Tag Archives: Entertainment

Due Date (2010)

Posted on November 8, 2010 | Leave a comment

The average fan of a Todd Phillips movie probably wouldn’t recognize his name or be able to pick him out of a lineup.  This is surprising not only because he’s directed enough solid comedies to rival Judd Apatow (Road Trip, Old School, Starsky & Hutch, The Hangover), but because he’s appeared as some curly-headed oddball character in all of them.  The Hangover is Phillips’ biggest critical and financial success (the sequel is shooting now) and along with that movie’s breakout star Zach Galifianakis the reason Due Date is sure to bring a big Box Office.  In some ways Phillips’ latest feels a bit like the cocky follow up to a surprise hit, banking on names and humor and seeming just a bit too unconcerned with story.  And so, like any number of comedies, Due Date is a Yin and Yang of solid, absurdist comedy and weak, mailed-in plot.  Which way do the scales tip?  Guess.

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Top 5 Films of 2010

Posted on November 7, 2010 | 1 comment

As the season turns and we move toward the heartiest portion of the filmic year, it seems as good a time as any to take stock of what’s been seen thus far.  Certainly I haven’t made it to the theater for every new release, but 2010 has been for me a year of unrivaled theater going.  There are films on the horizon; Black Swan, The Fighter, True Grit and so on that promise to, at the very least, introduce some interesting characters and concepts, and at best hoist a golden statue at the 83rd Academy Awards.  Still, the year so far, while at times inevitably shallow and frustrating, has still seen some remarkable motion pictures pass into history.

Here are my Top Five…

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Kanye West’s Runaway (2010)

Posted on October 28, 2010 | Leave a comment

Kanye West made a film.  It’s mostly music and clocks in at 34 minutes, but there’s not really anything else to call it.  One can claim all day that MJ originated the massive music video event, with “Thriller” and “Black or White” dominating their respective premieres and inserting themselves into the culture for the days and weeks that followed.  You could even point to 1988’s Moonwalker as a legitimate, feature-length film, though I haven’t watched it in a decade or two and doubt it holds up.  But Kanye West has produced and directed a short musical film.  And you know what?  It’s pretty damn good.

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Never Let Me Go (2010)

Posted on October 10, 2010 | Leave a comment

I’m overwhelmed.  After a summer of crude, overly-budgeted nonsense, the last three weeks have found me in the theater watching films that were thoughtful, mature, and perhaps most resonantly, emotionally razing.  I’ll say again: I’m overwhelmed.  It’s exciting to arrive at this time of year as the mood starts to shift along with the caliber, but it’s also important to be prepared for it, and I can’t say that I have been.  I’ve gone head first into these films with little more than excitement to safeguard me.  Today, this trilogy of despair came to its logical conclusion with the lovingly crafted and deeply heartbreaking Never Let Me Go.

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Let Me In (2010)

Posted on October 3, 2010 | 1 comment

Let’s get it out of the way.  An American remake of 2008’s internationally successful Swedish film Let the Right One In was a bizarre choice and blatantly shallow.  I suppose one could say that the motivation for an Americanized version is based on the quantity of character and story, and not just that the film is marketable and vampires are hot right now.  Nonetheless, in the words of the original’s own director, “If one should remake a film, it’s because the original is bad, and I don’t think mine is.”  So then, a viewing of Matthew Reeves‘ less than scrupulous Let Me In can either be dismissed from square one, or it can be viewed and judged despite its bastardization.  Thankfully, I chose to do the latter.

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Buried (2010)

Posted on September 25, 2010 | 1 comment

What is it about claustrophobia that people find so terrifying?  Often it seems tied inherently to death, but in every case the two certainly aren’t connected, yet claustrophobia remains for many a nightmarish prospect.  The physical constriction.  The loss of the air.  The darkness.  It’s an entirely sensory experience and perhaps this is why it’s nearly impossible to rationalize.  And perhaps this is why up-and-comer Rodrigo Cortés‘ Buried is so intensely effecting.  While there may be time to think about what’s happening, there’s not all that much to think about, which means the viewer expends far more energy simply experiencing the film.  Bearing in mind the simplicity of this concept, the utter spareness of the production, and the reliance on the singular performance of Ryan Reynolds, Buried truly is something to see.  Or, more to the point, something to feel.

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Blade Runner (1982)

Posted on September 23, 2010 | Leave a comment

“What makes us human?” is one of those base existentialisms that we’re all a bit too cynical to actually consider.  It’s the type of query that for us to truly acknowledge the significance of, must be presented subtly and in the guise of “art.”  It is thusly that Ridley Scott‘s masterpiece Blade Runner is so successful in its theme.  Only once you have parted the curtains of a neo-noir and dystopic 2019 Los Angeles, only once you have passed through the door that is Scott’s and Douglas Trumbull’s remarkable achievement in visual effects, only once you’ve tiptoed past Vangelis’ eerily sinister neo-classical score do you arrive at the heart of this Philip K. Dick adaptation.  Blade Runner is precisely an interrogation of what it means to be human, or perhaps more specifically, what it means to question this humanity.

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The American (2010)

Posted on September 5, 2010 | Leave a comment

There’s something poetic about The American opening next to Machete, Robert Rodriguez’s latest explosion of cheeky violence.  And Machete is certainly not the only case of superfluous violence in recent memory.  The Expendables, Piranha 3D, The A-Team, even Kick-Ass way back in April.  Film this summer hasn’t had much interest in subtlety or consequences.  Meanwhile Anton Corbijn‘s The American is quietly released, it’s trailer ambiguous and cerebral, it’s only apparent draw for the average movie-goer a shirtless George Clooney.  After an assault of films who hope to stay unrelentingly in your face for a full two hours, The American gently hopes only to do the next best thing: stay in your mind.

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Piranha 3D (2010)

Posted on August 23, 2010 | 1 comment

3D film is a gimmick.  It doesn’t contribute in any regard other than the visual experience, and despite all the current hype, it’s a one-trick pony that seems to have been mostly explored.  That’s not to say everything has been done, but ultimately the 3D experience has only so much to offer.  With this in mind I was actually excited by the prospect of Piranha 3D. If 3D film is a purely visual device with essentially zero regard for story, then it stands to reason that the perfect platform for this technology is a film like Piranha; an over-the-top celebration of boobs and blood.  Much like pornography the film is quite apparently unconcerned with story, doing just enough to get you to the next massacre.  I was eager to see how this would play out and came into the film with high hopes.  Much like the endless hotties dancing on boats, those hopes got really drunk, took off their tops and were promptly eaten alive.

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Toy Story (1995)

Posted on August 18, 2010 | 1 comment

It’s ironic how entirely nostalgic it is viewing Toy Story for the first time in a decade.  Though I suppose that nostalgia shouldn’t surprise me, as nearly any Disney title awakens vivid memories of childhood and the wonder of animated cinema.  Obviously the world of Disney pre-Pixar is iconic, particularly for those of us lucky enough to grow up during their late 80s/early 90s renaissance.  My particular favorite was Aladdin, but I’ve never been picky, and would gladly sit through a viewing of The Little Mermaid or Beauty and the Beast. Heck, I’d even watch Pocahontas. Still, while Disney’s astounding talent for inserting themselves into childhood is something I’m grateful for, it’s only part of what makes my adult viewing of Toy Story ironic.  The more relevant aspect of that irony is the reality that Toy Story is a movie about nostalgia.  Or at the very least it’s a movie that recognizes the heft of it.  Memories of childhood are either beautiful or awful, and rarely of the mundane; what trauma or drama is there in the tedium of childhood?  Though we catch only glimpses of the story from adolescent Andy’s perspective, the one requirement for enjoying this film is to have been that age, and to have loved those toys.  Perhaps one of Disney’s, Pixar’s and director John Lasseter‘s most charming notions is imagining that those toys could love you back.

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