cheryllynecox-1 Reviews

Fuel (2008)

The Education of Joshua Tickell

[7/10 · 13 July 2010]

Most of the reviews of "Fuel" rave about Josh Tickell's entertaining presentation of solutions to our global addiction to gasoline and oil. Last night's screening couldn't have been much more serendipitous for the filmmaker. I mean, let's face it, 86 days into BP's rogue well catastrophe, and it was not surprising that Florida State's Student Life auditorium was packed with a diverse group of community residents and students. It was, after all, a free screening.

"Fuel" didn't offer any solutions that haven't already been publicly addressed in a variety of ways by a number of visionaries. Relying on the filmmaker's personal journey from an undergrad thesis project that escalated into a crusade, the film came across as a tad pedestrian. Tickell's experience with alternative fuel sources as a substitute for fossil fuels is indeed impressive. It would be difficult to criticize his passion, or his mission to encourage and nurture change.

BUT, "Fuel" was entirely too precious for me to rave like the other critics. Littered with proactive celebrities like Julia Roberts, Willie Nelson, Larry David, Cheryl Crow and many others, it occurred to me that "Fuel" was way too proud of itself, and way too involved with the idea of celebrity. For someone who is presumably an activist, I wondered about all of the air miles and fuel Tickell spent courting an Irish scientist in Cork, German engineers in Europe, etc. I thought about the air miles he used to attend celebrity-filled festivals.

After I viewed "Fuel" last evening I reread Henry Adams's "The Virgin and the Dynamo" and was reminded about the consuming nature of a contemporary society that has detached itself from the Aquinas-like faith of the middle ages. Adams penned his famous chapter after attending the Paris Exhibition at the turn of the last century. The internal combustion engine (a small dynamo) was featured at the exhibit. "Fuel" devotes a segment that addresses the 1900 event, and the historical context Tickell offers is particularly compelling. The Louisiana information was also edifying.

While "Fuel" had many successful segments, it could be edited and condensed into a more meaningful film that does not require nearly two hours of air conditioned airtime. It reminded me too much of one of those Sally Struther's "Feed the Children" TV campaigns.

Despicable Me (2010)

Wild Ride!

[10/10 · 10 July 2010]

If Warner Brothers and Disney Animation Studios had ever had a baby they might have named it Illumination. The machine behind "Despicable Me" takes the wacky bits from old school cartoons and applies 21st century animation technology to produce a hip and well articulated masterpiece. From start to finish, the film was absolutely captivating and sophisticated with an engaging narrative and imaginative characters.

All of the characters were well-voiced, but I found Jason Segal's "Victor/Vector" villain particularly inspired. The little yella fellas were uniformly charming and I expect they'll probably have their own aisle in toy stores very soon. Carell's crazy villainy was perfectly tuned, as was Julie Andrews whose new voice adds a delightful note as the Despicable mother. The juvenile vocals brought both sass and sweetness to the story, and Kristen Whiig was smarmy in a distinctly southern way.

The humor is rich, with winks at classic cinema like "Taxi Driver", "Apollo XIII", and others. The Bank of Evil is staffed by former Lehman brothers execs, and recurring motifs and jokes create a comic continuity that is sustained through the credits. "Dispicable Me" was my second choice, but now I'm very happy was running a little late this evening.

Exit Through the Gift Shop (2010)

Gotta Getta a Guetta

[9/10 · 10 July 2010]

Like the very nature of the underground street art movement "Exit Through the Gift Shop" feels fresh and almost subversive. It doesn't matter to me if it is a conceptualized mockumentary, or a genuine attempt to record the outsider reality experienced by brilliant street artists like Shepard Fairey, Invader, and the infamous Banksy. "Exit Through The Gift Shop" is mischievous and immediate in the same way that street art is.

Mainly we watch the evolution of Thierry Guetta from an obsessive-compulsive videographer to a successful popular artist whose street credibility is quickly parlayed into the show of shows. Guetta takes contemporary icons and gives them Warholian emphasis, so we see a reinvention of Madonna, who once reinvented herself in a Marilyn-like way, and who we later learn commissions Mister Brainwash (Guetta) to design her cover art. Guetta's point-of-view is absolutely authentic in the way it synthesizes and skewers popular culture. Or is it Banksy's point-of-view? It doesn't matter. It's brilliant, provocative, charming, and completely entertaining.

How to Succeed in Business Without Really Trying (1967)

Happy 100th Birthday, Frank Loesser!

[10/10 · 29 June 2010]

It is brilliant that tonight, June 29, 2010, TCM is paying tribute to an icon of American Popular Music; one whose canon includes the brilliant "How to Succeed in Business Without Really Trying". Straight out of the ring-a-ding sensibility of the mid-sixties, "HTSIBWRT" is a pitch perfect parody that nobody but Frank Loesser could have captured with such wicked aplomb.

Carefully directed by David Smith, Loesser's music and Bob Fosse choreography transition well from Broadway to the Big Screen. The costumes and set decor reflect the post-modern lines and plastic palette of 1967 as a last ditch defense against the intrusion of anti-establishment Bohemia and counter culture codification.

J. Pierpont Finch, masterfully brought to life by Robert Morse, is shamelessly self-serving without being obnoxious. Morse demonstrates absolute genius in the lead: he sings effortlessly and is a charming hoofer. He gets a major assist from a gorgeous Michelle Lee, as Rosemary, whose clarion voice beautifully conveys some of Leosser's loveliest lyricism.

What I find particularly compelling 43 years after HTSIBWRT premiered is the role that Morse is currently playing on the small screen. As the head of "Mad Men"'s Sterling-Cooper, he has immersed himself in a role that comes from another angle of the sixties corporate culture. I wouldn't be surprised if the creative forces behind AMC's "Mad Men" weren't influenced by Frank Loesser's exceptionally clever "How To Succeed in Business Without Really Trying".

To Kill a Mockingbird (1962)

A Timeless Treasure with Universal Appeal

[10/10 · 20 June 2010]

With its tight opening study of a tattered collection of cigar box treasures accompanied by the playful sounds of a child quietly at play, "To Kill A Mockingbird" elegantly captures a specific time and place. The Elmer Bernstein score soon introduces not much more than a piano and clarinet, but the effect remains timeless, perfectly describing that innocent age that children once shared universally. Even as Bernstein's orchestrations become more complex or playful, like Copland, the music delivers a delicately nostalgic tone throughout.

The night this film first premiered on network television back in the late 60's, my parents weren't willing to let me stay-up to watch it. They were afraid that Harper Lee's coming-of-age story dealing with racism, rape, social justice, and other issues would be a tad too adult for my early adolescent mind. They didn't know that I had already read the book. As luck would have it, our house was on the market, and my teacher stopped by for a showing that very day. She petitioned my parents on my behalf and persuaded them to allow me to watch it. Which I did, with them. I wish I could remember the name of that wise woman, but I've tried to pay it forward.

I have since taught the book, and reinforced it with the film. Truly, "To Kill A Mockingbird" is one of those rare films whose screenplay adaptation (Horton Foote) beautifully realizes Lee's masterpiece. The performances are unadorned, and respectively courageous or outrageous without ever dissolving into caricature or melodrama. The chiaroscuro effects achieved by the black and white format allows the viewer to imagine a world when color often undermined the best intentions of good people.

This is a film to share with your children, or their children. I am very happy that "To Kill A Mockingbird" is a prime-time feature this Father's Day.

Toy Story 3 (2010)

Smart Barbie and Beyond

[10/10 · 19 June 2010]

While I think I've been ripped-off recently with other 3-D experiences, (Alice in Wonderland especially), I knew that Pixar Studios wouldn't disappoint. Preceded by an absolutely charming confection, I was perfectly primed for the epic adventures of Buzz, Woody, and company. Andy is finally leaving home for the next phase of his life--one that won't include his plastic posse. His edited toys, sans Woody at first, are joined by Molly's Barbie for a trip to a strange new land. Part prison movie, part disaster film, the outrageous stakes have rarely been higher, and each act supported a clearly delineated narrative.

Other new characters include the creepiest doll since Chuckie, a strawberry scented purple bear whose southern graciousness conceals a machiavellian desire for power and control. Ken, another iconic character, is as much of a surprise as the scary mechanical monkey is delightfully disturbing.

I adored this elegant final chapter in the Toy Story Trilogy, and think some of the tears I shamelessly shed reflected the bittersweet feelings I have about most farewells. Never can say goodbye, no, no, no, no, no.

The Square (2008)

A Shaggy Dog and More!

[10/10 · 5 June 2010]

With cheap Christmas stuff coiled around most of it's Aussie edges, "The Square" was suspenseful and fun to watch. The stupidity of the main characters, like most film noir, set-up a nasty sequence of events that become complicated by twisted motives and coincidental plot developments. Our main character, Ray Yale, is as pathetic as his mistress, Carla Smith, is desperate, and we know that they're both going to suffer some heavy consequences for their selfishness. Still, we hardly imagine that so much is going to go so brilliantly wrong.

The director, Nash Edgerton, must have enjoyed playing with all the production values of "The Square" as much as his brother, Joel, enjoyed writing the story upon which the screenplay evolved. I mean, really, can anyone think of a better name for a contemporary interpreter of the genre than a chap named Nash Edgerton? Not only did we get the usual dark images and sweaty brows, but Edgerton was also able to provide a shaggy dog and a baby, too! "The Square" is a film that should entertain most people who enjoy the film noir genre.

2012 (I) (2009)

I Couldn't Help Myself

[9/10 · 1 June 2010]

With less than 900 published site reviews so far, it is clear that I've been in denial about this guilty pleasure of a disaster film since I saw "2012" on opening day many months ago. Did I like it? I must confess that like most epic films of this genre, I adored it, lurved it, crave more. Perhaps I should explain...

John Cusack is the most charming screen star since James Garner, and if the world was ending, as it is in "2012", I'd definitely sit shotgun next to him. Does he take this role too seriously? Well what would you do if you had to deliver your family and their likable new step dad to the mothership? I expect you'd demonstrate the necessary derring-do required to win back the respect and love of your former wife.

Disaster films reflect the overarching and epic qualities I usually associate with fine opera. Villainy is as clearly defined as virtue, and the tragic hero always wrestles with both. Everything is big, big, BIG and while there are few surprises, that is the most delicious and salient quality of the disaster film genre. We know that the world is ending, and we know that the bad guys are going to lose, and we also know that the good guys are going to triumph. We watch so that we can weep with the survivors and cheer when they overcome predictable plot points.

"2012" offers every spectacular obstacle that ever existed in its genre. It culls from classics like "Earthquake", "Posieden Adventure", "Independence Day" and "Airport" to provide every conceivable dangerous complication. Collapsing bridges, erupting volcanoes, and tidal waves compete for screen time while Cusack and company overcome the collapse of capitalism and greedy free marketeers from "other" cultures. Now, I may have laughed more often than I should have, but I celebrate the genius of lines like "Why does it take the end of the world for us to realize..." Familiarity doesn't necessarily breed contempt after all.

I don't know yet if I'm going to add the DVD to my collection. "2012" requires a screen as big as director Roland Hemerich's ego, and a sound system that might rival "High Fidelity"'s Rob Gordon. I highly recommend "2012" for all the wrong reasons, and if, like me, you enjoy cheesy narratives articulated by superb artifice, then I suspect you might also enjoy "2012".

City Island (2009)

What a Fine Web We Weave . . .

[10/10 · 23 May 2010]

Not since "Daytrippers" or "Secrets and Lies" have I enjoyed a domestic comedy so much! "City Island" offers film lovers superb performances and top-notch production qualities. The smart screenplay unfolds like a road map leading viewers toward a rewarding destination full of scenic side trips. I especially enjoyed how the idea of a secret fuels not just the narrative, but also brings us closer to each character's point-of-view. I laughed and groaned with equal delight at the complications and conflicts that could have become treacly, preachy, or pretentious but, instead, made me feel like a bemused father confessor.

I am surprised that "City Island" hasn't received much promotion, although it has been playing in my local art house for nearly a month. There was not a false note in the film, and I'm looking forward to seeing it again soon. I know that it will be a DVD worth adding to my collection--one that I'll enjoy sharing with others.

Babies (2010)

It's a Small World After All

[7/10 · 10 May 2010]

When "Babies" comes out on DVD, it will be the perfect baby shower present for any parents-to-be. From the opening sequence with its variety of birth preparations, delivery environments, and the way that different cultures welcome new life, the viewer is given rare glimpses of a beginning. From there the filmmaker features the developing personalities of the respective babies.

The Mongolian baby is swaddled and often left alone with the occasional rooster and later toddles along alone among the cattle. His big brother is a bully, but he learns to stand on his own.

In Namibia, the baby is immediately socialized with other babies and children. The community of mothers share nipples, grooming, and other responsibilities, but mostly seem willing to let the babies learn their own lessons in their own ways. Not only do we see babies eating just about anything discovered on the ground, or crawling through the dusty plains, but we also enjoy their wild joy during play or dance.

The temper-tantrum of the Japanese toddler was one of the most delightful segments of "Babies". The little girl's world, carefully observed from her first moments, is nurtured by devoted urban parents whose world view is from a tall apartment building.

Born to earthy San Franciscan parents, the American baby is the center of her parent's universe. Her world is full of books, pets and parks. Some might consider her over-indulged, but her parents seem mellow and mature as they prepare their daughter for a future that she'll share with children from Namimbia, Mongolia, Tokyo, and every other global neighborhood.

I appreciated many moments during the many vignettes that linked developmental milestones of the four babies. The film demonstrated how much more alike we all once were before we learned to abide by this ideology, or that cultural construct. Whether our nourishment comes from a disemboweled goat, a cardboard box, or a farmer's market, we all require a connection with something grander and greater than ourselves.

Small Island (2009)

Gripping Social Drama

[25 April 2010]

This compelling two-part Masterpiece Theatre offering is another reason why people should support public television.

A period piece placed in the not too distant past, Director John Alexander has assembled a fine cast to portray expatriated Jamaicans who, for a variety of reasons,choose the English Motherland over their Caribbean homeland. Set in the postwar years following Hitler's defeat, "Small Island" explores racial issues and colonial ideology. It also provokes viewers to examine the concepts associated with legitimate birthrights and those who are heir to less than noble beginnings.

I may hate the pledge drives, but quality public programming makes for satisfying presentations like "Small Island" worth all those gift mugs and tote bags.

Nonames (2010)

Timely Portrait of Small Town, USA

[6/10 · 10 April 2010]

Kevin and CJ, the main characters of "Nonames", have been together for a long time, especially for their 20-something years. They are as committed to each other as they are to the crumbling Wisconsin mill town in which they live. The Mill is letting people go, other businesses tumble, and people leave for other opportunities. Kevin and CJ stay for each other, and also stay for their like-minded friends. Their rowdy crowd drinks, smokes, and cavorts as though they are about to be hacked to death in a slasher film.

Sound depressing. It is. It's also, from what I've observed, not too different from what has been happening throughout small towns all over our heartland for the last three years (and counting). When times are tough, survivors learn to lean on one-another. The characters that surround CJ and Kevin, aren't ever as completely developed as our young lovers (with a few exceptions to be noted later) but friendship and affection aren't always based on shared intimacies. Indeed, in "Nonames" comraderie seems to be based on a mutual desire to escape reality rather than share or explore a deep awareness of self or community.

The production values in this film are solid and serve the narrative action from beginning to end. Cinematography was pretty straight forward without many tricks--clean and effective. I enjoyed the soundtrack and continued to root for CJ and Kevin throughout the film. I could tell that this project was deeply personal for writer and director Kathy Linboe. It must be difficult to edit a film that signifies real events and documents one's memory of a particular place and time. Still, overall, the film is largely satisfying even though I might have trimmed-off a good ten minutes or so. There were some confusing transitions and unclear connections that could be better explained. I hated one particular speech that reminded me of Richard Gere's "I got nowhere to go . . ." monologue in another movie.

Gillian Jacobs and James Badge Dale do not disappoint as our star-crossed lovers struggling against the odds to make something of their life in tandem. Their scenes together are alternately sweet, frustrating, or disturbing. Barry Corbin is right at home is this film as not just a potential employer, but also as a part of the hard scrabble community. His Ed does the best he can to help-out the young men in his community. Peter McCain does a nice job as Dave, a young dad and bartender who seems to be more stable than his friends. Jack, portrayed by Allen Hamilton, is also a small but powerful role.

I admire many things about "Nonames", and appreciate its dark portrait of deteriorating rural communities. The film celebrates loyalty and friendship no matter how big your opponent is, or how stupid your friends might be. It also reminds us of the lingering power of place and how it continues to inform and influence character for the rest of one's life.

That Evening Sun (2009)

Sordid Southern Scorcher.....Yee-haw!

[8/10 · 10 April 2010]

There is a lot to recommend Scott Teems "That Evening Sun", and I'm happy I was able to catch a recent screening as a premier event of the Tallahassee Film Festival. Kindly indulge my regional preference for literature and the performing arts, but you really can't beat the local color of the rural South. This melancholy narrative is driven by simmering grudges,ill-gotten gains, and combustible relationships. It's as though William Faulker and Flannery O'Connor collaborated on Teem's script with its southern Gothic allusions and ironic events.

Hal Holbrook as the title character, Abner Meecham, is brilliant with his tenacious attitude, and wizened expressions. He may be old, but he's still capable, resourceful, and completely self-absorbed. Dream sequences and memories allow us to see his softer side as he relives tender moments with his late wife (played by the bewitching Dixie Carter, his real-life wife). He receives little support from his son, a busy attorney well-played by Walton Goggins. Their mutual disaffection is palpable and practically Shakespearean. Abner is not easy to love.

Abner's primary nemesis, Lonzo Choat, is a surly ne'er-do-well who relies as much on his monthly disability check as he does on cheap beer. Ray McKinnon gets a lot of mileage out of Choat's brutal nature and proprietary relationships. His rustic wife (Carrie Preston) and daughter (Mia Wasikowska) each exhibit individual strengths, but can't overcome the overarching power of Lonzo Choat.

Barry Corbin also lends a powerful performance as Abner's long-time neighbor and fellow octogenarian, Thurl Chessor. Abner and Thurl have known each other long enough that conversation is perfunctory, but comfortable. Neither wastes words nor breath, they are comfortable passing time without much fuss or muss, but not too much time lest they seem too dependent, too feminine.

"That Evening Sun" is beautifully shot capturing the simple bucolic beauty of rural Tennessee as kudzu slowly reclaims abandoned barns, and landscapes buzz with the heat and activity of hidden hives and birdsong. The soundtrack is a nod to depression-era country crooners, and Jimmie Rodgers adds the ideal poetic punctuation with his yearning yodels. I will see this one again.

Sneakers & Soul (2009)

Coulda', Woulda, Shoulda . . .

[3/10 · 10 April 2010]

I had no preconceived notions about this Tallahassee Film Festival offering when I viewed it last night, but I am always willing to surrender to quirky art and off-beat creativity. I didn't find much of either in "Sneakers and Soul" to be able to recommend it. The best thing about it is its title, and the second best thing is the charming young actress who plays a featured role.

Actually, there are some other entertaining elements. I enjoyed the opening animation although it seemed to introduce the wrong film. The soundtrack is pleasant, too. "Sneakers and Soul" is simply the little movie that tried way too hard to be an art film. It played like a big-budget student film with rich images and artful tableaux, but the dialogue often seemed as contrived as some of the absurd situations.

Hot Tub Time Machine (2010)

Hot Mess Tub

[4/10 · 26 March 2010]

Nobody who knows me could believe that I wanted to see this film on opening day. Thankfully, I wasn't able to persuade any of them to see it with me so I don't owe anyone an apology. I appreciate smart farces, and because I have enjoyed other bromances like "The Hangover", "I Love You, Man", and even "Leaving Sarah Marshall", I had every reason to expect I'd enjoy "Hot Tub Time Machine". The positive review in today's Tallahassee Democrat along with IMDb's user reviews boosted my expectations, but I'm not blaming anyone but myself...and maybe Steve Pink. Writers Josh Heald and Sean Anders should each dope slap each other.

The premise is nothing new. Wacky time travel to the high water mark of late adolescent hedonism and hormones takes us smack dab into the mid-eighties. The cultural remnants are fun but not enough to sustain the momentum of the film's ridiculous schtick. There are lots of grody takes and tons of chemical excess interlaced with running gags and absurd couplings. If this were a recurring satirical bit on SNL, it might be amusing, but "Hot Tub Time Machine" dissolved into tedium about twenty minutes in.

Rob Cordry, Craig Robinson, and (big sigh) John Cusack all performed adequately. Clark Duke was effective and the most convincing of the actors. I almost believed his goofy gamer geek along for the crazy ride. Chevy Chase's role was annoying and unnecessary. Female roles were also incidental and mostly one-dimensional...forgettable for the most part.

As producer, John Cusack has broken my heart. Totally.

The Last Station (2009)

A Tolstoyan Gospel

[27 February 2010]

Russian novelist, Lev Tolstoy, a nobleman, is conflicted by the ascetic ideals embraced by his followers and the noble notions of his passionate wife, Sofja. He is a 19th Century literary superstar whose philosophy has inspired the adoration of class-weary anarchists, some of whom harbor less than Tolstoyan motives. "The Last Station" is about family loyalty, distribution of wealth, seduction, and the abiding quality of romantic love.

Sumptuous details emerge out of the mist as we travel back 100 years to the pre-revolutionary Russian countryside. Michael Hoffman's canvas includes dense birch forests, and cluttered interiors softly aglow with lantern light. The camera often lingers artfully on faces filled with longing, passion, despair or disgust. Everyone seems to be watching Tolstoy--paparazzi follow him everywhere, and sycophants record his statements religiously. The attention sometimes annoys him, other times amuses him, and it would seem that he feels entitled to this level of celebrity.

Helen Mirren is dazzling as Tolstoy's devoted wife. She is shrewish one moment and coquettish the next, wearing every emotion honestly on her aristocratic sleeve. Playing Lev Tolstoy with an almost bewildered sensibility, Christopher Plummer allows us to see the philosophical divide between his desire to live a Christ-like life, and his reluctance to betray his wife. James McAvoy is impressive as a professional observer who learns the difference between theory and practical reality. Paul Giamatti makes a chilling Judas-like Chertkov, a pivotal power-broker within the Tolstoyan network. As loyal Tolstoy daughter and avid Tolstoyan devotee, Anne-Marie Duff's Sasha is as tortured as any character you might discover in her father's novels.

The film finds a pleasant balance between history and romance while avoiding precious plot devices and artifice. Some might consider it a bit too contemplative, but I appreciate a director who understands the power of well-constructed dialogue, brilliant performers, and an audience willing to savor the tragic but triumphant nature of love.

Blue Valentine (2010)

Red, White, and Mostly Blue Valentine

[8/10 · 14 February 2010]

This family album is familiar. A beautiful small town girl meets an eccentric but charming stranger and they fall in dumb. Five years and one enchanting child later, his romantic notions sustain the illusion of his happiness, but her reality is not so poetic. This is a quick snapshot of Dean, Cindy, and Frankie. What happens in this family is what happens to so many others when affection is replaced by contempt, when passive aggression becomes less the former and more or less the latter.

Derek Cianfrance has been developing "Blue Valentine" for nearly 12 years, and his film is not just a complex portrait of its two main characters, it's also profoundly honest as it examines intimacy from every angle. Emotionally and physically, the romantic story of Dean and Cindy flashes backward in beautifully edited matching shots that show us the first flourish of affection, and the final backlash of frustration. Cianfrance doesn't force his audience to choose sides though it was probably easier for me to identify with Cindy. That's what is the most compelling about this film. I cared about both of the main characters and didn't want either to lose. Ryan Gosling and Michelle Williams both delivered superb performances and each took a little piece of my heart. Or as Tom Waits said in his song, "It's the tattooed broken promise" (Dean has a "Giving Tree" tat on his upper arm).

The camera work and art direction are exceptionally effective. Set primarily around Independence Day, we see flags, fireworks, and all realm of red, white, and blue. This motif is subtly conveyed with the lighting and costumes throughout the film and continues throughout the credits. Fireworks serve as a last reminder of the explosive power and fractured remnants of a brief illumination.

When this film is finally released, I expect it will receive an R rating for some fairly graphic nudity and explicit sexuality. There is also a brutal fight, alcohol consumption and smoking. And if that's not enough, a near-abortion might be too much for some, but hey, this is a very contemporary portrait of a familiar American marriage.

Valentine's Day (I) (2010)

Stupid Cupid

[12 February 2010]

I want to go on record by stating first and foremost that I am not jaded or some cynical non rom-commer. I admit that there are some sappy romantic comedies that I shamelessly adore in spite of myself. "Valentines Day" is not one of them. Here's why . . .

It assumes that the general movie-going public has neither imagination nor refinement. The overlapping stories lack the charm of say, "Love, Actually" and lack the wit of say, "Serendipity". Yes, Garry Marshall has assembled a diverse cast of comely characters, but who cares! Well. . .apparently plenty of people at tonight's screening did care because there was plenty of snickering going on. And sighing. And at one point, even a communal groan from a chorus of broken-hearted ladies. This crowd pleaser is clearly aimed for the "Must Love Dogs" types.

Ashton Kucher fared better that I expected. He held his own with a goofy swagger that was almost believable. Julia Roberts also surprised me by doing almost nothing and by doing it well. Her scenes with Bradley Cooper were actually sweet. Taylor Swift's debut demonstrated promise as she delivered a quirky adolescent innocence to her scenes. I enjoyed George Lopez as much as I was annoyed by the kid who played Edison. Yeah, "Valentines Day" was self-consciously and overtly multi-cultural, not because its audience is intended to be anything other than standard chick-flick patrons, but because, I suppose, its the cool thing to represent. Enough already.

Production qualities were gooey LA confections that made me think the City of Angels was nothing but clean little highways and byways leading in and out of quaint neighborhoods, beach front bungalows, opulent Hollywood mansions, and tidy apartments. Whoever thought it would be funny to include airport limo drivers holding placards seeking "Unger" and "Madison" was right.

I expect those people who worry about me because of my contempt for films like "Titanic" and "The Notebook", will continue to pray for me, but I can't recommend "Valentine's Day" to anyone who genuinely appreciates a good love story, or who also enjoys a clever comedy.

Crazy Heart (2009)

Bridges: Bad, Boozey and Brilliant

[6 February 2010]

By now nearly everyone has heard that "Crazy Heart" is fueled by the dazzlingly grizzled performance of Jeff Bridges--one that has earned him several nominations including the Oscar. I won't be surprised if he wins because his Bad Blake is not simply a distinctive interpretation of a fading legend, but Bridges also brings a battered romanticism to the role. It could have been a cliché-movie-of-the-week, but instead "Crazy Heart" surprised me with its humor and smart supporting performances.

Maybe other people knew that Colin Farrel could sing, but I didn't. Farrell's Tommy Sweet could have been superficial and smarmy, but instead he demonstrates tremendous tenderness and likability. Sweet lives up to his name and delights as an authentic bright and shiny person. Bad Blake looks especially wizened when he shares a smoke with his former protégé--an important contrast.

Maggie Gyllenhaal brings a smoldering innocence to her portrayal of the small town reporter, Jean. Her attraction to Bad Blake is easy to understand once we see the poet emerge from behind all that smoke and whiskey. She is the reluctant muse who leads to Bad's awakening.

I was happy to see Robert Duvall add his own organic charm as Bad's longtime friend, Wayne. A sober bartender, Wayne is always available when Bad most needs him and it often seems like he is summoned out of the ether like 'on-star'. Duvall's generous performance is especially notable when I recall the similar vehicle, "Tender Mercies".

This was the first weekend that "Crazy Heart" was screened in my area, and I remain jealous of those who got to see it weeks ago, but delighted to finally enjoy today's matinée. Apparently many fans have been paying attention because it's been a long time since I've seen the cinema so full on a Saturday afternoon. I'm sure I'll add this one to my home film library.

(side note to FOBs: I wasn't the only one who giggled when the liquor store owner introduced himself as Bill Wilson. Wry, indeed)

A Single Man (2009)

Compelling Portrait

[10/10 · 31 January 2010]

I was completely involved with Ford's simple but effective "A Single Man". I wasn't familiar with the Isherwood story, but appreciated that the main character, George Falconer, was an English teacher--a way to pay tribute to literature and art in this very artful film.

So many beautiful moments were poignant without becoming precious or pretentious, but perhaps the most memorable was the scene when George encounters a dog like the breed he had once shared with his late partner. That moment, with it's barely concealed grief and the awkward tenderness, had a resonance that is rare in today's popular cinema.

Firth demonstrates immeasurable depth without overarching angst. The main scene with his dear drunk friend, Charley, allow us to see more texture and longing without dissolving into sentimentality. Julianne Moore is practically effervescent as the liquor loosens her libido and threatens to tear the tissue of her long and complex relationship with George. Oh my, but she is so bewitching and sad, sad, sad.

The watery and floating fetal-like images were a bit over the top, but easy to overlook given the overall quality of the narrative, the performances and the stunning sets often accompanied by the oppressive October, 1962 hysteria. That international incident seemed somehow so trivial in the context of George's closeted grief.

Taking Woodstock (2009)

Half-Mast Freak Flag

[7/10 · 4 September 2009]

I worshiped the youth culture from afar in the late sixties. I was too young to participate but did my best to disrupt jr. high assemblies with the Fish cheer. I didn't know about the Woodstock Festival until two weeks after it occurred, and I remember how much I hated being oppressed by a traditional establishment patriarchy who wouldn't even drive me across town to an anti-war demonstration. When I finally saw the documentary the following year, I knew I had missed something that was epic and iconic. (Big sigh...)

I had been looking forward to "Taking Woodstock" since I first read that it was in production. I was particularly eager to see Demetri Martin in a starring role; I've admired him for some time. I've also spent quality time in the Catskills--I love that part of the country. Lee's film certainly captures the beauty of White Lake, and generally recreates the groove and vibe of a specific time and place, but the narrative seemed somehow disjointed (unintentional pun) There seemed to be too many empty moments substituting for poignancy, and undeveloped stories that might have added a bit more depth to Lee's tale.

Demetri Martin as Eliot Teber, was adorable but I was frustrated by his poker face (something that makes his stage comedy hilarious). I enjoyed Liev Schreiber whose drag was not only believable, but also compelling. Henry Goodman, as Eliot's beleaguered father, was also finely developed, but Imelda Stauntan played his mother as a shrewish fishwife with virtually no redeeming character qualities. Not even after pot brownies.

Seeing "Taking Woodstock" makes me miss my long lost soundtrack of the original concert, something I shall remedy this weekend. I'm also eager to watch the documentary again with it's hippie-trippie split screens and portraits of long gone poets, artists, and other kindred spirits.

Adam (I) (2009)

Astronomical Adam

[8/10 · 30 August 2009]

Fresh and tangy, "Adam" is not your typical summer romance. The comedy emerges naturally from the situations that surround two appealing characters who develop a sweet, slightly complicated relationship. The acting is strong, especially Hugh Dancy's characterization of the title character. Rose Byrn as Beth is as easy to watch as she is easy to like.

I liked writer and director Max Mayer's ideas. Other people might have used a broader brush, but Mayer's narrative develops a simple momentum and a believable conclusion. Mayer avoids deliberate gags or gag-reflex resolution, and creates a film that is tender and very pretty. Adding to "Adam"'s appeal was the astronomy motif with its layers of stars, planets and pulsars. I thought the metaphor linking the the universe's creation to the distance that separates objects in space was particularly resonant, and I encourage people to pay attention to shooting stars.

Paper Heart (2009)

Kissed Nine Bucks Goodbye

[5/10 · 29 August 2009]

The basic conceit of this movie rather self-destructs as the line between documentary and reality show is deliberately blurred by cast and crew. Some people have described this film as quirky, but instead, I found it self-indulgent and contrived. Well, most of it anyway. I didn't believe for a moment that Charlyne Yi doubted that love, romantic love, is achievable, but alternately, I would suggest that she pretends she isn't lovable, and effectively, that affectation is less than adorable. Methinks she doth protest too much....

Some of the people interviewed had compelling stories, but nothing exceptionally profound, or remarkable. The film's conclusion left me rooting for the camera operator. Matter of fact, midway through the film I delayed making a trip to the restroom because I was certain I would miss the one essential element that would make "Paper Heart" worthwhile. As you might imagine, I was relieved when the credits finally rolled.

500 Days of Summer (2009)

Summer and not enough Smoke

[7/10 · 7 August 2009]

Okay, alright already. Love story or not "500 Days of Summer" is an amiable portrait of a complex relationship between two adorable people. Dechanel as Summer and Levitt as Tom play well together. Their charming performances manage to overcome a screenplay that has a flaw or two.

The greeting card company as background could have used a bit more research -- I didn't believe for a moment that it could have thrived in a prime downtown LA address. The product it created was completely uninspired, even so much so as to seem pointless. Too bad, really, because Tom's Act IV epiphany confronts the idea of sacharrine sentiment and contrived expressions as substitutes for real human emotion.

I appreciated that Tom's tween sister was an old soul, but many of her scenes were too hip, too snarky. I wish someone would write a memo explaining that it's not necessarily comic when seniors and juniors use profanity. Copy it to every filmmaker on the planet.

Favorite scenes included the wacky IKEA store, the karaoke bar, with quirky moments throughout most of the film. The stylization using graphics and flashbacks was interesting. I relished the huge dance production number complete with marching band and old-style animation.

I understand that "500 Days of Summer" was trying to capture some of the whimsy associated with the romantic comedies of the 60's, but the narrator's voice-overs were annoying.

The film is good enough, but frankly, I was hoping for more.

Every Little Step (2008)

Five, Six, Seven, Eight and Again!

[9/10 · 2 August 2009]

While "Every Little Step" is hardly cinema verite, it certainly seems to be a credible effort to document the Broadway process--from the first cattle call audition to the final call-back 8 months later. In between the filmmaker interviews old players from "A Chorus Line"'s impressive legacy and culls bits from the original tape archives that established the framework of the '75 classic as well as the Broadway revival.

Whenever innocence and passion are combined, something sublime occurs. I suppose that is why I wept through much of "Every Little Step". I was definitely rooting for several performers, and remember how (in a former life)disappointing it can be when you're the last to be cut or the first to be forgotten.