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bob.gladish
Reviews
Wendy and Lucy (2008)
a quiet little gem.
Man, I'm a sucker for this kind of picture. Realism. A movie about real people, in real situations, just like you and me. No frills, no fantasy, no flash. It's not that I don't like movies with these elements in them; It's that a prefer movies without them. I like Michelle Williams without the make-up - just a waif caught in a tough situation in a generic Americana setting. It looks like a small town, but I see the credits say it's Portland Oregon.
I'm also a sucker for trains, so I loved all the train shots. Is there a symbolism to the trains? Funny how many times a forlorn train horn is heard nearby, punctuating the quiet desperation of Wendy's plight. I loved the security guy (Wally Dalton) - he shows us there's hope no matter what the situation.....there really is always someone who cares. I sure hope Wendy makes it to Alaska; she deserves to.
For those who like this one, you'll like a similar movie I viewed just a few days previous; it has a similar pace, and feel as this one, and a storyline with a little more tension: "Frozen River". Catch it if you can.
The Life Aquatic with Steve Zissou (2004)
Another Bill Murray Slightly Quirky One.
Coming exactly one year after "Lost In Translation", I now think I have a true handle on Bill Murray's screen persona. Billl definitely is a one-trick pony, and he uses it to full advantage in this one. Murray has the ability to control the whole tempo of a movie in which he is the feature performer: just like "Lost In Translation", every thing goes at a very slow, low-key, syncopated pace. Everything seems slightly dreamy-like: the lights and cultural oddities of a schizophrenic Tokyo in "Translation", the tragic events of "Aquatic". Murray goes through his paces in an almost trance-like state. And it works.
The script is excellent. Murray's Steve Zissou is a fascinating person. The movie is a great portrayal of a man whose empire is unraveling before our very eyes. We can see his career as a documentary-making oceanographer (a la Jacques Cousteau) gradually become unglued - partly because of bad judgement, partly because of bad luck, mostly because it was just his time (just like a star athlete, who inevitably loses that magic).
Once again, I really like the work of Cate Blanchett. I saw her Katherine Hepburn in "The Aviator" just before this one. Great stuff - but she's just as good here, as the very direct, no-nonsense quasi-journalist who manages to lift Zissou out of his hazy funk.
Not so great are Owen Wilson, as the maybe son, and Wilhem Dafoe, as the oddball first-mate. But what I really dislike the most about this movie is the very poor underwater scenes. They are poor animations that don't even resemble what's beneath our seas. There could have been a lot more actual underwater footage, that would have given a authenticity to the underseas. This cartoon-like approach just doesn't cut it. It's like Wes Anderson, the director, decided too many underwater scenes were too difficult to try to recreate under actual conditions so why not animate them. Increasingly, directors these days are using animation to diversify their story-telling, and often, it works. But I don't like it here.
What I most like about it is that I just know it is going to leave me with a very lasting impression, just as "Lost In Translation" has. Bill Murray's creation of a man with a hazy, existential reaction to modern life has created a mood in me I will never forget.....strangely, kind of like the kid in "Napolean Dynamite".
Fargo (1996)
Reflections on a second viewing
This should stand as the Coen brothers' tour de force, although I found "The Big Lebowski" to be an even more satisfying film. I look at "Fargo", "The Big Lebowski", and "Brother, Where Art Thou?" as being the Coen's three best movies. I hope there is more from them in the future that can rival these three; though recent offerings such as "Intolerable Cruelty" and "The Ladykillers", could be proving their peak creativity is behind them. "Fargo" is beyond a doubt, their masterpiece. IMDb's ratings bear this out - 8.2 for "Fargo", 8.0 for "Lebowski", and 7.8 for "Brother". For sheer entertainment, "Lebowski" or should I call it, "The Dude" wins handsdown, but "Fargo" has all the elements of a true classic. Beyond a doubt, I have never seen such a dramatically-obvious portrayal of good vs. evil, and never, never, have I seen such gut-wrenching violence. Oh, the violence, beautifully believable, in it's grotesque way. This movie is proof that artistic freedom to portray such violence should never be denied. Steve Buscemi's bullet-grazed face becomes almost as painful for the watcher as it is for his character; Steve Buscemi's leg in the wood chipper is as horrific a scene as you are ever going to see. Enough to give Marge Gunderson morning sickness all over again. And the good vs evil thing: so obvious in the contrasts between Marge (the good), Buscemi and Stormare (the evil), and poor Jerry Lundegaard (William H. Macy) squeamishly caught in a trap in-between. I could only handle the violence because of Marge. She is the rock of normality, who continues trumpeting the virtuous life, when all hell is breaking loose around her. She knows all-to-well that "you know what" happens, but always knows "you know what" can be flushed down the toilet. Frances McDormand, as Marge, deserves every acting award she ever got for this role. Marge, to me, is the most perfect cop I've ever encountered. She is polite, non-judgemental, yet able to ask the tough questions that gets her the information she needs. You can see how thoroughly she sizes up those she interviews: watching every nuance of their body language, and hearing ever inflection of their speech. Now here's a woman who can spot a lie when others can't. Unlike so many cops in movies, she doesn't have to beat information out of someone; she can charm it out of them, all the while appealing to their moral responsibility, no matter how immoral they may be.This is so well-shown in scenes such as talking to the two young hookers in the bar, and putting Jerry on the hotseat in the car dealership interrogations. I elected not to watch some of the scenes on my second viewing. Somewhat oddly, I skipped almost all the scenes involving Jean Lundegaard (the kidnapped one) - I couldn't bear to watch what was happening to this woman, knowing full well her fate. I felt so sorry for her; she was the true victim in this - the most innocent, yet the one who suffered the most. I guess a case could also be made that her son, Scotty, suffered equally, but most of what he went through was not presented on camera. Maybe he would suffer the most, for he had to live afterward. Even Marge would suffer from this catastrophe, but you know her suffering will be tempered by an unwavering belief that good triumphs over evil. As the last scene shows (Marge getting into bed with her husband): despite the horrors that might go on around us, we must seek solace in the everyday beauty of the things that are nearest and dearest to us all. And this message is conveyed to us all by the Coen brothers without any allusions to religion whatsoever. But I'm getting into a personal bias of my own here - if you take solace in religion playing a part in morality, so be it.
The Big Lebowski (1998)
I gave it a "10"
Yes, I gave it a "10", but only because I gave "Fargo" a "9", and I liked this one even better. What I should have given it was a "9.5", because of two fundamental mistakes in the movie:
Firstly, it's title is a poor choice, for "The Dude" wouldn't have liked it - he only wanted to be known as "The Dude"
Secondly, though I love the Shawn Colvin adaptation of the "Viva Las Vegas" tune, played during the second half of the credits, the movie had absolutely nothing to do with Las Vegas, it was all about L.A., man.
But don't you just love the music selections for this movie, though. I doubt I've ever heard a better movie soundtrack.
And don't you just love Sam Elliot as "The Stranger" - who blows mysteriously into L.A., like the tumbleweed in the opening scene.
As for Philip Seymour Hoffman's role.......too much!
And lastly, the "Busby Berkely" dance sequence....pure psychedelia!
Collateral (2004)
so-so Michael Mann
I was a little disappointed in "Collateral". I don't think it should be on anyone's "top ten" list for '04. Maybe I'm finally tiring of this gender, maybe I'm finally immune to these over-the-top, super-violent movies. It was not plausible from the get-go, and the story took about an hour-and-a-half before I finally became immersed in it's drama. Tom Cruise was impeccable as the cold-blooded killer, and Jamie Foxx did well, but so what....the story was just not inventive enough. Mark Ruffalo continues to amaze me with his chameleon-like screen presence. He's so different from movie-to-movie; I stare in bewilderment, realizing it's the same guy. He's as hot as anyone in Hollywood right now. But alas, in this one, he just isn't given a chance to develop the character, though the role as the only smart cop on the chase begs for a more defining presence written into it.
When compared to an earlier L.A-based drama "Heat", Michael Mann comes up short. "Last of the Mohicans" and "The Insider" were considerably better Mann movies, as well. Better luck next time.
footnote: I liked Denzel Washington's "Man on Fire" a lot better (another over-the-top violence flick), though I doubt it got better reviews. It was a story with a little more meat to it; a plot with some refreshing twists-and-turns to it.
Before Sunset (2004)
A tour of Paris, and two peoples' minds.
Ultimately, a satisfying little movie; even for a late 50's non-romantic, such as myself. Congratulations to the two principals for carrying the entire movie on the strength of one nonstop dialogue....indeed, I have never seen a movie that even attempted such a premise. Hawke and Delpy actually carry it out. I was tired, and listened to much of the first half of the movie with my eyes closed. Yes, I might have even nodded-off for a few minutes. But the thread of dialogue kept my interest up enough that I had to start watching at about the same time the two were at Notre-Dame Cathedral. Now I know I don't need to see Paris - this movie was the ultimate travelogue of the River Sienne. The shoreline promenade evoked memories of "A Tale of Two Cities" and it's dramatic end. Now that I think about it, I doubt they really had such elaborate concrete work in the days of the French Revolution, only in the Liam Neeson movie of it. Funny, how the setting had such a timeless aspect to it. Anyway, I digress....could they have pulled-off this eighty-five minute conversation (in real time: probably about three hours of relationship time) on a blank sound stage, without the beautiful backdrop of Paris to enhance their every word? Only with your eyes closed.
Strange, that the writers and principals would decide to reprise the original movie, nine years afterward. It works well, and has a very credible feel to it. I suspect that this one will be "an all time favourite" of many a young, sophisticated, and well-educated female; it's niche audience is most certainly in the female dormitories of many a college campus. For them, it is the ultimate "chick flick", for me....I'm just surprised I liked it as much as I did.
Eternal Sunshine of the Spotless Mind (2004)
Charlie Kaufman is a boss writer.
I can see the majority of casual moviegoers not liking this movie, as it's a little oddball in the early going, and difficult to get used to; but even those who can only appreciate conventional Hollywood pap will probably be won over by this one.... if they give themselves a chance to get into it. The second half of this movie is an absolute delight - I love the way the story unfolds. The interaction of the cast, the sheer buoyance of the script, and the nice ending completely won me over. Jim Carrey deserves an Oscar nomination, as he entirely abandons his usual goofy persona. Mark Ruffalo is beginning to really impress me with the scope of his abilities. This is basically a six-character ensemble cast, and man, do they ever rock with this script! "Oscar" is written all over this one, especially for Charlie Kaufman.
The Station Agent (2003)
A nice "little" picture.
Nothing great here, but a more than decent Indie flick: I'll be looking for more from director Thomas McCarthey. I saw "Dogville" immediately after viewing this one, and was so blown away by it that I sort of forgot about "The Station Agent"; but now, a few days later, I recall it with a distinct fondness.
I was a little startled to find out afterward that I had viewed Patricia Clarkson in both pictures. As a brunette, with glasses, in "Dogville", I didn't recognize her.Plus, her role was quite a bit different - she is now on my "A" list of versatile female actors. I am looking forward to more from her, though a beauty she is not.
Mystic River (2003)
One of the best cop movies ever.
I'm a little surprised about the number of negative reactions to this movie. I was expecting a heavy-hitting, emotional, character-based drama, and was pleasantly-surprised to find it to be more than that: it's probably the best cop movie I've seen since "L.A. Confidential". I was more than able to put up with the little plot holes that so many comments have been quick to point out, until the very end. After a long afternoon of drinking with the Savage boys, and drinking alone all night on the street, Jimmy (Sean Penn), seemed quite sober after confessing to his wife, then making-out with her on the bed. I think the last thing any human would consider doing after what he had just gone through was making love. I also wondered why we never saw the face of Sean's(Kevin Bacon) wife until she finally spoke at the end. I thought it would turn out to be Beth, because I wasn't sure if Sean and Beth (as Jimmy's wife) ever had a scene together. It was a little odd that she was a part of the movie at all. I most certainly agree with most of the comments that this was an all-around great cast, and that Tim Robbins was as much deserving of Oscar honors as was Sean Penn.
Dancer in the Dark (2000)
Tragic Musical
Towards the end of the movie, Selma (Bjork), says the reason she loves musicals is that nothing bad happens; that everything is wonderful. Well, she, along with director Lars von Trier, have managed to create a very black, morbid musical - but it is this part of the movie which let me down the most. For the most part, I don't like Bjork's music, though she can have a lovely voice. The only time I thought the music worked was when she was quietly singing "My Favorite Things" to cheer herself up, and that isn't even her song (the rest, I believe, were). However, music and dancing play an integral part in the movie, as they are Selma's true loves in life (along with her son, Gene). Her angst in the movie is that Gene is developing the same eye problems that have cursed her: as a result, all her money is going towards getting him an operation, before it is too late. What happens,as she obsessively goes about her life for his cause, becomes more-and-more tragic for her, as adverse situations begin to pile-up on this sweet, loveable, girl. What eventually happens, becomes one of the most lengthly gut-wrenching, emotionally-hyper situations I've ever witnessed on film. Bjork has a personna which brings out the pathos in people. So what is an over-the-top movie, broken-up with mostly irritating musical numbers, becomes an emotional tour-de-force. Good performances by Catherine Deneuve, and Peter Stormare, especially, add to the drama. Peter Stormare especially....what a complete reversal of character from his memorable role in "Fargo". This movie should have been remembered more at Oscar-time, but I suppose it is too much on the eccentric side to appeal to the Academy.
Dr. T & the Women (2000)
Flawed, but another Robert Altman winner
Yes, this movie is all over the map; I believe this shows the extreme turmoil that has overtaken Dr. Travis's present condition. This just slowly intensifies, until the climatic scene in his office, when far too much starts to happen all at once, culminating in his desperate ride to Bree's (Helen Hunt) apartment. Dr. T. has a real affinity for women's private parts - and they love him for it - but their heads become too much for him. All the women present never stop thinking, scheming, and talking, talking, talking! Robert Altman is not at his best here, but even at this level he is easily one of the few REALLY interesting directors in the world. I was so disappointed his last movie was so grossly overlooked (Cookie's Fortune). I hope he lives and directs forever. As for the surrealistic ending - it reveals Dr. T. can't escape his calling in life, and he performs it to the great admiration of all women. But I believe that the complications that come with women have already killed him.
Beetlejuice (1988)
Still Tim Burton's Best
Beetlejuice, in recent years, has become a favorite for TV - it seems to be on every couple of months - so, I have seen it in bits and pieces, frequently happening upon it as I channel hop. I consider it a charming, little delight, and it never fails to create a warm feeling as I watch it. I have seen some bad Tim Burton, and some good Tim Burton, and I consider this to be his best. Also, it is Michael Keaton's best, in my opinion. It doesn't seem to be Michael Keaton, in fact, it doesn't seem to be anyone but Beetlejuice - the character has a life of it's own, transcending any actor happening to play him. Catherine O'Hara is another actor who shines here; she's a comedic force in just about everything she's done. One of the biggest delights of this gem is the inclusion of the Harry Belefonte tunes on the soundtrack - I love them.
Fight Club (1999)
Preposterous and Imbecilic
Okay, so the acting and the overall production was top-drawer, but absolutely nothing can overcome one of the most ridiculous storylines I have ever come across. I put this movie in the same category as David Cronenberg's "Crash", in that they both are obsessed with concepts so contrary to basic human nature, that they are totally inane and unbelievable. In "Crash", it is absurd to think there are really people who are sexually turned-on by bad car crashes; in "Fight Club", it is ridiculous to believe that there are people who enjoy getting pumelled. Thoughts of such concepts leave me so cold as to take away any possibility of enjoying the film.
Double Jeopardy (1999)
Ashley Judd scores big.
I just knew I was going to like this movie: it seemed to be the type of movie Hollywood does best, it had decent reviews, and had sustained a long box office run. I wasn't sure I would like Ashley Judd in it, though. I had seen her before, of course, but she hadn't made much of an impression. It was to my pleasant surprise to find she is what I liked most about the picture. She is not a great beauty, but that works to her advantage, as she is better able to convey her role as a tough, everyday Mom (though filthy rich), caught in a very difficult, emotionally-draining situation, with greater conviction.And, hey, she's certainly not that bad to look at. This is basically an action thriller, with one basic twist: it's a woman who is the purveyor of this action. I can't think of many movies with this twist..."Nikita" comes to mind, as does "Barbarella", but not many mainstream Hollywood movies; and not with this same feeling of realism. Ashley Judd pulls off the action sequences with aplomb. It was a little tough to find some elements of this movie credible, but an exiting story, a slick production, and a good performance by Judd, easily overcomes this. Oh, and Tommy Lee Jones plays his usual self as her pursuer.
Sweet Hearts Dance (1988)
A good cast partially salvages a one-dimensional drama
This picture gets out of the gate well, but has a lot of difficult sustaining itself on a one-dimensional plot-line. In the first scenes, Jeff Daniels and Don Johnson establish a rapport as two best buddies who get involved in Halloween hijinks in their small Vermont town. Instead of continuing on a course which involves more of their shenanigins, it becomes obvious that this is a movie of family strife and man-woman relationships (as well as best buddy relationships). That is not so bad, but the movie is so unrelenting in it's pursuance of these themes, that it soon bogs down until you can no longer care what happens next in the Don Johnson-Susan Sarandon, and Jeff Daniels-Elizabeth Perkins relationships: you just wish they would get involved in something else. The same mood continues right to the end - I was certain that some catastrophe would create a climactic ending that would bring the two rocky relationships to a happy ending, but it wasn't to be. For this is one of those slice-of-life movies which tries to mirror everyday life, and in everyday life there are few catastrophies, only the unrelenting march of life. To the movie's credit though, this slice-of-life approach is not all bad, there is always something very comforting in a movie which successfully captures this mood. It, and other movies of it's ilk, make the statement: "This Is How It Is In America, No More And No Less!". Also to lt's credit is the strong cast. Susan Sarandon is, as usual, in fine form, and Don Johnson, as her somewhat unstable mate, captures the essence of the beleagured American husband. Jeff Daniels is good as the stabilizing influence to both of them, although this is about all he does. Elizabeth Perkins is not up to the calibre of the other three, though, and her character becomes the most tiresome of them all. Justin Henry, is a little bland as the teenage son tortured by the strife between his parents.
Blue Streak (1999)
A not bad Martin Lawrence vehicle
This movie reminded me of the "Police Academy" series, but with better action scenes, and Martin Lawrence as an improvement over Steve Guttenberg. It's a little lame, and the cops are a little too dumb, but it manages to walk home with out falling down. Martin Lawrence kind of makes it work, and Luke Wilson makes do as a gullible partner that, hey...Steve Guttenberg could have had fun with.