Girl Detective

Roger Ebert’s health has kept him from his show Ebert and Roeper for over a year now. Cohost Richard Roeper has worked with many guests, but with the new season, a few changes were evident. The signature thumb review was gone; films were recommended or not. Ebert co-owns the trademark, and has withdrawn permission for the thumbs, as the contract for the show is negotiated with Disney. The show title is now At the Movies with Ebert and Roeper. My new crush, the meticulously groomed (NB: not code for gay, just an observation), smart and snarky Robert Wilonsky warms Ebert’s seat each week for the foreseeable future. The show continues to be a good weekly update on what’s coming out, and what’s worth seeing in the theater, on DVD, or not at all.

Check out the new, extensive archives at the Ebert and Roeper site.

#64 in my 2007 movie challenge was the Buster Keaton silent film Sherlock, Jr. Keaton plays a poor movie clerk displaced from his girlfriend’s affections when a thieving cad frames him for stealing a watch. There is a memorable dream sequence in which Keaton and the other characters intermingle on the screen. It’s worthwhile on its own, but far more arresting given the lack of technology available, as with Citizen Kane and Rules of the Game.

Bit of trivia: One of the writer’s was Clyde Bruckman, whose name was used in the title of one of my favorite X-Files episodes.

According to the MPAA:

A G-rated motion picture contains nothing in theme, language, nudity, sex, violence or other matters that, in the view of the Rating Board, would offend parents whose younger children view the motion picture. The G rating is not a “certificate of approval,” nor does it signify a “children’s” motion picture. Some snippets of language may go beyond polite conversation but they are common everyday expressions. No stronger words are present in G-rated motion pictures. Depictions of violence are minimal. No nudity, sex scenes or drug use are present in the motion picture.

I took Drake to see Ratatouille yesterday. Within ten minutes he was terrified, and I didn’t blame him. I was offended then, and further later when I confirmed the G rating and what it is supposed to cover. To me, minimal violence DOES NOT encompass a little old lady pulling out a shotgun, shooting at main characters until her gun is empty, searching for bullets, reloading, releasing rat poison, putting on a gas mask, and continuing to shoot. This scene, about ten minutes into the movie, is loud, violent and it scared my four year old child.

I’ve long been aware that the MPAA ratings are screwed up, giving more leeway to violence than to sexuality, but I thought these errors were on the R and PG13 end of the spectrum. But as Drake found out, to both his and my dismay, the leeway on violence seems to be a pitfall of all the ratings.

Ratatouille might be a good movie for older kids and adults. It’s not for small kids. Shame on you MPAA, Disney, and Pixar. Why couldn’t the old lady simply have chased the rats with a broom–why the shotgun AND the gas? Next time I’ll consult a site like Common Sense Media to be better informed.

#62 in my 2007 movie challenge was Superman II. I was pleasantly surprised at how well the first movie stood the test of time. I didn’t feel the same about the sequel, though it was mostly well reviewed.

The Kryptonian villains introduced in Superman are released from their virtual prison, and terrorize the earth. They do this at the exact time that Lois Lane uncovers Clark Kent’s secret identity. The scene in which Reeve switches from his Clark Kent persona to that of Superman as he reveals himself to Lois is a wonder. In an uneasy sequence, he readily gives up his powers, though Lois looks far less certain that he’s done the right thing, even before he gets his ass kicked in a diner. Eventually he contrives to restore his powers, and is conveniently able to cause amnesia in Lois with a kiss.

I found this movie much sillier and unbalanced than the first. I don’t know if it’s because Richard Donner was removed as director half way through, or if the end result simply wasn’t to my taste. But I found myself cringing many times during the movie, and not at scenes that were intended that way. Luthor’s plan and arrogance, the myriad and shifting powers of the Kryptonians, the ridiculousness of the several super-breath blowing scenes all detracted from what I felt to be the strengths of the film: the awkward vacillation between humanity and heroism, the chilling villains played by Terence Stamp and Sarah Douglas, and the doomed romance between Kent and Lane.

A Richard Donner cut of the film was released in 2006, since he shot much of the footage for the second simultaneously with the first film. This included all of Hackman’s scenes; Hackman did not return for the second film, even though he plays a prominent part. Also conspicuously absent are both the voice and visage of Brando, so the filmmakers could try to exclude him from profits. He sued, and they failed. Some of this footage was used in Bryan Singer’s 2006 Superman Returns, and is included in the Donner version of SII.

#62 in my 2007 movie challenge was the Christopher Reeve Superman, still one of the best superhero movies, ever. The more recent Superman Returns pales in comparison, proving that special effects are no compensation for the lack of the original’s compelling casting of Reeve, Kidder, and Hackman.

The beginning of the film sets the stage for the next film, and details the destruction of Krypton. Brando is a commanding presence, but his flat delivery hints at a paycheck. It is a full fifty minutes until Reeve appears in Metropolis as Clark Kent, meeting Kidder’s Lois Lane soon after. And it’s finally at the 1:10 mark that we see the title character himself, and the film takes off with him. Reeve does a fabulous job switching between the bumbling Clark Kent and his alter ego. The chemistry with Kidder is palpable, and nowhere more evident than in the rooftop interview, one of the most romantic movie scenes ever made. Unfortunately, it is followed by the cheesy Kidder voiceover as he takes her flying, set to the strains of “Can You Read My Mind,” which went on to become a high school band staple in the 80’s.

The DVD extras are worthwhile, especially Reeve’s screen tests. A relative unknown, his looks and charisma made him suited to the suit, not ridiculous in it. They also hint at the strength of character he would be known for later in life.

Edward Copeland explains the process in an introduction to a top-100 list of non-English language films. He kindly includes a list of the 22 runners up. (Links thank to ALOTT5MA)

Roger Ebert says the best way to become film literate is to go see great films. Thanks to Minneapolis’s Oak Street Cinema and my friends Big Brain and Blogenheimer, I’ve seen 21 of the top 100, and 6 of the 22 runners up. My love of film has grown along with my experience of it. Many more of these are languishing on our Tivo hard drive, or on our DVD shelf. I hope this list spurs us to finally watch them.

Apparently the much-hyped Blade Runner Director’s Cut of the 90’s was no such thing. James Christopher at the Times Online (link thanks to Blogenheimer) wonders whether we needed a third version of Blade Runner, this one actually edited by Ridley Scott.

#61 in my 2007 movie challenge was Hairspray, the movie musical. This is one of those movies that exemplifies how the “Oh, I don’t like so and so” reason for skipping a movie can result in a real loss. The director, Adam Shankman, has worked on some terrible films. I don’t like Johh Travolta, and the thought of him donning a fat suit and playing a woman was a significant deterrent to my seeing this movie. Imagine my surprise, then, when I liked both the movie and his performance, which was a touching portrait of a shy woman who became a recluse after she became severely overweight. Her daughter Tracy, played radiantly by Nikki Blonsky, draws her out of her shell, and both go on to a happy ending that isn’t marred by contrived weight loss. Christopher Walken and Michelle Pfeiffer were also great, and looked like they had a great time. This movie was a lot of fun. The songs were catchy, the dance numbers well choreographed, and the characters engaging.

#60 in my 2007 movie challenge was West Side Story, a long-unwatched movie gathering dust on our Tivo hard drive. It’s understandable we’d put it off; it’s not often we have enough time and energy for a three-hour movie. We split it into two nights. WSS is a riff on Romeo and Juliet, set in 50’s America and substituting racial tension for the rival families of the original play. It’s a film that I’m glad to have seen for it’s importance to my film literacy, but it wasn’t one I enjoyed a great deal. I found Natalie Woods’s accent especially irritating. Some of the musical numbers were great, and it’s important to note that musical movies simply weren’t done that way prior to this film. I liked the opening number, Natalie Woods’s “I Feel Pretty”, and Rita Moreno’s “America”. These were early on, though, and most of the following ones were not as lively. The studio freaked out when the original director, Jerome Robbins, choreographer and director of the Broadway show, looked to go over budget. They fired him after he’d completed four numbers (”Cool” in addition to the above mentioned three), and hired Robert Wise to complete the film. Both directors eventually shared the Best Picture Oscar. The result is a dated musical that occasionally sparkles with the possibility of what might have been.

#59 in my 2007 movie challenge was Superbad. I thought it was pretty good. Funny, raunchy, and real, if you’re a teen boy, that is. The female characters, though, were two dimensional and hardly complicated enough to compete with the three protagonists. There was a drunk, horny, intimidating one. There was a nice, sober, intimidatingly pretty one. There was a drunk, sexy, scarily menstruating one. One had a large chest. And one wore a thong.

As a thinking woman, I feel I should have disliked this movie. Instead, I found the boys geekily charming, especially Michael Cera and newcomer Christopher Mintz-Plasse. I only wish the creators had gone the extra mile to make the objects of their affections more realistic.

#58 in my 2007 movie challenge was Stardust, the film adaptation of the beautiful graphic novel by Neil Gaiman and Charles Vess. It was a box-office disappointment, but I enjoyed it a lot. Michelle Pfeiffer almost stole the movie with her chilling turn as an aging witch. There were so many other gems, though, like Robert DeNiro’s pirate and the ghostly gallery of dead princes. It was cheeky, bawdy, and reminiscent of The Princess Bride. I thought it was a lot of fun.

#57 in my 2007 movie challenge was Harry Potter and the Order of the Phoenix. The new director, David Yates, had the unenviable task of adapting the longest, most rambling of the Potter books. Amazingly, the result was the shortest of the movies. Like most of them, it was good but not great. It cut out one of the book’s most satifying subplots, about Neville. The young actors continue to get better, and Helena Bonham Carter was well cast as the villainess–sexy, crazy, and truly cruel. Apparently, she got a little too method in the filming, and punctured “Neville’s” eardrum with her wand. Imelda Staunton did a tremendous job as the evil Dolores Umbridge, aided immeasurably by a great wardrobe and wonderful set decorations.

#55 in my 2007 movie challenge was Paul Greengrass’s Bourne Supremacy. More murder, more mayhem, another great car chase, and that famous scene with a magazine. The second frenetic installment of the trilogy continues the tradition of a fast-paced thriller that doesn’t require you to check your brain at the door. I enjoyed it at least as much as I did the Bourne Identity, and more than I did the first time I watched it. I was glad to have re-watched it before seeing The Bourne Ultimatum. But will someone please feed Joan Allen?

#54 in my 2007 movie challenge was The Bourne Identity, the first in the Bourne trilogy. It was directed by Doug Liman, who also did Swingers and Go. Apparently, he angered the studio by going over schedule and over budget because he insisted on going back to film a new car-chase sequence. I think that car-chase scene helped make the movie successful enough to ensure a sequel, but Liman was removed as director, and Paul Greengrass, known for Bloody Sunday and later for United 93, was brought in.

Matt Damon, a native of South Boston, is surprisingly effective as Jason Bourne, an amnesiac trying to find out who he is, and why everyone is trying to kill him. He asks Franka Potente for a ride, and the film explodes in almost non-stop action from there. Bourne is a trained killer, and incredibly resourceful. The supporting cast is impressive, too. Potente brings a human touch to Bourne’s tough guy, and effectively gives the audience someone to relate to. She’s joined by Brian Cox, Chris Cooper, Julia Stiles, and Clive Owen. This is a smart, effective action movie that was well worth seeing again.

I called my husband G. Grod in last night during the Daily Show to watch the Iron Man trailer with me. It was stunning. I was enthralled. Until I saw the date: May 2008. And then I was pissed.

#53 in my 2007 movie challenge was Patricia Rozema’s film, Mansfield Park. It’s a very good film, though it’s not a faithful adaptation of Austen’s book. The character of Fanny is a complete departure, and is instead invested with the historical personality traits of Austen. Henry Crawford is described in the book as plain but charismatic. In the movie he is played by Alessandro Nivola, who is far from plain, but readily conveys the character’s allure.

There were a few things I took issue with, since the book was fresh in my mind, such as the non-complex villainy of her uncle, exemplified by the slave subplot. I greatly missed the tension of the subplot of Maria’s marriage to Rushworth, which I found greatly minimized in the film.

I found more to admire, though. The re-imagining of Fanny’s personality makes sense, as so many readers dislike that character as written. Jonny Lee Miller made a fine Edmund, and Embeth Davidtz a frighteningly effective Miss Crawford, especially in the closing scenes. The tension of whether Fanny will finally admit Henry to her affections is even more heightened than in the book, and is conveyed through a wonderful sequence of scenes. I thought it was a clever and effective bit of casting to have the same actress play Fanny’s mother and her aunt.

I enjoyed the book; I enjoyed the movie. While MP doesn’t exactly follow the book, it is a well-done film. Recommended.

Depending on how Guppy naps this afternoon, I’m going to try and catch up on movie reviews; I’ve fallen woefully behind.

While I’m failing on my “watch stuff I own or have stored on Tivo” resolve, I am watching about two movies a week. Part of me feels bad that I’m giving short shrift to reading. Another part is pleased that I’m making time for something I love, thus proving that it’s possible to have small kids and see movies both at home and out. With every film I watch, I become a better viewer. I love this learning process.

(Will I manage to get to see Wild Strawberries at the Oak Street tonight? I have my doubts, but I’m going to try.)

Summer isn’t quite over, but Chris Gore has a Summer 2007 Movie Scorecard at Suicide Girls.

I still haven’t seen it, but isn’t Once supposed to be the sleeper hit of the summer? And what about Waitress?

Last night G. Grod and I pushed our luck and succeeded at dinner and a movie while our babysitter played with the boys. As per their usual, they were better behaved and went to bed earlier than they do with us. Either our sitter is being nice, or our kids trust G. Grod and me to love their good and bad behavior. I know it’s the latter, and even while I’m a bit resentful that we get the defiance, I’m also glad that the sitter gets the mostly good behavior because we all like her a lot. Plus G. Grod and I really like these occasional nights out.

We started with a very good meal at the new Harry’s Food and Cocktails. For a while I fretted that G. and I had little to talk about, then I just enjoyed the peace and quiet. We then managed the 7:40 show of Stardust, a funny, sweet and dark fantasy based on the excellent graphic novel by Neil Gaiman and Charles Vess, begun in the wake of their winning the World Fantasy Award:

It mostly started with, in 1991, Charles and I won the World Fantasy Award for “Sandman” #19, “A Midsummer’s Night Dream.” We were out in Tuscon, Arizona, and astonished ourselves and everybody else by winning the award. We astonished everyone else to the point where the secret committee behind the judging got together the following morning to change the rules so that it could never happen again!

It’s more than a little reminiscent of Princess Bride, and one sequence is a very close homage to one of the PB plot threads. Stardust is a lot of fun (aside from a truly execrable closing ballad), and I hope it finds a wide audience. Gaiman has said he’s now too famous for his comfort level; I suspect he’s not going to get more comfortable anytime soon, with upcoming productions of Beowulf and Coraline.

Spartan, a David Mamet film starring Val Kilmer, was #52 in my 2007 movie challenge. It was a pick of G. Grod’s, who went on a VK kick while the boys and I were out of town visiting family. Spartan is an exhilarating, if sometimes bizarre and uneven mix of Mamet’s rapid-fire, erudite dialogue and a conventional thriller. A college girl goes missing, and a capable, ethical military man is hired to find her. It bucks several expected plot turns. Kilmer gives a great performance, and Kristen Bell (Veronica Mars) is the missing girl. This was a solid, engaging film, well worth the rental. Recommended.