Golden Globe Nomination Reactions (2007)

MOVIES

MOTION PICTURE - DRAMA

American Gangster

The Great Debaters

Eastern Promises

No Country for Old Men

There Will Be Blood

Michael Clayton

Atonement

PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE - DRAMA

Cate Blanchett - "Elizabeth: The Golden Age"

Julie Christie - "Away From Her"

Jodie Foster - "The Brave One"

Angelina Jolie - "A Mighty Heart"

Keira Knightley - "Atonement"

PERFORMANCE BY AN ACTOR IN A MOTION PICTURE - DRAMA
George Clooney - "Michael Clayton"

Daniel Day-Lewis - "There Will Be Blood"

James McAvoy - "Atonement"

Viggo Mortensen - "Eastern Promises"

Denzel Washington - "American Gangster"

MOTION PICTURE - COMEDY OR MUSICAL

Across the Universe

Charlie Wilson's War

Hairspray

Juno

Sweeney Todd: The Demon Barber of Fleet Street

PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE - COMEDY OR MUSICAL

Amy Adams - "Enchanted"

Nikki Blonsky - "Hairspray"

Helena Bonham Carter - "Sweeney Todd: The Demon Barber of Fleet Street"

Marion Cotillard - "La Vie en rose"

Ellen Page - "Juno"

PERFORMANCE BY AN ACTOR IN A MOTION PICTURE - COMEDY OR MUSICAL

Johnny Depp - "Sweeney Todd: The Demon Barber of Fleet Street"

Ryan Gosling - "Lars And The Real Girl"

Tom Hanks - "Charlie Wilson’s War"

Philip Seymour Hoffman - "The Savages"

John C. Reilly - Walk Hard: The Dewey Cox Story

PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE

Cate Blanchett - "I’m Not There"

Julia Roberts - "Charlie Wilson’S War"

Saoirse Ronan - "Atonement"

Amy Ryan - "Gone Baby Gone"

Tilda Swinton - "Michael Clayton"

PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE

Casey Affleck - "The Assassination Of Jesse James By The Coward Robert Ford"

Javier Bardem - "No Country For Old Men"

Philip Seymour Hoffman - "Charlie Wilson’s War"

John Travolta - "Hairspray"

Tom Wilkinson - "Michael Clayton"

DIRECTOR - MOTION PICTURE

Tim Burton - "Sweeney Todd: The Demon Barber of Fleet Street"

Ethan Coen & Joel Coen - "No Country For Old Men"

Julian Schnabel - "The Diving Bell and the Butterfly"

Ridley Scott - "American Gangster"

Joe Wright - "Atonement"

SCREENPLAY - MOTION PICTURE

Diablo Cody - "Juno"

Ethan Coen & Joel Coen - "No Country For Old Men"

Christopher Hampton - "Atonement"

Ronald Harwood - "The Diving Bell and the Butterfly"

Aaron Sorkin - "Charlie Wilson’s War"

TV

TELEVISION SERIES - DRAMA

"Big Love"

"Damages"

"Grey’s Anatomy"

"Mad Men"

"The Tudors"

TELEVISION SERIES - COMEDY OR MUSICAL

"30 Rock"

"Californication"

"Entourage"

"Extras"

"Pushing Daisies"

I realize that most of us haven't seen most of these films/TV shows... but reactions anyway?

The complete list: http://www.goldenglobes.org/news/id/81

I'm Not There (Todd Haynes, 2007)

A fittingly disjointed, indecipherable enigma of a movie, there was scarcely a moment throughout I’m Not There‘s entire running time where I knew exactly what was going on or what was being said at any given moment… and I still sat there riveted at the mix of truth and fabrication, riddles and philosophy, and reality and fantasy that director Todd Haynes could cram onto the screen. And he does it all with a glorious soundtrack and some of the finest actors of their generation paying homage to the greatest songwriter of all time.

So in its own way, I’m Not There might be the closest to a perfect representation of Bob Dylan that you can capture on film. It’s an honorable, totally oddball attempt to trap a ghost or pin a shadow to the wall.

Obviously representing the many incarnations of Bob Dylan, six different actors (or actresses) portray the folksinger/rock star/political activist/prophet/born-again Christian/rebel. And it’s just as chaotic and jumbled as you can imagine. We bounce back and forth through the many faces of Dylan in no particular order except – maybe – that we start with the youngest (Marcus Carl Franklin) and end with the oldest (Richard Gere).

On top of that, Haynes has pulled from only a patchwork of Dylan’s life… incorporating real life events like Dylan’s tracking down of his idol Woody Guthrie on his deathbed and his run-in with reporters straight out of No Direction Home and Don’t Look Back while still allowing for the fantastic (Dylan pulling a machine gun on his fans, performing from inside a carnival cage, running wild with the Beatles). Heck, Heath Ledger’s acting character seems to have little resemblance to Dylan’s life at all… outside of his relationship with his wife. Then there’s Richard Gere’s Billy the Kid. Possibly the least effective segment of the film, while still remaining the most important, it captures the isolation of Dylan’s life while incorporating the fantastical elements of a make believe town called Riddle, Missouri (one of the many hometowns our phantom rock spirit called home).

And I haven’t even delved into the performances. Some fabulous work being done by Christian Bale, Ben Whishaw, Heath Ledger and, especially, Cate Blanchett who’s practically written her name on the Best Supporting Actress Oscar already. Each actor seems to capture a different aspect of Dylan, from his beginnings (Carl Marcus Franklin), through his love (Heath Ledger), his ambitions (Christian Bale), his isolation (Richard Gere), his status as a youthful ‘prophet’ at the mere age of 20 (Ben Whishaw) and his rebellion (Cate Blanchett).

It’s hard to get a grip on, routinely perplexing and borderline brilliant. I don’t know a single other person that I can guarantee would enjoy it… but I loved it.

Announcements: "After the Credits" and "The Acting Tournament"

In my never-ending quest to review absolutely every movie that comes my way... I'm announcing another new movie review column for the site. Whereas "In the Screening Room" has been my way of reviewing 'classics' missed from recent decades and "Married to the Movies" have been my way of keeping up with recent misses from the theaters... "After the Credits" will be my new article, along with my bridetobe Kelly, dealing with current releases that we do catch in theaters. As of yet, we're still working on ways to differentiate them from the other two columns, but the plan is to keep all three chugging along. The more posts, the more conversation, and the more conversation... the better. I'm looking forward to this. The first two reviews will either be Juno and There Will Be Blood... or Atonement might work it's way in there depending on when Juno shows up in Fredericksburg theaters. This will be a way of keeping me more up to date with my reviews and let me try to work in a fresh perspective into the site.

Also... I'm announcing the formation of two Round Robin Acting tournaments. I will need everyone who regularly contributes (me, Tyler, Kelly, Rebecca, Ted) to submit a Top 10 list of contemporary Actors and Actresses to my e-mail address at mulligan@temple.edu. From which, I will fashion a field of 8 acting representatives for the male and the female side who will battle it out for the Top Acting positions of 2007. I'm a list geek, so what? These are the actors and actresses that RIGHT NOW you most look forward to seeing in their films. They can be anyone. Old, young, whomever that you most want to see in a film. Keep in mind that more than likely people with no more than 1 nomination will only receive an honorable mention heading into the tournament. From there on, we will vote the field of 8 down to 1 and see who represents our collective favorite actor and actress of 2007.

Hey, I think it's cool. So shut it.

Haha.

Let the nominations begin...

MTTM (#5) - Rescue Dawn

a film by Werner Herzog

ONE SENTENCE SYNOPSIS

Dieter Dengler, a US naval pilot who's shot down and taken prisoner, must orchestrate an escape through the imposing jungle landscapes of Loas (bordering Vietnam) with the help of his fellow POWs

HER TAKE

I remember when the buzz began about this film. I heard rumblings that this might be Oscar worthy as Best Picture as well as perhaps Christian Bale for Best Actor. So naturally, when I sat down to watch it, my expectations were a bit higher than usual.

Surprisingly, I was unmoved. I think my reaction is definitely in the minority among people who have seen this film but really it just didn’t stack up to many other wonderfully done wartime movies. I believe the problem was not lack of talent on any level, rather lack of much meat to an incredible story. It was filet minion to be sure, but only a 4 oz instead of a 16 oz. What we are left with is a lot of mashed potatoes, pasta, bread—filler. (Excuse the food references, I haven’t eaten dinner yet.)

Apparently, this is director Werner Herzog’s second attempt to tell the story of Dieter Dengler, the first being a documentary, Little Dieter Needs to Fly. I have not seen the documentary but I feel that I might have enjoyed that more. I say this only because sometimes these types of stories are better as documentaries. When you put a real face to a real event and hear them describe it with their own true words and emotions, the impact can be much greater than when you put a well known actor in its place. I suppose I’d have to see the documentary to make an accurate assessment.

There were some truly beautiful and tragic moments throughout, both plot wise and cinematically. It was surreal and quite sad to see all the violence, fear and terror juxtaposed against the backdrop of the peaceful and enchanting Vietnamese landscape. I can only imagine how insane that world must have been at that time; for both sides. As far as Vietnam stories go, it was interesting to see a little bit of what was going on before the war even began and it also explains a lot about the attitudes and treatment inside the prison camp.

Most notably (and this was discussed in earlier reviews) was Steve Zahn’s performance. I have loved Zahn in everything I’ve seen him in to date and his record only improves with this one. I’m so proud of him for stepping out of comedy into drama (despite retaining sidekick status) and really diving in. I would love to see more of this from him and look forward to seeing what doors it opens for him.

Christian Bale of course is a wonderful actor. When you go see a Christian Bale movie, you know that his performance is never going to leave you feeling anything except that he was born for that role. Despite the fact that he clearly owned this role, I felt like it was almost too easy for him…that perhaps, in comparison with some of his other roles (The Machinist and American Psycho) he was slightly unchallenged. Regardless, it’s still a good performance.

Finally, I am most surprised by the fact that the epilogue script (if that’s what it’s called?) did not include any mention of the other prisoners we encountered during the film. They were just as integral to the story as Dieter Dengler so I was a little disappointed that absolutely nothing was included about them to, in some way, finalize their fates and bring some closure to the viewer. Even a “the others were never heard from again” sort of thing would have been better than nothing! Oscar worthy movies don’t leave loose ends like that.

HIS TAKE

It isn’t until the final moments of Rescue Dawn, after every frame of film has run and some scrolling text rolls by, when you finally realize exactly what the film was all about to begin with.

It’s a love story… about a man and his plane.

Dieter Dengler (Christian Bale) is a cheery – if slightly dim – naval pilot for the United States who during his first combat mission in the Vietnam War era is shot down over Laos. He manages to briefly elude capture but is ultimately caught and thrown into an internment camp with other prisoners of war.

Looking back on the film, the theme should have been obvious. Dengler is shot down early on and spends the rest of the film’s running time trying, like a lover separated from his other half, to return to his baby. It just happens to be a five ton piece of flying steel that’s caught his eye (he goes so far as to recant a story about falling in love at first sight with flying at the youthful age of five).

So unsurprisingly, Dieter plans his escape with some of the other POWs. One such prisoner is the almost unrecognizable Steve Zahn as Duane. Zahn lost forty pounds for the role and shows some impressive dramatic chops that some of his more wretched comedic work could never have hinted at (Saving Silverman, Daddy Day Care). There’s a sick desperation in Zahn’s face that seems to beg for rescue. Alas, for as good as he is, even in dramas he seems to be playing the sidekick role to Bale’s Dengler.

As the escape plan comes together, the only sparsely guarded prison (it doesn’t even have a watchtower) isn’t the biggest problem. In keeping with director Werner Herzog’s previous themes, it’s man vs. nature, or as Duane points out “the jungle is the prison.” In other words, even if they escape the camp, they have to find a way out of the vast and seemingly endless jungle.

Throughout it all though, Dengler remains committed and oddly optimistic. When fed an apparently inedible bowl of maggots, he grins and chows down. When faced with the opportunity to sign a treaty condemning the United States and avoid torture, Dengler simply states “I love America. America gave me wings. I will not sign this.”

From the moment he’s captured, Dengler never loses his beliefs. His blind faith brings to mind a quote from the outwardly unconnected and completely pertinent Punch-Drunk Love, “I have a love in my life. It makes me stronger than anything you can imagine.”

Admittedly, the film doesn’t entirely work. The straightforward escape plans are not very intricate or cinematic and the movie moves along with an almost callous disinterest in everyone outside of Dieter, but when you look at this as a love story, as a man enduring torture and whatever else comes to him as a means for returning to what he loves, it works beautifully.

“No, I never wanted to go to war. I just wanted to fly,” says Dengler. Only a man so absolutely in love with flying would go back up in the air after this wreck… and Dieter managed to survive a further four more plane crashes.

HER RESPONSE
While our reviews differed pretty starkly I agree with everything you wrote. I never saw it as a love story between a man and his passion for flying but you're right, when you look at it like that, it's better. Also, I think that if I knew more about Werner Herzog's film making, I might have been able to spot his themes a bit better. So I suppose in this case, I played the role of the "average film goer" and if our ratings were only a half a star apart, I'd say it's a pretty solid film, despite its flaws.



HIS RESPONSE
Outside of possible acting nominations for Bale and Zahn, I'd agree that Rescue Dawn is not quite an Oscar-level film. If you're not looking at the film as a man fighting against both man and nature to return to his true passion (flying) then I'll admit at times it might feel rather straightforward and even simpleminded. But even in the vein of a 'prisoner of war escape' picture, I still found a lot to like, especially in the performances. Also, let me congratulate you... you have to be the first person to ever call acting in a movie directed by the notoriously tough-to-work-with Werner Herzog (or in a movie that required a weight loss of 55 pounds!) "unchallenging." Hahaha.

written by Brian and Rebecca

In the Screening Room - Luc Besson's La Femme Nikita

Session 013 - La Femme Nikita

Who saw it and what are your thoughts on it?

Recent Watches: December 2007

So it seems like every month I start the "Recent Watches" section behind 5 or 10 films... and why should December be any different? Here's just a few of my recent watches that I hope to elaborate on here soon...

The Man Who Shot Liberty Valance, The Bridge on the River Kwai, Paris Je T'aime, Eastern Promises, Before the Devil Knows You're Dead, Scrooged and Talk to Me. I'm sure there's others I'm forgetting about too. Hopefully I'll write something or other about all of them soon.

The forums open...

T4: The Falling of a Franchise?

Rumors surrounding a fourth installment of the Terminator franchise have been kicking around this week, starting with news of a possible director and star.

It's a good news/bad news scenario.

First, the bad. James Cameron, the man behind the great Terminator and Terminator 2 is not coming back and neither is Jonathan Mostow, who filled in admirably with Terminator 3. Nope, instead we might be getting the man who brought us those two Cameron Diaz Charlie's Angels flicks and the underwhelming We Are Marshall. That's right folks, the guy who brags about getting his Charlie's Angels cast naked in his van and goes by the horribly irritating acronym McG is taking over my beloved Terminator series? You CAN'T be serious. This guy is up there with Brett Ratner as one of the only guys in Hollywood who can delude themselves into thinking they have actual talent behind the camera in spite of their shitty filmographies. It's totally irrational and I absolutely hate the choice. Hell, why not give it to Michael Bay or Paul W.S. Anderson to crap all over while you're at it?

Worse is the good news.

Now, how can the good news be worse? Because they cast the absolutely PERFECT choice for the future John Connor. They're trying to make another trilogy of films starting with T4 and they apparently talked none other than Christian Bale into taking over the role! I'm still stupified he'd even consider it since he's already Batman... but what the hell? Guess the guy can do any role he wants nowadays.

STILL. If you're gonna have a good film, I'm of the belief that 90% of it is the director. And McG is a total hack. How does a guy who so obviously is going to kill this franchise get to make a film called Terminator Salvation? Unbelievable.

Have You Seen This Man?

Mr. Brooks (Bruce A. Evans, 2007)

I don’t know if I can really justify this reaction, but I liked Mr. Brooks regardless. The story is an obvious updating of the Dr. Jekyll and Mr. Hyde story done with no real flair to distinguish itself amongst a mess of other serial killer films that pop up every couple years (Taking Lives, Suspect Zero). But that concept itself, of a man fighting against his own intrinsic nature is intriguing enough.

Supposedly the first film in a trilogy (according to star Kevin Costner), Mr. Brooks is the story of “Man of the Year” Mr. Earl Brooks. The operator of a local company, a caring father and loving husband… and also a man who stalks and kills at night to satiate his bloodthirsty alter ego Marshall (William Hurt).

Costner plays Mr. Brooks as a man with an unconquerable addiction (even enrolling himself in AA as a means of quelling his need to kill). He manages to keep his desires at bay in spells, but before long Hurt’s merry little devil whispering in his ear has him lining up another victim. And with each kill, Costner reacts euphorically like murder is his release of bottled-up sexual tension.
But during a botched killing, in which Mr. Brooks leaves the first clues to his identity, a duo of odd casting choices gets involved. Demi Moore – who hasn’t been in a movie in a decade that I’ve wanted to see – is Detective Tracy Atwood, an independently wealthy do-gooder who specializes in catching serial killers. And Dane Cook (always best used in short stints such as in Waiting…). Cook especially seems to stick out as strange, obviously known best for his comic performances but he seems to perfectly capture the seedy photographer Mr. Smith who wants to emulate what Mr. Brooks does, while Costner and Hurt exchange jokes at his expense throughout.

The film eventually throws in a couple subplots too many with Detective Atwood dealing with her ex-husband and another group of serial killers, while Mr. Brooks is afraid that his daughter might be following his example (that she wants to run the ‘family business’ after he’s gone is only too fitting) all while trying to keep Mr. Smith happy. But for what it is, Mr. Brooks is an interesting, entertaining serial killer story.

And honestly, coming from the guy responsible for the scripts to Jungle 2 Jungle and Cutthroat Island, what more could you expect?

No Country for Old Men (Joel & Ethan Coen, 2007)

A cloaked, gutsy masterpiece, No Country for Old Men is a reflection on unfathomable evil shrouded in a ‘found money’ storyline. This could have been the type of throwaway film from that genre that Money for Nothing, the forgotten mid-90s John Cusack film was. Instead, the Coen Brothers have the pluck to make the hunt for the money next-to-irrelevant. They have the single most distinctive and haunting villain in decades and make the story ultimately about a crusty old sheriff pondering retirement. Not only that, but they turn a blind eye to the resolution! And I don’t recall a single song for the soundtrack, but the film is drowning in silences… elongated silences that seem to stretch on forever and only amplify the thrilling nature of these scenes.

It’s good vs. evil. And there is no winner.

Then there’s the cinematography. Roger Deakins found museum-worthy images in the cracks and the dirt of New Mexico and Texas. His ability to transform a beaten-down house or a dust-covered field into pure works of art is uncanny. This is pristine, perfect filmmaking with everyone doing their job to the best of their ability.

The acting included. Javier Bardem and Tommy Lee Jones, two exceptional actors with exceptional careers, have never been better. And where did Josh Brolin come from as Llewelyn Moss? He’s turning in one of the better performances of the year. No doubt about it.

Some people have issues with the ending, but I’m not one of them. The good guys don’t always win, no one walks away unaffected, evil isn’t vanquished and for some it’s hard to make heads or tails of a world where that happens.

It’s flawless, just like the film.

The Quotable Quotations: November 2007

Okay, so since everyone seems to be enjoying the 'guess the quotation' game, I thought I'd move it over to its own post (since I have no idea how it relates to American Gangster) and add a new rule...

Whoever guesses the quote correctly is in charge of putting up the next quote.

That should keep the game going and everyone involved. I'm already pretty terrible at it (yes I saw Heavyweights numerous times as a kid and still had zero idea where that quote was from).

Also, second rule, try to avoid 'The Google Factor'. I. E. googling it for the answer. I'm looking at you Rebecca, haha. I know you're good with quotes, but really who has quotes from Heavyweights burned into their brain? (Besides Chachi of course). I do suspect some foul play... haha.

Anyways, since she got the quote right, Rebecca's up first...

Month of Movies: November 2007

I don't think it's worth elaborating on every single release from the month because I feel that where they're placed in my categories pretty much speaks for itself, but I'll comment on the top tier and some other scattered releases from now on. Sorry - again - this comes so late into the month... at least I beat Thanksgiving.

MUST SEE - THEATER

No Country for Old Men - This along with There Will Be Blood and The Darjeeling Limited have been my most-looked-forward to movies of the year. I'm happy to say I finally saw it, a week after it's release... and it's another Coen's masterpiece. I don't know quite where it ranks in relation to my other Coen favorites (The Big Lebowski, O Brother, Where Art Thou?, Fargo, Blood Simple and Raising Arizona) but it's in that distinction. If it weren't so bleak, it might have pushed Into the Wild out of my top spot for the year.

American Gangster - One of the best trailers of the year, a great cast, a great director... and a good film. It doesn't live up to the trailer (and removes some of the best scenes from it) but still a surefire good time at the theater.

I'm Not There - The first 'must see' that I haven't yet seen. Comes out on Wednesday and six different actors portray one of my favorite musical legends, Bob Dylan, including acting favorites Christian Bale and Cate Blanchett (wtf? she looks incredible). My hat off to Todd Haynes for even trying this gambit.

POTENTIAL SEE - THEATER

The Diving Bell and the Butterfly - Saw the trailer for this at No Country and it looks like a lot like the storyline for The Sea Inside (coincidentally with Javier Bardem). I haven't yet seen that one, but this one with it's mix of hope and faith intrigues me. Plus the way it's shot looks completely independent, retro and geektastic.

Southland Tales - Richard Kelly's Donnie Darko follow-up. It got roundly booed at Cannes. It got re-edited, re-cut, re-done and I'm still totally interested. If nothing else, it looks gutsy, like go-for-broke filmmaking and I respect that. We'll see if it amounts to anything.

Lions for Lambs - A lot more intriguing pre-reviews.

MUST SEE - DVD

Margot at the Wedding - For my money, Noah Baumbach's best movie is still 1995's Kicking and Screaming (NOT the Will Ferrell movie, if anyone needs me to clarify that). He has a very unique sense of personal relationships that comes across in the trailer. It's not a definite-see, but it's a definite-see-sometime.

The Savages - Philip Seymour Hoffman is enough.

Redacted - Brian De Palma might be past his prime, but I still generally find good in the bad.

Beowulf - The Polar Express turned swords and sandals fantasy. Not sold, but intrigued.

Bee Movie - Getting tired of these bugs, somebody better start swatting them. The only reason to see it is Jerry Seinfeld. That's not even enough for theaters...

The Mist - Frank Darabont did direct The Shawshank Redemption, right?

Fred Claus - It's teaser from a year ago looked much more promising than the actual trailer, how could they not come up with a single good clip in twelve months?

Awake - The concept more than the cast.

POTENTIAL SEE - DVD

August Rush - One of those movies that just shows up in theaters without anyone really anticipating it, but might be a surprise?

Enchanted - Feel good to the point of cheesiness? Early good reviews are making me more interested...

Hitman - Based on a videogame, why Timothy Olyphant, why?

Joe Strummer: The Future is Unwritten - Yeah... maybe. I have no real reasons pro or con for this one.

Love in the Time of Cholera - Mike Newell is a good director, Javier Bardem is a great actor, why don't I care?

Mr. Magorium's Wonder Emporium - I didn't like Stranger Than Fiction... this looks worse.

POTENTIALLY NEVER SEE - DVD

Martian Child - I knew nothing about it last month... still nothing...

P2 - Horror movie of the month.

Mama's Boy - What?

Home for Christmas - Double what?

American Gangster (Ridley Scott, 2007)

Just good enough to recommend while at the same time being half a colossal disappointment, Ridley Scott’s American Gangster manages to steal just enough from the 70’s to make it worthwhile… without actually adding anything at all to the genre.

There’s rarely a new scene scattered within the entire 157-minute-long running time of Gangster – you’ve seen it all before in 70’s film staples ranging from The Godfather to The French Connection – but it’s oddly fitting to see the story of the criminal kingpin Frank Lucas pilfering scenes from better movies and coasting along on charm alone (Director Ridley Scott even stoops to stealing the ending of Denzel’s own boxing movie The Hurricane and passing it off as his own).

So the movie is missing the thrill of an original movie-going experience, but there’s a reason these scenes worked the first time around and there’s enough left in them to make the film feel like more than just a recycling job. The art direction and cinematography are pitch perfect for the era they’re trying to recreate and there’s solid supporting acting work from Chiwetel Ejiofor and Cuba Gooding, Jr. (yes, Cuba) even though both actors are thrust into underdeveloped roles.

But what everyone came for was the acting heavyweights Denzel Washington and Russell Crowe trying to extricate themselves from the embarrassment of 1995’s Virtuosity.

They do. Denzel spends most of his time rehashing his Alonzo character from Training Day (in a movie that steals so much already, isn’t this kind of the perfect thing for him to be doing?). Of course by now everyone knows all Denzel has to do is show up and he oozes cool, but unfortunately this is the first movie he seems to really know it… and I always felt he was playing it over the top. But even if Denzel gets it slightly off, Russell Crowe does some heavy lifting in the acting department, turning in some weird amalgamation of 70’s cop performances that has shades of “Popeye” Doyle and Serpico thrown in for good measure.

It’s all building to a great climax, one of the few scenes that Crowe and Denzel really cross paths… but in doing so it throws out the character Denzel has been presenting us for two hours and shows you how good the movie really could have been if it were really working from beginning to end. So instead of something special, we get something standard.

In the Screening Room - Ang Lee's Sense and Sensibility

Session 012 - Sense and Sensibility

Who saw it and what are your thoughts on it?

Recent Watches: November 2007

You're monthly posting section for recent watches is back. I'm going to try to continue to post mine in the format that I did with Gone, Baby, Gone instead, but I realize not everyone wants to make an entire post out of their recent watches, so you can just list them here with some brief thoughts if you so choose.

My recent watches (that will hopefully receive their own posts soon enough) include American Gangster, Shoot 'Em Up, Crimes and Misdemeanors, Mr. Brooks (the next MTTM article), Factory Girl, Big Trouble in Little China, 3:10 to Yuma (2007) and, finally, the four hour long version of Once Upon a Time in America.

MTTM (#4) - Interview

a film by Steve Buscemi

ONE SENTENCE SYNOPSIS
A reluctant political reporter is assigned to interview a scandalous soap starlet; but what was to be a simple “fluff” piece turns into more than either of them bargained for

HER TAKE
I will admit that when I first heard the premise of Interview I was intrigued but skeptical of how it was going to make itself last an entire 84 minutes without me finding some excuse to scour the house for hidden candy, or check my email, or rearrange the clothes in my closet by color instead of style. But lo and behold! Like someone who has unknowingly walked into quicksand, I was slowly sucked deeper and deeper into it (in a good way mind you—okay, maybe quicksand isn’t the best analogy…). Not since Hard Candy have I witnessed such an engrossing game of cat and mouse. Entertaining an audience for an entire movie where 98% of the story and dialogue takes place in one location and between only two people, can’t be easy. Then you assign that task to one man and he is to write, direct and act in it? Steve Buscemi is the MAN!

While this is a remake of a Dutch film also entitled Interview, Buscemi makes it his own. He is Pierre Peders, a jaded political journalist assigned to interview self absorbed young actress Sienna Miller—er—I mean, Katya. All joking aside, Miller is very strong opposite Buscemi. Prior to this, I had never seen her in anything, but a quick glance at her resume suggested that her notoriety had more to do with her status as a fashion trendsetter and the “acting” was designed to lend some credibility to her fame. Well color me ignorant, cause this girl can act (a fact recently reinforced after viewing Factory Girl). Much to my surprise, she and Buscemi have good chemistry—which makes this a good time to get a little scientific. Their relationship can be described as like two magnets. It is difficult to keep them apart when they are showing their attractive sides. But all of a sudden, one flips to face the opposite direction. Now, the one facing the original direction can’t do anything to keep itself near the other. In fact, upon turning away itself, the two are literally repelled by each other, you see?…..Alright, science wasn’t my forte but you get the idea.

At its core, this film explores the complexity of human interaction. How in one moment we are not who we appear to be and then flawlessly, undetectably, sometimes unwillingly we are exactly who we appear to be in the next. It dives into how we are able to manipulate others and in turn be manipulated (sometimes voluntarily, sometimes not) based on perceptions, whether real or projected.

For 84 minutes we are granted unlimited access to watch these two seemingly opposite people from seemingly opposite worlds interact. And by watching, we are rewarded with a fascinating glimpse into how adept we humans are at blurring the line between fact and fiction, truth and lies, and who we are and who we appear to be. By the end we echo Pierre’s exhausted inquiry, “What the hell happened here tonight?” With this one line, I realized that Pierre is for the first (and only) time talking to us, the audience and challenging us to absorb the depth of the events that we have witnessed. And that is exactly how I felt at the end of this movie. I felt like a witness. A person who has been unwittingly forced to step back and see what we humans can do and do do to each other and all for…….what? That’s for the individual to decide. While it can be said that this is yet another example of “art imitating life” I believe Buscemi has presented it in such a way that provokes dissection and discussion. Well done Steve (and Sienna), well done.

HIS TAKE
Interview is Steve Buscemi and Sienna Miller’s take on our starry-eyed celebrity culture and, more specifically, it deals with the starlets whose claim to fame is nothing more than a beautiful face, a handful of bad movies and a large publicity machine. But for as much as it gets right, there’s a lot that works to undermine the film, not excluding its ending or even its star… and it’s not the one you’re thinking of.

Buscemi wrote, directed and stars as Pierre Peders – a name the young megastar will have considerable trouble remembering – in this updating (read: Americanization) of a 2003 Dutch film. Pierre is a political reporter who is unappreciatively assigned a fluffy dinner interview with soap star and socialite Katya (Miller), an actress who seems to make her living acting in a “Sex in the City”-light TV series and trivial horror flicks.

So, really, Sienna Miller is perfectly cast for the role. The actress still best known as Jude Law’s ex (yes, she was the one he cheated on with their housekeeper) is spot on. In addition, the irony of Buscemi casting Miller, whose career had lived in the tabloids up until this point, is only additionally hilarious.

Meanwhile Pierre wears his obvious disinterest on his face and it results in one of the best moments of the film, as Pierre gets caught fumbling through the interview asking obvious questions and ultimately admits to having never seen any of Katya’s films. The discomfort escalates from there and as you would expect, the interview falls apart shortly thereafter.

But due to a happy accident (quite literally Pierre’s cabbie crashes while he’s hitting on Katya), suddenly their stories are thrown back together and the two continue the interview in Katya’s airplane-hangar-huge loft.

From then on Interview works like one of those stubbornly suffocating play adaptations that take place entirely within the confines of a single locale – I had to triple-check just to make sure this hadn’t originated on the stage. When these work (Glengarry Glen Ross, Cat on a Hot Tin Roof) it’s because there is nothing overtly wrong, the dialogue and acting are carrying the film and you’re completely focused on the story. But when they don’t, they can seem claustrophobic and somehow slightly ‘off’ (Proof), like the entire world was removed except this one set.

With a movie like Interview you’re already starting with one hand tied behind your back as the filmmaker. So it’s especially important that your casting choices are pitch perfect because they’re going to be under the microscope for every minute of the running time. The worst thing you can do for yourself is to focus your entire storyline around an actor who can’t possibly carry their own weight.

So Buscemi took a risk casting the previously unproven Miller, but what’s funnier is something the director probably never thought possible… she entirely outdoes Buscemi himself. And largely, it isn’t “Buscemi the Actor’s” fault. He’s still one of our very best character actors and as evidenced by Lonesome Jim and Animal Factory, he’s a pretty solid director as well. Who the fault lays with is “Buscemi the Casting Director”. He’s cast himself in a role that he can’t possibly come off well in.

The entire interplay of Kayta and Pierre rests on the idea that these people are toying with one another both casually and sensually (and I don’t know about anyone else but suave and sensual are not the first adjectives I’d use to describe Mr. Buscemi). His drained appearance work wonders for the Donny’s (The Big Lebowski) and Seymour’s (Ghost World) of the world, but Pierre needed something more. This is a role for Cary Grant or George Clooney, not that guy being fed into the woodchipper in Fargo.

Then there’s that ending. Another one of those absurd twists that betrays the entire previous hour of the film you’ve watched. When the twist is revealed, all the spirit and vitality of their conversation (one that had reeled me in up to that point) is unfortunately negated.

And the only thing you can feel as the credits start to roll is… you’ve been lied to.

HER REACTION
I just have to laugh at how two people can watch the exact same movie and have such different impressions of it. I don't wholeheartedly disagree with anything you said (especially that Miller outshines Buscemi) but I clearly saw this as a much more interesting psychological study than you did. And if you are looking at it from my point of view, the Peders character couldn't have been a Clooney or Grant because it would have tipped the balance of opposites (which both attract and repulse). I'd say if nothing else, this movie was successful in that it has stirred up some very different reactions to it and when a movie evokes debate, I think that's a good thing.







HIS REACTION
This is our first real disagreement with any of the films we've watched up to this point and I think it has a lot to do with the two things I cited as taking away from the overall film - that terrible ending and Buscemi portraying Pierre. There is a good film here. The back-and-forth banter that the two stars have to work with could definitely be fashioned into something better though. While you say the film didn't need a Cary Grant or a George Clooney, at the least it needed a Billy Bob Thornton. Buscemi is totally unbelievable in the role opposite Miller to the point it drew me completely out of it (if you need further proof check out those pictures above). I feel that if Buscemi wasn't responsible for adapting and directing, this is something that would have been realized in the casting sessions. Recast Pierre and you may have something here.







written by Brian and Rebecca

Film Script's Top 7 - Horrorifying Movies

Okay, so shoot me for being obvious but it's Halloween and I felt the need for a new Film Script Top 7. And when the puzzle pieces fit together, I put one and the other together, thus...

The Film Script's Top 7 - Horrorifying Movies

I found it incredibly difficult to find true "horror" movies that were worthy of a Top 7 list for a couple reasons. 1) Outside of the Victorian-era period pieces, this is probably my least favorite genre. 2) In keeping with the first reason, I’m also missing a large amount of my film history in this category (never seen a Dario Argento film, likewise a 1930s Dracula or Frankenstein picture and only Land of the Dead from George A. Romero). And 3) Not a lot of movies really have an unsettling or frightening effect on me. Sure, some might get me to jump, but I jumped watching Once Upon a Time in America recently too and it was mostly because what happened was surprising, not frightening. For those reasons… this list might start to veer towards ‘thrilling’ over ‘horrifying’ but, whatever, I like what I like. And I’ve also included a list of the bottom of the barrel horror movies at the end, because I also dislike what I dislike…

7. The Sixth Sense
The ending was spoiled for me before I even saw it and it doesn’t ruin the film at all (well, maybe ever so slightly, damn you Jamie). Anyways, this is just a well done film… great story with terrific acting and a twist so good that it has imprisoned M. Night into repeating himself in every subsequent film.

6. Rosemary's Baby
It's eerie mostly because it's played so close to real life - this film could easily just have been about the pesky neighbors who infringe on the newly married couple. Instead, Polanski drops in a deal with the devil, murders, giving birth to the son of the devil himself, and a seriously short Mia Farrow hairdo to completely creep me out.

5. Halloween
The most clear-cut slasher flick on my list is there because Michael Myers is the quintessential horror villain. A demented-from-childhood killer who escaped a mental hospital, went on a murdering rampage and seemingly can never be killed. Also, it never aims to be artful or the mold for all horror films to follow… it just is. And that score. Damn, music can be a killer sometimes.

4. Invasion of the Body Snatchers
This movie is so good they can't stop remaking the damn thing, even in spite of the fact that Don Siegel's original is perfection. The birth of pod people and a communism allegory all in one.

3. Jaws
Spielberg had only done two films before this (Duel for TV and The Sugarland Express). Both were good. This is much more than that. And it earns points for keeping the shocking moments suppressed, for the simple perfection of its score and for focusing on a terrific (and terrifically straightforward) storyline.

2. Psycho
This list would have been overloaded with Hitchcock if I had considered Rear Window, Vertigo and Rope horror films as well. Hitch was king of the psychological thriller, but Psycho fits nicely into both categories and is one of his most purely horrifying films... it can't be left off.

1. The Shining
Truly the one film that totally freaked me the hell out was Stanley Kubrick's masterpiece (Seriously, how can Stephen King not like this adaptation?). Those twin girls, the Outlook hotel, Jack Nicholson's freakish stares and the sheer oddity that is Shelley Duvall. Just spooky as hell.

Honorable Mentions: Carrie, The Thing, Alien, Aliens, Misery, Silence of the Lambs, Basic Instinct, 28 Days Later..., 28 Weeks Later..., The Devil's Rejects, Shaun of the Dead, Dawn of the Dead (remake), Red Eye, Death Proof, Rear Window, Strangers on a Train, Rope, Notorious, Vertigo, Scream, A Nightmare on Elm Street, Predator, The Exorcist, Duel (TV), Play Misty for Me, The Birds, Cabin Fever, Scream 2, The Ring

The Film Script's Bottom 7 - Horrorifying Movies

Honestly, these films are so bad and so arbitrarily listed that I could have put any other 7 on here from the runners-up list and been perfectly content, but as it is… here it is…

7. White Noise
6. Hide and Seek
5. The Ring Two
4. Alien vs. Predator
3. Cold Creek Manor
2. I Still Know What You Did Last Summer
1. Hollow Man

Dishonorable Mentions: Godsend, Premonition, The Number 23, Hostel, Saw 2, Cry_Wolf, Dark Water, House of Wax (remake), Doom, Van Helsing, The Butterfly Effect, The Grudge, The Mothman Prophecies, From Hell, Domestic Disturbance, Don't Say a Word, Hannibal, Scream 3, Teaching Mrs. Tingle, The House on Haunted Hill (remake), The Faculty, Disturbing Behavior, Jack Frost, Urban Legend, Psycho (remake), From Dusk ‘til Dawn, Bram Stoker's Dracula, Children of the Corn, The Keep

Happy Halloween

In the Screening Room - Michel Gondry's Human Nature

Session 011 - Human Nature

Who saw it and what are your thoughts on it?

Gone, Baby, Gone (Ben Affleck, 2007)

When an actor steps behind the camera to direct for the first time, there should be a reason for it. Whether it's a personal story that needs to be told or a small budget film that would never get funding otherwise, something should be propelling that decision besides a career rut. So good thing for Ben Affleck, that although he fits in with the career rut crowd, there are also numerous other reasons he was the right choice for Gone, Baby, Gone.

This film is really in Affleck's wheelhouse. The Boston setting, obviously. The delving back into screenwriting (he did win an Oscar co-writing Good Will Hunting after all). The overload of cursing. The charming conceitedness of the main character. And his decision to put his brother Casey in that role. Former Sum of All Fears co-star Morgan Freeman coming along for the ride. The marvelous Mystic River as an outline and How-To guide...

So Gone, Baby, Gone is brimming with reasons why this would be the perfect place for Ben Affleck's directorial career to start. But honestly, when they started shooting this film, I still felt like it was a crapshoot as to what would result.


Then the trailer came out and I knew Affleck had done well by this film. It seemed to mimic Mystic River to the point of plagiarism (the film, however, does not). There are a few minor quibbles with how the storyline comes together - whose blame I lay more at the feet of Dennis Lehane's source material... but by the end, all is forgiven because of what really is a knockout finale.

Gone, Baby, Gone is also a great starring vehicle for Casey Affleck (the better actor of the two Afflecks) and boasts some beautiful imagery by John Tall, the cinematographer of The Thin Red Line and Almost Famous amongst others.

For 90% of its running time, Gone, Baby, Gone is a solid, enjoyable crime mystery... but this movie is all about it's final moments. They are the moments that linger and keep you questioning. They are the moments you want to talk about. They are the reason for...

Month of Movies: October 2007

First off, I realize this is horribly late considering there are less days left in the month of October than there are past. This article really needs to be posted within the first 3-4 days of the month and I'll try to get back to doing that in November.

Second, I've decided to break down the films I see that are of note into different categories in descending order of importance. Obviously "Must See - Theater" would be the highest all the way down to "Potential Never See - DVD." If there is a movie or two that I have left off that you feel warrants a placement here, let me know... maybe I just overlooked it.

Here goes --

MUST SEE - THEATER
Gone, Baby, Gone - My top spot goes to Ben Affleck's directorial debut. Honestly when I first heard about it I had my doubts (considerable doubts), but ever since seeing that Mystic River-ish preview, I've been sold. Comes out this weekend and I can't wait to see it.
Michael Clayton - Might seem like kind of a cheat to put it this high since I've already seen it, but there's a reason I went opening night... it was definitely high on my list. This is yet another one I haven't posted a reaction to. Doh.

POTENTIAL SEE - THEATER
Before the Devil Knows You're Dead – Honestly I know next to nothing about this except that Sidney Lumet directed it, it’s supposedly a return to form for him, plus it has Philip Seymour Hoffman and Ethan Hawke… and that’s enough to sell me on it.
We Own the Night ­­– With Better reviews this would have been a “Must See.” As it is, it got bumped down and I might end up missing it in theaters (much as I’ve so far missed out on 3:10 to Yuma, In the Valley of Elah, Eastern Promises and The Kingdom).
Reservation Road ­­­­- Another Joaquin film that’s getting mixed reviews and looked better before the critical reception came out. Plus it’s the director of Hotel Rwanda and the trailer had me intrigued. And Mark Ruffalo. Mark Ruffalo. Damn I wish it had gotten better marks.
Lars and the Real Girl – Now here’s one that’s gone the opposite way, jumping up the list as the reviews come in. Love Gosling, but the prospects of him dating a mannequin didn’t intrigue me all that much. Supposed to be a great feel good film though, so who knows? Maybe I’ll see it in theaters now?
Rendition – This probably would have been a “Must See – DVD” but since Kelly wants to see it, it goes up a bit and I’ll probably see it tomorrow night. The cast alone (Reese Witherspoon, Meryl Streep, Alan Arkin, Peter Sarsgaard, Jake Gylenhall) should have been enough to get me a spot in the theater but for some reason the trailer just never grabbed me. I wanted to see it, but I want to see it more now because of Kelly’s interest.

MUST SEE - DVD
Things We Lost in the Fire ­– Has Halle Berry finally returned to acting, after crapping all over her Oscar with Catwoman and Gothika (two films I can’t even bring myself to watch – although I did catch a truly horrendous Catwoman scene on TV the other night. Whoever programs AMC should be fired for allowing that film in the rotation, ugh). Plus, Benicio is getting Oscar buzz here.
Wristcutters: A Love Story – Indie film that has been jumping around the festival scene. It has Sam Rockwell. That’s usually enough for me to see it.
Funny Games – Naomi Watts. I know just about nothing else.
Control – From what I’ve seen, looks like an arty music film. And there seems to be a few of them coming out (Across the World, I’m Not There).
Sleuth – Jude Law and Michael Caine remaking the old Caine original? Kenneth Branagh directing. I’ll see it in spite of missing the first one… sort of the same way I saw Jude Law’s other previous-Michael-Caine-vehicle Alfie a few years back. Think Jude’s upset Sly already beat him to the Get Carter remake?

POTENTIAL SEE - DVD
Across the Universe – Rough reviews are keeping me from getting overly excited about this Beatles song lovefest. Nice concept though.
Elizabeth: The Golden Age – Still haven’t seen the first one, so I’d need to catch up with that one before even considering this one.
Lake of Fire – American History X director is back, finally, with a new film. This one’s a documentary… apparently so no actors will take away his final cut.
30 Days of Night – Josh Hartnett zombie film. I think Hollywood is overdoing this zombie fetish of recent years. Maybe a rental if there’s good reviews for it.
The Heartbreak Kid – Throwaway Farrelly brothers. I could take it or leave it. Ben Stiller hasn’t been winning me over with his recent work (Night at the Museum, Meet the Fockers, Madagascar).
Dan in Real Life – Sorry Ty, Evan Almighty was garbage. And this looks worse. If I see it, it’s only because I’m hoping Carell can somehow salvage it.

POTENTIALLY NEVER SEE - DVD
Bordertown – J.Lo film with absolutely no advertising. Looks like it’ll tank… probably for good reason.
Saw IV - I hate this franchise. Die already.
Tyler Perry's Why Did I Get Married? – I’ll give Perry that his films make money… but they also tend to look like some of the worst crap in cinema history.
The Jane Austen Book Club – No buzz and sounds dull. Note to studioheads: Avoid putting ‘book club’ in your title… it’s not a selling point for a rousing theater experience.
The Martian Child – What is this?

In the Screening Room - Ingmar Bergman's The Seventh Seal

Session 010 - The Seventh Seal

Who saw it and what are your thoughts on it?

MTTM (#3) - 1408

a film by Mikael Hafstrom

ONE SENTENCE SYNOPSIS
a novelist who writes about and discredits paranormal activity finds himself trapped in room 1408, where the supernatural might prove real

HER TAKE
Based on a short story written by Stephen King, 1408 follows jaded supernatural phenomenon writer Mike Enslin (John Cusack) as he attempts to discredit New York City’s Dolphin Hotel room 1408 as a site of paranormal activity. While the movie focuses primarily on Cusack’s Enslin, Samuel L. Jackson briefly shows up as the Dolphin’s manager who earnestly tries to dissuade him from checking into the room—and don’t get too excited; despite top billing, Jackson graces us with his presence for all of 15 minutes total and you quickly realize you’ve been bamboozled into watching this movie with only Cusack to entertain you the rest of the way. That’s a pretty tall order if you ask me.

To enjoy this movie, you must go into it completely accepting the premise: that there is, (in a classic Sam Jackson delivery—think Snakes on a Plane), “an evil [expletive] room,” in the Dolphin Hotel. Unfortunately, even if you do accept this, the suspense and terror that ensues is not enough to keep this film from digging its own grave, stepping in and shoveling dirt back onto itself. While it does maintain a slightly elevated level of suspense throughout, it does not achieve the thrills and chills it promises in the trailer. Cusack is cynical and tortured (before he even gets to the room) and provides a bit of comic relief with his snide and pessimistic comments. And that’s about as good as it gets with the acting.

The story is something all together different. The basic plot seems like it would make for good horror but it quickly feels like the tossed out first run version of The Shining. It feels very incomplete with no explanation of how the room came to be so evil and no solid indication as to its final state at the end. The bulk of the story isn’t even really story. It’s just sequence after sequence of Enslin attempting to escape. Some light is shed on why Enslin is so disillusioned with his life but it’s not compelling enough to warrant empathizing with the situation he got himself into. By the end, there is no great revelation about his character that makes you care one way or another what happens to him.

My recommendation for this film is that if you don’t like scary movies but want to give one a shot (Halloween is coming up…) this one’s for you. It’s safe to say you’ll be terrorized minimally and might get some thrills from the standard Hollywood horror gimmicks. If you are a die hard fan of horror though (or at least have seen so many you are desensitized—thank you, Hostel), take an indefinite rain check.

HIS TAKE
It had me. The hotel room setting. The atmosphere. The creepiness factor. It was all working. I was sitting uneasily in my seat watching the creepiest turndown service committed to film. It was even getting tension from a freakin’ clock radio.

Then it goes and shows us the ghosts and totally ruins everything.

For a good half hour, 1408 was the unsettling piece of filmmaking I was hoping for. It wasn’t The Shining… but it wasn’t Identity either. It was eerie and disturbing and mostly entertaining. There was a slow burn to the scare, with the director Mikael Hafstrom stifling all the urges he previously showed in Derailed to browbeat you with every twist and turn in the storyline.

John Cusack stars as Mike Enslin, a dispirited schlock ghost story writer who debunks the tales of ghosts and goblins that hotels use as tourist attractions. His doubting pessimism offers some of the best moments of the film – especially opposite a nearly cameo-brief Samuel L. Jackson appearance (playing ‘The Dolphin Hotel’ manager Gerald Olin) – while Enslin shoots down every ‘attempt’ to scare him early on as an act… like it’s all just a staged play for his benefit.

‘Stars’ is a very appropriate term for Cusack’s role in 1408 because for long stretches – think Cast Away long – the film is a one-man-show. Short of the one single effective scene playing off of each other, those hoping for a Cusack-Jackson acting session will be wholly disappointed. And only disappointed more-so because it’s the best scene in the film, it arrives merely twenty minutes in, and Jackson’s hotel manager delivers some great words of warning to Enslin not to stay in that “evil f***in room.”

But as is commonplace in this genre of films, Enslin has inner demons that cause him to question the reality of ghosts and spirits and fear nothing (no points for guessing those demons don’t stay inner throughout). Apparently it isn’t enough to just be a non-believer, he’s got to be a non-believer because his daughter died traumatically thereby crushing his ability to suspend belief.

Well, at least it worked for a while. Director Hafstrom starts ratcheting up the scares gradually, for the time being using the Jaws theory of terror (the less seen, the better) as he relies on a clock and what amounts to an invisible maid who likes to fix the bed and fold the toilet paper elegantly. It has an unsettling effect, and like Enslin himself says, “Hotels are a naturally creepy place... Just think, how many people have slept in that bed before you? How many of them were sick? How many... died?”

But apparently any restraint Hafstrom displayed early only acted like a rubber band being stretched and stretched and stretched to capacity… pretty soon that puppy’s gonna break – and when it does, look out. Because during that remaining hour Hafstrom burns, freezes, lives and drowns in excess. Anything even remotely scary he throws in. Walls closing in? Check. Walls bleeding? Check. Doors won’t open? Check. Windows close on themselves? Check. Ghost attacks and visions of dead people? Check and check.

Then there’s that ending. The original ending that was edited out for theaters because it was too much of a “downer” but was reinstituted for its DVD release. From what I understand of the alternate theatrical ending, it should have stayed that way (and I would have watched that version had I known the difference prior to viewing) because this one is just brutal. It’s not only a downer, it’s a cop out… totally negating any reason for explanations and rationale.

Oh well. It started off well. It just closes in a big fiery inferno of overkill.

HER REACTION
Well, I had no idea that there was an alternate ending. From the description of it, it may have resolved my issues with the confusion at the end but I'm still not convinced it would have made me any happier. I'm surprised it had you even for a minute. I mean, okay, there were moments of tension but it "had" you? Really? Ah well, we agree overall. That's the important thing.



HIS REACTION
Okay, so we took two separate paths to the same place. I went in with relatively high expectations, especially for a John Cusack movie (I’m not his biggest fan). But with the critical reception it received and the addition of Samuel L. Jackson to the cast… yeah, it had me hooked in for a little while. That is, until I realized I’d been duped into another blasé Mikael Hafstrom ‘thriller’, with only Cusack there as my guide and Sam Jackson having the good sense to bail out almost entirely by the twenty minute mark.

Side note: 1408 was based on a Stephen King short story, yes, but that short story was originally just a writing exercise for his On Writing novel. It was conceived to illustrate a basic “How to Write a Short Story” and has all the depth of that initial idea… it feels like an unfinished thought or premise.



written by Brian and Rebecca

Recent Watches: October 2007

Well, I intended to post the most recent "Married to the Movies" article today on 1408 but due to my own laziness, an I-95 delay, a late train arrival and my own ineptitude for leaving my portion of the review at home... yeah, that's been delayed until tomorrow.

So instead, here's the already terribly late "Recent Watches" category for everyone to throw their two cents in on. I've watched quite a bit more recently, including The Darjeeling Limited, Transformers, Singin' in the Rain, and City Lights that need talking about. Plus the leftover ones I never got around to discussing like The Brave One, The Dirty Dozen, The Groomsmen, Evan Almighty, etc. etc. etc.

Since that's a rather daunting list, maybe I'll break it into comment posts, 1 at a time? Who knows.

For now, I'll leave you with my thoughts on Transformers which I've already discussed my reaction on with Rebecca yesterday...

"Meanwhile, I watched about half of Transformers on the ride home yesterday (I've since finished it and still echo these sentiments 100%) and it was every bit the crapfest that I expected. Good lord who likes this stuff? And I used to be a Transformers kid too. I just don't get it anymore. Why is every guy excited for Transformers and 300? I guess it's the robots and loin cloths? I dunno. Wait, I've got it. The reason Transformers is worthwhile... it makes you feel like a freakin' genius while watching it (it's so stupid it's ridiculous). I did find it absolutely hilarious that even though this film is dumb as dirt (robots actually say "My bad" in it), they still find time to take a shot at President Bush (you hear what can only be described as a very southern voice as the president ask for some ding dongs... no freakin' kidding). Genius. Then the 'hot flight attendant' character in the next scene drops it on the ground and then proceeds to eat it. Yuck. Gotta love that quality of writing. Oh yeah, and a recent high school grad (the 'hot high school grad' character) is telling the NSA how to do their jobs. It'd be great camp if they weren't playing it so deathly serious. Ah... and one last thing, the whole thing feels like a big car commercial thus far. I wonder how much Chrysler and Cadillac paid to be a part of this film?"

Yeah, Transformers sucks. Shia is the only one who gets out without a scratch, everyone else needs to do some serious apologizing for this one... ugh.

In the Screening Room - Michelangelo Antonioni's Blow-Up

Session 009 - Blow-Up

Who saw it and what are your thoughts on it?

Your Completely Topic-Free Discussion Forum for Anything and Everything Entertainment-Related during October

Since I felt that we were getting a little too specific in our topics... mostly discussing a specific film at a time ("In the Screening Room" and "Married to the Movies"), I felt that we needed more of an open-forum area for discussion on whatever topic we so chose. A place for us to write about something that we feel like debating, whether it's completely off topic from the other posts or not. Thus the wordily-titled "Your Completely Topic-Free Discussion Forum for Anything and Everything Entertainment-Related during October."

And I'll start off the discussion this month with an example of how non-essential this topic can be taken... in the event that The Darjeeling Limited opens this weekend - and in the event it opens only in DC... I think we should get a roadtrip up there to see it. There are so many films I've been missing out on recently that I need to see (Eastern Promises, Into the Wild, 3:10 to Yuma, In the Valley of Elah thus far) that I don't want Darjeeling added to that list. When it opens, I'm all over it. I know Rebecca is up for it if we can work out a time. Let's get it together. Ditto The Assassination of Jesse James.