All Good Things (2010, U.S.)

Mom and I were looking for something to watch on Netflix, and this popped up while we were scoping out Ryan Gosling movies. Neither of us had ever heard of it, but it sounded interesting and we liked the two main actors. I really enjoyed the first half or so. They explore the characters and their relationships quite well, and it had all the makings of a complex psychological movie. (In fact, something about it really reminded me of another movie, but I can't think of what it was to save my life. Maybe Fractured? Or maybe one of many psychological films featuring Eddie Redmayne—Like Minds, Savage Grace, Glorious 39? I just don't know!)

Gosling was his usual impressive self, particularly in scenes where he was supposed to be demonstrating signs of some sort of mental illness, possibly schizophrenia. Dunst was also very good, sweet and open and a perfect balance to Gosling. Their relationship was very believable. The disintegration of their relationship was very believable. It was executed simply and effectively, and I liked the subtle flashback method that they used as well.

There was just something about the ending that didn't ring true. It felt awkward and fake compared to the rest of the film, which felt honest and real. I think I would have really liked, or even loved, this movie, but I just didn't feel great about the end.

Rating: 3.5

J. Edgar (2011, U.S.)

On the one hand, this was a very interesting and entertaining movie. I knew next to nothing about Hoover before, and I found his relationships with his mother, Helen Gandy, and Clyde Tolson to be quite fascinating. The cast of the movie was out of this world. Of course Dame Judi Dench is one of my all time favorites, and her performance as Mrs. Hoover was very nuanced, I thought. Armie Hammer was pretty good, and Naomi Watts was spot on, as usual. I loved everyone playing small roles of big people, from Robert Kennedy, Franklin Roosevelt, Richard Nixon, and Dwight Eisenhower to Lucille Ball, Ginger Rogers, and Shirley Temple. They were all very well cast. Then of course there was Leonardo DiCaprio, probably the most talented actor of his generation, who just became Hoover. He nailed both the intimidating, intelligent public persona and the insecure, unsure inner man. I think poor Leo gets a bad rap just because of Titanic, but a) his acting was great in that movie, and b) I have never seen him give less than a brilliant performance in another movie, either. Just think about What's Eating Gilbert Grape, Gangs of New York, The Departed, even lighter movies like Catch Me If You Can. I don't really think he's attractive, but boy can he act.

Anyway, it obviously wasn't the acting that was underwhelming in this movie. I think it must have been the script. There were so many instances when I felt like a bit more dialogue or a more lingering camera shot could have added a lot more meaning to a moment. It also could have suffered because they were trying to cover so much of his life at once while picking the most important professional and personal moments and not having enough of either. That was pretty frustrating.

Another frustrating thing was the makeup. It was eery how well they did DiCaprio's makeup as he aged. I could have believed they shot the film over 50 years! For Watts, they did a good job of adding wrinkles and things and making her look much older than she is, but her character didn't seem to age nearly enough to match Hoover's aging. The worst job was on Hammer, who went from a young man to a sort of fake looking, spotty, clay-headed geriatric. He didn't even look like a real person in his elderly form. That was very off-putting.

The costumes and sets were also brilliantly done. The cinematography was dark, dark, dark, which served many functions. It made the movie feel historical. It emphasized the secretive nature of their work in the Bureau. And it served as a reminder of the parts of Hoover that were hidden from the public.

So this movie was good, but I just felt like it was missing something. I wanted a lot more from it than I got. However, it is certainly worth watching.

Rating: 3.5

Heaven (2002, Germany)

This was an enthralling, beautiful, sad, uplifting film. It is definitely one of a kind. Philippa seeks revenge for her husband's death by planting a bomb, but instead of killing the intended target, the victims are innocent bystanders instead. When she is arrested and interrogated as a terrorist (they don't believe her story about her husband), one of the officers is the young Filippo. He forms this inexplicable attachment to her and tries to help her escape.

Somehow the couple falls in love, and it seems improbable and inevitable all at once. They become twins, from their clothes to their hair to their situation to their already matching names to their quest for something more (perhaps the titular heaven). The effect is rather stunning, as is much of the composition. One shot of them standing under an enormous tree during a beautiful sunset is absolutely breathtaking. Their shadows meld together so that they become one person, a process begun by their previously mentioned physical transition.

Despite its simplicity, the plot seemed very confusing at times. I think this is probably because it was such a symbolic piece. The opening scene was especially jarring, though even it made sense in the end. I would give this a 3.5 because of its shaky plot foundations, but between the symbolism, the cinematography, and the powerful acting (Blanchett and Ribisi were incredible), this film really grabbed me somehow. A very pleasant surprise.

Rating: 4.0

I Love You, Phillip Morris (2009, U.S.)

I don't even know where to begin with this movie. The fact that it was based on a true story just blows my mind. Man with super-Christian wife announces he's gay, moves to Florida to live the lifestyle, supports himself by committing fraud, his boyfriend dies of AIDS, he goes to prison for his crimes, he falls in love with another inmate, he becomes a lawyer to get his lover out of prison... and it only gets more unreal from there. It's bizarre.

I did find myself laughing out loud quite a bit, but I don't know if it was due to the absurdity of the entire plot or whether it was actually funny. I've never been a huge Jim Carrey fan (my favorites of his are the more "serious comedies," The Truman Show and Eternal Sunshine), to the point where I feel like he almost detracts from a movie. Still, his completely over-the-top style worked for this over-the-top story. And Ewan McGregor. I just love him, and I've always thought he was a good actor. This role just proved how versatile he is. He was stellar as this sweet, soft-spoken, golden-haired, gay, minor criminal. I too wanted to shout, "I love you, Phillip Morris!"

This whole flick was far from what I expected, but it was entertaining, funny, strangely engaging, and definitely interesting. And did I mention Ewan McGregor?

Rating: 3.5

Luftslottet som sprängdes (2009, Sweden)

Larsson's novels were very complex and involved a lot of detail about Swedish politics. The films, especially this third film, was much more simple, but still a passable adaptation. The first was definitely the best. This was an interesting look at the Swedish legal system. Apparently the judges/jury, prosecution, defense, and witnesses just sit in a big circle and talk it out! It makes it difficult to believe that the corruption that's the basis for these stories could possibly occur in such a country.

My biggest complaint about this installment was the abrupt ending. It just felt way too sudden. Otherwise, my comment would all be repetitive from the two other films. I will repeat, I think for the second time, that Noomi Rapace is a stellar actress. I look forward to seeing her in more movies.

Rating: 3.5

Flickan som lekte med elden (2009, Sweden)

Inevitably, a film adaptation of a complex, multi-layered suspense/mystery novel of the outstanding caliber of Larsson's work just isn't going to have the same impact. True, a lot was too oversimplified (for instance, the sex trade angle, a huge part of the novel's plot, never made sense in the film). Also, the fight between Paolo, Miriam, and the German was way too *bang* *pow* super-choreographed.

Still, a lot of it carried over well. It was very dark and suspenseful. I still think the casting for Lisbeth was excellent, though Mikael was on and off. The music was eerie and dark, perfect to set the appropriate tone. Good stuff, especially if you haven't read the book but even if you have.

Chilling, powerful, engaging, and very Swedish. Good stuff.

Rating: 3.5

Fargo (1996, U.S.)

I don't even know where to begin with this movie. I almost can't even see why it's a cult classic. Jerry is in deep financial trouble, and his rich father-in-law is a jerk, so he decides to have his wife kidnapped and have her father pay the ransom. Basically every character is incompetent, except for the heavily pregnant sheriff investigating. There's a lot of violence, a lot of death, a lot of Minnesota accents.

I guess some people might find it funny, but it's just not my type of humor. Mostly I was impressed by Frances McDormand's performance as the sheriff. The rest of it, I could have lived without.

Still, I'm glad that I finally got around to seeing this cult classic.

Rating: 2.5

Plunkett and Macleane (1999, UK)

I liked this one, but I would have liked it a lot more if it was set up better. The first 20 minutes and the entire rest of the film seemed like two different movies. The beginning was incredibly violent and graphic, popping out eyeballs and digging up smelly corpses. All of this leads to an impoverished gentleman and a run-of-the-mill poor guy start crime scheme in 1748 London. The gentleman (Miller) gets into the social events of the aristrocracy, finding out who is carrying a lot of cash and where they hide their money, and the two become gentleman highwaymen. The poor one (Carlyle) wants to earn enough to go to America, and impoverished one just wants to be a gentleman.

The grittiness lent extreme realism, but it also turned my stomach a little bit. The plot took awhile to pick up because the first scenes were so irrelevant, but when it got going, it was engrossing. It mixed action, a hard-luck drama (with class wars), romance, and a bit of black comedy too. I especially loved Jonny Lee Miller, who was adorable and hilarious. Alan Cumming was interesting as an aristocratic, flamboyant bisexual. Liv Tyler wasn't annoying like she usually is.

One thing that really stuck out was the music, which was partially modern pop/rock (like they were going for the A Knight's Tale feel, though not as successfully) and partially instrumental music that sounded like the type of music you would hear in a modern crime comedy where the "bad guys" are really "good guys." (Instead it was an historical crime quasi-comedy where the "bad guys" are really "good guys.")

If you're looking for something different with a strange feel, this one is worth a watch.

Rating: 3.5

Despicable Me (2010, U.S.)

Despicable Me was a very strange movie. A super villain named Gru loses his place as the world's worst villain, replaced by a nerdy kid who goes by Vector, smart smart but not world-smart. To break into his arch-enemy's lair, he adopts three girls from an orphanage that sells cookies so that they can infiltrate Vector's fortress.

I wish they had focused more on Gru doing despicable things at the beginning. I loved watching him waltz into Starbucks and using a freeze gun to cut in front of everyone in line. I guess this was the kind of movie that's made for plot rather than character development, but with such a good lead character, it's a shame they didn't spend more time on him. (Side note: why are villains always eastern European? What stereotyping!) I also loved his minions, who were adorable and hilarious.

I don't often notice sets unless they're really out of the ordinary, but the "sets" in this were awesome, especially in the two villains' lairs. The furniture, technology, built-in shark tanks, weapon systems, and more were really cool. This definitely couldn't have been pulled this off in a live-action film. Gru's big dark house in an otherwise cookie cutter neighborhood also gave me a laugh.

The use of Pharrell Williams as a composer was an interesting addition to the movie. It varied in feel from serious spy to goofy and then a combination of the two, plus some weirdly unexpected R&B. The title song, "Despicable Me," was awesome. So awesome that I want to download it and make it my personal theme song.

Rating: 3.5

Serious Moonlight (2009, U.S.)

What an unfortunate movie. I'll just put it out there—I hate Meg Ryan. But my mom wanted to watch this one, so I did. A woman finds out her husband is cheating and planning to leave her, so she does the only sensible thing and duct tapes him to the toilet, telling him she'll let him go only when he loves her again.

It's an interesting concept with only four main characters, but it's like the filmmakers couldn't decided to make it a comedy or a psychological drama, and the combination just leaves an unsettled, unsatisfied feeling. If they hadn't tried so hard or had decided what they were trying to do, it could have been good or even amazing, but it wasn't. Combined with bad acting, it just wasn't great. I did keep in mind that the writer (and probably planned director) was murdered before the film could be made, so maybe she could have made it better, like by not casting Meg Ryan. (She was the one behind Waitress, which was quite good.)

Bottom line, I wouldn't recommend it. Unless you want to make your mother happy.

Rating: 2.5

The Last Drop (2005, UK)

Here I go again, following a certain Swede's career all over the place. I was really glad he brought me to this one. It wasn't at all what I thought it would be like. I thought it was going to be about a real World War II military operation. Instead, it was a heist film set during the war. Think Ocean's 11 with Nazis.

I don't know how historically accurate it was, but they did cut archive footage from newsreels and the like into it, which was neat. It was war, adventure, crime, comedy... everything mixed into one.

The one thing that was awful about this one was the sound mixing.
Gunfire and explosions were so much louder than dialogue and music, it was very hard to hear. On the other hand, the writing and acting were great. Billy Zane thought he was Indiana Jones, Alexander Skarsgård was pretty convincing as a German mocking Americans, and the camaraderie between the American soldiers was well played. I never do this, but I can't help it this time: watch this clip from about 0:55 to 1:55. It is priceless!

Rating: 4.0

Veronica Guerin (2003, U.S.)

Cate Blanchett is one of my all-time favorite actresses. No matter what part she's in, she's brilliant. This was no exception. She shone in the true story of Veronica Guerin, an Irish reporter who exposed the Dublin drug trade in the mid-1990s. She carries on through threats, a gunshot to the leg, and a beating, determined to clean up Dublin society. She's ultimately murdered in 1996.

Veronica Guerin obviously had to be a fearless, determined, and admirable woman, which Blanchett conveys well. Unfortunately, I found the writing to be sometimes convoluted and not fast-paced enough for the subject. Perhaps most Irish viewers familiar with the subject would have followed better that doesn't change the pacing.

Overall I found it educational, a great performance for Blanchett, but just too slow.

Rating: 3.0

Intermission (2003, Ireland)

This film begs comparison to Crash in that it follows the lives of a group of Irish men and women whose lives intersect in the most unlikely and also likely ways.

It was seamlessly pieced together, almost like a dance. Parts were laugh-out-loud funny, parts were touching, parts were hard to watch. The writing was very strong, as was the performance of a great ensemble. I would recommend this one.

Rating: 3.5

Camille (2007, U.S.)

Possibly the most bizarre movie I have ever, ever seen.

Silas is a thief who marries his parole officer's niece Camille. He's not allowed out of the state, but he uses his future wife's uncle's sympathies in the hope that he can use his honeymoon to escape to Canada. Camille has always dreamed of honeymooning at Niagara Falls, and she cheerfully deludes herself into thinking that the honeymoon will change her scummy man for the better.

What follows is the strangest road trip movie of all time. Because Silas and Camille get in a fatal motorcycle accident. That's right, fatal. Camille dies, but she keeps on with her honeymoon. And it's her death that finally pushes Silas in the right direction.

They have all sorts of adventures, running from the police, hanging out with carnies, visiting the falls... Franco and Miller give just the right touch of humor and seriousness to this macabre love story, creating a strangely enjoyable movie experience.

Appaloosa (2008, U.S.)

I really have next to nothing to say about this one. I can't really even remember what the plot was about. I do remember that Renée Zellweger was underwhelming (unusual), Ed Harris was Ed Harris (underwhelming), and Viggo Mortensen was Viggo Mortensen (understated but wonderful performance).

I think westerns just aren't my thing. Maybe this movie wasn't bad, but it bored me to tears. Disappointing.

Rating: 2.0

RocknRolla (2008, UK)

I don't know why I insist on continuing to watch British crime comedies when I rarely end up liking them. Oh way, yes I do. Snatch—Brad Pitt. Layer Cake—Daniel Craig. RocknRolla—Gerard Butler. I'm a sucker for those British men, even if the movie isn't my favorite genre.

I can see why people who like this type of film would like it. It had some pretty extreme shoot outs and disgusting intimations of violence (such as dipping people in pools of man-eating crawfish). There were also some pretty funny lines, but not really my kind of funny.

Mostly I spent the whole movie confused about who was doing what and why, and whose relationships were what and why... and, of course, how sexy Gerard Butler is, even as a gangster!

Even though I'm giving it the same rating as Snatch, I believe I liked it quite a bit more. The twist at the end was especially awesome.

Rating: 2.5

Snatch. (2000, UK)

I watched this movie because Brad Pitt is in it. I had absolutely no idea what it was about before I watched it, and I was a bit shocked. Essentially, it's one big heist film. There's a diamond, and there are a bunch of different people who want it. Insert varying amounts of comedy and drama, much intrigue and plotting, and general randomness.

I kind of liked it. It was quite complex and well-planned. On the other hand, the violence was just a bit too much for me, as is often the case. However, if you like violent flicks about crime with more than a touch of comedy, this is definitely a good one to see. I can recognize that it is great for what it is.

Rating: 2.5

The International (2009, U.S.)

I have rarely been so disappointed with a film starring one of my favorite actors. Or by such a prestigious director. But The International just... wasn't good. I can't say that it was bad, necessarily, but nor was it worth the two hours spent watching it.

It started out really promising, with a shockingly long closeup of Clive Owen's face, looking pensive. That one shot built up more tension than the rest of the movie combined, probably. Why is he just standing there? What's going on? And then a man he's working with dies in front of him, and you think he's about to be killed the same way. But really it was just his overactive imagination. And the suspense end there.

The rest of the film is just a confusing mess. Naomi Watts plays a New York ADA and Clive Owen plays an Interpol agent trying to expose a corrupt international bank. How an NY ADA is going to help with this is very unclear. I guess it was unclear to the screenwriters as well, because Watts' screen time was incredibly short, considering she was given top billing with Owen.

I just don't even have that much to say about this film. The acting was great, of course. Some of the cinematography was unbelievable, including a drawn-out gun fight that takes place in a museum with fascinating architecture. (It could be said, however, that the whole film depended too much on this scene, which was drawn out entirely too long.) I didn't even pay that much attention to the score, which was done by the same guys who did Run Lola Run. It should have been more memorable.

All in all, a huge disappointment.

Rating: 2.0

Rancid Aluminium (2000, UK)

What a strange movie. I'm not sure if there was a point. There was a plot, but at the end all I could think was, "Why?" The major idea of the movie was that a man (Ifan)'s father dies and leaves him the family company, even though the son's best friend (Fiennes) put more work into the company. The friend is jealous and smart. So he convinces the son that they're going bankrupt and enlists Russian mobsters to (it seems) steal his friend's money and then kill him.

His motivations made no sense. The Russians' role made no sense. The son's affair with the mobster's daughter made no sense. The vague ending made no sense.

I guess this just wasn't my cup of tea, but it did have Joseph Fiennes in it, so I had to try. (Random note: I think they trimmed his eyelashes so he wasn't as attractive. Some attention to detail!) The best things about this one were the acting (of course) and the score. It was almost like the score was one big joke. It was overdramatic, diverse, and just plain odd. But it fit perfectly, and really added something. If you're big on original (by which I mean unique) film music, it's worth watching just for that.

Rating: 2.5

Love, Honour, and Obey (2000, UK)

What a weird one from Natural Nylon. But then, I guess you couldn't expect anything else. A clash of London gangters. Violence, profanity, sex jokes, friendships, love, marriage... Jonny Lee Miller narrates the film in a clown costume. Scenes of all of the characters singing karaoke are spliced into the main storyline. Jude and Jonny's friendship is paralleled to Sadie and Ray's pending nuptials. (Hence the "love, honour, and obey.")

I read a review of this on imdb, and the reviewer said "It wasn't bad. It wasn't good." And that's about what I thought of it. Parts of it were really brilliant—the time structure, the random karaoke and clown-narration scenes, the relationship foil, the ongoing erectile dysfunction side plot (now there was a surprise). On the other hand, it seemed too violent, too vulgar, too unrealistic, too pointless. So not good, not bad. On the other hand, I am curious to see some other Natural Nylon productions now.

I don't really know what else to say about this one. It is definitely one of a kind, if nothing else.

Rating: 3.0