Saturday, December 31, 2005

A Mighty Wind

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A Mighty Wind (2003) - Review
I don't know if anyone else makes movies like Christopher Guest makes, but nobody makes them better. I don't know of anyone who wields the scalpel of satire with such a gentle, human touch. This film is the most recent of his masterpieces, the other two being Waiting for Guffman and Best in Show. He's taken the format of Rob Reiner's legendary This is Spinal Tap and made it his own unique art form. Props also to Eugene Levy who has co-written and starred in all three of Guest's aforementioned efforts.

I use the term "written" loosely because Guest and Levy only write the story; the dialog is improvised by the cast. I just found this out while watching the DVD commentary (Guest and Levy). This bit of information only enhances my appreciation of these films. In A Mighty Wind, not only do the cast members make up their own lines, they also perform the music themselves. The songs themselves were written by cast members and arranged by John Michael Higgins. (If you saw Best in Show, he was the non-Michael McKean gay guy.) Phenomenal.

Can't say enough about the performances of Levy and Catherine O'Hara. They are hilarious but poignant as the emotional heart of the film. O'Hara learned to play autoharp (I know! Hilarious!) for this film and looked like a virtuoso to me.

In one sitting I watched the film, watched it again with commentary, then watched the video footage of the concert. I really do have a life. Really.

I don't know why I can't give this film a 5. Maybe I'm like The Acadamy... comedies just can't win Best Picture. I dunno. As much as I love this film, it just doesn't feel right to give it a 5.

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The Piano

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The Piano (1993) - Review
I saw this when it came out because it was one of those "must see" films. I enjoyed it back then but thought it was just a bit over-hyped and not all THAT great. After seeing it again, I've changed my mind. I don't give out 5's lightly, but this film is so solid in every regard, I have to rank it with the best films I've ever seen.

The screenplay and direction - both by Jane Campion - are sublime. The screenplay is interesting in that the main character, Ada (Holly Hunter) doesn't say a word on camera. Two of the other main characters (those played by Harvey Keitel and Sam Neill) are rather the strong silent types. Anna Paquin, as Ada's daughter, delivers a superb (and relatively verbose) performance - perhaps the best I've ever seen by a 10-year-old.

Large chunks of the story are driven by the actions of the characters, as well as color/light, setting, and music. The haunting score (by Michael Nyman) feels like it's a character in the film. No surprise that it's almost entirely piano pieces, but I was surprised to learn that Holly Hunter actually played most of the on-camera stuff herself.

It occurs to me that films with the word "piano" in the title are a pretty good bet. Off the top of my head, I'm thinking of The Pianist and The Piano Teacher.

While watching this film, I was complaining to my sweetie that the actors certainly weren't trying very hard to approximate a New Zealand accent. Then I realized there probably wasn't such thing as a New Zealand accent back then. In the mid-19th century, Europeans in New Zealand were likely to be recently arrived settlers from the British Isles, so the Scottish and British accents in the film are probably accurate.

If you're reading this and haven't seen The Piano, you really must see it. It is not to be missed.

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Sunday, December 25, 2005

Moulin Rouge

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Moulin Rouge (1952) - Review
Where the more recent Moulin Rouge! is a shamelessly treacly romance set around the eponymous turn-of-the-century Paris club and infused with modern pop music video sensibilities, this Moulin Rouge is a gorgeously filmed character study based on the life of one of the era's superstars, Henri de Toulouse-Lautrec.

Once again I was richly rewarded by my lowered expectations. We all know how I feel about the modern version. I got this one thinking it would make my sweetie happy and I'd probably find it to at least be interesting. As the opening credits came up, I saw John Huston was the director. That upped the ante a bit. The first half hour or so was set in the Moulin Rouge... presumably a typical evening. Lot's of cancanning, drinking, catfighting, horrible Zsa Zsa Gabor lipsynching. Several of the scenes were obviously (and delightfully) set up to resemble Toulouse-Latrec's paintings.

Then things get interesting as we follow José Ferrer (as Toulouse-Latrec) around. He falls in love in a fashion that can only end painfully, and it does. He drinks. He exhibits an endearing non-judgmental attitude and humanity. Someone actually loves him for real and he rejects her. He drinks. He dies.

The story, my flip accounting aside, is engaging. Part of the reason it's so engaging is the almost unbelievable beauty of the filming and setting. I've never seen a print of a film this old that looked so clean. Not surprisingly it won Oscars for Best Art Direction-Set Decoration (Color) and Best Costume Design (Color), along with a fistful of nominations for the acting.

This is maybe the best film I've ever seen that I had pretty much never heard of until I saw it.

Here's a delightful twist: There is a story thread throughout the first and second acts wherein the artist develops and prints his first promotional poster for the Moulin Rouge.



Thanks to my sweetie and her longtime fascination with all things fin-de-siècle Paris, a print of that poster is hanging on our wall. Sweet.

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Miracle on 34th Street

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Miracle on 34th Street (1947) - Review
This is good, but never as good as I remember. Definitely classic and entertaining but I don't find it as satisfying as It's a Wonderful Life. I will say that little Natalie Wood is going to be a big star someday.

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It's a Wonderful Life

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It's a Wonderful Life (1946) - Review
Duh.

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Sunday, December 18, 2005

Ray

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Ray (2004) - Review
It's really all been said, hasn't it? I don't think anybody didn't like this movie. I don't know anyone who doesn't like Ray Charles' music, and this film is full of it. Unless you've been under a rock, you already have heard that Jamie Foxx nailed his portrayal of the legend. I think so too. Roger Ebert says it in the review I link to above: "Foxx so accurately reflects my own images and memories of Charles that I abandoned thoughts of how much 'like' Charles he was and just accepted him as Charles, and got on with the story." That was my reaction too. I had to remind myself that that wasn't Ray Charles on the screen.

Now I'm REALLY looking forward to seeing Walk the Line.

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Monday, December 12, 2005

White Stripes: Under Blackpool Lights

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White Stripes: Under Blackpool Lights (2004) -
"I've been thinkin' about my doorbell... when ya gonna ring it? When ya gonna ring it?"

You either love The White Stripes, you like them a whole lot, or you've never heard of them. This is a little over an hour of concert footage recorded in early 2004. There was only one song I'd heard before ("Seven Nation Army") but I was rapt the entire hour. It is so rare to see originality anymore, but I think this qualifies. The White Stripes are Jack White (vocals, guitar, keyboard) and his ex-wife, Meg White (on bouncy drums and the occasional sort of backing vocal). In other words, it's Jack White. And the man is insane in the sublimest ways.

If you've never heard them, here are links to a couple of their recent performances on The Daily Show. Under videos, it's "The Denial Twist" and "My Doorbell" you're after.

If that doesn't work, try videos at mp3.com. Look under "Videos".

If I were younger, I'd be a groupie.

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Miracle

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MIracle (2004) - Review
This was a rather serviceable accounting of events leading up to and including the 1980 "Miracle on Ice" - the highly improbable victory of the United States Olympic hockey team against the way more talented Soviet Union team. The story focuses on the coach, Herb Brooks, who is almost hauntingly portrayed by Kurt Russell. This was the first time I've seen Kurt play anything other than Kurt Russell.

Not a great movie but if you are old enough to remember Al Michaels' (voiced by himself in the movie) "Do you believe in miracles??", you'll probably find this flick worthwhile. I enjoyed it.

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Wednesday, December 07, 2005

All the Real Girls

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All the Real Girls (2003) - Review

Nice film. Nothing splashy. The story is as old as any - young man and young woman get together, love happens, some other stuff happens. The cinematography is kind of pretty but nothing spectacular. What made this film work for me was the natural dialogue and the way the characters seemed real. This is the way people actually talk to each other. These are the kinds of feelings and events that happen to real people.

I haven't the slightest idea what the title is referring to. Reminds me of All the Right Moves. Now that I think about it, there are some similarities in the two films: Guy trying to get his act together... in this film the mill town is in the south and all about textile instead of steel in Pennsylvania.

You heard it here first: Zooey Deschanel is going to be a big star someday. The woman can act, not to mention sing - check out her duet on Baby, It's Cold Outside with Will Ferrell in Elf.

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Tuesday, December 06, 2005

Kinsey

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Kinsey (2004) - Review

See? I do occasionally watch a semi-current mainstream flick.

I love history so I suppose I'm predisposed to like good biographies. This one appears to be relatively factual and the subject matter is compelling. Liam Neeson does a fine turn as the eponymous scholar who shattered the vestigial illusions of the Victorian era regarding sex. Laura Linney is fabulous as his supportive wife with a distinct personality of her own. Oliver Platt (who I heart) has a smallish but powerful role as president of Indiana University, where Kinsey spends his career.

There is some interesting background at The Kinsey Institute site.

Hats off to a film that highlights the man who showed that sex other than man/woman missionary can't be THAT evil if everyone's doing it.

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Sunday, December 04, 2005

The Boondock Saints

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The Boondock Saints (1999) - Review

This was a repeat viewing of a much-loved (by me) film. It's a story of self-appointed vigilantes (are vigilantes ever not self-appointed?) in Boston. The violence mixed with humor is reminiscent of classic Tarantino (Pulp Fiction and Reservoir Dogs) and Guy Ritchie (Snatch and Lock, Stock and Two Smoking Barrels). But this film adds a sweet layer of morality against a backdrop of spirituality.

Sean Patrick Flanery and Norman Reedus are brothers who "accidentally" find themselves cleaning up crime in Boston. David Della Rocco is pretty hilarious as their sidekick. Willem Dafoe is superb as the FBI agent who comes to town to figure out who's doing all the killing. Billy Connolly - WOOHOO! You'll have to watch to find out who he is.

My sweetie says this is a boy flick but I don't think so. Sure, if one is sensitive to violence then this film might be too much. But the violence is not gratuitous; evil and the fighting thereof is often gruesome. Nah, this is no more a boy flick than Moulin Rouge! is a chick flick.

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Out of the Blue

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Out of the Blue (1980) - Review

I like it when filmmakers break the mold and step outside the boundaries of mainstream movies. Dennis Hopper - directing and starring - certainly does that in this film, but for me his effort is undercut by the lack of quality in every aspect. The film's style is "realistic", which in this case just looks cheap. The lead actress, Linda Manz, is either a terrible actress (I've never seen her in anything else), didn't try very hard, or was the victim of misguided direction.

The soundtrack was kinda cool... most of it taken from Neil Young's Rust Never Sleeps.

One of these days I'm going to learn. It seems I should stay away from indie filmmakers who star in their own work. Vincent Gallo is the prime example. Both of his films I've seen - The Brown Bunny and Buffalo 66 - are self-indulgent crapfests. He can't be bothered to enunciate his lines and has a habit of repeating himself for no apparent reason. Anyway... Out of the Blue reminded me too much of those films.

But... most of the reviews I've seen speak rather highly, so what do I know?

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Wednesday, November 30, 2005

M

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M (1931) - Review

Wow. Taken by itself, this seems like a rather good, old black-and-white film. Nothing especially spectacular. That is until one realizes the context. It's obviously film noir, but until this film, the genre didn't exist. It's a psychological crime thriller, which did not exist as a genre. It is a talkie, which had not been done in Germany until this film. Apparently director Fritz Lang single-handedly, and in one swell foop, created not one but two classic film genres - film noir and psychological crime drama (think Silence of the Lambs).

A young Peter Lorre is a sight to behold as the monstrous bad guy.

The review I linked to above is a modern review of the DVD. The New York Times review from 1933 is an interesting perspective. The review lauds the film but is horrified that such talent and effort was "wasted" on the subject matter.

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Friday, November 25, 2005

Silver City

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Silver City (2004) - Review

More filmmaking goodness from the godlike John Sayles. Chris Cooper (one of my favorite actors ever, especially his roles in Sayles' works like Lone Star) is perfect as a quasi-Bush candidate for governor of Colorado. Other notables are Kris Kristofferson (another Lone Star alumnus), Daryl Hannah, Richard Dreyfuss, and Thora Birch (Janey from American Beauty all growed up).

If you've liked any of Sayles' films, see this. If you like intelligent, funny drama, see this. If you're reading these comments, see this.

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Thursday, November 24, 2005

The Hunger

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The Hunger (1983) - Review
Vampires. Woohoo. Girl-on-girl sexy sexy. Woohoo. I'm sorry, but the attempts at stylized editing and cinematography were just way too distracting for me. The film would have been a complete waste of time if it wasn't for the three stars - Catherine Deneuve, David Bowie, and Susan Sarandon. Maybe it was cool 20 years ago but now it just looks silly.

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The Robe

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The Robe (1953) - Review

Interesting perspective on events surrounding the well-known story of the execution of Jesus of Nazareth. Richard Burton is Marcellus, the Roman tribune who actually pounded the nails. Jean Simmons is his l-l-l-lovuh.

I was thinking how Jean Simmons reminds me a bit of Audrey Hepburn. For all the hoo-hah over Audrey, I think I'll take Jean Simmons when it comes to screen presence. Breakfast at Tiffany's was quite something and Ms. Hepburn's performance was a huge part of that. But if I compare all the Jean Simmons performances I've seen with all the Audrey Hepburn performances, Ms. Simmons comes off as more... human, I guess. More genuine. Maybe I feel that way because I've loved Jean Simmons since seeing her in Spartacus when I was just a lad. I've always thought she was every bit the screen goddess Audrey Hepburn was but never seemed to get the same amount of adulation.

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La Petite Lili



La Petite Lili (2003) - Review
Nothing spectacular here. Just a warm, human story with talented acting by beautiful people. There's the always corruscating Ludivine Sagnier, Robinson Stévenin (the Gallic Johnny Depp), Julie Depardieu (daughter of that other Depardieu), old-timer Michel Piccoli, and Bernard Giraudeau.

There is some cleverness in the recursive filmmaking toward the end - not just a film within a film, but a film within a film that is about the film it's within.

French films are just cool. If you like them, this is a good one.

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Sunday, November 20, 2005

12 Angry Men



12 Angry Men (1957) - Review
Shame on me that this is the first time I've seen this film. I've intended to watch it for years and even bought it out of the discount DVD bin over a year ago. Better late than never.

The film was done beautifully (Sidney Lumet's first) but watching it made me want to direct it as a play. The story is almost totally driven by dialogue and emotion. What little physical activity there is wouldn't be constrained at all by the stage. Maybe someday.

I've never thought of Henry Fonda as a force of nature, but he certainly was one in this film. He's not so much the star of the film, but it is his calm, persistent insistence that the facts not be taken at face value that provides the impetus for most of the story.

There were some old-timers in this that had me thinking "They don't make 'em like they used to". E.G Marshall, Robert Webber, Jack Warden, Jack Klugman, Lee J. Cobb, and Ed Begley - what a crew! I had never seen Webber as a young man in anything; he was gorgeous - and I like women.

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Saturday, November 19, 2005

David and Bathsheba

David and Bathsheba (1951) - Review
Gregory Peck - always fun to watch. Everything else - whatever. Hope I don't offend anyone but who the hell did Susan Hayward sleep with to get into movies?

We get two cable channels that show movies without commercials - Fox Movie Channel and Turner Classic Movies. Caught this flick on FMC. I wish I had those 2 hours back.

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Men with Guns



Men With Guns (1997) - Review
In case you missed it earlier, I love John Sayles. No matter how high my expectations when I sit down to watch one of his films, I am never disappointed. Most often my expectations are exceeded. That has happened again.

"On the surface" (Sayles' films are usually about much more than what's on the surface) the story is about the horrors of civil war in "an unnamed Latin American country", especially the terrific effect of "collateral damage" on innocent civilians. But the heart of the film is what happens to the characters - notably revelation and redemption - as they move through the story. The framework for the story is dark and, well - evil. But one can't help fall in love with the characters, as much for their weaknesses as their strengths; they are above all human.

I've noticed that my taste in the arts tends to a certain shade of darkness that, at the same time, celebrates the human condition. In the past I've used as example the early albums of Jackson Browne (specifically For Everyman and Late for the Sky), the novels of Dickens and John Irving, the films of Hal Hartley. As of right now I'm officially adding to the list the films of John Sayles.
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Thursday, November 17, 2005

Breathless (À bout de souffle)



Breathless (À bout de souffle) (1960) - Review
I must be a philistine. This is allegedly one of the finest films ever. It is credited with kicking off the French New Wave in cinema. It was Jean-Luc Godard's first success. After seeing and thoroughly enjoying Godard's Contempt, I was prepared to be blown away by this landmark film. I must've missed something.

There is some interesting camera work. The soundtrack is engaging. But where was the story? I was actually nodding off during parts in the middle. I suppose I can see how some of Godard's techniques were groundbreaking; I was not entertained at all. The plot was thin with very little character development. I'm OK with not really having anyone to like and I don't need a happy ending, but come on. The review I linked to above sums up my experience with this film: A film student's wetdream but not much entertainment value.

Either that or I'm just a philistine.
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Wednesday, November 16, 2005

Casa de los Babys



Casa de los Babys - Review
In a previous post I accused a filmmaker of not being the greatest. The writer/director/editor of this film, John Sayles, is one of the greatest filmmakers. His ability to consistently write stories and tell them using film is unmatched among contemporary filmmakers. I haven't seen anything by him that I didn't like and two of his works (Limbo and Lone Star) are among my very most favorite films.

The linked-to review wasn't the best I could find but it was the best I could find that didn't give away a nice little plot twist and it does give a decently accurate account of the film.

Sayles has no problem pointing the camera at his characters and just letting them... be. There is one sequence that, for me, is the emotional heart of the film. Two women are in a hotel room. They both talk at length about heart wrenching stuff. Long takes with few cuts. Fleshing out of characters and a revelation. Neither of them can understand what the other is saying. One speaks only Spanish, the other only English; it matters not at all.

There is a musical interlude with the babies of the eponymous casa. Sayles fearlessly lets his camera linger on the little ones, who he obviously can't be directing. It works.

The ending shot can't help but remind one of Sayles' earlier Limbo.

As usual in a Sayles work, the actors are all excellent, but nobody particularly stands out. His films are rarely, if ever, driven by the performances; they are foremost the work of their creator.

I have a few more of Sayles' films to see before I finish the canon. (Men with Guns is on tap tomorrow or Friday.) My expecations are high; I doubt I'll be disappointed.
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Monday, November 14, 2005

Moulin Rouge!



Moulin Rouge! (2001) - Review
Actually watched this last night. It was probably the 8th time I've seen this. Yes, it's that good. I admit it's hard for me to be completely objective about Moulin Rouge! because it has a significant sentimental weight in my life. But I shall try.

If you haven't seen the movie, the review I linked to is pretty accurate. Ebert's only problem with it seems to be that it left him feeling claustrophobic. I've never noticed that feeling. The story is of True Love that ends tragically. Set in late 19th-century Paris, the movie uses the music of the late 20th century to tell the story and express the feelings of the characters. And that's what sets the film apart for me - the clever and gorgeous use of music.

Allow me to enumerate the points in Moulin Rouge! at which I, as if on cue, start swallowing hard and claiming the room is getting dusty:
  • Christian (Ewan McGregor) busts out with "The hills are alive with the sound of muuuuuuuuusic". This is the first hint that the lingua franca of this film is going to be song.
  • Satine (Nicole Kidman) singing the harmony on "Heroes" during the scene where they dance on the elephant.
  • Satine soaring into the chorus of "One Day I'll Fly Away".
  • Last and certainly not least, the final operatic version of "Come What May". Is it dusty in here? *sniff*
Other moments of note are the "Like a Virgin" sequence with Zidler (Jim Broadbent) and The Duke (Richard Roxburgh) (hilarious) and the "Roxanne" tango sequence (gripping, dark).

I don't think Baz Luhrmann is the greatest filmmaker... not by a long shot. But he somehow created one of the finest works of art in any medium from any time. IMHO.

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Saturday, November 12, 2005

Seven Samurai



Seven Samurai (1954) - Review
This was one of those very rare 3-hour-plus films that I didn't want to end. It's a most excellent film yet I find myself hardpressed to say why. The acting, except for two of the main characters (who were outstanding - more later), is fine but nothing special. The print wasn't the highest quality. Because it's subtitled (Japanese-language), the emotional impact is dampened somewhat. The story, while engaging and heartwarming, is nothing new.

But... I LOVED the film.

The story, by the film's director Akira Kurosawa, is a familiar one: Group of relatively helpless people enlist the aid of professionals to protect them from evil. In this case, it's a 16th century Japanese village of farmers who are about to be attacked by bandits after their rice. They convince a group of ronin samurai to help them in return for... well, nothing. The samurai leader is played by Takashi Shimura, who was sublime in the role. For some reason he reminded me of Lee Marvin, only wiser and less scary. Another member of the samurai group is played by the John Wayne of Japan, Toshiro Mifune. He's a member of the group, but one can't be sure that he is an actual samurai. He's kinda unhinged and provides most of the comic moments in the film. Based on his performance here, his legendary status seems well-deserved. What a face!

I'm not enough of a film expert to know how he did it, but Kurosawa made me love his characters. The samurai are old-fashioned heroes; any flaws they may have are mostly just alluded to. You can pick them out of any crowd by the way they carry themselves. There was one scene that captured their professionalism. One of them - a guy who reminded me of David Carradine in the TV show Kung Fu - goes alone to capture a gun from the bandits, returns with the gun, hands it to the leader and says "Killed two", sits down and falls asleep. Dude!

Highly recommended for just about anybody who has 3.5 hours to sit and watch a flick. It'll be worth it.


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Thursday, November 10, 2005

Young Adam



Young Adam (2003) - Review
Whatever. Scottish flick with Ewan McGregor, Tilda Swinton, Emily Mortimer, and some other people with lovely brogues. Joe (Ewan) can't keep it in his pants. Situations arise. There are flashbacks. Will Ewan do the right thing?

There was some nice camera work. The score by David Byrne was nice. Significant amounts of nakedness and fucking. And here's your big chance to see Ewan's uncut, flaccid penis if you're into that kind of thing.

I have no idea who the eponymous Adam is.

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