Martin Teller's Movie Reviews

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Craigslist Joe

Posted by martinteller on April 23, 2014

In December 2008, twenty-something Joe Garner left the comforts of home behind and embarked on a journey fueled entirely by Craigslist.  Carrying only a laptop and a brand new cell phone (and with a cameraman tagging along), he set out to see if he could survive solely by placing and responding to Craigslist ads.  He depended on the kindness of strangers for food, shelter, rides and entertainment.  Sound interesting?  Well, kinda.  It really ought to have been more interesting, but there aren’t a whole lot of memorable highlights.  Joe meets some nice people, but only a couple stand out as intriguing characters.  For me, the most compelling was Fran, a NYC hoarder who is using only holistic methods to treat her cancer.  Her speech and mannerisms were very reminiscent of Annie Hall, which made her an entertaining presence as well as an endearing one.

Otherwise, Garner goes down some pleasant but predictably touchy-feely roads.  He stays with an Iraqi family and gets choked up about their “spirit”.  He goes to New Orleans and gets choked up in the Lower 9th Ward.  He comes home and gets choked up talking about the generous folks he met.  He’s awfully sincere… except that he seems sorta phony.  I couldn’t decide if Garner was a genuinely nice guy or a dude who knew how to come off as a nice guy.  Either way, he’s pretty bland, and since he usually doesn’t take the time to really get to know the people he encounters, the film needs him to be a stronger character.  Or do more interesting things with his journey.  Some of the potentially more intriguing adventures are relegated to very quick scenes, or even stuffed in the middle of a montage.

It’s also worth noting that Joe is an unimposing white male who’s clearly making a movie.  Of course people are going to be more willing to open their doors and cars to him.  I’m not saying there aren’t kind, generous souls in the world, but the reality is he’d have a tougher time under different circumstances.  And maybe that’s what the film needs: a little drama.  The hardest thing Joe has to deal with is having someone flake out on him in San Francisco, and he has to sleep for a few hours in an all-night café.  The rest of the time it’s pretty smooth sailing.  Which provides a nice narrative about how there’s nice folks doing nice things, but it all feels a little fake.

I’m sure Joe Garner probably is a swell fellow, and it’s hard to fault him for making his feelgood portrait about the kind Americans one can find on Craigslist.  But the film ultimately comes off as too safe and easy, for what should have been a risky endeavor.  Rating: Fair (63)

IMDb

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Yearly Roundup – 1991

Posted by martinteller on April 23, 2014

The Cream of the Crop

Nothing from my top 250 this year, so I’m going to do something I don’t usually do… I’m giving the honor to a short.  You can read my brief review of Roy Andersson’s World of Glory, or you can watch it yourself on YouTube (hit the “CC” button to turn on English subtitles).  It’s a fantastic piece of work in Andersson’s signature style.  If you’re not yet familiar with the director, this short would serve as a fine introduction.

*

Slightly Less Creamy, But Still Tasty

There’s great films beyond just my top 250.  Although they had some fine — and well-respected — films before, it was Barton Fink that really put the Coen brothers on the map and rightfully made them critical darlings.  Kieslowski’s The Double Life of Veronique is a beautiful and enigmatic movie, one that seems to hold many buried treasures under the surface.  Jag Mandir is one of Herzog’s best documentaries, despite the fact that so much of it is free of his always compelling narration.  And Isao Takahata’s Only Yesterday is a sweet and melancholy bit of nostalgia from Studio Ghibli.

*

Also Love

Delicatessen
Hearts of Darkness
High Heels
The Lovers on the Bridge
Raise the Red Lantern
The Stranger
Van Gogh

*

Varying Degrees of Like

Beauty and the Beast
La belle noiseuse
Cape Fear
Carne
Dead Again
Defending Your Life
Europa
Homicide
Jacquot de Nantes
L.A. Story
My Own Private Idaho
Naked Lunch
Once Upon a Time in China
Poison
The Rocketeer
Shadows and Fog
The Silence of the Lambs
Solo Con Tu Pareja
Terminator 2: Judgment Day

*

Varying Degrees of Hate

Backdraft
Bill and Ted’s Bogus Journey
City Slickers
The Dark Backward
Drop Dead Fred
High Strung
Point Break

*

In The Middle

35 Up
Armour of God 2: Operation Condor
Boyz n the Hood
A Brighter Summer Day
Career Opportunities
Closet Land
The Commitments
Don’t Tell Mom the Babysitter’s Dead
The Doors
He Said, She Said
House Party 2
JFK
Jungle Fever
Little Man Tate
Madonna: Truth or Dare
The Naked Gun 2 1/2: The Smell of Fear
Night on Earth
Only the Lonely
The People Under the Stairs
Rhapsody in August
Robin Hood: Prince of Thieves
Rush
A Scene at the Sea
Scream of Stone
Slacker
Sleeping with the Enemy
Straight Out of Brooklyn
Thelma & Louise

*

Uncharted Territory

The Addams Family, Billy Bathgate, A Brief History of Time, Bugsy, Chizuko’s Younger Sister, City of Hope, Curly Sue, Father of the Bride, The Fisher King, The Flesh, Fried Green Tomatoes, Goopy Bagha Phire Elo, Grand Canyon, Hook, Hot Shots!, Kafka, The Last Boy Scout, My Girl, New Jack City, Nothing But Trouble, Once a Thief, The Ox, The Prince of Tides, Prospero’s Books, Regarding Henry, Riki-Oh: The Story of Ricky, Surviving Desire, The Suspended Step of the Stork, Until the End of the World, What About Bob?

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Once (rewatch)

Posted by martinteller on April 21, 2014

Oh man.  I am drained.  Such a gorgeously touching film, with at least four scenes that bring a lump to my throat and tears to my eyes.  I’m not being hyperbolic here, I’m actually somewhat dazed by the emotional impact this movie had on me.  I love everything about it.  I love the film’s raw simplicity, a no-fuss narrative that moves along with casual elegance, providing an immediacy that does the job of making these characters so endearing.  I love “Guy” and “Girl”, two real people living real lives with real reactions to each other.  Glen Hansard and Markéta Iglová are magnificent and charming, but without any sort of idealized sheen.  It feels like an incredibly honest portrayal of how this relationship would develop.  I love the film’s celebration of creativity and the creative process.  The joy of collaboration is felt deeply, and the recording session is true to my own experiences (“car test” and all).  I love how when Iglová sings “If You Want Me”, you can hear Hansard’s vocals, and in the next scene Hansard sings “Lies” and you can hear Iglová’s vocals.  It’s a “cheat” in the sense that the film is taking creative liberties — in those scenes, neither of the co-singer’s vocals would be present — but it works beautifully to connect them through song.  I love the soundtrack.  It’s not enough to say there’s no bad songs on it.  There’s no songs on it that aren’t fantastic.  “Falling Slowly” will be happily, beautifully ringing in my head for some time to come.  I love the surrounding characters, who are a fine group of folks.  Even the heroin addict in the beginning is given a fair shake.

And oh my lord, I love that final shot.  It’s uncommon for a film to be open-ended in a way that leaves both possibilities equally satisfying.  It’s beautiful either way, and somehow the thought of an ending that neatly resolves everything is unpleasant.  The movie lets us spend time with these characters, fall in love with them, and then generously allows us to imagine their futures on our own.  At the risk of getting too sentimental, I would say it’s a lovely gift.  I wouldn’t want it any other way.  To use a strained musical analogy, the ending of this movie is pitch perfect.

I gushed in my first review, and I’m gushing even more now.  It is exceptionally rare for me to give a perfect score of 100 to a movie.  It’s a certain gut feeling in me that I don’t really understand, and I’m not sure exactly what’s holding me back from it in this case.  I certainly wouldn’t change a thing about it.  Maybe I’d tweak the sound mix a bit in a few spots to bring forward some of the dialogue.  But that’s nitpicking in the extreme.  It’s pretty much a perfect movie.  The first viewing landed it in my top 250.  The second easily places it in my next top 100, and high up the list.  Rating: Masterpiece (99)

IMDb

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Miyazaki shorts

Posted by martinteller on April 18, 2014

I was just going through some random stuff on my watchlist and decided to tackle a trio of shorts by the legendary Hayao Miyazaki.

On Your Mark is a music video for some combo called Chage & Aska.  Some police or paramilitary organization infiltrates some church.  In the carnage, they find an angel (or at least a girl with wings) and take her prisoner.  Two of the police dudes are stricken by guilty conscience and help the girl escape.  What I liked about this 6 1/2-minute short is that it feels like the exciting climax of a movie that would probably be pretty stupid if you had to watch the whole thing.  And it’s pretty to look at.  Really didn’t care for the music, though, a bland rock ballad.  It’s probably for the best that I couldn’t understand the lyrics.  Rating: Good (71)

 

Mei to Koneku basu (Mei and the Kitten Bus) is a sequel to My Neighbor Totoro.  Mei is back, and she captures a tiny whirlwind which turns into a young catbus.  Mei hitches a ride to a secret place and bumps into an old friend.  The catbus is my favorite thing about Totoro, and just about every second of this was a delight to me.  13 minutes of concentrated adorableness.  It’s a shame that this is only available for viewing in the Ghibli Museum (my copy was illicitly recorded with a phone or camcorder).  Supposedly it’s to keep this — and other shorts — “free from consumer capitalism and commercialism”, which is a noble ideal, but still sucks as a fan.  Hopefully we’ll see this appear some day as a bonus on a Totoro release or in a package of Ghibli shorts.  Rating: Very Good (87)

 

In Pan-dane to Tamago-hime (Mr. Dough and the Egg Princess), the gruesome witch Baba Yaga brings an egg to life and puts her to work doing arduous chores.  The egg befriends a lump of dough and together the two escape with the witch hot on their heels.  This is a very imaginative and fun bit of whimsy in the vein of Spirited Away and Howl’s Moving Castle.  Like On Your Mark, it seems well-suited to the short format and I don’t know if I’d want to spend a feature-length film in this world… it could get tiresome, like Howl’s does.  It’s beautifully drawn as always, although Baba Yaga seems mainly defined by her ginormous bust.  Good stuff.  Again, it’s too bad this isn’t available outside of the Museum.  Rating: Very Good (84)

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Yearly Roundup – 1927-1928

Posted by martinteller on April 16, 2014

The Cream of the Crop

There are some pretty hugely respected films from these two years, films that repeatedly show up near the top of various canonical lists.  Some eyebrows will probably be raised at the fact that neither Sunrise nor The Passion of Joan of Arc (both in the top 20 of TSPDT’s list) is among my favorites from this period.  To be honest, both are films I really need to see again, it’s been 10 years and my cinematic sensibilities have developed a lot since then.  Or maybe they just aren’t my cup of tea.  My favorite for 1927-28 is another one I’ve seen only once, and that was 6 years ago.  So perhaps my feelings about Napoleon would be different now as well, but at the time I found it gripping and masterful.  Let’s hope the restored version hits Blu-Ray sooner rather than later, I’d love to have a second look at it.

*

Slightly Less Creamy, But Still Tasty

There was a time when Metropolis made my top 100.  When I watched it a second time, I had a few quibbles that dampened my affection for it a bit, but it still resides in my top 250.  There are some great films from the two titans of silent comedy.  The Cameraman is perhaps my favorite Buster Keaton, and although I’m not a fan of Charlie Chaplin, I truly loved The Circus.  We have a pair of fantastic dramas: Victor Sjostrom’s The Wind and Paul Leni’s The Man Who Laughs.  And what a fine time for surreal and experimental shorts, with my favorites being Ghosts Before Breakfast and La Coquille et le Clergyman.

*

Also Love

The Docks of New York
L’Etoile de mer
The Last Command
The Passion of Joan of Arc
Spies
Storm Over Asia
Sunrise

*

Varying Degrees of Like

7th Heaven
Arsenal
Berlin: Symphony of a Great City
The Cat and the Canary
The End of St. Petersburg
The Fall of the House of Usher
The Life and Death of 9413, A Hollywood Extra
Lonesome
Steamboat Bill, Jr.

The Telltale Heart
The Wedding March

*

Varying Degrees of Hate

none

*

In The Middle

L’Argent
College
The Crowd
The Lodger
The Love of Zero
October
Underworld
The Unknown

*

Uncharted Territory

Champagne, The Divine Woman, Downhill, Easy Virtue, The Farmer’s Wife, It, The Jazz Singer, Jujiro, The Kid Brother, The King of Kings, The Ring, Show People, Steamboat Willie, Street Angel, The Student Prince in Old Heidelberg, Underground, Wings

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Une femme douce (rewatch)

Posted by martinteller on April 15, 2014

An unnamed woman (Dominique Sanda) leaps from her apartment window to her death.  Her husband, a pawnbroker named Luc (Guy Frangin), reflects on their troubled marriage and tries to understand her suicide.

I’ve said before that I’m embarrassed by most of my old reviews.  Take a gander at this gem from January 2004: “Good movie, very insightful.”  That’s it.  Okay, there’s another sentence about how I like Bresson, but concerning this specific film, that’s all I had to say.  Wow.  But the sad part is, I don’t have a whole lot more to say now.  It is a “good movie”, especially if you like Bresson’s style.  The stone-faced acting by non-professionals (though it would kick off a lengthy career for Sanda, including starring roles in films by De Sica, Demy and Bertolucci), the heightened sound design, the minimal dialogue, the symbolism, the attention to hands and feet, the small but meaningful gestures… it’s got all that good austere Bressonian stuff in it.  He makes the transition to color nicely, with a palette that isn’t drab but doesn’t call too much attention to itself.

And the film is “very insightful”.  The marriage of Luc and the woman is hasty and impulsive (although the time compression is so vague that we’re uncertain how long the courtship lasts), and in trouble from the start.  Luc’s attention to matters of practicality is opposed to her more delicate and warm sensibility, as foreshadowed by a scene in which she sells him a plastic Jesus on a gold crucifix… he separates the figure from the valuable gold and hands it back to her.  Luc tries to love, but to him she is a possession, and he never truly gives himself to her.  But the blame doesn’t lie entirely on his shoulders… she’s prone to passive-aggressive dramatic gestures and bouts of depression.  But it is clear she’s on the path closest to Bresson’s path, a yearning for kindness and temperance.  Her gentleness makes her especially — and tragically – vulnerable to the emptiness of a loveless marriage.  Bresson makes her soul-ache felt through the claustrophobia of Luc’s apartment, her isolation sealed when spite and jealousy compel him to relegate her to a separate bed.

Is Bresson saying that suicide is the appropriate response to such a scenario?  I think not, but like the lead character in one of his previous films, it represents an inescapable inner torment.  Rating: Very Good (84)

IMDb

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James and the Giant Peach

Posted by martinteller on April 14, 2014

Well, this was pretty dreadful in most respects.  Sometimes crafting a scathing review can be a ton of fun, but I really don’t want to waste a lot of time on this one.  So forgive me if this rambles, but I really don’t even know where to start.  The kid playing James, Paul Terry, was truly awful.  I hated him.  James is the least interesting part of the book, too, but here they put so much attention on him that you’re constantly reminded of how annoying (“fwiends”) he is.  And the animation model for him is absolutely hideous, with that humungous head and those beady eyes.  The songs by Randy Newman (ugh) are typically forgettable Disney crap, no fun at all.  I was hoping I’d be spared having to hear Newman himself actually sing, but nope, there he is at the end.  Although I find the much-beloved Tim Burton/Henry Selick production The Nightmare Before Christmas somewhat lacking, it’s miles better than this, where the combination of creepy and whimsical is rather unpleasant most of the time.  I didn’t like being immersed in this universe, whether live action or animated.  The stop-motion animation is very smooth and professional, but often has an unappealing plastic-y look to it.

Paragraph break?  Why not!  Wes Anderson proved you can adapt a Roald Dahl story without being entirely faithful to the book… but here, the changes to the source material are for the worse.  Instead of getting killed by the peach, Aunts Spiker and Sponge are spared to return at the end (oh yeah, spoilers… sorry, don’t care) to give the irritating James an exceedingly phony, easy and formulaic bit of triumph.  Maybe this works for children, I don’t know.  I thought the climax was just terrible.  I will say the addition of the skeleton ship scene did offer a couple of entertaining moments, but I think I’d have rather seen the “Cloud Men” from the book.

I liked Miss Spider, both in the animation and Susan Sarandon’s vocal performance.  There, that’s something positive.  Spider was rad.  I chose this screenshot in honor of her.  Grasshopper (Simon Callow) was pretty neat, too.  And Pete Postlethwaite was okay.  There were maybe three or four good lines (which may have come from the book, it’s been too long for me to recall).  Otherwise, this experience ranged from mediocre to miserable for me.  I don’t know if there’s any way to turn this book into a good movie, I just know this wasn’t it.  Rating: Crap (33)

IMDb

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42nd Street (rewatch)

Posted by martinteller on April 14, 2014

Theatrical director Julian Marsh (Warner Baxter) is staking his future on his latest production, “Pretty Lady”.  Financier Abner Dillon (Guy Kibbee) has guaranteed the leading role to the object of his desire, Dorothy Brock (Bebe Daniels).  But Dorothy is still seeing her old vaudeville partner, Pat Denning (George Brent), on the side and if Dillon finds out, the show is dead.  Besides the usual stress and headaches of putting on a show, Marsh also has to contend with an untried novice (Ruby Keeler), not to mention a pair of wisecracking regulars (Ginger Rogers, Una Merkel).  It’ll be a miracle if he gets through this without having another nervous breakdown.

One thing I hate as a reviewer is coming back to a movie I previously gushed about and finding it doesn’t thrill me as much as it used to.  Especially when I still really, really like it… just not quite as much as before.  The review often ends up sounding way too negative as I list off the reasons for my change in opinion.  So this time I will reiterate what I do love about this movie.  And since I know it will be redundant anyway, I’ll just be simple about it and quote my previous comments.  From my first review: “Giddily entertaining musical comedy, with truly funny (and bawdy) jokes, terrific songs, those magical Busby Berkeley dance numbers, charming performances, and a plot that never gets too fussy.  The camerawork is quite impressive, too; despite being entirely about a stage production, Bacon & Berkeley utilize techniques that are purely cinematic.”  That’s all pretty much still true.  I believe this was my first review of a Busby Berkeley film, and at the time I didn’t realize how critical those “purely cinematic” techniques were to his charm.  Probably anyone watching one of his works for the first time will balk a bit at how, within the universe of the film, the production numbers would be meaningless to the theatre audience, if not impossible to stage.  But that was the point… to use movie magic to achieve what a theatrical production could not.

And yep, the plotting is achieved admirably without too much confusion, the jokes are terrific, the performances are charming, the song and dance are dazzling.  It’s a really good time.  So what’s my beef?  Perhaps a case of heightened expectations.  I was showing this movie to my girlfriend — her first Busby Berkeley — and although she was enjoying it (she likes “behind the scenes” movies about music/dancing, so I had a hunch she would) I kept thinking “Just wait until the ending!”  And the climax is wonderful, but it’s not that wonderful.  “Young and Healthy” in particular was a little underwhelming.  The title song ends on a really weird downer note that takes some of the fun out of it, followed by a somewhat less than satisfying coda.  I’ve always held on to 42nd Street as the peak of Berkeley, but now I feel like there are better examples… maybe Dames or The Gang’s All Here or Gold Diggers of 1933.  Or maybe those don’t hold up quite as well either.  We will have to see.  Rating: Very Good (85)

IMDb

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Rendezvous in Paris

Posted by martinteller on April 9, 2014

Three unconnected stories about men and women meeting in Paris.  In “The Seven O’Clock Rendezvous,” Esther’s (Clara Bellar) faith in her boyfriend Horace (Antoine Basler) is shaken when a mutual acquaintance tells her that he’s seen her beau meeting another girl in a café.  While at the market, Esther is hit on by a man (Mathias Megard), who she tells to meet her later at that same café.  Then chance drops Aricie (Judith Chancel) into her lap, who happens to be heading to the same place… to meet Horace.  In “The Benches of Paris,” a professor (Serge Renko) meets up with his would-be lover (Aurore Rauscher), perhaps one of his students, in a series of parks.  It is apparent that they have not yet developed a sexual relationship, but the woman is reluctant to get more intimate until she breaks up with her fiancé… an event she is unwilling to initiate, continuously hoping it will occur naturally.  And in “Mother and Child 1907,” a painter (Michael Kraft) is set up on a date with a Swedish girl (Veronika Johansson).  After a short while, he loses interest in her and drops her off at a Picasso museum, making empty promises for a meeting later.  On his way out, he spots a beautiful woman (Bénédicte Loyen) and is immediately smitten.  He pursues her back into the museum, awkwardly wiggles out of an encounter with the Swedish gal, and follows his new target.  He strikes up a conversation, and discovers that she is Swiss… and newlywed.  But that doesn’t stop his ardent efforts to woo her.

I would call this middling Rohmer, which is still better than a lot of other stuff.  It’s Rohmer doing what Rohmer does best: exploring relationships with insightful, beautifully composed dialogue.  But I feel he works better when he has an entire feature to flesh out his characters, rather than one half-hour segment for each.  My brief survey of other reviews suggests that “Benches” is several critics’ favorite of the three stories, but in my opinion it suffered the most from characterizations that are not as fully realized as we expect from Rohmer.  Rauscher especially comes off like a construct… as an actress she has a compelling presence, but this character is just a little too phony.  Maybe that’s the point, that her persona doesn’t hold up to real situations, but even so I just found her so unlikable that I was getting annoyed.  Renko’s character isn’t much better.  This segment is basically the La collectioneuse of this set… the insightful observations are somewhat overclouded by the unpleasant protagonists.

Two out of three ain’t bad, though.  I quite liked the other two parts of the film.  Kraft’s character is also a fairly unlikable guy, but Loyen provides a perfect foil to him.  Their back-and-forth is some of the best conversation in the film, revealing plenty without saying too much.  And in the first part, Esther is just so earnest and pleasant that you just enjoy watching her, and want to see her navigate the difficult situation she’s in.  What’s unusual about this movie besides the structure (an accordionist and a singer — Christian Bassoul and Florence Levu — provide a light-hearted framing device) is that except for a couple of brief exchanges between Esther and Horace, none of the people interacting with each other are really in relationships with each other.  The professor and the student are tentatively playing around one, but — to his frustration — haven’t actually initiated anything yet.  And so the film is not exactly about relationships after all.  It’s more about transitions into and out of relationships.  Seduction and flirtation, those movements towards a relationship, whether bold or cautious.  On the other end, confrontation or inertia or lack of interest ending a relationship, or halting the potential for one.

It’s also a lovely film, giving us several views of Paris from the graffiti-coated backstreets to the tourist traps.  The actors’ movements are an intricate dance, and likely the result of some very carefully considered blocking.  Actually just writing about the movie has made me like it a little more than when I started this review.  My objections to the middle segment don’t seem as important now (though it remains my least favorite of the three).  Like most Rohmer, I’d like to see this again at some point.  In fact, it now occurs to me that I’ve never seen any of the films more than once.  I should correct that.  Rating: Good (77)

IMDb

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Yearly Roundup – 2001

Posted by martinteller on April 7, 2014

The Cream of the Crop

/

The early 2000′s were a particularly busy time for me, movie-wise.  I was in a relationship where our weekend routine usually involved at least one movie in the theater.  It led to a lot of mediocre movie viewings.  Interestingly, although there are four films from this year in my top 100, none were ones I saw in the theater, but discovered only later on DVD.  Weird that I didn’t go see Mulholland Drive on the big screen, since Lynch was and is one of my favorite directors.  It’s one of his best works, one that richly deserves a Blu-Ray release.  Although I was familiar with Wes Anderson through his earlier films, it was The Royal Tenenbaums that really turned me into a fan.  I believe What Time Is It There? was my introduction to Ming-liang Tsai, a director I now worship.  And Amelie is simply adorable, the Manic Pixie Dream Girl who takes center stage rather than acts as a catalyst for a male protagonist.

*

Slightly Less Creamy, But Still Tasty

Here we have one that I did see in the theater… in fact, even waited in line for the midnight opening.  Although I no longer have the same affection I once did for the “Lord of the Rings” trilogy, The Fellowship of the Ring still holds up as very entertaining viewing.  And so does the surrealist anime short Cat Soup, a wild and unpredictable ride.  And for courtroom drama that will get your blood boiling, the documentary Murder on a Sunday Morning is a riveting piece.

*

Also Love

All About Lily Chou-Chou
The Happiness of the Katakuris
Japanese Devils
Lagaan: Once Upon a Time in India
The Others
Take Care of My Cat
Tape
Zoolander

*

Varying Degrees of Like

A.I.: Artificial Intelligence
Black Hawk Down
La ciénaga
Conspiracy
Donnie Darko
Enigma
Fat Girl
Ghost World
Gosford Park
Heist
Hell House
Invincible
The Man Who Wasn’t There
Memento
Monsoon Wedding
Monster’s Ball
Monsters, Inc.
Moulin Rouge!
My Sassy Girl
Nowhere in Africa
Ocean’s Eleven
The Piano Teacher
The Pledge
Pulse
Scratch
Stanley Kubrick: A Life in Pictures
Startup.com
Training Day
The Tunnel
Under the Skin of the City
Waking Life
Wet Hot American Summer

 

*

Varying Degrees of Hate

15 Minutes
American Pie 2
America’s Sweethearts
The Anniversary Party
A Beautiful Mind
The Curse of the Jade Scorpion
Hardball
Harvard Man
I Am Sam
In Praise of Love
The Invisible Circus
K-PAX
Serendipity

*

In The Middle

13 Conversations About One Thing
25 Watts
The Accidental Spy
Bartleby
The Beaver Trilogy
Behind Enemy Lines
CQ
Crazy/Beautiful

The Devil’s Backbone
Enemy at the Gates
The Fast Runner
Focus
Frailty
From Hell
The Grey Zone
Harry Potter and the Sorcerer’s Stone
Home Movie
Ichi the Killer
Kandahar
The Last Castle
Legally Blonde
Life as a House
Made
Mademoiselle
Millennium Actress
Millennium Mambo
Monrak Transistor
Session 9
Shrek
Spy Game
Super 8 Stories
Vanilla Sky
Visitor Q
Y Tu Mama Tambien
Winged Migration

*

Uncharted Territory

Ali, Behind the Sun, Big Mama, Blow, Bridget Jones’s Diary, Brotherhood of the Wolf, Bully, Chaos, Children Underground, Dogtown and Z-Boys, Domestic Violence, Evolution, Bubble Boy, The Fast and the Furious, Freddy Got Fingered, Ghosts of Mars, Hannibal, Harmful Insect, Hedwig and the Angry Inch, Human Nature, Icon of Cool, In the Bedroom, Jay and Silent Bob Strike Back, Jeepers Creepers, Josie and the Pussycats, Jurassic Park III, The Mexican, No Man’s Land, One Man Up, Pearl Harbor, Planet of the Apes, Pootie Tang, The Princess Diaries, Sex and Luica, Sexy Beast, Shaolin Soccer, The Son’s Room, Spy Kids, Storytelling, Swordfish, Trouble Every Day, The Wedding Planner, Wit

Posted in Yearly Roundup | 2 Comments »

 
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