Mike Leigh film about, what else?, the British working poor. The film follows three family's in a government subsidized housing project in London. The family of primary focus is the Bassetts, two middle aged aged parents and there roughly 20ish daughter and 18ish son, all living in the same home. Of the four of them three work, the father as a Taxi driver (but he sleeps in until around noon so only earns about half a days wages), the mother as a check out girl at a grocery store, and the daughter cleaning at an old folks home (where a creepy sixtyish fellow worker seems to have an eye for her). The son, Rory, is an unpleasant fellow, he's overweight, doesn't work, and is rude and unappreciative. The family is unhappy, disenchanted, and just making it by. Like nearly all the people in this film, there also not very good looking, and in the case of the father, son, and daughter all grossly overweight.
The second family consists of single mother Maureen and her daughter (whose probably in her early twenty's) who gets pregnant by a worthless boyfriend. Maureen had her daughter by a man she says she know "for all of 5 minutes" before her only child was conceived. Interestingly Maureen seems the happiest, most well adjusted of the central players in this film. The third family consists of two alcoholic parents and a daughter, again in her early 20's. The daughter here, played by Sally Hawkins (whose about the only name in this film, the rest of the cast is good but largely unknown) attempts to steal the no good boyfriend away from her secretly pregnant neighbour, and becomes the object of desire for a mentally maladjusted young man.
A consistent stream in this film is that the parents are mostly exhausted, they work, but have little money and hope, so each deal with there resentment and disillusionment in there own way, and for the mostly part rather ineffectively. The children tend to be rude little brats (with the exception of Rachel Basset whose quite and withdrawn), always fighting in one way or another, and again making little of there lives.
When morbidly obese Rory Bassett has a heart attack, it becomes an emotional catalyst that could change all there lives, or they might just try harder for a little while and then sink back into there perpetual funk, at the end we don't know. Mike Leigh likes to take us places we don't usually go in movies, he likes to explore the emotional world of the poor and disposed, he dose so truthfully and always seems to have something a little new to say. It's a downer, but its solid and knowing. Grade: B+
Friday, April 29, 2011
Sunday, April 24, 2011
Judgment Day: Intelligent Design on Trial (2007)
Documentary made for PBS's Nova program about the noteworthy 'intelligent design' court case Kitzmiller v. Dover Area School District. Basically the story is this, some members of the school board in a small Pennsylvania school district passed an ordinance insisting that 'intelligent design' be presented as a viable and scientific counter theory to Darwinian evolution, and that Darwin's theory not be present as, in there word, fact. The movie talks to Dover area residents involved in the ruckus, and presents re-enactments from the federal court case that arose from it. Both sides of the argument are presented, but what I'll call 'The Darwinian side' clearly had the stronger case. The arguments presented, taken largely from the court transcripts themselves, are very strong and logical, while the ID side's arguments were for the most part retorted easily, and some of their witnesses are known to have lied. One can believe in 'intelligent design' if one so chooses, but it is not science because it can not be tested, its arguments are easily refuted by the existing evidence, and its mostly based on inherently religious pre-suppositions. This is a documentary but its presented as what it is, a modern day Scopes trial, and it is riveting as courtroom drama, science, and sociological discourse. Grade: B+
Twist of Faith (2004)
I've enjoyed two other of director Kirby Dick's documentaries, the confronting the FCC doc This Film is Not Yet Rated (2006), and the closeted gay but anti-gay Republican congressman film Outrage (2009). Twist of Faith is a film about the Catholic priest sexual abuse saga that came to a head in the early 2000's, but more specifically its a film about one man, and his family's ordeal.
Tony Comes is a decent man, he's 33 years old, married and has two kids. He's a firefighter in Toledo, gives fire safety presentations in elementary schools, and he's an active Catholic, even getting his wife to convert before there marriage. However Tony Comes is a victim of sexual abuse, inflicted on him when he was 14 years old by the religion teacher at his Catholic high school, a priest named Dennis Gray. While Tony had become open with his family about what had happened starting in his 20's, had made a point about telling his wife before there marriage, and was even involved as a 'John Doe' in a class action lawsuit against the archdiocese, things reached a turning point when shortly after moving into a new house with his family, Tony learned that Dennis Gray lived just five doors down.
This event triggers something in Tony, and while Gray is essentially forced to move from his home, an intensity is released in Tony in regards to his childhood abuse like none he'd felt before. He comes out to the public about his abuse, meets with the Bishop of Toledo about his trauma (who apologizes profusely but also lies to Tony's family that he was the only one that Gray ever abused, in fact there were a half dozen or so more), becomes more involved in the lawsuit, joins a victims group for those who have been sexually abused by Catholic clergy, and becomes so obsessed and angry that he threatens the stability of his own marriage.
This is a powerful film, I wasn't sure that it would be because we've all been hearing variations of this for so long, but the personal quality of this story really hits home. We see things through the experience of one man, one victim, who twenty years later is still reeling for his childhood abuse. Director Dick provides Tony and his wife cameras to use on there own at home to record there thoughts and feelings, this combines with Dick following the couple around some, as well as some news clips, and footage of Dennis Gray's deposition for his crime. A moving, surprisingly kinetic film, Twist of Faith is the definition of what a strong, personal documentary can be. Grade: A-
Tony Comes is a decent man, he's 33 years old, married and has two kids. He's a firefighter in Toledo, gives fire safety presentations in elementary schools, and he's an active Catholic, even getting his wife to convert before there marriage. However Tony Comes is a victim of sexual abuse, inflicted on him when he was 14 years old by the religion teacher at his Catholic high school, a priest named Dennis Gray. While Tony had become open with his family about what had happened starting in his 20's, had made a point about telling his wife before there marriage, and was even involved as a 'John Doe' in a class action lawsuit against the archdiocese, things reached a turning point when shortly after moving into a new house with his family, Tony learned that Dennis Gray lived just five doors down.
This event triggers something in Tony, and while Gray is essentially forced to move from his home, an intensity is released in Tony in regards to his childhood abuse like none he'd felt before. He comes out to the public about his abuse, meets with the Bishop of Toledo about his trauma (who apologizes profusely but also lies to Tony's family that he was the only one that Gray ever abused, in fact there were a half dozen or so more), becomes more involved in the lawsuit, joins a victims group for those who have been sexually abused by Catholic clergy, and becomes so obsessed and angry that he threatens the stability of his own marriage.
This is a powerful film, I wasn't sure that it would be because we've all been hearing variations of this for so long, but the personal quality of this story really hits home. We see things through the experience of one man, one victim, who twenty years later is still reeling for his childhood abuse. Director Dick provides Tony and his wife cameras to use on there own at home to record there thoughts and feelings, this combines with Dick following the couple around some, as well as some news clips, and footage of Dennis Gray's deposition for his crime. A moving, surprisingly kinetic film, Twist of Faith is the definition of what a strong, personal documentary can be. Grade: A-
Friday, April 22, 2011
Oh My God (2009)
Documentary in which filmmaker Peter Rodger travels around the world and asks people the question 'what is God?' At first I wasn't terribly impressed with this film, I thought there was too much montage early on, and it didn't feel deep enough because there were so many different interviewees. But the movies whole point I think was to be something of a survey course on this question, and when you look at all of the people and religions presented in this film together, it really does become kind of a tapestry.
Interestingly and I think thankfully this film doesn't take a hard stand on its subject matter, it doesn't even insist that God exists, and several atheists and agnostics are interviewed. The film does advocate the not unreasonable proposition that the core teachings of all religions are pretty much the same and we should all learn to live together. Directer/writer/host Peter Rodger is a reasonable man, he doesn't come at his interviewees with disrespect, with the possible exception of one particularly dogmatic Muslim man.
The film does convey a sense of generous wonder about the multiplicity of perspectives on God in this world. As this film progressed it elicited in me a feeling of satisfaction that we as the human race even ask this question, contemplating the mysterious I think can raise the soul, though when we think we know the answer to everything it can destroy it. I also think this film found a good balance between its celebrity, scholarly, and everyday interview subjects. Though its not amazing I didn't expect this documentary to be as good as it was. Grade: B
Interestingly and I think thankfully this film doesn't take a hard stand on its subject matter, it doesn't even insist that God exists, and several atheists and agnostics are interviewed. The film does advocate the not unreasonable proposition that the core teachings of all religions are pretty much the same and we should all learn to live together. Directer/writer/host Peter Rodger is a reasonable man, he doesn't come at his interviewees with disrespect, with the possible exception of one particularly dogmatic Muslim man.
The film does convey a sense of generous wonder about the multiplicity of perspectives on God in this world. As this film progressed it elicited in me a feeling of satisfaction that we as the human race even ask this question, contemplating the mysterious I think can raise the soul, though when we think we know the answer to everything it can destroy it. I also think this film found a good balance between its celebrity, scholarly, and everyday interview subjects. Though its not amazing I didn't expect this documentary to be as good as it was. Grade: B
Monday, April 18, 2011
Tom Jones (1963)
I complete my viewing of the entire Best Picture Oscar cannon with Tom Jones. Based on the Henry Fielding novel The History of Tom Jones, a Foundling, this is a playful, bawdy, and lightheartedly vulgar film of immense likability. Tom Jones (Albert Finny), a bastard child raised by a wealthy country gentleman in mid 18th century England, is of a sort well liked by the ladies. Tom Jones gives into his fleshly desires on a frequent basis, but his adopted father loves and sees good in him, while his outwardly pious, inwardly petty cousin Bilifil plots against him.
Toms true love is neighbour lady Sofie (Susannah York), but they are kept apart by the machinations of others, and in the course of the story Tom is banished from his home, goes on a number of adventures, and beds a number of women. The plot is likably episodic and engaging, but its the presentation that makes this film. Tongue-in-cheek, knowing, and as I said playful, the movie begins with a sort of 'silent film' sequence of baby Tom's discovery at the Allworthy estate, and continues to employ visual flourishes, and camera tricks throughout. We have a delightfully droll narrator, who comments on the goings on and makes sure to cut out the love making scenes, so as to accord with 'a sense of propriety'.
It's kind of surprising that a film like this could be released in 1963, and embraced so by the Academy. The film was a portend of things to come I suppose, but also features a bit of an old school nudge, nudge approach to sensuality, (though there's sure a lot of cleavage in this film). Perhaps appropriately this movie about a charming, hansom womanizer was the last film JFK ever saw, he watched it five days before his death. Anyway this is a great, fun, and sadly lesser known Best Picture Oscar winner. Grade: A
Toms true love is neighbour lady Sofie (Susannah York), but they are kept apart by the machinations of others, and in the course of the story Tom is banished from his home, goes on a number of adventures, and beds a number of women. The plot is likably episodic and engaging, but its the presentation that makes this film. Tongue-in-cheek, knowing, and as I said playful, the movie begins with a sort of 'silent film' sequence of baby Tom's discovery at the Allworthy estate, and continues to employ visual flourishes, and camera tricks throughout. We have a delightfully droll narrator, who comments on the goings on and makes sure to cut out the love making scenes, so as to accord with 'a sense of propriety'.
It's kind of surprising that a film like this could be released in 1963, and embraced so by the Academy. The film was a portend of things to come I suppose, but also features a bit of an old school nudge, nudge approach to sensuality, (though there's sure a lot of cleavage in this film). Perhaps appropriately this movie about a charming, hansom womanizer was the last film JFK ever saw, he watched it five days before his death. Anyway this is a great, fun, and sadly lesser known Best Picture Oscar winner. Grade: A
Sunday, April 17, 2011
Detour (1945)
I remember hearing once that some famous European art director considered Detour to be the finest American motion picture of all time. Made at the short lived poverty row studio PRC, you can tell this film was done cheaply, but it was done creatively and well. Through taught pacing, intriguing characters, solid acting, and some interesting editing, Detour rises far beyond the middling production it could have been. It is a contemplative and fatalistic noir, while its story seems fairly standard, its effect feels heightened, this is no doubt do to the excellent direction of Edgar G. Ulmer who makes you feel trapped like his protagonist.
The plot concerns Al Roberts (Tom Neal), a down on his luck piano player hitchhiking from New York to Los Angeles to reunite with his fiance (Claira Drake) who traveled there in hopes of becoming an actress. Working his way west Roberts is picked up in Arizona by a man named Charles Haskell Jr. (Edmund MacDonald), who literally drops dead on Roberts in what would appear to be incriminating circumstances. Roberts stashes Haskell's body in the desert and assumes his identity, hoping to ditch the car and Haskell's belongings once he makes it to California. Before he get to his destination however he picks up a hitchhiker who goes by the name of Vera (Ann Savage), and boy is she a sour character. Having been picked up hitchhiking before by the real Haskell, Vera takes Roberts as a sort of hostage through blackmail, and uses him in her attempts at several schemes, before finally settling on an unrealistic plan to get money from Haskell's dying millionaire father.
The film has a claustrophobia, a real tension, Roberts is a poor everyman that its easy to sympathize with, while Vera, a strangley complicated, detestable character, and surprisingly sexually aggressive for that era. While it might not seem much on the surface of it, Detour captures something emblematic, perhaps its the grimness, small budget, and largely unknown cast which make it seem seamyer, more depressing, a noir's noir. It doesn't have that classic polish, but it has a strange kind of truth to it, one which simply makes it better and more engrossing then it ought to be. Grade: B+
The plot concerns Al Roberts (Tom Neal), a down on his luck piano player hitchhiking from New York to Los Angeles to reunite with his fiance (Claira Drake) who traveled there in hopes of becoming an actress. Working his way west Roberts is picked up in Arizona by a man named Charles Haskell Jr. (Edmund MacDonald), who literally drops dead on Roberts in what would appear to be incriminating circumstances. Roberts stashes Haskell's body in the desert and assumes his identity, hoping to ditch the car and Haskell's belongings once he makes it to California. Before he get to his destination however he picks up a hitchhiker who goes by the name of Vera (Ann Savage), and boy is she a sour character. Having been picked up hitchhiking before by the real Haskell, Vera takes Roberts as a sort of hostage through blackmail, and uses him in her attempts at several schemes, before finally settling on an unrealistic plan to get money from Haskell's dying millionaire father.
The film has a claustrophobia, a real tension, Roberts is a poor everyman that its easy to sympathize with, while Vera, a strangley complicated, detestable character, and surprisingly sexually aggressive for that era. While it might not seem much on the surface of it, Detour captures something emblematic, perhaps its the grimness, small budget, and largely unknown cast which make it seem seamyer, more depressing, a noir's noir. It doesn't have that classic polish, but it has a strange kind of truth to it, one which simply makes it better and more engrossing then it ought to be. Grade: B+
Kick-Ass (2010)
You know interestingly the most enthusiastic recommendation I got for this film was from a young Mormon women. Kick-Ass is an adaptation of the same titled comic book series about mostly young superheros. It attempts to go at its subject matter in, what for lack of a better term, I must call a 'more realistic' approach then you get from most comic book inspired movies. The film sets its costumed vigilante characters in a more-or-less realistic world, and explores the logistical, personal, and physical problems of superherodom. In that respect it is much like 2009's Watchman, only crossed with some of the indie comic extravagance of Scott Pilgrim Vs. The World.
This film has been criticized for its surprising amount of profanity (and not the milder type), extreme and graphic violence perpetrated by characters including a twelve year old girl, and largely implied under aged sexuality. I expected to be turned of by this, and it was certainly a little intense in places, but as the movie gained momentum and started to expand on its scope, I really got swept up and enjoyed the thing. It's a bit of a guilty pleasure I suppose, but this was kind of awesome, true vicarious fantasy for the underdogs in life. I'm kind of surprised Robert Rodriguez didn't direct this, it seems right up his alley, but Matthew Vaughn did a fantastic job. Sequel please. Grade: B+
This film has been criticized for its surprising amount of profanity (and not the milder type), extreme and graphic violence perpetrated by characters including a twelve year old girl, and largely implied under aged sexuality. I expected to be turned of by this, and it was certainly a little intense in places, but as the movie gained momentum and started to expand on its scope, I really got swept up and enjoyed the thing. It's a bit of a guilty pleasure I suppose, but this was kind of awesome, true vicarious fantasy for the underdogs in life. I'm kind of surprised Robert Rodriguez didn't direct this, it seems right up his alley, but Matthew Vaughn did a fantastic job. Sequel please. Grade: B+
Pete Seeger: The Power of Song (2007)
Documentary on legendary folk singer Pete Seeger. Peter Seeger has lead a long and interesting life, and is still with us at age 91. He seems a very true man, a man of his convictions, and a man of simple goodness. His politics have caused him problems throughout his career, but I think the opposition he faced in life is what makes him so endearing, and in a way so powerful. Also a man whose been married, and seems very much in love with his wife after nearly seventy years, simply warms the heart. Film harmed a little bit by a not particularly dynamic presentation. Though the information is good, I think I'd have almost rather read it then watched it, but then I wouldn't have gotten the music, which would have largely negated the point. Pete Seeger's an A, but the movie's only a C+
Sunday, April 10, 2011
Superman IV: The Quest for Peace (1987)
Final film in the Christopher Reeve Superman cycle is simply not needed. Now the first two films were strong, as a child growing up watching them I thought they were real good, and on re-watching them a couple of years ago I thought they were solid if hokey. Superman III of course is less effective, a bizarre hybrid of a Richard Pryor movie, it mostly seemed awkward, and was lacking too many of the central players, like Gene Hackman, and little more then a cameo appearance by Margot Kidder. Hackman and Kidder are back for this outing, along with a twenty-something Mariel Hemingway, and oddly Jon Cryer.
The film is a weak late cold war tale, as with Rocky bringing about Detente, here Superman tries to solve the arms race. Any potentiality in this movie is waisted with the senseless rehashing of the plot of the last two Superman movies, namely Superman must fight another superpowerd being or beings (in Superman III its himself). There's this nuclear/solar powered guy made from some of Superman's 'genetic material', he's just muscly and boring. Mariel Hemingway is pretty, and that's about the best thing I can say for this movie. Film feels like it had too many scenes cut, but then again all these Superman movies had blaring continuity problems and logical leaps. Entertaining enough, at least for one viewing, but mainly an exercise in ringing the last bit of juice from a franchise. Grade: C-
The film is a weak late cold war tale, as with Rocky bringing about Detente, here Superman tries to solve the arms race. Any potentiality in this movie is waisted with the senseless rehashing of the plot of the last two Superman movies, namely Superman must fight another superpowerd being or beings (in Superman III its himself). There's this nuclear/solar powered guy made from some of Superman's 'genetic material', he's just muscly and boring. Mariel Hemingway is pretty, and that's about the best thing I can say for this movie. Film feels like it had too many scenes cut, but then again all these Superman movies had blaring continuity problems and logical leaps. Entertaining enough, at least for one viewing, but mainly an exercise in ringing the last bit of juice from a franchise. Grade: C-
Friday, April 8, 2011
Dick Tracy Meets Gruesome (1947)
Doctor A. Tomic of State U. discovers a chemical that will freeze people in place for 15 minutes. So Doctor L. E. Thale gets his girlfriend I. M. Learned, who happens to be the Dr. Tomic's assistant, to steal the chemical. So Thale and villains X-Ray, Gruesome and Melody use it to rob the First National Bank of $100,000. But Tess Truehart just happened to be at the bank, and she witnesses the robbery because she was in a phone booth at the time the gas was released, and I guess the gas can't penetrate phone booths. So Dick Tracy and Pat Patton track Gruseome from a bar called The Hangman's Noose, to Y. Stuffams taxidermy shop, and eventually to Wood Plastics by way of a hospital interlude. All the bad guy's die, and the last of that wacky gas gets out just in time for a comic freeze frame ending. Not as good as the first movie in this 1940's Dick Tracy cycle. Grade: C-
Bound for Glory (1976)
I wanted to see this because I like 1930's era folk music, and I share a birthday with the man this movie's about. Bound for Glory stars David Carradine in what is probably his strongest, serious dramatic performance, as folk music pioneer Woody Guthrie. While the movies 2 1/2 hours long, it is not an exhaustive bio-pic, instead it tells the story of maybe two years in Guthrie's life, in which he rises from out of work Texas sign-painter, to some prominence on California radio, and then chucks away opportunities for big money and a national CBS radio show in order to stay 'close to the folks'.
'The folks' for which Guthrie develops an arguably obsessive fondness are the poor, down on there luck people of depression era America. Guthrie starts pre-disposed in there favor, being one of them in a small, dying, Texas farm community. Unable to find steady work to support his family Guthrie sets off hitchhiking and box car riding to California, which according to gossip has jobs a plenty. Of course when he gets there, as anyone familiar with The Grapes of Wrath knows, there ain't much work for country folk, and what there pays penny's a day and is backbreaking hard.
When union organizing folk musician Ozark Bule (Ronny Cox) stops by to preach labour and entertain the folks at a work camp where Guthrie is staying with a young Randy Quaid and his family, our protagonist ends up in a fist fight with hierd thugs and must flee with Bule for safety. Ozark takes a liking with Guthrie's guitar plucking, and eventually he lines up a regular radio gig for Guthrie so he can send for his family in Texas. Of course first Guthrie has an affair with a rich widow (Gail Strickland), but because 'she has so much, while so many have so little' it doesn't work out. Plus Guthrie does love his wife Melinda Dillon, but he's so darn full of wander-lust and love for 'the folks' that he walks out on his radio job to go and entertain poor labours in there own environment. After a while of doing this, his wife leaves him, takes the kids and moves back to Texas, so then Guthrie turns down some very lucrative singing offers to head back out on the rails and entertain his beloved 'folks'.
It really took about a half hour for this movie to get going, during its first thirty minutes or so Guthrie just sort of bumbs around the dying town where he and his family lives, but then he finally decides to leaves and its another thirty minutes before he makes it to California. Much of the film is episodic, just little pieces about the poor people Guthrie meets, the 'real' plot as such doesn't truly begin until Woody meets Ozark at that California labour camp. Through much of the movie Woody's a rather zen figure, he just floats along where ever circumstance takes him and is always nice to everyone (save maybe his frustrated wife). It isn't until his innate sense of justice gets aroused that Woody shows off his righteous indignation, and his stubborn streak proves it will always get in the way of any peace he might find with his family. This happens around the same time Woody starts to get successful, and you understand why he can be so frustrating to those around him, he's self righteous, but in kind of an oddly noble way.
This movie, directed by Hal Ashby, is very much of that uber-slow, atmospheric, reflective school best epitomized by the work of Mark Rydell. It took me, a lover of slow film, quite a while to get into it, but it's an honest and strong work, and Carradine does a surprisingly good job of carrying the piece, with the aid of some rather low key supporting players. I don't think I really loved it, but by the end I was feeling quite satisfied, and despite the difficulties of its languid pace and highly strung leading character, this movie actually felt quite warm. Grade: B
'The folks' for which Guthrie develops an arguably obsessive fondness are the poor, down on there luck people of depression era America. Guthrie starts pre-disposed in there favor, being one of them in a small, dying, Texas farm community. Unable to find steady work to support his family Guthrie sets off hitchhiking and box car riding to California, which according to gossip has jobs a plenty. Of course when he gets there, as anyone familiar with The Grapes of Wrath knows, there ain't much work for country folk, and what there pays penny's a day and is backbreaking hard.
When union organizing folk musician Ozark Bule (Ronny Cox) stops by to preach labour and entertain the folks at a work camp where Guthrie is staying with a young Randy Quaid and his family, our protagonist ends up in a fist fight with hierd thugs and must flee with Bule for safety. Ozark takes a liking with Guthrie's guitar plucking, and eventually he lines up a regular radio gig for Guthrie so he can send for his family in Texas. Of course first Guthrie has an affair with a rich widow (Gail Strickland), but because 'she has so much, while so many have so little' it doesn't work out. Plus Guthrie does love his wife Melinda Dillon, but he's so darn full of wander-lust and love for 'the folks' that he walks out on his radio job to go and entertain poor labours in there own environment. After a while of doing this, his wife leaves him, takes the kids and moves back to Texas, so then Guthrie turns down some very lucrative singing offers to head back out on the rails and entertain his beloved 'folks'.
It really took about a half hour for this movie to get going, during its first thirty minutes or so Guthrie just sort of bumbs around the dying town where he and his family lives, but then he finally decides to leaves and its another thirty minutes before he makes it to California. Much of the film is episodic, just little pieces about the poor people Guthrie meets, the 'real' plot as such doesn't truly begin until Woody meets Ozark at that California labour camp. Through much of the movie Woody's a rather zen figure, he just floats along where ever circumstance takes him and is always nice to everyone (save maybe his frustrated wife). It isn't until his innate sense of justice gets aroused that Woody shows off his righteous indignation, and his stubborn streak proves it will always get in the way of any peace he might find with his family. This happens around the same time Woody starts to get successful, and you understand why he can be so frustrating to those around him, he's self righteous, but in kind of an oddly noble way.
This movie, directed by Hal Ashby, is very much of that uber-slow, atmospheric, reflective school best epitomized by the work of Mark Rydell. It took me, a lover of slow film, quite a while to get into it, but it's an honest and strong work, and Carradine does a surprisingly good job of carrying the piece, with the aid of some rather low key supporting players. I don't think I really loved it, but by the end I was feeling quite satisfied, and despite the difficulties of its languid pace and highly strung leading character, this movie actually felt quite warm. Grade: B
Wednesday, April 6, 2011
The Social Network (2010)
One of the top critical favorites of last year, The Social Network takes a subject that doesn't seem like it should be interesting (the founding of Facebook), and makes it interesting. Likewise the combination of director David Fincher and writer Aaron Sorkin doesn't seem the most natural thing in the world, though they both share a preference for dark lighting in there work, but again, this works.
Mark Zuckerberg is far from the most likable person in the world, through most of the film he's 'trying rather hard to be an a-hole'. Jesse Eiesnberg was the right choice to play Zukerberg, a darker Micheal Cera. As one would expect from a Sorkin screenplay, this movie is talkie, but intriguing. It is certainly a film that fits its zeitgeist, and though I'm a little surprised that Zukerberg just kind of let it be and made no real protest, I'm also not surprised, if this film leaves you any impression of Zukerberg, its that he doesn't care that much about 'rehabilitating his image.'
As this is one of those films for which it can be argued 'nothing much happens', its kind of hard to write about. It's about an anti-social revolutionary in social networking, a man who made friend a verb, but probably doesn't have many. Like another well regarded Sorkin film A Few Good Men, this movie is good, its well crafted, the story's fine, but the point seems a little bit vague. I know we are suppose to make our own judgments about Zukerberg, I know he's important and not uninteresting, but why this movie, why make a film about him? That's what a lot of the people in this film seem to be asking, why is Mark Zukerberg a revolutionary figure, the worlds youngest billionaire, and Time Magazines 2010 person of the year? Well I don't know, this film doesn't fully seem to know, and I doubt if Zukerberg himself does, and I guess that's the point. Zuckerbergs a bit of a contemporary Rorschach. Grade:A-
Mark Zuckerberg is far from the most likable person in the world, through most of the film he's 'trying rather hard to be an a-hole'. Jesse Eiesnberg was the right choice to play Zukerberg, a darker Micheal Cera. As one would expect from a Sorkin screenplay, this movie is talkie, but intriguing. It is certainly a film that fits its zeitgeist, and though I'm a little surprised that Zukerberg just kind of let it be and made no real protest, I'm also not surprised, if this film leaves you any impression of Zukerberg, its that he doesn't care that much about 'rehabilitating his image.'
As this is one of those films for which it can be argued 'nothing much happens', its kind of hard to write about. It's about an anti-social revolutionary in social networking, a man who made friend a verb, but probably doesn't have many. Like another well regarded Sorkin film A Few Good Men, this movie is good, its well crafted, the story's fine, but the point seems a little bit vague. I know we are suppose to make our own judgments about Zukerberg, I know he's important and not uninteresting, but why this movie, why make a film about him? That's what a lot of the people in this film seem to be asking, why is Mark Zukerberg a revolutionary figure, the worlds youngest billionaire, and Time Magazines 2010 person of the year? Well I don't know, this film doesn't fully seem to know, and I doubt if Zukerberg himself does, and I guess that's the point. Zuckerbergs a bit of a contemporary Rorschach. Grade:A-
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