tnrcooper Reviews

Her (2013)

Not yet

[8/10 · 20 October 2015]

"Her" deals with possible future situations in which computers are so developed that people have satisfying, fully-committed relationships with them. I think that the premise of the film is intriguing, and I found that the first half of the movie, in which the relationship is less serious, was believable. I had a hard time believing in the depth of the relationship as it developed over the second half. The world as depicted in the movie seems almost current and I didn't believe that such a complex relationship with a computer was possible right now or in the next 25 years. Yes, the computer (Scarlett Johansson) is very smart and obviously scientists in the future, according to this movie, are able to program computers so well, that people engage in relationships with computers. I just found the depiction of this relationship to be implausible and I couldn't believe in the realization of such a film, at least not at this time.

Perhaps I don't want to imagine the sort of loneliness that could propel Theodore (Joaquin Phoenix) into a relationship with his computer. I suppose these sorts of relationships will be plausible, perhaps within 25 years. Obviously people have Siri on their iPhones and some robots are able to fulfill specific needs in peoples' lives. People value their electronic devices and I don't exclude myself from that group. I just don't like the idea of them as intimate partners. It's a development that doesn't sit well with me. The notion of the autonomy of a computer which understands you enough to submit your writing as a book proposal is disturbing to me. I found the idea of not having any sort of image of the partner disturbing also. The idea of going on picnics with another couple and having your computer girlfriend's voice piped in via the ear feed which practically implants her in your head, is also disturbing to me. Fortunately, I think we're quite a way from this occurring.

The premise is fascinating and the idea is intriguing. However, as someone who thinks that in spite of the promise and capacities of computers, there is no replacement for relationship with another human, I am profoundly depressed by this film. I never see the genie being put back in the bottle. Our electronic devices are more intrusive and more indistinguishable from the people who have the technology. The immersion continues apace with this film and it's certainly not a trend I like. Perhaps this movie is prescient, but I hope not.

My Sassy Girl (2001)

You Wanna Die?

[9/10 · 25 August 2014]

Korea is a wonderfully odd place for a westerner. I have lived here for a while and have learned the language to some degree. There is great innocence and great frankness in the society. It usually comes from a place of innocence and good intentions and those good intentions allow one to say things that might get you slugged if you didn't mean well. Directness, be it positive or negative, is valued in ways that often shock westerners and leave us baffled. This film is exhibit A in that sort of baffling mix of bluntness and sweetness.

This movie is hilarious, with two great leads in Gianna Jun as the girl and Tae Hyeon Cha as her suitor Kim Woo. They really make the movie. Cha is sweet and really clueless and must seem, to The Girl (Gianna's character is never given a name beyond that) like nothing more than a mouse with which she, the cat, can play. Having said that, she is still a woman and wants him to be chivalrous, even while she tests him as few women will.

The Girl's character is more than a little messed up, owing to some previous relationships. It's a great character and a star-making turn for her, giving her the chance to show great range as an actress. We see her as needy, as strong, as feminine, as sarcastic, and as very funny. The script, by Ho-sik Kim based on events in his life. It was adapted by him and director Jaeyoung Kwak who do a great job in keeping the characters likable in spite of some sharp twists and turns. There's some good supporting work from Kym Woo's parents (Sook Song Kwak and In Mun Kim) also. This really is a fun romantic comedy about the power of love. If you like Hollywood cookie cutter romances this isn't for you, but if you're willing to see other modes of expressing romance, this movie will reward you.

And Life Goes On (1992)

Modern Day Neo-Realism

[10/10 · 25 August 2014]

This movie has the realistic feel of a documentary although I wouldn't call it a faux documentary because there is no pretension that it is a mock-up. It has the feel of a documentary and if you didn't know any better, you could quite reasonably conclude that it was. I would say that it is in the tradition of the Bicycle Thief or other classics of the Neo- Realist genre in which life proceeds at a leisurely pace and multiple quotidian events and regular people ground the plot as realistically as possible.

In this film, an Iranian director (Farah Kheradmand), representing Kiarostami, travels with his son (Buba Bayour) to small town Koker in the remote mountains of Iran to find a child actor who had been in his most recent movie and about whom he worried in the wake of a strong earthquake. Clearly there is some overlap with real life events as there was a major earthquake in Iran in 1990 and one of the stars of Kiarostami's previous movies ("Where Is The Friend's Home?") lived in this area. The pace of the movie, the everyday transactions, and the humans' doggedness in the face of tragedy indicate Kiarostami's love for people and thoughtfulness as a director.

Throughout the movie, we see slices of life. We see a young couple getting married even on a day when some of their relatives die, explaining that they thought they should continue, particularly on such a sad day. We see a man lugging heavy belongings to help out his family. We see a young Buba, with the wisdom of an old man, heartbreakingly consoling a woman who has lost one of her daughters. We see a little baby crying and the director quickly consoling the baby. One of these incidents in and of itself would be insignificant, but they are linked together in such numbers that the collective weight of the movie stays with you and cannot be shaken. Together, such a collection of events comprise the guts and the essence of life. The humble dignity of the characters will not be forgotten easily.

Under the Sky of Seoul (1961)

Seoul in 1961

[8/10 · 15 August 2014]

The first half of the 20th century was traumatic for the Korean people. They suffered through a Japanese occupation for 35 years and then through a wrenching civil war which destroyed the country. Since the division of the country, South Korea has grown rapidly while North Korea has withdrawn and calcified in recent years.

At the time of that division, a destroyed Seoul begins to rebuild. This film is set just after that when we see a varied cast of characters adapting to changing times with varying degrees of success and willingness. The character at the heart of the film, Mr. Kim (Kim Seung Ho) is a doctor of traditional medicine and a rather old-fashioned man who is loathe to move into the future. Although he's good-hearted, his stubbornness is so strong, it almost destroys his life.

His son Hyun-gu (Kang Sin Seong Il), widowed daughter Hyun OK (Eun Hee Choi, and long- suffering wife Mrs. Kim (Jeong Soon Hwang). They deal with him in various ways, but usually by humoring him. A handsome young doctor of western medicine, Dr. Choi (Jin Kyu Kim) lives opposite him. Mr. Kim has two omnipresent friends - a sad-eyed real-estate agent named Mr. Ro (Hie Gab Kim) and a pretentious fortune teller named Mr. Park (Jang Gang Heo). He and his friends don't do much but drink and joke but they make for nice foils for Mr. Kim's grumpiness.

As regards Mr. Kim's kids, Hyun OK is secretly involved with the daughter of a lowly bar owner (Eun Jin Han). Before Mr. Kim knows about this relationship, he looks down his nose at the bar owner but when he learns about Hyun Gu's relationship, he has to re-evaluate his classism. No one else thinks the relationship is inappropriate except for Mr. Kim. Dr. Choi and Hyun OK are interested in each other and Mr. Kim frowns on this flirtation and also on Dr. Choi's western medicine. Mr. Kim really is the lodestone around which the community operates and so it is important that be progressive.

Most characters' responses to problems are pragmatic, but Mr. Kim feels his pride forbids him from changing. The clash between Confucianism and western ways comes into sharp focus over the differing medicines practiced by Mr. Kim and Dr. Choi. As I said though, this isn't a problem for Dr. Choi. It's only a problem for Mr. Kim. Dr. Choi is not threatened by Mr. Kim at all. Indeed, in one of the funnier scenes, when Mr. Kim wants to embarrass Dr. Choi, Dr. Choi turns the tables on him by soliciting advice on being a physician. Mr. Ro and Mr. Park also have no problem with Dr. Choi and wonder why Mr. Kim is so upset.

This is a big-hearted, warm film. The acting is good across the board and the story is well- told. There are some very funny scenes and the clashes over relationships and change are something all people can relate to.

The Great Dictator (1940)

Chaplin vs. Authoritarianism

[8/10 · 11 July 2014]

Charlie Chaplin turns his comic focus on the dictators of his time - Mussolini and Hitler. He mocks their mien, their speech, and their policies. Chaplin shows himself to be brave and shows again that he is a comic genius. His imitation of Hitler and the scene of Hitler hanging from a moving plane shine in this film as Chaplin's shoe eating did in "Gold Rush". In contrast to the dictators' policies, he offers a beautiful vision of the future.

Chaplin obviously is a comic genius and was deeply committed to opposing tyranny. He used the talents he had to oppose it, and for that he should be commended. Hitler is seen as blustering and Chaplin hilariously lampoons his overheated style, practically spitting into the front row so overwrought does he become. The speeches are comic gems because of his use of pseudo-German, some actual German, and that aforementioned overwrought style. His advisors Garbitsch (Henri Danielle) and Herring (Billy Gilbert) are oafs and psychopaths by turn. Garbitsch, obviously modelled on Goebbels, is the psychopath. Danielle chills the blood with a stark, cold depiction of a man whose quiet confidence about extermination only re-enforces the psychopathy of the Final Solution. Herring is an oaf who can do nothing without making a fool of himself. By mocking Goebbels, Goerring, and Hitler so mercilessly, Chaplin gives us a release from the stress that comes from hating people.

On the other hand, there are residents of the Jewish Ghetto who live fearfully owing to Naziism's escalating oppression. They have tough lives but live with dignity and self-respect. They are routinely harassed and badgered by roughneck SS officers. One day however, a chance World War I encounter between a Nazi officer and the barber brings some of the harassment to a close, at least for some time.

The difference between Hitler and Mussolini on the one hand and the Ghetto residents on the other is stark, but given the horrors that Hitler and Mussolini inflicted on the world, they turn out to be prescient. There are some good performances from Paulette Goddard as a humble resident of the Ghetto, and Reginald Gardiner as an informal leader in the community. They bring humility and decency to their characters.

As usual, Chaplin's comic gifts shine through in set pieces. In this film, the set piece of Chaplin hanging from the wing of a moving plane is hilarious. Another hilarious scene is that of a bumbling crew messing up the debut of a new weapon. Neither shoe might hold up to the famous shoe eating in "Gold Rush" but they are worthwhile rivals.

The film comes to a head as the Ghetto barber as well as arrogant dictator Hinkle (both played by Chaplin) are mistaken for one another. The humble barber must address an assembly of Hinkle's most brainwashed followers and the unexpected speech leaves the crowd shocked.

As a statement opposing authoritarians it is very powerful movie. It is a pity more artists haven't used their power to condemn authoritarianism. It is a bit pie in the sky but at the time, the Final Solution hadn't yet happened and so what we see in retrospect was not inevitable. Chaplin's movie offered the world a beautiful vision of the future, but if idealism isn't expressed, it doesn't even stand a chance. Chaplin showed his cards and stuck his neck out and as I said, I have a lot of respect for Chaplin making a movie that was obviously deeply felt. It might not have happened but it's a beautiful, as well as very funny, vision to aspire toward.

Restoration (1995)

Low quality restoration

[5/10 · 3 July 2014]

Restoration is the story of a doctor - Robert Merivel (Robert Downey Jr.) who finds himself living amid the chaos of the interregnum - the brief period during the mid 17th century when England did not have a monarch. He lives the charmed life of a wealthy and charming bachelor in close proximity to the upper echelons of English society. However, his carousing is squandering his professional abilities.

Those around him, including one peer, John Pearce (David Thewlis) and his tinker father (Benjamin Withrow) see him wasting his considerable gifts. This movie, while it is supposedly a 17th century story, actually employs a rather tired, worn modern storyline of the talented man who squanders his gifts but who finally achieves redemption after Losing Everything. It is disguised as a Restoration-era movie, but it's clear that this is a well-worn clichéd story in wigs, if you but peek below the hood.

The script is rather pat, the characters slight, and the overall effect forgettable. Hugh Grant, in the wake of his success in various Merchant Ivory Productions, and some fantastic comedies, is given a forgettable role as a scheming court fop into which he throws himself. His character, however, is such a stereotype that even his great comic gifts cannot make much of it. His character is effeminate and one note, a scheming harpie with no depth.

Meg Ryan must never try to do an accent again. Leprechauns are more realistic than her Irish accent. Watching her performance here, voice coaches wouldn't know whether to laugh or cry. Her Irish accent is like the Quasimodo of accents - you're horrified, but you can't turn away.

King Charles II (Sam Neill) and Merivel's chemistry here is hilarious. The king has no dignity and it seems very unlikely that he would have become so buddy buddy with a doctor who has no noble credentials. Yet there, they are, all but doing shots together. Neill is usually better than this but he is atrocious here. He looks bemused and stoned in the movie, it's really terrible.

Robert Downey Jr. is very charismatic and rakish in this film. As much as the work will allow, he imbues his character with charm and a lot of heart as he goes through his struggles. Ultimately however, this is a moralizing tale in wigs. The acting is weak and the script is terrible.

Cotton Comes to Harlem (1970)

"Am I Black Enough for Ya?"

[9/10 · 30 June 2014]

Great romp of a film. As has been said, this might be considered the first blaxploitation film. It is Ossie Davis' directorial debut and he shows great skill in overseeing all aspects of the production, from the music, to a wonderfully filmed car chase, and from great performances to making a film that balances humor and action adeptly. He uses locations in Harlem such that Harlem is a character in the film. The characters are warm and familiar and well-drawn. Interaction among black and white characters is generous and complex and I love to see that. He has a very light, confident touch across production and his fingerprints are all over the film insofar as everything is handled JUST right.

The stars, Gravedigger Jones (Godfrey Cambridge) and Coffin Ed Johnson (Raymond St. Jacques) are two cops with a reputation for being a bit rough around the edges, but for keeping their word. Their motto: "We mighta broke a few heads but we never broke our word". A hustling minister, Rev. Deke O'Malley (Calvin Lockhart) rides into town and Coffin and Gravedigger believe he is a scam artist who has stolen money from poor, hard-working black folks. This offends their sensibilities and they pursue the Reverend, believing he is selling communities bad bills of goods. Honestly I wish that the film hadn't included the robbery. I think the Reverend makes such an great bad guy and the cops such good guys that I would have enjoyed more focus on them.

That being said one of the Reverend's rallies is targeted by thieves and $87,000 is stolen. As the crooks make their getaway pursued by the Reverend and then by the cops, the money falls out of the back of the crooks' truck, wrapped in a bale of hay. As the detectives investigate the crime, we encounter sweet, tough old ladies, junkies (Cleavon Little as Lo Boy and Van Kirksey as Early Riser), bumbling cops (Dick Sabol as Varema), a vengeful Other Woman (Judy Pace as Iris), and a perenially scuffling junk dealer (Redd Foxx as Uncle Bud).

The plot is a bit convoluted but it allows us to get to know Uncle Bud and some of the local characters. Redd Foxx, previewing his character in "Sanford and Son" is lovable and decent, but always down on his luck. On the basis of these performances, Godfrey Cambridge and Raymond St. Jacques should have been bigger stars. They ooze charisma and confidence and they eat up the camera in their scenes. Once one sees how their characters operate, one just wants to see more of them because one can see that while they might be a bit edgy, they are decent men. I don't know if 48 Hours or Lethal Weapon might have based their characters' dynamics on these characters, but it is certainly plausible. Calvin Lockhart gives his character a greasiness that seems natural. His sleaziness seems innate. That is a tribute to Lockhart's acting. He makes the Reverend naturally slick. He really seems completely disreputable. Judy Pace is smoldering as his mistress and she also dominates the scenes she is in. She is very sexy and when she is wronged, her wrath is ferocious. She really is outstanding in the film. The white cops, Capt. Bryce (John Anderson as a more old-fashioned type) and Lt. Anderson (Eugene Roche) who trusts Gravedigger and Coffin, are great.

As I said, I thought the car chase was excellent. It's one of the better car chases I've seen. It isn't too long but the perspectives taken by cinematographer Gerald Hirschfeld, the tracking of the car, and how realistic the chase seems, make it a lot of fun and very well-executed. I thought it was great. Also of note, Harlem is full of life in this film. There is one tracking scene where a great piece of music follows the camera as it pans over various businesses in Harlem. It's great to see the various aspects of the community and see the positive side of it rather than the blight and decay that too often stands in for depictions of the community in many films.

Ossie Davis went on to direct several other films and he showed in this one that that opportunity was well-deserved. As I mentioned, the work he gets out of his actors, his use of locations, the cinematographic choices he makes, and the blend of humor and action make this a very enjoyable movie which should get more credit as perhaps the first blaxploitation film. I think he deserves the most credit for the film's success and this is one that could withstand repeated viewings.

Fast, Cheap & Out of Control (1997)

Viability into the future

[9/10 · 12 May 2014]

The four men profiled in this picture - topiary gardener George Mendonca, hairless mole rat enthusiast Ray Mendez, big animal trainer Dave Hoover, and robot scientist Ronald Brooks are all committed to their work. They work diligently, unconcerned with how the rest of the world might view their work. The quality of their work is job one and non-negotiable. Underlying that commitment is a view toward the future and what it might look like. They believe that if their work is well-thought out and well-done that they can shape the future. Conversely, they recognize that if their work isn't well-done or executed that it will be forgotten in due time. Mendonca frets about his sculptures existence after he passes on, Brooks sees a future in which robots will exist on the same plane as humans, and Hoover's work with big animals colors his views about man's supremacy. Mendez has learned the importance of co-operation from hairless rats.

All four recognize the tenuousness of life and the importance of always changing. They all see that the unpleasant alternative to evolving is extinction. That is clear from their respect for other forms of consciousness. They are open to other ways of learning and being. The unique social system of hairless mole rats is lauded as a more co-operative way of living. Robots' consciousness also is seen as something which is rapidly developing. The big animals that Hoover trains have their own systems for dealing with their world too. Mendonca's commitment to his job for over 30 years gives him the knowledge that change happens slowly.

The subjects' views on different ways of life are really brought to life against the backdrop of a score by Caleb Sampson. His use of a frequently repeating motif score bought to mind Philip Glass and gave the film a melancholy twinge. Also helpful in creating the mood are schlocky films, many science fiction and adventurous which often play while the four subjects tell their stories about what inspires and has guided them.

Morris is a filmmaker always worth watching. His choice of music, subject, and how he puts everything together makes him one of the most unique filmmakers working. These portraits of men in somewhat unusual jobs doesn't seem like it would recommend as a guide to the future, but through their dedication and engagement, we can see a viable world.

And Your Mother Too (2001)

A coming-of-age story and so much more

[10/10 · 5 May 2014]

It's a cinematic valentine to Mexico. It's a coming of age story. It's a warning about income inequality, and it's an encouragement to live life to the fullest.

This is a remarkable film. It's hugely entertaining, heartfelt, considered, beautiful, and thoughtful film. Two graduating high-school students, one the son of privilege (Diego Luna as Tenoch) and the other from a lower-middle class background (Gael Garcia Bernal) take a road-trip to the mythical beach of Boca del Cielo which they invented in order to impress the estranged wife (Maribel Vertu as Luisa) of Tenoch's cousin Jano. Being 18 year olds, they are full of swagger and bravado but can't anticipate what will happen and this makes for the drama of the roadtrip.

They see Mexico and we see it beautifully, as filmed by Emmanuel Lubezki. It's often seen from inside a car as the group heads southwest toward the coast and we seen the dry, brown Mexican landscape often in shade. Lubezki uses extended shots, lingering over the dry, sleepy landscape. As they drive, they stop in different places and Lubezki captures the locals in their everyday lives. We see regular people selling trinkets, driving buses, herding animals. The dignity of regular people is honored as we see their lives doing their jobs. We hear about social conditions in the area through some very interesting voiceovers. They are interesting because they serve as a counterpoint to the privilege of Tenoch, Julio, and Luisa. We hear about the life of Tenoch's maid. We hear about the life of itinerant fishermen, and we hear about the lives of people struggling through the desert to get to the United States. Many times voiceovers aren't particularly helpful, but in this movie they really add a lot of depth and heart to the movie. I can't think of a film in which voiceovers were used as well as in this one.

The boys are immature but can also be very funny. Writer Alfonso Cuaron and his co-writer, his brother Carlos Cuaron, get the tone of 18 year old boys just right - boastful, over-the- top, overconfident. This is their first mistake. All sorts of betrayals and miscommunication lead to tension and fights. The boys fall out and make up. They bond and they bicker. There are awkward moments and moments of resolution.

This movie is so much more than a coming-of-age movie. It's so much more than a sex romp. It is not just social critique either. It's beautiful cinematically also, but it's more than just a valentine to Mexico. It shows that movies can charm us with their beauty and humor and joy but also make points about justice and struggle and yet everything can go down easily. It's a movie you can go back to again and again.

Buffalo '66 (1998)

The power of love

[7/10 · 5 May 2014]

I have wrestled with whether to trash this movie for Gallo's or to recognize that I don't hate it and that it has an odd sweetness in Layla (Ricci)'s and Billy (Gallo)'s relationship. It doesn't make a bit of sense to me. He is abusive to her. She seems like a sweet girl without the sort of emotional hangups to tolerate the abuse of someone like Billy. Billy is a horrible person- egotistical and abusive. The script, to me, doesn't make a plausible case that Layla would stay with Billy. We don't know enough of her background to believe that she would tolerate such abuse and bad treatment. He kidnaps her. He berates her for being TOO good at giving a good impression of him. He is jealous of her involvement with guys before she'd even met him. Why she stays with him is a bit of a mystery. This is one of the major shortcomings of the movie. It's hard to believe that someone would tolerate such unsolicited treatment. If we knew a bit more about her background, we might find her acceptance of him more understandable.

All that said however, for whatever reason, she does stay with him and there is the suggestion of love at the end of the movie. This makes the movie magical and really a little sentimental. It's ultimately a love story for hipsters.

I can't trash this movie because I'm not cynical enough to do that. It is a sweet movie at heart and it is as though Gallo dares us to not like Billy. Well, I don't like him, but if someone does, then I wish he and the girl all the luck in the world.

Inside Llewyn Davis (2013)

Fascinating period, fascinating character

[10/10 · 6 April 2014]

Llewelyn Davis is a compelling character around the time of the folk revolution in New York. He was very talented but also a bit of an abrasive character. He is a conflicted character and so he isn't able to reach his potential as a performer. He is patronizing, elitist, and arrogant which rubs many people the wrong way - most notably when he attends a dinner party and hilariously insults the overly earnest music one of the hosts is performing. However, he's a musician, he is very talented and so bookers must contend with him. This makes him a very compelling character because he acts in ways that are counterproductive to his career or his personal life.

The scene in Greenwich Village is recreated with great detail, sometimes hilariously - most notably when a Peter, Paul, and Mary like group is kitted out in some truly horrible sweaters. The costuming and staging adds a great deal in creating the mood of the movie.

The most notable part of the movie, however, is the character of Llewelyn Davis, as created by the Coens and realized by Oscar Isaac. He is a charmer with the ladies but much too honest and can't hold his tongue. He has a lot of opinions, most of which antagonize and set people off. While this internal conflict holds back his music career, it makes for great complexity which is the heart of an incredible movie.

There is some great work by Garrett Hedlund and John Goodman but Oscar Isaac is really fantastic. The creation of the script and the deepening of our understanding about the start of the "folkie" scene and how things are much more complicated than we're often led to believe, make this a great movie.

Touching the Void (2003)

Could you do it?

[10/10 · 27 March 2014]

In watching this amazing film with an increasingly unhinged jaw, I was pressed to wonder whether I could have done what Joe Simpson did. I wondered whether I would have the will to live, the determination, the sheer bloody-mindedness to do what he did. It's unfathomable how he descended the mountain on a broken leg. As to the appropriateness of his partner's decision to cut the rope, I think clearly Joe was going to drag him down the mountain. He was being dragged down the mountain, it had been a long time. The survivors and the man they had met who watched their camp tell an astonishing story. The story really must be heard to be believed. The director, Kevin MacDonald doesn't get in the way of the story and his use of music and re- creations only enhance the story.

You don't have to be a fan of climbing to like it. The strength of the human spirit will astonish you in this film.

Dirty Wars (2013)

fantastic

[10/10 · 19 March 2014]

Not an easy watch but a tribute to journalism as it should be done. Journalist Jeremy Scahill uncovers the existence of a top-secret drone program being run out of the White House. We see the creation of new enemies in far-off lands when people who had nothing to do with terror lose family members. The program comes off as pointless and counterproductive. It's depressing but if more people see it, it can be inspiring. It's fascinating to see some exotic places that we wouldn't usually see, even under the sad circumstances under which we see them.

Scahill is an empathetic, brave reporter and his ability to get to the bottom of a story on a limited budget only further reveals the soullessness of the US mainstream media. His work ethic and commitment to pointing out what's wrong in the world should be required viewing in colleges across the US.

No Man's Land (I) (2001)

War - what is it good for?

[10/10 · 18 March 2014]

Nothing. This movie certainly makes that point. There's not a whole lot that comes off smelling like roses in this movie except the gallows humor of Serbs and Bosnians, the general competence of the grunts and one determined French officer. There is a self-important, oversexed general, disinterested, uninformed troops, disdain, racism, disputes over command, misinformation for the public, and ambitious reporters, among other things.

Definitely not a PR pic for war. There are no winners. Good acting, a fantastic script and direction.....absolutely riveting viewing.

Director Danis Tanovic also wrote the film and his bleak view of war certainly resonated with me, and obviously Oscar voters as this won Best Foreign Film in '01. All soldiers should be required to watch this before signing up.

American Hustle (2013)

It coulda been a contendah!

[7/10 · 12 March 2014]

It's a very good film about ABSCAM, but the real scam is why he tries to tack on a love triangle to it. David O. Russell seems to want his film to be everything to everyone. This could be a great drama given the inherent drama of ABSCAM. I would have liked a more straight ahead drama because ABSCAM is a fascinating case whose innovative law enforcement work and colorful villains would make a great movie in and of themselves.

There is some great acting in this film. Jeremy Renner conveys a lot of heart as the mayor of Camden. Robert DeNiro absolutely steals his scene as a mob boss' right-hand man. It's the best role he's had for some time. Christian Bale is so versatile and is able to completely inhabit the characters he plays. He is one of the best actors working these days. Jennifer Lawrence is great - very brave and passionate. Shea Whigham is very good in a small role business associate of Bale's character. Elizabeth Rohm is great as Renner's wife. Amy Adams is fair but she doesn't command attention in the way that Lawrence does. I don't think Bradley Cooper showed a lot of range in Silver Linings Playbook or in this. When he tries to convey anger, he just sounds desperate.

The film is well written and the final twist is great, but this seems like it should have been divided into two movies. The tone of the film is so uneven that I can't give it a higher rating. The plot has a lovely twist at the end, but for me, the love triangle plot line was a big distraction. Some of the awkwardness among the characters is even played for laughs which also seems to detract from the possibility of showcasing how ABSCAM was investigated.

David O. Russell is a fantastic director. I have enjoyed all of his films, but to me, his earlier films - most especially Flirting with Disaster and Three Kings showed his great ability to establish a consistent tone throughout complicated movies better than his last two. He needs to simplify a bit.

The Isle (2000)

Amazing film not requiring animal violence

[10/10 · 9 March 2014]

The movie itself is amazing. I think it would be amazing without the violence toward animals. There is no need for it. The human behavior toward one another is horrible without bringing animals into it. The tortured souls trying to reach one another are amazing characters. They try to reach each other but the internal struggles keep them apart. Hee-Jin (Jung Suh) runs a business renting out little shacks on a lake to men who come to fish and consort with prostitutes. From time to time Hee-Jin also offers her body to the men. Usually they're loud, boorish men, but one day, a quiet, troubled man named Hyun-Shik (Yoosuk Kim) comes to stay. The two have their demons though and their troubles combine to ensure a painful story of two souls who can't quiet connect.

The acting is great, the cinematography is very good, and so is Kim Ki Deok's direction. This is obviously not a happy movie so there isn't as much need to convey such a wide range of emotions as in some movies. That said, Jung Suh and Yoosuk Kim are very understated and their actions, as bold as some of them are, fill in admirably for overstated emotionalism. Some of the scenes are almost impossible to watch for the physically wrenching pain they represent. There are undoubtedly things in here you have never seen on film. The contrast of a serene environment and emotional alienation is jarring. I really wish Kim Ki Deok wouldn't use animal violence in his movies. There is no need for it. Yes, it might enhance the sense of emotional violence, but it's completely uncalled for. Kim Ki Deok highlights the turbulent inner lives of troubled souls and shines light on them. It's not pleasant but it is powerful, brave film-making casting a light on those whom society forgets.

Across 110th Street (1972)

Excellent crime flic

[9/10 · 3 March 2014]

Forget blaxploitation - this is a grim, negative, but clear-eyed crime movie from the '70s. The main takeaway from this film is that the mob doesn't like it when you take their money. Some fantastic acting in this one. Anthony Quinn and Yaphet Kotto are fantastic as proud, tough cops. There is tension between them but one senses grudging mutual respect emerging as the film progresses. Race divides them and their relationship is a great depiction of how men can address this issue in a realistic way.

The local mob bosses (Gilbert Lewis and Richard Ward) are great - they will brook no interference in their neighborhood and they defend their turf. The small-time thieves (Jim Harris and Paul Benjamin) are great as guys with very few prospects and taking their shot at getting their piece of the American pie, by any means necessary. Tony Franciosa very much reminded me of James Woods in Godfather - as an entitled, bullying enforcer.

There are no winners in this movie and there isn't even the passing pleasure of seeing a blaxploitation hero get one up on the white man. There is no glamor in this movie - it's pretty grim. Actually, the plot - whether the cops or the mob will get to someone first, reminded me of The Departed. It doesn't have quite the sophistication of the plot of that movie, but if you like a gritty crime procedural, this one's for you.

Faces (I) (1968)

Love Is A Battlefield

[10/10 · 26 February 2014]

An older man (John Marley as Richard Forst) leaves his wife (Lynn Carlin as Maria Forst) and this film tracks the fallout as he takes up with a younger escort (Gena Rowlands as Jeannie Rapp) and she takes up with a more fun-loving younger man from Detroit (Seymour Cassel as Chet). The caustic moments in this film could peel the paint off walls. The false and forced bonhomie, the hollow laughter and the empty words will rip you to pieces.

The cinematography overseen by Al Ruban astonishing. The quick cuts from speakers to their interpolators keep one just a little on edge but don't detract from the tension of the movie.

The writing and acting are bracing - the early scene in which Richard shows affection and laughs almost manically as he and his wife share a nice domestic scene. Just a short time later though, we see the change in mood as they lay in bed and Richard, turning away from his wife, looks cold and distant, clearly about something not as pleasant. The rapidly shifting vibe between Richard and Jeannie as he flatters her and then seems cold and cruel toward her and she tries unsuccessfully to retain some emotional distance from him. Gena Rowlands is amazing in her scenes with John Marley. She conveys hurt, playfulness, need, and love in short order.

Perhaps my favorite scene is when Richard goes to Jeannie only to find her entertaining two businessmen - Jim and Joe. Both men try to remain cool, not appearing too angry while also attempting to stake their claim for Jeannie's affections. Two powerful men trying to look cool while posturing makes for great entertainment. Cassavetes script conveys the difficulty of their task.

The alienation and emotional isolation of Maria's nightcap with her friends and Chet (Seymour Cassel) is also bracing. They try to cheer her up but it seems no one is really having a good time. The mood shifts wildly and no one ends up happy. Astonishing writing and acting from Dorothy Gulliver as Florence and Darlene Conley as Billie Mae, as well as an amazing depiction of heartbreak from Lynn Carlin.

The final scene is also amazing for the reserved way it holds in reserve vast amounts of emotional energy. The acting, writing, directing and camera-work here speak to professionals really working at a high level. The rawness of the acting, the skittish camera-work from Ruban, and Cassavetes control over, and vision of, it all, make this a film of the highest caliber.

Spring, Summer, Fall, Winter... and Spring (2003)

The circle of life

[9/10 · 20 February 2014]

Kim Ki-Deok takes the long view of life in this film. He sees life from a more remote distance. It's beautiful and poetic. We see the mistakes of the father repeating themselves down the line and we see life as a blink of an eye.

Really beautiful film about the course we take in life and how actions and decisions live on into the future. Nothing new under the sun. No one is totally good or totally bad and life goes on.

In this film, a young boy living on a remote lake is raised by a monk with whom he lives a simple, ascetic life. I think Kim is showing by some of the responses of the boy that someone who grows up so remote from society might have difficulty adapting to living in society.

It's a beautiful, reflective film. Not much happens, but on the other hand, more than enough happens to make a great film. Kim Ki-Deok is a thoughtful man and a brave, talented director. Some great performances, most especially from Yeong Su-oh as the monk, but also from Jae-kyeong Seo as the kid and from the director playing the oldest version of the kid. Reflective, thoughtful film.

The White Balloon (1995)

Poetic, simple, genius

[10/10 · 20 February 2014]

As an elementary school teacher, the movie features the sorts of earnestness and sincerity in simple transactions and negotiations that I see every day. Making sure things go according to plan becomes less crucial as we grow older, but if we cast our minds back, we can remember how important it was to get a fair deal for our sandwich or our marbles or how important it was to treat people fairly. If you got a raw deal, you felt hard done by and if it happened enough, it might haunt you to this day. There was an acute sense that that was not how things should be. That is definitely the sense one gets from the determination of the kids in this elegant, poetic movie.

A girl wants to get a goldfish before Tehran shuts down for Iranian New Year (Nahrouz). Seems like it should go fairly simply, right? And if this was an adult telling the story, it wouldn't be notable. However, kids are more vulnerable and can be more affected by circumstances. The kids have to be a little more determined to get what they want and the child actors in this movie, Aida Mohammadkani as the little girl, Mohsen Kafili as her brother, and Aliasghar Smadi as the balloon seller were excellent.

As I saw some other reviewers say, this is a film that doesn't patronize children. It shows them using all their considerable abilities to solve problems and they often come off better than petty, small-minded, and thieving adults.

The universality and simplicity of the themes in this film make it translatable to every culture.

Gravity (2013)

George Clooney Is Now a God

[5/10 · 24 December 2013]

Appearance-wise, acting-wise, music, a fantastic film. However everyone should have died in this film. Matt Kowalski (George Clooney) has such an impact on Ryan Stone (Sandra Bullock) that his wonderfulness pierces her consciousness as she drifts toward death? What about the daughter she's lost? What about her family? Nope - Kowalski (who seems an awful lot like a lot of what we read about Clooney)'s charm and rakishness and his stories about misadventures in bars in 1987 are what tell her, nope, I have to do this so Matt's wonderfulness will not be devalued in the slightest.

As I said, the acting, music, and the appearance are incredible. One feels one is in space...one feels the vastness of space. However this seemed like the cult of George finally taking over, once and for all.

Jackie Brown (1997)

Pam Grier!

[10/10 · 17 December 2013]

What a film! Amazing ensemble, serpentine plot, all based on an Elmore Leonard novel. I enjoyed the film when it first came out but I didn't appreciate its complexity and the caliber of its acting as I did when I saw it the other day.

A tired airline stewardess (Pam Grier as the eponymous character) sees a slim window through which she could escape to a more leisurely life. However, she will have to steal money from a nasty small-time arms dealer and convince the Feds she is trying to help them get the dealer. Can she make it work? On her side is bail bondsman Max Cherry (Robert Forster) who, we think, might want to squeeze out that window with her.

However, she has to outwit the venal Ordell Robbie (Sam Jackson) who we see is not the nicest guy in the world. Robbie is assisted by the dim-witted pothead ex-con Louis (Robert DeNiro) and his possibly-smarter-than-she-looks snow bunny Melanie (Bridge Fonda).

On the other is the law, in the person of Mark Dargus (Michael Bowen) and Ray Nicolette (Michael Keaton). She has to convince the Feds she is complying with the terms of her agreement with them and she has to convince Ordell that she is not scamming him. It's a hell of a balance. Can she do it?

Great music, typically a-bit-too-clever dialogue as one might expect from Tarantino. Tarantino features LA's grittiness in a way that those of us Angelenos who know that the Southland isn't all Beverly Hills and Hollywood really appreciate. The acting is fantastic. You've never seen Robert DeNiro act like this. He's dopey with a lot of repressed anger. DeNiro gets the essence of a conflicted ex-con. Robert Forster is competent and confident. The chemistry he has with Grier is smoldering. Sam Jackson eats up the screen in his scenes. It's like shooting fish in a barrel for him.

Pam Grier is phenomenal as Jackie Brown. You don't know just how honest Jackie is but you have sympathy for her from the get-go. Grier makes her gorgeous, smart, hard-working, sexy, confident, and diligent. It really is a shame that she hasn't had another role even APPROACHING one of this richness. It truly is a great role though and Pam Grier delivers in spades.

True Grit (2010)

True Grit indeed!

[9/10 · 16 December 2013]

The star of this film is Hailee Steinfeld. Forget Jeff Bridges, Josh Brolin, or Matt Damon, as good as they are in this film. Hailee Steinfeld's Mathilda has to show toughness to Bridges' Rooster Cogburn who doesn't want her coming along. By the end though he has to concede she was more than able to meet any challenge. She faces down a terrifying Tom Chaney (Brolin), seeking him out in spite of his ruthlessness toward her father. She is cool when Rooster and uptight Texas Ranger LaBoeuf (Damon) squabble over leadership in the hunt for Chaney. She holds the screen and conveys toughness well.

Hailee Steinfeld will be a star if she wants to be. Set in 1877, Mathilda wants to avenge the death of her father. She rejects all attempts to ignore her on account of her age. We first see her toughness when she is trying to prevent a lawyer from ripping her off for a horse. She has a hard time convincing Cogburn to lead the manhunt for her Dad's killer. He evades her, dismisses her, and tries to send her home, but she won't have it. She won't back down from the evil killer - played with manic ferocity by Josh Brolin. She isn't deterred by the violence she sees in pursuit of her Dad's killer. Viewed from 2013, her toughness seems extraordinary but I think she survived in the environment in which she was born, just as people do today. Her courage in directly confronting her father's killer when he spots her at the river was for me the most electrifying part of the movie.

There are moments of random oddness such as an encounter with a doctor cloaked in a bear fur which reminded me of the random encounter in Fargo when Frances McDormand's cop was contacted out of the blue by an old classmate.

Jeff Bridges is crusty, foul-tempered, drunk, and rough around the edges. When he sees Matilda's determination to bring Chaney back to Texas for trial, he finally agrees to help her. I thought Bridges was fantastic. Barry Pepper shown himself an actor to watch, as he continues to choose unconventional characters and roles that run against type. Josh Brolin is also fantastic as Chaney and Matt Damon continues to choose roles more based on their quality rather than his ego.

The film is gorgeously shot - lots of washed out color which gives the film the look of an old western. The Coen Brothers show themselves to be such iconoclasts in the variety of films that they direct. The only common denominator seems to be a willingness to look unflinchingly at human nature and show it warts and all. Their curiosity seems to know no bounds. They rarely strike sour notes. "The Ladykillers" and "A Reasonable Man" might not have been the most electrifying, but even they were were worth checking out.

Their knowledge of styles and conventions, which they then put their own touch on is what makes them so interesting. This take on a classic western, overlaid with the lead of such a strong young woman and some fantastic performances, only continues to do that.

Léon: The Professional (1994)

If you don't like this, we can't be friends.

[10/10 · 6 December 2013]

Somehow I missed this incredible film when it came out. I was in college and studying pretty hard. Anyway....better late than never.

This is a film that conveys how amazing humans are - from sadistic maniacs to tender hit men. The complexity of the behaviors, the abilities of the characters to make largely believable choices based on their moral codes, and some astonishing performances from some incredible actors make this a film you must like if we're ever going to see each other again.

The principals give us some incredible performances. Jean Reno as Leon is astonishing. His ability to convey a million feelings with a blink of his eyes, a stiffening of his shoulders, or even the intake of breath make him someone I could watch in anything. I loved loved loved him in Ronin and this has only increased my love of the guy. I'm not gay but if I watch Leon enough, I might soon be! I will have to check out more of his work. His modesty, loyalty, decency, complexity, his tenderness and firmness with Mathilda (Natalie Portman), his steadfastness, and his courage make him one of my favorite movie characters in any film.

I thought I wouldn't need to use any more superlatives for Natalie Portman having watched Heat about 50 times but she was younger in this film and she gives a performance with even more range than she showed in Heat. I'm happy to be able to see her work (even though I thought Black Swan was pretentious, predictable, melodramatic pablum). Her ability to convey anger, fearfulness, tenderness, confidence (I loved her peremptory dismissal of the four boys trying to protect their claim to neighborhood turf), and burgeoning sexuality (fortunately this part of the film doesn't quite take the film off course though I was worried for a second) while most definitely being a kid (she loves cartoons!!!) is amazing. Having said that, the best thing about Mathilda is her resilience. She is a survivor and this trait is Mathilda's baseline characteristic. Portman is just an incredibly gifted actress and her performance here is almost enough to leave me speechless.

Danny Aiello is fantastic as Leon's loyal friend. He is a rock for Leon and asks no questions. He can always be trusted. Aiello conveys the sense of a man who cannot be shaken and is a true friend. He's probably heard it all and yet he's still there for his friend.

Honestly, I thought Oldman was a bit over the top in his role. Obviously he is supposed to be out of control but I thought this was self-parodic, even for him.

Luc Besson is never better at the helm and as a writer. His steady hand is much in evidence in keeping such a wild plot on pace and finding the emotional and moral centers of the film. The script is fantastic - a hit-man with a heart of gold, a precocious tweener, and a psychotic, crooked cop. Really, if you don't like this film, we can't be friends.

Dishonored Lady (1947)

The Power of Love

[9/10 · 20 November 2013]

Really enjoyed this film. In it, a troubled woman feels that her life has spun so far out of control that she has to try and take it. She is ultimately redeemed.

In some ways this film is rather old-fashioned, but in other ways, it is pleasingly ahead of its time. On the one hand, Hedy Lamarr is so upset that she has succumbed to the desires of the flesh that she tries suicides. In this day and age, her behavior would not rate particularly scandalous, but in 1947, society's judgment weighed heavier on people's public morals. Consequently Madeline's suicide attempt. Fortunately she fails in her attempt and makes a very modern decision - removing herself from what might today be termed a toxic environment and retreating to get in touch with herself. She gets to "a better place" and then everything comes crashing down on her. How will she respond? I found this a very enjoyable movie.

Hedy Lamarr is gorgeous, and this is a fascinating role for her - getting to be vulnerable, a tigress, a very successful businesswoman, and a woman happily in love. I found her love interest to be very good as a mild-mannered scientist. His love for her was apparent when the police came and it seemed his dreams melted away before his eyes. I also found psychologist Dr. Caleb to be great. I thought his insights were the strongest point of the script and I thought Morris Carnovsky injected the character with the requisite fire and probably even more than one anticipated from a doctor which made the performance all the more noteworthy. I thought John Loder as reptilian Felix Courtland was also excellent, as was William Lundigan as a spoiled, jealous, callow rival of Madeleine's in the office.

I really liked this film and think the score it has on IMDb should be a lot higher.