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.