Michael Jackson's This Is It (2009)

One look at this footage of MJ’s concert rehearsal and there is no denying that it was going to be one heck of a comeback. The King of Pop is in his element. Running his backup dancers and band through a tight choreography, refining cues and steps, Jackson moves like he was 30. With definitive opinions on everything from props and lighting to the action on the video screen, here is a man who continues to innovate and refuses to quit dreaming.

Over the 90+ minutes we see what the concert would have looked like. Along with interviews from director Kenny Ortega, choreographer Taylor Payne, back-up dancers, and musicians, we get the feeling we are experiencing something truly special because we are.

The musical numbers include everything a MJ fan could want. Thriller 3-D shows the promise of what could have been. Billie Jean, complete with signature moves is smooth. Beat It sounds as brilliant as ever.

Not to be missed are the accompanying bonus features. A look into his wardrobe created for the evening is amazing; as is the featurette focusing on the search for the best of the best back-up dancers.

As I see it, This Is It, is a must-see for fans of the King. Regardless of your personal feelings towards the man, this is footage of a genius—a genius who died too soon.

Postscript 02.02.10 ~ I've watched this documentary three times in two days.  It continues to fascinate me.  Michael continues to make me happy.

Public Enemies (2009)

Director Michael Mann’s latest drama centers on the life of John Dillinger (Johnny Depp) and the man, Agent Melvin Purvis (Christian Bale) who must bring him down. With Baby Face Nelson (Stephen Graham) and Pretty Boy Floyd (Channing Tatum) at his side, Dillinger charms the nation and evades J. Edgar Hoover (Billy Crudup) and his men. But for all the style found herein, Public Enemies lacks in hearty substance.

Public Enemies is nearly too smart for its own good. The entire cast including Marion Cotillard but especially Depp and Bale are perfectly nuanced. But the film feels too reflective and doesn’t allow this gifted cast to breathe. As Dillinger, Depp exudes a man who has transcended his meager upbringing. He seems almost otherworldly in the eyes of Mann. So, too, is G-man Melvin Purvis and Hoover. Bale and Crudup are also amazing, but the reality of these men seems lost.

This film is brilliantly executed. Stylistically is looks gorgeous. The production is glamorous, but gritty. And the cast—did I mention the cast? It’s a roll call for some of the best, often overlooked, and up-and-coming actors. It was distracting to find David Wenham, Giovanni Ribisi, Carey Mulligan, Emilie de Ravin, Leelee Sobieski or even Diana Krall pop-up in bit characters.

For what it is—the gangster equivalent to Jesse James—Public Enemies is masterful. But the film isn’t approachable. The production is open for interpretation and might leave much to be desired for most. However, as I see it, Public Enemies is a brilliant portrayal of a most interesting man.

Happy Birthday, Papaw!

Today is my grandfather’s birthday. He is 77. But until years past, he no longer knows who he is. Dementia. It is a horrible, unforgiving disease and it smacks in my face today. While I am grateful that his quality of life is still wonderful—after all he’s 77—it is his lack of existence that I hate.

To look at him is to see a face etched with the lines of a good life. But his eyes show hints of confusion instead of joy. His lips are less quick to smile and often reflect worry. It seems as if his life’s breath has left him.  It's unusual--like his body his here, but his spirit has left.

I often think he says my name because he hears others and long to hear the ‘same old stories’. I wish to hear his laugher, see his joy, and relish in his nonsense. Instead I find myself clinging to memories and avoiding the present. It’s too sad. I must find a way to reconcile with this change.

Dear readers, I beg you. Take the time to love. Love now. Love more…because tomorrow may be too late.

Caged (1950)

Marie Allen (Eleanor Parker) has been sentence to prison for aiding in an armed robbery. The scared naïve 19-year old must survive the next 10 months amid hardened criminals to get her chance at parole.

It’s not often you find a movie this powerful despite its age. An impressive cast leads to amazing results. Marie’s evolution from girl to broad is brilliantly executed by Parker. Supporting her, but no less engaging is Hope Emerson as prison matron, Evelyn Harper. She is cold, calculating, and barbaric. She enjoys wielding her authority of her wards, but relishes punishment. Harper stands in grave contrast to the prison’s director played by Agnes Moorehead (Bewitched, Citizen Kane). As Ruth Benton, Moorehead is sympathetic and willing to rehabilitate her wards.

Director John Cromwell frames the prison wonderfully, making it claustrophobic and rote. But remarkably, he is able to imbue joy and sadness which the context of the B&W cinematography.

Caged was not at all what I expected. Provocative for it’s time, Caged remains an intense film thanks to incredible performances from all involved.

Metropolitan (1990)

Yet another of writer/director Whit Stillman’s artsy gems that blends the vapid and the everyday. This time he focuses on a group of Manhattan preps. Days begin at sundown and include intellectual conversation and dancing. Tom Townsend (Edward Clements) joins the group after a chance meeting. But for this group of young adults, the question is how each of them will cope as their group grows apart.

Much like The Last Days of Disco, Stillman’s Metropolitan is boring at first glance and becomes oddly riveting. Why? I’m still unsure. But I wasted 90 minutes of my life watching these young nincompoops whine about their station in life—and enjoyed it.

The Tonight Show with Conan O'Brien (2009)

It was with sadness and excitement that I sat down to watch the end of an era—if an era can be seven months. There is no doubt that Conan will land on his feet, but The Tonight Show will never be the same. Since June, I have come to count on Coco to be there end of my day. He never failed to make me forget whatever stress or drama filled the earlier hours. The Tonight Show with Conan O’Brien was my time.

With class and humor, Conan, Andy, Max and Co. took the studio for one last hurrah and it was beautiful. Leading up to tonight’s show has been tumultuous ordeal filled with awesome guests (Pee-Wee!), hysterical bits, Twitter tracker, puppies dressed as kitties, and a concussion.

Tom Hanks was brilliant. With tempered humor, the two pals reminisced whilst sipping cream soda?!

Neil Young, looking completely the ICON he is, sang Long May You Run and I lost it. *sniffles*

The grand finale included Will Ferrell, Beck, and Ben Harper. Conan shredding the guitar alongside with the Stars and Stripes over his shoulder, Ferrell and the cowbell, ZZ Top… it was all surreal and so good. It was truly bittersweet.

Tonight’s episode won’t soon be forgotten, but amid all the fun—‘Dear Internet’ included—I remember one thing vividly: Conan’s goodbye. In it, there was no bitterness, no hate—not even disappointment. He spoke plainly of his relationship with the network, but this… is what strikes a chord:

“All I ask of you is one thing: please don't be cynical. I hate cynicism- it's my least favorite quality and it doesn't lead anywhere.

Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you're kind, amazing things will happen.”

That, dear readers, is class. See you in September, Conando.

Big Fan (2009)

A sports drama that asks the question: What if your love isn’t reciprocated?

Desk Set (1957)

Bunny Watson (Katherine Hepburn) leads a small office of reference workers that clear facts and information for Federal Broadcasting Company. Enter efficiency expert, Richard Sumner (Spencer Tracy) who is looking to automate the work of Miss Watson’s office. These two strong personalities quickly clash beginning with lunch on a cold balcony. Rainy weathers leads to a nice evening together and Bunny rethinking her long-term relationship with a television executive.

They don’t make movies like this any more. Desk Set is more a vehicle for Hepburn/Tracy then anything else. The plot line, supporting characters, the philodendron are all set dressing to the onscreen chemistry of Hepburn and Tracy. Bunny is a utilitarian soul who feels threatened by Sumner, a methods engineer—who’s good with numbers, but not so much with relationships. Those two sparring onscreen can’t be matched.

Desk Set culminates with an office Christmas party to die for. You don’t see that any more either. Despite their overtly sexist remarks, there is a certain charm about films of this period that I just love. As such, Desk Set is a classic. But Guess Who’s Coming to Dinner still stands as the quintessential Hepburn/Tracy film.

Hair (1979)

I wonder if movies from this time period are supposed to make sense. Or maybe I should be stoned in order to really enjoy them. Either way, Hair is ridiculous. But I think it also captures the period nicely.  {Not from experience, mind you.}

On the eve of his Army enlistment, Claude (John Savage) meets a hairy group of hippies in Central Park. The naïve Oklahoman is fascinated by this bunch of dope-smoking free thinking weirdoes. The next 24 hours becomes a haze of random activities that include song and dance numbers.

Hair is a fun time warp. The settings, costuming, hair and dialogue—it’s all a trip. Clark Griswold’s wife is the love interest for Claude. I found the songs to be a riot—sometimes shocking, but always eye-roll inducing. The film’s climax is surprisingly heartfelt.

As I see it, Hair is a solid period film.  One that you won't get much out of unless you lived it.

The Girlfriend Experience (2009)

Steven Soderberg-fueled non-linear drama that's a bit too pretensious for my liking.

Young @ Heart (2008)

This review is getting bumped.  I originally saw this documentary back in August of 2008.  I watched it again tonight.  Dear readers, if you haven't seen this gem you don't know what you're missing.

These folks have it right.  Sure, maybe, they are old but they have so much joy.  They sing with conviction and passion.  It's beautiful albeit wrinkled.  I still cry at the death of Joe.  Gosh, we should only hope that we have lived our own lives this fully.  These seniors would agree if it's too loud you're too old.

I cried, again, as Fred Knittle sings Coldplay in memory of Joe who died during the filming.  Lenny is the man--bebobbing in his little car.  I love you Lenny!!  Ms. Eileen, the only woman with the keys to the nursing home, keeps everyone on their toes with her no-nonsense attitude.

09.18.08 ~  Young @ Heart is a chorus group of senior citizens that have more gusto and zest for life that you or I have ever thought about. The group, who's average age is 80+, perform contemporary, classic and pop rock hits like you wouldn't believe. What comes across so vividly is their sheer joy at performing. This group has travelled the continents and sang before royalty.

This documentary celebrates life, friendship, aging, and music. It's a true human drama that is joyous, sad, and happy. You can't help but cheer for the likes of Lenny and Eileen (who opens the film with Should I Stay or Should I Go?) as they train like true professionals for their opening night. Congestive heart failure and cancer treatments be damned. These people open their hearts like you wouldn't believe--they live to sing. Happy moments give way to melancoly at the loss of two chorus members but then turns triumphant on opening night.

Culminating at a concert that covers Sonic Youth's Schizophrenia and Coldplay's Fix You, Young @ Heart rocks the house.

This story will touch your heart.  Celebrating the success of a life well spent Young @ Heart is engaging, respectful and joyous.  The film proves rock is for all ages.

Once (2006)

This contemporary love story between a Guy (Glen Hansard) and a Girl (Marketa Irglova) transpires over the course of a week is beautiful not only in its simplicity but because of its supporting soundtrack that was written by its cast.

You have no soul should you not be moved but the story unfolding. Guy is back in Dublin after breaking up with his girl friend. Girl is separated from her husband. A friendship blossoms and both find the courage they need in each other.

The organic nature of Once feels so real and yet it all happens so quickly it should be magical. There is no doubt the two musicians doubling as our lead characters give the film its authenticity. The songs that are written as the film progresses echo the sentiments of Guy and Girl without being cliché or cloying.  Director John Carney steps back and the camera is passive observer. Each frame is organic—nothing particularly technical. You feel lucky to have seen something so gentle.

As I see it, Once is real gem—one that you’ll feel all the better for seeing.  Amid all the blockbusters and spectacles, this is the one you want to see.

Knowing (2009)

Knowing, directed and written in part by Alex Proyas (I Robot, The Crow) starts remarkably strong with palpable tension and quizzical events. But as is death spirals into *spoiler removed*, Cage gives a performance with bravado long after the writers give up. That’s real a shame, too, because Knowing is so good for the first 90 minutes.

The chain of events that unfolds before our eyes is shocking, creepy and sometimes abstract. As MIT professor John Koestler (Cage) digs deeper into the seemingly random numbers found on a piece of paper unearthed in a time capsule, the viewer becomes more jumpy, more concerned, more engaged. What do the numbers mean? The answer is bleak, but good.

The intelligence of Knowing suffers due to its poor finish. Proyas did you expend all your energy and let your eight-year-old nephew finish up? Proyas, you cheated me again! You need to guts to end the movie as well as you begin it. There is nothing wrong with hopelessness. You do your audience a disservice to end so amiably.

As I see it, the reward for enduring two hours of rich impending doom is not worth it. Proyas cheats us miserably. This is one I won’t soon forget. Thanks. For nothing. As for Cage, his role though spastic, was enjoyable.

Beauty and the Beast (1987)

This isn’t the best version of my favorite fairy tale. Wooden acting and not-so-great musical numbers are a start. But the costumes, settings, and story are beautiful. The story delineates from the Disney classic. No surprise there and that along my hold interest for newcomers.

Rebecca De Morney (where is she now?) and her flawless skin star alongside John Savage. Both are more than adequate; but I wish the musical numbers were more emotional, more real.

Filmed in Israel, Beauty and the Beast has an unusual feel—chaste—comes to mind. The movie is beautiful, but maybe that’s nostalgia taking over.  One of the best scenes is in the courtyard when the statues come alive. It’s a beautiful dance sequence with the cast enrobed in white.

I wish Rogers and Hammerstein had a version. *sigh

Kickboxer (1989)

Try as I might the combination of cheese and corn was too irresistible. That, dear reader is how I found myself yesterday afternoon watching the local matinee, Kickboxer. With a young Jean-Claude Van Damme seeking vengeance on behalf of brother who was paralyzed as the hands (and knees) of Tong Po. Kurt (Van Damme) trains in the art of muay-thai with the help of unorthodox master Xian Chow.

Kickboxer, with its melodramatic montages filled with 80s music, is the epitome of Van Damme. The formula for success is predictable right to the ring. Van Damme is in good form despite those unflattering pants.  His physical prowess is outstanding and it's evolution here is nicely done.

As I see it, Kickboxer isn’t high-brow, but it is fun entertainment. Enjoy!

Sky Captain and the World of Tomorrow (2004)

This visually striking fantastical story won’t win any awards with its flying robots and Art Deco stylings. But it looks cool and it entertains (provided you suspend disbelief). As Sky Captain Joe Sullivan (Jude Law) oozes smooth with his aviator style. And as he travels to dangerous places to prevent the apocalypse being masterminded by Dr. Totenkopf (check it: Sir Laurence Olivier), he enlists the help of his two dames: reporter Polly Perkins (Gwyneth Paltrow) and Franky (Angelina Jolie). With his friend Dex (Giovanni Ribisi) ever at the ready, Cap will succeed and look cool the entire time.

Sky Captain and the World of Tomorrow is just incredible with interesting characters, solid, if often nutty dialogue, and the occasion homage. Its fun to look at—to think the entire thing was filmed against a blue screen. Brilliant! What elevates the film from average (see The League of Extraordinary Gentlemen) is the amazing visual style and detailed elements. The characters aren’t particularly deep, but the cast is remarkable. Using archival footage of Olivier is an amazing element.

As I see it, this futuristic adventure is a brilliant waste of time. The film gets better with multiple viewing as writer/director Kerry Conrad always has something extra in each frame. If the dialogue doesn’t get you, the details will.

Saboteur (1943)

I received this brilliant collection recently in celebration of a pagan holiday. So expect more reviews to come dear readers.

Saboteur is one of Hitchcock’s more uneven films in my opinion. There is a glaring ridiculousness about it, in part, because of the soundtrack. But that doesn’t keep definite Hitchcockian elements from shining.

Centered on Barry Kain, an airplane factory worker, who sets off in a cross-country chase to clear his name and capture the guilty. Set amid national treasures with hints of propaganda, it’s a race against time as fascists set out to harm our nation. But with respectable businessmen who double as secret agents, Kain and billboard model turned sidekick/love interest Patricia Martin (Priscilla Lane) aren’t sure who to trust. The tension climaxes at the top of Lady Liberty.

Robert Cummings stars as Kain and with the look of ‘everyman’ he is convincingly patriotic and respectable—wanting only to clear his good name and foil the terrorists. He is just the tip of a spectacular cast. Otto Kruger as Charles Tobin is maliciously cool. In contrast is Vaughan Glaser as Phillip Martin, as Pat’s blind but remarkable uncle with his Freudian dialogue.

The production is slick. The race against {insert current political evil here} is taught, rife with suspicion, scheming, and humor. Hitchcock springs plots and characters on his unsuspecting audience wonderfully, twisting and turning—if it were a roller-coaster we’d all be nauseous.

As I see it, the success of Saboteur rests on its characters. Cummings and Lane are solid, but Kruger, Glaser, the truck driver and entire circus group make it a film to remember.

Paper Heart (2009)

This unusual mockumentary stars a delightful Michael Cera and a new to me, oddball Charlyne Yi. Charlyne—an unbeliever in love—sets out to document people, their views on love, and unexpectedly falls into it.

The best parts of this film are the real love stories told by couples across the nation and Michael Cera. Yi is unconvincing. Her loud guffaw is unbearable. The lines between fact and fiction are clearly drawn, but that doesn’t keep Paper Heart from being obnoxiously adorable. Cera is the man. His unassuming demeanor works perfectly here. The scenes with Yi are precious, but Yi is uncomfortable in her own skin and that is reflected here.

Paper Heart is composed of scripted bits, real stories, and puppet reenactments. Sadly, they don’t gel. Making matters worst is an abrupt ending that leaves the viewer feeling cheated.

As I see it, Paper Heart is like Nick and Norah’s sans playlist and relatable characters. It’s cute, but forgettable.

The Last Days of Disco (1998)

For this group, the last days of disco were beautifully vapid and strangely familiar.

Taking Woodstock (2009)

Director Ang Lee’s latest film is one with epic surroundings; but amid the beautiful chaos is a coming of age story. Elliot (Demetri Martin) offers up his parent’s failing hotel as the base of operations for a then unheard of music festival called Woodstock. What he doesn’t realize at the time he donates an important music festival permit is how much the festival will change him.

Based on a memoir of the period, Lee strips away the iconic elements of the historical festival. What’s left in Taking Woodstock is an often comedic look at the pre and post hippie affects on Bethel, New York.

Starring a solid ensemble cast, Taking Woodstock is a real trip thanks in part to characters that give the film an offbeat feel. Demetri Martin is the twenty-something Jewish son. As Elliot, Martin plays him queer, uncertain, and an aspiring painter who is unfortunately tied to his parent’s motel. Imelda Staunton has an incredible turn as his paranoid, riotous mother, Sonia. Staunton is unlike anything I ever seen her before.  She's a chamelon.  Henry Goodman is her long-suffering husband, Jake. Elliot’s relationships with them are the impetus for welcoming the hippies. With the festival organizers comes slurry of great characters that help build the film’s off-beat, easy going naturel: Vietnam Vet Billy (Emile Hirsch), Vilma (brilliant turn for Liev Schreiber), and the VW couple (Paul Dano and Kelli Garner). Eugene Levy is the now famous farmer Max Yasgur.

The colors and production detail are dazzling. Lee doesn’t skimp on any element. Taking Woodstock looks epic, but manages to keep its cozy, personal feel. Elliot’s acid trip courtesy of VW couple is an incredible sequence.

Stripped of the nostalgia angle, independent of the music and political events of the day, this film strikes a remarkable chord. Taking Woodstock is a completely different animal with none of Lee’s heavy-handedness found in Lust, Caution. What he has done is successfully capture a pivotal moment in music history and celebrates the beauty of like-minded random strangers. As I see it, that’s pretty cool.

Julie & Julia (2009)

Embittered by her day job as a government employee who helps survivors of of the 9/11 attacks and their families cope, Julia Powell (Amy Adams) turns to the one thing she uses to forget her woe-filled days: cooking. With the encouragement of her husband Eric, Julie attempts to master the art of French cooking with Julia Child as her inspiration blogging all the way.

Based on Powell’s book of the same name, Nora Ephron’s adaptation follows the source material flawlessly. I think. I gave up on the book. But much like the book, the film has too much of the whiny Julie Powell and not enough of the kitchen icon, Julia Child.

The film’s real treat is Meryl Streep as Julia Child and Stanley Tucci as her husband Paul. Let me tell you—every frame these two are in comes alive with chemistry and joy. Streep channels Child flawlessly. From height to hearty laughter, here is a woman with a true zest for life. Dan Akroyd’s impersonation on SNL is featured here for laughs, but it is Streep that really charms. Paul dotes on this wife and Stanley Tucci makes you believe it. You can’t help but fall in love with these two.

In contrast is modern day Julie and Eric. Julie comes across as whiny, ungrateful, and dull. Amy Adams is in a constant state of pouting and quickly proves to be an irritant. Julie is simply not as interesting as Julia. Eric (Chris Messina) is the long-suffering husband that turns on his wife as quickly as she gets interesting in the cooking and stops having sex.

The film’s structure—switching between Queens and Post-war France—helps to break the weaker of plot points.  Less that midway through, the lack of engaging modern characters is so apparent this viewer just wanted the goose to be cooked.

As I see it, only the long-suffering viewer will be rewarded and that comes at the end where Julie visits the Smithsonian exhibit of Julia’s kitchen. Julie and Julia isn’t bad. But I can’t help feeling that you must really, really, REALLY want to see this one in order to fully enjoy it.