For the Record, My First Big Screen Viewings Of The Top Directors

On Twitter last weekend, many folks in my feed were posting their responses to the above tweet. Film-minded folks were recalling the first films by the most notable movie makers, and it was fun to see how the titles would often reveal the age range of the participants. 

 

For posterity, I’m sharing my answers in my tweet here with some notes below:

 

Some notes: The first two films I saw at the Carolina Theatre in downtown Chapel Hill. I saw many crucial movie in my youth at the Carolina, which closed in the summer of 2005 (MARCH OF THE PENGUINS was the last film shown there). RUSHMORE I saw at another long closed venue, the Janus Theater in Greensboro; with BOOGIE NIGHTS and THE GAME at a few unmemorable multiplexes * also in Greensboro. Finally, DO THE RIGHT THING I saw twice in the summer of 1989 – first at the Ram Theater in Chapel Hill, and secondly at the Center Theatre 4 in Durham – both of which have also shut down long ago.

 

*One of these is still operating as the AMC Classic in Greensboro – the only theater that still exists of all the ones I’ve mentioned.

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ISLE OF DOGS: A Bit Mechanical But Not Without Its Charms

Opening this evening at an indie art house near me:

ISLE OF DOGS (Dir. Wes Anderson, 2018)

In more than one interview, Wes Anderson has specified that his latest stop motion animated film (his second following 2009’s THE FANTASTIC MR. FOX) was largely influenced by legendary Japanese filmmaker Akira Kurosawa, and in a very Wes Andersony twist, those classic Rankin Bass Christmas specials like “Rudolph the Red Nosed Reigndeer.”

It’s a suitably quirky combination for the suitably quirky writer/director/producer, and for the most part it works, but I couldn’t help from thinking that the execution of ISLE OF DOGS is a bit too mechanical to really take hold.

That’s not saying I didn’t enjoy a great deal of the film as it’s well made, has a rich voice cast, pleasing visuals, and some amusing ideas. And I know that the criticism “too mechanical” is an odd one to make as the machinery of Anderson’s style has been detectable from the beginning of his career in BOTTLE ROCKET, but I still found too many beats to be predictable, too many times that gags felt forced, and too many moments that were supposed to be emotional (I think) that made me think ‘meh.’

The narrative, which is set in Japan 20 years in the future, concerns a 12-year old named Atari Kobayashi (voiced by Koyu Rankin) who travels to Trash Island, where all of the country’s dogs have been banished because of a canine flu virus, to find his lost dog Spots.

Atari is helped in his quest by five mangy dogs: Rex (Edward Norton), King (Bob Balaban), Duke (Jeff Goldblum), Boss (Bill Murray, and Chief (Bryan Cranston). You see, an opening title tells us

Cranston’s Chief is the most dominant dog, and has the most interesting back story as he scoffs at the formerly domesticated others as he’s a stray saying things like “You're talking like a bunch of housebroken…pets.”

Meanwhile, in subplot B, Greta Gerwig voices a pro-dog American exchange student Tracy Walker, who has a crush on Atari and leads a campaign against his evil uncle, Mayor Kobayashi (Kunichi Nomura), whilst finding out from Assistant Scientist Yoko Ono (voiced by Yoko Ono – that’s right) that a cure has been suppressed by the dog hating Mayor.

You got that? Well, it doesn’t matter as Anderson treats all these plot points so nonchalantly that they hold very little weight. I mean, that’s fine – everyone hits their marks, melancholy music plays, and it’s all played for maximum cuteness. If you’re a hardcore Wes Anderson fan, I bet this will be like the cinematic equivalent of crack cocaine, but being a more casual fan (I’ve only RUSHMORE once!), it was a pleasant but unremarkable experience. It felt like a great production design, and cast looking for a great movie.

But whatever your stance – don’t go see it for its cast. Sure, one of the most striking things in the trailers, posters, etc. is the sheer amount of its star power – Cranston, Norton, Murray, Goldblum, Frances McDormand, Liev Schreiber, Harvey Keitel, Scarlett Johanssen, Tilda Swinton, Angelica Huston, and Fisher Stevens as Scrap (I so want that to be the new “and Jerry Mathers as the Beaver”) – but beyond Cranston, Gerwig, Norton and a few others, most of these famous folks don’t make much of a mark. I can’t remember a single moment that Murray owned, and I bet Johanssen recorded her lines in less than 10 minutes.

Although it felt a bit off to me, ISLE OF DOGS is not without its charms. The attention to detail (one of Anderson’s strengths) in the animation is superbly presented (despite how dire the landscape of Trash Island), and there’s some earned warmth between a few of the characters. I also loved how there were clouds of flailing limbs popping in and out when the dogs fought like in old cartoons.

It has come under some fire for criticisms of its appropriation of Japanese culture, but it never struck me as being anything but a respectful homage - except for the fact that Japanese-speaking characters aren't given subtitles while a opening disclaimer tells us that all of the dog’s “barks have been rendered into English.”

So his second stab at stop motion animation isn’t as funny, poignant, or memorable as his first, THE FANTASTIC MR. FOX, but Anderson has yet again succeeded in making something that nobody can do as well: make another Wes Anderson film. It’ll more than do until the next one.

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Every Movie I’ve Ever Seen Ranked (You Won’t Believe What’s #4081!)

Sorry for the clickbaitastic headline, and as you might’ve guessed I’m not going to really rank every movie I’ve ever seen (but if you’re wondering what #4081 is – it’s John Schlesinger’s PACIFIC HEIGHTS, pictured above, which is a solid #4081). I just wanted to call out those ever so prevalent pop culture lists that rank every Tarantino movie, or Beatles song, or Seinfeld episode from worst to best. Like these*: 

All 49 Marvel Movies Ranked, Including ‘Black Panther’ 

Every Best Picture Oscar Winner, Ranked: How All 90 Movies Stack Up 

Every James Bond Movie Ranked from Worst to Best (also The Best James Bond Actors, Ranked, Ranking: James Bond Theme Songs From Worst to Best, etc) 

All X-Files Episodes, Ranked Best to Worst (this one is actually from a site called ranker.com)The Complete Works: Ranking All 374 Rolling Stones Songs 

* I’m not linking to any of these, so you are are your own finding these if you want.

Now, I’m not against lists - I’ve posted plenty of them on this blog - I just don’t like it where there’s dozens and dozens of entries of whatever pop culture thing as they aren’t very useful. I mean, if you rank the Beatles’ studio albums, there’s only like a dozen of them so somebody approaching their catalog might benefit from the recommendations of “Revolver” or “Sgt. Pepper” or whatever records are high on the list, but what good does it do anybody to know that Vulture.com thinks that “Rocky Raccoon” from “The While Album” is #166 out of #213? 

Now, I know some people like these lists, and find them fun enough to share and argue about, etc. but I usually skip them. The ones I do click on, I just skim them quickly and move on. I find Top 10 lists, or 20 at the most, to be more useful. 

The lists I get most annoyed by are the ones that basically say ‘hey, that thing you like sucks’ like these: 

12 Movies You Probably Love That Are Overrated, According To Reddit 

15 Overrated Movies Everyone Pretends To Love 

5 Recent Movies That Got Way More Praise Than They Deserved 

I particularly don’t like the word “overrated” because to me it means: I hate this thing that everyone likes, and they’re wrong (underrated being the obvious opposite: I love this thing that everyone hates, and they’re wrong). 

Yeah, I know that the words “overrated” and “underrated” are ubiquitous in our culture, and aren’t going away any time soon, but I don’t use them on my blog because I find them to be meaningless.

One strong case against them is that President Trump uses the word “overrated” a lot – he’s used it to insult former President Barack Obama (no surprise there), Meryl Streep, Jerry Seinfeld, Megyn Kelley, the musical Hamilton, and politicians in general (again, no surprise). I don’t think he’s ever said that anything or anyone is “underrated,” because he probably doesn’t know that word. 

Lately, I have been trying to not be on social media too much as I get really annoyed by these things, and stuff like long lists that have slideshows so they can fit in more ads, but I’m not going to get started on those. 

This concludes my rant. Stay tuned for coverage of the Full Frame Documentary Film Festival that kicks off this Thursday, April 5, and for reviews of upcoming films like Wes Anderson’s * ISLE OF DOGS, and the roster of highly anticipated summer films around the corner. 

* A filmmaker who is often considered overrated.

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THE GRAND BUDAPEST HOTEL: The Film Babble Blog Review

Now playing at an indie art house near you:

THE GRAND BUDAPEST HOTEL
(Dir. Wes Anderson, 2014)

The world of Wes Anderson just got a lot wackier with his newest work, a screwball romp set in a fictional European country in the 1930s, ostensibly inspired by the writings of Austrian writer Stefan Zweig.

Ralph Fiennes, in a role that thankfully made me forget his creepy turn as Charles Dickens earlier this year in THE INVISIBLE WOMAN, stars as M. Gustave, the charming concierge of the Grand Budapest Hotel in the Republic of Zubrowka as World War II approaches.

One of the hotel's newest employees, a Lobby Boy (Tony Revolori) named Zero, gets swept up in Fienne's farcical adventures involving the death of the wealthy Madame D (Tilda Swinton), with a valuable painting entitled "Boy With Apple" being left to the concierge in her will.

Swinton's family led by returning Anderson player Adrien Brody (sporting a Salvador-Dalí-esque mustache) as her son objects to Fiennes getting the priceless piece of art, and the family's dead-eyed hired hitman (Willem Dafoe) goes after our two plucky protagonists.

The tale is told as a story within a story by F. Murray Abraham as the older Zero in the 1960s to Jude Law credited only as "Young Writer." It's actually a story within a story within a story as the entire narrative by way of Law's later memoirs is being read in the present day by a teenage girl (Jella Niemann).

Anderson and cinematographer Robert Yeoman present each time frame in a different aspect ratio to reflect which film format was in use when the sequence is set. I.e. the '30s scenes that dominate the movie are seen in what's known as the "Academy ratio," an almost square-shaped frame. The later day '60s scenes are shot in widescreen, and the more modern material material is in conventional “flat” (1.85:1) format.

This whole process is so Wes Anderson-y. So is the eye-catching color scheme, the jaunty score by Alexandre Desplat (since it's mostly set in the '30s, there are no obscure Kinks songs on the soundtrack), and, of course, the cast full of Anderson regulars.

Jason Schwartzman, Jeff Goodblum, Edward Norton, Owen Wilson, and the great Bill Murray all don magnificent mustaches and join in. Even though none of them are really given much to do except just to be there, they're all nice to see as they briskly go by.

Along with Law and Abraham, and new to the Anderson stable is Saoirse Ronan as Zero's love interest (shades of the kids in love in Anderson's previous project MOONRISE KINGDOM), Tom Wilkinson as the older version of Law's character, and a bald Harvey Keitel as one of Fienne's fellow prison inmates who helps him escape.

It's a funny coincidence (to me at least), that this and MUPPETS MOST WANTED, also releasing in the area today, have elaborate prison break sequences.

Anyway, THE GRAND BUDAPEST HOTEL is maybe the most fun film of Anderson's oeuvre. It has a witty playfulness to match its picturesque beauty - gotta love the miniture models, matte paintings, and dioramic backgrounds that largely make up the scenery.

It's not going to convert those who find Anderson's work to be twee, too quirky for its own good, or pretentious, but those as in love with his style as he is, will find it to be a very filling feast.

That it's a film made for Wes Anderson fans by the biggest Wes Anderson fan of them all, Wes Anderson, doesn't get in the way of the infectious whimsy one bit.

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Wes Anderson's MOONRISE KINGDOM Is Twee-rific

MOONRISE KINGDOM (Dir. Wes Anderson, 2012)

There are times during this film, Wes Anderson’s seventh as director, that I felt like I was paging through an old slightly faded and yellowed picture book of Rhode Island landscapes and settings.

The world that Anderson creates here will be familiar in its tone and eccentricity to those who’ve seen his previous movies, but his usual hallmarks - actors positioned in dead center frame, extreme shots of handwriting on notebook paper, a bold primary color scheme, kids who are too smart for their own good, and very formal dialogue - all come together much more naturally than before.

As whimsically titled as it is executed, MOONRISE KINGDOM concerns Jared Gillman and Kara Hayward, as a couple of kids in the summer of 1965 who don’t fit in their respective lives - he in his “Khaki” Scout troup; she in her dysfunctional family. They run off together across the fictitious island of New Penzance, off the coast of New England, in the days before a storm of “historic proportions” hits (as Bob Balaban, our onscreen narrator tells us).

This triggers the Scout Master Ward (Edward Norton), the local police Captain (Bruce Willis), and the girl’s lawyer parents (Bill Murray and Frances McDormand), to form a search party to find the missing children.

Although he was the most unpopular scout in his troup, Gillman has mad camping skills so the kids are able to survive just fine in the woods. Hayward helps pass the time reading aloud from a stack of unreturned library books (all fictitious children’s titles with authentic period aesthetics).

The pair reach a secluded cove protected by steep cliffs where they dance on the beach to Françoise Hardy’s “Le Temps de l’Amour” on a battery-powered record player. They kiss and fall in love, but the search party soon swoops in to separate them.

Meanwhile there is a palpable chill in the air around Murray and McDormand as she is having an affair with Willis. There’s no real time to flesh this out so it’s on a back burner as Tilda Swinton as Social Services (that’s actually how she’s credited) shows up to take away Gillman and place him in a “juvenile refuge.” 

Gillman’s scout troup decides to help the love-smitten kids escape again, and with the help of Anderson regular Jason Scwartzman, as a Khaki scout leader, a makeshift marriage ceremony goes down. Then there’s that pesky violent storm to deal with.

Sure there’s a preciousness to the precision that some may find pretentious, and maybe it is a bit. But it’s touching how faithful Anderson is to that little inner kid of his.

We don’t learn much about these people as the characterizations don’t go very deep, and some details seem a bit too quirky (McDormand using a megaphone to order around her family - and I know that comes from co-screenwriter Roman Coppola’s real life), but the overriding sweetness and colorful aura casts too big a spell for that to matter.

Despite that it's set in the mid '60s, there surprisingly isn't any British invasion pop present. Apart from the Françoise Hardy tune and some Hank Williams, classical music dominates the soundtrack by way of a 7 part suite by noted composerAlexandre Desplat, some apt Leonard Bernsteinselections, and Benjamin Britten's “The Young Person's Guide to the Orchestra.”

Of Anderson’s films, I was most reminded of THE ROYAL TENENBAUMS in such elements as the yellow tent aesthetics, Murray’s wife having an affair, a dog getting accidentally killed, and the ancient turntable, among some other more subtle similarities. Maybe it’s true that every film maker is essentially making the same movie over and over until they get it right.

Well, Anderson’s MOONRISE KINGDOM is a twee-rific try.

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The Film Babble Blog Top Ten Movies Of 2009

All this last month readers have been asking me for my top 10 movies of 2009. I've mentioned before that some major prestige films don't get to my area until late January or early February or later, and that's not considering many Foreign films that aren't released in these parts until months after the Oscars so it's usually a month or so into the year before I post my picks.

So since there's no way I'm going to catch up anytime soon and because tomorrow the Academy Award nominations are going to be announced, now is as good a time as any for my list for what I think was a great and diverse year for film: 

1. A SERIOUS MAN (Dirs. Joen & Ethan Coen)



"The greatest films are the ones that leave you not able to explain, but you know that you have experienced something special. I've always had this feeling that the perfect response to a film or a piece of work of mine would be if someone got up and said, 'I don't know what it is, but it's right.'

That's the feeling you want - 'That's right' - and it comes from four or five layers down, it comes from the inside rather than from the outside." - Robert Altman

I've been plowing through the new book: "Robert Altman: The Oral Biography" since I got it for Christmas and I was struck by the quote above. It made me think of A SERIOUS MAN, though the latest Coen Brothers cinematic conundrum is anything but Altman-esque. With Michael Stuhlburg leading an equally unknown cast into the academic abyss of late 60's suburban Minneapolis, it's the Brothers' most personal work to date. Whether it's a post modern riff on the story of Job or a series of nonsensical jabs at everybody's existential expense, it's a perplexingly pleasing parable. Read my original review here.

2. UP (Dir. Pete Docter)

Last year the same #2 position on this list was held by a Pixar film (WALL-E) so I was tempted to go in another direction here. But, that would've been wrong because UP honestly deserves this space. The first 10 minutes alone deserve this space. This wonderful tale of Carl (voiced by Ed Asner) - a crotchety old widower who attaches thousands of balloons to his house in order to fly it to Paradise Falls in South Africa is a rambunctiously inventive and funny flight. And if you don't cry at that sweeping opening montage, either you have a heart of stone or you're Armond White. Read my original review here.

3. THE HURT LOCKER (Dir. Kathryn Bigelow)

Every explosion has an emotional impact in this gripping war drama featuring Jeremy Renner as a bomb defusing expert who'd rather risk his life in Iraq than be home with his wife. Read my original review here.

4. INGLOURIOUS BASTERDS (Dir. Quentin Tarantino)

This indulgent alternate history World War II film is possibly over-stuffed with story strands but as I said in my original review: "the pulse and tone of Tarantino's best work is intact." Read the rest of that review here.

5. BLACK DYNAMITE (Dir. Scott Sanders)

Though it was little seen, this is hands down the funniest film of 2009. Forget THE HANGOVER, this blaxploitation homage/satire/greatest hits has more laughs per minute and is sure to be one Helluva a future cult classic. Read more here. 


6. THE FANTASTIC MR. FOX (Dir. Wes Anderson)

 

Wes Anderson's stylistic whimsy works wonders in this friendly, fuzzy, and ferociously witty film adaptation of Roald Dahl's beloved children's book. So does George Clooney's charm which I enjoyed more here than in a certain air-born live action film that is sure to get more acclaim awards wise.

7. BRIGHT STAR (Dir. Jane Campion) An unfortunately overlooked period piece centering on poet John Keats' (Ben Whishaw) doomed courtship of Fanny Brawne (Abbie Cornish). A beautifully moving work with first rate performances including a scene stealing Paul Schneider as Keats' writing partner Charles Armitage Brown. With hope the Academy will take notice. Read my original review here. 

8. DISTRICT 9 (Dir. Neill Blomkamp) Without a doubt the most frighteningly original (and strikingly satirical) work of science fiction of the year. A misadventure in alien apartheid leaves a wet behind the ears field operative (Sharlto Copley) with his arm mutated to that of a "prawn" and he...oh, just go watch it. Read my original ravings here. 

9. ANVIL! THE STORY OF ANVIL! (Dir. Sacha Gervasi)

This documentary about a Spinal Tap-ish band of aging Canadian heavy metal rockers may have you snickering at first but before you know it they win your heart over with their "never say die" determination. As I said in my original review: "Metal heads and casual movie-goers alike (which means just about everybody) ought to dig it."

10. BAD LIEUTENANT: PORT OF CALL - NEW ORLEANS (Dir. Werner Herzog) Speaking of "never say die", Nicholas Cage re-ignites the crazy edge of his persona in this twisted and surrealistic corrupt cop crime caper while he re-ignites his "lucky crack pipe" yelling "I'll kill all of you...to the break of dawn! To the break of dawn baby!" Read about more craziness and how this does and doesn't relate to Abel Ferrara's 1992 BAD LIEUTENANT here.

Spillover:

The ones that didn't quite make the Top Ten grade but were still good, sometimes great flicks - click on the title for my original review.

STAR TREK (Dir. J.J. Abrams)

THE INFORMANT! (Dir. Steven Soderbergh)

ZOMBIELAND (Dir. Ruben Fleisher) 

THE ROAD (Dir. John Hillcoat)

IN THE LOOP (Dir. Armando Iannucci)

A SINGLE MAN (Dir. Tom Ford)

WHERE THE WILD THINGS ARE (Dir. Spike Jonze)

AN EDUCATION (Dir. Lone Scherfig)

AWAY WE GO (Dir. Sam Mendes)

OBSERVE AND REPORT (Dir. Jody Hill)

BIG FAN (Dir. Robert Siegel)

(500) DAYS OF SUMMER (Dir. Marc Webb)

MOON (Dir. Duncan Jones)

ABEL RAISES CAIN (Dirs. Jenny Abel & Jeff Hocket)

TWO LOVERS (Dir. James Gray)

I didn't write reviews of these but they are also strongly recommended:

SUMMER HOURS (Dir. Olivier Assayas)

GOODBYE SOLO (Dir. Ramin Bahrani)

WORLD'S GREATEST DAD (Dir. Bobcat Goldthwait)

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FANTASTIC MR. FOX: The Film Babble Blog Review

FANTASTIC MR. FOX

Dir. Wes Anderson, 2009)

The highly detailed microcosms that Wes Anderson crafts (think the theatrical productions of Max Fischer in RUSHMORE, the family townhouse in THE ROYAL TENENBAUMS, the cross section of Steve Zissou’s research submarine “The Belafonte” in THE LIFE AQUATIC, et al) fit perfectly into the storybook world of Roald Dahl in this film that more than does its title justice. The stop motion technique may at first glance strike one as primitive in these days of CGI saturation but the results aren't disjointed they're jaunty and full of life.

A slick, quick talking George Clooney voices Mr. Fox, a chicken thief turned newspaper columnist, who secretly returns to a life of crime defying a promise he made to his wife (Meryl Streep). Mr. Fox targets farmers Boggis, Bunce, and Bean: “One short, one fat, one lean. These horrible crooks, so different in looks, were nonetheless equally mean” as Dahl described and the film quotes in its opening. Mr. Fox’s son, voiced by Anderson regular Jason Schwartzman, is struggling to be noticed at school when he finds himself in the shadow of his visiting cousin Kristofferson (Eric Chase Anderson) but they bond when getting wind of Fox’s 3 phase heist plan.

With the aid of a wacky opossum named Kylie (Wally Wolodarsky), Mr. Fox pulls off his thieving schemes evoking the murderous wrath of the furious farmers who destroy his tree home forcing Fox and family to plough deep into the earth’s surface to escape. Fox’s tail gets shot off in the initial attack but it does little to discourage his plucky determination and cunning charm. 

The marvelous mix of quirky characters includes Willem Dafoe as a slimy security guard rat, Jarvis Cocker as a human hippy protest singer named Petey, with a few more Anderson regulars - Owen Wilson and Bill Murray as Coach Skip and a badger lawyer respectively rounding out the cast.

Anderson’s knack for setting the beats and tone with an eclectic blend of music from American standards to British rock ‘n roll pays off grandly here with composer Alexandre Desplat’s fine score filling in the rest. The Beach Boys “Heroes and Villains” (from “Smiley Smile” not Brian Wilson’s recent re-recording of “Smile”) works wonderfully in the punchy title sequence as does The Rolling Stones’ immortal “Street Fighting Man” in a chase scene set piece.

FANTASTIC MR. FOX is a clever, funny, and fiercely intelligent film. With endearing style and grace it successfully welds the warmth of an old-school children's book sensibility with the hip humor of new-school speaking rhythms. It's the least pretentious and possibly the most accessible of Anderson's ouvre but it's so much more than that; Wes's witty and wise Fox concoction is an instant classic.

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Soundtrack September: Heavenly Movie Soundtracks & More

We're coming to the home stretch of Soundtrack September but don't worry there's still plenty left!

The Reverend Chris Carpenter, resident film critic of Movie Dearest and the Orange County and Long Beach Blade, contributed a wonderful piece entitled "Heavenly Movie Soundtracks". Here's an excerpt with a link to the full article:

"While the first soundtrack recording I recall buying was the inescapable STAR WARS by modern movie music maestro John Williams, it was Williams' follow-up score for SUPERMAN: THE MOVIE that really struck a chord (no pun intended) with me. I will never forget the dramatic impact Superman's main title march had on me, accompanied as it was by the film's literally soaring opening credits. Williams brilliantly utilized a variety of styles to underscore the superhero's story, from his origin on the doomed planet Krypton to his climactic showdown with arch-nemesis Lex Luthor. The score also includes the song "Can You Read My Mind?", although it is performed in the film by Margot Kidder as more of a spoken word recitation, with lyrics by Leslie Bricusse. The SUPERMAN score was nominated for a 1978 Academy Award but lost to Giorgio Moroder's innovative electronic score for MIDNIGHT EXPRESS. Moroder would go on to score a number of successful 80's movies, including FLASHDANCE. In my opinion, however, Moroder's best work is his alternately lyrical, intense and sexy score for the 1982 remake of the horror classic CAT PEOPLE. David Bowie co-wrote and performed the film's title song, which was recently resurrected to awesome effect in Quentin Tarantino's INGLOURIOUS BASTERDS." Read the rest of Reverend's Reviews: Heavenly Movie Soundtracks at Movie Dearest. Next up, Fletch from the brilliant Blog Cabins, billed as: "Movie reviews and commentary made fun", pointed out a piece he wrote last year about his 5 favorite soundtracks and here are a few of his choices and a link to the rest: PULP FICTION (1994) People give a ton of credit to Quentin Tarantino for kick-starting or re-starting careers, but they're usually talking about actors. However, the man has probably been a bigger force (dollar-wise) when it comes to rejuvenating the careers of soul, R & B, pop and surf musicians from the 60s and 70s. His breakout film featured songs from artists as diverse as Dick Dale, Al Green and Urge Overkill, no doubt selling millions of albums for them in addition to the sales of this film's soundtrack. Favorite Track: "Girl, You'll Be A Woman Soon" by Urge Overkill. RUSHMORE (1998) If any director has rivaled Tarantino in terms of quality and diverseness when it comes to his films' soundtracks, it's Wes Anderson. This one is all over the place, with great tracks from classic rock starts like John Lennon and The Who to folk star Cat Stevens to jazz to Mark Mothersbaugh's brilliant scored tracks. Brilliant all around. Favorite Track: "A Quick One While He's Away" by The Who. Read the rest of Fletch's Favored Five: Movies Worth Listening To at Blog Cabins. More later...

JUNO What I'm Talking About?

Since it opened on Christmas Day JUNO, Jason Reitman's comedic drama about a teenage girl who gets pregnant, has been trouncing WALK HARD at my hometown theater (the Varsity, where I work part-time) with at most showtimes three times the audience in attendance for the mockumentary.

The critical response has been overwhelming - it has 94% rating on the Rotten Tomatometer, and the most beloved and respected critic ever - Roger Ebert wrote that it's "just about the best movie of the year," and that he thought that star Ellen Page (who plays the title role) "will be one of the great actors of her time." 

Whoa! I thought it was a likable though derivative quirk of a film with good acting and some sharp lines, but Ebert's swooning seems a bit much. Of the minority that didn't care for what looks from a distance to be this year's LITTLE MISS SUNSHINE, one of the most interesting reviews came from Triangle critic Craig D. Lindsey.

Lindsey's review was entitled "Danger: Snarky Pregnant Teen Ahead," in which he writes that JUNO "could very well be the most dangerous movie to come out this holiday season.."

Dangerous not for its possible pro-life agenda but for "its kooky, deceptive, ultimately mediocre charms". He goes on to say that if successful "it will inspire and influence a legion of teenage girls to start acting snotty and snarky, just like Juno, more than they already do." 

So since Ebert adores Page, thinks Diablo Cody's first time screenplay is Oscar worthy, and ended up making JUNO his #1 film of the year while Lindsay considers the whole thing "snarky" I find myself toeing the middle ground. It is not in my eyes anywhere near the best movie of the year or is it a dangerous socially influential manifesto.

Greatly in its favor is that JUNO is very well cast - apart from Page we have J. K. Simmons and Allison Janey (The West Wing) as her parents, from the beloved yet short-lived Arrested Development - Michael Cera (also of SUPERBAD) as Juno's boyfriend and his fellow former cast member Jason Bateman. Bateman and Jennifer Garner play a suburban couple who sign on to be the baby's adoptive parents. How it all pans out was a little different than I expected and some of the exchanges are nicely witty: 

Juno (Page): "Can't we kick it old school? Like Moses and the reeds?" 
Mark (Bateman): "Actually that would be kicking it old Testament."

None of JUNO will be surprising visually to moviegoers - it resembles most indie fare from THUMBSUCKER to ROCKET SCIENCE and its soundtrack won't seem out of the ordinary either. Reitman should know that you don't use The Kinks (their song "A Well Respected Man" plays at one point) if you don't want to invite Wes Anderson comparisons. The Film Babble Blog bottom line is that JUNO is just alright.

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THE DARJEELING LIMITED: More Or Wes Worthwhile

Peter (Adrien Brody): He said the train is lost.
Jack (Jason Schwartzman): How can a train be lost? It's on rails.
Film geeks from all markets can rejoice as Wes Anderson's latest opus THE DARJEELING LIMITED today enters its nationwide release. 

Jason Schwartzman, Owen Wilson, and a new addition to the Anderson repertory company, Adrien Brody, are brothers who haven't seen each other in the year following their father's death.

In a plan initiated by Wilson they meet up to take a train ride in India to bond and take "a spiritual journey" - also suggested by Wilson. They lug a huge amount of luggage with them on this trip - of course we get the symbolism there - baggage, right? Along the way they fight, embrace, engage in odd enforced rituals, and wonder where the Hell they are really going and what they are going to achieve. It is easy to wonder that about the film as well but Anderson's visual mastery is absorbing as usual, his soundtrack choices exquisite (including The Kinks and music from Satyajit Ray's films), and the acting superb so it's best to just sit back and enjoy the ride.

It is hard though, maybe impossible to not think of Owen Wilson's real-life suicide attempt when his character here had nearly killed himself by crashing his car on purpose and spends the film with his head wrapped in bandages. What makes it so difficult to separate the art from the non-fiction is his character is given practically no back story. In fact we are given so little to go on with just about everybody on the screen - Schwartzman is a published writer but of what type and is he respected or a hack? 

I can't recall at all what Brody or Wilson's occupations are and the info given on their parents is pretty vague too - their Mother (played by Anjelica Huston in a quiet but effective manner) became a reclusive Nun at some point but again we are given little motivation. They seem to have an unlimited amount of fundage to back their trip and to buy expensive trinkets so maybe their family was old money - who knows? These people don't appear to have any life except what we see on the screen but maybe that's the point.

Not fully thought out narrative threads and a pungent lack of pay-offs aside this is still a worthwhile night at the movies. Anderson may be treading water in some respects but it's his own water and he stays afloat more than he sinks. The train of the films title winds down the tracks unconcerned with any existential meaning or the lack of it and that's how moviegoers should be too when they get on board.

Postnote: I didn't realize before seeing the film last night that the 13 min. prequel HOTEL CHEVALIER (reviewed on the post The Darjeeling Prequel - Now Playing On My iPod Nano 10/1/07) was going to be played before the main feature theatrically. It gave me the chance to re-evaluate the short and I admit I liked it a lot better on the big screen as opposed to my previous iPod postage stamp sized viewing. Go figure.

More later...

The Darjeeling Prequel - Now Playing On My iPod Nano

"She's kind of like a movie everyone rushes to see, and no one understands it sittin' in their seats."
- The Replacements ("Achin' To Be" from Don't Tell A Soul, 1989)

So as every online film geek knows that the official "prequel" to the highly anticipated Wes Anderson joint THE DARJEELING LIMITED (well, anticipated in my area - I know it's already opened in other markets) was made available free though iTunes last week. It was filmed a year in advance of THE DARJEELING LIMITED and titled HOTEL CHEVALIER (the end credits list it as "PART 1 OF THE DARJEELING LIMITED").

Since I just got an iPod Nano and am really new to the world of podcasts and video downloads I thought it would be a good tryout to download and watch this 13 min. short. I know - I could easily blow it up on my computer screen but having heard the criticism of this new gadget as a valid visual medium I decided to view and review HOTEL CHEVALIER based on my iPod experience. So here goes :

Immediately I realize how silly this venture is because it's presented in widescreen which makes the picture much smaller than the screen provides and there's no way to zoom or enlarge in any way. A mustached Jason Schwartzman lounges in a Parisian hotel room ordering grilled cheese sandwiches and watching STALAG 17 on TV (I could barely see it on the iPod screen - thanks for the nerdspotting The Playlist!) until Natalie Portman calls up and wants to visit. She shows up shorthaired (I guess it still hasn't grown back from V FOR VENDETTA) and clingy. They exchange cryptic dialogue - Portman : "are you running away from me?" Schwartzman : "I thought I already did" and have a brief sex scene that is really not done justice on my iPod's postage stamp viewpoint.

This short film seems to completely be about the song "Where Do You Go To (My Lovely)" by Peter Sarstedt - the bulk of which is played twice. The lack of back story and any further insight into either Schwartzman or Portman's characters left me hanging and unsatisfied. Even though on my little screen it looked great - the colors and framing all held my attention and I loved the song but sadly the stylistic approach is the whole show - no real insight or memorable moments appear. The last tracking shot of the couple in question walking in slow motion is a Anderson trademark and it's provided in this short as the payoff which uh...well, let's just say it doesn't bode well for THE DARLEELING LIMITED. Despite that the full length follow-up PART 2 already getting pretty scathing reviews so far I'm gonna wait and see for myself how disappointing it will be - snap! Nah, nah...we'll just wait and see.

More later...

Film Babble's 100th Post!

"It's too cerebral! We're trying to make a movie here, not a film!"
- Kit Ramsey (Eddie Murphy) BOWFINGER (Dir. Frank Oz, 1999)


No special features or self congratulatory crap for my 100th - just some good ole fashioned movie reviews. A couple of new movies I caught at the theater and a few new release DVDs - nice and simple. So let's get going -

DEATH AT A FUNERAL (Dir. Frank Oz, 2007) After one of the most misguided remakes in history THE STEPFORD WIVES, a film Nathan Rabin in his excellent My Year Of Flops column (The Onion A.V. Club) would most likely call a "fiasco", Frank Oz brings us a funeral farce. Set in and around a countryside house during what should have been a stiff-upper lip service - a cast of mostly British mourners all with their own agenda or issue clash, argue, and fret over many outrageous obstacles.


Obstacles such as money matters that are driving rival brothers (Matthew Macfadyen, Rupert Graves) apart, a misplaced bottle of LSD tablets labeled as Valium, and a dwarf (little person? Trying to be PC here) played by the wonderful Peter Dinklage (THE STATION AGENT) that has a family shattering secret. There is some cringe-inducing slapstick and unnecessary scatological nonsense but through its economical brevity (it follows the unwritten rule that comedies should be 90 min) the mixed bits are happily reigned in.


DEATH AT A FUNERAL contains a number of genuine big laughs and while it may never be considered a comedy classic it will be most likely fondly remembered for many seasons to come. Oh yeah - it also more than makes up for THE STEPFORD WIVES.

ROCKET SCIENCE (Dir. Jeffrey Blitz, 2007) So the first non-documentary by director Jeffrey Blitz (2003's SPELLBOUND) is another adolescent angst movie in the tradition of Wes Anderson and Todd Solondz (especially RUSHMORE and WELCOME TO THE DOLLHOUSE respectively). Unfortunately it’s nowhere as good as those touchstones with its self conscious screenplay filled with forced humor and standard grade quirkiness. Stuttering student (Reece Daniel Thompson) is a debate club star wannabe but his speech impediment gets in the way of his academic career and love life.


Thompson pines for a cold condescending classmate played by Anna Kendrick who is way ahead of him in the debate game and also way out of his league. A huge miss-step of many is the voice-over narration by Dan Cashman which in tone and context sounds to much like Ricky Jay’s opening MAGNOLIA spiel. Not able to surpass or be the equal of its influences and peopled by characters which are hard to care about ROCKET SCIENCE misses its mark by a movie mile. It simply should have had more moxie.


Some new DVDS I've recently seen :


THE LIVES OF OTHERS (Dir. Florian Henckel-Donnersmarck, 2006)


"He knows that the party needs artists but that artists need the party even more."
- Minister Bruno Hempf (Thomas Thieme)

This is an amazing and affecting wire-tapping tale set in East Germany (GDR) in 1984. A time when artists such as playwrights who were thought to have subversive tendencies are bugged and blacklisted by the secret police (Stasi) in the remaining years before the Berlin wall came down. One such playwright Georg Dreyman (Sebastian Koch - who was one of the only highlights of BLACK BOOK) has a actress girlfriend (Martina Gedeck) who has some too close for comfort ties to the Stasi.


The real star of this piece though is the character of Captain Gerd Wiesler (Ulrich Muhe) who develops a protective sympathy for the people he's assigned to spy on. More of a drama with tense moments than a thriller, THE LIVES OF OTHERS fully deserved the Best Foreign Picture Oscar that it won this year and should go right to the top of your 'must see' list or your Netflix queue which I guess is the same thing.


Postnote : This movie is going to get the American remake treatment by Sydney Pollack set for 2010. Whatever makeover they give it I hope it doesn't have that damn thriller thunder dubbed on top of it.

GHOST RIDER (Dir. Mark Steven Johnson, 2007) I honestly can't remember why I ordered this one up. I mean I like Nicholas Cage but hate his action movie crap (CON AIR, THE ROCK, NATIONAL TREASURE, etc) and I successfully dodged the bullet that was THE WICKER MAN remake - not really action I suppose but still looked like crap so I'm drawing a blank right now as to why I added this to my queue. 


I am completely unfamiliar with the comic book (sorry - graphic novel) that this is based on and I didn't hear anything good about it when it was released in theaters earlier this year so go figure. Cage plays Johnny Blaze - "a badass stunt cyclist" (Netflix's envelopes words not mine) who makes a deal with the Devil, played by Peter Fonda no less - who I guess shows up whenever the pitch "it's a motorcycle movie" is made. 


The Devil's son Blackheart (that charismatically creeply kid from AMERICAN BEAUTY - Wes Bently) wants to take over for his dad and destroy the creation made from the contract - the Ghost Rider of the title that Blaze can change into at will. "Oh, and his face was a skull and it was on fire" says a punk clad Rebel Wilson credited as 'Girl in Alley' and I couldn't say it any better. This film is supremely stupid but oddly not severely sucky - I mean as mere pop entertainment goes you could do worse with a couple of hours than watching it. Then again, that blank white space on the wall over there is looking mighty appealing.


Okay! I didn't think the word "crap" would show up 3 times in my 100th post but otherwise all is good. Hope you stick around for my next hundred posts.


More later...