Wednesday, May 27, 2009
Up
My review of the new Pixar film, Up, is on this website: http://www.cinemaspy.ca/article.php?id=2470.
Tuesday, May 26, 2009
DVD Review: Revolutionary Road
If the recent upholding of Prop 8, the gray weather, or some bad news at your job isn't enough to get you down, there's always today's DVD release of Revolutionary Road to do the trick.
What begins as a briefly sweet romance between Kate Winslet's April and Leonardo DiCaprio's Frank Wheeler quickly descends into relationship hell. Like the film version of He's Just Not That Into You (and I'm guessing the book, too), Revolutionary Road behaves like a how-not-to handbook for romantic interaction. These reluctant suburbanites fight dirty, making sure that each verbal barb is a lethal one capable of killing any self-esteem or satisfaction.
Based on Richard Yates's oh-so depressing (and far superior) novel, Revolutionary Road is set in the 1950s. Frank wastes his time at a New York City job, then he makes the dreaded commute home to Connecticut, where his wife labors at a job she never wanted: housewife. An unplanned pregnancy forced the pair into the suburbs, and neither is happy with where they've ended up, geographically or career-wise. Their attempts at escape don't remove them from their situation, and they brutally take it out on one another.
Like Yates's book, Revolutionary Road is cold and detached, but unlike the book, it seems to want to be more. Directed by American Beauty helmer (and Winslet's husband) Sam Mendes, the drama rants about the evils of suburbia, but it's not a very effective denouncement. Of course, DiCaprio and Winslet deliver fantastic, grimace-giving performances, but the highest praise should go to Oscar nominee Michael Shannon, who plays a neighbor's son who is a fantastic combination of mental patient and highly astute observer.
Though the novel came out decades ago, the adaptation seems to be nipping at the heels of TV's Mad Men. Both the film and the series explore the same themes, but the AMC drama does it with far more style and success.
What begins as a briefly sweet romance between Kate Winslet's April and Leonardo DiCaprio's Frank Wheeler quickly descends into relationship hell. Like the film version of He's Just Not That Into You (and I'm guessing the book, too), Revolutionary Road behaves like a how-not-to handbook for romantic interaction. These reluctant suburbanites fight dirty, making sure that each verbal barb is a lethal one capable of killing any self-esteem or satisfaction.
Based on Richard Yates's oh-so depressing (and far superior) novel, Revolutionary Road is set in the 1950s. Frank wastes his time at a New York City job, then he makes the dreaded commute home to Connecticut, where his wife labors at a job she never wanted: housewife. An unplanned pregnancy forced the pair into the suburbs, and neither is happy with where they've ended up, geographically or career-wise. Their attempts at escape don't remove them from their situation, and they brutally take it out on one another.
Like Yates's book, Revolutionary Road is cold and detached, but unlike the book, it seems to want to be more. Directed by American Beauty helmer (and Winslet's husband) Sam Mendes, the drama rants about the evils of suburbia, but it's not a very effective denouncement. Of course, DiCaprio and Winslet deliver fantastic, grimace-giving performances, but the highest praise should go to Oscar nominee Michael Shannon, who plays a neighbor's son who is a fantastic combination of mental patient and highly astute observer.
Though the novel came out decades ago, the adaptation seems to be nipping at the heels of TV's Mad Men. Both the film and the series explore the same themes, but the AMC drama does it with far more style and success.
Tuesday, May 19, 2009
Star Trek
Once thought to be as passé as Yeoman Rand's beehive, the world of Star Trek is now cool again, not that the true believers ever asked for your approval (well, maybe just that one time). To date, J.J. Abrams's blockbuster reboot has earned more than $150 million, allowing trekkers to laugh openly at jokes about redshirts and the Vulcan neck pinch. And despite all Abrams's statements about being on the wrong side of the Star Trek vs. Star Wars debate, the creator of Lost and Alias was the perfect man for the director's chair.
Like Abrams's TV shows, Star Trek is full of labyrinthine plots, insider references, and pretty people who can actually act. For this, Star Trek's eleventh voyage onto the big screen, Abrams went back to the beginning (not Enterprise!), for Kirk's (Chris Pine) first encounter with Spock (Zachary Quinto) and his first meeting with his true love, his ship. The plot revolves around a tattoed Romulan named Nero (Eric Bana), bent on revenge against the Federation, but that all seems secondary to the introduction of new versions of the iconic characters. Each actor seems perfectly cast, and though they seem to be aware of their predecessors, the performances never resort to caricature or impersonations. There's not a weak link here; even the pretty boy Pine plays Kirk like a badass I can enjoy. But I was most entertained by Simon Pegg as Scotty, Karl Urban as "Bones" McCoy, and Anton Yelchin as Chekov. They're largely there for comic relief (and a brief break from the special effects-driven action), but they aren't disposable characters.
Positioning Star Trek for an early summer release (rather than its initial December date) was a perfect move by Paramount. This is summer entertainment at its best: big action sequences are balanced by moments of humor, and though it's lighthearted, it's never mindless. The May weather maybe near perfect at times, but it's worth missing a few hours of sunshine for this. Your skin--and inner geek--will thank you.
Like Abrams's TV shows, Star Trek is full of labyrinthine plots, insider references, and pretty people who can actually act. For this, Star Trek's eleventh voyage onto the big screen, Abrams went back to the beginning (not Enterprise!), for Kirk's (Chris Pine) first encounter with Spock (Zachary Quinto) and his first meeting with his true love, his ship. The plot revolves around a tattoed Romulan named Nero (Eric Bana), bent on revenge against the Federation, but that all seems secondary to the introduction of new versions of the iconic characters. Each actor seems perfectly cast, and though they seem to be aware of their predecessors, the performances never resort to caricature or impersonations. There's not a weak link here; even the pretty boy Pine plays Kirk like a badass I can enjoy. But I was most entertained by Simon Pegg as Scotty, Karl Urban as "Bones" McCoy, and Anton Yelchin as Chekov. They're largely there for comic relief (and a brief break from the special effects-driven action), but they aren't disposable characters.
Positioning Star Trek for an early summer release (rather than its initial December date) was a perfect move by Paramount. This is summer entertainment at its best: big action sequences are balanced by moments of humor, and though it's lighthearted, it's never mindless. The May weather maybe near perfect at times, but it's worth missing a few hours of sunshine for this. Your skin--and inner geek--will thank you.
Anvil! The Story of Anvil
I was wondering if I could handle Anvil! The Story of Anvil. Before seeing the documentary about the '80s metal band, I didn't know if my mellow, Feist-loving self could take 90 minutes of hard rocking and head banging. But from the film's opening minutes, Anvil! (and Anvil themselves) had me in its leather-gloved grip with its potent mixture of humor and heart.
For the uninitiated (like me), Anvil is a band that inspired the biggest names in '80s rock, including Metallica, Guns N' Roses, and Anthrax. But unlike those heavy metal heavyweights, Anvil never reached superstar status. Instead the two remaining members--Steve "Lips" Kudlow and Robb Reiner--have toiled away ever since, fitting in shows after their days of blue collar work. The glamour of being rock star is gone: Aqua net has been replaced by hairnets, and tour buses have become minivans. But Lips and Robb--trust me, you'll be on a friendly, first-name basis after seeing the film, too--still struggle to achieve what they never could, even though most people have never heard of them.
There are plenty of resemblances--and references--to This is Spinal Tap in Anvil!, but this documentary is proof that you don't need screenwriters to script the jokes. Lips, Robb, and those in their circle are genuine and genuinely funny. For all its heavy metal, Anvil! is lighthearted entertainment at its best. And despite my indie-pop-heavy ipod, I had to stop myself from pumping my fist along with "Metal on Metal." But even with that impulse ignored (at least for my first viewing), it was impossible not to cheer for this deserving film and its talented subjects.
For the uninitiated (like me), Anvil is a band that inspired the biggest names in '80s rock, including Metallica, Guns N' Roses, and Anthrax. But unlike those heavy metal heavyweights, Anvil never reached superstar status. Instead the two remaining members--Steve "Lips" Kudlow and Robb Reiner--have toiled away ever since, fitting in shows after their days of blue collar work. The glamour of being rock star is gone: Aqua net has been replaced by hairnets, and tour buses have become minivans. But Lips and Robb--trust me, you'll be on a friendly, first-name basis after seeing the film, too--still struggle to achieve what they never could, even though most people have never heard of them.
There are plenty of resemblances--and references--to This is Spinal Tap in Anvil!, but this documentary is proof that you don't need screenwriters to script the jokes. Lips, Robb, and those in their circle are genuine and genuinely funny. For all its heavy metal, Anvil! is lighthearted entertainment at its best. And despite my indie-pop-heavy ipod, I had to stop myself from pumping my fist along with "Metal on Metal." But even with that impulse ignored (at least for my first viewing), it was impossible not to cheer for this deserving film and its talented subjects.
Management
As genuineily funny as he is, Steve Zahn cannot save a movie all by himself. I offer the following evidence, in reverse chronological order (God bless IMDb): Strange Wilderness, Sahara, Employee of the Month, Daddy Day Care, National Security, Chelsea Walls, Dr. Dolittle 2, and Saving Silverman. And that is only the new millennium.
Management isn't a truly bad movie (a Daddy Day Care, perhaps), but that's largely thanks to Zahn's goofy charm. He plays a variation on his usual theme; his Mike is amiable, but directionless. He works at his parents' motel in Arizona, and he doesn't seem to have had much human contact that hasn't been familial. When he sees the sophisticated Sue (Jennifer Aniston) check in, he's smitten, and one of film's most awkward attempts at seduction actually works, much to the surprise of both of them. But Sue leaves for her home in Maryland, leaving Mike to do the least logical thing imaginable (unless you're a stalker): he buys a last-minute plane ticket and goes to her office to find her.
That this only comes off as mildly creepy is all thanks to the harmless air that Zahn exudes. Their encounter won't end up on the evening news because all he wants to do is talk and, umm, touch her butt. Distance and an ex-boyfriend (Woody Harrelson) threaten the would-be couple's happiness, but Mike won't let a little thing like thousands of miles or threats from an ex-punk deter him from the woman he loves.
Even the most romantic member of the audience (you know, the one who thought she was seeing a "normal" Jennifer Aniston movie) would have doubts about this coupling. There's almost no basis for Mike's attachment, other than the fact that Sue appears to be the only attractive woman he's ever seen. Plus, Sue's acquiescence seems unlikely at best, and even Mike's proffered wine and champagne could only go so far.
For all the film's problems, there's Zahn, who appears to be in every scene. Though Aniston gets top billing (which I hope is only due to the alphabet), she's really a secondary character to his lead. Other co-stars, including character actress Margo Martindale as Mike's mother and a hilarious James Liao as his friend and partner in crime, make the film watchable and might even give Zahn a break from being the night's sole entertainment.
Management isn't a truly bad movie (a Daddy Day Care, perhaps), but that's largely thanks to Zahn's goofy charm. He plays a variation on his usual theme; his Mike is amiable, but directionless. He works at his parents' motel in Arizona, and he doesn't seem to have had much human contact that hasn't been familial. When he sees the sophisticated Sue (Jennifer Aniston) check in, he's smitten, and one of film's most awkward attempts at seduction actually works, much to the surprise of both of them. But Sue leaves for her home in Maryland, leaving Mike to do the least logical thing imaginable (unless you're a stalker): he buys a last-minute plane ticket and goes to her office to find her.
That this only comes off as mildly creepy is all thanks to the harmless air that Zahn exudes. Their encounter won't end up on the evening news because all he wants to do is talk and, umm, touch her butt. Distance and an ex-boyfriend (Woody Harrelson) threaten the would-be couple's happiness, but Mike won't let a little thing like thousands of miles or threats from an ex-punk deter him from the woman he loves.
Even the most romantic member of the audience (you know, the one who thought she was seeing a "normal" Jennifer Aniston movie) would have doubts about this coupling. There's almost no basis for Mike's attachment, other than the fact that Sue appears to be the only attractive woman he's ever seen. Plus, Sue's acquiescence seems unlikely at best, and even Mike's proffered wine and champagne could only go so far.
For all the film's problems, there's Zahn, who appears to be in every scene. Though Aniston gets top billing (which I hope is only due to the alphabet), she's really a secondary character to his lead. Other co-stars, including character actress Margo Martindale as Mike's mother and a hilarious James Liao as his friend and partner in crime, make the film watchable and might even give Zahn a break from being the night's sole entertainment.
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