XRANDY Reviews

The Good Girl (2002)

Hmmmmmmmmmm...

[3 May 2003]

SPOILERS.

Just a few notes:

1.) The title is ironic folks. Jennifer's character does bad things and it hurts a lot of people who, incidently, aren't so nice themselves.

2.) It was much too self-aware to be a good black comedy. The voice overs were too derivative of Raising Arizona (magniloqunet words in a heavy southern accent).

3.) It was too hard to sympathize with either Anniston's character or Holden. The later was too annoying (even to the point where I began to enjoy the writer's obvious attempt to reveal him as the horrible writer that he really was--rather than root for him) and the former was unable to garner the sympathy needed to cheer for her to break free of her mundane life. Maybe it's just that most of us, in fact, lead mundane lives ourselves, and realize that such existances make the world go round, and thus get tired of the constant criticism of it. (Imagine if everyone that conducted the day-to-day business of society decided to "be special")

4.) There were a few funny moments: the other female clerk with her wry, irreverant commentary that is slipped in without warning or pause, the remark by the store manager after Holden's death that he was a thief and a distrubed young man and that "what we should learn form all this is not to be a theif or be disturbed", and the part where the dog rips the sheet away from Bubba ( I laughed out loud at that).

Road to Perdition (2002)

Too many problems

[3 May 2003]

How do messes like this get made? I guess the book was probably pretty good and Mendes thought he could bring it to life on the screen. WRONGO! SPOILERS. The kid sneaking in the back seat was just too contrived. How many banks does Hanks' character have to hit before the mob gets wise and places some hitman to whack him? (That was just plain silly). The forced comic relief of the driving lessons was bad. If Newman's character loved Mike Sullivan's family that much we need much more turmoil to justify his protection of Connor. Much more time/effort/character development was needed to buy into that. And though I could have overlooked it if the film had been better overall, Hanks is simply unconvincing as a mobster.

Pleasantville (1998)

Great premise, flawed execution.

[20 April 2003]

I have always noted how the term "the good ol' days" seems to have an automatic association with the 50s and that this view seems to be perpetuatied by the sitcoms of that era. Though I think that are few who would openly claim life was really like that back then, I think on an unconcious level we tend to idealize that portion of the past. (For what it's worth I don't think we are a whole lot different than our 50s counterparts, we are just more apt to show our ugly side today via a lack of decorum or simple pride--think "Jerry Springer"). So the idea to enter this antiseptic world with "real" people with modern values was a good one (though not orignal of course).

Though this film has numerous flaws (the inconsistency of color-changing, the ever-preaching main-character, the overwrought, forced ending, the silly fact that they were transported into the sitcom world via a TV remote--just to name a few) its overall merit still makes it an important, thought-provoking work. It is a strong study of reality vs. fantasy/memory and how life is lived in respect to both. In fact I think that a compelling thesis could be made in comparing this work with two other existential films: "The Truman Show" and "Groundhog Day".

One note for the reviewers that complained that too many comentators were overanalyzing this project, listen to the DVD commentary, it's informative (is what a commentary should be in my opinion--10% technical film making, 10% antedotal behind the scenes stuff, 10% comment on the actors and 70% dicussion of the themes, characters and what was trying to be expressed), but borders on the pretenious.

The Ring (2002)

Ummmm..

[19 March 2003]

SPOILERS.

Good premise but the film is unrefined. Here is how to fix it:

1.) The opening scene is awkward. The girl had expectations of being wacked (her & day anniversary was coming up) and she's acting silly. And if all these kids who watched the video are aware of what's going to happen (or have suspicions) why are they all seperated. A scene with them all together as time runs out, where some believe and some don't would have been much better.

2.) Don't make the first victim the cousin of the main character. Since she is a journalist the oddity of the kids' deaths (as well as the rumors) her looking into it would have been justified. Maybe later on have a close relative of her's get killed.

3.) Their should have been more victims that she ran across in her investigation to build up tension.

4.) The relationship between her son and the girl was okay but it needed to be fully explained. As it is it's weak. The kid could be presented as the strange young lad that he is with an imaginary friend. Then as the plot thickens we find out who the friend really is. Need some reason for the boy to be picked though.

One Hour Photo (2002)

Ummmm..

[19 March 2003]

Character development. It is important. The only character with any depth is Williams'. By developing the family the ending may have led somewhere. As it stands (SPOILERS) Sy's breakdown is weak. There is very little tension and Sy simply grabs a knife and takes some dirty pictures. Something more insidious would have been more intriguing.

The Bad News Bears (1976)

A gem

[7 September 2002]

My friends and I all saw this when we were 12-13 and we were very impressed with the fact that the kids cursed like we did. Such verisimiltude would fall to political correctness nowadays. Brillainat script that uses character development to make the film. Both Buttermaker and the Bears grow, but in a gradual way. This patience is evinced in the Bears' new winnig ways, which comes slowly and thus gains believablity. A funny and poingnant classic that was the precursor to all those "Mighty Duck" films as well as that "Hardball" flick.

By the way, skip the sequels. They stink.

Signs (2002)

I want my $8.50 back!

[17 August 2002]

"The Sixth Sense" is in my Top 20 of all time, but I found "Unbreakable" unbearable, and now "Signs" to be a sign that good ol' M. Night is a one trick pony. Now I have no problem suspending disbelief when warranted but this borders on the ridiculous. SPOILERS!!!! I could level a list of flaws but I don't want to be pedantic, so I'll just cover my top three: 1.) As rightly noted by so many others the inconsistancy of the aliens' powers is a huge problem 2.) The reason they choose to stay in the house (a vote? you've got to be kidding me) is weak--comon' how about their car doesn't work or they aliens are already outside, etc 3.) A total lack of verisimilitude in terror, the kids were way too cool and the adults barely pick up an object (any object-which would be a natural reaction) to defend themselves until the end. Instead Mel picks up cooking utensils and makes dinner. In fact that scene with Phoneix going up the stairs to see if the aliens were gone without grabbing an ax, hammer or anything was one of the most implausible moments I have seen on film.

Well I did like the faith restored portion, and I thought the flashbacks (and coincidence/destiny) were well woven into the thick of things. Also the part when the Doctor tells Mel that one of them is in his pantry was really strong and showed potential, too bad I just wasn't able to overcome the fact that these aliens who can mask their ships in mid air can't get out of a pantry. I think some type of terrestrial creatures would have been better suited here.

Summer of '42 (1971)

Another great one from the late 60s/early 70s era of American films

[17 August 2002]

I saw this on televison when I was about 14 and the timing couldn't have been better. Other than the pruient scheme it engendered inside of me in which I would keep close watch for any local women who suddenly became widowed, this touching story inspired me in many positive ways. A great, lyrical story that has several fine moments that surrond two fantastic scenes: the risable drug store part, and the poignant dance shared by Hermie and Dorthy that is masterfully shot. The epitome of the "coming of age" genre.

Dog Day Afternoon (1975)

Terrific film

[26 July 2002]

One of the last of the great early-mid 70s flicks. I watched this years ago and loved it, and recently I watched it again while attending a Hostage Negotiation course (the point was to demonstrate what not to do). A compelling character study, outstanding acting, and superb character development. Someone mentioned that the crowd is the most interesting character and that's true. They cover all moods that are conveyed in the film. SPOILERS. The "sex change" aspect nearly takes the film to the point of being ludicrious, but because it is based on an actual incident it would have been wrong to exclude it. Oh and the "I liked to be kissed" line is a classic.

National Lampoon's European Vacation (1985)

I respectfully disagree with most reviewers here, this flick is funny!

[19 July 2002]

I am surprised that many don't care for this sequel to the brilliant original (as I am that many actually like the "Christmas" and "Vegas" outings which I thought were atrocious). Maybe it's because my wife and I were living in Europe when we saw this and could really relate. (SPOILER) An especially funny part for us was the French waiter and the subtitles, if you've never been in a country where you don't speak the language maybe you won't find it as humorous, but for us it really hit home because in the back of our minds we realized that many of the folks we encountered could be saying anything about us and we wouldn't know the difference. Good stuff!

Vacation (1983)

Relax, and take a mini-vacation of your own with this gem

[11 July 2002]

The best comedies are humorous because they have traces of truth within the laughs. That's what makes this satire so risable as we relate to the sojorn of the Griswald clan from several perspectives: the kids enduring the interminable highway in the backseat, the wife trying to keep the family in tact in the midst of her husband's egregious fixes, and of course the father--a veritable everyman trying to produce a first class vacation for his middle class family.

There are many silly moments of course, but they are easy to put up with as there are many truly funny (though gross) moments. The best of which are (SPOILERS) The teenage girls French kissing disscussion ("My dad says I'm the best at it"), the violent dog ("Rusty quit playing with the dog and come and eat") and the cop's scolding of Clark about animal cruelty ("Do you know what the penalty for animal cruelty is is this state?" Well i bet it's pretty stiff"). Great irreverant comedy!

Ruthless People (1986)

One of my favorite comedies

[6 July 2002]

A very funny and entertaining motion picture. A rare gem of a comedy that has an intricate plotline supported by sharp jokes (SPOILER ALERT!-the best of which is Devito's classic wrong number gag, which comes out of nowhere). The casting is superb, esp. Devito and Midler who dominate every scene. That little side plot with the enthralled cop who makes himself at home is funny too. This film was very popular when it was released and I don't know why it has faded. It has just as much "classic" potential as "Airplane". Who knows?

Monster's Ball (2001)

Counterexpectations=a great movie

[1 July 2002]

Some spoilers.

Because I have been so often disappointed when finally seeing a film that had been so highly praised, I met this picture with the preconceived notion that I would dislike it. Because of these lowered expectations, I ended up liking the work very much, completing a sort of self-psyche out. Anyway the acting was very impressive, as was the story (though you have to shelf the implusabilty of the plot and the overkill on tragedy). Unlike many I liked the upbeat ending and thought it a nice contrast to the ultra-depressing first act (when Berry is abusing her child I had was left chilled). Also the sex scenes were far from gratutious, they are the nexus that show the characters inner turmoil: The shallow prostitute tableus demonstrate the lonliness of their exhistance, the intital love scene between Berry and Thornton represents release and acceptance, and the oral-sex scene evinces Thorton's genuine intentions (as opposed to his father's harshness). A great film overall.

The Great Escape (1963)

Good, but not great

[28 June 2002]

Of course our sensabilities are much different now than they were in 1963, but even so this otherwise entertaining flick suffers from a lack of invidiousness in a Nazi POW camp. I was never in one so I can't say for sure, but I suspect that the prisoners weren't alotted the freedom that these folks were in the film (especially since this is supposedly the camp where they gathered all the recalcitrant escapee-manques). Though the picture is overall and enjoyable one, that salient lack of verismilitude is hard to ignore. At least now I know where Hogan's Heroes got its inspiration.

The Outlaw Josey Wales (1976)

Good for its time

[19 June 2002]

For a long time I thought of this film as a revenge epic, but upon watching it again recently I think not, because Josey ends up being hunted. A good flick overall with some strong performances and lines, but there's much that is too unlikely to accept: i.e. the Red Legs kill his family but leave him only wounded, the Union soldiers who cross on the raft making themselves sitting ducks (to which Wales takes little advantage of by only shooting the rope rather than his helpless pursuers) and the silly shootout at the end where the hunters all get killed and one of Wales group gets hit (other than his wound). But then again maybe it's just because I'm a Yankee. Who knows?

The Good, the Bad and the Ugly (1966)

One of the best

[19 June 2002]

A great film on many levels but mainly as a defining work in the Western genre and as a morality play. Numerous classic lines, that killer refrain of bizarre music and Eastwood in his element. A film that will last for as long as people have the means to watch 'em.

Casino (1995)

Better than "Goodfellas"

[8 June 2002]

I am one of the few film fans that does not adore "Goodfellas". I never thought it warranted the high praise it garnered. Therefore I had low expectations for "Casino" when it came out (actually I wonder why I even bothered seeing it considering all the similarities). The story here is tight and Deniro and Pesci are in their element, but Stone really drives the flick to it's depraved destination. She was excellent. And unlike many I loved the voiceovers and thought they provided a wry nexus to the work.

I presume that most reading these reviews have already seen this movie, but a word of caution to those who have not: The violence is blatant and HARSH (though not gratutious) so be prepared to be somewhat disturbed by it.

The Wild Bunch (1969)

Further evidence that the late 60s/early 70s were the greatest era in filmmaking

[8 June 2002]

A brilliant film that uses themes from two other works from the era (waning of the Old West from "Butch Cassidy" and defining violence from "Bonnie and Clyde") to enhance a strong script and superb effort in cinematography. Great use of nature (the ants and scorpions; the buzzards) to drive home the symbolism. The tumultous shootouts that begin and end the picture struck me as inspiration for Oliver Stone in his examination of the nature of violence in "Natural Born Killers". For all you film students there is a thesis just waiting to be born.

Along Came a Spider (2001)

Shoulda been...

[2 June 2002]

...a TV movie. (some spoilers). Other than the high budget there is nothing that merits more than a spin on the small screen. There is a surprise but it's not especially crafty. The main fault is the lack of a truly invidious nature for a bad guy. Overall a C- flick (too bad for Freeman who deserves a better script).

Airplane! (1980)

Great!

[2 June 2002]

One of the top 10 greatest comedies ever. There are 3 or 4 really laugh-out-loud moments (the "jive" translations, the auto pilot "inflation", the escalating violence to "calm" the hysterical lady) that surround numerous clever gags, spoofs and silly jokes. Ultimately it's the kind of movie that if you catch it while channel surfing and stop, you'll probably leave it on no matter how often you've seen it.

Mulholland Drive (2001)

My own fault

[25 May 2002]

I loathe "Blue Velvet", so I should have known better, but due to Ebert's strong review (BTW he panned "Blue Velvet" too, so I thought there may be some salvation fo Lynch here) I gave it a shot. Never again. You suckered me for the last time Lynch. For the record: bizareness does not equal creativity. Something inscrutable does not mean it is intelligent. There is a such a thing as being too obscure and when one has to look at the credits to see if the same actress played two different characters you have failed the viewer.

I will say that unlike "Velevet" this did have a couple of entertaining scenes: The inept hit man and the reading for the part in a film.

Rob Roy (1995)

A brilliant film.

[25 May 2002]

Actually only slightly below it's coeval "Braveheart", but only because it lacks the stunning battle scenes. The dialouge here is first rate (you have to tough out the Scottish brogue however) and the story takes advantage of classic motifs from adventure films to produce a thrilling tale. I've heard that the filmmakers were inspired by American Westerns when creating this movie, and I think they achieved something special. Great acting and action too!

Midnight Cowboy (1969)

Dated, but still a fine story

[25 May 2002]

I always refer to the late 60s/early 70s as the best era in American filmaking. My opinion probably has a lot to do with the fact that I was an adolesent during that time and the movies seemed to reflect my emerging value system. I didn't see "Midnight Cowboy" back then, but if I did it would undoubtably have impressed me more than it did when I saw it recently. Not that it wasn't good, it just seemed dated.

Anyway it's still a superior work, and a good character study. New York City has always been a meeting place for divergent personalities, and the results are often cold. The fact that Joe Buck makes a friend of Ratzso thaws the chill of the uncaring city, and reminds us that this is a story about humans and not about a place.

The Man Who Shot Liberty Valance (1962)

Essential Western

[25 May 2002]

In college I took a film class titled "Film and the American Hero". The prof was great but I disagree with his choice of "The Searchers" rather than this gem that deals with the subject of the American hero myth in much more depth. Wayne and Stewart have great chemistry and it's, simply put, a great story.

By the way, people make too much of the "obvious" ending. It really wasn't meant to be a surprise, it was simply the vehicle used to tell the tale. And what a tale it is, one of the best Westerns ever.

Waking Life (2001)

Interesting and intelligent.

[23 May 2002]

A minor acheivement. The main problem, however, is that the strengths of the film become ponderous as it nears the end as the crafty animation becomes distracting and the thought-provoking dialouge begins to wax metanarrative. Overall I liked it, but then in my everyday life I have little chance to discuss any of the concepts presented here, that interest me so much, and it was refreshing just to hear them communicated even if at times in a ramble.