When You're Strange: A Film about The Doors (2009) // The Doors (1991)

Followers of the Lizard King will revel in the original footage found in the newest documentary of the Doors.  When You're Strange director Tom DiCillo looks into the iconic American band exposing new insights, debunking myths, and examining what made them tick all with Johnny Depp’s narration. He is able to quantify why I find so very fascinating. It goes beyond the poet shaman, it is their music—the mystic, melodic sound courtesy of flamenco, blues, and jazz influences. The beat held by Ray Manzarek’s piano bass and his signature Vox organ create the ground for John Densmore’s blues drumming that weaves in and out among Robby Krieger’s finger-styled lead and rhythm flamenco guitar.

Jim Morrison was a broken genius who numbed in pain with drugs and alcohol. His persona became larger than life. That is more than apparent with the footage included here dated from 1966-1971. What is more tragic is how obviously frustrated Densmore, Manzark, and Krieger are; yet they take no action, going so far as to play right on through Morrison’s alcohol induced haze.

DiCillo gets it right where Oliver Stone gets it wrong…

Val Kilmer’s performance as Morrison is unwavering and eerie. The subtle nuances—the shift in his gaze, the near pirouette of his stance, the way he holds his mouth—it’s uncanny. But that is where it ends. Kilmer (and the audience for that matter) is in for one never-ending drag. The transcendent elements are there, as are important period elements, but Stone’s biopic is self-indulgent. The film is essentially one long trip, a mash-up of Morrison’s demonized life that serves no other purpose but to sensationalize.

British Favourites: Death at a Funeral (2007)

Death at a Funeral is a delightfully odd-ball black comedy.  Very much in the vein of their forefathers (Monty Python, anyone?), nothing is off-limits here.  In the wake of an American remake that is nothing but a horrible comedy with black people, I feel compelled.

The British do it better.

 Fans of dark British humor and odd comedy will enjoy this rather peculiar movie. David (Matthew Macfayden) is nervous about his father's funeral wake. He is delivering the eulogy even though his brother, Robert (Rupert Graves) is a famous writer. But when a strange midget (Peter Dinklage) appears and threatens to expose the recently deceased patriarch's extramarital gay affairs lest David and Robert pay him off, the brothers take matters in their own hands.

Frank Oz directs this madcap piece filled with a virtual no-name {to me anyways} and mostly British cast. Led by Macfayden {Pride & Prejudice} like you've never seen, Death at a Funeral is an insane romp. The far-fetched plot is a perfect medium for some great individual performances. Alan Tudyk (A Knight's Tale, 3:10 to Yuma, Dodgeball) as the boyfriend who is unknowingly macked-out on acid, gets a perfect opportunity to shine and steals the show. Macfayden is a straight-laced foil to his co-stars. Graves, Dinklage, Kris Marshall, Andy Nyman, Daisy Donovan, and Jane Asher {Paul McCartney's one-time girl friend} all have moments that induce side-splitting laughter.

Family relations are always complex. Sibling rivalry is just the beginning in this British farce where family turmoil ultimately threatens to overshadow the funeral. Despite it all, a heartfelt eulogy is delivered.

Death at a Funeral is NOT for everyone. If you like your humor quick, dry, un-PC, and British, then this is for you. From the moment the wrong body is delivered to the front door, Death at a Funeral is a spot-on comedy.

You've Got Mail (1998)

Funny, I don’t remember You’ve Got Mail being this sentimental. It’s disgusting really, but somehow, I always manage to fall in love with Joe Fox (Tom Hanks) in the end.

12 years later and You’ve Got Mail continues to be the standard by which romantic comedies are measured. Rom-coms have evolved—rightly so—and this one is dated. The iconic, now archaic ‘you’ve got mail’ and dial-up modem is a trip.

As I see it, You’ve Got Mail is a decent romantic comedy (I like Kate & Leopold better) that begs one question years later. Whatever happened to Meg Ryan?!

Nine Dead (2009)

Completely reminiscent of Unknown (which is WAY better—that doesn’t say much), Nine Dead is a mediocre drama that only succeeds in being stereotypical. Spend your time on something better. Like Memento.

Whip It (2009)

Amazingly strong and surprisingly good story of a teen (Ellen Page) coming of age in small Texas town. Bucking her mom’s obsession with beauty pageants, Bliss finds bliss in roller derby. Marcia Gay Harden as the religious/straight-laced Mom and Daniel Stern are brilliant casting. But Kristen Wiig and Juliette Lewis threaten to steal the show. Drew Barrymore’s directorial debut is smart, sweet, quirky fun

Bonus Feature: Book

This book is one man's love affair, ie, obsession with American's game.  H3ll no, it's not soccer!  Baseball.

Watching Baseball Smarter is for fans of game no matter their 'watching' level.  Here you will find the fundamentals and the obscure.  The written and the unwritten rules of baseball.

Uber-fan Zack Hample writes with obvious affection, but no such much about his love of the game, but what causes that love--the facts and the fiction behind it all.   Delving into stats, positions, baserunning, and fielding, Hample writes conversationally discussing the same things you and I would during the 7th inning stretch.  It's a good mix of the esoteric and the tangible.  I do wish his chapter on stadiums was more in-depth, but you can't win them all.

Pointing out random things to know and notice, Hample makes the game approachable for the beginner while simultaneously knocking the stadium snob down a notch.  A great summer read.

Bonus Feature: link

For those who find me to be too often superfluous in my reviews, this site is for you.  I'm jealous it's such an ascerbic, simple place.  Only wish there was more reviews.

Mean Girls (2004)

After watching this vapid and overly-inflated story, I am left with two questions: 1) What the heck happened to Lindsay Lohan?! It’s a shame such potential is being squandered. 2) Who’s responsible for Rachel McAdams’ bad dye job? Seriously.

As I see it, there are better movies with the same message (and more inspired casting) out there.

Pirate Radio (2009)

One awesome looking film with an equally awesome soundtrack, just don't go looking for a plot.

The A-Team (2010)

If The A-Team were any other movie, I doubt I would feel this strongly.  But the following is a commentary/review on the remake of a beloved series from my childhood.  Forgive me for sounding old.

“In 1972 a crack commando unit was sent to prison by a military court for a crime they didn't commit. These men promptly escaped from a maximum-security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire the A-Team.”

With the smashing of B.A.’s beloved van in the first 15 minutes, it becomes evident that director Joe Carnahan doesn’t know what the hell he’s doing. Keeping only the bare bones of the 80s series, he quickly disposes of all that elements that made The A-Team great.

The heart and soul was, of course, the team. Casting the likes of Bradley Cooper, Sharlto Copley, and an MMA fighter alongside the great Liam Neeson was a daring move. It should have worked.  It kind of does.  Ultimately, the cast doesn’t have much to work with—it’s all smoke and mirrors—and while I do realize that the series itself was only a series of well-placed jeep explosions and awesome montages, this A-Team lacks soul.

Col. John ‘Hannibal’ Smith is, at his very core, a charismatic, resourceful no-nonsense leader. Hannibal is all about the jazz and Liam Neeson, sadly, is not. He’s an amazing actor, but his cigar skills and the delivery of a key line are sorely lacking. Additionally, the very nature of defaulting to Face (Bradley Cooper) is insulting to this great leader.

Carnahan seems to have forgotten that Templeton Peck’s nickname is FACE. Note to Bradley Cooper’s abs: quit trying to compete. Cooper makes a beautiful, believable, right-hand conman with a smile that kills.

B.A. Baracus is the epitome of bad-assery. It’s B.A.—not Bosco. NO ONE calls him Bosco. Props for creating the background on B.A.’s fear of flying, but the props are quickly recalled after playing the ‘hocus-pocus’ card. Seriously?! B.A. deserved better. Ultimate fighter Quinton ‘Rampage’ Jackson holds his own—but isn’t quite sullen, or good-hearted enough. This character is SORELY misconstrued.

H.M. ‘Howling Mad’ Murdoch is one crazy sonofabitch and District 9's Sharlto Copley is, in a word, f^cking brilliant. {Sorry, two words.} He embodies the crazed pilot with a lust for life and fearlessness of death. His superior flying skills and unquestionable devotion to the insane make Murdoch the film’s saving grace. Copley is spot-on and with a true homage to the original, the film includes a puppet interaction with BA and a perfect imitation of Mel Gibson in ‘Braveheart’—complete with stick horse. Copley even gets to throw down some incredible voice work. Kudos!!

The television series found the A-Team righting wrongs thanks to Hannibal’s plans, Face’s roguish good looks, B.A. welding skills, and Murdoch’s humor. There was undeniable chemistry between the team. In 2010, the only chemistry found here is in the explosions. Again, the boys look great—but the film isn’t cohesive.

The special effects are explosive, but unfocused allowing Carnahan to skip-out on some much needed detail. Much of the action happens—conveniently—in the dark. For you the viewer, it’s all a blur, which leads this viewer to be annoyed, frustrated and ultimately disappointed.

Jessica Biel, Patrick Wilson, and Gerald McRainey {yes, him} pop up in adequate supporting roles that allow our A-Team to build backstory and weave enough plot to fill 90 minutes.

As I see it, The A-Team is an average summer film that will entertain the ADD generation.  For those who find themselves waxing nostalgic, take heart.  Though there isn't enough cheese or jeep-explosions to fill the void that is left by the soul Carnahan rips out., Copley's performance and the hidden clips (after the credits) are worth the price of admission.

Fever Pitch (2005)

Surprisingly sweet romantic comedy (based on the book by Nick Hornby) about Ben (Jimmy Fallon) a crazed Boston Red Sox fan and his workaholic girlfriend Lindsey (Drew Barrymore) who must overcome their respective obsessions that threaten to destroy their relationship. 

The Cowboy Way (1994)

Every cowboy cliché—actually every cliché known to man—is alive and well thanks to Woody Harrelson and Jack Bauer in this "let's go to the big city and find the daughter of our murdered friend while stumbling our way into every possible scenario including, but not limited to: pricey hookers and hotels, bloodthirsty thugs, crazed cabbies, sweatshop-owning mobsters, and token black (Ernie Hudson) Central Park policemen who always wanted to be a cowboy."

Make Way for Tomorrow (1937)

Bark and his wife Lucy lose their home to foreclosure and as none of their adult children have room for both, the elderly couple separates. Adjusting to fit into these new families Bark and Lucy struggle with loneliness and acceptance in their new roles.

Though Make Way for Tomorrow debuted in the 1930s, the film has as much validity today in 2010. Truly, this film is a gut-check for the modern world. The young too easily dismiss older folks, and the old too easily dismiss the young. As Bark and Lucy cling to the hope of reuniting, their children replace the joy of having them stay with the bitterness of the inconvenience. It’s a disgusting, sobering display, but having Bark and Lucy get one last hurrah is undeniably wonderful.

As I see it, Make Way for Tomorrow is a quiet poignant B&W drama that examines the disposability of our elders. It is a masterful social commentary.

Alice in Wonderland (2010)

Forget everything you know about Alice and immerse yourself in this fantastical tale. Thanks to the ever-imaginative Tim Burton, Underland is like nothing you’ve ever seen.

19-year-old Alice (Mia Wasikowska) travels through Underland where the people and things seem strangely familiar. Along the way she find her muchness, the Mad Hatter (Johnny Depp), the Cheshire Cat, the evil Red Queen (Helena Bonham Carter) and her sister, the White Queen (Anne Hathaway).

This film has phenomenal casting. It's a hodge-podge of well-known names and their voices. Newcomer Wasikowska is pitch-perfect. She is equally child-like and womanly. Ultimately the weight of the film falls on her thin shoulders and she is superb. Christopher Lee cameos. Alan Rickman, Stephen Fry, Imedla Staunton, and Timothy Spall lend their distinct voices to inhabitants of Underland. Helena Bonham Carter is perfectly evil as the sadistic Queen and her henchman; one-eyed Stayne (Crispin Glover)—the Knave of Hearts adds just the right touch.

Johnny Depp gets his own paragraph. The Madness is spot-on; and Johnny’s mix of Scottish brogue (?) when mad is smart. His manic hair, eyeballs, and randomness threaten to over take the film at times, but his character adds wonderfulness.

The CG is a blend of steampunk and Burton’s trademarks. There’s always something interesting to look at. Whether its Hatter’s bobbin bandolier, the White Queen’s chess pieces, Absolam, or the Jabberwocky—you will be fascinated.

Burton borrows Lewis Carroll’s books and reinvents them. It’s amazing to see him build an emotional connection to an otherwise series of random events. Burton ties our characters together—enhancing them—and creates a brand new world. Danny Elfman delivers with another delightful score. He always knows where to punctuate, subtly enhancing the film.

As I see it, Tim Burton wins again. Though is canon of work is for a select few, mark Alice in Wonderland as one to see. I can’t imagine anyone being disappointed.