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2/10
Lucas...why did it have to be Lucas?
28 May 2008
Warning: Spoilers
There's a line early in the film where Jim Broadbent tells Indy that someone has died and says "We're at the point where life takes away more than it gives." This line, unfortunately, is a metaphor for the film. Time, it seems, has taken away Lucas and Spielbergs talent.

In many press interviews leading up to the film Lucas bragged about how he came up with the "MacGuffin" and how he knew in his heart of hearts that this MacGuffin was the only MacGuffin that could work in a fourth Indy film. He even went as far to say that he fought for his MacGuffin and refused to see a script that did not incorporate it. Well, the MacGuffin is one of THREE main reasons this film is terrible. The MacGuffin is so confusing, so contrived, so unbelievable that the audience never comprehends the importance of the journey or feels vested in the success of our heroes. Lost Ark? Got it. Holy Grail? Check. Crystal Skull that allows aliens to return to their "space between space"? Huh?

Lucas' love for CGI and Spielbergs decision to rely on it was a huge mistake. Everything in this film feels fake...the sets, the bad Russian wigs, the CGI explosions, the CGI chase scenes, the CGI sunsets. In Raiders (and even Temple and Crusade) everything felt REAL, and therefore we felt that Indy and his cohorts were in peril. In Crystal Skull, Indiana's charm is completely lost because no longer is he forging ahead in the face of insurmountable odds...no, now he's forging ahead in the face of CGI'd acrobatic monkeys. Spielbergs incredible gift to the world (back when he made good films) was his innate ability to make the fantastical believable. His organic approach to film-making made us BELIEVE that an alien befriended a child, that a 30 foot shark jumped up onto a boat, and that the Lost Ark could melt faces. Every second of Crystal Skull feels fake and therefore elicits no emotion, except anger over spending 12 bucks.

The script has no structure, no charm, and no cohesiveness. After watching Indy 4 you can actually feel how important Lawrence Kasdan (writer for Raiders) and Jeffrey Boam (writer for Crusade) were to the series. Their ability to give Indy a quick-witted charm is sorely missed, not to mention their ability to make every set piece, every action sequence integral to the story and the building of character. In Indy 4, there's no link between scenes, stories, or character, and that's, in the words of Henry Jones, "intolerable." I won't bad mouth Shia LaBouf, because many have already. Yes his performance is soulless and charmless, but his part is thinly written and seems to feel like nothing more than an excuse to keep the series going.

Indiana Jones and the Kingdom of the Crystal Skull is probably the most disappointing experience I've ever had at the movies. I've waited almost 20 years to see Indy again, and I feel like my loyalty to the franchise was exploited and my childhood memories were stolen. If you wish to avoid these feelings I suggest the following: close your eyes tight and don't look at it. Whatever you do, don't look at it.
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Mr. Fix It (2006)
8/10
Boreanaz delivers romance and laughs!
6 May 2008
Boreanaz plays Lance Valenteen, a ladies man who gets hired by guys that have been dumped by their girlfriends. Lance, as "Mr. Fix It," seduces the guys ex-girlfriend and becomes such a bad boyfriend that the girl runs back into her ex-boyfriend's arms. I've always thought Boreanaz was too brooding and tortured on Angel, and in Bones he slurs his words and lulls me to sleep. But somehow in this movie he's transformed into a high energy, funny, vulnerable romantic lead. Maybe it's the blonde (or gold?) hair dye that changed him but whatever it is it works, and it works well.

The movie starts off, after some pretty funny scenes of "Mr. Fix It" at work, with Lance getting hired by Bill Smith (Pat Healy) to help him get back his ex-girlfriend, an Italian-accented hottie named Sophia Fiori (Alana De La Garza). Sophia dumped Bill because he was a chronic liar so Lance concocts a plan to seduce Sophia, get her to fall in love with him, and then reveal that all the reasons she fell in love with him were lies. With her heart broken, Bill's lies will pale in comparison.

The execution of the plan is pretty much the movie: They date, they start to fall for each other, blah, blah, blah…it's a romantic comedy so you pretty much know the story and how it ends. But that's the thing with this movie - you don't know! It takes the accepted conventions of romantic comedies and not only satirizes them, but uses them to lull the audience into a false sense of comfort so that each new shock is so unexpected that it's embraced by the viewer. The charm of the movie, and there's a lot of it, comes from its ability to work within the confines of the genre while carefully breaking some of it's rules, making for an entertaining, unpredictable story.

I've never seen the female lead before, Alana De La Garza, but she made the film. This movie is almost a romantic comedy for guys, which makes you root for Lance. But Garza plays the role of Sophia note perfect, with a dashing combination of innocence and beauty, that you start cringing knowing what lies ahead and hope somehow, someway, she won't get hurt. Halfway through the movie I wasn't sure who I was rooting for since you genuinely like both characters. "Mr. Fix It" has a message but unlike most films you believe the message because you've learned it as the characters have: through situations and conflict. It's not underdeveloped and forced as in other romantic comedies.
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The Amateurs (2005)
1/10
Great cast. Horrible movie.
14 April 2008
How did this cast assemble for such a bad film and bad script? The whole basis of the movie (a small town bands together to make a porno) has no motivation: Jeff Bridges is sitting in a bar then suddenly starts having a seizure and next thing you know he wants to make a porno!? The directing is extremely sloppy, amateurish, and stilted. The cinematography is horrible...why is this whole movie shot in muted colors?? Jeff Bridge's voice over, throughout the movie, must have been added after editing to help move things along but it's just repetitious, distracting, and annoying. (Believe me, I never thought I would say Jeff Bridges is annoying.) It's unfortunate that such a good cast was completely wasted. I hope Kevin Smith's attempt at this genre (he's coming out with a similar movie about amateurs making a porno) is better than this rubbish.
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8/10
Bad actor, great director
6 April 2008
Wow, Ben Affleck really did deserve that Oscar he won for writing Good Will Hunting. I thought it was a fluke (like maybe there were ghost writers involved), but watching Gone Baby Gone is proof positive that Affleck belongs behind the camera and not in front of it. The directing is fairly rudimentary (mostly static shots, close ups, med shots, stiff blocking) but the script is fabulous, allowing the film to flow smoothly, quickly, and cohesively. There's a lot going on in this movie, but in Gone Baby Gone you never feel lost in the narrative nor question the motives of the characters (as you do in many other films in this genre). The performances Affleck gets out of his actors, especially his brother, are amazing (this is the best work I've seen from Ed Harris since Truman Show.) Congrats Ben, you keep this up and you may just win another gold statue.
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7/10
mind blowing and exciting...but no Moulin Rouge
3 April 2008
Julie Taymor does a fabulous job of creating a seemingly perfect narrative to the Beatles catalog. Most songs used, especially in the first half of the film, are strategically used to help the story and not just thrown in gratuitously (except "Being For the Benefit of Mr. Kite," which the film could've done without.) The performances are strong and the choreography, music, and visuals are astounding. There are places in the second half of the film that could've used some help in editing to improve the pacing (the second half drags from Bono onward) but it's still a must see for any Beatles fan. I would also recommend Moulin Rouge, an extraordinary musical that also uses contemporary pop songs to tell a story (and in my opinion, done better by Baz Luhrmann than Taymor).
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