Giant-Size Movie Thing

Beginners: written and directed by Mike Mills; starring Ewan McGregor (Oliver Fields), Christopher Plummer (Hal Fields), Melanie Laurent (Anna) and Goran Visnjic (Andy) (2011): Set mainly in 2003, Beginners tells us the story of Oliver Fields as he recovers from his father's recent death and tries to forge a lasting romantic relationship.

Fields's father (played by Christopher Plummer, who won a Best Supporting Actor Oscar for the role) came out of the closet after his wife's 1999 death, and the movie jumps around in time to show us Oliver reacting to his father's public embrace of his sexual identity, his father's lengthy battle with cancer, and Oliver's own search for meaning.

The movie's skillfully structured and maintains a nice, organic balance of sorrow and joy throughout. There's a very cute Jack Russell terrier with some killer dialogue (!), a very cute French actress, some nice little comic moments involving Hallowe'en parties and graffiti, and some beautifully written scenes between Oliver and his father, young Olilver and his mother, Oliver and his father's much-younger lover (ER's Goran Visnjic, bouncy as a spaniel), and Oliver and the actress.

The direction is accomplished without being too showy, and Mills comes up with an effective recurring structural motif that comments on Oliver's state of mind while also reflecting his career as a visual artist. Plummer certainly deserved his Oscar win; McGregor could have at least used a nomination, as he convincingly portrays a withdrawn character in the grip of powerful emotions. Highly recommended.


　

50/50: written by Will Reiser; directed by Jonathan Levine; starring Joseph Gordon-Levitt (Adam), Seth Rogen (Kyle), Anna Kendrick (Katherine), Bryce Dallas Howard (Rachael) and Anjelica Huston (Diane) (2011): Seth Rogen plays Seth Rogen in a movie about how Seth Rogen's friend battles cancer, based on a true story about how Seth Rogen's friend battled cancer.

Surprisingly dramatic, 50/50 's strengths lie with Rogen and Joseph Gordon-Levitt's performances, which generally feel as fresh and realistic as perhaps any movie with Seth Rogen can feel. The writing tries to avoid cheap laughs, and the make-up department actually makes Gordon-Levitt look awful as his character undergoes chemotherapy.

Little movie bits do intrude throughout (and even if they, too, are based on reality, they nonetheless become movie bits because we've seen them in movies too many times). Older cancer battlers dispense hard-fought wisdom and hash brownies. A cute therapist becomes a possible romantic partner.

Thankfully, the movie remains capable of giving us non-movie bits as well -- Gordon-Levitt's character really is debilitated by his cancer and its treatment. No character is rendered completely unsympathetic. And Gordon-Levitt himself has become a fine, nuanced actor. With sharper writing, this could have been a revelation rather than simply a surprise. Lightly recommended.

　

The Most Dangerous Game: adapted by James Ashmore Creelman from the short story by Richard Connell; directed by Irving Pichel and Ernest B. Schoedsack; starring Joel McCrea (Bob), Fay Wray (Eve) and Leslie Banks (Zaroff) (1932): Short, sweet adaptation of one of the most reprinted, most adapted, most imitated short stories ever. 63 minutes!

OK, the movie originally clocked in at 78 minutes, but preview audiences got freaked out by some (then) graphic footage, and the pre-release chopping frenzy ensued. Made before the Production Code but released afterwards, The Most Dangerous Game also featured too much skin (you won't notice), and so wasn't re-released for years after its debut.

On an island with a surprisingly diverse landscape, an evil hunter who has grown bored with hunting animals now hunts the most dangerous game -- man! And he keeps trophies! Can shipwrecked big-game hunter Joel McCrea defeat evil Count Zaroff at his own game?

Well, that's the plot of the movie.

This is a lot of fun in a short package, and you'll probably spend a few minutes marvelling at the bizarre yet effective sets (and trying to spot the King Kong sets -- this movie was filmed at the same time as King Kong, with the many of the same actors and production staff). Recommended.

　

The Rite: suggested by a book by Matt Baglio, written by Michael Petroni; directed by Mikael Hafstrom; starring Colin O'Donoghue (Michael Kovak), Anthony Hopkins (Father Lucas Trevant), Ciaran Hinds (Father Xavier), and Alice Braga (Angeline) (2011): A good-looking, moodily directed movie that has a dumb script, The Rite offers us The Exorcist for Dummies. That young male lead Colin O'Donoghue bears a striking resemblance to Evil Dead 's Bruce Campbell really doesn't help the suspension of disbelief.

A young American priest with faith issues gets sent to the Vatican's Exorcism school. Hilarity ensues as he gets sentenced to do field work with super-Exorcist Anthony Hopkins, playing Anthony Hopkins.

Cats and frogs strike sinister poses -- Hopkins's Father Trevant lives in what looks like a cross between a student ghetto and a small-animal zoo. Are the demons Trevant labours to cast out real? Will faith be restored? Will a character with the name 'Angeline' play a pivotal role? Will possessed people get all veiny, do weird gymnastical tricks, and talk in spooky voices about things they couldn't possibly know? Will there be a demonic, red-eyed mule? Wait, what? Yes. Yes, there will be.

The movie spends a lot of time talking as if it's smart without ever exhibiting much intelligence. It does look good, though, and the director wrings about as much shock and horror out of a pedestrian script as almost anyone could. All of this is ostensibly inspired by a true story. Not recommended.

Four

Stage Fright, written by Whitfield Cook, Alma Reville, James Bridie and Ranald MacDougall, based on a novel by Selwyn Jepson, starring Jane Wyman (Eve Gill), Marlene Dietrich (Charlotte Inwood), Michael Wilding ("Ordinary" Smith), Richard Todd (Jonathan Cooper), Alastair Sim (Commodore Gill), Sybil Thorndike (Mrs. Gill) and Kay Walsh (Nellie Goode) (1950): One of Hitchcock's lesser-known efforts is enjoyable but a bit overlong and draggy. Jane Wyman tries to save ex-boyfriend Richard Todd from being arrested for a murder he says he didn't commit. Shenanigans ensue. The cast -- especially Marlene Dietrich and Alastair "Scrooge" Sim -- is topnotch. Lightly recommended.

White Heat, written by Ivan Goff, Ben Roberts and Virginia Kellogg, directed by Raoul Walsh, starring James Cagney (Cody Jarrett), Virginia Mayo (Verna Jarrett), Edmond O'Brien (Hank Fallon) and Margaret Wycherly (Ma Jarrett) (1949): Classic gangster flick pits undercover cop O'Brien against crazy con James Cagney. And boy, does Cagney's character have mother issues! Some scenes play out like CSI: 1949, as the FBI uses the latest in high-tech tracking devices and crime-solving techniques to find the criminals before they pull off their next big heist. A lot of fun, with great performances by Cagney, O'Brien and Virginia Mayo. Look, Ma, top of the world! Highly recommended.

The Green Hornet, written by Seth Rogen and Evan Goldberg, based on characters created by George W. Trendle, directed by Michel Gondry, starring Seth Rogen (Britt Reid/The Green Hornet), Jay Chou (Kato), Cameron Diaz (Lenore Case), Tom Wilkinson (James Reid) and Christoph Waltz (Chudnofsky) (2011): Well, I laughed a lot, and I don't give a shit about the original radio-series Green Hornet, so any blasphemies committed upon it by the filmmakers didn't irk me. Seth Rogen makes an unlikely masked hero, but that's sorta the point. Lightly recommended.

30 Days of Night: Dark Days, adapted by Steve Niles and Ben Ketai from the comic book by Niles and Ben Templesmith, directed by Ben Ketai, starring Kiele Sanchez (Stella), Rhys Coiro (Paul), Diora Brand (Amber), Harold Perrineau (Todd), Mia Kirshner (Lilith), Troy Ruptash (Agent Morris) and Ben Cotton (Dane) (2010): This straight-to-DVD sequel to 30 Days of Night contains no original cast members. Good on them. The world's stupidest vampire hunters take on the world's stupidest vampires in Los Angeles. Something's gotta give! The movie may set the record for most aerial shots of L.A. in one movie, or at least in one vampire movie. Mia Kirshner looks sorta cool as vampire-queen Lilith. Not recommended.

I Should Be Drinking A Toast To Absent Friends...

Movies:


Brain Candy, written by and starring The Kids in the Hall (Dave Foley, Scott Thompson, Kevin McDonald, Mark McKinney and Bruce McCulloch) (1996): Critics pretty much universally panned Brain Candy when it came out, and it is indeed a bit of a mess. I do think it's quite funny at times -- the satire of Big Pharm, while a bit obvious, is pretty much spot-on, maybe moreso now than in 1996.

There's very little plot: scientists invent, but don't test throughly, a drug that makes the clinically depressed happy ("It's like the temperature inside your head is always 72 degrees!"); the drug, dubbed Gleemonex, becomes so successful that the pharaceutical company successfully gets it turned into an over-the-counter drug that pretty much everyone on the planet starts taking; civilization as we know it comes to an end ("Crime is down. So is tourism, surprisingly.").

The Kids play pretty much every major character male and female -- never has any comedy troupe, including Monty Python, been so deliriously drag-happy as the Kids in the Hall. Scott Thompson's ridiculously repressed Family Man homosexual provides the most sustained laughs of any of the stories-inside-the-main-story, though Bruce McCulloch's Danzig-meets-Trent-Reznor rock star also shines, especially when he takes the drug and turns into a Dayglo Made-for-TV hippie right out of The Monkees or Laugh-In.

The bottom line is that if you never found the Kids in the Hall funny, you won't find this movie funny. If, on the other hand, you can hum along to "These are the Daves I Know" and can explain why you're the guy with the good attitude towards menstruation, you'll enjoy seeing this. It's aged remarkably well. Brendan Frasier appears in an unbilled cameo, and Janeane Garafalo is apparently somewhere in a crowd scene. Recommended.


Funny People, written and directed by Judd Apatow, starring Adam Sandler, Seth Rogen and Jonah Hill (2009): Movies about stand-up comics don't appear all that often. Funny People, like Punchline before it, may demonstrate why: it's impossible to make a comedy about stand-up comics that doesn't suck. Scorsese's The King of Comedy was actually pretty good, but any humour in it was the humour of unease and embarrassment, and had nothing to do with the routines of the characters: Robert DeNiro's aspiring comic, Rupert Pupkin, was just a couple tics off Travis Bickle, while Jerry Lewis was astoundingly, intentionally, caustically unfunny as an unsympathetic prick of a talk-show host.

Funny People focuses on Adam Sandler as a stand-up comedian who's now a hugely successful movie star. But he's dying of a rare disease and, additionally, suffers from writer's block. So he frequents comedy clubs, looking for young comics who could both write material for him and hang out with him. Because Sandler's character has no friends! And he pines for the love of his life who's now married to an Australian businessman. Sandler hires Rogen's struggling comic to be his buddy, and hilarious and touching life lessons are learned.

Actually, they really aren't, and the sudden about-face of Sandler's character seems tacked on by studio insistence, probably immediately after they realized that Apatow had delivered a $70 million comedy with almost no laughs in it. Or good lines. Or drama. Or likeable characters. It's like someone gave Broadcast News a frontal lobotomy and changed its focus from TV news to stand-up comics. It's hard to believe that the guy who made The 40-Year-Old Virgin and Knocked Up made this.

Well, not so hard -- pretty much everyone who always appears in a movie by Judd Apatow (and occasionally in movies only produced by Judd Apatow) appears here, and as with Apatow's two previous hits, brevity remains a problem: the movie's made too long by scenes that either needed serious editing, or to be seriously edited right out -- Sandler and Rogen's visit to the long-lost love seems to go on about half-an-hour longer than it should have, and a Thanksgiving scene just sits there, both dramatically and comically inert. None of the actors are particularly bad in the movie -- it's just that there's nothing much for them to work with, a problem that seems to lead Sandler to ad-lib penis jokes whenever possible. Not recommended.