City of Ember (Gil Kenan, 2008) - B
Infuriating how people don't know a good thing when they see one. This is basically Lions for Lambs without the lecturing -- a movie about the immorality of "minding your own business" in the midst of a global crisis, an eloquent stance against complacency and blind faith. Thematically ambitious and working on several levels: the protagonists run into resistance that isn't political or even pragmatic but rather "it's not my job"; at the same time, the City at large is convinced that it is destined to thrive because it is "the only beacon of light in the darkness" -- shining city on a hill, anyone? Gil Kenan, who I am convinced is or will soon become a Burton-like visionary, folds all of this into a lovely fantasy adventure, fluid and immersive -- and also bold and abrupt when it needs to be, e.g. the opening shot and sequence. Loses it a teensy bit in the climax, which is a protracted and starts to look a bit chintzy (also, I'm still not sure what to make of Tim Robbins' bottle opener), but so the hell what. Hugely underrated.
Sunday, October 19, 2008
Sunday, October 12, 2008
catch-up
How to Lose Friends & Alienate People (Robert Wiede, 2008) - B-
Worth seeing for a bunch of disconnected reasons: a) Simon Pegg's hilarious physicality; b) the occasional bit of deadpan weirdness that had me rolling ("there are seven rooms"); c) dead-on supporting turns by Danny Huston, Max Minghella, Gillian Anderson, Jeff Bridges... even Kirsten Dunst, allowed to let loose a bit in an R-rated context, is more than just her usual adorable self. But Pegg's transformation from obnoxious boor to lovable scamp is less than convincing, and the whole romantic plot is a bit uneasy. Very funny though.
Quarantine (John Erick Dowdle, 2008) - B-
Okay, so the whole virus-that-makes-people-bite-one-another thing is clearly played, and this doesn't have the political subtext or technical virtuosity of, say, 28 Weeks Later to make up for it. The first-person stunt is also rapidly approaching "played" status, and creates myriad logistical problems. All that said, Quarantine provides enough decent visceral thrills for me to recommend it to horror junkies. Goes to hell in the last act, which is more hysterical than scary and resorts to infuriating exposition-by-newspaper-clipping, but even that doesn't kill the thing.
Eden Log (Franck Vestiel, 2008) - C
I like the story (i.e. what we get in the occasional bursts of exposition) and it's too bad that the movie constructed around it is so murky and boring. I've read the video game interpretation -- nearly-silent character wanders through levels dodging bad guys on his way to a big finale -- but it doesn't make the film any better, I'm afraid. Final shot verges on self-parody.
Worth seeing for a bunch of disconnected reasons: a) Simon Pegg's hilarious physicality; b) the occasional bit of deadpan weirdness that had me rolling ("there are seven rooms"); c) dead-on supporting turns by Danny Huston, Max Minghella, Gillian Anderson, Jeff Bridges... even Kirsten Dunst, allowed to let loose a bit in an R-rated context, is more than just her usual adorable self. But Pegg's transformation from obnoxious boor to lovable scamp is less than convincing, and the whole romantic plot is a bit uneasy. Very funny though.
Quarantine (John Erick Dowdle, 2008) - B-
Okay, so the whole virus-that-makes-people-bite-one-another thing is clearly played, and this doesn't have the political subtext or technical virtuosity of, say, 28 Weeks Later to make up for it. The first-person stunt is also rapidly approaching "played" status, and creates myriad logistical problems. All that said, Quarantine provides enough decent visceral thrills for me to recommend it to horror junkies. Goes to hell in the last act, which is more hysterical than scary and resorts to infuriating exposition-by-newspaper-clipping, but even that doesn't kill the thing.
Eden Log (Franck Vestiel, 2008) - C
I like the story (i.e. what we get in the occasional bursts of exposition) and it's too bad that the movie constructed around it is so murky and boring. I've read the video game interpretation -- nearly-silent character wanders through levels dodging bad guys on his way to a big finale -- but it doesn't make the film any better, I'm afraid. Final shot verges on self-parody.
Saturday, October 4, 2008
Blindness
Blindness (Fernando Meirelles, 2008) - C-
This has to be the most jury-rigged Lord of the Flies scenario ever devised. The government locks a bunch of newly blind people in a prison, with little food, no assistance, no sanitation, no communication with the outside world, and they descend into chaos and disorder? No kidding. And how, exactly, do things go downhill? Well, half of the quarantined suddenly become evil. Really? That's the great insight into human nature? By the time it turned out that the illness had just come to teach everyone a lesson -- LIVE AS A FAMILY, DAMN YOU! DON'T STEAL CARS! -- I was long past taking anything seriously. The interesting question that the movie doesn't remotely explore is why the fictional government react the way it does: just human selfishness? Or something else?
This has to be the most jury-rigged Lord of the Flies scenario ever devised. The government locks a bunch of newly blind people in a prison, with little food, no assistance, no sanitation, no communication with the outside world, and they descend into chaos and disorder? No kidding. And how, exactly, do things go downhill? Well, half of the quarantined suddenly become evil. Really? That's the great insight into human nature? By the time it turned out that the illness had just come to teach everyone a lesson -- LIVE AS A FAMILY, DAMN YOU! DON'T STEAL CARS! -- I was long past taking anything seriously. The interesting question that the movie doesn't remotely explore is why the fictional government react the way it does: just human selfishness? Or something else?
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