Rated R for language, some drug content and brief nudity, 90 minutes
Amusing but pointless "The Men Who Stare At Goats"
The very title of the new film "The Men Who Stare At Goats" is funnier than the movie itself. Based on Jon Ronson's book of the same name that explores the U.S. Army's use of psychic powers, the intriguing premise doesn't quite come to fruition in the movie. What should've been a laugh-out loud movie is merely amusing but well-acted yet too talky, and a disappointment considering it stars George Clooney, Ewan McGregor, Kevin Spacey and Jeff Bridges.
Bob Wilton (McGregor) is a reporter trying to lose himself in the romance of war after his marriage fails, gets more than he bargains for when he meets special forces agent Lyn Cassaday (Clooney) who reveals the existence of a secret, psychic military unit whose goal is to end war as we know it. Bill (Bridges), the founder of the unit has gone missing and the trail leads to another psychic soldier (Spacey) who has distorted the mission to serve his own ends.
"The Men Who Stare At Goats" is a mildly entertaining but disappointingly pointless dramedy that falls flat more than it should, and some of the better scenes are in the trailers for the film. It's not a bad movie by any means but it could've been a lot funnier and made far more sense. The offbeat material is appealing, and the film is well-cast and well-acted. Well, what's the problem then? Probably that the direction from frequent Clooney collaborater Grant Heslov isn't that inspired, or that the screenplay by Peter Straughan lacks focus and comic fervor, going in too many directions without making any real statements on anything.
There are some fun moments along the way, and Bridges in particular is a hoot as the ponytailed ex-hippie Army Captain in charge of the "New Earth Army" movement. The best scenes are those that he commands, whose training methods are completely unorthodox and borderline ridiculous. Clooney's appealing as ever but contributes a lazy performance, McGregor is too bland and Spacey dripping with his usual benign sarcasm. And as for the goats, they don't even make an appearance until the final act of the film, in one of the film's more amusing scenes, a stare down between Clooney and the goat.
The initial chapters with the training sections featuring Bridges work the best, the rest seems like filler until a rather downbeat, pensive final few minutes. Some may find this hilarious and some of it is indeed funny, just not as funny as it could've been. "The Men Who Stare At Goats" is worth seeing if you like offbeat, very leisurely and talky humor. I didn't hate it, just not as much fun as it looks.
Sunday, November 1, 2009
The Fourth Kind - C
Rated PG-13 for violent/disturbing images, some terror, thematic elements and brief sexuality, 98 minutes
"The Fourth Kind" lacks suspense, raises more questions
"The Fourth Kind" is a supposed fact-based horror thriller that derives its name from the classification of alien encounters, with the fourth kind referring to alien abduction (first-sighting, second-physical evidence of sighting, third-contact). "The Fourth Kind" lacks the genuine verve and thrills (not to mention any real hard evidence) to generate thrills, in spite of a few chilling scenes. With a semi-documentary feel and purportedly based on actual cases, it ends up raising more questions than answers.
"The Fourth Kind" is set in Nome, Alaska, where - mysteriously since the 1960s - a disproportionate number of the population has been reported missing every year. Despite supposed multiple FBI investigations of the region, the truth has never been discovered. Here in this remote region, psychologist Dr. Abigail Tyler (Milla Jovovich) began videotaping sessions with traumatized patients and unwittingly discovered some of the most disturbing evidence of alien abduction ever documented, including Dr. Tyler's own daughter Ashley. Their accounts of being visited by alien figures all share disturbingly identical details, the validity of which is investigated throughout the film.
"The Fourth Kind" has a provocative premise and a handful of chilling scenes, explored in a semi-documentary feel, with scenes outlined split screen next to some videotapes of actual, alleged cases that occurred nearly 10 years ago. Of course, the source material to begin with is a little fuzzy (in some cases literally), with nearly all the real identities of the participants hidden under aliases, casting doubt as to what's real and what's not. In addition, recent reports have cast doubt on whether or not Dr. Tyler herself even exists; pale, gaunt and doleful, she resembles and sounds like Shelley Duvall from "The Shining."
Director Olatunde Osunsanmi, in his first big feature film, does a decent job of the re-enactments, and there are a couple of mildly frightful, jolting scenes, but much like another recent, far more successful thriller "Paranormal Activity," we see very little evidence of the aliens themselves, another fact that raises more questions. And most of the abductions generally only occur when the patients, including Dr. Tyler herself, are under some sort of hypnosis, not to mention that the cases investigated by the film all happened to occur around the same time.
Osunsanami desperately wants you to believe all of this is real and while some of it is fascinating, it lacks clarity, suspense and any real answers to the many questions it raises. "The Fourth Kind" also falters as it relies on a weak actress like Jovovich to carry the film; she lacks believability, though she's aided with a couple of strong supporting character actors in Will Patton, playing a confused sheriff, and Elias Koteas, as a confounded but helpful colleague.
Over the credits, we hear audio reports of actual UFO sightings from the last 40 years across the globe, which are compelling but lack insight into the supposed unexplainable phenomenon occuring in Alaska. Osunsanami himself is seen interviewing Dr. Tyler, he and Jovovich appear at the end to state "what you believe is up to you." Truthfully, I'm unsure about the whole UFO thing, but I can state that "The Fourth Kind" the movie isn't as disturbing as it would like to be, and doesn't present its case strongly enough to make you a believer.
"The Fourth Kind" lacks suspense, raises more questions
"The Fourth Kind" is a supposed fact-based horror thriller that derives its name from the classification of alien encounters, with the fourth kind referring to alien abduction (first-sighting, second-physical evidence of sighting, third-contact). "The Fourth Kind" lacks the genuine verve and thrills (not to mention any real hard evidence) to generate thrills, in spite of a few chilling scenes. With a semi-documentary feel and purportedly based on actual cases, it ends up raising more questions than answers.
"The Fourth Kind" is set in Nome, Alaska, where - mysteriously since the 1960s - a disproportionate number of the population has been reported missing every year. Despite supposed multiple FBI investigations of the region, the truth has never been discovered. Here in this remote region, psychologist Dr. Abigail Tyler (Milla Jovovich) began videotaping sessions with traumatized patients and unwittingly discovered some of the most disturbing evidence of alien abduction ever documented, including Dr. Tyler's own daughter Ashley. Their accounts of being visited by alien figures all share disturbingly identical details, the validity of which is investigated throughout the film.
"The Fourth Kind" has a provocative premise and a handful of chilling scenes, explored in a semi-documentary feel, with scenes outlined split screen next to some videotapes of actual, alleged cases that occurred nearly 10 years ago. Of course, the source material to begin with is a little fuzzy (in some cases literally), with nearly all the real identities of the participants hidden under aliases, casting doubt as to what's real and what's not. In addition, recent reports have cast doubt on whether or not Dr. Tyler herself even exists; pale, gaunt and doleful, she resembles and sounds like Shelley Duvall from "The Shining."
Director Olatunde Osunsanmi, in his first big feature film, does a decent job of the re-enactments, and there are a couple of mildly frightful, jolting scenes, but much like another recent, far more successful thriller "Paranormal Activity," we see very little evidence of the aliens themselves, another fact that raises more questions. And most of the abductions generally only occur when the patients, including Dr. Tyler herself, are under some sort of hypnosis, not to mention that the cases investigated by the film all happened to occur around the same time.
Osunsanami desperately wants you to believe all of this is real and while some of it is fascinating, it lacks clarity, suspense and any real answers to the many questions it raises. "The Fourth Kind" also falters as it relies on a weak actress like Jovovich to carry the film; she lacks believability, though she's aided with a couple of strong supporting character actors in Will Patton, playing a confused sheriff, and Elias Koteas, as a confounded but helpful colleague.
Over the credits, we hear audio reports of actual UFO sightings from the last 40 years across the globe, which are compelling but lack insight into the supposed unexplainable phenomenon occuring in Alaska. Osunsanami himself is seen interviewing Dr. Tyler, he and Jovovich appear at the end to state "what you believe is up to you." Truthfully, I'm unsure about the whole UFO thing, but I can state that "The Fourth Kind" the movie isn't as disturbing as it would like to be, and doesn't present its case strongly enough to make you a believer.
A Christmas Carol - B
Rated PG for scary sequences and images, 96 minutes
Visually stunning "A Christmas Carol" too intense for kids
Visually stunning "A Christmas Carol" too intense for kids
There have been countless versions of Charles Dickens classic story "A Christmas Carol," everyone from Mickey Mouse to the Muppets to George C. Scott have been featured in both musical and non-musical forms of the novel, but none has been seen like the new Robert Zemeckis 3D motion capture version. This is definitely not your mother's version of "A Christmas Carol”: all the stops have been pulled out to make a visually stunning and entertaining, but overly intense movie that isn't recommended for those younger than age 10.
Zemeckis ("Forrest Gump," "Back to the Future") and company bring to life Charles Dickens' timeless, familiar tale of a crusty old miser named Ebenezer Scrooge (Carrey) who must face Ghosts of Christmas Past, Present and Yet-to-Come (all played by Carrey as well), as they help to bring kindness to his otherwise cold heart. The Ghosts remind him of the man he used to be, the hard truth of the world today, and what will happen if he doesn't improve his ways. Set around Christmas, the most joyous day of the year, Scrooge realizes the need to change after seeing the impact he's had on people around him.
This version of "A Christmas Carol,” told through motion capture animation, is astonishingly realistic and evident there have been advances in that technology in the last 5 years, since Zemeckis first made "The Polar Express" and "Beowulf" just two years ago. The clean, crisp CG and the attention to detail from snowflakes to the wrinkles on Scrooge's face are sublime and the well-placed 3D enhances the visuals. On top of that is the fact (as many literary purists will note) this is a remarkably faithful Dickensian adaptation – quotes and scenes are lifted directly from the book - which both helps and hurts the film. While that's a fresh approach given Hollywood's typical Cliffs notes version to filmmaking, Dickens story is a little too dark for children.
With this in mind, Zemeckis can’t quite even out the story - it’s clear he wants to be faithful to the source while appealing to the younger set – and it begins to falter in its darkest final act; some scary, ghoulish elements make it too frightful and creepy ("The Polar Express," as cheerful as it wanted to be, had an underlying creepy tone to it) for smaller ones. Zemeckis is most faithful to Dickens' novel in the portrayal of the ghosts, and his touches here make it bizarre, off-kilter fun (especially the odd Ghost of Christmas Past) considering other milder adaptations of "A Christmas Carol" and unsurprising given Carrey's ubiquitous presence in the film.
The talented, malleable comedian does an admirable but overdone job playing multiple roles in "A Christmas Carol" and it doesn't seem as good a idea as in “Polar Express”; whether you're a fan of Carrey's or not, his usual hammy, manic energy may wear you out. Other well-known, distinguished actors also do multiple parts, including Robin Wright-Penn (she was also in "Beowulf"), Bob Hoskins, Cary Elwes, and Colin Firth, but all have considerably less footage and impact than Carrey. However, the versatile Gary Oldman (Commissioner Gordon of the new "Batman" films) is a memorably tender Bob Crachit and a nice addition to the movie.
Disney obviously has a lot riding on this, given its expensive $175 million price tag will be difficult to earn back (something that "The Polar Express" eventually did with multiple re-releases) and that its scary plot difficult to market to young children. "A Christmas Carol" is an enjoyable crowd-pleaser and certainly worth seeing for the stunning, often amazing animation, but just know that, in spite of what Disney wants you to believe, this is not a film for young children.
Saturday, October 24, 2009
The Damned United - B
Rated R for language, 97 minutes
"The Damned United" an enjoyable, winning British sports movie
Those in the United States will be pleased to know that there are other sports that exist outside of American football or baseball (try telling them that on a weekend in the fall, though). "The Damned United" is an enjoyable, winning sports movie about the hugely popular sport of soccer in England. A largely fictionalized account of the brief tenure of manager Brian Clough of the Leeds United team in 1974, it's well-written, well-acted and charming enough to please those that have little knowledge of the sport.
Previously managed by his bitter rival Don Revie (Colm Meaney), and on the back of their most successful period ever as a football club, Leeds was perceived by many to represent a new aggressive and cynical style of football - an anathema to the principled yet flamboyant Brian Clough (Michael Sheen), who had achieved astonishing success as manager of the Hartlepool and Derby County teams and building them in his own vision with trusted lieutenant Peter Taylor (familiar "Harry Potter" actor Timothy Spall). Taking the Leeds job without Taylor and with a club still regarded as Don's boys, would lead to an unheralded examination of Clough’s belligerence and brilliance over just 44 days.
"The Damned United" is an engaging, entertaining sports movie based on the fictional best-selling novel "The Damned Utd," with a dark but often amusing tone. The material is well executed by British TV director Tom Hooper, even if many across the pond will complain that it didn't go down this way. What is interesting about "The Damned United" is that is provides details of the management of a soccer team, something that many in the United States are unfamiliar with. Politics, heated rivalries and bickering are as much a part of soccer as just about any sport.
However, the center of "The Damned United" is brash, outspoken Clough, played with panache and skill by Sheen, who's again teamed with screenwriter Peter Morgan, writer of "The Queen" and last year's "Frost/Nixon," who again impressively tackles real-life folks and events, making them easily accessible to movie audiences. Clough isn't exactly portrayed as a sympathetic character during this time with Leeds (but then who was), but those familiar with the sport in England will know that he went on to far greater success after his 44-day stint with Leeds.
Also memorable in "The Damned United" are well-known British character actors Spall as Clough's close but wise friend who didn't accompany him to Leeds, Meaney as Clough's rival Revie and Oscar-winner Jim Broadbent in a small part as one of the club's owners. The film is jumpy and uneven as it goes back and forth in time, switching from Leeds to some of other Clough's prior experience in Derby and other places, which could lose those that are already unfamiliar with soccer. However, the best scene comes in the film's last act, when Clough and Revie finally meet on national television to discuss their differences, a humorous exchange (the expressions of both men tell how they really feel) you won't easily forget.
The game scenes in "The Damned United" provide much of the film's energy and charm, not to mention an excellent performance from Sheen. Even if you don't know much about soccer, "The Damned United" scores and ends up a winner, recommended for Sheen's performance alone. Stay over for the credits to see the real-life characters.
"The Damned United" an enjoyable, winning British sports movie
Those in the United States will be pleased to know that there are other sports that exist outside of American football or baseball (try telling them that on a weekend in the fall, though). "The Damned United" is an enjoyable, winning sports movie about the hugely popular sport of soccer in England. A largely fictionalized account of the brief tenure of manager Brian Clough of the Leeds United team in 1974, it's well-written, well-acted and charming enough to please those that have little knowledge of the sport.
Previously managed by his bitter rival Don Revie (Colm Meaney), and on the back of their most successful period ever as a football club, Leeds was perceived by many to represent a new aggressive and cynical style of football - an anathema to the principled yet flamboyant Brian Clough (Michael Sheen), who had achieved astonishing success as manager of the Hartlepool and Derby County teams and building them in his own vision with trusted lieutenant Peter Taylor (familiar "Harry Potter" actor Timothy Spall). Taking the Leeds job without Taylor and with a club still regarded as Don's boys, would lead to an unheralded examination of Clough’s belligerence and brilliance over just 44 days.
"The Damned United" is an engaging, entertaining sports movie based on the fictional best-selling novel "The Damned Utd," with a dark but often amusing tone. The material is well executed by British TV director Tom Hooper, even if many across the pond will complain that it didn't go down this way. What is interesting about "The Damned United" is that is provides details of the management of a soccer team, something that many in the United States are unfamiliar with. Politics, heated rivalries and bickering are as much a part of soccer as just about any sport.
However, the center of "The Damned United" is brash, outspoken Clough, played with panache and skill by Sheen, who's again teamed with screenwriter Peter Morgan, writer of "The Queen" and last year's "Frost/Nixon," who again impressively tackles real-life folks and events, making them easily accessible to movie audiences. Clough isn't exactly portrayed as a sympathetic character during this time with Leeds (but then who was), but those familiar with the sport in England will know that he went on to far greater success after his 44-day stint with Leeds.
Also memorable in "The Damned United" are well-known British character actors Spall as Clough's close but wise friend who didn't accompany him to Leeds, Meaney as Clough's rival Revie and Oscar-winner Jim Broadbent in a small part as one of the club's owners. The film is jumpy and uneven as it goes back and forth in time, switching from Leeds to some of other Clough's prior experience in Derby and other places, which could lose those that are already unfamiliar with soccer. However, the best scene comes in the film's last act, when Clough and Revie finally meet on national television to discuss their differences, a humorous exchange (the expressions of both men tell how they really feel) you won't easily forget.
The game scenes in "The Damned United" provide much of the film's energy and charm, not to mention an excellent performance from Sheen. Even if you don't know much about soccer, "The Damned United" scores and ends up a winner, recommended for Sheen's performance alone. Stay over for the credits to see the real-life characters.
This Is It - B
Rated PG for some suggestive choreography and scary images, 112 minutes
"This Is It": Entertaining but unrevealing MJ doc
"This Is It" bills itself as "Michael Jackson as you've never seen him before," which is partly right, given that we get a chance to see him in his final performances rehearsing for concerts that he would've given before he tragically died last summer. Michael Jackson rehearsing is almost as good as the real thing, right? Well, sort of. "This Is It" is indeed something new - the concert rehearsal film - and while there are some electric, entertaining moments, it doesn't shed any personal insights into the unique, multifaceted performer.
The documentary, which according to the epilogue, was intended for Jackson's private use, was culled from hundreds of hours of footage as MJ prepared for his series of comeback concerts, aptly titled, "This Is It," featuring a majority of his classic songs. Directed by choreographer Kenny Ortega, who helmed Disney's "High School Musical" movies and who was the tour director for this concert, the footage was shot backstage and at rehearsals at The Forum and the Staples Center in Los Angeles earlier this spring. The biggest surprise about the film is that the film's more memorable moments aren't provided by Jackson, but by the staging of the concert itself.
"This Is It" doesn't reveal anything new that we didn't already know about Jackson - that he was a gifted, passionate performer who was involved with every detail of his shows - and given that this is rehearsal footage, doesn't exactly show him at his very best as a performer. The restraint he shows here in preparing for the concert indicates he was preserving his energy for the actual performances later down the road.
It also doesn't show any signs of the troubled celebrity he was made out to be at his death, he appears to be performing quite normally (for him at least). Even with that, "This Is It" does show that Michael still had some moves as he exhibits potency in performances of "Thriller," "I'll Be There" (a touching moment), "The Way You Make Me Feel," and particularly with "Billie Jean."
Even more so, "This Is It" is more revealing when it comes to the actual production and some of the visuals that were to be used, which provide some of the film's more fascinating moments. We discover that new 3D footage was shot for "Thriller," not to mention incorporating MJ into a few brief scenes of the classic Rita Hayworth film "Gilda" as part of a "Smooth Criminal" performance (and a nice touch). And some of the special effects and sets used with "They Don't Care About Us" and "The Way You Make Me Feel" are visually stunning.
What can you do with all this rehearsal footage? Not too much, at least in giving us personal, close-up glimpses of Michael Jackson the person, obviously a different person offstage, but that may be saved for another film. "This Is It" doesn't show off Michael so much as it shows off the concert itself, which isn't a bad thing, just an unfortunate one, as the production would've probably made for a fantastic concert and a great career comeback.
"This Is It" is a decent backstage concert film and more fascinating for what could've been but more sad that Jackson's life was cut far too short.
"This Is It": Entertaining but unrevealing MJ doc
"This Is It" bills itself as "Michael Jackson as you've never seen him before," which is partly right, given that we get a chance to see him in his final performances rehearsing for concerts that he would've given before he tragically died last summer. Michael Jackson rehearsing is almost as good as the real thing, right? Well, sort of. "This Is It" is indeed something new - the concert rehearsal film - and while there are some electric, entertaining moments, it doesn't shed any personal insights into the unique, multifaceted performer.
The documentary, which according to the epilogue, was intended for Jackson's private use, was culled from hundreds of hours of footage as MJ prepared for his series of comeback concerts, aptly titled, "This Is It," featuring a majority of his classic songs. Directed by choreographer Kenny Ortega, who helmed Disney's "High School Musical" movies and who was the tour director for this concert, the footage was shot backstage and at rehearsals at The Forum and the Staples Center in Los Angeles earlier this spring. The biggest surprise about the film is that the film's more memorable moments aren't provided by Jackson, but by the staging of the concert itself.
"This Is It" doesn't reveal anything new that we didn't already know about Jackson - that he was a gifted, passionate performer who was involved with every detail of his shows - and given that this is rehearsal footage, doesn't exactly show him at his very best as a performer. The restraint he shows here in preparing for the concert indicates he was preserving his energy for the actual performances later down the road.
It also doesn't show any signs of the troubled celebrity he was made out to be at his death, he appears to be performing quite normally (for him at least). Even with that, "This Is It" does show that Michael still had some moves as he exhibits potency in performances of "Thriller," "I'll Be There" (a touching moment), "The Way You Make Me Feel," and particularly with "Billie Jean."
Even more so, "This Is It" is more revealing when it comes to the actual production and some of the visuals that were to be used, which provide some of the film's more fascinating moments. We discover that new 3D footage was shot for "Thriller," not to mention incorporating MJ into a few brief scenes of the classic Rita Hayworth film "Gilda" as part of a "Smooth Criminal" performance (and a nice touch). And some of the special effects and sets used with "They Don't Care About Us" and "The Way You Make Me Feel" are visually stunning.
What can you do with all this rehearsal footage? Not too much, at least in giving us personal, close-up glimpses of Michael Jackson the person, obviously a different person offstage, but that may be saved for another film. "This Is It" doesn't show off Michael so much as it shows off the concert itself, which isn't a bad thing, just an unfortunate one, as the production would've probably made for a fantastic concert and a great career comeback.
"This Is It" is a decent backstage concert film and more fascinating for what could've been but more sad that Jackson's life was cut far too short.
Sunday, October 18, 2009
Saw VI
Rated R for sequences of grisly bloody violence and torture, and language, 90 minutes
Another Halloween, another bad "Saw" film
Horror film enthusiasts must salivate at this time of year, with new grisly horror films being released and re-released. Since 2004, when the low-budget and graphically violent horror film "Saw" became a huge hit, there has been a new "Saw" film every Halloween, and this year is no different, with the sixth installment of the popular horror film franchise featuring serial killer Jigsaw. Unlike the other "Saw" films, I'm not reviewing this one, since this one will be like all the other ones in this series: graphically violent, loads of blood, bad acting, writing and direction. There 'ya have it in a nutshell. Since these films are hugely popular, they don't screen them for critics since they'll likely be trashed and "Saw VI" was no different. If you must go see it, have fun with it, but this one I'll pass on, as I've seen it already 5 times. I've included the film's premise and a link for reviews and additional movie information.
Premise:
Special Agent Strahm is dead, and Detective Hoffman has emerged as the unchallenged successor to Jigsaw's legacy. However, when the FBI draws closer to Hoffman, he is forced to set a game into motion, and Jigsaw's grand scheme is finally understood.
You can find "official" reviews and more of the new "Saw" film at the Rotten Tomatoes site:
http://www.rottentomatoes.com/m/saw_VI/
Another Halloween, another bad "Saw" film
Horror film enthusiasts must salivate at this time of year, with new grisly horror films being released and re-released. Since 2004, when the low-budget and graphically violent horror film "Saw" became a huge hit, there has been a new "Saw" film every Halloween, and this year is no different, with the sixth installment of the popular horror film franchise featuring serial killer Jigsaw. Unlike the other "Saw" films, I'm not reviewing this one, since this one will be like all the other ones in this series: graphically violent, loads of blood, bad acting, writing and direction. There 'ya have it in a nutshell. Since these films are hugely popular, they don't screen them for critics since they'll likely be trashed and "Saw VI" was no different. If you must go see it, have fun with it, but this one I'll pass on, as I've seen it already 5 times. I've included the film's premise and a link for reviews and additional movie information.
Premise:
Special Agent Strahm is dead, and Detective Hoffman has emerged as the unchallenged successor to Jigsaw's legacy. However, when the FBI draws closer to Hoffman, he is forced to set a game into motion, and Jigsaw's grand scheme is finally understood.
You can find "official" reviews and more of the new "Saw" film at the Rotten Tomatoes site:
http://www.rottentomatoes.com/m/saw_VI/
New York, I Love You - C
Rated R for language and sexual content, 103 minutes
"New York, I Love You": flat and uninteresting
Love happens in a variety of different ways, some good, some bad, which fittingly explains the new film "New York, I Love You." With 11 unrelated short films around 10 minutes by different directors and starring a wide gallery of actors, the film has a similar theme and structure as the 2006 film "Paris, je t'aime" ("Paris, I Love You") and produced by the same person, it should capture love happening against the backdrop of one of a famously romantic city. Instead, the intriguing premises is problematic, since the films aren't long enough (and some aren't that good) to have a big impact, and you end up with a messy but nice looking film but lacks sensuality.
Of the 11 shorts films, the more memorable ones include the one directed by Shekar Kapur ("Elizabeth") and starring Julie Christie and Shia LeBeouf and interestingly, an amusing one from Brett Ratner (yes, that Brett Ratner of the dreadful "Rush Hour" films) and starring Olivia Thirlby, Anton Yelchin and James Caan about a young boy (Yelchin) who gets quite a surprise with his prom date. And by the way, the one featuring and directed by Natalie Portman, is probably the worst one of the lot, a strange one about a woman's romance with a rabbi. The short segment featuring an annoying Ethan Hawke (but an amusing Maggie Q), would've been better had it been more substantial, which speaks to the film itself. And I was truly baffled by the odd segment featuring Orlando Bloom and Christina Ricci and turned off by the one with Bradley Cooper and Drea De Matteo.
Chris Cooper, Hayden Christensen, Rachel Bilson, Robin Wright Penn, Cloris Leachman, Eli Wallach, Andy Garcia, Justin Bartha and Blake Lively are the many other actors wasted in their segments, in mediocre films that don't have much to say or do. The premise, which worked OK with the aforementioned "Paris, I Love You" (and also featuring Portman), doesn't work as well here. Uninteresting, flat and unmemorable, it doesn't say much about relationships or love in general and worst of all, doesn't do New York City justice the way it should.
"New York, I Love You": flat and uninteresting
Love happens in a variety of different ways, some good, some bad, which fittingly explains the new film "New York, I Love You." With 11 unrelated short films around 10 minutes by different directors and starring a wide gallery of actors, the film has a similar theme and structure as the 2006 film "Paris, je t'aime" ("Paris, I Love You") and produced by the same person, it should capture love happening against the backdrop of one of a famously romantic city. Instead, the intriguing premises is problematic, since the films aren't long enough (and some aren't that good) to have a big impact, and you end up with a messy but nice looking film but lacks sensuality.
Of the 11 shorts films, the more memorable ones include the one directed by Shekar Kapur ("Elizabeth") and starring Julie Christie and Shia LeBeouf and interestingly, an amusing one from Brett Ratner (yes, that Brett Ratner of the dreadful "Rush Hour" films) and starring Olivia Thirlby, Anton Yelchin and James Caan about a young boy (Yelchin) who gets quite a surprise with his prom date. And by the way, the one featuring and directed by Natalie Portman, is probably the worst one of the lot, a strange one about a woman's romance with a rabbi. The short segment featuring an annoying Ethan Hawke (but an amusing Maggie Q), would've been better had it been more substantial, which speaks to the film itself. And I was truly baffled by the odd segment featuring Orlando Bloom and Christina Ricci and turned off by the one with Bradley Cooper and Drea De Matteo.
Chris Cooper, Hayden Christensen, Rachel Bilson, Robin Wright Penn, Cloris Leachman, Eli Wallach, Andy Garcia, Justin Bartha and Blake Lively are the many other actors wasted in their segments, in mediocre films that don't have much to say or do. The premise, which worked OK with the aforementioned "Paris, I Love You" (and also featuring Portman), doesn't work as well here. Uninteresting, flat and unmemorable, it doesn't say much about relationships or love in general and worst of all, doesn't do New York City justice the way it should.
Subscribe to:
Posts (Atom)