With Jim Jarmusch and Bill Murray in cohorts it was always going to be tough for Broken Flowers to not come out smelling sweet, put Murray in a Fred Perry tracksuit and bingo… we have a flick that isn’t a mile from the echelons occupied by Lost In Translation.
Stupid movie, but it’s Will Ferrell, making Talladega Nights: The Ballad Of Ricky Bobby bearable due to a few Ferrell prompted gems, mostly related to imagining being on fire, and “shake and bake!”
Perfect recession viewing, Wall Street is everything you want to the point of ridiculous; suits, money, stocks, ball-breaking, Douglas, Sheen and Sheen, it’s just too 80s though and only a little more than that line about lunch being for wimps – which is complete bullshit.
Tony Scott and action sequences aren’t the best of friends, throw in some horrific casting and a group of characters so dull that it defies belief and you’re somewhere near where Domino starts it’s pre-title descent into insignificance.
Network is kinda interesting and 70s, both good things, but it doesn’t deliver like you want it to, it just feels like it should be more than it is – I mean an exploitative media industry – it’s hardly a revel-fucking-ation.
Zombies filmed with a hand held is not fucking genius, but fucking tedious as is all the bloody shouting, fuck off already – [REC] is not any of the things it tries so hard to be, that is unless it sought to be a boring imbecilic jaunt.
Film making as it should be, A Bittersweet Life represents it’s core ideologies at every turn in both story and shot while being full of the finest Korean brutalist sequences – watch Sun-woo’s wardrobe as it alters through the running time to match his relationship with Kang and his own mental state, brilliantly accomplished cinema.
Joseph Gordon-Levitt is hell of an actor for some one who was in Third Shite from the Sun and The Lookout is aware of this allowing his presence to drive the film and maintain interest, something it does in spades and yet this film should be dull, you know the twists, you’ve seen the plot a hundred times before in various guises, yet this does it better and with a frenetic intensity that is mostly restrained throughout, but breaks free and gushes forth in the films finale – it even has a blind man who can see, and still I don’t hate it.
The documentary The King of Kong: A Fistful of Quarters is one of the finest pieces of reality cinema I have seen in a long time, it’s ability to force the viewer to empathize with Steve Wiebe (the focus of the piece) and his quest for recognition as the greatest Donkey Kong player of all time is remarkable – it harnesses the enthusiasm of all it holds in shot and infects the viewer vicariously with the sensation.
Noose is ridiculously full of great actors, yet Denis Leary gets the lead… what is more amazing is that the film doesn’t actually suffer too much, it’s kind of a Goodfellas, but made by mature students instead of a man named Scorsese – this is a shame because Ted Demme, the dude who did direct it has done much better work from behind the camera before and after this.
(This flick seems not only to go by at least three different titles, but all associated imagery is shit – apologies.)