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AUTUMN 2004 MOVIE REVIEWS

Dean's rating scale:  **** Exceptionally good, ***Quite good indeed, ** I liked some things about it, but found it to be something closer to average,* Not recommended.

I need to point out that I am not really as critical as my reviews sometimes sound.  Generally, anything two stars or better is something I have enjoyed, and even those to which I only give one star have some aspects I find redeeming, though obviously less so than others.  Anything with less than a star (that is 0 or 1/2) is a nearly absolute thumb’s down.  Four stars are given less often and only to those that have most moved me, most effectively depicted believability and/or given me the most food for thought.

After the Sunset	*1/2
Delovely	***1/2
The Forgotten	1/2
Garden State	***
Going Upriver – The Long War of John Kerry	***1/2
Incident at Loch Ness	**
Maria Full of Grace	**
Motorcycle Diaries	***
Open Water	***
Ray	***1/2
Sideways	**1/2
Silver City	*1/2
Team America – World Police	***
Unconstitutional – The War on Our Civil Liberties	***1/2
Unprecedented – The 2000 Presidential Election	***1/2
Vera Drake	****

After the Sunset – A habitual jewel thief (Pierce Brosnan) and a hapless FBI agent (Woody Harrelson), who admires the thief’s talents, take us through a tongue-in-cheek farce that is nevertheless just another repackaging of an old formula -- cop and thief as buddy-buddy. Why we keep coming back to such films might explain why we keep coming back for more of the coyote and road runner. Woody Harrelson always plays some variation of his Cheers character, as one might not expect of him much more of a stretch. Pierce Brosnan generally plays some variation of his 007 character, but shows a little more emotion and sentimentality this time. Throw in Selma Hayak for some sexual tension and well, you have a sufficient plot for your amusement, but what better things could you have done with your time. (Kids – perhaps not, due to mild sexual content; teens – okay for mindless relaxation, but better off doing their homework) *1/2

Delovely – I started out trying to dislike this movie, but soon discovered what a foolish effort that was. One would think a music lover would be captivated by a biographical story of composer/lyricist Cole Porter, and after some initial misgivings, indeed I was. A film that initially seems merely highbrow and pretentious soon shows Porter’s much broader range into the flamboyant and, by the standards of his day, the raunchy. With time, Porter’s witty lyrics and diverse music styles can win over most any skeptic. After hearing the soundtrack a few times now, I certainly qualify as a fan. It’s a song and dance movie made in the style of old fashioned big budget Hollywood musicals, but with updated themes that couldn’t be broadly discussed in Porter’s era. Porter’s life follows a somewhat common plot for recent Hollywood movies where gay lifestyles hide in straight marriages, notably Far From Heaven, and to a lesser extent, The Hours, Frida, Laurel Canyon, etc. Kevin Kline and Ashley Judd’s performances are Oscar worthy, but in the end, it is Porter’s music and lyrics, and the often captivating renditions by a variety of big name performers that carry the film. Both as a musical and as a story – mainly due to its biographical nature, I liked it more than another recent musical, Chicago, though I doubt it’ll have the enthusiastic following Chicago had when it captured Best Picture honors. The theater was filled with mostly gray-haired enthusiasts of Porter’s music, but it’s about time that music be introduced to a new generation. (Kids – no; teens and adults – a hearty yes) ***1/2

The Forgotten – A pathetically far-fetched plot, even by sci-fi psycho-drama standards, cannot be redeemed by big name actors, Julianne Moore and Gary Sinese, unless you like conspiracy theories for their own sake and/or are a fan of cheesy supermarket tabloids. Perhaps I’m just tired of the trite old use of the Federal government as villain and in cahoots with “them”. Don’t waste your time and money! (Kids – a little scary, but perhaps interesting for them; Teens – likely to appeal to some; Adults – old hat) 1/2

Garden State – Quirkier and funnier than reviews and previews might lead you to believe, this is also a kind spirited romantic comedy and an amazingly adept first time outing for writer, director, leading man Zach Braff. Zach plays a young man returning home after his mother dies to confront his buried past after years of self-estrangement. In the process, he meets his stagnated old classmates and discovers that you can go home again, but the more things change the more they seem the same. At times, the partying and psychedelic imagery celebrates drug usage nearly to the extent of some 1970s films, something less frequently depicted these days. Eventually he meets a spirited young woman who helps bring him to his senses about what has been troubling him since he was a youth. It’s a trite formula, but a gently amusing and somewhat odd script makes it worth your while. (Kids and teens – some parents may be concerned about the scenes of drug use and put off by some language, but accompanied by a parent the film may otherwise be okay). ***

Going Upriver – The Long War of John Kerry – My political biases make my upbeat review of this documentary suspect, so take it for what it is. I’d like everybody to see this film, particularly swing voters reading this before the election. Not everybody would appreciate the way John Kerry behaved in those days, but I suspect the film would be bound to sway things in Kerry’s favor. Although not purely a propaganda piece, the film indeed excludes footage that many Vietnam veterans find objectionable about John Kerry, even three decades later – his broad-brush painting of veterans with allegations of atrocities. Kerry has since said some of the statements he made to Congress in 1971 were “over the top” and that he regretted making them. It is unlikely that the veterans would accept a full apology for his remarks. His main mistake was not using the words “some of” as in some of the soldiers, rather than leaving an unfortunate impression with one inadequately qualified sentence, implying that soldiers generally behaved badly. The objections of Kerry’s detractors are not widely discussed in the film, which is to its detriment. Kerry’s inspiring leadership, both during his service in Vietnam and after he returned home to lead opposition to the war is on full display, and it is indeed impressive that such a young man could be so articulate and exhibit such courage and mature leadership qualities. As impressive as he was, far more moving were the sentiments expressed by veterans who returned home to protest the war, particularly as they threw their medals away in an emotional expression of defiance against the government with the hope of bringing the war to a quick end. Were it not for those scenes late in the film, one might at times get the impression that John Kerry was almost single handedly responsible for turning the tide of the war. I might have given the film four stars if the film had been more complete but in any case, I hope many will see it. It would seem odd that such distant history should play any role in today’s politics, and perhaps it shouldn’t, but anybody who has doubts about Kerry’s capabilities might be persuaded to think otherwise after viewing this film, regardless of how they feel about his politics and policies. (All ages – recommended) ***1/2

Incident at Loch Ness – First, came documentaries, then came “mockumentaries” (e.g. This is Spinal Tap, A Mighty Wind, etc.), but with Incident at Loch Ness, we sort of have a mockumentary of documentary -- or perhaps it is the other way around. Maybe I should be embarrassed that I had never heard of the German director Werner Herzog, whose eclectic movies I am told have made him something of a legend. At first, it appears that director Zak Penn is working with Herzog to create a documentary about Herzog, who is working to create a documentary about the legend of the Loch Ness monster. Herzog doesn’t take talk of the monster seriously, and sets out to debunk the story, but ends up on his chartered boat with an oddly quirky crew that he suspects was hired by Penn for inexplicably nefarious reasons. It doesn’t take long for one to realize that there is some spoofing going on, and even though the film deteriorates into ridiculousness, it is pleasurably challenging at times to try to discern what is what. (Kids – probably okay for most, aside from some cursing; Teens and adults – those with a sense of the absurd) **

Maria Full of Grace – (In Spanish with subtitles) – Taking drug running to tragic extremes, this story of women serving as “mules” who swallow cocaine to transport it from Columbia to the U.S. is limited in its scope. If you can get past the unbelievable amounts they swallow, the best and worst one can say is that the story is thoroughly and sadly believable. The film pays witness to yet another form of desperation on the part of poor people and a lower level of depravity than perhaps you’ve seen on the part of those who would exploit them. (Kids – probably not; Teens and adults – those interested in dark themes) **

Motorcycle Diaries -- (In Spanish with subtitles) – This buddy-film travel adventure based upon the diaries of a young Che Guevera is less likely to enlarge the man’s already oversized legend than it is to inspire many a journey to South America and the sales of many more Che Guevera T-shirts. Prior to becoming known as Che, the hero of the Cuban Marxist revolution (and probably far more recognized internationally than Fidel Castro), the young man known as Ernesto set off with his friend Alberto on a journey across South America “to discover a continent they had only read about in books”. We see youthful free-spiritedness and womanizing, but we see little of the man Ernesto eventually becomes, other than perhaps observing some of his early inspirations and his witness to injustices against the poor and indigenous populations of the continent. The film contributes to his heroic image, and although it noted at the end that the CIA played a role in his shortened life, it left out the uncomfortable and inconvenient fact that Che became a rather brutal fellow during his years of service to the Marxist cause. This is all beside the point anyway – the point being that South America is a beautiful continent and is bound to inspire many of those who view the film to the paths Ernesto and Alberto followed. In doing so, those who do will note that many of the injustices still remain 50 years later, as stark and depressing as ever. (All ages – recommended) ***

Open Water – While lying on a beach in San Diego where perhaps thousands of people were sunbathing and swimming, a small airplane dragged a flag behind it advertising the movie Open Water, and I pointed it out to my friend Hatem, who enjoys scuba diving. I had been nagging him that we should go see the movie, but from previous experience, I also knew he didn’t respond well to scary movies. During scarier scenes of the movie Aliens he repeatedly screamed and grabbed my arm. He may be a good friend, but I didn’t need to have my arm grabbed. Anyway, when I told him about the plot of Open Water, he said, “Are you kidding? I’ll never want to go back into the water if I see that”. Actually, it is not so much that the movie is scary as it is full of dread. In fact, I don’t believe I’ve ever seen a movie so filled with the feeling of dread. In spite of that feeling, the lead characters respond with a surprising degree of calm, perhaps accurately reflective of a survival instinct kicking in during the midst of a seemingly hopeless predicament. Based upon a true story, it’s hard to fathom what actually occurred when two scuba divers got left stranded in open water, and without revealing what occurs, I should note that substantial dramatic license is taken, and the basis for knowing what actually occurred is only revealed after the final credits have been shown. One might compare the film with the Blair Witch Project, mainly because of its small budget relative to profit potential, but Open Water is bound to have a far more profound and lasting impact upon people’s imaginations, in this case, every time they venture into open water. (Kids – perhaps not recommended for them due to some nudity and sexual themes; Teens and adults – only those without hydrophobia). ***

Ray – This portrait of Ray Charles, though captivating and doing honor to his legend, is undoubtedly darker than either he or his fans would have hoped. Yes, he womanized, was unfaithful to his wife, and could callously abandon long-standing friends and colleagues if he felt they were less than honest with him. Although the film attempts to put this in the context of his drug abuse and tragic childhood experiences, what the film fails to deliver in sufficient quantity is what came to be known as his public persona – a fun loving, kind spirited man with a self-effacing sense of humor. The years after he kicked his drug habit are entirely ignored -- a period when his featured appearances on variety shows further demonstrated his crossover appeal to a range of musical tastes and he grew as an elder statesmen for a unifying appreciation of music regardless of style. I suppose it’s hard to capture all this and keep the film to a reasonable length. Still, these lapses, together with occasionally excessive Hollywood imagery, particularly of Charles’ illusions to his brother’s drowning, were ways in which the film fell short for me. While covering the earlier years of his life, and focusing on the height of his success between 1955 and 1965, Ray is revealed in various forms -- as a shrewd businessman, a conniving addict, an absent and guilt-ridden father, and a man haunted by memories from his childhood. Still, he remains an enigma, and I’m not sure we are fully permitted to relate to him or rejoice in celebrating his memory. It is a fascinating life story, though incomplete, and is certainly propelled by Jamie Fox’s amazing portrayal as well as by powerful deliveries from the full cast of musicians, especially by those who portray his backup singers, the Rayettes. Other actors must be discouraged this year, since they must figure Fox is a shoe in for Best Actor. (Kids – no; Teens and adults – yes) ***1/2

Sideways – Two old friends, one terminally miserable and recovering from divorce, and the other an upbeat free-spirited middle-aged adolescent about to be married, head out for a week-long binge through California wine country to revel in a last opportunity for freedom and to satisfy hopes of getting layed. Paul Giamatti is easily type cast as the frumpy pessimistic character he reprises from his role in American Splendor. His compatriot is the perennial party guy who never fully matures enough to separate infatuation from commitment. One wonders how two characters so vastly different in disposition could maintain a friendship for a generation after they met as college roommates, but that is just one of the things requiring a leap of faith. This quirky buddy film offers an odd mixture of pleasure and pain, humor and seriousness, believability and implausibility. It’s easy to recognize the target audience for the film because it looks a lot like my friends. Anybody who enjoys wine tasting and winery tours will be ready to head out again immediately after the film. All in all the film is a quite a kick -- prime for a relaxing distraction. (Kids – nope; Teens – generally yes, but aimed more at middle-aged adolescents like me) **1/2

Silver City – This is not quite the show one is lead to believe by the ads and previews, which tout it mainly as political satire. It has some of that, but it is more of a quirky detective story designed less to satirize than it is pointlessly to highlight its ensemble cast. Chris Cooper, last year’s Best Supporting Actor, plays a right wing gubernatorial candidate, somewhat cut from the dye of George W. Bush, and Richard Dryfuss plays his media manager. Their roles are downplayed for most of the film, and the focus is mainly upon an investigator who tries to root out the details of a possible crime by unscrupulous contributors to the campaign. Other notables appear, such as Kris Kristopherson, Maria Bello and Darrel Hannah, among others, but they only add more pointlessness to a labored script. Ebert and Roeper gave it “Two Big Thumbs Up” which ought to render their credibility even more suspect than it already is. (All ages – Don’t waste your time!) *1/2

Team America – World Police – Ground breaking in its use of marionette puppets in ways never before seen and truly Oscar worthy for its set design, this brilliantly inventive, shamelessly and exhaustively crude, devilishly funny and blisteringly offensive satire nevertheless felt something of a disappointment for me. Although the offensiveness and crudeness are not my principle objection, they may exceed just about any you have seen to date (mostly in the form of graphic sexual representation, toilet humor and gutter language – definitely not recommended for children), but then again, it all seems sillier and you can get away with a lot more when using puppets. Any good satire has an appropriate blend of humor and outrage, and this one certainly fires with both barrels. Unfortunately, some of the outrage seems misplaced, and some of the caricature seems to miss the mark. It has long been a critique, at times heard from the political left and sometimes the political right, that the United States too much savors the role of being the world’s cops. Both the left and right get taken to task severely but amusingly in this film; it seems though that the harshest indictments and fates are heaped upon the left, particularly upon the sanctimonious Hollywood left, who presumably are better at taking a joke than the sanctimonious right. In fact, only left-wing people are mentioned by name – with the most venomous attacks reserved for Alec Baldwin and the usual suspects of Hollywood’s political elite, Martin Sheen, Tim Robbins, Shawn Penn, Susan Sarandon, Helen Hunt, etc., each of whom get their body parts blown to smithereens. Among the missteps of caricature was portraying these peaceniks, and others such as Michael Moore, as resorting to violence to achieve their ends. They are more likely to resort to boycotts, marches and sanctimonious documentaries – sometimes useful for keeping the American right in line, but pointlessly ineffective against terrorists. That was the likely point, to cast these lefties to absurdity as the extreme evil-doers that the right likes to believe they are. Meanwhile, the right wing types are the film’s heroic action figures, in roles that would match their self-image were they not such two-dimensional stereotypes. The film is funny often enough that the target audience will feel sufficiently rewarded, and yet, it’s not as funny as one might hope. Much more than the plot or the dialog, the funniest aspects are the actions of the marionettes themselves. The puppet designs are amazing, and seeing one vomit profusely to ridiculousness, or engaged in a dozen compromising positions of sexual intercourse drew some of the biggest laughs from the audience. To the extent that their faces moved and could reveal expression and emotion, that too was quite funny. I only wish that a somewhat different and more broadly palatable vehicle had been chosen for exhibiting this updated art form of marionette puppetry, mainly because I’d like a lot of people to see the artful and technical achievements of the film. Unfortunately, I don’t feel I can recommend it to everyone, since not everyone would appreciate its truly caustic profanity and bottom-of-the-gutter crudeness. Although anger is the seed of satire, director Trey Parker, who also wrote many of the highly creative song lyrics and performed perhaps a dozen voices, seems bitingly, bitterly and unnecessarily angry by the film’s end. After starting with a more positively spirited tone, I think it seemed odd for the audience to end on such a note. (Kids – don’t even think about it; Teens – what’s the point of parental advisories for teens anyway; Adults – too tacky, infantile and profane for some, but amusing, profane and offensive for everyone else) ***

Unconstitutional – The War on Our Civil Liberties -- In a season of numerous political documentaries, this is to my mind the most important one to see. I would rather that it be less sobering and instead do more to rile people up. Still, this film produced with the sponsorship of the American Civil Liberties Union is a good primer on the raft of laws passed since 9/11 that are serving to systematically undermine the Bill of Rights, one Amendment after another. I’ve been a proud card carrying member of the ACLU for a generation, so I’m long past being riled up. Free speech, peaceable assembly, speedy trials, freedom from unreasonable searches and seizures, equal protection, due process – you name it, they are all out the window – for some of us anyway, and potentially for all of us -- in the name of fighting terrorism. The Patriot Act is often cited as a principle culprit, but there are a host of other laws and court decisions contributing to the problem. It’s easy for Americans not to care when they don’t believe it impacts them directly. Divide and rule works every time. (Kids – mostly over their heads; Teens and Adults – recommended) ***1/2

Unprecedented – The 2000 Presidential Election – Produced by the same folks who produced Unconstitutional – The War on Our Civil Liberties, this recitation of the follies of hanging chads and other notorious aspects of the 2000 election brings an updated perspective that makes it quite clear that Al Gore got the most votes in the State of Florida. It also makes clear, as former President and respected election monitor Jimmy Carter warned, that many of the problems of the electoral process present in 2000, notably biased politicians in positions to affect outcomes, still remain. Additionally, there is the new problem of questionable faith in touch-screen voting and the lack of a paper trail. Republicans may be unlikely to buy all of this, but let us see what happens when the shoe is on the other foot, as it eventually will be – perhaps soon. (Kids – mostly over their heads; Teens and Adults – recommended) ***1/2

Vera Drake – The road to hell is paved with do-gooder intentions. Vera Drake is a kindly middle-aged woman with a “heart of gold” who for decades quietly helped young unwillingly pregnant women to terminate their pregnancies. When her deeds are finally discovered after the near death of one of the women she tried to help, her life turns upside down. Imelda Staunten as Vera Drake gives one of the most remarkable performances I’ve ever seen by any actress, and I already suspect she will be the one I’m rooting for at the Academy Awards this year. Meanwhile, few directors I know today can paint family portraits and portray realism as well as Mike Leigh. His 1996 film Secrets and Lies may have been a bit over the top, but the notable thing about Leigh is that when dialog and situations get tense and uncomfortable, he doesn’t let go and break away to some milder scene in order to give the audience relief. He captures every reaction of every character from beginning to end. He ennobles his ensemble cast by giving each actor adequate attention to shine. If the picture were not so small in scope and simple in plot, I might favor Leigh as Best Director this year, but I suspect that is not in the cards. He at least warrants recognition with a nomination, but I don’t believe that will happen either. (Kids – probably not; Teens and adults – for those willing to sit and watch dreary subject matter) ****

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