Readers' Comments

I have a lot of comments and questions to respond to, and I'm afraid I don't have much time to even come close to answering all of them. Below are some comments from readers in normal font with my answers in italics.

So what's your favorite movie of 2002? Your worst? Best acting?

Best Movie of 2002: Road to Perdition
Worst Movie of 2002: Deuces Wild
Best Actor of 2002: Daniel Day-Lewis in Gangs of New York
Best Actress of 2002: Wait until I see Chicago, then I'll answer this one.
Best Supporting Actor of 2002: Paul Newman, Road to Perdition
Best Supporting Actress of 2002: Viola Davis, Solaris

Keep in mind, I have seen few films from this year, so take this for what it's worth.

I can tell from your reviews that you're not a big fan of blockbuster films. What reasons do you give for this?

Ugh. Yes, blockbusters are not my thing (usually). The major reason why is that they are dumbed down. Some critics believe this is because this is what the young audiences (especially the young male audiences) want. I think this is completely false. Dumbing down a movie is an easy way out. The blockbuster, the chick flick, the all-action, no substance, and the gross-out or the teen comedies are seen by so many (young) viewers in part because they have few other options. I think you'd get just as many people to see films as you do now, even if you add more substance to these films. In other words, the blockbuster is simplified to the audience that watches it, and this simplification is (in my opinion) unnecessary and undesirable.

Jerry Bruckheimer seems to be the main source (lately) for the dumbed down blockbuster (Pearl Harbor, e.g.). And what about this Kangaroo Jack? MY GOD! Now the extremely lame action/animated figure hero seems to be a source of inspiration (Thanks a lot, Spider-Man.). It's going to be a long summer.

Did you like the second Lord of the Rings better than the first? After watching the second film for the fourth time, I personally think it's better.

The answer is no. I think the second film drags a bit more than the first. I also did not like that so little focus was placed on Frodo and Sam. And I personally was annoyed by Gollum (especially his lengthy monologues). I've decided to wait on a review of this film until I watch the third film.

One thing that is a growing annoyance to me about these films is its rather blatant use of melodrama. I love how camera action adds so much drama to a scene, especially when a character has made a startling discovery or is saying something profound. Take the scene in The Two Towers where Legolas says, "White Wizard approaches."

What is your favorite moment made on film?

Too tough of a question. I can give you a list of several memorable moments, though.

-Paul Newman's final scene in Road to Perdition
-The bus accident scene in The Sweet Hereafter
-Vito Corleone's assassination attempt in The Godfather
-Vito Corleone's avenging Italy scene in The Godfather Part II
-The final dinner scene in The Godfather Part II
-The airport scene in Casablanca
-The tank chase in Indiana Jones and the Last Crusade
-Darth Vader/Luke Skywalker lightsaber battle in The Empire Strikes Back
-The final fifteen minutes of Casino
-The graveyard scene (the last scene) of Schindler's List
-The outdoor steps finale of Notorious
-Paul Newman's egg eating dare in Cool Hand Luke
-"God Bless America" in The Deer Hunter
-"Are you talking to me?" in Taxi Driver
-The last temptation of Christ in, well, The Last Temptation of Christ
-The avenging murder in In the Bedroom

There's just a few.

--
A couple of you have noted that convicts are sometimes given some time out of jail before they are sent off to prison (regarding my comment that Monty Brogan's reason for his final day of freedom is not given in 25th Hour). I was actually aware of this. An explanation as to why this was specifically given to Brogan, I feel, would have been unnecessary and inappropriate in the film. So, even though I mentioned that this was not explained in the film, I think it was appropriate that no explanation was given. That wasn't an issue of the film, and Spike Lee was at least aware of this.
--

How could you find so much entertainment out of a film as boring as About Schmidt?

Yes, the film is a quiet one. Not much excitement or exhilaration is caused by watching the film. That wasn't the point of the film, either. About Schmidt is so good because it so delicately presents its topic and so elegantly progresses the topic. I didn't find About Schmidt boring at all. It was intriguing because the film dares to present a character like this, such a simple man with a simple need, and the film succeeds because it so quietly points out something that we all have felt every once in a while. In a way, Warren Schmidt is the everyman (everywoman, too).

More comments coming soon. Thanks, and keep them coming!

The Short Review: Issue #2

More short reviews of random songs/TV show episodes (Refer to http://www.epguides.com for information on the episodes I refer to in this review and subsequent reviews.). May add comments to these at a later date, but for now I will just give my ratings...

Stairway to Heaven (Led Zeppelin)
Rating: 10.00/10.00 or ****

Misty Mountain Hop (Led Zeppelin)
Rating: 8.50/10.00 or *** 1/2

Four Sticks (Led Zeppelin)
Rating: 8.25/10.00 or *** 1/2

Going to California (Led Zeppelin)
Rating: 8.25/10.00 or *** 1/2

When the Levee Breaks (Led Zeppelin)
Rating: 7.00/10.00 or ***

You're My Best Friend (Queen)
Rating: 8.00/10.00 or *** 1/2

We Will Rock You/We Are the Champions (Queen)
Rating: 9.25/10.00 or ****

TV Episodes
from The Simpsons
Guess Who's Coming to Criticize Dinner
Written by: Al Jean
Directed by: Nancy Kruse
Rating: 6.00/10.00 or ** 1/2

from Law & Order
DNR
Teleplay by: Kathy McCormick
Story by: William N. Fordes
Directed by: David Platt
Rating: 7.75/10.00 or *** 1/2

Random Movie Thoughts Post #3

Roger Ebert gives a wonderful review of One Flew over the Cuckoo's Nest on his webpage.

I thought I'd post my top 50 films as I believed during the summer of 2001. This list has drastically changed since this time (I don't know what I was thinking about some of these films...), and I will comment more on this in the coming months. One comment I will give right now, however: My top five have not changed.

1. One Flew over the Cuckoo's Nest
2. 2001: A Space Odyssey
3. The Godfather Part II
4. Cool Hand Luke
5. The Deer Hunter
6. The Empire Strikes Back
7. Raging Bull
8. Dr. Strangelove
9. Goodfellas
10. Full Metal Jacket
11. The Godfather
12. Pulp Fiction
13. Notorious
14. Lolita
15. Schindler's List
16. Casino
17. Spartacus
18. The Bridge on the River Kwai
19. American History X
20. Taxi Driver
21. Doctor Zhivago
22. The Shining
23. Psycho
24. Eyes Wide Shut
25. Rebel Without a Cause
26. Donnie Brasco
27. Bringing out the Dead
28. Barry Lyndon
29. Indiana Jones and the Last Crusade
30. Star Wars
31. Memento
32. A Clockwork Orange
33. The Wizard of Oz
34. The Last Temptation of Christ
35. It's a Wonderful Life
36. Witness
37. The King of Comedy
38. On Golden Pond
39. North by Northwest
40. Forrest Gump
41. American Beauty
42. Contact
43. Chinatown
44. This Is Spinal Tap
45. Jaws
46. Monty Python and the Holy Grail
47. Raiders of the Lost Ark
48. The Princess Bride
49. Mean Streets
50. East of Eden

Movie Review #15

25th Hour (2002)
Directed by Spike Lee
Written by David Benioff based on his novel

Rating: 4.50/10.00 or ** (out of 4)

And my disappointment with 2002 movies continues. Except for the occasional shining light of Road to Perdition or About Schmidt, this might be one of the most dismal years in the movies. 25th Hour does nothing to change this impression.

This is my first "Spike Lee Joint." I doubt it will be my last, but I almost want it to be. Not only do I have problems with fundamental aspects of the film 25th Hour, the film has problems with the little things (oh, like editing, sound (esp. music volume), etc.) that even the worst of filmmakers tend to show some amount of skill on (Ok, there are some exceptions.).

At best, 25th Hour is a series of scenes that only occasionally become interesting but more frequently are too long, too distracting, or too scatter-brained to come remotely close to quality filmmaking. Between these scenes are Lee's tributes to the victims of September 11 and observations of a changed New York City after the terror attacks. The plot of the film is the story of a man's last day before jail time. You can argue all you want with me on this one, but I see no point in mixing the two things together. When I saw scenes of Ground Zero or the twin lights or Osama Bin Laden clips, it didn't add drama, hatred, sadness, etc. to the film. It was a complete distraction that served nothing close to metaphorical material to the main baseline of the film.

The movie stars Edward Norton as the doomed Monty Brogan, a businessman who got too greedy and got caught for it. He doesn't necessarily regret his crimes, but he does regret his carelessness. Now, he is off to prison for seven years. He is allowed one last day of freedom (which is appropriately left unexplained), so he meets up with his two best and most loyal friends, his girlfriend, and his father. Brogan knows his future less than anybody around him. His two friends, Jakob Elinsky (Philip Seymour Hoffman) and Frank Slaughtery (Barry Pepper), discuss his future in a scene with Ground Zero in the background. Frank says that Brogan has three options for his future: suicide, escape, or prison. No matter what the choice, the two will likely never see Monty again. This scene is the second most effective of the film. The inclusion of Ground Zero is dramatic (a touch melodramatic, but this is a small complaint) and appropriate. The discussion is almost the starting grounds for the rest of Monty's life. His life is sealed, and it will be a bleak one at that.

The most effective scene of the film is when Frank beats up Monty after Monty provokes him by taunting Jakob. Monty does this on purpose because he does not want to look handsome to the other jail birds (He fears rape while in prison.). The scene was well shot and well-performed, especially by Pepper, who perfects the extremely hesitant ferocity necessary in a man who is brutally punching the one he is probably most loyal to. The pace of the scene is also appropriate.

Then there's the rest of the film. I have outlined the problems I have noted with the film (not all of them, only some):

1) The bathroom mirror scene with Edward Norton. Most critics proclaim this as brilliant or at least powerful. I found it too long and inappropriate. Why? Well, the scene lasts a long three to five minutes. In it, Norton gives a giant "Fuck You" to anyone and everyone (including himself). Or is it Lee? What's the purpose of this scene? To show Norton's hatred spewing out since he's going to jail, to show Norton's hatred toward himself for getting caught, or to express Lee's problems with society? I found the scene a bit political and far too much overkill. The only emotion this gave me was disappointment. I had heard of this scene beforehand, and I was rather discouraged by its lack of payoff.

2) Underdevelopment of supporting roles. It's really a shame, too, since they are far more interesting than Monty Brogan. Jakob has issues with being sexually attracted to one of his students (played by Anna Paquin). It results in a mini-climatic scene at a lame rave/dance/party (although its intent wasn't lameness). The scene was well-presented, but not fully concluded upon. The rest is up to us, I suppose. Obviously the intent of Lee's, he leaves me a bit confused about its purpose. Roger Ebert gives a suggestion in his review (that of accepting our needs no matter what the social costs), but I didn't see that while watching the film. I still don't see that now (I see that as searching for a reason rather than accepting a reason.). Paquin, Hoffman, Pepper, and Rosario Dawson (playing Monty's girlfriend Naturelle) are grossly underused. Perhaps the movie would have been more effective focusing on these four rather than the main character.

3) Editing problems. Take the scene at the rave/dance/party where Monty and friends are sitting in a corner discussing anything and everything. Notice how props change when camera angles change. This may seem picky, but this is common through the film. It's not often I complain about these things, but when I talk about them, I really find them distracting. This isn't that hard to correct. This is a fundamental aspect of filming.

4) Sound, especially music (volume), problems. The scene involving Jakob and Frank discussing Monty's fate with Ground Zero in the background is quite good. But there is one very big problem with the scene. I could hardly hear the actors themselves because the music was way too loud. Furthermore, the music was variably toned, making the entire scene less effective and much more annoying than it should have been. And the sounctrack was one of the worst I have heard in a while.

5) The attempted use of metaphor. Spike Lee tends to relate this movie (often) to September 11. There was one pressing thought in my mind. How does this relate to the main issue in the film? I haven't heard a good explanation yet, and I doubt I will. And maybe it's because the pressing thought I had while witnessing these scenes was that Lee is doing nothing more than saying, "I love you NYC." and "We will never forget," while attempting to add drama to the rest of this film. Great. Save it for a documentary, or a film actually dealing with September 11. It does not belong here.

6) The ending. Oh, man, what a horrible ending. The scene starts with Monty's father James (played by Brian Cox) driving him to jail. James then says that he will take him away with Monty never to return to NYC. Monty could start a new life doing whatever he wanted. He could get a job, meet up with Naturelle and finally have a family, tell them how "lucky they are" to be there, blah, blah, blah. Yes, what a wonderful thought. And maybe it would have worked. Perhaps the sequence itself would have worked. But then the very last scene just tells the viewer this is not to be. The tantalization scene lasts a very long time (and it begins to drag), and then we go back to the car (for a brief glimpse at reality). And that's it. I have thought up about 20 endings that would have been far more effective. The one that was suggested by a friend, however, would probably be most effective. Why couldn't the movie end with Monty in prison? The last scene in a crowded room with the guard saying, "Lights out." (The reason for this suggestion is clear if you watch the film.). The ending as it is now is just *there* and is at times intertwined with Lee's thoughts and not with Monty's/James' (The good directors can mix their own thoughts with the characters' thoughts without discrepancies.). I'm not about to suggest how the film *should* have ended (I am not a director.), but I think the ending could have been far better.

Besides acting, this film needs a lot of work. It is messy, at times incoherent, at times double-issued, often times lost. The result is a most dissatisfying motion picture experience.

The Short Review: Issue #1

While working, I normally put some (strange) music on. Since I worked several hours over the weekend, I figured I could make some website use out of my time and give some short reviews to songs/pieces/whole albums. For now, I'll only give my ratings for the music, but in time, some short reviews will probably show up.

So, here we go:

Bohemian Rhapsody (Queen)
Rating: 10.00/10.00 or ****

Another One Bites the Dust (Queen)
Rating: 8.25/10.00 or *** 1/2

Killer Queen (Queen)
Rating: 9.00/10.00 or ****

Fat Bottomed Girls (Queen)
Rating: 7.25/10.00 or ***

Bicycle Race (Queen)
Rating: 9.50/10.00 or ****

Shine On You Crazy Diamond Part One (Pink Floyd)
Rating: 7.25/10.00 or ***

Welcome to the Machine (Pink Floyd)
Rating: 9.00/10.00 or ****

Have A Cigar (Pink Floyd)
Rating: 6.25/10.00 or ** 1/2

Wish You Were Here (Pink Floyd)
Rating: 9.75/10.00 or ****

Shine On You Crazy Diamond Part Two (Pink Floyd)
Rating: 8.50/10.00 or *** 1/2

Wish You Were Here (the album) (Pink Floyd)
Rating: 9.00/10.00 or ****

Soundtracks
Empire of the Sun (John Williams)
Rating: 6.75/10.00 or ***

Sabrina (John Williams)
Rating: 7.00/10.00 or ***

Saving Private Ryan (John Williams)
Rating: 9.00/10.00 or ****

Amistad (John Williams)
Rating: 8.25/10.00 or *** 1/2

Raiders of the Lost Ark (John Williams)
Rating: 9.25/10.00 or ****

Stepmom (John Williams)
Rating: 5.00/10.00 or **

The Cowboys (John Williams)
Rating: 6.50/10.00 or ***

Superman (John Williams)
Rating: 8.75/10.00 or *** 1/2

I guess it was a rather nondiversified weekend. Have a good week. 25th Hour and The Pianist will be reviewed this week.