Thoughts
on 2004 films in order of Atlanta release date, except for when
they aren't
The Assassination
of Richard Nixon (Niels Mueller): ***
Like The Woodsman
below, succeeds almost solely based on the lead performance, this
one being Sean Penn as Sam Bicke, a complex, riveting portrayal
of a deranged man. Which is also what the film works as, and nothing
more; its attempts at historical examination (Bicke really did try
to assassinate Nixon) and social critique fall far short, although
the slam-cut to the final credits is oddly affecting. Direction
is functional at best, and the talented supporting cast is woefully
underused. So, it's all about Penn.
The
Woodsman (Nicole Kassell): ***
Would live or die on
the back of Kevin Bacon's performance, so thank god it's possibly
the finest of his career, dealing almost exclusively in quiet emotion,
much like his work in Mystic River, the best in that film.
It took balls to play a convicted pedophile, and he doesn't shy
away from his character's dark side - watch the scene in which an
11-year-old girl (Hannah Pilkes, who in just two scenes turns in
the finest child performance of the year) sits down next to him
and they start talking; as Bacon struggles with his competing desires
and guilts, the pain clear on his face is devastating. It's a perfect
scene in a less-than-perfect film; it's obvious, and rapper Eve's
performance is just awful. Still, it's a courageous debut from Nicole
Kassell, and it confirms Bacon's place as one of our finest, most
underrated actors.
Hotel Rwanda (Terry George):
***
A damning attack on pretty much the
whole world for largely ignoring the Rwandan genocides of 1994,
which we deserve, but I can't help but think that it would've worked
better as an angry newspaper editorial; as a film, it can become
tiresome (I especially could've done without the obvious images
of Clinton, especially the "Time Man of the Year" one,
at big moments), and its political message can overwhelm the personal
story it's trying to tell. Still, the story can be quite powerful,
especially in Don Cheadle's performance, which finally lets this
great character actor carry a film, which he proves more than capable
of doing.
Million Dollar Baby (Clint
Eastwood): ****
Bests Mystic River in every
possible way, at once more subtle and more powerful. As a boxing
movie it's one of the best, but it's so much more than that, thanks
to its sucker punch of a twist (which you should, if possible, avoid
reading about); this is not a movie about boxing but a film about
people who just happen to box and about spirituality and fate. It's
not quite a masterpiece (the one-dimensional portrayal of Maggie's
family is particularly irritiating, if of thematic importance),
but the flaws simply serve as distractions from the rest of the
film, which is nearly perfect. The three main performances are all
amazing, with Eastwood turning in the best work of his career, and
almost of the year, Hilary Swank finally proving that her Boys
Don't Cry Oscar wasn't a fluke, and Morgan Freeman as the definition
of minimalist perfection. The direction shows Eastwood as a man
in complete control of the medium, awash in shadows and dark, enhancing
the film's noir-ish feel. Stirring, heartbreaking cinema; Swank's
sad smile will haunt you for weeks.
The Life
Aquatic With Steve Zissou (Wes Anderson): ***1/2 [later upgraded
to ****]
Ranks up there with
I ♥
Huckabees as one of the most woefully misinterpreted films
of the year. Criticisms of simplicity and a lack of caring are laughably
off-base, as The Life Aquatic is easily Anderson's most heartfelt
and mature film to date, a perceptive examination of aging gracefully.
Did no one catch the scene in which Steve (Bill Murray) suggests
that his relationship with Ned (Owen Wilson) be a subplot
in his movie? That's not just throwaway nonsense - the Steve/Ned
relationship is a poker-faced subplot in The Life Aquatic
too, cleverly designed to mask and later magnify this theme, a point
many have overlooked. Plenty of other evidence, too, not least of
which is the title itself (forcing you to consider the Life Aquatic
without Steve Zissou) and the exclusive use of Bowie tunes,
but no fair giving it all away; you guys are smart enough to figure
it out. I am also at odds with the claims that the film isn't funny,
as I found it consistantly hilarious on top of being rather moving,
thanks largely due to Murray's funny/sad work, which should (but
won't) earn him another Oscar nomination. This is also Anderson's
least vigorously visual big-budget work, with an often-shaky camera
and less symmetrical (if no less detailed) compositions, which give
the film a more direct, personal feel. This movie's great; screw
the naysayers.
The Aviator
(Martin Scorsese): ***1/2
For the first two hours
or so, it's the best film of the year: impeccably directed, thrilling,
captivating. But then comes the third hour, and a simplistic trial
subplot (featuring an irritatingly one-note performance from Alan
Alda), which is the only time Scorsese falls into the trap of minor
hero worship. So it's "merely" one of the best
films of the year, and it's certainly the finest biopic, as it's
the only one willing to fully examine its flawed protagonist. Scorsese
remains as masterful a craftsman as ever and Leonardo DiCaprio overcomes
his boyish looks to turn in what is quite possibly the finest male
performance of the year, a complex, haunting portrayal (this, not
Foxx's Ray Charles, is what inhabiting, rather than just
imitating, a historical figure looks like, people!). Oh, yeah: Cate
Blanchett is wonderfully entertaining, although I occasionally got
the impression that I was watching Hepburn as in a movie, rather
than as a real person. The Aviator could have - should
have - been a masterpiece, but that's an absurd criticism; this
is great, epic film-making, and if Scorsese wins a long-overdue
Oscar, it won't just be as an apology.
Lemony
Snicket's A Series of Unfortunate Events (Brad Silberling): **1/2
It's supposed to be
dark, and it is - in theory. But due to the episodic nature of the
film, nothing comes together cohesively, so you never get the never
the feeling that anything's at stake, and the film never transcends
a sort of pseudo-darkness; it's hard to feel afraid for these children
when the director is unable to commit to ever making their (ultimately
happy) fate unclear. It's a shame, as the series shows promise,
particularly with the beautiful art direction and Jim Carrey's manic,
Sellers-esque work. Nex time, just get a director willing to take
risks, and it could be something great.
Spanglish
(James L. Brooks): ***
Another solid, if flawed,
success from Brooks. I have problems with some of its statements
(Tea Leoni wants to enroll the little girl in an excellent private
school? With a full scholarship? That bitch!), and I wish
Paz Vega weren't so lionized, but it's still rather compelling and
entertaining, largely because of the strong performances and clever
dialogue ("Honey, right now your low self-esteem is just good
common sense.") I particularly liked the conclusion to the
relationship between Adam Sandler (who has never been quieter -
or better) and Vega, which is at once sweet and authentic. The final
scene is nice too, speaking well about the fears immigrants have
of losing their culture upon moving to the United States.
Closer
(Mike Nichols): ***1/2
Blistering adaptation of Patrick Marber's
play - I walked out of the theater shaken. The acto's are uniformly
excellent, although Jude Law and Julia Roberts are overshadowed
by Clive Owen and Natalie Portman's electrifying work. The dialogue
burns the ears, although it is perhaps too intelligent -
rarely have I heard real people talk like this - and the characters
occasionally feel like pawns in the director's game; still, this
is terrific, stinging film-making. It pulls no punches, and its
punches hurt.
Kinsey (Bill Condon): ***
Ultimately interesting, although I have to question
whether it's not sort of pointless, as those it attacks are unlikely
to see the film at all. At first, the structure of the film seems
poised to destroy the this-happened-then-this-happened structure
of most biopics (Kinsey's college days are handled in a single sentence,
which is awesome), but this is quickly dropped, leaving way
for a somewhat dissapointingly straight-forward narrative. Condon,
in a misguided attempt to emotionalize the film, has an unfortunate
tendency to over-direct, which not even Liam Neeson's quiet performance
can overcome. Although pertinent in today's society, the film's
connections are made far too obvious ("Homosexuals are not
popular now, but there will come a time when this changes."
Wink wink), and Kinsey's problems are touched upon but glossed over
- and wholly forgiven in a late, stupid scene with Lynn Redgrave.
Oh, and what's with this: the sex scenes between Neeson and Laura
Linney are fairly explicit, but when Kinsey is seduced by his male
assistant (Peter Sarsgaard), we're shown one kiss and it cuts away.
It's not like I want to see two men have sex on the big screen,
but isn't that just a tad hypocritical, considering the film's ultimate
message? It may sound like I'm being a bit hard on it considering
the rating, so I'll leave you with this: Laura Linney's performance
is just wonderful.
Finding Neverland (Marc Forster):
***
Magical. But it goes on one scene too
long, which is actually a big problem; what I most admired about
the film was its emotional subtlety - a rarity in Oscar-bait - and
that's just blown to hell in the final scene, although not enough
to lessen my appreciation of what came before it or Johnny Depp's
quiet and touching performance (finally this guy is getting
truly recognized). Still, there was hardly a dry eye in the theater
by the end, so I guess I'm just a grouch. Man, though - dammit;
I would've been crying too, had it stopped at the right place.
The
Incredibles (Brad Bird): ***1/2
Really, Pixar - it's
almost getting boring. Could you make a movie that is actually less
than terrific for once? Not that I'm complaining, of course; The
Incredibles is yet another wonderful triumph, and easily the
best Pixar film since Toy Story 2 - vibrant, funny, and,
best of all, surprisingly mature. The early-film examination of
the hero's mid-life crisis is far more ambitious than most animated
films' stories, and the ultimate message of the film - that we live
in a society in which those who are spectacular are shunned and
mediocrity is accepted - is leagues beyond the traditional "love
your fellow man" stuff. And when it turns into an action movie,
the set pieces are as exciting and visually stimulating as any other
this year. True, glorious entertainment.
Primer (Shane Carruth): ****
No, I really have no idea what happens
in the last half, but it's still utterly fascinating, compelling,
provocative, "the best pure science-fiction movie in like a
decade," as Mike D'Angelo put it. Themes of power, trust, relationships,
human nature, and probably a number of other stuff that I missed.
No concessions are made for the audience's behalf, which could have
been irritating but is instead exciting - and logical, as the ramifications
of what they've done is mind-boggling to even the creators. Carruth
has an eye for composition and detail, and the low-quality film-stock
lends the film a gritty and otherworldly look. Any movie
with the line "Are you hungry? I haven't eaten since later
this afternoon" would be good with me, but Primer is
something special.
Birth (Jonathan
Glazer): *1/2
Hello, my name is Jonathan Glazer,
and I'm a director. My new movie Birth is, quite possibly,
the most important movie ever made, and just so everyone realizes
it, I have decided to film it in a humorless, melodramatic style
so that there is nothing to distract from the message. I will use
a score made up of the most dramatic classical music I could find;
during important moments, I will crank the volume up to eleven,
allowing this to take the place of any distracting overt emotion,
although I think Nicole Kidman is trying to sabatoge me by doing
some great acting with just her face. Oh, well, I'll punish her
by giving her some horrid dialogue to read. Trust me, everything
I do is out of respect for the important material, and not at all
because I'm pretentious and self-important. Nope. No way.
[released Oct. 29, seen Dec. 4]
Ray
(Taylor Hackford): **
The good: Jaime Foxx
in a strong, if wildly overrated - it's a terrific impersonation,
but it lacks depth - performance, amazing musical sequences (the
first performance of "What'd I Say" in particular: it's
one of the best scenes of the year). The bad: the movie as a whole
is tedious, lifeless and sloooooowwwwww - far too much info is crammed
into far too little time, and the film still feels about two hours
longer than it is. There seem to be flashbacks every thirty seconds
or so, at least for the first hour, and this would work better if
the flashbacks weren't wholly unecessary and uninteresting (Charles
spiraled into depression and drug use as an adult because he watched
his brother drown as a child? I would've figured it was because
he was blind). Charles
is an impressive enough figure to deserve a movie, but did it have
to be this one?
Sideways (Alexander Payne): ***1/2
An aching, honest comedy, with a quartet of sublime
performances and assured direction from Payne. It may not be the
masterpiece some have claimed, but it's still wonderful, and some
of the most fun (yes, really) you can have at the movies this year.
On the short list of best scenes of the year: Paul Giamatti explains
why he loves Pinot Noir wine, and we slowly realize that he's talking
about himself. It's hard to find words to say about it, so I won't
even bother.
Saw (James Wan): ***
Absolutely stunning crap. Also incredible
fun, largely because everyone involved seems to realize just how
over-the-top and ridiculous it is, particularly Cary Elwes (a usually
reliable character actor), who goes so hilariously crazy in the
final act that I am shocked there's anyone who doesn't see it as
purposeful. The plot twists are among the most retarded ever, but
they are revealed with such demented (read: fake) seriousness that
they filled me with some weird kind of joy. Still, some things are
just plain awful anyway, Leigh Whannell the actor and Leigh Whannell
the writer (actual exchange: "What's your name?" "My
name is very fucking confused; what's yours?" "I'm Lawrence.
I'm a doctor") in particular. But I liked it - so sue me.
Team
America: World Police (Trey Parker): ***1/2
Obvious satire masking
a surprisingly somber political statement - summed up in a hilariously
vulgar climax - that is actually one of the more reasoned political
messages I've seen on film. It ravages the extremists from both
sides of the political aisle equally, although both Republicans
and Democrats will feel like the most attacked group; anyway, anyone
who gets pissed about this film (looking at you, Penn) is sorely
lacking a sense of humor. Viciously skewered are big-budget movies,
especially in the over-the-top intro and musical score, which contains
some brilliant songs (although none up to the level of those in
the South Park: Bigger, Longer and Uncut); standouts
include "America! Fuck Yeah!" and the love ballad "Pearl
Harbor Sucked and I Miss You." It's also very, very funny
(and disgusting and sophomoric and et cetera), if not up to the
level of Bigger ....
I ♥
Huckabees (David O. Russell): ***1/2
An absolutely stunning
balancing act; just about every moment of the film seems right on
the edge of collapsing, but it never once does. Many have mistaken
the film for proposing or accepting the philisophical nonsense spouted
by the film's characters, but that's not the point at all. The film
is about the hopelessness of the American citizen post-9/11 and
the extraordinarily ridiculous lengths we will go to in order to
find happiness or balance in our lives, a point most poignantly
summed up by Mark Wahlberg's (amazing) environmentally conscious
fireman and - surprisingly - Jude Law's (just as amazing) unscrupulous
businessman, although Jason Schwartzman is ostensibly the leading
man. The film is definitely brilliant; too bad I'm so much of a
pussy that I need a second viewing before changing the rating to
a flat four stars.
Sky
Captain and the World of Tomorrow (Kerry Conrad): ***
Story is positively
retarded for the most part, but hey, it's basically a comic book,
and the film's fantastic and original visual style - live actors
in front of entirely computer-generated objects - more than makes
up for the plot and Gwyneth Paltrow's genuinely annoying performance
(Jude Law is pretty good). Yeah, using Olivier's image is nothing
more than a gimmick, but it's not like the characters piss on his
grave, and hell, he's only there for a few seconds. Simple, dumb
fun - oh, right, it looks pretty damn cool, too. Did I mention that?
Silver
City (John Sayles): ***
Doesn't work as a
detective story. Or a romance. Or a mystery. What it does work as
is a realistically cynical examination of modern politics and the
current administration's environmental policies, as well a showcase
for Chris Cooper's pitch-perfect - if surprisingly small - role
as Dickie Pilager, a "user friendly" politician who is
clearly meant as a stand-in for Dubya himself, although Pilager
is just running for governor. The corruption Danny Huston's detective
discovers within the campaign seems perfectly reasonable, and the
film's assertation that people just don't care about corruption
in government any more - leading up to a wonderful, pessimistic
conclusion - hits in just the right way at just the right time.
Code 46 (Michael Winterbottom):
**1/2
Fascinating if half-formed sci-fi vision (why, exactly,
do some people have to live on the "outside," why would
having a disease prevent you from being allowed to go to a country
in which the citizens were immune to said disease?) sunk by a tepid
and uninteresting romance. Good performances from Tim Robbins and
Samantha Morton sunk by their absolute lack of chemistry. Solid
direction and visual style sunk by a number of awkward and SAMANTHA
MORTON'S CROTCH unecessary moments and shots. Terrific and suitably
depressing resolution to said romance sunk by the fact that no one
gives a damn how it ends.
Napoleon
Dynamite (Jared Hess): **1/2
Feels like a good
short film expanded into a sub-par feature film, which, it turns
out, is exactly what it is. It's incredibly ostentatious, throwing
the most bizarre situations and characters possible at the screen,
simply expecting us to laugh at how odd everything is. Hess writes
and directs like a dropout from the Wes Anderson school of film-making,
only he lacks both Anderson's heart and intelligence. He seems to
misunderstand that Anderson has affection for his bizarre and often
flawed characters; Hess lacks this humanism: Napoleon is impossible
to like, and his story is totally uninteresting beyond a "what
the fuck" level. I was often too irritated at the film to laugh
at it, despite some admittedly funny stuff. One consistant bright
spot is Jon Heder, who completely disappears within the title character.
He might just be the only significant contribution the film will
make.
A Home at the End of
the World (Michael Mayer):
***
I have long been a supporter
of Colin Farrell, but even this is something I never would have
expected of him. As Bobby, the center character of A Home at
the End of the World, he abandons his typical brash arrogance
for loneliness. It is an astonishing transformation, and an excellent
performance. Farrell is ably supported by Robin Wright Penn and
Dallas Roberts, both of whom are excellent, but the script ultimately
fails him. What is undoubtedly a beautiful novel is adapted into
an uneven screenplay that never quite comes together despite some
sublime individual scenes. Emotionally and thematically confused,
although there's a masterpiece struggling to break out; I can feel
it.
Maria Full of Grace
(Joshua Marston): ***1/2
"Based on 1,000 true
stories" claims the poster, but Maria Full of Grace is
not quite like any film I've ever seen. It is so authentic that
it often feels like a documentary, and this approach proves incredibly
strong; the lack of any melodrama makes the film even more powerful
- the authentic display of a mule's responsibilities is among the
most harrowing sequences of the year.. Maria (Catalina Sandino Moreno,
in a stunning performance) is one of the most fully developed roles
of the year; I only wish the rest of the characters were as believable.
Still, it's one of the summer's strongest films, and an auspicious
debut for director Joshua Marston - the final, hopeful shot is especially
heartbreaking.
The Bourne Supremacy
(Paul Greengrass): ***1/2
What a terrific franchise this is
turning out to be. The studio took a risk by hiring indie director
Paul Greengrass, but the choice paid off in spades. By using a jittery
handheld camera, the film is given a jarring sense of immediacy;
the fight sequences might occasionally be hard to follow, but we
feel every punch. Nearly every second of the film is compelling,
and the plot is rarely predictable - an early twist genuinely shocked
me. It's a little hard to follow sometimes, and there are, of course,
some holes, but so what? Damon has proven himself a great action
hero, unlike a certain college buddy of his. And say welcome back
to Julia Stiles; a scene with Damon cruelly interrogating her, curled
up and sobbing in a corner is easily one of my favorites of the
year.
I, Robot (Alex Proyas):
***
A fairly smart sci-fi film that
occasionally succumbs to Hollywood blockbusterism, what with its
over-the-top action sequences and Will Smith doing his smartass
hero thing. But it does pose some interesting questions, and the
special effects are above and away the best of the year so far.
Not nearly as good as Proyas's Dark City, but it's still
worth seeing for his astonishing futuristic vision. Also impressive
is Alan Tudyk, who, in an Andy Serkis/Gollum-esque performance,
makes Sonny - a robot - the most human character in the film.
Before Sunset (Richard Linklater): ***1/2
An undercurrent of darkness underscores this sequel
to the magical Before Sunrise, shown most clearly in the
boat and car scenes, culminated by an ambiguous and cathartically
sudden conclusion. I could've done without all of the sex talk,
as their relationship was, to me, never about the physical love,
although that's not really a fair complaint about the film itself.
When Ethan Hawke angrily cries "Why couldn't you have been
there that day?" or when the two break down in the back seat
of the car, the effect is heartwrenching; we see that these people,
once so young and idealistic, have been scarred and torn by the
passage of time. It truly is a shocking change from the happily
romantic first film, but anything less would have been a cop-out,
unfair to the character's Linklater has so painstakingly constructed.
As in the first film, Hawke turns in a terrific performance, but
he is outshone by the sublime Julie Delpy, whose sadness is at once
quiet and wrenchingly palpable.
Anchorman
(Adam McKay): ***
Not especially well-made, but still
one of the funniest films of the year, if this is your kind of thing;
if it's not, you'll despise it, of course. The plot, involving narcissistic
anchor Ron Burgundy (Will Ferrell), is more like a series of sketches
than a cohesive story, but I really could not care less. Ferrell
throws himself into the role with Method-like seriousness, and he
establishes himself as one of our finest comic actors, even overshadowing
the briliant Steve Carrell, who would have been the standout in
any other film. The cameos are pretty excellent too, and, surprisingly,
they never seem gratuitous. No deeper meaning here, no sharp examination
of gender politics in the news station, but what the hell would
you want that for? It's a Will Ferrell movie. Jesus.
De-Lovely (Irwin
Winkler): ***
I was not much aquainted with the
music of Cole Porter before going into De-Lovely, so I can
say beyond a shadow of a doubt that the film is a terrific compilation
of his works. Everyone knows the details of Porter's life by now,
so there's nothing really new in this warts-and-all portrayal, but
his life is interesting enough to make a pretty decent biopic. The
music is the selling point, though; you either like his music (or,
like me, are interested in it) or you don't. Kevin Kline is so talented
it's almost disgusting; he sings badly to match Porter's voice and
still sounds decidedly better than most people. Oh, it's
also just a terrific performance.
The Clearing
(Pieter Jan Brugge): ***
A film I really respect,
even if I didn't exactly love it while it was unspooling. It's nice
to see a director with the stones to try this sort of thing with
a star like Robert Redford. It's refreshing to see Redford play
bedraggled, but his performance is surprisingly dull, overshadowed
by Willem Dafoe (great, as usual, balancing despicability and pathos
with ease) and Helen Mirren. I like the disjointed timeline, which
gives the film an indescribably surreal feel; the only problem is
that once the viewer figures out the structure, the final twist
becomes not much of a twist at all. But it is to the film's credit
that even expecting the ending doesn't make it any less ballsy or
effective. I didn't quite buy the Redford/Dafoe relationship, which
is actually the centerpiece of the film, so it's a testament to
the film's conceit and execution that it barely matters.
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