Posted in: Disc Reviews by Archive Authors on April 13th, 2009
With Robert Rodriguez releasing films where he directs, writes, scores, edits and produces some people humor themselves into believing that anyone can do the same. With Diary of a Tired Black Man, Tim Alexander attempts to accomplish a similar feat. Jimmy Jean-Louis headlines the small cast as James who recently divorced his wife Tonya (Paula Lema)of four years. Alexander directed an internet clip that dealt with this relationship and from that 3 minute clip he adapted it into a feature film. The story evolves into a complex investigation of relationships from the black male perspective.
Posted in: Disc Reviews by David Annandale on April 10th, 2009
A middle-aged man (Jean Rochefort) recounts his youthful sexual awakening to the charms of the local hairdresser. Developing a fixation on the erotics of a women cutting men's hair, he resolves to marry a hairdresser, and decades later, he gets his wish. His wife is the lovely Anna Galiena, and once wed, they rarely leave her little shop (indeed, they also get married there).
Writer/director Patrice Leconte is dealing with a pretty specialized fetish here, but he in the early goings, he actually comes close to making us understand Rochefort's obsession. Leconte's precise attention to sensual details sells us the young boy's developing passion, but in the long run, the older Rochefort's inclination is rather harder to take seriously, or even be that interested in. The couple's idyllic life in the salon is obviously not mean to be seen in any realist sense, but even as a parable, it's rather thin. Rochefort spends his days doing crossword puzzles while Galiena reads gossip magazines, gazing adoringly at her as she tends to various customers (whose eccentricities feel like the inevitable conventions of this sort of art film, even as they do provide a necessary spark of life to the very still narrative), and launching, at the drop of a hat, into improvised dances to Arab music. This last quality is supposed to be charming, but by the third number (in a short, 82-minute film), it is simply irritating. Having created a situation where, once the courtship is accomplished (a matter of mere minutes of screen time), nothing can happen, Leconte decides to wrap things up with a conclusion that is clearly supposed to be poignant, but is utterly fatuous. The film is delicately wrought, and quite lovely, but also fundamentally empty-headed. In the end, it comes across as little more than a precious presentation of a middle-aged, rather misogynist fantasy.
Posted in: Disc Reviews by Gino Sassani on April 10th, 2009
Jim Carrey’s life and career are in a sort of mid-life crisis. He has avoided doing his usual goofball comedy films and opted for more serious roles. His appearance in Number 23 was a bit of a shock for most of us, but he pulled it off reasonably well. Even his more recent comedies have often been less about one crazy character and more about the story elements. It seems that he has decided it was time to return to the parts that made him a household name with Yes Man. But after watching Yes Man,,I have to wonder if maybe that genre has passed him by. For the first time, you really start to see age catching up on the crazy actor, and while he still has tremendous timing, he doesn’t look altogether quite right when he brings out the twisted faces and expressions anymore. It’s not a dig at Carrey at all. Still, it can’t be very good for a comedy, particularly one with a romantic element to it, when your first reaction is that the lead’s starting to look a little old. It’s not even that he looks bad. He just might need to tone down the goofy and concentrate on being more sincere. When Carrey takes that approach in this film he’s far more believable and, yes, that much more funny.
The story is almost a direct riff from his Liar Liar plot. In this one Carrey plays Carl Allen. Carl is a loan officer at a local bank. He was divorced three years ago, but he still hasn’t gotten over it. He’s become somewhat reclusive and self absorbed. He finds all manner of excuses to avoid doing anything with his friends. Instead he spends each night falling asleep watching rented movies on television. What’s worse is that he doesn’t even know that he’s miserable. One day at lunch a former coworker, Nick (Higgens) approaches him as he’s eating lunch in front of the bank. He tells Carl about how a motivational seminar has changed his life. He invites Carl to come to a workshop, but Carl drops his usual no thanks on him. But later Carl begins to realize how detached he’s become and has a scrooge-like epiphany at just how lonely he is. So, predictably, Carl goes to the seminar. Here motivational Guru Terrance (Stamp) preaches the gospel of Yes. He challenges Carl to merely accept every opportunity that comes his way. He commits him to a covenant to say yes to anything. As soon as Carl leaves the building the expected situations arise, where most sane people would say no. In a series of Yes’s that involve a homeless man, Carl begins to have second thoughts when his affirmative replies appear to put him in a bad situation. That is, until he meets Allison (Deschanel). Suddenly his new life appears to bring him a bounty of experiences and pleasures. As you might expect, it’s all leading to some rather uncomfortable consequences. But, as all “feel good” films must, Carrey eventually learns to live his new life in moderation and lives happily ever after.
Posted in: Disc Reviews by Gino Sassani on April 8th, 2009
It’s official. I’ve just totally given up on Adam Sandler. Honestly, I haven’t laughed at anything he’s done since the music video for The Lonesome Kicker. How many times can the same absurdity and Romper Room antics work on a film audience? Even in a Walt Disney film that required Sandler to clean up his act a bit, the same sophomoric humor was showing through the threadbare shtick. You just knew there were times he wanted to let loose with some off color remark or obscene gesture. While I was pleased that he gave it the effort, it’s like asking a mute man to talk after you just tied up his hands. There are some moments of genuine warmth with the kids. The guy’s probably a very nice and likable guy, it’s not personal. I’m just tired of the same Happy Gilmore character, just stuck in different situations. Think about it, aren’t they all the same person: Zohan, Gilmore, Little Nicky… The list goes on ad nauseum. A shame, really, because this thing might have had legs with another lead in the role.
Once upon a time in a small hotel, Marty Bronson (Pryce) was trying to run his small family business. Unfortunately, while Marty might have been a great guy, he didn’t have a head for business. He’s forced to sell out to a large hotel chain, owned by Barry Nottingham (Griffiths). The thing that put the deal over the top was Nottingham’s promise to let his son Skeeter (Sandler) run the hotel when he was older. Alas, as I always told my law students in my teaching days: Get it in writing or the promise isn’t worth the paper it’s not printed on. Nottingham does keep Skeeter around, however, as a handyman. Unfortunately he’s treated as a nobody by the entire staff, accept Mickey (Brand). Skeeter’s life is about to change. First, he is given charge of his niece, Bobby (Kesling) and nephew, Patrick (Heit) while his sister, Wendy (Cox) is out of town looking for a job. She’s the local elementary school principal. She’s also a crazy control freak liberal who feeds her kids cakes made out of sawgrass and prohibits such wasteful activities as television watching. Of course, brother Skeeter is going to change all of that. Wendy leaves her friend, Jill (Russell) to help out with the kids and take the “day shift” since she’s also a teacher at their school. But Skeeter’s life might change for the better when he’s given an opportunity to run the new and improved Nottingham Hotel that will replace the current one. If he can come up with a better theme than Nottingham’s future son-in-law and all around kiss up, Kendall (Pearce), he’ll be allowed to finally run the hotel. It doesn’t hurt that he discovers magic in his niece and nephew. It seems that when the three of them engage in some ad lib storytelling (the kids’ books all look like they were written by Captain Al Gore) the stories begin to come true. If he can only manipulate what the kids come up with in his favor, he might just get the big chance he’s been waiting for and even win the girl of his dreams, which he thinks is Nottingham’s Paris Hilton knock-off daughter, Violet (Palmer). Needless to say, it won’t be easy, but Skeeter finds a way to become the hero. Oh, and there’s one of the worst CG creations since Lucas unleashed Jar Jar on an unsuspecting Star Wars fan base. In this case it’s a CG enhanced guinea pig named Bugsy, because of his obnoxiously large eyeballs.
Posted in: Disc Reviews by Gino Sassani on April 2nd, 2009
The Odd Couple began as a concept when playwright Neil Simon observed his recently divorced brother share an apartment with another divorced guy. He developed it into a very successful play. In the original play Walter Matthau played Oscar, but it was The Honeymooners star Art Carney who played Felix. Both actors were offered the parts for the film. Carney declined. It was because of the onscreen chemistry between Matthau and Jack Lemon on the film The Fortune Cookie that led to Lemmon being cast as Felix. The decision was a stroke of genius. If you look at it on its surface, there really isn’t much of a story here at all. It is the connection and relationship between these characters, and subsequently these actors, that made this film the classic that it is. Also returning from the play to reprise their roles were Monica Evans and Carole Shelley as the amusing Pigeon Sisters, roles they would actually repeat for the television series two years later.
When I watch this film, I will admit that it’s often a little hard to get the images of Jack Klugman and Tony Randall out of my mind. Most folks have had far more exposure to that 5 year television series than they have with the original film. To me, they will always be those characters. In fact Klugman replaced Matthau on the stage as Oscar before he took the role on television. Still, even with that bias, it is awfully hard not to get drawn into this film. For me characters and performances can be everything. That’s what makes this film have the lasting power it has enjoyed. Most of the film, as the play, takes place inside the apartment. There is a very limited cast, often just Felix and Oscar on the screen. Certainly there are some great moments with the poker buddies and the Pigeon Sisters, but most of the film takes place in a limited environment with just two actors. If you can make that work at all, let alone create a classic experience from it, that’s saying something. There were a few outside locations utilized in the film that were not part of the original play. These were placed there just to give the viewers a change of scenery but were totally unnecessary.
Posted in: Disc Reviews by Archive Authors on April 1st, 2009
Last year, Chris Rock hit the road with new material for Kill the Messenger, his latest comedy tour. HBO captured three of the performances – in London, Johannesburg and New York – and edited them together into one big comedy special. Now on DVD in this three-disc set, Rock fans can see the HBO special and the full-length shows at each of the locations above. If you love his stuff, that might be great news. But after more than a decade at the top, does Rock still have it? Read on.
The way HBO assembled the original comedy special is pretty unique. Running around 80 minutes, Kill the Messenger cuts mostly seamlessly between Rock’s performances in three different cities. So he might set up a joke in London, deliver the punch-line in Johannesburg and follow up in New York. This might sound really disjointed on paper, but in practice it works well because Rock is so consistent with his delivery. In fact, the precision with which he executes his material is downright impressive.
Posted in: Disc Reviews by Archive Authors on April 1st, 2009
What would you get if you were to cross the films Dangerous Minds and Waiting for Guffman? Well, add a liberal helping of High School Musical and you might end up with Hamlet 2 (though it is difficult to imagine the High School Musical drones belting out songs like “Rock Me Sexy Jesus” and “Raped in the Face” with such gusto).
Posted in: Disc Reviews by Michael Durr on March 30th, 2009
Risk taking has never been my specialty. I tend to keep things pretty conservative and never really tried anything out of the ordinary, at least nothing I would consider dangerous. However, I have been interested by many forms of extreme sports. There is skateboarding, motocross, and of course, snowboarding. This beautiful sport combines flawless riders and picturesque snowy landscapes. So how would I take to a movie that tries to make a comedy out of snowboarding? Hopefully well. But then I saw that it included Tom Green and one of the guys from Jackass. This is not off to a good start.
Max (played by Dave England) and Eddy (played by Jason Bothe) are in charge of Team Shred. Team Shred consists of Chris, Tracy & Juice (played by Carlo Marks, Amber Borycki, & Alain Chanoine respectively). Chris is the breakout star of the team while Tracy & Juice are up and coming. However, Max and Eddy only focus on their breakout star as they arrange parties, videos and other events for Chris and only include the other two as a mere afterthought.
Posted in: Disc Reviews by David Annandale on March 28th, 2009
Zack (Seth Rogen) and Miri (Elizabeth Banks) have been friends since school, and are now terminally broke roommates. As their utilities are turned off one by one, and they face the prospect of eviction, Zack hits on the idea of shooting a porn flick to get out of debt. They gather together a motley collection of actors and crew, and, letting no setback stand in their way, start making their movie. But the real question is not whether they will succeed, but whether they will come to terms with their feeling for each other.
In his review of the film Roger Ebert writes, “'I don't know bleep about directing,' Smith once confided to me. 'But I'm a bleeping good writer.'” Smith is half-right. The direction here is very meat-and-potatoes, every shot serving little more than to get the actors decently framed. But I can't agree with his self-estimation as a writer. There are some funny lines here, but many of the laughs are due to Smith's stellar cast. Rogen does his usual shtick, but it's still funny, thanks to his appealing naive/cynic vibe and befuddled stoner delivery. Justin Long shows up for a single scene, and walks off with the movie. None of his lines are particularly stellar, but his cameo is hysterical, all of it due to voice and body language. The man could make the yellow pages side-splitting. This is not to say that Smith's script is that dry, but it veers between clumsy earnestness (I kept waiting for the punchline during the final emotional speeches, the clue that I wasn't really supposed to take this hackneyed dialogue seriously, and it never came) and a potty mouth approach that clearly finds naughty words to be funny in and of themselves. You know, like we all did in grade five. David Mamet this is not. But when all is said and done, there's the cast. Determined to save Smith from himself, they make the film a bizarrely endearing and sweet experience.
Posted in: Disc Reviews by Gino Sassani on March 26th, 2009
"She was working in a bridal shop in Flushing, Queens 'Til her boyfriend kicked her out in one of those crushing scenes. What was she to do? Where was she to go? She was out on her fanny... So over the bridge from Flushing to the Sheffield's door. She was there to sell makeup, but father saw more. She had style! She had flair! She was there. That's how she became the Nanny! Who would have guessed that the girl we've described Was just exactly what the doctor prescribed? Now the father finds her beguiling. And the kids are actually smiling. She's the lady in red when everybody else is wearing tan... The flashy girl from Flushing, the Nanny named Fran!"
Not exactly Mary Poppins.
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