An excellently produced and directed docu on the revivial of Disney animation and the ego struggles with Eisner, Katzenberg, and Roy Disney that both vaulted Disney into the stratosphere and almost destroyed it. While not comprehensive (Pixar is barely mentioned) it appears fairly honest and for lovers of the craft of animation or those who just want to know more about the company’s rise in the 80s and 90s, it is defiinitely worth their time.
Wonderful, early del Toro. Much as watching early Rami or Jackson, you can see the seeds of all that was to follow as his vision as a director came together. Perfect, no, but fun and worth the time. The Criterion also has a commentary from del Toro–and he is one of those directors that can really talk about his craft and intentions.
This is one of those films that any discussion risks over-hyping it. This is a sweet, small film about a family. The performances are great. The script is very tight. But it is quiet, so rather than raise the noise level here, I’ll just recommend and suggest you just let it melt on your pallet.
We’re suckers for Jenuet, what can I say… since Delicatessen he’s managed to keep us enthralled (and, yes, I know that includes Alien 4, but even that had its moments if not a great flick). His sense of humor and whimsy, which surfaces no matter how dark the subject, keeps you laughing and, ultimately, acknowledging the enjoyment of life. Yes, very French, but only if gene-spliced with Monty Python’s demon child.
Second verse, better than the first. The detail, if needed: The first season of Skins was intriguing and unique, but not great. The second season riffs on the foundation they built but builds more then just windows on the charater’s lives, which was how the first season mostly progressed. Or perhaps better put, the first season was primarily about Why and the second about Choices and Consequences. But that kind of analysis robs the show of its power, which relies on the visceral, electric charge of youth in a modern world.
Brilliant BBC drama. And if that isn’t enough, it has a cast built for a drinking game as many of the members have worked together in other shows… there are even purposeful dialogue references to be spotted.
Easily the best film you didn’t see this year. Fabulous performances by both the young and established (Tucci and Clarkson rock as our heroine’s parents) but really sold by Stone’s wry, and often sweetly baffled, delivery. It is all at once an homage, a riff, a satire, and an update of John Hughes’ films and right up there with Joss Whedon on dialogue.
This is the start of my WordPress adventure. I expect that you’ll see a number of Theme experiments on the look before I settle into something for a while, so please be patient with my “finding myself.”
See About for info on how and what I intend to use this site for or read about my published works and performance resume from the top menu. And, of course, thanks for stopping by!
And this is a light 3 stars at that. Poor Nick Cage. He isn’t a bad actor, but this was just not something that he could deliver. This is a difficult movie to start off with as it is a remake. And worse yet, a story that is essentially one-way. Once you understand it, it loses its power. It doesn’t have to be that way with “secret” movies, but that is how this works out. There are no believable relationships or characters to hang your hat on in this production despite the loads of talent and visual richness. And with no believable relationships and characters, you ain’t got nothin’ to pull you along or to pull you back.
While there are interesting twists to the original flick, that starred a younger Edward Woodward, it is essentially the same tale. And, yes, I’ve seen the original and recommend it over this version, if nothing else as it is such a product of its time that it has huge kitsch value.