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Reviews
A.I. Artificial Intelligence (2001)
Oh, the movie that could have been
A.I. (Artificial Intelligence), more gives us a peek into an idea rather than presenting a finished film. It is well known that Spielberg wrote and directed this movie around a dark, futuristic framework that Kubrick had been working on for years. By simply looking at A.I. we can see the obvious homages to Kubrick combined with classic spielberg storytelling. One would think that the coupling of these two incredible filmakers would create a finished product that would have the potential to be a masterpiece, unfortunately their two styles mix like oil and water and we are left with a final production that would have been better as an exclusive effort by either director. The movie, as I saw it, was already way too Kubrick for Mr. Spielberg to competently adopt it. The contrast between the first and second acts is not nearly as sharp as it was undoubtely intended to be. The acting is not-surprisingly above par throughout these scenes, but what we have been delivered has been compromised. The introduction into Giggalo Joe's world is not the unsettling glimpse into the dark side of artificial human production that it should be. These scenes, in order to be effective, should be disturbingly raw in order to examine the lowest common denominator that this sort of technology would unquestionably exploit. Instead we are wooed with Jude Law's special tricks and quicky sense of humor that he undoubtely had fun providing for us. The world we see here is dark and despairing, yet it comes accross as "cool" and pleasing under its blanket of computer generated special effects. The "flesh fair" also has been toned down for our benefit. The destruction of the humanoids for the pleasure of the crowd is watered down to the point of using a smiling Chris Rock-type character humorously in the destruction. I believe that the vision Kubrick had would have forced us to look at how new technologies in this world would be used by our dark human nature by presenting to us such tough views into this dark realm that we couldn't help but question the morality of playing God. Spielberg's movie isn't a complete waste of time- the visual effects are top-notch and some of the character interactions are priceless- but what we end up seeing is an unfinished product. What lacks in the story is attempted to be made up in the special effects with unpleasing results. Also, the truely emotionally charged scenes seem to stop in midswing rather than deliver their intended blow. A.I., which is too dark for a family fable, and too light for a hesitant view into the dark side of the human race leaves us somewhere in the middle. We can of course, appreciate the skill of the filmaker and the beauty of the movie, but can't help but see the two visions of this story that were not fully realized.
Holy Smoke (1999)
Laughable Drama
Holy Smoke! is one of the most ridiculous, pointless movies that I have ever seen in my life. What starts off with the promising premise of religion v. mainstreams society, collapses into a propostorous relationship between two unlikables caught up in a horrible plot. The direction, choreography, and acting here are all above par, but the script runs out of gas about halfway through and sputters to a dead stop during a horribly inappropriate epilogue. I laughed harder at this movie than just about any comedy I have seen all year. The "don't come, don't come" scene absolutely destroyed any merit this movie had begun to establish during the opening scenes and should have been left on the cutting room floor. In fact, just about every sex scene in this movie was completely out of place, contributing nothing to the unusual relationship that was supposedly building between the two leads. "Keep Breathing, Keep Breathing" is another example that was so poorly written that its induction into the final movie in amazing. The main tragedy of this film is that it really could have been a good movie. The problem is that for every positive aspect of Holy Smoke! there are two negatives that cannot be overlooked. Keitel and Winslet effortlessly act their way throughout the entire movie, the problem is that their characters are boring and exhibit poorly written dialogue. The outback scenery and choreography are gripping at times, but too much of the movie takes place in a silly little hut, interrupted by terrible voice-overs. This movie also had the most British sounding australian accents I have ever heard too. For me, this is one of those B movies that I will always enjoy simply because it is so pointless and stupid. I could laugh at the first sex scene over beers with my friends for a while. This movie is entertaining for all the wrong reasons, but definitely a lesson in poor movie making and undoubtedly suited for its place on the straight-to-video rack at the movie store
Erin Brockovich (2000)
Formula Script
I give definite kudos to director Stephen Soderberg, not because the movie was great, but because he did so much with such a cliche script. We've all seen this movie before. A couple years before I saw it when it was called "A Civil Action". This is a definite formula picture of recent creation. This new genre dictates a few givens for us while watching the movie. We of course are going to like the main actors/actresses. We of course will root for the underdogs in all their clever and zaniness. I'm not saying that I didn't enjoy this picture; in fact, it somewhat inspired me. I'm just in the market for something a little more daring than a recycled script and a sure-selling actress. If your looking for that blow-away movie of the year, pass this one up. If you just want to smile, laugh, cry and feel good about humanity, you'll do just fine here.
Almost Famous (2000)
Not quite right
Cameron Crowe's charming little tribute to himself is definitely fun to watch, but there was something missing I thought. I guess my main concern was the ending **SMALL SPOILER**; I thought the whole point of the film up to the end was what MIGHT have been. For example, if the band had split because of their differences even thought they really had a shot at the cover of rolling stone. The kid was betrayed by his band "friends" leading to his missed one shot at the big show. Everyone in this movie seems to miss their chance and reflects on a series of "almosts". The hollywood overly-happy ending kind of put a damper on the whole thing for me. I like the concept of the movie, I just didn't think the ending was appropriate.
Blow (2001)
Successful, fun movie
I found this film to be a refreshing turn in the wake of recent rise/fall drug epics which can deliver too strong of a message. Demme's "Blow" doesn't bother us with speeches about the futility of the drug war or the dangers of such a lifestyle. We are here to watch the misadventures of several colorful characters, and have fun doing it. The performances of Depp, Reubens, and Liotta really carried the movie for me. Johnny Depp's performance in "Fear and Loathing in Las Vegas" was one of my favorites and he did an equally good job of creating the likeable, self-conscious drug dealer that we see here. Previously, I haven't liked anything that Ray Liotta or Pee-Wee has done in the past, but they really do a good job here. Liotta is very comfortable and confident in his supporting role of the honest, hard-working father with a lot of love to give who can't seem to catch a break. Paul Reubans has a lot of fun as the flamboyant "contact" who isn't always who you think he is. These characters were so much fun to watch in their individual performances and their play off of each other that I really had a lot of fun watching. The subtle comedy in this movie was very clever against the backdrop of the seriousness of drug trafficing. Depp's eventual physical breakdown combined with his explanation of his excesses allowed us to take this moment lightly even though individual tragedy was at hand. His wife's transformation from the Columbian princess into the jogging suit, bleached blond, low-class Mom also gave me a chuckle. Demme knows throughout the movie that the story is tired and full of cliches, but he keeps it fresh by not allowing it to take itself too seriously. I would compare this movie more closely to "Boogie Nights" than "Traffic". For me, Traffic tried to accomplish too much, and at times I felt as though I was simply watching anti-drug and anti-drug war propaganda. "Blow" is so much fun that it really doesn't matter what your personal opinion of drug enforcement or drug policy happens to be. We're having too good a time seeing what kind of trouble these characters are going to get into next.
Heartbreakers (2001)
Surprisingly good
I had low expectations when I went to see this movie, but came out presently surprised. We can be honest, the script here is poor; the ideas are tired, but we're not dealing with an oscar contender here, we just want to have a few laughs. I have often thought that really talented actors/actresses can make an average film somewhat good, and that is definitely the case here. Sigourney Weaver and Gene Hackman are over-the-top charactictures of people that we have all met at some point, and that's just fine. Their jokes are silly, but they're good for a laugh and that's what we're expecting. It was refreshing to see Ray Liotta actually contribute to a movie (as he also did in Blow, but little else) and I liked watching his take on the suckered New Jersey man with a short temper but a big heart. In short, this movie doesn't promise what it doesn't deliver. It doesn't boast itself as anything but a silly little funny movie and that's exactly what it is. If you've enjoyed the con aspect of such films as "Dirty Rotten Scoundrals" then this is fun to watch. If you want to see a bold film with riveting script and daring performances, then this saturday-matinee, lightweight won't be very satisfying. Take "Heartbreakers" for what it's worth: funny, silly, and entertaining.
A Streetcar Named Desire (1951)
A hard hitter, carried by near-perfect performances
This fifty year old gem is a true classic carried by strong performances and a powerful story. I think the true appeal of "A Streetcar Named Desire" is the characters in the film that can all at least partially be related to. Brando's version of Stanley is a real tough "everyman" that can be difficult to like (especially at the end) yet we cannot help but admire his cool, upfront attitude throughout the movie. Leigh's Blanche is as difficult to assess as her character, yet we can identify with at least a portion of the identities that she portrays. In my opinion, Mitch was the most deserving oscar-winner here, showing us a subtle vulnerability that works so well in his relationship with Blanche. This is an excellent adaptation of a play that does not lose any of its drama or characterization. This movie rightly moved Brando towards star status and began a push against entertainment censorship standards of the time. This is a genuine film that works on so many levels and incorporates so many layers. Still a classic after fifty years, I am sure it will survive another fifty as a common favorite.
In the Company of Men (1997)
Depressing and Deep
This movie was so well written and perfectly acted that I couldn't help but believe every minute of it, and feel somewhat depressed. Every guy who has ever been in a locker room has heard dialogue like that spoken in this film, and has known people like the villain. The scenes with Christine are very hard to watch because they are so malicious, but she is such a good actress that you can't turn away. This movie is so powerful because most people can relate to more than one character or aspect of the film. This movie joins the ranks of so many others that are great films that deal with disturbing subject matter. Although I really appreciated the movie while I was watching it, I probably won't see it again for entertainment value. Definitely well worth seeing for the dialogue and the acting, however, "In the Company of Men" paints a disturbing picture that is so shocking because it posseses so much truth
Adventures in Babysitting (1987)
One of the best 80's flicks
I saw this movie in the theaters when I was a kid, and I loved it then- and you know what, I still love it. I wouldn't call it fantastic flim making, but I would call it very entertaining. And you know what- sometimes that's all a movie needs to be. This film sets out to present an outrageous and comedic set of mishaps for four suburban kids, while keeping our attention and making us laugh. It works. The acting is adequate and the characters are fun. From a decade of ninety minute no-brainers, this movie is among the best and really is a lot of fun to watch.
Traffic (2000)
Something to think about
Soderbergh's most recent film, in my opinion, is the first to live up to his debut, "Sex, Lies, and Videotape". I left the theater with many of the prevalent themes lingering in my mind after sitting through an intensely intriguing film. The two most important characters, I think, are played by Benicio Del Tora and Catherine Zeta Jones. Both would not have been nearly as effective without the talents of these two actors. Del Tora's subtle take on the tortured cop is very representative of the film's message that we are trying to do right, but are we really making a difference? Zeta-Jones is full of surprises here, leading us to never quite be sure what to think of here, even at the end. My only real criticism for "Traffic" is the teenage daughter that falls so rapidly into drug addiction. It was a little difficult for me to believe how low she sunk in such a short period of time, especially considering her privileged background. For all purposes, "traffic" really is the type of movie that has been missing all year. A though- provoking social commentary, it forces us to think without giving us all the answers while allowing us to enjoy an intricate story and brilliant performances
The Other Sister (1999)
Better Than Expected
Garry Marshall's "The Other Sister", is a quiet, pleasant film that was one of the surprises for that year. This is one of the few films that successfully creates a story with developmentally handicapped people without focusing exclusively on the disability. Lewis's performance in particular allows us to see a vivid personality within her character separate from her condition. Diane Keaton and Tom Skerrit do a wonderful job of capturing the many emotions of the affluent parents. Keaton delivers a widely ignored performance, showing us a woman who is overly concerned with outside appearances and doesn't quite know how to severe the strings of motherhood. Skerrit is successful as the tortured father who has been in the backstage for too long. Ribisi is the least impressive of the cast, being constantly upstaged by Lewis. "The Other Sister" is a charming little film that really works. It combines a sweet story with a few chuckles, and some surprisingly good performances. Definitely one of Marshall's lesser known, but definitely among his best.
Rush (1991)
Thought Provoking
Rush was definitely interesting to watch, though not always pleasant to look at. Set amidst the war on drugs, this film challenges us to rethink this battle. Are the wasted resources really worth the hypocrisy and corruption that go hand in hand with the arrests? The movie was not extraordinary, but I did go away haunted by many of the prevalent themes.
The relationship between the two undercover agents was very intriguing. I would have liked to have seen a bit more development before they became so involved, but nevertheless, their support of each other, alone in a world they don't belong in, is very interesting. Their different descents, and partial ascents accross the blurred line of addiction gives merit to the portrayal of this affliction. I would definitely recommend Rush for those who have second thoughts about the war on drugs. This film shows us that the worlds of the law breakers and the law enforcers may not be so far apart after all.
How the Grinch Stole Christmas (2000)
Not to be confused with the book (possible spoilers)
Ron Howard's "How the Grinch Stole Christmas", though beautiful to look at, takes far too many liberties with Dr. Seuss's classic to have the same name. This film is undoubtedly stunning in its visuals and make-up, but something is missing from the original story. I left the theater not feeling the joys of the Christmas season running through me like I was hoping.
The main problem I had with the movie is that the entire theme of the original story/cartoon was lost in the feature film. The whole subplot of how the grinch became the grinch did some to develop his character, but left us feeling negatively about the whos. Also, it seemed as though the whos needed more schooling in the meaning of Christmas than did the Grinch. I thought he was quite justified in rejecting the over-commercialized, self-indulgent ritual that the self-centered whos participated in every year.
I'd recommend this movie for people that like a lot of eye-candy in their movies and Jim Carrey fans. But as for that one movie of the holiday season that brings tears to our eyes and makes us think deeply about the true meaning of the Christmas--I'm still waiting.