Thursday, January 19, 2006

Lianna

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Lianna (1983) - Review
Taken by itself, this film didn't do much for me, but considering the context I have to give it some love. The subject matter has been done ad nauseum, but in 1983 that couldn't have been less true. At that time, the few films about gay/lesbian relationships were cloying, tawdry, or both. This film treats the protagonist's sex life as neither weird nor sensational. The production values are rather raw... but this was before "indy" films were cool. (There's one outdoor scene where the lighting changes half a dozen times during the scene due to clouds passing over the sun... kinda hilarious.)

And yes, I'm partial since it's yet another film by my hero, John Sayles.

Kinda reminds me of my favorite quasi-homosexual awakening film, Kissing Jessica Stein.

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Wednesday, January 18, 2006

Fanny and Alexander

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Fanny and Alexander (1982) - Review
Once, I stood gazing at a portrait by Rembrandt. Not a print, but the actual canvas he painted. I had seen prints of his work and recognized that he was an accomplished artist. I knew that his work was considered groundbreaking, especially his portraiture, but standing in front of the actual painting went beyond intellectual, or even emotional, appreciation. It was as close to a religious experience as I've ever been. I knew deep in my soul that I was witness to perfection. I had the same experience watching Fanny and Alexander unfold on screen.

Since it's the first film I've seen by Ingmar Bergman, I'm sure I missed a lot that I might have seen otherwise. The direction and cinematography were sublime... beyond sublime. It didn't surprise me to find out that Bergman and cinematographer Sven Nykvist had worked together numerous times. The lighting is perfect. Bergman somehow makes it feel like his characters are not just part of the story, but one with the storyteller and his audience.

I wish I had a better vocabulary to describe the experience. If there's a heaven and someone wants it captured on film, Bergman (with Nyquist) is the one to do it.

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Monday, January 16, 2006

Kingdom of Heaven

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Kingdom of Heaven (2005) - Review
OK, the movie was entertaining enough to make it not a waste of time. It's protaganist, Orlando Bloom as a French blacksmith, takes an interesting perspective: He manages to not really take sides in a conflict (the 3rd crusade) that must have been at least as divisive as any. But the whole thing just didn't work for me.

Maybe it was that this viewing was sandwiched between Sunset Blvd. and Fanny and Alexander, two films inarguably among the greatest ever made. Maybe it was my aversion to digital tricks; digital scenery always disappoints.

For whatever reason, I can recommend this film to you only if you love Orlando Bloom. (Ebert disagrees with me.)

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Sunday, January 15, 2006

Sunset Blvd.

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Sunset Blvd. (1950) - Review
Billy Wilder. We are not worthy.

Joe Gillis (William Holden) - "...You used to be big."
Norma Desmond (Gloria Swanson) - "I am big. It's the PICK chaws that got small."

I really don't know what to say... besides "See it!" if you haven't. It's one of the finest films ever.

I hadn't realized that Gloria Swanson's career was almost entirely in silent films.

William Holden was quite the hunk... besides being a superb actor.

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Wednesday, January 11, 2006

Return of the Secaucus 7

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Return of the Secaucus 7 (1980) - Review
OK, so John Sayles wasn't always the god I've come to see him as. This was his very first film, so I don't feel so bad for being a bit underwhelmed. He made it with $40,000 and a group of friends (i.e. mostly non-actors). He also acts more here than in any of his other films I've seen.

The plot might be seen as the prototype for the hugely successful The Big Chill, only no movie stars, no groovy music, and much - how do you say - less expensive production values. Even so, we see glimpses of Sayles' unmatched ability to portray people being human beings.

There's a lengthy playground basketball scene where we see that Sayles and buddy David Strathairn got some game.

Sayles, it turns out, is responsible for launching the careers of two of my favorite "that guy" actors: Strathairn and Chris Cooper. Besides starring in other Sayles films like Limbo and Passion Fish, Strathairn shines in more mainstream efforts like L.A. Confidential and Lost in Yonkers. Cooper has killed in hits like American Beauty (Colonel Fitts... yeah!) and Adaptation, as well as Sayles films including Matewan (Cooper's first "real" film) and Lone Star. I love both these guys... thank you John Sayles.

The review linked to above happens to be the first in a list of mini-reviews of the complete John Sayles catalogue... all on one page! Yum. Check it out.

Update - OK, the list stops with the 2002 Sunshine State, so it's missing a couple of his latest films. But... you must read the review of Lone Star. He likes it as much as I do.
I love this film; it's one of my favourite works of literature, one of my favourite pieces of film, and a reminder of the almost limitless promise of the medium to entertain, educate, and shine a light on the state of our human state.
Ya, baby.

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The 40 Year Old Virgin

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The 40 Year Old Virgin (2005) - Review
I had high expectations for this movie, so when it started off a little slow I started getting that sinking feeling... I prepared myself to be disappointed. All for nought... the movie delivered.

Lots of very funny moments and situations (don't miss the deleted scenes!), but the heart of the movie is mildly schlurpy sweet love story... a kind of nonjudgmental study of the difference between getting laid and looooooooooove.

Steve Carell is incapable of being unfunny.

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Wedding Crashers

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Wedding Crashers (2005) - Review
Even though I liked this film more than Ebert did, I pretty much agree with his review (linked above). It was a little too long. It did seem to have trouble deciding whether it was a comedy highlighting the comic genius of it's stars or a romantic comedy. It probably should have picked one and stuck with it.

But I love Vince Vaughn and his schtick... and I'm rather fond of Owen Wilson, too. Though under-used, Christopher Walken was his usual unintentionally hilarious self.

All in all, it was funny enough to make it worth seeing.

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