Superfluous slasher sequels and Labor Day mean one thing for filmgoers: the long summer movie season is finally coming to a close. Though I did my fair share of grumbling and there were alarmingly more “Colon: Movies” than ever before, the summer of 2009 ended up being a fairly solid season. The year as a whole has been eerily reminiscent of 1999 in that there have been a slew of top-of-the-line “niche” films and both art-house and multiplex offerings have been more thoughtful than usual by delivering subtext and social commentary with their cliches, laughter, violence and gore. Whether any of these films will matter ten years from now is hard to tell. Looking back on the summer trends, I think I’ll always remember this 2009 season as the summer Hollywood went to war. Continue reading
A Review of INGLOURIOUS BASTERDS:
I walked into Quentin Tarantino’s Inglourious Basterds expecting non-stop Basterd-style Nazi killing, over the top violence and borderline kitsch. Sure, there’s some of that, and an anachronistic use of a David Bowie song among other minor albeit forgivable annoyances, but what struck me most was that this was not just a story of Basterd scalping maniacs. This was also a story of a young Jewish woman named Shosanna (Melanie Laurent) hiding out in Paris under the guise of a cinema operator and her elaborate revenge plot against the bastard SS Colonel Hans Landa (Christoph Waltz) who murdered her family. This is a story of a ballsy double agent parading as a German movie star (Diane Kruger) who risks everything for an operation to assassinate Hitler. And most memorably, and cyclically, this is the story of that ruthless SS Colonel Hans Landa and his inevitable comeuppance after he arrogantly and erroneously plays everyone as if he were the smartest man in the room. In fact, the whole movie hangs on his story arc. From the moment at the end of the opening prologue where Shosanna barely escapes from his overreaching grasp, we wait…ever so patiently…to see…in that final scene…Hanz receive his comeuppance. And Tarantino, in his signature chapter-stop style weaves in all of these stories and others and uses the Basterds (essentially as a McGuffin) as the comic relief.
By all measures, this is Tarantino’s best-looking film. Continue reading
A Review of DISTRICT 9:
An alien mother-ship makes a pit stop over South Africa, where its living “cargo” is dumped and then regulated to a massive slum called District 9 in Neill Blomkamp’s audacious feature film debut. When the government decides to liquidate District 9 and move the aliens (hatefully referred to as “prawns”) to a glorified concentration camp further outside the city limits after local riots and growing concerns from the human populace, all hell breaks loose after a mid-level and bumbling bureaucrat (Sharlto Copley) is accidentally exposed to “something” that leads to…well…I don’t want to give away too much.
For whatever reason, District 9’s success has come as a surprise to some. Continue reading
Fans of British novelist Graham Greene are said to live in GreeneLand, a place where I take up a happy residency.
While film buffs will always remember Greene for penning the screenplay to one of the greatest movies ever made, The Third Man, it becomes easy to overlook the myriad of film adaptations that sprang so effortlessly from his novels at the time of their publication and later. In fact, it was a recent mini-Greene-to-film-Renaissance that first introduced me to the man who would become my favorite writer. I would’ve never turned to his short stories and novels had it not been for the most recent film adaptations of The End of the Affair and The Quiet American. Many of the earlier film adaptations are unfairly forgotten or simply hard to find and deserve to be brought to light for classic film buffs and faithful GreeneLand residents alike.
The following is a ranking of the Graham Greene book to film adaptations I have seen. Continue reading
Putting the two words together is something of an oxymoron. A comma between them becomes a pregnant pause. Two places couldn’t be further apart than Paris and Texas. We can’t seem to come to terms with its existence as a real place…but then we see a picture of that barren stretch of land. For a man named Travis and his son Hunter it becomes the center of their universe, the origin of all things, a place achingly unreachable, alive only in their dreams where they long to be with a woman named Jane in a faraway land where the purchase of a remote plot of dirt represents the key to a happiness that could never be.
It’s a place that can only exist as an “idea ——- of her…love…family…redemption…the movies.” Continue reading
A review of IN THE LOOP:
Satire is so hard to pull off. It’s so far from being “easy peasy lemon squeezy” I would go as far to say that it’s “difficult difficult lemon difficult.” It’s a British term, you’ll catch on soon.
For the past ten years satire has been regulated to animation (the South Park movie), puppetry (Team America), and well, something called Sacha Baron Cohen, and let’s be honest, is that even real satire, or just mockery? We really haven’t seen anything live-action of this sort since Wag the Dog, which is why it’s so refreshing to be back In the Loop. And guess what? Politics are funny again!
In the Loop is the minor masterstroke of Armando Iannucci, and his central conceit is to imagine a Dr. Strangelove “rush to war” scenario done up in a modern context and filmed like an episode of “The Office” — the British version. Jesse Armstrong and Simon Blackwell provide the fire power through their whiplash inducing witty dialogue that in turn is spewed forth by a live-wire cast of American and British veterans all playing their A-game. Continue reading