THE PROMOTION

THE PROMOTION DOESN'T COME SO EASY
This isn't a particular kind of movie. Sure, it's classified in under comedy, and some of it was funny (not enough though) but then they toss a few drama lines that don't make sense. Seann Scott and John C. Reilly are two men in the grocery business and there is only room for one at the top. As witnessed in Election, this film has the dark humor/comedy borderlining on politically incorrect stuff that dreams are made of. I wasn't compelled to the characters, their sub-plots or most anything in this farce. Stay in your place worker bees!
NOT a pick: Go clip coupons and watch Election again.

PAUL NEWMAN: RIP 9/26/2008

WESTPORT, Conn. (AP) -- Paul Newman, the Oscar-winning superstar who personified cool as the anti-hero of such films as "Hud," "Cool Hand Luke" and "The Color of Money" — followed by a second act as an activist, race car driver and popcorn impresario — has died. He was 83.

Newman died Friday at his farmhouse near Westport following a long battle with cancer, publicist Jeff Sanderson said. He was surrounded by his family and close friends.

MARRIED LIFE

MARRIED LIFE NEEDS A DIVORCE
All dolled up and no place to go. The mere power of the names acting in this film is enough to dazzle and entice, but that's it. It ends with the rental check out. A film-noir-ish style and great period costumes and props garner this film with much ado about nothing. Who's cheating on whom? Who knows they are cheating on the other's spouse? Who cares? Chris Cooper sleep walks through his role as the divided husband who wants to spare his wife (a wasted Patricia Clarkson) the news that he is divorcing her by killing her. And Pierce Brosnan is in it and Rachel McAdams tries really hard to look like Kim Novak. Did I leave anything out? It was entertaining, even in a mediocre, I've got nothing better to do on a rainy afternoon kind of way. The bad news is the ending. When a film comes with alternate endings it is a red flag that their work was not executed well enough to stay with just one. But in most all their alternates (and yes, there were several) the film flip-flopped from a lukewarm thriller to a hardcore drama. It just didn't work in ANY of those endings.
NOT a pick: Everything was set out to make the sandwich but someone had soup instead.

SON OF RAMBOW

SON OF RAMBOW "Make Believe. Not War."

I suppose it's not considered a good review when the first sentence contains the words, 'I wanted to like this film...'
This film is a story about friendships and the imaginable forces that lurk from behind a young boys wide eyes. I wanted it to make me feel something; something other than bored. There were several spots here and there where it was cute or heartwarming, but not enough from start to finish. My biggest compliment is to the film's musical content; a huge bonus for us 80-somethings. Aside from not meeting my high expectations, this is a friendly film with moments of poignancy and wonder.

PICK: Although not a great film, it is entertaining and worth the time.

THEN SHE FOUND ME

THEN SHE FOUND ME AND THEN SHE LOST ME AND THEN I FOUND HER AND THEN...
My first impression upon watching this much hyped film is that Helen Hunt looks like crap. I wondered if she did that on purpose so it really shows us her struggle, so she can look really good at the end of the film or maybe it's to prove her transition into directing, but no, she just looks like crap. This is an attempt at a story about motherhood and what it takes to be one. April (Hunt) hears her biological clock going off like a police car siren. Her adoptive mother dies and suddenly, the biological mother pops up out of nowhere and voila, instant mom. When dealing with men, clocks and mothers, the rest is not easy to summarize. It wasn't a great film, but it did hold my attention and the subtle nuances slipped in between the obvious biological clock/baby/mother and relationship jokes. I'm not sure I liked the ending, but you be the judge.
PICK: Not an obvious film, but provides a new insight into an age old tradition.

THE AIR I BREATHE

THE AIR I BREATHE IS FRAGRANT AND COMPELLING
"Sometimes risking everything is the only choice you have." -Pleasure

This film is magical and moving. By far, it is one of best movies I may have ever seen. Based on the Chinese proverb that divides life into four major emotions: Happiness, pleasure, sorrow and love. When put together they make a whole that defines life and our existence. Like the proverb, there are four story lines that fit together piece by piece. Alone they are interesting character pieces. When combined they tell a story of the human condition.

"No emotion, any more than a wave, can long retain its own individual form." Henry Beecher

Each character is named for their emotion. Forrest Whitaker is Happiness and begins the movie. He is a man who is afraid to breathe and apologizes for his very existence. Brendan Fraiser is Pleasure, a man who is anything but afraid and is able to glimpse the future. Sorrow, is Sarah Michele Gellar who has a name, Trista, which means sorrow. She is a pop star who is trying to escape her life. Kevin Bacon rounds out the stellar ensemble as Love, a doctor who loves with his very being. Yes, for a film that received so little reception, it has strong star power. I've not even mentioned the fine work of Andy Garcia, Emile Hirsch, or Julie Delpy. I watched this movie twice, a rarity. It moved me and struck a chord down deep that is the gift I love most about good movies. There was never a dull moment and when you see how each action sets up the next, the end product is a feeling of total satisfaction. How a film like this never received acclaim is shameful, but believable in a world full of Step Up 2 The Streets and Mirrors. The acting in this film is razor sharp. The story is well written and the plot is gripping. I was moved down to the bone.
Big PICK: Not a movie to miss. It is sharp, touching and well done across the board.

THE SECRET

THE SECRET IS A GOOD ONE TO SHARE

Almost all ages can remember one version or the other of Freaky Friday, the story of a woman and daughter who "switch" bodies and have to literally walk in the other's shoes. Here we have another Freaky Friday of sorts. This one is a dramatic one. Hannah Marris (Lili Taylor) and her daughter Samantha (Olivia Thrilby) have hit the normal progression in time when a teenager doesn't want her mother (or father) so close anymore. It's not cool to love your parents, so 'Sam' acts accordingly. They end up in a serious car accident; enter Dr. Benjamin Marris (David Duchovny) who finds himself standing between the two hospital beds containing his wife and daughter. His wife dies. It gets 'freaky' when his daughter regains consciousness and seems possessed by the spirit of Hannah. This could have gone so many different bad ways, but it didn't. Like the similar movie of years back, Birth staring Nicole Kidman, the implications hang above our heads waiting to "go there" but this one doesn't. It is amazing to be put in this sort of situation, for the most part, Dr. Marris. How do you treat your 'wife' when she is inhabiting the body of your daughter. Hello, Dr. Freud?! They cover a normal range of emotions and limitations in this situation for which there is no president, but they are covered well and believably. A very odd film, but oh, so well done. Trilby inhabits Taylor which in her first role, is awesome.

PICK: Different situation makes for an interesting film.

THE TRACEY FRAGMENTS

THE TRACEY FRAGMENTS DON'T MAKE WHOLE FILM

"My name is Tracey Berkowitz. Fifteen. Just a normal girl who hates herself." And she is not alone in the hate...

I confirmed my suspicion by checking with IMDB. This movie was released just before Juno hit. It was in "post production" for 9 months. Now we see her on the cover of the DVD and want to see more of 'Juno' but instead we get Ellen Page as Tracey. Tracey is having a fifteen year old version of a nervous breakdown, which happens to be every ten minutes or so. At first the images shot are so artsy and well, fragmented. It was a neat trick... until they used it all through the whole movie. At that point, I didn't care. The handheld camera work took me back to the same nausea I felt with the Blaire Witch Project. The plot is thin at best. Tracey runs. Tracey screams. Tracey rides the bus. Tracey goes to therapy. Tracey makes me want to bleed a slow and painful death as opposed to watching the end of the movie. It is a sluggish and damp, soggy excuse for a film.

NOT a pick: Go watch Juno again instead. Nothing redeeming in this film.

WHY DVD RENTAL CHAINS SUCK: AN EPIGRAM

WHY BLOCKBUSTER AND HOLLYWOOD VIDEO CHAINS STORES SUCK
Mind you, I understand why rental prices have increased steadily since Netflix came on the scene and changed everything. I cancelled Netflix after the second or third month because I could go through too many new releases and had to dumb down my movies in queue. So back in the stores renting for a few days despite the option of returning them 'whenever I want'. A GALLON OF GAS IS LESS EXPENSIVE THAN RENTING A MOVIE. Stew over that one a minute. It costs $5 (tax not included) to rent a "new release" at Blockbuster and $4.67 (tax included) at Hollywood Video. Mind you, their definition of "new release" has nothing to do with the actual release date. It is of my opinion that if these stores want to bring customers back to the store is to make them less expensive not more. I am grateful to the Pierce County library system and their taste in DVDs because they are free. It might take a while to get a newer movie, but it's free and still as new as the "new releases" in the stores. I've been hoping to attract movie studios with my blog in hopes of reviewing new to theaters movies, but nothing yet; everyone is a critic. Just food for thought because for every video you rent, a child in Bangladesh goes to bed with no movie at all.

SLEUTH

SLEUTH CUNNING MYSTERY
What a fantastic film!!! I'd put off watching it because I knew it would basically be Jude Law and Michael Caine acting together for an hour and a half and I wasn't sure I was up for that. I wish I hadn't waited. This is a remake of the 1972 version and lots of critics have their knickers in a twist about that. Fine, whatever, but don't miss the tree for the forest. (Caine played Milo in the prior version.) Without prior knowledge, I watched this film unfold before me showing two of the most outstanding performances I have seen. This may have well been Law's best work. He is on fire in this movie and you can feel every drop of sweat from his pretty little head. From the start, this was a game of cat and mouse. The difference was that they kept changing from cat to mouse and so on. It takes place in Andrew's estate (Caine) as Milo (Law- is it hot in here or is it just me?) is there to persuade Andrew to agree to divorcing his wife, who Milo is now intimate with. But it goes so much further than that. It is a duel between charm and intellect; young versus old. Things are not what they appear to be and by things, I mean every thing. Caine and Law play off each other like dancing a tango. It is a constant power struggle and even when it seems that one has the advantage, they really don't. Listen carefully as Milo asks "What's it all about?" which is the tag from Alfie, a movie that Caine starred in and Law tried to star in its remake. These are two remarkable actors and with clever dialogue, it makes for one edge-of-your-seat journey.
BIG PICK: One of the best films I have seen. Top notch and intense acting. Kudos.

THE BANK JOB

THE BANK JOB WORTH A MIL
If Ocean's Eleven had a baby with the Italian Job, you would get this film. Basically it's the fight between the small time crooks outwitting, or not outwitting the higher ups. A little hard to follow because there are only two "leads" that, at least, I knew of. There were two things I liked about this script, because we've all seen this story a million times over. I liked how the main character, Terry Leather (Jason Statham) is married with children. I didn't like the risks he took with them, that was unbelievable, but I do like how he is a different kind of thief. The second part is how the movie seems more realistic than most. There are no high-speed chase scenes or shoot outs; but there is definitely a price to pay and it is difficult to watch the payment. It's not a great film by any means, but a solid story nonetheless.
PICK: Super job from all actors and interesting plot twists.

FELON

FELON EARNS PAROLE FOR GOOD BEHAVIOR
Finally a realistic look at jail life. Wade Porter (an outstanding Stephen Dorff) is a common man. He is unthinkably sent to serve hard time and hard it is. He reflects the shock any one of us might feel in such a bizarre situation. Once the shock wears off, little by little he acclimates to the point where he is even lost by his own behavior. This film was set up to take the viewer on the same journey and as in any good film, it no longer feels like a movie. It feels like the sting of hard cold life. Then we have Val Kilmer. Bless his heart. He gained some decent weight for this role and the paps have been on him like white on rice. He is John Smith, the seasoned lifer. He wished for a death sentence, but instead got life, which he has to find peace with. The contrast between the two is powerful and so human. He has fought his demons and finds no answers to his questions. This is one of his more powerful performances to date. Interesting fact; most of the extras in this movie were actual prisoners or ex/current gang members. Watch the DVD extras.
Big PICK: Solid and stunning performances, script and direction. Well done.

SMART PEOPLE

SMART PEOPLE IRONICALLY DUMB

As much as I enjoyed watching Sarah Jessica Parker not be Carrie Bradshaw for once, I didn't think there was enough in this film to be attractive. Granted Juno, I mean Ellen Page, always gives a solid performance, but it wasn't enough to float this movie. The magic was totally lost on Quaid's role and frankly, I didn't like him. I have gravitated to the imperfect people for just those reasons, but not this time. The ending was forced and unreal. I expected a lot more from this movie, but it didn't live up to the hype.

NOT a PICK: Snooty, rude and implausible.

MISS PETTIGREW LIVES FOR A DAY

MISS PETTIGREW LIVES FOR A DAY AND WHAT A DAY IT IS!

The time is 1938 and Miss Guinevere Pettigrew (portrayed magically by Frances McDormand) has not only just received the axe from her current job, but from the employment agency altogether. By hook or by crook, she needs money and needs it fast. Through a serious of good timing and clever tactics (and sharp writing) she finds herself employed with a popular and very social American actress/singer Delysia Lafosse (Amy Adams). Adams oozes a sweet sexuality and is perhaps the most perky actress I can name. The best, however, is when her realizes her true self and acts accordingly. Beforehand, she was to juggle her many gentlemen callers and Miss P. acts on her feet. There are no guns/gangs/murders/and if any, not much foul language. I was truly amazed and happily surprised at the width of this film, and at its end felt very much engaged to the characters. It may have been for one day, but wow, what a day!

PICK!: Not many films are as sweet and genuine. Excellent plot, acting and directing.

SHORTBUS

SHORTBUS

MORE THAN TRANSPORTATION FOR THE 'GIFTED AND THE CHALLENGED'

"As my dear departed friend Lotus Weinstock used to say: "I used to wanna change the world. Now I just wanna leave the room with a little dignity."

-Justin Bond."

Try to hang on past the initial scenes of masturbation, sex, fetishes, orgies and nudity. John Cameron Mitchell, who brought us Hedwig and the Angry Inch has come up with another hole in one. If we, as a culture, can sit through the horrors of Saw (1-27), Aliens, PS I Love You and the nightly news, then what's wrong with a movie with graphic nudity? This is not just another goofy romp through several characters intersecting plot lines. This is a movie that was intentionally made to ruffle some feathers by asking: is sex bad? On first glance the film is pure camp and the actors are doing their own improvisation. There are no "names" in the cast. No faces to recognise. We are tossed into the movie as we watch three plot lines unfold and midway through the movie you realize that these people are not just the sex acts they portray. Past the sex and nudity, both very real, are complex characters and not stereotypes. As there is much improv, there isn't anything very clever or new except for the approach of the concept itself. How hard is it to look for actors who will have sex on camera who aren't porn actors? One of which includes the making of the movie. Aside from being hard to cast, it was difficult to make due to its content. Even with the anticlimactic ending (had to do that) it turned into a film about people who have relationship issues regardless of their orientation. I was all set to slander this film, but I turned out to like it for the big picture and it engaged me to care about these messy lives. After all, aren't all our lives a little bit messy?
PICK: Not for everyone but also not pornographic. A film about sex which is okay.