So the reviews are in from our local Andronico's store staff. Not only was the movie "off the hook", this Bond is:
"rugged,
rugged, but smooth,
I mean, no one is smooth like Sean Connery,
but smooth."
Casino Royal: official site, imdb, rotten tomato
Babel, the latest film by Alejandro González Iñárritu, is fantastic. Everyone should go see it... that is unless all you like to watch are vapid meaningless films that don't make you think or feel. If, like me, you enjoy wallowing in a sea of pathos for two and a half hours, you'll love it.
If you've seen Amores perros, then you should expect more of the same from this film, albeit on a larger scale. While Amores perros focused solely on Mexico City, Babel, encompasses Morocco, Japan and Mexico. The technique of interweaving several only moderately related stories is continued, just as it was in Amores perros and in 21 Grams, although Babel is certainly more linear than 21 Grams and the connections are much more than just a passing on the street. The soundtrack is remarkable, and contains the same strumming guitar used so effectively in Amores perros.
No one comes out of the film unscathed. And while I come away with my disdain for the US strengthened even more, it's really not the point of the film at all. The people are who are focus on, which is really how the world should work. Any time the government is involved (Moroccan as well), it is obvious that the good of the people really has nothing to do with their goals.
The film is filled with loneliness and despair, but I can only think that most of it is unnecessary. Oddly, the two who have the easiest time connecting are the Brad Pitt and Cate Blanchett characters, in the middle of Morocco, far from anything or anyone they hold dear, wandering in the desert in search of their souls. The prospects are much more bleak for the rich deaf girl living in Tokyo, who can't find a boy to love her. And, of course, are the bleakest for the Mexican caretaker who lives in San Diego and crosses the border with the kids under her care to go to her son's wedding. Even the kid who shoots Cate Blanchett seems to have a rosier outlook than the deported old Mexican lady.
Let's certainly build some more walls to keep her kind out!
But I digress. The film isn't a political soapbox - that's just me. Go see it. Support a filmmaker who's making art and who isn't making Nacho Libre. Please.
If you've seen Amores perros, then you should expect more of the same from this film, albeit on a larger scale. While Amores perros focused solely on Mexico City, Babel, encompasses Morocco, Japan and Mexico. The technique of interweaving several only moderately related stories is continued, just as it was in Amores perros and in 21 Grams, although Babel is certainly more linear than 21 Grams and the connections are much more than just a passing on the street. The soundtrack is remarkable, and contains the same strumming guitar used so effectively in Amores perros.
No one comes out of the film unscathed. And while I come away with my disdain for the US strengthened even more, it's really not the point of the film at all. The people are who are focus on, which is really how the world should work. Any time the government is involved (Moroccan as well), it is obvious that the good of the people really has nothing to do with their goals.
The film is filled with loneliness and despair, but I can only think that most of it is unnecessary. Oddly, the two who have the easiest time connecting are the Brad Pitt and Cate Blanchett characters, in the middle of Morocco, far from anything or anyone they hold dear, wandering in the desert in search of their souls. The prospects are much more bleak for the rich deaf girl living in Tokyo, who can't find a boy to love her. And, of course, are the bleakest for the Mexican caretaker who lives in San Diego and crosses the border with the kids under her care to go to her son's wedding. Even the kid who shoots Cate Blanchett seems to have a rosier outlook than the deported old Mexican lady.
Let's certainly build some more walls to keep her kind out!
But I digress. The film isn't a political soapbox - that's just me. Go see it. Support a filmmaker who's making art and who isn't making Nacho Libre. Please.
The Fountain doesn't use CGI
Posted by mordred on November 01, 2006 at 08:16 PM
I'm so happy someone in the Film industry finally realizes that CGI effects suck ass. I'm looking forward to seeing The Fountain on November 22 even more now.
Wired
Wired
V is for Very Good Film
Posted by jerkboy on March 24, 2006 at 02:17 AM
I have just returned from seeing the film V for Vendetta.
(Fear not, those of you who worry that I might spoil the film for you. I promise not to.)
I had in my mind that it was going to be an action film. When the credits began to roll and "DC Comics" spun across the screen, I figured I was in for two hours of torture.
I left utterly blown away in ways that films do not normally blow me.
V for Vendetta is a masterpiece. It is, quite likely, one of the finest-crafted films I've ever seen. I do enjoy the action genre simply because I like being on the edge of my seat for two hours. But there is never substance to blockbuster action films. There is never artistry behind the script, the soundtrack, the directing. Acting is never its most memorable quality. These things are reserved for the independent/art film genre, or the occasional Hollywood blossom like American Beauty or K-Pax. (Trust me, I had no intention of mentioning two Kevin Spacey films as examples of Hollywood blossoms, and I didn't realize I had done it until after the titles were typed.)
V for Vendetta is a superior film in every aspect. The script, as a piece of literature, is astounding. Upon first appearance of the masked character "V," he delivers the longest alliterative speech I've ever heard. I didn't know it was humanly possible for the letter "v" to be used so many times in 90 seconds (in a coheret speech). Some of Shakespeare's most brilliant and ironic quotations are used liberally throughout the film.
The script, as a work of substance, is both timeless, and timely. You will shudder at how real the world of the film seems, and how possible it is that our future might lie along the same path. But it hearkens back to the timeless themes of revolution and revolutionaries (Guy Fawkes, most notably) that have existed ever since man decided to govern himself.
The characters are brilliant. "V" brings to mind the great, doomed heroes of Hugo's Phoebus and Dumas' Count of Monte Cristo (who, coincidentally, is a hero of "V"). The greatest heroes are those you're not entirely sure you should love, and the greatest villains are those you're not entirely sure you should hate, and this film performs flawlessly on both ends.
These things, amazingly enough, do not get in the way of the film's strength as an action flick. The frat boys behind us enjoyed the explosions and knife fights, completely oblivious to the themes of oppression, revolution, separation (or marriage) of church and state, abuse of executive power... No doubt had they realized such themes were playing in the background, they would not have enjoyed the movie nearly as much. It is a testament to the film that it can be thoroughly enjoyed by separate groups who each scorn the others' taste in films.
The soundtrack is a blend of great classical masterpieces and original scoring...and, as a perfect soundtrack should be...never makes itself noticeable unless it is MEANT to be noticed.
I always criticize directors for casting famous actors in their films, because we're immediately drawn away from a character out of recognition of the actor who is playing the character. Only a handful of actors with superlative talent seem to be able to transcend this boundary. This is my biggest criticism of actors. But shoot me dead if I didn't realize until after the movie was over that Natalie Portman and Hugo Weaving were the lead characters. There is not a single weak performance in this film. Not a single one.
The director's unique use of masks is very unconventional in this film genre. True, "Superheroes" always wear masks, and much is made of that metaphor. But V for Vendetta takes the imagery to a different level. Here I cannot expound without giving away some of the film's most powerful moments, so you'll just have to see it to understand.
I can go on, but I shouldn't. Suffice it to say that this is one of the finest films I have ever seen. It spans so many genres so effortlessly. Do yourself a favor and go see it.
(Fear not, those of you who worry that I might spoil the film for you. I promise not to.)
I had in my mind that it was going to be an action film. When the credits began to roll and "DC Comics" spun across the screen, I figured I was in for two hours of torture.
I left utterly blown away in ways that films do not normally blow me.
V for Vendetta is a masterpiece. It is, quite likely, one of the finest-crafted films I've ever seen. I do enjoy the action genre simply because I like being on the edge of my seat for two hours. But there is never substance to blockbuster action films. There is never artistry behind the script, the soundtrack, the directing. Acting is never its most memorable quality. These things are reserved for the independent/art film genre, or the occasional Hollywood blossom like American Beauty or K-Pax. (Trust me, I had no intention of mentioning two Kevin Spacey films as examples of Hollywood blossoms, and I didn't realize I had done it until after the titles were typed.)
V for Vendetta is a superior film in every aspect. The script, as a piece of literature, is astounding. Upon first appearance of the masked character "V," he delivers the longest alliterative speech I've ever heard. I didn't know it was humanly possible for the letter "v" to be used so many times in 90 seconds (in a coheret speech). Some of Shakespeare's most brilliant and ironic quotations are used liberally throughout the film.
The script, as a work of substance, is both timeless, and timely. You will shudder at how real the world of the film seems, and how possible it is that our future might lie along the same path. But it hearkens back to the timeless themes of revolution and revolutionaries (Guy Fawkes, most notably) that have existed ever since man decided to govern himself.
The characters are brilliant. "V" brings to mind the great, doomed heroes of Hugo's Phoebus and Dumas' Count of Monte Cristo (who, coincidentally, is a hero of "V"). The greatest heroes are those you're not entirely sure you should love, and the greatest villains are those you're not entirely sure you should hate, and this film performs flawlessly on both ends.
These things, amazingly enough, do not get in the way of the film's strength as an action flick. The frat boys behind us enjoyed the explosions and knife fights, completely oblivious to the themes of oppression, revolution, separation (or marriage) of church and state, abuse of executive power... No doubt had they realized such themes were playing in the background, they would not have enjoyed the movie nearly as much. It is a testament to the film that it can be thoroughly enjoyed by separate groups who each scorn the others' taste in films.
The soundtrack is a blend of great classical masterpieces and original scoring...and, as a perfect soundtrack should be...never makes itself noticeable unless it is MEANT to be noticed.
I always criticize directors for casting famous actors in their films, because we're immediately drawn away from a character out of recognition of the actor who is playing the character. Only a handful of actors with superlative talent seem to be able to transcend this boundary. This is my biggest criticism of actors. But shoot me dead if I didn't realize until after the movie was over that Natalie Portman and Hugo Weaving were the lead characters. There is not a single weak performance in this film. Not a single one.
The director's unique use of masks is very unconventional in this film genre. True, "Superheroes" always wear masks, and much is made of that metaphor. But V for Vendetta takes the imagery to a different level. Here I cannot expound without giving away some of the film's most powerful moments, so you'll just have to see it to understand.
I can go on, but I shouldn't. Suffice it to say that this is one of the finest films I have ever seen. It spans so many genres so effortlessly. Do yourself a favor and go see it.
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