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Tenenbaums Blog

  • Surprise, Surprise

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    Under discussion:

    Snatch  (2000)

    Swept Away  (2002)

    Revolver  (2007)

    RocknRolla  (2008)

    Wow.  After a slow start, this movie really takes off.  Though I love Snatch and Lock, Stock, it's reassuring to see that Guy Ritchie's talent can go in a different direction.  That's not to say that he's completely abandoned his roots (which he might have done on the Swept Away remake....though I haven't seen it...) as there are trademark cinematography and editing touchs in addition to dialogue and content.

    Revolver reaffirms that Jason Statham is an actor with Ritchie and merely an action star without.  He is at his dramatic best here and looks great next to the comedic masterwork in Snatch.

    Ritchie's new directions allow him to grow as a filmmaker and distance himself from the "he made the same movie twice" comments at the start of his career.  I now trust him more as a writer/director and I'm really excited for Rocknrolla.


  • Not About The Sahara or Pharoahs. Sorry...

    2 out of 2 people found this review helpful. [What do you think?]
    Under discussion:

    Outstanding cast and a fine story adapted from Clyde Edgerton's novel.  The work translates well, but with an Oscar winner, Luke Skywalker, and JTT, shouldn't the production value be a little higher?  These folks deserve to be shot on something higher than a Hallmark Channel budget.  Guess that's why it was direct-to-video.

    If you get the chance, track down the Feature Films For Families edition.  Wesley's pottymouth is chastised by Mattie, but with the scrub-a-dub-dub magic of wholesome editing, he never actually says anything bad.  There are also entertaining questions to discuss with your family printed on the back of the DVD case, and the topics are also read aloud with inspirational background music in the "Bonus Stuff" section accessible through the main menu.  Joy!


  • Thriller!

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    Under discussion:

    The Exorcist  (1973)

    Halloween  (1978)

    Psycho  (1960)

    Rosemary's Baby  (1968)

    Hostel Part II  (2007)

    I saw The Exorcist for the first time last night, and while I was ready to have the tuna salad scared out of me, I thought it was pretty low on the fright-o-meter.

    There are definitely several "whoa" scenes where you can't believe that what's onscreen is actually happening, but that doesn't make it scary. It would definitely be terrifying to be in the same room with a possessed Regan and the paranormal activity that occurs is pretty mesmerizing, but that doesn't make it scary either.

    What stood out to me was the intensity of the exorcism scene and how well Max von Sydow played his part throughout the sequence. It was some hardcore, ghostbustin' ass shit with a devilish twist, but I wasn't nearly as freaked out by it as I was with Rosemary's Baby, which I consider to be a much better film.

    When I think of "scary," I refer back to a pair of films that still give me the chills each time I watch them: Psycho and Halloween, most definitely not their respective remakes.

    There are still times when I get a little paranoid while taking a shower. I can't see and can barely hear what's going on outside of the curtain, so there exists an air of terror that something may be creeping up on me with a knife or other painful object. This sense is heightened when I'm alone in a house, and while I don't let the feeling overwhelm me, it's definitely something that pops up from time to time. I have Alfred Hitchcock to blame for that, and I'm rather thankful for it.

    Michael Myers is a strong reason to be afraid of the dark. You think you see something, then you look back and it's gone. He could be behind you at any time, and you have no way of knowing he's there because he doesn't make noise when he moves. Plus, he can't be killed. What???? And that musical score, probably the most terrifying since Psycho. Whenever I hear it, I look around to make sure I'm safe. Gah! There it is, playing in my head!!! John Carpenter, you are a genius! Well, you were when you made this film.

    These are scary moments. Not a girl with Satan inside her strapped to a bed. Maybe it could have been, but it wasn't. While I'll admit that I'm easily frightened, though I often crave these feelings in a controlled environment (movie theaters, roller coasters, etc.), I find it hard for a film to successfully move me to this emotion.

    I have no interest in all the Final Destinations (how can there be more than one "final"? I thought that meant it was the end...) and Hostels, so I won't make an effort to be scared by bags full of poo. Instead, give me the real spine-tinglers like Psycho and Halloween. I'll take them every time.


  • New Directions

    1 out of 1 people found this review helpful. [What do you think?]
    Under discussion:

    Tropic Thunder  (2008)

    In the vein of Charlie Kauffman's narrative and convention flipping scripts comes a new form of experimental filmmaking.  Writer/director Tonya S. Holly, boldly stretching limits with her first film, proposes a return to simplicity that would make Clint Eastwood jealous.  In When I Find The Ocean, Holly achieves auteur status by encouraging her cast to pretend that they were each acting for the first time, a suggestion that results in unparalleled success.  

    Ben Stiller's chief inspiration for Tropic Thunder, Holly tested her cast's dedication to the story by consistently placing unannounced acting tests in their paths.  Sending an early message by casting her complete novice daughter in the lead role, Holly sets a strong standard for uninhibited, raw acting.  The star of several living room productions, Lily Matland Holly benefits from sharing names with her character but is cut no additional slack.  Her lack of diva baggage is refreshing as is her unwillingness (or is it inability?) to rehearse the script.  Plus, there is a keen awareness that failure to obey direction will result in a an early bedtime and no dessert.

    For the role of an abusive stepfather, Tonya Holly hired Richard Tyson, a Chris Isaak impersonator on leave from his seasonal show in Branson, Mo.  Keeping "Wicked Game" and "King Without A Castle" a hard glance away from getting stuck in their heads all day, Tyson serves as an omnipresent challenge to the cast's focus.  Combined with the force that is Lily Holly, the more experienced actors face an hourly onslaught of distractions.

    And the rain keeps coming.  To make things more interesting, no one explains the significance of tombstones to Lily.  Her understanding is that the grave marker is merely a symbol of her father...not that anything rests below it.  In a related matter, Lily's wish to see the ocean and solve the mystery of her father's voice in her head forces the cast to regularly question their geographical knowledge.  The Gulf of Mexico?  The ocean?  Close enough.  The struggle for truth and 3rd grade self-confidence produces more emotion than can sometimes fit in a single frame.

    Other intentional double-takes include a stuffed panther; Lily in shoe polish blackface; a KKK picnic by the shore; and a legion of hypnotized mental patients re-enacting the 1965 Selma march for voting rights.  

    In fighting to keep the performances unprofessional, a competition in humility is clearly evident among the cast.  When Graham Greene and Bernie Casey let it be known that they've taken the occasional acting class, they stick out like a redneck's manicured thumb (also occasionally on display).  Following the examples of Lily Holly and Tyson, veteran performers Lee Masters, Diane Ladd, and Amy Redford accomplish the theatrical amnesia requested by their director.  But, to their credit, Greene and Casey have their moments, too.

    And so, a new genre is born.  When future filmmakers coax a lack of acting knowledge out of their casts, it will be only described as "Holly-esque."  As for When I Find The Ocean, it will be forever known as the prototype of this new movement.


 

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