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About a Boy
(2002) |
7 /10 |
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Hugh Grant
is at his most likable with strong chemistry between him and Hoult.
Consistently funny although film lulls in more dramatic middle section
followed by a fairly generic ending. Cinematography is exceptional for
genre.
[English, 101min, PG-13] |
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About Schmidt
(2002) |
6 /10 |
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Family dysfunction is
explored through eyes of utterly insignificant titular character in this
mildly effective black dramedy. Highly over-praised performance from Jack
Nicholson consists almost entirely of reaction shots with emotional
revelations occurring only in voice over (until very end). Humor is
sprinkled throughout (Bates and Mulroney are fun as colorful in-laws),
but story remains a mostly dreary outlook on undesirable lives.
[English, 125min, R] |
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Abre Los Ojos
(1997) |
8
/10 |
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Source material for Cruise's
Vanilla Sky is virtually identical, with all plot twists just
as effective although Penelope Cruz has more fleshed out character.
Plot-critical face makeup FX is less successful than in American
remake.
[Spanish,
117min, R] |
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Adaptation (2002) |
9
/10 |
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Nearly indescribable
chronicling of screenwriter Charlie Kaufman’s pseudo-real life struggle with
writers block, boasting a superior dual role performance by Nicolas Cage and
an equally immersed Chris Cooper. Jonze adds trademark flair to sprawling
flashbacks, overlaps in reality, stories-within-stories, and two vividly
disturbing car accidents. A compelling, enormously unique experience, even
if lacking promised "wow ‘em" ending.
[English, 114min,
R] |
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After Hours (1985) |
8.5
/10 |
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Criminally
under-seen Martin Scorsese dark comedy has Griffin Dunne as a bored
office worker who's late night date with a sexy young Rosanna Arquette
leads to a Muphy's Law escalation of strange events. Expertly
shot with Hitchcockian flare that makes most of NYC locations, most
notably the eerie empty SoHo streets. John Herd, Teri Garr, and
a very neurotic Catherine O'Hara make up colorful supporting cast.
Clever Howard Shore synth score nicely accents increasingly bizarre
circumstances.
[English, 96min,
R]
5/09 |
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Ali (2001) |
6
/10 |
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Overlong
saga of famous boxer with no reference for time, far too little insight,
and it's strongest boxing sequence stuck in the opening. Smith is good and film
is very well shot, but scrap the fat (Denzel already did the Malcom X
assassination) and focus on the Champ!
[English,
159min, R] |
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All the President's Men
(1976) |
9 /10 |
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Redford and Hoffman
have excellent chemistry as famous Washington Post reporters in this
riveting true story of Watergate scandal. Especially convincing
portrayal of investigative journalism adds near documentary realism to
scenes of fact finding and interrogation. Cinematography in news room
maximizes angles, creating tense, fluorescent lit environment. "Hard
facts" ending avoids melodrama yet feels slightly anticlimactic.
[English,
138min, PG] |
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All the Real Girls (2003) |
6 /10 |
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Charming
"first kiss" opening scene and grounded small town setting promise
originality but plot fails to overcome confines of standard "love story"
mold. Sympathy is directed mostly towards Deschanel's character, who's
naive, hurtful actions make her harder to like than Schneider's sensitive
guy overcoming bad dating past. Emerging from unevenness are some potently
real exchanges, confirming Zooey D.’s talent after fairing well in
The Good Girl.
[English,
108min, R] |
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All the Right Moves
(1983) |
5 /10 |
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More wrong moves than right; old-school Tom Cruise with poorly shot
high school football scenes and a lackluster "athlete looking to leave
small town" story. Pales in comparison to Cruise's other '83 release,
Risky Business.
[English,
91min, R] |
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Amélie
(2001) |
9 /10 |
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Audrey Tautou
is utterly charming (and perfectly cast) in title role of this
immensely enjoyable ultra-cinematic experience that carries a rich
visual identity courtesy of true-auteur
Jean-Pierre Jeunet. Opening sequence, creatively listing "likes &
dislikes" of
numerous characters, is disarmingly entertaining and sets tone for a
movie that kept a smile on my face through every frame. A fantastic
example of a director in complete artistic control of the medium.
[English,
122min, R] |
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Amores
Perros
(2000) |
8 /10 |
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Three part
movie centered around a spectacular car crash has excellent
performances across the board, unfortunately ultra high energy of
first story surrounding brutal underground dog fighting
isn't matched in latter two. Incredibly assured directorial debut from
Alejandro González
Iñárritu.
[Spanish,
153min, R] |
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Anger Management (2003) |
3.5 /10 |
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How do you
botch a comedy with the likes of Jack Nicholson, Adam Sandler and the
underused, talented, cute-as-a-button Marisa Tomei? Give ‘em an insipid
script dripping in juvenile mediocrity that milks it’s potential filled
premise strictly for superficiality, and then ends using one of the top 10
romantic clichés of all time. The brightest scenes are those featuring
veteran actors Turturro and Guzmán,
along with a few other inspired cameos (minus Giuliani’s).
[English,
106min, PG-13] |
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Annie Hall
(1977) |
9 /10 |
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Remarkable
film; innovative direction, consistently funny
sequences,
insightful dialogue: Woody Allen before he became his current diluted self.
Along
with When Harry Met Sally... this is one of the best
relationship movies ever
made.
[English,
93min, PG] |
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Apocalypse Now Redux
(2001) |
6 /10 |
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Highly
inferior reedit of Coppola's famous war film with ill advised footage additions that obliterate pacing
(especially French plantation section). New scenes with Brando's Kurtz
dilute the enigmatic persona that was one of the most unique aspects
of the original. Too bad the dated synth-strings weren't
replaced while they were at it.
[English,
202min, R] |
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Army of Darkness
(1993) |
6 /10 |
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Sam Raimi
delivers a fun, over the top adventure/horror movie with splashes of
campy humor from Campbell, though it lacks frantic energy present in
first two Evil Dead films. One of the more inspired scenes is a
skeleton homage to old-school Harryhausen stop-motion animation. Be
sure to check out alternate endings on DVD.
[English,
81min, R] |
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Arthur
(1981) |
5 /10 |
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The real
question is whether Dudley Moore was actually plastered during the
making of this silly, uneven romantic comedy considering his titular
character is sober for only about 5 minutes of screen time.
Exploration of class divide and true love is pedestrian at best, with
laughs often forced and Liza Minnelli a questionable leading lady
(though refreshingly grounded). Moore's slur 'n' giggle act wears thin
by end, as dose the plot, which progressively contrives itself to the
brink of annoyance.
[English,
97min, PG] |
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At Close Range
(1986) |
6 /10 |
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"Rough" is
an understatement, as this downbeat father-son relationship
keeps viewer at an emotional distance; Walken is too eccentric for the role
(I never thought I'd say that!) making an over the top antagonist to
Penn.
[English,
111min, R] |
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Auto Focus
(2002) |
8.5 /10 |
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Newest entry
in "downward spiral" genre; tells the story of 70's TV star Bob
Crane's career ending obsession with sex. Suffers standard issues of
off putting and depressing material, but elevated tremendously by Greg Kinnear's
impressively convincing lead performance (deserving Oscar attention).
Excellent recreation of time period, and quite fascinating when dealing with
first generation video equipment. Dafoe adds another creepy role to his
resume, playing Crane's pivotal best friend.
[English,
105min, R] |
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AP3: Goldmember
(2002) |
5 /10 |
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Amazingly
uneven; paper thin plot runs on fumes from past two movies while
recycling jokes (yet again), nearly abandoning supporting characters,
and including ridiculously stupid scenes. However, opening sequence is
lots of fun and good laughs are sprinkled throughout, but originality
and spy movie parody is long gone.
[English,
94min, PG-13] |
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