Reviews by Xanadon't

This movie sits atop almost every best of 2009 horror list out there, and it seems nearly everyone, including me, missed its theatrical run. It's a Swedish coming of age film about loneliness that happens to also be about vampires. Not just a good horror movie, but a great film. Arthouse cinema at its best. Eerie and emotionally charged, it has almost a poetic or lyrical feel to it. And since I'm convinced Swedes are all half-vampires themselves, the whole creature of the night culture couldnt be in better hands. Let the Right One is a great addition to vampire mythology. Definately see it before the American remake comes out.

Only the most adamant of Michael Douglas fans need apply. Which is apparently every major film critic in the nation. What a sham. Solitary Man is a very tired story that we've seen countless times before, except here the story relies almost entirely on the strength of Douglas' reputation, with few favors from an inauthentic feeling script, and not a single noticible contribution from the direction. The director doesn't take a single risk in the entire feature, as each scene plods along lifelessly to the next because, well, that is where the script tells the movie to go. Given the same equiptment, an ambitiousless state University film-studies MINOR could have shot this movie. OK, sure, this is a character study. And as we all know, character-studies demand substance over style. Well Im sorry, but in truly good films (like some have claimed this to be) one informs the other, and for this reason, among others, Solitary Man fails in this department too. I understand that our protaganist is not supposed to be a likeable man. But to be effective at all audiences need to recognize him as a human being. Nothing in this film propells us toward that recognition. He remains little more than a character on the pages of a generic screenplay in the hands of an uninspired director. No performance, no matter how strong, can overcome these kinds of obstacles, whether delivered by Douglas or anyone else. Dont be fooled by the lip-service-- this sadly inevitable Oscar contender only masquerades as something important and truthful.

This is a highly ambitious, serious, and explorative film that in single scenes engages its material with a larger sense of wonder and reverence than the entirety of Mel Gibson's exploitive film ever could. In a disclaimer at the very onset of the film, Scorsese warns audiences that his film is not intended to be a retelling of one or any of the four gospels, but rather an artistic exploration of the dual nature most Christians attribute to Christ, of what the spiritual struggle may look or feel like for one who is fully human, and yet fully divine. Themes of sin, guilt, condemnation, redemtion and salvation are central to much of Scorseses' work and he is a proven master at sharing his stories of spiritual crisis on grand and epic scales, but also in ways that strike us and move us on personal and private levels. With Temptation, Dafoe gives us a Jesus that struggles, doubts, and truly suffers in his battle to accept and live his life as man, and as the human embodiment of God's will. His story is a fierce, tragic, and triumphant one, gritty and ugly in its pain and loneliness, serene and beautiful in its love and humility. Theologically this is a studious and brave effort that strives for meaning and larger understanding of one of the central tenants of the Christian faith. Cinematically this film is strong in many areas, but also a bit of a mess that invites questions about casting choices, pacing, and a rather episodic structure. Of the many that rose to the staggering challenge of making this film, Peter Gabriel deserves special mention for putting together one of the finest musical scores in cinema.

Besides its unfortunately bad title there is very little not to like about Knight and Day. I took a chance on this movie (despite the unkind treatment received from most high-profile critics) and walked out of the theater knowing I'd just seen a contender for biggest surprise of the year. I competely bought into this movie in the first few minutes, not because I wanted to like it, but because the film oozes with a spirit of unabashed fun to which only the most cynical and crotchety of movie-goers could be immune.

With Knight and Day we once again finally have an action film that celebrates film itself-- celebrates the magical, romantic, outlandish places it can take us-- without feeling overly dramatic, self-important, or, worse, inauthentic. No one is exploiting the latest trend here (comicbooks, 80s tv series/toy-lines, unnecessary remakes). No studio is promoting the next future star. This one is actually for the audience-- it is what joyful movie-making feels like. Having finally gotten over my dislike for Tom Cruise, I was able to truly enjoy these two gracefully aging stars (Cruise and Diaz) breathe new life into the espionage/romance action/comedy genre.

My only complaint is that a one-on-one sit down scene between smitten hostage/hostage-er would have benefited the character/plot development. These two really deserved a quiet glass of wine admist all the grade-A action sequences. I'm not exaggerating when I say that this movie is not so unlike a highly stylized and contemporary version of Hitchcock's North by Northwest or To Catch a Thief.

In my mind this will always be Hitchcock's greatest work, as well as one of my favorite movies of all time. As a film it is nearly flawless and it entertains and captivates from start to finish. One of Hitch's last black and white features, this one is as timeless as it was innovative. Admire for instance the crane shot that begins as an overhead view of mingling party-goers, then swoops down from above the balcony, and finally ends in a close up of a small key inside Alicia's (Bergman) clutched hand. Or the clever way Hitch shoots the extended kiss that broke all the rules in Hollywood at the time, without actually breaking them. These are things that had never been done before. Aside from style, this film is teeming with substance. Notorious is of an extremely rare breed in that it is an exceptional thriller, romance, drama, and espionage film all at once. Unbelievably, it also employs some of the most razor-sharp comedy in the Hitchcock library. Carey Grant gives the most hard-edged, while at the same time, most vulnerable performance of his career. And there's nothing not to admire about the lovely Ingrid Bergman as she plays the hard-drinking, fun-loving socialite with a dubious (one might say Notorious) romantic reputation. Despite her history, her character emerges as a woman of profound courage, integrity, and warmth. She's THE quintessential "hooker with a heart of gold." And perhaps the most complex of all the characters is the "villian", Sebastion (Claude Raines). His allegiances and actions paint him the villian, but his emotional motives and stakes in the story are genuine, and invite empathy. A truly rich character, closely informed by his tyrannical mother. (what is it with Hitch and moms?) This story will entice you, anger you, thrill you, break your heart, and piece it back together. In short, it will move you like few films can.

Regarded by many as THE title in the new wave of French extremism, Inside may be the straight up goriest film Ive seen, or at least goriest of all REALISTIC gore films Ive seen. I suppose Dead Alive may have been gorier, but that one is really just ridiculious and absurd at most times. This movie is definately a tough watch at points. The special effects, make-up, prosthetics crew did a bloody stellar job here. Inside definately rivals its French-Canadian step-sister Martyrs in intensity, but somehow, as over the top as it is, just doesnt disturb to the same extent. But it definately drew me in to the point where I was yelling, literally yelling obsenity-riddled pleas and commands at the television. Yep, its badass.

Martyrs has become the measuring stick by which I evaluate the shock, disturbedness, and intensity of everything Ive watched since. Made in 2007, I originally found this title at Blockbuster of all places, and theres simply no way they realize what it is. Its not SO extreme that you cant sit through it, but its pretty f-ed up. This movie starts as your typical torture-porn, in the vein of Hostel, Saw, what not,(except done really well and with added layers of mystery) but takes a pretty wild turn and becomes much, much more. For anyone that ever saw the old 1920s maybe 30s French silent film masterpiece, Passion of Joan of Arc (and if you havent, instant-queue it) I think youll agree that had that film not been made, Martyrs would be a different and not nearly as effective film. This movie will scare you, repulse you, and disturb you. Its top rate horror, and has become one of my all time favorites. And yes, I worry about the implications of that statement.

Shot to look like a classic early eighties slasher movie, The House of the Devil succeeds on all fronts, from the haircuts, to the cinematography, to the cover art, to the sweaters. The premise is refreshingly simple-- college girl in need of money for down payment on new apartment takes baby sitting job. College-age girls, large house on the edge of town, mysterious old couple-- very basic stuff. This is a fun, stylish little picture with likeable characters and a coherent sense of identity all the way thru. It doesnt try to do everything, but instead does a few things very well. Also contains one of the best jump-cuts Ive seen in any horror movie. This is a MUST SEE for fans of the genre, especially for those with a soft-spot for late-seventies/early eighties horror.

Very Cool movie that I had no idea existed, starring Ashley Judd of all people. But its the lead male that steals the show. His performance is truly brilliant. (Shes great in it too, its just that this guy was SO damn good) I guess this was adapted from the stage, and the leading man in question performed it for months, but man that would be one wierd night at the theatre. Bug is expertly directed, a movie about abuse, hurt, paranoia, and craziness. Dark material, but not overbearing. Between the performances, writing, shooting, editing and set-design theres very little that isnt done well. Bug is very good and very overlooked.

Dick Tracy is one of my favorite comic book films and the reason it still holds up today is because a true love for the original material and medium shines through at every turn. With Dick Tracy it truly feels that the comic strip was lifted directly from the page and given life by the camera and actors. The vivid colors are faithfully, almost exclusively, of the Crayola 6 pack variety, which is far from a criticism here. The ensamble of thugs and no-gooders is rooted in charicature and child-like simplicity, but granted just the right amount of fierce eccentricity and personal touches to make them really come alive. Add to all this a suprisingly genuine touch of heart and we have a comic book film that is not just servicible, but good. Loads of top-tier talent showed up for this one, decked out in brightly colored three-piece suits and fedoras, and, as is the case for most films of the genre, the villian steals the show. Pacino is truly a spectacle to behold. While Warren Beatty deftly delivers upon everything asked of him, Pacinos Big Boy Caprice is the motor that truly makes this model-T run. A refreshingly exhuberant, yet mature performance from the Kid helps a great deal too. And while Im no Madonna lover, shes mostly acceptable, at times even strong here. I hate to say it, but Pfeiffers Selena Kyle may owe more than I care to admit to her performance. One too many musical interlude/lazy move-the-plot-forward sequences are high on the list of a few problems with this one, but all in all a very fun film that holds up beautifully with time.