Mindlessly predictable. Predictably annoying. Annoyingly mindless. Good background movie for doing one's taxes.
Fool's Gold
2008, 112 minutes, directed by Andy Tennant
Tuesday, March 29, 2011
Saturday, March 19, 2011
My Sucky Team Romance
Here it is, my last film of the festival. The director and nearly the entire cast is still here, which shows dedication. (Also, it shows most of them live locally.) I've heard of director Emily Hagins from the documentary of her first film, made when she was 12. This is her third film, the last one she hoped to fit in before she graduated from high school. Vampires are real, they are in town, and they've turned Paul and his coworker Allison. They're only hope to reverse the conversion lies at the local sci-fi convention. For Kate, it's her last weekend in town, and she heads to the convention with her friends, not expecting to find her crush Paul...
Still drawing talent mostly from her own school, some of the acting is amateur, and I note some dubbing problems and an unusually low-budget set. But Emily herself is very well-spoken, has put tremendous effort into the film through more roles than any one person should, and is already planning for her future. I think, with a good mentor or time spent at college, it will be a very bright future for her indeed.
My Sucky Teen Romance
2011, 77 minutes, directed by Emily Hagins
Leaving the Rollings Theater after the film, I discover that the shuttle system has completely broken down. The shuttle stop - supposedly moved to be a block away, is unlabeled and unstaffed - so it's a long walk back to S. Lamar and my car. If they plan to keep using this theater, SXSW better fix this for next year.
Still drawing talent mostly from her own school, some of the acting is amateur, and I note some dubbing problems and an unusually low-budget set. But Emily herself is very well-spoken, has put tremendous effort into the film through more roles than any one person should, and is already planning for her future. I think, with a good mentor or time spent at college, it will be a very bright future for her indeed.
My Sucky Teen Romance
2011, 77 minutes, directed by Emily Hagins
Leaving the Rollings Theater after the film, I discover that the shuttle system has completely broken down. The shuttle stop - supposedly moved to be a block away, is unlabeled and unstaffed - so it's a long walk back to S. Lamar and my car. If they plan to keep using this theater, SXSW better fix this for next year.
Friday, March 18, 2011
Cave of Forgotten Dreams
I only plan to see one film tonight. After this I have to book it to La Zona Rosa for the Green Label Sound showcase.
Werner Herzog's 3D film, about the Chauvet cave in France, is an exploration of the earliest remnants of human expression. The images are stunning in quality and age, but Werner's narration is little more than cheesy. Laugh off his postulation and enjoy the views.
Cave of Forgotten Dreams
2010, 89 minutes, directed by Werner Herzog
Werner Herzog's 3D film, about the Chauvet cave in France, is an exploration of the earliest remnants of human expression. The images are stunning in quality and age, but Werner's narration is little more than cheesy. Laugh off his postulation and enjoy the views.
Cave of Forgotten Dreams
2010, 89 minutes, directed by Werner Herzog
Thursday, March 17, 2011
Wuss
Early on while watching this film, I'm pretty uncomfortable. Real people just let others act this way toward them. If it's going to be so fake, how about a hobo with a shotgun to enact justice?
But, as the movie unfolds, it grows on me. The film is about a bullied teacher, too passive to react, until he joins forces with his best student to seek revenge. I felt the story finished strong; it was a good film and I'm happy I saw it.
Wuss
2011, 96 minutes, directed by Clay Liford
I was happy to see most of the cast stay in town this late into the week. Both Nate and Alicia attend. A few notes from the Q&A:
Director Clay Liford explained that Alicia was working at a taco stand in Denton when she was talked into trying out.
All the rap music in the film is by Ryan Anderson, who also plays Re-up.
It was a 15-day shoot, with 7 days at the school.
115-page script, so lots of shots didn't make the final cut.
But, as the movie unfolds, it grows on me. The film is about a bullied teacher, too passive to react, until he joins forces with his best student to seek revenge. I felt the story finished strong; it was a good film and I'm happy I saw it.
Wuss
2011, 96 minutes, directed by Clay Liford
I was happy to see most of the cast stay in town this late into the week. Both Nate and Alicia attend. A few notes from the Q&A:
Director Clay Liford explained that Alicia was working at a taco stand in Denton when she was talked into trying out.
All the rap music in the film is by Ryan Anderson, who also plays Re-up.
It was a 15-day shoot, with 7 days at the school.
115-page script, so lots of shots didn't make the final cut.
Hobo with a Shotgun
A few years ago, SXSW sponsored a grindhouse trailer competition. The winner was for a little film called Hobo with a Shotgun, which has now been made into a full-length feature. I was 14 people back when the cut the line for its first screening at SXSW (having been at the Foo Fighter's concert), but I made sure to be there the next night.
It's totally awesome. Filled with over-the-top characters (I liked the pawn shop owner and the Plague), senseless violence, and simple justice, it fits all the needs of a grindhouse splatterfest.
Raw. Raw good.
Hobo with a Shotgun
2010, 86 minutes, directed by Jason Eisner
It's totally awesome. Filled with over-the-top characters (I liked the pawn shop owner and the Plague), senseless violence, and simple justice, it fits all the needs of a grindhouse splatterfest.
Raw. Raw good.
Hobo with a Shotgun
2010, 86 minutes, directed by Jason Eisner
Wednesday, March 16, 2011
The Beaver
I admit, there's absolutely no way I'd consider seeing this film in the theater on my own. I likely wouldn't even recall its release. And yet, I do try to expand my horizons at film festivals. I've seen some interesting documentaries this way. I've tolerated some decent comedies. But I'd never before seen The Beaver.
Overall, despite my best expectations, this film was really good. I don't know how much of that was the script, Jodie Foster's directing, or Mel Gibson's performance, but I came away both attached to and satisfied by the story. Well done.
The Beaver
2011, 90 minutes, directed by Jodie Foster
Overall, despite my best expectations, this film was really good. I don't know how much of that was the script, Jodie Foster's directing, or Mel Gibson's performance, but I came away both attached to and satisfied by the story. Well done.
The Beaver
2011, 90 minutes, directed by Jodie Foster
Tuesday, March 15, 2011
Foo Fighters
I love the Foo Fighters. They are of my era, from my college years. I was near the front of the line to see the world premiere of this documentary, and was surprised with an unexplained wristband and strong suggestion to "show up at Stubb's by 9 o'clock". Suddenly my plans for the evening changed, and I was destined to enjoy a two hour set of Foo Fighters music. Many, many photos follow the film review.
But, back to the film. There are several types of documentaries. Some filmmakers like to insert themselves into the film. Some are focused on a thing (like mushrooms) or people (like Ed Roth) and like to use silly graphics and animation. Some rely on archived footage and interviews to create a story. To create a good documentary, the filmmaker has to choose the correct style for the subject. But, just as import, the subject itself must be interesting. Last year's film about the Doors was fascinating in that it featured a lot of old footage of Jim Morrison, narrated by Johnny Depp, and told the story of a great rise and fall.
Unfortunately, in this case the subject and style just doesn't prove to be all that interesting. Much of the film is an encyclopedic recitation of member changes:
Finally, the summation is weak. Dave Grohl says, "I feel bad about the bad things, but I feel good about the good things." Then the film ends. There's no lessons to learn, no arcs to close out. They could at least have focused on how Pat Smear is back with the band (not replacing, but complementing Chris Shiflett). As it was I felt let down.
But then, I went to the concert! Lots of pictures follow. Go buy their new album!
Foo Fighters
2011, 100 minutes, directed by James Moll
But, back to the film. There are several types of documentaries. Some filmmakers like to insert themselves into the film. Some are focused on a thing (like mushrooms) or people (like Ed Roth) and like to use silly graphics and animation. Some rely on archived footage and interviews to create a story. To create a good documentary, the filmmaker has to choose the correct style for the subject. But, just as import, the subject itself must be interesting. Last year's film about the Doors was fascinating in that it featured a lot of old footage of Jim Morrison, narrated by Johnny Depp, and told the story of a great rise and fall.
Unfortunately, in this case the subject and style just doesn't prove to be all that interesting. Much of the film is an encyclopedic recitation of member changes:
- interview with Dave Grohl who says former band member A wasn't working out
- interview with former band member A who says they aren't sure why they were kicked out
- interview with Dave Grohl saying how he let them know
- back ground on replacement band member D
Finally, the summation is weak. Dave Grohl says, "I feel bad about the bad things, but I feel good about the good things." Then the film ends. There's no lessons to learn, no arcs to close out. They could at least have focused on how Pat Smear is back with the band (not replacing, but complementing Chris Shiflett). As it was I felt let down.
But then, I went to the concert! Lots of pictures follow. Go buy their new album!
Foo Fighters
2011, 100 minutes, directed by James Moll
The Divide
I had to crash Sunday night and missed the world premiere of this apocalypse survival film. Monday night, after catching the early showing of John Oliver's New York Stand-Up (Live), I was able to fit this in.
Some spoilers may follow.
Set almost entirely in the basement of a New York apartment building, the design, lighting, and mood of the locale was perfect for an apocalypse psychological survival film. (In the Q&A, the directed noted that he used the same set designer as Moon.) The cast, too, was very dedicated; the film was shot in sequence, and stars Milo Ventimiglia and Michael Eklund lose 20 lbs over the course of the filming to simulate the effects of radiation sickness. (Though note that Lauren German and Michael Biehn seem to be less effected by the radiation and barely show any effects until later in the film.)
The problems with the film are the gaps in the plot. Somewhat early on, the survivors are found by radiation-suit wearing "soldiers" with automatic rifles. They kidnap a girl, then attempt to wipe out the other survivors. A fight ensues, the survivors win, and they have a working radiation suit to explore with. What they find is puzzling and completely unexplained; after a single scene the entire sub-plot is never visited again.
Meanwhile, the characters are supposed to be shown falling to the "Lord of the Flies"-style mental effects of isolation along with the physical effects of radiation sickness. As I mentioned, they handle the physical imagery intermittently well. The mental seems to come in jumps and stutters, with some characters (Marilyn) degenerating from one scene to the next, while others (Sam) seem to bounce in and back.
Finally, I just don't get the choices made by the lead character (Eva) at the end. I think the "divide" is supposed to mean many things - the divide between those who made it into the basement (and survived) versus those just outside who died; the divide between those who suffer from radiation and those who don't; the divide between those who can keep it together under crisis and those who fall apart; and finally, the divide between those who can shed their humanity to survive and those who can't. I think Eva is supposed to be shown crossing the divide, but it really doesn't feel right for her character given her other options.
Overall, I don't rate movies, but if I did I'd give this one a B-.
The Divide
2011, 110 minutes, directed by Xavier Gens
I was surprised that the director gave the budget during the Q&A. Usually they won't do that, and I hope he didn't get in trouble. ($8-10mil)
Some spoilers may follow.
Set almost entirely in the basement of a New York apartment building, the design, lighting, and mood of the locale was perfect for an apocalypse psychological survival film. (In the Q&A, the directed noted that he used the same set designer as Moon.) The cast, too, was very dedicated; the film was shot in sequence, and stars Milo Ventimiglia and Michael Eklund lose 20 lbs over the course of the filming to simulate the effects of radiation sickness. (Though note that Lauren German and Michael Biehn seem to be less effected by the radiation and barely show any effects until later in the film.)
The problems with the film are the gaps in the plot. Somewhat early on, the survivors are found by radiation-suit wearing "soldiers" with automatic rifles. They kidnap a girl, then attempt to wipe out the other survivors. A fight ensues, the survivors win, and they have a working radiation suit to explore with. What they find is puzzling and completely unexplained; after a single scene the entire sub-plot is never visited again.
Meanwhile, the characters are supposed to be shown falling to the "Lord of the Flies"-style mental effects of isolation along with the physical effects of radiation sickness. As I mentioned, they handle the physical imagery intermittently well. The mental seems to come in jumps and stutters, with some characters (Marilyn) degenerating from one scene to the next, while others (Sam) seem to bounce in and back.
Finally, I just don't get the choices made by the lead character (Eva) at the end. I think the "divide" is supposed to mean many things - the divide between those who made it into the basement (and survived) versus those just outside who died; the divide between those who suffer from radiation and those who don't; the divide between those who can keep it together under crisis and those who fall apart; and finally, the divide between those who can shed their humanity to survive and those who can't. I think Eva is supposed to be shown crossing the divide, but it really doesn't feel right for her character given her other options.
Overall, I don't rate movies, but if I did I'd give this one a B-.
The Divide
2011, 110 minutes, directed by Xavier Gens
I was surprised that the director gave the budget during the Q&A. Usually they won't do that, and I hope he didn't get in trouble. ($8-10mil)
Monday, March 14, 2011
Viva Riva!
Hard. Sensual. Criminal. Viva Riva!
As the first major film from the Congo, director Djo Munga could have struggled to find funding, support, talent. Instead everything came together to produce this hard-hitting film of bigger-than-life life. Funding came from multiple sources - France, Belgum, Africa. The cast - with the exception of Manie Malone (Nora) - was drawn from within the Congo. This wasn't the first African film I've seen, but it was certainly one of the best. I look forward to more from this director.
Viva Riva!
2010, 96 minutes, directed by Djo Munga
As the first major film from the Congo, director Djo Munga could have struggled to find funding, support, talent. Instead everything came together to produce this hard-hitting film of bigger-than-life life. Funding came from multiple sources - France, Belgum, Africa. The cast - with the exception of Manie Malone (Nora) - was drawn from within the Congo. This wasn't the first African film I've seen, but it was certainly one of the best. I look forward to more from this director.
Viva Riva!
2010, 96 minutes, directed by Djo Munga
Sunday, March 13, 2011
Paul
This geek comedy played really well with the SXSW audience, but I'm not sure it would do well, or if I would even enjoy it, when played for the general public.
I like this team - this group of friends who have made some great movies together - but I'm not sure this is one of them. For that I feel sad, which is exactly not what they want people to walk out of the theater feeling.
Paul
2010, 104 minutes, directed by Greg Mottola
I like this team - this group of friends who have made some great movies together - but I'm not sure this is one of them. For that I feel sad, which is exactly not what they want people to walk out of the theater feeling.
Paul
2010, 104 minutes, directed by Greg Mottola
Detention
With a serial killer on the loose, prom fast approaching, and the entire cast sentenced to detention, only a time-traveling bear can save the day! Does that sound pretty stupid? Yes, yes it does. This film tries to pull of some sort of teen-horror-comedy caricature, but it just falls flat. It's filled with annoying cliches - occasionally talking to camera, complete disregard for the seriousness of a situation, random tangential fly DNA - that serve no purpose but to let me use labels like "cheesy" and "stupid people".
It tries to be irreverent and hip, but it just isn't.
Detention
2011, 98 minutes, directed by Joseph Kahn
It tries to be irreverent and hip, but it just isn't.
Detention
2011, 98 minutes, directed by Joseph Kahn
Attack the Block
While waiting in line to see this film, I spotted a young lady clearly in distress on the major party/club street near the theater. Being who I am, I ran over to help. I really don't know what had happened, but she was in tears, was stumbling, and just needed assistance. Eventually another girl agrees to walk her to a friend's place and I get back in line.
Then I get into Attack the Block, and almost right away one of the main characters (Moses) mugs another (Sam) at knife point. The whole rest of the film revolves around Sam being forced to rely on Moses for safety against the alien threat, until eventually she can learn to trust and care for him. Maybe it was just the particular circumstances of my evening, but I just couldn't get over the initial assault in the limited 70-minutes I was expected to do so. Unlike in real life, I tend to want bad guys to get their faces ripped off in film, so having him become the bad good guy was too much.
Other than that hang-up, there's not really all that much bad about the film. I think it has gotten really good reviews from most other people who have seen it, so if you can keep real life separate from the screen you might like it as well.
I can say that I appreciated the fact that Nick Frost came to the screening. He really only has a minor part in the film, and I know he was here for the Paul North American premiere the next day, but I feel more strongly for actors who bother to support their films at real fan screenings.
Attack the Block
2011, 97 minutes, directed by Joe Cornish
Then I get into Attack the Block, and almost right away one of the main characters (Moses) mugs another (Sam) at knife point. The whole rest of the film revolves around Sam being forced to rely on Moses for safety against the alien threat, until eventually she can learn to trust and care for him. Maybe it was just the particular circumstances of my evening, but I just couldn't get over the initial assault in the limited 70-minutes I was expected to do so. Unlike in real life, I tend to want bad guys to get their faces ripped off in film, so having him become the bad good guy was too much.
Other than that hang-up, there's not really all that much bad about the film. I think it has gotten really good reviews from most other people who have seen it, so if you can keep real life separate from the screen you might like it as well.
I can say that I appreciated the fact that Nick Frost came to the screening. He really only has a minor part in the film, and I know he was here for the Paul North American premiere the next day, but I feel more strongly for actors who bother to support their films at real fan screenings.
Attack the Block
2011, 97 minutes, directed by Joe Cornish
Director Joe Cornish introducing the second screening of Attack the Block.
Nick Frost at Attack the Block.
Saturday, March 12, 2011
The Innkeepers
I was looking forward to this as perhaps the first good narrative of the festival (not counting The Pee-Wee Herman Show as to me that felt more like a documentary). Alas, it just doesn't quite get there. The story centers around the Yankee Peddler Inn, an old establishment on its last weekend before being closed down. The owner has bailed for Barbados, leaving just two employees to care for the place and its few final guests. Claire (Sara Paxton) and Luke (Pat Healy) occupy their time trying to find the ghost who haunts the place, while interacting with each other and the customers.
The problem revolve around a lack of strong central plot. They bring up some things - like the knowledge that there are three ghosts instead of just one - but then don't take them anywhere. And they leave you scratching your head as to the truth - something that may be fine in some films but not one billed as a comedy (not that it's very comedic). I think they just weren't sure what type of film to make, and so made a lot of pieces of different ones that just don't fit right.
The Innkeepers
2011, 100 minutes, directed by Ti West
The problem revolve around a lack of strong central plot. They bring up some things - like the knowledge that there are three ghosts instead of just one - but then don't take them anywhere. And they leave you scratching your head as to the truth - something that may be fine in some films but not one billed as a comedy (not that it's very comedic). I think they just weren't sure what type of film to make, and so made a lot of pieces of different ones that just don't fit right.
The Innkeepers
2011, 100 minutes, directed by Ti West
The Pee-Wee Herman Show on Broadway
While I was a little old for Elmo, I'm just the right age to have appreciated the Pee-Wee Herman Show on television. It's for this reason that I ran out of the Elmo screening before the Q&A, to get a good seat in the small but functional State Theatre for this world premiere of the HBO special The Pee-Wee Herman Show on Broadway.
This is everything I remember - all the puppets, characters, plots, story line and feel - and it just all works so well. I'm happy he's back. I'm not sure if today's children will "get it" if forced to watch the special by their parents, but if he does bring back the live show (he's thinking about Las Vegas) it's worth the trip for the whole family.
The Pee-Wee Herman Show on Broadway
2011, 90 minutes, directed by Marty Callner
All photos copyright 2011 by Digs of Moviedigs.
This is everything I remember - all the puppets, characters, plots, story line and feel - and it just all works so well. I'm happy he's back. I'm not sure if today's children will "get it" if forced to watch the special by their parents, but if he does bring back the live show (he's thinking about Las Vegas) it's worth the trip for the whole family.
The Pee-Wee Herman Show on Broadway
2011, 90 minutes, directed by Marty Callner
All photos copyright 2011 by Digs of Moviedigs.
Performing the Pee-Wee Herman Dance
Being Elmo: A Puppeteer's Journey
This is a documentary about Kevin Clash, the very private person whose hand has become world famous as Elmo, the loving, lovable monster on Sesame Street. Elmo post-dates my own time with the show, but the documentary still brings out the good feelings of the muppets and what they meant to me and many others. It's a sometimes sad, but overall uplifting story. It's clear why it was awarded at Sundance.
Being Elmo: A Puppeteer's Journey
2011, 80 minutes, directed by Constance Marks
On my way to this film, I stumbled across a book & DVD signing by Felicia Day. Here are a few non-sequitur photos I took. All images copyright 2011 by Digs of Moviedigs.
Being Elmo: A Puppeteer's Journey
2011, 80 minutes, directed by Constance Marks
On my way to this film, I stumbled across a book & DVD signing by Felicia Day. Here are a few non-sequitur photos I took. All images copyright 2011 by Digs of Moviedigs.
Little Deaths
I don't usually review short stories. If I went down that path, what's next? A pointless micro-blog review of each TV show and YouTube click I watch? So you won't find mention of short-film collections on here, like the Futurestates series I quite surprisingly enjoyed at last year's SX (and will be seeing the second season premiere of tomorrow).
Little Deaths, though, was conceived and executed as a single "anthology" film. And I stayed up pretty late for it so I feel like I need to get something out of the effort, like a blog post. Because - and let me be very honest - I didn't get much out of the film.
The three tales interweave the themes of sex and death. If you want to read promo blurbs, go find the official film site. All I can add is that "House & Home", the most satisfying of the three, goes off the crazy end. "Mutant Tool" starts in crazy and keeps going, and "Bitch" is, well, pretty sad.
I really hope to see something I like at SXSW this year. Here's hoping for Saturday.
Little Deaths
2010, directed by Sean Hogan, Andrew Parkinson, and Simon Rumley
Little Deaths, though, was conceived and executed as a single "anthology" film. And I stayed up pretty late for it so I feel like I need to get something out of the effort, like a blog post. Because - and let me be very honest - I didn't get much out of the film.
The three tales interweave the themes of sex and death. If you want to read promo blurbs, go find the official film site. All I can add is that "House & Home", the most satisfying of the three, goes off the crazy end. "Mutant Tool" starts in crazy and keeps going, and "Bitch" is, well, pretty sad.
I really hope to see something I like at SXSW this year. Here's hoping for Saturday.
Little Deaths
2010, directed by Sean Hogan, Andrew Parkinson, and Simon Rumley
Tim League in a dog suit, shortly after (almost) setting himself on fire.
The beef stroganoff chugging contest. Mr. Faceintheglass (next to Tim) won.
Friday, March 11, 2011
Girl Walks Into a Bar
I didn't learn. After last year's ill-fated Electra Luxx, I could have told myself to stay away from disjointed character portraits from director Sebastian Gutierrez. Instead, the temptation to see an internet film in a theater (and to avoid the hoopla of the Source Code premiere) was too great, and I dove in for another round.
This time his film Girl Walks Into a Bar is based around the character of Carla Gugino, who is an ex-cop helping to nab a naive dentist (Zachary Quinn) trying to hire a hit man to kill his wife. When her secret audio confession is stolen by another bar patron, she goes on a one-woman quest to track it down and secure the case. Along the way, every single character you meet gets a full scene to fill out a life history no matter how disconnected it may be from the rest of the story. To compound these side-tracks, the primary plot wraps up (with a phone call) and ends about two-thirds of the way into the film, and then the film just keeps going. All those long unedited dance sequences and character portraits just had to be told, cohesive story be damned.
I think Mr. Gutierrez could make a short, tight, quality film under the watchful eye of an assertive editor. Clearly he lacks this oversight.
Girl Walks Into a Bar
2011, 80 minutes, directed by Sebastian Gutierrez
This was supposed to have been the world premiere, but they point out that the film "leaked onto YouTube" and had been seen by 35,000 people already today. For a film intended for internet release, I think that disqualifies the "premiere" moniker. Though, of those viewers, I wonder if any made it to the end.
This time his film Girl Walks Into a Bar is based around the character of Carla Gugino, who is an ex-cop helping to nab a naive dentist (Zachary Quinn) trying to hire a hit man to kill his wife. When her secret audio confession is stolen by another bar patron, she goes on a one-woman quest to track it down and secure the case. Along the way, every single character you meet gets a full scene to fill out a life history no matter how disconnected it may be from the rest of the story. To compound these side-tracks, the primary plot wraps up (with a phone call) and ends about two-thirds of the way into the film, and then the film just keeps going. All those long unedited dance sequences and character portraits just had to be told, cohesive story be damned.
I think Mr. Gutierrez could make a short, tight, quality film under the watchful eye of an assertive editor. Clearly he lacks this oversight.
Girl Walks Into a Bar
2011, 80 minutes, directed by Sebastian Gutierrez
This was supposed to have been the world premiere, but they point out that the film "leaked onto YouTube" and had been seen by 35,000 people already today. For a film intended for internet release, I think that disqualifies the "premiere" moniker. Though, of those viewers, I wonder if any made it to the end.
Red Riding Hood
Another SXSW is here, and this one starts off early with a midnight premiere of Red Riding Hood. Ahem, actually we are just the "first audience to see the film" since studios like to co-opt the term "world premiere". I guess then technically we were the "first audience to see the film after having to empty our pockets and be swept by a metal detector" as well. Thanks Warner Bros.
The film is beautiful, in that much of it consists of images of the snowy village and close-ups of Amanda Seyfried's face. I did get the impression that there was a driving force to create a vision for the camera. Alas, what I didn't feel was any immersion in the plot. There's a love triangle which barely goes anywhere, a few family secrets laid bare, and lots of suspicion about who the werewolf might be. And of course there's Solomon, the killed-my-own-wife werewolf hunter who acts in the name of the Holy Church but of course fails to act very holy at all. Yes, they even run through all the major points of the modern version of the fairy tale.
But all is not lost. As director Catherine Hardwicke said before the film began, "Luckily I didn't have to have any grown men sparkle in this movie." For that, I truly feel lucky as well.
Catch it on Netflix.
Red Riding Hood
2011, 102 minutes, directed by Catherine Hardwicke
The film is beautiful, in that much of it consists of images of the snowy village and close-ups of Amanda Seyfried's face. I did get the impression that there was a driving force to create a vision for the camera. Alas, what I didn't feel was any immersion in the plot. There's a love triangle which barely goes anywhere, a few family secrets laid bare, and lots of suspicion about who the werewolf might be. And of course there's Solomon, the killed-my-own-wife werewolf hunter who acts in the name of the Holy Church but of course fails to act very holy at all. Yes, they even run through all the major points of the modern version of the fairy tale.
But all is not lost. As director Catherine Hardwicke said before the film began, "Luckily I didn't have to have any grown men sparkle in this movie." For that, I truly feel lucky as well.
Catch it on Netflix.
Red Riding Hood
2011, 102 minutes, directed by Catherine Hardwicke
Saturday, March 5, 2011
The Adjustment Bureau
Despite the big-name stars and high advertising budget, this film doesn't have the feel of a blockbuster. It was released too early in the Spring, and for me it's right before SXSW and its non-stop parade of world premieres.
This isn't necessarily bad, though. It didn't feel like they were pressured to get the exposition out of the way and get busy with special effects. I liked how they eased into the weird. Instead of turning it into some sort of long adventure to find the Chairman, they let most of the movie build momentum for one final chase.
Do note that there are some not-so-subtle religious undertones to the story. If this bothers you stay away. But otherwise I think it qualifies as decent Spring filler.
The Adjustment Bureau
2011, directed by George Nolfi
This isn't necessarily bad, though. It didn't feel like they were pressured to get the exposition out of the way and get busy with special effects. I liked how they eased into the weird. Instead of turning it into some sort of long adventure to find the Chairman, they let most of the movie build momentum for one final chase.
Do note that there are some not-so-subtle religious undertones to the story. If this bothers you stay away. But otherwise I think it qualifies as decent Spring filler.
The Adjustment Bureau
2011, directed by George Nolfi
Thursday, March 3, 2011
Planet 51
This computer-animated film portrays a typical children's humans-are-the-aliens story. What surprised me, though, was the high level of violence in this PG film. No, no one dies, except a seemingly sentient bug which is squished under a rock, and two solders who are shown dead and lobotomized (but turn out to survive without their brains later).
I guess "modern" kids have seen worse in their online games and afternoon TV, but really it just seemed excessive. I'd rate this PG-13.
Planet 51
2009, 91 minutes, directed by Jorge Blanco, Javier Abad, and Marcos Martinez
I guess "modern" kids have seen worse in their online games and afternoon TV, but really it just seemed excessive. I'd rate this PG-13.
Planet 51
2009, 91 minutes, directed by Jorge Blanco, Javier Abad, and Marcos Martinez
Wednesday, March 2, 2011
Pandorum
This movie is pretty predictable but sufficiently fun. They balance the action necessary to secure funding with some decently challenging cerebral sci fi, all set in the most famous of locales, the deep-space freighter.
Pandorum
2009, 108 minutes, directed by Christian Alvart
Pandorum
2009, 108 minutes, directed by Christian Alvart
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