"Reds" is an epic, and it's hard not to admire the sheer ambition on display in this production. But it feels like a vanity project. The majority of the film is comprised of people sitting around tables yelling at each other. This does not appeal to me. Particularly when they're mostly shouting about the Bolshevik revolution and worker's rights. Hard to follow, and hard to be entertained. Nonetheless, Beatty is a tremendous actor and he managed to corral a lot of notable talent for the film. But all in all it's too preachy and self-righteous for me.
As brutal and harrowing as you'd expect a prison drama to be. I had to turn my eyes away from the action several times. Tahar Rahim is brilliant as the wide-eyed young prisoner trying to find his way in life. The supporting cast is also excellent. "Un Prophète" is not for the faint of heart!
The time flew by watching this. George Clooney is a king of smug banter. He seems to float through each scene. In other words, he plays emotional detachment exceedingly well. The lead character in "Up in the Air" is perfectly tailored to his strengths. Minus a couple of weak interludes that strain believability, this is a strong film chock full of themes snatched from the daily lives of working men and women everywhere.
"Vive Le Tour" is brilliant, but the other two documentary features included on the disc are overly long and boring. "Place de la Republique" in particular suffers from a lack of narrative. I thoroughly enjoyed Malle's revealing glimpse into the annual Tour de France. You may want to steer clear of the other two.
It is highly entertaining hearing all these old-timers reminisce about facing Muhammad Ali, one of boxing's all-time greats. There are a surprising number of poignant moments, too. Particularly affecting is the footage of Joe Frazier, a sweetheart of a man who still bears scars from the verbal abuse and taunting Ali leveled at him. There's no doubt Ali had a dark side. "Facing Ali" is a documentary filled with remarkable men and remarkable stories.
"God's Country" is a charming documentary that does well to capture just what it was like living in the small midwestern town of Glencoe, MN in the 1970's. A synopsis of the film may lead one to believe that the ending will be grim, but I didn't see it that way. Times change, and people must remain adaptable. Filmmaker Malle is bright, cheery, and curious throughout - indefatigable to the end, as though wishing to permanently lift the mood of his subjects.
Aziz's best bits kill, but on the whole this filmed set is uneven. It is refreshing to encounter a comic from a "non-traditional" ethnic background. Ansari lampoons his Indian-American ethnicity frequently. Probably the funniest bits involve anecdotes about his naive cousin. One wonders how well some of these jokes will age. Ansari's repeated references to Facebook and "emoticons" probably won't translate in 10 years' time. We'll probably be on to other technology-based diversions by then.
"The Room" fits squarely into the "so bad, it's good" camp. I could watch Tommy and his screen buddies pass around their football at extremely close range all day. But I probably don't need to see any more shots of his naked arse. Let's be honest: this film is terrible and incoherent. But it's so flawed that it's actually entertaining to watch. Every viewer will rightly question everything they are seeing and wonder aloud, "Why, Tommy? Why?".
Another film that will make you thankful to live in the United States. This is harrowing viewing. The Burmese monks prove themselves a force to be reckoned with. Their appearances en masse in "Burma VJ" are exhilarating. The military regime in Burma is shown in all its oppressive ignobility. One hopes that this brave documentary, shot by endangered Burmese citizens, will bring truth to light for a wide, global audience.
Once again, the Coen brothers have created a world. In "A Serious Man" that world is a mid-1960's midwestern town populated by neurotic Jewish people. I loved every minute of this film. It's an imaginative spin on the Bible's book of Job. More understated and less populist than other films in the Coen's oeuvre. Certainly not everyone, but I was engaged the entire way.
"Mean Streets" is a love letter to director Martin Scorcese's youth in New York City. It has its thrilling moments, but for me it was mostly hollow. Perhaps I've seen too many that are influenced by or rip off "Mean Streets". Thus now its impact is dulled. Juvenile characters committing juvenile acts, with an oppressive Catholic sheen. It was amusing to see Robert De Niro sporting long hair in this youthful role. Unfortunately, one can perceive the ending to this story from miles away. No one's smiling by the time the credits roll.
Spotty and uneven. Kind of a drag to watch people throwing their lives away in the pursuit of drugs and illicit financial gain. There is a great movie in here somewhere, but the execution is sloppy. Nicolas Cage is eminently unlikable here, so I guess he played the "Bad Lieutenant" role very well indeed. There are a few gripping moments, but on the whole this is grotesque, unnecessary filmmaking.
"Badlands" is atmospheric and unpredictable. The gritty side of the story is hard to take at times. Murder upon murder are depicted onscreen. But director Terence Malick's filmmaking is always imaginative. What might be an everyday story of two young lovers on the run from the law is instead here a tone poem, vast and mutable as the horizon.
Welcome once again to the movie retrospective that is Highbrow! Lowbrow? Every two weeks or so, Jesse and Shaun review the top box office earner and Best Picture Academy Award Winner of the same year to see what really lies behind the idea of a "highbrow" movie and a "lowbrow" one. We've got another double hitter with the year 1994 and the film, Forrest Gump, which claimed both titles of Best Picture and Top Box Office Earner.
Forrest Gump, directed by Robert Zemeckis, stars Tom Hanks as the titular character, Forrest Gump, a "slow" man trying to make his way through life during the 60's, 70's and 80's of America. Tom Hanks does an amazing transformation as Forrest, giving him both a strong believability in his disability but also suggests a real purity of spirit to the character. Sally Fields has a strong stint as his mother, a loving and wise woman that brings humor with her practical and frank attitude towards things. Gary Sinise provides a real intense counterpoint to the mother, some one whose lost faith in the world. The story is quite expansive going through practically all of Forrest's life, but that fits the earthen majesty this film presents. The sweeping landscape shots and the grandiose music create a real epic saga, but it doesn't make you feel laden with it. At times however, the constant acknowledgement of the period Forrest is in, via the songs and the historical references, can be distracting, taking you out of the story. Overall though, this movie is a magical yet simple adventure that can both entertain a movie goer and challenge a critic.
One of the more beloved aspects of Forrest Gump but also one of the most dubious, the historical references made throughout the film brought fond memories to everyone's mind and a little doubt. From Forrest helping create the "Have A Nice Day" smiley and him inspiring John Lennon's Imagine, you can't help but question the coincidence that Forrest just happened on these cultural landmarks. The visits made to the White House and the interaction with the presidents were technically amazing back in 1994, but the special effects are up for debate now. Regardless, the presidents served the moment and brought a comic moment to the film, despite their believability. This movie is probably deeper than we think, only after we had viewed Midnight Cowboy from 1969 did we catch Captain Dan and Forrest doing their own version of Ratso and Joe Buck to "Everybody's Talking At Me". Who knows what other cultural phenomenon was referenced that was forgotten? Though a savvy movie goer may feel these moments manipulative or corny, at the end of the day, they are appreciated because they connect you with the American past.
Since Forrest Gump won both titles for Highbrow and Lowbrow, there is no film to compare it to. But honestly, what film can? This is a grand heartwarming story that most can enjoy on several levels, and if you get a chance, give it another watch. Check out the podcast to hear our full review and keep on listening to Highbrow! Lowbrow?
"An Education" is stunning. The screenplay and director deftly execute what would have been a maudlin story in lesser hands. The cast is brilliant and believable throughout. Peter Sarsgaard is especially strong. Methinks this film deserves all the accolades it has received.
There are many bizarre and horrific moments in this film adaptation of Maurice Sendak's famous children's book. Childhood is presented here as a labyrinthine ball of confusion and emotional difficulties. I'm thankful I couldn't relate to the lead character, Max. He's a challenged dude. All the same, the characters and dialogue are striking in their naked honesty. You may be tempted at times to click "stop" and give up on "Where the Wild Things Are" as a film, but press on and you will be rewarded with a heart-warming ending. One ought to know going in that this is not a children's film.
Highbrow! Lowbrow? is coming at you with a hot fresh episode from the HBLB studios (aka Jesse's garage). Every two weeks or so, Jesse and Shaun get together with some brews to discuss two films from the same year, the Best Picture Academy Award Winner and Top Box Office Earner, to determine who was right: the critics or the masses. This year we go far far back with a pair of movies from 1946: The Best Years Of Our Lives (Highbrow) and Song Of The South (Lowbrow).
The Best Years Of Our Lives, directed by William Wyler, tells the story of three soldiers coming home from the war and discovering that home isn't what it used to be. Al Stephenson (Fredric March) comes home to a family that has grown up without him, Fred Derry (Dana Andrews) finds the wife he had been fighting for to be someone he doesn't know, and Homer Parrish (Harold Russell) can't acceptance in himself or others after losing his arms in the war. Despite feeling the age of the film with a sense of been there done that, this film is able to draw you in with it's honest humanity. The characters really bloom as they learn to integrate themselves into society, especially of note is Homer, the handicapped veteran, who in one poignant scene shows his love Wilma his most vulnerable state. There are several unique scenes throughout the film that elevate it beyond expectations, for example the scene where Fred re-experiences his war time trauma in an airplane graveyard and the moment where Homer viciously thrusts his hooks through a window. Hoagy Carmicheal, acclaimed songwriter, makes an appearance in the film as Homer's uncle Buck, providing a comforting respite between the drama. Don't let the film's age detract you, it's really impressive how this film can draw you in and keep you invested.
Song Of The South, directed by Harve Foster and Wilfred Jackson, is yet another Disney animated feature that reimagines the stories and the life of Uncle Remus who tells tales of Br'er Rabbit and Br'er Fox to young Johnny. This film tried to capture the spirit of the south without dipping into controversial race issues,but today is viewed more harshly under the critical of our PC era. The stories Uncle Remus are your average cartoonish fare, with Br'er Rabbit outwitting Br'er Fox at every step with loony gags. Johnny is somewhat of an awkward main character , as the surrogate for the audience, he is often hard to relate to. There are several unappealing shots in the film, maybe due to the era of the film, where the composition and look felt off. The live action transitioned to animation rather amazingly bringing to mind movies like Who Framed Roger Rabbit? The tunes are enjoyable and catchy with Zipee-A-Dee-Do-Da being a standout number. Though this film was able to garner the attention of the masses, this hasn't stood the test of time, being difficult to view in a modern light.
So which film did we end up choosing? The Best Years Of Our Lives relating the stories of our war hardened vets? Or Song Of The South with it's catchy tunes and quaint southern stories? Check out the latest Highbrow! Lowbrow? and let us know what you think.
Here's the latest and greatest episode of Highbrow! Lowbrow? the podcast where we compare the Best Picture Academy Award Winner and the Top Box Office Earner of the same year. This time we've got another double hitter on our hands, The Sound of Music, which won both acclaims for the year 1965. We take a look at this landmark film and how it's musical charm was able to woo both the critics and the masses.
The Sound of Music, directed by Robert Wise, tells the story of Sister Maria (Julie Andrews) who is sent to nanny the 7 children of Captain Von Trapp (Christopher Plummer), and helps the children and the captain learn the beauty of music . This was a massive and expensive looking production that has aged rather well despite it's protracted running length (run time 174 min). The magnificence of the hills and the beautiful countryside is really explored by the sweeping camera shots. The characters were a little flimsy at times, with the captain switching sides from bad to good rather quickly. Julie Andrews is glowing in this film carrying an earnestness that belies an underlying beauty. Christopher Plummer does an excellent job portraying the captain, kind and warm with an honest sternness. This is a magical film carried by the warmth of Julie Andrews and the catchiness of the tunes.
The music of The Sound Of Music, written by Irwin Kostal, was very magical and very complex. Do Re Mi is the landmark song of this film where they travel through Austria exploring the cities and countryside while dancing and singing. Goodnight was another very cute song that was illustrated very well as the children each have their own moment in the song. The songs also receive another reprise that gives them context in the final scenes of the film. Climb Every Mountain was the slowest song taking away from the pace of the film, but ultimately was necessary for story telling purposes. Overall the song writing and execution of The Sound Of Music is what made it such a legendary film.
There isn't a film to compare to The Sound Of Music for Highbrow! Lowbrow? although few films can. But, as always, check out the latest episode of Highbrow! Lowbrow? and let us know what you think.
