Clue (1985)

Wadsworth (Tim Curry) the butler is our host for the evening.  Alongside Col. Mustard, Prof. Plum (Christopher Lloyd), Mrs. White (Madeline Kahn), Miss Scarlett (Lesley Ann Warren), Mr. Green, and Mrs. Peacock, you must investigate the creepy mansion to discover who killed Mr. Boddy and live to tell it all.

Inspired by the Parker Bros camp, Clue is a goofy whodunit that is suprisingly solid.  The humor is smart, swarmy, and often slap-stick.  Tim Curry leads an emsemble cast that makes the movie incredibly fun.  Madeline Kahn is a hoot!  The hectic pace keeps everyone on their toes.  Add dialouge that works on several levels and you've got a gem.

As I see it, Clue is a melodramatic riot!  It's a perfect blend of 80s cheese.  I loved every minute of it.

12 Monkeys (1995)

Year 2035 and prisoner {of what, I don't know} James Cole (Bruce Willis) reluctantly volunteers to go back in time to discover the origin of a death pathogen that wiped out Earth's population years earlier.  His time warp is error proned and his trip to 1996 turns out to be 1990.  In the 90s he's nothing but mental ward nominee and is quickly confined as such.  There he befriends Dr. Kailly (Madeline Stowe){whatever happened to her?} and son (Brad Pitt) of the virus' inventor (beautifully played by the distinguised Christopher Plummer)

To be honest, I kinda hate 12 Monkeys.  Terry Gilliam's sci-fi fantasy blows my mind--often times not making the connections I need.  The plot is frustrated for those slow on the uptake.  The only catalyst for not really hating it are the amazing performances by Willis, Stowe, Plummer, and particularly one young Brad Pitt.  They are fascinating to watch.  I suppose the movie is too. 

Pitt as an idealistic, schizo-prone crusader is fascinating.  He shows great command in this role and creates a multi-faceted character.  Willis' frustration as Cole is palpable.  As I mentioned earlier, Christopher Plummer is practically regal in this supporting role.

But... and it's a big one... what in the Hades is going on Terry Gilliam?!  I 'get' the overall plot, but I'm uncertain that we arrived a sufficient ending or that we properly executed the events leading up to the anticlimatic ending.  There is too much chaos and randomness for anyone to take hold of anything.

12 Monkeys, as I see it, is sometimes contrived and quite possibly could lead to madness.  For those willing to take the chance, you will be rewarded with Brad Pitt's stellar performance (and a really interesting setting in the mental hospital), but nothing else.

The Last Castle (2001)

The impetus for seeing The Last Castle is simply my fascination with the former Tennessee State Penitentiary. Filmed almost entirely on location at the aging fortification, this film is a surprisingly OK drama. The prison looms large onscreen and is threatened only by Redford.

Robert Redford is General Eugene Irwin--a highly decorated and revered Army hero. The former POW is court-martialed for disobeying direct orders and is sentenced to time at The Castle, run by Colonel Winter (James Gandolfini). Upon his arrival, Winter is immediately threatened by Irwin's natural leadership. A castle can have only one king. So the battle begins.

The Last Castle asks a philosophical question. What makes a leader? Director Rid Lurie answers his question with action and average performances. Redford--looking horribly aged--is a stoic Army officer who has seen and been scarred by it all. In grave contrast is Winter--an overcompensating bully who rules by fear, not respect. As Redford plots to overthrow him, Winter pushes back with violence.

Back to the location, the prison is an integral part of the film. Restored for key shots, the brooding Gothic architecture is beautiful. Lurie is cognizant of this and allows for wide, sweeping angles--of the outer walls, at least.

As I see it, The Last Castle is a nice drama. The film maintains its simply integrity though the wheels often threaten to fall off. Careful examine of The Last Castle will result in the discovery of clichéd, underdeveloped characters and some dumbfounding leaps of faith. The Bridge of River Kwai it is not.

Dangerous Beauty (1998)

Cursed by her station, Veronica Franco (Catherine McCormack) has two choices: join a convent or become a courtesan. Following in her mother’s (Jacqueline Bisset) footsteps, she chooses the latter. Veronica quickly finds her powers over men and the court rising. Before long, Veronica is faced with the nobleman (Rufus Sewell) that spurned her.

Inspired by the true story of Franco who would be a lover, poet, hero, wife, and a victim of the Inquisition, Dangerous Beauty is an intelligent period piece. Set in 16th Century Venice, the film is both lavish and eloquent.

Catherine McCormack (28 Weeks Later, Braveheart) is stunning as Veronica. Her onscreen evolution is brilliant. Bisset is also beautiful in her supporting role. Rufus Sewell as the tortured nobleman is solid, but Oliver Platt is amazing. His Maffio deviant turned Monsignor oozes evil.

The history lesson is short, but the romantic passion is real. The film centers on Franco’s enchanting power and her ability to use it. She ultimately turns the war in Venice’s favor. This is a film of untold courage and tenacity.

The production is gorgeous. Opulent settings and the highly detailed costuming are enchanting. The dialogue is strong and surprisingly witty. The banter between court and courtesan is biting. The supporting score is inconsequential against the strong emotion found in the cast.

As I see it, Dangerous Beauty is a must-see for lovers of historical drama. Romantic and captivating, it’s a rare honest beauty.

I Love You, Man (2009)

Real estate broker Pete (Paul Rudd) is a girl’s guy. His idea of a perfect date is a shared bottle of wine and the movie, Chocolat. After proposing to Zooey (Rashida Jones), he realizes the wedding party is a wee bit uneven. Pete has no guy friends and so begins his search for a best man. During an open house, he meets Sydney (Jason Segel)—an honest, if goofy man that might just be best man material. But can their courtship survive Pete’s engagement?

I Love You, Man is a comedy that tries to appeal to both sides of the aisle. Part bro-mance, part romantic comedy, the film falls short and it’s not for lack of trying. The chemistry between Rudd and Segel feels authentic, as does the Rudd/Jones combo. It’s the formula that gets in the way.

Casting is fun. J.K. Simmons, Andy Samberg, Jamie Pressly, and Jon Favreau support and often threaten to run off with the show. Simmons is particularly charming as Pete’s everyman father. Jones—as in The Office, just doesn’t do it for me. Rudd is holds his own, but Segel runs with it. Much like Forgetting Sarah Marshall, Jason Segel has the physique to be relatable and the chemistry to match.

The film is overly sentimental and suffers from mediocre dialogue. The addition of disgusting (but seemingly required) gags and humor parlay the male vote, but were a quick turn off for this viewer. The entire cast seems to ad-lib with obvious enjoyment.

As I see it, I Love You, Man is more sophomoric buddy movie that romantic comedy. Approach as such and you’ll find it much more fun.

9 (2009)

After a raging war between man and machine, stitch punks are the only remaining creatures on Earth. These rag-doll creatures were the last hope for the Scientist. Survival is a struggle for the rag-tag group led by 1 (voiced by Christopher Plummer) who deems fear essential to life. 2 (Martin Landau) discovers 9 (Elijah Wood) disoriented and confused, bringing him into the group. When one of their kind is ‘sacrificed’ for the better good, 9 challenges their leader. Shock, but intrigued, the remaining stitch punks must stand tall if they truly wish to survive.

Wonderfully dark and post apocalyptic, 9 is a visually stunning film co-produced by Tim Burton and Timor Bekmambetov. Directed by Shane Acker, 9 is an arresting spectacle. The animation is top-notch, adult in nature, with untold action and detail. The Burton/Bekmambetov influences are strong, but never overshadow this fit little number.

Credible voice work by the aforementioned, John C. Reilly, Jennifer Connelly, and Crispin Glover are delightful. Though the film is essentially a one-note plot, it’s the distinct personalities of these rag-doll creatures that keep your attention.

Themes courtesy of Danny Elfman serve to further the atmospheric nature of the film. Director Acker does remarkable stuff with his short story turned debut feature, but the film has much unrealized potential. Clocking in at less than 90 minutes, 9 is brilliantly executed with macabre and sometimes quizzical elements that play to the film’s strength.

As I see it, 9 is an interesting animated piece. Not typical Disney fair thanks to a set of off-beat protagonists and bleak subject matter. Things do not bode well and while it’s dark, often creepy, 9 never fails to entertain.

Postscript 01.02.10 ~ I was excited to finally sit down and revisit this one.  But what I came home from the theatre with (and blogged about) is different than what I saw tonight.  I'm a wee bit disappointed --kinda like The League of Extraordinary Gentlemen.  The idea is brilliant, but after tonight, I'm not sure what I saw.  The animation is techinically amazing.  The stitchpunks are interesting, but the film lacks something.  What, I am unsure.

American Psycho (2000)

Patrick Bateman (Christian Bale) is a beautiful thing. The young Wall Street executive has everything—education, status, looks, intelligence—but a soul. By day, he competes among other young cocks on the Street for the best reservations. By night, Bateman fulfills his murderous desires brought on by the day. Bateman’s hints at his pathological desires are dismissed by his friends furthering his rage. Bateman’s prey must endure soliloquies on Phil Collins and Huey Lewis.

American Psycho is a flawed masterpiece. Christian Bale is fascinating as the superficial psychopath who is equal parts harbinger of depravity and executive jerk-off. This film frustrates me. What fails to elevate his character is a lack of originality. It’s a first person cliché.

A supporting cast including Willem Dafoe, Reese Witherspoon, Chloe Sevigny and Jared Leto (sorry, just had to throw that one in) does nothing to enhance the banality of it all.

The production is slick—highly styled, set in Manhattan circa 1980-ish. Bale looks great. His tailoring is impressive. The dialogue has moments of highly-quotable genius. But ultimately the film is too hit-and-miss to be effective.

As I see it, American Psycho is pretentious nonsense. Hints to the sadistic (check the closet) are there, but the film fails to deliver on anything other than Bale—and he’s more interesting elsewhere.

Gigantic (2008)

Who decided a story titled Gigantic would be of a mattress salesman (Paul Dano) who always wanted to adopt a child from China? Who thought that the young mattress salesman should be raised by an odd family, meet a weird girl (Zooey Deschanel) and that she should have crazy dad (John Goodman) of the century? More puzzling, why did I think I wanted to watch it?

I’m still unsure what Gigantic wanted to be (ironic, maybe), but I’m certain what it is: not entertaining. This film is gigantic bore. It’s frustrating to see Paul Dano languish onscreen. Zooey Deschanel is content to be doe-eyed and annoyingly inane. Ed Asner pops up—maybe trying to procure some indie cred. Alas, he is another painful edition to this gigantic mess. Further complicating matters is Zach Galifianakis who gives bum rush its definition.

As I see it, Gigantic is an insipid time-waster. It never entertains or inspires. Avoid at all costs.

Walking Tall (2004)

Although Walking Tall is inspired by the tale of no-nonsense Tennessee sheriff Buford Pusser, this film is an insult to anyone with an iota of intelligence. Predictable as the day is long; Walking Tall is a horrible waste of time.

Dwayne Johnson stars Chris Vaughn, an Ex-Special Forces soldier comes home to find his small town to discover a wretched hive of scum and villainy has taken its place. Can you guess what happens next?

Walking Tall is a complete adrenaline rush with one clichéd beat down after another. It’s not long before the viewer’s head is the one hurting. This film is bad. Avoid at all costs.

10 Items or Less (2006)

In researching a role for an independent film, an aging actor (Morgan Freeman) befriends a young Hispanic grocery clerk (Paz Vega). An unlikely friendship follows as the famous actor bums a ride home from Scarlet. A trip to Target is only the beginning as cultures and life experiences meet.

10 Items or Less is a seemingly improvised tale of a random relationship. It works thanks to remarkable chemistry between Freeman and Paz and the understated dialogue. It's refreshingly unassuming.

Writer/director Brad Silberling (Lemony Snicket) weaves a simple story dependent on genuine pathos and it works. The pair learns from each other. Freeman's fascination with Target (the socks, the shirt) is hysterical. Equally poignant is Scarlet's hesitation at exploring her potential. The odd couple is beautifully scripted and uniquely funny.

As I see it, 10 Items or Less is great. There's nothing to 'get' not philosophy to discover. The film is content to be and delight in a random friendship. It's a gentle film with endless conversation worth listening to.

Sunshine Cleaning (2009)

Being the popular cheerleader didn't translate well in Rose Lorkowski's (Amy Adams) adult life. The always financially strapped single mother decides to specialize in biohazard cleanup at the suggestion of her former high school turned lover Mac (Steve Zahn). Teaming with her no account sister, Norah (Emily Blunt), the sisters set out to tidy up crime scenes and take out the trash in their own lives. Meanwhile, Dad (Alan Arkin) watches 'Lil Bastard' Oscar schooling him in the entrepreneurial spirit of the Lorkowski's.

Sunshine Cleaning is never really sure what it's aiming for, but manages to be an entertaining distraction thanks to fine performances by all. With a series of oddball characters, the film mills about trying to execute too much.

Amy Adams leads a solid cast. As the ever optimistic, but tired mother just wanting a break, Adam's pert nose does the trick. Equally fun is Emily Blunt. Alan Arkin continues in his should-be-trademarked crotchety old man gig. Steve Zahn plays an incredibly believable jerk. Chloe, er, Mary Lynn Rajskub pops up as a lesbian side note.

The film maintains a just interesting enough edge to keep the viewer engaged and frustrated. The screenplay is a remarkably fresh idea and director Christine Jeffs gets it done, but often the resolutions are oddly off key--sometimes dumbfounding.

As I see it, there are too many good ideas, too much unutilized potential that keeps Sunshine Cleaning from sparkling. Still the morbidity is fun and the film is contains some surprisingly poignant moments. Not a must see, but a fine use of time.

Adventureland (2009)

Forced into employ as a carnie, James Brennan (Jesse Eisenberg) is dreading a summer spent at home. After his parent's are downsized, the European vacation of his dreams are dashed. Jesse will be a 'games' guy amid the myriad of misfits. Before long, he discovers the real world education he only thought he'd received in college.

Adventureland is a cute coming of age tale told from the guy's perspective. Director Greg Mottola (Superbad) focuses on the innocence of young Jesse despite having so many fun/interesting supporting characters. Jesse Eisenberg has the weight of the film and he carries it well.

Recently graduated, his dreams quickly dashed about the hard rocks of reality, Eisenberg is pitch perfect. This man-boy flounders for only a moment; then sets his will to play the cards dealt. Eisenberg employs a gamut of emotions, but never loses the core of his character.

Supporting him are a series of potentially interesting carnies played by SNL faves Bill Hader and Kristen Wiig (the owners), Ryan Reynolds (maintenance man), Matt Bush (groin-busting 'rides' dude), and Kristen Stewart (love interest, Em). Kristen Stewart. Is it just me or is she always playing a version of the same character. CURSE YOU, Twilight!! Her hair, the ever (not so expressive) forehead... what a shame. She plays conflicted. Martin Starr as fellow 'games' barker Joel threatens to steal the show on several occasions with his nihilist tendencies.

Adventureland works on several levels, but is successful because of its understated value. No aspect is overwrought. Mottola maintains a sweet authenticity among the characters and situations. Serving to enhance the production is 1987. As I cannot speak directly to the year, the film is wonderfully atmospheric for the period. Additionally, the score is a direct supporting character to Jesse and for a audiophile such as myself--I at least relate to him on this level.

As I see it, Adventureland is a perfectly understated gem. Child of the 80s or not, everyone can appreciate a smart movie that celebrates the ordinary.