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JasonSherry
Reviews
The Taming of the Shrew (1983)
Shakespeare as a Soap Opera (or Just As He Would Have Liked It)
People forget that Shakespeare was essentially a genre writer. Today he would more likely have been whipping out episodes of Mad About You or Another World than penning Merchant/Ivory pics.
So while this version's visual approach of being lit and edited like a soap opera may take some getting used to, the approach is not as much of a stretch as it might at first seem. Yes, at first glance, it's easy to dismiss the production values as cheesy, since the approach is so unlike what we have come to expect of televised and filmed Shakespeare. But ultimately the more "common" visuals help clarify the play's meaning.
And while the acting styles are a little uneven - the leads generally maintain a daytime soap sensibility grounded in realism while some supporting characters play with much more broad, theatrical strokes - the direction pushes the story forward at a breakneck pace. The constant movement imbues the bard's words with contemporary energy.
This is actually a great version to show high school students - the relationships are clear and identifiable, the language is kept intact but made accessible through the medium, and the fast paced direction will keeps interest high.
The 10th Kingdom (2000)
Uneven, but entertaining, and surprisingly "Grimm"
The main flaw in this mostly engaging mini-series is that it tries to hard to be too many kinds of movies. Dark enough to entice adults, simple enough for children to understand, a fantasy epic action adventure romance satire. Every time I rolled my eyes about something juvenile, an "adult" theme or line of dialogue would appear. A little more commitment to one audience would have patched a few of the gaps.
The acting is fairly good for a TV movie, and there are more failed characters than flawed performances. Scott Cohen's Wolf embodies the inner characteristics of "wolfishness" in human form - a useful acting exercise given deeper dimension by the charming performer (and in sharp contrast to the slimy despot he has been playing on NYPD Blue). Likewise, the Witch's character, while one-dimensionally evil, is a more empowered a female fantasy villain than the standard cartoonish witch. The troll characters, however, were cookie cutter cartoon cutouts of obviousness. Laroquette is Laroquette, although not as snarky as usual. And Kimberly Williams' appealing presence keeps the series moving, altho her character as written cartwheels from strong, independent woman to weeping, helpless waif far too often. The guest spots are well filled - particularly Camryn Manheim's Snow White, a refreshing spot of non-traditional casting, successfully affirmed with beauty and heart by this talented performer.
All but the last installment were paced fairly well - the whole series could have been about an hour or so shorter, but with the overabundance of commercials needed to pay for the stunning visuals, it's hard to judge. There are some dark moments, and some violent and lusty themes that are straight out of Grimm's versions, which are a welcome addition to a mainstream fairytale, but at times can be jarring next to some of the more simplistic, child-friendly elements. But then, the same could be said for Grimm's originals (a magical fairy godmother, mice as coachman, and severed toes in one story). The budget is put to far more creative use than most of the previous "obvious computer-effect" heavy NBC specials, with sets, costumes, and locations utilizing a wonderful fairy-tale palette of colors and textures. All in all, a fairly successful and worthwhile mainstream endeavor.
Mystery Men (1999)
This movie is number one. All other movies are number two or lower.
It's simple - you will either get it or you won't. Much like the comic book "The Tick", there's a certain non-sequitous humor that either taps into your collective subconscious funny bone or doesn't. Unlike the Mel Brooks parodies, which keep getting more specific and detailed in their mockery while growing less funny with each project, Mystery Men is up there with Blazing Saddles in its day - a good overall spoof of its genre. From its stylized cityscapes, at once attractive in their own right, but also drawing a mocking parallel to the "typical" neo-modern superhero "Gotham" or "Metropolis", to the inevitable lame origin story most superheroes borne of the 60's and 70's have, to the untouchable cast...this movie is thoroughly enjoyable - If you have the offbeat wit required to get it. The things most people have criticized stem from their not understanding the comic book hero conventions and this movie's glee in warping them while paying homage to them. Yes, Geoffrey Rush's brilliantly eccentric and creepy Cassanova Frankenstein's plan is nebulous - what epic supervillain's isn't? The cast is at the top of their respective games here: Macy is brilliant as the earnest everyman who believes in his talents, his delivery worth the price of admission alone. Stiller gives one of his best, edgiest performances to date. Hank Azaria successfully continues his unheralded quest to be the best character actor in the country. Jeanine Garafolo is even funny when she is just talking to a bowling ball. Paul Reubens is my only disappointment - he's great, don't get me wrong; but the voice is a little too annoying to maintain without grating on you. Unfortunately, the nerdy Pee Wee voice would have fit the character perfectly, and I'm sure that's what he wanted to shy away from. Wes Studi's Sphinx is a deadpan zen riot, Tom Waits is quirkily amusing, and Greg Kinnear's only flaw was not enough screen time.
The movie is empirically funny. If you have the twisted wit to get it.
Shall we dansu? (1996)
A true love story....
If you are tired of films trying too hard to be fairy tales (the "Pretty Woman" variety love story), here is a beautiful film in which a Japanese businessman is pulled free from his robotic, dispassionate life when he falls in love...with dancing. Wonderfully drawn characters bring to life a story that is at once deeply funny and poignantly moving.