The Banal, the Blah, the Banausic:
1. Trantasia (2006) Dir. Jeremy Stanford - US
Astounding Cinema:
4. Miller’s Crossing (1990) Dir. Coen Bros. – US
3. The Sting (1973) Dir. George Roy Hill - US
2. Lourdes (2009) Dir. Jessica Hausner – France/Austria
1. Victim (1961) Dir. Basil Dearden – UK
Theatrical Screenings:
2. Police, Adjective (2009) Dir. Corneliu Porumboiu – Romania 5/10
1. Why Did I Get Married, Too? (2010) Dir. Tyler Perry – US 7/10
Rewatched Goodies:
1. The Room (2003) Dir. Tommy Wiseau – US 6/10
2. A Fish Called Wanda (1988) Dir. Charles Crichton – US/UK 8/10
3. Dirty Rotten Scoundrels (1988) Dir. Frank Oz – US 9/10
4. Donnie Darko (2001) Dir. Richard Kelly – US 10/10
1. Trantasia (2006) Dir. Jeremy Stanford - US
Astounding Cinema:
4. Miller’s Crossing (1990) Dir. Coen Bros. – US
3. The Sting (1973) Dir. George Roy Hill - US
2. Lourdes (2009) Dir. Jessica Hausner – France/Austria
1. Victim (1961) Dir. Basil Dearden – UK
Theatrical Screenings:
2. Police, Adjective (2009) Dir. Corneliu Porumboiu – Romania 5/10
1. Why Did I Get Married, Too? (2010) Dir. Tyler Perry – US 7/10
Rewatched Goodies:
1. The Room (2003) Dir. Tommy Wiseau – US 6/10
2. A Fish Called Wanda (1988) Dir. Charles Crichton – US/UK 8/10
3. Dirty Rotten Scoundrels (1988) Dir. Frank Oz – US 9/10
4. Donnie Darko (2001) Dir. Richard Kelly – US 10/10
Trantasia (2006): Though this documentary about the first “World’s Most Beautiful Trannsexual Pageant” isn’t nearly as tacky as the ridiculous title would suggest, it definitely lacks any strategic or cohesive structure. For a film anchored and inspired by what is marketed as a progressive event (held in Las Vegas), we sure don’t see too much about the happenings at the pageant. Instead we get a random smattering of several contestants, who, like em or not, are given the task of shouldering the documentary. Though they may be the most interesting elements of this topic, Trantasia is like really good sandwich without any condiments or bread.
Miller’s Crossing (1990): The third feature from the Coen Bros. is like a talky conglomeration of 30’s gangster and 40’s noir---pretty damn good and intellectual to boot. Gabriel Byrne stars as an Irish gangster trying to navigate shifting power structures between the Irish mob boss (Albert Finney) and the Italian up and comer (Jon Polito) during Prohibition era politics. And while a woman seemingly stirs up the conflict (Marcia Gay Harden), the climax comes to fruition because of a homosexual love. Harden has Finney wrapped around her fingers, mostly because this affords her flamboyant grifter brother (John Turturro) some protection. But Turturro has angered the Italian mob boss, and the Irish aren’t willing to hand him over. Oh, and Harden is also sleeping with Finney’s right hand man and friend, Byrne. Oh, and Turturro is sleeping with Steve Buscemi (named Mink, lol) who really belongs to the Italian’s right hand man, the scary and creepy J.E. Freeman. Murder, double crossings, and an awesome scene with Albert Finney and a tommy gun makes this one of fine picture that’s funny, moody, dark and completely worth your time.
The Sting (1973): Yes, I’d never seen this monolithic Best Picture winner from 1973 starring Hollywood golden boys Paul Newman and Robert Redford (it also garnered Redford is only nomination ever for acting). Considered one of the best con artist films ever made, The Sting is about a 1930’s era sting against a criminal banker (Robert Shaw) when Redford, a small time con artist, joins forces with Newman, a master of the con, to revenge the death of his old partner (Robert Earl Jones----yeah, the papa of James). Newman and Redford had excellent buddy chemistry, though it’s a little more muted here between cons, the 30’s era atmosphere, and crooked cop Charles Durning tracking down Redford for slipping him counterfeit cash. Director George Roy Hill (born in Minneapolis in the 1920’s) also won Best Director---definitely must see cinema, a classic from 70’s era American film.
Lourdes (2009): The feature debit of Austrian director Jessica Hausner, Lourdes stars impish Sylvie Testud as a wheelchair bound woman making a pilgrimage to Lourdes not because she’s really looking to make a pilgrimage or hoping to be healed, but she really just has no other opportunities to get out. And so begins this quietly moving film about a quiet little woman that experiences a miraculous healing at Lourdes---much to the suspicion and chagrin of all those around her. The head matron (Elina Lowensohn) is crusty, dismissive, and has devastating problems of her own; the volunteer assigned to look after Testud (Lea Seydoux) is jealous of the attentions that an officer/guide (Bruno Todeschni) bestows upon Testud, and often abandons her to be looked after by an older woman attending the pilgrimage tour. The film never attempts to rationalize Testud’s recovery (she gains the ability to walk and move her arms) but instead focuses on perceptions of who deserves to be healed, forgiven, and even loved (Testud is neither the most depressed, the worst off, and she’s clearly not even religious). There’s a lot going on beneath the surface of Hausner’s film, a beautiful and breathtaking piece of cinema.
Victim (1961): Infamous for it’s subject matter, Basil Dearden’s UK film Victim is decades ahead of its time. Dirk Bogarde stars as a closeted homosexual, a successful barrister in a seemingly steady and loving marriage. However, a young man repeatedly attempting to phone Bogarde at the beginning of the film suddenly ends up murdered, and Borgarde discovers a blackmail plot to expose the young boy as homosexual (apparently the blackmailer has a picture of the boy and the barrister). Interestingly, the blackmailers consider of a man of Bogarde’s social status immune to blackmail---he’s too high up on the food chain to mess with. However, homosexuality was deemed, at this time, illegal, and one would be convicted of homosexuality and sent to prison---therefore, a blackmailer’s dream. It turns out there’s a gay blackmail sting operation going on in London, and Bogarde takes it upon himself to put an end to it and risk ruining his marriage and career. The scenes with Bogarde’s wife (Sylvia Syms) confronting him and a very frank scene with a barber shop owner discussing how nature has made men like him are candid, open, and revolutionary for film. Consider that in 1961 in the US the ban against homosexuality against film was just lifted that year and the two films dealing with homosexuality (The Children’s Hour; Advise & Consent) hardly depict a character as well balanced and level headed as Bogarde. An excellent film worthy of celebration and exultation, I still can’t believe such a brave film was made in 1961 and starring someone as big as Dirk Bogarde (who gives an excellent, noteworthy performance).
Police, Adjective (2009): Well, this made a ton of very notable critics best of the year lists. It also won the Un Certain Regard Jury Prize at Cannes last year. And I didn’t quite care for it at all (I think I felt the same way as I did over Assayas’ Summer Hours, 2008). To be frank, I was bored stiff throughout Police, Adjective, which centers on a young police officer tasked with tailing a student for smoking marijuana, while coming to the conclusion that he will refuse to arrest the student (since Romania is one of the only countries in Europe where the smoking the drug is illegal) because it would ruin this young man’s life. In fact, he takes great great pains to follow the boy and discover where the drugs are coming from in order to nab the supplier instead. However, the powers that be pressure our protagonist (Dragos Bucur) into insisting that they arrest the boy. The films greatest scene between Bucur and his commanding officer discuss the nature of language, the purity of the meaning of words like conscience, and yes, police. I understand that the country’s political and past baggage informs most of what’s going on beneath the surface of the film. Very sparse on dialogue, most of the film is shot in real time, meaning we see Bucur following his suspect and watching him. It feels like we’re on the job with him. Hailed as a thinking man’s film (and though there may be some humorous moments) I couldn’t help but wish the film had been at least 40 minutes shorter. Granted, I saw a 9:55 screening on a Friday night, and it didn’t help that the seven other people that were at the film all got up to leave before the end (and I am not kidding). So I was distracted a bit, but as much as I’d love to say I liked the film, I can only say I appreciate that I saw it and that so many other people love it (the second feature from Corneliu Porumboiu of the much hailed 12:08 East of Bucharest, 2006).
Why Did I Get Married, Too? (2010): And so it is that Tyler Perry’s latest was the best theatrical experience of the week. Go figure. There are several reasons that I quite liked this film, the foremost being my husband’s love and obsession for Janet Jackson, who also starred in the first film from 2008 (which I previously had considered Perry’s best effort). Second, there’s no interminable preaching (plus I believe I heard Michael Jai White’s character quickly quip about gay marriage) and none of that infernal drag queen Madea nonsense that Perry depends on to sell tickets. At its boiled down best, Perry’s treatise on marriage is all about issues and problems that many married couples face. Since the only interracial couple I’ve yet to see in a Perry film was a very toxic affair between Sanaa Lathan and Cole Hauser in The Family That Preys (2008), I would love to see Perry explore this further if he ventures a third outing with Ms. Jackson in the lead (and the ending of this film just might hint at that). Of course, the whole affair is rather soap operatic, but sees Perry engaging us more than he has before, with each scene resulting in mini-cliffhangers towards the end and without the usual bi-polar emotional kamikaze he usually flings at us. Casting himself again as Sharon Leal’s husband, Perry fares a little better acting wise in the sequel, though Leal is still something of dull characterization. While Jackson may be the draw (and emotional heart of this feature), the scene stealer that Perry sometimes depends on a bit too much is the phenomenal Tasha Smith as Angela, the foul mouthed temper tantrum incarnate. He makes her a bit more human, though more melodramatic than ever. The biggest improvement is Jill Scott---she’s still one of the weakest sidelines in Perry’s episodic narrative, but she’s far less persistently pathetic and annoying than in the first film. Over the top antics aside, Perry’s managed to pull together a film that’s far less caricature and a little less black and white. Some important issues do rise to the occasion, even if they’re wrapped in a blandness akin to daytime television at times. And yeah, I agree that Perry neglects to capture the beauty of the Bahamas from the first half, but there’s so much going on one can hardly bother with the location anyway. Louis Gossett Jr. and Cicely Tyson show up for some wasted scenery (and the only scene I hated with Tasha Smith) while Perry decidedly ruins the good thing he had going in the last ten minutes or so, in particular one awful, forced hospital scene that will leave the most open minded audience cringing at it’s idiocy. While it may be receiving a lot of negative reviews (as most Perry films do) it’s miles better than something like, I Can Do Bad All By Myself (2009) or Diary of a Mad Black Woman (2005).
A Fish Called Wanda (1988): The hubby had never seen A Fish Called Wanda, and so on Easter we caught up on some old VHS comedies I dug out. I forgot how cute Jamie Lee Curtis was, while John Cleese is quite good. I did enjoy Kevin Kline in his Oscar winning performance here, but I guess I feel like he’s done better elsewhere. Quite light on plot, the film is of course about Kline and Curtis conning barrister Cleese into fumbling the defense of his client, a man they are trying to screw over on a con they pulled. Charles Crichton directed, who worked mostly in television----and I can’t help but think what a better endeavor this might have been with just a little bit tighter direction, though there are several moments of classical hilarity, thanks to the animal loving, stuttering Michael Palin.
Dirty Rotten Scoundrels (1988): And another 80’s trip down memory lane is this hilarious little caper gem from Frank Oz starring an awesome Michael Caine, Steve Martin, and Glenne Headly. Martin and Caine are two con men working the French Riviera, though Martin’s kind of a lower class con man that Caine takes under his wing to avoid having his cover blown. When they choose the American soap queen (Headly) to con first for her money, and then for her virtue, the boys may have gotten into something way over their heads. The best moments, however, are when Martin poses as Caine’s mentally retarded brother, Ruprecht, to fight off a bevy of rich ladies they’ve conned, one being Frances Conroy.
Donnie Darko (2001): When I first had seen Donnie Darko it was in 2003 and I was a senior in high school. I remember instantly falling in love with this twisting, labyrinth of a film that was about time travel, clueless adults, depressed kids, and a fear of the end. I may have over-related to Jake Gyllenhaal’s titular protagonist at that age, but inching towards a decade later, I still find that I love the film more than ever, perhaps having more questions about it now more than ever. I can’t help but love the compassionate and endearing qualities of this dark angsty tale, with performances from Mary McDonnell and Katharine Ross that move me every time. Anyhow, now in 2010, this was my ant-Easter themed treat for the hubby since he’d never seen it (you know, because it features Frank, the evil bunny, portrayed by James Duval). Darko also sports great turns from Jena Malone, Maggie Gyllenhaal, Drew Barrymore, Noah Wyle, and the late, great Patrick Swayze. If you haven’t seen Donnie Darko, please do so, and ignore that annoying nerdy cult following it has trailing/touting it---it’s a film deserving and worthy of cinematic love.
The Room (2003): And yeah, we just had to have another group of friends over to experience this again. Good times!
Miller’s Crossing (1990): The third feature from the Coen Bros. is like a talky conglomeration of 30’s gangster and 40’s noir---pretty damn good and intellectual to boot. Gabriel Byrne stars as an Irish gangster trying to navigate shifting power structures between the Irish mob boss (Albert Finney) and the Italian up and comer (Jon Polito) during Prohibition era politics. And while a woman seemingly stirs up the conflict (Marcia Gay Harden), the climax comes to fruition because of a homosexual love. Harden has Finney wrapped around her fingers, mostly because this affords her flamboyant grifter brother (John Turturro) some protection. But Turturro has angered the Italian mob boss, and the Irish aren’t willing to hand him over. Oh, and Harden is also sleeping with Finney’s right hand man and friend, Byrne. Oh, and Turturro is sleeping with Steve Buscemi (named Mink, lol) who really belongs to the Italian’s right hand man, the scary and creepy J.E. Freeman. Murder, double crossings, and an awesome scene with Albert Finney and a tommy gun makes this one of fine picture that’s funny, moody, dark and completely worth your time.
The Sting (1973): Yes, I’d never seen this monolithic Best Picture winner from 1973 starring Hollywood golden boys Paul Newman and Robert Redford (it also garnered Redford is only nomination ever for acting). Considered one of the best con artist films ever made, The Sting is about a 1930’s era sting against a criminal banker (Robert Shaw) when Redford, a small time con artist, joins forces with Newman, a master of the con, to revenge the death of his old partner (Robert Earl Jones----yeah, the papa of James). Newman and Redford had excellent buddy chemistry, though it’s a little more muted here between cons, the 30’s era atmosphere, and crooked cop Charles Durning tracking down Redford for slipping him counterfeit cash. Director George Roy Hill (born in Minneapolis in the 1920’s) also won Best Director---definitely must see cinema, a classic from 70’s era American film.
Lourdes (2009): The feature debit of Austrian director Jessica Hausner, Lourdes stars impish Sylvie Testud as a wheelchair bound woman making a pilgrimage to Lourdes not because she’s really looking to make a pilgrimage or hoping to be healed, but she really just has no other opportunities to get out. And so begins this quietly moving film about a quiet little woman that experiences a miraculous healing at Lourdes---much to the suspicion and chagrin of all those around her. The head matron (Elina Lowensohn) is crusty, dismissive, and has devastating problems of her own; the volunteer assigned to look after Testud (Lea Seydoux) is jealous of the attentions that an officer/guide (Bruno Todeschni) bestows upon Testud, and often abandons her to be looked after by an older woman attending the pilgrimage tour. The film never attempts to rationalize Testud’s recovery (she gains the ability to walk and move her arms) but instead focuses on perceptions of who deserves to be healed, forgiven, and even loved (Testud is neither the most depressed, the worst off, and she’s clearly not even religious). There’s a lot going on beneath the surface of Hausner’s film, a beautiful and breathtaking piece of cinema.
Victim (1961): Infamous for it’s subject matter, Basil Dearden’s UK film Victim is decades ahead of its time. Dirk Bogarde stars as a closeted homosexual, a successful barrister in a seemingly steady and loving marriage. However, a young man repeatedly attempting to phone Bogarde at the beginning of the film suddenly ends up murdered, and Borgarde discovers a blackmail plot to expose the young boy as homosexual (apparently the blackmailer has a picture of the boy and the barrister). Interestingly, the blackmailers consider of a man of Bogarde’s social status immune to blackmail---he’s too high up on the food chain to mess with. However, homosexuality was deemed, at this time, illegal, and one would be convicted of homosexuality and sent to prison---therefore, a blackmailer’s dream. It turns out there’s a gay blackmail sting operation going on in London, and Bogarde takes it upon himself to put an end to it and risk ruining his marriage and career. The scenes with Bogarde’s wife (Sylvia Syms) confronting him and a very frank scene with a barber shop owner discussing how nature has made men like him are candid, open, and revolutionary for film. Consider that in 1961 in the US the ban against homosexuality against film was just lifted that year and the two films dealing with homosexuality (The Children’s Hour; Advise & Consent) hardly depict a character as well balanced and level headed as Bogarde. An excellent film worthy of celebration and exultation, I still can’t believe such a brave film was made in 1961 and starring someone as big as Dirk Bogarde (who gives an excellent, noteworthy performance).
Police, Adjective (2009): Well, this made a ton of very notable critics best of the year lists. It also won the Un Certain Regard Jury Prize at Cannes last year. And I didn’t quite care for it at all (I think I felt the same way as I did over Assayas’ Summer Hours, 2008). To be frank, I was bored stiff throughout Police, Adjective, which centers on a young police officer tasked with tailing a student for smoking marijuana, while coming to the conclusion that he will refuse to arrest the student (since Romania is one of the only countries in Europe where the smoking the drug is illegal) because it would ruin this young man’s life. In fact, he takes great great pains to follow the boy and discover where the drugs are coming from in order to nab the supplier instead. However, the powers that be pressure our protagonist (Dragos Bucur) into insisting that they arrest the boy. The films greatest scene between Bucur and his commanding officer discuss the nature of language, the purity of the meaning of words like conscience, and yes, police. I understand that the country’s political and past baggage informs most of what’s going on beneath the surface of the film. Very sparse on dialogue, most of the film is shot in real time, meaning we see Bucur following his suspect and watching him. It feels like we’re on the job with him. Hailed as a thinking man’s film (and though there may be some humorous moments) I couldn’t help but wish the film had been at least 40 minutes shorter. Granted, I saw a 9:55 screening on a Friday night, and it didn’t help that the seven other people that were at the film all got up to leave before the end (and I am not kidding). So I was distracted a bit, but as much as I’d love to say I liked the film, I can only say I appreciate that I saw it and that so many other people love it (the second feature from Corneliu Porumboiu of the much hailed 12:08 East of Bucharest, 2006).
Why Did I Get Married, Too? (2010): And so it is that Tyler Perry’s latest was the best theatrical experience of the week. Go figure. There are several reasons that I quite liked this film, the foremost being my husband’s love and obsession for Janet Jackson, who also starred in the first film from 2008 (which I previously had considered Perry’s best effort). Second, there’s no interminable preaching (plus I believe I heard Michael Jai White’s character quickly quip about gay marriage) and none of that infernal drag queen Madea nonsense that Perry depends on to sell tickets. At its boiled down best, Perry’s treatise on marriage is all about issues and problems that many married couples face. Since the only interracial couple I’ve yet to see in a Perry film was a very toxic affair between Sanaa Lathan and Cole Hauser in The Family That Preys (2008), I would love to see Perry explore this further if he ventures a third outing with Ms. Jackson in the lead (and the ending of this film just might hint at that). Of course, the whole affair is rather soap operatic, but sees Perry engaging us more than he has before, with each scene resulting in mini-cliffhangers towards the end and without the usual bi-polar emotional kamikaze he usually flings at us. Casting himself again as Sharon Leal’s husband, Perry fares a little better acting wise in the sequel, though Leal is still something of dull characterization. While Jackson may be the draw (and emotional heart of this feature), the scene stealer that Perry sometimes depends on a bit too much is the phenomenal Tasha Smith as Angela, the foul mouthed temper tantrum incarnate. He makes her a bit more human, though more melodramatic than ever. The biggest improvement is Jill Scott---she’s still one of the weakest sidelines in Perry’s episodic narrative, but she’s far less persistently pathetic and annoying than in the first film. Over the top antics aside, Perry’s managed to pull together a film that’s far less caricature and a little less black and white. Some important issues do rise to the occasion, even if they’re wrapped in a blandness akin to daytime television at times. And yeah, I agree that Perry neglects to capture the beauty of the Bahamas from the first half, but there’s so much going on one can hardly bother with the location anyway. Louis Gossett Jr. and Cicely Tyson show up for some wasted scenery (and the only scene I hated with Tasha Smith) while Perry decidedly ruins the good thing he had going in the last ten minutes or so, in particular one awful, forced hospital scene that will leave the most open minded audience cringing at it’s idiocy. While it may be receiving a lot of negative reviews (as most Perry films do) it’s miles better than something like, I Can Do Bad All By Myself (2009) or Diary of a Mad Black Woman (2005).
A Fish Called Wanda (1988): The hubby had never seen A Fish Called Wanda, and so on Easter we caught up on some old VHS comedies I dug out. I forgot how cute Jamie Lee Curtis was, while John Cleese is quite good. I did enjoy Kevin Kline in his Oscar winning performance here, but I guess I feel like he’s done better elsewhere. Quite light on plot, the film is of course about Kline and Curtis conning barrister Cleese into fumbling the defense of his client, a man they are trying to screw over on a con they pulled. Charles Crichton directed, who worked mostly in television----and I can’t help but think what a better endeavor this might have been with just a little bit tighter direction, though there are several moments of classical hilarity, thanks to the animal loving, stuttering Michael Palin.
Dirty Rotten Scoundrels (1988): And another 80’s trip down memory lane is this hilarious little caper gem from Frank Oz starring an awesome Michael Caine, Steve Martin, and Glenne Headly. Martin and Caine are two con men working the French Riviera, though Martin’s kind of a lower class con man that Caine takes under his wing to avoid having his cover blown. When they choose the American soap queen (Headly) to con first for her money, and then for her virtue, the boys may have gotten into something way over their heads. The best moments, however, are when Martin poses as Caine’s mentally retarded brother, Ruprecht, to fight off a bevy of rich ladies they’ve conned, one being Frances Conroy.
Donnie Darko (2001): When I first had seen Donnie Darko it was in 2003 and I was a senior in high school. I remember instantly falling in love with this twisting, labyrinth of a film that was about time travel, clueless adults, depressed kids, and a fear of the end. I may have over-related to Jake Gyllenhaal’s titular protagonist at that age, but inching towards a decade later, I still find that I love the film more than ever, perhaps having more questions about it now more than ever. I can’t help but love the compassionate and endearing qualities of this dark angsty tale, with performances from Mary McDonnell and Katharine Ross that move me every time. Anyhow, now in 2010, this was my ant-Easter themed treat for the hubby since he’d never seen it (you know, because it features Frank, the evil bunny, portrayed by James Duval). Darko also sports great turns from Jena Malone, Maggie Gyllenhaal, Drew Barrymore, Noah Wyle, and the late, great Patrick Swayze. If you haven’t seen Donnie Darko, please do so, and ignore that annoying nerdy cult following it has trailing/touting it---it’s a film deserving and worthy of cinematic love.
The Room (2003): And yeah, we just had to have another group of friends over to experience this again. Good times!
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