pjpaix Reviews

Django Unchained (2012)

Could've been 60 minutes shorter

[6/10 · 10 March 2013]

Obviously, Tarantino has entered the sacred realm of Writer-Directors We Dare Not Edit. A decent film made very good by the presence of Christoph Waltz - as evidenced by the fact that it dragged after he left the scene.

In short, it could've been a lot shorter. Tarantino's schtick is getting a bit old - his paeans to spaghetti westerns, B movies in general and comic-book blood-splattering in particular. Despite all this, he manages to entertain which, I suppose, is all he's after. Not a bad thing when you're in the mood for mindless, well-crafted fun.

Let's give Jamie, Leonardo and Samuel their due, also. They clearly had a good time and clearly got into the mood.

Bring lots of candy, lots of popcorn and don't worry when you take your bathroom break - you won't miss any subtle plot twists. On second thought, take a break after Waltz waltzes out. You don't want to miss a minute of his performance.

A Serious Man (2009)

Yet another take on this film

[9/10 · 1 November 2009]

As usual with the Coen brothers, the reviews are all over the place - from "I hated it" to "It's a work of genius". (I happen to subscribe to the latter). And, as usual with them, the interpretations are all over the place, though many reviewers seem to focus on the Coens' view of life as nasty, brutish and short.

But because the Coens are able to weave so many meanings into their films, I think I ought to point out a thread that I've not seen anyone discuss. Specifically, one could make the argument that every single awful thing that befalls Larry Gopnik - with exception of the final irrevocable disasters - could have been prevented. Go right down the line: giving an "F" to a student because he understood only the stories and not the math (like Einstein...); watching a neighbor take more and more of his yard from him; a son and daughter living in another world from him; a brother who refuses to move out of the house; a wife who leaves him for a "serious man" - in all of these trials and tribulations, Larry Gopnik could've taken control. Taken in this light, the opening Yiddish folk tale can easily be interpreted as showing the correct way to deal with evil: stab it in the heart, push it out of the house and then get on with life.

What then to say about the two final - and irrevocable - verdicts, one for Larry and one for his son? While they work as typical Coen over-the-top finales, they also represent what Anton Chigurh represented in "No country...": the occasional, truly arbitrary, visitation of evil or death.

The Messenger (I) (2009)

NOT a war movie; NOT a movie about an ethical dilemma

[9/10 · 25 October 2009]

I was fortunate enough to see this at the recent NY Drama Critics showcase, where both the director (Mr. Moverman) and a co-star (Woody Harrelson) participated in after-show Q&A. First of all, the film is superb - but the summaries I've seen so far do not do justice to what the movie is really about. Sure there are ethical dilemmas, sure there are soldiers who have returned from Iraq. But the great strength of this film is its focus on individual human beings and their reaction to humans' most important concerns: life, death and love. Oren Moverman - accomplishing this so beautifully, accurately and subtly in a small-budget film - is to be congratulated. Woody Harrelson, Ben Foster and Samantha Morton are all magically on the same wavelength in their performances. And the writing (by Camon and Moverman) acknowledges the fact that reasonably intelligent people might be watching... people who don't need every little detail spelled out. Oh yes - I should mention that there's a lot of humor interspersed throughout. The result of all this? The people you meet in this film will stay with you for a very long time - and you'll be glad for that.

Doubt (I) (2008)

'Twould have been perfect, had Shanley the good sense to let someone else direct.

[7/10 · 23 January 2009]

I know my hero Roger Ebert is in the tank for this film, but there are problems. First, this is a nicely written, wonderfully acted movie. Alas, it looks like Mr. Shanley felt that the film version needed more oomph than the stage version. I say this because we get crooked camera angles, a lot of those super slow zooms and dramatic last lines before the cut to a new scene (Sample: when one of the employees at the school shows how the new cat caught a mouse and says triumphantly, "See? It takes a cat!" Sister Aloysius says - almost twirling her mustache - "It certainly does." I mean, good grief, the employee's comment was already heavy-handed enough: we got it... we GOT it).

Ebert is sure right in saying that Viola Davis is wonderful and is the heart of the movie. Aside from the fact that Ms. Davis does a great job, I think the secret lies also in the fact that hers are emotions that we almost embrace, knowing them to be real - unlike the rest of the characters, whose feelings and motives we doubt.

All in all, a good movie that could've been great.

Harry Potter and the Order of the Phoenix (2007)

Stripped of all subtlety, alas.

[5/10 · 13 August 2007]

As has been pointed out, this is the shortest movie - made, paradoxically, from the longest book. I'm not sure who's responsible for this, but we can only hope that the DVD version restores the subtlety that Rowling wrote into the story. For example: in the book, as Harry tries to deal with being cut off from Dumbledore, Ron is dealing with a lack of support from Harry. It is a nice parallel plot, one that Rupert Grint would have handled nicely, given a chance to do so. But instead of luxuriating in the human-interest sub-plots, we are rushed through what amounts to an action flick. This is horribly frustrating and a mis-read of this series' viewing public. Surely the producers know that we'll sit through a longer movie (as many of us did with the Lord of the Rings trilogy) if the film is true to the book, yet sustainable as a visual experience.

Alas and alack, Yates has been booked to direct the next one, as well. We can only hope he has developed a higher opinion of his audience by the time filming begins.

Dr. Fischer of Geneva (1984 TV Movie)

Yes indeed: this needs to be on DVD

[8/10 · 24 September 2006]

James Mason's last film. Trivia question: what were Mason's last words on film? Answer: "Time to sleep". I agree with the reviewer who laments the fact that this movie is still not on DVD. What a wonderful cast and how perfectly they work together. This is a beautifully subdued, melancholy film, in the style of "Tinker, Tailor, Soldier, Spy". Even Alan Bates - who I like so much, despite his sometimes overly-energetic performances - stays within the mood set by director Lindsay-Hogg. And Mason is, as always, so in control. To the undoubtedly warring parties who are contesting licensing fees, PLEASE settle your dispute and give this to us on DVD.

The Constant Gardener (2005)

A suspense of extraordinary intelligence and compassion

[10/10 · 31 August 2005]

Not absolutely sure if there is a spoiler herein, but to be safe, please be warned, since this film is, on one level, a mystery drama. One the many wonderful aspects of this film is watching Justin (Fiennes) grow from a detached, kind-hearted, naif to a sad, wise person of the world. And in true LeCarre style, no one is what they seem to be, which adds to the suspense element. The director is also responsible for the remarkable and very hard-hitting "City of God". Now this film comes along and it makes me want to know more about him. He certainly is able to deliver a powerful social message along with a great story. Not many can do that without sounding like they're preaching. I don't want to reveal too much, so I urge you simply to walk into the theater and let this film catch you up in its frenetic, urgent and beautiful style.

Ten stars.

Mad Movies with the L.A. Connection (1985– )

The funniest TV show ever aired

[28 May 2005]

It's so good to find others talking about this amazing show. My wife and I were just reminiscing about those old shows (and crying about the tape that we accidentally recorded over, years ago) and wondering if they're available on DVD.

I remember the night I came across it on TV. I started watching it and was laughing so hard I couldn't make it over to the VHS to start taping it. I could only tell my wife about it the next morning. (No, she didn't move out). The next time it was on, we taped it and played it more times for more people than the poor oxide on the tape could stand. The reaction was always the same: "When is this on?" Our answer ("It's not on anymore") always astounded our guests.

I hope that someone, somehow, gets this back into the public domain.

Sin City (2005)

Joins "The Matrix" (parts 2 and 3) in being one of those over-rated flicks

[3/10 · 10 May 2005]

This could've been a great one. The look and feel of the film - though over-hyped (everyone jumped on the "what an incredible look!" bandwagon) - was dark and nihilistic, the acting was reasonable, (except for Mickey Rourke - who was _terrific_) and the plot line was quite inventive.

However...

I'm no prude (loving films from Midnight Cowboy to Pulp Fiction), but what have we become when we need that kind of violence and sex to make an impact? Are we really at the point where we say, "If we CAN depict it, then we MUST depict it"? Looking around the theater, one could see all the young white males after whose dollars, we are continually told, the entertainment world lusts. Only some of those males had girl friends or wives loyal enough to accompany them. And what were those loyal women treated to? Some pretty unnecessary and demeaning images.

"But that's Sin City!" you say. Yeah, well... Polanski's Chinatown had its own perverse monster, but we weren't treated to those kinds of images.

It's still a mark of genius to scare us senseless without simply showing us the horror. Sin City is no work of genius.

The Hitchhiker's Guide to the Galaxy (2005)

Not the BBC radio play - but not awful, either

[6/10 · 10 May 2005]

I suppose the best compliment that one can give this film is to say that they did about as well as anyone could in bringing the BBC radio play to the screen. Compared to the dreadful TV production, this was quite a relief. (By now, most people know that the books came _after_ the radio play). I think it was Ebert who remarked that in doing a movie like this, it's a tight walk in targeting both those who are intimately familiar with the original on the one hand - and those new to this weird and wonderful story on the other. The film team accomplished that tight walk pretty well. I especially appreciate the fact that they didn't slavishly adhere to the original. You have to throw fresh meat to us ravenous fans. Apparently the late Douglas Adams knew that, as well. Some of the screenplay was his.

Pretty much everyone in the movie did a solid job. I especially liked (and was terrifically surprised at) the job that Mos Def did. Ford Prefect sometimes got just a tad annoying in the radio series, but Def is - while he was exasperating to Arthur - thoroughly likable: just the companion one would want while traipsing around the universe.

*** Spoiler Alert *** The biggest of my admittedly minor disappointments was the ending. In the radio play, we leave the characters back at the beginning of earth's history with Arthur Dent saying, "Oh well...". In the movie, the writers/director/producer must have us see that - wait, no! - the Earth was not, in fact, destroyed. Everything is fixed up again. Very un-British. "Oh well..."

Team America: World Police (2004)

Funny for awhile, then fades to black

[3/10 · 22 October 2004]

I love over-the-top movies like Pulp Fiction, Fargo, Eating Raoul and Bad Santa. What those movies have is guts - the guts to either take a stand or NOT take a stand. Team America takes no stand during the first half of the film and is honestly and ridiculously funny. But then, still trying to convince us that they don't care, Parker and Stone get all political on us and it gets real tiresome. I suspect that when they release the unexpurgated version on DVD (putting back in the "golden shower" sequence, for example) the movie will movie firmly into the realm of over-the-top, instead of merely a movie that tries to shock us with stupidly foul language. Lets hope they're as honestly offensive as those other films. We could use some genuine, detached laughs.

Still worth seeing for the first half, though.

The Hitchhiker's Guide to the Galaxy (1981)

Good - but find the BBC version with many of the same actors

[7/10 · 20 August 2004]

While still retaining much of its intelligence and outrageous humor in the journey from book to radio to TV, many of the set pieces are overdone when seen, as opposed to heard or read. I strongly suggest that you try to locate the CD's of the BBC radio production, done in the 80's. It is wonderfully funny, with topnotch British actors displaying great comic timing and acerbic wit. The only place I know of that you can buy it is in the UK. UK Amazon has it - but you'll have to have a friend hand-carry it to the States because of licensing issues. Still, the BBC radio version is just wonderful. Seeing Simon Jones in his bathrobe just isn't quite as funny as imagining it - especially in scenes like putting up with the Vogon Captain's horrid poetry.

Winged Migration (2001)

A film of transcendent beauty

[10/10 · 30 January 2004]

A film that's difficult to classify: part nature film, part documentary, part drama. And *completely* beautiful. The makers of this film used every imaginable flying and suspending machine in order to film birds wherever they went. From ultra-light planes to hot air balloons, to hang gliders the camera operators managed to capture what must be the most amazing shots of flying ever filmed. The crew travelled the world to follow birds in migration (and some in their native habitat).

My kids (ages 11 to 15) were transfixed.

To those who say this film lacks "action", I can only express my deep regret that they are so earth-bound as to be unable to let go and soar with some of nature's most wonderful creatures.

Peter Pan (2003)

For ages 12 to 90 - and for fathers everywhere.

[9/10 · 10 January 2004]

What a unique and wonderful gift of a movie. We're very fortunate that P.J. Hogan managed to get this one past the usual Disneyfied Hollywood types. This is one of those films that manages to be what each viewer wants it to be: girls get an intelligent and beautiful Wendy and/or a sexy Peter Pan; boys get an action flick and a wise-cracking gang of loveable losers; Moms get reaffirmation of the wise, enduring and all-powerful love of a mother - and a love story, by the way. And Dads...

Ah yes, Dads like me get an astonishingly frank look at balancing our love and sense of protection for our daughters with the realization that they need to grow up, leave and find their own adventures and romances. It was moving to see both Captain Hook's sad failure and Wendy's father's emotional conversion. Both rang True, with that proverbial capital "T".

Only a couple of things make this film unsuitable for the young 'uns, and both of these scenes are disturbing because they break a "kiddie contract" vis a vis mermaids and fairies. In the former case, mermaids are portrayed as scary, deadly creatures; in the latter, Captain Hook nonchalantly kills off a fairy (flicking it away like a dead beetle after killing it). I know these scenes would have added to my younger daughter's sense of dread in a movie that is "dark" to begin with. On the other hand, my 14 year-old, who did go to see it, chuckled nervously at those scenes - but loved the movie, along with (surprise, surprise) Jeremy Sumpter, as Peter Pan.

The Man Without a Past (2002)

Tod Browning - with a heart

[9/10 · 7 May 2003]

Not to imply that the characters in this film are "freaks" of the Tod Browning sort - but they are intended, I think, to look like the complete outcasts that society has deemed them to be. Thus, there are no Michelle Pfeiffer's, no Al Pacino's dressed sloppily, made to look down and out. Instead, these are people we readily believe are not - and never could be - members of our polite society.

And then there's the story! Such humanity underpinning this story of homelessness. Yet this is no story of pity or helplessness. These are people who love life and intimately understand one another. One of my favorite lines is the electrician's, whose answer to our hero's question, "What do I owe you?" is "If you see me face down in the gutter, turn me over".

If you want to feel good about your fellow human beings, see this film.

Lawrence of Arabia (1962)

A film that has always been gorgeous is now also prescient

[10/10 · 20 October 2002]

Watching it for the third time (in its 2002 re-release) I experienced, along with the rest of the NY City audience, a chilling insight into the roots of our present-day wars with that part of the world. Even though Middle East history is just a background to this wonderful film, the audience was clearly moved when watching the sad irony and significance of a land being divided by the great powers of the early 20th century - the British and the French. We came to call this great stretch of desert Syria, Saudi Arabia, Lebanon - and many other names. Yet the peoples in this story wanted nothing more than to be called by their tribal names, like "Bedouin".

The film, though, is really about T. E. Lawrence - and on this account alone it is a triumph. What a fascinating person - brought to life in a memorable performance by Peter O'Toole.

Taken on another level, this is also cinemagraphic greatness. As you watch this film, it's such a pleasure not even thinking about how good the special effects are - because there are none. Somehow, our subconscious mind relaxes knowing that we're watching the real thing - the sun rising over the desert, a man on camel appearing like a ghost in the rippling heat of the sun, hundreds of warriors on horseback fleeing the attack of WWI-era biplanes, the relative cool of the officers' club in Cairo.

And then on another level, the subtle poetry of Robert Bolt's screenplay is unsurpassed. Take, for example, the scene where Lawrence loses his compass in a sandstorm. When the weather clears and he notices that it's gone, he says, "Well, no matter", and pointing to the setting sun he says, "West!" In the context of his agony over his identity as either an Englishman or Arab, this is a beautiful way of showing his ultimate choice.

If you haven't seen this film on the big screen I envy you: you're in for the most wonderful three and a half hours of your film-going life.

DragonHeart (1996)

I did believe

[8/10 · 21 January 2002]

Not only to be recommended for the plot, characters, humor, acting and music - but it's nice to see a movie that refrains from overdoing the special effects. The FX never calls attention to itself - but remains, instead, as casual as Quaid and Connery.

An all-round nice film, although perhaps too disturbing for the under-10 crowd, considering there are separate scenes where a father and a mother are murdered. But it was OK for my 12-year-old (who loved it). Can't wait til my 9-year-old sees it, too.

Memento (2000)

One of the most original movies (and screenplays) in years.

[10/10 · 31 March 2001]

I just want to talk about this film - but I don't want to ruin it for anyone. So I'll give nothing away. Instead, I'm simply going to go out and tell everyone to see it, because right now it's playing in only one place in Northern New Jersey: at an "Art House" in Montclair. (Yes, this is the same New Jersey that lies just west of New York City). It's my fear that this thing will disappear the way some wonderful films of the past have - like "The Hit" or "House of Games".

This movie has to be seen to be believed - or understood. It immediately takes its place among, yet stands above, films like Pulp Fiction and Nashville. Please understand that I'm not saying those films are similar to Memento. I honestly cannot recall (no pun intended) any film that does what this one does.

Rather, it is that rare work that can truly be called inimitable. Unique. No one will ever make a film like this one again. What's the point? It has now been done. Did anyone ever try to paint a better mural of the bombing of Guernica? Or a more essential Campbell Soup can?

I don't think so. And no one will try to improve on what this film shows and does - to its characters and to us.

So see it if you love movies.

Cast Away (2000)

Pretty good - but too bad someone from Fedex didn't edit it.

[5/10 · 23 March 2001]

We're going through another puffed-up time in film making. This is a good story, with a good cast - all brought together by a good director... who's had too many hits. In this film, after 25 minutes, we've learned about as much as good writing and editing could have shown us in 5 minutes. But it just might be that we have a situation where no one can tell this very successful director, "Hey, we need to chop this thing."

It's a terrific story with a survival segment sandwiched in the middle. The structure is valid (we see how the protagonist loses his obsession with time), though I'm probably in the minority in saying that the middle third is just another man-stranded-on-island story.

It's the relationship story that I loved, and it would have been even more effective if it could have been condensed. For example, we start with an entire segment in Russia. But why? Just to show the humor of trying to teach Russians the value of time?

I hope the reason for this movie's 148-minute length isn't to teach the audience not to worry about time.

Then we have a long Christmas dinner scene with 16 people at the table. A bit of gabbing, some holiday cheer... How does this help the story? What do we learn? Mainly that Hanks has a tooth-ache.

Instead of a trip to Russia and a big dinner scene, I would have loved getting to know the Helen Hunt character better. It could only have made the final third even more poignant.

As it is, we have a good flick that feels it needs to give you more minutes for your money. I would have preferred more impact.

It's a shame one of the Fedex people - one a bit more cognizant of time passing - couldn't have put in a good word or two.

Chocolat (2000)

Pleasant, though a bit obvious.

[8/10 · 18 March 2001]

A difficult film to dislike, it strikes a nice medium between drama and comedy - the kind of thing the French would have done very well. There's not much to it, but it's put together so charmingly and the actors do such a solid job, that you end up not minding that it spends perhaps a minute too long at the end spelling out what its lesson is. If you can forgive this little flaw, then it's a pleasant enough 2 hours.

The ensemble acting is wonderful (recognize the very scary dude from "Fargo"?), and Rachel Portman's music is perfect, as usual.

Of course, this is quite an airy souffle to be getting nominated as Best Picture, but - hey - that's the Academy for you.

Gladiator (2000)

OK to see before going out for a beer.

[5/10 · 18 March 2001]

Well, it's certainly loud and bloody. The digital effects are reasonable, the acting is competent throughout. It's, um, another big Hollywood flick. So what's not to like? I guess if you're at all fussy about how you spend 3 hours of your life then you'd best not waste it in the dark with this one. Ridley Scott, who has brought such a wonderful to feel to so many of his other films succeeds only in making this one dark and distant. We never get close enough to the characters to care about them. On the other hand, if you want something easy to talk about over a beer, well then by all means...

Crouching Tiger, Hidden Dragon (2000)

"Beautiful" is a word too lightly used - but it is that.

[9/10 · 8 March 2001]

Forget the action, though it is wonderfully choreographed. And though it's even harder to look past the beautiful landscapes, you'll be rewarded if you do. This is a beautiful film about young genius and the obstacles which can prevent it from maturing. What surprised and delighted me was how subtle this whole thing is. Sure, the fight sequences are crowd-pleasers, but there's remarkably little blood - as if the filmmakers were emphasizing that they could have told this story in the context of any number of life-skills... it's just that warriors bring the paying public into the theater.

Let it take you away - you're in good hands with this one.

A Midsummer Night's Dream (1935)

Magical

[10/10 · 2 February 2001]

Even in these modern times, when it's so hard to suspend our disbelief unless the special effects are indiscernible from real life, this movie will charm your pants off. Give it just the least benefit of the doubt (it was made in 1935!) and it will reward you greatly. And what a cast!

Being John Malkovich (1999)

A great idea in need of an editor

[3/10 · 3 June 2000]

Truly a wonderful idea - but when the audience starts looking at their watches, it's time to call for the editor. I'm as angry at it as I was at Bill Clinton: very bright, but he blew it. It could have been a great film. Perhaps the director will do a reverse Speilberg for us: do a director's cut that is actually tighter and more disciplined - one that brings all those wonderful ideas together in a more economical fashion. Strunk and White: where were you when we needed you?

Never Cry Wolf (1983)

That rarity: Haunting for adults, riveting for children

[9/10 · 3 June 2000]

My wife and I are always looking for films that speak to both kids and adults. This one belongs up there with movies like "Princess Caraboo" and "The Iron Giant" (and, yes, "Galaxy Quest"). For this one, you have to turn off the phone, settle in, and let the film take you. Note: When we rented it at a large video store, the woman on the computer said, "Yes, it's in stock - but it hasn't been rented in over a year, so if it's not there it's probably lost". Well, it wasn't lost - and I hope someone else discovers it in less than another year.