The Personal Canon

If you google "film canon," you'll like find a bunch of folks listing off pretentious movies as if these films are the best cinema has to offer.  In an effort to make themselves feel superior to us regular moviegoers, many of the films in peoples' canons will be foreign or made decades upon decades ago or be overly violent or edgy.  Now, personally I have nothing against foreign films or older films or edgy, violent films, and if you want to include them in your canon, that's fine with me (in fact, there will likely be some of each in my canon).

However, my personal canon is filled with films that perhaps may not have been groundbreaking in cinema, but mean something to me (for example, you won't find the mundane [story-wise] Citizen Kane here even though I fully recognize the very significant impact it made on the industry).  That's not to say that films that bring something new to the table wouldn't be in the canon, but I'm not going to include them simply because they were innovative.

Films in my Personal Canon will be films that mean something to me in one way or another.  Did they make me crack up?  Did they make me cry?  Did they make me think about something in a new light?  Did they make me appreciate the medium that is film even more?  The movies in my canon may not necessarily get the "A" rating, but they're films that even though they may be flawed, I return to again and again simply because I truly love them.  With rare exception, these are going to be movies that I've seen multiple times as it's oftentimes difficult (though not impossible -- see here) for a movie to jump into the Personal Canon after just one viewing.

So, within the next week, I'll announce the first film in my Personal Canon.  Several of the films may be expected (and may show up on those snooty film canons that pepper the internet already), but many others will be unique.

It's time to watch some good movies for a change...

Movie Review - The Disappearance of Alice Creed

The Disappearance of Alice Creed (2010)

Starring Martin Compston, Eddie Marsan, and Gemma Arterton

Directed by J Blakeson

It's nice every now and then for a movie to come out of nowhere and genuinely surprise you.  The Disappearance of Alice Creed is one of those movies.  I knew next to nothing about it except that this was a taut British thriller, but I also read that the trailer spoiled the film and should be avoided at all costs (which, after watching the film and then the trailer, I'd tend to agree with that assessment).  So, when the film arrived on dvd late last year, I figured I'd check it out and I was pleasantly surprised.  Working with a cast of only three people, first-time feature film writer-director J Blakeson has crafted a nice little kidnapping flick that doesn't necessarily reinvent the genre, but certainly proves to be entertaining.

The film opens with two men prepping a run-down apartment for a kidnapping complete with handcuffs, rope, and soundproof walls.  Shortly thereafter, they have abducted their victim, gagged her, and tied her to the bolted-down bed in the prison-like apartment.  With ninety minutes left to unspool in the film, I was unsure where the flick was going to go from here, but thanks to some clever (and completely believable) twists, Blakeson and his actors kept me completely interested in the goings-on.

With only three people in the film, if there was a single bad apple in the cast, the flick would've failed, but fortunately, all three actors give it their all.  Eddie Marsan as Vic, the career criminal and "man in charge," brings a creepiness that counteracts Martin Compston's subdued and on-edge Danny quite well.  While neither of their roles are "new" in the broad scheme of character development, the screenplay creates enough unique spins to make these two crooks interesting.  

The toughest role belongs to Gemma Arterton who, as the title character, finds herself chained and gagged for much of the film, yet gives her absolute all in a rather riveting performance.  This was not an easy role and I imagine it wasn't an easy undertaking for Arterton who bares all emotionally (and often physically) throughout the entirety of the film.  While I won't subject myself to her roles in Prince of Persia or Clash of the Titans, I look forward to seeing what else this up-and-coming actress has to offer in the future.

It should be noted that The Disappearance of Alice Creed isn't exactly an easy film to watch (and may not be suited for everyone's tastes), but thanks to three great performances and an edge-of-the-seat screenplay courtesy of the film's director, it's a flick that should be checked out by those whose interest I may have piqued with this review.

The RyMickey Rating:  B

Movie Review - Incendiary

Incendiary (2009)

Starring Michelle Williams, Ewan McGregor, and Matthew MacFadyen

Directed by Sharon Maguire

***This film is currently streaming on Netflix***

When a group of suicide bombers set off an explosion at a British football (AKA soccer) match, over a thousand people are killed, including a mother's son and husband.  The mother (who remains oddly nameless throughout the film), played by Michelle Williams, happens to be having sex with another man (Ewan McGregor) at the time of the explosion so, of course, that simply compounds her guilt even more.  

Ugh...the plot Incendiary reeks of a really serious Lifetime movie and despite a pleasant turn from Michelle Williams, there really isn't much to even discuss here.  The film was little seen and barely released in US theaters in 2009 and it'll remain little seen for all eternity.  I'm all for exploring the aftershocks of 9/11 in film -- United 93 was absolutely riveting and emotionally draining (although I do feel it was an important film to be made in order to depict our country's recent history).  Incendiary, however, attempts to go for the emotional gut punch, but never even comes close to achieving it.

The RyMickey Rating:  D

Movie Review - Case 39

Case 39 (2010)

Starring Renee Zellweger, Bradley Cooper, Ian McShane, and Jodelle Ferland

Directed by Christian Alvart

There's a reason Case 39 was on the shelf for years.  Overly long, poorly acted, and simply a retread of every other evil kid movie that's already been released.

Renee Zellweger is social worker Emily Jenkins who is already bogged down with thirty-eight cases.  Guess what?  Case 39 is gonna be a doozy!  After meeting the parents of young Lilith (Jodelle Ferland), Emily suspects that the parents may not be capable of caring for the ten-year old, but it isn't until after the parents attempt to kill Lilith that she gains any traction with the people in her government department.  Emily takes Lilith in so that the youth can avoid going into foster care and Emily soon discovers that Lilith may not be the innocent girl she portrays herself to be.

Unfortunately, while there are some interesting scenes (including an exciting one featuring Bradley Cooper and some hornets which, despite featuring poor special effects, had me on the edge of my seat), the film doesn't work at all.  A mix of The Omen and The Ring, Case 39 goes on for way too long, treading water and not going anywhere.  It certainly isn't helped that chipmunk-cheeked Renee Zellweger (she of the school of "Squinty Eyed Acting") is lifeless onscreen and her counterpart Jodelle Ferland lacks the needed pizzazz to carry the role of the devil child.

The RyMickey Rating:  D

Movie Review - The Girl Who Played with Fire

The Girl Who Played with Fire (2010)

Starring Noomi Rapace and Michael Nyqvist 

Directed by Daniel Alfredson

***This film is currently streaming on Netflix***

I liked The Girl with the Dragon Tattoo.  I wasn't head over heels in love with it like some other critics, but I thought it was an interesting mystery tale that, while not particularly groundbreaking, had some decent performances from two lead actors.  The chemistry between Noomi Rapace's edgy Lisbeth Salandar and Michael Nyqvist's somewhat clean-cut Mikael Blomkvist was quite good.  In the second part of the Millenium trilogy, The Girl Who Played with Fire, that chemistry is never present because the two actors never share a scene until literally the film's final minute.  Instead, the film lacks that emotional oomph that carried the first flick and piles on a much more convoluted and uninteresting murder mystery.

I'll be honest, I zoned in and out of this one in terms of story.  They started throwing around a bunch of people with 'J's in their last names (Bjornsen, Jorgenson...they're all the same to me!) and I kinda got lost.  Apparently there are people in the political realm who are involved in some human prostitution trafficking and two news reporters working for Mikael Blomkvist's magazine "Millenium" are murdered after they uncover information involving the politicians.  However, for some reason (that I'm pretty sure is explained at the end, however, the movie had already lost me at that point) Lisbeth Salandar is the prime suspect because a gun was used with her fingerprints on it.  Needless to say, Lisbeth finds herself on the run and Mikael does what he can do clear her name.

Ultimately, the story is what killed this flick to me because I actually found Noomi Rapace's performance as Lisbeth more enjoyable in this flick than the first.  Despite the fact that her character didn't have nearly as much of an emotional journey as she did in he first film, the performance felt a little more balanced.  I also liked the way this second film looked a bit more than than the first, so kudos to new director Daniel Alfredson.

However, those are the only two things that worked in the film.  Everything else (including an absolutely boring turn from Michael Nyqvist) was a disappointment.  While I'm certainly going to finish up the trilogy when the last film arrives on Netflix in the next few months, the middle flick of the series didn't live up to the moderate expectations set in number one.

The RyMickey Rating:  D

Movie Review - Sisters

Sisters (1973)

Starring Margot Kidder and Jennifer Salt

Directed by Brian De Palma

***This film is currently streaming on Netflix***

Brian De Palma is a director that has been greatly influenced by Alfred Hitchcock.  I've seen a couple of De Palma's films and while he doesn't even come close to matching Hitch's talent, I appreciate De Palma's efforts.  Creative camera techniques, sexy women placed in perilous situations, interesting musical scores (including this film's which comes from the great Bernhard Hermann who scored Psycho) -- all of these are De Palma staples that were influenced by the Master of Suspense himself.  While Sisters certainly doesn't come close to great (or even good) Hitchcock, it's a film that kept me interested until the rather odd ending which, although shot rather brilliantly, didn't quite sit well with me.

Grace (Jennifer Salt), a news reporter, witnesses a murder take place in an apartment across the street from hers.  (Sound vaguely familiar to a Hitch classic to anyone?)  When she tries to get the police to investigate, their search turns up empty.  However, Grace is certain that the woman living in the apartment, Daniele (Margot Kidder), knows something about the murder even if she didn't commit the crime herself and the reporter will stop at nothing to solve the crime.  

Most interesting here is De Palma's camerawork and directorial style.  Several times throughout the film, De Palma employs a split screen effect where we see two scenes occurring at the same time.  While a technique like that could seem overbearing, it never does here.  In fact, it adds a bit of excitement and intrigue to this seemingly rehashed plot.  

The rehashed plot of Rear Window, however, is given a few new spins involving medical and psychological intrigue, but it's in these added storylines where the story falters for me.  I was with the film all the way up until the last twenty minutes and even though I admired the way the film's conclusion was visually presented, I didn't like the story that I was actually watching.  

Nonetheless, De Palma films always interest me when I watch them.  They may not be fantastic works of cinema, but he's a director that tries things that others don't and for that his flicks are worth a watch.

The RyMickey Rating:  C

Movie Review - Elevator to the Gallows

Elevator to the Gallows (Ascenseur pour l'échafaud) (1958)

Starring Maurice Ronet, Jeanne Moreau, Georges Poujouly, and Yori Bertin

Directed by Louis Malle

***This film is currently streaming on Netflix***

I don't know the first thing about French cinema, but after watching Louis Malle's Elevator to the Gallows, I want to explore the country's film output much more.  I was riveted while watching this pseudo-Hitchcockian film where instead of using the Hitchcock staple of "the wronged man," everyone's a fugitive from justice, having all committed wrongs as they attempt to escape from the law who's on the hunt for them.

The story is shockingly simple and, to be completely honest, I'm rather amazed that the film held my attention as much as it did.  Florence (Jeanne Moreau) and Julien (Marice Ronet) are having an affair and as the film opens, they are discussing their plan to murder Florence's husband.  Seeing as how Julien carries out the crime in the first ten minutes of the film, it's not spoiling anything to state their plan is a success.  However, through a series of events, Julien gets stuck in his office building's elevator and with Florence's husband dead eight floors up, panic sets in rather quickly.

At the same time, young teenage couple Louis (Georges Poujouly) and Veronique (Yori Bertin) steal Julien's car.  As they escape to a motel outside of the city, things quickly get out of hand for the youths and they find themselves in nearly as much trouble as Julien.

As I've stated before, I'm a big film noir fan and this film certainly falls into that category.  From the man committing a crime to be with a woman to the long shadows along the dark city streets, noir characteristics are prevalent and carried out quite well.  I've certainly heard of Louis Malle before, but I've only seen one other film of his (Damage, which is reviewed here), so I'm not familiar with his work.  Elevator to the Gallows is his first film and it's simply beautiful to look at.  Helped by a cool, jazzy improvisational score from Miles Davis, I was completely enthralled by everything.  

This is once again one of those reviews of something that I really liked which may not sound overly enthusiastic.  However, I certainly think that upon a second viewing, this film may rise up from the rating below to a solid 'A'.

The RyMickey Rating:  A-

Movie Review - Easy A

Easy A (2010)

Starring Emma Stone, Penn Badgely, Amanda Bynes, Thomas Haden Church, Patricia Clarkson, Stanley Tucci, Alyson Michalka, Malcolm McDowell, and Lisa Kudrow

Directed by Will Gluck

A case of raised expectations seems to have ruined Easy A for me.  The heaping praise from nearly all the critics upon its release had me thinking this was going to be much better than it actually was.  Sure, there were great performances all around and some wit was on display, but in the end, it felt like a story that never really went anywhere and never really caught my attention despite the presence of the cute and charming Emma Stone.

Like a modern-day Scarlet Letter, Emma Stone is Olive (the Hester Prynne of the film), a high schooler who is pressured into saying she had sex in order to make herself "look" better to her best friend (Alyson Michalka).  Rumors spread quickly in high school and soon the clean cut (though witty and wry) Olive is finding herself enjoying the attention she's receiving.  Instead of trying to squash the rumor, she begins to make the lie even bigger, pretending to become the school slut because at least "the slut" has a place at the school rather than her old role as "just another face in the crowd."  Needless to say, things get out of hand and start getting hurtful to the good-hearted Olive and she must attempt to climb her way out of the hole she dug for herself.

The problem with the film doesn't lie with Ms. Stone who, in her first major starring role, is certainly an amusing and funny presence onscreen.  Perhaps my biggest issue with the film is with the characters surrounding Olive.  While it's true that none of the actors playing the caricaturish supporting players are bad, their roles are laughably one-note.  Stanley Tucci and Patricia Clarkson bring great humor to the roles of Olive's parents, but their characters seemed so incredibly fake.  Similarly, all of the students at Olive's school -- from the Christian goody-goody (Amanda Bynes) to Olive's gay friend -- are characters we've seen before (and written better) in other films.  Once again, great acting from everyone all around, but the characters they had to inhabit were simply disappointing.

The film flounders and wanders aimlessly and its short 90-minute runtime feels about 30 minutes longer than it actually is.  Overall, Easy A was a disappointment that doesn't deserve the praises that were bestowed on it earlier in the year.

The RyMickey Rating:  C-

Movie Review - Unthinkable

Unthinkable (2010)

Starring Samuel L. Jackson, Carrie-Anne Moss, and Michael Sheen

Directed by Gregor Jordan

***This film is currently streaming on Netflix***

I watch a lot of junk at times, but I rarely watch flicks that go direct-to-dvd.  Somewhere along the line, most things reviewed on this site have at least seen the darkness of one American theater.  The lack of a movie poster to the left and the picture of the dvd case are because Unthinkable went straight-to-dvd.  It's moderately surprising because while the film isn't perfect, the questions that it raises about the rights of American citizens are intriguing ones and Michael Sheen's performance alone are reason enough to give this one a shot if you're looking for a quick watch some evening.

Yusuf (Sheen), an American Muslim, is arrested by the United States government after he makes a tape stating that he has placed three nuclear bombs in three American cities ready to explode in less than a week's time.  FBI Agent Brody (Carrie-Anne Moss) is called in to interrogate the terrorist suspect, but she is joined by a man named "H" (Samuel L. Jackson) who is apparently the government's go-to guy for extreme torture techniques.  Playing a high level game of "good cop-bad cop," Brody and H attempt to crack Yusuf and get him to reveal the bombs' locations before it's too late.

Overly melodramatic?  Sure, but the film works in terms of tension and suspense.  Samuel L. Jackson is partly responsible for that as his character H is rather unhinged.  We in the audience are rather unsure of how far H will go in order to get his information, but (and as a big credit to the screenwriter) H's motives never seem out-of-place for his character.  The lengths that H goes to are extreme and graphic (heading into that Saw-level territory at times), but it was always believable.  

Part of the reason things felt "real" and tense was because of a rather brilliant performance from Michael Sheen.  Maniacal is probably the best word to describe his character.  There's an evil just underneath the surface of Yusuf that's even more frightening because his motives are realistic in today's society.  Sheen has to run the gamut of emotions from demonic to tortured to stoic and he handles them all rather brilliantly.

Unfortunately, I feel like the film cops out a bit at the end (the conclusion of the Extended Edition, while it seems a little silly based off of a description I read, would have been a little more interesting with a few tweaks) and Carrie-Anne Moss is quite a boring let-down.  And while I would've liked the film to have either taken a more solid pro- or anti-torture stance (although I think the ending chosen causes the film to lean slightly more to the anti- camp), it does open up the mind to questions about torture tactics and whether they are legitimate tools for the American government to use in the War on Terror.  While the film didn't necessarily change my opinion on the topic (which I won't state in order to keep this non-political), I like the morality play on display in Unthinkable.  I don't want you to think this is an amazing film because it certainly does have a direct-to-dvd "feel" to the aesthetics and set pieces, but it was an interesting flick that was worth the watch.

The RyMickey Rating:  C+

Movie Review - Going the Distance

Going the Distance (2010)

Starring Drew Barrymore, Justin Long, Jason Sudeikis, Charlie Day, and Christina Applegate

Directed by Nanette Burstein

I genuinely want someone to explain to me why Drew Barrymore is popular.  Yes, her popularity has certainly (thankfully) been waning in recent years, but she's a well-known actress.  Is is simply because she overcame her addictions?  If that's the case, are we in for decades of shitty Lindsay Lohan movies in years to come?  Really...why do girls like Drew Barrymore so much?  The fascination is beyond me and even with an explanation I'll probably never understand it.  Still, despite this Hollywood conundrum, I subjected myself to a Drew Barrymore film this evening and Going the Distance (as expected) did nothing to validate her stardom.

Truth be told, it isn't Barrymore's fault that Going the Distance doesn't work.  In fact, this "rom com" (as the hipsters would call it) features a romance between the two leads that is surprisingly believable.  Between Barrymore and her co-star Justin Long, there was some palpable chemistry evident.  However, the film is just so flat and boring, never creating any type of story arcs for either lead as it attempts to fill the story void by adding some comedic unrealistic "buddy" characters who simply padded the film's running time.  Nothing against Jason Sudeikis, Charlie Day, and Christina Applegate (who all provided their own moments of humor), but their characters were pointless.  

As the couple tries to make the most of a long distance relationship (hence the cleverness of the title), the film just stays inert and feels so incredibly generic.  And generic is, I think, my problem with Ms. Barrymore.  I think that Barrymore is probably a nice person -- in fact, I think she plays that nice person onscreen in every single role.  I don't really think she's acting (Zack Galifianakis -- beware because this rant is coming your way next).  And therein lies my problem with her.  When all of your characters are the same, I simply can't really care about what you're doing.  But, really, there's no need to discuss this in this review because the fault of the film doesn't lie with her...and I'm sure there will be another film somewhere down the line where it will be her fault, so I'll withhold those feelings until then.

The RyMickey Rating:  D+

Movie Review - City Island

City Island (2010)

Starring Andy Garcia, Juliana Marguiles, Emily Mortimer, Steven Strait, Domink García-Lorido, Ezra Miller, and Alan Arkin

Directed by Raymond De Felitta
***This film is currently streaming on Netflix***

City Island is one of those movies that on the surface I enjoyed greatly.  I wasn't the least bit bored during its 100-minute running time.  I laughed often.  However, there were way too many moments amidst the ha-ha's that had me ridiculing the silly dialog and over-the-top acting.  In the end, City Island is a flawed film, but a pleasant one.

The Rizzos of City Island, New York (an island "suburb" of New York City) are a completely stereotypical Italian family.  Loud, boisterous, and replete with dinner table fights.  Between father Vince (Andy Garcia), mother Joyce (Juliana Marguiles), daughter Vivian (Domink García-Lorido), and son Vince, Jr. (Ezra Miller), there are more soap opera-level secrets the quartet is hiding from each other than the Desperate Housewives (how's that for a out-of-date pop culture reference?).  It's those very secrets (particularly those of the son and daughter) that pull this film completely out of any reality that director Raymond De Felitta created.  However, it's De Felitta's own fault considering that he wrote the screenplay as well, so he has no one to blame for the film's failures but himself.

Despite some of the silliness that De Felitta throws his actors' ways, they all do a pretty admirable job wallowing through the muck.  Andy Garcia is certainly just the usual hard-edged New York Italian, but he's actually quite pleasant and brings a nice easygoing charm to the screen.  Juliana Marguiles is the saucy wife, taking a cue from the Carmela Soprano playbook (on a much smaller scale, mind you) and does nice job.  Even somewhat newcomer Ezra Miller who is forced to be a much-too-wise-beyond-his years wisecracking smartass teen is able to rise above the truly awful storyline his character is given.

In the end, City Island is a movie that could have been a whole heckuva lot better if the whole story didn't seem so childish.  Yes, there's humor to be had and there's good acting on display, but the script bogs the whole thing down.  Still, if you're searching for something moderately entertaining, the flick fits the bill.

The RyMickey Rating:  C

Movie Review -I'm Still Here

I'm Still Here (2010)

Starring Joaquin Phoenix

Directed by Casey Affleck
***This film is currently streaming on Netflix***

In the winter of 2009, Academy Award-nominated actor Joaquin Phoenix went on Late Show with David Letterman and acted like an ass.  No other term to describe it, really.  Phoenix had decided to quit acting and become a rap superstar.  Folks weren't sure if this was all a large-scale Andy Kaufman-esque hoax or if the guy was genuinely serious.  If anything, I'm Still Here unequivocally states that it was a joke, but the faux-documentary also is one heckuva enjoyable film with an incredibly amusing performance from Phoenix as he slowly deteriorates into a humorously frightening version of himself. 

Phoenix and director Casey Affleck say that they created I'm Still Here as a riff on reality tv, playing off of the idea that people genuinely believe that reality isn't scripted for the purposes of entertainment.  In order and try and create the most believable "fake Joaquin" persona as possible, for nearly a year, at every public appearance made by Phoenix, he "played" the role of drunken, drugged "celebrity" who had seemingly fallen off of his rocker.  Admittedly, even to me who only saw clips of Phoenix in passing, it seemed that he truly had decided to pursue this rap career.  On film, however, it was pretty obvious from the get go that this whole shindig was scripted.

Somehow, though, this weird scripted mockumentary works and it's in large part due to Phoenix totally inhabiting this character.  He's a nut...it's obvious...but it never seems over the top.  Phoenix is never the person that makes this "documentary" seem fake.  It's the other celebs around him and their "scripted" comments that clue the viewer in on the veracity of the film's agenda (that and the fact that there's a cast list in the credits that lists "Joaquin's Father" as an Affleck which should have clued a good bunch of the critics in on the elaborate piece of performance art they just witnessed).  Also cluing me in to the "unreality" of the situation is the fact that Casey Affleck does a much too eloquent job directing for the whole thing to be fake.  Once again, this isn't a fault of the piece.  In fact, the direction is very good, but the smoothness of the whole thing and the completely obvious set-ups for camera shots makes me amazed that critics didn't understand this film for what it was.

Honestly, I was expecting to despise this film.  I remember watching The Man in the Moon many years ago which depicted Andy Kaufman's life and thinking that the guy -- a full-out performance artist known for his elaborate hoaxes and jokes -- was a complete jerk.  I didn't get the humor in his "art."  In I'm Still Here, though, I was thoroughly amused.  I'm not quite sure Phoenix and Affleck (the co-writers of the piece) necessarily made their point about the "perils of celebrity" and the "deception" that is reality television, but I was amused nonetheless.

The RyMickey Rating:  B+

Movie Review - Exit Through the Gift Shop

Exit Through the Gift Shop (2010)

Directed by Banksy

***This film is currently streaming on Netflix***

Ten years ago, Theirry Guetta was a French immigrant living in Los Angeles running a used clothing store.  What made him unique was that he filmed every single aspect of his life.  While on vacation in France, he comes in contact with his cousin, a "street artist" named Invader who posted little tile mosaics of Space Invaders aliens all around France (and the world, for that matter).  Theirry became fascinated with street art and decided to follow and document other artists (who worked in the mediums of "poster art" [plastering posters of their art onto public places] and the typical "street graffiti" art).  However, there was one street artist that Thierry longed to capture -- the ever elusive and extremely popular Banksy.

Through a series of seemingly fated circumstances, Theirry and Banksy meet in L.A. and Banksy agrees to let Theirry film him.  Eventually, however, the tables are turned and Theirry finds himself becoming more involved in creating the art himself much to the chagrin of the very artists Theirry was filming.

Exit Through the Gift Shop is a documentary that essentially poses the question that is often posited when one stares at a piece of modern art -- "Is what I'm looking at actually art?"  I remember heading up to the Museum of Modern Art in NYC a few years ago and walking through a room of apparent art pieces and thinking to myself, "How the hell do I get in on this art thing because I think if I spit my toothpaste out onto a canvas it could find its way into this museum."  When the tables are turned on the "real" street artists like Banksy, he is essentially pondering the same question as me.

The film is ultimately unique in that it starts off as a film we think is going to be about Thierry documenting artists and eventually turns into a movie about artists (Banksy) filming Thierry attempting to become an artist.  An interesting concept, but, as has been the criticism of this film, one has to wonder how much of it is real and how much of it is staged (of course, the same critique was lobbied at Catfish, but I had no problem believing the truth there).  The issue ultimately lies in the fact that Thierry's art really isn't that good (even this reviewer who lacks any true art knowledge could see that), yet he is seemingly lauded by the L.A. community.  

Even looking past the veracity of the subject matter, I don't quite know how this film is popping up on several 2010 Top Ten lists.  I mean, the film is fine, but it's not all that exciting and not all that groundbreaking.  It lulls at times (particularly during the first 30 minutes) and the art itself (even from the real "artitsts" portrayed) didn't excite me in the slightest (which I guess isn't a fault of the film, but it certainly didn't help keep me interested).  There's a much better art documentary out there right now -- The Art of the Steal -- that should definitely be watched before this more lauded entry.

The RyMickey Rating:  C+

Movie Review - Killers

Killers (2010)

Starring Ashton Kutcher, Katherine Heigl, Tom Selleck, and Catherine O'Hara

Directed by Robert Luketic

Good Lord...Movies this awful don't come along too often.

Seeing as how I'm not a fan of either of the two leading actors in Killers, I'm not quite sure why I rented it, but I did and I forced myself to sit through the dreck.

Honestly, it's not even really worth talking about.  The characters are poorly developed, the script is paint-by-numbers bland, and the the direction is tv Movie of the Week style.  The whole thing is a mess.  The only thing saving this from a complete and epic failure is that I was moderately entertained by Tom Selleck and Catherine O'Hara as Katherine Heigl's parents.  That said, even they were saddled with a ridiculously bad subplot by the film's end.

I mean, let's face it.  Look at the poster to the left...is there anyone who actually thinks that the movie could be good based on that?  You've got Heigl going "This is a gun...I'm a woman...How do you work this darn thing?  Teeheehee...giggle giggle."  And then you've got Kutcher going, "Who is this prissy chick?  Why am I saddled with her?  Why am I even in movies?  Doesn't anyone know I can't act?"

Avoid at all costs.

The RyMickey Rating:  D-

Movie Review - Waking Sleeping Beauty

Waking Sleeping Beauty (2010)

Directed by Don Hahn

Not that a full disclosure is needed for most of my readers, but I am an unabashed Disney nut.  With the exception of the teenage takeover of the Disney Channel, I pretty much love it all -- the movies, the theme parks...you name it, I'm a fan.

Also known to most, Beauty and the Beast is one of my absolute favorite films of all time.  Released in 1991, the film came about at that pivotal point in my childhood when I was beginning to understand the importance of "film" in general and first started to grasp the incredibly detailed work that went into creating an animated (or any type of celluloid) masterpiece.  Seeing as how the documentary Waking Sleeping Beauty details the Disney animation renaissance from the mid-1980s through the 1994 release of The Lion King -- or, in other words, a detailed look at my movie-going life from age 6 to 14 -- this flick hits home for me in a way it certainly may not for you.  That being said, the documentary is well made and is an absolute must-see for any animation fan.

Walt Disney created the animated feature film with his release of Snow White and the Seven Dwarfs and he certainly kept this genre going throughout his life.  However, after his death in 1966 and the release of The Jungle Book, animated films started to become second string to Disney's live action division. Films like The Aristocats, The Rescuers, and The Fox and the Hound aren't necessarily bad films, but they aren't fondly remembered in the illustrious Disney canon.  By the time 1985's The Black Cauldron rolled around, Disney's animation department was at odds with itself -- the old-time artists who worked with Walt were clashing a bit with the newer group of budding just-out-of-college animators.  

Not helping matters, the Disney company brass was in the midst of a bit of a shake-up.  Roy E. Disney, Walt's nephew longed to get the animation department back to its glory days and believed that it could be saved.  Newly appointed CEO Michael Eisner and COO Frank Wells sided with Roy in that regard, but head of the film division Jeffrey Katzenberger didn't have a huge amount of faith in the animators and found himself focusing more on the possible promotional aspects of films rather than the actual films themselves.  These four corporate honchos found themselves at odds with one another, creating a tug-of-war within the Disney company.  

Surprisingly for a film about Disney, but also released by Disney, the film doesn't exactly paint a perfect picture of the company.  The mid-1980s were a difficult time for all aspects of the Disney corporation.  While there's a "pat on the back" mentality on display in the film that the company got themselves out of the funk, the film also provides an incredibly interesting look at the behind-the-scenes shenanigans that go on at a major motion picture studio (even a motion picture studio as outwardly "pristine" as Disney).

In addition to providing insight into the behind-the-scenes corporate intrigue, Waking Sleeping Beauty is also a love story to the animators, directors, and composers who contributed to Disney's animation renaissance of the late 80's/early 90s.  The amount of work that goes into an animated film (be it Disney or any other) is astounding and this flick gives us just a tiny glimpse at the whole affair.  Placing a large focus on the brilliant lyricist Howard Ashman (whom Roy E. Disney calls a new generation "Walt" in the film), it becomes obvious that "song" and "animation" are two peas in a pod.  While the animators certainly played an enormous role in the success of Disney's animation renewal, Ashman played an integral part of revolutionizing the animation landscape.  One can only wonder what he would have brought to the table had he not passed away much too soon in 1991 prior to the release of Beauty and the Beast.

I could go on and on about little details of the film, but I'm going to spare everyone.  Needless to say, I feel like this film (made up completely of all archival footage and new voiceover interviews) was made for me.  And with that feeling comes the problem that I want to see so much more.  There's an extra feature on the dvd of a 12-minute portion of a lengthy Howard Ashman lecture on music and film -- I wanted to see the entire day-long speech in its entirety, not just 12 minutes.  That's how much the films of this era -- The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King -- mean to me in terms of shaping my love of Disney -- the company -- as a whole.  Waking Sleeping Beauty is probably not as good of a film as I think it is (it's probably much too one-sided for a documentary), but it's a film that hits close to home for me and for that very reason, it's a film that I'll find myself watching over and over again.

The RyMickey Rating: A-

Movie Review - Everybody's Fine

Everybody's Fine (2009)

Starring Robert DeNiro, Drew Barrymore, Sam Rockwell, Kate Beckinsale, and Melissa Leo 

Directed by Kirk Jones

Everybody's Fine was a big failure at the box office last holiday season, but after watching I can't understand why.  Sure, it's overly dramatic, but it's a lovely little film featuring some nice performances from all of the lead actors, particularly Robert DeNiro who has certainly slummed his way through movies in the last decade or so.

It's been a few months since Frank Goode's (DeNiro) wife has passed away and he is eagerly looking forward to a get-together with all of his grown adult children.  However, when they all bail on him, Frank decides to travel around the country and visit each one, hoping to reconnect with them and become a greater part of their lives.  

That's the story in a nutshell.  It's simple and it's kind of sweet and it surprisingly works.  Director and screenwriter Kirk Jones has crafted a really lovely film in both appearance and substance.  While he admittedly gets a tad heavy-handed towards the end, it never felt too sugary or overly sentimental.

The reason for that, in part, is the pleasant and understated performance from Mr. DeNiro.  In recent years, DeNiro has veered way over-the-top whether that be in the godawful Fockers movies, Analyze That, or pretty much anything else in his recent oeuvre.  Here, DeNiro throws aside the caricature of his former actorly self that he's been playing for the last decade and instead is simply an aging, hard-working father who misses his wife and wants to form a better relationship with his kids.  It was actually a surprising departure for DeNiro and a track I'd like to see him continue on in years to come. 

DeNiro is joined by the lovely Kate Beckinsale as his eldest daughter and Sam Rockwell as his eldest son and both of them make the most of the roles.  Beckinsale, in particular, surprised me.  Not that I've even seen the Underworld series of films, but that's what I associate her most with.  I keep forgetting that she gave a bravura performance in 2008's Nothing But the Truth (rent it...trust me), and while her performance in this flick didn't blow me away, it certainly made me remember that the lady can actually act.  [And, although the less said the better, even Drew Barrymore didn't annoy me in this as much as she usually can, although she is playing the same exact character she plays in every other movie...seriously, how is she still popular?]

I honestly watched this because it was the holiday season and I remember there being a tree on the poster...don't be fooled into thinking this is a holiday movie, however.  It's not in the slightest.  Nevertheless, despite that misleading advertising, Everybody's Fine is a flick that surpassed my middling expectations and actually won me over quite a bit with its charm.

The RyMickey Rating: B

Movie Review - Labyrinth

Labyrinth (1986)

Starring Jennifer Connelly and David Bowie

Directed by Jim Henson

***This film is currently streaming on Netflix***

I don't know how I never watched this as a child of the 80s, but I never did.  I must admit that I'm a little upset I've waited so long to partake of this trippy flick, because, for the most part, I enjoyed it quite a bit.

Labyrinth is the weirder, drugged-up cousin of Alice in Wonderland and Wizard of Oz (and, let's be honest, those too stories are already on the nutty side), complete with Jim Henson muppetry magic and a freakish performance from David Bowie as Jareth the Goblin King who has fallen in love with the teenaged Sarah (Jennifer Connelly).  As part of his scheme, Jareth kidnaps Sarah's infant brother and forces her through an elaborate labyrinth in order to find him, seemingly hoping that Sarah will long leave the real world to spend her life with him in the strange realm he calls home.

The obvious high points of the film are the elaborate, intricate sets and the fantastic puppetry from Jim Henson Studios.  Both are of an amazing caliber and make the film certainly worth watching.  Admittedly, everything else about the film -- especially the overacting from David Bowie and Jennifer Connelly -- is simply middle-of-the-road, but oddly enough, it doesn't really matter in a film like this.  Films like Labyrinth are about whimsy, charm, and magic and Labyrinth has all these in spades.  One is able to look past the flaws and simply enjoy the film as it unfolds.  Is it a masterpiece?  Certainly not, but it's a film that I absolutely plan on visiting again sooner rather than later.  Sometimes, simply being "fun" is reason enough to like a flick.

The RyMickey Rating:  B

Movie Review - Heaven Can Wait

Heaven Can Wait (1978)

Starring Warren Beatty, Julie Christie, James Mason, Charles Grodin, and Dyan Cannon

Directed by Warren Beatty and Buck Henry

***This film is currently streaming on Netflix***

This is just one of those random movies that's been on the "maybe I'll watch that someday" list and that day has come.  Warren Beatty is pro football quarterback Joe Pendleton who is poised to take his team to the Super Bowl.  Unfortunately, a car accident brings Joe into the afterlife.  However, in the limbo between heaven and earth, Joe discovers that his guardian angel pulled him out of his body too quickly -- Joe simply wasn't scheduled to die yet.  So, it is decided that Joe can return to earth in the body of someone else.  This someone else just happens to be rich multi-millionaire Leo Farnsworth who is in a bit of trouble of his own involving both his wife (Dyan Cannon) and his executive secretary (Charles Grodin) attempting to kill him in order to carry out their torrid affair and an angry British woman (Julie Christie) who is upset that Farnsworth is building an oil refinery in her town.  All the while, Joe longs to be the football quarterback he was in his former body.

An odd summary, I realize, but the movie's odd, too.  There's a lot of everything thrown in here -- comedy, drama, romance -- and the jumbled summary is indicative of a movie that doesn't quite know what it wants to be.  None of the aforementioned elements really takes precedence over any other so you never get a great idea of the tone that co-director-co-screenwriter Beatty was going for.  Things aren't properly balanced and it hurts the movie to a certain extent.

I like Warren Beatty as an actor and I like him here as well.  He's certainly charming and has a nice presence onscreen. Aiding him is Charles Grodin and Dyan Cannon as the conniving couple attempting to kill off Leo Farnsworth in order to gain access to his fortune.  Unfortunately, the biggest letdown in the film is Julie Christie whose romantic subplot with Beatty's Farnsworth is absolutely ridiculous and has no reason for even existing.  It's a subplot that is completely unnecessary and weighs the movie down.

The RyMickey Rating:  C

"Whenever I get gloomy with the state of the world..."

"...I think about the arrivals gate at Heathrow Airport.  General opinion's starting to make out that we live in a world of hatred and greed, but I don't see that.  It seems to me that love is everywhere.  Often, it's not particularly dignified or newsworthy, but it's always there - fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends.  When the planes hit the Twin Towers, as far as I know, none of the phone calls from the people on board were messages of hate or revenge - they were all messages of love.  If you look for it, I've got a sneaking suspicion...love actually is all around."

  

"They're weirdos, Fozzie..."

"...but they're nice weirdos."

(Side Note: A Muppet Family Christmas is, by far, my favorite Christmas tv special ever.  Check it out on dvd if you've never seen it.)