I try to keep track of all the movies I see in a year that are new to me. This year's list is extremely lacking in new releases--I haven't seen a new film in a full price movie theater for months. I might get around to it later this week. But anyway, I watched a ton of older movies, catching myself up with pop culture. Here are standouts that I haven't written about: some of them lived up to the hype, others were disappointing.
Let's start with the disappointing:
Three Coins in the Fountain (1954)--A film about three single women in Italy and their search for husbands. My soul died a little when I realized how pre-feminist movement the whole film was. Everything from the old maid given a basket of cats to changing all your interests to match the ones of the man you want to catch. There was a lot of yelling involved on my part.
Indiana Jones and the Kingdom of the Crystal Skull (2008)--Lead-lined fridge in an atom bomb.
Annie Hall (1977)--I thought I liked neurotic, but this got tedious. I feel terrible for not liking this film.
American Beauty (1999)--Why was this such a huge deal? I didn't connect to it. It seems to be a bunch of ill-formed thoughts and story lines slapped on-screen.
A Beautiful Mind (2001)--Beyond mediocre filmmaking. I honestly stopped caring about the characters a half hour in. To be fair, I already knew the suprise twist, but still, mediocre.
Once (2006)--Much like You Got Served's dancers, these musicians shouldn't have tried to act. Good music though.
Casino (1995)--I know I've already expressed my rage. But seriously, top 250 on IMDb?
Let's talk about the good:
Seven Samurai (1954)/The Magnificent Seven (1960)--I saw these two on consecutive days which was probably one of the best ideas ever. While the original gets a little slow in parts, it's gives time to develop all the characters for such a simple story. Definitely lives up to its hype. And how fun/manly is The Magnificent Seven? Such a work of love of the original and is just about the most awesome thing ever.
Mostly Martha (2001)--I've never seen No Reservations, but I love this film. I have a thing for frigid/emotionally cut off female characters. I also have a thing for adorable quirky men (in this case Italian). It manages to both be dark and delightful and to incorporate a child without making me sick. Loved it.
Fearless (1993)--I didn't think I would like this film as much as I did, but put tragedy to slow motion and crescendoing strings and I'm yours. Also, I just love Isabella Rossellini.
The Silence of the Lambs (1991)--Crime fighting chicks are awesome. And Anthony Hopkins is perfectly creepy/alluring/genius.
Days of Heaven (1978)--This film is lovely. The cinematography in conjunction to the magic Ennio Morricone's use of Camille Saint-Saëns' "Le Carnaval des Animaux: Aquarium" is magical. While it's more of a series of vignettes than an actual narrative, it's transfixing and the one film I really like Richard Gere in.
All That Jazz (1979)--I love dance a lot, and I love to peak into the dancing world like this musical does. And despite the ridiculously long ending song, SeaQuest guy is great.
Eternal Sunshine of the Spotless Mind (2004)--A movie that I kept thinking about afterward. Jim Carrey and Kate Winslet's relationship is so real and honest within such a gimmicky plot. Well done.
Persepolis (2007)--Animation that reminded me of Daria, but with an edge. I learned a lot about the Iranian revolution in the 70s and got to see an entertaining/heartbreaking female coming-of-age movie.
12/31/2008
12/28/2008
Medley of the Day: Dream Sequence Edition
Whatever, this totally isn't musical, but I was looking up clips of Judging Amy* and happened upon a sweet dream sequence from episode 1x16, "The Wee Hours." Amy dreams of kissing her sexy/adorable CSO, Bruce:
Well, then I thought of other random dream sequences. Here's one from House 4x16, "House's Head" with crazy Amber:
And from Gilmore Girls, the delightful sequence that started season 3 from "Those Lazy-Hazy-Crazy Days":
And just because I love Judging Amy so much, more clips! Here are some classic Maxine moments. Oh, how I love Tyne Daly.
*One of my all-time favorite TV shows that needs to be on DVD.
Well, then I thought of other random dream sequences. Here's one from House 4x16, "House's Head" with crazy Amber:
And from Gilmore Girls, the delightful sequence that started season 3 from "Those Lazy-Hazy-Crazy Days":
And just because I love Judging Amy so much, more clips! Here are some classic Maxine moments. Oh, how I love Tyne Daly.
*One of my all-time favorite TV shows that needs to be on DVD.
12/22/2008
The Marathon is Over
I'm going to need to watch something happy and fluffy where there are no consequences except happiness. But the greatest thing about the marathon...
I knit a hugely long scarf.
And yes, those are sequined stockings above my not-working fireplace.
I knit a hugely long scarf.And yes, those are sequined stockings above my not-working fireplace.
Hopefully the next time I post I will be home--if my flight doesn't get cancelled again. I don't want to have to go angry-Joe Pesci on the weather and stab it in the neck. That just gets messy.
Mobsters and Cops Marathon: The Godfather Part II
Other films in this marathon: Goodfellas, Casino, and Bullitt.
Building off the characters and pathos of The Godfather, Part II picks up after Michael becomes well established as the head of the Corleone family and shows his downfall. Suffice it to say, The Godfather Part II is brilliant.
The brilliance is a method that Lost also uses so well--using past events to inform the present story. The main story is about the fall of the Corleones, but the past vignettes interspersed throughout the film track the rise of the family with Vito, the Godfather, as the main character. The juxtaposition of the rise and of the fall makes the whole thing more tragic. The most apparent similarity drawn from the two story lines is the vicious cycle of violence and vengeance. Examples from both storylines are eerily similar, but an act in the early days draws benefits while an act in the current story line only shows desperation. By the time the past story line catches up to Michael as a young man, we immediately see what a huge change has taken place from who he was then to who is is now, and it's heartbreaking.
One of the things I appreciate most in TGP2 is that Michael's wife Kay disapproves, tells him, and actually takes action. After watching the victim and beaten wives in Goodfellas and Casino, it's a relief to see a woman with some backbone. Also, the fact that Kay is played by Diane Keaton blows my mind. I know her mostly from her fluffy recent movies, so to see her in such a serious film is a little jarring, but I love her in this.
But the best part about TGP2 is that it looks and sounds timeless. Nothing flashy goes on. It uses slow, methodical cinematography that doesn't distract from the characters on screen. And the score is heartbreaking and nostalgic with deep roots in Italian music. Again, in contrast to the frenetic and pop culturally aware Goodfellas and Casino, it's a relief to watch a film that's relying mostly on its own, insular world.
I know I'm not even beginning to touch on all the reasons The Godfather Part II is a great film, but it's a solid piece of cinema. I clocks in at around 200 minutes, but it's not a slow 200 minutes. Suspense is built in from curiosity about how the Corleones became the Corleones and how they're going to stop being the Corleones. Every scene is in there for a reason, and the pace never slacked. Basically, this is a perfect film.
Building off the characters and pathos of The Godfather, Part II picks up after Michael becomes well established as the head of the Corleone family and shows his downfall. Suffice it to say, The Godfather Part II is brilliant.
The brilliance is a method that Lost also uses so well--using past events to inform the present story. The main story is about the fall of the Corleones, but the past vignettes interspersed throughout the film track the rise of the family with Vito, the Godfather, as the main character. The juxtaposition of the rise and of the fall makes the whole thing more tragic. The most apparent similarity drawn from the two story lines is the vicious cycle of violence and vengeance. Examples from both storylines are eerily similar, but an act in the early days draws benefits while an act in the current story line only shows desperation. By the time the past story line catches up to Michael as a young man, we immediately see what a huge change has taken place from who he was then to who is is now, and it's heartbreaking.
One of the things I appreciate most in TGP2 is that Michael's wife Kay disapproves, tells him, and actually takes action. After watching the victim and beaten wives in Goodfellas and Casino, it's a relief to see a woman with some backbone. Also, the fact that Kay is played by Diane Keaton blows my mind. I know her mostly from her fluffy recent movies, so to see her in such a serious film is a little jarring, but I love her in this.
But the best part about TGP2 is that it looks and sounds timeless. Nothing flashy goes on. It uses slow, methodical cinematography that doesn't distract from the characters on screen. And the score is heartbreaking and nostalgic with deep roots in Italian music. Again, in contrast to the frenetic and pop culturally aware Goodfellas and Casino, it's a relief to watch a film that's relying mostly on its own, insular world.
I know I'm not even beginning to touch on all the reasons The Godfather Part II is a great film, but it's a solid piece of cinema. I clocks in at around 200 minutes, but it's not a slow 200 minutes. Suspense is built in from curiosity about how the Corleones became the Corleones and how they're going to stop being the Corleones. Every scene is in there for a reason, and the pace never slacked. Basically, this is a perfect film.
12/21/2008
Mobsters and Cops Marathon: Bullitt
Other films in this marathon: Goodfellas and Casino.
Finally a movie I completely enjoyed, Bullitt.
A 60s thriller with 60s style and music starring Steve McQueen. What's not to love? McQueen plays Bullitt, a cop asked to keep a star witness safe until a hearing. Pretty quickly, the simple task turns complex when the star witness and one of the cops watching him gets shot. Bullitt's put in charge of case and many chases on foot and car ensue. McQueen plays Bullitt as downtrodden and desensitized by his career. Most of this is conveyed subtly which I love. Also, the dialogue was sparse leaving room to admire the great editing and cinematography.
Because I'm sick of writing coherent paragraphs, let's check out some still shots with commentary:
That facial hair + those glasses + a double breasted suit = the greatest informant ever.
So much peeling out in one of the greatest car chases, hands down.
Gun holsters! They're like tough guy suspenders, both of which are hot.
Bullitt's grocery shopping consists of only frozen foods. So much implicit characterization!
Such a lovely use of focus to direct the audience's eye.
Upper angles...
...and lower angles create interesting frames for each shot.
Use of reflection is fantastic. Creepy attorney coming from behind!
Sexy British girlfriend who also happens to be an artist. Character foil anyone?
Crime fighting in a cardigan!
Bullitt drinks his milk with holsters on, like a man.
But the most adorable of all is just-woke-up Bullitt. He has 2 piece PJs that look like my grandmother's tacky couch. What a badass.
Finally a movie I completely enjoyed, Bullitt.
A 60s thriller with 60s style and music starring Steve McQueen. What's not to love? McQueen plays Bullitt, a cop asked to keep a star witness safe until a hearing. Pretty quickly, the simple task turns complex when the star witness and one of the cops watching him gets shot. Bullitt's put in charge of case and many chases on foot and car ensue. McQueen plays Bullitt as downtrodden and desensitized by his career. Most of this is conveyed subtly which I love. Also, the dialogue was sparse leaving room to admire the great editing and cinematography.Because I'm sick of writing coherent paragraphs, let's check out some still shots with commentary:
That facial hair + those glasses + a double breasted suit = the greatest informant ever.
So much peeling out in one of the greatest car chases, hands down.
Gun holsters! They're like tough guy suspenders, both of which are hot.
Bullitt's grocery shopping consists of only frozen foods. So much implicit characterization!
Such a lovely use of focus to direct the audience's eye.
Upper angles...
...and lower angles create interesting frames for each shot.
Use of reflection is fantastic. Creepy attorney coming from behind!
Sexy British girlfriend who also happens to be an artist. Character foil anyone?
Crime fighting in a cardigan!
Bullitt drinks his milk with holsters on, like a man.
But the most adorable of all is just-woke-up Bullitt. He has 2 piece PJs that look like my grandmother's tacky couch. What a badass.Wrap up: Watch this movie. It reminded me of one of my all time favorites, Charade. It's just as suspenseful, although maybe not as fun, but both have a music and filming style that is so definitively 60s that it's just a pleasure to watch. Soderbergh may come close, but nothing is like the straight from the source.
Mobsters and Cops Marathon: Casino
After already standing 2 hours with Joe Pesci in Goodfellas, I decided I'd just get the 3 more hours of him out of the way with Casino.
The first hour, kind of like Goodfellas, is a lot of fun to watch. We hear through narration and quick shots how everyone got into the casino buisness, how the money got to the men on top, how the Tangiers functioned. Unfortunately, there's about 2 more hours of stuff to get through. This movie is way too much of a biopic (it's based on a book that's based on real events) for it to really be a solid piece of cinema. The problem with a film trying to be epic is that it's a short story format. You can have a fun ride with a film, but you're never going to get the characterization or emotional ties that a novel or television show has because of the length.
Even at 3 hours, Casino can't decide what it is. The quick pace at the beginning makes it seem like it will be a fast paced overview of a man's journey in Vegas. Unfortunately, as the pacing slows, scenes are drawn out, and as the narration drops out more and more, the film becomes tedious. Pretty soon people aren't saying anything to each other but f-bombs. People are drunk, high, sleeping together, tying up children. I honestly just started doing other things. I knit about a third of a scarf. I knit a scarf while watching Casino.
I just find biopics boring. I don't care what anyone says, Ray, Walk the Line, My Left Food, Out of Africa, Goodfellas--they're just not that good. Sure the acting is good--a biopic is nothing if not an excuse for an actor to go all out and impersonate someone--but the problem with actually adapting someone's life to film is that you can't make a clean story arc or character arc. You're forced to adapt events to what really happens. And even when a film plays around with events to create an arc, it's still not a streamlined story because you have to cram in so much. I'd rather have somebody just tell me the highlights (like Casino does at the beginning) or dwell on certain events. Probably the most interesting biopic I've seen is Thirty Two Short Films About Glenn Gould. It's not a favorite, but at least it acknowldeges that the audience is just getting a mosaic of person's life whether or not it's shown in a linear fashion, and so we share in 32 events/habits that define the man.
Really, this is just to say that Casino started out fun and interesting, but got progressively more boring as the movie went on. I just wish the movie would have stayed as fun as it was in the beginning. But good old Marty Scorsese wins you over at the very end with an ending de Niro narration of what happened to Vegas after the fall out (story time again!) and a return to the epic choral music that began the whole film. I'll give Scorsese this: he sure knows how to pick good music and begin and end a movie.
The first hour, kind of like Goodfellas, is a lot of fun to watch. We hear through narration and quick shots how everyone got into the casino buisness, how the money got to the men on top, how the Tangiers functioned. Unfortunately, there's about 2 more hours of stuff to get through. This movie is way too much of a biopic (it's based on a book that's based on real events) for it to really be a solid piece of cinema. The problem with a film trying to be epic is that it's a short story format. You can have a fun ride with a film, but you're never going to get the characterization or emotional ties that a novel or television show has because of the length.Even at 3 hours, Casino can't decide what it is. The quick pace at the beginning makes it seem like it will be a fast paced overview of a man's journey in Vegas. Unfortunately, as the pacing slows, scenes are drawn out, and as the narration drops out more and more, the film becomes tedious. Pretty soon people aren't saying anything to each other but f-bombs. People are drunk, high, sleeping together, tying up children. I honestly just started doing other things. I knit about a third of a scarf. I knit a scarf while watching Casino.
I just find biopics boring. I don't care what anyone says, Ray, Walk the Line, My Left Food, Out of Africa, Goodfellas--they're just not that good. Sure the acting is good--a biopic is nothing if not an excuse for an actor to go all out and impersonate someone--but the problem with actually adapting someone's life to film is that you can't make a clean story arc or character arc. You're forced to adapt events to what really happens. And even when a film plays around with events to create an arc, it's still not a streamlined story because you have to cram in so much. I'd rather have somebody just tell me the highlights (like Casino does at the beginning) or dwell on certain events. Probably the most interesting biopic I've seen is Thirty Two Short Films About Glenn Gould. It's not a favorite, but at least it acknowldeges that the audience is just getting a mosaic of person's life whether or not it's shown in a linear fashion, and so we share in 32 events/habits that define the man.
Really, this is just to say that Casino started out fun and interesting, but got progressively more boring as the movie went on. I just wish the movie would have stayed as fun as it was in the beginning. But good old Marty Scorsese wins you over at the very end with an ending de Niro narration of what happened to Vegas after the fall out (story time again!) and a return to the epic choral music that began the whole film. I'll give Scorsese this: he sure knows how to pick good music and begin and end a movie.
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