rxw Reviews

Bamboozled (2000)

fascinating failure

[4 June 2005]

first, the criticisms:

the acting is bad. the camera-work is only competent. the narrative is weak.

now the praise: my jaw dropped a number of times during the viewing. I couldn't believe I was watching an American movie. more so than other movies, bamboozled is entirely a result of entertainment. the world the movie depicts is centered on a TV network (entertainment producers and distributors), the narrative within the movie looks at entertainment (they're making a TV show!), and there is the film itself (which is entertainment).

but the things the actors say! if there is such a thing as a monolithic white America and a monolithic black America, many many lines that spike wrote can NOT be said in polite company.

and the events that transpire! the very idea of a c.2000 minstrel show is enough to provoke discussion and examination. the non stop barrage of highly charged race signifiers (speech, clothes, ideas, the blackface fabrication and application, etc) contributed to a very specific tone of outrage and cynicism. so it's fascinating because it's brilliantly done. but it's a failure because it's not quite a movie. could spike really have intended to make a satire of a movie, where the story of the movie is to make a satire on TV?

in short, the (often intense) reaction this movie engenders is worthwhile in itself. however, the movie feels to me like an intentioned, crafted harangue, which lowers its worth as entertainment, and establishes itself as a diatribe.

He Got Game (1998)

spike really loves the game

[19 May 2005]

and it shows. he's sharper about how he expresses his undoubtedly complicated and passionate feelings with the sport. the opening shots of kids dribbling and passing to the lighting when lala and Jesus split. the cameras mounted on the amusement park rides. the basketball courts. every character had an agenda and pursued it, ruthlessly. the fast talking predator in his movies have many faces here, another nice touch.

does everyone do the story about a not-yet-messiah? if so, does that make denzel god? and who would booger be? it held my attention the entire time, and the craft was top notch.

Adaptation. (2002)

or, a hasty prank I handed in for homework

[4 April 2005]

not kaufman's best script. it's clever, but it lacks heart. "he" (the kaufman character) tells us "he" couldn't make a movie from the novel. it has the feel of a last minute joke submitted as an exercise. professionally crafted, to be sure, just not good.

it's become pedestrian to lament the differences between a book and a movie directly based on that book, but again, it's useful to read "the orchid thief". it has amazing characters, and it's all about orchids and the specific fascination these plants inspire. but there is no plot. orlean herself undertakes expeditions to look at the plants in the swamp, thus appearing as a subject in the observations.

he uses the struggle of the writing process as a jumping off point for a ... chase movie? with guns? quiet bonding moments? death?

when I heard that line I cringed.

spike jonze is competent and unobtrusive here. cage is the weakest compared to streep and cooper, both of whom are brilliant.

Teknolust (2002)

beautiful but flawed

[31 March 2005]

Rosetta Stone, a post doctoral academic doing a double major in computer science and biology has three clones of her mousy self. the clones all have different and fabulous hair, an affinity for shiny clothes, and a color theme for each. the clones are essentially addicts or vampires, and can only live on human male ejaculate (intravenously please). for some inadequately explained reason all the donors (hand selected by the lead clone, ruby) get sick, leading to the clones' near discovery, and just as inexplicably, the donors get well, just as ruby falls in love with a human male ejaculate producer. the academic and the clones are all played by tilda swinton.

it has an interesting premise and a few developments that drive the narrative forward. but these twists aren't enough to sustain interest. Tilda Swinton is the most talented in the production, but she's hobbled by wretched dialog.

looks gorgeous though. great wardrobe, set design, makeup. shame about the words coming out of the actors' mouths.

The Moon Has Risen (1955)

charming and amusing

[10 February 2005]

this is mainly a story about a matchmaking sister, the benignly scheming youngest of three. the film is, secondarily, a by-the-numbers comedy of manners (it being Japanese -- specifically post WW2 -- it can't help but be informed by correct social behavior). my eye, trained by late 20th century movies, found it a little slow to start, but the film picked up in the second reel.

each sister found a match (or, in the case of the eldest, a hint of a match). the story had some subterfuge and false starts, which contribute to the dramatic tension. each shot is composed very well, and the entire movie is framed by pastoral scenes and the family practicing noh drama. it suggests that while individuals may come and go (to the big city, to love, out of love) nature and family endure.

it's certainly worth seeing, if only because it's well done and rather obscure.

The Stöned Age (1994)

by the book, but still funny

[21 October 2004]

spoilers to follow:

various details about characters are noted early on. there is the imperfect hero, and the other who joins him. there's the quest. narratively, everything's set up. early points are neatly knotted, the hero displays the necessary fortitude when it matters, the quest is fulfilled (in various ways) by the two. the whole time, they evade obstacles and play one hilarious prank.

humor is tricky, so it's notable when it's done well. this one's is satisfying and funny, but probably not for everyone. would probably appeal to American men born during the johnson administration, or after.

Underworld (2003)

the intersection of sex and death

[11 October 2004]

spoilers to follow:

isn't that what the attraction of vampires is all about?

so this one is all about sexy kate in tight black leather and pvc, dealing death to the furries. don't bother about the exposition -- it's lots of arm and hand waving -- and just sit back. enjoyable if you're into the whole action adventure genre; extremely enjoyable if you like your action adventure with macabre and occult overtones.

it's not very entertaining if you wanted horror. not much classical gothicism here -- the cthulu-like horror of a shambling formless evil is absent. the movie is just as threatening as the kids you see wandering the streets today, looking like mimes gone stale.

I do not recommend this one unless you like ms beckinsale, black leather/pvc, vampires, or action/adventure. highly recommended if you like two or more of the preceding list.

The Cuckoo (2002)

I'm talking AT you, not with you.

[11 October 2004]

spoilers to follow:

very inventive and compelling film, great narrative. since the dialog had such peculiar constraints (each of the three characters speaks a language the other two don't understand), the photography of the movie became even more prominent than usual.

I was particularly impressed with the flow and pacing of the movie. each development was unexpected but not improbable. even the fact that everything in the movie happens within a minimal context of the world the audience lives in didn't bother me.

I recommend this movie.

I Heart Huckabees (2004)

I heart philosophy lite

[11 October 2004]

spoilers to follow:

the hair in this movie is hilarious and compelling. everyone had something notable sitting atop their heads, especially dustin. I also liked how he wore sunglasses over his glasses.

russell is one of those guys to watch. he's all over the place, but he approaches everything with an educated and curious background. there's a depth and texture to each theme explored (iraq in 1991 for three kings). from all reports, he's quick on his feet, and as smart as you are (if not smarter). these, plus the aggressive streak required to be a director make him a formidable talent.

the movie as a whole is wildly entertaining, but just slightly unsatisfying.

though there are hysterical lines, they don't go anywhere new. any first year undergrad will clutch camus and wear black. some will even go awry as suggested here -- turn the corner around "no exit" and stay stuck in nihilism (who else expected the Germans to come by and threaten albert with castration?). but thinking people reason that if everything's connected and meaningless, we might as well be good to each other and make the best of our limited time here. some even go on to split hairs with derrida (RIP).

the story (if it really matters) is about holistic detectives (they're not existential, exactly -- that's a bit of a gloss over -- see, existentialism rejects the idea that there's more than one kind of thing in the universe) who, much like dirk gently, believe in the interconnectedness of all things.

I found marky mark's performance to be hilarious but jarring -- he doesn't seem to be in the same movie everyone else is in. jason schwartzman's bit was passable, but he had the hardest acting job in the movie; he was the way for the audience to make some sense of the events. he was the audience; we were him. jude law's characterization was great. at first, he's the hollow sales rep who's charming but essentially devoid of substance, but then brad becomes human. sadly, though naomi watts is indeed pulchritudinous, she seemed indistinguishable from any other pale, skinny, blond actress. 'course, she could have been completely representative of the movie, which is all about surface and no substance.

I recommend this movie; if you've read a few books you'll laugh. if you want slapstick, you'll laugh. if you want to look at really attractive actors, you'll be satisfied.

The Royal Tenenbaums (2001)

airless and mannered

[25 November 2003]

spoilers to follow:

is royal the grown up version of max? both characters lie in the same ways. the line from fischer to tenenbaum the elder is drawn most strongly in the scenes where they're both wearing berets and one is sitting in a stationary go cart, and the other is driving one.

but onto the movie itself. this one is all about costume and production. margot isn't much more than fur coat, heavy eye makeup, and straight blonde hair. chas is entirely red adidas tracksuit, eli is all hat and fringed jacket. I feel like the strengths of bottle rocket and rushmore (the idiosyncrasies) become liabilities here. character development takes a back seat to how precious the visuals have become. how can you possibly care about a tweed jacket, full beard, dark glasses, and headband?

though I do have to say, I laughed at the fishing hat, flip up sunglasses, and terrycloth shorts. which might be the entire problem. they could have made something great, but instead they made something cute. I never felt inside the world; it was too politely flat and contained, like everything happened under glass.

plus, because it's so self consciously "pretend" it's too safe. so the tone is all wrong when the baumer attempts suicide.

wes and owen have it in them to make a touching, hilarious, gorgeous movie. bottle rocket to rushmore made that promise, but the royal tenenbaums faltered a bit. it's still a good movie, but I am a bit disappointed in its preoccupation with how everything is supposed to look instead of how it's supposed to make you feel.

The Gatekeeper (2002)

not worth watching

[11 November 2003]

spoilers ahead:

it's clear that frey wanted to do something with this movie. what's not as clear is what that something is. the setup is classic; his character is self hating, and works as an oppressor against the social group of which he is a member. through a rather contrived plan, he is to disguise himself (or remove his disguise?), becoming a Mexican, and expose something or other by trying to cross the border from Mexico to the US.

great setup, no? the literal journey mirrors the metaphorical one. I expected a tidy and satisfying wrap up where his character grows and becomes accepting of his cultural heritage.

what I didn't expect was this mess. no growth, no narrative drive. and perhaps most damning, the movie wasn't entertaining at all. I didn't care about his plight, I wasn't educated about the c. 2003 situation at the border of Mexico and the US.

spare yourself.

Road to Perdition (2002)

gorgeous but sealed

[29 September 2003]

spoilers to follow:

of course, it looks beautiful. but too mannered, too airtight. it's raining, when it needs to be. they understand light and shadow (the kid reading by flashlight, the waiting room with the newspaper readers, etc.) as well as composition (too many soullessly contrived symmetrical shots for my taste, though). the action, the sets, the costumes, the camera motions ... all are top notch, expertly chosen and plotted.

but for what? I like movies that show me something new and unexpected. this seemed like an uninspired collection of scenes, by someone who understands film grammar. the images are good, but none are powerful. men in overcoats, cut down in the pouring rain? men in suits, sitting around a polished wooden table, lit with soft yellow orange light?

there were some good things; the kid looking through the crack of the door, Jude Law. his scenes made the rest of the movie look inferior, almost as if there were two movies. the good one that he was in, and the other one.

He ni zai yi qi (2002)

sentimental and assured

[10 June 2003]

spoilers to follow:

the director knows what he's doing. he's an idea of what he wants in the frame and how the camera should move. technically, the movie is excellent. great composition, choreography among camera actors background, lighting, acting. the pace is just right, and only lags with the musical montage.

but my criticism has to do with the story and how it relates to the universe outside the movie (our world, basically). first, the movie was much too sentimental for me. I did enjoy the theme of desperation and building a future for someone else, but some characterizations were heavy handed. the kid's final lesson with his first teacher -- the chain smoking, cat owning bohemian -- looked too hazy. the lights and costumes suggested "saintliness", but I felt it was unnecessary. perhaps I'm just too aware of how the elements of despair and hope were presented in the movie to achieve just the right balance. ultimately I suppose my criticisms are irrelevant -- the movie is internally consistent and the tone is sustained and complex. worth watching but a bit of a tearjerker.

Josie and the Pussycats (2001)

clever and self aware

[5 June 2003]

spoilers to follow:

this one can be most appreciated in context -- early 21st century american consumer culture. it's unnecessary to know about the background of the characters, except for maybe one joke (the brother cabot asks the sister cabot, "why are you here?", and she responds with "I was in the book." the comic book -- archie -- yeah, I don't really know much about that universe either). as a matter of fact, it looks like the movie could have worked without the josie & the pussycats characters. easier to make with the familiar name though, I'm sure. the movie commented on itself as yet another venue to market to consumers, while criticizing the consumer culture at large.

one neat photographic trick used was when the slick a&r man discovers the band; he holds a clear CD case to frame them. otherwise, no new cinematic ground is broken. however, the pacing is just right, and the actors are all appealing. some are just competent (the pussycats) but the villains (parker posey and alan cummings) are brilliant as ever. they are able to act the characters, and simultaneously goof on their own characterizations.

very entertaining and fun to look at. not something you'll be thinking about for long though.

St. Ives (1998)

entertaining, and maintains tone

[5 June 2003]

straightforward adventure that doesn't veer too far into comedy (though it is funny) or action (though it is exciting). actors are appealing, pace is well-set, and the picture looks gorgeous. you'll be entertained, but the movie does not make a very deep impression.

Magnolia (1999)

fully realized, ultimately hollow

[26 May 2003]

spoilers ahead:

pt anderson's a kid, but he really does know what he's doing. look at how the frame is sometimes static (the first meeting between the cop and the cokehead), sometimes fluid (camera following the current child whiz when he arrives at the studio). he uses techniques to achieve what he wants (the zoom when the cop and cokehead rise to kiss, the unblinking gaze on the seminar leader as the interviewer confronts his lies). he's got a command of film grammar, and he's, what, only at the first third of his life/career?

ok. end of compliments.

my criticisms are primarily story based. he presents overwrought scenes -- shouting, inarticulate pain, frantic characters -- but he doesn't deserve to. it's the film equivalent of a complete stranger cornering you at a party telling you all about her childhood abuse, drug problems, and current lack of a good emotional partner. all within the first seven minutes of meeting. as I say, nothing wrong with sharing, but timing is critical, especially in movies. you have to deserve the huge payoff. I felt mugged and tricked and cheaply manipulated by this movie.

and WTF is up with the rain of frogs? "when in doubt, throw in a biblical plague." he DIDN'T DESERVE it! he didn't deserve to bring in an apocalyptic intimation as a coda. sure sure, defenders may say it was his vision. but the response has to be, his sense of how to tell a story is flawed.

he has the tools and skill sets to tell a story extremely well. he just happens to not have the good sense to rein in his extravagance. he has a brilliant movie in him, a world changing, dream defining film. this is not it. do not be swayed by the rabid fans, or pta haters.

Charlotte Sometimes (2002)

quiet and vague

[5/10 · 19 May 2003]

spoilers ahead:

at the time of this film's release, we can't get away from the stereotypes. so the director/writer/actors are trying to recognize the stereotypes and make a movie that's aware of them. whether you think he's trying to perpetrate a myth that asian men can't get laid (byler is quick to point out that matt westmore is half asian) or explode it would probably be a matter of your temperament.

byler doesn't do anything new with film grammar, or words. however, he's made something that he wanted to make (he said as much when I asked at a q&a session), so good or bad, we saw what he visualized inside his head.

I think the essential problem with the film is that byler needs to improve his technique -- he's got a story to tell here, he just doesn't tell it very clearly. sure, sometimes ambiguity is the aim, but in this film's case, "wistful" and "wry" can be misinterpreted.

charlotte sometimes is worth watching, but it's nothing new.

The Salton Sea (2002)

what is the nature of identity?

[7/10 · 19 May 2003]

spoilers ahead:

contrary to what the movie may seem to be (the meth scene, cop drama, revenge tale) it's really about who we are. _blade runner_ asked it, _total recall_ asked it, and now we have another entry. the salton sea looks great; excellent costume design (all the tweakers have taste of some kind, whether it's wretched [pooh bear] or sublime [danny flynn]) and set dressing (the meth party where we're introduced to shalom harlow and the rest of the crew, for example). film's primarily visual, so we need this gorgeous hook to pull us into the world; and once we're there, the central question is this: are we the things we do, or are we who we believe we are? danny does drugs and rats out dealers, so that makes him a lowlife scumbag. tom thinks he's a failure and thinks he needs to get revenge to right the wrong perpetrated on his wife. the question is answered rather neatly at the end: we are the sum of the choices we've made, and the choices we're going to make.

the salton sea is viewable as a straight ahead drama, but there's more to see if you care to look. it's quite good.

The Matrix (1999)

not much new in this movie

[8/10 · 19 May 2003]

the only new thing _the matrix_ gave the movie world is 'bullet time'. in fact, all the major thematic ideas have been done before in much better ways. solipsism, brain in a vat? descartes. kung fu? once upon a time in china. dialog? breakin' two: electic boogaloo.

basically, the only reason to watch this movie is for how it looks. bullet time, carrie-ann moss in snug PVC, the fellows in long flowing coats, the action scenes (that looks like a real helicopter!)... what, you think the dialog sparkles? you think the ideas are clever? c'mon, now.

_the matrix_ is worth watching; fast forward through the exposition, and pay attention to the special effects and costume design.