by Sam Juliano
I had a very difficult week, and now to cap it off I’ll been in bed all day with a fever. I came downstairs to the PC to post this weekly thread, but I won’t be able to post any links, as I frankly need to get back into bed as I have a massive headache and am shivering. My deepest apologies for this.
I didn’t see any films at all this week, though I tried to see Andrea Arnold’s FISH TANK on Saturday night at the IFC, but after Lucille, Bob and I bought tickets, I came down with severe nautiousness, and I was unable to leave the men’s room. Lucille and Bob then drove the car over to the front of the theatre, picked me up and we headed home. I did see the Metropolitan Opera HD simulcast of the new production of Bizet’s Carmen on Saturday afternoon at the Edgewater multiplex, which I hope to eventually post a review on. Suffice to say it was quite a production. Back on Monday night, I saw the theatrical production based on Cassevetes’ HUSBANDS, (at the Public Theatre downtown) and it was a train wreck of a play, a complete mess, which violated the great director’s work through excess.
The Golden Globes were held tonight, and suprisingly, James Cameron won Best Director and his film Avatar won Best Motion Picture Drama. The evening’s best speech was delivered by Monique who won Best Supporting Actress for Precious. Martin Scorsese’s special prize was also a highlight.
Congratulations to Dan Getahun for the success of his beloved Minnesota Vikings, who advanced to the NFC finals, as well as to the Jets fans, after their shocking win in San Diego against the Chargers.
So what did you do this week?
Sam Juliano said,”I had a very difficult week, and now to cap it off I’ll been in bed all day with a fever. I came downstairs to the PC to post this weekly thread, but I won’t be able to post any links, as I frankly need to get back into bed as I have a massive headache and am shivering. My deepest apologies for this.”
Hi! Sam Juliano,
All I can say is…Wow!
Sam Juliano, no need to apologize what so ever!…Just try to get plenty of rest in order to be back on the road to …recovery!
Take care!
DeeDee 😉
Thanks as ever Dee Dee for the kind words. I am feeling somewhat better now, and am hopeful that I may have shook the fever overnight, though I needed to get up at 5:00 A.M. to take some more advil, and my temperture had risen to around 102.8. It’s been a tough week with the kidney stone procedure, the tooth extraction (which seemed to have some coattails) and the feverish weekend. But I don’t mean to complain so much since I know I’m hardly the only one with physical ailments. I felt I had to mention it as the reason for the missing links. But I’m hopeful that things will improve this week. Thanks again my very good friend!!!
Sam, Is there even a need for the apologies? Please take care of your health. My best wishes for a speedy recovery.
Thanks very much JAFB! As I stated abouve to Dee Dee, I just happened to hit a bad stretch here, which could be coincidental. I feel better today, though still somewhat headachy, and hope there will be steady improvement.
Sam, get well soon!
With the exception of Fish Tank, you didn’t miss much at the theaters this weekend. I myself stayed away. I couldn’t even muster up interest in the new releases for blog research.
I did watch Gone With the Wind on Blu-ray over the weekend and it was fantastic. I’ve never seen it looking so good.
Craig, thank you! As I stated I almost saw FISH TANK, but came down nauceous barely 20 minutes before the film was to start. I felt bad that my friend Broadway Bob had to lose out on his ticket as did Lucille and I. I agree the week provided few options besides that one film, but perhaps THE BOOK OF ELI might be worth chancing. (though I know that a risky proposition).
That GONE WITH THE WIND blu-ray seems like a must-own!!!
Never liked Saturday Night fever either, so do get well soon!
Also, “Fish Tank” was one of my top ten films last year. It will be interesting to see how well it travels in cultural terms.
Finally, “Up in the Air” opened here this weekend. Decent light entertainment, but I was surprised that it has been so well received by many critics. As for Mr. Clooney, he is a hugely handsome man and a Hollywood leading man in the old style. However, that was very much a robust but completely one-note performance. Why are people raving about it?
Longman: Thanks for your comforting words! Like that SATURDAY NIGHT FEVER simile!
Well, I must say I completely agree with you on UP IN THE AIR, which is as light as a feather in every sense. Clooney was basically playing Clooney, so like you I don’t quite understand all the praise for this likable but overrated actor.
I know you had FISH TANK over in Ireland last year, and I’m not surprised it made your Top Ten list. I’m hoping to try again later in week.
Sam, the most important thing to say is, take care and hope you feel better soon!
I haven’t been to the cinema this week and haven’t had time to watch very much on TV/DVD, but did see ‘Home For the Holidays’, which I wanted to see because of Robert Downey Jr and Holly Hunter- must say I was disappointed and found it a bit of a mess. I also saw a William Wellman film shown on TV, ‘The Great Man’s Lady’ (1942), starring Barbara Stanwyck, which starts well but then turns into wild melodrama.
I’d definitely be interested in seeing the Stanwyck, Judy, just because she’s in it! I bet you were pleased that Robert Downey won the Golden Globe last night for his wonderful performance in SHERLOCK HOLMES. But as far as HOME FOR THE HOLIDAYS goes, this is precisely how I feel too.
Thanks for the kind advice. I am feeling better today and am hopeful the fever will not return tonight. If it doesn’t I’ll at least be able to return to school tomorrow.
Hope you are still feeling better, Sam. We did have highlights of the Golden Globes here (most of Ricky Gervais was edited out, not much of a loss by all accounts), and I was pleased that Downey won – however I’m slightly wondering if, with Holmes and Iron Man sequels lined up, he will now have time for the quirkier/more challenging roles, or if he’ll fall into the trap that Johnny Depp has fallen into with endless Pirates films.
Get well soon, Sam! You certainly don’t need to apologize for anything.
Thanks very much Film Dr! It just was one of those weeks where nothing went right. I am just hoping that I’m am fully over the worst of it!
Sorry to hear about the aftermath of the procedure and wish you well soon!
Michael: I see I did not respond to an e mail from you, and again, it’s all due to my condition over the past days. I will be finally responding to you today (embarassingly). I appreciated the coffee, but haven’t yet indulged in it. Thanks as always for the very kind words Michael.
I’ll echo the sentiments of others, Sam, and say good well ASAP! Hopefully you’re back to the normal routine very soon. Most of my movie watching in the last week was devoted to re-watching some of the noirs in my countdown, deciding exactly where to place some of my favorites. It’s been great fun, revisiting some great movies.
The newer film I finally got to was Michael Haneke’s THE WHITE RIBBON. I had similar reactions as you did to it, Sam. Your description of it as “oppressively nihilistic” is completely accurate. But I also had the same feelings toward the look and feel of the movie – the cinematography is at times spectacular, but the story left me feeling cold throughout. Normally calling a movie “cold” would be a serious putdown, but I will say that a cold feeling does fit the tone of the story. So, in that sense, that may have been the feeling that Haneke was going for. The problem is, I just felt too distanced from everything. Perhaps that was Haneke’s intention, which I don’t know enough to comment on because this is the only film of his that I have seen. In the end I just thought to myself — “And the point being?” Horrible things come from horrible circumstances… I knew that going in. So I guess I’m somewhat torn on this one, as at times it felt on the verge blossoming into the classic it’s been labeled by some. But in the end, it never got there for me.
As I said, I’m a complete neophyte in the cinema of Michael Haneke, but I’ll checking out some other films. The one characteristic that I most paid attention to in White Ribbon is how static his camera is. He plops it down in one spot and then lets everything else move. He’s certainly not the only one to do it (you see Coppola do it at times in films like The Godfather and The Conversation) but it’s the most noticeable I’ve seen in a while. It’s an interesting technique.
Dave: The funny thing is this Haneke film is so much unlike all his others. Despite its magnificent, beautifully framed and textured black and white cinematography, it’s more “mainstream” than the body of his work. His best film remains CACHE, but perhaps more emblematic of his philosophy and style would be FUNNY GAMES, TIME OF THE WOLF, THE PIANO TEACHER and BENNY’S VIDEO as well as a few others. These would be the ones to really examine Haneke. But I must say you express yourself brilliantly there in conveying the issues you had with THE WHITE RIBBON. I must say I completely agree, although I will at some point watch it again, with expectations lowered. I frankly can’t understand the effusive praise by so many, although that cinematography has a lot to do with it. Like you I was emotionally distanced from the whole thing. That rather obvious point there perplexed me as well.
Thanks for the exceedingly kind words. Your countdown is moving ahead perfectly, and I applaud your choices!
Dave, I’m with you (and it appear Sam, as well) on THE WHITE RIBBON, and it seems that (y)our view is the presiding one in the reviews I’ve read. It’s a cold, distancing film, that nonetheless manages to be entrancing.
Ahhhhhh…. The plot thickens…. You and I have maintained since its release that if ANY film this year was going to give Kathryn Bigelow’s THE HURT LOCKER a run for the money at this years Oscars it would, most assuredly be Cameron’s AVATAR. Last nightsa victory for the film and Cam’s direction are indicative of a ground swell for the spiritually resonant Sci-Fi actioner. Sandra Bullock over Carey Mulligan??? What aa fuckin disgrace. Mulligan, as 90 percent of the critics have sited, gave, hands-down, the best performance by an actress this year. I guess Sandy wined and dined the Foreign Press a little more than Mulligan (remember Al Pacino for SCENT OF A WOMAN?). Also, I know Christoph Waltz was terrific in INGLORIOUS BASTERDS, but its an over-the-top showy role anyone with a brain could pull off. The FP really missed the boat by not giving it to the subtly creepy Stanley Tucci in THE LOVELY BONES. Monique in PRECIOUS?? Foregone conclusion-YAWN!
Dennis, I must say you speak with a lot of sense there. Bullock’s win does indeed make one think she’s a good promoter, or at least that this was some kind of a career award. Mulligan gave the greater performance as did Helen Mirren (THE LAST STATION) and probably even the other two. Bullock was more impressive than she’s ever been, but in the grand scheme that’s not saying much.
And yes, the stunning AVATAR wins last night may well have hoisted it into the lead for the Oscars, but Bigelow and THE HURT LOCKER are still in the thick of it. What I think we can safely say is that UP IN THE AIR is now a long-shot as is Jason Reitman.
To be honest, Waltz was one thing I did like a lot about Tarantino’s film, and he is winning every award in sight, so I have no issue there. Well, at least Monique gave a heart-felt speech, probably the best of the night, along with Scorsese’s.
Sam, get well soon!
I managed to finally watch Bright Star and left a comment on your review of it. I’m afraid I didn’t like it. Apart from that I’ve been watching and writing about various animated films for my ‘Animation Month’. It’s fun.
I hope you’ll be back posting your great reviews in no time.
Thanks very much Stephen for the most kind words. I definitely will be visiting you ‘Animation Month’ posts very soon, and as far as BRIGHT STAR, I understand. I will check out your comments, but in the end I know it comes down in large measure to taste. I’ll see what your issues are though.
Sam, as the others have said, no need to apologize, just take care of yourself and get well soon. My wife has been laid up in bed all weekend with similar symptoms.
During the week I watched “Downfall (****1/2) a superb portrayal of the final days of the Fuhrer and the Nazi army.
With Dorothy ill this weekend and after all the house hold chores done, I had time to watch a few films. First up was Nick Ray’s “Party Girl”(***) with a surprising good performance from Robert Taylor. A decent film that never is able to rise above just being average, still it is entertaining and Cyd Charisse does a fine job and has some excellent dance numbers. Also saw “All of Me” (****), a film I have not seen since its first release back in 1984. A terrific comedy filled with slapstick and wit, with a superb performance by Steve Martin . Yesterday, I watched “The White Ribbon” (****) and like Sam and Dave, found this to be a cold, cold disturbing film. Such rigid insensitive characters made the story emotionally draining and frankly it scared me. Here I am thinking this is the same two generations of people who will soon join the ranks of fascist Germany that lead to the atrocities of WW2. Insensitive brutality just leading to more insensitive brutality.
As for the Golden Globes, I’m personally glad Jeff Bridges finally got some recognition. He has done so much excellent work over the years.
Thanks very much John! I’m sorry that your wife has a bad weekend as well. It always seems when you get a little time off (this was a three-day weekend with Martin Luther King Day) something always go wrong. I can’t even count the times I was sick over holidays. As I said in the other posts I am hoping I am over the worst of it now.
I have the Warner Archive PARTY GIRL here – I received it recently – but still haven’t watched it, but it’s nice to know that Robert Taylor is in prime form, and anything by Ray is always worth a go, even if this one isn’t exactly one of his best efforts. Yeah, I liked ALL OF ME too, and I think you summed up its attributes perfectly there.
I am thrilled to read your reaction to DOWNFALL. I been waiting for that. The segment with Goebbels’s kids though is too heartbreaking to watch again. But Ganz is ferociously brilliant.
So another one, with similar issues with THE WHITE RIBBON. We can admire its aesthetics and artistry, yet we are distanced.
It was really thrilling to see Bridges win. I agree he’s had a distinguished career, and I’ll never forget his Duane in THE LAST PICTURE SHOW, which earned him his first Oscar nod.
Wishes for a quick and comfortable recovery, Sam, and aside from Fish Tank (wish I would love to see) I’d say you have nothing to rush out to theaters for this month!
And cheers on the Vikings’ win – indeed, as you know I was watching and loving every minute of it! Don’t even mind the accusations of running up the score….of course, I’ll expect the Saints to do just that next Sunday if they get ahead early.
I didn’t get to a theater this weekend, though I did see an excellent film, Live and Become, on DVD on Friday night. Really epic story about a young Ethiopian Jew trying to come of age in Israel. Also, I saw a screener of an Oscar-shortlisted documentary short, Woman Rebel, about female soldiers in Nepal. Nice little story that accomplishes quite a bit in just 30 minutes.
I enjoyed the Globes last night but I (and I expect you as well) was shocked at Jason Reitman’s screenplay win over Basterds. Even for you choosing between two evils, did Reitman’s really win the day?
Hey Dan, I almost made it to FISH TANK. I was minutes from the start, and I was in the building, but it just wasn’t meant to be that night. I have a bad habit of moaning aloud when i am nauceous, so I would have no doubt been asked to leave had I decided to chance it. But it’s true what you say about January, which is absolutely the worst month for film openings year after year.
I honestly don’t expect the Saints to be in a position of running the score up againts the Vikes. I’m expecting a hard-fought very close game, which depending on the breaks can go either way. I think the spread is only a few points and thats only because New Orleans has the home field.
I’ll have to research LIVE AND BECOME as soon as I finish logging this response, and the short also sounds intriguing. I wonder if it’s on You Tube?
Oh yes Dan. regardless of my issues with Tarantino’s film, it DEFINITELY had a much-superior screenplay to UP IN THE AIR, which was disposable fluff. I think they made have awarded Reitman because that film wasn’t winning anything else. Reitman looked incensed when they announced Cameron as Best Director!
Thanks for the kind words Dan!
Unfortunately the short (Women Rebels) is not available online, but perhaps if it makes it to the “real” list on 2/2/10 it will become available for viewing.
And glad to see that even you thought the Reitman win was bizarre!
Sam,
You’re a real trouper to get out of bed and put this post up, but please be sure to take care of yourself, get plenty of rest and feel better soon!
I was thoroughly disappointed in the Golden Globes – not that they’ve ever been worth taking seriously, but please! Ricky Gervais was a terrible host, but he was on screen so little that I had to wonder if his best stuff got censored in rehearsal. Was happy to see some love for Monique and Christoph Waltz, but most of the other awards were just laughable.
I finally got around to seeing “The Hurt Locker” on DVD this weekend – a stunning achievement, to say the least. Seeing “A Single Man” this afternoon, and hopefully getting around to “White Ribbon” later in the week.
Take care, Sam!
Thanks very much Pat. I’ll admit I felt bad to have to stop, but at that point I was simply unable to continue. Thanks for the well wishes!
Oh God yes, Gervais (who I otherwise do like) was hardly on the show, and his humor was pretty lame. In recent years, the Globes winners don’t portend what will happen at the Oscars, so even that AVATAR win may not happen. I’m really still thinking THE HURT LOCKER. I saw a lot of angry faces on the actors last night after the dual win for Cameron. It has nothing to do with this great film, but with Cameron’s massive ego.
Yes, THE HURT LOCKER is a stunning achievement, I quite agree with that wording. I believe you will love a SINGLE MAN (the score is brilliant by the way) but I can’t wait to hear from you on it. And I’d be most interested too in hearing your views on THE WHITE RIBBON.
Hey Sam – nice to see you’re up and about, hope you’re feeling a bit better.
Just got back from “A Single Man,” and you are quite right about the score. Colin Firth was wonderful. I’m not sure what was up with the almost fetishistic close ups of eyes and lips – that felt more like Tom Ford’s obsession that that of the Firth character. But overall, a fine, affecting film.
Oh, and I also posted my 2009 year-end roundup this weekend –
http://doodadkindoftown.blogspot.com/2010/01/at-long-last-2009-post.html
Thanks Pat! I will definitely be checking this out!
Get well, Sam. If the weather in New Jersey’s anything like the weather in Boston today, you don’t want to be outside anyway!
Luckily, Joel, the weather isn’t so bad today down here. It’s in the mid 40’s I believe. I am feeling better today and hope the fever has left for good. Thanks for the kind words, my very good friend.
I hope you are feeling much better very soon, Sam. Take care of yourself and don’t worry about anything but your health.
I got out to only one of the films I planned to (a very rare showing of Douglas Sirk’s The First Legion), but I watched a lot at home. Highlights include God’s Little Acre, Rose Hobart, and a Frank Sinatra film I liked better than I expected to, The Detective.
I had TCM on while I was doing other stuff on Sunday, and was intrigued enough but what I saw of God’s Little Acre to add it to my Netflix queue.
I do remember that Sinatra film Marilyn, and it wasn’t bad at all. I knew you had seen ROSE HOBART, but the Sirk was indeed a very special treat. I read your superlative review at “Ferdy-on-Films” and it really makes the film appetizing, even if it’s in a minor key with his other work as you seem to imply. Ah, GOD’S LITTLE ACRE. Well, yeah it’s uneven, but I still like it. I’ll never for that ract bathtub scene at the beginning and the storming of the mill near the end. It’s amazing that Erskine Caldwell’s book was a best seller for years. Master cinematographer Ernie Hallor served Mann well here, and I loved Elmer Bernstein’s score.
Thanks for the astute advice and kind words, Marilyn.
Sam, I’m really sorry to hear that you’ve not been doing so well lately. The fact that despite that you managed to post your Monday Morning Diary is enough to earn you warm hug from all your readers. Here’s hoping for a speedy recovery to your jovial best.
I watched 4 movies over the past week & weekend, and I’ve really liked all of ’em. I guess I’m on a roll, so to speak.
Thursday: Flight of the Red Balloon
Saturday evening: Clerk (a new Bengali movie)
Saturday night: The Edge of Heaven
Sunday: Zodiac (actually I’d seen it earlier once, but wanted to watch it again).
On the book front, I’m halfway through Dennis Lehane’s Mystic River, and am loving it.
And I thank you for the exceedingly lovely words Shubhajit.
I’ve heard good things about Lehane’s book (I only read his MYSTIC RIVER at the time the film released) but I’m wondering whether Scorsese’s film will be successful. I’ve heard conflicting reports.
Of the films you saw I was in an extreme minority with RED BALLOON, though I do love this director; I haven’t seen that Bengali film, though I’ll ask my good friend Kaleem Hasan if he knows it – not that I question your admiration of it – and I love THE EDHE OF HEAVEN and like ZODIAC.
I’ll look forward to the reviews at Cinemascope!
Get better, Sam. I didn’t watch many movies this weekend because I was working my way through Mark Vieira’s Thalberg bio and watching the NFL playoffs, but I did finish the Nikkatsu Noir set with A Colt is My Passport, treated my pal Wendigo to his first viewing of Jean Rollin’s Fascination, and lapsed back into silent mode with Victor Shertzinger’s Redskin, which I fear is of camp value only.
Samuel, it’s funny, but I just ordered a Region 2 copy of FASCINATION today as a result of Roderick Heath’s extraordinary review of the film at Ferdy-on-Films. I recommend you check it out. My, what a coincidence!!! I am not at all familiar with that Shertzinger film but that Viera Thalberg bio is most desirable, especially as I just read some stuff on Thalberg and his relationship with Louie B. Mayer this week as an extension of Louise Rainer’s 100th birthday. Of course we’ve discussed the NFL playoffs, and next week will be really something. I’ll be watching your review of COLT, which Tony just posted at his site at Films.Noir.net.
http://filmsnoir.net/film_noir/a-colt-is-my-passport-koruto-wa-ore-no-pasupoto-japan-1967.html
Thanks for the kind words, Samuel.
I’m impressed you were able to make it to the Met HD Carmen. But then I hauled myself into Tales of Hoffmann not long after hip surgery –
opera lovers are a sturdy bunch. Those at the local Met broadcast of Carmen were all smiling and rather surprised this Bizet could still be a surprise. I’m looking forward to your comments. O vile bug, be gone!
When it comes to being a trouper Robert, you are peerless!!! And that appearance at THE TALES OF HOFFMANN is proof parcel. I must say Robert I did love that production as well, but with all the year-end film lists and decade compilations I never wrote a full review. But with CARMEN I will write one this week. I noticed the audience by me were enthralled as well. I’ll tell you this, while there is always something to be said for being at the Met in person (and I do go there several times a year to see productions that are not included on the HD simulcast schedule) there are some clear advantages with the HD. Everything is clear and close-up, the subtitles are large and right there in front of you – as opposed to being shown on the seat in front of you at the Met, and you have all those wonderful and enlightening back-stage interviews and discussions with Rene Fleming moderating.
It’s a full operatic experience, nobody can deny that.
It’s always appreciated to have you here Robert. Thank You!
This is very distressing news Sam. But I know you are a trouper and will come back swinging. Make sure you figure out if the kidney stone procedure wasn’t the cause of your problems over the weekend, as I know you had it mid-week.
Thanks very much Frank. I don’t believe that issue was the cause of the recent problems, but I may never know.
Sam, to a speedy recovery!
I spent most of the week, working my way through David Gordon Green’s body of work and catching up on the Dardenne brothers. I was very pleasantly surprised by Lorna’s Silence, especially after hearing that it was their worst film to date. I’ve written about all of these viewings this week on the blog.
I have really been energized by this new series I’m doing, listing in preferential order the films of my favorite directors. Next up I’ll be catching up with the few Brian De Palma films I’ve yet to see.
Hey Jeffrey! Thanks for the kind words and for stopping by! My own favorite David Gordon Greene film was SNOW ANGELS, but I’d be very much interested in hearing what you say about his filmography. I have grown to like him better on repeat viewings as he’s difficult to appreciate initially. Alas, I am one of those who thinks that LORNA’S SILENCE is weaker Dardenne, but what is weaker Dardennes? The film is more accessible than their other work, but yet again this can only get better with reviewings. I will definitely be checking out what you say at your place ASAP! The director’s series sounds great as does the missing DePalmas!
Thanks, Sam! I completely agree that Green can be a bit inaccessible at first. I actually didn’t like GEORGE WASHINGTON the first time I saw it, and it took ALL THE REAL GIRLS to make me want to re-visit.
I believe in the idea that many of us need to find that “one film” by the better directors that gives us the interest to pursue their other work. And without it, sometimes we just don’t get the reputation of some of the so-called greats. I’ve had this experience many times, it seems. And sometimes I’ve had to see three, four, or five films by a certain director before I started developing any real interest and appreciation.
That’s an interesting comment about Lorna’s Silence. Now that I think about it, I would have to agree. It’s certainly not as rigorous in its formal approach as either THE CHILD or THE SON.
Hope you feel better soon! Please don’t feel the need to respond. I know you’re working your way to the other side.
Hope you’re feeling good as gold in no time flat, Sam. I hate that you’re under the weather. I saw The Road (loved it), It’s Complicated (predictable pablum but harmless enough and entertaining), and re-watched Summer Hours, which was 76% sumblimier than the last time. 🙂
Pretty good weekend overall.
Rest up, Sam, and for God’s sake man, stop responding to all of us and just get better!
Peter, that’s the problem. I really don’t know where the infection came from, if indeed it was an infection at all. It could have been a situation where I coincidentally caught something at the same time I had the other things going on. My dentist is insistent that my mouth is clear, but I still experiencing some mild discomfort where the extraction was done. But it’s true what you say about having plenty of sick days.
The CARMEN was indeed a top-flight production, and definitely near the top of this year’s new productions there. Yeaf, THE ROAD has impressed a lot of people. This is another film, like THE WHITE RIBBON, that I need to watch again. IT’S COMPLICATED is entertaining, and that’s that.
Thanks so much my very good friend.
“Rest up, Sam, and for God’s sake man, stop responding to all of us and just get better”
Jenny you are a sweetheart! I thank you for that. I came downstairs to the computer room, figuring to respond to a few people and typically I got carried away. I am not 100%, but I am better than I was yesterday. The key is tonight. That’s great that you loved THE ROAD. I’ve been hearing that from many people. I liked some things about it, and that subject matter usually always appeals to me, but I need to see it again.
I agree IT’S COMPLICATED is entertaining. And that’s basically why it was made. I’d say it a little better than average, which is fair enough.
Our friend Mr. Kennedy chose a humdinger as his #1 film (SUMMER HOURS) and the more you see the more you realize that’s an inspired choice!
Here’s what I watched this week:
THE HURT LOCKER — ****1/2
and
THE WHITE RIBBON — ***1/2 (I’m leaning towards boosting it to ****)
I reviewed both of those films here:
http://troyolson.blogspot.com/2010/01/2009-hurt-locker-white-ribbon.html
THE VIRGIN SUICIDES — Caught this on TV and forgot what a haunting, atmospheric film it was. Being a fanboy of the band Air, I’ve always been enthralled with the soundtrack of the film, which is so successful at adding to the eerie ambiance and sense of the unknown that envelops the film. ****1/2
PUBLIC ENEMIES — Well, it’s a recent Michael Mann film, so you kind of know if you’ll like it when you go in. It’s also one I’ll have to see again to get the full effect of it. It took me two tries with MIAMI VICE to come around on it, which will likely be the case here. I’ve been slowly coming around to the carrion call of JD, and Tony, and my brother as to the lyrical and poetic style in these recent Mann films, but I’m not 100% convinced yet. I’m sitting it at ***1/2 for now, but may jump it when watching a second time.
DARK PASSAGE — An above average Bogie and Bacall potboiler that was on TCM On-Demand. Interesting gimmick, in that during the first hour you don’t see Bogie’s face, as everything he does is either via POV shot or his face is obscured by shadows and bandages. But beyond that gimmick, there isn’t much to the film and the last 20 minutes end up pulling the film down quite a bit. ***
BAD LIEUTENANT: PORT OF CALL: NEW ORLEANS — Woah. That was, um, something. I’m inclined to love just how gonzo Herzog is here and revel in how he fully uses Cage’s overacting to create a unique and fascinating character. The whole thing is so over-the-top, balls to the wall crazy, and hilarious, part Tennesee Williams, part 80’s DTV cop film, that I’m just sort of thinking it’s great. ****
Troy, I’ll definitely be over to your place later tonight, but looking at these reviews I can say we are pretty much on the same page throughout. Perhaps I like DARK PASSAGE a bit more, and PUBLIC ENEMIES a bit less, I think we are on par. Great capsules here too! As you may recall I was a big fan of BAD LIEUTENANT, (love that “part Tennessee Williams, part 80’s DTV cop film) which I couldn’t quite fit into my Top 10 list, but which I know will only get better. Cage has never been better, even with the admitted overacting, which for him is par for the course.
I never cared much for LOST IN TRANSLATION, but I agree with everything you see there about VIRGIN SUICIDES, which I still feel is Coppola’s best film, though I know few agree.
Your rating is dead-on for THE HURT LOCKER and close to my own of THE WHITE RIBBON. I’ll have to check out the specifics. Thanks for this wonderful wrap!
I agree on the Coppola films — I modestly like LOST IN TRANSLATION, but it feels quite slight when compared to DIARIES.
As for BAD LIEUTENANT, I’m not even sure how to review the film, so I may just run with that “Tennessee Williams/DTV cop movie” line for the entire thing. Revisiting the movie is actually like trying to remember details about that movie you watched one morning at 3 AM on Showtime, in that it’s like a strange, odd dream (and I’m loving it more for that reason).
Sam – hope you feel better.
Another slow viewing week for me.
I watched MOON, which I would give *** for the visuals, direction and Mansell score…but it seemed like the story was better fit for a short film and had quite a few plot holes. All in all…an promising debut for director Duncan Jones, but nothing to shout to the moon about.
I also had the displeasure of seeing in theaters THE IMAGINARIUM OF DOCTOR PARNASSUS which I would give *. Visually and narratively it was an incoherent mess and there wasn’t a single character that I found interesting. There was also a really disturbing and somewhat perverted undercurrent to the whole thing. This is tanking at the box office so at least poor Ledger will not be remembered for this. My bigger worry is for Terry Gilliam, a guy who hasn’t made anything even remotely of interest since FEAR AND LOATHING IN LAS VEGAS. Where’s the guy who made BRAZIL and TWELVE MONKEYS? So sad to watch a talented director decline to such a degrading degree.
David, finally somebody who is less than enthralled with MOON, which was rather a misfire despite the admitted delight with the visuals and Mansell’s score. I also found the film had plot holes and was tedious to withstand, as the story was underdeveloped. And this is a genre I basically like!
Ah, PARNASSUS. Well I don’t considered it any kind of a masterpiece, but I still gave it 3.5 of 5 for its many imaginative ideas and set pieces, though I’ll readily admit much of it didn’t work. But this is Gilliam’s modus operandi. Plot cohesion doesn’t exist in his films. In addition to the ones you mention I would add THE ADVENTURES OF BARON MUNCHAUSEN. But I know PARNASSUS turned off just as many who delighted in it.
Thanks for the very kind words, David!
Ah, Sam, yes….THE ADVENTURES OF BARON MUNCHAUSEN…now that’s a Terry Gilliam film! I believe it made my Top 25 of the ’80’s list….and apart from TWELVE MONKEYS…is my favorite from him. But how far he has fallen…
Oh, and Cameron over Bigelow at the GLOBES!!!??? A travesty! Here’s hoping his ex-wife sticks it to him come Oscar night.
Seriously, the guy already has his reward: all that moola. And he is The King of the World…so c’mon, what else could he possible need??
Give the gal a chance!
At any rate…is anyone feeling perhaps an Inglorious Basterds dark-horse romp at the Oscars? I think the race is still pretty much wide open.
Don’t forget that Cameron is a pompous ass, reminding everyone about just how great he is. I’m wondering if that attitude will wear thin with the Academy, where they decide to have the last laugh and give the award to Bigelow.
By the way — was the separation of those two contemptuous? I can’t remember that far back…
Troy, which his attitude…it had to be contemptuous. I think she has been very diplomatic saying that she learned much from her years at “the boys’ club” while he has kept his trap shut regarding their marriage of late. I really hope she wins over him. What a personal and professional and well deserved victory that would be for Bigelow. The fact that he already has an Oscar should work in her favor…though the biggest thing in her favor is that she really was the year’s best director.
Ah, David, but James wants everything. He tells everyone how great he is, and the response is more awards from hypnotized voters who believe him. The Oscar could be his, but it’s (as you suggest) a stronger possibility that AVATAR would win Best Film at the Oscar with Ms. Bigelow as Best Director, or THE HURT LOCKER could conceivably win both.
INGLOURIOUS BASTERDS is a long-shot, but with ten nominees, it true that anything can happen here.
The one thing THE HURT LOCKER has against it is the tiny box office returns….I really don’t see it winning Best Picture at the Oscars…but Bigelow, I think is still the front-runner. I’m afraid that to show they are “in touch” with the populists…the Academy may award AVATAR best pic…but to show they can be cutting edge and make history, Bigelow still has the inside track to be the 1st woman to win Best Director, which would fit since she is also…would you look at that…THE BEST DIRECTOR of the year.
Still, I have this weird feeling that INGLOURIOUS BASTERDS might “upset” all over the place as people might think QT is never going to strike a chord like that again (with a film talked-about, controversial, and money-making) and this might be the “time” to “reward” him for his “body of work.” A classic Academy move, and it would still make them seem both “cutting edge” and “populist”.
I agree that UP IN THE AIR has lost considerable steam. I think it is a three-horse raise now…we could see any combo of IB, AVATAR and THL taking home a best pic/best director split.
Not quite sure what a “three-horse raise” is, but I’m pretty sure this is a three-horse race.
Bah, looks like I repeated your thoughts on Cameron in the above comment, Sam. Just consider it me agreeing with you and adding more fuel to the fire.
Ha Troy! Great minds think alike! LOL.
Sam, like everyone else I hope you feel better soon. Lots of liquids and lots of rest!!!
Sage advice there Dorothy. Thanks so much for your kind words!!!!
As you and I discussed in length on the phone last night, it seems that the Oscars already have most of the winners locked in. Short of a meteor shower hitting the homes of, and killing, Christoph Waltz, Monique and Jeff Bridges, it seems that the others who were hoping to take home the top prize in those three categories should save money on their tuxedo rentals and stay home. Those three are so sure to win Nostradomus could have seen it coming a million miles away. The surprise win, will be, as there is always one in acting, in the BEST ACTRESS. Streep is out. The Academy doesn’t like her and fresh flesh always rues the day. This leaves Sandra Bullock as the fave. But because everyone is expecting her to take it, then that’s where they’ll pull the rug and give it, rightfully to CARRY MULLIGEN. The Academy always like an upset, and they cover their ass by giving it to the finest performance in the field at the same time. Nice and tidy. HURT LOCKER and Bigelow-ALL THE WAY!!!
Yes, Waltz, Monique and Bridges seemed locked in for Oscars at this point. The Best Actress is reportedly a close race between Meryl Streep and Sandra Bullock with Cary Mulligan seemingly out of the race. But I do agree with you that it would be premature to count here out with that “babe” factor, which is the Academy’s long-standing penchant to award pretty young women for the lead acting prize over the years, when they are pitted against established vets.
PICTURE and DIRECTOR. Theories arise here. I’m still laying my money on THE HURT LOCKER and its Director, Kathryn Bigelow to go all the way. Its a timely. Well made, tense and unforgettable experience on every level. Bigelow pulled every “in camera” stop out to build the frenetic addiction War brings out in these boys to keep them rolling through danger every day. No female has ever taken the Directors prize and, considering the films subject the Academy will nail both top honors. AVATAR could upset this. The emmersive dive into this fantastic world is no small feat. That alone could send the Academy away from THE HURT LOCKER. As for a split in the wins; I’l agree with YOU. I can see AVATAR taking picture with Bigelow taking director but the HURT LOCKER/Cameron scenario will not happen. The Academy likes Bigelow, her gender, and that she was married to Cameron at one point, too much to let her slip by, these are all possible theories but a sweep in these two slots by THE HURT LOCKER and Bigelow, seems likely..
Dennis, don’t be too quick to lay money on THE HURT LOCKER anymore. It is looking more and more likely that AVATAR will capture the big prize now (check Awards Daily out) even though Ms. Bigelow is a SURE THING to win Best Director.
Better late than never… Good to see you back on board Sam.
I have my first noir review for 2010 up at FilmsNoir.Net starting with Takashi Nomura’s A Colt is My Passport (1967), and revived the dormant Another Cinema Blog with posts on three very interesting music videos: Iggy Pop – Beside You (1993), Kristin Hersh – Your Ghost (1994), and a music video cum trailer for Jarmusch’s Dead Man (1995) featuring Neil Young.
I am currently reading Bram Stoker’s original Dracula for the first time (way better than most of the film adaptations). I also this week watched Max Ophuls’ 1949 noir, Caught. Ophuls renders the most elegant and romantic noir you will ever see. Robert Ryan, Barbara Bel Geddes, and James Mason in the leads are great!
Thanks so much Tony. Little by little I am coming around. It was just one of those weeks where everything went wrong. Everybody experiences it. I saw your A COLT IS MY PASSPORT review, and it was typically excellent. PASSPORT was the best film in that ‘Nikkatsu Noir’ set, a stylish hodgepodge based on Hollywood and Euro art house stylistics and the film’s black and white cinematography was extraordinary. Interestingly enough I found the story patterned after European concepts of the crimi9nal element. Your post on Kirsten Hirsch was also excellent, with the reference to Deren’s avante garde masterpiece, MESHES IN THE AFTERNOON.
I am with you there on CAUGHT–cracking good stuff there by one of cinema’s greatest directors.
I would be thrilled to hear your final assessment of Stoker’s novel, a book I read in high school, and one other time afterwards. It’s one of the most enertaining of all novels, (that diary journal style is neat) and it’s interesting to note that Stoker’s widow sued master filmmaker F.W. Murnau after the release of NOSFERATU, contending that the director plaguerized her husband’s work. She won the suit and Murnau’s silnt masterpiece was yanked from circulation. Luckily for the world it survived.
TONY-I too have just finished a re-read of Stokers classic. Like you, I agree that the filmic versions CANNOT completely compeat with the source. However, I have to give credit where its due. Todd Brownings 1931 B+W creepy is Hollywood horror at its best. Stylistic, campy and atmospheric and, no matter what any nay-sayer projects, Lugosi is arresting as the COUNT. NOSFERATU, Murnau’s silent treatment, is one of the creepiest films ever made (Max Shreck as the Count is unforgettable). Its Coppola’s version that rings truest though. It follows the book far more than any other film, its visual style is orgiastic, and Oldman actually gives the most correct reading of the Count (the added history of linking Vlad to Stoker’s tale is a stroke of genius by Coppola). Always thought the story would be best served in animation though. Maybe one day (hear that Tim Burton?)…..
TONY-In my last comment, I exuded the attributes of several versions of filmed versions of DRACULA. But, re-reading my comment, I seem to think I gave the impression that CoppolaKs version is the best. While I thinl Coppola’s film is the most faithful to the book, I’d have to say its Murnau’s silent NOSFERATU that takes the top honors. That film is like a haunting and recurring nightmare if imagery. I like all three but its Murnau’s classic that is a filmic gem. On another note. I suggest the 1931 version with Phillip Glass’s new score that accompanies the film. The Universal DVD has the score on an alternate track. The film is almost 100 percent more effective with Glass’s amazing all-string tunes. Sam and I Saw it performed live to the film many years ago at the John Harms theatre with Glass himself conducting. Its a really unforgettable audio experience. Seek it out.
Hey Dennis. I should have been clearer. I was thinking more of the structure of the novel, where the irrational is pitted against science, and Stoker’s use of the reportage device to relate the various narratives into a coherent story.
I agree with you on the movies, of which at least a few are outstanding cinema. The first half of Brownings film is masterful, but it loses steam once the Count travels to England. For me, Herzog’s Nosferatu is the creepiest.
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