Four Eyed Monsters
Advertisement

Bloggish review blog

  • This "Rocket" just doesn't have the fire

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    The Natural  (1984)

    Seabiscuit  (2003)

    Cinderella Man  (2005)

    The Rocket  (2005)

    While I'm not much of a sports fan, I do enjoy watching sports movies. There's just something about watching an underdog beat the odds and take the necessary risks on the road to success that just makes me feel good. I know I'm not alone in this. Otherwise, there wouldn't be much of a market for movies like "Cinderella Man," "Seabiscuit" or "The Natural."

    That's what filmmakers tried to do with "The Rocket," a movie about the career of legendary hockey player Maurice Richard and the racism against French Canadians both in sports and in regular society, during the forties and fifties. Technically, "The Rocket" is a pretty good piece of work, with great music, lovely, rich cinematography and a good story. But  due to some seriously weak writing,  the movie never really takes off.

    What "The Rocket" mainly suffers from is relying on telling more than showing. We are only shown vignettes of Richard's life, and these chunks of narrative are stretched almost too far apart to be strongly connected. If the filmmakers wanted the audience to be paying attention for the 124-minute running time, they should have been paying more attention to continuity.

    Also, we don't actually get to see much of Richard's particularly great games. The facts of these supposedly spectacular displays of athleticism are instead told to us by fans, reporters, and (in a particularly irritating example) Richard's barber who describe the action in long monologues that I somehow doubt would have been used by those people in reality. I'd rather have seen the actual games being played out than listened to the implausible lines spoken about them.

    Another result of this cut-and-paste style of storytelling is that the characters aren't given much of a chance to develop. Richard's relationship with his teammates is never explored, and the conflict with his blue collar brother-in-law doesn't get much attention either. The characters don't even seem to change much. Richard is stoic and modest, his wife is always concerned but proud of her husband, and Mr. Irvin, Richard's coach, is always an enigmatic, reverse-psychology dependent S.O.B. While these details might not have seemed important to the people making the movie, they are just as instrumental as any action sequence.

    All of this may sound kind of hypocritical when I complain about the lengthy running time (two hours and four minutes is a long time for me to watch bad screenwriting), although it probably could have been avoided had there been more action and less talk. "The Rocket" after all, is a sports movie. Why don't we get to see more sports? 


  • Long Life, Happiness and Prosperity

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    I've been recieving Film Movement movies from Spout to review since late July. So far, the films I've gotten have been okay. There have been one or two that I've enjoyed, but none that have really blown me away. "Long Life, Happiness and Prosperity" is the first movie I've gotten in the Film Movement series that made me wonder why the movie I was watching hadn't been released in theaters. It's a well-shot, well-acted, poignant and touching little film, and a great insight into the lives of a community of Chinese immigrants.

    The story centers on Mindy (Valerie Tian), a precocious 12-year-old with an intense interest in ancient Chinese magic. With her book of charms tucked safely into her backpack, Mindy sets her sights on fixing up her single mother (Sandra Oh) with Alvin (Russell Yuen), her friendly boss at the Chinese restaurant where she works.

    We are also introduced to various other characters in the community, people like the recently laid-off Shuck (Chang Tseng), and his attention-starved wife Hun-Ping (Tsai Chin). Then there's Bing Lai (Ric Young, in a heartbreaking performance) and his son Peter (Kameron Louangxay). Bing is a butcher trying to teach his son the tricks of the trade, while Peter is secretly training to be a Buddhist monk with help from his mother. Bing also has a very strained relationship with his father in China, and it appears that his whole life has been lived in an attempt to impress him.

    These separate stories wind together gracefully and beautifully, and the relationships (for the most part) are clearly drawn, with very sympathetic characters. The story of Bing and his family, is particularly engaging. Bing's connections to his father and to his son are complicated, and we don't truly understand what's going on until the end of the movie, but it's sad to see Bing try so hard to impress somebody who doesn't acknowledge his achievements, or even care about his well-being. Upon discovering Peter's Buddhist ambitions, Bing comes dangerously close to doing that very thing himself, and we never really get an answer as to how his situation gets resolved, if, indeed, it gets resolved at all.

    There are a few parts in the movie that are close to over the top, but, thankfully, these parts don't last long. I did wonder why Lee Tai Tai, the mandarin-speaking local charms expert, had to be played by a man (Colin Foo), but I'm just going to assume there's a deeper meaning there that I just didn't understand. But I'm just being nit-picky. On the whole, "Long Life, Happiness and Prosperity" is an utter joy to watch. I'm so glad I got the opportunity to see it, and I'm sure anyone else who watches it, unless they haven't got a heart, will love it, too.


  • The Battle For "Boondock"

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    Brazil  (1985)

    Time Bandits  (1981)

    12 Monkeys  (1995)

    Overnight  (2003)

    It's the ultimate Cinderella Story: A young, first-time screenwriter working as a bouncer in Los Angeles gets the opportunity of a lifetime when Harvey Weinstein of Miramax Studios buys his script, gives him a hefty advance, lets his band record the film's soundtrack and promises his new discovery co-ownership of the bar he works at.

    Well, as the saying goes, if it sounds too good to be true, it usually is. This is the story of Troy Duffy, writer and director of the cult hit "The Boondock Saints" as told by two of his friends in the documentary "Overnight," which recounts Duffy's meteoric rise and spectacularly depressing fall. The documentary is surprisingly objective in that it is effective from two angles. Those who are great fans of "Boondock Saints" will probably see Duffy as an embittered tragic hero who continues to fight for his art while everyone around him loses faith. Those (like me) who just don't "get" Duffy's film see the director as an opinionated asshole whose sudden success turns him into a power-mad paranoid. His attempts to retain complete control over his movie and his band make him lose credibility in the eyes of his family, friends and bandmates, whose lives and livelihoods are pretty much destroyed by Duffy's antics.

    What happens is this: Duffy makes the monster deal with Miramax and becomes, in his words "Hollywood's new hard-on." Then, suddenly and without warning, Miramax drops him. The band makes a record deal with Maverick records, then the record company pulls out at the last minute. Franchise pictures ends up buying the "Boondock Saints" script, and giving Duffy less than half of the budget Miramax offered. Duffy accepts and makes his film, but no major studios are interested in distributing the film. Finally, Indican pictures, a small independent studio, releases the film for two weeks in five theaters accross the U.S. The band does eventually get a label and cuts a record, but the record sells less than 1,000 copies in six months and they are dropped, at which point they break up rather unceremoniously.

    "Overnight" did definitely make me feel sympathetic to Troy Duffy. Although I don't consider myself a "Boondock Saints" fan, and Duffy and his friends aren't exactly classy, clean-cut guys, I did feel a certain amount of pain seeing this blue-collar guy from Boston who thought he had something big going get continually screwed over by almost every Hollywood establishment. I suppose one might compare Duffy's predicament in "Overnight" to the famous battle between Terry Gilliam and the major studios over the distribution of "Brazil." But the difference is this: Gilliam is a director who started off as a financial success with "Time Bandits" and went on to make some great films, both commercial hits like "12 Monkeys" and movies that were artistically beautiful but tanked at the theater (see "The Adventures of Baron Munchausen"). The only movie Duffy has under his belt, seemingly because of the situation laid out in "Overnight" is "The Boondock Saints," a movie that I was surprised ever got made at all, let alone something that could ever have been optioned by Miramax. "Brazil" was a movie worth fighting for. "Boondock Saints" not so much.


  • Cabins+Woods=Recipe For Disaster

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    The Evil Dead  (1983)

    Evil Dead [Film Series]  Production Year

    Well, I just got back from the sparsely-attended screening of the low-budget indie zombie flick "Dead in the Water," and I have to say: I had a good time, but I'm not sure why. I know cheesy B-movie horror is kind of an art, as displayed by classics like the "Evil Dead" trilogy, but "Dead in the Water" treads a fine line between crappy horror at its schlocky, cliched best and convoluted storytelling at its absolute worst. At times it teeters dangerously into "Mystery Science Theater 3,000" territory.

    As with "Evil Dead," "Dead in the Water" is a story about a group of kids headed up to a picturesque cabin in the woods for a weekend of boyfriend-girlfriend canoodling and general good times. The girls, Jennica (seriously, what kind of name is that?) and Tiffany are sisters whose parents bought the cabin and are supposed to meet the kids there. Of course, nothing goes according to plan, and when it's discovered that there's an army of undead living in the not-so-serene lake, Mom and Dad's grisly fate comes as no surprise. Now it's up to the girls and their boyfriends to get the hell out of "Bumblefuck, Wisconsin" as one character so eloquently puts it, and back to civilization without anyone turning into zombie fodder or, God forbid, bruising relationships, egos and feelings along the way. Riiiggghhht.

    Unlike that ultimate Cabin In The Woods movie, "Dead in the Water" suffers from some serious issues other than a kite-string budget (I know, it's a weird metaphor, but it was the only thing I could think of that was smaller than shoestring. Throw me a bone, here). Bad writing is the major cause of the issues here. There's a complicated and poorly-explained backstory told in ways that don't quite mesh with the characters or the rest of the plot, and director Marc Buhmann might have done well to cut some of the stuff out altogether.

    However, the script does have its moments, and Mike Parrish, playing Joseph in the film, does his darndest to assume Bruce Campbell's throne as a B-movie badass. But this is no "Evil Dead," and try as the filmmakers might, it doesn't even really come close. The difference is creativity. When Sam Raimi made "Evil Dead," it was something that had never been done on that scale before. The way he did the effects in that film were ingenious. All that stop-motion stuff, the tons and tons of karo syrup, the vaseline-and-duct-tape coated camera track that provided those brilliant, lightning-speed shots, that's what made "Evil Dead" what it is. While it's admirable that Buhmann and crew gave it a shot, the result is a movie that's worth watching for pure cheese value. "Dead in the Water" is definitely entertaining, but in what way still remains to be seen and (I think) greatly depends on the person watching it.

  • Italy is for Lovers

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    Amélie  (2001)

    I like to think of myself as a diverse movie viewer. I can watch a horror movie, then turn right back around and watch a period drama, followed by a screwball comedy. But there are some genres that I just really get a kick out of. Well-done, inspirational romantic comedies are one. I love movies like "Amelie" and, yes, even "Under the Tuscan Sun" that are light and fun and leave you feeling great. "Agata and the Storm" is one of these movies. Something like a hybrid of "Amelie" and "Waiting to Exhale," it had me grinning from beginning to end.

    The movie centers on the life, relationships and adventures of Agata, a forty-ish bookstore owner in Genoa with a strange ability to make electricity go haywire when she gets emotional. She's seeing Nico, a married man about half her age. Her brother Gustavo recently discovered he was adopted as an infant and appears to have abandoned his family and successful architecture career to find himself and hang out with his biological brother Romeo and his wife. It's all a bit complicated, but oddly enough the varied plot lines all work out. As we get to know Agata and her family, we become more involved and turly begin to care about these sweet, unique and utterly human characters. Romeo's dream of owning a trout farm, Gustavo's search for his father and his true identity and Agata's relationship issues all become terribly involving and engaging the longer the film goes on.

    Most importantly, "Agata and the Storm" has a great playful sense about it. Even the film's dramatic moments (and there are quite a few) aren't much of a downer. The movie, like Agata's spirit, moves on the happy parts of the characters' lives. Everything from the colorful visuals to the characters' quirks to the film's music is very entertaining and lighthearted.

    That isn't to say that there aren't a few problems. There's an awful lot of infidelity going on in the film, and nobody seems to make a big deal out of it. Romeo, especially, seems to have serious problems remaining faithful to his wife, Daria, but when pressed by Agata he states that he knows he's got a problem but brushes it off, saying "I am what I am." Another plotline, involving Agata's estranged 20-year-old daughter, is never resolved, nor really even followed. It would be interesting to see what Agata's daughter would be like, or what she thinks of her mother having an affair with a man 13 years her junior.

    Overall, however, "Agata and the Storm" is good watching. It's the kind of movie you can sit down to watch with your girlfriends and a bowl of fresh popcorn. Or, for that matter, a pint of Ben and Jerry's. It's romantic escapism of the best kind: the kind that wraps you up like a warm blanket and makes you feel like running out into the street afterwards and hugging everyone you meet.


 

Like what you're reading?

Subscribe
Search
  Go

Browse previous
<October 2007>
SunMonTueWedThuFriSat
30123456
78910111213
14151617181920
21222324252627
28293031123
45678910


Categories
 


Advertisement