Tag Archives: Opinion

Pee-Wee’s Big Adventure (1985)

Growing up, I watched what can only be called an excessive amount of television.  I wasn’t a critical viewer by any means, though there were certain shows I recognized as distinct.  While any number of kid’s shows are quite apparently written with their primary audience in mind, there’s that special neighborhood of children’s programming that bridges the gap between kids and adults.  Growing up it was shows like Rocco’s Modern Life and Ren and Stimpy, and perhaps the paramount example of walking that tightrope, Pee-Wee’s Playhouse. Though the bizarre and shamefully over dramatized Paul Reubens porno theater incident relegated the man and his show to some sleazy back alley of my mind for a few years, adulthood has shed a little more light on the reality and I can thankfully appreciate Pee-Wee again.  The real life cartoon character.  The technicolor man child.  The adult who somehow established precisely the life and lifestyle I envisioned for myself as a seven-year-old sugar fiend.

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MacGruber (2010)

I’m torn with MacGruber.  On one hand I did my fair share of laughing.  It’s ridiculous and silly and you get to see Ryan Phillipe put a piece of celery in his butt.  On the other hand it’s yet another SNL extenda-sketch with very little consistency, continuity, or rhythm.  There are hilarious moments and stupid moments, and it’s hard to say which way the scale shifts.  I can see a lot of people walking out of the theater perfectly happy with their experience.  Certainly the conversations I’ve had suggest low expectations; all most folks are looking for are some hard laughs, and the film has it’s fair share.  But the experience of MacGruber seems a little empty.  It’s like cereal without milk.  Still good, but you’re pretty aware that something’s missing.

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Iron Man II (2010)

Here’s what I’m going to do: In honor of this being an Iron Man II review, I’m going to break it down into two parts: My general opinions of the film and my thoughts on the incredibly frustrating Terrence Howard/Don Cheadle fiasco.  The first is important to you, while the second is mostly important to me.  You’ll read it anyway.

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Nightmare on Elm Street (2010)

Whatever happened to movies like Psycho and The Birds?  Alfred Hitchcock is lauded as one of the horror/thriller genre’s most significant forebears, yet there seem to be no attempts made by modern day Hollywood to recapture his unique approach.  These films were effecting in their lack of blood and guts, yet somehow the genre has come to entirely ignore that concept, leaving us with a trend of gory one-upmanship.  Scary movies no longer leave anything to the imagination (unless the MPAA insists on it), and the supposed thrill that an audience gets from seeing so much human destruction takes utter precedence over the kinds of subtleties Hitchcock tended so masterfully. Nightmare on Elm Street lives safely in this trend; an absurd, callow, unoriginal assemblage of grisly vignettes with no obligation to story or plot or character development or, well, anything that might make a movie worth your nine bucks.  To put it another way: I want my nine bucks back.

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Bonnie and Clyde (1967)

The American Film Institute lists Bonnie and Clyde at number 5 on their list of the top ten gangster films of all time, and 42 on their “100 Years…100 Movies” collection.  IMDb holds it at 218 on their top five hundred.  For the older film generation this will come as no surprise.  Bonnie and Clyde‘s release was loud and unforgettable, and represented a jump to the “New Hollywood.”  Violence and sex were no longer suggestions, and the previously established style of filmmaking was beginning to unravel.  In hindsight the film still distinguishes itself from it’s peers, along with The Graduate, a fellow Best Picture nominee from that year.  But the unfortunate truth of Bonnie and Clyde‘s place in modern day cinema is it’s senescence.  The film simply hasn’t aged well.  It’s legacy lives in it’s forward momentum, and less and less in it’s quality.  It glimpses at things to come, but is by no means an example of transitional perfection.  A brave film that comes from a time where progress was as significant as caliber.

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Ghostbusters (1984) & Ghostbusters II (1989)

Ghostbusters.  Oh Ghostbusters.  It’s like remembering the first girl you ever had a crush on, your best friend, and most of your favorite toys, all at once.  Also, there was Ecto-Cooler.  These two movies were easily the most viewed of my childhood, along with the cartoon, and of course any merchandise was a must have.  Looking back it’s hard to say just what it was about this story that pulled me in so utterly.  I was fascinated by ghosts, though there’s very little in the movies that could be considered anything other than spectral slapstick.  I certainly appreciate Bill Murray, though watching the films now I see just how much of his performance the kid version of me didn’t register.  I suppose it could have been simply a “right place, right time” situation, or my parents bringing a movie to me that we could all appreciate together, or even just all the amazing toys.  Whatever the case, the Ghostbusters franchise has been with me since near birth, and watching these films again as an adult, with hopefully a more critical eye, I think it’s safe to say I’ll be talking about them until the day I die.

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Kick-Ass (2010)

After Ebert’s less than enthusiastic review of Matthew Vaughn‘s Kick-Ass, I was both anxious and a little nervous to see the film.  I like Roger Ebert, and I respect his opinion.  It wasn’t luck that brought him to the status of Senior Film Critic in Chief.  But I read the books, and I loved them, and I loved them for the things that Ebert found so disturbing.  The absurdity and the violence.  The pure extremism of this entire scenario, and Mark Millar‘s through line that somehow keeps the thing from going too far.  It follows then that I should like the movie, with the two interpretations arriving so near one another, and Millar Executive Producing.  But there is a difference.  A few in fact, and it’s these differences that, on occasion, distort Kick-Ass the movie from silly entertainment into something dramatic, and intense, and on occasion, not particularly fun to watch.

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Bicycle Thieves (1948)

Desperation.  A theme found in an endless collection of stories and one that never lessens in it’s ability to impact us.  The power of this theme comes from the consequences of desperation, specifically the dramatic loss of honor that seems so inevitably tied to it.  It’s this universal emotion that allows Vittorio De Sica‘s Bicycle Thieves to remain so consistently effecting.  The story is simple, and not at all burdened with multiple dilemmas.  Just one: survive.  Survive for family, survive for honor, just survive.  Because this, more than anything else, is the point of existence.

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Clash of the Titans (2010)

Clash of the Titans is a train wreck; a 180 million dollar plus train wreck, where the train is painted bright red with flames on the side, and filled with thousands of faceless extras, and the sky is wholly computer generated for no good reason, and Sam Worthington is the conductor, and he’s yelling…a lot.

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Knocked Up (2007)

The simplest way of putting it is to say that Knocked Up is Judd Apatow‘s best film.  I hesitate to say “best work” as there are so many Freaks and Geeks loyalists out there, including yours truly, but the completeness of Apatow’s second film rivals his prematurely ended and wonderfully nostalgic TV show, and I’m not sure it’s a stretch to say it may be the best thing he ever does.  Don’t get me wrong, I loved Funny People, and I’ll certainly pay eight bucks to see whatever comes next, but following the uncontrolled kookiness of The 40 Year Old Virgin and coming before the pure self-indulgence of his Sandler/mid-life depression/look at my wife vehicle, Knocked Up seems to be a moment of near perfection on the unpredictable trajectory of Judd Apatow’s career.

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