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My Name is Bond Series: Skyfall (2012)

11 11 2012

Copyright 2012 Eon Productions

★ ★ ★ ★ 1/2

Even though it’s only been released in the US for a couple of days now, it feels like I finally got to see the new Bond film.  Coincidentally, I saw it on the heels of The Living Daylights last night, a selection from the Bond 50th Blu-Ray series which was my birthday present from my sweet girlfriend, Maddie.

OK, so the 23rd Bond film, and Daniel Craig’s third go round in the part. Upon hearing of the production of this film I was wildly excited, first because one of my favorite DPs, Roger Deakins, was going to be shooting the film, but even more so, that it was being helmed by Oscar-winning director Sam Mendes. Granted, an acclaimed artistic director doesn’t always make a great Bond film (Michael Apted and Marc Forster…ahem), but I have consistently been amazed with Mendes’s work over the years (outside of Away We Go, which was terrible.)

This paragraph of my reviews is usually reserved for a synopsis of the film; however, for this film, I feel I would be cheating you, my reader, by divulging much of the story. This film carries nearly all of the staples of a classic Bond film, yet if I gave you too much of an overview, it would spoil the brilliance of its execution. So, I opt out of this usual section of my review format (you’ll thank me later).

What I can say, is that this is one of the best Bond films in many years. I will have to let it all sink in a bit more, but it might actually be one of the best Bond films of the entire canon. Daniel Craig seems quite comfortable in the role now, even more so than his previous two installments. The script is sharp, the action sequences are breathtaking, the direction apt, cinematography exquisite, the villain is evil, really there is nothing I can say bad about this film. It fits the Bond formula to a tee, but also manages to add something new and invigorating to the mix. Its achievement in doing this, make it a very fitting film for the 50th anniversary of this iconic franchise, and I think, proof that Bond will continue for many generations to come.

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The Master (2012) Review

16 10 2012

Copyright 2012 The Weinstein Company

★ ★ 1/2

Where to begin? Well, let’s start with this: When P.T. Anderson is “on,” he’s on fire; when he’s “off,” he has missed the mark by a mile. As much as I wanted this film to fall under the former half of my opinion on his career, it sadly, fell under the latter.

The Master is loosely (can I really even say that?) based on L. Ron Hubbard and his cult-like religion of scientology. Rather than saying the word “scientology”, we get “the cause”; rather than “auditing”, we get “processing”, and so on. Phillip Seymour Hoffman, a repertoire actor in P.T.’s films by this point, plays the part of Lancaster Dodd (i.e. L. Ron Hubbard), a self-professed philosopher, doctor, writer, raconteur, etc. He has a group of followers who abide closely to his ideals and processes, which include breaking yourself from your past lives through the method of “processing”, and other pseudo-psychological means. Freddie Quell (Joaquin Phoenix), is an ex-seaman, having served in the Navy during World War II, who not only harbors a good deal of agression, but also has an unhealthy drinking problem and some mental instability. By chance, Quell stows away on a yacht that Dodd is borrowing for his daughter’s (Ambyr Childers) wedding, and the two strike an odd friendship, ultimately leading to Quell becoming one of Dodd’s most devout followers. The remainder of the film follows each of these bizarre personalities as they weave in and out of each other’s lives.

There are elements of this film that work, but for the most part, this is a large, disjointed mess. Yes, the cinematography is beautiful, and, yes, Joaquin Phoenix gives a wonderful performance (despite the fact that I hated his character with a passion). But, all in all, this film is all over the place. It’s just one big, pretentious, boring mess, and it hurts when I see someone as talented as P.T. Anderson put out such a horrid film as this. This guy gave us Boogie Nights, Magnolia and There Will Be Blood for Christ’s sake! However, he’s also given us Punch-Drunk Love, which for me, was a big turd. One point of note that is a great high point for this film, however, that must get due mention, is Amy Adam’s knockout performance as Dodd’s fourth wife, Peggy. She definitely deserves a nod from the Academy for this one, and I’ll honestly be very surprised if she doesn’t.

Bottom line: don’t go see this film. Save yourself the time, the money and, most of all, the disappointment of seeing a respected director create such a terrible mess of a film.





A Separation (2011) Review

24 09 2012

Copyright 2011 Hopskotch Films

★ ★ ★ ★ ★

I finally got around to seeing this film recently and, if you haven’t seen this one yet, stop what you are doing right now, go to the local redbox, and rent this tonight.  Seriously, it’s the best film of last year, and I don’t mind saying that in the first sentence of my review, which says a lot.

Written and directed by Asghar Farhadi, this now Academy Award-winning film, stars well-known Irania actress Leila Hatami and Peyman Moadi as couple Simin and Nader.  Together, they have a adolescent daughter, Termeh (Sarina Farhadi).  They reside in Nader’s father’s apartment, who is essentially an invalid due to the effects of Alzheimer’s disease.  When Nader refuses to leave their native country and his father, Simin demands a separation, to which he readily agrees.  With Simin leaving the household, Nader hires a sitter for his father, Razieh (Sareh Bayat).  However, after having to clean up an accident his father has on her first day, she tells Nader she can no longer do the job; the drive is too far, and she has religious concerns over touching his father to clean him up if he soils himself.  She, however, recommends her husband, Hodjat (Shahab Hosseini), who is out of work and deeply indebted to creditors.  The following day, when Hdjat can’t make it to the house due to a court appearance, Razieh, who is pregnant, returns with her young daughter to do the work.  However, she leaves his father unattended during the day for personal reasons.  When Nader comes home to find his father tied to a bed and nearly at a point of death, he blows up at Razieh when she returns.  The scuffle includes a slight physical interaction on his part; she, subsequently, miscarries her child.  It’s left to the court and the families to decide whether Nader is responsible.

This film, made on a minuscule budget compared to even independent American films, is a powerhouse dramatic effort.  The acting, directing, editing, cinematography, and most of all, wonderfully dramatic story, come together to create an engaging, passionate and engrossing film that will go down in history as a classic.  It’s once in a blue moon that you get to view a film that is as truly cinematic as this, and its always a special occasion that will be savored in an your mind long after it’s running time is over.

It’s films like this that renew my hope in cinema whenever the general Hollywood “fodder” has be down about the industry.  I can only hope that I can be a part of a film as special as this one day.





3 Women (1977) Review

31 08 2012

Copyright 1977 Lion’s Gate Films

★ ★ ★ ★ 1/2

I go onto Netflix and add weird things to my queue fairly regularly.  Usually, by the time these films actually arrive at my doorstep, I have forgotten when or why I put them on there to begin with.  Such was the case with this movie, but luckily, it turned out to be one of those oddball picks I mysteriously chose that actually turned out pretty interesting.  Within the first few minutes of the film, I saw the title card for director Robert Altman fade up, which allayed a multitude of my concerns.  For the next two hours, I was strangely intrigued.

The movie stars Shelly Duvall (good subject for a Whatever Became of… book – I’m looking at you Mr. Lamparski!) as Mildred “Millie” Lammoreaux, and Sissy Spacek as Mildred “Pinkie” Rose.  Pinkie comes from Texas to work at a convalescence home in California where Millie, also originally from Texas, has been working for some time.  The strange, almost child-like waif, Pinkie, is immediately drawn to the outspoken and vivacious Millie, who seems more a legend in her on mind than reality would prove true.  As the film progresses, the two move in together as roommates; their landlords are a married couple, Willie (Janice Rule) and Edgar Hart (Robert Fortier).  Willie is a quiet, gypsy-esque mural painter, and Edgar is a former stunt double for country/western film stars.  The couple also own a bar/shooting ranger/dirtbike track that the two heroines regularly frequent.  The strange relationship between the three women becomes more intertwined as a series of bizarre events take place towards the latter half of the film.  That about sums it up, and no I didn’t really leave anything out.

This is a very stream of conscious film; in fact, it was conceived through a series of dreams that Robert Altman had over the course of several weeks.  Supposedly, the film was also shot largely without a script, and with Altman making many last minute scene and story changes on the fly.  Yet, somehow, this antithesis of what a mainstream movie should be and look like, holds your attention the entire two hour running time.  It’s almost more of a visual essay, a plotless saga, than a normal movie; however, all the same, it’s not quite that either, as there is a story there beneath the layers.  Coupled with wonderful performances all around, and hauntingly atmospheric cinematography, this movie is actually really worth any self-professed cinephile’s time.  It’s very unique, and something that you almost certainly wouldn’t have a chance to see on the screen today with the “safe bets” modern Hollywood likes to take.

Bottom line: If you aren’t afraid to take a chance on a film that will challenge commonly held story and viewing moors, then I highly recommend this interesting and thought provoking movie by maverick filmmaker Robert Altman.





The Great Buck Howard (2008) Review

20 08 2012

Copyright 2008 Playtone Pictures

★ ★ ★ ★

So, I was turned on to this movie by a post Roger Ebert made on his Facebook wall recommending it, and giving it a very admirable 3 1/2 star (out of four) review.  Being that it was nearing the end of its run on Netflix (it goes off Instant Watch tomorrow!), and considering that mine and Ebert’s taste in cinema actually coincide quite a bit, I planned on watching the movie last night.  However, before we pressed play, Maddie and I noticed that it was not rated very well on Netflix, and considered a second option for the evening.  Exhausting our choices, we came full circle back to this film and decided that, if we didn’t like it, we could always turn it off.  Now, I give you all this back story, as it will all come around eerily full circle by the end of this post.

The movie itself is an independent comedy that stars John Malkovich as washed up mentalist, Buck Howard (a character based on real life Amazing Kreskin).  Troy Grable (Colin Hanks), a recent law school drop out (that hits close to home!), is at a crossroads in life and decides he wants to become a writer.  Being that writing doesn’t produce much in terms of actual cash asset, he takes a job as the road manager for the “Great Buck Howard.”  Howard, once a television personality who was in high demand and appeared on Johnny Carson over 60 times in the 1970s, is now reduced primarily to touring the country with his act, a mixture of song, comedy and mostly mental illusions, in small town theaters across the United States.  As Howard plans his return to glory, Grable scrambles to keep up with the demands of the  still diva-esque celebrity.  Along the way, he strikes a romance with PR rep Valerie Brennan (Emily Blunt) who is trying to help boost media attention for Howard’s new illusion that will bring him back to the limelight.

The direction and writing by Sean McGinly are solid, but what shines the most is the subject matter and the performances by Malkovich and Colin Hanks.  Their chemistry and Malkovich’s perfect display of the Amazing Kreskin’s mannerisms really helps keep this movie interesting and unique.

Having never heard of the Amazing Kreskin before, we of course watched several videos on Youtube of the real man following the movie.  Needless to say, he is an interesting character and his act does have a distinct element of wonder to it.  For the the fun of it, we decided to look up and see Kreskin’s tour schedule.  Oddly enough, the only two dates he is playing in North Carolin are this Friday and Saturday.  With the coincidence so high, that we almost didn’t watch this movie, finally watched it and liked it, happened to look on his tour schedule, and just so happen to see the real Amazing Kreskin is in NC two dates out of the year, and those being this week, we booked tickets.  We’ll be seeing him on Saturday evening in Shelby, N.C.; however, I got to admit, he’s kind of already impressed me if coincidence has any connection.





Woody Allen: A Documentary (2012) Review

4 08 2012

Copyright 2012 Whyaduck Productions

★ ★ ★ ★ 1/2 (for Allen fans)

Most of you that know me personally, know that Woody Allen ranks as one of my all-time favorite filmmakers.  The first Allen film I ever saw was Purple Rose of Cairo soon after it came out on cable in the late 1980s, and from then on I was a fan.  I think the neurotic behavior that is evident in my own personality is infinitely relatable to his humor and films.  As I got older, I began watching more of his backlog and loyally viewing his new films each year at the theatre; yes, both the good ones and the bad ones.  I would estimate that I’ve seen 90% of his repertoire, including some of the early films that he just acted in and movies like Scenes from a Mall that he didn’t write or direct, but appeared in.  Over a long vacation to the northwest in 2000, I read the Eric Lax biography, and I have skimmed through several others from time to time since.  So, when this expansive documentary on his life and career came out last year by director Robert Weide, it immediately fell on my radar.

The film covers literally every facet of Allen’s life and has interviews with actors, friends, family, collaborators, parents, almost any willing participant they could find to comment on Allen’s work and life.  Furthermore, there are many segments of interviews that were shot with Allen himself, including his taking the crew on a tour of the neighborhood he grew up in in Brooklyn.  At well over 3 hours, we see Allen’s life from a boy in Brooklyn to comedy writer to acclaimed filmmaker evolve.  Outside of the amazing interviews, there is a plethora of behind-the-scenes footage from his films, rare photos and other interesting audio and video segments that help tell his story.  Nearly all of his films are featured, and though this film doesn’t tarnish Allen in any way, they didn’t omit a section regarding the scandal between he and Mia Farrow in the 1990s.

If you are a Woody Allen fan, this is a must see.  If not, it may not be your cup of tea.  Whether you love him or hate him though, it’s undeniable that his posterity and longevity as a filmmaker are quite an achievement, and along the way, he has given us more than a fair share of brilliant films in the canon of American Cinema.  Furthermore, few auteurs from any era can claim an ability to make us laugh, as well as engage in deep dramatic content.  Just think, Allen gave us Banannas as well as Match Point and Crimes and Misdemeanors.





The Five Coolest Time Machines in Movies and Television

16 07 2012

Since I’ve gotten my first light weekend in nearly two months, I figured I would post a bit more extensive an entry than the norm.  One of my favorite plot motivators is the concept of time travel.  I think almost anyone can garner some form of fascination with the idea of either moving forward on your personal timeline, or backwards; whether it is to see what happens to yourself, to change a regret from the past, or witness an historic event of some sort, time travel is just plain cool.  Over the years, there have been literally hundreds of movies, television series and television episodes that have dealt with the idea or process of time travel, and alternatively, there have been dozens of different ways, machines and methods in which to perpetuate this quantum phenomena.  So, because of such, I’ve decided to post an entry of my personal top 5 favorite methods of time travel in the movies and television:

5. THE NECRONOMICON (Army of Darkness – 1992)

What’s not to love about an ancient book that is steeped in Lovecraftian pseudo-horror culture?  An essential part of the entire Evil Dead series, this ancient book unleashes loads of troubles for the primary character, Ash, over three films.  In the third, however, it not only gives him a ridiculously fun to watch run-for-his-money, but also transports him back to medieval England where he gets to fight skeleton soldiers, demon knights and other creepy/silly abomonations.

Out of the entirety of this list, I have to say that this is probably the one most of us would be happy to not come across.  Though, as kids, many dream of finding some old book or relic in our grandparent’s attic that might have some kind of mystical power, this is most definitely not the book we would want to come across.  Traveling to medieval England sounds pretty cool, but fighting skeleton armies and demon knights does not….well, unless I get the chainsaw arm, then maybe…as long as I can still play guitar.

4. A TIME TURNER (from Harry Potter and the Prisoner of Azkaban – 2004

For a movie, and novel before that, that revolves around a magical school of witchcraft and wizardry, it was only fitting to have a device that could manipulate time at some point in the series.  The Time Turner, a relic that resembled an hourglass on a necklace, could travel back in time a short distance corresponding to the number of times it was turned.  Though only for going back in time a mere few hours, this device played a major role in the ending plot of the third Harry Potter movie/novel.  Given to Hermione Granger by Professor McGonagall, Harry and Hermione use the device to rescue a magical beast, Buckbeak, before his untimely demise which had already happened by the time the device is used.  This device also signifies a realization of Harry’s that awakens a power from deep within, a scene which is one of my all-time favorites in the entire Harry Potter series (of which, of course, I am a megafan and not afraid to admit it).

Though the device can only go back a few hours in time, on a lot of occasions, that would be all you need!  Imagine how many things you could change if you could just buy an hour or two back to slightly change your actions, decisions or direction.  How easy all those careless mistakes would be to change in the blink of an eye! (or turn of a weird looking necklace…)

3. THE TIME MACHINE (from The Time Machine – 1960)

Did you really expect me not to include this one on the list?  Based on the H.G. Wells classic, this is the standard for which all other time machines were founded.  Over the years, there have been many adaptations of Wells’s classic science-fiction novel; however, it is generally accepted that this one by director George Pal stands a head above the rest.  Rod Taylor plays the eponymous Time Traveller and the device itself is everything you would imagine a time machine to be, a strange looking car-like chair with a whirly gong-thing on the back.  Well, anyway, it looks like a vehicle and it has those strange additions which have come commonplace in time travel narratives attached.  A classic example, and the basis of nearly all those to come; however, not the coolest one!

2. DOC BROWN’S DELOREAN (from Back to the Future – 1985)

A DeLorean could very well be called one of the ugliest cars in existence, but there was just something so damned cool about them!  I don’t know whether it was the stainless steel exterior, the space age like black leather interior with funny looking knobs all over the place, or the iconic gullwing doors, but anytime I’ve ever crossed one, I couldn’t help but stop and stare.

When Robert Zemeckis and Bob Gale were considering what the time traveling device in their new script should be way back in 1984, they decided to find something that would appear futuristic to people of 1955, where the back-in-time narrative takes place.  They decided on the DeLorean DMC-12, and I couldn’t agree more, people in 1955 would have surely thought it from another planet.  Powered by a central processing device known as the flux capacitor, this baby ate plutonium for fuel and whizzed through time at precisely 88 miles per hour.  If I could figure out the conversion kit on an old DMC-12 to install a flux capacitor and time controls, you better believe there would be one in my garage.  As Doc Brown said in the first installment, “If you are going to travel through time, you might as well do it in style!”

1. TARDIS (from Doctor Who – 1963-1989, 2005-present)

Ah, the TARDIS, the constant companion to the Doctor.  Standing for Time And Relative Dimension In Space, the TARDIS is a Galifreyan (the Doctor’s home planet) time traveling device that could cloak itself to be literally anything for cover; unfortunately, it got stuck as a 1960s London police box.

Over time, the Doctor learned to love it’s constant shielding, and the TARDIS has remained stuck on that exterior setting ever since.  I don’t think anything could be more quirky, fun or insanely silly to travel through time and space in, but when you get right down to it, it is very, very cool.  Bigger on the inside than the outside, the TARDIS has seemingly endless rooms and compartments that contain seemingly endless items and relics within.  It’s built like a tank, has a killer coat of blue on the outside and can translate any language in the galaxy for you just by being close by!  If any of you have known what it is like to love a car or boat, it could only pale in comparison to the Doctor’s love of the TARDIS.  And, after enough episodes, you start to love it to, which makes it the list topper of my all-time coolest time machines in the movies and television!

*I didn’t forget Bill and Ted’s Excellent Adventure, but they paid homage to the TARDIS, so the TARDIS wins out.








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