Category Archives: 2006

Bobby (2006, Emilio Estevez)

I knew Emilio Estevez directed Bobby, but I didn’t know he also wrote it. From the dialogue and the construction of conversations, I assumed it was a playwright. There’s a certain indulgence to the dialogue, which some actors utilize well (Anthony Hopkins) and some not (Elijah Wood).

Estevez’s an exceptionally confident filmmaker here. He changes the film’s premise in the final sequence, going from a Grand Hotel look at people in the hotel where Bobby Kennedy was shot to an extremely topical, socially relevant picture about how little the world has improved between the shooting and the film’s production. He relies heavily on the audio of a Kennedy speech over the film’s action because there’s no other way it’d work. And it does work.

There are some great scenes in the film, particularly one between Demi Moore and Sharon Stone where the two former sex symbols discuss aging. Stone’s great throughout the film. Moore’s great in that scene (and okay in the rest).

Other great performances include Freddy Rodriguez, Lindsay Lohan, Jacob Vargas, Nick Cannon, Joshua Jackson, Brian Geraghty and Shia LaBeouf. Martin Sheen and Helen Hunt are both good, just not exceptional. Similarly, Christian Slater’s impressively slimy without being fantastic. Hopkins is outstanding. Only Wood and Ashton Kutcher are bad. Kutcher’s worse. Much worse.

The real acting star is Rodriguez.

Estevez gets great work from cinematographer Michael Barrett and composer Mark Isham.

Bobby is impressive work; with Estevez establishes himself as an ambitious, thoughtful, if not wholly successful, filmmaker.

CREDITS

Written and directed by Emilio Estevez; director of photography, Michael Barrett; edited by Richard Chew; music by Mark Isham; production designer, Patti Podesta; produced by Edward Bass, Michel Litvak and Holly Wiersma; released by The Weinstein Company.

Starring Harry Belafonte (Nelson), Joy Bryant (Patricia), Nick Cannon (Dwayne), Emilio Estevez (Tim), Laurence Fishburne (Edward), Brian Geraghty (Jimmy), Heather Graham (Angela), Anthony Hopkins (John), Helen Hunt (Samantha), Joshua Jackson (Wade), David Krumholtz (Agent Phil), Ashton Kutcher (Fisher), Shia LaBeouf (Cooper), Lindsay Lohan (Diane), William H. Macy (Paul), Svetlana Metkina (Lenka), Demi Moore (Virginia), Freddy Rodríguez (Jose), Martin Sheen (Jack), Christian Slater (Daryl), Sharon Stone (Miriam Ebbers), Jacob Vargas (Miguel), Mary Elizabeth Winstead (Susan) and Elijah Wood (William).


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One Rat Short (2006, Alex Weil)

One Rat Short is a story of chance and star-crossed lovers. It’s also the perfect example of good realistic CG animation. Director Weil and his animators revel in their medium and utilize it to the fullest.

A New York sewer rat happens upon an open Cheetos bag and follows it through a roof-top fan into a laboratory. In this laboratory are lab rats, including a rather fetching one who catches the hero’s eye. Notice my lack of gender specificity–as a filmgoer, I assume the white rat is the female… but as an rat owner, I cannot.

The whole short takes place in real time, except a period of unconsciousness for the sewer rat, which sort of amplifies the tragedy.

Weil’s direction is magnificent; Sherman Foote’s music is lovely. One Rat Short is outstanding, both technically and narratively.

It’s nice to see something so purposefully precious actually succeed.

CREDITS

Written and directed by Alex Weil; director of photography, Todd Winter; edited by John Zawisha; music by Sherman Foote; production designers, Michael K. Frith, Christian Scheurer and Todd Winter; produced by Bryan Godwin.

Pressure (2006, Lena Dunham)

In the end credits, Pressure refers to itself as a film (by Lena Dunham). However, it’s a lot more of a video by Dunham. Given it’s from 2006, Dunham and her camera operator, Hannah Lesser, don’t even have the excuse they shot it on a cellphone to make up for the shaky camera and incompetent framing.

Pressure feels very much like something someone made for fun with their friends–in this case, Lesser and Dunham’s costars Sarah Hymanson and Maia Rotman–not anything Dunham took seriously.

It’s unclear if Pressure’s ad-libbed, in which case I suppose Dunham is sort of less at fault. Hymanson has the most dialogue and, in addition to just being a terrible actor, she keeps looking at the camera. Pressure blunders.

The final gag’s should be funny, but Pressure‘s so incompetent it doesn’t work.

Pressure reminds a little of terribly unfunny Kevin Smith.

CREDITS

Directed by Lena Dunham; camera operated by Hannah Lesser.

Starring Sarah Hymanson (Sarah), Lena Dunham (Lena) and Maia Rotman (Maia).

Black Book (2006, Paul Verhoeven)

Black Book is a film of convenience; whether it’s a negative to further the plot or a simple positive like there being a nonsensical chute to allow easy entry into a basement, the film keeps oiling its gears. It’s not predictable—in fact, it hinges on being unpredictable (Black Book owes a lot to the heist genre)—but it is smooth. It’s so smooth, it doesn’t feel much like a Paul Verhoeven film. But maybe that lack of identity was his point. He wanted to show he was capable of being a journeyman.

Part of that journeyman approach is shooting the film in Panavision, but framing his shots for TV. Black Book would have played great as a three or four part television mini-series. While the film eventually turns into a conspiracy thriller (one or two questions go unanswered), some back story on the non-suspect characters would have been great.

Verhoeven has bookends, making Book another member of this odd new Holocaust genre. He sets up the film as an object of great importance and it isn’t. It’s a mildly boring, competent World War II thriller with some decent surprises and great performances. The surprises aren’t just narrative twists; Verhoeven makes some great observations about the winners of wars being no better than the losers.

Carice van Houten is a good lead, not great. Sebastian Koch is excellent as her lover; costars Thom Hoffman and Derek de Lint have their moments too.

It’s okay, just way too long.

CREDITS

Directed by Paul Verhoeven; screenplay by Gerard Soeteman and Verhoeven, based on a story by Soeteman; director of photography, Karl Walter Lindenlaub; edited by Job ter Burg and James Herbert; music by Anne Dudley; production designer, Wilbert Van Dorp; produced by Jeroen Beker, Teun Hilte, San Fu Maltha, Jens Meurer, Jos van der Linden and Frans van Gestel; released by A-Film Distribution.

Starring Carice van Houten (Rachel Stein), Sebastian Koch (Ludwig Müntze), Thom Hoffman (Hans Akkermans), Halina Reijn (Ronnie), Waldemar Kobus (Günther Franken) and Derek de Lint (Gerben Kuipers).


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Poseidon (2006, Wolfgang Petersen)

Almost all of Poseidon is extremely predictable. Even if it didn’t rip off every blockbuster since 1995 for one detail or plot twist or another, it would be extremely predictable. There is one big departure into unpredictability and it’s so jarring, for a while I maintained interested hoping screenwriter Mark Protosevich would try it again. Unfortunately, he does not.

It’s nearly impossible to find anything nice to say about Poseidon. Wolfgang Petersen’s direction is nowhere near as bad as it was in Air Force One or Outbreak. I suppose that statement is complementary.

But all of the acting is awful and a disaster movie can’t have awful acting. You can’t be rooting for the characters to die off just to be rid of them and, in Poseidon, it’s about all one can do to keep interested. Obviously, the annoying cameo from Stacy Ferguson makes her a prime target, but I never thought I’d be wanting less Andre Braugher in a movie. He plays the ship’s captain. He’s awful.

The film’s worst performances, in no particular order, come from Josh Lucas, Emmy Rossum, Mike Vogel and Kevin Dillon. Kurt Russell, Richard Dreyfuss, Jacinda Barrett and Mía Maestro are all awful too, but they’re not as bad as the others. Though it is mildly amusing to try to guess how many pounds of makeup Russell’s wearing.

Freddy Rodríguez easily gives the film’s only “good” performance.

Even with its short run time (about a hundred minutes), Poseidon is an exceptionally trying viewing experience.

CREDITS

Directed by Wolfgang Petersen; screenplay by Mark Protosevich, based on a novel by Paul Gallico; director of photography, John Seale; edited by Peter Honess; music by Klaus Badelt; production designer, William Sandell; produced by Mike Fleiss, Akiva Goldsman, Duncan Henderson and Petersen; released by Warner Bros.

Starring Josh Lucas (Dylan Johns), Kurt Russell (Robert Ramsey), Jacinda Barrett (Maggie James), Richard Dreyfuss (Richard Nelson), Emmy Rossum (Jennifer Ramsey), Mía Maestro (Elena Morales), Mike Vogel (Christian), Kevin Dillon (Lucky Larry), Freddy Rodríguez (Marco Valentin), Jimmy Bennett (Conor James), Stacy Ferguson (Gloria) and Andre Braugher (Captain Bradford).


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The Amazing Screw-On Head (2006, Chris Prynoski)

Casting Paul Giamatti is a great idea, except when you get someone even more dynamic than him (it’s difficult, but possible) in a supporting role. Especially if it’s just Giamatti’s voice and you’re putting him up against David Hyde Pierce. Giamatti does fine for a while in The Amazing Screw-On Head, but then Pierce shows up and runs away with it. It doesn’t help Giamatti’s character is a stuffy, proper guy (albeit with a metal head and a variety of different robotic bodies), which gives Pierce all the hilarious dialogue.

The animation is all good—the overall design is what’s important and it looks great. Screw-On Head is set just before the Civil War, which we don’t see, and there’s a lot of cool retro technology.

While Screw-On Head basically works, it’s more fun to look at than anything else (except waiting for whatever Pierce says next).

CREDITS

Directed by Chris Prynoski; screenplay by Bryan Fuller, based on the comic book by Mike Mignola; edited by David W. Foster; music by Pierpaolo Tiano; produced by Susan Norkin; released by The Sci-Fi Channel.

Starring Paul Giamatti (Screw-On Head), David Hyde Pierce (Emperor Zombie), Patton Oswalt (Mr. Groin), Corey Burton (President Abraham Lincoln / Professor Faust), Mindy Sterling (Aggie / Geraldine) and guest starring Molly Shannon (Patience the Vampire).


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You Will Believe: The Cinematic Saga of Superman (2006)

There’s no director or writer credited for You Will Believe and without a host, the “documentary” sort of ambles through the history of the Superman film series. Given the contentious history, it goes far in bringing everyone into it… but it doesn’t actually ask any questions. There’s only one moment when it directly refutes something one of the interviewee’s states and it’s almost an aside.

A lot of time is spent talking about Richard Donner’s exit from Superman II. There’s a part when the producer, Pierre Spengler, says Donner was fired for crap-mouthing Spengler in Variety–it’s on record, they show the newspaper–yet Donner never talks about that incident. Instead, he says he was fired out of the blue.

So as a “he said, she said” between Donner and Spengler and Ilya Salkind… it’s kind of a draw. Maybe if the Donner recut of Superman II had been good, he’d get more of my support.

And it is Richard Lester who takes a lot of blows here–and he didn’t participate. Lester’s Superman II stuff is superior to Donner’s and some of Superman III does work. Yet Lester gets hung out to dry… even by Salkind and Spengler.

The lack of focus is really unfortunate, because the making of these films clearly deserves a better look than a DVD “bonus” puff piece.

Also, whoever picked Peter Guber as an interviewee is a twit. Guber’s freakishly off putting, not to mention having nothing whatsoever to do with these films.

CREDITS

Edited by Michael Fallavollita; produced by Constantine Nasr; released by Warner Home Video.

The Prestige (2006, Christopher Nolan)

Oh, good grief. The Prestige is in IMDb’s top 250 movies? It’s so bad, I’m actually going to say something nice about Christopher Nolan in a second here. I’ve never heard of source novelist Christopher Priest and no one I know has ever mentioned him to me, so I’m guessing he’s pretty godawful, which probably means the atrocious, idiotic plotting of The Prestige isn’t Nolan’s fault. The terrible writing of the scenes, well, that defect is surely Nolan & Co.’s, since it’s a stable of all his cinematic endeavors, but the asinine, illogical plotting… maybe not his fault.

The best performances in the film are from Rebecca Hall (big shock), David Bowie (ok, a little surprising), Andy Serkis (again, surprising) and Hugh Jackman–well, Hugh Jackman with a caveat. With The Prestige being Nolan and Nolan apparently being the twist ending zeitgeist with M. Night Shyamalan falling on hard times, the twist ending makes it impossible for Jackman, in his role as the protagonist, to actually give a good performance (imagine Jack knowing he was Tyler the whole time), but there’s a little bit where Jackman gets to do this humorous impersonation (with a fake nose) of himself and he’s hilarious. Unfortunately, it doesn’t last long.

Christian Bale’s terrible (he’s not supposed to be a psychopath in every movie, is he?), Scarlett Johansson’s atrocious, Michael Caine’s not as bad as I figured. Johansson’s English accent is occasionally hilarious.

Nolan’s composition isn’t bad but the fragmented narrative is, as always, pinheaded.

CREDITS

Directed by Christopher Nolan; screenplay by Christopher Nolan and Jonathan Nolan, based on the novel by Christopher Priest; director of photography, Wally Pfister; edited by Lee Smith; music by David Julyan; production designer, Nathan Crowley; produced by Christopher Nolan, Emma Thomas and Aaron Ryder; released by Warner Bros. and Touchstone Pictures.

Starring Hugh Jackman (Robert Angier), Christian Bale (Alfred Borden), Michael Caine (Cutter), Scarlett Johansson (Olivia), Piper Perabo (Julia McCullough), Rebecca Hall (Sarah Borden), David Bowie (Tesla) and Andy Serkis (Alley).


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The Fountain (2006, Darren Aronofsky)

If you were to tell me I was going to react the way I did to The Fountain, Aronofsky’s dream project, I wouldn’t have believed you. While The Wrestler succeeded, Aronofsky didn’t write it. All my experience with his screenplays is negative.

In terms of how the film works, The Fountain is somewhat singular. It’s a rather straightforward narrative masquerading as a sci-fi event picture. It’s insane to think anyone would have given Aronofsky seventy-five million dollars to make this picture (with Brad Pitt, no less, who couldn’t have handled the acting). Hugh Jackman has to be three different people who are occasionally the same person, but don’t know about the other people, but are aware of the other people. It’s probably Jackman’s best performance.

I sat and waited for The Fountain‘s ending to fail, since the whole thing is about the ending. It never does.

Aronofsky’s direction is fantastic, as he incorporates special effects into his shots and to the way Jackman’s character experiences those special effects. Simply because what happens to Dave Bowman doesn’t matter to anyone but Dave Bowman and the viewer, The Fountain and its treatment of Jackman’s experiences is the first film to do it in this manner since 2001.

It seems like a great waste of budget to have these big space scenes with only one character experiencing them.

The Fountain is an experience for the character and the individual viewer. It’s hostile to the idea of an audience or communal reaction.

CREDITS

Directed by Darren Aronofsky; screenplay by Aronofsky, based on a story by Aronofsky and Ari Handel; director of photography, Matthew Libatique; edited by Jay Rabinowitz; music by Clint Mansell; production designer, James Chinlund; produced by Arnon Milchan, Iain Smith and Eric Watson; released by Warner Bros.

Starring Hugh Jackman (Tommy), Rachel Weisz (Izzi), Ellen Burstyn (Dr. Lillian Guzetti), Mark Margolis (Father Avila), Stephen McHattie (Grand Inquisitor Silecio), Fernando Hernandez (Lord of Xibalba), Cliff Curtis (Captain Ariel), Sean Patrick Thomas (Antonio), Donna Murphy (Betty), Ethan Suplee (Manny), Richard McMillan (Henry) and Lorne Brass (Dr. Alan Lipper).


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Moscow Zero (2006, María Lidón)

Someone read the script to Moscow Zero and wanted to direct it? I guess given the director goes by an alias (Luna) instead of her name–she’s like the female, Spanish McG or something–it should be a surprise. What is a surprise is the presence of Val Kilmer and Rade Serbedzija in this piece of nonsense.

Well, I’m only guessing at the presence of Val Kilmer. I never saw him before I stopped watching the film–between the bad, creepy ghost bad guy video effects and the little kid turning out to be a ghost (apparently), I’d had enough.

Kilmer does a lot of bad movies these days and I guess him being in this bad movie shouldn’t be a surprise (I’ll bet they paid his airfare to Moscow). It’s a tragedy no one comes along and gets him into a role an actor of his ability deserves.

But Serbedzija… him I can’t understand. His character is essentially a nutty professor who is searching the Moscow underground for Hell. Except there’s nothing really made of whether it’s literally Hell or some mythic Hell. He talks to himself the entire movie. It’s awful.

Vincent Gallo is the ostensible lead and I don’t think I’ve ever seen him lead a movie before. It’s a shock Moscow Zero didn’t end up in Hell right away under his terrible guidance. However, the revelation he’s a priest, coming moments before he makes eyes at Oksana Akinshina is something to see.

“Luna” is a joke.

CREDITS

Directed by María Lidón; written by Adela Ibañez; director of photography, Ricardo Aronovich; edited by Elena Ruiz; music by Javier Navarrete; produced by Dolo Magan; released by Valentina Pictures.

Starring Vincent Gallo (Owen), Oksana Akinshina (Lyuba), Val Kilmer (Andrey), Sage Stallone (Vassily), Joaquim de Almeida (Yuri), Rade Serbedzija (Sergei), Alex O’Dogherty (Pavel), Julio Perillán (Alec Miller) and Joss Ackland (Tolstoy).


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