The Top Ten Movies of August 2008 (and the two worst)

September 5, 2008

The Top Ten Movies of August 2008 (and the two worst)

I just barely reached my goal of watching thirty films last month. August saw more than its fair share of mediocre three star films. That being said, the ten best films I saw during this busy summer month were all absolutely wonderful. Many of the thirty candidates for this list were released in 2007, while a number of others were from marathons such as Filmspotting’s Classic Heist, Warren Beatty Mini-Marathon and Iconic Irreverent Comedies. Here are the ten best films I watched during the month of August 2008.

10. Blazing Saddles- Absolutely hilarious! Since Blazing Saddles was the first film from my Irreverent Comedies Marathon, it definitely opened my mind up to the enjoyment that I could get out of the other movies in the marathon. Also, this movie is so damn quotable!

9. Vicky Cristina Barcelona- Woody Allen’s best movie in years, as well as his least pretentious. The dichotomy between Vicky, who follows her head, and Cristina, who follows her heart, made me think about what I might do in their situations. This is an accessible, lovely little film.

8. A Mighty Heart- This procedural includes a breathtaking performance by Angelina Jolie, and its tone really struck a chord with me. Immediately, I was connected with my feelings during the days, weeks and months after 9/11. Every moment of A Mighty Heart rings true, especially Jolie’s performance.

7. Chop Shop- Here is a breathtaking, inspirational, gritty independent gem. I’m probably one of maybe a few thousand people that have seen this film. It starts off with amateur acting; however, its evolution leads directly into a real authenticity which breaks your heart and lifts your spirits all at the same time.

6. Le Cercle Rouge- This French heist film haunted me, and as such, I still feel this film’s presence very close by. Here is an ultra-cool, dark, hard-hitting classic heist film, and best of all, it’s really unlike anything I’ve seen before. Watching Le Cercle Rouge is an experience to say the least.

5. Paris, Je T’aime- Without the final five minute short in this collection of twenty short films by twenty different directors, Paris Je T'aime probably would have been much lower on my top ten list if it were to make it on at all. The short called “14^th arrondissement,” directed by Alexander Payne, is simply the best five minutes of film I’ve seen all month—by far. It’s just breathtaking. That’s all I can say.

4. In Bruges- Colin Farrell’s excellent performance simply added to the brilliantly realized thriller/sin meditation that is In Bruges. Its subject matter is quite heavy, and yet, this movie couldn’t be more entertaining. In Bruges offer pure cinematic delight, and it makes you think at the same time. A perfect match!

3. Brief Encounter- David Lean’s early tragic love story is just spectacular. These characters wear their emotions on their sleeves, which made me connect to this film with complete abandon. Also, Celia Johnson carries this entire film on her shoulders just perfectly. Here is a film that’s a product of the highest class of filmmaking.

2. Monty Python and the Holy Grail- The first sentence of my review proclaimed The Holy Grail as the funniest movie I’ve ever seen. I’ve never laughed so consistently in any film in history. This is exactly my type of humor, since it’s ironic, surprising and best of all intelligent. This is the only movie I watched in August that I really want to own soon!

1. 4 Months, 3 Weeks and 2 Days- While I will definitely go back and watch The Holy Grail over and over again, I can almost guarantee you that I won’t be revisiting the very best film I’ve seen this month often at all. This merciless Romanian film paints an all too real portrait of the horrors that Romania’s government before the Revolution would force its citizens to throw themselves into. This is a movie that had me on the one hand in awe of its total cinematic perfection and on the other hand deeply emotionally disturbed. Movies like 4 Months, 3 Weeks and 2 Days don’t come around very often, and as such, I treasure the painful experience I had watching it.

There are only two films that I didn’t like out of the thirty films I watched this month. Luckily, I really hated these movies, and therefore, I’m happy to point them out as the worst movies I’ve seen this month.

2. La Vie en Rose

1. The Savages

Talk to Me

September 2, 2008

Talk to Me (2007) **1/2

Directed by Kasi Lemmons

Talk to Me is pretty standard stuff. I’m getting a little bit tired of these cookie cutter biopics that simply feel disingenuous. Granted, I’ve never heard of Washington, DC radio legend and reluctant civil rights icon Petey Greene before I heard of this film. Still, I don’t buy that Greene’s life was how the movie said it was. No one’s life is this glossy and compartmentalized. When I watch a film about a person who actually existed in history, and I’m constantly removed from the film because its narrative reeks of blatant and clichéd cinematic flourishes, then I’m simply not entertained, and I don’t trust the information I’ve received. Talk to Me is not the worst offender by any stretch of the imagination—I’d give that title to the awful film Ray—but unfortunately it was the biopic that broke the camel’s back.

Petey Greene became a legend within Lorton Prison in the early 1960’s as the host of an intra-prison radio show that would blare over the speakers to the delight of both the inmates and guards. He told it like it is, using vulgarities liberally because they match his cynical philosophy of the hardships and injustices of life—hardships and injustices that truly did exist back then, especially regarding race relations in America. A fellow inmate named Milo clues his radio producer brother Dewey Hughes into Petey’s unique talent. Upon his release, Petey charges his way to the R & B station that Dewey works at demanding a job while supported by his brazen but loving girlfriend Vernell, played affectionately by Taraji P. Henson. He’s thrown out of the building only to begin a daily protest outside the doors of the station accusing it and its employees of bowing to the establishment. Eventually, Dewey risks everything by locking the station owner in his office as Petey debuts his morning show. The owner is played by Martin Sheen who seems to have fun in a handful of comic scenes. Immediately, he stretches the limits as expected, which results in the station getting flooded with calls of support. Petey’s style is brutally honest and unapologetically angry.

Petey’s cult success explodes the night that Martin Luther King, Jr. is killed. Famously, people took to the streets of DC in violent, destructive riots. Petey provides his enraged audience with a peaceful outlet by listening to his callers’ anger, fear and frustration. Apparently, his show was responsible for a relatively quick end to the riots themselves. Because of this, he’s invited to perform onstage next to James Brown in a concert celebrating King’s life at Georgetown University. He shows up drunk, which has Dewey all in a frenzy considering that the crowd is on edge. However, when Petey gets on the mic, he casts his spell which ultimately results in chants of, “Petey! Petey!”

Dewey becomes Petey’s manager, seeing the limitless possibilities for fame and fortune in store. Ultimately, he books him on The Tonight Show, which Petey doesn’t really want to do. On camera, Petey insults white people by proclaiming that they’re only interested in laughing at “nigger jokes.” The remainder of Petey’s days spiral downhill into drinking until he’s a nobody dying of cancer in the 1980’s. Dewey, on the other hand, becomes a DJ himself, and the film makes it all too clear that he learned everything he knows from Petey Greene.

Dewey is played by Chiwetel Ejiofor in a mannered performance. At one point, Dewey says that he learned how to dress, walk and talk from watching The Tonight Show. Ejiofor plays Dewey as a black actor seemingly trying to impersonate a stereotypical stiff white man. In an odd way, Talk to Me sort of demonizes Dewey, blaming his ambition for Petey’s downfall. Yet, at the same time, Dewey’s also shown as Petey’s best friend and disciple. Personally, I think Petey’s problems were his own, and the film ought not to blame another individual especially considering that Dewey Hughes is still alive today directing and producing television shows in Hollywood. Should Dewey be ashamed of his own success in comparison to Petey’s failures? Absolutely not!

Don Cheadle proves once again that he’s one of the very best actors working today with his brilliant performance as Petey. Cheadle commits to his character’s larger than life personality one hundred percent. However, he never goes too far, which is really something considering that he’s playing a man whose myths define him as much as history does, if not more. Even in a scene where Petey stumbles drunk and naked over to Dewey’s apartment, Cheadle keeps an even keel. In my opinion, no one in Hollywood has the mix of raw talent and on-screen humility that defines Cheadle as an actor.

The movie Ray kissed Ray Charles’ ass, which is why I was turned off by it. Talk to Me doesn’t deify Petey—his problems are showcased pretty heavily. However, the film does seem to make excuses and place blame on others when in reality, it’s Petey’s insecurities, ego and bad decisions that caused his own implosion. I don’t understand why these biopics are so set on manipulating their subjects by turning them into two-dimensional heroes. We are all imperfect, and as such, I bet we could be that much more inspired by a film that refuses to semi-beatify its subjects. Talk to Me condescends and patronizes like so many biopics do.

Vicky Cristina Barcelona

August 31, 2008

Vicky Cristina Barcelona (2008) ****1/2

Directed by Woody Allen

Woody Allen’s latest light comedy/romance would be best described as pleasant… perhaps even extremely pleasant. There’s a breeziness that wisps throughout the film, which works perfectly considering that the story revolves around the summer vacation that two young women spend in the gorgeous city of Barcelona, Spain. I’ve never been to Barcelona, but I feel that I’ve witnessed its beauty through the many scenes that capture its visual wonders. Chance encounters occur in locations of breathtaking architecture. The decision to have Vicky (Rebecca Hall) work on her master’s thesis focusing on Cantonese culture was spot on, allowing the audience to really have a feel for the sensuality and romantic possibilities of Barcelona. Allen directs just about the entire film with a handheld camera, often incorporating awkward close ups in order to connect us with the imbalanced love lives of both Vicky and Cristina.

Love is in the air for these two young American beauties. Yet, their definitions of ultimate love couldn’t be more different. For Cristina (Scarlett Johansson), love means excitement, freedom and spontaneity. She’s been known to fall hard for men in the past, only to remove herself when the situation doesn’t live up to her storybook standards. As the narrator of the film tells us, she’s accepted the pain and suffering that’s sure to accompany any relationship of real passion.

Vicky, on the other hand, has decided that true love means stability, rationality and permanence. All she thinks she needs is a satisfactory guy who will love her that she will love in return, and she’s set. As such, she travels to Barcelona under the impression that she’s found that very guy that she will be happy spending the rest of her life with. His name is Doug (Chris Messina), and he definitely meets her criteria. Here’s a man who has a good career, is attractive, reliable and decent. However, it’s clear that Vicky isn’t swept off her feet by Doug, but in her mind, that kind of feeling tends toward the illogical and the impulsive, neither of which Vicky believes to be prudent. Cristina, on the other hand, lives for the romantic excitement of the moment.

They are best friends vacationing together, and we see their differences very clearly when a dashing, mysterious painter named Juan Antonio (Javier Bardem) walks up to their table in a restaurant and immediately invites the two of them to travel with him by plane to the city of Oviedo in order to see the sights, drink good wine and make love. Of course, Vicky tells this guy to get lost, but Cristina quickly accepts his offer. Since Juan Antonio is rumored to have had a violent breakup with his ex-wife, Vicky reluctantly agrees to go along as well. That first night, after a bumpy flight, a seafood dinner and lots of wine, Cristina gets sick right before she’s about to sleep with Juan Antonio. She’s ordered to stay in bed, so Vicky’s left to spend the day with him alone. Surprisingly, they have a great time seeing the sights and spending time with Juan Antonio’s poet father at his childhood home. They have a romantic moment, kiss and make love, all against Vicky’s better judgment.

Once Cristina recovers, they fly back to Barcelona and a few days later, Juan Antonio calls Cristina instead of Vicky to get together, leaving Vicky feeling hurt but knowing that her relationship with him is over. The film then moves ahead in time much faster as Cristina and Juan Antonio fall passionately in love, which quickly leads Cristina to move in with him. At the same time, Doug comes up with the idea of getting married to Vicky in Barcelona and spending their honeymoon together in Seville.

Things become brilliantly chaotic when Juan Antonio gets a call in the middle of the night that his ex-wife Maria Elena (Penelope Cruz) has attempted suicide. He brings her back to live at his house as she recovers, which of course makes things very awkward with Cristina living there as well. At first, Maria Elena and Cristina don’t get along at all, but when Maria Elena notices and encourages Cristina’s talent as a photographer, they become very close. Also, Cristina seems to be the missing detail in the marriage between Maria Elena and Juan Antonio. When she’s there, the problems they had in their marriage seem to disappear altogether. Eventually, Cristina gives her blessing allowing Maria Elena and Juan Antonio to sleep together. Eventually, things go totally over the top when Cristina and Maria Elena have a romantic encounter together in a darkroom in their basement. Now this threesome is living as, well, a threesome in the sexual sense of the word.

While Cristina’s Barcelona experience is quite extreme, Vicky’s is pretty much the opposite. She marries Doug, but starts to dread spending her life with someone that she really has no strong feelings of excitement towards. While in Barcelona, they’re staying with her distant relatives, Judy and Mark Nash, played by Patricia Clarkson and Kevin Dunn—by the way, my name was almost Kevin Dunn. Interesting, huh? Anywho, Judy is miserable since she’s fallen out of love with Mark years ago, and she sees her own situation in Vicky’s marriage. Judy warns Vicky not to make the same mistakes she’s made. Things become that much more confusing for Vicky when a young man at a language class makes a romantic advance. She rejects him, but through the young man’s impulsion, Vicky remembers the passion she had with Juan Antonio and longs to feel that way again.

Eventually, Cristina and Vicky both make decisions that allow them to spend some time living very differently than they had previously in Barcelona. By the end, they definitely don’t have all the answers, but at least they’ve been able to gather information by throwing themselves into exactly what they believe they have always wanted out of love.

Allen’s script is simply brilliant, not relying on his shtick to illicit tired laughs. Vicky Cristina Barcelona is funny, but in a very subtle, intelligent way that felt very fresh. Johannson, Cruz and Bardem all give wonderful performances, but the real breakout star of the film, I think, is relatively unknown Rebecca Hall. Vicky is a much more intricate character than Cristina, who’s pretty over the top for most of the film. Hall’s able to portray Vicky’s struggles and insecurities perfectly while making us also appreciate the sexiness that has the men in the film so attracted to her.

Allen takes these young women on two divergent linear journeys. Never did the logical progression of either woman’s experience falter, and yet, I was ultimately surprised by and satisfied with the way both journeys conclude. These young ladies learn quite a bit about themselves, but neither leaves Barcelona with all of the answers. One thing’s for sure, though. Neither Vicky nor Cristina will look back at their summer with any regrets. I believe Vicky Cristina Barcelona to be Woody Allen’s best film since 1994’s Everyone Says I Love You, and as such, I certainly have no regrets about forking over the money to see this film in the theaters.

A Mighty Heart

August 31, 2008

A Mighty Heart (2007) ****1/2

Directed by Michael Winterbottom

Based on the memoir A Mighty Heart: The Brave Life and Death of My Husband Danny Pearl written by French reporter Mariane Pearl, this movie not only shines a light on the tragic kidnapping and ultimate beheading of Wall Street Journal reporter Daniel Pearl in Pakistan, but it captures the fears and frustrations we all went through on the days immediately following 9/11. Thankfully, I didn’t lose anyone I knew in the terrorist attacks in 2001. Unfortunately, I’d guess that hundreds of thousands of people did lose someone they knew, and as my heart went out to Mariane in A Mighty Heart, I felt a sense of nostalgic sadness similar to what I felt seven years ago. I wouldn’t be surprised if A Mighty Heart takes on a historical significance in the centuries to come long after Daniel Pearl has been forgotten about altogether. Granted, many films have been made in the last few years showcasing the effects of that horrible day, and I haven’t seen a lot of them. That being said, A Mighty Heart at this point is the most accurate portrait I’ve seen regarding our collective feelings of helplessness and vulnerability. I really treasure this film beyond its main subject matter because I believe that it’s an amazing parable for the mindset of all Americans during the final months of 2001.

Angelina Jolie reminds audiences what a talented actress she is in her portrayal of Mariane Pearl who says goodbye to her husband on January 23, 2002 as he drives off in a taxicab in Pakistan on his way to interview an Islamic fundamentalist cleric. As the film progresses, we witness Daniel Pearl’s findings and actions as the painstakingly slow investigation into his kidnapping uncovers these details. When Mariane first comes to terms with his kidnapping, she replays all of the past days events in her mind hoping she can offer clues as to his whereabouts. During these recollections, we learn that Daniel unwisely mentioned that he is Jewish to an individual that’s responsible for setting up the supposed meeting with the cleric. Though it’s never proven that he was killed because of his religion, the film leaves that possibility wide open.

In general, Pakistan is a complicated Muslim country, dealing with issues of Islamic fundamentalism, rampant anti-Semitism and a consistent paranoia that the CIA and Indian intelligence agencies have infiltrated the country with spies. Of course, right after the war on terror began in Afghanistan, these issues became elevated intensely in the minds of the Pakistanis, including some agencies in their government. All of these sad realities frustrate Mariane to no end. Jolie plays her as a stoic, private woman who has spent her entire life holding in her feelings. Every once in a while, Mariane breaks down, but immediately, she goes off by herself and almost too quickly puts herself back together. The fact that she’s fairly far along in her pregnancy adds to the film’s emotional sting and to the passion with which I was rooting for her to be all right at the end. I knew from the beginning that Daniel Pearl wasn’t going to be found alive, so my hope was that Mariane wouldn’t miscarry or even have a heart attack because of the emotional torture she went through.

You’d think that Mariane’s memoir, and thus this film, might have blatant elements of cynicism, blame and anger towards those who ran the week long investigation. Instead, there’s a sense of respect and appreciation in A Mighty Heart towards the Pakistani police captain and the American embassy official who are shown to stop at nothing to find out where Daniel Pearl is being held. Still, the head of Pakistani Intelligence goes on record to blame Daniel for his irresponsibility and to indicate that his kidnapping may be the result of Indian spies. Mariane’s close friend, Asra, is also publicly accused of being a spy for India. Further, many of the FBI agents sent to investigate are socially awkward, often saying insensitive things to Mariane at the worst possible times. I think it’s impossible to keep all of the characters doing the investigating straight, but it’s still fascinating to watch these very different people attempt to come together for a single purpose.

At no point does the investigation seem like it’s being run as effectively as possible. However, it’s clear by the end that there really was no chance of saving Daniel even if the investigation had proceeded without any glitches. What did result though was Mariane’s added frustration and emotional turmoil. Because the story turned into an international media frenzy, Mariane felt obligated to do an interview immediately after she found out about Daniel’s death. A reporter for CNN asked her whether or not she saw the video of Daniel’s beheading. The insensitivity of the question must have gotten to Mariane since she stormed off the set. The worst thing in the world for her at that time would have been to break down in public.

Because of Mariane Pearl’s guarded emotional nature, she should be applauded for the courage and sacrifice it took for her to write her memoir and to allow her most private emotional moments to be put on display in a film with the biggest female star in the world. Jolie clearly put everything into this performance and as such, I viewed it as a real homage to Pearl herself—a truly amazing woman. I’ve read on message boards that many were bored by A Mighty Heart. I wasn’t bored at all. Sure, the film isn’t always easy to follow considering that the rushed investigation comes off quite frenzied, and considering that the chronology of the events jumps around at times. Still, Jolie’s understated acting mixed with her emotional bursts had me completely glued to the screen. Winterbottom’s direction paints the streets of Pakistan in a dark, sinister way, which made the investigation itself take on a sense of true danger.

A Mighty Heart is not a perfect film—it’s maybe a little bit too unfocused. Yet, I found it on the one hand historically significant and on the other cinematically powerful. Mariane is unlike any other female victim I’ve seen in film. Jolie more than meets the difficult task of playing a woman who has trained herself to be emotionally guarded. We all react differently to tragedy, and every American above the age of 17 has dealt with a massive national tragedy. A Mighty Heart challenged me to reflect back on how I coped with the extreme events of 9/11. It was hard, but at least I was able to grieve as a part of a unified nation. Mariane had to suffer her tragedy alone and under the watch of the public eye, which isn’t easy considering that as a rule she doesn’t like to show weakness.