documentary profile of an egotist. I had read Robert Evans' autobiography of the same title and was entertained by the quirk and haughtiness of his prose (or perhaps, his ghostwriter's). I wrongly presumed that this movie would also be worthy. The finished product appears to be nothing more than audio clips of Evans reciting passages from his book set to stock photographs. Exceptionally boring and not worth the time.

Crumb

An illuminating documentary, "Crumb" probes the origins and life of comics artist Robert Crumb circa the early 1990's. His two brothers and his mother are filmed. Each is broken in a different way. The viewer can immediately perceive why Crumb decided to retreat from them and find sanctuary in his own cherished reality of sketchbooks, early blues records, and admiration for full-figured women. Crumb is a unique man not opposed to drawing the occasional brutality or perversion into his art. But amidst the chaos of his mind emerges a singular artist who possesses a unique vision and admirable devotion to his craft.


An aside: my wife and I watched this the night before she went into labor. Afterward I felt bad about subjecting her to viewing "Crumb" - I had forgotten how heavy the subject matter was. As a word of advice to future fathers: when your partner's due date is near it's probably safest to stick to rom-coms. 

Two-Lane Blacktop

I am a longtime fan of the Beach Boys, and Dennis Wilson's involvement in this film always piqued my curiosity. Finally available on DVD, "Two-Lane Blacktop" is not as brilliant as I had hoped. Dennis does as well as you could expect given that he and James Taylor - his co-lead - are non-actors. Wilson is at least somewhat believable as "The Mechanic", a brooding car-obsessive who is rarely required to speak. Taylor, unfortunately, tends to limit the film. I just don't buy him as a badass race car driver. He's too mellow even when trying to act tough. And the less said about Laurie Bird the better; she is a miserable screen presence. Nevertheless, there are a few atmospheric moments which provide intrigue. Vintage car enthusiasts will find more to love here.


Written 6/21/08

Juno

Contrived dialogue. Watching this, one feels that the screenwriter is constantly trying to prove how cool she is with her regular and repetitive pop culture references. This was particularly evident during a 10-minute stretch in the film when the band Sonic Youth was referenced 4 times. These references contributed nothing to the story. Shades of characters from every Wes Anderson movie abound in Michael Cera's perpetual track-athlete costume. Shades of the film "Ghostworld" abound in Juno's relationship and dialogue with her best friend. I could go on... The addition of the pregnancy/adoption element is all that redeems this movie. But an opportunity to deal with these taboo subjects in a meaningful way is lost as the screenwriter panders to her own ego, terrorizing viewers with her sarcastic worldview. I know that my review rains on the "Juno Parade" but I have no regrets in doing so -- I feel totally justified.


Written 5/31/08

Into the Wild

This film does meander (it is quite long), but credit to Sean Penn for trying to present uncompromised storytelling. My main criticism is this: the main character didn't fascinate me. He was simply a broken young man who crafted an extreme lifestyle and code of ethics in response to his feeling shattered. One cannot fault the cast; the assembled talent is excellent. I particularly enjoyed Vince Vaughn and Zach Galifianakis, playing small roles against type.


Written 5/31/08

There Will Be Blood

Daniel Day-Lewis is brilliant here, and the music from Radiohead member Jonny Greenwood is also outstanding. The story unfortunately seems pointless at times, and the writing is overly self-absorbed. For me, the religious element in the story is forced and annoying. Okay, I get it: Americans have an insatiable greed for oil, power, and riches dating back to the early 20th century. That is no revelation. I have no doubt that this is allegorical storytelling, but I am not moved enough to analyze the work further. Day-Lewis is a vivid, though alienating, screen presence. Enjoy "There Will Be Blood" for a number of undoubted strengths. Perhaps you will be more convinced than I was.


Written 5/31/08

Kurt Cobain: About a Son

If you read Michael Azerrad's book, then this movie offers little new insight. It is manipulative filmmaking to present footage of current students at Cobain's alma mater Aberdeen H.S. while the audio track is Cobain moaning about his being bullied while a student there. Perpetual finger-pointing: "These were the bullies, and they'll never change; if they couldn't accept Kurt's sensitive soul, then there is no hope" (my words). As much as the director strives to present his concept of "universality", that somehow we are all connected, and that these residents of Aberdeen, Olympia, and Seattle circa 2006 are connected to a rock musician who committed suicide in 1994, that is a stretch too far for me. It is only Cobain's audio narrative that will occasionally sustain you as a viewer, but for the most part this filmmaking endeavor felt hollow and cash-driven.


Written 5/31/08

Michael Clayton

A taut thriller. As much as I enjoyed this, I am shocked that Tilda Swinton won an Academy Award for her supporting role. Her performance was silly and one-dimensional in my view, but Hollywood loves to reward actresses who alter their physical appearance for a role. That said, I did enjoy this film a lot. Clooney is at his brooding best, and the supporting cast is solid. Definitely one of the better movies released in 2007.


Written 4/28/08

Imelda

I am certain that one cannot hope to receive a full understanding of the last half-century of Philippine politics from this film alone. However, I am thankful for the amount of education "Imelda" did provide me. She is a puzzling lady, beholden to her own curiously fashioned definitions of "beauty" and "love". You will see that denial is her personal default mechanism. Here is a portrait of a very twisted woman. The film is especially enlightening because a voice is finally given to some of those who were oppressed during the Marcos' extended reign.


Written 4/28/08

Hearts of Darkness: A Filmmaker's Apocalypse

I always enjoy documentary films that show the "story behind the story", particularly when epic films are involved. "Heart of Darkness" was largely compiled by Coppola's wife Eleanor. It captures her husband hard at work on "Apocalypse Now". I don't have a lot of sympathy for director Francis Ford Coppola here; I think he is to blame for most of the problems he encounters. But it's certainly interesting to observe his ongoing struggle to discover new ways to tell his story. If you enjoy this documentary, it is absolutely essential that you view "Burden of Dreams", a profile of director Werner Herzog making a similarly epic movie.


Written 4/7/08

The Dinner Game

An enjoyable trifle of a movie that offers a bit of social commentary but remains light and engaging throughout.


Written 4/7/08

Bob Le Flambeur

This is a stylish heist film, but as a viewer I felt strangely detached from the proceedings. I'm sure "Bob Le Flambeur" was hugely influential upon its original release, but today I can only compare it to similarly-themed films that exhibit better execution. Nevertheless, if you are a fan of director Jean-Pierre Melville's other films then this is definitely worth watching.


Written 3/30/08

My Kid Could Paint That

Thought-provoking and enjoyable. Raises all kind of questions about parenting, childhood, art, commerce, and relationships. I was impressed with the restraint shown by the director. His task is a difficult one: film a documentary with a 4 year old as your subject. Needless to say, Marla (the 4 y.o.) doesn't offer much coherent speech. No matter - the adults have plenty to say. See for yourself. Viewers are allowed to come to their own conclusions.


Written 3/12/08