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Tenenbaums Blog

Reviews

 
  • Play On, Bleeker

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    The novel on which Nick & Nora's Infinite Playlist is based was written by David Levithan, author of "Boy Meets Boy," and like that work, the action and characters exist in an alternate reality.  It's still New York, but the amount of freedom enjoyed by 17 and 18-year-olds in addition to the overacceptance of homosexuality doesn't mesh with real life. That overall feel works for and against the film, allowing it to teeter into fantasy that's both wonderful and difficult to accept.

    The Mark Mothersbaugh score is quality, but the rest of the unending music fails to live up to the titular hype (if that's even what it was going for).  Michael Cera and Kat Dennings make for an appealing pair, and their friends are even more interesting as they embark on a wild night (and early morning) in search of an elusive concert.  A bit too indy to hit the quirky heights its cast is capable of, but entertaining nonetheless.


  • Gonzo Lite

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    It's been over a year since I saw Gonzo at the Full Frame Documentary Film Festival, so I guess the press embargo has been lifted....

    A good, cumulative retrospective of Thompson's life, but Hunter fans have seen most of this elsewhere and, though fun (it's Hunter; it's can't not be fun), it has a lot of problems. 

    The film has plenty going for it, including significant celebrity participation (i.e. Johnny Depp reading passages from Hunter's work), but director Alex Gibney really stumbles in certain places, notably by visually reenacting multiple passages.  The only one that works is the "Taco Stand" scene from "Fear and Loathing in Las Vegas."  The dialogue here is strong enough to stand on its own, and Gibney honors it by shooting Duke and Dr. Gonzo from below the waist.  However, in a passage describing a werewolf running through the streets, Gibney turns to a literal interpretation, and the scene's hokiness goes beyond ridiculous. 

    It's nice to see footage from Hunter's funeral and in-depth coverage of the McGovern campaign, but Gibney loses significant credibility by failing to mention or depict the years of physical pain that led to Hunter's suicide.  In an interview included in Entertainment Weekly, the director says, "'I think it's bullshit, the idea that Hunter's killing himself is a heroic act — it's the act of a narcissist.  I never met [Thompson], so I went in fresh and cold, and I wasn't on anybody's side.'' 

    Try as Gibney may, Hunter is automatically a polarizing character and any effort to depict his life is going to include honest footage of Hunter's unforgivingly consistent personality.  Such footage will give viewers with all ranges of interest in the good doctor an honest portrayal of him, regardless of the personal bias of a rogue director.  To omit the reason behind Hunter's suicide is doing the man and those who followed his career a disservice.  As such, Gibney's editorializing handicaps a potentially great work.


  • Lies! All Lies!

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    Body of Lies  (2008)

    It's hard not to like a Ridley Scott film, especially when it's written by the same guy who wrote The Departed and stars Leonardo DiCaprio and Russell Crowe.  Unfortunately, things never really gel between these big names and the film feels half-baked as a result.

    With so much potential, including an appealing (on paper) story, Body of Lies can only be called a disappointment, despite the various thrills it manages to deliver.  Scott provides plenty of his textbook explosions and excitement, but his stars feel tired and underdeveloped.  A good deal of blame falls on the script, which never quite feels smooth, but DiCaprio and Crowe additionally never find their groove.

    Body of Lies is interesting enough to keep watching, but you know that the film's contributors are capable of better work.  The promise of them returning to form remains strong, even if this go-round isn't their best.


  • Wonderball

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    Eight Men Out  (1988)

    As a baseball fan since I was 7 (that's 18 years, if you'd like to know), I'm embarrassed that I just got around to this one.  But maybe I wasn't ready for it until now.  The more age-appropriate baseball films of my era include Angels in the Outfield, Rookie of the Year, and The Sandlot.  All of these feature happy endings where the bad guys and good guys get what they deserve.  None of them ask tough questions or are true stories.

    Eight Men Out does.  It's the big boy baseball film and, besides Ken Burns' Baseball, is the best film about the sport.  John Sayles is flawless here as a writer, director, and even an actor.  John Cusack has never been better and he's surrounded by an impressive group of supporting actors, including Charlie Sheen, D.B. Sweeney, and David Strathairn.  Together, they bring the 1919 White Sox to vivid realization and do a remarkable job of exploring the personal and athletic sides of the sport's most notorious scandal.  As with the best Ron Howard films, even knowing the outcome can't stop the action from being suspenseful and captivating.  Eight Men Out can't lose, even if it's players can.


  • Wham-Bam, Thank You Ma'am

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    Narc  (2002)

    Smokin' Aces  (2007)

    Joe Carnahan's Narc is enough of a directorial statement to get me to watch any of his films.  That's not to say I wasn't hesitant to see Smokin' Aces after I couldn't find a decent review upon its release, but it's still enjoyable.  Don't expect the depth and auteur stamp that was all over Narc and this film will provide enough thrills, laughs, and twists to be a worthwhile experience.  

    But if that's not enough incentive to check it out, here you go:  Jason Bateman in a thong.


  • OK, I Get It

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    Saw  (2004)

    Finally watched this one to see what the fuss was about.  While I understand why viewers feel compelled to watch 5 installments of this series, it's not for me.  Jigsaw is an interesting villain and it would be neat to see what other kinds of mental games he will concoct, but the sadistic torture required to get to the "stunning conclusion" isn't worth it to me, especially 4 more times.  I'd much rather catch up on any of my "must-see" lists or, if it's horror I need to stick with, then I choose John Carpenter.


 

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