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Machete (Robert Rodriguez,2010)
Although there are a few laughs to be had, Machete is stuck in gimmicks, gags and hardly anything else. Rodriguez bludgeons you over the head with the same three jokes over and over, until you're either laughing forcibly, or you just really want to leave the theatre. Machete barely has a leg to stand on, especially when it falls into repetition with nothing new in each scene; the same jokes, the same violence, it gets tiresome. Alba and Lohan are horribly miscast. They fail to even portray a caricature in a throwback to exploitation film. Danny Trejo is enjoyable, however; he sells the party perfectly. There isn't much here aside from a few funny lines and action sequences.
Although there are a few laughs to be had, Machete is stuck in gimmicks, gags and hardly anything else. Rodriguez bludgeons you over the head with the same three jokes over and over, until you're either laughing forcibly, or you just really want to leave the theatre. Machete barely has a leg to stand on, especially when it falls into repetition with nothing new in each scene; the same jokes, the same violence, it gets tiresome. Alba and Lohan are horribly miscast. They fail to even portray a caricature in a throwback to exploitation film. Danny Trejo is enjoyable, however; he sells the party perfectly. There isn't much here aside from a few funny lines and action sequences.
Last edited by Justin; 11-10-10 at 04:49 PM.
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Dogtooth (Giorgos Lanthimos,2010)
Clearly, Lanthimos is a fan of Haneke. The shot composition and visual aesthetic are top-notch; it's shot with a very cold, clinical eye akin to The Seventh Continent. Though the ideas are interesting, Lanthimos doesn't have the depth that Haneke does, nor does he have the ambiguity of a Haneke film. Dogtooth is difficult to watch, but nevertheless, it's very intriguing and worth your time.
Clearly, Lanthimos is a fan of Haneke. The shot composition and visual aesthetic are top-notch; it's shot with a very cold, clinical eye akin to The Seventh Continent. Though the ideas are interesting, Lanthimos doesn't have the depth that Haneke does, nor does he have the ambiguity of a Haneke film. Dogtooth is difficult to watch, but nevertheless, it's very intriguing and worth your time.
Last edited by Justin; 11-10-10 at 04:49 PM.
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Unfortunately, your review of Machete doesn't come as much of a surprise to me. I've never really seen how this would/could play out as a whole film, but then, I wasn't that excited by the fake trailer either. I thought the Eli Roth one (Thanksgiving or something?) looked a much better bet for a real film.
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Thanks Jus 
Think I will wait for Machete to come out on DVD 
Think I will wait for Machete to come out on DVD
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Big Fan (Robert D. Siegel,2009)
This was certainly a pleasant surprise. A nice script, which flows at a steady pace (despite one really unnecessary montage). I always like seeing films that use very minimal resources, such as recurring themes, or plants-and-payoffs. Luckily, the film has Patton Oswalt to carry the script's weight, who does so admirably. It's worth seeing.
A Christmas Tale (Arnaud Desplechin,2008)
Though the acting is superb, the film feels too compressed; there's too much information being crammed into it. Unfortunately, it's wasted potential; the ideas in the script are undeniably interesting. Desplechin's style is overbearing and slightly obtrusive (his transitions are one annoyance). Like I said, he does succeed very well at directing these actors, but the film feels bloated.
This was certainly a pleasant surprise. A nice script, which flows at a steady pace (despite one really unnecessary montage). I always like seeing films that use very minimal resources, such as recurring themes, or plants-and-payoffs. Luckily, the film has Patton Oswalt to carry the script's weight, who does so admirably. It's worth seeing.
A Christmas Tale (Arnaud Desplechin,2008)
Though the acting is superb, the film feels too compressed; there's too much information being crammed into it. Unfortunately, it's wasted potential; the ideas in the script are undeniably interesting. Desplechin's style is overbearing and slightly obtrusive (his transitions are one annoyance). Like I said, he does succeed very well at directing these actors, but the film feels bloated.
Last edited by Justin; 09-05-10 at 05:30 PM.
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The American (Anton Corbijn,2010)
I'm not really sure about this one just yet, but thematically and stylistically it sold me. The pacing is slow and methodical, more like an art film than a thriller. Corbijn's direction is solid, despite the familiar plot that slowly develops in the second act. Some of the best scenes are the most low-key, such as Clooney assembling the rifle. Clooney is extremely reserved, rarely cracking a smile, and pulls it off very well. The American has a very strong sense of tone and style, which might have been Corbijn's primary target.
I'm not really sure about this one just yet, but thematically and stylistically it sold me. The pacing is slow and methodical, more like an art film than a thriller. Corbijn's direction is solid, despite the familiar plot that slowly develops in the second act. Some of the best scenes are the most low-key, such as Clooney assembling the rifle. Clooney is extremely reserved, rarely cracking a smile, and pulls it off very well. The American has a very strong sense of tone and style, which might have been Corbijn's primary target.
Last edited by Justin; 11-11-10 at 02:35 PM.
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Sonatine (Takeshi Kitano,1993)
Great film. Kitano's direction is solid. It's pretty violent, but it's never glorified, nor does he choose to spend a whole lot of time on these sequences. Although it's pretty minimalist, it never bores. Not to mention an unforgettable ending.
Never Let Me Go (Mark Romanek,2010)
Romanek manages to bring the essence and feeling of Ishiguro's novel, but fails to make it cohesive--it's pretty spotty. Much of it feels condensed, and he cuts a lot of material that would have made the 3rd act far more powerful. Their childhood is a prominent moment in the book, but it feels left in the dust in the film. Romanek does bring the characters to life; each actor nails the character very well. It's not bad for a film adaptation and pretty reliable, but, as I've said, it's not complete.
Great film. Kitano's direction is solid. It's pretty violent, but it's never glorified, nor does he choose to spend a whole lot of time on these sequences. Although it's pretty minimalist, it never bores. Not to mention an unforgettable ending.
Never Let Me Go (Mark Romanek,2010)
Romanek manages to bring the essence and feeling of Ishiguro's novel, but fails to make it cohesive--it's pretty spotty. Much of it feels condensed, and he cuts a lot of material that would have made the 3rd act far more powerful. Their childhood is a prominent moment in the book, but it feels left in the dust in the film. Romanek does bring the characters to life; each actor nails the character very well. It's not bad for a film adaptation and pretty reliable, but, as I've said, it's not complete.
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Though the acting is superb, the film feels too compressed; there's too much information being crammed into it. Unfortunately, it's wasted potential; the ideas in the script are undeniably interesting. Desplechin's style is overbearing and slightly obtrusive (his transitions are one annoyance). Like I said, he does succeed very well at directing these actors, but the film feels bloated.
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Due Date (Todd Phillips,2010)
Due Date tells the story of Peter Highman (Robert Downey Jr.) and Ethan Tremblay (Zach Galifianakis) who end up going on a road trip together across the country Highman is trying to get home in time for his baby's birth, while Tremblay is attempting to "make it" in Hollywood. The script killed this one. Between the cheap laughs (a masturbating dog? give me a break...) and the poorly executed, contrived script, the film lacks direction, purpose and enthusiasm. In the end, you'll likely feel cheated because the characters are flat and lack energy.
Monsters (Gareth Edwards,2010)
Underrated and misunderstood.
NASA has come into contact with alien life forms, and they have found their way to the US-Mexican border. Andrew Calder is a photographer who is asked to retrieve his bosses' daughter, Samantha. They endure a long journey through the "infected" zone of Mexico. Edwards builds a solid relationship that slowly develops over the film. But it feels slightly cheated with needless "suspense" scenes. Regardless, the story is pretty strong and the photography is great.
Winter's Bone (Debra Granik,2010)
Good film.
Set in the Ozarks, Granik tells a very stark, minimalist story about a girl in search of her fugitive father. It's gritty, dark and relentless--Granik offers little to no release from the gloomy atmosphere that she creates so well. Jennifer Lawrence does some great work here and definitely carries the weight on her shoulders.
Due Date tells the story of Peter Highman (Robert Downey Jr.) and Ethan Tremblay (Zach Galifianakis) who end up going on a road trip together across the country Highman is trying to get home in time for his baby's birth, while Tremblay is attempting to "make it" in Hollywood. The script killed this one. Between the cheap laughs (a masturbating dog? give me a break...) and the poorly executed, contrived script, the film lacks direction, purpose and enthusiasm. In the end, you'll likely feel cheated because the characters are flat and lack energy.
Monsters (Gareth Edwards,2010)
Underrated and misunderstood.
NASA has come into contact with alien life forms, and they have found their way to the US-Mexican border. Andrew Calder is a photographer who is asked to retrieve his bosses' daughter, Samantha. They endure a long journey through the "infected" zone of Mexico. Edwards builds a solid relationship that slowly develops over the film. But it feels slightly cheated with needless "suspense" scenes. Regardless, the story is pretty strong and the photography is great.
Winter's Bone (Debra Granik,2010)
Good film.
Set in the Ozarks, Granik tells a very stark, minimalist story about a girl in search of her fugitive father. It's gritty, dark and relentless--Granik offers little to no release from the gloomy atmosphere that she creates so well. Jennifer Lawrence does some great work here and definitely carries the weight on her shoulders.
Last edited by Justin; 11-10-10 at 04:50 PM.
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The Illusionist (Sylvain Chomet,2010)
In an era where most every film is laden by heavy-handed dialogue and exposition, Sylvain Chometʼs The Illusionist is a breath of fresh air–then again, so was his last film, The Triplets of Belleville. Chometʼs wonderful artwork and lively characters and worlds make for an incredible viewing experience. Itʼs not easy to create a film with no dialogue–not to mention an animated film–but heʼs made a career (however short itʼs been) out of it. His charactersʼ actions speak louder than their words ever could, and the bittersweet nature of The Illusionist–but never overwrought with sentimentality–is never once bogged down by superficial language. Chomet has really given us something special here, and he has given it to us with his heart on his sleeve, much like his protagonist, The Illusionist himself.
Originally written by the French filmmaker, Jacques Tati, The Illusionist follows an unnamed French magician who travels abroad performing his act to dwindling audiences. But, while traveling through Scotland, he meets a girl in her teens, who works in the inn heʼs staying at. The Illusionist notices her tattered clothing and worn, over-sized boots and takes it upon himself to purchase her new shoes. And from there on, she follows him to Edinburgh, where he seeks to find work performing his act. Unfortunately, at this point, interest in magic acts seems to be waning–people are finding more interest in television and rock music. Sad, but entirely true, so The Illusionist must find other work, however humiliating or unfitting. Alice is, however, smitten with the glitz and glamor of society in the city, and it ultimately takes a financial toll on the soft-hearted magician.
This is a story about broken people who have given all they can give, and The Illusionist is one of those very people. Chometʼs world is full of life and energy, yet there is an underlying sadness to it all. The Illusionist is caught on the cusp of an era with an obsession with rock music and television, where magic is hardly relevant anymore–in the conventional sense, anyway. Sylvain Chomet pokes fun at the theatrics of rockstars, and even lingers around television screens, where people either stand in front of the window watching, or steal glimpses as they stroll by. Alice and The Illusionist stay at a hotel filled with other individuals in similar situations; these people are stuck where they are, with one sole talent to give the world, and the world has moved on. Both The Illusionist and Alice show tremendous sympathy towards each downtrodden individual–-and even save a few of their lives, too.
The Illusionist is truly a work of art and delicacy that is rarely seen in cinema today, both in animation and live action. I have been unsatisfied with many animated feature films in the past few years (for the most part, but there are exceptions, of course..), but The Illusionist is the work of a director and animator who cares deeply about his characters. This film is also vastly different from your typical animated film, and also far better. There is a moment in the end (and youʼll know what Iʼm talking about when you see it…) that is one of the most bittersweet moments that youʼre likely to see in awhile. The Illusionist is one animated film that should be seen and will likely not be forgotten
In an era where most every film is laden by heavy-handed dialogue and exposition, Sylvain Chometʼs The Illusionist is a breath of fresh air–then again, so was his last film, The Triplets of Belleville. Chometʼs wonderful artwork and lively characters and worlds make for an incredible viewing experience. Itʼs not easy to create a film with no dialogue–not to mention an animated film–but heʼs made a career (however short itʼs been) out of it. His charactersʼ actions speak louder than their words ever could, and the bittersweet nature of The Illusionist–but never overwrought with sentimentality–is never once bogged down by superficial language. Chomet has really given us something special here, and he has given it to us with his heart on his sleeve, much like his protagonist, The Illusionist himself.
Originally written by the French filmmaker, Jacques Tati, The Illusionist follows an unnamed French magician who travels abroad performing his act to dwindling audiences. But, while traveling through Scotland, he meets a girl in her teens, who works in the inn heʼs staying at. The Illusionist notices her tattered clothing and worn, over-sized boots and takes it upon himself to purchase her new shoes. And from there on, she follows him to Edinburgh, where he seeks to find work performing his act. Unfortunately, at this point, interest in magic acts seems to be waning–people are finding more interest in television and rock music. Sad, but entirely true, so The Illusionist must find other work, however humiliating or unfitting. Alice is, however, smitten with the glitz and glamor of society in the city, and it ultimately takes a financial toll on the soft-hearted magician.
This is a story about broken people who have given all they can give, and The Illusionist is one of those very people. Chometʼs world is full of life and energy, yet there is an underlying sadness to it all. The Illusionist is caught on the cusp of an era with an obsession with rock music and television, where magic is hardly relevant anymore–in the conventional sense, anyway. Sylvain Chomet pokes fun at the theatrics of rockstars, and even lingers around television screens, where people either stand in front of the window watching, or steal glimpses as they stroll by. Alice and The Illusionist stay at a hotel filled with other individuals in similar situations; these people are stuck where they are, with one sole talent to give the world, and the world has moved on. Both The Illusionist and Alice show tremendous sympathy towards each downtrodden individual–-and even save a few of their lives, too.
The Illusionist is truly a work of art and delicacy that is rarely seen in cinema today, both in animation and live action. I have been unsatisfied with many animated feature films in the past few years (for the most part, but there are exceptions, of course..), but The Illusionist is the work of a director and animator who cares deeply about his characters. This film is also vastly different from your typical animated film, and also far better. There is a moment in the end (and youʼll know what Iʼm talking about when you see it…) that is one of the most bittersweet moments that youʼre likely to see in awhile. The Illusionist is one animated film that should be seen and will likely not be forgotten
Last edited by Justin; 04-11-11 at 01:31 PM.
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Obtuse, difficult, atmospheric? Sounds right up my alley. Adding to queue now...
Great reviews, too.
Bah - not available (yet) from my service. I put it in the Save queue... However - 35 Shots WAS available, and in the instant watch queue. So I will watch that fairly soon, methinks...
Great reviews, too.
Bah - not available (yet) from my service. I put it in the Save queue... However - 35 Shots WAS available, and in the instant watch queue. So I will watch that fairly soon, methinks...
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Excellent reviews, Justin. I rate White Material a solid . While it's another good addition to her increasingly impressive resume, I rate 35 Shots of Rum, Beau Travail and The Intruder higher.
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