Welcome to a new weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
Earthwork (recommended): This portrait of artist Stan Herd is most noteworthy for its vivid showcase of his magnificent earthworks. It’s nice to see John Hawkes continuing to take on roles that are legitimately interesting following his Oscar nomination last year. The cast is pretty good, and this movie is worth a watch if you like interesting kinds of art. Read my review from yesterday.
That’s What I Am (mixed bag): I’m relieved to report that WWE Studios has significantly improved over last year’s feature “Knucklehead” by relegating its wrestler star to an appropriate supporting role and putting Ed Harris in the lead instead of Mark Feuerstein. It’s not terrific or even that good by any means, but at least it’s not awful. Check out my review tomorrow.
I’m hoping to see Fast Five this weekend, which I’m superbly excited for since it’s my ultimate idea of a guilty pleasure. I’d be interested in Sympathy for Delicious, Exporting Raymond, and Cave of Forgotten Dreams as well. I can skip Hoodwinked Too! Hood vs. Evil and Prom for sure.
New to DVD
Nothing to note this week – come back next week!
Saturday, April 30, 2011
Friday, April 29, 2011
Movie with Abe: Earthwork
Earthwork
Directed by Chris Ordal
Released April 29, 2011
There have been many movies made about artists of varying degrees of fame. Most often, madness overtakes the protagonists, in such films as “Pollock” or “The Aviator.” More recently, there have also been portraits of creative artists working in less traditional fields. Take, for instance, “Exit through the Gift Shop,” which follows the work of notorious street artists, or “Smash His Camera,” which attempts to humanize an infamous paparazzo. The latest artist to grace the screen may not be crazy, but he may well be one of the kindest men you’re ever likely to meet, and one of the most talented.
Stan Herd is an artist who creates earthworks, planting his canvas in the earth itself to form a temporary but majestic work of art. After toiling in Kansas and struggling to get noticed in order to finally get rewarded financially for the hard work fuelled by his creativity, Herd went to New York City to utilize a piece of land purchased by Donald Trump in the interim period before demolition and construction began. “Earthwork” is Herd’s story brought to the big screen, with a bit of help from Herd himself, who designed the film’s playful and impressive titles, which start the film out on an energetic and distinctive note.
“Earthwork” is both a realization of Herd’s work and a story about unlikely friendships and teamwork. When Herd arrives in New York and visits his future workspace, he learns that there are several homeless individuals living where he will be working. Rather than be scared away or attempt to ignore them or kick them out, Herd joyfully incorporates his neighbors into his process, giving them tasks to do that both help lighten his load and enable them to give their lives a sense of purpose, if only temporarily.
The ensemble cast helps to make this film work due to the quiet, human performances delivered by the actors. Even if Laura Kirk’s sappy portrayal of Herd’s wife back in Kansas leaves something to be desired, things brighten considerably once Herd arrives in New York City and meets the urban dwellers. John Hawkes, fresh off his Oscar nomination for last year’s “Winter’s Bone,” is back to playing nice guys but still puts just as much heart and hard work into his performances. Among the ensemble, James McDaniel and Zach Grenier stand out as two lost individuals whose lives are transformed by Herd’s presence. The film is a tribute to Herd’s art and his influence, and though it drags and lags at points, it’s overall a pleasant, eye-opening and eye-popping experience.
B
Thursday, April 28, 2011
Talking Tribeca: Love During Wartime
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
Love During Wartime
Directed by Gabriella Bier
Festival Screenings
In terms of hot-button topics these days, it doesn’t get much hotter than the Israel-Palestinian conflict. At the center of an international issue is one couple whose entire relationship has been an uphill battle. Jasmin, an Israeli woman, and Assi, a Palestinian man, are unable to live together in Israel and therefore have spent the majority of their marriage fighting to live together in Germany. Director Gabriella Bier follows Jasmin as she spends time dancing in Germany and Assi as he waits in Ramallah, hoping to get a visa to be able to live with his wife. The precious time they do spend together often devolves into bickering, as Jasmin’s hopefulness becomes tiresome to Assi as obstacle after obstacle gets in their way. The subject matter is fascinating, to be sure, but as people, Jasmin and Assi aren’t the most dramatic or theatrical. Bier’s point is clear, and she focuses much of her documentary on attempting to define the space that separates these two people. There are some tough scenes embedded in an otherwise unremarkable profile which doesn’t display much technical competence or filmmaking skill. While one forward-thinking couple can’t hope to solve a problem plaguing multiple nations, Jasmin and Assi both seem to toss aside politics, lashing out at everyone for putting stumbling blocks in their way. If nothing else, this film manages to capture, or at least allude to, the seriousness and complexity of their situation.
See it or skip it? It’s not as interesting as it sounds, but that doesn’t mean it’s not a decent project.
Love During Wartime
Directed by Gabriella Bier
Festival Screenings
In terms of hot-button topics these days, it doesn’t get much hotter than the Israel-Palestinian conflict. At the center of an international issue is one couple whose entire relationship has been an uphill battle. Jasmin, an Israeli woman, and Assi, a Palestinian man, are unable to live together in Israel and therefore have spent the majority of their marriage fighting to live together in Germany. Director Gabriella Bier follows Jasmin as she spends time dancing in Germany and Assi as he waits in Ramallah, hoping to get a visa to be able to live with his wife. The precious time they do spend together often devolves into bickering, as Jasmin’s hopefulness becomes tiresome to Assi as obstacle after obstacle gets in their way. The subject matter is fascinating, to be sure, but as people, Jasmin and Assi aren’t the most dramatic or theatrical. Bier’s point is clear, and she focuses much of her documentary on attempting to define the space that separates these two people. There are some tough scenes embedded in an otherwise unremarkable profile which doesn’t display much technical competence or filmmaking skill. While one forward-thinking couple can’t hope to solve a problem plaguing multiple nations, Jasmin and Assi both seem to toss aside politics, lashing out at everyone for putting stumbling blocks in their way. If nothing else, this film manages to capture, or at least allude to, the seriousness and complexity of their situation.
See it or skip it? It’s not as interesting as it sounds, but that doesn’t mean it’s not a decent project.
Talking Tribeca: Brother’s Justice
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
Brother’s Justice
Directed by David Palmer & Dax Shepard
Released on VOD April 20, 2011
What if Dax Shepard decided he wanted to make a martial arts movie starring himself? Presumably, no one would care. It’s hard not to see echoes of “I’m Still Here,” the faux-documentary about Joaquin Phoenix’s transition from actor to deranged rapper, in this copycat production. The important difference is that Phoenix’s insanity was all part of a public stunt, and it wasn’t made clear until after the film’s release that it was in fact fiction. Shepard’s nutty behavior is entirely uncalled for and far less mesmerizing, and, unlike two-time Oscar nominee Phoenix, Shepard doesn’t have the same kind of goodwill to throw away, and as a result starts out poorly. Anyone could agree that Shepard’s idea for a movie, and his business plan, is awful, but a terrible idea does not a winning parody make. There isn’t a single laugh to be found in the entire film, and, as the film goes on, it seems like Shepard and his gang are trying entirely too hard to go for broke. The ensemble is a peculiar mix of random actors, most of whom play themselves, including Tom Arnold, Jon Favreau, Bradley Cooper, David Koechner, and Michael Rosenbaum. It’s as if Shepard, in an effort to be as irreverent as possible, went around and found friends who might be willing to make fools of themselves for a good laugh. Nate Tuck, who plays Shepard’s best friend and foolhardy accomplice, is particularly abhorrent in a one-note role that, more than any of the other actors, seems heavily milked for the camera. When a snippet of Shepard’s film is finally seen, it’s clear that this entire embarrassment was just a waste of time, and an unproductive one at that.
See it or skip it? Unless you’re a Shepard fan, don’t see it.
Brother’s Justice
Directed by David Palmer & Dax Shepard
Released on VOD April 20, 2011
What if Dax Shepard decided he wanted to make a martial arts movie starring himself? Presumably, no one would care. It’s hard not to see echoes of “I’m Still Here,” the faux-documentary about Joaquin Phoenix’s transition from actor to deranged rapper, in this copycat production. The important difference is that Phoenix’s insanity was all part of a public stunt, and it wasn’t made clear until after the film’s release that it was in fact fiction. Shepard’s nutty behavior is entirely uncalled for and far less mesmerizing, and, unlike two-time Oscar nominee Phoenix, Shepard doesn’t have the same kind of goodwill to throw away, and as a result starts out poorly. Anyone could agree that Shepard’s idea for a movie, and his business plan, is awful, but a terrible idea does not a winning parody make. There isn’t a single laugh to be found in the entire film, and, as the film goes on, it seems like Shepard and his gang are trying entirely too hard to go for broke. The ensemble is a peculiar mix of random actors, most of whom play themselves, including Tom Arnold, Jon Favreau, Bradley Cooper, David Koechner, and Michael Rosenbaum. It’s as if Shepard, in an effort to be as irreverent as possible, went around and found friends who might be willing to make fools of themselves for a good laugh. Nate Tuck, who plays Shepard’s best friend and foolhardy accomplice, is particularly abhorrent in a one-note role that, more than any of the other actors, seems heavily milked for the camera. When a snippet of Shepard’s film is finally seen, it’s clear that this entire embarrassment was just a waste of time, and an unproductive one at that.
See it or skip it? Unless you’re a Shepard fan, don’t see it.
Wednesday, April 27, 2011
Talking Tribeca: Maria My Love
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
Maria My Love
Directed by Jasmine McGlade Chazelle
Festival Screenings
One of the most exciting parts of a film festival is getting to see new talent emerge. It’s just as invigorating and refreshing to see an actress who made her debut at another film festival over a decade ago return with a follow-up performance that’s just as compelling and indicative of great talent. Judy Marte, who first appeared on screen in Peter Sollett’s Sundance short “Five Feet High and Rising,” later expanded to become the full-length film “Raising Victor Vargas,” stars in Jasmine McGlade Chazelle’s first feature film, “Maria My Love.” The title refers to the late mother of the protagonist, Ana, exceptionally and believably portrayed by the lovely Marte. The central plot of the film follows Ana’s search for meaning in her life through a random act of kindness and continued friendship with a lonely hoarder, also named Maria, played by Karen Black. It’s not an overly original story, but it’s appropriately engaging. What makes it work more than anything is the commitment to creating real, believable characters by Marte as Ana, Lauren Fales as her sister, Grace, and Brian Rieger as her boyfriend, Ben. The cast is small but effective, and this rather straightforward story is layered and affecting. To me, this feels like exactly what a film festival entry should feel like, and as result, it’s properly satisfying.
See it or skip it? See it if you’re an indie movie fan.
Maria My Love
Directed by Jasmine McGlade Chazelle
Festival Screenings
One of the most exciting parts of a film festival is getting to see new talent emerge. It’s just as invigorating and refreshing to see an actress who made her debut at another film festival over a decade ago return with a follow-up performance that’s just as compelling and indicative of great talent. Judy Marte, who first appeared on screen in Peter Sollett’s Sundance short “Five Feet High and Rising,” later expanded to become the full-length film “Raising Victor Vargas,” stars in Jasmine McGlade Chazelle’s first feature film, “Maria My Love.” The title refers to the late mother of the protagonist, Ana, exceptionally and believably portrayed by the lovely Marte. The central plot of the film follows Ana’s search for meaning in her life through a random act of kindness and continued friendship with a lonely hoarder, also named Maria, played by Karen Black. It’s not an overly original story, but it’s appropriately engaging. What makes it work more than anything is the commitment to creating real, believable characters by Marte as Ana, Lauren Fales as her sister, Grace, and Brian Rieger as her boyfriend, Ben. The cast is small but effective, and this rather straightforward story is layered and affecting. To me, this feels like exactly what a film festival entry should feel like, and as result, it’s properly satisfying.
See it or skip it? See it if you’re an indie movie fan.
Tuesday, April 26, 2011
Talking Tribeca: Grey Matter
Grey Matter
Directed by Daddy Ruhorahoza
Festival Screenings
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
A movie within a movie can often be just as intriguing as the movie itself. In some cases, it’s interwoven into the storyline, and in others, nothing more than a short segment is presented midway through a film or towards its end. In “Grey Matter,” a Rwandan filmmaker seeks government funding for his passion project and immediately declares his intent to begin production on his film even if he is refused. When the inevitable happens and he is denied, the film shifts perspectives and Balthazar’s movie takes center stage. What ensues is a dystopian story of a man who endures a harrowing prison stay while the world is overtaken by cockroaches and then cannot bring himself to remove his protective motorcycle helmet when the war has long been over and there is no longer any threat. There are bits and pieces of an intriguing tale here, but it’s covered at such a maddeningly slow pace that it’s hard not to be bored and long for some legitimate action. It’s clear from the opening scenes that Balthazar is dedicated to realizing his dream, but that doesn’t mean his dream project has any merit. Aside from some deliberate and careful camerawork, there isn’t much artistic creativity to be found here, and the film goes on for what seems like years, doing one thing if nothing else: putting its audience into the mindset of its film within a film’s protagonist, unable to escape the constant horror of a mundane repetition.
See it or skip it? Skip it, unless this sounds like your thing.
Directed by Daddy Ruhorahoza
Festival Screenings
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
A movie within a movie can often be just as intriguing as the movie itself. In some cases, it’s interwoven into the storyline, and in others, nothing more than a short segment is presented midway through a film or towards its end. In “Grey Matter,” a Rwandan filmmaker seeks government funding for his passion project and immediately declares his intent to begin production on his film even if he is refused. When the inevitable happens and he is denied, the film shifts perspectives and Balthazar’s movie takes center stage. What ensues is a dystopian story of a man who endures a harrowing prison stay while the world is overtaken by cockroaches and then cannot bring himself to remove his protective motorcycle helmet when the war has long been over and there is no longer any threat. There are bits and pieces of an intriguing tale here, but it’s covered at such a maddeningly slow pace that it’s hard not to be bored and long for some legitimate action. It’s clear from the opening scenes that Balthazar is dedicated to realizing his dream, but that doesn’t mean his dream project has any merit. Aside from some deliberate and careful camerawork, there isn’t much artistic creativity to be found here, and the film goes on for what seems like years, doing one thing if nothing else: putting its audience into the mindset of its film within a film’s protagonist, unable to escape the constant horror of a mundane repetition.
See it or skip it? Skip it, unless this sounds like your thing.
Sunday, April 24, 2011
Talking Tribeca: Turn Me On, Goddamit
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
Turn Me On, Goddamit
Directed by Jannicke Systad Jacobsen
Festival Screenings
With a provocative title sure to offend many prospective viewers, it would be easy for a film like this to be a disappointment. Instead, it’s a magnificent surprise. Alma (Helene Bergsholm) is a teenager starved for sexual attention, and her obsession with her neighbor and classmate Artur (Matias Myren) turns her into a social pariah and outcast. Left to her own devices, Alma imagines scenarios where every experience she has turns sexual, and the film allows her mind to run wild as she dreams up new ideas. Reminiscent of another Norwegian film, “Reprise,” this movie features an exceptional method of storytelling where Alma narrates what happened or what could have been with frozen photographic images of the action serving as the illustrations of her stories. It makes for an absolutely captivating experience. This film also serves as a smart, honest portrayal of teen isolation. Every time Alma and her friend Sara (Malin Bjoerhovde) pass the road sign for their small town and raise their middle fingers at it in protest, it feels entirely real, and enables a pathway into their thoughts and minds. In keeping with that, the film also presents the limited view of the world that a teenager might have, as Sara expresses her life goal of going to Texas to protest capital punishment and humorously even writes to death row inmates about Alma’s relationship woes. This is exactly the kind of film that many will miss out on because they deem it too provocative to be worthwhile, and that’s an unfortunate mistake. There’s plenty of stunning and engaging cinema to be found here, and this is easily the most memorable and impressive film I’ve seen at this year’s festival.
See it or skip it? See it, please!
Turn Me On, Goddamit
Directed by Jannicke Systad Jacobsen
Festival Screenings
With a provocative title sure to offend many prospective viewers, it would be easy for a film like this to be a disappointment. Instead, it’s a magnificent surprise. Alma (Helene Bergsholm) is a teenager starved for sexual attention, and her obsession with her neighbor and classmate Artur (Matias Myren) turns her into a social pariah and outcast. Left to her own devices, Alma imagines scenarios where every experience she has turns sexual, and the film allows her mind to run wild as she dreams up new ideas. Reminiscent of another Norwegian film, “Reprise,” this movie features an exceptional method of storytelling where Alma narrates what happened or what could have been with frozen photographic images of the action serving as the illustrations of her stories. It makes for an absolutely captivating experience. This film also serves as a smart, honest portrayal of teen isolation. Every time Alma and her friend Sara (Malin Bjoerhovde) pass the road sign for their small town and raise their middle fingers at it in protest, it feels entirely real, and enables a pathway into their thoughts and minds. In keeping with that, the film also presents the limited view of the world that a teenager might have, as Sara expresses her life goal of going to Texas to protest capital punishment and humorously even writes to death row inmates about Alma’s relationship woes. This is exactly the kind of film that many will miss out on because they deem it too provocative to be worthwhile, and that’s an unfortunate mistake. There’s plenty of stunning and engaging cinema to be found here, and this is easily the most memorable and impressive film I’ve seen at this year’s festival.
See it or skip it? See it, please!
Saturday, April 23, 2011
Saturday Night Movie Recommendations with Abe
Welcome to a new weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
The Greatest Movie Ever Sold (recommended): Documentary filmmaker Morgan Spurlock follows up on “Super Size Me” with his latest film, an exploration of product placement composed using product placement. It’s an altogether entertaining and innovative that sheds light on an industry that we always see but don’t as often discuss. Read my review from yesterday and see it at the Angelika Film Center.
Incendies (recommended): This Canadian nominee for the Oscar for Best Foreign Film from this past year is an immense downer, and that’s even in comparison to “Biutiful” and “In a Better World,” two already depressing films nominated in the same category. For those who want to stomach the tough storyline, it’s a well-directed, strongly-acted story, playing at the Landmark Sunshine and Lincoln Plaza.
I’ve heard interesting about both Water for Elephants and The First Beautiful Thing, but even if I wasn’t so far behind on my current cinema, I don’t think I’d be rushing out to see either of them. I do have some interest in Tied to a Chair, and may get a chance to see that soon. Otherwise, count me out for African Cats and Stake Land, two very different films that have equal lack of appeal for me.
New to DVD
The King’s Speech (recommended): Even if it didn’t deserve to win Best Picture over a number of the other nominees, this is still a great film featuring some very good performances, from Oscar winner Colin Firth but also from Geoffrey Rush as his humorous and distinctive speech therapist. For anyone who hasn’t seen this and likes British dramas about royalty, this is a can’t-miss.
Rabbit Hole (recommended): Despite Nicole Kidman’s Oscar nomination, this film didn’t receive much traction at all, which is a shame. It’s an extraordinarily compelling, heartbreaking drama with rich, believable performances from both Aaron Eckhart and his more praised costar. Definitely worth a look if the subject matter isn’t too upsetting.
Somewhere (recommended): Sofia Coppola’s latest film is absolutely my kind of movie, an artsy adventure that doesn’t move too fast and sticks with you. Gorgeously shot and carefully edited, this portrait of a promiscuous actor reconnecting with his precocious daughter is just as intoxicating as “Lost in Translation” and ranks among my top twenty-five films of 2010.
The Way Back (anti-recommended): Walking thousand of miles to escape a Siberian gulag may be beyond impressive, but this film sure isn’t. Director Peter Weir has made epics before like “Master and Commander,” but this film is excessively dull almost from its first moments and gets even slower throughout its two hour-plus runtime. The charisma of Jim Sturgess, Colin Farrell, Ed Harris, and Saoirse Ronan, all not performing at their best, can’t help to save this dud.
Now Playing in NYC
The Greatest Movie Ever Sold (recommended): Documentary filmmaker Morgan Spurlock follows up on “Super Size Me” with his latest film, an exploration of product placement composed using product placement. It’s an altogether entertaining and innovative that sheds light on an industry that we always see but don’t as often discuss. Read my review from yesterday and see it at the Angelika Film Center.
Incendies (recommended): This Canadian nominee for the Oscar for Best Foreign Film from this past year is an immense downer, and that’s even in comparison to “Biutiful” and “In a Better World,” two already depressing films nominated in the same category. For those who want to stomach the tough storyline, it’s a well-directed, strongly-acted story, playing at the Landmark Sunshine and Lincoln Plaza.
I’ve heard interesting about both Water for Elephants and The First Beautiful Thing, but even if I wasn’t so far behind on my current cinema, I don’t think I’d be rushing out to see either of them. I do have some interest in Tied to a Chair, and may get a chance to see that soon. Otherwise, count me out for African Cats and Stake Land, two very different films that have equal lack of appeal for me.
New to DVD
The King’s Speech (recommended): Even if it didn’t deserve to win Best Picture over a number of the other nominees, this is still a great film featuring some very good performances, from Oscar winner Colin Firth but also from Geoffrey Rush as his humorous and distinctive speech therapist. For anyone who hasn’t seen this and likes British dramas about royalty, this is a can’t-miss.
Rabbit Hole (recommended): Despite Nicole Kidman’s Oscar nomination, this film didn’t receive much traction at all, which is a shame. It’s an extraordinarily compelling, heartbreaking drama with rich, believable performances from both Aaron Eckhart and his more praised costar. Definitely worth a look if the subject matter isn’t too upsetting.
Somewhere (recommended): Sofia Coppola’s latest film is absolutely my kind of movie, an artsy adventure that doesn’t move too fast and sticks with you. Gorgeously shot and carefully edited, this portrait of a promiscuous actor reconnecting with his precocious daughter is just as intoxicating as “Lost in Translation” and ranks among my top twenty-five films of 2010.
The Way Back (anti-recommended): Walking thousand of miles to escape a Siberian gulag may be beyond impressive, but this film sure isn’t. Director Peter Weir has made epics before like “Master and Commander,” but this film is excessively dull almost from its first moments and gets even slower throughout its two hour-plus runtime. The charisma of Jim Sturgess, Colin Farrell, Ed Harris, and Saoirse Ronan, all not performing at their best, can’t help to save this dud.
Friday, April 22, 2011
Movie with Abe: The Greatest Movie Ever Sold
POM Wonderful Presents: The Greatest Movie Ever Sold
Directed by Morgan Spurlock
Released April 22, 2011
Morgan Spurlock, the witty, sarcastic director of “Super Size Me,” has again taken on a project of spectacular size and scale designed to illuminate some socially-accepted practice about which many consumers remain woefully unaware. This time, he’s not inhaling Big Macs for a month but instead trying to put together the world’s most ambitious and sponsored film. “The Greatest Movie Ever Sold” is enormously entertaining and tongue-in-cheek, and it serves as an enlightening look at the always interesting and often ridiculous world of product placement, using Spurlock’s documentary as the very example of what it is he’s trying to show.
Spurlock is one of those documentarians who, like Michael Moore, makes himself and his singular personality a big part of his films. Fortunately, he’s not nearly as purposefully obnoxious as Moore, and, especially in this case, he’s not preparing anything terrible scathing or skewering any one person or company in particular. Still, he uses his distinctive charms to attempt to woo his prospective sponsors. It’s fun to see him get excited and crack jokes about the many different products and companies (including a shampoo designed for use by humans and horses), and he’s an appropriate hero for this particular mission. He makes for a terrific narrator and it’s fascinating to hear his thought processes.
What Spurlock assembles in “The Greatest Movie Ever Sold” is a conglomerate of brands that all see the value in being dubbed, if only for the purposes of this film, the “greatest” of whatever arena it is they occupy. For instance, the city of Altoona, PA will be changing its name to “POM Wonderful Presents the Greatest Movie Ever Sold, PA” for two months starting next week, and Spurlock can currently be seen in the introductory video shown right after takeoff on Jet Blue flights, serving both as the company spokesman and an advertisement for the film.
At the same time, this movie is an unfinished work and an experience entirely grander than just one film. So much of the work that went into “The Greatest Movie Ever Sold” is going to take place during and after the film’s release, continuing the intense cross-promotion among the sponsoring brands. Therefore, as a film, it’s simply the research and the initial basis for Spurlock’s grander experiment on just what goes into advertising and why certain companies choose to become involved in various enterprises for different reasons. Whatever it is, the film itself is a blast, and there’s a whole lot to think about thanks to the curious mind of Morgan Spurlock.
B+
Thursday, April 21, 2011
Talking Tribeca: Bombay Beach
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
Bombay Beach
Directed by Alma Har’el
Festival Screenings
It can be tough to pinpoint exactly what a documentary should do. Some might say that all it needs to do is document. Often, documentary filmmakers set out to discover something about a subject, and the resulting film includes their findings. In other cases, there’s something to discover, but not much in the way of conclusions to report. “Bombay Beach,” a Tribeca entry in the World Documentary Competition, spotlights several families in a poor area by the Salton Sea in California. There are images of disturbingly thin bodies gathering for neighborhood barbecues and stories of children hopped up on so much medication that they couldn’t possibly hope to escape the trajectory of their lives. One or two individuals actually possess a motivation to leave the area, but there are plenty of obstacles in the way. This setup is intriguing, yet there’s no argument, no thesis, and no real point other than to note that this is a worthwhile subject that can be mined for some moral statement. There are two moments in particular where characters almost start performing for the camera, in the kind of scene that should happen organically and subtly in a nonfiction film and instead seems hopelessly staged. The level of access given to the camera here indicates that these are people who want their story to be told, and as a result, they’re partially living their lives for the camera. It’s as if there’s a story waiting to be told, yet the filmmakers got too close to really see anything worthwhile.
See it or skip it? Skip it, definitely.
Bombay Beach
Directed by Alma Har’el
Festival Screenings
It can be tough to pinpoint exactly what a documentary should do. Some might say that all it needs to do is document. Often, documentary filmmakers set out to discover something about a subject, and the resulting film includes their findings. In other cases, there’s something to discover, but not much in the way of conclusions to report. “Bombay Beach,” a Tribeca entry in the World Documentary Competition, spotlights several families in a poor area by the Salton Sea in California. There are images of disturbingly thin bodies gathering for neighborhood barbecues and stories of children hopped up on so much medication that they couldn’t possibly hope to escape the trajectory of their lives. One or two individuals actually possess a motivation to leave the area, but there are plenty of obstacles in the way. This setup is intriguing, yet there’s no argument, no thesis, and no real point other than to note that this is a worthwhile subject that can be mined for some moral statement. There are two moments in particular where characters almost start performing for the camera, in the kind of scene that should happen organically and subtly in a nonfiction film and instead seems hopelessly staged. The level of access given to the camera here indicates that these are people who want their story to be told, and as a result, they’re partially living their lives for the camera. It’s as if there’s a story waiting to be told, yet the filmmakers got too close to really see anything worthwhile.
See it or skip it? Skip it, definitely.
Talking Tribeca: Jiro Dreams of Sushi
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
Jiro Dreams of Sushi
Directed by David Gelb
Festival Screenings
When food and culture intersect, there’s bound to be an interesting story behind it. The life of Jiro Ono, a master sushi chef who, at 85 years old, still goes to work every day and night, is a winning example of that. This fun, appetizing documentary explores Jiro’s past and follows him in his daily life as he continues to produce sushi on a regular basis that wins him prizes and legitimizes charging $300 for a dinner meal that requires reservations a month in advance. The film’s best asset is its subject, Jiro, who is positively charming and equally respectable. He struts around confidently and makes sure to praise the efforts and contributions of his underlings, all the while ensuring that their commitment to making incredible sushi is never compromised. Jiro’s back story is intriguing, and it’s quite enlightening to hear him talk about it. When his sons are interviewed about their career paths and how they’ll always be compared to him, it speaks to Japanese culture and the importance of lineage and ancestral respect. What’s most moving about “Jiro Dreams of Sushi” is the way one food critic gushes with appropriate admiration over Jiro’s technique, style, and food. As an expert, he clearly knows what he’s talking about, and it makes the film all the more meaningful to hear him so praised. The film has its best moments when it features its hero onscreen, as it manages to cover an extraordinary breadth of topics in just eighty minutes, and every time Jiro pops back up, the film instantly becomes more engaging anew. It earns extra points for making this non-fan of sushi salivate for some tuna.
See it or skip it? See it. It’s impossible not to like, even if you don’t like documentaries or sushi.
Jiro Dreams of Sushi
Directed by David Gelb
Festival Screenings
When food and culture intersect, there’s bound to be an interesting story behind it. The life of Jiro Ono, a master sushi chef who, at 85 years old, still goes to work every day and night, is a winning example of that. This fun, appetizing documentary explores Jiro’s past and follows him in his daily life as he continues to produce sushi on a regular basis that wins him prizes and legitimizes charging $300 for a dinner meal that requires reservations a month in advance. The film’s best asset is its subject, Jiro, who is positively charming and equally respectable. He struts around confidently and makes sure to praise the efforts and contributions of his underlings, all the while ensuring that their commitment to making incredible sushi is never compromised. Jiro’s back story is intriguing, and it’s quite enlightening to hear him talk about it. When his sons are interviewed about their career paths and how they’ll always be compared to him, it speaks to Japanese culture and the importance of lineage and ancestral respect. What’s most moving about “Jiro Dreams of Sushi” is the way one food critic gushes with appropriate admiration over Jiro’s technique, style, and food. As an expert, he clearly knows what he’s talking about, and it makes the film all the more meaningful to hear him so praised. The film has its best moments when it features its hero onscreen, as it manages to cover an extraordinary breadth of topics in just eighty minutes, and every time Jiro pops back up, the film instantly becomes more engaging anew. It earns extra points for making this non-fan of sushi salivate for some tuna.
See it or skip it? See it. It’s impossible not to like, even if you don’t like documentaries or sushi.
Wednesday, April 20, 2011
Talking Tribeca: The High Cost of Living
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
The High Cost of Living
Directed by Deborah Chow
Released on VOD April 20, 2011
In director Deborah Chow’s new film, which is available on Video on Demand today and will roll out to theatres in May, a drug dealer named Henry (Zach Braff) accidentally hits a pregnant Nathalie (Isabelle Blais) with his car, resulting in her losing the baby and preparing for a stillborn birth. This rather dark film chronicles Henry’s search for atonement and Nathalie’s efforts to come back from her tragedy while still dealing with a constant physical reminder of what could and should have been. I had the opportunity to chat with star Zach Braff about the movie. He says the response to the film has been extraordinary. He sees its release on Video on Demand as a very positive thing, asking, “what’s negative about putting a small film into millions and millions of homes?” This dramatic part was something extremely different from the kind of roles he’s taken on in the past, and he notes that he loves a “good, solid, dark drama” and wants “to do something intimidating.” The real feat of the movie, according to him, is having the audience root for him despite the horrible things he does. He also speaks fondly of working in Montreal, a bilingual city with its own culture, and quotes Chow, who has expressed that she wanted Montreal to be a character in the film. “The High Cost of Living” doubles as a heart-wrenching, meaningful drama and an ode to the Canadian city. Almost all of Henry’s dialogue is in English, while Nathalie speaks mostly in French. The film, however, is far less disjointed, and it’s worth the trip (or the click) to see these two troubled characters brought together in the face of tragedy.
See it or skip it? See it if it the story isn’t too upsetting!
The High Cost of Living
Directed by Deborah Chow
Released on VOD April 20, 2011
In director Deborah Chow’s new film, which is available on Video on Demand today and will roll out to theatres in May, a drug dealer named Henry (Zach Braff) accidentally hits a pregnant Nathalie (Isabelle Blais) with his car, resulting in her losing the baby and preparing for a stillborn birth. This rather dark film chronicles Henry’s search for atonement and Nathalie’s efforts to come back from her tragedy while still dealing with a constant physical reminder of what could and should have been. I had the opportunity to chat with star Zach Braff about the movie. He says the response to the film has been extraordinary. He sees its release on Video on Demand as a very positive thing, asking, “what’s negative about putting a small film into millions and millions of homes?” This dramatic part was something extremely different from the kind of roles he’s taken on in the past, and he notes that he loves a “good, solid, dark drama” and wants “to do something intimidating.” The real feat of the movie, according to him, is having the audience root for him despite the horrible things he does. He also speaks fondly of working in Montreal, a bilingual city with its own culture, and quotes Chow, who has expressed that she wanted Montreal to be a character in the film. “The High Cost of Living” doubles as a heart-wrenching, meaningful drama and an ode to the Canadian city. Almost all of Henry’s dialogue is in English, while Nathalie speaks mostly in French. The film, however, is far less disjointed, and it’s worth the trip (or the click) to see these two troubled characters brought together in the face of tragedy.
See it or skip it? See it if it the story isn’t too upsetting!
Monday, April 18, 2011
Talking Tribeca: The Bang Bang Club
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
The Bang Bang Club
Directed by Steven Silver
Festival Screenings
When it comes to topics, it doesn’t get much more interesting than South Africa near the end of apartheid. Of course, it’s a fairly disturbing subject matter, and while it ultimately involves a positive triumph over segregation, the path to it was harrowing and deadly for many. This special screening of the Tribeca Film Festival is the story of the photography crew known as the Bang Bang Club, whose daily routine involved going out to the more lawless villages in South Africa to document the violence happening every day in the region. There’s something rather ironic about staging a film about capturing unpredictable moments of real life, and that disconnect is somewhat evident in the film. This is director Steven Silver’s first narrative film, following the production of several documentaries. This is most certainly a story that deserves to be told, but it might have been better suited to a nonfiction compilation. The dialogue often falls flat and the performances, especially those of Ryan Phillippe and Malin Akerman, are less than three-dimensional. Still, learning about the existence of this club of sorts and seeing how widespread their photography became is monumentally intriguing, and the film is fully engaging for the length of its runtime. Even if it’s not a film worth remembering, it’s hard to forget its brutal content and definitely moving to see how it affects its documentarians.
See it or skip it? Hardly essential viewing, but it’s not bad.
The Bang Bang Club
Directed by Steven Silver
Festival Screenings
When it comes to topics, it doesn’t get much more interesting than South Africa near the end of apartheid. Of course, it’s a fairly disturbing subject matter, and while it ultimately involves a positive triumph over segregation, the path to it was harrowing and deadly for many. This special screening of the Tribeca Film Festival is the story of the photography crew known as the Bang Bang Club, whose daily routine involved going out to the more lawless villages in South Africa to document the violence happening every day in the region. There’s something rather ironic about staging a film about capturing unpredictable moments of real life, and that disconnect is somewhat evident in the film. This is director Steven Silver’s first narrative film, following the production of several documentaries. This is most certainly a story that deserves to be told, but it might have been better suited to a nonfiction compilation. The dialogue often falls flat and the performances, especially those of Ryan Phillippe and Malin Akerman, are less than three-dimensional. Still, learning about the existence of this club of sorts and seeing how widespread their photography became is monumentally intriguing, and the film is fully engaging for the length of its runtime. Even if it’s not a film worth remembering, it’s hard to forget its brutal content and definitely moving to see how it affects its documentarians.
See it or skip it? Hardly essential viewing, but it’s not bad.
Sunday, April 17, 2011
Talking Tribeca: Janie Jones
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
Janie Jones
Directed by David M. Rosenthal
Festival Screenings
Since making her debut in “Signs” nine years ago, young actress Abigail Breslin, who just turned fifteen, has been showing increasing promise with the complex and mature roles she’s been taking. It’s no surprise, therefore, that she would be the perfect fit for the part of Janie Jones, a precocious girl whose junkie mother drops her off with the rock star father who didn’t know he had a kid. Janie is quickly thrown into the world of an out-of-control concert tour and encounters the band members just as they’re on the verge of breaking up. This film doesn’t purport to be wholly original in its concepts, but its characters and performers are memorable and dynamic. Breslin’s performance is effortless, and it’s clear that she’ll have no trouble getting good roles in the future. Alessandro Nivola commands the screen as Ethan in one of his first scenes when he comes face to face with the mother of his child (Elisabeth Shue), and it’s a damaged, believable portrayal that feels real. Joel Moore and Frank Whaley are great as unhappy members of the band, and it’s fun to see Peter Stormare (“Fargo”) out of his usual creeper mode as a disgruntled band manager. The standout in this talented cast is Brittany Snow, who has finally found a role that allows her to display more than bubbly pep, in all-too-brief appearance as Ethan’s band mate and girlfriend. The story itself takes many predictable turns and isn’t always fully capable of compellingly telling the story it wants to tell, but overall, it’s a positive showcase of performances and an enjoyable if familiar ride.
See it or skip it? See it if the story sounds like one you’d like!
Janie Jones
Directed by David M. Rosenthal
Festival Screenings
Since making her debut in “Signs” nine years ago, young actress Abigail Breslin, who just turned fifteen, has been showing increasing promise with the complex and mature roles she’s been taking. It’s no surprise, therefore, that she would be the perfect fit for the part of Janie Jones, a precocious girl whose junkie mother drops her off with the rock star father who didn’t know he had a kid. Janie is quickly thrown into the world of an out-of-control concert tour and encounters the band members just as they’re on the verge of breaking up. This film doesn’t purport to be wholly original in its concepts, but its characters and performers are memorable and dynamic. Breslin’s performance is effortless, and it’s clear that she’ll have no trouble getting good roles in the future. Alessandro Nivola commands the screen as Ethan in one of his first scenes when he comes face to face with the mother of his child (Elisabeth Shue), and it’s a damaged, believable portrayal that feels real. Joel Moore and Frank Whaley are great as unhappy members of the band, and it’s fun to see Peter Stormare (“Fargo”) out of his usual creeper mode as a disgruntled band manager. The standout in this talented cast is Brittany Snow, who has finally found a role that allows her to display more than bubbly pep, in all-too-brief appearance as Ethan’s band mate and girlfriend. The story itself takes many predictable turns and isn’t always fully capable of compellingly telling the story it wants to tell, but overall, it’s a positive showcase of performances and an enjoyable if familiar ride.
See it or skip it? See it if the story sounds like one you’d like!
Saturday, April 16, 2011
Saturday Night Movie Recommendations with Abe
Welcome to a new weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
Sad to say, but, in addition to being out of town for a while, I’ve been busy screening films that are showing at the Tribeca Film Festival (which will take the place of all weekly features aside from this weekly feature and full movie reviews for the next week or two) and therefore haven’t seen a single film opening this weekend. I’d love to have seen a few. The Conspirator sounds interesting, and I’ve heard great things about the documentary Armadillo, playing at IFC. I don’t know enough about Atlas Shrugged: Part 1 to know if I’d be interested. I haven’t seen the three films in the series leading up to Scream 4, and I’m not a horror fan at all. Rio could be fun, but I imagine I’ll be able to catch that one on DVD this summer if I so desire. I’ll be much better equipped for the next few weeks, with at least a couple of titles to preview.
Now on DVD
Country Strong (recommended): This early January release flew way under the radar despite its sole Oscar nomination for Best Song (for “Coming Home”). In addition to having two other standout numbers (“Country Strong” and “Me and Tennessee”), this film boasted strong performances, but not so much from its top-billed players as its supporting ones, Garrett Hedlund, and, surprisingly enough, Leighton Meester. This is a nice ode to country music and a better film that it needed to be, even if it isn’t perfect.
Harry Potter and the Deathly Hallows – Part 1 (recommended): I cut myself off from civilization to read the seventh book on the day it came out, more so because I had the sixth book, which I had put aside for months to finish AP English summer reading, spoiled for me, and didn’t want the same fate to befall the last book. I skipped the second through sixth movies, for no good reason, and the first half of the seventh entry is action-packed and generally exciting, but the last part, due this summer, is definitely going to be much more thrilling. If you’re a fan of the series though, you’ll like this one.
Heartless (anti-recommended): Don’t make the same mistake as I did with this one. I went in blind to a press screening, presuming that the title was a metaphor and that the film might follow a jerk with no care for the women he hurts. It turns out that it’s literally about a guy who cuts out peoples’ hearts. It’s a rather depressing, peculiar film that definitely didn’t do anything for me other than turn me off to it nice and quick. Don’t do it.
White Material (recommended): This film is both a pictorial beauty and a showcase of powerhouse acting by one Isabelle Huppert as a coffee plantation owner who braves violent civil war to continue growing her crop. It’s a hard film to get through, but ultimately a powerful, enduring one. Not for the faint of heart, but certainly much more rewarding than “Heartless.”
Now Playing in NYC
Sad to say, but, in addition to being out of town for a while, I’ve been busy screening films that are showing at the Tribeca Film Festival (which will take the place of all weekly features aside from this weekly feature and full movie reviews for the next week or two) and therefore haven’t seen a single film opening this weekend. I’d love to have seen a few. The Conspirator sounds interesting, and I’ve heard great things about the documentary Armadillo, playing at IFC. I don’t know enough about Atlas Shrugged: Part 1 to know if I’d be interested. I haven’t seen the three films in the series leading up to Scream 4, and I’m not a horror fan at all. Rio could be fun, but I imagine I’ll be able to catch that one on DVD this summer if I so desire. I’ll be much better equipped for the next few weeks, with at least a couple of titles to preview.
Now on DVD
Country Strong (recommended): This early January release flew way under the radar despite its sole Oscar nomination for Best Song (for “Coming Home”). In addition to having two other standout numbers (“Country Strong” and “Me and Tennessee”), this film boasted strong performances, but not so much from its top-billed players as its supporting ones, Garrett Hedlund, and, surprisingly enough, Leighton Meester. This is a nice ode to country music and a better film that it needed to be, even if it isn’t perfect.
Harry Potter and the Deathly Hallows – Part 1 (recommended): I cut myself off from civilization to read the seventh book on the day it came out, more so because I had the sixth book, which I had put aside for months to finish AP English summer reading, spoiled for me, and didn’t want the same fate to befall the last book. I skipped the second through sixth movies, for no good reason, and the first half of the seventh entry is action-packed and generally exciting, but the last part, due this summer, is definitely going to be much more thrilling. If you’re a fan of the series though, you’ll like this one.
Heartless (anti-recommended): Don’t make the same mistake as I did with this one. I went in blind to a press screening, presuming that the title was a metaphor and that the film might follow a jerk with no care for the women he hurts. It turns out that it’s literally about a guy who cuts out peoples’ hearts. It’s a rather depressing, peculiar film that definitely didn’t do anything for me other than turn me off to it nice and quick. Don’t do it.
White Material (recommended): This film is both a pictorial beauty and a showcase of powerhouse acting by one Isabelle Huppert as a coffee plantation owner who braves violent civil war to continue growing her crop. It’s a hard film to get through, but ultimately a powerful, enduring one. Not for the faint of heart, but certainly much more rewarding than “Heartless.”
Friday, April 15, 2011
Talking Tribeca: Romantics Anonymous
I’ve had the pleasure this year of screening a number of selections from the Tribeca Film Festival. In no particular order, I present a look at one film per day. The Tribeca Film Festival takes place April 20th through May 1st.
Romantics Anonymous
Directed by Jean-Pierre Améris
Festival Screenings
With some films, it’s clear from the start that they have a wonderful spirit. That’s never been truer than in “Romantics Anonymous,” the fantastical tale of two socially awkward misfits who meet and fall in love at a chocolate shop. Angélique (Isabelle Carré) is secretly a master chef but can’t bear to have anyone recognize her for her talents, and Jean-René (Benoît Poelvoorde) is a manager whose therapist tells him he needs to try having human contact of some kind. This lovely, unassuming film follows the two of them as they stumble through their would-be relationship, and it’s simply a delight to witness Jean-René storming off to the restroom several times during a date to change his shirt to another that he has meticulously and neatly packed in a briefcase, for fear of being seen sweating. Angélique isn’t without her charms either, and it’s fun to see her set up a webcam and concoct a fake hermit on the other end so that she can teach her coworkers how to make delicious desserts. Both Carré and Poelvoorde are great, and the supporting cast is wonderful, particularly Lorella Cravotta, Lise Lamétrie, Swann Arlaud, and Pierre Niney as the fellow employees at the chocolate shop. This film takes the sentiment from last year’s “Heartbreaker” and mixes it with the bubbly style and eye-popping colors of “Micmacs” to create the best that French film has to offer. This light, perfectly charming film also features some absolutely irresistible baking, and not only will it warm your heart, it will also give you quite an appetite for chocolate.
See it or skip it? See it, no question!
Romantics Anonymous
Directed by Jean-Pierre Améris
Festival Screenings
With some films, it’s clear from the start that they have a wonderful spirit. That’s never been truer than in “Romantics Anonymous,” the fantastical tale of two socially awkward misfits who meet and fall in love at a chocolate shop. Angélique (Isabelle Carré) is secretly a master chef but can’t bear to have anyone recognize her for her talents, and Jean-René (Benoît Poelvoorde) is a manager whose therapist tells him he needs to try having human contact of some kind. This lovely, unassuming film follows the two of them as they stumble through their would-be relationship, and it’s simply a delight to witness Jean-René storming off to the restroom several times during a date to change his shirt to another that he has meticulously and neatly packed in a briefcase, for fear of being seen sweating. Angélique isn’t without her charms either, and it’s fun to see her set up a webcam and concoct a fake hermit on the other end so that she can teach her coworkers how to make delicious desserts. Both Carré and Poelvoorde are great, and the supporting cast is wonderful, particularly Lorella Cravotta, Lise Lamétrie, Swann Arlaud, and Pierre Niney as the fellow employees at the chocolate shop. This film takes the sentiment from last year’s “Heartbreaker” and mixes it with the bubbly style and eye-popping colors of “Micmacs” to create the best that French film has to offer. This light, perfectly charming film also features some absolutely irresistible baking, and not only will it warm your heart, it will also give you quite an appetite for chocolate.
See it or skip it? See it, no question!
Thursday, April 14, 2011
Thursday Token Themes
Welcome a new weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.
This week’s featured composer is Philip Glass. There’s a certain quality about Glass’ music that often makes it a guiding force of the films in which it’s used. One of his first filmic contributions was the soundtrack for “Koyaanisqatsi,” a unique documentary with no dialogue or story. His track “Prophecies” is absolutely beautiful, and it was repurposed to magnificent effect in the Mars scenes with Dr. Manhattan in the 2009 film “Watchmen.” In this past Monday’s Movie on the Mind, “The Truman Show,” Glass wrote original music to score the more serious moments, while Mozart took the more comic scenes that served as part of the show-within-a-movie. “Underground Storm” accompanies a particularly memorable, movie-shaping scene, and also kicks in again the moment the closing credits start to roll to abruptly change the mood and send the film off in a dramatic manner. My favorite Glass composition, of course, is the music for “The Hours.” I saw the Oscar-winning film by myself when I was fourteen years old, and I was hypnotized by the astonishing score by Glass, which really helps to make the film come alive. Additionally, after I had already written this, I immediately recognized the score from that film, repurposed as a closing anthem for the Tribeca documentary "Jiro Dreams of Sushi." Imagine that! Listen to the first track, “The Poet Acts,” and then treat yourself to the gorgeous last track. Turn your volume up for these clips, and enjoy!
Koyaanisqatsi (1982)
The Truman Show (1998)
The Hours (2002)
This week’s featured composer is Philip Glass. There’s a certain quality about Glass’ music that often makes it a guiding force of the films in which it’s used. One of his first filmic contributions was the soundtrack for “Koyaanisqatsi,” a unique documentary with no dialogue or story. His track “Prophecies” is absolutely beautiful, and it was repurposed to magnificent effect in the Mars scenes with Dr. Manhattan in the 2009 film “Watchmen.” In this past Monday’s Movie on the Mind, “The Truman Show,” Glass wrote original music to score the more serious moments, while Mozart took the more comic scenes that served as part of the show-within-a-movie. “Underground Storm” accompanies a particularly memorable, movie-shaping scene, and also kicks in again the moment the closing credits start to roll to abruptly change the mood and send the film off in a dramatic manner. My favorite Glass composition, of course, is the music for “The Hours.” I saw the Oscar-winning film by myself when I was fourteen years old, and I was hypnotized by the astonishing score by Glass, which really helps to make the film come alive. Additionally, after I had already written this, I immediately recognized the score from that film, repurposed as a closing anthem for the Tribeca documentary "Jiro Dreams of Sushi." Imagine that! Listen to the first track, “The Poet Acts,” and then treat yourself to the gorgeous last track. Turn your volume up for these clips, and enjoy!
Koyaanisqatsi (1982)
The Truman Show (1998)
The Hours (2002)
Wednesday, April 13, 2011
Wednesday Westerns: Man of the West
Welcome a new weekly feature here at Movies With Abe. In an effort to provide a look back at older films and a desire to highlight a specific genre, I will be spotlighting a Western film each week, combining films from a course I took while at NYU called Myth of the Last Western and other films I have seen and do see. If you have a Western you’d like to write about, please let me know and feel free to submit a guest spot for future weeks!
Man of the West
Directed by Anthony Mann
Released October 1, 1958
This Western in a classic representation of the battle between good and evil, with a fair deal of repentance, reform, and atonement mixed in. Link (Gary Cooper) is a former gunslinger turned honest man whose train is hijacked on his way home to meet a schoolteacher for his new town. Unwittingly brought back into his old life, he is forced to confront the people he used to know and the things he used to do. As a changed man, he now must find a way to protect the people with whom he was traveling and to help save his hometown from certain devastation. The trailer advertises “Gary Cooper in a role that fits him like a gun fits a holster,” and it’s certainly worthwhile to praise Cooper’s embodiment of a man with many regrets whose wounds are reopened as he has to look back at what he’s done and see what he can do about it now. Lee J. Cobb also gets the opportunity to play a great villain, and the interaction of his character with Cooper’s makes for some of the best moments of the film. Morally and thematically speaking, it’s a strong picture, but there’s plenty more than that to it. “Man of the West” takes advantage of its setting to showcase some truly memorable scenes of the West, including an eerie, slow-paced trek through a ghost town where Link pursues some robbers from his former gang. If nothing else, this film certainly has a great title. Check out the trailer from TCM below.
Man of the West
Directed by Anthony Mann
Released October 1, 1958
This Western in a classic representation of the battle between good and evil, with a fair deal of repentance, reform, and atonement mixed in. Link (Gary Cooper) is a former gunslinger turned honest man whose train is hijacked on his way home to meet a schoolteacher for his new town. Unwittingly brought back into his old life, he is forced to confront the people he used to know and the things he used to do. As a changed man, he now must find a way to protect the people with whom he was traveling and to help save his hometown from certain devastation. The trailer advertises “Gary Cooper in a role that fits him like a gun fits a holster,” and it’s certainly worthwhile to praise Cooper’s embodiment of a man with many regrets whose wounds are reopened as he has to look back at what he’s done and see what he can do about it now. Lee J. Cobb also gets the opportunity to play a great villain, and the interaction of his character with Cooper’s makes for some of the best moments of the film. Morally and thematically speaking, it’s a strong picture, but there’s plenty more than that to it. “Man of the West” takes advantage of its setting to showcase some truly memorable scenes of the West, including an eerie, slow-paced trek through a ghost town where Link pursues some robbers from his former gang. If nothing else, this film certainly has a great title. Check out the trailer from TCM below.
Tuesday, April 12, 2011
Tuesday’s Top Trailer: Midnight in Paris
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Midnight in Paris – Opening May 20, 2011
It’s an interesting thing to see the first sneak peek at the next Woody Allen movie. Mostly that’s because it feels like something incredibly familiar that you’ve seen before, and most of the time, it is. When Owen Wilson’s character wanders off into Paris and starts cheating halfway through the trailer, it isn’t a surprise at all because that’s what we’ve come to expect from Allen. He has a number of classics, among them “Manhattan,” “Annie Hall,” “Hannah and Her Sisters,” and “Crimes and Misdemeanors,” and few films that have successfully worked in the most recent decade, with the notable exception of “Match Point,” which is a considerable departure from his usual style and might as well be unrecognizable as an Allen film. Allen has been bouncing around from city to city, transplanting his characters to Barcelona and London in recent years without properly taking the New Yorker out of them. Now, he’s back to Paris, a destination he visited in the rather peculiar 1996 musical-tinged comedy “Everyone Says I Love You.” There’s no denying that Paris is a romantic destination, and having a group of American travelers there for a limited period of time is a great setup for a film. Owen Wilson seems somewhat of an odd choice to play the male lead, but hopefully it should work. I’m thrilled with the notion of Rachel McAdams having a role that may be just right for her, and I also love having Michael Sheen as a pretentious American. I’m pleased to see the very funny Kurt Fuller, currently appearing on ABC’s “Better With You,” in the cast, and I love the way he explains that the private detective has gone missing. Throw in Kathy Bates, Adrien Brody, and Marion Cotillard, and it’s going to be hard to go wrong. Could this be another “You Will Meet a Tall Dark Stranger,” a film which I gave a D? Let’s hope not.
Midnight in Paris – Opening May 20, 2011
It’s an interesting thing to see the first sneak peek at the next Woody Allen movie. Mostly that’s because it feels like something incredibly familiar that you’ve seen before, and most of the time, it is. When Owen Wilson’s character wanders off into Paris and starts cheating halfway through the trailer, it isn’t a surprise at all because that’s what we’ve come to expect from Allen. He has a number of classics, among them “Manhattan,” “Annie Hall,” “Hannah and Her Sisters,” and “Crimes and Misdemeanors,” and few films that have successfully worked in the most recent decade, with the notable exception of “Match Point,” which is a considerable departure from his usual style and might as well be unrecognizable as an Allen film. Allen has been bouncing around from city to city, transplanting his characters to Barcelona and London in recent years without properly taking the New Yorker out of them. Now, he’s back to Paris, a destination he visited in the rather peculiar 1996 musical-tinged comedy “Everyone Says I Love You.” There’s no denying that Paris is a romantic destination, and having a group of American travelers there for a limited period of time is a great setup for a film. Owen Wilson seems somewhat of an odd choice to play the male lead, but hopefully it should work. I’m thrilled with the notion of Rachel McAdams having a role that may be just right for her, and I also love having Michael Sheen as a pretentious American. I’m pleased to see the very funny Kurt Fuller, currently appearing on ABC’s “Better With You,” in the cast, and I love the way he explains that the private detective has gone missing. Throw in Kathy Bates, Adrien Brody, and Marion Cotillard, and it’s going to be hard to go wrong. Could this be another “You Will Meet a Tall Dark Stranger,” a film which I gave a D? Let’s hope not.
Monday, April 11, 2011
Monday Movie on the Mind: The Truman Show
The Truman Show
Directed by Peter Weir
Released June 5, 1998
Here we have one of my favorite films of all time, the stunning 1998 drama that might be misunderstood by some as a comedy for children. It showcases the first breakout dramatic performance by Jim Carrey – something he’s followed up on in “Man on the Moon” and “Eternal Sunshine of the Spotless Mind” – and also the second Oscar-nominated performance by the incomparable Ed Harris. The story of a man whose entire life was, unbeknownst to him, recorded on camera and broadcast to millions of people. There’s so much hidden depth in this film, and it’s intriguing to see the slapstick, over-the-top nature of what is shown a part of the TV-show-within-a-movie that is Truman’s daily life. The incorporation of product placement is especially clever, and there’s just so much to be found in this movie. The music is a brilliant combination of classic Mozart and original Philip Glass – something I’ll come back to this Thursday. It’s hard to find another film quite as imaginative and incredible as this, and any imitators will likely not succeed. If for some reason, you’ve never seen it, see it now. The trailer below is considerably hokier than the movie itself ends up being, but there’s a simple spirit to Truman’s character and life that’s definitely captured in it. The ending, embedded below that, is one of my absolute favorites, and it gets me every time.
Trailer
Ending
Directed by Peter Weir
Released June 5, 1998
Here we have one of my favorite films of all time, the stunning 1998 drama that might be misunderstood by some as a comedy for children. It showcases the first breakout dramatic performance by Jim Carrey – something he’s followed up on in “Man on the Moon” and “Eternal Sunshine of the Spotless Mind” – and also the second Oscar-nominated performance by the incomparable Ed Harris. The story of a man whose entire life was, unbeknownst to him, recorded on camera and broadcast to millions of people. There’s so much hidden depth in this film, and it’s intriguing to see the slapstick, over-the-top nature of what is shown a part of the TV-show-within-a-movie that is Truman’s daily life. The incorporation of product placement is especially clever, and there’s just so much to be found in this movie. The music is a brilliant combination of classic Mozart and original Philip Glass – something I’ll come back to this Thursday. It’s hard to find another film quite as imaginative and incredible as this, and any imitators will likely not succeed. If for some reason, you’ve never seen it, see it now. The trailer below is considerably hokier than the movie itself ends up being, but there’s a simple spirit to Truman’s character and life that’s definitely captured in it. The ending, embedded below that, is one of my absolute favorites, and it gets me every time.
Trailer
Ending
Sunday, April 10, 2011
Movie with Abe: Meet Monica Velour
Meet Monica Velour
Directed by Keith Bearden
Released April 8, 2011
Tales of nerdy loners whose lives are entirely transformed by some transcontinental voyage are not uncommon. When said nerdy loner sets out across the country to go meet the porn star he’s been obsessed with for years, things get a bit less conventional. All in all, however, it’s still the same old song, with a slight twist throw in to excite the plot considerably. “Meet Monica Velour” may have a novel promise and a singular allure, but it’s a familiar and forgettable, if harmless, coming of age story that follows one teenager on his quest to overcome loneliness and find purpose in his life.
“Meet Monica Velour” opens strongly with a clear pictorial articulation of the affection Tobe (Dustin Ingram) feels for his favorite porn star (Kim Cattrall). Tobe lusts after another person as well, his classmate Amanda (Jee Young Han), but she comes second to the legendary and seductive Monica Velour. With no one but a child neighbor and a distant grandfather to talk to and facing the terror of life after high school graduation, Tobe makes the simple typical independent road movie choice to abandon it all and drive hundreds of miles towards nowhere for the chance to see the true woman of his dreams.
If there’s one thing that “Meet Monica Velour” absolutely gets right, it’s the expression of sentiment from Tobe towards Monica. His infatuation is utterly complete and has taken total control of him, yet he is a perfect gentleman when the young virgin finds her in a compromising position. He rises to the defense of her honor at a performance where her age is mocked, to his own physical detriment. His love is also appropriately childish, presuming an easy big picture when the circumstances are anything but.
What “Meet Monica Velour” doesn’t pull off quite as well is the actual characterization of Monica, née Linda Romanoli, who, as one might expect for a former porn star approaching fifty, is constantly in search of her former glory while realizing that she should really start getting her life together and find a new career path, with no skills to boot. Cattrall, a talented and funny actress, does her best in this part, but it isn’t too specifically written for her too be terribly memorable. The story takes predictable turns and doesn’t offer any fun or engaging surprises. It’s an enjoyable enough experience, but it can’t be anywhere near as memorable as meeting Monica Velour was for our hero Tobe.
B-
Directed by Keith Bearden
Released April 8, 2011
Tales of nerdy loners whose lives are entirely transformed by some transcontinental voyage are not uncommon. When said nerdy loner sets out across the country to go meet the porn star he’s been obsessed with for years, things get a bit less conventional. All in all, however, it’s still the same old song, with a slight twist throw in to excite the plot considerably. “Meet Monica Velour” may have a novel promise and a singular allure, but it’s a familiar and forgettable, if harmless, coming of age story that follows one teenager on his quest to overcome loneliness and find purpose in his life.
“Meet Monica Velour” opens strongly with a clear pictorial articulation of the affection Tobe (Dustin Ingram) feels for his favorite porn star (Kim Cattrall). Tobe lusts after another person as well, his classmate Amanda (Jee Young Han), but she comes second to the legendary and seductive Monica Velour. With no one but a child neighbor and a distant grandfather to talk to and facing the terror of life after high school graduation, Tobe makes the simple typical independent road movie choice to abandon it all and drive hundreds of miles towards nowhere for the chance to see the true woman of his dreams.
If there’s one thing that “Meet Monica Velour” absolutely gets right, it’s the expression of sentiment from Tobe towards Monica. His infatuation is utterly complete and has taken total control of him, yet he is a perfect gentleman when the young virgin finds her in a compromising position. He rises to the defense of her honor at a performance where her age is mocked, to his own physical detriment. His love is also appropriately childish, presuming an easy big picture when the circumstances are anything but.
What “Meet Monica Velour” doesn’t pull off quite as well is the actual characterization of Monica, née Linda Romanoli, who, as one might expect for a former porn star approaching fifty, is constantly in search of her former glory while realizing that she should really start getting her life together and find a new career path, with no skills to boot. Cattrall, a talented and funny actress, does her best in this part, but it isn’t too specifically written for her too be terribly memorable. The story takes predictable turns and doesn’t offer any fun or engaging surprises. It’s an enjoyable enough experience, but it can’t be anywhere near as memorable as meeting Monica Velour was for our hero Tobe.
B-
Saturday, April 9, 2011
Saturday Night Movie Recommendations with Abe
Welcome to a new weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Hanna (mixed bag): This loud movie about a child assassin is decently entertaining but overall not so fulfilling. It’s more another chance to see that Saoirse Ronan is a talented actress whose career should be very interesting to watch. Read my review from yesterday, and catch the film (if you want) at a number of theatres around the city.
I’ve seen precious little this week. I’m hoping to have a review of Meet Monica Velour up tomorrow, and I’d really love to see Ceremony sometime soon. If I have time, I’d want to see Meek’s Cutoff, Your Highness, and Arthur, in that order. I’m hoping that, after concluding some travels this past week and the upcoming holiday of Passover, I’ll have more of a chance to immerse myself in mainstream cinema, although, honestly, not many of the films I’ve just mentioned can be described that way.
New to DVD
Casino Jack (mixed bag): This late-December film came and gone without most noticing, same for the Hollywood Foreign Press, who nominated Kevin Spacey for a Golden Globe for his lively portrayal of lobbyist Jack Abramoff. The film is actually quite fun, even if it’s somewhat over-the-top and unserious. Check it out and enjoy a truly fanatic Spacey performance and a fun script.
I Love You Phillip Morris (mixed bag): This long-delayed Jim Carrey-Ewan McGregor gay-men-in-prison flick was nothing if not intriguing. It’s not terribly satisfying, however, though the performances by Carrey and McGregor are definitely dedicated and interesting to watch. It’s an uneven, fascinating experience that may or may not be worth your time and investment.
It’s a bit strange that Tron: Legacy was one of only five Oscar-nominated films in any category from last year that I didn’t see since I probably would have liked it. Maybe I’ll catch it this summer. I’ll be perfectly fine missing Little Fockers, and if I didn’t see the first two “Chronicles of Narnia” movies, it’s not looking good for The Voyage of the Dawn Treader.
Hanna (mixed bag): This loud movie about a child assassin is decently entertaining but overall not so fulfilling. It’s more another chance to see that Saoirse Ronan is a talented actress whose career should be very interesting to watch. Read my review from yesterday, and catch the film (if you want) at a number of theatres around the city.
I’ve seen precious little this week. I’m hoping to have a review of Meet Monica Velour up tomorrow, and I’d really love to see Ceremony sometime soon. If I have time, I’d want to see Meek’s Cutoff, Your Highness, and Arthur, in that order. I’m hoping that, after concluding some travels this past week and the upcoming holiday of Passover, I’ll have more of a chance to immerse myself in mainstream cinema, although, honestly, not many of the films I’ve just mentioned can be described that way.
New to DVD
Casino Jack (mixed bag): This late-December film came and gone without most noticing, same for the Hollywood Foreign Press, who nominated Kevin Spacey for a Golden Globe for his lively portrayal of lobbyist Jack Abramoff. The film is actually quite fun, even if it’s somewhat over-the-top and unserious. Check it out and enjoy a truly fanatic Spacey performance and a fun script.
I Love You Phillip Morris (mixed bag): This long-delayed Jim Carrey-Ewan McGregor gay-men-in-prison flick was nothing if not intriguing. It’s not terribly satisfying, however, though the performances by Carrey and McGregor are definitely dedicated and interesting to watch. It’s an uneven, fascinating experience that may or may not be worth your time and investment.
It’s a bit strange that Tron: Legacy was one of only five Oscar-nominated films in any category from last year that I didn’t see since I probably would have liked it. Maybe I’ll catch it this summer. I’ll be perfectly fine missing Little Fockers, and if I didn’t see the first two “Chronicles of Narnia” movies, it’s not looking good for The Voyage of the Dawn Treader.
Friday, April 8, 2011
Movie with Abe: Hanna
Hanna
Directed by Joe Wright
Released April 8, 2011
Saoirse Ronan is a talented young actress with a knack for accents, earning an Oscar nomination for her part in “Atonement” and being the only worthwhile element, aside from Stanley Tucci, of Peter Jackson’s flop “The Lovely Bones.” Fortunately, it looks like she will have a promising career full of meaty roles, though it also appears that she will often be the best part of them. This loud, violent thriller from “Atonement” and “Pride & Prejudice” director Joe Wright follows a child raised to be a killer and her fearsome and furious immersion into civilization after years of isolation and training in the woods with her father.
Hanna’s entry into the real world isn’t a smooth or terribly compelling one. There’s a presumption that she’s learned a great deal about languages and history that has prepared her to be a world traveler, though, coupled with that, she has a youthful ignorance about the way simple things work that only shows through intermittently and conveniently when the story finds a use for it. After her father (Eric Bana) rushes off to let her be exposed to the outside and fend for herself, she quickly joins up with a vacationing family and becomes fast friends with a chatty brat named Sophie (Jessica Barden, whose energy is the indisputable highlight of the film). She is welcomed in rather easily by Sophie’s family and has little trouble stowing away where she must to get to those places that will help her find closure and lead her to her next step in life.
“Hanna” prides itself on its simplicity, a design that allows Hanna to exist as if she is the focal point of the universe in her quest and near invisible when subtlety is required. The story in itself isn’t very convincing or original, but there are parts of the action that stand out. The music of the Chemical Brothers in particular serves to set the tone of the film, and while it’s invasive and distracting at times, it guides the film at others. Tom Hollander, last seen bumbling and baffled as a politician in “In the Loop,” is particularly intriguing as a quietly and comically terrifying villain with an unforgettable and frightening whistled theme. There are several sparse moments that indicate a better, more even and tight thriller than the rest of the movie presents. Cate Blanchett replicates a brand of the cartoonish villain she portrayed in “Indiana Jones and the Kingdom of the Crystal Skull,” and it would be nice if the Oscar-winning actress could earn some better roles. This is a stepping stone for Ronan as an actress, destined eventually for well-rounded pictures and ready to inhabit intriguing characters that aren’t too memorable until then.
C+
Thursday, April 7, 2011
Thursday Token Themes
Welcome a new weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.
This week’s featured composer is Clint Mansell. This man does truly incredible things with his music, and three of the tracks below rank among my all-time favorite soundtrack pieces ever. The most recent of Mansell’s memorable compositions is the melancholy, repetitive score for “Moon” starring Sam Rockwell, which is titled “Welcome to Lunar Industries.” If you’re looking for the best musical accompaniments to the closing scenes from films, look no further than “Smokin’ Aces” and “The Fountain.” Firstly, we have “Dead Reckoning,” the cool, slick finale for the shocking revelation and awesome ending of “Smokin’ Aces.” The last ten minutes of “The Fountain” wouldn’t be anywhere near as effective were it not for the gorgeous score that accompanies Hugh Jackman’s trippy time travel. Mansell’s previous collaboration with director Darren Aronofsky is just as impressive as “The Fountain” (one of the few film soundtrack CDs which I actually own, by the way). “Lux Aeterna,” from “Requiem for a Dream,” is one of the most powerful, incredible compositions I’ve ever heard, and it’s used quite frequently in movie trailers and to make anything, regardless of its actual thematic content, seem impossibly intense. I remember hearing it in the trailer for the sci-fi flick “Sunshine” and getting incredibly excited. Ditto for “Death is the Road to Awe,” used to magnificent effect in the trailer for “I Am Legend.”
Moon (2009)
Smokin’ Aces (2007)
The Fountain (2006)
Requiem for a Dream (2000)
This week’s featured composer is Clint Mansell. This man does truly incredible things with his music, and three of the tracks below rank among my all-time favorite soundtrack pieces ever. The most recent of Mansell’s memorable compositions is the melancholy, repetitive score for “Moon” starring Sam Rockwell, which is titled “Welcome to Lunar Industries.” If you’re looking for the best musical accompaniments to the closing scenes from films, look no further than “Smokin’ Aces” and “The Fountain.” Firstly, we have “Dead Reckoning,” the cool, slick finale for the shocking revelation and awesome ending of “Smokin’ Aces.” The last ten minutes of “The Fountain” wouldn’t be anywhere near as effective were it not for the gorgeous score that accompanies Hugh Jackman’s trippy time travel. Mansell’s previous collaboration with director Darren Aronofsky is just as impressive as “The Fountain” (one of the few film soundtrack CDs which I actually own, by the way). “Lux Aeterna,” from “Requiem for a Dream,” is one of the most powerful, incredible compositions I’ve ever heard, and it’s used quite frequently in movie trailers and to make anything, regardless of its actual thematic content, seem impossibly intense. I remember hearing it in the trailer for the sci-fi flick “Sunshine” and getting incredibly excited. Ditto for “Death is the Road to Awe,” used to magnificent effect in the trailer for “I Am Legend.”
Moon (2009)
Smokin’ Aces (2007)
The Fountain (2006)
Requiem for a Dream (2000)
Wednesday, April 6, 2011
Wednesday Westerns: The Man Who Shot Liberty Valance
Welcome a new weekly feature here at Movies With Abe. In an effort to provide a look back at older films and a desire to highlight a specific genre, I will be spotlighting a Western film each week, combining films from a course I took while at NYU called Myth of the Last Western and other films I have seen and do see. If you have a Western you’d like to write about, please let me know and feel free to submit a guest spot for future weeks!
The Man Who Shot Liberty Valance
Directed by John Ford
Released April 22, 1962
This here might be the quintessential Western. It was actually the first film shown in an American Cinema Since 1960 course I took, and then screened several weeks into the Western class. This film, from director John Ford, brings together James Stewart and John Wayne under the same cinematic umbrella, both exuding completely different archetypal traits of Western heroes. Stewart’s Rance is a man of the law, who arrives in town after his transport is hijacked, setting him up as the reformer and educator of the town as the surrounding towns come together to vote for or against statehood. Wayne’s Ethan is old-fashioned and representative of the spirit of the West. The two clash greatly, yet it’s clear that they’re able to develop an enduring friendship as each becomes somewhat more acclimated with the other’s style and worldview. This film is particularly relevant and classic for its themes and its diatribes on violence and the importance of law and order. Liberty Valance, brilliantly portrayed by Lee Marvin as an emotionless, gruff villain, represents a constant threat to the stability and progress that Rance has brought to his town, and it’s also fun to see the town through the eyes of the entertaining newspaperman Dutton Peabody, played by Edmond O’Brien. It’s so intriguing to see how the members of the town react to the outside influences of both Liberty and Rance. Stewart is fiercely committed to delivering an energetic and inspired performance, and Wayne is hilariously grumpy and appropriately unenthused. Seeing the two of them on screen together is a real blast, and this is one film that feels quite dated yet still doesn’t lose its resonance and impact. Watch the trailer above and two very memorable clips below that explain the title of the film (only if you’ve seen it already, of course).
The Man Who Shot Liberty Valance
Directed by John Ford
Released April 22, 1962
This here might be the quintessential Western. It was actually the first film shown in an American Cinema Since 1960 course I took, and then screened several weeks into the Western class. This film, from director John Ford, brings together James Stewart and John Wayne under the same cinematic umbrella, both exuding completely different archetypal traits of Western heroes. Stewart’s Rance is a man of the law, who arrives in town after his transport is hijacked, setting him up as the reformer and educator of the town as the surrounding towns come together to vote for or against statehood. Wayne’s Ethan is old-fashioned and representative of the spirit of the West. The two clash greatly, yet it’s clear that they’re able to develop an enduring friendship as each becomes somewhat more acclimated with the other’s style and worldview. This film is particularly relevant and classic for its themes and its diatribes on violence and the importance of law and order. Liberty Valance, brilliantly portrayed by Lee Marvin as an emotionless, gruff villain, represents a constant threat to the stability and progress that Rance has brought to his town, and it’s also fun to see the town through the eyes of the entertaining newspaperman Dutton Peabody, played by Edmond O’Brien. It’s so intriguing to see how the members of the town react to the outside influences of both Liberty and Rance. Stewart is fiercely committed to delivering an energetic and inspired performance, and Wayne is hilariously grumpy and appropriately unenthused. Seeing the two of them on screen together is a real blast, and this is one film that feels quite dated yet still doesn’t lose its resonance and impact. Watch the trailer above and two very memorable clips below that explain the title of the film (only if you’ve seen it already, of course).
Tuesday, April 5, 2011
Tuesday’s Top Trailer: Larry Crowne
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Larry Crowne – Opening July 1, 2011
There’s plenty to say about this film. The notion of having Tom Hanks and Julia Roberts on screen together is a terrific one, despite the peculiar nature of their last collaboration, “Charlie Wilson’s War.” The importance difference is that here, they’re both back to playing their typical roles that made them both so famous and bankable in the 1990s. Hanks is the boyish, innocent, kind-hearted romantic lead, and Roberts is the prickly, sarcastic, ultimately sentimental crush over whom men can’t hope not to obsess. This is the second feature film directed by Hanks, following 1996’s “That Thing You Do!” (which I haven’t seen). This really does feel, in all its elements, like a return to the 1990s, when these two were big and movies, at least in retrospect, were simpler. This may well be a worthy successor of “Sleepless in Seattle” or “My Best Friend’s Wedding,” with a less obvious romantic setup. At worst, however, this should be harmless fun showcasing entertaining performances from two actors who each haven’t made a great film in a number of years. Playing against type works sometimes, but the most refreshing thing can also be a return to what works best. Also penned by “My Big Fat Greek Wedding” architect Nia Vardalos, this comedy may just be the biggest hit these two Oscar winners have had in years.
Larry Crowne – Opening July 1, 2011
There’s plenty to say about this film. The notion of having Tom Hanks and Julia Roberts on screen together is a terrific one, despite the peculiar nature of their last collaboration, “Charlie Wilson’s War.” The importance difference is that here, they’re both back to playing their typical roles that made them both so famous and bankable in the 1990s. Hanks is the boyish, innocent, kind-hearted romantic lead, and Roberts is the prickly, sarcastic, ultimately sentimental crush over whom men can’t hope not to obsess. This is the second feature film directed by Hanks, following 1996’s “That Thing You Do!” (which I haven’t seen). This really does feel, in all its elements, like a return to the 1990s, when these two were big and movies, at least in retrospect, were simpler. This may well be a worthy successor of “Sleepless in Seattle” or “My Best Friend’s Wedding,” with a less obvious romantic setup. At worst, however, this should be harmless fun showcasing entertaining performances from two actors who each haven’t made a great film in a number of years. Playing against type works sometimes, but the most refreshing thing can also be a return to what works best. Also penned by “My Big Fat Greek Wedding” architect Nia Vardalos, this comedy may just be the biggest hit these two Oscar winners have had in years.
Monday, April 4, 2011
Monday Movie on the Mind: Frailty
Welcome to a new weekly feature here at Movies With Abe: Monday Movie on the Mind. I’ll be kicking off each week with a clip or trailer from a film that happens to be on my mind, designed as a retrospective look at some well-known, forgotten, or underappreciated classic from movie history, be it antique or current. Chime in with your thoughts about the film or any other movies that you might be thinking of this week!
Frailty
Directed by Bill Paxton
Released April 12, 2002
If you’re looking for a movie that’s really going to stick with you and haunt you for a good amount of time, check out Bill Paxton’s memorable directing debut. He stars as a father whose adult son recalls and recounts his upbringing, where the evangelical patriarch spoke about the presence of demons in their midst and asserted that he had been divinely charged to slay them. It’s the kind of film with just enough human contact and accessibility to make its shocking plot – where the father actually brings home random people and murders them in front of his two sons – even more frightening. Paxton is rather terrifying, mostly in the calmness with which he explains and accepts that which he believes he must do. This film also has the distinction of containing one of the few half-decent performances from Mathew McConaughey (see “Lone Star” for another) as Paxton’s adult son. “Frailty” is creepy, effectively moody, and very hard to forget. It’s certainly not for the faint of heart, and it’s one of those films that isn’t as physically visually violent but which saves and executes the greatest horror in its thematic content. You’ll get a good sense of all that from watching the trailer.
Frailty
Directed by Bill Paxton
Released April 12, 2002
If you’re looking for a movie that’s really going to stick with you and haunt you for a good amount of time, check out Bill Paxton’s memorable directing debut. He stars as a father whose adult son recalls and recounts his upbringing, where the evangelical patriarch spoke about the presence of demons in their midst and asserted that he had been divinely charged to slay them. It’s the kind of film with just enough human contact and accessibility to make its shocking plot – where the father actually brings home random people and murders them in front of his two sons – even more frightening. Paxton is rather terrifying, mostly in the calmness with which he explains and accepts that which he believes he must do. This film also has the distinction of containing one of the few half-decent performances from Mathew McConaughey (see “Lone Star” for another) as Paxton’s adult son. “Frailty” is creepy, effectively moody, and very hard to forget. It’s certainly not for the faint of heart, and it’s one of those films that isn’t as physically visually violent but which saves and executes the greatest horror in its thematic content. You’ll get a good sense of all that from watching the trailer.
Sunday, April 3, 2011
Movie with Abe: In a Better World
In a Better World
Directed by Susanne Bier
Released April 1, 2010
It’s sometimes difficult to pinpoint the focal point of a given film because all of its elements feel so strong and complete. A truly stellar ensemble is utilized to great effect, and each of the story threads feels unique, real, and powerful. That’s definitely the case in Danish director Susanne Bier’s most recent Oscar winner for Best Foreign Film, “In a Better World.” Top-notch acting, a magnificent script, and wonderful camerawork are among the aspects of “In a Better World” that make it one of the most moving, memorable, and unmissable films in recent years.
The title “In a Better World” is very fitting for its events and themes, yet it’s interesting to note that the original Danish title of the film, “Hævnen,” actually translates to “revenge,” which is an equally applicable summary of the film. The simplest way to relay the film’s plot as it is set up is to explain that it centers on two young boys with complicated family lives. Christian (William Johnk Nielsen) has just lost his mother, and his workaholic father Claus (Ulrich Thomsen) is unable to provide him with the parental support and stability he desperately could use. Elias (Markus Rygaard) has to deal with his kind-hearted father Anton (Mikael Persbrandt) constantly being away on a Doctors Without Borders-style program, which causes increased resentment from his mother Marianne (Trine Dyrholm). Christian’s arrival at the frequently bullied Elias’ school provides him with just the friend he needs.
It’s hard to think of another film that so brilliantly ties together its themes through the exploration of its characters’ lives. Elias contends with Christian’s violent attempts at retaliation at his bullies, while Anton is pushed around by another father in front of his children and must decide what to do in response to best teach his children. The lawless situation at Anton’s away job also provides a fascinating contrast to his life at home, and it’s impossible to convey the impact of some of the scenes in which retribution and justice are treated. This marks yet another astounding collaboration between writer Anders Thomas Jensen, who also penned the Oscar-winning 2009 short “The New Tenants” and the under-seen 2002 indie “Wilbur Wants to Kill Himself,” and Bier, who previously produced the equally terrific “After the Wedding” together.
The script and the direction are both captivating, yet it’s extremely necessary to praise the bravura of the performances. There isn’t a dud in this cast, and it contains some of the most impressive child performances to date. To learn that this is the first screen role for both Nielsen and Rygaard is mind-boggling since the two turn in such believable and raw portrayals of troubled kids that manage to simultaneously convey such anguish and youthfulness. It’s good to see Thomsen, who has been relegated to playing accented bad guys in bad American movies like “The International,” take on and excel at a dramatic role, and there isn’t much matching Persbrandt, who says just as much with his haunting eyes as he does with his gravelly, booming voice. These situations and lives may be foreign, but this film provides a wondrous pathway into an entirely separate world. Equally engaging, affecting and disturbing, it’s a must-see that is without a doubt the best film of the year so far.
A-
Saturday, April 2, 2011
Saturday Night Movie Recommendations with Abe
Welcome to a new weekly feature here at Movies With Abe. Absent a wealth of new film reviews during the weekend, I’d like to start providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
In a Better World (highly recommended): I wrote positive things about this film back in February before it won the Oscar for Best Foreign Film, and I’ll have a full review up tomorrow highlighting all its terrific components. Essentially, don’t take my word for it – go out and see it yourself. It’s well worth it, and I’d call it the best film of 2011 so far. Now playing at the Landmark Sunshine and Lincoln Plaza.
Super (anti-recommended): To learn that this film is playing at the same cinema as the above film is appalling, and I can’t fathom why that is. If you didn’t catch my review from yesterday, take a read and hopefully that can adequately convey how much of a horrific failure this film that could have been superb is. Please do not visit either the Landmark Sunshine or Clearview’s 1st & 62nd St theatre to see this movie. Please.
That’s all I’ve seen in terms of new releases this week. I’d love to see Source Code for its popcorn potential, so hopefully I’ll get around to that soon. Trust with Clive Owen looks intense and could be good, and that’s playing at AMC theatres in the city only, it appears. Cat Run is described in its press release as “hilariously violent,” which isn’t really much of an appeal. Have you seen anything good that’s currently out in theatres?
New to DVD
Fair Game and Made in Dagenham (both recommended): Two films that mysteriously didn’t receive any awards attention despite starring Naomi Watts and Sean Penn, and Sally Hawkins, Miranda Richardson, and Bob Hoskins, respectively. The former is a taut political thriller that both intrigues and entertains, featuring strong performances from both its stars. The latter is a light-hearted drama about a surprisingly little-known women’s union strike in the 1960s, featuring fun performances and some occasional moving serious content.
Tangled (highly recommended): One of my top ten films of the year somehow missed the boat in the Best Animated Feature Oscar race. While 2010 was indisputably the year of “Toy Story 3,” this should have been the de facto second slot holder, not “How to Train Your Dragon.” It’s an original, imaginative, and wildly enthralling take on a classic fairy tale featuring some great music and quality storytelling.
Black Swan (mixed bag): This was one of two films (the other was “True Grit”) that was bombarded with awards attention and just didn’t do it for me, which as a result garnered increased resentment from me as it won more and more trophies. It simply didn’t wow me like some of Aronofsky’s past films have, and I can’t quite understand why everyone loves it. Still, it was a Best Picture nominee, and it’s worth seeing if you don’t mind the risk of some truly terrifying nightmares.
All Good Things (anti-recommended): This Ryan Gosling film about an unhappy couple isn’t the one from 2010 that you want to see. It’s a very loosely and lazily fictionalized dramatization of what’s been deemed the “most notorious unsolved murder case in New York history” that spends altogether too much time wallowing in its own darkness to get anywhere productive. Not worth the time at all.
Now Playing in NYC
In a Better World (highly recommended): I wrote positive things about this film back in February before it won the Oscar for Best Foreign Film, and I’ll have a full review up tomorrow highlighting all its terrific components. Essentially, don’t take my word for it – go out and see it yourself. It’s well worth it, and I’d call it the best film of 2011 so far. Now playing at the Landmark Sunshine and Lincoln Plaza.
Super (anti-recommended): To learn that this film is playing at the same cinema as the above film is appalling, and I can’t fathom why that is. If you didn’t catch my review from yesterday, take a read and hopefully that can adequately convey how much of a horrific failure this film that could have been superb is. Please do not visit either the Landmark Sunshine or Clearview’s 1st & 62nd St theatre to see this movie. Please.
That’s all I’ve seen in terms of new releases this week. I’d love to see Source Code for its popcorn potential, so hopefully I’ll get around to that soon. Trust with Clive Owen looks intense and could be good, and that’s playing at AMC theatres in the city only, it appears. Cat Run is described in its press release as “hilariously violent,” which isn’t really much of an appeal. Have you seen anything good that’s currently out in theatres?
New to DVD
Fair Game and Made in Dagenham (both recommended): Two films that mysteriously didn’t receive any awards attention despite starring Naomi Watts and Sean Penn, and Sally Hawkins, Miranda Richardson, and Bob Hoskins, respectively. The former is a taut political thriller that both intrigues and entertains, featuring strong performances from both its stars. The latter is a light-hearted drama about a surprisingly little-known women’s union strike in the 1960s, featuring fun performances and some occasional moving serious content.
Tangled (highly recommended): One of my top ten films of the year somehow missed the boat in the Best Animated Feature Oscar race. While 2010 was indisputably the year of “Toy Story 3,” this should have been the de facto second slot holder, not “How to Train Your Dragon.” It’s an original, imaginative, and wildly enthralling take on a classic fairy tale featuring some great music and quality storytelling.
Black Swan (mixed bag): This was one of two films (the other was “True Grit”) that was bombarded with awards attention and just didn’t do it for me, which as a result garnered increased resentment from me as it won more and more trophies. It simply didn’t wow me like some of Aronofsky’s past films have, and I can’t quite understand why everyone loves it. Still, it was a Best Picture nominee, and it’s worth seeing if you don’t mind the risk of some truly terrifying nightmares.
All Good Things (anti-recommended): This Ryan Gosling film about an unhappy couple isn’t the one from 2010 that you want to see. It’s a very loosely and lazily fictionalized dramatization of what’s been deemed the “most notorious unsolved murder case in New York history” that spends altogether too much time wallowing in its own darkness to get anywhere productive. Not worth the time at all.
Friday, April 1, 2011
Movie with Abe: Super
Super
Directed by James Gunn
Released April 1, 2011
There are some movies that, conceptually speaking, really should work. Rainn Wilson, who has spent his career playing off-kilter, peculiar characters and has gained fame as obnoxious oddball and beet farmer Dwight Schrute on “The Office,” is the perfect person to play a down-on-his-luck societal outcast who decides that he should become a superhero and make the world a better place. Ellen Page, who soared to prominence as a knocked-up teenager in a film that likened her to a pregnant superhero, is a fabulous choice to play his sidekick. Now what could go wrong with that start?
Somehow, everything. There’s not a thing in this film that works. It’s hard to fathom exactly where things went awry, but it’s clear that it happens pretty early into the movie. There’s a certain allure of the comic book universe that isn’t captured here, though the people behind and involved in the production seem to think they do a great job. Frank’s initial fascination with the world of comics shows through, but it’s all downhill from there. His sense of what it is to be a hero is hopelessly flawed, thanks mostly to a heinous introductory scene where divine inspiration causes him to don the costume of the Crimson Bolt and expose the world to his idiocy.
This comedy, if it can be termed such, includes a rather shocking and wholly unnecessary amount of violence that quickly turns it from less than amusing to disturbing. Libby’s excitement at the notion of brutality is particularly indicative of something the film doesn’t choose to touch upon extensively: that the way things happen in comic books isn’t the way they happen in the real world. Yet this film throws logic to the wind and chooses to adopt that sensibility to considerably miserable effect.
Both Wilson and Page have been very typecast in their careers so far and are likely to be typecast even more in their professional futures. Usually that’s a boon for a film, yet here it just disappoints because neither of them are anywhere close to their best, and seeming them turn in such poor portrayals is cringe-worthy. At least they’re trying somewhat, as opposed to Liv Tyler, who plays Frank’s girlfriend, and Kevin Bacon, who portrays her new boyfriend. The meshing of the meager performances and abysmal dialogue result in scenes designed to be hilarious coming off as at best awkward and at worst painful. There isn’t a positive moment in the entire film, and it’s a horrific experience from start to finish.
F-