The Parent Trap (1961)

Sharon McKendrick (Haley Mills) and Susan Evers (Haley Mills) couldn't be more different. Sharon, from Boston, is a prim and proper young lady schooled in etiquette. California-bred Susan comes from horse ranch and relishes the outdoors. Two girls so different could never be so alike. Or could they? Their first meeting at summer camp leads to an all out war. It's not until camp counselors place the two in solitary confinement that they discover they are twins, separated as babies when their parents, Maggie McKendrick (beautiful Maureen O'Hara) and Mitch Evers (steely-eyed Brian Keith), divorced. With just a few weeks left of camp, the sisters hatch a plan to switch places, get to know their other parent and ultimately reunite them.

Walt Disney's The Parent Trap is rambunctious fun thanks to a fine performances all around. Mills is the star of the show, but she's constantly threatened by the likes of O'Hara {whose metamorphosis from dull socialite to motherly vixen is phenomenal} and character actress, Una Merkel. Mills walks a fine line of sweet and sassy that never overreaches. As polar opposites Susan and Sharon, Mills' acting chops are challenged and she delivers swimmingly.

Elegant Boston and sunny California make for beautiful settings for the twins' adventure. The film charms you with top-notch performances, an engaging musical number, and non-stop fun.

Much like The Swiss Family Robinson, Mary Poppins or 20,000 Leagues Under the Sea, The Parent Trap is a must-see Walt Disney classic.

Pollyanna (1960)

Disney golden girl Haley Mills stars as Pollyanna, the sunny side up orphan who comes to live with her Aunt Polly Harrington (stunning Jane Wyman) in Harrington Town. Obviously, the wealthy aunt gets more than her say in the town's affairs and that has created an embittered populace. Little Pollyanna, with her eternally sunny disposition and 'glad game', soon raises eyebrows. When the town and Aunt Polly showdown over a proposed orphanage and Pollyanna suffers for it, everyone realizes how important this little ray of sunshine has become.

Walt Disney's Pollyanna is genuine Americana complete with picket fences and apple pie. Unlike the films of today's Disney, Pollyanna instills a positive message that isn't sickeningly sweet. Instead, the viewer is uplifted and nostalgic for more.

Haley Mills provides a spot-on performance of sweet innocence. The ever-cute Mills plies a believable role of childhood. Kevin Corcoran (Old Yeller, The Swiss Family Robinson) as her orphaned friend Jimmy is adorable, but I really enjoy Karl Malden as the fire and brimstone preacher Rev. Ford. Pollyanna wins him over in due time, of course.

Pollyanna is family friendly entertainment that recalls a time when children were treasured, families were sacred, communities were extended family members and right always won. C'mon, you know you want to visit.

Far and Away (1992)

Young Irishman Joseph Connelly (Tom Cruise) dreams of America where land is free. Young socialite Shannon Christie (Nicole Kidman) is tired of her family's old fashioned ideas and dreams of being modern. Together, the two set off to conquer their dreams. Upon arrival, the two part only to have fate thrust them together again. Shannon is quickly swindled out of her small fortune and looks to Joe for guidance. Connelly leads by example. Digging his heels in, determined to do whatever it takes and soon finds himself a champion bare knuckles boxer. Shannon follows his lead. Taking jobs and saving money, the two struggle to make their way in the new world.

Far and Away, a period epic from writer/director Ron Howard, is a grandiose tale in style and texture. The film is beautiful to behold. 19th Century Boston is hard, gritty, and loud. Howard's production feels overwhelming. He pegs the hostility of a strange world, this paranoia of sorts perfectly.

Adding to the extravagant production, are Cruise and Kidman. With obvious chemistry, the two play off one another well, building a believable relationship that grows from suspicion to trust and ultimately life and death.

The cinematography is easily the film's best asset. It romanticises the film and ultimately creates the film 'epic' running time. No frame is wasted. The dialogue and underlying subplots are Far and Away's weakness. The dialogue has no depth and Howard insists on chatter when none is necessary. His dedicate to the Christie's is commendable, the story would have been better served detailing our young couple.

While predicable, Far and Away is a solid period drama. Howard leans towards the romance, but it's the framed beauty of the story's surrounds that make the film. Fans of the genre will no doubt enjoy.

Singles (1992)

Let me just say this: I don't get this movie. The film synopsis says this: "Generation X neighbors share their bittersweet, intertwined stories of the single life in director Cameron Crowe's quirky, witty comedy set against the backdrop of Seattle's grunge music scene." To which I would reply: LIAR! I queued Singles solely because of Crowe's Almost Famous and Elizabethtown.

The film centers about a group of twenty-somethings (Matt Dillon, Kyra Sedgwick, Campbell Scott, among others) who lead inane lives, hooking-up and breaking-up to cuts from Pearl Jam and Soundgarden. Kill me now.

Music plays such an integral part of Crowe's films and rightly so, but this film didn't survive 30 minutes. I tried and failed miserably. In all fairness, I'm not this film's demographic. But I have a strange feeling that this might be the Gen-Xer's Breakfast Club.

Le dîner de cons (1998)

A group of French intellectuals gather each Wednesday for dinner and to answer a challenge: who can bring the evening's most idiotic guest. This time, Pierre (Thierry Lhermitte) thinks he's won with François (Jacques Villeret), a local city worker whose passion is building architectural models out of matchsticks. Unfortunately for the smug Pierre, karma is coming to collect.

The Dinner Game is a contrived comedy of errors that quickly becomes dull and mean spirited. I expected a more subtle, classier film that this mediocre waste. Perhaps there's something to 'get' about French humor. Or maybe they are poor imitators. Bad backs, stupidity, tax auditors, nymphomania, sheer stupidity--I thought it was a poorly translated American flick. It was the no fart jokes that made the difference.

Le dîner de cons is utter foolishness and French at that!

Rachel Getting Married (2008)

Rachel (Rosemarie DeWitt) is getting married; so druggie little sis Kym (Anne Hathaway) is getting out of rehab for the weekend. Self destructive Kym, who's been in an on again-off again drug induced stupor for the past decade is returning to her parent's home to help celebrate the nuptials. Kym arrives just in time to rehash long standing family conflicts with a self-righteous/control freak sister, the undermining best friend, a self-absorbed mother, and a father who--well, let's just say it's going to be very busy weekend.

Rachel Getting Married is a human drama of self destruction and assaulting political correctness with Johnathan Demme at the helm. Recalling the buzz around Hathaway's 'amazing' performance and Demme's 'little film that could', I can't believe THIS is the film everyone {air quotes} was talking about.

Demme attempts to create an art film here with multiple story arcs of loss, pain, hate, love, and redemption. All we get is an affluent family that chooses to whine instead of cope with life. Waaaa! I'm sad.

From the various ethnically correct social network to the painfully forced dialogue, Demme tries to smash events together and create a cohesive weekend of wedding events. Nothing works here. The forced confrontations between Kym and practically everyone onscreen are devoid of any emotional depth or character that would make this viewer--any viewer--care. I think Demme realizes this as he forces Kym to crash {mildly} a car. When that doesn't work, he has Kym smack her mother.

Rachel Getting Married served only to irritate me. For 90 minutes I put up with mediocre acting, political correctness and pseudo melancholy expecting a payoff of some merit. WRONG!!

Kudos to Demme for one thing: Creating a steaming pile of sh!t and successfully passing it off as pate.

Twilight (2008)

After her mother remarries, Phoenix native Bella Swan (Kristen Stewart) moves to the small town of Folks to live with her father. The pale-faced girl's arrival to the town has the locals talking. Adjusting to a new school mid semester is even more difficult thanks to the odd boy with perfectly coiffed hair. Strangely attracted to the equally pale faced Edward Cullen (Robert Pattinson), Bella will stop at nothing to get to him--only to ask--who does your hair?

All jokes aside, Twilight is a tween and desperate housewife phenom. The first book of Stephanie Meyer's vampire series makes it to the big screen with director Catherine Harwicke (thirteen) at the helm. Twilight is a harmless, cliched romance that unexpectedly charmed this viewer.

Bella actually falls for the mysterious, brooding classmate, who inadvertently endangers her life, because he's a vampire.

Twilight starts Kristen Stewart and Robert Pattinson, but the real star of the show is Pattinson's luscious locks. Never out of place, Pattinson's hair delivers a gorgeous performance and reaches astronomical height thanks to, I think, L'oreal's new line. Pattinson is beautiful to behold with dark eyes and a powdery white complexion to rival a geisha. Equally beautiful and stiff, is Kristen Stewart. Her hair is just as gorgeous, but plays second fiddle. It's her faux sensuality and not-so subtle 'come hither' during the entire movie that's remarkable.

If Hardwicke had replaced all of these rolls with adults, we'd have a fun vampire dramady on our hands. But we don't. Instead, we have Twilight.

As I see it, Twilight is a mediocre story with beautiful people in a perfectly melancholic setting that the tween set and unfulfilled soccer moms will eat up. I, too, fell under it's spell thanks to unintentional humor, corny dialogue, Pattinson's brooding eye brows/amazingly hot car and a great soundtrack.

Seriously, the potential here is solid. Much like Harry Potter and the Sorceror's Stone, Twilight sets up interesting mythology, enigmatic characters, and just enough ambivalence to make you want more.

Postscript 3.25.9 The comments on this post actually led me to watch this one again. I'm standing by the review. Perhaps it's all lost in context. Regardless, Twilight is mind-numbingly predictable and--no apologies--funny has Hades. It makes me laugh.

The Hustler (1961)

"Fast" Eddie Felson (Paul Newman) is a pool hustler. Young, brash, flawed, and brooding, Eddie travels the country hustling games and aims to dethrone reigning pool hall champ, Minnesota Fats (Jackie Gleason). Their first match-up leaves Felson's confidence shaken and he struggles to define himself. Is he a born loser? Enter the equally flawed Sarah Packard (Piper Laurie). The two quickly form a tragic friendship. Eddie struggles between his love for Sarah and the hustling that provides the thrill. When the two worlds collide, Eddie bets it all on one high stakes rematch.

The Hustler is a brooding, emotional drama with some of the finest performances on film. As Fast Eddie, Paul Newman unleashes a multifaceted role that this viewer loves to hate. Fast Eddie wears a facade arrogance and rebellion to hide loneliness and self-hatred. Newman is seamless in this volatile role. Jackie Gleason is an understated surprise as Minnesota Fats, but it's George C. Scott's performance as Bert Gordon-the hustler out-hustling the hustler-that matches Newman scene for scene.

Writer/director Robert Rossen brilliantly uses the B&W cinematography to provide a seedy underworld feel, but also to underscore an emotionally taxing story. It's wonderfully filmed and seamlessly edited to subtly manipulate the viewer into submission. The overly melodramatic score is a glaring irritation.

On a more personal side, I viewed this film over the course of three days. Day one was a monotonous set-up for Eddie's first challenge to Fats. Day two was the spiral to heartbreak and broken thumbs. Today, day three, was a much deserved finish for the moral high road.

I'm torn here. The Hustler is undoubtedly deserving of it's place in cinematic history. But as I see it, {God help me}, viewing The Hustler was a chore--much like reading Moby Dick. Glad to have seen it, but more glad to have it behind me.

Lean on Me (1988)

Principal 'Crazy' Joe Clark (Morgan Freeman) will do whatever it takes to educate young minds. When charged with reforming Eastside High School, Clark is determined to change test scores and prevent state takeover of his beloved high school. Facing down hoodlums, graffiti-covered hallways, decaying minds and uncaring teachers, Clark takes extreme measures to succeed. Expelling gangsters and teachers alike, Clark takes the moral high ground and unites the students. Based on a true story, Lean on Me is the story of a man who will do anything to give kids a chance.

Styles were so outlandish 20 years ago, it's comical and almost distracting. No, it's distracting. Pegged acid washed jeans, huge earrings, those jumpsuits and teased hair... Obviously, Lean on Me hasn't aged well, but the uplifting message lives on. Morgan Freeman stands along in a virtual no name cast. As Clark, Freeman is a powerful character, commanding respect and ultimately the direction of the film.

Lean on Me contains solid, if melodramatic, story-telling. Director rightly focuses on Clark, despite potential for arresting subplots. The ending is swift and altogether too {unrealistically} resolved.

Much like the song, Lean on Me isn't awesome--it's not bad either. As I see it, spend your time on the better known 80s fare.

Die happy

As of precisely 10:12 this morning, I am the proud owner of seats 3 and 4 in row 13 of section six for Coldplay's Nashville stop on their 2009 Viva la Vida tour. *faints* So maybe I will be on bread and water for the next two months, I have COLDPLAY TICKETS!! *faints, again*

On 6.7.9, I can die happy.

Bonus Feature: CD

The marketing campaign behind U2's long awaited album, No Line on the Horizon has been ho-hum at best. A whole week with David Letterman blows. An appearance on Good Morning America?! What?! Are you trying to remain relevant or are you content with the adult contemporary label?

Rushing to purchase on drop day, I couldn't wait to get my hands on U2's latest creation. First impressions?! Well, let's just say there is a reason I waited to review. My initial impression: let down.

There is no obvious single jumping from the CD. Get on Your Boots--the opening performance at the year's Grammy awards--is as rockin' at it gets. That's a cool song, but listener be warned. U2 is almost mellow here.

It's only after repeated listens, that the subtlety emerges. The title song is beautiful and expansive--a warm up for Bono's superior vocals. Magnificent, guaranteed to be the most radio friendly, is reminiscent of Beautiful Day. Moment of Surrender is an early favorite, containing Bono's trademark lyricism and stellar guitar melodies from The Edge.

The album is one s-l-o-w burn. Even now, I'm leaning towards this one being a footnote for the band. I don't get it. Bono's strong social-political leaning are cryptically encased in gentle songs. Perhaps I'm not intelligent enough to 'get' it, but I not too sure there's anything to 'get'.

No Line on the Horizon isn't gonna make it with mass audiences. There is no clear single and thanks to a marketing bomb... well, I don't see it. Fans of the band will find something to celebrate here, i.e. tracks 1,2,3 and 6 {are Ipod worthy}, but I don't see this one entering constant rotation anytime soon.

Hud (1963)

The Bannon family have been cattle ranchers for three generations now. Homer Bannon (Melvyn Douglas), the patriarch, is an honest no-nonsense man who's successes solely depend on his ability to work hard. Hud Bannon (Paul Newman), disaffected and self-centered, is the only surviving son who's actions continually threaten the old man's stern nature. Caught in the middle is fresh faced grandson Lonnie Bannon (Brandon de Wilde) who is idolizes Hud, but respects his grandfather too much to cause him the grief and pain that Hud causes. Disease among the well-invested herd, a beautiful housekeeper Alma (Patricia Neal), and Hud's undermining antics force a stand for each man with great repercussions.

Present day viewers expecting a western in the traditional sense, be warned. Hud is a character study. The film is simple in nature. Filmed in beautiful B&W with award winning cinematography, Hud stands on the nuanced performances of it's cast.

Hud is a defining classic in the filmography of Paul Newman. He explodes onscreen as Hud--an alienated youth, caught between his desires and what's right. The boy lives rashly either in an attempt to distant himself for his brother's death or to bring about his own early. You decide.

Equally riveting is Melvyn Douglas' Oscar-winning role as the elder Bannon. His gruff demeanor masks a life of love, loss, and hard-work--he wear it all, proudly, as a badge of honor. But his hardest challenge... Hud is his son.

de Wilde is nice foil to the heavier roles of Newman and Douglas. Pitch perfect as Lonnie, de Wilde is the wild-eyed boy with a transistor radio in his pocket, coming of age, and trying to determine where he fits.

Patricia Neal simmers in sexuality as Alma. The lone woman in this family, she centers and disciplines them all before becoming a causality of the Bannon men.

Two elements of this film serve to enhance these masterful performances. The B&W cinematography from James Wong Howe is powerful. The Bannon family, framed among the arid and gritty backdrop of Texas with wide shots of lone silhouettes evokes strong emotion for the viewer. Silence is used in a powerful way. It punctuates an already terse father/son conflict.

Hud is a dramatic masterpiece. Under Martin Ritt's direction, all of the key elements fall into place and it is beautiful.

30 Days: Season 2 (2006)

Morgan Spurlock, the man behind the through provoking documentary Super Size Me (2004), brings another season of social experiments to the small screen. 30 Days is based on one simple premise: Life in the opposing view for thirty days. It always makes for interesting television. This two disc set contains a couple of eye-opening, thought-provoking co-habitations.

Season two begins with a legal Cuban immigrant turned border patrolling minuteman who moves in with an undocumented Hispanic family. The clash is subtle and while it doesn't aim to change your mind; it will change your heart. Opposite sides of abortion, outsourcing, and New Age healing make for interesting exchanges.

The highlight is Spurlock himself going to prison for thirty days. He doesn't seek to shock, goad, or exploit. Instead, he presents the facts and his thought on it. Spurlock always succeeds in asking the questions or examining an angle that society has seemed to overlook. Sometimes the answers even seem easy.

30 Days is a crash course in empathy. Spurlock doesn't hesitate to examine the dirty secrets of our society. His matter of fact approach always makes it interesting.

Låt den rätte komma in (2008)

Twelve-year-old Oskar (Kåre Hedebrant) is the constant target of bullies in his small village near Stockholm, Sweden. He spends his time plotting revenge and obsessing over news of the heinous murders around town. Things change for Oskar when Eli (Lina Leandersson)--another twelve-year old--moves into his building. Eli is an outcast, too. But Eli is also a vampire. A friendship blossoms and together they find acceptance and courage to live.

Let the Right One In is from Swedish director Tomas Alfredson. While I think much of the alliteration is lost in the English dubbing {where do they find these people for voice-overs?!}, the film is a fresh, original addition to the vampire genre.

The young leads are remarkable, especially Leandersson. She speaks volumes as the emotionally distant, yet vicious Eli. In contrast is Oskar. Mild and frightful, Oskar is horribly introverted. His fascination with Eli comes from within. It's as if Eli is what Oskar has buried deep inside. The dialogue is simple between the two, but the connection is beautiful. Trading chemistry as downtrodden, confused youngsters, these two have the control of seasoned veterans.

The film is a unique blend of Lord of the Flies and Stand By Me for the Interview with a Vampire set. Containing the lore of vampires with the morality of the aforementioned, Let the Right One In becomes a modern day, i.e. real, story of young, conflicted love.

Delicate scoring and muted cinematography add to this film of contrast. The aesthetic is sparse, but emotionally rewarding and equally draining. It's filled with a foreboding that chills the soul.

Låt den rätte komma in is not for American audiences--the gentle nature of the story will bore the average movie-goer. This film makes the likes of Underworld or Bram Stoker's Dracula look clunky. As I see it Let the Right One In will only be appreciated by fans of the genre.

Death Race (2008)

Jensen Ames (Jason Statham) is a wrongly convicted man who's been framed for his wife's grisly murder. In order to win his freedom, Ames must complete in a brutal three-day car race against fellow inmates. Behind the wheel of a car framed with metal plate, machine guns, spikes, and missile launchers, Ames is competing in a race for his life.

This Mad Max-Le Mans hybrid is remarkably lame. Death Race is a train wreck despite director Paul W.S. Anderson's best intentions. A cast led by Statham also includes Joan Allen as the evil warden, Ian McShane in a role best suited for Morgan Freeman, and Tyrese Gibson can't do anything with this mess.

I'm fine with a plot that is summed up in a few opening title cards and one short sequence. An informed viewer doesn't expect character development here. All moviegoers expected entertainment. Three stages of death racing later and I'm ready to take my own head off. This isn't entertainment. Inept action sequences, graphic-nonsensical mutilations, and monosyllabic dialogue causes boredom to set in quickly.

Death Farce, er Race lumbers along in ignorance. What puzzles me more is how Stephen 'Pop Culture' King can say the film is biting satire of reality TV. As I see it, the only thing this film bites is the dust.

Willie Wonka and the Chocolate Factory (1971)

My adoration for the odd story of chocolatier/candy man Willie Wonka (Gene Wilder) and five naughty, nasty kids is no secret. Tonight, I caught my favorite version on Telemundo. Si. Telemundo.

Even dubbed in Spanish, Willie Wonka and the Chocolate Factory is a treat. It holds up surprisingly well in translation. The one disappointment? Musical number are conveniently edited during commercial breaks. I was really looking forward to Grandpa Joe (Jack Albertson) singing, too.

Knowing the film as I do, there was no language barrier, it was just strange to hear those words coming from these beloved characters.

As I see it, there's no good reason to see the film in Spanish. But fans of classic will delight no matter the language.

Sleepwalking (2008)

Joleen (Charlize Theron) is a messed up mother to 11 year old daughter, Tara (AnnaSophia Robb). She ditches the kid with her brother James (Nick Stahl) who's trying to get his life together. James is unprepared for the new role. Tara is a child trying to cope with the abandonment of her mother. With the threat of child services at the door, the pair hit the road, and I think, probably discover what 'family is all about'--I don't know as I could not stomach more than 30 minutes of this self-important messterpiece.

Directed by Bill Maher, written by Zac Stanford (readers of my early reviews will remember The Chumscrubber, same guy), Sleepwalking is a mess. The parallels to Chumscrubber are obvious, but this movie falls flat. Casting seems to be a huge issue here. Robb was great in Charlie and the Chocolate Factory and a wonderful surprise in Bridge to Terebithia. This role seems beyond her emotional scope. Theron seems genuinely disinterested in the role. Stahl... well, I gave up. Woody Harrelson and Dennis Hopper cameo.

I enjoy bleak and morose human drama more than the next person. Depressing, despairing, melancholy--I'm in. This was simply ugly. Sleepwalking is a disappointing waste of time.

Domino (2005)

"My name is Domino Harvey. I am a bounty hunter." The blessed offspring of Laurence Harvey and supermodel Pauline Stone, Domino Harvey had a beautiful life. Blue bloodmodel turned sexpot bounty hunter, Keira Knightley stars in this roughly based story of Harvey's glamourous, but gritty life. Mickey Rourke and Edgar Ramirez co-star as Domino's mentor/friend.

Tony Scott directed this crazed non-linear tale. Spastic editing and choppy roughshod cinematography do nothing to save or stylize this convoluted story. Knightley narrates the film, as it flashes back from present day to clue the viewer in as to how Harvey finds herself bloody, battered, and in FBI custody. An interrogation by FBI agent Taran Mills (Lucy Lui) serves as our catalyst.

Domino is intriguing mainly because of the engaging cast. Knightley--in an unlikely role--delivers with grace and substance. Pouty, dangerous, and extremely self-aware, Knightley plays Harvey as confused, looking for escape. She's broken and wants to be fixed. Rourke and Ramirez stand by to affirm Knightley's kick ass-ness.

This film is a mess! Chrisopher Walken, Mira Suvari, Ian Ziering, Brian Austin Green are all involved in a crazy subplot.

Who knows what Scott was aiming for?! Shock value? Media distortion? Redemption? Whatever... I'm pretty sure it's not here.

Less indulgence and cohesive editing would have greated a thriller to rival the Man on Fire aesthetic. Instead, we're stuck in an overstyled headache that just doesn't end soon enough.

In Bruges (2008)

After accidentally killing an innocent boy in London, hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) are sent to lay low in Bruges, Belgium. Told to act like sight-seeing tourists by their boss, Harry (Ralph Fiennes), the two professional have a difficult time adjusting to the fairytale town. Bored and trying to cope, Ray is spending his time drinking while Ken takes in the sites. Waiting it out begins to take its toll and the eclectic locals of Bruges soon have them in trouble.

Director and screenwriter Martin McDonagh's black comedy has a very human heart. Farrell and Gleeson have brilliant chemistry. Both trade barb for barb wonderfully. Farrell is the real surprise as Ray. The young man, sick and despairing after killing the little boy is reexamining his existence. Farrel plays him with real emotion and sardonic wit. Farrell is at the top of his game; he's moody, but his comedic sense of timing is spot-on. Ken is the seasoned professional and Gleeson plays him a cold mentorly-type until Bruges unlocks the tender, fatherly side of things. Ralph Fiennes, in a role as perverse as Amon Goeth, plays up his quirky crime boss perfectly.

Adding to the mayhem is a varied low of townsfolk, a midget, and couple of angry Canadians. McDonagh works every angle and it's easy to see the cast is relishing the work. Bruges is a character in its own right. The cobbled streets and medieval history of castles, spires, and churches is an odd setting. But under McDonagh's direction, it's alive and plans to sock you in the mouth.

The screenplay is existential, almost nihilistic, in nature, but McDonagh tempers the philosophy with sharp humor and brutality. By allowing our protagonists to stew on their recent actions, McDonagh opens the door for coping and each hit man does it his own way for hysterical, but decidedly morbid results. The film is simply full of crazy goodness with it's unexpected turns, provoking laughter or tears when their shouldn't be and causing the viewer to care for our conflicted criminals.

As I see it, In Bruges is brilliantly executed with top-notch performances, strong direction, and thought-provoking humanity amid memorable dialogue and stunning cinematography. What makes it a must see is the absurdity of it all.