The Lego Movie

Everything about this film was pretty awesome.

The Lego Movie
2014, 100 minutes, directed by Phil Lord and Christopher Miller

Scott Pilgrim vs. the World

I'm astounded that somewhere out there is a studio executive willing to fund a movie this awesome.  Never taking itself seriously, the film dives into the quest to overcome our pasts and live for the moment by literally making it a quest, with coin and skillups and bonus lives.  I really liked this film.

Scott Pilgrim vs. the World
2010, 112 minutes, directed by Edgar Wright

I'd hoped to see this in the theater last year.  I even talked my wife into going with me - a rare occurrence given her dislike of cinema.  Then she came up with the great excuse of needing emergency back surgery. =P  (She's recovering fine, thanks.)  So Netflix it is.  This would have been even better in a theater full of fans laughing along.

Sucker Punch

The second film of my Friday-night double header is Zack Snyder's Sucker Punch.  I'm not familiar with the franchise, though I know it has done well in the week since release.

The visual imagery is -absolutely- stunning.  I love the presentation of the battle scenes.  But - it's so sad.  I didn't expect that.  The ever-present layers of misdirection eventually must crumble and they are left with nothing.

Sucker Punch
2011, 110 minutes, directed by Zack Snyder

The soundtrack is awesome.

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

Harry Potter and the Deathly Hallows: Part 1

There's little left of the light-hearted Hogwarts scenes that dominated the first few films.  This is very dark, and very sad - as it must be.

Harry Potter and the Deathly Hallows: Part 1
2010, 146 minutes, directed by David Yates

The Color of Magic (Part Two) "The Light Fantastic"

Much more of the second-half of this film involves scenes filled with darkness and impending red doom, but Rincewind and Twoflower make their way to their destinies.

Overall this was a good translation of the stories.  As funny, no, but as a new way to discover (or rediscover) Terry Pratchett, it works well.

The Color of Magic (Part Two) "The Light Fantastic"
2006, 95 minutes, directed by Vadim Jean

The Color of Magic (Part One)

Written humor rarely translates well to the screen.  Usually it requires a narrator, and narrator humor just falls flat.  That said, this is an adequate retelling of the story, and the actor selections - with the exception of Rincewind - are superb.  (I never picture Rincewind to be that old; a ragged imcompetent fop in his 30s is closer to my image.)

As a British production, the use of rubber over CGI is noticeable but fine, given that low-budget CGI looks much worse than a low-budget gorilla suit.

I'll watch part two in a few days and finish my review.

The Color of Magic (Part One)
2008, 101 minutes, directed by Vadim Jean

Ink

This film strives to tell what it feels is an important story through imagery, art, and imagination.  It's high-concept premise is simple: what if dreams are not of our own making, but introduced by outsiders?  Good and bad forces strive to inject happy dreams and nightmares, while battling out unseen in our rooms and on the streets.  In this case, a young girl's spirit kidnapped by a third party - Ink - who wants to sell her for acceptance with the nightmare-givers, while the girl's physical form languishes in a coma.

It reminds me of several other "high fantasy" films I've seen recently - most notably Pan's Labrynth and The Fountain (both from Fantastic Fest 2006, before I started this blog).  The Fountain, in particular, gripped me in a way that few films do, in that its story fit with my own struggles.  Ink, like Pan's Labrynth, doesn't relate as well, and so the message is diluted.  Still, it is an enjoyable film for the story and imagery.

Ink
2009,  107 minutes, directed by Jamin Winans

Micmacs à tire-larigot

Per the director, "micmacs" means "shenanigans", and there's not a better way to describe the film.  This is a cliche-filled whimsical romp through the world of the down-and-out, centered around Bazil, a poor soul who lost his father to a land mine in the war, and much later was shot in the head, costing him his home and job and leaving him destitute on the street.  He learns the manufacturer of both implements of destruction, and when the opportunity arises, leads an ingenious troupe in fitting revenge.  I think I've seen this film three times before in various forms, but it was a pleasant way to spend an evening.

Micmacs à tire-larigot
2009, 105 minutes, directed by Jean-Pierre Jeunet

Marwencol

In April 2000, Mark Hogancamp was attacked by five individuals outside a bar.  The damage was severe, both physically and mentally, with brain damage that left him unable to work, almost completely wiped of memories, forced to learn who he was again.  He found that he wasn't the same person any more, and while in some ways it wasn't bad - like his newly-found aversion to alcohol - his trauma left him unable to draw as he could before, cutting off his creative outlet.  He worried that they had taken his imagination, too.

After two years his publicly-funded therapy was cut off as well.  To compensate, he devised his own methods, centered around a 1/6th scale Belgian village called Marwencol.  Set in World War II, his village and its stories were his therapy, letting him calm himself, improve the dexterity of his shaking hand, and giving him an emotional escape.  He takes his work one step further, though, by intricately detailing his world and photographing the stories as they progress.  Years later his work is discovered, and his amazingly-genuine images are proclaimed as art.  Is he ready for this step in his recovery?  Is it recovery at all?

I found this documentary enthralling.  The thematic style of the documentary portions are woven with the narrative of Marwencol, leading up to his debut as a artist at a New York gallery.  The story was solid from start to finish, with solid editing, and it never dips into pity in any way.  I was truly inspired.  Check this one out.

Marwencol
2010, 83 minutes, directed by Jeff Malmberg

The director left a secret film showing Mark's reactions to the movie and the pros and cons of traveling to SXSW to see it.  While it's still available check it out at http://www.marwencol.com/sxsw.

Avatar

I was so set up to be disappointed, but I was so very not.  Yes, it's a very predictable plot.  It's the exact same plot as at least two different films I've seen before.  But that's ok.  Think about a movie you love, one you've seen a dozen times and can quote along with the dialog.  I think of my first viewing of Avatar in that way - totally predictable but emphatically compelling.

Avatar in 3D
2009, 162 minutes, directed by James Cameron

The Imaginarium of Doctor Parnassus

This is good. You'll like it. Go see it. Thank you Terry. Thank you Heath.

The Imaginarium of Doctor Parnassus
2009, 122 minutes, directed by Terry Gilliam

Truffe

When small furry creatures try to dominate the Montreal truffle industry, only one woman can stand in their way. The director's cut, only 65 minutes long, is tight and crisp, with the trance-induced plot elements woven into a traditional three-act play. I especially appreciated the black-and-white film, allowing contrast to dominate the cinematography.

Truffe
2008, 65 minutes, directed by Kim Nguyen

Cirque du Freak: The Vampire's Assistant

The night of the undead begins with the first installment in this, the latest vampire franchise to be milked for teenage girls. This is the story of Darren, a boy who is led to give up his normal life and join a freak show as the assistant to a 200-year vampire. Little does he know that fate has plans for him as the instigator of renewed war with the more-bloodthirsty vampanese.

The Paramount was stacked with junior high and high school girls for this premiere, leaving us regular Fantastic Fest badge holders far outnumbered. The audience however seemed to really get into the film and the stars on hand for its premiere. The film was at its worst when it tried to be serious with itself, and best when playing on inside jokes between the script and the audience. While I may not seek out the remaining installments (until my daughter(s) beg me too in 10+ years), I hope the film succeeds and can continue the story.

Cirque du Freak: The Vampire's Assistant
2009, directed by Paul Weitz

Under the Mountain

I see a lot of films that try to be something and fail. This film attempts to be a modern children's fantasy adventure, along the lines of Labyrinth or E.T., and succeeds admirably. The good guys are 100% noble or attain redemption, the bad guys are bad but a bit comically so, the urgency is dire and the adventure roars.

Under the Mountain
2009, 91 minutes, directed by Jonathan King

Krabat

This middle-ages sorcery tale drags in at two full hours long. While it's a good story - and would make a great novel, it's a bit slow for the screen. I did enjoy the imagery.

Krabat
2008, 120 minutes, directed by Marco Kreuzpaintner

Solomon Kane

Harry and the director wanted to be clear right off the bat that this film was new material, not drawn from any source novel, so as to preclude offense taken by the fanboys in the room. As I have no history with the content, that was unimportant to me. What I wanted to see was a kickass sword and sorcery adventure without the silliness or self-mocking-awareness all too often present in such films, and I got just what I wanted. The director shaped the film brilliantly with the resources he had, and the acting and photography brought it home. If it hits as well with a general audience (fingers crossed) as it did with me, this should become a series to follow.

Michael J. Bassett is a very eloquent director able to convey his passion for this material. Were I a producer, I'd want to bring him on and unleash that passion on my intellectual property.

Solomon Kane
2009, directed by Michael J. Bassett

Gentlemen Broncos

This Fantastic Fest, I wanted to see one of the big gala premieres. It would be Zombieland except Harry scheduled a secret screening on top of it, something I can't resist. So instead I'm here at the beautiful Paramount theater, a wonderful place to look at ... the place, but an awful place to watch a movie. As usual, all four good seats are reserved for cast and crew. My view is only partially blocked, and at least I'm on the end of a row so I can breath and move my legs.

So, Gentlemen Broncos. Small town kid in uncomfortable situations finds himself and wins big. If you liked Napolean Dynamite, well you'll get to see part two. If you didn't, like I didn't, well meh.

Gentlemen Broncos
2009, directed by Jared Hess

Harry Potter and the Half-Blood Prince

One thing that has disappointed me about the Harry Potter film series has been how much of the Hogwarts content they needed to cut to squeeze the plot into the allotted time. After the first film it seems the kids barely have time for class.

By this point, though, the books themselves veered significantly darker, and away from the frivolity of school life. The film matches. These are dark times for Harry, and they will only get darker.

Harry Potter and the Half-Blood Prince
2009, 153 minutes, directed by David Yates

Harry Potter and the Goblet of Fire

When I originally saw this in the theater, all I could think of was how much they had to cut to make it into a film. The loss of all the Hogwart's color is an unfortunate hollowing of the rich story.

I know how much longer the sixth book was. At least it's been much longer since I read them this time, so I won't remember quite how much is left aside.

Harry Potter and the Goblet of Fire
2005, 157 minutes, directed by Mike Newell