Archive for May, 2005

Mysterious Skin

I really don’t know what to say about this one, so I’ll try and say very little.

If you wanna see the most disturbingly dead-on portrait of the harmful effects—physically, spiritually, and emotionally—of child sexual abuse, go see “Mysterious Skin.” Although in times it is a little too “indy” and has its cheesy acting moments, it still—in the end—gripped me tighter and pulled me more emotionally into its story than any other film of recent memory has. Its combination of extremely disturbing visuals juxtaposed with two very different approaches towards coping with sexual abuse makes for an intimate, harrowing, and unflinching film.

It could very well be the most emotionally affective movie of the year, but maybe that’s just me. All I know is, few other movies have brought me to tears while simultaneously causing me to turn my eyes away from the screen.

I think “Irreversible” was the last movie to make me seriously do that (minus the tears of course). Wow. Remember that one?

Okay, enough said.

Spartan

When picking this one up as well today, I unfortunately was thinking of a different The Salton Sea. Val Kilmer…..’S’ title…..anyways, all was not lost. This turned out to be a good one too. The story goes that way back in the day, when the king of Sparta was asked for military aid he would send one man. In this story Val Kilmer is that one man. Turns out the president’s daughter is in danger and good ol Val goes in to get her out. This film happens to be classified as a thriller/crime/drama. I might even add the word action in there or even a bit of suspense. This one definitely doesn’t keep you guessing like Basic, but it kept my attention. I guess I can cross Spartan off the list, but I still need to watch Salton Sea.

Raging Bull

Here is one of those movies you always hear about…one of the classics. Being the Robert DeNiro fan I am, I had to grab this when I had the opportunity to grab it for $7 and then watch it the very same night. This is the story of the boxer John LaMotta, this was directed by Martin Scorsese, and Robert DeNiro won Best Actor for this. IMDB.com rates this movie #59 out of the top 250 movies. This also happened to be right after DeNiro’s tip top performance in Deer Hunter, another classic.

I have a feeling this probably accurately depicts many people’s lives. It shows a man that works hard, makes something of himself, and then basically loses it all. However, it’s not like he didn’t have it coming. My mom has always told me you have to work at being a decent person your whole life. Nice, kind, well-respected and revered old men don’t just turn into that on their 70th birthday. In the same respect - foul mouthed, ill tempered, crotchety old men don’t magically turn into that as well. Honor, character and reputation are all things that must be earned and hard-fought for your whole life. This was a story of a man who may have seemed successful on the outside, but the true self eventually comes out. I feel like DeNiro did a great job in this movie and rightly won the award. Starring alongside him was Joe Pesci and a handful of other Italian actors that were quite abundant in their Italian/mob roles of the 80’s/90’s.

If you consider yourself a movie-person, I would say this is definitely one to put on the list to see if you haven’t gotten around to it already. Maybe even watch it again if you already have.

Star Wars Episode III: Revenge of the Sith

I saw this one as well, only I didn’t stay up til 3am to see it like I did with the others. I had my doubts going into this one - and I’ll be the first to admit that I’ve openly bashed the prequels. After thinking this through, I’ve come to some revelations about them.

  • Light saber battles are way cooler in prequels than trilogy
  • CGI adds a lot to the films that couldn’t be done before
  • Wookies rule
  • There’s bad acting and dialogue in all 6 films
  • Even though this films are the coolest things ever, they have created, allowed the creation for and have helped to inspire most of what we know today as sci-fi and special effects
  • The only real difference between the first and last 3 movies are the actors playing the parts

These aren’t very many points, and it’s kind of minimalistic, but hopefully you get my point. Maybe the original 3 just seemed so much cooler since we were so much younger and we’ve become so desensitized to so much stuff. Once you get the “wow” of that first movie you can never quite re-create that wow factor. Thoughts? Ideas?

Unleashed

Here’s Jet Li in his latest film, written by Luc Besson - who also worked on Kiss of the Dragon - and directed by Louis Leterrier.

This movie was a bit different from Jet Li’s previous in that he actually does a little acting in here. I also talking to Mike and he was telling me that Jet Li is trying to better diversify his acting in not just being the guy that walks in, beats people up, and walks out. This was very evident when his character announced, “I don’t want to hurt people anymore”. Maybe some of the audience were just as shocked as his “uncle”.

It was quite interesting the impact the collar had in this movie. There wasn’t anything actually controlling about it - the effect was just psychological. In fact throughout the movie, whenever Bart would get mad at Danny, Bart would yell and threaten, but never actually do anything. Towards the end it was very apparent when Bart removed his own “collar” before he flips out himself.

If you’re not into anything violent, this probably isn’t a movie for you. If you’re into Jet Li’s previous stuff and enjoy kung fu/martial arts movies/people getting beat up, or watching Morgan Freeman on the silver screen, you’ll probably enjoy this one.

Enron: The Smartest Guys in the Room

“Enron: The Smartest Guys In The Room” is the first great documentary of 2005, and it will no doubt be nominated and might very will next year’s Oscar. For someone who heard of Enron only after its dirty dealings, I was so grateful that the film attempted to show the before and after company; essentially, the company at the top of the slide and the company now in the bottom, wallowing in the mud.

“Enron” is not short on facts, which is helpful considering the array of complexities to be found in the scandal at large. But what I found to be most fascinating is how the filmmakers and editors and (in the end, the director) wanted to make the biggest corporate scandal of the century a spiritual matter. The film’s opening shot is of a church, with the words “JESUS SAVES” on top of it, placed in front of Enron’s tall, seemingly reflective skyscraper. The camera zooms out, and little is said but what is the point of such a shot? Why are the filmmakers making this comparison? For one obvious reason, could it be to say that corporate America is the new Christianity? Or possibly more simply put, corporate spirituality has replaced Christian spirituality? The initial shot is a powerful one but it doesn’t get explained (which is a good thing). Later on, toward the film’s end, a priest is interviewed concerning what happened with Enron and rightly so, he quotes Jesus in the book of Matthew concerning “gaining the world, and losing one’s soul.” If there were ever a more relevant movie to illustrate such a passage of Scripture, I’d love to see it…because “Enron” may very well be the best exegesis of this specific biblical text I’ve ever encountered. “Enron: THe Smartest Guys In The Room” makes its case in point, without being preachy or attaching itself to Christianity. It merely is showing you the scandal, showing you how it got so bad, showing you how people lied and cheated and stole from the middle and lower class of American citizens, and most importantly, showing you how perhaps the corporate criminals may be much worse than any gang member in L.A., or any kid’s school shooting in America.

By the film’s end, I was shocked, disappointed and moved—not to tears, but to frustration and feelings of injustice. And all I could see in my head was the picture of Enron’s CEO in a nice, sporty suit. Standing there, posing for the cover of a magazine, acting as if he has it all together and has the world figured out. What a sad truth and fate for him to find out that the ground he built is life upon was so fake, so phony and so terribly dishonest, that the entire state of California (and the rest of the world for that matter) would not be untouched by his harmful and ultimately self-centered life.

And remember, this can happen again. And more likely than not, it will sooner or later.

See this movie as soon as you can.

Crash: Second Review

Just enjoyed this movie with Lana, Liz and Jenny. It was amazing. This is one of those movies where you have a lot of different characters going through different things and it all ties together in the end. Liz said she heard somebody compare this to Magnolia which is true only on the basest levels, but as a whole the movies are very, very different.

This movie deals with so many things it’s hard to know what to describe first. You have a woman dealing with anger. You have a man disgusted with his co-worker and trying to do the right thing on the job. You have several people dealing with racism on different levels. There is a son trying to do everything right and a mother who is worried about her other son. There are men trying to take care of their families and there children trying to protect their parents. There’s cops and robbers, country and hip-hop, love and violence….this movie has just about a little of everything in it.

One of the ‘tag-lines’ or quotes or whatever you want to call it is Don Cheadle talking about how we’re so worried about making contact with people. We’re so uptight about having our own personal space and not getting close to people. It’s actually pretty true if you think about it. When is the last time weren’t afraid to pickup a hitchhiker or accept a ride from somebody while walking? When is the last time you offered to help a total stranger when they obviously were in a bind? When is the last time you realized that everybody is human and no matter how weird or strange they are, they still feel awkward and vulnerable and just want to be liked and have friends?

After the movie we all agreed there was solid acting all around…even with Brendan Fraser in it - and that’s a bold statement. Bold like those A1 commercials. This film contains drama, comedy, tragedy and even a tad bit of action, depending on how you look on it. It even almost made me cry. I’d say this movie has the potential to stretch ya and make you think if you let it. If you’re a fan of Clint Eastwood you might want to check this one out. It sorta follows Clint’s anti-happy ending theme. This is definitely going on my buy list.

Hey Neville - I just looked here after posting and didn’t know you had just posted about the very same movie. Instead of deleting or trying to add a comment I’ve decided to just leave it and see if we said anything similar.

Crash

“Crash,” Paul Haggis’ directorial debut (he wrote “Million Dollar Baby”) is as impressive as great films come. I’ve heard people talk about “Crash” and sigh because they think all it was about was racism. But it is about much much more than that. It’s about the goodness in people, and about the bad inside all of us. It’s about how people—especially in L.A.—suffer from a lack of human-to-human contact, and emphasizes the needful craving we all have for relationships. And of course, it’s about more drama and more coincidences than you can shake a stick at, but that’s all well and good in my opinion. It’s been compared to “Magnolia,” which I can see but feel that it’s somewhat of an unwarranted comparison. Just because a movie juggles a dozen characters wonderfully and complexly doesn’t mean they’re “Magnolia” or worthy to be compared to it. But “Crash” has some elements similar to it, and so, I can see why people are saying that. Although it’s not nearly as brutally honest or provocative or shockingly intimate as “Magnolia” was and is, “Crash” is wonderful in its own ways, one of which being in the way it manages to take a group of characters and make them multi-dimensional and multi-layered. I was fascinated by where they all were going and I was intrigued and entertained by them at the same time. And for a film so dark and naked in its portrayal of racial and ethnic stereotypes, it still manages to make you laugh and make you laugh at yourself.

Also, if there ever was a movie that showcased my favorite Madeleine L’Engle chapter entitled “What Are You Looking For?” (from “A Stone for a Pillow”) it would be “Crash.” It proves—in the first 10 minutes—how people see what they want to see, and how people will find whatever it is they are looking for. Be it bad, or good, or ugly, or racist—it’s all out there….waiting to be turned into something meaningful.

“Crash,” like “Harold and Kumar Go To White Castle,” sees America as it is today–particularly in terms of language differences and culture clashes. It is a gripping little imperfect piece of cinema, that will most likely garner a spot on my top ten list for 2005. Despite a few things I would’ve changed had I been the one making the movie (i.e., the end song that closes with the credits just does not fit—and ruined the mood of the film for me) and the final, ambiguous, yet, could-it-be-preaching-for-or-against-illegal-immigration shot—also felt out of place to some extent. However, this is a film you should definitely see, as long as you’re in the mood for some tough entertainment. Beautiful score, unforgettable moments, powerful movie…period.

Born Into Brothels

If only I would’ve waited until now to do my top ten list of 2004!!! But I guess some amendments can be made even now.

The 2004 winner for best documentary feature about children in the red light district of Calcutta is not only one of the best films of 2004, but it’s also one of the most original. Rarely do movies take the subject of art, and more specifically, photography, as serious as they do here in “Born Into Brothels.” Again and again throughout, the movie explodes with tiny snapshot treasures from a child’s eye view of the world. At times, it is both profound and heartbreaking, uplifting and devastating, while brilliant and colorful cinematography make the trashed streets of the red light district look like a colorful playground, just waiting to be captured and experienced and played in.

The movie, like most documentaries, doesn’t necessarily follow any three-act structure but rather feels like several short films tossed around together to make up what very well could be the most poignant documentary about children ever made (yes, even topping “In This World” and “Spellbound” and even the heartbreakingly subtle yet powerful Spike Lee Oscar-winning “4 Little Girls”). “Born Into Brothels” is about creativity and hope and about having the power to change your world no matter how dismal, but it’s also about reality, and about never undermining or minimalizing the painful world so many people outside of America experience.

While I do have my two little favorite kids (one boy and one girl) I’ll let you find your own favorites once you see the movie for yourself. No matter if you have to drive an hour to see it, please just go & see it. It’s not hitting DVD shelves until September and if you can see it before then on the big screen, you most definitely should.