djgramma Filmblog

Nacho Libre

djgramma — Mon, 20 Aug 2007 08:00:07 GMT

During my last day in Newfoundland, we had taken the time to watch a particular film.

The previous nights before, we went to Blockbuster to rent a movie. We found Nacho Libre. We haven’t watched it before, so we thought it would be a good movie seeing as it stars Jack Black. They didn’t have any in stock when we asked for it, so we went back again when they restocked and got it for free.

At the very last minute, I had discovered that a change in my flight back was not a mere change of seats as I had assumed, but a change of departure time. It was not early morning as planned, but late afternoon.

So, with our newly found time together, we enjoyed our final hours watching the first episodes of Arrested Development and our free rental.

Nacho: I’m a little concerned right now. About… your salvation and stuff. How come you have not been baptized?
Esqueleto: Because I never got around to it ok? I dunno why you always have to be judging me because I only believe in science.

Jack Black is uncanny. Even when you kind of get the feeling that this will be a movie hard to like, Black gets the film’s direction and charms you to love it.

Nacho Libre is an odd movie. A high profile director on a Nickelodeon project isn’t odd enough, the plot seems throwaway, yet is handled in the greatest of care.

The director Jared Hess and Black squeezes every bit of adorability out of Nacho and what you have here is a very simple film for most of the family, with some signature dialog and physical humor. But simple as it is, director Hess incorporates his tendencies for long shots of structure and character reactions, as well as awkward dialog. In many scenes, this does not translate well to the overall impression of the film, as it shows more a long drawn out movie than a natural comedy.

In it’s minimalist way, Nacho Libre is very well made otherwise. Many aspects are authentic enough to be actually taken seriously. As well, most of the wrestling is actual wrestling, with little of the exaggerated idol ism.

Black’s character execution helps the message behind the film. As the main character’s goals are instantly evident, they evolve to a more positive and morale statement at the state of the sport. Idol ism becomes a valiant effort at charitable intent. As well, the underlining, but not overwhelming, love story drives the intent with such delicacy.

The religious aspect of the story adds complexion to the character, as he originates as a cook in the monastery he was raised in. His aspiration to become respected as a luchador conflicts with the beliefs he was raised under, in which he dons a mask to hide his identity. Many times in the film, there are dialog exchanges that tackle the argument of religion, at times Black’s character struggles with the application of religion to his desires, but most are in good fun. The few that counter with the belief of science just begs for deeper meditation, or at the very least a proper compromise.

As Nacho Libre is very odd film, it is as much an odd Jack Black film. If you have ever watched Punch Drunk Love, this is very similar.

Spout!

Children of Men

djgramma — Sun, 29 Jul 2007 12:00:24 GMT

Jasper: What did you do for your birthday?
Theodore Faron: Nothing.
Jasper: Oh come on, you must have done something.
Theodore Faron: Nope. Woke up, felt like shit. Went to work, felt like shit.
Jasper: That’s called a hangover, Amigo.

This has been sitting on my shelf for a long time, waiting for me to put in my computer and watch.

I had been advised to watch this numerous times before, reading so many reviews that praise the brilliance and boldness of the film.

I finally came around to watching this, on my birthday.

Children of Men is a very vicious film. It is a film that cannot promise you hope at every second. It is a movie that does not shy away from a vivid portrayal of a not too distant future, a dystopian mess.

The story leads in to where children have not been born for two decades and the world shatters when one of it’s youngest persons dies. It’s a believeable situation when you think about how the world stops today when a celebrity or royalty dies, or Paris Hilton goes to jail.

But, your attention shifts in a rather clever way when you realize that the future is not all robots and clean edges. The world depends on televisions, advertisements and media. You’re given the sense that everything has gone to hell and the only way we can survive is by relying on politically issued news coverage and a bombardment of socially acceptable medium attacks.

You are also given the sense that the world has this outlandish, yet believeable social collapse that causes such massive racial divides, global persecution and titanic surges in terrorism. In a world such as Children of Men, global fear and hopelessness can only mean destruction.

Clive Owen is spectacular in this film. He fits the very definition of the reluctant hero, epitomized by Bruce Willis in the Die Hard series. Although his character says its all about the money, it is rather obvious he wants more to help who he cares about, and once his situation is made clearer, requires a greater need of a leadership role.

As well, Michael Caine is heartbreakingly brilliant as a father figure to the weathered hero. A surprisingly nobel yet gluttonous stoned hippy. He is one of the few sparks of hope you find in this film.

The movie is unflinching throughout, from the first explosion to the epic and revolutionary car chase scene, to one of the most exciting war scenes that I have seen in a movie in some time. (I had hoped Bloody Sunday would hold this title, but alas, you cannot turn away from such amazing direction, with no offense to Paul Greengrass)

In various scenes, director Alfonso Cuarón implements a single-shot technique (the long take) that further emphasizes the importance as well as ferocity of said scenes. Such is the case of possibly the most famous in-car scene, as well as the bus ride into the refugee camp, (which, of itself, is a direct shot to the world today, and a very difficult scene to recall) the opening scene that promptly gives you the sense of what kind of movie you had gotten yourself into, I could go on.

Children of Men is about hope. It is a social commentary for just what we are going to get ourselves into if we stop thinking, stop living for humanity. The dystopia, no matter how far-fetched, is a take on evolution of our current policies and actions towards one another and just what we are capable of if we stop thinking progression and start thinking for ourselves.

Miriam: As the sound of the playgrounds faded, the despair set in. Very odd, what happens in a world without children’s voices.

During the battle scene, as Theo leads Kee and her baby to safety out of a torn building, soldiers realize the hope of humanity is being carried away from war and calls out to cease fire. The battle, the hate, the fear, gunshots, missiles, everything stops once they hear the crying of the first baby born in two decades.

Spout!

Originally posted on:The PHA

Pirates of the Caribbean: At Worlds End

djgramma — Sun, 29 Jul 2007 03:49:43 GMT

Consider this was probably the most anticipated movie I wanted to see this year. I liked it. I liked it a lot. Because it follows the same formula as the first two, it’s easy to say that it wants to stay true to its fans by bringing the fun, the intensity, the humor and the adventure back.

But, here’s where things get… iffy. It’s a good movie, but it seems to pack so much in so little time, that everything just constantly comes at you. It’s so tightly packed and concentrated with story, it’s near impossible to take your eyes off the screen for more than 5 minutes without missing something.

As you might recall, the second movie was fairly sparse on story and more oriented to action. Consider Dead Mans Chest half a movie, and At Worlds End practically three movies.

But, the story is weaved in such a way that everything, despite being concentrated, is consistent with the movie. Things fit neatly with the pace so you’re never bored or waiting for something else to happen.

But… things turn iffy again, as the format hasn’t changed, but the actors and all things around them do. The story seems to jump back and forth so many times, backstabbing and betrayal left and right. It’s mostly fun, but once or twice, you just want someone to give us a straight answer.

It feels as though this atmosphere reflected the writers room, as they kept throwing more and more ideas into the barrel as they went along. (and, as most would point out, they would not doubt this) At Worlds End deals with so many side stories and many more aspects of the piracy culture, all while implementing everything into a workable pace.

Although this is possibly the funniest of the three, it certainly is the darkest as well. A black comedy? Not when it’s so epic that you really want to reconsider applying a comedy label to it.

At Worlds End felt like it wanted to be an action oriented movie, while staying true to what those loved about the first, which was character development and a storyline that was ridiculously simplistic but so full of life and fun you didn’t care that nothing significant was given to you. (with the exception of FUN!) The real difference here is that the story seemed to be trying too hard this time around to keep with the pace of the entire film.

Despite my gripe, this movie is extremely enjoyable. All actors, including headliner Johnny Depp and the always dependable Geoffrey Rush, have given their best. The saga closes with a blast, a few surprises and a chance to start anew with the inevitable hints for another sequel.

Spout!

Originally posted on:The PHA