Indiana Jones and the Kingdom of the Crystal Skull
As far as action films go, the previous episodes of the Indiana Jones franchise left me pretty unmoved. Archeological treasure hunts were never my cup of tea. For this reason, I could have easily done without Indiana Jones and the Kingdom of the Crystal Skull. But here I am on the airplane. What the heck, let
Wall E
If you are like me and wonder how Pixar can pull off one creative blockbuster after another, here is an interesting peek behind the scenes of the studio. In an interview the writer and director of Finding Nemo and Wall E, Andrew Stanton, intimates that Finding Nemo did not work as a film until very late in the production process when creative team figured late in the production process that they needed to change the personality of Memo of give the film its captivating dramatic force. Pixar movies, we learn, are not the superb product from day one, but gradually improve. Wall E took over a decade from the initial conception to the completed film. The finished product is yet again a masterpiece. Unlike previous Pixar films, Wall E has a dead serious subject. Planet earth is a post-apocalyptic rubble field, inhabitable by humans. The only creatures left behind is the little robot Wall-E and a cockroach that roam what appears to be the greater New York area.
300
300 is different from any movie I had seen before. The closest would be Chinese films such as Crouching Tiger, Hidden Dragon with the magical fighting scenes. Yet these Chinese films still are far from where 300 takes you. For my eyes, the film pushes boundaries of cinema as an art form. 300 tells the story of a historical battle in which 300 Spartan battled hundreds of thousand Persians intent on subjugating all Greek city states. (I cannot tell more without giving it away). ). I typically don’t like brutal, bloody films. But the makers of the film based on graphic novel (never new they existed) prove that even slaughter can be made artful.
Anyone who wants to see a cinematic innovation and is able to stomach some really terrifying carnage, rent 300.
Mama Mia!
Mamia Mia!, this was worse than I had feared. I did not even get a great tour of the Greek islands. I was the first to leave the cinema. Now I was watching people coming out. Women smiled, men looked pained, albeit a bit proud they took their lady to the movies. Cinema, in my view, has rendered opera unnecessary. What makes a great movie is that, unlike opera or its modern incarnation—the musical—, it makes you forget that you are watching a staged reality. The best movies become lifelike. You think you are watching reality. In Mamia Mia! you never forget that you are watching a show. A good playwright like Tom Stoppard (Shakespeare in Love) could have managed to write a decent script around the songs of Abba. But Catherine Johnson lacked the skills and produced childish superficial love story. Pierce Brosnan (the former James Bond) is not able to act out his inane role. Meryl Streep does better with hers, showing that she is a truly great actor because she can play any role, even the most trivial one, without letting you know that she is acting. Making the actors sing all the songs, even when they have the weakest voice as in the case of Pierce Brosnan, struck me a big mistake. I yearned for the real voices of ABBA. The movie would have been a lot better if once in a while the actors could have done ABBA karaoke instead of pretending that they can be real singers.
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Tropic Thunder
There is a reason why in most films different people take on the roles of the writer, director, and the lead actor: Rarely is one and the same person equally good at all these jobs. Tropic Thunder stars Ben Stiller, and is written and directed by Ben Stiller. That was a mistake. When I saw the trailer a few weeks ago, my hopes soared. Perhaps Tropic Thunder was going to be as funny as There is something about Mary. Far from it, the new Ben Stiller vehicle only provokes a few laughs. The story (a film crew making war movie in Vietnam comes under real attack) is rather weak, a mumble jumble of ideas that Stiller had over the years. The best part of the movie was Tom Cruise, who plays a slimy, foul-mouthed, overly hairy Hollywood producer. Cruise steals the show from Stiller, even though he only played a minor character, in a sideline of film. I am not going to see another film written and directed by Stiller any time soon.
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The Dark Knight
When Heath Ledger died early this year, I was deeply disturbed by his death. I surprised myself by the strength of my sadness. What made it so difficult to accept his untimely death was my sense that this extraordinary talent could have mesmerized us for decades to come with his acting skills. The best thing about The Dark Knight is Ledger’s performance. How can a twenty-eight-year-old play the Joker, who has a much older persona? Having seen all few the recent spider man movies, I felt the Dark Knight breaks little new ground except for being much darker than any of the other films in this genre. Running 152 minutes, I left the theatre feeling overwhelmed by the seemingly never-ending battle scenes between good and evil. The plot could have been streamlined by an hour without losing anything.
Sex and the City
The four ladies of HBO’s “Sex and the City” comedy series continue their adventure in New York. The writers infused the film with a good sense of fun. At times it is also a bit sexually daring, but for the most part it falls into the genre of a tame romantic comedy. This is not a movie that will make it into the top 250 hundred films of all time but it offers light entertainment if that is what you are seeking.
Penelope
My expectations about this airplane film were modest. A family is cursed and the fist female bay will be born with a pig’s nose. Ok. A little children’s movie. Yet to my surprise Penelope is one of the most clever films I have seen in a while. It is Cinderella, Romeo and Julia, Miss Piggy and teenage beauty obsession all mixed together in a magical realistic fairy tale reminiscent of Charles Dickens. Few movies can please both the young and adult mind. This one can.
We Own the Night
We Own the Night transports you back into the disco era. Drugs were a big part the Studio 54 scene (I visited famous disco once before it closed and marveled about Grace Jones’s rooftop haircut). One son of a family of senior police officials son a night club. Before long he has to choose between his law enforcement family and the vast opportunities given to him by the Russian owner of the club. Skip this film and instead watch the documentary of Studio 54 produced by VH1.
No Country For Good Men & There Will Be Blood
Both films have high ambitions: they want to capture the spirit driving American society. In the Coen brothers’ No Country For Good Men America is at its core only greed and violence. The writer and director of There Will Be Blood offer a more balanced and accurate depiction of America. There is violence but there is also hard work and tender feelings, especially toward children. There is greed but also wealth generation that benefits the community. There Will Be Blood is slow because it strives to portray in detail just how difficult it was to develop the American continent. Daniel Day Lewis deservedly received an Oscar for his unusual performance as the lead character.
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