In honor of the Oscars, what is your pick for the most overrated Best Picture winner in the past 15 years?
Forrest Gump 28%
Titanic 28%
Shakespeare in Love 17%
The Departed 12%
Lord of the Rings: The Return of the King 5%
Chicago 5%
Million Dollar Baby 5%
Saturday, February 23, 2008
Thursday, February 21, 2008
Review - Beowulf
As far as I am concerned, Neil Gaiman can do no wrong. His novels and graphic novels are amazing and his screen adaptations have thus far been spectacular. Stardust was a magnificent film and now Gaiman has taken a classic epic that has bored millions of middle-school students and added layers to it that resulted in a fine film. Gaiman's Beowulf is a haughty, arrogant hero and his Grendel is not simply a raging beast but a monster driven to murder by the parties of Hrothgar's meadhall. He has taken characters that were medieval archetypes and made them both interesting and relevant, a feat that I would have believed impossible.
With that said, any storytelling magic that Gaiman may have injected into this script was inconsequential in the face of Zemeckis's grand experiment. Beowulf, which has so much potential succeeds as little more than a film school project. Zemeckis foregos storytelling to experiment visually with his motion capture technology and though the results are mesmerizing, the final product is ultimately disappointing. The scene where Grendel's mother(Angelina Jolie) rises out of the water and begins her seduction of Beowulf and the final battle scene are both amazing visual achievements but their content is terribly overshadowed by their construction.
The most noteworthy thing about Beowulf is its use of sound. From the second the movie starts with the pounding drums of Hrothgar's meadhall to the shrieking death of the dragon in the final scenes the sound is captivating. It is one of the few films where the sound is not only noticeable but commanding.
The film is entertaining to watch for the most part although I could never stop asking myself why it wasn't just made with real people. Even the characterizations of the people within the film weren't really fleshed out, especially Beowulf. The deepest we get into his character is his repeated announcement that "[He] IS Beowulf!"
Its a shame that a film with this much potential was wasted just to make something that looks pretty. Still though, it's worth watching just for the effects... and Angelina.
With that said, any storytelling magic that Gaiman may have injected into this script was inconsequential in the face of Zemeckis's grand experiment. Beowulf, which has so much potential succeeds as little more than a film school project. Zemeckis foregos storytelling to experiment visually with his motion capture technology and though the results are mesmerizing, the final product is ultimately disappointing. The scene where Grendel's mother(Angelina Jolie) rises out of the water and begins her seduction of Beowulf and the final battle scene are both amazing visual achievements but their content is terribly overshadowed by their construction.
The most noteworthy thing about Beowulf is its use of sound. From the second the movie starts with the pounding drums of Hrothgar's meadhall to the shrieking death of the dragon in the final scenes the sound is captivating. It is one of the few films where the sound is not only noticeable but commanding.
The film is entertaining to watch for the most part although I could never stop asking myself why it wasn't just made with real people. Even the characterizations of the people within the film weren't really fleshed out, especially Beowulf. The deepest we get into his character is his repeated announcement that "[He] IS Beowulf!"
Its a shame that a film with this much potential was wasted just to make something that looks pretty. Still though, it's worth watching just for the effects... and Angelina.
Wednesday, February 20, 2008
Review - Charlie Bartlett
Jon Poll's Charlie Bartlett is a film that can't quite decide what it wants to be: a comedy or a drama. It tries very hard to be both and very nearly succeeds although there are definitely some missteps. The film tells the story of Charlie Bartlett (obviously), a boy who has been kicked out of every private school in the area and thus must attend (gasp!) public school. After a run-in with the school bully on his first day, Charlie earns a place at the top of the high school hierarchy by opening up a make-shift psychiatrists office in the school bathroom ad counseling his fellow students between classes. Oh yeah, he also 'prescribes' them drugs....lots of drugs, which is not okay with the school principal (Robert Downey Jr.) who is also Charlie's new girlfriend's father.
The film features strong performances from all of the cast especially Yelchin and Downey. Yelchin turns in a great performance as the quirky, energetic Charlie. He pulls off troubled teenager equally as well as he captures the uncontrollable energy which defines Charlie and ultimately, the movie. Unfortunately, it's that exact unpredictability that makes the movie seem so uneven. At times the movie feels somewhat like a remake of Ferris Bueller's Day Off, but it struggles to also be a commentary on the neuroses of high school students.
Ultimately, the message of the film is somewhat unclear and there are several subplots, especially the one about Charlie's dad that seem tacked on for no particular reason and are never fully developed. However, there are some very strong scenes, most notably those involving Principal Gardner's breakdown towards the end of the film.
The majority of the characters in Charlie Bartlett are struggling to maintain control and as a result the movie loses any sense of restraint which may have made it a success. Instead, what it feels like is too many stories, too many characters, too many problems and not enough resolution.
It can either be looked at as an extremely irresponsible film which doesn't actually provide hope for its characters or it can be looked at as a commentary on the hopelessness of teenage existence. I am going to choose to look at it as the latter because, despite its flaws, Charlie Bartlett is a film that wants desperately to be liked just like its titular character. It has a certain charm that cannot be denied regardless of how flawed the execution is.
The film features strong performances from all of the cast especially Yelchin and Downey. Yelchin turns in a great performance as the quirky, energetic Charlie. He pulls off troubled teenager equally as well as he captures the uncontrollable energy which defines Charlie and ultimately, the movie. Unfortunately, it's that exact unpredictability that makes the movie seem so uneven. At times the movie feels somewhat like a remake of Ferris Bueller's Day Off, but it struggles to also be a commentary on the neuroses of high school students.
Ultimately, the message of the film is somewhat unclear and there are several subplots, especially the one about Charlie's dad that seem tacked on for no particular reason and are never fully developed. However, there are some very strong scenes, most notably those involving Principal Gardner's breakdown towards the end of the film.
The majority of the characters in Charlie Bartlett are struggling to maintain control and as a result the movie loses any sense of restraint which may have made it a success. Instead, what it feels like is too many stories, too many characters, too many problems and not enough resolution.
It can either be looked at as an extremely irresponsible film which doesn't actually provide hope for its characters or it can be looked at as a commentary on the hopelessness of teenage existence. I am going to choose to look at it as the latter because, despite its flaws, Charlie Bartlett is a film that wants desperately to be liked just like its titular character. It has a certain charm that cannot be denied regardless of how flawed the execution is.
Tuesday, February 19, 2008
Feature - Oscar Picks
Because so many of you requested it (Thanks, mom!) Here are my choices for the Oscars 2008.
I doubt these are anywhere close to the Oscar's real selections. However, I consider that a sign of a job well done.
Best Picture: Juno
This was really a toss-up between Michael Clayton and Juno for me (and for everyone else if last week's poll is to be believed.) But Michael Clayton just didn't seem to have that triple threat: Great performances, awesome direction and the 'it' quality that makes it stand out. Juno has all three. Plus, I like to root for the underdog and compared to the rest of the films on this list, that's the one I would really like to remember.
The snub: Zodiac. The most underappreciated movie of the year by far, Fincher's masterpiece was horribly neglected by both audiences and critics.
Best Actor: George Clooney in Michael Clayton
He is just the best one on this list. Let's be honest, Johnny Depp just plays himself, with the exception of Jack Sparrow. You can never forget that it's him on the screen. Tommy Lee Jones shows that he is still capable of amazing performances. Unfortunately, this one just doesn't seem that different from his others. And the other performances were really not all that memorable.
The snub: Christian Bale. He turned in two worthy performances, in Rescue Dawn and 3:10 to Yuma and was once again ignored by the Academy.
Best Actress: Laura Linney in The Savages
Laura Linney and Ellen Page can fight this one out. I love Laura Linney and her performance in The Savages is amazing, just like all her performances but Ellen Page clearly brought something special to the slacker-persona of Juno. Laura Linney edges her out because I already gave Juno Best Picture.
The snub: Angelina Jolie in A Mighty Heart. Angelina proved that she was much, much more than the tabloid queen.
Best Supporting Actor: Casey Affleck in The Assassination of Jesse James...
This one isn't even a competition. Casey Affleck has had a banner year between this film and Gone Baby Gone. He's proven that someone in the Affleck family has a crapload of talent...but it's not the famous one! (I would vote for Javier Bardem, who redefined villainy in No Country but he doesn't belong in this category. He was, without question, the lead. If he can't stand up to the other Best Actor nominees, then that's too bad.)
The snub: James Marsden, from Hairspray. he delighted audiences in not only Hairspray but also Enchanted. His role in Hairspray, however, showed he had a lot more depth than superhero movies. He didn't have such a bad voice either...
Best Supporting Actress: Cate Blanchett in I'm Not There
Sometimes there's just that role that guarantees the win. It usually requires you to be ugly. This time it required her to be a man.
The snub: Michelle Pfeiffer. She made evil deliciously good again in Stardust.
Best Director: Joel and Ethan Cohen for No Country for Old Men
Though I wasn't a huge fan of the film, I can't deny that the direction was amazing. Every camera angle was perfectly planned and coordinated with the sound. If you need any evidence, check out the first scene where Javier Bardem murders the police officer--It's amazing.
The snub: Zack Snyder. 300 was not only one of the highest-grossing movies of the year but also one of the most technically proficient, with more iconic images than you could handle. 300 was the type of the movie that was an experience not just a film.
Animated Feature Film: Surf's Up
It was charming and fun and proved that penguins were still America's sweethearts. Was I the only one who thought that Ratatouille just tried too hard?
The snub: Nothing for the Simpson's Movie or Beowulf? One was the culmination of years of anticipation yet still proved to not be a disappointment. Beowulf should have been nominated just for that scene of Angelina rising out of the water, although the rest wasn't bad either.
Best Art Direction: The Golden Compass
It was a real feat to make this world believable. They not only managed to do that but also make it incredibly enticing.
The snub: Across the Universe. Without a doubt, one of the most visually interesting movies of the year. It really seems like this was a shoo-in.
Best Cinematography: The Assassination of Jesse James by the Coward Robert Ford
It was a masterful feat of filmmaking, creating a world devoid of color except for Jesse's blue eyes. Every shot in this movie, every color choice, every scene included had a purpose-- to draw you back into Jesse James.
The snub: Sunshine by Danny Boyle. Boyle used a camera to tell a story. It seems so basic but is far too often not done. His loving peeks into the cosmos were a feat not matched by any movie in this category.
Best Music (Score): Michael Clayton
It takes talent to pick songs that match a political thriller like this one but the score of this film weaves itself into the action flawlessly.
The snub: Superbad. The perfect combination of shagtastic retro music and modern hits, Superbad deserved at least one nomination for being one of the funniest comedies in decades.
Best Music (Song): Once
An independent critical darling, this film, at the very least, deserves this category. Enchanted was way too over-rated.
The snub: Hairspray. It featured some of the most, rousing best-performed songs of any musical in the past ten years and was completely ignored?
Best Writing (Original Screenplay): Lars and the Real Girl
This movie managed to take a somewhat off-putting subject and turn it into something everybody wanted to watch. That's good writing.
The snub: Knocked Up. It was the first film of the year to take an all too real concept, unexpected pregnancy, and turn it into an absolutely hilarious movie that still had heart. Why all the critical love for Juno and none for Apatow who really paved the way.
Best Writing (Adapted Screenplay): Atonement
This movie took a boring concept and made it interesting. It wins for the same reason as Lars and the Real Girl--because it was actually, surprisingly watchable, a feat not accomplished by the similar-themed Love in the Time of Cholera.
The snub: The Mist. It seemed like just another Stephen King gore-fest. Then they covered it with mist and added that kick-ass ending...definite contender for best adaptation.
I doubt these are anywhere close to the Oscar's real selections. However, I consider that a sign of a job well done.
Best Picture: Juno
This was really a toss-up between Michael Clayton and Juno for me (and for everyone else if last week's poll is to be believed.) But Michael Clayton just didn't seem to have that triple threat: Great performances, awesome direction and the 'it' quality that makes it stand out. Juno has all three. Plus, I like to root for the underdog and compared to the rest of the films on this list, that's the one I would really like to remember.
The snub: Zodiac. The most underappreciated movie of the year by far, Fincher's masterpiece was horribly neglected by both audiences and critics.
Best Actor: George Clooney in Michael Clayton
He is just the best one on this list. Let's be honest, Johnny Depp just plays himself, with the exception of Jack Sparrow. You can never forget that it's him on the screen. Tommy Lee Jones shows that he is still capable of amazing performances. Unfortunately, this one just doesn't seem that different from his others. And the other performances were really not all that memorable.
The snub: Christian Bale. He turned in two worthy performances, in Rescue Dawn and 3:10 to Yuma and was once again ignored by the Academy.
Best Actress: Laura Linney in The Savages
Laura Linney and Ellen Page can fight this one out. I love Laura Linney and her performance in The Savages is amazing, just like all her performances but Ellen Page clearly brought something special to the slacker-persona of Juno. Laura Linney edges her out because I already gave Juno Best Picture.
The snub: Angelina Jolie in A Mighty Heart. Angelina proved that she was much, much more than the tabloid queen.
Best Supporting Actor: Casey Affleck in The Assassination of Jesse James...
This one isn't even a competition. Casey Affleck has had a banner year between this film and Gone Baby Gone. He's proven that someone in the Affleck family has a crapload of talent...but it's not the famous one! (I would vote for Javier Bardem, who redefined villainy in No Country but he doesn't belong in this category. He was, without question, the lead. If he can't stand up to the other Best Actor nominees, then that's too bad.)
The snub: James Marsden, from Hairspray. he delighted audiences in not only Hairspray but also Enchanted. His role in Hairspray, however, showed he had a lot more depth than superhero movies. He didn't have such a bad voice either...
Best Supporting Actress: Cate Blanchett in I'm Not There
Sometimes there's just that role that guarantees the win. It usually requires you to be ugly. This time it required her to be a man.
The snub: Michelle Pfeiffer. She made evil deliciously good again in Stardust.
Best Director: Joel and Ethan Cohen for No Country for Old Men
Though I wasn't a huge fan of the film, I can't deny that the direction was amazing. Every camera angle was perfectly planned and coordinated with the sound. If you need any evidence, check out the first scene where Javier Bardem murders the police officer--It's amazing.
The snub: Zack Snyder. 300 was not only one of the highest-grossing movies of the year but also one of the most technically proficient, with more iconic images than you could handle. 300 was the type of the movie that was an experience not just a film.
Animated Feature Film: Surf's Up
It was charming and fun and proved that penguins were still America's sweethearts. Was I the only one who thought that Ratatouille just tried too hard?
The snub: Nothing for the Simpson's Movie or Beowulf? One was the culmination of years of anticipation yet still proved to not be a disappointment. Beowulf should have been nominated just for that scene of Angelina rising out of the water, although the rest wasn't bad either.
Best Art Direction: The Golden Compass
It was a real feat to make this world believable. They not only managed to do that but also make it incredibly enticing.
The snub: Across the Universe. Without a doubt, one of the most visually interesting movies of the year. It really seems like this was a shoo-in.
Best Cinematography: The Assassination of Jesse James by the Coward Robert Ford
It was a masterful feat of filmmaking, creating a world devoid of color except for Jesse's blue eyes. Every shot in this movie, every color choice, every scene included had a purpose-- to draw you back into Jesse James.
The snub: Sunshine by Danny Boyle. Boyle used a camera to tell a story. It seems so basic but is far too often not done. His loving peeks into the cosmos were a feat not matched by any movie in this category.
Best Music (Score): Michael Clayton
It takes talent to pick songs that match a political thriller like this one but the score of this film weaves itself into the action flawlessly.
The snub: Superbad. The perfect combination of shagtastic retro music and modern hits, Superbad deserved at least one nomination for being one of the funniest comedies in decades.
Best Music (Song): Once
An independent critical darling, this film, at the very least, deserves this category. Enchanted was way too over-rated.
The snub: Hairspray. It featured some of the most, rousing best-performed songs of any musical in the past ten years and was completely ignored?
Best Writing (Original Screenplay): Lars and the Real Girl
This movie managed to take a somewhat off-putting subject and turn it into something everybody wanted to watch. That's good writing.
The snub: Knocked Up. It was the first film of the year to take an all too real concept, unexpected pregnancy, and turn it into an absolutely hilarious movie that still had heart. Why all the critical love for Juno and none for Apatow who really paved the way.
Best Writing (Adapted Screenplay): Atonement
This movie took a boring concept and made it interesting. It wins for the same reason as Lars and the Real Girl--because it was actually, surprisingly watchable, a feat not accomplished by the similar-themed Love in the Time of Cholera.
The snub: The Mist. It seemed like just another Stephen King gore-fest. Then they covered it with mist and added that kick-ass ending...definite contender for best adaptation.
Monday, February 18, 2008
Review - I Could Never Be Your Woman
I Could Never be Your Woman starring Paul Rudd and Michelle Pfeiffer went through the ringer before it was finally released straight to DVD. The Amy Heckerling (Clueless, Fast Times at Ridgemont High) comedy was the victim of multiple instances of studio bureaucracy but now people are finally getting to see it, which is a good thing because its one of the funniest films in recent memory. The story follows an older TV producer (Pfeiffer) who falls in love with the (much) younger new star (Rudd) of her gloriously bad TV show.
The film opens with Mother Nature (Tracy Ullman) ranting about "those damn baby boomers" and everything that they have done to the planet. She tells us that her revenge is the aging process, which surely connects to the age difference in Pfeiffer and Rudd's characters somehow, although it is never really made clear. This is the one major flaw in the film, the inclusion of this character. She is completely uneccessary, although usually enjoyable. It would have been more effective to have the doubt that she causes in Pfeiffer's character to be organic and to come from within than from some dumpy, awkward personification of Mother Nature.
Aside from this one serious mis-fire, the film succeeds tremendously in being original and funny. Although sometimes it seems more like a sketch comedy show than a movie, the myriad of subplots eventually work their way together, though the payoff is not always as great as promised. The storyline with the conniving assistant especially seems to fall short, resulting in a rather lackluster catfight that is only enjoyable for the Catwoman that Pfeiffer proves still lives inside her.
Many of these minor problems can probably be attributed to the loss of certain scenes, reported in Entertainment Weekly, when the studio mishandled the original prints. However, even if there was no storyline, this movie would be immensely enjoyable. Finally, we've been given a film that lets Paul Rudd loose. There is one sequence where he dances for nearly two minutes, switching rapidly between breakdancing, line dancing and disco, among others, before finally ending up slowdancing with Pfeiffer. The chemistry between the two is noticeable and you cant help but feel that the two had a ton of fun together while filming. Both exhibit a quirky, rambunctious personality that completely removes the cheese-fest that exists in most movies in this genre. Their acting, like their characters, is very simple and because of this is simply enjoyable.
The peripheral cast turns in excellent performances as well, adding to the charm of the film in a way that is completely unexpected. Of particular note is Saoirse Ronan, who plays Pfeiffer's daughter Izzie and consistently provides laughs whether it be from her detailed analysis of Barbie's psychological disorders ("Remember when Ken had Alzheimers and ended up in the heating vent?!") or from her inspired pop-culture parodies of Britney Spears and Alanis Morrisette songs lambasting young Hollywood stars.
This movie channels the same quirky charm as Billy Kent's The OH in Ohio and succeeds on the same grounds. It's enjoyable, strangely believable and ultimately very satisfying. Bonus: It is the latest (actually the earliest) in a string of fantastic performance from Pfeiffer since she returned to the big screen and will restore any faith in Paul Rudd lost during the 2-hour debacle , Over Her Dead Body.
The film opens with Mother Nature (Tracy Ullman) ranting about "those damn baby boomers" and everything that they have done to the planet. She tells us that her revenge is the aging process, which surely connects to the age difference in Pfeiffer and Rudd's characters somehow, although it is never really made clear. This is the one major flaw in the film, the inclusion of this character. She is completely uneccessary, although usually enjoyable. It would have been more effective to have the doubt that she causes in Pfeiffer's character to be organic and to come from within than from some dumpy, awkward personification of Mother Nature.
Aside from this one serious mis-fire, the film succeeds tremendously in being original and funny. Although sometimes it seems more like a sketch comedy show than a movie, the myriad of subplots eventually work their way together, though the payoff is not always as great as promised. The storyline with the conniving assistant especially seems to fall short, resulting in a rather lackluster catfight that is only enjoyable for the Catwoman that Pfeiffer proves still lives inside her.
Many of these minor problems can probably be attributed to the loss of certain scenes, reported in Entertainment Weekly, when the studio mishandled the original prints. However, even if there was no storyline, this movie would be immensely enjoyable. Finally, we've been given a film that lets Paul Rudd loose. There is one sequence where he dances for nearly two minutes, switching rapidly between breakdancing, line dancing and disco, among others, before finally ending up slowdancing with Pfeiffer. The chemistry between the two is noticeable and you cant help but feel that the two had a ton of fun together while filming. Both exhibit a quirky, rambunctious personality that completely removes the cheese-fest that exists in most movies in this genre. Their acting, like their characters, is very simple and because of this is simply enjoyable.
The peripheral cast turns in excellent performances as well, adding to the charm of the film in a way that is completely unexpected. Of particular note is Saoirse Ronan, who plays Pfeiffer's daughter Izzie and consistently provides laughs whether it be from her detailed analysis of Barbie's psychological disorders ("Remember when Ken had Alzheimers and ended up in the heating vent?!") or from her inspired pop-culture parodies of Britney Spears and Alanis Morrisette songs lambasting young Hollywood stars.
This movie channels the same quirky charm as Billy Kent's The OH in Ohio and succeeds on the same grounds. It's enjoyable, strangely believable and ultimately very satisfying. Bonus: It is the latest (actually the earliest) in a string of fantastic performance from Pfeiffer since she returned to the big screen and will restore any faith in Paul Rudd lost during the 2-hour debacle , Over Her Dead Body.
Sunday, February 17, 2008
Feature - Top 15 Screenplays
The following are, in my opinion, the top 15 screenplays in no particular order. Some are comedies, some dramas, some psychological thrillers but all of them are genius screenplays and none are as overrated as The Godfather and Casablanca. Of course, there are hundreds of fantastic screenplays that didn't make it on to the list and probably hundreds more that I have never read but these 15 are the cream of the crop. Disagree? Leave a comment.
1. Silence of the Lambs (1991) -written by Ted Tally, based on the novel by Thomas Harris
2. Stranger than Fiction (2006) -written by Zach Helm
3. Do the Right Thing (1989) -written by Spike Lee
4. Vertigo (1958) -written by Alec Coppel and Samuel Taylor, based on the novel Suers froides: d'entre les mort by Pierre Boileau and Thomas Narcejac
1. Silence of the Lambs (1991) -written by Ted Tally, based on the novel by Thomas Harris
2. Stranger than Fiction (2006) -written by Zach Helm
3. Do the Right Thing (1989) -written by Spike Lee4. Vertigo (1958) -written by Alec Coppel and Samuel Taylor, based on the novel Suers froides: d'entre les mort by Pierre Boileau and Thomas Narcejac
5. American Beauty (1999) -written by Alan Ball
6. Dr. Strangelove (1964)- written by Stanely Kubrick, based on the novel Red Alert, aka Two Hours to Doom by Peter George
7. Annie Hall (1977)- written by Woody Allen and Marshall Brickman
8. The Graduate (1967)- written by Calder Willingham and Buck Henry, based on the novel by Charles Webb
9. Eternal Sunshine of the Spotless Mind (2004)- written by Michel Gondry and Charlie Kaufman
10. Memento (2000)- written by Christopher Nolan, based on the short story Momento Mori by Jonathan Nolan
11. All About Eve (1950)- written by Joseph Mankiewicz
12. Twelve Angry Men (1957)- written by Reginald Rose, based on the novel by Reginald Rose
13. Young Frankenstein (1974)- written by Mel Brooks and Gene Wilder
14. Wizard of Oz (1939)- written by Noel Langley, Florence Ryerson, and Edgar Allan Woolf, based on the novel The Wonderful Wizard of Oz by L. Frank Baum
15. V for Vendetta (2005)- written by Andy Wachowski and Larry Wachowski, based on the graphic novel by Alan Moore
