The Hurt Locker comes so achingly close to this.
It's very careful to get as far as it can from THAT, actually.
From the scenario or from the fatalist quality I'm describing?
The Official Review Thread of 2009
Speaking of which...
/The Hurt Locker/ (Kathyn Bigelow)
(SLIGHT SPOILERS)
Still staunchly pro. There's little doubt in my mind now that it's thesis ("War is a Drug") is detailed in the third act in a limited fashion. I find its conclusion a little disingenuous. We are asked throughout the film "Why does SSgt. William James do this?" And in the end we get our answer: because there's nothing else. The problem the film's trajectory is that we basically know that already. He's better as a cipher. We don't need his home-life. By shifting POV from Sanborn to James, we begin to identify more with the irrational cowboy James and this is to some extent irresponsible. The story of The Hurt Locker (which is not told) is this: bomb defuser joins the squad, he is reckless, almost gets them all killed, and then he himself is killed and replaced. The end. That's the masterpiece movie of the War in Iraq. The Hurt Locker comes so achingly close to this. Mark Boal's screenplay lines up crisis after crisis in the second act that raise the tension to levels you didn't think possible, and never numbing. But it ends damn near jingoistic.
This does not detract from the overall power of the remainder of the film. Pending the unexpected inclusion of A Serious Man or an improved second viewing of Up in the Air, this is my date to the Oscars. A flawed film of uncommon ambition, stripped down to the haunting and exhilarating minutiae of combat day-to-day. Renner, Mackie, and Geraghty are all outstanding.
/The Hurt Locker/ (Kathyn Bigelow)
(SLIGHT SPOILERS)
Still staunchly pro. There's little doubt in my mind now that it's thesis ("War is a Drug") is detailed in the third act in a limited fashion. I find its conclusion a little disingenuous. We are asked throughout the film "Why does SSgt. William James do this?" And in the end we get our answer: because there's nothing else. The problem the film's trajectory is that we basically know that already. He's better as a cipher. We don't need his home-life. By shifting POV from Sanborn to James, we begin to identify more with the irrational cowboy James and this is to some extent irresponsible. The story of The Hurt Locker (which is not told) is this: bomb defuser joins the squad, he is reckless, almost gets them all killed, and then he himself is killed and replaced. The end. That's the masterpiece movie of the War in Iraq. The Hurt Locker comes so achingly close to this. Mark Boal's screenplay lines up crisis after crisis in the second act that raise the tension to levels you didn't think possible, and never numbing. But it ends damn near jingoistic.
This does not detract from the overall power of the remainder of the film. Pending the unexpected inclusion of A Serious Man or an improved second viewing of Up in the Air, this is my date to the Oscars. A flawed film of uncommon ambition, stripped down to the haunting and exhilarating minutiae of combat day-to-day. Renner, Mackie, and Geraghty are all outstanding.
"How's the despair?"
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The Original BJ
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anonymous1980
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Damien, you can be so strange sometimes. :pDamien wrote:Alvin And The Chipmunks: The Squeakquel (Betty Thomas)
It lacks the sense of wonder and (except for a few scenes centering on Theodore) the poignancy of the original Chipmunks film. It also suffers in that, for some reason, David Saville (Jason Lee) is hardly in the picture at all, replaced by an uninteresting actor (Zachary Levi) playing an uninteresting dweeb character. And the franchise is cheapened by the inclusion of a fart joke. Still, despite these problems, it’s still a pretty good show. Alvin, Simon and Theodore continue to be heart-warmingly adorable, and there are hearty laughs throughout – and wonderful throwaway lines and references and clever blink-and-you’ll-miss-them little visual gags. To watch Alvin And The Chipmunks: The Squeakual (best title of the year, by the way) is to be happy and there is no defense against it.
6/10
Alvin And The Chipmunks: The Squeakquel (Betty Thomas)
It lacks the sense of wonder and (except for a few scenes centering on Theodore) the poignancy of the original Chipmunks film. It also suffers in that, for some reason, David Saville (Jason Lee) is hardly in the picture at all, replaced by an uninteresting actor (Zachary Levi) playing an uninteresting dweeb character. And the franchise is cheapened by the inclusion of a fart joke. Still, despite these problems, it’s still a pretty good show. Alvin, Simon and Theodore continue to be heart-warmingly adorable, and there are hearty laughs throughout – and wonderful throwaway lines and references and clever blink-and-you’ll-miss-them little visual gags. To watch Alvin And The Chipmunks: The Squeakual (best title of the year, by the way) is to be happy and there is no defense against it.
6/10
It lacks the sense of wonder and (except for a few scenes centering on Theodore) the poignancy of the original Chipmunks film. It also suffers in that, for some reason, David Saville (Jason Lee) is hardly in the picture at all, replaced by an uninteresting actor (Zachary Levi) playing an uninteresting dweeb character. And the franchise is cheapened by the inclusion of a fart joke. Still, despite these problems, it’s still a pretty good show. Alvin, Simon and Theodore continue to be heart-warmingly adorable, and there are hearty laughs throughout – and wonderful throwaway lines and references and clever blink-and-you’ll-miss-them little visual gags. To watch Alvin And The Chipmunks: The Squeakual (best title of the year, by the way) is to be happy and there is no defense against it.
6/10
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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The Original BJ
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Since I'm bored at work, short notes on lots of things I've seen over the past couple weeks...
CLOUDY WITH A CHANCE OF MEATBALLS
Surprisingly decent, with some laughs and fun visuals. Not something I'd really want nominated for an Oscar, given the competition, but it's no embarrassment. (And I think this animated flick definitely WOULD be better on drugs.)
THE BEACHES OF AGNES
A lovely portrait of Agnès Varda's career and her obsessions. It can be twee at times, and it mines familiar material (at least within the Varda ouevre), but overall it's a sweet and touching reflection.
THE COVE
Shocking. A fine piece of documentary muckraking. The dolphin slaughter sequence is almost too difficult to watch, as is the sight of an entire cove filled with blood-red water. Absorbing and infuriating.
THE YOUNG VICTORIA
The kind of movie a lot of us see only to check off the inevitable Costume Design Oscar nomination. I wasn't crazy about this film when it was called The Duchess, and I'm not excited by it now. Emily Blunt will get an Oscar nomination soon. But not this year. Costumes are pretty.
BROTHERS
Has some power, given the subject matter and chilling central incident. But the characters are very thin, and the end dips pretty strongly into melodrama. Haven't seen the original film, but everyone I know who's seen it says this remake is a big step down.
ME AND ORSON WELLES
An entertaining lark. The appeal of Zac Efron, both as an actor and as a star presence, completely escapes me. Christian McKay just about blows him and everyone else off the screen, in a very good impersonation of Orson Welles. (Though isn't he much too old?) The actors cast to play Welles's troupe look so much like their real life counterparts it's a real treat. As Damien says, Linklater seems to capture the New York 30's theater milieu very well.
SHERLOCK HOLMES
Halfway entertaining, but also the kind of film that completely evaporates even as you're watching it. You can tell everyone involved is clearly trying to ape the success of Pirates of the Caribbean, and I almost actively loathed the set-up-the-sequel ending. Downey, Jr. and Jude Law are fun. Rachel McAdams barely registers. Overall, it's silly, the kind of movie that's complicated narratively but not in the least complex. I'd bank on an Art Direction Oscar nod, at least.
THE IMAGINARIUM OF DOCTOR PARNASSUS
Visually cool. Really gets lost in the narrative department. The Ledger/Farrell/Law/Depp character transitions work amazingly well, you'd have thought it were planned that way. RIP Heath Ledger.
THE ROAD
Really surprised this one has been so DOA. It's not tremendous -- it's a little movie -- but there's a lot of power, and the father-son bond in the film is really heartfelt. Some devastating portraits of the world in chaos and man's inhumanity to man. Strong cinematography and production design -- you really feel like the world as we know it has been decimated.
IT'S COMPLICATED
No, it's not.
CLOUDY WITH A CHANCE OF MEATBALLS
Surprisingly decent, with some laughs and fun visuals. Not something I'd really want nominated for an Oscar, given the competition, but it's no embarrassment. (And I think this animated flick definitely WOULD be better on drugs.)
THE BEACHES OF AGNES
A lovely portrait of Agnès Varda's career and her obsessions. It can be twee at times, and it mines familiar material (at least within the Varda ouevre), but overall it's a sweet and touching reflection.
THE COVE
Shocking. A fine piece of documentary muckraking. The dolphin slaughter sequence is almost too difficult to watch, as is the sight of an entire cove filled with blood-red water. Absorbing and infuriating.
THE YOUNG VICTORIA
The kind of movie a lot of us see only to check off the inevitable Costume Design Oscar nomination. I wasn't crazy about this film when it was called The Duchess, and I'm not excited by it now. Emily Blunt will get an Oscar nomination soon. But not this year. Costumes are pretty.
BROTHERS
Has some power, given the subject matter and chilling central incident. But the characters are very thin, and the end dips pretty strongly into melodrama. Haven't seen the original film, but everyone I know who's seen it says this remake is a big step down.
ME AND ORSON WELLES
An entertaining lark. The appeal of Zac Efron, both as an actor and as a star presence, completely escapes me. Christian McKay just about blows him and everyone else off the screen, in a very good impersonation of Orson Welles. (Though isn't he much too old?) The actors cast to play Welles's troupe look so much like their real life counterparts it's a real treat. As Damien says, Linklater seems to capture the New York 30's theater milieu very well.
SHERLOCK HOLMES
Halfway entertaining, but also the kind of film that completely evaporates even as you're watching it. You can tell everyone involved is clearly trying to ape the success of Pirates of the Caribbean, and I almost actively loathed the set-up-the-sequel ending. Downey, Jr. and Jude Law are fun. Rachel McAdams barely registers. Overall, it's silly, the kind of movie that's complicated narratively but not in the least complex. I'd bank on an Art Direction Oscar nod, at least.
THE IMAGINARIUM OF DOCTOR PARNASSUS
Visually cool. Really gets lost in the narrative department. The Ledger/Farrell/Law/Depp character transitions work amazingly well, you'd have thought it were planned that way. RIP Heath Ledger.
THE ROAD
Really surprised this one has been so DOA. It's not tremendous -- it's a little movie -- but there's a lot of power, and the father-son bond in the film is really heartfelt. Some devastating portraits of the world in chaos and man's inhumanity to man. Strong cinematography and production design -- you really feel like the world as we know it has been decimated.
IT'S COMPLICATED
No, it's not.
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Big Magilla
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I quite agree, but we needn't feel too sorry for the multi-talented Peter Capaldi if he isn't nominated. He already has an Oscar for Best Documentary - Short Subject, 1994's Franz Kafka's It's a Wonderful Life which he both wrote and directed.The Original BJ wrote:If the writers see this, I can't imagine them not nominating the screenplay. I'd also want Peter Capaldi on the supporting actor shortlist -- his foulmouthed monster boss was a total riot. ("Climbing the mountain of conflict? You sound like a Nazi Julie Andrews!")
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I'll second BJ, that In the Loop is one hugely funny movie. It hits the ground running, and never goes long without a laugh-out-loud exchange. I'm not sure what my favorite one-liner was (though I loved Gandolfini's one about his soldier's license), but for me the moment that made me dissolve in laughter was when Toby offered his rationalization for having cheated on his girlfriend while in DC -- I was helpless for a solid minute.
I actually spent much of the film wondering which of the actors was Capaldi, because -- though he was hilarious -- I thought Tom Hollander's Simon Foster was equally memorable. His "Right, I should be grateful" diatribe against Toby is hit utterly out of the park.
The only disappointment might be the ending -- first because it's so disheartening to once again see the shits triumph so easily, and second because the movie ends in what my wife would call a pillow. Such a funny movie should have ended on a higher note.
I actually spent much of the film wondering which of the actors was Capaldi, because -- though he was hilarious -- I thought Tom Hollander's Simon Foster was equally memorable. His "Right, I should be grateful" diatribe against Toby is hit utterly out of the park.
The only disappointment might be the ending -- first because it's so disheartening to once again see the shits triumph so easily, and second because the movie ends in what my wife would call a pillow. Such a funny movie should have ended on a higher note.
Me And Orson Welles )Richard Linklater)
A lovely film. All about dreams and aspirations and, in typical Linklater fashion, about comprehending, acknowledging, and accepting oneself. There are wonderful period references – Les Treymane! – and the filmmakers know the terrain of 30s New York culture extremely well – and an overall terrific ambience.
Zac Efron, objectively, gives a good performance, excellent but there’s no denying that he does bring High School Musical baggage along which is slightly detrimental to the effect of the picture. But the movie is so smart and perceptive about art, in general, and theatre in particular and the creative process specifically. And marvelous work by Christian McKay as Welles gets under the skin of the Great One and uncannily conveys the monstrous ego that was Welles, as well as his charm, charisma, indicating how and what he could get away with being Orson Welles. Claire Danes is simply wonderful as a sympathetic but no-nonsense, determined Older Woman, and it’s great fun having such cinematic notables as John Houseman, Joseph Cotton, Norman Lloyd and George Coulouris as (very colorful) characters. Sweet and lovable.
8/10
A lovely film. All about dreams and aspirations and, in typical Linklater fashion, about comprehending, acknowledging, and accepting oneself. There are wonderful period references – Les Treymane! – and the filmmakers know the terrain of 30s New York culture extremely well – and an overall terrific ambience.
Zac Efron, objectively, gives a good performance, excellent but there’s no denying that he does bring High School Musical baggage along which is slightly detrimental to the effect of the picture. But the movie is so smart and perceptive about art, in general, and theatre in particular and the creative process specifically. And marvelous work by Christian McKay as Welles gets under the skin of the Great One and uncannily conveys the monstrous ego that was Welles, as well as his charm, charisma, indicating how and what he could get away with being Orson Welles. Claire Danes is simply wonderful as a sympathetic but no-nonsense, determined Older Woman, and it’s great fun having such cinematic notables as John Houseman, Joseph Cotton, Norman Lloyd and George Coulouris as (very colorful) characters. Sweet and lovable.
8/10
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
He's Just Not That Into You (Ken Kwapis)
Uneven to be sure with some contrivances, glibness and banalities, but also generally pretty smart and good-hearted. For the most part, the movie doesn’t make you laugh although some of its wryness may make you smile. The commentary scenes that begin each section don’t quite work. But ultimately, the picture is moving and affecting, especially the climax of the Jennifer Anniston/Ben Affleck sequence (Affleck is such a damn fine and underrated actor – he can say romantic dialogue with such conviction and grace, managing to be sensitive but with no wussiness clinging to him.)
Ginnifer Goodwin is an unfortunately unappealing presence as what is probably the lead in this ensemble piece, but Justin Long plays off her wonderfully well. Acting honors go to Drew Barrymore, who’s utterly charming and understatedly funny, showing a bemused resignation at her haplessness in love. Too bad her role wasn’t larger.
6/10
Edited By Damien on 1263543616
Uneven to be sure with some contrivances, glibness and banalities, but also generally pretty smart and good-hearted. For the most part, the movie doesn’t make you laugh although some of its wryness may make you smile. The commentary scenes that begin each section don’t quite work. But ultimately, the picture is moving and affecting, especially the climax of the Jennifer Anniston/Ben Affleck sequence (Affleck is such a damn fine and underrated actor – he can say romantic dialogue with such conviction and grace, managing to be sensitive but with no wussiness clinging to him.)
Ginnifer Goodwin is an unfortunately unappealing presence as what is probably the lead in this ensemble piece, but Justin Long plays off her wonderfully well. Acting honors go to Drew Barrymore, who’s utterly charming and understatedly funny, showing a bemused resignation at her haplessness in love. Too bad her role wasn’t larger.
6/10
Edited By Damien on 1263543616
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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The Original BJ
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I finally caught up with In the Loop on DVD -- what a hilarious movie! It's the kind of film you know, even while watching it, you want to see again, just so you can remember all the great one liners (and pick up on the little jokes you missed because you were laughing too hard). Thank god for IMDb's memorable quotes section, where you can find a lot of them collected in one place.
The satire is really sharp -- the entire plot is set in motion by a politician's misuse (?) of a single word, the war committee is referred to in newspeak-ian fashion as the Future Planning Committee -- and I liked the way the film focused on lower-level politicians, wisely avoiding any easy potshots at a fictional American president and his staff. (That would have been far less funny, not to mention dated.)
If the writers see this, I can't imagine them not nominating the screenplay. I'd also want Peter Capaldi on the supporting actor shortlist -- his foulmouthed monster boss was a total riot. ("Climbing the mountain of conflict? You sound like a Nazi Julie Andrews!")
I bet everyone will have their favorite line in this film. Mine might be "evil lady from The Crying Game!"
The satire is really sharp -- the entire plot is set in motion by a politician's misuse (?) of a single word, the war committee is referred to in newspeak-ian fashion as the Future Planning Committee -- and I liked the way the film focused on lower-level politicians, wisely avoiding any easy potshots at a fictional American president and his staff. (That would have been far less funny, not to mention dated.)
If the writers see this, I can't imagine them not nominating the screenplay. I'd also want Peter Capaldi on the supporting actor shortlist -- his foulmouthed monster boss was a total riot. ("Climbing the mountain of conflict? You sound like a Nazi Julie Andrews!")
I bet everyone will have their favorite line in this film. Mine might be "evil lady from The Crying Game!"