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Deviant Anomaly
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« Thread Started on Nov 28, 2007, 2:27pm » | |
The Da Vinci Code (Posted at Rotten Tomatoes on May 2006)
First of all, I admittedly love the book. It became one of my personal favorites before I finished the last page. So I suspected if the film stayed majority true to its source, I would not be disappointed. Happily my instincts were correct.
That is not to say DVC the film is a faithful adaptation. There are noticible deviations and if you are a purist about such then it will bother you. I am not one of those thankfully. I could understand all the changes that were made and felt none took away from the story as I know it. Some even enhanced certain aspects. So kudos to Akiva Goldsman for adding his own touch.
Technically the movie is sound. The cinamatography is beautiful. What little CGI appears is well used and unobtrusive. Those who are visual learners will appreciate them. Hans Zimmer's score is also wonderful. The script is fine. I didn't hear any clunky dialog nor thought it ever became "too talky" as Goldsman expertly whittled down pages upon pages of both external and internal monolog. It also tightened up sequences that go on for chapters in the book maintaining the fluidity and pace. I am not a fan of Ron Howard, but his direction kept the movie from becoming too preachy one way or the other. It was the right tone for the subject matter.
Now the acting. Shamefully Bettany, Reno and Molina did not have big roles, but they utilized what they had very well. Ian McKellen was brilliant as we've come to expect. Audrey Tautou was the perfect Sophie. She gave the character equal spark and softness as required. And I know I am in the minority here, but I loved Tom Hanks as Langdon. The book's "Harrison Ford in tweeds" description never worked for me (probably because I don't find Ford all that attractive in numerous ways). I envisioned the character much more like Hanks played him, even down to the physical appearance. I understand why some are underwhemled. This is not a typical role for Hanks. Yet that is exactly why I loved him in it. As for his chemistry with Tautou, it was there in an amicable friendship sort of way which is as it should be. The characters do not share a romantic connection in the book and it would have made no sense to start one in the film considering their circumstances.
Does DVC make some missteps? Yes. I thought the editing could have been tweaked a little better. Some cuts were choppy and some minor details I was looking for excluded. The characters could have benefited from more linear backstories. As it stands, you get fragments throughout that seem a bit jumbled. I would say its main fault though is its release date. Had it been released in the fall with more contemporary and complimentary films, it might have stood a better chance with the critics. DVC is not summer fair. I would hesitate to even call it mainstream fair. It is the type of film that will ultimately appeal to a select minority.
Otherwise its a good film overall. An entertaining way to spend 2 & 1/2 hours and equally thought-provoking as its literary source.
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Deviant Anomaly
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« Reply #1 on Nov 28, 2007, 2:27pm » | |
Cars (Posted at Rotten Tomatoes on June 2006)
I'll start by saying I am a huge Pixar fan. I feel they have managed to take the best elements of filmmaking and combine it with the wonderful artistry of animation. Even on an off day, you can rest assured that a Pixar collaboration is going to be a fine movie. How many other studios can boast that kind of quality? And Cars is another great addition to their impressive portfolio.
The film follows the arrogant hotshot Lightning McQueen as he seeks fame and fortune in the world of racing. On his way to the season-ending event in California, Lightning finds himself unexpectedly trapped in the delapidated Radiator Springs along Route 66. The colorful locals teach Lightning a valuable lesson or two as he tries to correct his situation that ultimately plays into the film's conclusion.
At first, it may seem hard to suspend belief in order to follow a world inhabited by living cars. Yet Pixar once again gives us all the elements to do just that: realistic landscapes, well defined characters, a solid storyline and good-natured humor. The vocal casting does a good job lending personalities to their automotive counterparts. Owen Wilson's Lightning sounds just as young, nieve and arrogant should. Paul Newman's Doc Hudson has the gravitas to dispense grizzled veteran-type guidance. Bonnie Hunt's Sally makes a sweet, charasmatic love interest. And Larry the Cable Guy's Mater shows a lot of heart despite his country bumpkin comedy routine. Soon its easy to believe these are thinking and feeling creations on a human scale. Before you know, you are caring about their fates.
Technically the film is gorgeous. There are some shots that are so seamless and realistic that its possible to believe its photography. From the glossy shine of Lightning's fiery red paint job to the arid beauty of buttes rising in the distance against a brilliant blue sky, Cars is exhillerating eye candy frame for frame. And the sound effects are spot on. As a Nascar fan, I have had the good fortune to be on pit road near a running race car. Lightning's throaty growl and ear-splitting roar are exactly what a 800+ horsepower engine sounds like. Pixar really did their homework in that department.
Two observations I made when seeing the film. Small children (5-under) may lose their patience as the action slows and themes go over their heads. There are also a lot of Nascar references. Fans like myself will pick them out easily, but non-fans may not appreciate them. Neither are truly faults for the film unless you are personally biased against such things.
Its clear that Cars was a labor of love. There is a lot of heart and soul that shines through in Pixar's efforts here. All ages can discovery something enjoyable and worthwhile in this film. If life is a journey, then I highly recommend taking Cars for a drive.
*Watch for a multitude of hidden in-jokes and sit through the credits. A hilarious drive in spoof midway is definately worth the extra time.
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Deviant Anomaly
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« Reply #2 on Nov 28, 2007, 2:35pm » | |
The One Paragraph Reviews from Captivation in 2006
Dodgeball: A True Underdog Story
It was so-so. Vaughn and Stiller were good as usual, but they couldn't save a hokey plot nor received any backup from an unmemorable supporting cast. Many of the jokes felt forced or juvenile too. Not one of the better films by Frat Pack members.
The Godfather Parts 1 and 2 (chronologically ordered)
It was good, but after 6 hours of basically talking and killing my brain was numb trying to keep it all straight. Names began running together and I couldn't follow who was friend or enemy. I would like a second chance to see this as originally shown. Right now, I'm underwhelmed.
You, Me And Dupree
Better than average. Owen proves he can be a leading man as the frustrating yet lovable Dupree. His "seven different types of smoke" at the conclusion was hilarious. Hudson and Dillon liven up otherwise bland roles. I genuinely cared what happened to them by the end. A predictable plot, but the jokes never felt forced. A pleasant couple hours of breezy entertainment.
Pirates Of The Caribbean: Dead Man's Chest
The film felt too much like "been there, done that." Too much fighting between ships. Too much of the Kraken. Too much weird half human-half creature characters. Too much double-crossing. And finally too much of Kiera Knightly's pouty whining. Johnny Depp's Captain Jack came off far from likable, making Orlando Bloom's Will Turner the one redeeming quality about this middle trilogy muddle.
The Illusionist
A charmingly simple film about love and magic. It looks beautiful from the cinematography, to settings, to costumes. The story isn't rocket science (had it figured out halfway through), but great performances from Edward Norton, Paul Giamatti and Jessica Biel make it one worth catching.
Open Season
There is a reason Disney and Pixar are the best in animation. The film looked great. The story however was not. Other than McSquizzy the Squirrel (voiced by Billy Connelly) who livened up the action whenever on screen, all the best jokes were in the trailer and overall it fell kinda flat.
The Departed
You know what you're in for the moment Mark Wahlberg opens his mouth and lets the obsenities fly at Leo DiCaprio's police cadet. Lots of gritty violence, foul language, sexual references and womanzing. Boys will be boys. Don't let it put you off though and miss a compelling mystery with fabulous acting efforts from Nicholson, DiCaprio and Damon. Definately an Oscar contender.
The Prestige
Director Christopher Nolan crafts a haunting guessing game with rich visuals that explain how the lives of two rival magicians intertwine to a surprising conclusion. Mind your attention span or you'll miss subtle details crucial to solving the magic trick unfolding before your eyes. The entire cast is top notch. Both Hugh Jackman and Christian Bale turn in exceptional performances as revenge-driven, angst-filled mystery men. Should fit nicely right alongside Departed on the Oscar ballot.
Harsh Times
My feelings are somewhat mixed. I thought it was good, but not a well-rounded film. Its strength lies completely with the lead performances. Christian Bale is absolutely mesmerizing as Desert Storm war vet Jim and Freddy Rodriguez balances nicely as his best friend Mike. Together they make up the film's compass, a yin-yang of conflicting viewpoints. Otherwise the story with its strong themes lacks direction a few times too many and other characters that may figure in are majority wasted. There are no glitzy effects to make the technical aspects noticible either. They are just stalwartly doing their job.
The Queen
This quiet drama about the British monarchy's reaction to Princess of Wales Diana Spencer's death is a compact and powerful little film. Everyone knows the story, but this manages to create a poignant human side to it. The performances of Helen Mirren, who is dead ringer for Elizabeth II right down to her slightest mannerisms, and Michael Sheen as Tony Blair that should put the film on anyone's must see list.
The Painted Veil
Based on the book by W. Somerset Maugham, it follows a young British couple living in 1920s China who sort out their troubled marriage while volunteering during a cholera epidemic. Edward Norton plays Dr. Walter Fane, a quiet bacteria researcher who falls for spoiled socialite Kitty (Naomi Watts). Its a dramatic, sweetly melancholy love story which I liked a great deal. The production struck me as having a classic, old Hollywood feel. Everything technical is beautifully crafted. Norton turns in another noteworthy performance (he's really developing a knack for these period romances) along with Watts who carries the bulk of the film's emotional weight. Toby Jones (Infamous) has a memorable supporting role, but Liev Schrieber is the film's weakest detail as a boring cad.
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Deviant Anomaly
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« Reply #3 on Nov 28, 2007, 2:41pm » | |
Posted at the Movie Lovers LiveJournal in 2007
The Royal Tenenbaums
Written by Owen Wilson and Wes Anderson (they earned an Oscar and Bafta nomination for Original Screenplay in 2002 thanks to this film), The Royal Tenenbaums is the amusing story of a severely dysfunctional family coming together years after falling apart. The trouble begins when husband Royal (Gene Hackman) is evicted from the house by wife Etheline (Angelica Huston). Their seperation causes no small amount of grief for the four child prodigies connected to them. Eldest son Chas (Ben Stiller), a business genius, succumbs to extreme paranoia after the tragic death of his wife. Adopted daughter Margo (Gwyneth Paltrow), a brilliant playwright, is trapped in a loveless marriage to scientist Raleigh St. Clair (Bill Murray) that is sucking the creative energy out of her. Youngest son Richie (Luke Wilson), a tennis pro, suffers a very public meltdown and disappears at sea harboring a secret obsession. Childhood family friend Eli Cash (Owen Wilson), a celebrated novelist, is caught in a drug habit and an affair with Margo. Their paths collide when in a desperate attempt to prevent Etheline from marrying co-worker Henry (Danny Glover), Royal fakes terminal cancer and moves back into the house.
Admittedly, Royal Tenenbaums will not be everyone's cup of tea. Its several shades of quirky with decidedly dark humor involved. Yet director Anderson shows a masterful skill at subtlety, keeping the tone light and ever hopeful throughout. The pace never drags and the minimalistic editing allows the film to spool in a realistic, continuous stream. The sets, costumes and soundtrack are a meticulously-crafted, colorful hodge-podge of 70s retro that seem almost like characters themselves. The cast quickly demonstrates their abilities at handling the blatantly oddball material. Hackman shines as the cantankerous, scheming Royal. Paltrow, Stiller and Owen Wilson all make notable departures from their typical screen personas with good results. However it is Luke Wilson that provides the heart with his soft-spoken, soulful demeanor, particularly in the second half.
I found it intriguingly entertaining and delightfully endearing for all its offbeat sensibilities. Definately worth a look if you like to escape from the norm.
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Deviant Anomaly
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« Reply #4 on Nov 28, 2007, 2:42pm » | |
The Notorious Bettie Page
Directed by Mary Harron (American Psycho), the film follows Bettie's rise to stardom as the "pin up queen of the universe" in the 1950s and the subsequent fallout due to moral issues with sexuality and pornography. It begins with her conservative Christian upbringing in Tennessee where her gorgeous looks drew plenty of attention, including that of her sexually abusive father. The hardship continues as she marries an abusive husband and upon leaving him finds herself further victimized by men with cruel intentions. She escapes to New York City where she is discovered by a young, black photographer who introduces her to pin up pictures. Bettie sees no harm in her work being comfortable in her sexuality and her desire to please others. It also offers a means to pursue her dream of acting. Yet the line becomes blurred when she starts working with Irving and Paula Klaw, siblings who traffic in bondage subject matter. Soon a congressional hearing is held to determine the effects of pornographic material on children while Bettie suffers a crisis of conscience that ultimately leads back to her faith.
This is more than a mere biography though. Harron, who also co-wrote the script, has a tendency to interweave themes so you get a feel for both the big and little picture. Therefore it is as much a morality tale about how society views sexuality as it is Bettie's role in that revolution. She beautifully captures it using a combination of black & white and technicolor cinematography, stunning authenticity and a soundtrack that place you right in this bygone era. Gretchen Mol is spot on as Bettie, having imitated her look and gentle Southern grace to a tee. You cannot help feel sympathetic as you watch her endure the trials and tribulations she is faced with. Mol's strongest castmate is the accomplished Lili Taylor as Paula Klaw. The rest are likable yet unmemorable, serving mostly as footnotes in Bettie's story. Overall, its a well-made little art film about a compelling figure in history.
Rated R for nudity, sexual content and some language. Nothing most adults would consider too risqué, but definitely one to watch after the kids have gone to bed. Item of note: a running gag throughout about Bettie's nether region being visible at various photoshoots and how its humorously described or handled by the photographers.
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Deviant Anomaly
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« Reply #5 on Nov 28, 2007, 2:43pm » | |
Transformers
Based on the 1980s Hasbro toyline, this sci-fi actioner follows the war between the heroic Autobots and villianous Decepticons of the distant planet Cybertron. Both factions are searching for the AllSpark, a life-bestowing cube, that created their robotic-centric planet. The Autobots intend to restore their home while the Decepticons seek to rule it. Due to unforeseen circumstances, the AllSpark crashed upon Earth and its location was encoded upon a pair of human glasses. Centuries later, Sam Witwicky (Shia LaBeouf) now holds this key and along with several others is swept into the middle of the alien war when teams from both sides arrive.
Undoubtably the movie's hallmark is being jam-packed with action sequences that feature eye-popping special effects. Wisely director Michael Bay put the most effort into the robots and it shows in every gloriously rendered detail. They are simply spectacular. Their good looks are not wasted either, having engaging personalities to match. The Autobots in particular express a good bit of depth which allows for a genuine sense of compassion. You will find yourself rooting for them by the end. This film focuses more closely upon the heroes than villians. Yet I have a feeling the sequel may see the narrative shift considering the conclusion.
The story is better than one might believe. Certainly its not rocket science, but it does manage to wield the many details it has to incorporate so that fans and newbies alike can follow. It also offers humor than rarely feels cringeworthy (many catering more to adults than the kiddies) and a few genuine heartfelt moments. Unfortunately its not perfect with some noticible plotholes and a frustrating pace. It starts out with three seperate tangents which it takes a little too long bringing together. Then it kicks in the afterburners as it rushes to the conclusion. Shia LaBeouf turns in the lone credible performance among the human cast. It is his character's story to tell which he does with convincing charisma, humor and pathos. The romance aspect with a wooden Megan Fox should have been dropped though. His chemistry with robot pal Bumblebee was far more believable and entertaining. Josh Duhamel as a soldier and Rachel Taylor as an analyst who side with the Autobots were intriguing, but their characters so paper thin that it was hard to feel real compassion for them. The cinematography is awash with brilliant color and crisp detail. The transfer to DVD clarifies some of the lighting and editing problems that occured in the theater, particularly during the fight sequences. The score by Steve Jablonsky is also worth noting, a great combination of powerful themes and delicate choral pieces.
Transformers is the epitome of what a summer film should be. It offers a little razzle dazzle for everyone without taking itself too seriously or getting too deep. More importantly it offers relief from the disappointment raised by the year's glut of sequel-itis. Although its not a new idea, this different incarnation certainly feels like a novel one. So round up the kiddies, make a date with your significant other, call up your friends and rollout.
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Deviant Anomaly
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« Reply #6 on Dec 11, 2007, 10:12pm » | |
Disturbia
After losing his father in a horrible accident, a sullen Kale Brecht (Shia LaBeouf) lands himself on house arrest for assaulting a teacher. At first it seems like the perfect excuse to waste time on empty pursuits. However his mother Julie (Carrie Anne Moss) quickly cracks down, irritated by his immaturity and stressed by financial burden. Forced to find a hobby, Kale takes up watching the daily neighborhood soap opera. This is how he meets spunky new girl on the block Ashley (Sarah Roemer). What seemed liked fun quickly takes a scary turn though when the teens note several strange occurances at next door neighbor Robert Turner's (David Morse) house. Kale appoints himself detective to determine what exactly is happening, afraid lives (including his own) may be at stake if he doesn't.
A modern reinterpretation of Alfred Hitchcock's classic, Rear Window, Disturbia doesn't quite manage the same level of paranoid suspense as the master director. It takes a bit too long reaching the crux of the story and you can see the cues coming as to how its going to play out. What it does have going for it though is lots of smart wit and an exceptionally talented cast. Your concern for their wellbeing is what keeps you enthralled to the end. Its no wonder Shia LaBeouf is quickly making a name for himself with strong performances like this. In another actor's hands, Kale could have so easily become a spoiled, bratty teen. Shia imbues him with sympathetic qualities though like grief, remorse and affection to keep him likable. Sarah Roemer is perhaps the one actress I've seen who is capable of keeping up with Shia as well. Everything about her suggests realism rather than stereotypical and I bought the chemistry between the two. Veterans Carrie Anne Moss, David Morse and Matt Craven seen briefly as Kale's father also turn in sharp performances. The technical aspects service the story without anything particularly flashy. Director DJ Caruso steered clear of gore and editing effects to give the film a "this could be happening near you" vibe which might increase the tension for some viewers. The cinematography is also everyday garden variety. I believe the score was peppered with rock tunes when scenes called for it.
Overall, a nice little suspense piece. It won't scare the pants off you by any means, but it just might make you think what your neighbors are doing and if you should be paying closer attention.
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Deviant Anomaly
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« Reply #7 on Dec 11, 2007, 10:21pm » | |
Batman Begins
If you know anything about me, then it goes without saying that Begins is one of my absolute favorite films. It holds my personal record for most times seen at a theater (11) and ignited a lifelong appreciation for actor Christian Bale. I even have the tattoo to prove it. LOL So forgive me if I tend to sound biased during the following review. 
In the words of director Christopher Nolan, Begins "kindly disregards" everything established in the previous Batman films and strikes out on its own by exploring the iconic character's origins. The audience finds Bruce Wayne (Christian Bale) imprisoned in Asia, honing his fighting skills upon the other inmates and running from the immense pain of his parents' death. He is discovered by Henri Ducard (Liam Neeson) who provides him training with the mysterious League of Shadows under the control of Ra's Al Ghul (Ken Watanabe). When Bruce discovers the League's nefarious plans for Gotham City, he rebells and returns on a one man crusade to fight injustice. He enlists the help of faithful butler and father figure, Alfred Pennyworth (Michael Caine), childhood friend turned district attorney Rachel Dawes (Katie Holmes), Wayne Enterprises scientist Lucius Fox (Morgan Freeman) and honest dectective Jim Gordon (Gary Oldman). While Bruce attempts to regain control of the family company from one greedy Mr. Earle (Rutger Hauer), Batman's first target is head mobster Carmine Falcone (Tom Wilkinson) who has a stranglehold on the city. Soon he becomes embroiled in a much larger plot involving the twisted Dr. Jonathan Crane (Cillian Murphy) with a villanious alter ego of his own, Scarecrow, and a very familiar nemesis from the past. As the pieces fall into place, the race is on to save Gotham from an untimely demise.
No doubt, this is not your father's Batman. Long gone is the garish camp of the '60s TV serial and ridiculous weirdness of the Burton-Schumaker film franchise. Nolan and co-writer David Goyer put the audience on notice from the get go that this is a serious-minded, realistic telling. Then they delve headfirst into the very dark depths of Bruce Wayne's tormented psyche to dissect what exactly makes him tick. And if you're going to take that kind of journey, then there's one actor you want leading the charge. Christian Bale is a master at blending the emotional and physical aspects of a character to give them complete credibility. Perhaps this role more than any other exemplifies the artisian he has become. His Bruce Wayne is one of subtle shades while his Batman is relentless brute strength. The only thing stopping him from careening into insanity is Alfred's wise guidance and his affection for Rachel.
The rest of the cast is just as stellar given their credentials. Caine, Freeman and Oldman lend the affair an aire of stately sophistication. Wilkinson, Watanabe and Neeson are effectively menacing. The breakout would be Murphy though whose turn as Dr. Crane/Scarecrow is a terrifyingly creepy counterpoint to Bale's Batman. Holmes stands out herself, but for the wrong reason. She looks out of place among her more distinguished contemporaries here. Her appearance alone seems too young compared to Bale and its hard to believe the romantic angle between them. Yet she still manages to embue her character with a refreshing sense of normalcy, not falling prey to the stereotypical damsel or love interest pitfalls.
While the technical aspects don't appear to be anything special, there is a glorious amount of detail lying under the surface. Gotham is a visual patchwork of many recognizable cities and yet none of it looks cobbled together. It seems like you could travel there tomorrow. The atmosphere is suitably moody, as if you can sense its depression through the muted lighting and sephia tones of the cinematograpy. Its given the right note by a compelling score co-written by Hans Zimmer and James Howard Newton. Of course the greatest achievements belong to the design departments. The Batsuit looks sleeker and far more utilitarian than ever before. Batman can actually move his head to a certain degree! His gadgets are mostly military prototypes that have credibility. And the scratch-built Tumbler that serves as Batman's urban assault vehicle is an automotive work of art which also functions.
What Begins may be most notable for though is taking the comic adaptation standard and raising it substantially. While Spider-Man proved that the superhero world could translate into real world dynamics, it still had a touch of tongue-in-cheek that kept it from being taken too seriously. Begins further removes any trace to seamlessly incorporate its larger-than-life hero into a tangible existance all the while remaining true to form. Its a thrilling concept that is crafted with care and executed with precision. One that I highly recommend experiencing.
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Deviant Anomaly
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« Reply #8 on Aug 28, 2008, 9:30am » | |
Summer Of 2008 One Paragraph Review Rundown
Iron Man
Director Favreau sets the right tone from the first frame with an origin story that never feels forced, a pace that never lags and a believable blend of real & CGI effects. Robert Downey Jr proves why he's one of this generation's best, embodying the character with a wide range of emotional and mental characteristics. Equally nuanced performances are turned in by Jeff Bridges, Gwyneth Paltrow, Terrance Howard and Shaun Toub (Yinsin). Easily one of the best comic-based movies made to date.
Wall-E
Chalk up another hit for the ingenius Pixar. As charming as its precocious robotic hero, this is an old fashioned love story told with a futuristic twist. It also delves into important topics facing humanity today. However it handles the material in a manor that never distracts from its main story or becomes overbearing. The clever minimal use of dialog creates an atmosphere where the audience is entirely focused upon the eye-popping visuals to grasp ongoing events. Wall-E is whimsical fun with the right touch of magic that the child in all of us can enjoy.
The Dark Knight
A very worth sequel to Batman Begins that is technically stunning and breathlessly entertaining. The late Heath Ledger's turn as The Joker steals the show. However the entire cast turns in high caliber performances. The story with its intense pace and intricate twists keeps you enthralled to the last frame. However certain characters and events fall victim to a lack of explaination, making it difficult at times to follow all that is happening. My other complaints is the depressing note upon which it ends. This is not a feel good movie. Otherwise director Nolan's brilliant vision for this franchise continues to set the standard in comic-based films.
Tropic Thunder
Not a mainstream comedy fan, I was leery of what to expect going into Tropic Thunder. However the over the top politically incorrectness easily won over my offbeat sense of humor. For every elbow to the ribs the script gives Tinseltown, there are a few clunkers that fail to deliver. However the story shows some surprising heart as well. Of course the best performance belongs to Robert Downey Jr whose pretentious Aussie award winner turned pseudo African American soldier is a brilliant comedic turn. Tom Cruise and Danny McBride also provide good laughs. Technically it offers plenty of action, flashy effects and nice cinematography. Overall an enjoyable film that I was left eager to see again.
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Deviant Anomaly
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« Reply #9 on Aug 28, 2008, 9:56am » | |
Robert Downey Jr Movie Reviews
Zodiac
Typically a film like this requires the presense of a certain actor to entice me. Here its Robert Downey Jr. I was pleasantly surprised to discover he's just one piece in this intriguing, well made film though. Following the case of California's Zodiac serial killer through the late 1960s to mid 1970s, director David Fincher has recreated this world in exacting detail and surrounded himself with a respectable cast to give it life. The pacing dragged a little in certain places, but would soon pick up again as twists unfolded. The story is wisely written to keep you guessing throughout. The payoff is waiting to see how it ends and discovering if you solved the case or not.
Restoration
Lacking a little bit in execution, but makes up for it with a solid story and good cast. Set during England's restoration period, Robert Downey Jr is physician Robert Merivel who earns the King's favor only to lose everything to his own greed. He rediscovers his life's purpose through his friend, Pierce, and a mental patient, Katherine, who bears him a daughter. Downey's young, fresh face makes it hard to begrudge his ill behavior in the beginning. However it lends gravitas to Merivel's redemption later on. The likable Sam Neill and David Thewis provide the only other mentionable performances. The script follows the novel its based on pretty faithfully until the ending which it changes for the better. Technically its a stunning recreation full of rich detail. A pleasant, if frothy, fiction that is mostly satisfying.
Fur: An Imaginary Portrait of Diane Arbus
No doubt a highly fictionalized, borderline surreal fantasy, account of photographer Diane Arbus' life. Nicole Kidman is effective as a woman shown caught between social standards and personal perference. Her relationship with former circus sideshow performer afflicted with wolfman syndrome, Lionel, is poignantly moving. However at times her demeanor makes its hard to know where she is coming from. Downey Jr once again shows his talent transcends as he acts beneath the equivalent of a fur coat. Its all in his eyes and voice here. Technically another faithful recreation of its era. The use of color is particularly notable. A good, abeit strange, love story.
Heart And Souls
Mislabled as a "romantic comedy", its very light on one and works better as the other. Downey Jr is at his best here when his body is enhabited by one of the four spirits tied to his character's life. Alfre Woodard, Kyra Sedgwick, Charles Grodin and Tom Sizemore are compelling as the spirits who guide him. The usually likable Elizabeth Shue is wasted though. It looks a bit dated now as well. A fluff piece that's redeemed solely by its leading man's performance.
The Singing Detective
The surreal story of an author afflicted with severe psoriatic arthropathy who has blurred the line between his own fiction and reality. At times a bit convuluted, being hard to tell who was who and what was going on. The musical numbers also felt out of place in the modern day sequences. Yet Downey Jr once again manages to save a less than stellar movie with his charm and a no holds barred performance. Its particularly mesmorizing to watch him as the 1930s detective. Mel Gibson in disguise as his therapist is amusing. While a good concept, the overall execution is a bit lacking and therefore diminishes the potential enjoyment value.
Chaplin
Charles Chaplin is perhaps one of the most recognizable and renown stars in the history of film. A brilliant innovator who chased perfection and never shied from sending a message, his personal life was much more tumultuous than one would imagine. Director Attenborough handles the material respectfully. However you can't help but feel its a little sugarcoated so as not to tarnish Chaplin's reputation. The story also suffers as it jumps between early and modern eras in Chaplin's life. Decent performances from the reliable Kevin Kline and Moira Kelly as co-stars. However this is clearly Downey Jr's defining moment as a leading man. There is absolutely no doubt about why he earned a Best Actor Oscar nomination as he mimics Chaplin's unique style to an amazing tee. Every single shot from Chaplin's films is a recreation featuring Downey Jr. This film is worth seeing for that alone.
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Deviant Anomaly
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« Reply #10 on Mar 22, 2009, 11:28am » | |
Steve Carell Movie Reviews
Dan In Real Life
This was a sweet little movie. The humor was more subtle than the previews lead me to believe. Not a Steve Carell fan beforehand, I certainly am one now. The man has a natural talent for embodying the flustered average joe we can all relate to. Its very endearing. The pacing dragged in a few places and story wandered a little. A simple, touching film though about the importance of love and family.
Little Miss Sunshine
My first initial viewing, I was disappointed with LMS. I didn't see the humor that everyone else kept raving about. For some reason though, the movie stayed in my thoughts. So with my recent Steve Carell phase, I gave it another try and enjoyed more. Not so much for the humor as the pathos though. The quirky characters are so well portrayed that you can't help get caught up in their road trip from hell. Its a study of how struggle can be the tie that binds and that I can appreciate.
Evan Almighty
I am not much of a mainstream comedy fan, but decided to give this a try after watching Steve Carell in Dan In Real Life. I'm glad I took the chance because unlike the over-the-top antics of Jim Carrey, Carell's brand of subtle humor is more to my liking and I really enjoyed this. Also can't go wrong with Morgan Freeman and Lauren Graham co-starring. Cute movie with a message, but one that thankfully doesn't become too preachy.
40 Year Old Virgin
For the most part, Virgin is not my type of comedy. It had good moments, but too often fell on the silly side. The three screwed-up frat boy friends in particular were over the top. When the sweetly nieve Andy was doing his own thing, then I enjoyed it. Carell doesn't need sidekicks or raunchy gags to be funny. And he managed to humanize such a stereotypical character that you truly felt for his plight. There is a good message here and thankfully writer/director Apatow doesn't completely bury it. When Andy tells his girlfriend that he's been waiting all this time for the right woman, you believe he's sincere.
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Deviant Anomaly
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« Reply #11 on Mar 22, 2009, 11:58am » | |
Iron Man (Long Review)
Billionaire industrialist and notorious playboy Tony Stark (Robert Downey Jr) is taken hostage by terrorists during a business trip to Afghanistan. While under attack, flying shrapnel becomes embedded in his chest and threatens to eventually destroy his heart. A wise doctor, Yinsin (Shaun Taub), rigs up an electromagnetic device to keep him alive that Stark later replaces with more advanced technology. Using his genius and know-how, he then builds a mechanical suit to escape his captors. Returning home a changed man, Stark perfects his design resolved to fight terrorism and prevent the weapons his company builds from falling into the wrong hands. Along the way he gradually uncovers a plot to overthrow him within his circle of confidants that includes personal assistant Virginia "Pepper' Potts (Gwyneth Paltrow), military liaison Col. Jim Rhodes (Terrance Howard) and Stark Industries CFO Obadiah Stane (Jeff Bridges).
Adhering to a similar formula as Batman Begins, Iron Man presents a less serious but equally realistic origin story. Director Jon Favreau (who also costars as Stark's chauffer/bodyguard Harold "Happy" Hogan) has put all the right pieces in place to create a quality film. He sets the tone from the first frame with a plot that never feels forced, a pace that never lags and a believable blend of real & CGI effects. However this is leading man Robert Downey Jr's show and he delivers a truly star making turn. His portrayal of Tony Stark, a generally unlikable character who finds redemption through tragedy, is a study in nuianced emotional depth. One moment he's tossing off callous sarcastic quips and in the next expressing his innermost thoughts with quiet sincerity. His chemistry with costar Paltrow makes for one of the more believable relationships in comic films as well. Her Pepper Potts is no token female love interest though. She is equal parts intelligent, tenacious and compassionate while remaining softly feminine. Jeff Bridges chews the scenery as the oddly bald, corporate shark Stane. Taub's Yinsin also lends considerable gravitas. Unfortunately the likable Howard suffers a mysterious lack of screentime and becomes the most under-utilized of the well respected cast.
The cinematography is well executed. There is none of the motion sickness inducing blur to the action scenes that plagued Begins or Transformers. The CGI is kept to a minimum, but glorious rendered and exceptionally employed. Its almost impossible to tell Stark's spectacular cliffside modern mansion doesn't actually exist, the interiors created entirely on a soundstage. Perhaps the most impressive pieces are Jarvis, Stark's AI like computerized butler who runs the house (voiced by actor Paul Bettany) and the Iron Man suits. Whenever Stark steps into their metal soles, the ride is always exhilerating. The rock-infused soundtrack by composer Ramin Djawadi is a good listen for those who appreciate such music.
Overall Iron Man is another enjoyable installment in the increasingly popular comic based genre and well worth the time to check it out.
The Incredible Hulk
After suffering a genetically altering accident while testing his own gamma radiation experiment upon himself, scientist David Bruce Banner (Edward Norton) is a hunted man. He is wanted by Gen. Thaddeus 'Thunderbolt' Ross (William Hurt) who intends to use his blood for a military super soldier program. Leading the elite time is soldier Emil Blonsky (Tim Roth) who becomes obsessed with The Hulk's power. Caught in the middle is Dr. Elizabeth "Betty" Ross (Liv Tyler), Ross' daughter and Banner's true love. While seeking a cure for his condition, Banner is forced to face the monster inside as The Hulk is challenged by a foe of equal strength and prowess.
While not on par with Dark Knight or Iron Man, Incredible Hulk manages to hold its own as an entertaining comic-based movie. Director Louis Leterrier, with a lot of input from star/producer/Hulk fan Norton, improve upon the murky pyschological treatment the character received from Ang Lee in 2003. They understand at the end of the day everyone wants to see Hulk smash and he's given a couple of impressive action sequences to do just that. This CGI version suited me best as the most realistic. You can still tell he's pixels rather than flesh though. Norton pulls off the fine line between Banner's vulnerability and determination well. He's the unassuming everyman with plenty of sympathetic quality. Liv Tyler is passible as Betty considering the light materal she's given to work with. Her chemistry with Norton is believable which is important given the characters' long romantic history. Hurt as Gen. Ross is the predictable grizzled, stony military type while Roth is deliciously menacing and disturbed. Its appropriate once you see where his character is heading. The action is more stuntwork than CGI which is nice to see. Otherwise the technical aspects serve the film, but they're nothing particular special.
If you like comic-based films and aren't picky, then Incredible Hulk is worth purchasing on DVD.
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Deviant Anomaly
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| | Re: Movie Reviews
« Reply #12 on Jun 16, 2009, 6:05am » | |
The Moments That Take Our Breath Away
It is said a picture can tell a thousand words. With that in mind, cinema becomes a powerful and moving art form. It can inspire happiness, sadness, awe or fear within mere minutes of each other. And there will always be moments that stand out as more potent than others. The ones that thrill our senses and capture our imaginations to be engrained on our memories forevermore. Thus this meme is about favorite movie moments.
*Patrick Bateman Cuts Down The Competition (American Psycho, 2000)
A satire about the excess and vanity of the '80s, its greatest moment of dark comedy occurs when scorned yuppie Patrick Bateman (Christian Bale) lures drunken coworker Paul (Jared Leto) back to his apartment. Something is clearly afoot as he prances around in a raincoat while giving a critique of Huey Lewis & The News. Then he swings an axe straight into the unsuspecting man's head with an unbridled scream of fury. He hacks away until the axe handle flies from his grasp, the blade having become lodged. The chilling facade of composure slips back into place as Bateman sheds the raincoat, settled upon his pristine white sofa, pushes a misplaced lock of hair from his blood-splattered face and lights up a cigar to admire his handwork. The great irony is the murder's cause: Paul had better business cards.
*Maximus Invents Sissors (Gladiator, 2000)
The Roman general turned slave takes on four opponents in a Malta arena. Having stabbed the last one standing with two swords to the chest, he turns away as if finished. Then in a surprise move whirls back around, retrieves both swords and uses them like a massive pair of sissors to brutally behead his foe.
*A Walk In The Clouds (Fantasia, 1940)
During the Pastorial symphony piece set in a mythological mountain valley, a pair of adult pegasuses teach their young brood to fly. Everyone having gotten the jist, they take a jaunt about the sky to stretch their wings. The white female and black male stride in unison through a fluffy white cloud in time to the music.
*Optimus Prime's Quick Turnaround (Transformers, 2007)
As the autobot Bumblebee in his Camaro vehicle mode flees Hoover Dam with military escort in tow, they are met by his comrades traveling the opposite direction. Peterbilt semi Optimus Prime doesn't hesitate a split second as he hits the breaks and throws his massive weight into a perfect 180 degree turn before resuming speed once again.
*I'm A Race Car. Not A Bulldozer (Cars, 2006)
Having done a shoddy job repaving the road he was assigned as community service and losing a bet, a sullen Lightning McQueen scrapes off his handiwork while sunset falls in Radiator Springs. A quick shot in front of Doc Hudson's shop is so photorealistic, its easy to forget this world only exists in computer pixels.
*Give Me The Paychecks Like I Ask (Fight Club, 1999)
The Narrator's (Edward Norton) increasingly peculiar behavior has attracted his manager's attention and not in a good way. As he's being fired, he offers a different approuch to leaving the company (aka blackmail). When his manager refuses, the Narrator proceeds to hold a one man battle royale. He tosses himself into the glass coffee table, throws punches repeatedly into his own face and launches with zeal through the glass shelves of a bookcase. He then crawls back to the stunned manager and demands to be given his normal paychecks in exchange to never be seen again. Security arrives right at that moment, the Narrator uses them to his advantage by dissolving into frightened tears and is next seen whistling triumphantly despite his bloodied state as he wheels a cart full of equipment out having gotten exactly what he asked for.
*Forth Eorlingas (Lord Of The Rings: The Two Towers, 2002)
Its hard to choose just one in a trilogy filled with great moments. Yet the one that always gets me is Gandalf the White's appearance at Helm's Deep. Having retrieved Eomer's troop of soldiers, they arrive at just the right moment to save the people of Rohan from certain death at the paws of Saruman's vicious orc army. Galloping down the steep hillside with morning sunlight streaming around to the strains of Howard Shore's wonderful score, its a stunning visual metaphor for hope arriving in the darkest of hours.
*Moonlit Gazebo (The Sound Of Music, 1965)
The Captain VonTrapp and Marie have confessed their feelings in the garden's gazebo. As the strains of "Something Good" wind down, they draw together with hands clasped and heads bowed cast entirely in shadow. You don't need to see any expression to know these are two people having found true love.
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