REVIEW: THE DARK KNIGHT RISES - PROLOGUE

TDKR's first teaser poster.

It isn’t exactly possible to discuss THE DARK KNIGHT RISES’ (TDKR) prologue without at least recalling, if not directly comparing it to the 2008 prologue of THE DARK KNIGHT (TDK).  Both serve as the prologue to a direct a sequel, introduce their films’ respective villains and were shot and projected exclusively on the 70mm IMAX format.  Not to mention both were released roughly seven months prior to the premier of the film (almost to the day) as well as roughly one week before the premiere of a proper theatrical trailer, rendering the prologue more or less the first real “taste” of the film audiences see.

So before we jump into TDKR, why don’t we rewind the clocks to December 2007 for a moment?  It had been just over two years since BATMAN BEGINS hit cinemas to general critical praise (and minimal awards coverage) and above average, though not quite blockbusting, box office performance.  Let’s not fail to note that the 2005 BEGINS ran in IMAX theaters, but only as a 35mm conversion.  None of BEGINS was actually shot in the IMAX format, so in 2007 when the TDK prologue rolled, no one had actually seen what Nolan would do in the IMAX format.  Further more, no one had any idea of the sheer leap in scale leap TDK would be when compared to BEGINS.  No one, that is, until the TDK prologue rolled and began a hyper mania that few pictures (if any) have ever lived up.

Lets fast-forward back to 2011.  It’s now been four years since TDK was in released theatrically and for all intent and purpose lived up to the astronomical hype the prologue launched.  What, it only became the second highest grossing film of all time and unquestionably the most critically praised (and rewarded) “super-hero” film of all time.   It won a Best Supporting Actor Oscar for the late Heath Ledger’s portrayal of the Joker, an Oscar for Sound Editing and nabbed six other nominations for achievements in cinematography, visual effects, make-up and film editing.  Many of TDK’s sequences (including the legendary prologue) were shot on 70mm IMAX and absolutely floored audiences in 2007.  So that’s what we KNOW about the last entry going into the TDKR prologue.  I mean, I would sooner say you could compare apples to goddamned carrots than say you could compare TDK audience who’d seen BEGINS to TDKR audiences who’d seen BEGINS and TDK.

The first image of Heath Ledger as the Joker in TDK.

So all this is banging around my head as I slide up the escalators of AMC’s Lincoln Square IMAX screen.  This particular advanced screening for the TDKR prologue seems to be made up mostly of fanboys and whomever else said fanboys could convince to wait outside for two hours in 37-degree weather for a six-minute preview. After being handed a t-shirt (a large, black tee with a sort of scrawled bat like figure and the words LEGEND beneath in evenly spaced, bold Helvetica font set) I made my way up to a rather ideal seat, got comfortable and waited. I was surprised and almost saddened to see the theater not quite filled up, knowing the screening was specifically overbooked to prevent that exact thing from happening.  But all that really mattered was the quality of the theater and my seat in it, both of which were faring much better than the circumstances I just outlined.

Let me start (after four paragraphs) by saying the TDKR prologue is visually stunning.  I can’t recall ever being exposed to photography of this level – both in its grandeur and it’s incredible specificity.  The complexity of shots in play here makes much of what we saw in TDK seem like IMAX 101 – where now, with TDKR, Nolan has his doctorate.  The action is succinct, the shot progression natural, the payoff – well, lets just say you will see Wally Pfister’s name on Oscar night 2013.

But what else are we seeing?  The introduction to Bane, for one.  Nolan’s been well documented in saying his choice for Bane as a villain, as opposed to say a more obvious/traditional on such as the Riddler or Penguin, is that Bane brings a unique challenge to the batman, specifically, his physicality.  Does TDKR’s prologue deliver on the brutality and sheer physical power of Bane?  Maybe.  In the prologue you begin to feel Bane’s power, you get a sense of his smarts as well, but it was far too brief for me to have a solid impression of him. In retrospect, it wasn’t until the theatrical trailer of TDK (read: not the prologue) that I really began to appreciate the maniacal anarchy of Heath Ledger’s Joker.  I hope (and in some ways believe) this will be the case when the TDRK theatrical hits in the next week or so.

TDKR's first official image of Tom Hardy's Bane.

Much of the criticism to date regarding the prologue has surrounded the voice quality of Bane.  He wears a mask and his voice is muffled at times, but in fairness to the critics, for the most part he’s barely legible.  I really don’t have an interest in discussing Bane’s voice (or it’s legibility) until I know the print I’m looking at is completely final and in context with the entire picture.  Lets not forget the scene where we’re having trouble “hearing” Bane’s dialogue is taking place in the opened fuselage of a plane flying at 15,000 feet.

My biggest complaint isn’t quite as trivial, but instead, rather significant.  Going back to the TDK prologue, there was a secondary role, a bank manager, but nonetheless a part played with brilliance by William Fichtner.  The relationship between Ficthner’s bank manager and Ledger’s Joker served as a microcosm for the rest of TDK.  This was symbiotic relationship.  The Joker raised the players around him, which in turn elevated him.  Now back to the TDKR prologue, we have a similar role, a CIA field agent.  For how well Fichtner’s bank manager played in TDK, the CIA agent fell that flat for me.  It almost brought down Bane’s presence using the same principle: not seeing the CIA agent on the same level as Bane makes me inherently think Bane isn’t on the level he should be.

TDRK's second teaser poster.

This reaction is admittedly premature.  And I won’t discount the imaginative, sweeping experience that was overall impression of the TDRK prologue.  There is still so much to see (pretty much the whole film) – and if it turns out this guy’s performance happens to suck a bit, it sucks a bit.  I just want so much to love Bane as much as I loved the Joker and as a result, it seems my expectations will invariably fall short.  But still, as I said before, I didn’t truly fall for the Joker until I saw the theatrical trailer, which I have yet to see on Bane and TDKR.  Until then, I will repeat the fanboy mantra of the decade “In Nolan we trust.  In Nolan we trust.  In Nolan we trust.  Only please don’t screw this up so we can continue to believe In Nolan, who we trust.”

REVIEW: FISH TANK

Grand Readership,

I must admit I was quite excited to see FISH TANK... it had been some time since I’d given patronage to the IFC theater (despite my accolades for it in my NYC VENUE review (here) I don’t get there nearly as often as I’d like) and it’d also been some time since I reviewed a picture outside the Hollywood studio system.  FISH TANK (by director ANDREA ARNOLD - who's first picture, RED ROAD, I'm told is outstanding) not only does not disappoint, but is surprising and delightful: a skillfully told story, a true drama and an even (at times) disturbing portraiture of a girl coming into her own.

MIA is 15.  She lives with her mom (who, if she has a job – we’re not told about it) and younger sister, TYLER.  There’s no father… there’s no money – in fact there’s little of anything but spite.  It’s a decidedly poor neighborhood, Mia lives in a tenement building – her mother, when she isn’t drunk, is at best verbally abusive and at worst irresponsibly neglectful.  The conditions of Mia’s life are both shocking and upsetting, but they never overwhelm her, nor seem to overtly inform her behavior.  Instead, Mia simply wants grow up and like any teenage girl who feels stuck... she feels the world is against her in this.  It’s summer time and her days are filled with practicing dance, roaming around, fighting with peers and getting into mischief with boys... and while on the surface this may appear carefree - we quickly learn it's anything but.

There’s a refreshing simplicity about the story Arnold tells coupled with a frankness... Mia's life isn't pretty and Arnold isn't shy about sharing this.  First and foremost, however, FISH TANK Mia’s story – and it is never anyone else’s.  When Mia is introduced to her mother’s latest boyfriend, CONNOR, (played exceptionally by MICHAEL FASSBENDER - who some may recognize from his also exceptional appearance in INGLOURIOUS BASTERDS) there’s an obvious tension between the two.  And while the relationship grows in tension and immediacy throughout the film the camera never lingers on the boyfriend.  We’re never bothered with his emotional state beyond the interactions he has with Mia.  In fact, we are always with Mia – when we see her little sister smoke cigarettes and drink beers with a friend, it’s because Mia is there to show us.  What little we learn of Mia’s mother’s friends, we learn as Mia spies on them.  The arguments Mia has with her friends remain unexplained and why shouldn’t they?  What do 15 year-old girls really argue about anyway?

FISH TANK succeeds as much for what is in the picture as what is left out of it.  We don’t need to know why Mia bickers with her peers to understand to her angst.  We don’t need to know what her mom does all day to understand the type of role model she is for her girls.  Essentially – we don’t need to know anything about anyone, except for Mia.  I cannot stress enough how nice it is not to be hammered with storylines.  Instead of being dealt several poorly handled storylines (as it seems is the ever-increasing norm in today’s pictures) FISH TANK actually delivers on a single one.  Considering how singular our focus is on MIA - its almost startling how much we learn and feel about the supporting players - which we must immediately attribute to Arnold's sophisticated choice in dialogue and scene.

Speaking of sophistication, the film itself is stunning to look at.  I saw a 35mm print and noticed immediately that it was a 1.33:1 frame – quite unusual in a day in age where 16:9 is standard even for television and 2:35:1 is the now-traditional cinema aspect.  The cinematographer, Robbie Ryan, has delivered each shot as if it were plucked from a tree of brilliant Polaroids.   We’re treated to flares of morning sun, the contrast of high noon summers, the magic of glowing, late-summer evenings and that warm summer night we all can’t describe but know when we see it.  The smaller, square frame always keeps us proximate to Mia while the film grain and dirt specs (evident throughout the picture) recollect the imperfections of life. 

I suppose that’s the best way to sum up FISH TANK – its near masterpiece as a picture is in how perfectly it brings the imperfect to life.  There’s nothing unnatural about Mia’s curiosity and sexual turmoil – but that it’s happening in concert with Connor giving her attention is unsettling.  There’s an inevitable sadness about Mia’s lot in life, but there’s also a beauty in how she moves throughout it.  Amplified in parts by the photography, in parts by the performances but always by its direction – FISH TANK is bubbling with tears and laughter and… well, life.  Make a point to see in theaters if you can – otherwise, be sure to check on home-release.

REVIEW: BOOK OF ELI

Well folks, COMEDY N CHAOS has done it again - beating me to the next review.  Behold: his words of wisdom (or warning?) for BOOK OF ELI... along with some other most valuable anecdotes!

Movies like this always make me want to eat with my hands.  I’m not talking about finger foods, where you’re supposed to eat with your hands.  I’m talking about cooking a chicken whole and pulling it to pieces with your fingers.  Maybe letting out a grunt or two along the way.  And eating a side of potatoes with your hands too. 

That’s about the most I got out of this movie.  Was it awesome?  No.  It was actually pretty bad.  But it was the kind of pretty bad I wanted.   That 13-year-old kid in me still likes a Van Dam movie kind of bad.  My girlfriend would have walked out of it.  But it pleased me on some adolescent level. 

Also, it was about 8 degrees on Saturday when I saw it.  I cleaned my apartment and had nothing to do for a few hours.  The movie had caught my eye initially, Denzel is always good, and Gary Oldman is in it.  So those are two positives.  And you ‘ve got the end of the world, and The Book, which makes it some kind of religious movie.  So that’s cool.  And Denzel is walking around slicing people’s heads off.  And Mila Kunis is a babe, even when it looks like she hasn’t showered in years.  And yes, I’m defending it, because on so many levels it needs defending.

The Savagery of the movie was there.  But if you want to be depressed, this wasn’t the movie for that either.  It wasn’t High Art, by any means.  But I liked it. If for only one reason:  This OCD woman at work hounds me on this long running project.  All day long.  35 emails a day—just thoughts—not like email used to be where it was and emailable letter with a beginning, middle and end.  Email has now turned into a Twitter feed.  So I get nonstop thoughts from this woman.  She’s not my boss, but I have to read her emails.  So it gets annoying as all hell.  Well, she loves cats.  She has two, and usually has a 3^rd and 4^th around the apartment from rescue shelters that she “adopts.”  She’s 40, no kids, no man in her life.  Just these cats.  She has a blog about these cats.  About all things cat.  Give her a lull in the conversation and it turns to cats.  So at the beginning of the movie, the opening shot has a cat in it.  It’s in the woods, It’s snowing.  Camera pans left, pans over a dead body.  The cat approached the dead body. A toe is exposed.  The cat hunkers in for a meal. And cut to Old Eli, poised just ten yards from the body.  Bow and Arrow poised, ready for the kill.  Release, thwack, meow.  And the cat is over an open flame, roasting away.  Eli’s nibbling at it, and a mouse pops out and he even gives the mouse some cat!  I laughed out loud.

I think that about sums it up.  Childish revenge.  Release from reality.  A shitty ending.  Man, it was pretty bad.  But you can see it for yourself when you’re feeling that youngster within pull at you for some ass kicking.  And then come home and eat dinner with your hands.  See what your girl thinks of that.  Reach out and take some of that salad and munch on it with your fingers.  It’s cold as hell outside, it might heat things up a bit.  Nothing wrong with a little Holy Hell stirred up on cold Saturday night in January, over a bottle of wine.  With the Apocalypse just around the corner, better enjoy it before it’s gone.  

PREVIEW WEEKLY: JANUARY 29, 2010

Grand Readership,

January is coming to a close and I still haven't gotten out a review.  I promise, it will change (I'm again, hoping for FISH TANK this week).  In the meantime though, please find my buzz on this week's releases. Can MEL GIBSON star in $100M film again?  Is KRISTEN BELL really suited to carry a picture?  The answers and more, coming up!  Hey, did you know JOSH DUHAMEL is so handsome he can impregnate a woman just by looking at her?  Scary!

WHEN IN ROME (DIR. MARK STEVEN JOHNSON)

WHEN IN ROME seems harmless enough.  A rom-com with two awfully handsome stars, KRISTEN BELL and JOSH DUHAMEL.  ROME marks BELL's first feature in which she headlines... DUHAMEL will likely just have to look pretty... and the director, JOHNSON - well I'll put it this way.  He went from directing SIMON BIRCH to GHOST RIDER.  When seeing a WILL ARNETT clip recently (he has a small role in the film) I was surprisingly disappointed with how he was used and if the inherently genius ARNETT ceases to spark laughter in me, I fear for the rest of the players.  Certainly a great date flick - or if you're looking to check out and drool at screen for 90 minutes or so.  Otherwise, wait.

EDGE OF DARKNESS (DIR. MARTIN CAMPBELL)

MARTIN CAMPBELL may just be one my favorite director - and I'm not even sure I need to qualify that by suggesting it's a guilty admission.  Who can argue the skill with which he handles an action thriller?  He rebooted JAMES BOND (twice) with GOLDENEYE and CASINO ROYAL - delivered the awesomely satisfying VERTICAL LIMIT and didn't miss entirely with his two ZORRO entires (of which, I prefer the first - MASK OF ZORRA in 1998).  CAMPBELL teams up with MEL GIBSON for EDGE OF DARKNESS - which promises gritty, revenge-fueled bedlam.  Supporting players include RAY WINSTONE - who I can't help but love.  The biggest question on this picture is whether or not GIBSON has the capacity to drive audiences... he hasn't headlined a film since SIGNS back in 2002 (and that was still when SHYAMALAN was still hott).  Maybe the most thing I'm excited for?  The screenplay was written by WILLIAM MONAHAN - who many will remember penned BEST PICTURE, THE DEPARTED.  Make an attempt to see in theaters if this sort of thing strikes your fancy.

NORTH FACE (DIR. PHILLIPP SOLZL)

NORTH FACE comes to us from Germany - and is an action thriller about two men attempting to summit the north face of EIGER - arguable the most brutal rock face in the Alps.  It looks suspenseful, grizzly - and comes packaged with 1930s high Nazi propaganda - not a bad bill of health for some.  Could be worth checking out for sure!

SAINT JOHN OF LAS VEGAS (DIR. HUE RHODES)

What is it about STEVE BUSCEMI?  He's always getting himself into the ultra indie scene... and frankly, I respect it.  He's got great talent, a distinct look, why not lend a hand (and limited notoriety) to pictures in need of both?  RHODES may as well be a first time director - and minus a few voice over niggles, the trailer keeps me interested enough.  Can he manage all the story lines he's suggesting?  I hope so.  SARAH SILVERMAN never did much for me, but VEGAS does have that hot girl from ENTOURAGE... how vexing!  May not be worth seeing in the theaters, but may be a good flick to check out when it hits the shelves.

PREVIEW WEEKLY: JANUARY 22ND

Grand Readership,

The usual deal: my instincts on this week's releases... and this week marks a very boring end to an eventless month at the theaters (apart from, you know, AVATAR pretty much printing money at will).  I'm going to do my best to see FISH TANK (released in NYC last week) and throw a review of that up.  I should probably mention the GOLDEN GLOBES but doing so would give them volumes more credit than deserved (frankly I give more clout to the day-time EMMYS).  If you're on the cusp to see CRAZY HEART, be sure to check out COMEDY N CHAOS' review of it here.  Enjoy!

LEGION (DIR. SCOTT STEWART)

STEWART is more an FX guru than director, but LEGION may indicate his changing role behind the camera is a permanent one.  I'm sure he fought the studio (SCREEN GEMS) for every FX penny he could, but from the trailer - I'm not quite sure he secured enough.  Epic in nature, LEGION hopes to satisfy on the horror/fx/apocolypse level?  I think?  Who knows, really - but it looks amusing if you're into that sort of thing.  PAUL BETTANY leads, DENNIS QUAID is involved, as is TYRESE GIBSON and CHARLES S. DUTTON (a favorite of mine).  Sure, go see it... but not on my account.

TOOTH FAIRY (DIR. MICHAEL LEMBECK)

Many of you know of my unabashed love for THE ROCK aka DWAYNE JOHNSON.  There's something about the way he can handle himself, somehow delivering on timing but never taking himself too seriously... it's perfect.  JOHNSON stars here as an amateur athlete sentenced to serve one week as the tooth fairy.  Hilarity ensures (we hope), caked thickly (I'm sure) in kid-friendly icing.  Maybe the highlight of this picture (which doesn't particularly strike my fancy) is that JULIE ANDREWS co-stars.  For those needing to take the kids to something... otherwise, heck, I don't know when you see this.  Here's to hoping THE ROCK goes back to some PG13 action comedy... or in a perfect world - getting himself into some gritty R action!

EXTRAORDINARY MEASURES (DIR. TOM VAUGHAN)

EXCRUCIATINGLY-ORDINARY MEASURES stars HARRISON FORD and BRENDAN FRASER and KERRI RUSSELL and, oh my god, should I even finish?  To quote a dear friend of mine, "I thought this was a made for TV CBS special."  And who could blame him?  In the film's own promotions, it claims to be "as inspirational as THE BLIND SIDE"... now I'm no director, but that's not exactly the first thing I want people hearing about my film.  MEASURES no doubt speaks to a specific audience type - and nothing will stop them from charging the box office for the TUESDAY matinee.  And please, its not that I don't like saving children from cancer... but who could argue this picture wouldn't be far more telling as a well-explored documentary?  One must accept HOLLYWOOD'S need to hire beautiful people to tell "true" stories, but when the subject matter is as delicate as it is in this case, it's all the more maddening to have tailored performances and pitch-perfect scripts.  I consider this the best example of HOLLYWOOD bile out there.  Avoid.  Or see the documentary - if they ever wise up and make one.

CREATION (DIR. JON AMIEL)

Director JON AMIEL certainly has a varied resume, even if it isn't the most polished.  He gave us the entertaining ENTRAPMENT, a forgettable action flick in THE CORE and somewhat of a cult hit thriller COPYCAT.  CREATION tells the story of Darwin and stars PAUL BETTANY as the man and JENNIFER CONNELLY as the man's wife (she's his real-life wife as well, for those curious).  It's not that I have anything against CREATION, but rather, have no feelings on it whatsoever.  I saw CONNELLY promote the picture recently on late night - she didn't have much to say, as it would turn out.  Heck, I suppose for the Darwin geeks out there this is like BATMAN vs SPIDERMAN set on PANDORA... but for the 98% of the public... why exactly are we seeing this?  Man struggles with god.  Not exactly a fresh topic... See as a date flick, if you're a fan of CONNELLY or said geekdom applies to you.

PREVIEW WEEKLY: JAN '10 TO DATE

Grand Readership,

Yeah, yeah - I know.  It's Preview WEEKLY.  Not MONTHLY.  But in a vain attempt not to begin 2010 too far behind... you'll find a quick recap of the first three weeks in JAN 10 releases (1/1, 1/8, 1/15).  Nothing too notable here - but then again...

THE LOSS OF A TEARDROP DIAMOND (DIR. JODIE MARKELL)

If you haven't heard of this film, it's not your fault.  The biggest promotion this picture received is that it's an adaptation of a lost TENNESSEE WILLIAMS' screenplay.  Apart from that, there's not much to see.  BRYCE DALLAS HOWARD doesn't seem awful - but the trailer is so gut-wrenchingly bad I can't imagine the picture being anything better.  Feels like TITANIC; but the version that swept the Razzies, not the Oscars.  See at your own risk.

DAYBREAKERS (DIR. MICHAEL SPIERIG & PETER SPIERIG)

If I've said it once, I've said it a million times: if the frackin' Cohen brothers can figure out how to credit one director, surely the throngs of underling sibling director teams can, can't they?  Still, the SPIERIG brothers should be excited - DAYBREAKERS is by far their largest budgeted picture and features their biggest star vehicle in ETHAN HAWKE.  How either of those occurred remains itself a mystery, but I won't go as far as to say the trailer was bad.   For the vamp-thriller fans out there, it may be good popcorn flick... for the rest of us, well, one can always see AVATAR again.

YOUTH IN REVOLT (DIR. MIGUEL ARETA)

One day the rest of the world will awaken to the disaster that is MICHAEL CERA.  A true one-trick pony, best used meagerly in ARRESTED DEVELOPMENT and subsequently over-used in everything else he's been in.  At least DAVID LETTERMAN agrees; anyone watching CERA's recent appearance could attest LETTERMAN wanted nothing to do with the little ____ .... I'll let you fill in the blank.  The director, MIGUEL ARETA, has seen most of his success in television, YOUTH IN REVOLT will mark his biggest feature to date.  I can't help but get the feeling this film is trying too hard - and has been for the some two years its been in post production (two years of post on a film like this is never a good a sign, by the way).  See in the theaters if you're a CERA fan or particularly curious about this faux coming of age film... otherwise a better flick for home viewing.

LEAP YEAR (DIR. ANAND TUCKER)

Some will remember ANAND TUCKER directed the STEVE MARTIN written dramedy, SHOPGIRL - a simple, okay film from 2005.  This time he's got the (sometimes?) amazing AMY ADAMS and the lesser known MATTHEW GOODE.  LEAP YEAR is cute enough, girlfriend on roadtrip to see boyfriend when intercepted by cute-guy-and-forced-to-rethink-plan-friend.  You've seen it a hundred times, so once more won't hurt.  I'd watch ADAMS in about anything - and I don't get the impression it's offensively redundant.  A good choice for a date flick, or if you're an ADAMS fanatic.  Otherwise, wait.

CRAZY ON THE OUTSIDE (DIR. TIM ALLEN)

Yes, the same TIM ALLEN from HOME IMPROVEMENT and all the troubled tabloid stories.  CRAZY ON THE OUTSIDE marks TIM ALLEN'S directorial debut and he's pulled together quite a cast to help him along the way.  Despite being armed with SIGOURNEY WEAVER, JK SIMMONS and RAY LIOTTA (among several others, I assure you) - CRAZY seems a bit boring.  No one can argue ALLEN can really pull together a cast though - I'm curious to see whether he's serious about directing and refining himself behind the camera, or if this is one of those, "I told you I could direct a movie" movies.  We will have to see - but not many will do so in theaters (myself included).

THE SPY NEXT DOOR (DIR. BRIAN LEVANT)

I am in no way surprised at this picture.  JACKIE CHAN in a kid-romp-slapstick-comedy directed by a frequenter of the genre (LEVANT did such pictures as BEETHOVEN and JINGLE ALL THE WAY).  I am, however, a bit surprised the studio didn't throw a holiday spin on this and cash in on the NOV/DEC crowd.  Doesn't seem like it will find much of an audience considering what else is avail to the PG crowd (and considering further that most parents may stretch the limits and allow their children to see the PG13 AVATAR).  If your not with persons under the age of 10, there's no reason to see this picture.

THE BOOK OF ELI (DIR. ALBERT HUGHES, ALLEN HUGHES)

Please see above re: my thoughts on multiple directors (and that these two are actually twins infuriates me even more).  But THE BOOK OF ELI has struck my curiosity.  Sure, it has a lot to do with being set in a post-apocalyptic world... but also has a lot to do with having GARY OLDMAN in it.  And, I'm a huge fan of the HUGHES' MENACE II SOCIETY - and thrilled that they're back behind the camera, armed with a budget and (several) stars.  For those people who like this type of action/intrigue/apocalyptic crap - and for those guys out there who have the next pick in date flicks. Let me know what you think about this one - could go either way - certainly worth a trip to the big screen for the photography alone.

FISH TANK (DIR. ANDREA ARNOLD)

A highly touted British picture that comes stateside with all sorts of festival credentials.  It's a coming of age story, and finally one that doesn't shy away from "reality" (although typing such an absurd sentence is rather sad).  It has a sharp look and from what I can tell, some incredible performances.  One of those pictures that communicates so genuinely the life of a person that moving from humor to drama is not only flawless but natural.  Definitely check out if it's in your area.

THE LOVELY BONES (DIR. PETER JACKSON)

That PETER JACKSON chose KING KONG to follow his epic LOTR trilogy wasn't too alarming - but deciding to helm THE LOVELY BONES next may surprise more than a few.  BONES is an adaptation from ALICE SEBOLD'S critically acclaimed novel by the same name, in which a 14 yr old is raped and murdered - and as a spirit in heaven helps guide her friends in family in solving her murder mystery.  To say JACKSON'S BONES hasn't been met with critical praise would be a grave understatement, and the promotions (spinning it more as a supernatural thriller than the poetic journey SEBOLD provided) don't seem to be helping.  I imagine you've decided whether or not to see this one - perhaps a fan of either the book, or JACKSON you feel inclined.  I certainly won't discourage, but for the rest of you, you're fine to wait for the in-home release.

REVIEW: CRAZY HEART

Comedy n' Chaos makes his presence known here in 2010 with this review of CRAZY HEART.

My first exposure to country music was at three years old, I believe. The Dukes of Hazzard became the preferred television programming of my brother, then two, and myself. There were bar fights, pretty girls, and of course flying cars; one orange ’69 Dodge Charger in particular caught our attention, it had it’s own horn song when the tires left the planet. Upon viewing the show for the first time, we knew this was our kind of entertainment, that this was what our lives were meant to replicate, and that the indomitable spirit of The Dukes was in us as well. Every week, as The Dukes of Hazzard started up, a rather notable Balladeer would sing to our young and open hearts, and we’d sit—bursting with the excitement—absorbing the power, wisdom and inherent mischief in his words:

Just the good ol’ boys,
Never meaning no harm,
Beats all you never saw,
Been in trouble with the law
Since the day they were born.

Straightening the curves,
Flattening the hills,
Someday the mountain may get ‘em
But the law never will.

Making their way
The only way they know how,
That’s just a little bit more
Than the law will allow.

--Waylon Jennings


My exposure to Country Music has grown considerably since those young and innocent days, I’ve followed my calling to many a bar fight, courted more than a few pretty ladies, and spent much of my youth driving cars ferocious distances, in place of jumping cars ferocious distances. But believe me, I will jump a car. Most likely I’ll have a stunt driver do it and I’ll be filming it, but there will be a Producers cut with a certain familiar car horn once the vehicles’ tires have left the ground.

That’s the impact one Country and Western song had on me. Just one. And there are millions out there, and plenty of good ones at that. So who are the men that write these songs? Where do they come from, what inspires them, and what becomes of them when the mountain does get them? Crazy Heart will show you.

Bad Blake, played by Jeff Bridges, is shit out of luck. He’s had his day, written his great songs, and been left at the bowling alley to rot. He drinks tremendous amounts of whiskey, sleeps with down n’ out grandmothers, eats from Styrofoam containers, chain smokes, drives hundreds of miles for low rent gigs, and swaggers drunk through it all. He’s 57 with ten dollars in his pocket. He’s done.

Jeff Bridges plays this beautifully. A charismatic, feisty, aged country star, with all his failures on his back, it’s a good study of talent and whiskey. Bridges sings and plays guitar in this movie, and his guitar playing and picking lend the movie some of its most brilliant shots. There’s no faking here. Bridges embraced the role. When Bad drinks too much, you believe it. When he comes to in the mornings, liver-heart-lungs shot to hell, you see the hangover in his eyes. And when he falls in love with Jean Craddock, you fall with him. Ms. Maggie Gyllenhaal is so good in this film, so good. Her happiness and sadness are absolutely tangible.

After seeing the epic and fantastic Avatar and the lousy Sherlock Holmes recently, it was nice to get back to basics. To see a small movie with real story, with real humanity, with real hope. And the music. Man. That alone is reason enough to see it. Music makes the world turn. Anyone who tells you different never listened close enough. And that’s what this movie is all about. Listening.

NYC VENUES: PART II

Grand Readership,

I'm looking forward to the new year, and hopefully some regularity here at X RETICENT REVIEWS. While I'd much prefer this entry to be a recap of the year, I suppose it's only natural (and fair) to respond first to NYC VENUE review. For this chapter, I'll be discussing the independent release houses scattered across (at least two) boroughs. While some will point out the list is incomplete, each venue is on here for a reason, and like PART I, the venues are in no particular order. Enjoy!

PART II: THE INDEPENDENT RELEASE HOUSES

INDEPENDENT FILM CENTER (IFC)
It's hard not to begin with this house, which you'll find right on 6th ave just beneath Greenwich Village. If its name wasn't enough, the crowd you'll find there (a mash of hipsters, fashionistas and academics) should tip off any movie goer they won't find the latest rom com with Jennifer Garner in the lineup. IFC is recently renovated and three of it's screens boast luxury seating and projection. Ultimately though, it will be it's unique slate of pictures, it's weekend throwback screenings and it's midnight cult classic series (an idea they may or may not have stolen from SUNSHINE...) that make it the quintessential indy house. Also in the plus column is IFC's proximity to a PAPAYA DOG - where you'll find a maybe okay hot dog and some delicious orange drink!

ANGELIKA FILM CENTER
On paper, the ANGELIKA would be hard to dislike. What, with it's release slate always including that hard to find foreign flick, an in-house cafe to satisfy all those enthusiasts who just can't wait to scrutinize the details over a cup of joe... heck, even it's location - right at Houston and Broadway - puts it on of the more accessible list. But in reality the theaters are cramped, at best. The projection isn't great, but not nearly as bad as the sound proofing - where over hearing conversations from people in the concession lines (separated in some instances by a scant curtain) is more the norm than the exception. Perhaps worst of all though? The sludge of pretentiousness it's patrons boast.. a sludge I warn is quite unavoidable. On principle, I avoid this theater - but that's not to say I haven't occasionally broken my own rules - I mean, where else could I have seen LAURENT CANTET's brilliant THE CLASS?

SYMPHONY SPACE THEATER
This may be the truest of all the independent theaters - stressing the theater part of that sentence. To be fair, SYMPHONY SPACE really isn't a theater at all, rather a performing arts center that will occasionally run a film series alongside a variety of literature, music, theater and dance shows. This becomes instantly clear as one enters the theater, which is a crude combination of permanent seats and folding chairs - none closer than 30ft or so from where the image is projected. It's small, but endlessly endearing. The popcorn is delightful and there's a small cafe (they are used to dealing with an intermission). In fairness it's hard to keep this venue on the radar, it's lineup never exceeds more than one picture (unless of course they're running a double feature) and outside of the months they're featuring a film series, one may go weeks without seeing show time listed. SYMPHONY SPACE is on Broadway at 95th street in the Upper West Side - make an evening of it and catch a drink with a friend just a block away at DIVE BAR - over on 96th and Amsterdam.

BROOKLYN ACADEMY OF MUSIC (BAM)
The only theater in this review outside of Manhattan (but I had to make good on my promise to include venues from multiple boroughs, didn't I?). As one may guess, BAM is located in Brooklyn - a short walk from the ATLANTIC/PACIFIC train terminal where just about every subway and even the LIRR have station stops. Briefly, BAM is gorgeous; an above average venue with high ceilings and an ever evolving lineup. They usually run one picture at a time - a delightful myriad of smaller releases, cult favorites and treasured classics (for example this month we go from NINE to MISSION TO MOSCOW). Of the proximate neighborhoods, Boerum Hill and Fort Greene, I'd choose the latter to poke around in for a drink (THE HIDEOUT) or dinner (OLEA).

FILM FORUM
Taking us back into Manhattan would be the FILM FORUM. There's a decidedly soft spot in my heart for this picture house, it was the first "indy" house I'd been to and remains my favorite. Sure, they got plenty of variety - have a great monthly mailer... even the popcorn is top notch. But it's the surprises and details that catapults FILM FORUM atop this list as my undisputed favorite. It could be that they have unannounced Q&A sessions - with anyone from the lead wardrobe artist, to the director of photograph or even, producer! Of course FILM FORUM has regularly announced Q&As as well, but that they'd place such faith in their patrons to have unannounced opportunities deserves applause. Of the smaller details: when replaying a beautifully restored BOND print - they'll tack on original, untouched theatrical trailers - a fascinating time capsule of the release's period. If you're not careful you may walk right past it's box office - between Varick and 6th ave on Houston.

LANDMARK'S SUNSHINE CINEMA
Last but certainly not least is the SUNSHINE. Was it's claim to fame the midnight cult classic screenings? Or was it winning award after award for consumer satisfaction? Regardless - the auditoriums are remarkable for an "art house" venue and both the popcorn and the people serving it -great. Something unique? DVD and BLU RAY editions of your favorites at the box office (granted it's not as cheap as your local Best Buy but infinitely more satisfying). SUNSHINE isn't the most accessible, down on HOUSTON past 2nd Ave, but the walk there is well worth it. And if it's your fancy, I seem to have more celeb sightings at this theater than any other... maybe the only downfall of this theater is the tickets are printed on (I'm cringing as I type) ... receipt paper!

NYC VENUES: PART I

Grand Readership,

I'm somehow still trying to wrap my head around TARANTINO'S INGLOURIOUS BASTERDS. I'm not quite ready to review the picture, having only seen it once, but I at least know it was outstanding. I was making plans to see BASTERDS when I though it'd be a good idea to have a quick rundown of the movie houses in New York City. This post will be a two parter:

PART I: THE MAJOR RELEASE HOUSES

CLEARVIEW ZIEGFELD
Unquestionably, the Clearview Zeigfeld houses the city’s most robust cinematic environment, with a screen that dwarfs some IMAX venues and a capacity that rivals Radio City Music Hall. Whether its INDIANA JONES, the latest from DISNEY/PIXAR, or another timeless addition to the American film canon, the ZIEGFELD runs them all. Be sure to catch a film opening weekend, as you'll find the man who rips your ticket is a show unto himself. For the purists out there, I’ll mention they do not serve COCA COLA products, but as all good venues should, they permit you to bring whatever food/drink you wish.

AMC LOEWS KIPS BAY 15
Right at 2nd avenue and 32nd street, Kips Bay promises a verbal crowd, big screens and packed theaters. There's a nice variety to their listings, allowing you to catch either a guilty pleasure or a limited release picture. Additionally, the theater is tucked on the edges of several nice neighborhoods; where grabbing a drink before or after is a rewarding sojourn. Guiness? Paddy Reilly's. BBQ? Brother Jimmy's. A solid choice.

REGAL UNION SQUARE STADIUM 14
Nestled beneath Union Square, expect throngs of NYU students among an already crowded residential area. Purchasing tickets in advance and getting to the theater early are usually requisites for this venue. Still, one cannot deny the excitement of the neighborhood, or complain about the plethora of show times. Frankly though, the best part about this theater is it's accessibility, on top of two major subway arteries (N,R,Q,W & 4,5,6) and along a line (L) that hits every other one.

REGAL BATTERY PARK STADIUM 11
Not a thoughtless theater, but usually an empty one. Battery Park Stadium 11 is clean, bright and steep, but you can't help feeling as though you're in an empty planetarium instead of a picture house. However, it's right near the lower Manhattan promenade - a park running against the Hudson river and stretching from the tip of the island to the George Washington bridge. Consider only if it makes sense.

AMC LOEWS LINCOLN SQUARE 13
Opening in 1994, the LINCOLN SQUARE 13 is not only a behemoth of a theater, but represents the gold standard for how every subsequent urban multiplex would be designed and constructed. The theater's list of highlights (the most powerful IMAX screen in the region, among others) is surpassed only by it's meticulous attention to detail (most notably in the ornate elephant molding found in the presentation auditorium). And if I had to recommend one theater in all the city, it may be this one.

AMC LOEWS 34TH STREET 14
For one reason or another, I feel as though my affection for the 34th Street 14 is in truth, topical. Sure, the seating, sound and projection are on par - and there's clearly been some thought to developing a tone for the theater. But the popcorn is never great. The neighborhood can be overpriced. And it's an extra flight up for the bathroom. That isn't exactly sweetening the deal. Despite these shortcomings, I've enjoyed several pictures here, including the second coming of the blockbuster, THE DARK KNIGHT.

Thanks for having a read. Tune in next post as I tackle the independent theater circuit.

REVIEW: FUNNY PEOPLE

Those who know me outside the distressed borders here at X RETICENT REVIEWS know that JUDD APATOW isn’t my favorite. In fact, I cannot think of a more vexing contemporary comedy king. His past two pictures, THE 40 YEAR OLD VIRGIN and KNOCKED UP were smash hits. And anyone would agree they deserved every penny alongside every praising review. VIRGIN was explicit, but strangely tender. KNOCKED UP was outrageous, but ultimately comforting.

And it was less the success and popularity of the pictures that annoyed me, and more that APATOW himself was receiving the same accolades a young SCORCESES or even TODD PHILLIPS would receive. Without question, it’s difficult for me to dislike such a pop-culture commodity (I mean, who can resist EFFRON in 17 AGAIN?), but someone has to. Someone has to say both pictures were 40 minutes too long. That KNOCKED UP’s script was one-dimensional, at best. That VIRGIN was too frustrating to be practical. And that the seemingly genuine “realities” APATOW crafts are rarely believable enough to support the dramatic storylines they’re packaged with.



And look, I’m not going to lie – I laugh at APATOW comedies. How could you not when they're littered so richly with talent? I’ve laughed so hard beer sprays through my nose and pretzels shoot from my mouth like confetti – and I’ve done it with anyone from my friends to my father. It’s not that APATOW’S films aren’t gratifying on a humorous level, but rather, are never without a predictable resolution. It’s as if on cue a moral environment erupts in each story, bubbling around the characters like foam around dancers in the meatpacking district. It’s this whisking me away from the sordid lives of his characters and into a world of calm reason that makes me want to hurl popcorn at the screen whilst verbally demanding more dick jokes.

Still, for some reason, I didn’t hate FUNNY PEOPLE. If you missed the trailer (which spelled out the plot with the clarity an English bulldog understands), ADAM SANDLER plays GEORGE – a Hollywood comedy star handed a grim prognosis on his recently discovered blood disease. SETH ROGEN stars as IRA – a struggling stand-up comic hired strictly as GEORGE’S assistant, and not hired as his friend (a relationship point whose explanation became as explicit as it was needless).



Together GEORGE and IRA sift through the weeks writing jokes, performing shows and insulting one another out of boredom. As GEORGE’S condition worsens, he re-kindles a relationship with his once-love LAURA, played by LESLIE MANN (who in real life is married to JUDD APATOW… for those curious). LAURA has feelings for GEORGE, but is in a rocky marriage to CLARKE – played spot on by ERIC BANA. Soon GEORGE learns the experimental medication is working, the immediacy of GEORGE and LAURA’s feelings for one anther is pushed and things get hot.

Running around during all this is IRA – who occasionally seeks council with his two roommates LEO KOENIG and MARK TAYLOR JACKSON. LEO is a struggling stand-up comic one step ahead of IRA and is played with surprising competence by JONAH HILL (although the fat jokes wore thin midway through). MARK is a well-paid actor on a cheese-ball NBC comedy series, and is played by JASON SCHWARTZMAN; a performance that is (sadly) perfect only in moments.



Sometimes that’s the most frustrating. Throughout FUNNY PEOPLE, there are glimpses of genius: a camera flawlessly capturing a stand-up routine with ease, clarity and humor. But these peeks at perfection are packed between far too many mushy montages. FUNNY PEOPLE got me to think about some if it’s jokes, but never demanded I think about the characters. My genuine hope is that APATOW remedies his tendency to over expose the emotional barometer of his main players. I think FUNNY PEOPLE is a step in the right direction. See in theaters only if you’d like – otherwise this picture is a great view with a handful of pals and a stocked refrigerator.

SUMMER REVIEW - JULY 2009

Finally back behind the keyboard after taking a break for a few weeks. It's the end of JULY and for the most part the bulk of the summer giants have made their footprint on the box office and are headed for the showers. Even though 2009 has been a solid growth year thus far (especially considering 2008 witnessed THE DARK KNIGHT's towering success), a surprising number of 2009's top twenty grossers have already hit DVD shelves, a natural response by the studios to combat piracy (sounds familiar... http://tinyurl.com/cpc7gh ).

And now that WATCHMEN and FAST AND FURIOUS BluRay discs are floating around, it takes away the appeal of the summer flick. It used to be about going to the pictures in the summer, just because it was the one time of the year you actually had to go out to the theater and spend a bit of the grocery money on popcorn. Anymore, it's late-JULY, you can rent the MAY blockbuster playing Tetris while having a conference call with Denver.

SUMMER 2009 was also without a picture everyone loved. Sure, the numbers will tell you it was TRANSFORMERS: REVENGE OF THE FALLEN, but woe be an instance you find two consecutive people who enjoyed it. STAR TREK was a crowd pleaser, no doubt. A bona fide hit, nearly an instant classic... but that doesn't make it a classic. DISNEY'S/PIXAR delivered another remarkable picture in UP!, although I'm eager for return to glory a la THE INCREDIBLES, or even TOY STORY 2. And THE HANGOVER came within inches of beating them all despite having access to one quarter the market size.

It proved to be THE HANGOVER - a gritty, raunchy and hilarious adult comedy that had both studio executives as well as audiences turning their heads and grinning ear to ear. BORAT, err, BRUNO! saw moderate success, but nothing thirty some odd pictures didn't do better. And along with the smash-hit came the smash-bomb: TERMINATOR SALVATION - it's blandness as a film prevailed only by it's disastrous performance.

Other pictures from 2009 that aren't my favorite but merit mention include HARRY POTTER, TAKEN, and PAUL BLART. Upcoming will be GI JOE, INGLORIOUS BASTERDS, FUNNY PEOPLE and a slew of unmentionable garbage. JOE looks messy, BASTERDS (which is TARANTINO'S latest) didn't get OCTOBER placement (suspect), but FUNNY PEOPLE should do well. And I'd be a liar if I didn't say I'm drooling for ROLAND EMMERICH'S upcoming return to disaster filmmaking in 2012 this NOVEMBER... is winter the new blockbuster season? We'll have to wait and see what AVATAR tells us come DECEMBER, for it's the gold-welded handiwork of KING JAMES CAMERON.

Back to FUNNY PEOPLE, it's in my scope for the next review. I'll do my best to get back to the weekly previews - thanks all as always for swinging by for the read. It's what your friendly neighborhood Spider-Man would do.

REVIEW: THE HANGOVER

Grand Readership,

Beginning with TODD PHILLIPS' OLD SCHOOL (2003) - a film that not only set the bar for adult comedy, but also rocket launched the comedy careers of several young stars. Strangely, I first saw OLD SCHOOL at a sneak preview, saw the picture alongside a riotous university crowd, and then stormed outside cheering and looking to party. And while I no longer follow such a pattern after seeing an excellent comedy, THE HANGOVER is an exceptional reminder of who's in charge of the genre.



PHILLIPS' success in OLD SCHOOL (and ROAD TRIP, for that matter) paved the way for such pictures as the well-received STARSKY AND HUTCH and the forgettable SCHOOL FOR SCOUNDRELS. With THE HANGOVER, PHILLIPS combines what works best: a talented young cast and talented filmmaking. And having just seen the picture as a sneak peek here in NYC, I will attest that a thirsty crowd was drenched in satisfaction.

THE HANGOVER finds four men on a bachelor party in VEGAS, hell-bent on a having one last bender together. BRADLEY COOPER leads as PHIL, the best friend to JUSTIN BARTHA'S DOUG. The other best friend, STU, is played by ED HELMS - who many will recognize as ANDY BERNARD from NBC'S THE OFFICE. Finally, ZACH GALIFIANAKIS (say that three times fast and WARNER BROS will give you the keys to their next failed blockbuster) is the estranged but hilarious brother-in-law to groom, ALAN. Maybe on paper this seems like a lot, but PHILLIPS guides us swiftly and easily through each of their relationships, adding a necessary fabric and dimension to the picture.



Perhaps OLD SCHOOL succeeded by the same function: among the three male leads in MITCH, FRANK and BERNARD (LUKE WILSON, WILL FERRELL and VINCE VAUGHN respectively) was a weave of seamless relationships. Each character related to the next in a unique way, on top of providing a unique relationship when the three were together. Let’s face it, pictures with this level of detail and class are rarely found in the adult comedy genre.

THE HANGOVER is set up as a chase film. The bachelor crew wakes up to a missing groom and no memory of the last twelve hours. They now have roughly one day to solve the mystery, retrieve the groom and deliver him to his wedding. And because it's structured in that way, it'd be difficult to discuss any of the plot points without taking away from the picture's enjoyment. Suffice to say, the story that unfolds is remarkable, but it will be how thoughtful and effortless the story is told that will keep the curious coming and sending them off with smiles.



At this point, it's only fair to go on record saying this comedy is adult in nature, and frankly, may be second only to BORAT (although if you stay for THE HANGOVER’s credits, that’s questionable) in terms of graphic nudity, language and adult content. If you can let it go, you are in for heck of a treat. Funny, having recently taken a friend of mine on a four man bachelor party in VEGAS (surprisingly, this is true) – and NOT having gone upside-down nuts, THE HANGOVER indeed captures something I’ve only known in VEGAS. What that is, I haven’t the foggiest. Here’s to hoping the picture tops $100M (which I think it will) and studios are taking notes on what audiences are really enjoying.

FRIDAY - MAY 29

Grand Readership,

I have been looking forward to the weekend of MAY 29 for well over a year, and DISNEY PIXAR'S UP has teased me as far back as WALL-E. And that it's released in the same weekend as SAM RAIMI'S return to horror in DRAG ME TO HELL makes it seem too good to be true. I imagine UP to become the second highest grossing film of the summer and year, behind only MICHAEL BAY'S TRANSFORMERS. JAMES CAMERON'S highly anticipated AVATAR will challenge both come December, but will only have one week of release in 2009. If you're headed to the theater, be sure to see UP.

Enjoy!

UP (DIR. PETE DOCTER/BOB PETERSON (III))

Although it's impossible to have a house as richly talented as PIXAR, one would imagine the dream team tandem of PETE DOCTER/BOB PETERSON (III)) to be one of the best. I won't bother listing their successes, but rather will share a short anecdote: UP is widely rumored to be the last of the "original" ideas put on the table at PIXAR'S founding creative meeting. As if the picture didn't need any additional hype, what, between it's universal praise and breathtaking appeal, we're left with a sinking wonder if this will the last of the great DISNEY/PIXAR creations.


DRAG ME TO HELL (SAM RAIMI)

As most of the geek community is well aware that DIRECTOR SAM RAIMI (SPIDER-MAN TRILOGY) got his start in grassroots horror with the success of his BRUCE CAMPELL films, they will be able to smile as millions flock to theaters to see a genre rebooted from the master himself. OK, DRAG ME TO HELL isn't that special. But for the horror fans and geeks who don't want to see STAR TREK for the eighth time or see PIXAR make another smash by the same count, this is a solid choice.

PREVIEW WEEKLY - FRIDAY MAY 22

Grand Readership,

Surprisingly, I have avoided the BOX OFFICE report - but even if I didn't, my prediction that TERMINATOR SALVATION will disappoint wouldn't change. The first week won't be the worst, either. SALVATION will flop hard and send several WARNER BROS. productions to a screeching halt as they digest how they could produce TDK (THE DARK KNIGHT) one summer and then fluke hard and fast the next. NIGHT AT THE MUESAM should do fine - but really has no chance against DISNEY'S UP, being released next week. If I were you, avoid the theaters this weekend and wait for the good stuff.

Enjoy!

TERMINATOR SALVATION (DIR. McG)

TERMINATOR SALVATION is the latest footnote in WARNER BROS. well-publicized (a la T3) neglect for a once-great franchise; with the latest iteration being helmed by McG (CHARLIE'S ANGELS) and hailed as disaster. I suppose if you're a die hard TERMINATOR fan you may have interest, but even those would be mention this later picture same breath as T2: JUDGEMENT DAY. Let's face it, WARNER BROS. messed up - but they have time to recover. Let's just hope they listen. Avoid.


NIGHT AT THE MUSEAM: BATTLE FOR THE SMITHSONIAN (DIR. SHAWN LEVY)

The DIRECTOR, WRITERS and STARS from the original are back - a fact that would suggest 20TH CENTURY FOX is taking after their biggest competitor DISNEY in keeping together creative teams that work. Also adopted from DISNEY? The colon riddled title. BEN STILLER is tiresome, the gag is old - but frankly, its better than most of what's released. If you find yourself at the theater this weekend - its the best new pick.