Reviews

Yep, this film looks and sounds great. The costumes, the colors, the artwork, all the little details. It's whimsical & fanciful, not unlike a really good children's book. On this aspect alone, "The Royal Tenenbaums" is a resounding success. But style alone cannot make a great film or a great director.

What's missing? Let's try real, grown-up characters. I was impressed by Mr. Anderson's ability to rustle up a great cast, but all they did was mope around in twee outfits. Meanwhile, we're supposed to have empathy for this dysfunctional family and what they've gone through, but there's really no depth here. What a waste.

Another issue is the pacing: too slow, and not on the mark all the time. With time, the jokes are fewer and farther between. The film thus starts to drag after the 1st hour. The visual aspect is the only thing keeping you in your chair at this point.

Kill Me Later" has an interesting initial premise: a suicidal woman (Selma Blair) on the verge of jumping off the top of an office building is protects a bank robber (Max Beesley) who promises to "kill her later."

The actual execution of this premise, however, falls flat as almost every action serves as a mere device to move the plot toward its predictable conclusion. Shoddily written characters who exhibit no motive for their behaviors compromise the quality of acting all around. Lack of character depth especially diminishes Selma Blair's performance, whose character Shawn vacillates from being morose to acting "cool" and ultimately comes across as a confused dolt. This is unfortunate, as under other circumstances Ms. Blair is an appealing and capable actress.

Compounding matters for the worse is director Dana Lustig's insistence on using rapid cuts, incongruous special effects (e.g. look for an unintentionally hilarious infrared motorcycle chase at the end), and a hip soundtrack in the hopes of appealing to the short attention spans of the MTV crowd. Certainly Ms. Lustig proves that she is able to master the technical side of direction, but in no way does her skill help overcome the film's inherent problems and thus the movie drags on to the end. Clearly, Lustig has a distinct visual style; however it is perhaps better suited to music videos than to feature film.

The producers (Ram Bergman & Lustig)can be commended for their ability to realize this film: they were able to scare up $1.5 million to finance the film, secure a good cast, and get domestic and foreign distribution. This is no small feat for an independent film. Yet given the quality of the product, the result is a mixed bag.

...this is the theme of the film. If you plan to screw people over for your own selfish, worldly desires, then you will get karmic payback in spades: destroyed lives, dead dogs, etc. This theme is very obvious in the first two stories in regards to the character's on-screen actions and interestingly in the last story, by learning about El Chivo's past. If there is a "winner," it is El Chivo, as he physically fares the best of the lot of the other characters, however his game is a null sum--there is still no happy ending for him.

The theme of the film is what separates it from it's Hollywood counterparts where the protagonist(s) always win. Individually, three stories vary greatly in quality: the first (Octavio y Susana) is fast and frenetic with excellent camera shots and editing. The second (Daniel y Valeria) is much slower and is too long for its own good--however it does develop the theme of karmic payback quite well. The third (El Chivo y Maru) is arguably the best, in large part due to the acting of El Chivo and how it ties up all the other stories.

This film is a breath of fresh air for Mexican cinema, especially in light of some of the dreck I've seen recently (Santitos and La Otra Conquista come to mind). Film has changed...we can't expect Mexico to produce Pedro Infante and Maria Felix-style movies anymore. Self-important "artistic" work ain't gonna cut it either. "Amores Perros" is a fine step in the right direction and one of the best films of the year.

"Lock, Stock and 2 Smoking Barrels" is an entertaining but ultimately an evanescent work which pales in comparison to anything written and/or directed by the true master of the genre, Quentin Tarantino.

Tarantino is brilliant at melding the old (Hong Kong & Blaxsploitation) with the new and along the way he created a whole new language of film. As a result, Tarantino created some of the definitive films of the 90's. Ritchie tries to do the same, except in this instance he tries to repackage Tarantino's work (Pulp Fiction, True Romance, & Reservoir Dogs) into something new. The effect is not the same. What was fresh in the Tarantino films seems ultimately derivative and overwhelmed by its own style.

Looking at the backgrounds of Messrs. Ritchie and Tarantino can help give insight into where each artist is coming from. Tarantino, by all reports, was the child of a working class single mother and he toiled away for years in a video store in the gritty South Bay of LA while eating, sleeping, breathing film. Mr. Ritchie, whom the media purported to be a "hoodie" type, is anything but: he grew up the child of privilege. Both had to overcome their backgrounds to succeed in the business, but whose voice resonates stronger and more authentically?

"You Can Count on Me" is a refreshing change from both the dreadful Hollywood blockbuster and the dreaded arty independent film. This film honestly portrays adult sibling relationships in a sensitive and realistic manner.

The acting is top-notch: if the Academy has any sense, then it will nominate Laura Linney and Mark Ruffalo in the leading actor categories. Likewise, the direction is strong. Director Kenneth Lonergan carries the plot through masterfully without ever hitting you over the head with its message. However, the best praise for "You Can Count on Me" lies in Lonergan's script. It is real, vital, emotional and dramatic, without ever getting sappy or cliched. I also appreciated its fair portrayal of spirituality/religious issues, without being dismissive or patronizing toward them. This is all the more interesting in light of the fact that Mr. Lonergan has gone on the record that he is not religious at all.

This film is great--go see it now! And make sure to take your brother or sister with you!

"Quills" admirably aims to take a stand against censorship through dramatizing the Marquis de Sade's last days. Trouble is what worked for the stage does not interpret well on-screen. The dialogue is excellent and witty, however the story relies on tired plot devices (e.g. the priest, Joaquin Phoenix, and the laundress, Kate Winslet, fall in love--Gasp! Shocking!) which take away from the Marquis. A lot of time was spent on characterization and dialogue without fully realizing how the plot would flesh out and serve the film's purpose. Ultimately, "Quills" will not do much to promote free speech.

The acting is very strong here, with excellent performances by Geoffrey Rush, Kate Winslet and Joaquin Phoenix. Once again, Michael Caine phones in another uninspired performance. The directing is thoughtful, humorous, and well-paced. Kudos to the production designer, costumer, and cinematographer.

In easily one of his worst performances, Ralph Fiennes is woefully miscast as the Sonnenschein/Sors grandfather, son & grandson. He plays each role almost identically, with a look of pained English seriousness that conveys emotional constipation. His body language--stiff and rigid--suggests that he is not comfortable in the role, especially when he's clunking around in uniform. Compounding the situation is how poorly the 3 Fiennes characters age (read: bad/no makeup) throughout the times--they all seem like they're 35 years old. In short, Fiennes is completely unbelievable in the role.

Furthermore, the three segments of the film get progressively slower as they go along. The first and best segment regarding Ignatz Sonnenschein started well because it focused on the relationship w/his family. The strong supporting cast in this segment really capture the spirit of the times and focus on the human element. Unfortunately, the second and third segments are heavily historically driven and the human factor gets washed out. In short, you feel like you're watching a tedious cable docu-drama, but with lots of sex so you won't fall completely asleep.

What is good about the film: wonderful cinematography, great use of the Budapest locale, and a winning mother/daughter performance by Rosemary Harris and Jennifer Ehle.

"Children of Nature" is the first Icelandic film I have ever seen and I was pleasantly surprised. It concerns two former childhood sweethearts (Thorgeir & Stella) who meet in an old age home, escape, and return to their remote hometown.

This film is a nice antidote to most Hollywood movies: the stars are nasty old people, the pace of the film is slow, and there are elements of magical realism. It also doesn't hurt that the cinematography is excellent and shows off Iceland beautifully.

After seeing this film, I get the impression that Iceland is a weird and wonderful place and I hope to visit soon!

P.S. If you liked "Wings of Desire" you'll appreciate the cameo by the angel Damiel (Bruno Ganz).

"The Corner," adapted from the true-life book, shows how drugs have infested a Baltimore neighborhood and how they have affected the residents.

Each episode starts documentary-style, with director/producer Charles S. Dutton interviewing one of the main characters off-screen. Then, Dutton stops and the audience follows the main characters around their day-to-day existence.

I was really impressed with Dutton's work. The series makes no apologies for the characters' behavior and presents things very realistically. The acting is strong throughout, and I have to single out Khandi Alexander's portrayal of Fran the addict/mother as exceptional.

The subject matter of this film--the forced "Christianization" of the Aztecs--is a provocative topic and could have been made into a compelling film. Unfortunately, "La Otra Conquista" is not that film.

What "La Otra Conquista" does well is presenting the richness of the Aztec culture in great detail. The director, Salvador Carrasco, spent much time researching the era to bring an authentic feel to this piece. The cinematography, production design, costumes, makeup, are all excellent. For further detail, just see the wonderful website created for the movie.

So what's wrong with this film? 1) The script. It needs to be more narrative and less didactic. It's too concerned with its message that the characterization suffers as a result. Furthermore, it felt as if the "look" of each scene determined how the characters were going to behave. As a result, the film is long and tedious. 2) The direction. This film needs to adapt a more direct narrative and avoid "arty" gimmicks (such as replicating Diego Rivera images) which take away from the purpose of the film. Because of Mexico's complex history, the subject matter can be difficult to understand (even for the informed), and the direction doesn't help much in this regard.

Looking at Mr. Carrasco's credits on the IMDB I noticed that this is his first film as a director. It is a remarkable achievement, however one that unfortunately does not do the subject matter justice. Hopefully he can do what Robert Rodriguez did with "El Mariachi" and be given the opportunity to remake his first film. 6/10

Gregory Nava's drama, "El Norte," is hands-down the best film ever made about the Latin American immigrant experience in the US. It's also one of the best films of the 80's.

Wonderfully acted and expertly directed, this film will make you think twice about the "invisible" people who clean your house, watch your kids, make your food, garden your yard, wash your car, etc. This movie puts a face to those people and their day-to-day struggles here in this country. It's not always a pretty picture.

Although this film is fictional, at times it feels like a documentary. It's not a documentary however, because it's also quite funny and it contains elements of magical realism.

This film is a landmark of Latino filmmaking in the US. Watch it today!

For a good primer to Mexican telenovelas (soap operas) for North Americans, look no further than "María la del Barrio" (literal translation: Maria from the Ghetto). Don't let the language barrier stop you--it'll be obvious what's going on.

Starring Mexican entertainment sensation, Thalía, "María..." recounts the life of a poor 12-yr old girl from the barrio who grows up, makes it good, marries well, and lives a life of luxury. Remember though: you can take the girl out of the barrio, but you can't take the barrio out of the girl!

Yes, it's extremely corny and bad...but in the good sense! What makes this telenovela especially watchable is how the producers insist on having 20-something Thalía play "María..." at all ages! To show her as a young girl they slap a Jughead-style hat on her head and have her play w/dolls. Unbelievable!

Thalía is incredibly beautiful and quite talented--she even belts out the extremely catchy themesong to "María la del Barrio." This show is the third in the unrelated "María" telenovela trilogy, preceded by "María Mercedes," and "Marímar." Catch it on reruns on Univsion!

Kid, of the now-defunct rap duo "Kid-N-Play", is the protagonist in this fun movie about African-American teens trying to throw a party in face of many obstacles.

I saw this movie at the theater wholly expecting a dumb teen flick, but I was surprised at how fresh and entertaining it really is. It's also funny as hell!

A cult film in the making, "House Party" showcases the questionable hairdos, fashions, and rap music of the early '90's. Along with the good performances from the leads, this film also features up-and-comers Tisha Campbell, comedian Martin Lawrence, and dearly departed Robin Harris, the genius behind the HILARIOUS "Bebe's Kids."

Although the film is ostensibly about "Kika," she is actually only one character featured in this raunchy, ensemble comedy.

The plot here is all over the place! This is not necessarily bad--one character ties into another character's life and the focus of the movie moves in a circular manner which eventually returns to our heroine, the naive but lovable Kika (well-portrayed by Verónica Forqué).

This film is funny! It's a combination of "There's Something About Mary," Woody Allen at his zaniest, and "Sex and the City." Good for a laugh, especially for the poor dubbing of Peter Coyote's Spanish.

In a subtle performance, veteran actor Federico Luppi portrays Manuel, a poet returning to his tiny hamlet after years spent abroad.

This film examines the relationships of Manuel, his family and his friends set against the backdrop of the imminent destruction of Higuera, which is to be flooded by a reservoir.

This film was directed by a master hand, Enrique Gabriel-Lipschutz, based on a script by himself and Lucia Lipschutz. They are wonderfully able at creating side characters who are real and vital, and who neither descend into stock characters nor parody.

In sum, "Las Huellas Borradas" (literal translation: Washed-Away Footprints) presents a philosophical view on how the notion of place can affect one's thoughts and emotions.

Reminiscent of "Welcome to the Dollhouse" or "Joe, the King," this movie shows how parents contribute to an unhappy childhood. However, "Mamá es Boba" does not measure up to those other films.

The premise is that the mother of the protagonist, Martín, becomes the unwitting accomplice in a local TV station scam whereby she is installed as a newsreader. Martin's mother, Gema Perdulí, is truly awful and everyone laughs at her, not with her.

I really didn't connect with the characters at all: The Martín character was not very well developed as the focus is on his parents. As for the simpleton parents, they too didn't arouse any sympathy. As a consequence, the movie plods on even though it's short(1 hr, 32 min).

Another drawback was that the music and score were dreadful and inappropriate. In short, the film is a disappointment.

Vicente Aranda's "Celos" illustrates how jealousy in a relationship can tear a couple apart as well as bring them together.

This drama-thriller is mainly psychological and it features a good performance from Aitana Sánchez-Gijón (best known in the US for "A Walk in the Clouds"). Although the film does dwell a little too long on the jealousy issue, it is nonetheless absorbing and it presents a good look at contemporary working-class Spanish life.

Kudos to the cinematographer for making the best use of the Spanish light!

I really wanted to like this film. The advertising really fooled me--I believed I was going to see another "Como Agua Para Chocolate." Wrong!

The movie starts wonderfully. Esperanza's refuses to believe her recently deceased daughter is really dead and starts to search for her. First in her beautiful little town in the Veracruz state of Mexico, then Tijuana, followed by LA, and back to her hometown.

Her journey was supposed to show how Esperanza changes and becomes a stronger person, but the lead actress--Dolores Heredia--was unable to do so. This is not so much her fault as she is quite appealing: I believe that the directors development of side characters and subplots take the focus away from the character development of Esperanza.

This film is not without merit. The cinematography by Xavier Perez Grobet is top-notch, as well as the art direction. This film is a step in the right direction for contemporary Mexican film, but it still has a way to go.