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Reviews
Ms. Marvel (2022)
An exceptional Marvel entry
America, this is really, really good. Best streaming Marvel production since Falcon/Winter Soldier. It's a very different kind of story, but it's just as good. There are critiques that it panders to a younger audience, and surely Marvel/Disney is thinking about generating an audience to replace us old duffers, but. These folks aren't really paying attention to what's going on, and probably care less for stories about children anyway; or perhaps that might recall that Peter Parker/Spider-Man is 16. The writing is exceptional, the characters are really compelling, it's genuinely funny, and there are moments, such as with the depiction of religious life, that it's moved me to tears. Yes, it's TV and it's fiction, but I get the sense the writers also really want to convey a genuine and heartfelt understanding of a variety of everyday Muslim and South Asian life in the U. S., and that works, too. Since it's an origin story, it has that thrill of discovery of the Iron Man and Ant-Man films as you see Kamala starting to manifest and learn to handle her powers: I literally couldn't contain a clap for her on my couch in the second episode when she pulls out a dramatic save. I'm giving it 7 stars and I hope you'll give the show a chance to prove that rating.
Noah (2014)
An exceptional film reverent of the essence of the Biblical account
This is a brilliant, compelling, challenging, thought-provoking, and in the end enjoyable, film. My apologies if, in seeing it, you are offended by it. I loved it. It made me emotional at several points. It provoked lively discussion on our way home. The film takes utterly seriously the Judeo-Christian belief in God, God's relationship with creation, and the faith assertions of the Genesis stories of early human civilization. Embellishments abound, yes, but I applaud them. Despite the whining from evangelical and conservative Christians, as a Presbyterian minister I argue that nothing I saw in this film lies in contradiction to Genesis 6-9, and that's the only thing that matters: remember, "the one who is not against me is for me." Yes, folks, the "rock monsters" you've heard about
clearly a wonderfully creative attempt to render fallen angels, or possibly to make sense of the delightfully enigmatic "Nephilim" of Genesis 6 and Numbers 13. Why not? And why not have one voiced by real-life "rock-monster" Nick Nolte? There is also the sense of a sort of living Biblical exegesis on screen: the touching scenes of Noah and family representing something of the hope God had for what humans were meant to be, and conversely, the scenes of Tubal-Cain's self-centered, destructive, broken humanity, played brilliantly by Ray Winstone. The disturbing but eventually redemptive arc of Noah's character, leading him to contend with his own demons, and meant I think simply to portray the toll that a genuine, devoted faith in God can take, is compelling. The female roles are as strong as one could hope for characters in a prehistoric society. Jennifer Connelly as Noah's wife is crucial in, let's say, altering--for God's sake?--the potential outcome of this scenario that Noah with best intention believes is right; and therefore putting her, in this story at least, in real partnership with Noah rather than just a female extra. Emma Watson puts in a great performance as a young woman whose change in destiny serves as an object lesson in the importance of women's roles. Performances are stellar all around. There is at one point a scene, relatively brief and experienced from Noah's viewpoint, of human savagery and violence in a society hopelessly broken down, that packs the punch of any horror film I've seen, and qualifies as a way to visualize Hell. Why is that of redeeming value? Because a challenge like that to the human conscience, like a mirror held up to us to say "do you really think you know how bad it can get...or got?" and thereby pushing us not to let it happen, is in my opinion one thing that faith is supposed to do, and is sorely lacking in the entertainment mindset of a privileged society. That's of value. And the movie itself is. I encourage anyone with the remotest interest in it, to go and see. 6 Nephilim-thumbs up.
The Dark Knight (2008)
Haunting, thoughtful, intense, brilliant
Saw the movie today and I cannot get it out of my head; this is an incredible movie. Intense. Thought-provoking. I was drawn in and on the edge of my seat from the first scene to the last, and Christopher Nolan wisely followed the old stage advice to "leave them wanting more." Everything you've heard about Heath Ledger's "Joker" was deserved; he's iconic, he steals the show, and he is one of the most frightening villains I've seen since Kevin Spacey's killer in Seven, or Anthony Hopkins' Hannibal in Silence of the Lambs. Honestly, I'm hoping I don't have nightmares. And yet he still makes you laugh; believe me, you'll be glad for the comic moments amid one grisly criminal rampage after another. And it's not so much about his sadistic killings, which are mercifully barely off-screen most of the time. It's about what he says...his delivery; the creepiness and absoluteness of his anarchy. This is an intellectual Joker, yet a frightening mystery. For example, he enjoys rattling off varying, horrifying stories explaining his famous facial scars, and the audience doesn't know what to believe. And that's the point. You never know what he's capable of doing next.
Maggie Gyllenhall puts Katie Holmes to shame as Rachel Dawes, and she's believable as a prematurely wizened, toughened young assistant D.A. Aaron Eckhart is excellent in playing the subtle ambiguities of a Harvey Dent walking a thin moral line even in the early stages of his moral crusader-ship, when he has just one face; bring your barf bag for his slide into a wicked transformation. Bale can do no wrong in my eyes, and here he gives another impressive turn providing a brooding and conflicted anchor to the story as a Bruce Wayne who's not sure he wants, or that Gotham needs, the burden of Batman. Gary Oldman as Lt. Gordon, Morgan Freeman as Lucius Fox, and Michael Caine as Alfred, all put in the expected solid supporting performances that make this film's core character group seamless.
The play between morality and anarchy, or chaos and order (both sets of images are alluded to by the characters), is the core to the conflict between Batman and Joker in the film. We wonder if the Joker's seemingly sincere caveat at the beginning of the film that the criminal underworld should "Kill the Batman" might just be a ruse; we find that the Joker might just very much need and want the Batman around (he's too much FUN!). He's an excellent foil for the Joker's ingeniously sadistic criminal scenarios, meant to taunt society's and Batman's moral notions of right and wrong, played out with human lives as simply collateral damage. The superb writing gives us a lot of dialogue from the Joker and Batman about this conflict, and it's going to make you think, folks...amid the carnage anyway.
Know that the film is LOUD, and the pace and action relentless. I suppose it's true genre is Tragedy. It is intentionally "Dark" indeed; it felt like a thriller, even a horror film at moments, inducing a pervasive sense of dread. But it is so engaging and entertaining that you'll find yourself enrapt as 2 hours and 40 minutes whiz by and you're left wanting more. This film is why we--that is, 12 years old and up on this one folks--go to the movies.
The Descent (2005)
Great horror film, but that elephant on the table
I am amazed that among all of these very well written reviews, no one is critiquing the underlying themes of this film. And yes, horror films can and do have them, and this one has a few. Actually, while I agree with most of these reviews that this was a great horror film, viewers might want to keep in mind that, at least in this reviewer's opinion, the plot and relational dynamics portray women metaphorically in a rather nasty, vindictive fashion. So let's check the talk about empowered women for a minute...
I mean, let's just put it out there...the Juno character quite obviously was having an affair with Sarah's husband--just listen to the DVD commentary--and as the film unfolds, it is not a leap to realize, from the various smirks and furtive glances in Juno's solo shots, that there is something else going in with her deceptive little spelunking adventure a year later. Does Juno not harbor anger at Sarah for, in effect, taking away "her" man? Does she not wish to take some sort of vengeance out upon Sarah, whose fragile state might lend itself to harm if she ends up lost with the rest of the group in uncharted caverns? And then there is Beth's admonition to Sarah about Juno, "Don't trust her." And then, of course, Juno's eventual comeuppance,with Sarah turning the tables on Juno by becoming the vengeful predator rather than the prey as intended. I didn't make this stuff up, I personally have much more respect for women, but it's really right there in front of us. What does all this say about women and the nature of their relationships?
And in what context are all these catty, hell-hath-no-fury-like-a-woman-scorned themes played out? Strange that there is an abundance of "penetration" happening throughout this film, from the opening car accident to the women writhing through those somehow-strangely-familiar-shaped holes in the ground and tunnels below, to thumbs in eye sockets, to pick axes in legs. And then those white, slithery creatures slinking through the holes after them to eat them? I felt like I needed to smoke a cigarette when the movie was over. But seriously, one is left with the sense that women first are reduced to primal vengeance and jealousy by all this "penetration" and those responsible for it, and then, inevitably are destroyed by it. Hmmm.
So, feminists and post-feminists take warning. Or maybe this film proves your point, I don't know. Still...really a fantastic horror film.
Phat Girlz (2006)
DO NOT overlook this one...a delightful little film
Upon seeing the other posted review, I had to jump in. I saw this movie about two weeks ago on DVD, was pleasantly surprised by it's depth, and frankly enjoyed it. My date suggested the film, and she and I laughed all the way through it. Let's establish that this is a film based on a major thread of Mo'nique's stand-up comedy, her notorious resentment of skinny women, and her legitimate comedic reflections on how heavy women face a multitude of personal and societal demons. So if you're expecting an epic about gay cowboys in the mountains, go see some other over-hyped film whose director practically cries because he wasn't recognized for his over-hyped film.
The plot is simple and not unreasonable, focusing on Jazmin's (Mo'nique') dream of designing a clothing line for queen-sized females, in the midst of her mundane life as a clothing store salesperson. In a touching and humorous fashion that pokes at our prejudices and stereotypes, Jazmin and her heavy friend and supa-fine cousin (dang!) experience a bit of an adventure that introduce the heavy women to men who actually appreciate a little meat on the bones in their women (and think the supa-fine chick must be sickly). These happen to be West African professionals here in the U.S. for a medical conference, and so the director has the opportunity to open the film up to some exploration of black intercultural issues, as well.
The performances were more than adequate for the subject matter, humorous, and even touching. There is a scene where Jazmin breaks down emotionally, that frankly blew me away. Kudos to Mo'nique for that. It was raw and powerful and almost too real. Eric Roberts has a great cameo role and he probably had a blast making the film. The actors portraying the lead West Africans were convincing, and the Dr. Tunde character added some real depth to the film emotionally and even morally. Although, the sexual escapades between the other major African character and Jazmin's friend Stacey undercut the lofty stuff a bit. Still, that's all done to make a point about coming out of one's shell, self-affirmation, and learning to actually live a little.
Whether Mo'nique realizes her dreams and finds true,appreciative love in the arms of Dr. Tunde is for you to find out. Don't miss it, and watch it with someone you love, whatever your size!
Stuart Saves His Family (1995)
Still totally hilarious after all these years
I recently recalled the Stuart Smalley affirmation, "I'm good enough, I'm smart enough, etc...", as a joke in a conversation with a coworker, and felt inspired to watch this film again. Note the fact that Stuart's "affirmation" has the distinction of being one of those rare TV/film buzzlines that become part of American pop vocabulary, and you already have an insight to the quality and staying power of Al Franken's humor, and of this movie as well.
I was delighted to find that indeed, "Stuart Saves His Family" was just as gut-bustingly funny as it was 10 years ago at its release. For those who care about such things, this is a film that got thumbs up and good reviews from Ebert and the late Siskel, and generally good reviews across the board. There were the token detractors. But the truth is, this is one of the better-reviewed films to come out of the SNL/Lorne Michaels franchise because it is one of the better films.
The underlying joke in the film (and the Stuart character itself) is a satire of 12-step programs and the recovery "culture"--and there is one--and the humor admittedly is probably funnier to those connected to that culture, or to human services professionals. But even those not familiar with self-help and recovery philosophies will appreciate the humor in the blatant satire of the clichés and affirmations and even the demeanor of those who practice these philosophies. Phrases like "shame spiral," "making amends," "rage-aholic," "owning my anger," and the like, when lampooned, are simply funny in and of themselves, especially when delivered deadpan by characters like Stuart. Because there are so many of these clichés, they remain fresh and humorous throughout the film. And viewers will certainly recognize and hopefully be able to laugh with the movie at the dysfunctional qualities of their own families and friends reflected there.
In a nutshell, the Stuart character is a guy involved in multiple recovery programs to correct the effects of coming from an alcoholic family. He has decided to share his wisdom through a public access cable show showcasing recovery philosophies, and as the film unfolds he faces a number of humorous crises related to his show. At the same time, his dysfunctional family undergoes a series of crises related to the death of an aunt. We are introduced to Stuart's alcoholic father, guilt-inducing mother, anxious overeating sister, and addict brother. The story that unfolds about the family's response to the crises, with their chaotic family interactions and childhood flashbacks both hilarious and touching, ends up being woven back into the drama around Stuart's cable show for a satisfying, if not all-too-realistic, resolution.
The film has been lauded for being a comedy with depth, because it is at heart a story about families and relationships--all dysfunctional, of course. There are some scenes that literally are tear-jerkers in the film, dealing with the affects of alcoholism and broken relationships, as well as the hope that recovery philosophies can bring. Indeed, one of the rewarding things about the film is that the recovery culture is both the butt of the joke, and at the same time is correctly represented as having a real, positive impact in peoples' lives. Though as in real life, we find that for the Smalley family, not everything can be fixed. And that gives this film, surprisingly, a ring of authenticity.
The other thing that struck me this time around was that the movie has a number of very talented actors in the supporting cast: Vincent D'Onofrio, Laura San Giacomo, Harris Yulin. Certainly this helped to carry the movie, but the screenplay is tight and the comedic timing of the dialog consistently right on. Whether you're looking for a good spoof of pop psychology and the recovery culture, dysfunctional families, or just a well-made comedy, this movie will satisfy.