oscars to the 83rd

It’s that time again guys.  I don’t know why I don’t get so excited for these.  But I do.  So don’t judge.

Some People Predict 2011. Go.

PICTURE: The Social Network

So King’s Speech has been getting the buzz lately, it took the SAG awards.  But I’m still sticking with the Facebook movie.  It’ll be close – this the toughest competition of the bunch.  Well, this and Director.

DIRECTOR: David Fincher – The Social Network.

And oh why wasn’t Christopher Nolan nominated for this??? Didn’t they add ten slots basically because of The Dark Knight’s omission in 2009? Sheesh.  That man better get his someday.

ACTOR: Colin Firth – The King’s Speech

I’m not as Mr. Darcy sick as many of my female friends… but I still love this man.  This is a crazy-great category though – I’d pull for Jessie Eisenberg, James Franco, Firth, AND Jeff Bridges if I could. I don’t know much about Biutiful, but Javier Bardem is always good too.

ACTRESS: Natalie Portman – Black Swan

Yeah, I don’t have anything to say about this category. Go Natalie.

SUPPORTING ACTOR: Christian Bale – The Fighter

Love this guy, glad he’s getting some recognition.  I’m also glad Mark Ruffalo got a nom, I’ve liked him for a while.  I wish Andrew Garfield got somethin’ though!

SUPPORTING ACTRESS: Melissa Leo – The Fighter

I’m probably plugging for Amy Adams, though I’m stoked Hailee Steinfeld got a nod even if it should have been Best Actress.

ANIMATED FEATURE: Toy Story 3
I wish Tangled had been nominated.  But this deserves it no doubt.

ORIGINAL SCREENPLAY: David Seidler - The King’s Speech
I’m still plugging for Chris Nolan with Inception…
ADAPTED SCREENPLAY: Aaron Sorkin – The Social Network
I already obsess over Aaron Sorkin with his work on The West Wing.  That guy can write.
CINEMATOGRAPHY: Inception
This is a tough one.  It’s this or True Grit.
ART DIRECTION: Alice in Wonderland
Yeah, I just said Alice in Wonderland. Though the night before the Oscars I may change that to King’s Speech.
COSTUME DESIGN: The King’s Speech
They always go for the period pieces.
DOCUMENTARY (feature): Inside Job
DOCUMENTARY (short): No freaking idea.  Killing in the Name?Because I’ve heard of it?  This also may change.  Because I just don’t know.
FILM EDITING: Social Network
I would have said Inception, sealed deal but oh wait it’s not nominated…
FOREIGN PICTURE: Incendies
This is another tough category because these guys never get famous until after they win.  Maybe I should be better and pay attention to foreign films all the way along but eh, not worth it.
MAKEUP: Barney’s Version
I guess? Anything but Wolfman right?
MUSICAL SCORE: The Social Network – Trent Reznor and Atticus Ross
I’m for Hans Zimmer with Inception. And I think it’d take second.
ORIGINAL SONG: “Coming Home” – Country Song
Because it’s a country song… But it should be Randy Newman for Toy Story 3
SHORT ANIMATED: Day and Night
I’m saying no contest?
SHORT LIVE ACTION: God of Love
Because I’ve heard of it?
SOUND EDITING: Inception
It. has. to. be.
SOUND MIXING: Inception
VISUAL EFFECTS: Inception

Looking forward to the 27th folks. See ya then.

Disturbia (2007)

“…It’s too close for comfort ahhhh put on your break lights, you’re in the city of wonder… “
What, this isn’t the Rihanna song? Oh.

An ornery troubled teen (Shia LaBoeuf) on house arrest gets a little bit bored, turns into the nosey neighbor, goes all lewd/perverted over the new girl with the hot bod and the pool, and suspects someone to be a serial killer.  All in a day of boredom and people-watching.

This story is loosely based off of one of my all-time favorite Hitchcock’s: Rear Window.  I never realized just how perverted that show was until now…. but no.  It’s Jimmy Stewart.  And Grace Kelly was not such a deadbeat bikini chick.  Hitchcock was so crazy, how could you possibly make a movie that intense without the camera ever leaving one room…? Oh wait, was this review about that Shia LaBoeuf movie?  Shoot, I’d much rather talk about Jimmy Stewart.

LaBeef isn’t such a bad actor.  I love him in Holes.  Lately I’ve just been disappointed in the films he’s been in.  Transformers? Eagle Eye? Oh jeez.  Anyway, he ain’t bad in this either.  A little annoying, but I attribute that more to the script than the acting.  Basically it’s a lot of teenage puppy dog CRAP, with a little suspense thrown in there.  The amazing thing about Rear Window is its ability to allude to the obvious temptation Jimmy Stewart has of staring at the half-naked girl across the way without being overbearing.  In Disturbia: Here’s the girl doing yoga.  Ooh, here’s here walking slo-mo into the pool, oh NOW she’s tossing her hair back, and how cute – she’s reading a book on her roof while sunbathing in booty shorts.  It didn’t make it much better that I watched this with a group of immature guys who were loving all the skin they could get.  I’m not a boy.  I don’t care.

The two adults in the movie were decent, David Morse and Carrie-Anne Moss.  The girl (Sarah Roemer) sucked.  A Megan Fox wannabe, and I don’t even like Megan Fox.  LaBeef’s friend (Aaron Yoo) was pretty funny though.  There were some enjoyable things too, (twinkie towers?) and LaBeef’s restraining anklet made for an interesting turn.  It IS a pretty okay-crafted thriller for a teen movie, I’ll give that to D.J. Caruso.  It did get pretty intense late in the climax, I’ll admit that as well.  But it wasn’t enough to convince me to enjoy this ridiculously cliché, terribly written, knock off of a classic. 3/10

One Flew Over the Cuckoo's Nest (1975)

Oh Jack.  Why do you have to be so awesome?

Randle Patrick McMurphy (Jack Nicholson) is a lazy-wise-A criminal.  So in order to avoid a sentence of hard labor and frustration, he claims insanity and hopes to live out the rest of his sentence in the more relaxed environment of a mental institution.  There we are introduced to fellow crazies, Martini (Danny DeVito), Billy Bibbit (Brad Dourif), Max Taber (Christopher Lloyd), Charlie Cheswick (Sydney Lassick), Dale Harding (William Redfield), and Chief (Will Sampson) – the deaf and dumb 7 foot tall Indian.  The coop is run by Nurse Ratched (Louise Fletcher) and she’s something.  She humiliates, she degrades, she makes McMurphy’s life a living hell.

So guys.  What makes this movie great?  Let’s talk about all of the “before-i-saw-the-actual-movie” bits.  First, it won the big 5 Oscars (directoractoractressscreenplaypicture).  It’s ranked #20 on AFI’s top 100 movies.  Jack Nicholson is IN it and he gets to be in a mental institution.  An iconic classic of the ’70s.  Everyone’s heard of the title even if you haven’t heard of the movie.  So walking into this, my expectations were high.  And, luckily, I actually knew a lot less about the plot than I thought I did.  Except, naturally, that Nurse Ratched is a nazi-woman who is far crazier than her patients. (Seriously… AFI’s Heroes and Villains list really screwed up some things about movies for me… Maybe I should just stop looking at anything about movies until I watch every movie ever made.  Eh, not worth it).

Everyone knows that Jacky boy is bad-A.  He’s as hard core as they come.  (And I just watched The Shining not too long ago…)  Man is he great in this.  He’s loud.  He’s a leader of the pack.  He’s an unrelenting optimist, refusing to succumb to the lows of the nuthouse.  He frustrates Nurse Ratched enough to put a flicker in those calculating eyes.  He embodies that role with more enthus than I thought possible and few are as good at wreaking havoc as he.  What a guy.

What I didn’t expect was how attached I was going to become to every single other nut job.  It’s so easy to connect with their childlike mannerisms and you have hope for their futures.  Martini’s ever present grin, Billy Bibbit’s stutter, Chief’s admiration for McMurphy.  You’re cursing Ratched’s name and you’re cheering for any small triumph they may have over her (and her name sounds like a cuss).  At first, I couldn’t decide if all the buzz for Fletcher was legit, but her acting performance will always remain a triumph for she’ll forever be remembered as one of the sickest villains in history.  Subtle and malicious.

I feel like the overall greatness is built up of small scenes of genius.  Stealing the van… teaching Chief to play basketball…. McMurphy petitioning for the World Series to be displayed and consequently monologuing an imaginary play-by-play to show his inmates how to stick it to the man and stray from the norm… all brilliant.  They, of course, build upon one another towards an ending but they also stand out as individual moments in which the audience could connect to the action.  The penultimate scene with Billy and Nurse Ratched is particularly moving as heart breaking as it may be.  Each scene is so perfectly constructed, and on emotional overload.

The music is solid, Milos Forman’s  directing is without fault, the script is unforgettable, the cinematography is bleak, morbid, and stunning.  The tone is an interesting mix between humor and misery, with tragic undertones to comedic exchanges; it’s barbaric how mental institutions actually used to be like that – electroshock therapy and lobotomy to boot.  But in the end it’s about character growth.  At first I wasn’t sure what to think of the ending but after thinking (like I usually do for hours after a movie as pivotal as this…) I recognize its poetic and beautiful wonder.  But no matter what – the journey was worth it for these guys.  And worth it for Chief. 9/10

Basketball Diaries (1995)

Basketball Diaries is basically about basketball star Jim (Leonardo DiCaprio) and his going off the deep end. He loses his best friend to leukemia, but loses himself to drugs.  He also writes.  He’s a charmer, for sure.  Especially when screaming his guts out in pain for a fix.  That’s a turn on if I ever saw one.  It was... painful.  But basically if I didn’t know anything about drugs before I certainly do now.  On the whole, this true story based on the life of Jim Carroll is very harrowing, and agonizing.

It’s also, you know, overdone?  Not to bag on people with terrible drug addictions who think their story is just as awful and heart-wrenching as any other (and it probably is…) but we’ve seen this before.  Drugs are bad, don’t drop out of school, the end.  Plus I am not a drug addict.  It looks pretty awful, no lies, but I couldn’t relate.

On another note, it’s ugly.  Yeah, it paints a picture and in some ways it contributes to what’s going on but hey.  It’s still ugly.

I didn’t totally hate it though.  I’m a Leo fan, and this is one of his earliest (he looks like he’s nine…).  Though even with his age he’s far from untalented.  I like the guy, and he’s basically why I saw this in the first place.  He’s showin’ through some realistic teenage angst.  Believable is the word I’m looking for, I think.  Some argue that he was over the top, but I didn’t think that for the most part.  In fact, this performance is one of the best I've seen of someone fighting an addiction. The other acting is pretty good too (Mark Wahlberg, Bruno Kerby, and Lorraine Brocco).  The soundtrack is awesome, the title is fitting.  And yeah, it’s memorable.  I won’t be forgetting all that drugness anytime soon.  Its outline is also effective with a very poetic feel.  Oh, and my favorite scene is when they play basketball in the rain.  Gotta love it.

Basically if you want to teach how awful life with drugs can be, here’s your movie.  Though I probably wouldn’t show it to your kids unless, you know, they’re already overboard. 4/10

Despicable Me (2010)

Nothing really appealed to me about this movie.  I hate to label, but honestly I’m a little bit turned off  when it’s animated and it ain’t Pixar.  Plus the trailer had a fart joke in there.  I hate fart jokes.  They are the epitome of childish.  I don’t care how many stars you’ve got piled in there.  It didn’t work for Shark Tale.

But then something happens when you go to college and you and your roommate decide to go to a dollar movie at 12:30 am and you laugh your head off in spite of yourself.  True story.  A few days after the fact, you kick back and realize that some of those jokes were actually stupid but man was it epic at 2 am.  Then you go to another buddy’s house and you watch it again… – laughing just as hard as before (okay, maybe not just as hard – that might not be possible.  I wouldn’t know though, I don’t think you’re ever fully conscious when laughing late at night.  Let’s be honest).

So anyway.  I think it’s hard to really review and critique movies like this.  Because I had a blast at the movie theater.  I laughed oh-so-hard.  But hey, it’s not that great of a movie.  It’s cute, it does what it does, it gives you a few feel-goods, and tells dumb jokes.  The end.

Gru (Steve Carell) is a villain has-been.  He’s old, but still wants to be the meanest, toughest bully out there.  Sadly, there are new hot-shot dudes who are meaner, tougher, and badder.  One such younger dude, Vector (Jason Segel) (whutt up HIMYM!), who succeeds because of all of his toys and traps in his cooler than cool super-villain lair – is Gru’s competition, and pulls off things like stealing pyramids in Egypt.  Gru is sick of people one-upping him, so he decides to pull off the biggest heist of the century and steal the moon.  Oh yeah, he also turns Daddy Warbucks and adopts three little orphans from the evil orphanage lady who looks like Dolores Umbridge (Kristen Wiig) along the way (box of shame? really?)

It’s predictable.  The story tries to be all feel-goody and get you teared up but it doesn’t have the emotional touch of Pixar.  It ends up just being cheesy.  But it is funny.  (Did anyone else laugh at the whole “Formerly Lehman Brothers” sign?)  There are a few side characters to spice it up – Will Arnett as Mr. Perkins speaking all GOB-like and Jack McBrayer as that evil carnival dude trying NOT to sound like Kenneth but still totally does being the best.  Julie Andrews also represents as Gru’s messed up mother.  The two youngest little girls were adorable, but the oldest was just annoying.  And typical.  An overdone character.

The minions were also entertaining.  I’ll be honest, I was taken with the cute lil’ midgets.  And it’s got a catchy theme song.  Always key.  Not to mention a random Wilhelm scream! K, done mentioning all the random tidbits. Think what you  may, but I for one was entertained.  6/10

An Education (2009)

Man am I thrilled that this isn’t just some other movie about getting knocked up.  Oh wait, did I just ruin it for you?  My bad.

The darling Carey Mulligan stars as Jenny, a bright student in ’60s London with high hopes to get into Oxford.  She loves reading, French culture and music, is an accomplished cellist, and basically just wants to learn all there is to learn.  Then one day, the tall, charming, and suave David (Peter Sarsgaard) helps her get home in the rain.  Yes, in the rain.  He impresses her with his knowledge and cultured lifestyle, and she’s darn well swept off her feet.  Jenny’s parents (Alfred Molina, and Cara Seymour) are strict, but naive.  Even they are taken with David’s sophistication and wit.  David cultures Jenny by taking her to plays, concerts, fancy restaurants, and even Paris.  Jenny may or may not be falling for the middle-aged man, and his intentions may or may not be sinister.

First thing’s first: I’m a sucker for coming of age stories.  I can’t remember if I’ve mentioned this on here yet or not.  But it’s true.  When I started hearing about this movie around award’s season last year I was so pumped to watch it.  I must admit, I wasn’t disappointed and I might even say it exceeded my expectations.

It’s enchanting, really.  Actually scratch that.  Carey Mulligan is enchanting.  I know I’m probably majorly influenced by the media but the thought couldn’t escape me how much she reminds me of Audrey Hepburn.  Oh she’s darling.  She makes the movie from some random teenage tragedy to something real.  We are all surrounded by Jennys, or perhaps we ARE a Jenny, and she transforms this character into someone relatable and strong.  She’s a strong, sharp heroine.  Her love of life radiates in her eyes and her joy is contagious – even through the screen.

David too is an interesting character and well portrayed by Peter Sarsgaard, that sly dog.  In many ways, he reminds me of the character Willoughby in Sense and Sensibility. There are moments where he seems genuinely interested in Jenny and enjoys her company.  Then there are times where all he seems to want is some action.  The two together make a good acting team and their relationship seemed plausible, albeit unfortunate.

The rest of the cast is solid too, featuring Olivia Williams, Rosamund Pike, Dominic Cooper, and Emma Thompson. The script by Nick Hornby (About a Boy) is also excellent and moving.  A fine directing job by Lone Scherfig.

What sold me on this movie, though Mulligan is definitely the highlight, were the parents  - Molina and Seymour.  I love that they actually, what’s the word, exist? Too often are there stories where the parents play no factor into the ruin of teenage lives, but I love that these parents are obviously trying their best for their daughter and that they love her.  They are a perfect example of concern, and love.  The story (based off Lynn Barber’s memoir of the same name) seemed fresh and true.  I mean, 16-year-olds make mistakes all the time.  This is a great example to young girls that there is still potential to grow, even if something crazy happens to mess things up.  The future awaits.  I love that about this.

Another highlight is the music.  It’s beautiful.  The end.

Okay, so maybe this story isn’t so new.  Maybe it IS just the same ol’ same ol’ that you get in any teen coming of age story.  Maybe we HAVE heard this story a thousand times.  But to me it felt different.  It actually felt special.  Maybe it just hit me in a certain way.  I can’t really tell.  But something touched me in this movie.  It’s worth the watch anyway.    9/10

Toy Story 3 (2010)

I’ll admit, when I initially heard that Pixar’s next project was going to be a third installment to the Toy Story franchise, I wasn’t sure what to think.  Pixar is the top dog for creativity and I’ve been thrilled with their not-so-recent efforts of Up and Wall-E. Soooo another Toy Story?  Haven’t we heard this story before?  Twice?  But then I thought some more, and I’m as big of a fan as any of Woody and his gang and those movies define my childhood.  And Pixar is always right.  So I trusted them.

It’s a good thing I did.

Toy Story 3 is about grown-up Andy leaving the roost to go to college.  One card that Pixar played to solidify awesomeness was to release this movie just as the first generation Toy Story watchers are heading out to college themselves.  It definitely hit me differently since I too was embarking on the same adventure.  Good move, Pixar.  You always did know how to tug at the heart strings.

Anyway, as so morbidly predicted by Stinky Pete in Toy Story 2, Andy has forgotten about his toys.  In the confusion of packing and getting everything ready to leave, his box of the beloveds (Buzz, Woody, Jessie, Bulls Eye, Slink, Rex, Mr. and Mrs. Potato Head, Hamm, 3 alien squeak toys, and even Molly’s old barbie) are accidentally taken to Sunny Side Daycare, instead of the attic where he wanted them.  (p.s. I totally listed those characters from memory btw.  Go me).  Woody tries to convince his buds that they need to go BACK to Andy’s.

Woody eventually heads off on his own.  Buzz and the rest of the crew are at first excited for their new lives – they meet a welcoming Care-Bear named Lotso (Ned Beatty) and his side-kick Big Baby, and Barbie finds true love in the apparently-straight-but-sooo-gay Ken (“That Barbie sure has nice handwriting!” “Uhh, Buzz?  I don’t think Barbie wrote this…”).  Unfortunately, our toys are assigned to the dreaded Caterpillar room, and tyrannically excluded by Lotso from the coveted Butterfly room.  What’s the difference?  Malicious torture by toddlers.  Turns out Woody was right.  They need to get out of this murderous mess.

Soo my first reaction told me that this was a little too much like Toy Story 2. The plot didn’t sweep me off my feet.  The sequence of things felt all-too familiar, and I was slightly disappointed.  On a side note, I honestly think one of the reasons I had these few drawbacks was due to Roger Ebert’s review, which gave it a positive rating but not a home-run score.  I’m torn between reading critic reviews for movies or not, but that’s a post for another time.  Anyway, the emotion behind it all outweighs this drawback.  I was freaking crying like a little baby by the end.  Seriously.  Tears were a-flowin’.  It’s a good thing it was 2 am and everyone else had fallen asleep so I didn’t even need to pretend that I got something in my eye.  I mean, these were practically MY toys!  Their camaraderie and care for each other is powerful, and in the end this is simply a beautiful story about friendship and looking out for one another.  But really though, let’s not forget the classic humor and wit that always accompanies a Pixar flick.

Barbie: “I”
Ken: “Love”
Barbie: “You!
Ken: “See, that time I said Love!  See what I mean, it changes every time!”

Ken’s fashion shows, Spanish mode Buzz (heck, Spanish-DANCING Buzz), and Pickle-Potato-Heads.  It’s hard not to giggle like a maniac at some parts.  Technically speaking, everything’s essentially flawless.  Perfect animation.  Excellent voice acting (Tom Hanks and Tim Allen of course, but also Michael Keaton, Ned Beatty and Bonnie Hunt in her small role).  Classic music.  Everything.

Pixar, you do whatever you want.  You have now successfully created a trilogy for the ages that is satisfying and complete.  I will forever treasure the Toy Story movies and the characters in them.  ”So long… partner.”  8/10

A.I.: Artificial Intelligence (2001)

Spoilers. Just sayin’.

I remember so well when this movie was released.  I was 10-years-old, and I wanted sooo badly to see it – but due to its PG-13 rating my mom wouldn’t let me.  I got over it.  I’m glad, now, that I didn’t see it then because when I finally was able to, I could appreciate it.  At 10-years I already loved movies and knew all about Steven Spielberg; E.T., Close Encounters, Jaws, & Jurrasic Park were favorites from my childhood.  I did not, however, know who Stanley Kubrick was (pretty sure that name came along when I was 12 or 13).  This began as Kubrick’s project and you can see his prints all over it.

Sometime in the future, where the world is starting to freeze over and couples must obtain a license to have children, technology has advanced so much that man can create life.  Artificial intelligence (robots) are hardly distinguishable from human beings.  Scientist Allan Hobby (William Hurt) wants to take it a step further: What if we could create a Robot that could love.  Not physical lust but love like a child would care for his mother. What if?

And so David was created (Haley Joel Osment).  Monica (Frances O’Connor) and Henry (Sam Robards) Swintons – whose child is being held in cryostasis until a cure is found for his disease – decide to test out this new product. (Yeah, I totally stole that from IMDb.  But I didn’t really know what the kid’s problem was.  So sue me).  Henry brings him home and Monica is initially furious.  No “mecha” could replace her own physical child.  Trial period ensues.  Should they choose to keep David, they must perform an irreversable imprint ritual.  Monica spends time with David and they begin to bond.  She decides to do the imprint thing (sadly, this now makes me think of Breaking Dawn…) and David is now in for good.  The transformation is instant – Monica is now Mommy and David wants nothing but to make her happy.

Problems arrive when their “real” son, Martin (Jake Thomas) recovers and comes home.  Suddenly David’s got competition.  Suddenly “Daddy” has changed his mind about the entire ordeal.  Suddenly David is getting in trouble and doesn’t know how to get mommy’s love anymore.  David cuts a lock off Monica’s hair to gain her love but is falsely accused of sinister motives.  Things get worse when he’s found holding Martin at the bottom of a pool… but only because he was frightened seconds earlier and wanted protection.  Monica (sob sob sob) can’t take it anymore, David’s gotta go.

So what does she do?  She drops him in the middle of the woods with nothing but a smart Teddy, some money, and a dismal parting message: “I’m sorry I didn’t tell you about the world.”  WTF?  He may be artificial, but he’s still a kid.  All he can figure is that his mother must not love him because he isn’t real like Martin.  He decides to search for the Blue Fairy so that he can become a real boy like Pinnochio.

Part two, the story takes a turn and we are introduced to (though we don’t thoroughly explore) this “world.”  Mecha exist everywhere, but humans resent their presence.  “Flesh Fairs” are held to destroy and publicly ridicule mecha, led by Lord Johnson-Johnson (Brendan Gleeson).  Human nature hasn’t degraded far enough for them to ridicule an 8-year-old boy, however, when David is under display.

David still searches for the Blue Fairy, still accompanied by Teddy and newly accompanied by Gigolo Joe – Hey Joe what do you know? (Jude Law).  He is led (guided by Dr. Know (Robin Williams)) to an underwater Manhattan.

The end to this film is an end for discussion, and I must admit I have a few issues with it myself.

David is reunited with Dr. Hobby, creator.  We learn that David is the new frontier.  Soon he will be available to anyone who wants a child that can love.  Suddeny, though, David leaves.  Hey Joe what do you know is taken by the police.  David finds the remains of a Pinnochio exhibit on an underwater Coney Island.  David and Teddy stay in the helicopter thing for, wait for it, two thousand years praying to the Blue Fairy.  After those two thousand years – the Mecha of the future and some sort of real Blue Fairy (Meryl Streep) find David and are able to reunite him with his mother for a day only.  The film ends after a perfect day spent with Monica.

I’m not in the habit of writing an entire synopsis for a simple review, that’s not my thing.  But I’ve been thinking about this movie so much that it helps me to sort it all out.  I’m even having difficulty throwing in sarcastic comments, made-up words and dumb jokes I’m thinking about this so hard.  Allow me to interject now with a big WTfreakingF???  Like, seriously.  I don’t even know what to think.  But now that I’ve gotten this out of my system, thanks for listening to that really boring summary instead of our usual review format.  I feel much better now, folks.  Anyway, there are the little things that bug me… for example though I liked Jude Law’s character I found the sexual innuendos unnecessary.  It gave an interesting perspective to David’s unique ability to truly love, but in the end it contributed nothing.  I also wonder what the point is of owning a perpetual 8-year-old.  But those are small things.

Many complain about the end.  Many are convinced that Spielberg took this film a completely different direction than was the intention of Kubrick.  (Spielberg has been quoted to say that this is false, Kubrick’s intentions were met in the finished product.  Apparently).  Granted, I had a WTF moment myself and it took two viewings to really place it but seeing as mecha cannot become human, this is sci-fi not fantasy, I found the ending appropriate.  David found closure.  His wish essentially came true.  He was able to spend a perfect day with his mother and do the things he wanted to.  Who knows what his future holds – he is one of a kind, now.

My issue concerns the almost-end.  Apparently he was led to Manhattan as part of a plan.  Apparently he was special.  Apparently the fellow scientists (including Miles from Lost!)  were dying to meet him.  He was made in the image of Doctor Hobby’s son for crying out loud!  Yet…. nothing else happens?  David… gets left?  Did they search for him?  What would have happened next?  Now do their Davids and Darlenes get shipped to the world?  We are led to this moment and nothing happens.  That threw me.  And really bothers me.

My admiration for this film outweighs my contempt for its faults, and although I was thrown by the ending it adds to my appreciation.  Though I love Spielberg and Sci-Fi always – the selling point is Haley Joel Osment.  He may be the very best child actor to have passed through cinema, and yeah I’m being serious.  It’s not easy for an adult to correctly display artificial emotions, yet he does it without a single misstep.  His eyes tell the story.  His performance could not be duplicated.  If anything, the film is worth it for him.

It is unique.  It is fascinating.  I was invested every second.  As with all works of art, it’s now left to interpretation, so do what you will with the ending.  I, however, highly recommend the film.  It must have been worth it if I’m already eager to watch it again. :) 8/10

On a side note – I want a Teddy.  That’s my kind of companion!

Toy Story 2 (1999)

Just when we thought Toy Story was the best thing there was – Toy Story 2 comes out.  Pixar’s third effort is out to prove that these flicks are way more than just kids’ movies because seriously this movie has got more emotional baggage than Terms of Endearment. Okay, not really, but you get the picture.  Toy Story 2 opens with awesome exchange between Buzz Lightyear (Tim Allen) and his nemesis Emperor Zurg (Andrew Stanton) complete with Star Wars references.  After Buzz gets his top blown off, we’re initially scared out of our pants.  Luckily, he’s actually in his very own video game – and other than Rex’s (Wallace Shawn) short arms things are well in the world of Andy’s bedroom.  Our favorite Woody (Tom Hanks) is off to Cowboy Camp, Mr. Potato Head (Don Rickles) is lovin’ married life, and Buzz is still Mr. Popular.  That is, until Woody gets his arm torn and then he gets sold in a yard sale to a crazy chicken man only to find out he’s worth bank and then be sold to a museum in Tokyo… Okay I just got way ahead of myself on that one.

Anyway.  Throughout this whole climax, we find out that Woody isn’t just Andy’s favorite toy.  He’s a rare Sheriff Woody doll, with a round-up gang and his face on a yo-yo to boot.  Woody doesn’t know what to think of his gang at first, but soon bonds with Jessie the cowgirl (Joan Cusack), The Prospector aka Stinky Pete (Kelsey Grammer) and Bulls Eye (a real, live horse I’m sure).  Meanwhile, his friends from Andy’s room (Buzz, Rex, Slink, Tater head, and Hamm) are doing everything in their power to rescue him – even crossing the street without adult supervision.  In the end, it’ll come down to whatever Woody decides is more important, being loved by a child or being preserved in top-notch condition forever and ever while being pampered with cocktails and other special treatment along the way.

Toy Story 2 is driven by emotion.  One of the most moving and sad moments occurs when Jessie tells her tale of being forgotten by her owner, Emily. Man is that heavy stuff.  First, Woody’s havin’ creepy nightmares about his being left behind by Andy, then Jessie REALLY gets left behind by Emily, then Buzz gets rejected by Woody … it really makes you think doesn’t it?  The boundary between toys and humans thins considerably as we find our eyes watering at the realization that we, too, could be forgotten one day.  Morbid.

But this movie is far from depressing – it’s hilarious!  Witty one-liners and Buzz Lightyear imposters and married spuds and tour guide Barbies.  Oh, and more Star Wars homages. That’s when you KNOW a movie is good.  Just kidding.  But not really.

On a last note, the animation is incredible.  Those cheeto puffs look as edible as any I’ve ever eaten – I am absolutely amazed at the detail.  If you haven’t seen it yet, you’ve prob been living under a rock in Ghana, but see it.  You won’t regret it. 10/10

films that defined us

I was asked by Marc from the awesome blog Go, See, Talk! to participate in this awesome blogathon: Films That Defined Us.  Man, these are the best things to think about.  Everyone remembers the movies that touched us as kids, movies that we could watch all day long on a Saturday, movies that we’ll always consider special.  My list plays directly off the word define.  I tried to choose movies that I not only enjoyed but movies that shaped the person I am today – or influenced future movie viewing habits.

8 genres, 8 movies.  Ready, set, go!

8. Drama: Apollo 13 (1995)This is one of the first “adult” movies I remember watching and I thought I was soooo cool to get to see it (I was probably 6 or 7…)  Being already fascinated with space travel (thanks to Star Wars) this raised it a whole ‘nother level – this baby actually happened, it’s history.  Still a favorite movie and a must-see – annnd I still think it should have won Best Picture… (sorry Braveheart).

7. Musical: Thoroughly Modern Millie (1967)
I grew up watching and loving musicals but this was my favorite.  Somewhere between tapping the Tapioca and quirky, kidnappin’, Chinese women I became obsessed with this nonsense.  Today, while it’s since been replaced by West Side Story as my fav, I still know every lyric, I still love Mary Tyler Moore and John Gavin, and it still makes me want to dance.  I would cite it as the biggest influence in my musical-loving life.

6. Animation: Mulan (1998)
I dare say that this movie “defines” me more than just about any other movie because I used to pretend to beMulan. It also inspired the martial arts side in me to come alive.  I now have a black belt and that passion began sometime while watching this Disney chick kick Hun-trash.  In the animation genre, I’d have to say that there are many that surpass (yeah, Pixar happened), but it’s still a lot of fun.

5. Thriller. Kind of: Rear Window (1954)
And so begins my Hitchcock obsession.  And a love for Jimmy Stewart.  I can’t even remember how old I was when I first saw it but it always stuck with me (and made me never want to watch Perry Mason…)

4. Adventure/Comedy/Romance/Everything: The Princess Bride (1987)
Man, what genre does this film fall under anyway?  It’s got “fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, miracles…” Anywho, this is where I learned to quote movies.  “Anybody want a peanut?” and “Have fun storming the castle!” I used on a daily basis.  It also gave birth to an undying admiration for sword fighting.  Whatever genre it may fall under, it’s made for every kid, teen, and adult.

3. Sports: Hoosiers (1986)
Favorite sports movie of all time.  Bball is also my favorite sport and every time I watched this, I’d want to get out and play.  So you could say it helped improve my ballin’ skills.  Basketball is still very important to me.  As for its genre, it’s simply the best out there.

2. Classic: On the Waterfront (1954)
This one came later on (as in just a few years ago), but has nonetheless made its mark on my life.  This is where I really got the whole classic-movie-gig.  Though I already wanted to marry Cary Grant, this movie made me want to watch absolutely anything made before 1960.  It has defined me by helping me discover the thrill of classics.

1: Sci-fi/Adventure: Star Wars (A New Hope) (1977)
There it is.  The king.  I must have watched the original trilogy of SW over 100 times in my childhood.  I used to pretend to fight with lightsabers and play with my brother’s toy Millenium Falcon.  I had no idea  a movie could be so wonderful and thought there was nothing parallel.  My perfect movie.

Thoughts?

Star Wars Episode II: Attack of the Clones (2002)

Attack of the Clones picks up ten years after little Ani Skywalker became Obi Wan Kenobi’s padawan learner.  The galaxy is on the brink of a civil war.  There are still Sith lords on the loose, and star systems are threatening to leave the Republic.  After multiple assassination attempts on Senator Padme Amidala (Natalie Portman), team Anakin (who’s no longer a baby-faced kid but an angsty nineteen/twenty something year old – played, well, pretty awfully by Hayden Christensen) is on Padme’s detail and Team Obi Wan (Ewan McGregor) leaves to investigate the who and what behind the assassination attempts.

Anything else?  Oh yeah.  Anakin and Padme fall in love.

While Attack of the Clones is leagues ahead of Phantom Menace in most respects… it still has two issues.  Just two – no big deal, right?  Wrong.  Those two things are sort of, like, central to the entire prequel trilogy.  They’re really unfortunate things to mess up on:

Number 1?  Yeah.  Anakin.   I’m not sure who’s more to blame, Christensen or George Lucas.  Hayden aside, what kind of character do we have?  Some idiot who complains all the freaking time about things like sand and life being super unfair.  Unfair?  This is coming from a nobody who was literally brought out of the boonies to become an incredible somebody – all out of the goodness of a Jedi master’s heart.  Man, I wish he’d shut up.  I’ll give him some things, though.  I like him all right when he’s with Obi Wan.  His recklessness and cocky attitude are fitting and keep Obi in check.  I really like their relationship, actually.  (“If you spent as much time practicing your saber techniques as you did your wit you would rival Master Yoda as a swordsman.” “I thought I already did.” “Only in your mind, my very young apprentice.”)

Number 2?  That freakin’ romance.  Natalie Portman’s much better this time around, but I just couldn’t buy their relationship.  Zero chemistry.  And really, why the heck is she attracted to someone who’s so whiny and unlikeable anyway?  Right, I too get turned on by sandpeople slaughterin’ macho men… ?  She started out fine with her initial older sister-like disdain for Ani and the I-think-you-should-shut-up-kid look, but the next minute they’re frollicking in the grass.  Sheesh, man.  It’s all pretty dismissable, except the whole grab-a-quick-kiss-on-a-rhino’s-back thing. Now that really got me laughing.  Could you get any cheesier?

With those major bits out of the way let’s get to the good bits.

Love the Jar-Jar shut-down.  But did anyone else notice that he was the one who granted Palpatine emergency powers?  So he’s responsible for every… nevermind.  Limited Jar Jar is good.

This installment is full of “aha!” moments.  Such as…

• Jango Fett is a stormtrooper.  Sorta.  At least, they all look like him.  Like father, like son – he too was a bounty hunter.
• With that – stormtroopers used to be good!  The clones were on our side in The Clone Wars.
• Owen and Beru get screen time.  Owen’s actually Anakin’s step brother through Shmi’s second (first?) marriage.  Great choices, they look like their future selves.
• Death star plans? Yessss.

Being the SW nerd that I am, I dig any freaking second on other star systems.  Kamino, Coruscant, not s’much Tattooine, Geonosis, and Naboo (I’d live there!)  The galaxy-expansion is very exciting.  I’m also totally into the political intrigue that went behind the birth of the Empire.

I’m not gonna lie, I get a major adrenaline rush when all those jedi rush out with their lightsabers on Geonosis.  It’s the first time there has been more than three lightsabers present at any given time in the franchise, so that was freaking legit.  This is the golden age of the jedis – to see them in action is such a thrill.  It’s also pretty great to see Mace Windu (Sam’s the man L. Jackson) kick major trash.  The Yoda (Frank Oz) battle is pretty sweet too, what a mean green fighting machine.  Frankly though, I prefer his throw things at you with eyes closed approach better than lightsaberin’ it up.  He flips around so much, you’d think he could just chop his legs off being so small but whatev.  Yoda rocks no matter what.

Count Dooku (Christopher Lee) is pretty sweet, though Maul still rocks the ceiling off.  My personal favorite aspect of AotC is Ewan McGregor as Obi Wan.  What a dog, he’s jumping out of buildings, getting in more bar fights, and talking back to his apprentice.  A great character, he is.

The redeeming factors outweigh the major flaws.  This is a much better movie than Episode I, but I think it’s weaker regarding the bigger picture.  After watching Revenge of the Sith where Hayden isn’t quite so bad, if only he could’ve just been likeable in this one… it would have saved the entire trilogy.  If Anakin and Padme had been believable together in this one, Ep. III would make much more sense.  It’s the weakest link; it doesn’t tie the two together like it should.  Thank goodness for kick-A lightsaber battles. 7/10

Quiz Show (1994)

It’s the late ’50s and geeky Herb Stempel (John Turturro) is on a winning streak with popular quiz showTwenty One.  Quick rundown of the show:  There are two contestants, one returning champ and one unlucky opponent.  They meet briefly with host Jack Barry (Christopher McDonald) at the start of the show before being separated and sent to their own hot ‘n’ sweaty isolation booths.  During play neither contestant can hear the opposition nor see their total points.  Barry presents the category for the round and each player takes turns answering questions from that category.  They may choose any point value from 1-11 and the first to twenty-one wins.  It should also be noted that the questions, when not in play, are kept in a secure bank vault.

But when ol’ Herbie stops bringing in the ratings, producers Dan Enright (David Paymer) and Albert Freedman (Hank Azaria) search for a new champ.  New contestant: earnest lookin’ college professor Charles Van Doren (Ralph Fiennes) son of Mark Van Doren (Paul Scofield) a renowned poet.  To ensure the smooth departure of Herbert and the big arrival of Charles, they ask Herbert to take a dive.  Not just take a dive, but fail miserably and embarrassingly.  Q: Academy Award winner for Best Picture 1955? A: On the Waterfront, Herb must reply – even though Marty is one of his favorite movies.  Why would asking Herbert to lose of his own accord even be applicable?  Oh wait, turns out those questions aren’t quite so sacred as the public thought and turns out that Stempel has been fed the answers all along.  He reluctantly agrees to bow out, but only if Enright will extend further television opportunities outside of the quiz show.

They try to offer the same gig to Charles… but this too-good-to-be-true hero has a conscience, darn it.  However, regardless to Charles’ initial aversion to cheating, they plant a question that Charles already knew the answer to.  And he knew that they knew that he knew the answer.  It’s a lot harder to exercise integrity on National TV, eh?  He answers correctly.  The new champ has been named and Charlie reaches stardom in the blink of an eye.  The public adore this squeaky clean, ideal, all-American man.  Herb disappears into the void of obscurity.  Somewhere between wishing for a new car, wanting to getting his teeth capped (he probablyshould have taken care of that one), and hoping that Enright would hold tight on his end of the deal he should have realized it wasn’t the greatest idea to bet his money away.  Complaining to your former boss will only get you so far.  No one cares about Herb Stempel anyway, he’s old news.

Then Dick Goodwin (Rob Morrow), a young but talented lawyer, comes along.  After hearing rumors of rigged game shows, he opens an investigation of Twenty One.  He meets with Stempel, he meets with NBC producers, he develops a friendship with Van Doren.  Turns out he’s stumbled on dynamite.

I totally dig this kind of stuff.  I feel about this the same way that I feel about Shattered Glass. It doesn’t just document an interesting scandal, it captures a time in history.  “It’s television.”  The controversy was certainly enough to keep our attention but director Robert Redford took it a step further and showed us a life.  It delves into Van Doren’s relationship with his father (ahh, Paul Scofield!) as well as interesting points on Jew/Gentile winners and losers.

Quiz Show was nominated for 4 Academy Awards including Best Picture and Best Director.  Here are what make it the bee’s knees: The acting is spectacular.  Hank Azaria and David Paymer are my two particular favorite performances but the selling ticket is Paul Scofield, who was nominated for Best Supporting Actor.  Ralph Fiennes should also be credited who managed to embody this character with style, likeability, and emotional depth.  Also, have you ever seen so many cameos?  Martin Scorcese?  Barry Levinson?  Douglas McGrath?  Even if the acting wasn’t solid, this sharp script could make Megan Fox seem almost credible.  Lastly, you can almost feel Robert Redford walking through the set.  He leaves his mark in the most positive light.  It’s a film that wouldn’t be the same without his magical touch.  The only negative thing I have to say is perhaps geared towards its long running time.

It’s thought provoking and intelligent – a must see. 9/10

The Lodger: A Story of the London Fog (1927)

Much like Blackmail, The Lodger looks and feels like a Hitchcock piece.  But The Lodger is even better.

It’s about a series of murders committed by the neighborhood’s Jack the Ripper type killer called “the Avenger.”  Seven golden-haired girls have already bit the dust and the culprit is still at large.  Then, at the Bunting residence, a new tenant (Ivor Novello) arrives interested in their room for rent.  He’s very reserved, pays in advance, and is oddly frightened by golden-haired lady pictures  donning the walls.  Then, after first glance of golden-haired daughter Daisy (June Tripp… though apparently her screen name is simply “June”), this duo are instantly attracted to one another.  (There is no short supply of golden-haired chicks floating around, hence the periodic “To-night ‘Golden Curls’” memo – where, in fact, the blondies attempt to hide their golden locks for fear of being labeled as potential victims).

Daisy’s policeman beau Joe (Malcolm Keen) is assigned to the Avenger case and is definitely into Daisy’s new interest.  One evening Mrs. Bunting (Marie Ault) catches the lodger sneaking out in the middle of the night and the next morning another dead golden-haired girl is discovered – around the corner from their home.  Could the Avenger be the lodger? (he does have a name, by the way – Jonathan)

The Lodger is an excellent silent ranking in my top 3 early Hitchcocks.  It’s suspensful and excellently sets an apprehensive mood.  Our leading lady is an interesting character though at times a little much.  The other actors are quite good, particularly Ivor Novello.  The musical score (though better than Champagne) felt like the same three themes on repeat, but at least it was applicable.  Where history is concerned, this is the true molding for the master’s future career as it is his earliest to have survived in its entirety.  All in all a really great piece of work. 8/10

Number Seventeen (1932)

Subtitles, guys… subtitles… Any admirable qualities are washed away in a wave of ambiguity.  We’re talking a BIG hole when you can hardly understand the dialogue.  Or maybe I’m just stupid.

Number Seventeen, based on a stage play by J. Jefferson Farjeon (thanks Wikipedia), takes place in an old house by a railway.  Detective Gilbert (John Stuart) is looking for a valuable necklace that was robbed.  While searching the old house, he and an old man named Ben (Leon M. Lion) stumble upon a dead body.  Throughout the film more characters show up including a woman who falls through the roof named Nora (Anne Grey), and the actual gang of thieves responsible for the robbery, Mr. and Mrs. deaf-and-dumb Ackroyd (Henry Caine and Ann Casson) and a third.  The dead body soon disappears, guns are being pulled at everyone, people keep getting locked into different rooms, the sought-after necklace is recovered, and everybody ends up on a train.

First of all, I would love to see a remake.  It’s an idea with great potential, and although this production is not gold-star worthy I was really interested.  Second, Leon Lion is really funny to watch on screen – he’s that bad.  Can one man move their face that many different ways in the space of twenty seconds?  Yes, he can.  Third, the sound and music meshes together much better than Champagne (aka it was actually intentional).  Fourth, the mood and pace are quite good.

Hitchcock cites this film in his famous interview with Truffaut as being a disaster.  I beg to differ, Champagne was a disaster.  Number Seventeen is unrealized potential.  I enjoyed it, and there’s definitely some solid material to build upon.  5/10