Out of a possible four stars:
| The Adventures of Rocky and Bullwinkle | ** |
| Chicken Run | **1/2 |
| The Color of Paradise | **1/2 |
| Croupier | *** |
| High Fidelity | ***1/2 |
| The Kid | ** |
| Me, Myself and Irene | 1/2 |
| Passion of Mind | *** |
| The Perfect Storm | ***1/2 |
| Space Cowboys | 1/2 |
| The Virgin Suicides | *** |
The Adventures of Rocky and Bullwinkle -- You are more likely to fully appreciate this movie if you are old enough to remember the original 1959 through 1964 broadcasts of the Rocky and Bullwinkle television show. Much of the humor assumes a broad knowledge of American culture from that era and from all the decades since. Consequently, unlike Chicken Run, the other animated summer feature reviewed here, which aims more to please children, Rocky and Bullwinkle tips more toward adults. Bullwinkle is at his pun-spinning best. Where the film is weak is in its hopelessly absurd central plot, and in sentimental and digressing side-plots with live actors that do little to amuse. Although the plot is as absurd as they come, a quick recollection of the television show should remind you that you couldn't have expected more. If you are able to accept the notion of a moose and squirrel saving the world from evil, well then you ought to be open to anything that occurs in this movie, however ridiculous. If you are not a true Rocky and Bullwinkle afficianado, then give this one a pass, since I don't believe you'd even rate it with one star. If, however, you have a full appreciation of what the original was like, I think you'll be at least moderately pleased. I was. The characters are all quite true to the original. Robert Deniro is brilliant as Fearless Leader, Rene Russo is perfect as Natasha Fatal, and Jason Alexander gives an reasonably good performance as Boris Badenoff, though he doesn't seem quite as dastardly. The satire has a bit of a Mel Brookes feel about it, and the mood accompanying the mix of animation and live action, where characters are aware of the difference, seems to come straight out of Roger Rabbit. The movie dwells for too long at times on old gags, but there is also much inventiveness. It's a bit like Saturday Night Live in the sense that the director is willing to let many bits fall flat, but you're hit with so much that you're bound to find enough about which to laugh, if you can get over the unremitting silliness of it all. (Children and teens -- perhaps, but not aimed at them; adults -- only if you have a high tolerance for absurdity, a strong appreciation for the original Rocky and Bullwinkle, and lack purist expectations for this 21st century update). **
Chicken Run -- Enthusiasts
of Wallace and Grommit may feel somewhat ambivalent about this new
claymation feature. Adults may be amused by the abundant chicken
clichés and satirization of British and American chararcter, but
this is a film that aims more to please young children. Even while
doing so, the humor is often overshadowed by a darker, meaner and more
frightening side. Based loosly on escape movies such as Stalag
17 and The Great Escape, adults will find inescapable many disturbing
comparisons with WWII concentration camps. The image of chickens
trying to flee from unusually mean-spirited farmers who want to turn them
into chicken pot pies may be a little intense at times for young ones.
I wonder what chicken farmers and folks from companies such as Tyson's
Foods and Kentucky Fried Chicken will think about this movie. Meanwhile,
the humor seems to be more effective when the chickens behave more like
chickens (particularly in their nervousness, their tendency to respond
as a group and with their birdbrain stupidity) than like humans (revealing
capacities both for ingenuity and for cruelty). The claymation animation
is as impressive as ever, and in general, the plot delivers what one expects,
though the adult level humor lacks more than one might hope.
(Children -- certainly; teens -- perhaps, but not aimed at them;
adults with children -- certainly; adults without children -- take
it or leave it) **1/2
The Color of Paradise -- (Iranian, with subtitles) -- A peasant farmer troubles over what to do with his blind son, for whom he doesn't believe he is fit to give care adaquately. This is a movie that pauses and with great care attempts to put the audience into the perspective of each character, particularly from the viewpoint of a blind child. Never have I seen a movie so atune to the subtleness found in the softest of sounds -- birds chirping, breezes blowing and brooks flowing -- just as any blind person is likely to sense with great acuity, but the movie is not without much more sharply expressed sounds -- frustration, anger, and fear that comes from facing one's own weaknesses. The film provides a fascinating portrait of life in rural Iran, and instilled in me a greater respect for the way people have crafted their lives and the challenges they face day to day. Meanwhile, Iran's mountain scenery provides a cinematically stunning backdrop for the film. All but the final several minutes move slowly and thoughtfully, perhaps too much so for many movie goers, but for those folks the ending, at least, is highly climactic and on a par with any realistic action scenes you'll see out of Hollywood. (For children and teens, the movie is perhaps boring, but probably good for them. Subtitles sometimes require fast reading). **1/2
Croupier -- I've seen people applaud at the end of movies that have particularly harrowing action scenes or extraordinary moments of collective relief from prolonged tension, but this may be the first time I heard an audience (an all-adult audience at that) applaud at a rather uneventful ending. A reviewer said that this is the "best bet for adults this summer", and so far I would agree with that assessment. It's certainly the smartest and classiest film of the current crop. The basic plot involves a former croupier (casino card dealer) who hopes to make a living as a published author, but returns to work at a London casino out of financial necessity and to find material for his new book. He narrates his observances as if he is writing the book aloud, and provides extraordinary insight into gambling from the viewpoint of the card dealer, while exposing some of the seedier sides of the casino business and lifestyle. Meanwhile, he finds it difficult to separate his work and home lives mainly due to his relationships with three women -- his loving wife, a fellow croupier, and a mysterious gambling woman from his native South Africa. Even though I missed the first twenty minutes, what I saw of the film seemed well worth the time. (Children and young teens -- no; older teens -- probably yes) ***
High Fidelity -- I think John Cusack qualifies as my second favorite actor these days (just behind Kevin Spacey), and this flick has him in a familiar role he exploits well, that of a common but somewhat offbeat guy who's just trying to make sense of his less than steller lifestyle, particularly of his sorry love life. As the owner of a music store specializing in vintage records, he is surrounded by similarly offbeat and dysfunctional characters, his coworkers and customers, most memorably his beligerant and scene stealing salesperson (played by Jack Black). Music is the timetable of their lives, and just as they catalog their lives according to once popular or alternative sounds from an earlier era, virtually everything about which they think seems similarly organized, sorted and ranked into lists. Being an anal list maker myself, this hit home. Relating to Cusack's character, particularly his bitter response to numerous failed relationships also hit home, unfortunately. It seems rare these days to cover heartbreak from a male perspective, but I think women viewing the movie will be delighted to see a guy troubling over such things in a manner perhaps similar to themselves. The funny and thoughtful script, cowritten by Cusack, is largely faithful to the popular Nick Hornby novel, though transplanted from London to Chicago, and the movie is among my favorites of the summer. (Kids and young teens -- no; older teens -- yes). ***1/2
The Kid -- I had low expectations going into this film and was pleasantly surprised to come out feeling the movie had been worth the time. This Disney film has a little of the theme and magic of Frank Capra's "It's A Wonderful Life", but with an updated and somewhat rougher edge. Contrary to the title, however, this is not a film with as much appeal to kids as one might expect. As with so many other films these days, undoubtedly because of the sway of baby boomers, this is yet another exploration into mid-life crises, but with a novel bent. Bruce Willis plays an arrogant, self-absorbed and mouthy 40 year old (a huge leap for him, of course) who has an opportunity to look back to explore what made him become that way. For inexplicable reasons (this is Hollywood after all, and who needs reasons) his home is suddenly invaded by an eight year old boy who, as it turns out, is actually him 32 years earlier. The kid is a bit more real than most movies typically permit of illusions, since everybody else in Willis's adult life sees and speaks with the child as well. Though somewhat mean spirited and whiny at times, the movie mostly blends light humor with a psychological exploration of childhood and mid-life fears and angst ... along with the requisite romance. (Kids -- perhaps, but they probably won't relate to some things; teens -- okay, but not aimed at them). **
Me, Myself and Irene -- Just when you thought it was safe to go back to the movies, the politically incorrect Ferrelly Brothers plunge down the toilet to new depths. If I see many more movies like this one, I may not return to the movies. I felt like walking out after the first five minutes and figured that the audience stayed to watch only because they had to believe that their $7 ought to be worth something. Jim Carrey, certainly the premiere physical comedian of our era, is amazing to watch as usual, but even he is becoming rather predictable, reprising voice nuances and behaviors from his earlier films; and even his amazing talents, while breathing much life into a hopelessly absurd and often dull script, cannot redeem it. Carrey plays a schizophrenic (How appropriate!) Rhode Island state trooper whose duel extremes range between excessive politeness and despicable nastiness. While I confess to laughing numerous times, it was necessary to draw upon my memory as a 13 year old in order to do so. That's nothing against 13 year olds, but they shouldn't be seeing this movie anyway. The film, while skewering racist, sexist and every other -ist stereotype, also seems to be promoting those stereotypes. It's hard to figure out the Ferrellys. The movie goes back and forth between not giving a hoot about whether they offend people and then half-heartedly apologizing for it. The Ferrelly's 1998 smash film Something About Mary, though in the same vain and with many equally lame moments, was redeemed more by relying on its cuteness rather than by this film's predominant nastiness. Mary was also a far funnier film, with perhaps a half-dozen uproariously funny, though ridiculous scenes. By comparison, the general principle for Me, Myself and Irene is that when the script lacks something, which it often does, punch it up with excessively redundant and pointless profanity. Were it not for Carrey's extraordinary abilities, I would probably place this film on my all-time worst movies list, just above other noteworthy bad movies from which I've either walked out or forced myself to watch -- such as the 1950's film Plan 9 From Outer Space (the all-time worst), Poseiden Adventure II, and 1997's sci-fi dud The Sphere, each of which were big zeros in my mind. Instead, Carrey raises this film's zero or sub-zero value to a half star. (For children, forget it; for teens -- the movie is junk and certainly won't contribute constructively to their character development, but the same can be said about a lot of what they probably already watch on cable, ie. South Park, American Pie, etc., but I wouldn't sit down and watch this movie with them). 1/2
Passion of Mind -- Demi Moore touchingly portrays a woman who seems to be dreaming two lives, one in New York City and the other in rural France, both of which are so real to her that she is unsure which, if either, is a dream. Though she seeks psychiatric help in both lives to help her resolve what seems to be making her insane, she fears giving up either life because she finds them both too enjoyable to sacrifice, and the truth too frightening to be known. Although it may be fairly easy for the audience to discern which of the two lives is real, certainly by mid-film, the full explanation for how she comes to dream the things she does is not revealed until near the end. It's a well-written script with interesting and often thought-provoking dialog between her and her psychiatrists and between her and her two romantic interests. (For children: no; for young teens: maybe, though there are some scenes of sexual activity; for older teens, yes, if they are more into romance than mindless action films). ***
The Perfect Storm -- So far, nearly five million have read the best selling book by the same name. Of those I've heard who've also seen the movie, all have been pleased that the movie is a reasonably faithful adaptation, though minutia can never be covered entirely well in a movie. Based on a true story, everybody knows that the primary characters, swarthy fishermen from Glouchester, Massachusetts, will die in the end ... and yet we go to imagine the details of how, and to contemplate our own fear of storms, drowning and death. It's hard to imagine how the surviving families of the fishermen who died on the Andrea Gail can stand to watch a dramatization of the boat being flipped over backwards by an 80 foot wave and to see their men fight for their lives and then drown. 1991 was not that long ago, and memories are fresh. Characters in the movie, in many instances pay close resemblance to real people, living and dead. Movie direction was in the able hands of Wolfgang Peterson, who brought us the acclaimed Das Boot. He opts for straight forward story telling and accuracy in his depictions. How refreshing after seeing so many directors, particularly American directors, take true stories and intersperse absurd surrealism. I'm not totally opposed to such things, but it's usually way over done and detracts much more than it enlightens. Anyway, plan for quite a ride and a lot of water. I might have rewarded the film with four stars were it not for what I consider to be a slightly insufficient development of empathy for the men of the Andrea Gail, who are not permitted enough vulnerability, but rather are arrogant, back-biting pig-headed guys who, in reality, probably did opt to avoid as much of the storm as they could, rather than plunge headlong into it. When victories come, there's little chance to rejoice; when sorrows come, there's little chance for sadness. I guess that's a sign of a movie that keeps moving, but to what end ... a movie that keeps moving is often unmoving. It's always a compromise of course, and as with other blockbusters that rely on special effects to the detriment of character development, the movie aims high, but falls short of full satisfaction. Still, it makes a nobler effort than most. (All ages -- absolutely). ***1/2
Space Cowboys -- What begins as a reasonably entertaining farce eventually deteriorates long past the point where you wish it would have put itself out of its (and everybody else's) misery. In the spirit of the movie The Right Stuff , this movie begins by poking light humor at the gung-ho high-flying supersonic test pilots and would-be space pioneers of the late 1950s and early 1960s. 40 years later, after those men are much older, grayer and out-of-shape, their expertise is suddenly found to be in high demand, and after being passed over 40 years earlier, they finally get their chance to go into space. The contrivance of the movie, though roughly imaginable by Hollywood fantasy standards, lapses into you've-got-to-be-kidding soon after they take off into space. Moreover, the movie loses its sense of humor, and nary a chuckle can be heard from the audiance from mid point onward. After Clint Eastwood, James Garner, Donald Sutherland and Tommy Lee Jones get together and have a few laughs in the early part of the movie, they and the rest of the cast seem to stop caring entirely, and spend the rest of the time going through what seems to be increasingly painful motions with the wish to get this job over. Perhaps it was a fluke that I was impressed by Clint Eastwood's directoral work for Midnight in the Garden of Good and Evil. Everything else I've seen him do, while having some moments of brilliance, on the whole is less than satisfying, and in this case, junk. (Children and teens -- there is no material in this film that parents would find objectionable -- other than the fact that the premise and plot is stupid, but young folks are likely to be bored by the first half of the film, the only part adults might find reasonably entertaining). 1/2
The Virgin Suicides -- Fascinating, funny, strange and haunting, this film seems to me a remarkably good first outing for Sofia Coppola as writer and director. The title tells the story. Five lovely teenage daughters of overly protective parents, portrayed Kathleen Turner and James Woods, provide the fascination for extraordinarily curious neighbor boys who spend lengthy evenings studying the details of the girls repressed existance, at least what they can gather from occasional contact, spying from their windows, and surreptitiously acquired personal writings by the girls. The boys' narration lends the feel of both documentary and mystery to the topic of teenage suicide. The narrative technique and the dark but often empathetic look at suburban neuroses and alienation bears comparison with films such as American Beauty. While discussing the deeply troubling subject of suicide, it treads more lightly when critiquing conservative suburban values and generally avoids American Beauty's tendency toward snotty cynicism. In general, things seem plausably portrayed though the people are characatures of an era and lifestyle we have seen stereotyped before. I wondered about the setting for the film, among the stately suburban homes of upper middle class America, where young people concern themselves with debutante balls and getting into ivy-league colleges, and whether the director was familiar with the environment and found it so stifling as a youth. Also, the setting in Michigan seemed to be subliminal commentary about that state's long dealings with the issue of suicide, particularly with regard to its well known resident, the suicide doctor, Jack Kavorkian. Though often dark and strange, the film has many lighter and sweetly romantic moments, and though it does not lend much insight into the subjects of depression and suicide, it's bound to spark discussion on those topics, since many of us know people who have unfortunately been touched by them. (Children -- no; teens -- maybe). ***
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