The running time of his new picture Winter Sleep, three hours and change, suggests weight, but at it happens, this movie struck me as both…
If we are to believe some of his many fans, then Tupac Shakur was never murdered. Rather, he is today living a quiet life, perhaps playing chess under quiet New Zealand clouds with Jim Morrison and Elvis Presley. And while Lauren Lazin bookends her documentary, "Tupac: Resurrection," with his murder, the movie takes us through the turbulent world that formed and informed his biography. The movie convinces us that we have entered not only his mind, but his heart.
There's something fascinating about films with characters who have mastered a unique way of living their lives or professions, no matter how unusual or obscure, and the two best recent examples I can think of both star George Clooney. One of them is his Frequent-Flyer-Mileage-loving-liquidator in "Up in the Air" and the other is the title character of "Michael Clayton", the subject of this review.
Philip Noyce's "The Quiet American" is a tale of lies. It introduces itself as a noir murder mystery, but seamlessly veers into a story of man in love with a dancer, looking for redemption in his twilight.
From there it flows into a love triangle pitting an old frightened Brit (Michael Caine) against a young fearless American (Brendan Fraser). In moments of crisis, the American saves the Brit's life. In a moment of anger, the Brit seems to allow the American's death.
So, Cannes 2011: Malick was booed, Lars von Trier was banned and "Pirates of the Caribbean 4" was presented as hors-concours. If those are any indication, I predict "Deuce Bigalow, Male Gigolo 3" will win the Palm d'Or in 2012.
But in all seriousness, Cannes: banning von Trier? Really? Persona non grata for making some jokes (yes, in very poor taste, but jokes still) in the same year you had Mel Gibson over? The same Mel Gibson who made anti-semitic remarks, defended his father for denying the Holocaust and was recorded in a racist rant over the telephone?
While I heard the alarming reports coming from the Fukushima I nuclear power plant, an unforgettably intense sequence from "The China Syndrome" (1979) immediately came to my mind. An earthquake occurs without warning. The power plant is automatically shut down. They get a problem with the level of the coolant. The plant is on the verge of nuclear meltdown. The catastrophe of epic proportions may happen as a consequence.
Can any subject matter end up making a great movie?. That's the question that Siskel & Ebert's old review of "North" left me with many years ago. While Roger blasted the film's overall, twisted theme (if you don't like your parents, dump them and go get new ones), Gene dismissed this as the main problem by saying: "any subject can be done well".
As far as I know, "a mixed bag" is a negative expression, but I think that is an appropriately positive one in case of "Leaves of Grass" (2009) for its seemingly disjointed combination of crime story and philosophy. The movie throws such discrepant stuff into its plot that it could actually make a good shopping list: Latin, marijuana, Socrates, crossbows, poetry, bongs, Heidegger, family, catfish, Whitman, parallel lines, menorahs, swastikas, murder, and so on.
No wonder so many people thought Jesus was a heretic! All this talk of a kind and forgiving God? I mean, did he skip the bit where God asks Abraham to kill his favourite son? Wasn't flooding the entire world a little rash? Can ordering that hit on Amalekites be classified as reasonable behaviour? Let's face it, Old-Testament God could use a little anger management.
Wolfgang Peterson's "Das Boot" is a tense psychological drama with a powerful anti-war message and enough nerve-wracking suspense to make your heart pound against your chest like depth charges rupturing a submarine's hull. But before I get into why "Das Boot" is possibly the most authentic war film ever made, I'll try to clarify which version to go for as each is almost completely different from the other.
One of the best things that can happen to a moviegoer is showing up expecting a standard genre film and ending up seeing something better. This was my experience with Roger Donaldson's "The Bank Job" which at first sight seemed like just another Hollywood caper movie in which the inevitable elements could be timed with a stopwatch.