Because we’ve become entranced by that dance show on TV–how could they get rid of Lisa Rinna? Jerry Rice sucks!–I decided to (re)watch Strictly Ballroom. Pete swears we watched it before, but I don’t remember it. I think I might have started watching then went to bed. Because it is just that dull. I forced my way to the end this time. There’s too much love story and too much earnestness for it to be a mockumentary, but some scenes just don’t play any other way. In fact, I think the cartoonishness undermines Fran’s transformation. We’re supposed to like her, to root for her, but she’s surrounded by these women in crazy make-up with stupid hairdos–it’s too easy to come out on top. And why would anyone want to be on top of that? The more realistic stuff (the contemporary dance scenes, the Paso Doble “the dance for the man!”) just seems out of place in the garishness of the father’s story.
Category: recently watched
Savages (1975)
I’d always looked at the DVD sitting there, especially with Michael O’Donoghue’s name on it. So odd. I mean, it’s a Merchant-Ivory film, co-written by O’Donoghue (!), that refers to the said Savages – on the DVD box yet, as “the Mud People.” So it’s intriguing if nothing else.
After the outcries of the indignities in King Kong and stuff about the Noble Natives, I thought this just might be the antidote. For those who don’t know, O’Donoghue was part of National Lampoon as its regulars morphed into SNL and SCTV. He was a main writer on SNL and sometimes performer (Wolverine, Steel Needles in the Eyes), but other than Scrooged, he had precious few screenplays to his credit. Continue reading Savages (1975)
Wholpin DVD
From the McSweeney’s people, who had already launched a rather good monthly magazine that used to be about books and writers called The Believer (It’s not so much about that anymore, and while still good, I no longer get it because I can read about politics, music and films in a dozen other places).
Their latest venture is a quarterly DVD, made up of “shorts.” People continue to make short films even with almost no outlet for them. One would have thought the web would have given more light to this kind of film, but other than the occasional re-cut trailer (Shining, Passion of the Christ) or a photoshopped scene of a jet landing on the 405, it hasn’t really been so. The other possible outlet for this stuff is straight to DVD which again has been tried by various DVD “magazines” with not too much success.
So enter Wholpin from McSweeney’s with an impressive bunch of names on the cover, and actually an impressive bunch of films as well. The variety between the films is impressive; there’s no attempt to create a “theme” thankfully, and the unexpectedness of what you’re getting in each new chapter is really a big part of the fun. Continue reading Wholpin DVD
Miyazaki films on TCM
Quick note to say that there’s one Thursday night left of Miyazaki films showing on TCM. They’re co-hosted by Pixar’s John Lassiter, who nearly single-handedly brought Miyazaki’s films to wide distribution in the U.S.
Saw Whisper of the Heart (non-magic, but cute), My Neighbor Totoro, which was excellent, and then ran out of tape on Porco Rosso; something I didn’t think I’d like, but now want to rent quickly. Still, my favorite is Spirited Away.
Of course there’s probably colonial subtext to it that I’ve missed and Arnab will now point out to me, ruining the film forever. Thanks in advance Arnab.
Hustle & Flow
Three parts Hoop Dreams, one part 8 Mile and one part Pretty Woman adds up to one seriously entertaining crunk fairy tale. Set in the fetid streets of Memphis in July, Hustle & Flow takes about 30 minutes to find its groove, but from then on the film is truly irresistible. Terrence Howard is really, really good, but the supporting cast is just as strong (including Isaac Hayes and Ludicris). I’ll leave it to Reynolds to offer a thesis on the film’s politics of race not to mention its representation of black male subjectivity, but I liked this film a lot.
real quickie on The Family Stone
this is not a movie worthy of discussion in a serious, intelligent forum such as this, so i’ll just say that a) we went to see it because there was absolutely nothing in south miami to see except munich, and simon wouldn’t see munich (don’t ask) and b) it is really not that funny for a christmas comedy. but i want to point out that rachel macadams, who was in the totally kick-ass and superbly paced red eye, is great. her comic talent belies her good-girl looks. i also want to register that i’m sick and tired of mothers dying of (breast) cancer. i do realize that fathers’ dying wouldn’t get the same tear-jerking effect (why don’t people love their fathers as much as they do their mothers?), but LET WOMEN LIVE, for goodnessakes! anyway, i spent most of the movie trying to figure out the birth order of the stone siblings and i can honestly say that i think i’ve got it down.
capote
last night i saw capote, because neither simon nor our friend jennie wanted to see brokeback mountain (don’t ask). i enjoyed the movie while it was going, though i was a bit weary during the last third. but simon and jennie talked me out of liking it in about 15 minutes of conversation after the movie’s end. here is our collective thought on capote:
philip seymour hoffman is a great actor who handles his first major (or first, period) lead role with great aplomb and artistry. he is actually magnificent. i guess the director knew hoffman was his best asset, because every other shot is a close-up of his smooth, babyish, pink face. i actually find him quite fetching, so i didn’t Continue reading capote
Jiminy Glick in LaLawood
I’m honestly a little amazed that no one has mentioned this film yet – let alone seen it. I mean, you people obviously aren’t afraid to watch shitty films as evidenced by discussions on Catwoman, Fantastic Four, and Two-Lane Blacktop. Also, I know there are big fans of SCTV here. Bruns I think is a big Martin Short fan, and I think Reynolds is as admiring of Clifford as I am.
Also, the Jiminy Glick show on Comedy Central was consistently funny. Watching A-listers like Tom Hanks and Seinfeld stare in amazement as Glick brings up incredibly obscure points about their lives and then stuffs his face with donuts and candy – It made for good TV. Continue reading Jiminy Glick in LaLawood
Cowboy sex
Ang Lee’s Brokeback Mountain is a work of art—a lean, spare, unsentimental film suffused with loneliness and longing. That being said, I think the American public will ignore this plaintive love story. Though the Wyoming landscape is gorgeous to look upon (cinematographer Rodrigo Prieto deserves an award from someone), the film’s episodic structure and the lack of big, sweeping emotional moments (i.e. MAINSTREAM) will limit the film’s appeal. Admittedly, I walked away from the screening feeling a bit let down. I guess I wanted the Gay Gone With the Wind everyone’s been hyping. I wanted to feel emotionally drained. Such expectations, however, are not fair. The film is certainly full of big moments and genuine human conflict and there are well-earned laughs throughout. Still, it is far from histrionic and the nature of the story of these two men preclude the kind of fireworks I was expecting. Instead, Brokeback Mountain is a quiet and contemplative film fueled by passive aggression, self-loathing, fear and sadness. I have been haunted by it for the last dozen hours or so—I’m in a melancholy mood today—and such a response is due to the filmmakers deep respect for their source material as well as the story’s contentious subject matter not to mention the heart-wrenching performances of Heath Ledger, Jake Gyllenhaal, Michelle Williams and a memorable supporting turn by “Freaks and Geeks†alum Linda Cardellini.
Narnia
When it is not attempting (poorly) to replicate the visual splendor and complexity of the Lord of the Rings films (the CGI here can be quite muddy), The Chronicles of Narnia: The Lion, The Witch and the Wardrobe proves to be an old fashioned, delightfully charming work of family entertainment. It is not the centaurs or dryads or giants or talking beavers that captures one’s attention but the subtle and unforced performances of the young actors in the central roles. Director Adamson has coaxed very good work from these kids, and it is their commitment to the material that makes the film soar. Tilda Swinton is fantastic as the White Witch (and her costumes are fabulous), and James McAvoy’s gentle, enchanting performance as Mr. Tumnus was truly memorable (he’s all the rage in our house at the moment). The adaptation opens up yet improves upon C.S. Lewis’ novel, which, after reading it aloud to my daughter last week, can grow a bit twee. After the wearisome Harry Potter IV, I was a bit reluctant about taking Cate to another big holiday film, but she was absolutely riveted. Indeed, the theatre was packed and, considering the number of small children in the auditorium, remarkably—reverently—silent.