Tamphex Reviews

Who Framed Roger Rabbit (1988)

Brilliant horror

[9/10 · 18 July 2008]

The eighties' classic and technical marvel Who Framed Roger Rabbit, for all its singing, dancing animals and deliberately toonish direction, is above all a horror movie. A chilling, twisted, bizarre and surreal experience which is unlike anything released before or after it (that I've laid my eyes on, anyway). The interaction between man and toon is enough to make you uneasy, as it in my opinion just looks plain wrong. Animated characters should stay within their animated environments; in the real world, their slightly unreal presence is like something out of a bad dream or hallucination. But it is in the film's final scenes, in a genuinely shocking twist, that the true nature of Roger becomes clear. Take my word for it, this is in no way a film for children.

(On a completely different note, Betty Boop definitely should've had more screen time.)

Acting and voice acting is solid. Christopher Lloyd is superb as always, an underrated actor, seemingly born for this type of role. I don't think it would be hyperbole to call Lloyd's Doom one of the best on-screen villains. The Doom character is one of absolute inspiration and originality, and a part that could only have been done justice by someone with Lloyd's understanding of the material. With only a handful of scenes, he leaves the strongest impact on the viewer. Especially his final scenes are nothing short of unforgettable.

If you haven't seen the film yet, you're probably skeptic. I know I'd find it hard to believe that a film about a goofy rabbit with a speech impediment could be unsettling. But it is, and if you watch with an open mind, I guarantee that you will be as weirded out as I was.

Now please, don't get me wrong; Roger Rabbit is both a functional murder-mystery and a chuckle-worthy comedy, and both elements are competently handled by Zemeckis (at the peak of his creativity here). But to me, who was in the presumed target audience by the time I first laid eyes on the film, Roger Rabbit will always be a spine-chilling creation. It is horrifying, and it is a must-see, for those who are ready to tumble down Zemeckis' warped rabbit's hole.

Crank (2006)

The perfect antidote

[8/10 · 7 December 2007]

The new millennium has seen the rise in mainstream cinema of a new subgenre: movies imitating video games. By that I don't mean the vile garbage released by the likes of Herr Boll; I'm referring to the kind of movies whose plots, visuals, characters and dialogue have all the characteristics of those found in a video game. The latest George Lucas flicks (most notably Revenge of the Sith), the Matrix sequels, I, Robot, Aeon Flux and especially the recent 300 are the best examples of the genre - movies that feature gigantic CGI worlds, huge battle sequences, and, sadly, silly dialogue, cardboard acting and a vapid story that nobody cares about.

Crank is the first movie I've come across to openly satirize this new trend - it is a movie that explicitly aspires to be a video game, and makes no secret of it. It's as shallow, forgettable and devoid of any depth or meaning as the aforementioned movies, the crucial difference being that Crank doesn't take itself seriously - not for one second. This makes Crank infinitely more entertaining to watch. It promises no deep messages or epic storytelling, only violence, a half-naked Amy Smart, over-the-top stylistics and an adrenaline kick to the heart - and it most certainly delivers.

From the very first frame, dizzying camera-work and wild heavy metal soundtrack puts the viewer into the exact same mindset as that of Statham's character, and 86 minutes later, as the comically violent roller-coaster comes to a stop, the viewer's heart is still racing. It's just that effective. Mark Neveldine and Brian Taylor is a duo to watch out for in the future. Heavily influenced by MTV, Guy Ritchie movies and, naturally, video games, they have created a flick that stands out in its genre as something truly unique.

As I wrote earlier - Yes, it's shallow. No, it's not anything deep. No, you won't be thinking about its plot, themes or messages for days after. But - in a decade of movies wherein actors of Ewan McGregor's calibre bounce around slaying cartoon robots and Gerard Butler prances around in underwear growling about dining in hell and keeping a perfectly straight face doing so - we need more movies like Crank.

Mr. Bean (1990–1995)

I honestly can't remember...

[10/10 · 6 November 2007]

...the last time I laughed this much. It's a testament to the talent of Rowan Atkinson that he has managed to create a comic character with several layers and a clearly defined personality - without hardly ever speaking a word. The whole success of the program rests on Atkinson's shoulders, but he carries it with ease. Despite the fact that the show only ran for one season, anyone even vaguely in touch with pop culture recognizes the rubber-faced social 'tard, so great is the talent and effort put into the performance. At times exasperating, at times lovable, Mr Bean is an innocent, unlucky chap who also happens to be evil incarnate. The brilliance of this character cannot be put into words, you have to see for yourself.

The show gets almost too depressing at times, like in the infamous New Year's Eve sketch, or when Bean celebrates his birthday by going alone to a restaurant, offering himself a congratulatory card signed by himself, and being served a stake he doesn't quite fancy. Still, there are times when you can't help but feel impressed by the inventive methods by which Bean gets himself out of trouble, like when he disposes of said stake in numerous clever-ish ways, or when he changes into swimming trunks without taking his trousers off first! Whatever your reaction to Bean and his unorthodox lifestyle, you're bound to throw fits of laughter while watching.

Finally, I'd like to point out that although "Bean" is classified as a program for children, it is just as enjoyable for any grown-up with a sense of humour. Because the more "adult" jokes will go over the heads of the little ones and the intelligent slapstick (yes, there is such a thing) is funny no matter what age you are, "Bean" is the truest definition of a family show. This is justly a classic and it always brightens up my day.

Mr. Woodcock (2007)

More mediocre comedy from Thornton-on-autopilot

[4/10 · 1 November 2007]

Like last year's School for Scoundrels, Woodcock is yet another movie in which Billy Bob Thornton plays a violent dick (no pun intended) and fails to be anywhere near as funny as he should be, thanks to a sloppy, almost laugh-less script. To make matters worse, he's not the only comedian whose considerable talents are wasted on this predictable mess; Ethan Suplee and Seann William Scott, two of the funniest men alive, have nearly nothing to do with their characters. Speaking of predictability, here's a cliché for you: Seen the trailer? Then you've seen the movie. Just about every truly funny part was crammed into the commercials.

I love Bad Santa and all, but it has really done more harm than good seeing as another Thornton-acts-like-a-sociopath-and-gets-away-with-it "comedy" gets released every year. He is an amazing actor and totally wasted on these forgettable carbon copies. I'm not denying that I laughed a couple of times ('cause let's face it, Thornton abusing kids is funny by default) but in the end Woodcock is just a half-baked comedy-drama which is neither hilarious nor touching.

Punch-Drunk Love (2002)

Paul Thomas Anderson redeems Sandler's mileage

[9/10 · 29 October 2007]

I find Sandler almost unwatchable in his "comedies". It takes no talent, comic or otherwise, to do the things he does in "Gilmore" or "Madison". 1998's "Wedding Singer" was a step in the right direction, but it wasn't until Sandler paired up with insane director Paul Thomas Anderson that the former's true talent was exposed to the public. As Barry Egan, Sandler embodies a character who is a psychological wreck, so beaten down by life and with so much bottled up inside that he makes Norman Bates seem extroverted. It's a stunning performance that reveals just how great an actor he can be when given the right material. Emily Watson is more than equal to Sandler as her heaven-sent, wide-eyed riddle of a character. Philip Seymour Hoffman also deserves a mention as a scene-stealing, sleazy mattress salesman.

The cinematography is amazing, with impressive long takes that let the performers shine in their roles, and the use of sound and music is very intelligent and effective. So effective, in fact, that for the first half of the film it becomes quite painful to watch. You're not watching Barry from a distance - you're there with him, and you're manipulated by Anderson to feel what Barry feels. It's not the easiest film to watch, but don't worry - it does have a happy (not sappy) ending.

A superb film, emotional, captivating and genuinely romantic, with Sandler's best performance to date. If you liked him in this, I must recommend 2003's criminally underrated Anger Management, where he plays a similarly subdued, repressed character. As for Punch-Drunk Love, it is easily one of the best post-2000 films, although it will leave the Big Daddy fans scratching their heads.

Dragonslayer (1981)

"Unclean beast! Get thee down!"

[7/10 · 22 October 2007]

First of all I'd like to say that whoever convinced Peter MacNicol he could act should be stabbed repeatedly in a vital internal organ and thrown into a nearby river. I mean, I know this is a fantasy flick and that one should expect a fair amount of cheesiness, but come on - this is more ridiculous than the emo lifestyle! Putting the painful performances aside, this is a rather enjoyable dark fantasy movie; definitely flawed, but interesting enough to be worth seeing all the way through. It does tend to get quite bizarre from time to time, such as when MacNicol's apprentice uses magic to strip his 70+ male buddy down to his undies, but the brilliant acting of Ralph Richardson as the token wise wizard and Return of the Jedi's Ian McDiarmid as a manic man of the lord (his short scene is easily the best of the movie) make up for it. Most importantly - and this is why I gave it such a high rating considering its numerous flaws - Dragonslayer features the coolest dragon I have ever seen in a movie. Many viewers will sneer at the primitive effects, but they can't deny that the design, style and craft which went into making the beast are all impeccable. Personally, I prefer the stop-motion technique herein to out-of-place cartoons that sound like British agents.

I'd also like to add that the grand finale where the token wise wizard does battle with the dragon on top of a mountain is quite impressive, especially considering that director Matthew Robbins' only previous experience came from a summer romance movie starring Mark Hamill. Overall, Dragonslayer isn't a great movie in any way, or even a classic of its kind, but it is a cult movie, and a must-see for dragon enthusiasts as the dragon is quite brilliant.

Wild Strawberries (1957)

Flawless

[10/10 · 21 October 2007]

I could never hope to do justice to this film in writing. I could ramble on and on about it, spouting adjectives like "warm", "funny", "honest", "chilling", "captivating", "intelligent" and "poignant", but what would be the point of that? Other, more eloquent reviewers have already said it better than me. I'd just like to say that it's a shame many dismiss Bergman's work as the epitome of pretentious, incomprehensible, depressing foreign cinema for art-house snobs, when it really is anything but. Unlike the stereotypical Bergman film, Smultronstället is all at once terrifyingly honest and beautifully uplifting. The performances by Victor Sjöström, Ingrid Thulin and Gunnar Björnstrand are beyond description, and the script by Bergman himself has to rank among the best ever written. Not to mention the direction, which is by turns spine-tingling and heartbreaking, and the unforgettable cinematography by Gunnar Fischer. Smultronstället manages to combine flawless and impressive technical aspects with an understandable story that is timeless and easy to relate to. No other film does this as well as this one, which is why I don't hesitate to call it the greatest film ever made.

Anchorman: The Legend of Ron Burgundy (2004)

"I love... carpet. I love... desk. I love... lamp."

[7/10 · 21 October 2007]

A consistently funny movie whose humour is very similar to that of Seth McFarlane's "Family Guy", minus the flashbacks and never-ending chicken fights. The basics are still more or less the same: thin, largely inconsequential plot line, one-dimensional characters, non-sequiturs, gay jokes, and half-baked social satire. Steve Carell dominates every scene he's in as the slightly challenged reporter Brick. Though the plot, as I said, is impossible to care very much about, the film never bores thanks to an endless onslaught of dumb jokes and a great cast. Ferrell, Koechner, Carell and the incomparable Paul Rudd are perfect as a quartet of misogynist, homophobic news reporters whose lives are turned up-side-down when an ambitious woman (gasp!), played by Christina Applegate, starts working at their office.

Some might say that the social satire doesn't work, but I think that in a time when page after page in newspapers are devoted to the likes of Britney Spears, Lindsay Lohan and Paris Hilton, the notion that a pregnant panda becomes a huge national event doesn't seem so absurd. Overall very entertaining in a "I think I just got substantially dumber" kind of way. If the steady stream of gags don't do it for you, there's always the virtual marathon of cameos to enjoy: Ben Stiller, Jack Black, Luke Wilson, Tim Robbins, Danny Trejo, Vince Vaughn, Fred Willard, Missi Pyle, Seth Rogen, the list goes on. 60% of the time, you'll like this movie 100% of the time.