The Art of the Steal (2009)

Political maneuvering from the likes Walter and Lenore Annenberg (The Philadelphia), The Pew Charitable Trust, and the City of Philadelphia conspire and succeed to dismantle one man’s humble beginnings that became a brilliant (private) collection of Post-Impressionist and Modern paintings.

I Need that Record! (2008)

The independent record store is quickly becoming an endangered species. Documentor Brendan Toller explores the demise of local stores amid the rise of music downloads, conglomerate radio, and music labels that look at the balance book not the artist development.

Toller's doc doesn't lament the record store as much as celebrate it. Amid interesting facts on the monied bean counters, candid interviews with indie store owners and fans reflect on the impact the local stores have made. Toller and his interviewees make the case for 'mom and pop' stores of all kinds. These stores are not only records, they are gathering places for like-minded, independent folks that refuse to be force fed the payola driven Autotune crap that makes it on the air waves.

The film doesn’t make a villain of downloads, $10 CDs or the people that buy them. Instead the finger is clearly given to the music industry suits, their poor management and inability to react to ever changing demand. Toller pinpoints the demise of record stores to the Telecommunications Act of 1996 signed by President Clinton that helped create the monopolies the act was supposed to prevent. Death to Clear Channel!

As I see it, I Need that Record! is an interesting, if meager look at an ugly industry. If anything, the film should spur you to support small, local talent and industry.

Guilty Pleasure: Anchorman: The Legend of Ron Burgundy (2004)

Anchorman is a delicious farce of a male-dominated era that I have no excuse for enjoying, but I do. To my embarrassment, Anchorman quotes find their way into my daily life. How does such a retarded film bring me such joy? It's the flute.

Will Ferrell goes for the gusto as big-shot news anchor Ron Burgundy. The insulting verbal sparring between Burgundy and aspiring lead anchorwoman Veronica Corningstone (Christina Applegate) kills. So does rock flute, loud noises and Sex Panther cologne. Ferrell's antics as Burgundy are supported by skirt-chasing adulators played by Steve Carell, Paul Rudd, and the often misaligned David Koechner. A must see is the cameo-filled gang fight with Tim Robbins as public television anchor, Ben Stiller as the Spanish channel anchor, and Luke Wilson.

The comedy is obvious—often obnoxious—but it's just so gloriously cheesy. Carrell’s dumb as a rock weatherman is priceless, but Paul Rudd’s ‘musking up’ is hysterical. You get everything in this production: side-splitting dialogue, slapstick humor, sight gags, and offensive sexist comments.

As I see it, Anchorman is a totally guilty pleasure. It’s so dumb. And I like it.

Bonus Feature: Book

From the author of The Year of Living Biblically, comes The Know-it-All. It’s the other way ‘round actually. The Know-it-All came first. It’s one man’s humble quest to read the entire Encyclopedia Britannica. Which begs the question… why? Author A.J. Jacobs explains quite honestly “I used to be smart.”

With that, he sets out to read 32 seemingly endless tomes of knowledge. Some interesting: You only need three rambunctious people to legally qualify as a riot. Some not: Scrabble is also available in Braille.

And while I can’t this is an always enjoyable read—it’s exhaustive—Jacobs’ acerbic wit is ready when you need it most. Amid is retelling of EB entries, are personal stories of meeting Alex Trebek, the quest to be a Mensa member, appearing on Who Wants to be a Millionaire?, and his wife’s infertility. Occasionally, both the author and reader will stumble upon something truly extraordinary (origin of bedlam or the misguided determination of the freezing point). But Jacobs’ really hits his stride in the mini-diatribes on things like the wisdom of Ecclesiastes, Goethe (who he says makes Leonard di Vinci “look like a lazy bum”) and vexillology.

The Know-it-All is surprisingly honest. Jacobs’ personal reflections are real, sometimes profound, but always true. An amusing, well-crafted read.

The Runaways (2010)

The Runways is a tightly wound, low slung biopic that charts the epic rise of 1970s all-girl rock band. Let me tell you this… you will not find finer performances by Dakota Fanning as Currie or Kristen Stewart as Joan Jett.

Fanning and Stewart both have a devil-may-care bad-a$$ness, but it is far from clichéd. As Currie, Fanning strikes an indifference to the world around her to prevent the hurt that is ever near. Her pairing with Joan takes her away from an alcoholic father, a self-absorbed mother, and a dear sister. When we meet Joan, she is shopping in the men’s section and demanding that the music instructor teach her ‘Smoke on the Water’.  To which he replies "girls don't play electric guitars."

Paired up by legendary music producer, i.e., weirdo Kim Fowley (Michael Shannon) the two quickly become friends, joining forces as the meteoric rise to international fame brings the excesses of rock ‘n’ roll to their door.

If the film has one caveat it’s the running time. Not nearly long enough to explore this amazing group. Then again, only fans of the era and/or group would want to watch 2+ hours of this stuff. Sadly, the other two band members are relegated to footnotes. Drummer Sandy West (Stella Maeve) gets a mention when she and Joan first meet and actually start the band. And Lita Ford (Scout Taylor-Compton) is eye candy.  Currie gets the only family background as the film is based on her memoir.

As I see it, The Runaways is a visceral film. It’s gritty, excessive, dramatic, and beautifully surreal. But only the performances by Fanning and Stewart elevate the film from being average.

Rushmore (1998) // The Royal Tenenbaums (2001)

Wes Anderson is easily one of my favorite directors.  His unexpected views are always a delight.  Each of his films are a personal favorite.  Here are only two. 

Rushmore (1998)
Max Fischer (Jason Schwartzmann) is a sophomore at Rushmore Academy. Preferring to engage in extracurricular activities, Max finds himself on academic probation. Rushmore is threatening to fail him. Max befriends the father of his fellow students, Herman Blume (Bill Murray) and an odd relationship begins. Being expelled from Rushmore doesn’t keep Max from falling in love with his former teacher, Ms. Cross (Olivia Williams). It’s unfortunate, because Herman does too.

The understated performances make this movie. Schwartzmann and Murray play against each other wonderfully. They are essentially the same character at a different stage in life. Max is a naïve, overachieving and often pompous young man while Herman is a wealthy pompous old fart—both are looking for validation and their place in the world. Engaged in tug-of-war for the same woman’s heart, Schwartzmann and Murray’s roles are simultaneously odd, fun, and delightfully nuanced.

Writer/director Wes Anderson has created a beautiful film with understanding and sympathy for the adolescent—albeit characterized—experience. Every element of the film falls into place creating an intricate weave of cinematography, dialogue, settings, and score. It’s quite an experience.

This was the second of Anderson’s films for me. I watched Rushmore only after falling in love with The Royal Tenenbaums.  The Tenenbaums were most first exposure to Wes.  For that reason, this film is my favorite.

***

The Royal Tenenbaums (2001)

The Tenenbaums are unlike any family you’ll ever know and this is their dysfunctional story.

Alec Baldwin narrates the story of Royal Tenenbaum (Gene Hackman). Royal and his wife Etheline (Angelica Huston) have three children: Chas, Ritchie, and Margot. Royal's lack of interest in his children is the cause of his separation from Ethel. He leaves; as the years pass the children have become prodigies under their mother’s guidance.

Many years later and after hearing the Tenenbaum accountant is moving in on his wife, Royal feigns terminal cancer in effort to regain all that he has lost.

The diagnosis of cancer helps bring the errant former prodigies home. Chas (Ben Stiller) started buying real estate in his early teens and had a preternatural understanding of international finance. Now, a widower, he is struggling to come to grips with the loss of his wife in a tragic plane crash. Chas has become a safety freak and returns to the Tenenbaum family with his two boys in tow after deciding their apartment needs additional sprinklers and security. Ritchie (Luke Wilson) was a tennis phenom at an early age. After losing a game, Ritchie inexplicably leaves the game. He spends his days on a boat wandering on the high seas (for no apparent reason) until the news reaches him. Margot—she’s adopted—was a brilliant playwright and a smoker at twelve. She returns to the family home upon hearing of Ritchie’s arrival.

Oh… it gets better my dear friends. The colorful supporting cast includes Owen Wilson, Danny Glover, and Anderson muse, Bill Murray in memorable roles.

The Royal Tenenbaums is extremely well played. Writer/director Wes Anderson’s screenplay is top-notch—subtly outrageous and quirky. Physical comedy, agile dialogue, and brilliant chemistry are just the beginning. Add an unusually eye-catching production including oddly framed chapter introductions and assaulting opening credits, and plotlines advancing to the tunes of The Beatles, Bob Dylan, The Clash, The Velvet Underground, and The Rolling Stone… well, we got emotional resonance, too.

As I see it, Anderson essentially let’s Hackman and his cohorts run (cleverly) amok. But amid all the seeming chaos is the realization that family—no matter the dysfunction—is what life is all about.

The Young Victoria (2009)

The beginning of one of the greatest love stories is told here in The Young Victoria. Victoria (Emily Blunt) ascends to the British throne at the early age of 18 fighting after a brief fight against regency. The young monarch confides to her young German suitor Prince Albert (Rupert Friend) that she feels a bit like a chess piece. His response “Then you had better master the rules of the game until you play it better than they can” pierces through the noise of her courtiers and handlers who are out to manipulate the young girl. Victoria sets her mind to rule not only the throne, but her court.

Chronicling the early life of Queen Victoria, the film is a stunning period piece thanks to brilliant execution by Blunt and Friend. The pair, surrounded by opulent costumes and settings, is given every tool to shine and they do. Blunt and Friend lose themselves in their historic roles with amazing chemistry and passion.

The supporting cast of courtesans, politicians, and players include a spot-on Jim Broadbent as King William who is prone to emotional outbursts. Paul Bettany as the charming Lord Melbourne, Mark Strong as the conniving Sir John Conroy, and Miranda Richardson as the Victoria’s mother, the Duchess of Kent all impart strong will to pivotal roles that wish to bend Victoria’s ear.

The lush drama unfolds, focusing on the relationship between Victoria and Albert which evolves subtly. Their love cuts through the power plays and manipulations. She needs him, more than Albert needs her. And yet, from the moment the two pawns meet it is apparent this is a relationship to build a monarchy on. But the two are determined to play by their own rules. As Victoria learns to trust him more, she becomes a stronger woman, finding success on the throne as well.

Though I can’t speak to historical accuracy, I don’t believe that is the film’s intent. Rather, The Young Victoria is a condensed look into the early years of a beautiful love story.  The film's one downsides is its running time.  As a fan of this genre, we are given only a parts of the story to advance the plot.  But with this many interesting characters, I wanted more intrigue, villainy, and usurpation.  Victoria's one good outburst—she mistakes stubbornness for strength—is worth seeing for Blunt's remarkable execution.

Falling short of grandiose, the film is content to be human and poignant. But as I see it, the sumptuous production that is The Young Victoria is nothing without the powerful performances from Emily Blunt and Rupert Friend. A must-see for fans of historical drama!

The Visitor (2007)

Professor Walter Vale (Richard Jenkins) has been on autopilot since his wife’s death. Walter exists; but nothing more. Returning to his New York apartment after an extended absence, he is surprised to find an immigrant couple squatting in his home. Tarek and Zainab interest him. Whether out of pity or boredom, Walter allows the couple to stay while he attends his required convention. Walter forges an unlikely friendship with Tarek, enchanted by his passion for life. But when Tarek is profiled and thrown into a detention center, Walter finds a passion unlike no other.

The Visitor is an unassuming independent film that you will either love or hate. Braving a very polarizing topic—illegal immigration—director Thomas McCarthy examines the relationship of Walter and Tarek without taking sides. Bravo McCarthy for achieving so much depth and emotion from the screenplay in 98 minutes.  The film takes sides, but Walter is there as the devil's advocate.

Richard Jenkins is phenomenal. His Walter Vale is an overwhelmingly sad man, but subtly so. He finds joy in nothing until Tarek and his African drum enter his life. Walter's evolution is beautiful thanks to this performance.

The bittersweet inevitability of The Visitor is the film’s crux. The viewer expects it, but any other resolution would cheapen the experience. As I see it, The Visitor is a quiet film that will ultimately call the viewer’s feeling will be called into question. Your response to that will determine the success of this film.

The Road (2009)

Beautifully hopeless post-apocalyptic road trip movie starring Viggo Mortenson as Father and unknown youngster Kodi Smit-McPhee as Son; failing health, cannibalistic survivors, and the end of the world threaten their walk to the east coast.

Entre les Murs (2008)

If you have the patience to put up with this French docu-drama, released in the U.S. as The Class, then you will be forever grateful for our public schools.

The Box (2009)

Spazzy melodramatic chemistry-free crap-fest starring Cameron Diaz with a feathered hairdo and the dude that Rachel McAdams dumped in The Notebook—James Marsden

Johnny Got His Gun (1971)

'Powerful antiwar' film—at least that’s what they say.  What I stayed around for a crazy mess.