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Attend This Tale of Sweeney Todd

22 Dec

How excited was I to see Sweeney Todd?

Well, as I’ve previously stated, it’s one of my favorite musicals of all time, and I had high hopes based on the trailer.

And now, having seen the film, I’m happy to say I was not disappointed.

Sweeney Todd tells the story of Benjamin Barker (Johnny Depp), a wrongly imprisoned barber who returns to London having rechristened himself Sweeney Todd. He’s hellbent on having his revenge against the judge who took his wife and child away from him. But when Sweeney decides not to stop at just the judge, and that “they all deserve to die,” he hatches a plan with Mrs. Lovett (Helena Bonham Carter), his downstairs neighbor, to grind up the bodies and turn them into meat pies.

Soon the city population is a fraction of what it once was, and Mrs. Lovett is making the most popular pies in London.

The film is directed by Mr. Macabre himself, Tim Burton, so needless to say, it’s a very dark film and there’s a lot of blood.

And yes, if you missed it above, this is a musical. But it’s safe to say you’ve never seen a musical quite like this. Continue reading →

Not Doubly Great

20 Dec

All those self-important musical bio-pics — like Walk the Line and Ray — were due for some mockery, but they don’t quite get the ribbing they deserve in Walk Hard.

While the film does make fun of many of the conventions of the genre, it’s more of an affectionate tribute than a satire, and that, ultimately, makes the film less impressive. Continue reading →

It’s All Emma Thompson’s Fault

15 Dec

When I Am Legend begins, we’re listening to a sports reporter say that the American League team in New York, of course, is the best and that they will play the Chicago Cubs in the World Series.

So you know right off the bat that this film is a fantasy and you shouldn’t take any of it seriously.

Then Emma Thompson appears on screen playing a doctor who has found a cure for cancer simply by reorganizing the structure of the measles virus.

Cut to three years later and the entire city of New York (and, apparently, the entire planet) has been totally wiped out by this “cure,” except for virologist (and of course he’s a virologist) Robert Neville (Will Smith) and plenty of animals.

Oh, and the zombies.

Lots of rabid zombies — the folks who had been affected by the cure and now only come out at night and are out for blood.

We don’t quite know how Neville managed to be the only one to survive, but somehow over the years he has figured out the zombies’ behavior and has made a life — albeit a lonely, solitary one — for himself. Continue reading →

Putting the ‘Dys’ in Dysfunctional

9 Dec

When I see a movie like Margot at the Wedding, I can’t help but be thankful that my own sister isn’t a blunt, insensitive, unsupportive, bitchy, insulting, manipulative woman like the title character here is. As played by Nicole Kidman, she may be more of a villain than, say, Darth Vader or The Devil Wears Prada‘s Miranda Priestley. Her weapons are words, and when she arrives for her estranged sister’s (Jennifer Jason Leigh) wedding, she gets under everyone’s skin. Margot isn’t in town for the wedding; she’s there for a bookstore appearance with a man she’s cheating on her husband with. She hates the groom (Jack Black). She doesn’t keep secrets. She says all the wrong things and leaves emotional distruction in her wake. Noah Baumbach (who also wrote and directed the excellent The Squid and the Whale) has made a film that will ring true with anyone who has family (i.e.: everyone). It makes you laugh and cringe, sometimes simultaneously, and at 92 minutes, it doesn’t overstay its welcome — though it does end sort of abruptly. This character piece is light on plot (not a bad thing in this case) and features some great performances. I’m giving it a B+.

A Losing Battle

6 Dec

I didn’t really think I was going to like Charlie Wilson’s War. After all, I’m sort of over the whole “Tom Hanks Is Holier than Thou” thing, and I can’t get too excited about Julia Roberts anymore either.

Plus, I’m skeptical of a major studio movie that’s billed as Oscar bait based on pedigree alone.

But I’ll admit, Hanks is real good here in the true story of a Texas Congressman with questionable ethics, and he won me over. And generally, I was entertained by the movie, which documents how Charlie Wilson raised money — $1 billion annually — in Congressional funds to support Afghanistan in its war with Russia in the 1980s. (Those are your tax dollars at work, folks!) Continue reading →

Thanks, Jeff

5 Dec

Jeff Wells, one of my favorite film columnists, is in town for a month. I know this because he’s mentioned it on his site in recent weeks, but Tuesday night at the critics screening of Charlie Wilson’s War that I was at, I saw him in person for the first time. It’s funny, because you read a blog like Wells’ — or David Poland’s — and you get an idea of what these guys must be like. And then there he is, and it’s sort of cool — like he’s some minor, D-level celebrity or something. (And yes, I have read the article in Los Angeles magazine that ran last year.) (And no, I didn’t say hello or introduce myself.)

The reason I’m mentioning this is because Wells went on a bit of a rant Wednesday about one of my least favorite movie theaters, the AMC Boston Common. Regular readers of this blog know I had a bad experience there a couple months back when I went to see In the Valley of Elah. And I’ve long thought the presentation quality there is subpar — especially compared to the Fenway 13, which is my favorite area theater, despite its awful parking garage. At the AMC, the sound is never right. It’s either too loud or too soft, and it’s never mixed right; instead of coming out of all the speakers the way surround sound is supposed to work, it seems to all be coming out of the front ones. Basically, it’s like they just don’t care about the movies there. They just want your money, and the ushers can’t be bothered to actually ush, or make sure the films are unspooling properly, or get rid of inconsiderate customers. Which, of course, sucks for those of us who hate that kind of crap and just want to enjoy a movie without being distracted. And don’t even get me started about the frequency that the fire alarm goes off. Blah blah blah …

So anyway, I appreciate Wells writing what he did — that the critics’ screening of Sweeney Todd was ruined due to shoddy presentation — because he does seem to wield some form of influence in the film world, but I think it’s worthless, unfortunately. That theater is a lost cause, and it gets worse every year. When I have a choice, I’m going to keep on going to the Regal Fenway 13, where the sound and the screens are bigger and better. But thanks anyway, Jeff. Nice try.

The Cautionary Whale

3 Dec

If you enjoyed the raunchy unplanned-pregnancy comedy Knocked Up earlier this year but wished it was a little bit sweeter, then Juno is the movie for you.

It’s the very funny story of a sardonic high school girl (Ellen Page) in Minnesota who gets bored, has sex with her awkward best friend (Michael Cera), and then finds herself pregnant. (Oops!)

Not ready to deal with being a mother (and an adult), Juno decides to give the baby to a seemingly perfect couple (Jason Bateman and Jennifer Garner) she finds in, of all places, the Pennysaver.

Alright, so maybe that summary does a disservice to the movie.

In actuality, Juno is one of those quirky little films that packs in a lot of laughs and a lot of heart, and announces the arrival of an original new voice and a great young actress (it’s sort of like this year’s Little Miss Sunshine). That’s the hype you’ll be hearing from now until the Oscars, but it’s actually true and well-deserved.

The writer is Diablo Cody (a former stripper making her screenwriting debut here), and she has crafted a screenplay that is so packed with laughs and strong characters that it reminded me of Napoleon Dynamite in that every other line is quotable and hysterical.

And Ellen Page (who was in, among other things, the third X-Men movie) plays Juno confidently, but as the character begins to learn more about herself and the people around her, she becomes more and more endearing. I’m sure we all can remember a person from high school who acted like and thought they had everything all figured out, but really was very unsure of him/herself. That’s Juno, and Page captures all of that uncertainty in a star-making performance.

Both women will be Oscar-nominated for sure.

Of course, there are other folks in this movie, and it’s worth noting that my girl, Jennifer Garner, also acquits herself quite well. She and Bateman (reteaming again after The Kingdom) are at first the perfect adoptive parents — so perfect they’re quite scary — but as with Juno, beneath the surface they are not what they seem.

Michael Cera is more awkward here than he was in Superbad — just check out those shorts — but he, too, is sweet and endearing. And Rainn Wilson (from The Office) makes a brief appearance early on and utters what will likely be the film’s most quoted line, “That’s one doodle that can’t be undid, homeskillet.”

I suppose it’d be wrong to overlook director Jason Reitman’s work here because a good screenplay is only half or a third of what makes a movie great. But Juno‘s screenplay is so good, so quotable, so original, so funny, so winning, so clever, and so dominant here that it’s impossible to really notice anything else. It’s that tandem of great words and a perfectly-cast actress that makes Junoa real must-see.

I’m giving it an A–.

Not a Strong Stinger

1 Dec

Finally got around to seeing Bee Movie today. Not much to say about it, other than that it’s a very cute, very colorful, but otherwise pretty average animated flick. It’s certainly no Pixar film. Still, it tries hard to be likable and the animation is good. I say if you haven’t already, then take the kids. Otherwise, no big deal. I’m giving this one a bee-minus — ahem, a B–.

Swing and a Miss

28 Nov

It’s hard to believe it’s been only one month since the Red Sox won the World Series. In some ways it feels like much longer, and in others it’s like only yesterday. So of course, in an effort to hold on to those good ole days, I made sure to go right out and pick up my copy of the World Series Highlights DVD on Tuesday (on sale for just $11.88 at Newbury Comics), and I watched it soon after I got home.

The film starts out with a great montage of Sox clips, showing the boys having fun — all while the Dropkick Murphys’ “I’m Shipping Up to Boston” plays, of course. It’s an opening that makes you smile and sets the scene for what should be an equally great film. If only the rest was as good. While the 2004 Highlights DVD was a fantastic recap of the year — from Spring Training on — told entirely from the Sox perspective, this one is exactly as marketed: a recap of the World Series, and it’s told from both sides. It takes just 10 minutes to get through the entire Red Sox season, from Opening Day to the end of the ALCS, and in moving so quickly, there’s very little flavor and very little of what was so memorable about the season. There’s no mention at all of Clay Buchholz or his no-hitter, nothing about Schilling’s one-hitter, no recap of the hype that greeted Dice-K, very little about the back-to-back-to-back-to-back homer game against the Yankees, nothing about the Mother’s Day Miracle, no Ellsbury, no Wakefield … nothing. And then there’s an equally quick summary of the Rockies’ road to the Series. And then we’re at Game One, after only 24 minutes. (In the 2004 film, it took a half hour just to recap the Sox season, with almost nothing on St. Louis.)

Major League Baseball would have you believe that this was a closer series than it was, because it’s presented as such. Never mind that the Sox swept the Rockies and won comfortably in two of the four games. It’s all very businesslike and by-the-book. While there are talking head interviews and soundbites from Pap and Mikey Lowell and Jacoby Ellsbury and Curt Schilling and Theo and others, they’re all pretty staid and without character, simply recapping the games and not sharing much emotion or personality. Sure, this season didn’t have the same drama that 2004 did, but it was definitely more exciting than this. Even Matt Damon, who narrates the film, seems bored by the whole thing. Clearly, MLB Productions, in an effort to make the film appealing to Rockies fans, neutered a lot of the pro-Sox slant and tried to make this as fair a film as possible. Rockies players and personnel are as plentiful as Sox folks. And in making it all so balanced, they’ve produced an ultimately disappointing one-hour-and-10-minute highlights reel that, for a Sox fan, doesn’t really recapture the glory of being World Series Champions. What a bummer.

Perhaps the best parts of the DVD are the extra features, including my favorite one, a recap of the night the Sox won the AL East. You get the last two outs at Fenway courtesy of NESN, then the last out in Baltimore (plus Millar’s strikeout) from the actual broadcast in Baltimore, and a bit of Papelbon et al dancing on the field. I wish there was more of that kind of stuff, the dancing and all, on the actual film. After all, this DVD should be a celebration of and a tribute to the World Series Champs, right? But it’s good to have at least some of the coverage in the bonus section. And I’ll always have my memories of the actual games, and the actual season. Those are things this DVD could never document as well anyway.

Like a Complete Unknown

26 Nov

“I’m just a songwriter,” one of the six — count ’em, six — Bob Dylan stand-ins says during I’m Not There. Well, forgive me for calling this character a liar, but as the film makes clear, Bob Dylan isn’t just anything. Todd Haynes’ portrait of the man born Robert Zimmerman paints him as a poet, an actor, a troubador, a misunderstood genius, an ahead-of-his-time songwriter, a lost man, etc.

Bob Dylan is many things to many people, and to say that I’m Not There doesn’t give a definitive answer about the man isn’t to say it misses the boat. Rather, in celebrating many aspects of Dylan, it reaches near-great status. Continue reading →

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