Little Red Wagons

DJG / October 2009 Week 1

2009-10-08T11:31:00.000-07:00

The Tenant * * * * ½
Directed by: Roman Polanski / 1976

Uh, You Might Want to Think About Moving…

Roman Polanski stars and directs in another fantastic apartment based thriller, pretty much the baby of his “Rosemary’s Baby” and “Compulsion”. Come to think of it, there are a ton of great movies centering apartments. Francis Ford Coppola’s “The Conversation” and of course Alfred Hitchcock’s “Rear Window” and “Rope” come to immediate mind. I know, I know, Billy Wilder’s “The Apartment”. It is still on my list. Back to “The Tenant” and Polanski who seems to be making headlines again of late. I’ll keep all opinions to Polanski the director. What a great director he is as “The Tenant” admiringly creeps along, suggesting that when the end finally comes, it’s not going to be pretty. Or is it? -djg

Bad Taste * * *
Directed by: Peter Jackson / 1988

Truly Living Up to Its Name, but Awesome...

Peter Jackson, you are sick, twisted and mega-talented. Late ‘80s horror comedy “Bad Taste” showcases a young Jackson on a young budget. Honestly, this is one of those movies that you don’t need to bother jumping in on until the third act. I’ll just say it’s pretty ridiculously-awesome all the way, but the last part of it is a grand opera of bloated WOW before “Dead-Alive”. Along the way you catch glimpses of the blockbuster master Jackson that has been making fantastic films since the early ‘90s (I still need to see “Meet the Feebles”) and I am ready for his latest, “The Lovely Bones”, later this year. -djg

Hostel * ½
Directed by: Eli Roth / 2006

I Won’t Be Seeing Part II…

“Hi! We’re your new American roommates and sure, we’ll go to the sauna with you!” 10 beers and 10 missing limbs later…Is it just me, or does “Hostel” feel 6 years older than it actually is? Or, maybe it’s just the massive wave of “horror porn” features shoved and oozed in our face the past half decade. I feel that “Hostel” helped usher in a lot of what we’re seeing now and I don’t even really see any of ‘em. No wait, I think I’m thinking of “Cabin Fever”. Anyway, I partially knew what I was getting into with this one, yet my curiosity was still on high with a reliance of a name. Quentin Tarantino: Executive Producer, Presenting. And what in the heck does it take to be a presenter anyway? A big and cool name, naturally. QT, what is your take on this movie? Eli Roth, you were fantastic acting as “The Bear Jew” in QT’s “Inglourious Basterds”, maybe he will rub off on your own films. Also, if I just escape a murder-for-hire compound and find out my friends were murdered there, why wouldn’t I run straight to train security instead of seeking revenge in the train station bathroom and then hopping on the train out of town? -djg

The Fury * * * * ½
Directed by: Brian De Palma / 1978

Cops: “What happened to his arm, Peter?”
Peter: “I killed it…with a machine gun!”

The Middle East, Beaches, terrorists, undercover agents, machine guns, Chicago, chases, explosions, death, mansions, hot fudge sundaes, pole vaulting, out of control indoor amusement park, rather ripped mid-age Kirk Douglas, best dressed bad guy John Cassavetes…and did I mention over-acting psychic teenagers who can bleed people and manipulate their mechanics? And just wait until act three as you’ll be jumping up and down! Wowie. At times Brian De Palma’s expert direction seems to say, “OK, I have this totally ridiculously-awesome script so let’s amp it up a ton and have some fun!” I know I had fun with “The Fury”, a ton of it. In fact, I was laughing a lot and wanted even more than 2 hrs and 5 mins. There is very little actual down time for De Palma’s gas pedal as he slices and dices great film trickery, teasing to the most amazing ending I’ve seen in a thriller for a while. I want to rush out and buy this one. And why in the heck didn’t De Palma direct the “Twilight” saga? -djg

DJG on Herzog / Part 2

2009-09-02T14:26:00.000-07:00

Ballad of the Little Soldier * * * *
Directed by: Werner Herzog / 1984

The Young Bare the Burden and the Arms…

“Ballad of the Little Soldier” finds Werner Herzog and Co. in Nicaragua following children soldiers. This is a documentary that I feel should be viewed in schools. I won't go into detail on this one. I would be interested in a follow-up by Herzog and his cameras some day.

Precautions Against Fanatics * * *
Directed by: Werner Herzog / 1969

Way Before “Best in Show”…

Boasting a peculiar title, “Precautions Against Fanatics” might be Werner Herzog’s most peculiar movie, all 12 minutes of it. It feels like a blue print to the types of movie motives that Christopher Guest & Co. have lampooned time and time again, for some time now. It also seems the type of short film to inspire any of the millions of YouTube videos shot on the fly today with a pack of goofballs. Set at a horseracing facility, Herzog’s camera goes around interviewing eccentric horse trainers, track employees or racing enthusiasts. Every time, an absurd cranky old man intervenes yelling obnoxious remarks and telling them to get out. With everything said, “Precautions Against Fanatics”, from my knowledge of pop-culture, was years ahead of the comedy punches of the mockmentary, staged reality or practical blooper joke shows (uh, Ashton Kutcher-produced programming and MTV’s “Jack Ass”, among others) that we now take for granted and/or get too much of. But, I actually wanted more of it!

Encounters at the End of the World * * * * *
Directed by: Werner Herzog / 2007

Let's take a field trip to McMurdo Station…American Scientific Settlement…Antarctica…Earth.

As God’s children we should behave accordingly instead of exhausting our Mother Earth’s resources, like a mother whose fuse is shortened by a child’s heightened sense of not having any sense. But, what is “behave accordingly”? The word “behave” has two words in it, “be” and “have”. I sometimes just yearn to “be” and with peace of mind, like a child, but at the same time I have to play adult and sometimes that means I “have” to “have” my share and piece of mind, instead of peace of mind. As humans it’s in our driving initiative to put everything under the microscope, to poke and to prod, to exploit, to show-off, to gain founders rights and an objective of intellectual gain. Rarely do we sit back and soak in the given. And will we truly be forgiven? Time will tell, at least in our relation to Earth’s perspective.

Werner Herzog approaches his film subjects like a carver of curiosities, Antarctica being one of his latest escapades, more appropriately ice capades, and it’s a wonder why it has taken Herzog this long to wander his wonders to the belly button of the world's belly. Well, because it's pregnant with life. It’s a thinker’s tank down there and on a surface of "moon-like" conditions as described by some of the inhabitants of America’s McMurdo Station, a scientific settlement nearly four times the size, and more Americanized, than even that of my actual Americanized home town. It wasn’t what I was expecting and neither was Herzog, as he wanted to get out of town and into iceberg exploration the minute he stepped off the plane. I don’t blame him. But, he stumbles on a story behind every door and behind every travel-worn face of these people. There is a line from the ‘90s comedy, “Tommy Boy”, that has always stuck with me and that is, “Your Dad could sell a ketchup popsicle to a woman in white gloves!”, and I think that if there was such a salesman, Herzog would be on the other end of the camera with white gloves on. He just has a knack for finding something in everything and everyone.

The residents of McMurdo all share a similar interest in what seems to be out of the box experiences, even when they’re in the box, so to speak, cut off from the rest of the world. Not to mention when they’re practicing survivor classes with bucket blinders over their heads to simulate a whiteout (one of my favorite scenes). The end of the world has pulled them in like a magnet. The end is their beginning, the bottom is their top. OK, you get it. Some have come to escape a dark past. Others have come due to their constant search of eccentric adventure or wonderment. Many are there for their love of the work (and ice cream, guitar concerts and science fiction films) and to simply be in remote isolation. There are even some who have bags packed at all times, ready to move on if need be, even if they are surrounded by ice and water. But, all have truly lived more than I have and I’m oddly engaged to their inspiring tales and trials through travel. In fact, I found the filmed portions of the people of McMurdo just as captivating as its strange frozen surroundings, ice bergs, actively spitting volcanoes, underwater creatures that give off Pink Floyd-like recordings, two-story naturally made ice sculptures that house toxic gases and water cathedrals with alien-like creatures under the Herzog coined “frozen sky” of the iced-over sea. Though, there is an odd juxtaposition of McMurdo’s curious, childlike-play people and their drive to want to scientifically figure out Mother Earth. But, in the end these are still God’s children and even still, serve as a unique parallel to a lone, adamantly wandering penguin taking his own path to certain doom instead of following the other penguins. It’s a path we’d all want to aid motherly care package advice to, but he’s free to make that choice to poke and prod on his own path of choice and his own journey and calling.

As a documentarian you can say that Herzog too pokes and prods. Though, it rarely comes with the gusto for scientific documentation of film studies advance (well, maybe a bit of that and just some intellectual studying), rather that simple yearning of child awe, spirit and artistry. Herzog has a wonder about him, at times eccentric, but always with a keen eye and brain even to squeeze something extra out of the ordinary and is careful not to draw a fine line between “normal” and “insane”. His camera is constantly looking for something mind-boggling, impressive, inspiring, worshipping, poignant and at times humorous. He even finds these things in the things that seem the complete polar opposite. When someone speaks of their love for Antarctica and its “similar to the moon” likability, the camera tells what could be the rest of the story. As it captures the earth worked over by human dirt machines and “progress” taking place, one can’t help but visualize how the moon will look once we conquer and colonize it and beyond, leaving our inevitable travel tattoos (most likely after we come close to fully exhausting our Mother). And at the same time you can’t help but want to be a part of that in some strange way.

Just like the mysterious come and go of the dinosaurs, humans will too. We’re up to the plate and all signs appear that we’re down in the count. The doctor playing on Earth has good, bad and ugly to its game and maybe just maybe it can boost us to having better odds if we pay attention? Though, perhaps when future civilizations, maybe aliens, come to see who we were and what we were about, they’ll happen to find a complete box set of Werner Herzog curiosities and documentations on Earth (of course they’d have to have a device to make them work, but please humor for a little longer) sitting in a shrine right next to the detailed cast of a sturgeon also mysteriously found frozen in time at the end of the world.

While Mother Earth is busy speaking, are our busy bodies truly listening instead of putting stethoscopes, microscopes and tattoos to the tune of discovering, documenting, detailing…detaching and weaning off from the mystery and childlike wonderment? But, children are nothing more than little adults, naively wandering into a foreign playground to be the first to slide down the slide with a bucket over their heads. And you can bet your bucket that Werner Herzog will be at the bottom with a camera and curiosity.

Fata Morgana * * * *
Directed by: Werner Herzog / 1971

Drive-by Sci-Fi…

Like “Burden of Dreams” is to Werner Herzog’s “Fitzcarraldo”, the making of “Fata Morgana” could have made for a great movie by itself. It seems like the stuff of myth or legend: shooting for 13 months without any story idea or structure (though, nothing too unusual for this director); surrendering to border police; the contraction of a rare liver disease that nearly caused Herzog’s death; tortured mentally and physically in prison. Watching the deserted desert images of “Fata Morgana” fly by to narration of ancient poetry and the appropriately applied tunes of Leonard Cohen, classic compositions and instrumentals, was a visual feast that kept getting better and better and more unusual in the hour and eighteen minutes it clocks in. At times the people, wrecked landscape, living conditions and creatures reminded me of production art plucked out of movies like “Mad Max”, “Dune” or “Star Wars.” As it turns out, Herzog’s stick-to vision of the film (one that is explained in the DVD extras) is that it IS intended to be viewed as sci-fi, as in an alien film crew has come to Earth after humans have nearly exhausted it. I went into “Fata Morgana” without any research or knowledge other than friends referring it to me as “it’s about mirages and desert life…a little slow…kind of boring…nonsensical…but, unique and fascinating.” Actually, this film did start slow and at times I wasn’t sure how to piece it all together, and not even sure if I should try, but “Fata Morgana” turned out to be nothing short of what I’ve come to call a uniquely tailored Herzogian experience. And it’s certainly not just about mirages in the desert. It’s another in a long line of the man’s astounding abilities to translate life to the screen that I’d like to put on repeat. Like me watching Herzog over and over, HE too fixates on the repetition of the images he finds in movies like “Fata Morgana”. Whether its sea turtles in the desert (yeah?!), an elderly couple playing weird musical compositions in confidence, a cutely-odd-looking albino desert fox or an abandoned truck doing donuts in a distant mirage (looking nothing short of an alien crab creature scuttling around)…this film is nothing short of fascinating and set the stamp for all Herzogian experiences to follow.

Werner Herzog Eats His Shoe * * * * *
Directed by: Les Blanks / 1980

I Smell a Sequel…

Academy Award winning filmmaker Errol Morris released his debut, “Gates of Heaven”, in 1980. Upon doing so, he had fulfilled a bet with friend and fellow filmmaker Werner Herzog. This bet, proposed by Herzog, promised he would eat his shoe if Morris ever completed a film. Herzog is a man of his word, right down to the exact shoe(s) he was wearing when he made the bet. However, he didn’t envision the moment would be made famous (or infamous) in front of a packed auditorium, not to mention the plot of a short film captured by documentarian Les Blanks (who would later document Herzog’s plagued filmmaking vision of “Fitzcarraldo” in “Burden of Dreams”). Boiled for 5 hours in a wash of Herzog’s own recipe of flavored water, the entire shoe was consumed by Herzog. Well, everything but the sole, as in great Herzogian vision it was explained that you don’t eat chicken bones. Makes sense to me. But, what about the other shoe!

Burden of Dreams * * * * ½
Directed by: Les Blanks / 1981

River Rapids, River Wild…

There aren’t too many films in the over 100 year history of the medium where the director’s vision nearly exhausts the film and the final product. However, the 1970s was a big turning point in movie making. Not only so in the art and exploration of film, but also for eccentric rights to film production and directors as a whole exercising their angels and demons. Names like Francis Ford Coppola and Michael Cimino always come to mind with stories surrounding their wonderful visions that nearly collapsed themselves and others with “Apocalypse Now” and “Heaven’s Gate”, respectively. These are films that carry as much talk about the behind the scenes as the actual product. The stories and products are equaled masterpieces in my book. Though, I think that Werner Herzog takes the prize, as he was in complete artistic control-out-of-control, with the grandest of grand visions in “Fitzcarraldo.” From conception to end, enduring great set-backs in cast, production and location he succeeded in leading to near ruin. Most notabl: scrapping 40% of a movie after lead actor Jason Robarbs’ near life-threatening illness forced him to bail, thus resulting in Mick Jagger (Yes, THE Mick Jagger!) leaving for tour as he couldn’t wait any longer; replacement actor Klaus Kinski’s raging tantrums which resulted in murderous plots on his life; the drowning of two native Indians; the Peruvian jungle in general; and last but not least, Herzog’s vision for an actual 320-ton steamship hauled over a mountain by man power. Les Blanks’ “Burden of Dreams” captures true history and true movie making in the making. Though, I still think the best scenes are ones withheld of Kinski’s most outrageous expressions, ones that can be seen in Herzog’s 1999 documentary on his relationship with Kinski called “My Best Fiend.” In the end, Herzog is still testing not only the film medium but also his visions and getting a much heralded late-career boost and still complete control, something that guys like Coppola and Cimino have either stepped back from or are completely in hibernation.

Signs of Life * * *
Directed by: Werner Herzog / 1968

Windmills of the Mind…

I didn’t realize it until I read Netflix’s synopsis on the “Signs of Life” mailer, but Werner Herzog’s film and screenplay inspired Stephen King’s idea behind “The Shining.” Cool. I can see why with its closed-wall-isolation-turn-madness, though I prefer Stanley Kubrick’s movie “The Shining” to “Signs of Life.” Herzog’s first feature film isn’t a bad film at all. It does move slow and feels drawn-out for a film that isn’t really that long. Which, isn’t a bad thing. Though, at times it shows a hard time of knowing what to do as a film. At least these things were present to me and in a Herzogian way I’ve come to admire that. Especially so, because it shows how Herzog cut his teeth and mind with putting images together, images like a field of thousands of windmills that the seemingly normal lead character stumbles upon and becomes almost disillusioned and disturbed by. It’s a crucial point and great metaphor for the power on display, and/or the switch of power, that takes place as he begins to go mad after many days of isolation with a few others stationed at a military base. Werner Herzog is a true original and in a lot of ways I find his first feature film to show many signs of a creative life waiting to kick the door wide open on the medium. I recommend “Signs of Life” to see a master filmmaker making his baby kicks and starting to canvas the windmills of his own mind.

-djg

DJG on Herzog / 7 New Ones - Part 1

2009-09-01T14:31:00.000-07:00

Land of Silence & Darkness * * * 1/2
Directed by: Werner Herzog / 1971

To Be Without is to Be With…

It’s fascinating to me how we’re advanced enough to recreate sight and sound to document life, yet we can’t create and/or correct sight and sound for individuals born without it. Or, am I behind in today’s medicine? But, what we might think as a curse could be a true blessing. I think of people lacking the primary senses, even those with developmental challenges, as having a closer connection with God. They also seem to have an ability to see and detail life better than those of us who actually can and take for granted. There is also an uncanny ability to capture the attention of those around them. And this is what director Werner Herzog does as he simply is there to pay his attention and respect in this intriguing documentary on those born without the primary senses. Sitting near the start of an impressive resume, “Land of Silence & Darkness” isn’t necessarily Herzog’s most commanding film by any means, but it doesn’t have to be. Like many of his movies, some of the most ordinary images caught by the camera are the most interesting and impacting. Whether it’s a birthday gathering, a young boy enjoying water, a teen enjoying the big vibrations of songs on a tiny radio, or the unique method of elderly women finger tapping messages on hands, this movie translates. That translation is whole different world, and way to see the world, that many of us can’t even imagine. The most powerful image came right before the credits rolled when the camera caught a man walking confidently out of a group to enthusiastically touch a tree and its leaves as a light wind blew. He somehow sensed it was there with his wonderment, without sight or sound. Leading up to the end I was wanting more out of the film in terms of in-depth stories and subjects. But, the ending shared with me the need for what moving pictures I was given and the need in general for those with eye sight and sound to experience, inside and out. It also revealed to me how much closer to the true understandings of things others without senses truly are than I who tends to overlook what’s right in front of me. Point being, this wonderful film I just encountered.

The White Diamond * * * * *
Directed by: Werner Herzog / 2004

Waterfall Inside of a Rain Drop…

I love how the obsessions of Werner Herzog’s subjects become his own obsessions. I love how well they work together, even in life-threatening situations or shear madness of man’s quest to do the thing that is either haunting him to do or ends up haunting him during or even after it’s done. And in the middle of the process it is poetic purity like a white diamond in rock. It’s easy to stand outside and think that another man’s dream is either a death wish or pure stupid-stupid. Instead we need to get off the couch and journey for ourselves, or get a simple lesson by riding along with Herzog on screen. “The White Diamond” is a documentary about aeronautical engineer Graham Dorrington’s unusual zest-quest for flight in a small balloon over the canopy jungle of Guyana. Dorrington’s struggling want with flight and with anxious haunts of an accidental death of a close friend ten years prior are only a part of this story as Herzog finds many more individual obsessions and stories within to document. In the thick of everything is the vast jungle landscape alive to its simple-yet-colorful cast of inhabitants, traditions and superstitions. These are people who moonwalk on the edge of a cliff, best-befriend chickens and have a yearning to reconnect with long-lost European relatives. And then there is diamond country. The search for diamond in rock is a great metaphor for what Dorrington is trying to accomplish with his tiny air balloon craft shining bright above the jungle which dwarfs it immensely. Does he succeed in flight? I won’t give that one away as the accumulative results of this movie are mesmerizing and become my third favorite documentary by the legendary Herzog. I’ve seen many of his great movies, but “The White Diamond” makes me really want to follow him personally to any region or wilderness of Earth or man’s mind. Herzog recognizes a great story and finds a way to capture it and many more. One such way is a waterfall shot through a single rain drop that a native suggested. It’s an image that Herzog has come to bash by calling “Disney.” However, the image (which, I personally find to be powerful) was recommended to him by a simple, pure mind of a man who makes it to the spot regularly to soak in the simple act of reflection. I can’t think of a better image to sum up this movie and life itself.

Where the Green Ants Dream * * *
Directed by: Werner Herzog / 1984

Although art may be subjective and up to the viewer, some of it does seem to carry all the ingredients for greatness, yet comes up short. It can also have something to do with who is putting the pieces together. Maybe the person is me when it comes to the art of the film watcher!? Werner Herzog is certainly an artist up to the task for a movie like “Where the Green Ants Dream”, but I couldn’t help but think for an hour and forty five minutes that Peter Weir could have handled it better. Or, maybe it’s premature of me to only think that because Australia’s master maestro has dealt marvelously and handled mysteriously well movies in similar territory as this one? It has an Australian setting, half of the cast is Aboriginal…it even has actors that have appeared in some of Weir’s work. Upon entering “Where the Green Ants Dream”, I for some reason thought I was set to watch a documentary, but found myself struggling and stumbling through a drama about a mining company wanting to expand digging into sacred Aboriginal grounds. Interesting, yes, but it moved like molasses at times and at other times didn’t quite stick together for me. “Where the Green Ants Dream” isn’t a bad movie, but I left wanting more punch from it. I think I’ll have to come back to this one a second time, using what I’ve learned from Herzog, and that is, sometimes greatness is found in the smallest of details. I will pay more attention next time and cancel out how insanely great Weir’s “The Last Wave” is and how I wanted “Where the Green Ants Dream” to be its sequel.

Wheel of Time * * * *
Directed by: Werner Herzog / 2003

This is Not Your Typical Corner of the Sandbox…

Many Americans idea of a spiritual walk is the quick span of paved luxury between last call at Sunday morning service and the all-you-can-eat buffet. Their idea of spiritual art is dealt in cranked out kitscher-than-kitsch crafts with "God Bless Texas" (insert Bible chapter/verse here) carved into a plank of rustic wood and a barbed wire hanger. Please pardon my cynical tongue. I don't think you need to make great things or do impressive things to get to where you want to go internally and externally into the beyond. However, to paraphrase the Dalai Lama in “Wheel of Time”, in order to find understanding and peace in our world we need to try to understand and respect all spiritual journeys. I agree, and especially think this method of understanding would benefit Americans and their knowledge with other cultures and realize that we are not the center of the universe. Even though, Mr. D.L. adds the words of wisdom (again, to paraphrase) that as soul bearers, we ain some ways are centers of the universe. It’s more than a spiritual walk for Buddhist monks depicted in “Wheel of Time” as some travel thousands of miles, stopping every few steps to bow down in push-up like movements to get to a tree. The tree is called the Bodhi and represents the place where spiritual instructor and founder of Buddhism, Siddhartha Gautama, achieved true enlightenment. After reaching the tree, some monks spend even more time doing their push-up like movements. Buddhist belief also takes some individuals on a pilgrimage gathering at Mount Kailash. A peak considered one of the most significant for its world spiritual center and simply known for its towering presence in nature. Werner Herzog also captures something equally fascinating as he focuses on an elaborate wheel of time painstakingly created out of colored sand. I’m still not completely researched in its purpose, other than it takes hours and hours of devoted cramped craftsmanship for monks to create, display curiously under glass protection and then destroy in seconds. They then take the remains to scatter in the river and wind.

Cobra Verde * * * *
Directed by: Werner Herzog / 1988

One Foot in the Ocean…

I was equally mesmerized and terrified the first time I witnessed the ocean. I’m the same way with late-great actor Klaus Kinski. I’m kind of glad I never met him as he would have either killed me, spit in my cereal or made me cry. Yeah, no matter what, he would have definitely found a way to make me cry. I can’t think of an actor and very few individuals over all that can be matched to that of his mad genius and talent. But, can it be called “mad genius”? His life and work seems fittingly representative of that place where water meets land: mesmerizing and terrifying/mysterious and powerful. And not to mention: at many times out of control. Werner Herzog directs Kinski for the fifth and last time in “Cobra Verde”, as Kinski would pass away just four years later. Though, not Kinski’s finest role for Herzog, his Francisco Manoel da SilvaRoom (aka: Cobra Verde) is without a doubt a fascinating performance to watch and the film as a whole is quite an achievement, and one of Herzog’s biggest concoctions. Once again Herzog employs rich imagery in roomfuls of crabs, bats and a Kinski-taught army of half-naked African tribal women learning to fight. Though, my favorites are a coastal outline of flag signalers and a final bow by Kinski as he flops and flails on the place where water meets land as a crippled child who looks nothing short of an obscure, death-like creature hunches his way. In Herzog’s documentary on his relationship with Kinski in “My Best Fiend”, he recalls the scene on the beach as the place where his friend-fiend’s spirit may have started to show signs of leaving soon. I would agree.

Invincible * * * ½
Directed by: Werner Herzog / 2005

Modest Muscles…

“Invincible” finds Werner Herzog making fact and fiction from a German folktale partially based on a real-life person and actual events. World’s Strongest Man participant Jouko Ahola plays the lead in Zishe Breitbart, a Jewish man of strength who leaves his small village to achieve great things with his abilities. Upon arriving in 1932 Berlin, he is swiftly employed and tricked as a sort of side show act in a showcasing of the Nazi belief in the power of the “Aryan” strength. Here he begins to realize the dangers surrounding the powerful stirrings of the Nazi party and reveals his true identity and heritage pride. Zishe soon goes back home to see it as his prophetic duty to warn every one of the dangers of the forthcoming rise of Nazi power. Though untrained in acting, I appreciated Ahola’s naively-honest and sweet approach to the art as he came across a little like Bruno S., another Herzog actor that I appreciate. For the most part the film moves quite slow, but is also quite captivating and a little bizarre in the same way that “Heart of Glass” is for me. Herzog also employs some unique choices in dream-like sequences that I wish he would have used even more of. But, “Invincible” is an all-around lovely movie that I could easily experience again down the road.

The Dark Glow of the Mountains * * * *
Directed by: Werner Herzog / 1984

Like a Teacher Writing on a Blackboard…

I don’t believe I’ll ever climb a mountain, though a part of me feels like I’m missing out on something special. I don’t know how he does it, but every Werner Herzog movie has a moment (if not many moments) that brings every subject, no matter how surreal or near-insane, down to a level of uniquely gripping philosophical understanding across the board. Across the board meaning, anyone can at least understand it, even if they don’t prescribe to it. The board in “The Dark Glow of the Mountains” is a climber’s mountain in comparison to a teacher’s blackboard. It makes perfect beautiful sense when free style climber Reinhold Messner explains it. If you’re able to reach back into your Ben Fold Five trivia, the band has an album title with his name in it and from what I recall I don’t think it was intentional. Interesting, but not as interesting as the real Reinhold Messner explaining why he has to climb. It’s also not as interesting as how Herzog always finds as close to the answers he went searching for with a camera and with equaled passion.

-djg

DJG's CINEMADHESIVE

2009-08-25T11:29:00.000-07:00

Inglourious Basterds * * * * *
Directed by: Quentin Tarantino / 2009

Rewriting History, Taking Names and Inventing New Ones…

WWII-KAWOW!! My mouth is still fixated in a wide devilish grin ala Jack Nicholson’s unforgettable Joker in Tim Burton’s “Batman.” It has been this way since the last hour of the best picture of 2009, so far. In fact, I’ve been grinning since an hour and half before that, when the spaghetti western sights and sounds of Quentin Tarantino’s flashy-fresh joy ride take on WWII kick-started his “Inglourious Basterds.” They never backed down right into one of the greatest, and already iconic, most satisfying film endings ever. Not to mention a new ending for World War II and the fall of the Nazi regime, again. Tarantino never intended to alter history, but his characters sure lead and he followed with all his guns amped-up to sophistication. He has officially raised his own game.

Not for everyone and he has his naysayers, Tarantino for me has always been able to wallop genres out of the park, turning film on its side and robbing from the greats yet turning it into his own gold. But, it’s not fool’s gold, more like cool’s gold. The best art borrows and Tarantino does it better and with his own thumb prints left behind on the prize. And I find self-indulgence is best when shared with an audience. He is the coolest and freshest pop-culture churner we have today. Money aside, I assume all directors love movies or they wouldn’t be in the business. But, Tarantino loves-LOVES movies and he makes me love movies even more after I see him wave his wand each time. For those that don’t “get” him and/or knock him, then I kind of feel bad for you as you’re really missing out. But, more for me!

So, what is so great about Tarantino’s take on WWII?! EVERYTHING and it is worn with the high-stepping confidence of the Nazi high command. Like a great novel its chapters slice up to show enough yet leaving just enough to the imagination, pulling together a creation of richer-than-rich characters and plots that live and breathe beyond what’s in front of you. You’ll have a love-hate affair with the notorious “Jew Hunter”, Nazi Col. Hans Landa (in a soon-to-be Oscar nominated role from Christoph Waltz), whose cunning charm and manipulation is just as big and intimidating as his smoking pipe. He loves milk and pie as well so how could you not like the man? Another big item is the Nazi scalping knife of Lt. Aldo Raine, which finds Brad Pitt wielding and talking like President George W. Bush, not to mention sporting the best Italian accent ever on screen. Is it just me, or has Brad Pitt really been churning out the satisfying characters of late, even more than ever!? The movie’s promotion makes it seem that the Lt. Raine’s band of Nazi destroying Basterds is what the movie is all about, but it’s only a fraction to the story. Much of the story is owed to a Jewish gal named Shosanna Dreyfus who escaped from Col. Landa and is now disguised as a French theater owner. As the lights go out to show a film of Nazi hero Fredrick Zoller sniping from his bird’s nest, Shosanna (& Basterd Co.) does some bird nesting as well and in a blaze of gory-glory. Trust me, you’ll never find carnage so much fun.

2 and a half hours doesn’t do the basterd justice and it could have easily been another Tarantino two-parter, maybe even three. But, I left QT-quenched, almost like leaving Quik Trip with a conveniently tasty beverage and hot dog (chips and candy on the side, of course). Yes, I’m relating the work of Quentin Tarantino to junk food, but this is high-caliber junk food folks, with all the condiments and fix-ins like chipotle sauce and vanilla flavoring that we love. I can’t get enough and have been ready for seconds since the last of the credit logos left the screen. “Inglourious Basterds” is a daringly ambitious, wickedly entertaining, remarkable and satisfying work of original art that I cannot praise enough. I will be dining again in the theater as Hitler and Co. all fall down the way we always wanted them to…and then we will all bow down to the film art of Quentin Tarantino. Thank you. -djg

DJG / Most Overrated Sci-Fi Ever

2009-08-24T14:10:00.000-07:00

DJG / Eagle Eye

2009-08-10T10:47:00.001-07:00

Eagle Eye * * * *
Directed by: D.J. Caruso / 2008

To Be Taken With a Can of Red Bull…

A couple days ago I was telling my wife how it’s almost refreshing now to watch an older television series or movie that comes sans cell phones and technology. Rarely today do you even see regular home phones or public telephones in the movies, let alone in real life. I’m thankful for my cell phone and so-on, but I’m extremely thankful to have experienced life without them and the internet. Today’s Red Bull movies, ya know, the non-stop-high-octane-super-slick-spastic-cool flicks like “The Bourne Identity” trilogy, “Taken”, even 2006’s Oscar Best Picture winner “The Departed”, wouldn’t work the same without their lead characters’ interactive moving and shaking with off-the-cuff-or-hip technology to communicate, track down the bad guys, win the race, etc. “Eagle Eye” isn’t nearly as great as the aforementioned films, yet it gets the job done and kept me at full-speed attention, even with a pinch of “Minority Report” and many exclamations of “Yeah, right!” Of course it’s ridiculous to the core and sometimes makes the head spin, but I loved it and movies like it. And just when I say to my wife ¾ through the movie, “Ya know, movies like this wouldn’t work without cell phones and technology!” the good guys answer the bad guys’ ring on a regular ol’ public telephone. Those sneaky bad guys! Pass the Red Bull while you're at it! -djg

DJG / Billy the Kid

2009-08-06T11:20:00.001-07:00

Billy the Kid * * * * ½
Directed by: Jennifer Venditti / 2007

Billy is like a lot of small town fifteen-year-olds. Billy likes to listen to KISS and AC/DC. Billy likes to imagine himself in a Harry Potter potion class as opposed to hum-drum high school chemistry. Billy loves girls but respects them. Billy loves horror movies and talks about them a lot. Billy jumps subject ship so fast and onto the next and sometimes with unease and twitchy intervals. We all had Billy, or a handful, in our schools and hometowns growing up, especially in rural America. Billy lives in small town Maine where the winters are harsh and the high school kids are just as harsh to the weird and eccentric kids as they are anywhere else. Billy may be different to most standards, but Billy is the best.

Apparently, director Jennifer Venditti was working as a fashion modeling scout when she stumbled upon Billy and decided right then the subject of her first film. If I’d met Billy before watching his shining star in “Billy the Kid”, I’d have wanted to make a film on him too. Billy is the type of friend that you’d want to have, even if he would kill you with kindness (and too much talk) on a daily basis. But, you’d never have a boring moment or run out of things to talk about with a friend like Billy. Billy is a wonderful person who may not understand social situations, but he can see what your soul is like by sharing with you so much of his own, and the first time you meet him. Billy isn’t a Barnum & Bailey sideshow, tabloid fodder or a movie of the week. Why a movie on Billy? Billy is original, complex, unique, inspiring, inquisitive and reflective. And there is a lot more than that going on inside and radiating from Billy. Billy is more alive than everyone else in his town put together, especially his peers. Billy articulates himself like a long, lost philosopher like, “Sometimes life’s a pain in the butt. But, sometimes it’s worth it because you’ll find great things in the life that’s a pain.”

Billy’s father left the family years ago after a run with the law, spousal abuse and alcoholism. Billy has a lot of pain, rage and inner demons due to his biological father. Billy’s mother is one of the strongest, nicest, supporting, connecting and most loving mother’s I’ve seen depicted in any form of movies or real life. Billy has a step-father he likes at home, but I didn’t get to meet him. I did meet Billy’s first love, Heather. Billy poured his love out for Heather in two days, like all boys tend to do but with triple the amount with Billy. He had his heart broken in return. Billy can be too much at times, but I like that about Billy. Billy is very becoming, bold, brave and not bashful. One can learn a lot from a boy like Billy.

Fifteen-year-old Billy will forever be on display in movie form and I wonder about his future. Venditti captured Billy very simply, purely and sometimes awkwardly, yet never in a way to exploit Billy, rather just to share with the world his charm and unique way of handling himself. Though, what will become of Billy after high school? Will Billy go on to do great things? Billy says he doesn’t want to be a free-loader all his life. Billy mentioned something about either dying a young death or lead his people in a revolution. No matter what, I think Billy will always make an impact on those around him, in some form or another. I’m thankful I got to meet Billy. I can relate to Billy. At times, I even am Billy. We all have a little bit of Billy in us, we just need somebody like Billy to remind us that it’s OK to be who you are. I like the way Billy is and I hope others do too. -djg

DJG / Funny People

2009-08-03T13:02:00.000-07:00

Funny People * * * *
Directed by: Judd Apatow / 2009

Legends of Comedy Watching From the Walls…

Writer-director Judd Apatow is extremely talented and a work horse. No, not because he’s become the equivalent of a Steven Spielberg film making cash cow in the comedy production realm or because he shot a million feet of film on his latest picture. Rather, this 41-year-old is on to something special. True, sometimes that “something” is hidden in movie formulaic, bromance, dirty mouths and predictability. But, he has the chops and ability to put a unique spin on the material and somehow make it work, stunningly so, easily so, and time and time again. He also has the ability to go from super foul ball(s) to home run warmth in seconds and his legacy is already seeping into films he’s not even involved with. There is something honest about the work he is releasing to where it’s living outside of the time frame of the movie. Not to mention he seems to be having the time of his life and gets to include his life, with family and friends participating. With “Funny People”, Apatow nearly misses his masterpiece, at least from my perspective, for now. Oh man was he close. But, this is a two and a half hour long epic comedy (perhaps dramedy?), that needs to be devoured for more than just the mere 48 hours I’ve chewed on it. And like films he’s either directed, written or produced, this one will get better with age.

When Adam Sandler’s “George Simmons” gets a new lease on his life after his doctor finds a window of health in his recent bout with cancer, he hopes to get better in an instant with “life stuff”. But, George doesn’t realize it takes time and a little coming of age (even if he’s in mid-life) that he missed out on in the selfish light of show business as a top comic-turn-actor. Sandler digs deep, even though I’m wishing he would have dug a little deeper in the role (okay, hit me because I was expecting more). This is the best he’s been since “Spanglish” and “Punch-Drunk Love”, the latter being the one that revealed the world to his range and the former being a way under-appreciated performance. I look forward to watching Sandler move on up. However, it’s the support of Seth Rogen who glues the movie for me and shows a new side. And per usual, there is the rest of the Apatow dumpy gang (ha-ha), including legends of comedy watching from the walls in a brilliant choice of set decorating. I won’t go on with saying more about the movie as I’d stall and run this review out of gas worse than the third act of “Funny People” did (whoops). Yeah, it just didn’t knock out of the park completely for me. Although, I left the theater sensing that characters are still working, still growing. This film is growing on me as well.

I enjoy Apatow’s crass ‘n’ comfort levels, and hearing things I never thought could be conjured in a young man’s mind (or middle-aged man!?), but at the same time I can’t help but feel he works better when censored. Am I saying tone it down some? Maybe? I’m no prude, but maybe doing so might reveal that “something” to be really-really special, without the aid of male anatomy jokes to fill in the cracks (oh, brother). And it just might be old man Apatow on the wall watching a new crop of comedians in the years to come. If you’re a fan of T.V.’s excellent “Freaks & Geeks” (partnered with creator Paul Feig), it’s easy to say that he’s already been there and done that, censored masterpiece speaking. But, Apatow has since moved up to nearly missing the curtain call of masterpiece theater and it’s going to be a pleasure to watch his work grow in the big-time. And leading the comedy pack of this century, he has plenty of room to grow. Though, like “George Simmons”, he just needs a little more time. -djg

DJG / Lolita

2009-07-31T14:00:00.001-07:00

Lolita * * * * ½
Directed by: Stanley Kubrick / 1962

For the longest time something in me screamed to steer clear from Stanely Kubrick’s “Lolita” and I have no definite idea why. Quite possibly it was an early branch of “controversial” and the undertones of risky pedophilia business radiating as I grew that kept me a-drift of this ‘60s film classic. Also, I may confess I was quite distracted and a bit scared of the image of a very young Sue Lyon as Lolita with seductive lollypop in mouth on the film’s promotions (not too dissimilar, I was taken a-back for years by Lou Reed’s freak Frankenstein monster appearance on his “Transformer” album…odd how I have formal design training and the powers of said designs persuaded my distance and intimidated me so!). All things aside, I’m glad I’ve waited so long to fully appreciate yet another one of Kubrick’s big hits! I’m not sure how he felt about the final product, but how did he pull this off with such masterful execution? This is especially my question in the playfully comedic and sassy tone of male sexual obsession with an underage girl in “Lolita”? This film shouldn’t have worked. But, it did and has held and worked the test of time extremely well, I think (Side Note: I realize there is a late ‘90s remake and I don’t really care to see it. I’d rather watch Kubrick’s again!). I’m not a scholar in the history of Kubrick or of the time and circumstance surrounding this film, but I imagine it was a headache to get “Lolita” made, with censor laws and all (This is something the director didn’t have to worry about with “Eyes Wide Shut”!). But, Kubrick marvelously helms and leaves much up to suggestion for the audience’s imagination. I like this and advise directors who can get away with virtually everything now to try as it lets the characters live in that place between the screen and viewer and keeps the viewer even more involved and provoked. Though, before the sexual revolution of the late ‘60s, I could see Kubrick’s handy work a little discomforting for some to stomach. Nowadays this film is a treat with undercurrents of “wrong”. As much as I am impressed by “Lolita”, I am left equally wanting more from it, especially the subplot of Peter Sellers’ Clare Quilty (Sellers is in another multi-layered performance of great appeal) and his desire for Lolita. Perhaps that too should be left up for suggestion in my head? In the mean time, I think I’M in love with “Lolita”! -djg

DJG / Knowing

2009-07-22T08:57:00.001-07:00

Knowing * * * *
Directed by: Alex Proyas / 2009

Scientific Scripture…

I know, I know, another disaster movie. Yep, another movie poster with a deconstructing/dissolving Earth. And yep, another movie logo type employing not one, but two design clichés; a sun replacing the “O” and the number 1 substituting for the letter “I”. It’s easier these movie watching days to be suspect to the oh-so-samey-so-so as Hollywood hooks a big one and they milk it for a decade. This is especially true in our post-911 hysteria and ever-impending anxiety for the apocalypse. Money is made from mayhem. I guess, so much for going to the movies to find escape and comfort, right? Of course, some people might find comfort in familiar cities and landmarks disintegrating, plus the monotone that is Nicolas Cage. You chosen ones out there, please step forward. I suppose I am a big pro for stuff blowing up, at least on the screen, and I don’t hate the Cage fighter as he’s a unique contributor to both big and small production wallets for sure. I typically enjoy riding along with anything he’s involved with. It’s easy to assume going in to “Knowing” that you’re going to know all about it within 20 minutes. However, this one might surprise you with its molecular twists of scientific meets scripture. Of course it employs clichés, just like it’s advertising suggests, but at times “Knowing” is the best movie that M. Night Shyamalan hasn’t made in many years. The film’s ending, which I won’t spoil, is one of the most baffling-unique in many years as well. I wouldn’t mind revisiting “Knowing” in a director’s cut release from Alex Proyas. I think there is much more story to tell in this one, but what is presented is better than most others like it. -djg

DJG / Moon

2009-07-13T07:46:00.000-07:00

Moon * * * * ½
Directed by: Duncan Jones / 2009

Space Oddity…

I admire when children can step from the shadow of iconic parents to create a name on their own. In the case of director Duncan Jones, he literally created a new name. Born Zowie Bowie to none other than shape-shifting Ziggy Stardust himself, you can imagine the type of shadow or moon rock he may have felt under. Especially with a name like that, years before it became a name game for celebrities to make their children typographic tabloid bait. I think it’s a lot easier for successful musicians to bare successful musician offspring than it is in other career choices. Sometimes it’s because of whom Mom or Dad is, but every now and then they tap into their own (Jeff Buckley and Jakob Dylan come to mind). Young Bowie may have chosen film, though Bowie senior is no stranger to the path. Not to mention his impressive body of music carries more theatrics, dimension, dynamics and unique narrative than most movie makers. It’s no wonder that Duncan Jones shows a deft hand at orchestrating film the way he has with “Moon”, his feature debut at the age of 38. “Moon” is one of the best sci-fi films to come along in a while and I find Jones pouring as much of his own identity and upbringing into it as his father does in music, creating art with unique immediacy that you can’t wait to tap again or into another. Borrowing from some of the best in ‘60s-‘70s sci-fi (you’ll figure it out), “Moon” uses just enough of today’s modern trickery to bring to life something that isn’t a clone, but has a brain and heart to call home. It also never gets too far ahead of itself or too outlandish, at least for sci-fi. Actor Sam Rockwell shines as pretty much the solo pilot of the film as his Sam Bell nears the end of an isolated 3 year contract at a station on the moon. Bell begins to find out more about his self than you’d want to in that type of situation as he is two weeks shy of going home and wants nothing more to do so. Rockwell has a thick resume of fantastic performances, but hopefully “Moon” will finally get him due respect, maybe even an Oscar nomination. Just like his talented director he’s given a chance to showcase many sides and make a name for himself. -djg

DJG / Seven Pounds

2009-07-10T07:56:00.000-07:00

Seven Pounds * * 1/2
Directed by: Gabriele Muccino / 2008

These Pounds of Flesh Need More, Need Less…

I can't help but feel more sympathy for this movie as a movie, than for its struggling characters and wanna-be-wanna-die tear jerk story. Am I the jerk? "Seven Pounds" tries really-really hard to be a great movie and by the time it can be redeemed and wash us in its waters of mystery, it's more than two frustrating hours too late. I felt I was being put through the motions and tried to be moved in mysterious ways (Thanks Bono). On a whole, it's not a bad idea for a movie and not exactly executed poorly and I don't wish to explain the movie. Just that, it haphazardly tries for the popular gimmick of non-linear narrative, mystery, multiple characters and so-on and when done like this, frustrates me from start to finish. Most master directors can't present cohesively a film in such a way and I think it was too much to tackle and pull together in this case for Gabriele Muccino. Simplify please! Jenny Craig, please direct! I agree with others, primarily those backing the picture that you should go in without spoil. People spoke of, and/or didn't speak of, the mysterious shroud of an ending in "Seven Pounds" like it was the next great M. Night Shyamalan. Though, I'm still waiting for "Seven Pounds" to hook and grab me. It would have served better both edited down and fleshed out. Does that make sense? Watch it and you might agree. As well, the film feels primed and rushed for last year's awards season and that may have something to do with it, at least for me. How many could-be great films don't get the proper incubation time they deserve because of this (Thank you “The Road” for waiting a year to hopefully get things right)? I realize that this movie has and will have its fans. One attracter is star power Will Smith. He’s a talented actor with a wide-range in this film. I’ll see anything he’s steering, but he’s almost too capable of audience manipulation in this one. The moves are coming too easy for him here. Knowing what I'm getting into, I think I'd like it better the second time, but I'd have to first have the desire to stomach "Seven Pounds" again. I’m just glad this isn’t a series of seven movies! -djg

DJG / The Break-Up

2009-07-08T11:34:00.001-07:00

The Break-Up * * * *
Directed by: Peyton Reed / 2006

Surprisingly Well Put Together…

“The Break-Up” advertised itself to me like another groaner romantic comedy that would go from enjoyable to completely annoying in fifteen minutes, starting bitterly and finishing in sweet predictability. However, I am very surprised with how well put together “The Break-Up” actually is. I am a tad ashamed to have been so dumbed-down by the movie’s trailer, but could you blame me? I’ll try hard to steer this in the direction of my simple enjoyment and surprise of the movie, not of Hollywood’s perpetual dumb-down habits for success and excess. Please don’t get me wrong, as I can find enjoyment anywhere on the movie map, but lately movies like this are getting to be like fish worm date bait. The movie isn’t without fault lines and comes with the formula for comic relief. However, it’s never pushed over the edge in back ‘n’ forth competition like other movies of a similar plot device surrounding the break-up of a couple who must keep living together for rent’s sake. Throughout the film a realistic sense of loss, bitterness, confusion and personal growth is present. Thanks in part to solid performances from Jennifer Aniston and Vince Vaughn who help steer the film, and me, from the predictable sharks of romantic comedy waters. I’d even endorse a sequel, or at least another Tom Hanks & Meg Ryan-esque pairing of this movie couple. -djg

DJG / What the Duck...?!

2009-07-01T14:50:00.000-07:00

Howard the Duck * 1/2
Directed by: Willard Huyck / 1986

What the Duck...?!

In 1987 I was thrilled to finally get my eyes on a VHS of “Howard the Duck”. Odd though how I couldn’t recall a single thing about the film for the next 22 years, other than A: pure pre-enthusiasm upon seeing it and B: a topless female duck. I remember my mom happening to walk right in front of the television as Howard flew by his fellow apartment tenants in the opening minutes via a rocketing La-Z-Boy, passing regular ol’ ducks and then a naked female duck in the bath. I think my mom double-checked the PG rating on the box, and from what I gather, shut the movie off. I honestly don’t remember the rest of the two hours. And why might a movie like “Howard The Duck” even be more than an hour? Geesh, this movie goes on and on and on. It’s not even cool-bad in a cult classic way. This movie is just plain B-A-D and certainly not for a seven-year-old. At 30, I did find myself chuckling along, but wow I thought I’d like it more…I have no idea. “Howard the Duck” could have really been something and especially so just shy of two incredible cartoon-fresh and technological darlings of the time (and even now), “Who Framed Roger Rabbit” and “Teenage Mutant Ninja Turtles”. Those movies must have learned something from “Howard the Duck” as it has to be one of the top worst movies of the 1980s and a definitive pre-cursor to the damage its executive producer George Lucas was set to give “Star Wars” fans ten years later. One thing is for certain, I’m so glad that Howard wasn’t made of CGI. And let’s hope Howard doesn’t ever get the remake treatment, though I doubt it could get any worse. Mom, I wish you would have been there to shut it off the second time! -djg

DJG's CINEMADHESIVE

2009-06-25T14:14:00.001-07:00

Waltz with Bashir * * * * *
Directed by: Ari Folman / 2008

The Dog of War…

There are certain movies that you know aren’t going to end well. “Waltz with Bashir” is about director Ari Folman’s search to reconnect lost memories as a soldier in the Lebanon war and massacres of the late ‘80s. All the while the ever present end product waits for you on the credits’ horizon. This is some amazing and heavy duty film artillery. Attention folks: this is no Pixar stick for the kids or even most of your selves. But this needs to be viewed and with some minor editing, in public schools. This is animation as ammunition to the harsh and harrowing realities of war, to man’s violent intent to destroy one another. Indeed, one can see such on any morning paper headline or nightly news cast, even looking out the windows to the world. And how many more movies and stories must we make to convince our brothers and sisters to stop fighting? “Waltz with Bashir” is gorgeous and gut-wrenching from the opening scene of death hounds running the streets and ends worse than you will ever see coming. It is the ONLY way to end this film. -djg

DJG's Movie Morning Monday

2009-06-22T13:43:00.001-07:00

The Spirit of the Beehive * * * ½
Directed by: Victor Erice / 1973

The first few years of significantly building my home movie library (uh, before I got married and responsible) I would buy films on a research whim, or for the heck of it, without seeing them first. Or on sale, whichever came first. Sometimes the results would be great, sometimes not. “The Spirit of the Beehive” is definitely one of those movies that I probably would have purchased without seeing first and would have definitely received “sometimes not” results. I’m glad I didn’t buy it back when I first heard about it. Though, I think this is a movie that I might like more the second time because it would come without high expectation. You see, I had high expectations for this one. But, I am not nearly as foul as when I saw “Floating Weeds" (for the Chad & Danny record, “The Spirit of the Knee Chive” is way better than “Floating Chodes”). “The Spirit of the Beehive” started out very strong for me as a small '40s Spanish village (in particular two young girls) obsesses over a print of the classic movie “Frankenstein” and then the film within the film influences the film. Get it? I thought I did at first, and there are things I like about it, but I think it lost me in its quest for subtle, eclectic art. By the time it invited me back in, it was over and I wanted so much more. I recognize this as a great movie, but I only find it to be a good movie. Is it fair of me to say this? I think so. It’s kind of like how I think bee keeping would be a great job, but it wouldn’t be a good one for me. I’m not certain there will be a second viewing with this one. Though, maybe I’m just not ready for "The Spirit of the Beehive" and maybe I should have bought it back in the day so I could put it in my “to watch again” pile for some rainy movie day? I don't know. -djg

DJG / Ghost Town

2009-06-22T13:16:00.000-07:00

Ghost Town * * * *
Directed by: David Koepp / 2008

When Cliché Turns Classic…

Humans helping the dead and the dead helping humans, we’ve all seen this before many times over. Every T.V. and movie decade has its high-end and low-end stories involving ghosts and humans sharing screen and scene time. In recent memory, television has spawned more than enough series (I won’t bother naming) with the movies mostly sticking to it in the horror-suspense genre, as opposed to comedy, like this one. Actually, I can’t recall since the 1980s or ‘90s a great and lovable ghosts-meets-humans comedy. And I don’t really need to recall “Ghost Town” to you. The generic titling alone feels destined for the cheap DVD bin or misplaced in the horror-western shelf, but don’t let that scare you from watching (har har). This is one of those rare surprise movie treats so cliché that it turns into classic. So much in fact, that I wouldn’t mind seeing a T.V. series spin-off or movie sequel made. Or, maybe I'll just watch it again and again. -djg

DJG's Enjoyables

2009-06-17T09:43:00.000-07:00

Paul Blart Mall Cop * * * ½
Directed by: Steve Carr / 2009

Kevin James is Here to Stay…

I like “Paul Blart Mall Cop”. I like Kevin James even more. I think it’s becoming easier to shrug off low-brow and brainless comedies like this, but sometimes they surprise me. I think it takes a lot of brains to make a comedy today that doesn’t trade its heart for its underpants (or lack thereof) and foul humor within ten minutes. Sometimes even those types of movies surprise me, such as the co-piloted James vehicle “I Now Pronounce You Chuck & Larry” and others without James like “You Don’t Mess With The Zohan” and anything that Judd Apatow has his brains in. But, I think it takes guts to make a movie for adults and children. Now we find that Kevin James himself can win a box office weekend without the help of Will Smith or Adam Sandler or even crude humor and gross-out comedy. Kevin James’ Paul Blart may just be a dumpy mall cop, but he is a sweet, warm-hearted guy who pays attention to the details of his duty on the job and off as a father and friend. I think I’m starting to find a film replacement for the beloved John Candy. No, not because Kevin James is a large man nor because he is the embodiment of the guy next door, but because a big heart is shining a presence on the silver screen. And I’m watching.

Taken * * * * ½
Directed by: Pierre Morel / 2008

Hell Hath No Fury Like Bryan Mills Scorned…

I don’t feel the word “better” applies correctly to this sentence, but in a way you can think of “Taken” as a better-produced version of the classic-brilliant ‘80s movie “Commando.” Ahhnold’s Col. John Matrix is one of my all-time favorite fatherly killing machines and Liam Neeson’s Bryan Mills is close behind. Get these two together (hide their daughters of course) and they’ll be sure to find Osama Bin Laden before supper and every new terrorist and bad guy born that day. The story is simple from the get-go: Government ex-killing machine and single father loves daughter…Daughter is kidnapped by bad guys…Father tracks her down using amazing skills...Father kills every bad guy in his way to get her back. It’s so simple, yet so effective. And when done well, it can be quite brilliant and a joy to watch. Is joy the right word when you run out of body bags? Why not?! Bryan Mills doesn’t take the names of the bad guys, rather, to paraphrase “Curb Your Enthusiasm”, he tears open their rears, steps inside and spray paints “Bryan Mills Was Here.” I’m quite taken with “Taken” and wish to own it as it’s one of the best and most enjoyable father-knows-best-action-thrillers to come along since “Commando.” -djg

DJG's Weekend Watcher

2009-06-16T14:51:00.000-07:00

Noise * * * *
Directed by: Henry Bean / 2007

Come On Feel the Noise…

Last week while jump starting our five-month-old car and car battery for the first time, my wife and I (and most likely every neighbor on the block, including the wonderful Becca who helped us – thanks!) learned that for some unspoken reason, the Honda Fit Sport likes to HONK obnoxiously loud when having jumper cables applied to it. Who would have thought? And did I mention it was just after 7 in the morning? I’ve never liked making loud noises (well, at least in public) and I’m positive that we gave an early awakening assault to most sleepy heads. I felt awful about it, but I must say that I feel granted at least one such episode in comparison to the dozens that are assaulted on my ears daily as I live and work in mid-town Kansas City, MO. I can 100% relate to Henry Bean’s wonderful movie “Noise” that showcases Tim Robbins at his manic-comedic best fed-up with noise that he eventually joins the cause in order to get his point across in a court of law. I sleep restlessly at night to loud drunk girl neighbor, have my ears blown walking to work by explosive hot rod engines and sit in an office cubicle near a busy intersection that every emergency vehicle siren passes and screeches through and every other car rattling the office windows with the worst and most deafening music imaginable. I have to listen and complain about noise every day, but it’s a real treat to WATCH a movie like “Noise” with the stereo surround sound thumping!

The International * * *
Directed by: Tom Tykwer / 2009

In a Court of Flaw…

A great deal of care and attention seems to have been given to making “The International.” However, I wish that I had more care to want to give it my own attention, even after watching it one and a half times and some scenes three times. This political thriller of bank fraud and weapon dealing globe trots more than Harlem’s basketball team, visiting more locations in the first 20 minutes than I will my entire life. Interpol and F.B.I mainstays are represented by Clive Owens and Naomi Watts, even though I have no idea what they are constantly talking about and where they seem to be constantly going. And if my job carried this amount of stress and danger, I would have quit years ago. Is it really worth it? Secondary characters are introduced and re-introduced and are given ample time for me to get to know, but I still haven’t figured out who they are or their roles in the game. Well, except for one or two but even still they come and go and I’m left with wanting more from them as individuals than another introduction of yet another pair of political cat and mouse. Who is good. Who is bad? Am I supposed to be confused? Stylistically, “The International” is photographed well and at times sits somewhere between Alfred Hitchcock making a movie with Michael Mann. Though, their films are far more enjoyable for me to sit with and I can tend to follow them better. By far the best scene is an impressive shootout at the Guggenheim Museum. It’s certainly not the greatest action sequence ever made, but it is filmed exceptionally well and effective for such an unusual space. Just the idea of a shootout in a museum is awesome to me, especially in one of the world’s most famous buildings and with an exhibition that digitally projects mini films within the film. Also, I just love a good shootout and seeing recognizable places riddled with holes. However, I shouldn’t have watched the DVD extras on how it was accomplished as I was a little bummed. Despite its faux face to New York City’s architectural elite, it is quite astonishing how well they pulled it off to look real. Still, the action was too little and too late for me because the movies is so darn 24-7 talkie (and not in a Tarantino way) without telling me anything or helping me move along with the players. Granted, I’m known for not being the best at following fast paced political or heist thrillers with multi-tiers, but quite honestly this one just needs some guidance or a guide book. Political justice is on the mind and motive of Owens’ character, though what he and the viewer gets is that in this world, there is no such thing. Which, most of us have pessimistically figured out long ago. So, how about some storytelling justice?

Soul Men * *
Directed by: Malcolm D. Lee / 2008

Soul Searching…

I was bummed about the early passing of comedian great Bernie Mac. I’m even more bummed that Mac’s last performance is forever sealed in “Soul Men”, a movie that could have had heart had it not lacked so much soul. I'm sure there are many out there who rolled in their seats, but please give me re-runs of “The Bernie Mac Show” any day. PS: Another R.I.P. goes out to Isaac Hayes, who also appeared in "Soul Men."

Snakes on a Plane * * * * ½
Directed by: David R. Ellis / 2006

Still Slithering…

Remember way back in 2006 (even a year or more before), when the internet hype for “Snakes on a Plane” promised more box office cleavage than when the final numbers finally came slithering in? Well, despite everything, the movie is still what it was meant to be. And that is, colossal campy fun at high altidudes! Personally, I can’t get enough of this one! -djg

DJG's CINEMADHESIVE

2009-06-10T14:11:00.001-07:00

Gran Torino * * * * *
Directed by: Clint Eastwood / 2008

“The Old Rugged Cross”

I think we’d all like and not like to have Korean War veteran Walt Kowalski living next door. We’d like him there because he would serve as the patriarch of the neighborhood watch. We wouldn’t like him there because he would definitely say what’s on his mind, mumble lines of hate or disgust to our faces and even get a little trigger happy. Clint Eastwood nails the crotchety old man bit, mixed with some classic Eastwood performances to perfection and delivers on all cylinders in what I think is his best film study since “Unforgiven”. I’m kicking myself for not seeing this one in a crowded theater. I would have loved to sit in uncomfortable snickers during the first half hour, confused if I was watching a comedy, and then turn to tears from both laughter and heart with my fellow Wally Watchers. Hallelujah, this movie is amazing (g)race! How can so much love, faith, joy and redemption come out of a centerpiece of hate with a buried heart like Walt Kowalski? Watch “Gran Torino” and be floored at the outcome and the wealth of ideas to chew on in the aftermath. Creators of “Crash”, THIS is how you make a meaningful and moving movie about race and commentary on the state of the nation and the changing of the guard! It’s so simple and goes so much further and I'm perplexed at the lack of Academy Award support for this one. This is how you make a movie that is relevant and going to stick around and better with age, just like its mainstay in front of and behind the camera. Clint Eastwood claims that Walt Kowalski will be his final screen character as an actor. I hope he’s wrong, though I can’t think of a better and more bitter-sweet way for him to bow out of acting. Let’s just hope he continues this astonishing directing power and pace well into his 80s and 90s because his 60s and 70s have produced some of his finest work. Actually, I think that Clint Eastwood has morphed into a chunk of solid, long-lasting Oak. I look forward to many great years to come living next door via his wonderful movies. -djg

DJG's Weekend Watcher

2009-06-10T08:31:00.000-07:00

I Now Pronounce You Chuck & Larry * * * ½
Directed by: Dennis Dugan / 2007

I was thoroughly in awe of Dennis Dugan and Adam Sandler’s work on “You Don’t Mess with the Zohan.” What a creatively fresh and obtuse comedy. Although, “I Now Pronounce You Chuck & Larry” shares an equally impressive and exhaustive title, it isn’t equal in the comedy caliber department. Then again, it is a completely separate kind of comedy and still it had me hook ‘n’ laddered the entire time. When and where “Chuck & Larry” falls very low, is also when it picks itself up to surprisingly warm-hearted-heights. Perhaps some of that warmth in writing can be credited to the help of expert Alexander Payne. And with the clever comedy of “Zohan” in mind, writing dots can be connected to the of-the-moment comedy king Judd Apatow. I think it helps to have great writers on boards, but director Dennis Dugan is handling this material so well and Sandler has really been shining to his acting strengths since 2002’s brilliant “Punch-Drunk Love”. Throw in some Kevin James as “Larry” and his screen presence compliments Sandler’s “Chuck” incredibly well and oddly believable as firefighters pretending to be gay in order to collect health benefits. In fact, there were times I forgot the premise and was completely convinced they were in fact gay. Despite how bottom-rung-blah others might think, I know I’m having a ball and look forward to more.

JCVD * * * *
Directed by: Mabrouk El Mechri / 2008

There is an incredible moving movie moment in “JCVD” where the action stops and Jean-Claude Van Damme is elevated above the sound stage and lighting to talk directly to the viewer. Some might find it gimmicky, but I absolutely love how connected and close you get to the man, a man who doesn’t seem to stray far from his own actual self. My second time with “JCVD” was even better and I wouldn’t mind spending even more with the Muscle from Brussels as he plays himself with a shot at redemption on and off the movie set. “JCVD” is a winner.

Aguirre: The Wrath of God * * * * *
Directed by: Werner Herzog / 1972

Rivers and bodies of water have found a steady storytelling device in movies and music of popular culture. The contents of the current can be a metaphorical mystery and a baptism for both Heaven and Hell. Werner Herzog’s insanely incredible “Aguirre: The Wrath of God” flows down the river of darkness at full paddle and forces you to find your nearest life vest. This is pure madness on a scale of film making (how AND why did they do that!?!) as well on its study of man’s dark intent. And good ol’ Klaus Kinski is madness incarnate no matter his placement in a Herzog film. What a striking face he carried! In particular, the final shot of “Aguirre” on a floating grave yard raft down a river with a bunch of monkeys for first mates. It is truly one of the most mesmerizing scenes in movie history. In “Aguirre…”, I now see some connection to that of Francis Ford Coppola to follow his movie making madness at the end of the 1970s at full throttle down the winding serpent to find Colonel Kurtz in “Apocalypse Now.” Both films are mad masterpieces and both follow the river deep into the jungled heart of man’s darkness.

The Boy Who Could Fly * * * *
Directed by: Nick Castle / 1986

On the last day of school in the fourth grade we watched a movie called “The Boy Who Could Fly.” I hadn’t heard of the movie until that day and I haven’t forgotten it since. Well, actually as it turns out I had forgotten about the entire movie, with the exception of a very young Fred Savage’s obsession with war, even tending to funerals for his fallen G.I. Joe comrades in battle. These were images that rang a bell as I played war 24-7 in the creek in front of my house up until it was time to leave for college. I tried to watch the movie a second time back in 2004 or 2005, but failed to reconnect with it and ended up falling asleep within the first half hour. How can one “reconnect” within the first half hour, I don’t know, but I declared such a thing. I just shouldn’t watch movies when I’m tired. But, that didn’t keep my fourth grade Fred Savage visions from being afloat. As it turns out, my official second review (a couple days ago) has me wondering how in the world I had remembered so much about Fred Savage’s role in the film, when his scenes barely envelope a time of seven minutes, if that. How did I not remember the other hour and thirty-some minutes? How did I not remember until a couple days ago that there was a boy who could fly, something that only ‘80s high school fantasy films could pull off without full explanation? Actually, I understand the film much more as a man-child, the way I think it’s meant to be understood, even the part where Fred Savage’s character runs out into a hard rain to unearth his fallen soldiers. It’s a short scene that has been buried and extended so beloved in my mind since the fourth grade and forever more.

Watcher in the Woods * * * ½
Directed by: John Hough & Vincent McEveety / 1980

I barely remembered this Disney horror-suspense film starring a Bette Davies (and barely remember Disney producing genuine horror-suspense films), when my family started renting VHS tapes and VCR consoles in the mid-1980s. Remember when people used to rent home video watching equipment!? Apparently “Watcher in the Woods” has developed into somewhat of a cult classic and I can see why. I can also see its roots in the more modern subtle suspense tales, which are few and far between these days and more should take note. Though, it does seems like a story M. Night Shyamalan could easily adapt and get back in shape with. I’m not big into re-makes, especially when originals like “Watcher in the Woods” are so good and grounded, but I think Shyamalan could really re-make something of it and himself.

Panic Room * * * *
Directed by: David Fincher / 2002

Number One: Why in the heck does a mother and daughter need a million dollar, four story apartment? Well, if such a space didn’t exist on screen, then I suppose I would have gotten more dishes washed the other night as “Panic Room” would have only been about an hour. Number Two: Dreadfully dreadlocked Jared Leto’s thief has got to be the most over-acted character in recent memory. I couldn’t wait for his brains to be spilled on the kitchen floor. OK, I’ll admit that I’m harsh, but it’s all in movie fun. And “Panic Room” is director David Fincher at his flashiest, yet light years ahead of the bad-bad (and not bad in a good way) “Alien 3.” After the dreadful first layer of icing on the ruin of that celebrated sci-fi franchise (oh gosh, the fourth one was even worse!), Fincher has proven to me time and time again that he will always be cranking out the watchable, beautiful hits for years to come (uh, “The Game”, “Seven”, “Fight Club”, “Zodiac”…anyone, anyone?). I think people like to pick on Fincher (case in point: “The Curious Case of Benjamin Button”!), and“Panic Room” is no exception to the rules of his genius film making game. Though, I’m still wondering why a mother and daughter needed such a big place, and I think they wonder too by the movie’s end. So does the bullet that took Jared Leto’s character's brains.

Up * * * * *
Directed by: Pete Docter & Bob Peterson / 2009

I'm very partial to the first half of "Wall-e", as the introduction of the humans ruined the rest for me, as they do in real life too, but as a whole "Up" just might be Pixar's best since the original "Toy Story". But, oh my, how I also love this one…and that one…and this one…and that one over there...and in particular anything that Brad Bird touches. Hmmmm, do you think Pixar ever gets bored with being soooo darn creatively clever, cute and constantly cranking out the hits!? “Up” is certified gold. I can't wait to own "Up" and hopefully grow old with it into the Golden Years. Oh, and "Partly Cloudy" is their best short yet! It is pure brilliance that needs to be extended! My only major complaint: I was bummed that the "Toy Story 3" trailer was only plugged for the 3D paying ticketers! Poor Move, Pixar! Ah well, you are forgiven and I saved a few bucks so I can see you latest wet eye’d warmth and wonder again. So far, “Up” is the best picture of 2009. -djg

DJG / Enjoyed or Enjoying

2009-06-04T07:53:00.000-07:00

Music video for M. Ward's cover of Buddy Holly's "Rave On" * * * * *
Directed by: Mike Please / 2009

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Ablutions: Notes on a Novel * * * *
Author: Patrick deWitt / 2009

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The Red Balloon * * * * *
Directed by: Albert Lamorisse / 1956

This fantastic short film inspired a recent fan-made video for the Grizzly Bear song "Two Weeks", as well as Elliott Smith's "Son of Sam" video.

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Riding the Rails * * * * 1/2
Directed by: Lexy Lovell & Michael Uys / 1997

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The English Patient * * * *
Directed by: Anthony Minghella / 1996

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Falling Down * * * *
Directed by: Joel Schumacher / 1993

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The Black Cauldron * * * *
Directed by: Ted Berman & Richard Rich / 1985

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No Direction Home * * * * *
Directed by: Martin Scorsese / 2005

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Bob Dylan: The Essential Interviews * * * * *
Edited by: Jonathan Cott / 2006

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2001: A Space Odyssey * * * * *
Directed by: Stanley Kubrick / 1968

DJG / One Gold Film - One Groan Film

2009-06-01T11:41:00.000-07:00

Doubt * * * * *
Directed by: John Patrick Shanley / 2008

“The dragon is hungry.”

In grade school I learned to differentiate the words “principal” and “principle” by the “pal”. As in, “The Principal of the school is my pal.” Still, the principal at my school, though she was very nice, intimidated me. Though, my personal history shows that most anyone in position of authority intimidates me slightly. Now, I never went to Catholic school but nuns in general have always carried an air of intimidation. Though, nothing in comparison to what Meryl Streep creates in the monster as head principal nun trying her best to get to the principles at hand with the head pastor (played by Philip Seymour Hoffman), even if she must dig holes for everyone to lay (or lie) within, in last year’s fantastic “Doubt.”

I had my errrr…doubts?…upon heading up to the theater to see “Doubt”. The trailer showed me all I needed to see and my early perceptions were heavy-handed with top-rung-top-lung acting from Streep, Hoffman, Amy Adams and Viola Davis. Plus, I wasn’t really in the mood for another tale of religious scandal and race, of-the-moment topics that seem to be either over-killed or skimmed-over at the theater. It turns out that I needed to let the awards season simmer and enter the film six months later with nothing more than a Sunday afternoon of no expectations. I was thoroughly surprised and thoroughly engaged by “Doubt”, even as it continues to chew on my insides 24 hours later. This movie is certified GOLD.

I doubt I need to explain much about “Doubt” and quite honestly I’d rather allow new viewers to enter without expectations. However, I will say that “Doubt” is one of the finer written, directed, photographed and played films of last year. And more than any, it will give you everything without giving anything completely away. Rather, you will leave looking close at the pieces from all matters and sides of principle. –djg

Eagle vs. Shark * *
Directed by: Taika Waititi / 2007

Just say NO to New Zealand’s “Napoleon Dynamite”...

2004’s “Napoleon Dynamite” was quite the gut-buster for me. I’m not bitter by how far the film stretched into the vernacular (even though I’m still sick of the quotes five years later!) and I’m very happy for its success, but for the most part I need a huge break from seeing it again. Perhaps I can dig farther back and say that without Wes Anderson’s great and original “Rushmore”, though definitely on the higher movie tier, there might not be the “Napoleon Dynamite” we came to know. Add to the mix many-many-many-mimicry-quirky-indie-arty comedies (“Garden State”, “Little Miss Sunshine”, “Juno”, every new Wes Anderson film, even the forthcoming “Away We Go”) of the past 5+ years that share tricked-out similarities and I’m starting to “get” them as the hand-scrawled predictable promotional materials drip off the press and the trailers blah me to their eccentrically* populated cores. Though, I liked the aforementioned samey-so-so films… especially anything Wes Anderson cranks out even though he is wearing himself a little too thin…simply put, “Eagle vs. Shark” is a total GROAN. And I think I need an even longer break before I watch “Napoleon Dynamite” again. Despite my bickers, and however sickly so, I am inspired to revisit Todd Solondz’s insanely original and at times repulsive work. However, that is another movie ballpark. -djg

*Coincidentally enough, Merriam-Webster Dictionary defines ECCENTRICALLY as “a: deviating from an established or usual pattern or style b: deviating from conventional or accepted usage or conduct especially in odd or whimsical ways ”.

Herzog's "Bad Lieutenant"!

2009-05-28T10:46:00.000-07:00

The trailer for Werner Herzog's Bad Lieutenant: Port of Call New Orleans starring Nicholas Cage! Yes! I haven't seen the original "Bad Lieutenant", and apparently Herzog hasn't either and I like that fact. It looks out of place for Herzog, which isn't a bad thing at all in his hands! I love that Herzog isn't afraid to try something new. I think it's gonna be a great ride and a unique follow-up to last year's Oscar nominated "Encounters at the End of the World." -djg

PS: Recently Werner Herzog was chosen as one of Time Magazine's "100 Most Influential People"!!! Roger Ebert honors the film legend with a great writing.

DJG's Extended Weekend Watcher

2009-05-26T13:28:00.000-07:00

Role Models * * * 1/2
Directed by: David Wain / 2008

...Energy drink sealed with a KISS!!!

You Don't Mess With the Zohan * * * * 1/2
Directed by: Dennis Dugan / 2008

...Terrorism, Hairstyling & Disco!

The Beach * * * *
Directed by: Danny Boyle / 2000

...Almost paradise.

Jules and Jim * * * *
Directed by: Francois Truffaut / 1962

...Poetic French New Wave 3-Way

DJG's 2009 Memorial Military Movies

2009-05-26T13:20:00.000-07:00

The Steel Helmet * * * * *
Directed by: Samuel Fuller / 1951

Paths of Glory * * * * 1/2
Directed by: Stanley Kubrick / 1957

Full Metal Jacket * * * * *
Directed by: Stanley Kubrick / 1987

DJG / Fanboys

2009-05-20T08:28:00.000-07:00

Fanboys * * * ½
Directed by: Kyle Newman / 2009

What “Fanboys” lacks in originality and plot, it makes up for in heart. We’ve all seen a road movie that follows the road movie formula before. You know the like: bad directions and detours, car trouble, wacky characters, ridiculous scenarios, crude humor, getting chased or beat-up, self-discovery, best friends bickering and breaking apart and then reuniting for the better (among others). Very few road movies really “work” for me and I’ve rolled my eyes at several in recent months, but “Fanboys” is a treat as it hits my “Star Wars” sweet spot and tosses some coins in the coming of age fountain. It trades in Harold and Kumar’s White Castle munchies search for that of George Lucas’s “Star Wars Episode 1: The Phantom Menace”. Set way back in the good ol’ days of 1998 (has it REALLY been eleven years?!), a group of way-more-devoted-than-thou fanatics in their 20s decide to engage their 5th grade pact of making a cross-country trek (ha, trek…see it and you’ll get my joke) from Ohio to Skywalker Ranch in California. Their mission: to steal an early print of “The Phanton Menace”, the long-awaited first prequel to the original “Star Wars” franchise that molded their childhood. More important, one of them is dying from terminal cancer and his friends wish to give him one heck of a send-off and a chance to see the film months in advance. "Fanboys" is filled with the aforementioned road trip menu, though it's highly entertaining and was a fine tribute to "Star Wars", most importantly it's fans and made me wish I could still stay up all night to marathon the original trilogy. The film features delightful cameos and even George Lucas’s approval and blessing to use original "Star Wars" sound effects! When the fanboys (and girl) finally get to see what they’ve waited years for, the movie ends in a question: “What if the movie sucks?” Well, those of us who waited patiently for our midnight screening of “The Phantom Menace” know the answer, and just like with “Fanboys” the movie might not be the best, but is still very sweet from the journey. –djg

*Side Note:
I am reminded of another recent “Star Wars” fan related movie originally titled “5-25-77” but, now simplified to “’77”. Patrick Read Johnson’s film based on his own life and love of “Star Wars” was completed in 2007, but has yet to find proper distribution or something legal or financial is hanging it up. It’s not even a straight to DVD release. I really want to see it and have been curious about it for several years now. It’s stars John Francis Daley (Sam Weir from the beloved “Freaks & Geeks”!) whose life is changed forever on the day “Star Wars” came out on May 25, 1977.

DJG's Movie Morning Monday

2009-05-18T07:45:00.001-07:00

The Man Who Fell to Earth * * * ½
Directed by: Nicolas Roeg / 1976

Out of Control for Major Tom…
At times a bit too indulgent and arty “The Man Who Fell to Earth” is a movie I’m sure has challenged many viewers, even those celebrating in a too-quick-to-call-it cult masterpiece kind of way. Without a doubt interesting, epic and obtuse in its sci-fi realm, I do find it being quite dull even though there is rarely a dull moment. I think it boils down to appreciation more than actually liking it. Personally, I do think this one would have been something to group watch five-to-eight years ago, for its eccentricity, surreal visuals and of course Mr. David Bowie in a very game-on acting debut. In fact, I don’t see this movie working without The (very) Thin White Duke as alien Thomas Jerome Newton on a water retrieval mission to Earth. Maybe the original American cut would suit me better as it shortens his visit by twenty minutes and perhaps both Bowie and Rip Torn (even the ladies) keep their trousers on longer and the film's departure would get to me sooner. Of course a remake of “The Man Who Fell to Earth” is slated for release in 2009, but more than likely I’ll just stick with the original even if I don’t really plan on revisiting it. -djg

DJG's CINEMADHESIVE

2009-05-14T08:49:00.001-07:00

Thunderbolt and Lightfoot * * * * *
Directed by: Michael Cimino / 1974

The name might throw some people off into the "Cowboys and Indians" department. So might trying to label it into a specific genre. It’s an action movie…no wait, it’s a buddy movie…no wait, it’s a road movie…no wait, it’s a muscle car movie…no wait, it’s an outrageous comedy…no wait, it’s a gangster movie… no wait, there is a giant military gun…no wait, it’s a heist movie …no wait, it’s a fantastic movie and it’s a shame that filmmaker Michael Cimino has all but been banished from Hollywood since “Heaven’s Gate”! Cimino is under appreciated (well, except for “The Deer Hunter”, which is my least favorite of his three I’ve seen) and so is his “Thunderbolt and Lightfoot” as it’s another mini-masterpiece film gem of the 1970s. In all honestly, the movie shouldn’t have worked and I should have been groaning, but I had a grin on my face from start to finish. I was thoroughly engrossed in this wild ride starring a very-very cool Clint Eastwood and a very-very young and pre“ Dude” Jeff Bridges, who was nominated for an Oscar in a supporting role. In many ways I can see it as a touchstone for the Coen Brothers’ obtuse comedies as “Thunderbolt and Lightfoot” is really hard to pin, other than it’s a fantastic movie from a director who should be a major-major player now if Hollywood would come to their senses with “Heaven’s Gate”. -djg

DJG's Movie Morning Monday

2009-05-14T08:47:00.001-07:00

JCVD * * * *
Directed by: Mabrouk El Mechri / 2008

Mickey Rourke made a comeback last year with a fantastic performance hitting close to home in “The Wrestler”. Though, not as great of a performance or movie as Rourke’s, Jean-Claude Van Damme in the movie aptly titled “JCVD”, is a close to home comeback for him in some regard. “The Muscles from Brussels” plays himself, even opening up some real life wounds, in this oddly touching and decently tailored heist movie with unique narrative. But, it’s more than a heist movie. Watching Van Damme in “JCVD” reminded me of the enjoyment I received from his action flicks of my youth. I think I need to revisit them soon and revisit this one some more. -djg

DJG's Weekend Watcher

2009-05-11T14:15:00.000-07:00

Star Trek * * * * *
Directed by: J.J. Abrams / 2009

Modern day father of sci-fi geeks, J.J. Abrams (he’s behind T.V.’s “Lost” and “Fringe” / 2008’s “Cloverfield”) was given the blue prints to a sci-fi kingdom, serving up a plate of classic with a fresh twist. How in the world did Abrams pull off to perfection something like this? His “Star Trek” is a genius work of sci-fi art and the best picture so far of 2009. Admittedly, I grew up a product of “Star Wars” as “Star Trek” always seemed outdated, un-cool and put-me-to-sleep paced. Not until getting married to a fan of the franchise did I see an original series episode in its entirety. Honestly, it still has the ability to put me to sleep, but I really find it quite fascinating and fun. Furthermore, I’m fascinated by the legacy it has impressed on many a mind and other-worldly sci-fi tale. With this explosive and seamless update, Abrams has me wanting to dive deeper into space with the Starship Enterprise. Oh, and I really want George Lucas to hand over the portal to his “Star Wars” galaxy so a fan boy like Abrams can properly restore Episodes 1, 2 and 3.

Pat Garrett & Billy The Kid * * * 1/2
Directed by: Sam Peckinpah / 1973

Though I’m a fan of director Sam Pekinpah, I’ve only see a handful of his work. His skilled balance of dynamics with drama, adventure, slight humor, unusual and memorable dialog, swift location and story shifts and underline graphic violence is masterfully executed, even if it feels at times dangling by a thread. But, that’s where I think Peckinpah found his comfort. Not only can his films get a bit uncomfortable but they always offer something unique and bold-plated to come back to, or to chew on you in the night. To me, that feels the work of a master film maker experimenting instead of meticulously pre-crafting a masterpiece and I like that. Now, I’m not well-versed in the art of Peckinpah’s process and I don’t think he took on projects on the fly, nor shot from the hips. I just see him as a nitty-gritty, likable film outlaw who left quite a mark in the dust. “Pat Garrett & Billy The Kid” isn’t up there with his best, though it has all of the Peckinpah approved pieces that are expressed even more in films like “Bring Me the Head of Alfredo Garcia”, “The Wild Bunch” and “Straw Dogs”. His movies can be hard to watch repeatedly, but it’s those awkward and loose moments, even little snips of words or an obtuse camera angle and a lingering moment, that I feel shine brighter than the whole of most big pictures.

Grandma’s Boy * * *
Directed by: Nicholaus Goossen / 2006

I think Adam Sandler’s production company Happy Madison (I wonder where they got their name?) could only put out a film like “Grandma’s Boy”. However, I don’t aim to cut the movie or its creators so short by saying such a thing. I didn’t love it as much as films like “Smiley Face”, “Office Space”, “Harold & Kumar Go to White Castle” or “Pineapple Express”, but I liked it a lot. In fact, “Grandma’s Boy” is kind of a cheaper combo meal of the aforementioned smart stoner comedies. Not exactly, but kind of…I think they all share similar genes in the cesspool of stupid-awesome. What am I getting at here? I don’t know, I just enjoy some great stupid-awesome comedies and this one is an overlooked decent, little nugget in a sand box of some pretty solid ones in recent years. I can't always relate to their immaturity on their sleeves, but in ways I can and always end up having a coma of good time. Keep 'em coming. -djg

DJG / Three Random Films

2009-05-07T08:50:00.001-07:00

Jack Brooks: Monster Slayer * * * 1/2
Directed by: Jon Knautz / 2008

Following in the footsteps of campy horror classics, I place “Jack Brooks: Monster Slayer” right below a couple of other recent higher budget, big name genre hits in “Bubba Ho-Tep” and “Slither”. The film has just enough development, mayhem, monsters, carnage and a lot of silly fun. Oh, and Robert “Freddy Krueger” Englund in an awesome role!

Help! * * * *
Directed by: Richard Lester / 1965

The Beatles’ follow-up to “A Hard Day’s Night” isn’t nearly as great, but “Help!” is still oddball, fantastic fun and surprisingly fresh to me.

Predator * * * *
Directed by: John McTiernan / 1987

I love me some classic ‘80s action. I love me some “Predator”: Arnold, Carl Weathers, Jesse Ventura, amazing screenplay, bad acting, muscles, blood, fire power, memorable lines, and an unexplained alien monster in the jungle! This past week I heard that filmmaker Robert Rodriguez is finally getting to make a “Predator” movie. Re-watching the original just made me even more excited for another one, and especially at the hands of somebody like Rodriguez who will more than likely jump-start the series. –djg

DJG's Weekend Watcher

2009-05-04T11:04:00.001-07:00

Bram Stoker's Dracula * * * *
Directed by: Francis Ford Coppola / 1992

Francis Ford Coppola’s “Bram Stoker’s Dracula” is flawed…is clumsy…is extremely awkward at times…is bloated…obsessively wears style on its sleeve…is almost entirely poorly acted…and I absolutely love it and appreciate it greatly! For those interested in a cheap Collector's Edition DVD, I found my two-discer recently at Target for only $5!

X-Men Origins: Wolverine * * * *
Directed by: Gavin Hood / 2009

I have a new favorite “X-Men” movie! I enjoyed the triple-pack of the first movies, but was left feeling overwhelmed with the amount of information and characters and not enough time spent in development and proper execution. They did contain plenty of fun and stuff blowing up though, so credit dished out there for sure. “Wolverine” is both awesome and entertaining, packing major punch too. It’s not perfect, but it doesn’t have to be, even when “Wolverine’s” claws got a bit too “Roger Rabbit” at times. Regardless “Wolverine” is the spectacle to open the summer blockbuster season and didn’t skip a beat. I wonder what origin is next?! Honestly, I could easily watch two more movies with Hugh Jackman’s “Wolverine” as the anchor.

Special * * *
Directed by: Hal Haberman & Jeremy Passmore/ 2006

It had some moments, but I think that “Special” had more potential to really be something special, than what was actually presented. The story is there, as a man signs up for a trial drug to boost self-confidence and ends up believing that he has super powers, but the movie came up short for me. However, one of the definite highlights is seeing actor Michael Rapaport in a movie like this. I don’t think he gets enough credit, and/or quality roles, so hopefully this one will open up some special doors for him.

CJ7 * * * * *
Directed by: Stephen Chow / 2008

I took a second spin with Stephen Chow’s wonderfully sweet “CJ7” and still think it’s his best work to date! Chow has been cranking out fantastic work for a while now, and I just really hope his work can get a much wider audience, because this creative genius storyteller deserves it!

Kill Bill Vol. 1 * * * * *
Directed by: Quentin Tarantino / 2003

I’m super stoked to see another official Quentin Tarantino release in the theaters this summer with “Inglourious Basterds”. It’s always a treat to see his work on a big screen, multiple times. “Kill Bill Vol. 1” was an incredible big screen experience for me and even still is on my smaller screen at home. And I saw “Kill Bill Vol. 2” for the first time at the drive-in, so that was even better! I hope to watch “Vol. 2” again this weekend as I slowly work through Tarantino’s catalog again and again before his epic-obtuse WWII film comes out in August. If you’ve yet to be convinced by the man’s talent(s), I feel sorry that you’re missing out on some incredible film flavors and fun! He just can’t make movies fast enough for me though! -djg

DJG / Fantastic "Julie & Julia" Poster

2009-05-04T08:47:00.001-07:00

Check out the trailer...this one looks fantastic. -djg

DJG's CINEMADHESIVE

2009-04-30T14:18:00.000-07:00

CJ7 * * * * *
Directed by: Stephen Chow / 2008

This movie is AWESOME AWESOME AWESOME! I think this is Stephen Chow's best work to date. What a gifted creator and it's almost a crime that it was pretty much overlooked last year and more than likely will be overlooked on DVD. "CJ7" is Chow's "E.T." I want to own this ASAP. I can't recommend this enough! -djg

Excited for Lars von Trier's "Antichrist"

2009-04-28T08:04:00.000-07:00

"Antichrist", the new anticipated film by master Lars von Trier comes out this year. The trailer is fantastic and so are these stills: One. Two. Three. Be careful with that last one...but, wowie-zowie this movie looks all sorts of amazing and almost like a Trier version of David Lynch...maybe. The trailer plays it up in the horror market, but honestly I have no idea what to expect other than it's gonna be good 'n' plenty in the visual and thought department. Would we expect anything less? -djg

DJG's CINEMADHESIVE

2009-04-27T11:25:00.000-07:00

Citizen Kane * * * * *
Directed by: Orson Welles / 1941

There isn’t any need for me to repeat as others have a million times over with the brilliance and mastery of “Citizen Kane”. I’ll simply say that it’s an impressive feat of filmmaking (though maybe I was expecting a little more…blame it on the hype?), one I need to digest for more than three and a half hours, as I rushed to work right after it ended. Right now I’m just pondering if Orson Welles eventually embodied his Charles Foster Kane as he peaked early to world-acclaim by making one of the great, influential films at the age of 24. What did I make at 24!? It took me half that amount of age just to see his movie. It was worth the wait and I’m a little sad in some ways. Not seeing “Citizen Kane” was kind of my own movie watching “Rosebud” (and darn-it whomever film friend jerkily told me the answer to the mystery! Not cool!).

It was a high school history class where I first heard this classic movie mentioned, from my teacher. My young mind simply shrugging it off into the “Old Black & White” movie pile as I had Terminators, Jedi Masters, Col. John Matrix, Bruce Campbell, Ren & Stimpy and Monty Pythons to watch…over and over and over (and I still do). A few years later in a university history class it was said in swift passing after discussing William Randolph Hearst that a “Citizen Kane” viewing and report was worth some extra credit. I could tell by the professor’s blushed enthusiasm that she wanted to switch historical gears and talk cinema for the next three hours. I chewed on the initiative of “awesome easy credit that I don’t really have time for” until the weekend, only to find that more than likely classmates had beaten me to Blockbuster (this was before Netflix). I think I ended up meandering into the Action or Comedy aisle that Friday night and of course a date with a bag of Doritos, cheese dip and Reese’s Pieces. I gained five extra credit points that night, the so-called “Freshman 5”.

The past 8 or 9 years, as my movie window has widened, I’ve had some chances to see “Citizen Kane”. And this time last year I was really interested in finally marking it off the list as I was informed via a PBS documentary on Peanuts creator Charles M. Schulz that he watched the film some 40 times, finding great connection and inspiration from it. Seeing it make the top of the American Film Institute list even furthered my curiosity. I passed purchasing the film cheap on a whim-before-watching a few times, something that I’ve stopped doing the past couple of years, buying before viewing. Well, that is until I was at Costco a few weekends ago and with tax refund money in hand. The sticker said, “$8.00” on the special edition DVDs for several cinema classics. I instantly snatched up a couple that I had on my “Must Purchase” list. Titles included “The Treasure of the Sierra Madre” and “Whatever Happened to Baby Jane.” And then I picked up “Citizen Kane”, thought for a second and put it at the top of my pile, a confident Kane-like Costco citizen.

Last year I said that 2009 would be the year for me to watch “Citizen Kane”. The hype has been building for so long that it was probably for the best that I put off seeing it until now, plus I wanted to devour more film to get ready. This morning I finally hit PLAY and was fully absorbed…and rewarded. I don’t want, rather I NEED, to see this one and over and over and over. I can’t wait. -djg

DJG's CINEMADHESIVE

2009-04-23T14:58:00.000-07:00

The Cats of Mirikitani * * * * *
Directed by: Linda Hattendorf / 2006

He may have been without home, but 80-year-old artist Jimmy Mirikitani wasn’t bothered a bit. He’d been in worse situations. As long as he had some paper and something to draw cats and memories of life in American-ran Japanese internment camp, he was happy. And he was humble and extremely confident, all in one brush stroke. He didn’t ask of much. He didn’t complain about much, other than a deep bitterness towards what “stupid American government” did to him and his family by forcing them to live for years at Tule Lake prison camp and also a reminder of dropping a bomb on his boyhood home of Hiroshima. Other than that Jimmy loved America, and besides he was born here, in Sacramento, California. All bitterness aside, he just wanted to draw and tell his stories and "Make art, not war". Even on September 11, 2001, when every other New Yorker was looking up into the dark shadows of The Twin Towers, Mirikitani was looking down, crouched at his paper held in place by water bottles on a park table, working diligently on another self-proclaimed “masterpiece”. Linda Hattendorf befriended Jimmy months earlier, checking in on the neighborhood artist, hard at work on his paintings. If it wasn’t for her generosity he may have died in the harmful fallout of the ash and dust in the weeks that followed 9-11. Under grace and patience Hattendorf gave Jimmy a corner of her apartment for many months to paint his masterpieces. In that time as caretaker she also helped unveil a piece of his past that put him in the state he was in. And in order to get his life back in order, even well into the twilight years, Jimmy needed to revisit the past further than just in his paintings. “The Cats of Mirikitani” is one of the reasons why we need cinema and reflects on the immediacy of the documentary as pure art. This movie is extremely touching, heartfelt and a fine tribute to not only its subject, it’s unearthing of a true master talent, but also September 11, 2001 and those that lived, suffered and died in the American-ran Japanese internment camps of World War II. I was inspired beyond measure and wonder how many more Jimmy Mirikitanis there are wandering the streets that need our help. See this movie. -djg

DJG / Warming-up to Ramin Bahrani

2009-04-23T09:12:00.000-07:00

Chop Shop * * * *
Directed by: Ramin Bahrani / 2007

The name Ramin Bahrani has been receiving a lot of praise in movie circles the past few years. Roger Ebert even dedicated a whole writing to him recently called “The New Great American Director”. It cites, “After three films, each a master work, he has established himself as a gifted, confident filmmaker with ideas that involve who and where we are at this time.” I’m not so easily convinced. I understand what Ebert is saying yet find myself appreciating what Bahrani is doing, more than actually liking his films. But, I’m starting to warm up. I’ve only seen two out of three and see something special brewing in a similar way David Gordon Green’s first few movies affected me. However, I’m not prompted to re-watch Bahrani’s work over and over, as I am Green’s, at least not quite yet.

“Chop Shop” features a brother and sister (Ale and Isamar) who can’t be much more than 13 and 16. Each has certainly seen, experienced and worked harder in their young years than I in twice the time. These kids are tough and street smart. They can also count money and do math better than me. Neither are they shy. And I believe in them on screen. I believe in them off screen. I refuse to believe that they are actors. On screen I assume they are orphans even though nothing, that I recall, is mentioned of their past or parents. I also assume they are immigrants, or at least their parents immigrated to America at one time. Their dialog/language is unique English to where I needed subtitled just to get it quickly straightened. They live together in a makeshift room in the upstairs of an auto body repair shop they also work at. The shop is housed in a grimy, crowded strip of many likeminded shops in the murky shadows of Shea Stadium (where baseball’s Mets called home until this year) in what seems to be the wastelands of Queens, New York. These are the kind of shops and people that most of us would be scared or at least intimidated to deal business with. A lot of the shops specialize in “shady”, after-hours business, stripping stolen cars for cash (aka: “chop shops”) The shop that Ale works at and Isamar vends food near seems like a legitimate enterprise, whose owner is stern but seemingly fair, putting a lot of trust and faith to give them keys to the shop and a place to live. He seems to pay them decent, as well as teaching skills to the trade. It’s an odd relationship as it seems like a no questions asked kind of thing. And these kids are surprisingly grown-up, ambitious and responsible, though there are flashes of child-like play and naivete, resulting in some of the film’s best moments. We aren’t told Ale and Isamar’s past, yet we’re told their future, or at least their dream. This is to make enough cash ($4,500) in order to purchase a dilapidated vending truck, the key to brighten their lives and a possible path to honest earnings/decent living. But, sometimes money is money, no matter your approach to getting it and always the bonds of blood run thick.

A year ago I became intrigued by Bahrani’s acclaimed “Man Push Cart”, a movie that hinted at some great things, in a “Taxi Driver” sort of way, but ultimately left me wanting more movie. It was a good story, but I was more wowed of the great difficulty the film must have been to make, especially for a first feature. I enjoyed Bahrani’s second feature “Chop Shop” a little more, but again was left a bit stumped and thirsting for more movie. It ended very abrupt to me, yet I can’t think of a better way to end it. Although I was left wanting more, I can’t stop thinking about it and am now thinking about “Man Push Cart” again. And I think that is Bahrani’s intent and strength. He gives just enough to let you chew-on and carry-over what’s on screen to that place where the characters live and breathe in the mind, out of the frame. That is the sign of a great artist at work. Though, here I’m coming back for more of the movie in my mind, and after this rekindling, I’m interested in a second viewing of each. Bahrani’s characters seem to be real people in real situations. And I’m curious at his writing approach and more importantly his relationships and life. Are these people, situations and circumstances he knows or has spent time around, even in simple observation? What makes him tick? On an artistic level, what film voices does he admire? So far his characters I’ve been involved have been immigrant Americans working hard, all-hours, seemingly bottom rung jobs and facing even harsher, complicated hours off the clock. I don’t necessarily relate to them, maybe in a working man way? But, it’s the little things in-between that are shining through to me. Something important that Bahrani is doing is paying attention, which causes me to pay attention, even after the fact. More young directors need to take note, so do audiences. Actually, people in general life need to. I think this is where his voice is really shining and where he has my interest. Paying attention is his “style”. Instead of tricking the audience or letting us fall prey to cliché, over-indulgence, awkward, arty-farty, forced or flashy filmmaking and falsely swelled emotions, he’s opening us up with eyes and soul. Ramin Bahrani is speaking with fluent honesty. It’s a uniquely-familiar de-layering process that he has conjured up and surprisingly fresh and foreign. Evidence in my poor writing…I can’t really explain it. Hmmmmmmm. I have now talked myself into getting to know Bahrani a little better and coming to realize the importance of the work he is showing me. I look forward to watching his third film “Goodbye Solo”. I look forward to watching myself grow with him. -djg

DJG's Movie Morning Monday / I've Loved You So Long * * * *

2009-04-20T11:09:00.001-07:00

DJG's Weekend Watcher

2009-04-20T10:26:00.000-07:00

Firefly * * * * *
Directed by: Joss Whedon / 2002-2003

Like with “Freaks & Geeks”, I get sad every time I begin and end the short-lived television series “Firefly”. Joss Whedon’s brilliant space western was culturally-criminally treated like crap as it didn’t even get one full season. At least it spawned the movie “Serenity”, but fans are still left with so many what-might-have-beens with these lovable and complex characters and their unique space storytelling in a somewhat oddly believable future. See it. See it. See it.

High Fidelity * * * * *
Directed by: Stephen Frears / 2000

Saturday was National Record Store Day and I watched “High Fidelity” for the umpteenth time. It’s in my all-time top 5 films and holds a special spot in-tune with my heart. And like a great song, the movie resonates even more as time passes.

I Love You, Man * * * ½
Directed by: John Hamburg / 2009

My second helping of “I Love You, Man” was even better as I got to share it with the buddy I’ll be playing Best Man to soon. Which is the main subject for this fantastically funny and fresh comedy starring Paul Rudd and Jason Segel. It’s been quite a surprising comedy year so far with this one and “Adventureland.”

Battlestar Galactica: Mini-Series * * * *
Created by: Ronald D. Moore / Directed by: Michael Rymer / 2003

Everybody and their alien have been telling me to watch “Battlestar” for a few years now. We finally got to the 3 hour mini-series that re-started the franchise that began back in the late ‘70s. It’s always exciting yet intimidating to start a new and lengthy television series. I’m honestly not quite sure what makes the mini-series so good, other than it just IS and wrapped with all the familiarities of favorite sci-fi and space whatnots. I now look forward to seeing characters and stories develop and a bunch more stuff gettin’ blown up in space.

Stripes * * ½
Directed by: Ivan Reitman / 1981

I used to clear a room with, “I’ve never seen STRIPES.” Now, I’ll clear a room with, “I think STRIPES is overrated.” I think the idea of, “Let’s send a jerk Bill Murray to the ARMY!” looks great on paper, but for some reason “Stripes” doesn’t translate to the movies for me. My wife and I tend to feel the same way about 95% of the roles that Will Ferrell takes. And I’m very perplexed with “Stripes” as Ivan Reitman is behind the camera of Bill Murray, Harold Ramis (who also wrote), John Candy and other funny men. Is it too dated? I don’t even think it’s that. Perhaps if I’d grown up with it, like everybody else I know, it would mean more to me? I doubt it.

Munich * * * * *
Directed by: Steven Spielberg / 2005

How in the heck did “Crash” win the 2005 Academy Award for Best Picture? Four years later I’m thinking “Crash” who? “Munich” is genius direction and cinematography meets bold storytelling, a story inspired by the aftermath of the 1972 Munich Olympic terrorist attack. Steven Spielberg doesn’t hold back the bold punches in this recent masterpiece that he refers to as “historical fiction”. I find it fascinating and ferocious film genius that I wish to own.

October 16, 2009 Can't Come Soon Enough!

2009-04-16T10:34:00.000-07:00

For the past four years there has been a must-see-for-djg film. Martin Scorsese delivered a uniquely mastered crime movie with "The Departed" in 2006. P.T. Anderson returned in 2007 with "There Will Be Blood", a scorching masterpiece that took forever to come to middle of the mid-west! Last year it was Darren Aronofsky's fantastic "The Wrestler", which I was fortunate to see a couple months in advance for free while vacationing in Dallas, TX! This year, I'm trying really hard not to over-hype / over-excite Spike Jonze's "Where the Wild Things Are", but it's getting harder and harder to wait on films in our media-driven hype machine market. I have a feeling this one might get leaked online very early...and I will not see a movie online in that way, I will not. The amazing trailer came out last month and after a few weeks away from the hype, I'm sucked back in with the discovery of the official website! I think I've mentioned before how I don't like to wish the time away, but I'm really-really (really) excited for October 16 to open this film up. I'm also looking forward to see where Spike Jonze goes from here. This film might seal the deal for him as one of our most gifted film visionaries. And speaking of, I just realized that Quentin Tarantino's deliciously-lookin' "Inglourious Basterds" hits theaters in August (which is honestly just around the corner) so that should ease me until October, not to mention all the summer blockbusters starting to heat things up in the projection booths! -djg

DJG's Movie Morning Monday

2009-04-15T10:45:00.000-07:00

The King of Kings * * * * *
Directed by: Cecil B. DeMille / 1927

Easter-appropriate, “The King of Kings” should be the epic Cecil B. DeMille movie shown on network television this time every year. “The Ten Commandments” gets the spotlight, but it’s DeMille’s silent Christian film that needs to be resurrected to the masses. Okay, I’m trying hard not to pun this thing up, but it’s hard! People, see “The King of Kings”! And no, it’s not related to “The King of Queens” television show…this is a classic, well-crafted movie documenting the last weeks of Jesus! AMEN! -djg

Reel Roots: “The Ten Commandments”, “The Passion of the Christ”, “Jesus Christ Superstar”, “The Passion of Joan of Arc”, “Jesus of Nazareth”, “The Last Temptation of Christ”…

DJG / Criterion Collection + "The Curious Case of Benjamin Button" = !!!!!DVD!!!!!

2009-04-15T07:56:00.001-07:00

I know this is raising a big stink with the film foo-foos out there, but I think "The Curious Case of Benjamin Button" is a great movie and a great release for The Criterion Collection. And for those complaining, looking for some higher reasoning to all of this, I'm sure it's because David Fincher is under a contract with them or something. But, who really cares? It's one heck of a directing feat that Fincher pulled off here! Also, I feel this film will be more respected with age (no pun intended)! Though, I do hope Criterion wises up and has the DVD reasonably priced in stores, otherwise this won't sell in the Targets and the Walmarts of today. I recall "The Life Aquatic with Steve Zissou" being around $20 when Criterion released it a few years back and I'd be up for that because I can't afford their typically $40-$50 priced releases. -djg

DJG's Weekend Watcher

2009-04-14T09:37:00.001-07:00

Bolt * * * ½
Directed by: Chris Williams & Byron Howard /2008

With Pixar taking all the high-end computer animation highlights (and rightfully so), it’s causing a few others, even parent companies, to push themselves more. However cute or clever, they still falter, leaving me wanting Brad Bird to have soul writing and directing on any and every animated feature released today. “Bolt” started strong but fell short for me as it turned into a buddy-road picture that I’ve seen one too many times. I understand it’s animated…and for children…but, as each new wacky character (except for the pigeons and the fat kitty that looked like my Mazzy!) intervened, I fell back sighing instead of laughing. Don’t get me wrong, I did have a good time and found a bit of heart of in it. In the end I give “Bolt” some points as it was cute and better than “Kung Fu Panda”. Though, I’m just really ready for Pixar’s “UP” to come out.

Slumdog Millionaire * * * * ½
Directed by: Danny Boyle / 2008

“Slumdog Millionaire” is Danny Boyle’s best movie. My third time was even better. The Academy Awards has done a great job of selecting Best Picture the past three years, movies that are both artful and a thrill-joy to watch…movies that can be watched many times over. There is rarely a week that goes by inside my movie mind where I’m not thinking about or wanting to watch again “The Departed”, “No Country For Old Men” or “Slumdog Millionaire”. Boy, oh Boyle!

Flags of Our Fathers * * * *
Letters From Iwo Jima * * * * ½
Directed by: Clint Eastwood / 2006

Some directors struggle making a decent war movie, let alone two very powerful ones in one year while in their mid-70s, and not to mention one of those being a foreign language film. Clint Eastwood is putting guys half his age to shame and I think his best work might come in the next 20 years! He’s the Bruce Springsteen of filmmaking and Bruce Springsteen is the Clint Eastwood of songwriting! “Flags of Our Fathers” and “Letters From Iwo Jima” explore often over-looked territories in the war department. From the perspective in and out of the fight, both films explore the roots and ideals of patriotism, freedom, propaganda, heroes, family ties and human spirit. No matter your color, country or creed these things are universal and war is the enemy. -djg

DJG / Timecrimes

2009-04-09T08:56:00.000-07:00

Timecrimes * * * *
Directed by: Nacho Vigalondo / 2007

Spanish language films have seen a major boost, at least from my vantage point, in the past decade. Or, has Spain and Latin America always been cranking out the hits? Add “Timecrimes” to a contemporary list of unique and well-crafted, fresh perspective, genre-bending films like “The Orphanage”, “Volver”, “Pan’s Labyrinth”, “Amores Perros” and “Y Tu Mama Tambien” (among others). “Timecrimes” is a first-rate science fiction thriller that is smart, simple and a tongue twister of time travel. I was on the edge of my seat and had to be as this film is quick on its feet, much more than me if I got caught up in time travel. Especially, if there were three of me and only 30 or 40 seconds apart! See it. See it multiple times. -djg

DJG's Weekend Watcher

2009-04-06T14:23:00.001-07:00

Magnolia * * * * *
Directed by: Paul Thomas Anderson / 1999

Writer-director P.T. Anderson’s epic, weaving tale of relationships and redemption (and that’s only skimming the surface on the chewables) turns 10 this year. And with my nearly-tenth viewing, “Magnolia” is still fresh, progressive and a certified masterpiece and will only continue to be. Looking back at 1999, it’s almost a crime that “Magnolia” and its director were left out of Oscar’s Best Picture and Best Director races. It should have nabbed what “American Beauty” has since not been able to live up to. It also has one of the greatest endings EVER! If you haven’t partaken in the brilliance of P.T. Anderson, maybe you should start with this contemporary classic. Though, every film that he brings to the table is and you should see them all: “Hard Eight”, “Boogie Nights”, “Magnolia”, “Punch-Drunk Love” and “There Will Be Blood”.

What's Eating Gilbert Grape * * * * 1/2
Directed by: Lasse Hallstrom / 1993

I have family living outside of Manor, TX, the town “What’s Eating Gilbert Grape” was filmed at. You know the water tower that young Leonardo DiCaprio kept climbing, caddy-corner from the grocery store that young Johnny Depp worked at? Last November I visited both of these landmarks. I even saw the initials in the cement in front of the store (still there), belonging to Depp. Though, the ice cream store is long since gone, I think it was an extra in the film. I’ve seen “What’s Eating Gilbert Grape” a handful of times and it has somehow retained its freshness, even 16 years later, in an independent film world thick in trite, cliché and samey-so-so quirky stories and characters. I think it’s a classic. It’s especially refreshing to know, and see in the flesh, that it has REAL small town charm. Despite being “different”, it feels grounded in reality and heart and I like that. If you’ve seen one (small town and movie) you really haven’t seen them all.

Adventureland * * * *
Directed by: Greg Mottola / 2009

Like corndogs gone bad “Adventureland” could leave some viewers with a bad taste in their mouth. The darker angles of adolescent sex, drugs and rock ‘n’ roll seems to be exhausted at the movie house of late, but I found myself surprised by this one. Interestingly enough, all marketing geared me for a gut-bust ala “Superbad” or T.V.’s “Undeclared and “Arrested Development”, same director at least, but the comedy was subtle and sprinkled just right with some sweet. Despite its subject matter “Adventureland” has a lot more brewing underneath the angst-ridden times of self-discovery and sh*t jobs of summer. The early 20s can be brutal and sweet, both wonderfully on display in this movie. Even though they are living and breathing life in the moment, it’s oddly reflected in almost open source nostalgia to the role players, I think so at least. I also think that Greg Mottola directed this film effectively well. There were times I found myself completely hypnotized and quite honestly I could have watched this movie until summer’s end. There were also times I found myself reaching back to days of unglamorous employment and all the amenities it actually has to offer, youth or without youth. What is a job anyway? As the film has left us wanting more, and in a good way, my wife and I both feel there is even more depth that could be aided in exploration by the result of an “Adventureland” television series, with the same actors/characters and production crew, of course. We see it in a very “Freaks & Geeks” light, and not just because Martin Starr shines so bright in it. I doubt it happens at all, but we can be dreamers, right? And music supervisor, I could feel your own goose bumps congratulations with every Lou Reed, Big Star, Husker Du, Bowie, Cure and Replacement song (among others) perfectly backing this story of tough love and good times among co-workers at an amusement park in the summer of ’87. Great job…GREAT JOB!!!

A Shot in the Dark * * * * ½
Directed by: Blake Edwards / 1964

This second installment in the original Pink Panther live-action film series is a fresh comedy caper masterpiece. Beautifully shot and orchestrated (just watch the Nudist Colony scene!), it’s an underrated joyful gem of cinema from legendary filmmaker Blake Edwards. And who could play better a dim-witted, dumb-lucked Inspector Jacques Clouseau than comedic genius Peter Sellers? I love you Steve Martin, but you’re nooooooo substitute for Peter Sellers. Comedy actors PLEASE take note.

Death Race * * * *
Directed by: Paul W.S. Anderson / 2008

NASCAR needs an upgrade. I’ve found it in “Death Race”, Paul W.S. Anderson’s (no, not Paul Thomas Anderson!) pimp-my-ride version of Roger Corman’s 1975 cult-classic “Death Race 2000”, a film I’ve yet to check off the list. So what, “Death Race” is AWESOME and well-crafted in its own right and Corman was all for it as he produced. And of course Jason Statham (ol’ Stat Ham!) is kicking butt in it. If you’re on the hunt from some pure escapism to the max, in an “Escape From New York” meets “Mad Max” (and some “Running Man”) fashion, then you NEED to see the brilliance of “Death Race”. In fact, if I were a betting man, I’d wager you may someday see it come to a reality near you.

Bottle Shock * * * *
Directed by: Randall Miller / 2008

This bio picture about the legendary 1976 Judgment of Paris wine blind tasting competition that had California’s Napa Valley shocking and turning upside-down the wine world really surprised me. I’m no wine pro, but “Bottle Shock” is a really, really lovely film flavor and made me proud that a bunch of self-serving hicks in California changed the way the world crushes grapes. Centering the rocky and bitter relationship of father and son winemakers Jim and Bo Barrett and the humorous travels and curiosities of British wine connoisseur Steven Spurrier to their Chateau Montelena, “Bottle Shock” is very sweet, delicate and fresh. -djg

the "best" for me...

2009-04-03T09:52:00.000-07:00

Amazing homemade "Star Wars" costumes...anyone...anyone!? These are truly inspiring, nostalgic and tickle my day beyond any galaxy. I want to go home and make one while I watch the trilogy for the umpteenth time! -djg

DJG's Weekend Watcher

2009-03-30T08:23:00.000-07:00

Happy-Go-Lucky * * ½
Directed by: Mike Leigh / 2008

I don’t get why the critics ga-ga’d and top-ten’d and I feel I’m missing the boat with “Happy-Go-Lucky”. Or, maybe my movie hopes were too high and especially after Mike Leigh’s masterpiece from a couple of years ago, “Vera Drake”? Mike, what is the point of your new movie? And Sally Hawkins, you did a great job of making me like and dislike you with every other scene. It was like you were on laughing gas, though my laughing response turned to annoyance after fifteen minutes. I respect you, but am still perplexed at your Golden Globe win for this one. I tend to dislike it when people say, “I’m not sure what I was supposed to get out of that movie.”, but I am now one of those people.

Hairspray * * * *
Directed by: Adam Shankman / 2007

I haven’t seen the original 1988 movie “Hairspray”, but I’ve seen the Broadway production and now this new adaptation. I’m sold on it and can’t recommend this musical enough, based on the original idea from John Waters. What a treat and fun time at the movies…and backed with a message. There should be an Academy Award for Ensemble Cast because this one is a joy to watch. Also, an Oscar for Best Scene because you can’t paint a more brilliant one than John Travolta in drag dancing in the moonlight with Christopher Walken.

Twilight *
Directed by: Catherine Hardwicke / 2008

Catherine Hardwicke, your "Twilight" movie STINKS. If I were writer Stephenie Meyers, I would have been P-O'd (but not once I cashed the checks). However, at least you’ve made something more watchable and more somewhat enjoyable than Richard Kelly’s “Southland Tales”. A movie which I judge all form of low-grade-BAD to since 2008. I’m so glad I’m not interested in reading this vampire series because I’d have your terrible movie stuck in my head the entire time. Yikes. Pre-Teens, Teens and Housewives, go grab your Edward Brood-Up Doll at Hot Topic and keep this movie adaptation to yourselves.

The Transporter * *
Directed by: Corey Yuen / 2002

Why even bother to slow things down and have a plot in a movie like this!? I wanted more stupid-awesome in this opening film that put the muscle on Jason Statham’s stupid-awesome movie career as the new Steven Seagal. Fans who think that the series went downhill with the sequels will probably transport me to a prime butt-kicking at Action Island once they read that I actually like the third one better than the first. -djg

DJG / Covering Three Classics Quickly

2009-03-26T09:54:00.000-07:00

Modern Times * * * *
Directed by: Charlie Chaplin / 1936

Charlie Chaplin pretty much does it all, inside and out of the frame in this 1936 classic. He writes, directs, produces and puts the music to his silent treatment of “Little Tramp” commentary on the times that were a’changin’ during the Great Depression. It’s a movie that has influenced many a picture since and in 1989 was given a “Culturally Significant” stamp of protection by the Library of Congress. If you love film and fun, then you need to bump this up on the list. There’s a little bit of Chaplin in all of us.

Amarcord * * *
Directed by: Federico Fellini / 1973

I’ve only seen two Federico Fellini films (“8 ½” and “Amarcord”) and have come away from both quite unsure. Fellini is widely considered by many to be one of the greatest film makers of all-time and I recognize him as a talent. That’s a pretty tall order (all-time greatest), so maybe either I’m putting too much expectation on his work or Fellini just isn’t for me? “Amarcord” appears to be a very personal film and possible exaggeration on Fellini’s youth and there were certain things that I really enjoyed and struck either a visual or internal accord with, but overall “Amarcord” just didn’t do it for me. Though, it won’t keep me from watching “La Dolce Vita”, which from what I understand might make the third time a charm for me and Fellini.

Repulsion * * * * ½
Directed by: Roman Polanski / 1965

Roman Polanski’s “Repulsion” is a great engineering film feat of psychological suspense and paranoia. I haven’t seen all of his work, but this might be one of his best and his best version of Hitchcock. Yet, it’s completely his own and quite inventive in the use of unique character development/deterioration, camera work and sound. "Repulsion" is a mini-masterpiece.

-djg

"Where the Wild Things Are"

2009-03-24T12:27:00.001-07:00

Director Spike Jonze is bringing Maurice Sendak's "Where the Wild Things Are" to the big screen and I couldn't be more tickled. The project has been through a lot of red tape in recent years, but it will finally be in theaters this fall/winter. This is my most anticipated film of 2009! Check out these new images! It looks like Spike Jonze is going to nail it! -djg (ps: you'll have to sit through an advertisement, but it's worth it.)

DJG / Rachel Getting Married

2009-03-24T11:54:00.000-07:00

Rachel Getting Married * * * *
Directed by: Jonathan Demme / 2008

Rachel’s marriage is like none that I’ve been too, yet it feels like I really was there, complete with wedding awkwardness and exhaustion. What could have been disastrous and trite with “Rachel Getting Married” is turned into another unexpected gem from the expert hands of director Jonathan Demme (“Philadelphia”, “The Silence of the Lambs”), who has carved one of the more unique careers in Hollywood. And I’m not certain if this wasn’t the hardest movie for him to make and more than ever I’m curious as to where film will take him. “Rachel Getting Married” feels like the best movie that Woody Allen hasn’t made in the past decade or so, but yet it’s a movie that I don’t feel he could make. My congratulations to the ensemble cast, especially to Anne Hathaway for pulling off such an acting achievement, I look forward to watching her bring more characters to life, ones I truly care about. I didn’t come away with the same scale of high-praise like a lot of critics last year, but I came away with an odd high of being pleasantly surprised and feeling good about where film can take me, even if I have to spend that time at a wedding.

-djg

DJG's Weekend Watcher

2009-03-24T10:35:00.000-07:00

Transporter 3 * *
Directed by: Olivier Megaton / 2008

If you’re looking for a modern and smart action hero trilogy look for Jason Bourne (“The Bourne Identity”). If you’re shooting to dumb-down your search, then hire Frank Martin. Having not seen more than a handful of butt kicking scenes from “The Transporter” and hearing how awful “Transporter 2” is, I doubt I really missed much by starting off with “Transporter 3”. This is stupid- awesome-action and I knew what I was getting into. Though, extra heavy on the stupid! And of course there is always a broken-English speaking babe with the worst acting ever. Frank Martin is no John McClane (“Die Hard”) and he’s no John Rambo (uh…“Rambo”) but he can kick some butt and you can bet he’ll more than likely be back in a fourth installment, and if not, look no further than every other character that actor Jason Statham portrays.

High School Musical 3: Senior Year * * * *
Directed by: Kenny Ortega / 2008

It didn’t affect me like the original “High School Musical”, but “Senior Year” is my favorite of the trilogy. It’s a joy to watch the maturing take place in acting and production, a fine parallel to that of high school and coming of age. A real man admits he not only watches these movies, but also of his own submission and enjoyment. I can’t help but want some “College Years” now (which, I understand another movie is in the script department)! Surely they can pull off a fourth, as this cast and crew is insanely talented and have tons of heart. I’m also curious as to how far these kids will spring board from Disney. My guess is pretty far.

Nick & Norah's Infinite Play List * * ½
Directed by: Peter Sollett / 2008

“Pitchforkmedia.com: The Movie” might be a better title for this one, a film that ran out of gas way too early for my meager adolescent indie rocker tank, just like most new music does these days. Laughs were cheap and I don’t wish to hang with irresponsible teens and woo-girl drunks in real life, and definitely not in this movie. Some movies of similar slacker sensibilities pull it off well, inviting me in, but this one didn’t. I was left out in the uncool nightclub cold. There is no doubt that Michael Cera and Kat Dennings have silver screen headlight chemistry (with and without each other) that could make them even more bankable in years to come. There is something real to them that I appreciate watching, here and elsewhere and I look forward to watching them grow up in the movies. I finally got into the film when the hip-wading soundtrack finally took a breather, and right before Nick and Norah started making their, uh, own music. Though, even then I was rubbed the wrong way in its oh-so-too-lates-to-win-me-over. And gosh, I would despise watching this movie with somebody who loves to announce to the world that they have “awesome” music taste. The kids were on an all-night search through Manhattan to find themselves as well as an obscure hipster band called Where’s Fluffy? Uh, who cares? What about parents? In a city that never sleeps, I bet their parents couldn’t either, knowing that their babies were running the streets until daylight. Entertaining at times, especially Cera and Dennings, but I don’t wish to play this one again.

Milk * * * * *
Directed by: Gus Van Sant / 2008

I didn’t want “MILK” to run out. Not only because I knew that Harvey Milk’s assassination was impending, but because “MILK” was so absorbing in the master film making and acting unfolding before my eyes and mind. I don’t think the purpose was to have complete fun while watching this, but Gus Van Sant waves his film making wand to create his best movie, and possibly the best picture of 2008. It’s a treat and a fine tribute to a great life. I never thought Sean Penn would morph into this roll, and if you still have doubts about the man’s many great roles and talent look no further than his Harvey Milk. It’s astounding and Penn has definitely cemented himself as his generation’s finest actor with a second Oscar win. I’m ashamed to say that I didn’t know who Harvey Milk was before this movie came out, but his name should be honored up there with Dr. Martin Luther King, Jr. and others. No matter your opinion on the issues at hand, please see this movie. -djg

DJG / OH BOY! OH BOY! OH BOY! OH BOY!

2009-03-18T10:31:00.000-07:00

DJG's Weekend Watcher

2009-03-16T10:46:00.000-07:00

Let the Right One In * * * * *
Directed by: Thomas Alfredson / 2008

Subtle-yet-striking, "Let the Right One In" is more than just one of the best vampire movies, it's a masterful work of art. Lots to chew on with this after seeing it three times in as many days.

Smiley Face * * * 1/2
Directed by: Greg Araki / 2007

There is such a thing as a smart stoner movie. Add "Smiley Face" to the list with other recent loser-winners like "Harold & Kumar go to White Castle" and "Pineapple Express". It would also serve well with anything by Mike Judge ("Office Space").

A Decade Under the Influence * * * * 1/2
Directed by Ted Demme & Richard LaGravenese / 2003

Feeding from the times that were a' changin', this three part documentary had me salivating at the buffet of groundbreaking filmmaking and filmmakers of the 1970s. The only problem...I wanted more! I guess my eyes and mind have some work to do!

Silent Movie * * * *
Directed by: Mel Brooks / 1976

Mel Brooks delivers one of his best in this fantastic fun ride that is nothing short of a live-action "Looney Tunes". It's premise is pure joy and it's use of randomness, visual puns and special guest stars is quite timeless and priceless.

-djg

DJG's CINEMADHESIVE

2009-03-12T07:17:00.001-07:00

Let the Right One In * * * * *
Directed by: Thomas Alfredson / 2008

My wife is the “Twilight” reader in our home. I trust her judgment, as well as many others, that the movie adaptation isn’t worth seeing. Unfortunately all the hype leading up to “Twilight” the movie over-shadowed a similar vampire love movie that came out around the same time based on a book from Sweden. Fans disappointed with “Twilight”, grunt no more and please turn your pages to “Let the Right One In”. Not only does it now sit behind “The Wrestler” at the top of my 2008 Best of Film list, but it’s also a subtle-yet-striking, well-crafted masterpiece. Possibly, one of the finest of it's kind ever made. Simply put, “Let the Right One In” your DVD player. I am watching this one over and over and over...

-djg

DJG / Into Great Silence

2009-03-09T11:58:00.000-07:00

Into Great Silence * * * * *
Directed by: Philip Groning / 2007

Talk about patience. It took them 16 years to reply to filmmaker Philip Groning’s request to document their intimate lives on film, but that is what it took for the Carthusian monks of the Grande Chartreuse to make a “yes” decision. Sandwiched in an isolated fairytale-like setting in the French Alps, the monks live on prime, gorgeous real estate. No wonder they can get closer to God. Not to mention that apart from electric hair clippers and running water, “modern” civilization is miles from their thoughts and routine in devotion to God, even as a jet flies over a monk sitting in his cubicle of silence. As I’m nearing the halfway mark of my own isolated cubicle day and twisted perceptions on man’s quest for intellectual and monetary gains, I can’t help but think that a monk’s life doesn’t sound too shabby in the abbey. I know I at least enjoy isolation and quiet...and God. Though, robes seem itchy, drafty and the option of watching movies as a monk would more than likely be out.

“Into Great Silence” is a uniquely fascinating film experience, a worship-like one. One where opinions are cast aside (other than scriptures repeated between chapters, which is quite refreshing and challenging) and subject(s) who rarely acknowledge the camera. Almost all engagement is in daily discovery of routine and ritual and nature. When they do, the interaction is very peculiar, almost eerie, as if they are observing the viewer right back, eyes locking instead of looking. It’s very sobering, very humbling (as is the entire film). These are mere mortals, just men who took a vow of poverty and isolation to get closer to God.

It's not all solemn, serious and boring of a life, like us "modern" ignorant souls might perceive. There are many lighthearted surprises. My favorite was watching a very elderly monk snow shovel his carrot patches. Upon completion he looks up at the camera and gives a joyful grin just like my late Grandfather, and with the same hunched-back. Another great moment, one that I’m not sure the monks knew was being watched, found them gleefully playing and sliding in the snow down a mountain side. Groning also caught them in everyday discussion and even while getting haircuts. Tapping into sides rarely seen or known to “outsiders”, these scenes shed a new light on monk life that at times can be perceived as fairly sterile, detached and void of any emotion other than discipline and devotion to God. It also cemented that God can be found and cherished in everything, in particular the simple act of chores and nature. There was one monk, blind from birth I recall, speaking to the camera about how it actually helped him see God better than if he had been born with eye sight.

Does the film’s view of monk life try the viewer’s patience? At times I’d have to answer that with a 16-year-long YES, as there is no urgency in the unfolding, not a definitive story to tell and very little soundtrack. And all of that isn’t a bad thing, in fact it is great. I wouldn’t suggest this movie to everybody, but I think that everybody should see at least a little bit of it, and results/reviews will be mixed. But, it’s never a knock-down-drag-out to get to the end, actually there is never really a beginning or middle. It’s a joy that found me more in-tune to finding rewards and wonders while watching than say, struggling to read monk Thomas Merton’s “New Seeds of Contemplation”, which basically had me feeling worthless as a human being at the halfway mark. I was quite inspired by the movie and wanted more than the already three hours (more or less) provided with “Into Great Silence.” One of the best things about the experience is how quiet and meditative it is. You can’t help but pay attention. Involvement is only that of observer, but its way more involved than simply sitting in church or watching paint dry. Sometimes the effect is fly-on-wall, sometimes even participant. It can even be very spiritual. I now wonder what God’s viewing must be like on an everyday basis of worship to him, by monk or anyone? And at its most quiet and still, you can bet He’s got it in high-def/surround sound.

Filming alone, Groning lived at Grande Chartreuse for 6 months and you can tell that a relationship bonded. I didn’t have time for extra DVD features, but I’m very curious about this bond or what the monks thought of Groning and his camera. Did they even know what it was? I’m sure they’re not that ignorant, but you never know. I also wonder if Groning was able to show them the final film? Lastly, I wonder what type of experience Groning got out of his extended stay. Maybe it will take 16 years for him to digest and answer? Was it life changing? I do know that a movie like “Into Great Silence” will make me at least try to sit up a little straighter in acknowledging God the best ways I can in a “modern man” life that can feel very distracted and distant instead of devoted disciple.

-djg

DJG / Frozen River

2009-03-09T08:37:00.000-07:00

Frozen River * * * *
Directed by: Courtney Hunt / 2008

It’s no cliché that good can be born out of bad. I only hope that we can grow from mistakes and in some circumstances it’s hard, but grace can be achieved. I’d heard “Frozen River” was good, but from the start was expecting another run-of-the-mill, dark and brooding independent drama heading towards tragedy and an unresolved ending. No pun intended, but I was expected to be left in the cold. However, I was pleasantly surprised with the places “Frozen River” took me and it held my attention fully. It’s refreshing to find a movie like this putting faith in the power of grace. “Frozen River” is one of the underrated gems of 2008, as is Melissa Leo’s Oscar-nominated performance (the screenplay also received a nod). Leo plays a tough-nosed woman doing what’s best for her children in dire circumstances, even if that means getting caught up in her worst judgment to pay the price. It's a moving story and independent dramas need to take note.

-djg

DJG / Watchmen

2009-03-09T07:33:00.000-07:00

Watchmen * * * * ½
Directed by: Zack Snyder / 2009

Just as the bar was raised when “Watchmen” was released in print and picture form, so it has for the super hero and comic book movie. Director Zack Snyder has proved he’s the ultimate fan boy and so did the smell of b.o. from theater goers who hadn’t bathed or left their Mom’s basement since purchasing their first issue of “Watchmen” back in the 1980s. A few more tweaks and a few more months “Watchmen” woulda/coulda/shoulda been perfect. Like all fans of the book, I too was worried. With the close of opening weekend, many will disown it like its creator Alan Moore, but I find the film standing on its own as a work of art and genius. Aside from a few sub-plots either skimmed or skipped, an altered ending, the nauseating blast of My Chemical Romance bastardizing a beautiful Bob Dylan song over the end credits and Snyder's choice of over-top in the sexual conquest department, “Watchmen” was a joy and one of the most unique film experiences I’ve been absorbed in. In fact, the opening credits had my goosebumps weeping. I wouldn’t even know how to begin to make a movie, let alone an adaptation of something like this…and in this way. “The Dark Knight” can officially choke on its guano.

-djg

DJG / Harry and Tonto

2009-03-05T08:37:00.000-08:00

Harry and Tonto * *
Directed by: Paul Mazursky / 1974

“What happens on the road stays on the road.” It’s an old saying that was probably borrowed from something else and has recently gone global in adaptation for the almighty slogan of Las Vegas. How about, “What happens in road movies stays in road movies.”? With the exception of a few standouts, why are all road movies the same?! It’s something that has been irking me for a while, though just yesterday I saw a well-crafted one in Hal Ashby’s “The Last Detail.”

With “Harry and Tonto” I was really shooting for a gem of ‘70s filmmaking. However, what could have been a wonderfully bitter-sweet and subtle tail of an old man and his cat on the road turned into predictable groaning from the bleacher seats in my living room. I’m not completely versed in the art of the road picture, maybe for its time “Harry and Tonto” was fresh and adventurous. But, I feel like I’ve seen this many times over and most recently in the independent market. I was literally yelling to the television out-loud, “Cue eccentric left-of-center extra No. 12!”, and they would walk on set as old man Harry gave ‘em his ten cents on life and they helped him out with road traveling. And Harry experienced everything on the road, including hookers, public urination and a night in jail. By the time this personable Lone Ranger and his Tonto got to their destination I didn’t care at all, even if it wanted to be one of the most tender spots in the movie. Apologies to spoil, but I didn’t even care when Tonto bit the dust at the end of the road…and I love cats! He was also my favorite character as he played a cat perfectly! Art Carney won an Oscar for his Harry Coombes and was genuinely likable, though most of the time I saw nothing but a caricature of old man movies. Then again, this film was made in 1974, and sometimes movies like this age really fast. So, that means new movies made like this are really freezer-burnt.

David Lynch magnificently handled his true story of an old man on a lawnmower road story in “The Straight Story” with such beautiful subtle strokes and warm humanity. It’s absolutely immature of me to say, but with “Harry and Tonto” I really wanted “The Straight Story Part 1” and instead received “The Transamerica Go-Getter Part 2”. Alexander Payne is another master of the modern day road movie (I mention him all the time) with balancing the bitter and sweet with a pinch of quirks and mis-adventures, getting to a poignant destination inside and out instead of drenching a great idea with silly filler and cheap laughs. “Harry and Tonto” spent two hours getting somewhere, but in the end stayed in all too familiar places.

-djg

DJG / The Last Detail

2009-03-04T09:43:00.000-08:00

The Last Detail * * * *
Directed by: Hal Ashby / 1973

Likable-Losers…a subject often explored at the movies. I’ve seen three Hal Ashby films: “Harold & Maude”, “Being There” and now “The Last Detail”, and they seem to push this format and in charming ways. Hal Ashby is/was a master at it and I find great enjoyment and watch-ability in his work. I see director Alexander Payne as one of the new Likable-Loser torch bearers, and over 20 years after Ashby’s death. Much like Payne’s 2004 masterstroke “Sideways”, Ashby’s 1973 “The Last Detail” takes polar opposites colliding on a road trip. However, Ashby’s heroes wear Navy uniforms and chug beer as opposed to Payne’s cacky-clad wine tasters.

Jack Nicholson puts on another Academy Award nominated cursing-crazy-eyed-showy display as self-proclaimed Billy "Bad Ass" Buddusky. He’s a Navy man for life, and the type of guy you love to hate but would hate to not have on your side when haters came around. Despite his faults, you want to spend time with him. Odd how that happens, isn’t it? His partner in Navy Shore Patrol officiating is "Mule" Mulhall, and well played by Otis Young. Mulhall is tough as nails, can be a bear at times, but not as cocky and unbearably full of “p-and-v” as Billy. They’re the perfect balance partnered up for an important detail to transport a fellow Navy man named Larry Meadows (a very young and brilliant Randy Quaid with the same cheeky blushed face as a young Bob Dylan) by bus and train across the Northeast. Reason being, he was caught trying to steal $40 dollars from a charity helmed by the Naval Commander’s wife. Bad idea, Larry’s stupidity is, as he’s sentenced to 8 years in naval prison and dishonorable discharge. Though not the brightest man in uniform, Larry is genuinely a good, naïve kid, but is now set as the prime example of “what-not-to-do”. And what about his Navy escorts? Billy and Mulhall end up best beer and brawl buddies with him as they take their time showing Larry a good time and a thing or two about life before he's locked away. They might even learn a thing or two themselves.

-djg

DJG / High Anxiety

2009-03-02T08:29:00.000-08:00

High Anxiety * * *
Directed by: Mel Brooks / 1977

A humorous hodgepodge of Hitchcock homage aptly describes “High Anxiety”. It’s not my favorite Mel Brooks film, and hasn’t necessarily stood the test of comedic timing, but it was a treat to see him spin some literal Alfred Hitchcock yarns. There were also moments that borrowed similar master of suspense camera tricks. But, like every Mel Brooks farce or spoof, the tricks helped turned “High Anxiety” into an original and memorable comedic take on such classics as “Vertigo”, “Spellbound”, “North by Northwest”, “Psycho”, “Frenzy” and “The Birds”. I even think there were enough bird droppings to make Hitchcock blush.

-djg

DJG / The Reader

2009-02-25T07:14:00.000-08:00

The Reader * * * * ½
Directed by: Stephen Daldry / 2008

Sympathy For The Devil…

I’m sure that a lot of 81st Academy Awards viewers were wondering where in the world “The Reader” came from, and/or what it was other than, “Oh, that movie that helped Kate Winslet finally win an Oscar.” I didn’t hear about the movie until mid-December as it seemed to slip under the radar to lock-down the Best Picture nomination that “The Dark Knight” would have probably gobbled up. I’m not complaining though, as the quiet-yet-hard hitting lust/love and literacy story was better on my eyes than the new billion dollar Batman franchise.

Don’t worry I’m not going to give anything away as I know how splendidly it unfolded for me going in blind. I’ll just set the story up. Its 1958 Neustadt, Germany as a 15-year-old boy stumbles in the rain, sick and out of bounds in the entrance to an apartment building. An older woman attends to him, cleans up his vomit and aids to his sickness, sending young Michael Berg on home to get better. After three months in bed with scarlet fever, he is eager to get back to school and back to the apartment building to thank the kind woman who helped him. Her name is Hanna Schmitz and she comes with what seems to be a big bag of complexities, and especially so to 15-year-old Michael. Its lust at first site for both and perhaps naïve love for him. Despite her being twice his age, the two quickly strike up a summertime affair that involves lots of bed sheets, bath tubs, bicycle trips and very tender sessions where Michael reads aloud to her (a little hint to the film’s title). But, it’s all a season’s fire to rage the rest of their lives.

“The Reader” will definitely have you walking out looking for fire…as in, some sunlight. It’s a downer and with few lighthearted moments. My first thoughts knew it was a good movie, but I wasn’t certain if it was Best Picture caliber because it’s not necessarily a movie that can be seen repeated times (a priority for me with such a high honor, though "Schindler's List" I could watch twice a month, go figure). I want to read "The Reader" now instead of seeing the movie a second time. Though, upon further inspection, and you will be inspecting over and over what you’ve just seen, it’s a very remarkable, worthwhile story that needed to be told. It will get you thinking and talking and that’s what good movies should do. At times it questions your own once-thought hardnosed ethics and morals, causing a fine line to be drawn and casting a card to sympathy in the most unlikely of candidates and circumstances.

It is subtle in style, yet not in its exploration of the sex-capades of Michael and Hanna. In fact, their secret lust action consumes much of the first half of the film and with a bold stamp. Even as a male I was thinking, “OK, how many more angles on Kate Winslet’s naked body will I see today? Oh, that’s a new one…her scanning the water hole in a drenched, see-thru bra.” It’s a well-crafted, well-played story, but I think that director Stephen Daldry should have scaled back on the sex some. Or, maybe the intension was to be completely carnal? Though, I can’t help but think of how beautifully and artfully director Zhang Yimou handled the two-to-tango in his magnificent “Ju Dou”, and every time I see a movie that misses for me in the bedroom I think of that one. I wonder how much more sensual and suggestive the character’s actions would have appeared behind the beautiful hanging curtain dividers in the apartment or through the many panes of frosted glass that the camera seems drawn to in other scenes. It would have also suggested that there is something buried and burdened behind this sexual act, which one indeed finds out come the film’s second act.

-djg

DJG on The 81st Academy Awards

2009-02-24T09:53:00.000-08:00

There is always so much build up to The Academy Awards, especially the 81st, and then it goes so fast. It felt as if Sunday night dissolved as quickly as my giant pile of hot dogs, baked beans and macaroni and cheese that I ushered off of my plate faster than Barbara Walters could interview all of the Jonas Brothers. I’ve had a day of reflection on the grand gala pageant that is The Oscars, not that I really needed time to reflect as most of my reflection came weeks and months prior, even during some of the films, but being a movie fan I tend to get a little down on the emotional ladder the morning after. Heck, even the evening after as I caught the encore of Oprah’s Oscar party. I think it’s because 2008, at least in the world of film, is finally labeled and wrapped up snuggly in its canister placed on the shelf. All of that build up is gone. However, it doesn’t mean it will be dust-covered and it doesn’t mean that voices, emotions, talent and worlds explored will become a shelved file, even after death. Some have only just begun, some are already getting new and improved offers, some will connect with a wider audience on DVD in the next few weeks, and some might still be partying. And in the case of Mickey Rourke, an old dying star has been granted a second chance in the same year the rising star in Heath Ledger is laid to rest in peace. But, life or death and win or lose, the legacy blazes on and so do the movies. Every Oscar morning after I’m already wondering what no-name film or character coming out in the new year will be groomed and fitted for an 82nd Annual Oscar tux or gown…and what director, film, actor I’ll be blogging and hyping a hundred times about later this year. -djg

DJG on The 81st Academy Awards

Meryl Streep was in Jack Nicholson’s seat. In fact, I don’t even recall him ever being shown? Is this the first time he’s missed one of these? Are the Lakers a better ticket?

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Hugh “I’m Wolverine” Jackman! He was an amazing host, the best in years, and I bet his Hollywood stock just went up big-time! My only complaint is that he seemed to disappear at times and I wanted MORE! I must add that his opener was the best I’d seen since Billy Crystal blew me away in 1992.

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Tina Fey and Steve Martin presenting the screenplays was genius. Steve has hosted before...perhaps they could tag team in the future?

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Jack Black made a funny...and I bet he got a phone call the next morning. It went something like this, "I make a lot of money doing voice-overs for animated films. The money I make doing these animated films for Dreamworks Studios I take and gamble on Pixar animations to win Oscars."

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Where was the annual Honorary Oscar? I realize that Jerry Lewis received a special Oscar for his wonderful charity work. However, I do wish they would have extended it a little bit longer. It is great to see an elder in the industry smell the roses while they still can.

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Though, it seemed to take up an extra hour (it didn’t bother me, but I’m sure it bothered some), I really enjoyed former Oscar acting winners saying nice things to each 2008 acting nominee. It gave a sense of history, importance, integrity and torch passing. It was also awesome to see a legends of cinema five pack seem like they were about to beam up. Perhaps this should have been done with the directors too? However, I think there should have also been clips of each performance, especially for those that haven’t seen them yet. I realize that this would have set the broadcast back a few more bucks and minutes, but the acting statues are the typically the most anticipated. At least have clips prepared to play after each winner speaks. That would be a cool idea.

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Academy, why not have five nominees in every category across the board? Some have four, some three. I’ve beefed on this before as it really annoys me, and not just because The Boss wasn’t invited.

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I appreciated The Academy’s attempt at showing those at home the steps in the movie making process per each award handed out. Although it was a little awkward at times, and mostly due to those presenting, it was a nice treat and fresh ‘n’ fun stamp on a notoriously-known-to-be stuffy awards show.

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Hardcore conservative Christians…please stop protesting movies

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I think that a website, all-access television program or theaters nationwide (maybe all three options) should have special viewings of all the Oscar nominated shorts. Though, I don’t think a lot of people had seen, or even heard of, the Best Picture nominees. I realize that even down the street from my house, some of these shorts are playing at the theater. However, why not make them accessible to everyone and in all viewable formats? Everything else is at our fingertips with technology, so why can’t these? Or, maybe they are out there to be had and I’m just uneducated?

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I’m sure some are perplexed to why Heath Ledger was not shown during the annual honor to those who passed away last year. Well, if you remember last year, they showed him. I still think they should have put him in there, especially since this was his final industry send-off. Queen Latifah, great song. But, producers, there were many times where I didn’t know what face/name was on screen because of the camera angle trying to get Queen in the shot. Not everybody in ‘merica has a giant television!

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I enjoyed the change in the ceremony and it did well at celebrating the tradition and legacy of The Academy Awards. Though, it did feel a bit wobbly and unrehearsed at times. The visuals were beautiful, elegant and fairly simplified (in Hollywood standards), and I appreciated how close the audience was to the stage, instead of seeming like they were down below. It was also nice to see the orchestra/band in a better seat. The montages weren’t over-done, like in previous years, and it was nice to see a well-rounded tribute to all movies in general. Also, great job on the Best Picture montage as you showed past pictures that helped carve the way for today’s work.

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The nominated scores and songs seemed to be a little rushed and mashed-up too much. Also, why was Peter Gabriel exchanged for John Legend. I like Legend, though he didn’t really seem to mix with this, but why not have the actual singer-songwriter nominated perform? Peter, did you just have a baby like M.I.A.?

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Disgruntled fans of “The Dark Knight”, you can now stop complaining.

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I enjoyed the 2009 movie previews at the end of the broadcast! Nice bonus! However, I think that The Academy Awards should grab viewers similar to what The Super Bowl does and debut movie teasers and trailers, along with special movie-related commercials.

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Yay David Fincher for finally getting an Oscar nomination! Yay “Slumdog Millionaire” for your initial underdog status-turn-big winner! Yay Danny Boyle and your Tigger bounce on stage that you promised to your kids years ago! NOTE: People…fill the theaters for this movie and future Danny Boyle films. He’s been just shy of the spot lights for too long. I think he is the next Steven Spielberg.

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I'm sure that by taking a day to reflect, I actually forgot a lot that I was thinking of saying while watching the 81st Academy Awards. Oh well, it's probably better that way. I just enjoyed it and enjoy me some movies!

-djg

ps: I recognize how harsh and low-brow this is, but I can't help but wonder how many cast members of "Slumdog Millionaire" Angelina Jolie adopted on Sunday night?

DJG's Movie Morning Monday

2009-02-23T14:28:00.000-08:00

THX 1138 * * * *
Directed by: George Lucas / 1971

It’s no “Star Wars” and that’s not a bad thing. But, is “THX 1138” a good thing? I think so, especially for 1971 and especially so for a first feature dive into science fiction. Is it as good as Lucas’ second direction, “American Graffiti”? Well, now you’re talking preference in genre and style because the two are completely unrelated, unless you’re talking about fast cars and characters breaking the confines of repressed living. One just happens to be a dystopian future and the other 1960s high school. Being that I’ve had more time with “American Graffiti”, and it sits special in my heart due to the time I saw it, I’m more attached to it. Though, watching “THX 1138” for the first time this morning only made me want to spend more time with it and I can easily see that attraction growing. And to watch Lucas held under sci-fi restraints and in a new world (at least for him) and with something to say, was quite refreshing. I find it challenging to watch a “classic” for the first time after years of hype, and especially without a childhood connection (“Blade Runner” was like this for me a couple years ago…I still need to watch it again). But, being the “Star Wars” loving child that I am, I felt an automatic connection to what came before it in “THX 1138”. I know that I saw something special, groundbreaking and inspiring. Not only did I see glimpses to the future of the mighty Lucas franchise wallet, but caught hints of many fellow sci-fi movies that came after it. I definitely need to watch “THX 1138” again, but I just hope that I never have to live it. I’d rather go back to high school.

-djg

DJG / Three Random Films

2009-02-20T12:17:00.000-08:00

The Greatest Show on Earth * * * * *
Directed by: Cecil B. DeMille / 1952

"Just so the show keeps rolling." These are words said by circus manager Brad in 1952's epic Best Picture that takes you inside and outside the big top. Charlton Heston tackles the character of Brad with what I feel is the best role I've seen from him. Naturally, a talent like Heston's comes backed with a slice or two of ham and that extra spice that tends to tighten with a major actor's own personal on and off screen big top. But, Brad's veins work hard for their dreams, packed to the brim with "Saw dust and star dust." Heston's performance is big, bold and as solid as the circus tent's center pole. Brad is the pumping guts to the hearts of the show and at times looks and feels the part of an early borrowed blue print to Harrison Ford's Indiana Jones or a Bruce Springsteen song character. Brad is tough as nails, but is like a kid who dreams big and works hard to get a better slice of spirited soul for him and his comrades.

Heston is great, but it's the whole wonder of a movie and cast that somehow all comes together and works magically, the way that all great movies should. Complete with outstanding costumes, scenery, solid sub-plots, stunts, thrills, drama, love, fun, and Jimmy Stewart in constant clown makeup as Buttons, a man on the run from the law (it's a plot I wish was fleshed out into an entire separate movie). Oh, and for the ladies out there, Cornel Wilde as Sebastian, the cocky and like-able high-flying trapeze artist...and many others. Cecil B. DeMille plays head ring master in bringing the circus to the big screen. Fully equipped with drippy ice cream cones, stuffed hot dog mouths and spilt popcorn, DeMille's direction captures the authentic wonder and childlike joy in the eyes and faces of all ages. He also shows the blood, sweat and tears of those who put the rings together, full-circle. I loved just watching everything and everyone going and doing in the background and seeing all the extras and at times actual footage of how the circus works. I imagine the production of making a circus work is somewhat similar to bringing a movie to life and DeMille was the right choice as he is the king of epic pictures. Great pacing and excellent narration helps the viewer pack up the circus and move it down the train tracks to the next town. The viewer follows lip-smackingly-so like a child, even when the show limps into town after an awesomely-insane train wreck.

Though there is some controversy surrounding it's Oscar win in the McCarthy era, and just in general among film snobs, I feel that "The Greatest Show on Earth" certainly lives up to its name...and some. This is a mesmerizing feast on a film level and a true document to a special place in American history that has inspired many, including master director Steve Spielberg to start making movies at a young age. In this day of constant envelope pushing 'n' shoving to wow and cure the people's know-it-all boredom and cynicism, it's so sweet to see a movie like this. It was a time before reality television and CGI made a mockery of actual skill, talent and spectacle. And it was a time when people seemed a little more optimistic to lend their time to a good-old fashioned time. It was a time when the national climate was troubled, like now, but there seemed to be more of a national hope and togetherness found inside of a good time at the circus or at a movie about the circus. There is something pure and innocent inside the eyes that DeMille captures in his circus. I would love the opportunity to search time's canvas for a tear just to sneak a peak into this timeless time capsule. A moment in time that my Grandparent's lived in and my parents got to see for a bit as well. The circus is still alive today, but I just don't feel that it's the same as it once was...and if it is, maybe WE as a people aren't. But for now, I'll just keep the show rolling at the cinema to get my little corner of saw dust and star dust.

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Rambo III * * * ½
Directed by: Peter MacDonald / 1988

John Rambo is back in action and this time he's blowing up Afghanistan to rescue his old friend the colonel from a terrorist compound. Before pulling triggers and knifing stuff, Rambo spent some time between his final Vietnam tour and the Middle-East, in a monastery searching for some inner piece. Now, he must search for new ways to make rebel Afhans and Russians rest in PIECES.

This is another stellar blowin' up blood fest in the RAMBO franchise, though it's not as great as "First Blood" or "First Blood Part II". Still, it's fantastic. Personally, It's a bit strange to me that I hadn't seen all the Rambo movies before now, being that John Rambo was my everyday play of choice in the ditch and woods of the Gibson estate (well, Rambo mixed with some Indiana Jones and Luke Skywalker…and whatever the "thing" of the week was back then). Though, I must add that I watched "Commando" enough times to make up for this blunder in my pop-culture background. Oh, and of course I had the Rambo action figures and the Rambo Playset, complete with authentic machine gun, grenades and knife. Yep, THE knife.

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The Great Outdoors * * * *
Directed by: Howard Deutch / 1988

File under Bass Pro Shop: The Movie. “The Great Outdoors is a fantastic '80s comedy-family-fun-feast that I hadn't seen since I was 8 or 9 years old…and extra special to watch after a weekend of camping! It still packs the one-two-punch of John Candy and Dan Akroyd and I've become out of taste with Anette Bening of late, so I was relieved to find her performance more in the background on this one. Anyway, the film makes me wish for better wholesomely-stupid comedies today…and not the numb-nutzed and near-exhausted brand of Will Ferrell comedies that tend to lose their steam in ten minutes. I also wish that John Candy was still alive and that Dan Akroyd would do more GREAT work like “The Great Outdoors”.

-djg

The DJG's of Film Grading

2009-02-19T11:00:00.000-08:00

The DJG's of Film Grading

* = G'awful

** = Groaner

*** = Good

**** = Great

***** = Gold

DJG on OSCARS '08

2009-02-18T14:58:00.000-08:00

DJG on OSCARS 2008 (predicted winners have a * next to them)

Performance by an actor in a leading role

Richard Jenkins in "The Visitor" (Overture Films)
Frank Langella in "Frost/Nixon" (Universal)
Sean Penn in "Milk" (Focus Features)
Brad Pitt in "The Curious Case of Benjamin Button" (Paramount and Warner Bros.)
*Mickey Rourke in "The Wrestler" (Fox Searchlight)

Mickey Rourke IS Randy “The Ram” Robinson. He literally absorbed “The Wrestler” role and went to deep and dark places to wrestle with his own demons. This is beyond brutally honest acting. I’ve seen it twice and haven’t had it off my mind since seeing it the first time in late November. I’m convinced “The Ram” is one of the all-time greatest performances in cinema. I’ve yet to see “Milk” and I’ve heard nothing but high remarks on Sean Penn’s latest nomination. A second Oscar would cement Penn as his generation’s finest actor. However, it’s Rourke’s story that is really inspiring and touching the masses right now. He was once carrying to torch to stardom in the ‘80s and then became the buzz of controversy and failure, even dropped out of acting for a stint at boxing, but now he’s back on the top rope. Let’s hope he can stay there and from what I’ve seen he’s willing to stay disciplined and work hard because he’s seen the rock bottom. With or without an Oscar, Rourke is a winner and back as he has proven his chops once again and gained the trust and respect of his Hollywood peers who at one-time didn’t want anything to do with him. And if he doesn’t win, it will be because of that.

I’ve yet to see “Frost/Nixon”, but again I’ve heard some incredible things about Frank Langella’s performance as Richard Nixon. If there is a dark horse in the Best Actor race, it is probably Langella. And the Academy has a pretty solid track record at handing out statues to aging, proven veterans. Richard Jenkins pulled of a fantastic, strong and subtle performance in “The Visitor”. I think his nomination is more of a welcome to the club and I’m sure he’ll be getting some more coming his way. I’m just excited that “The Visitor” received a nomination so more people will take an interest in it. It was one of the most overlooked films of 2008. I’ve seen “The Curious Case of Bejamin Button” and enjoyed it and Brad Pitt’s performance greatly. A lot of people are finding his nomination in this department a waste as he was either buried behind makeup and effects or his own pretty looks. I disagree and found his Benjamin Button very charming and absorbed, especially in the curious eyes, which tell everything. I think that Brad Pitt gets a bad “pretty boy” wrap. Come on people the guy has proven he can act and always tackles challenging and unique roles. I do think he’s the most unlikely candidate to win on Oscar Sunday, but his nomination is well-deserved and he’ll be back again and again.

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Performance by an actor in a supporting role

Josh Brolin in "Milk" (Focus Features)
Robert Downey Jr. in "Tropic Thunder" (DreamWorks, Distributed by DreamWorks/Paramount)
Philip Seymour Hoffman in "Doubt" (Miramax)
*Heath Ledger in "The Dark Knight" (Warner Bros.)
Michael Shannon in "Revolutionary Road" (DreamWorks, Distributed by Paramount Vantage)

Heath Ledger has got this one in the bag, and not just because he passed away a little over a year ago. He deserves it because he was the best and most impacting this year. Although, I’m not a fan at all of this new Batman franchise, Ledger is astonishing as The Joker and reached new heights within the character. His acting as well went to new heights and I can’t help but dwell on the “what might have beens” with his life and career stopped so young, so abruptly. I really hope this award goes to his young daughter as a reminder of a father she will barely known beyond a few years with him and a handful of films. Fan boys and praising critics are upset over the loss of love for “The Dark Knight” at the Oscars, but Matilda’s loss is the biggest tragedy of all.

I’m extremely excited that Robert Downey, Jr. received a nomination for his amazing back ‘n’ forth transformations as an over-zealous blue-eyed blonde haired Australian actor playing a loud and proud black man in the bizarrely bombastic war comedy “Tropic Thunder”. It’s even more exciting to see the usually stuffy Academy hand out a rare nomination for a stupid-awesome comedy. But, Downey, Jr. is a gifted actor and has consistently churned out gold performances in every film genre. I knew while watching “Tropic Thunder” that he was one of the highlights of the year. I look for many more nominations to come. I’ve yet to see “Milk”, “Doubt” and “Revolutionary Road”, so I can’t really say what position Josh Brolin, Philip Seymour Hoffman and Michael Shannon all hold in the Best Supporting Actor race, though I’m pretty positive that they, and Downey, Jr., will all be second fiddle to Heath Ledger.

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Performance by an actress in a leading role

Anne Hathaway in "Rachel Getting Married" (Sony Pictures Classics)
Angelina Jolie in "Changeling" (Universal)
Melissa Leo in "Frozen River" (Sony Pictures Classics)
Meryl Streep in "Doubt" (Miramax)
*Kate Winslet in "The Reader" (The Weinstein Company)

Best Actress is usually a given at the Academy Awards, though I don’t really know about that this year. I’ve yet to see any of the pictures with respective nominations in this category, but I understand that all are incredibly acted. I also heard some controversy over the fact that Kate Winslet’s performance in “The Reader” is more of a supporting role. Whether that is so or not, I’m pretty sure she’ll walk away with an Oscar after going home empty five times before. And if she doesn’t win, I’m sure she’ll be back just as many times as Meryl Streep has.

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Performance by an actress in a supporting role

Amy Adams in "Doubt" (Miramax)
*Penélope Cruz in "Vicky Cristina Barcelona" (The Weinstein Company)
Viola Davis in "Doubt" (Miramax)
Taraji P. Henson in "The Curious Case of Benjamin Button" (Paramount and Warner Bros.)
Marisa Tomei in "The Wrestler" (Fox Searchlight)

Best Supporting Actress is a category that is always hardest for me to place a bet on. I’ve only seen two of the performances, Marisa Tomei in “The Wrestler”, and Taraji P. Henson in “The Curious Case of Benjamin Button. Tomei is fantastic, but has won before and I think she would be the last one picked here as over half of her performance in “The Wrestler” was done in the nude as a stripper. Not that there’s anything wrong with that (har har). Henson is great too in “Button”, and this nomination will be a springboard to some more great work for her blossoming career. I think this race right now is between Amay Adams and Penelope Cruz. Both turn heads left and right and are quickly becoming two of the finer actresses these days. I think it will go to Cruz (even though I don’t think anybody saw Woody Allen’s “Vicky Cristina Barcelona”) since she didn’t win it for what might be her greatest accomplishment, “Volver.”

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Best animated feature film of the year

"Bolt" (Walt Disney) Chris Williams and Byron Howard
*"WALL-E" (Walt Disney) Andrew Stanton

OK, first of all why doesn’t this category have a full five nominees? Second, “Bolt”, why even bother showing up? Although, I personally thought that “Wall-E” lost something in its second half and felt more like it was taking cheap shots at tackling current “green” topics and human beings, there is still no contest in the Best Animated category, especially when Pixar is involved. Even though I think that I have a better, more cohesive way to end “Wall-E”, but what the heck do I know?

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Achievement in art direction

"Changeling" (Universal) Art Direction: James J. Murakami / Set Decoration: Gary Fettis
*"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) Art Direction: Donald Graham Burt
Set Decoration: Victor J. Zolfo
"The Dark Knight" (Warner Bros.) Art Direction: Nathan Crowley / Set Decoration: Peter Lando
"The Duchess" (Paramount Vantage, Pathé and BBC Films) Art Direction: Michael Carlin / Set Decoration: Rebecca Alleway
"Revolutionary Road" (DreamWorks, Distributed by Paramount Vantage) Art Direction: Kristi Zea / Set Decoration: Debra Schutt

I think that “The Curious Case of Benjamin Button” has this one nailed. What a beautiful looking movie and the seams between reality and computer generated imagery was flawless. I tend to get a little annoyed when films like “The Duchess” are consistently nominated. Yes, they are exquisitely executed, but there are already a large amount of existing examples of the period in film and in literature. I think that the luscious “Hell Boy” was overlooked in this category, but it might show up later on…

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Achievement in cinematography

"Changeling" (Universal) Tom Stern
*"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) Claudio Miranda
"The Dark Knight" (Warner Bros.) Wally Pfister
"The Reader" (The Weinstein Company) Chris Menges and Roger Deakins
"Slumdog Millionaire" (Fox Searchlight) Anthony Dod Mantle

I initially hailed “The Curious Case of Benjamin Button” with this award, but after seeing “Slumdog Millionaire” a second time, and being stunned and choked up a second time at the fresh visual elements alone, I feel it’s no longer an underdog…in this or any category of the night. One movie I recall producing a stunning look and feel was Spike Lee’s very overlooked “Miracle at St. Anna”.

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Achievement in costume design

"Australia" (20th Century Fox) Catherine Martin
*"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) Jacqueline West
"The Duchess" (Paramount Vantage, Pathé and BBC Films) Michael O'Connor
"Milk" (Focus Features) Danny Glicker
"Revolutionary Road" (DreamWorks, Distributed by Paramount Vantage) Albert Wolsky

I think that everybody hated “Australia” but me and my wife. It’s great to see it awarded with a nomination in costume design. I think that “The Curious Case of Benjamin Button” might take this one home too. More than likely this will be another consolation Oscar for it since it probably won’t win any of the big ones.

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Achievement in directing

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) David Fincher
"Frost/Nixon" (Universal) Ron Howard
"Milk" (Focus Features) Gus Van Sant
"The Reader" (The Weinstein Company) Stephen Daldry
*"Slumdog Millionaire" (Fox Searchlight) Danny Boyle

Originally I thought that David Fincher would finally get an Oscar, but I’m all for Danny Boyle now. It must have been hectic to pull off a film like “Slumdog Millionaire” and he did it very well. I think that Boyle is the new Steven Spielberg and it’s exciting to see his audience expand to a Spielbergian size. It’s great to get a nomination for Gus Van Sant, but he’ll be back. Same with Ron Howard and Stephen Daldry.

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Best documentary feature

"The Betrayal (Nerakhoon)" (Cinema Guild) A Pandinlao Films Production / Ellen Kuras and Thavisouk Phrasavath
*"Encounters at the End of the World" (THINKFilm and Image Entertainment) A Creative Differences Production / Werner Herzog and Henry Kaiser
"The Garden" / A Black Valley Films Production Scott Hamilton Kennedy
"Man on Wire" (Magnolia Pictures) A Wall to Wall Production / James Marsh and Simon Chinn
"Trouble the Water" (Zeitgeist Films) An Elsewhere Films Production / Tia Lessin and Carl Deal

Even though I’m fairly positive that “Man on Wire” is going to win the always tough Best Documentary, I’m voting for Werner Herzog’s fantastic “Encounters at the End of the World.” Herzog went to Antarctica inspired to shoot nature, but found equal, if not more, fascination in the people who have all migrated to McMurdoch Station. “Man on Wire” follows the insanity that surrounded the tight rope high wire act between the World Trade Center back in the late ‘70s. It’s great, but I think that Herzog’s is better and he has consistently been cranking out amazing, innovative work since the ‘70s. What’s even more fascinating to me than both movies and their subject matter, is that “Man on Wire” seems like a film that Herzog would have made on the spot the day it happened. “Trouble the Water” could be a dark horse in this category as it’s about New Orleans/Katrina.

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Best documentary short subject

"The Conscience of Nhem En" / A Farallon Films Production / Steven Okazaki
*"The Final Inch" / A Vermilion Films Production / Irene Taylor Brodsky and Tom Grant
"Smile Pinki" / A Principe Production / Megan Mylan
"The Witness - From the Balcony of Room 306" / A Rock Paper Scissors Production / Adam Pertofsky and Margaret Hyde

I don’t think I’ve ever seen a nominated Best Documentary Short. I’m going on instinct with “The Final Inch.”

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Achievement in film editing

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) Kirk Baxter and Angus Wall
"The Dark Knight" (Warner Bros.) Lee Smith
"Frost/Nixon" (Universal) Mike Hill and Dan Hanley
"Milk" (Focus Features) Elliot Graham
*"Slumdog Millionaire" (Fox Searchlight) Chris Dickens

Yep, another win for “Slumdog Millionaire.” Though, I’m hearing some great things about the splicing of archival/stock footage into “Milk”, “Slumdog” visually blew me away.

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Best foreign language film of the year

"The Baader Meinhof Complex" A Constantin Film Production - Germany
"The Class" (Sony Pictures Classics) A Haut et Court Production - France
"Departures" (Regent Releasing) A Departures Film Partners Production - Japan
"Revanche" (Janus Films) A Prisma Film/Fernseh Production - Austria
*"Waltz with Bashir" (Sony Pictures Classics) A Bridgit Folman Film Gang Production – Israel

I want to see “Waltz with Bashir” soooooooo bad. It looks amazing and inventive as it combines many types of animation tricks to one man’s story of war. I haven’t seen any of the other nominees, but per usual I’ll probably be catching them as the year goes by.

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Achievement in makeup

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) Greg Cannom
"The Dark Knight" (Warner Bros.) John Caglione, Jr. and Conor O'Sullivan
*"Hellboy II: The Golden Army" (Universal) Mike Elizalde and Thom Floutz

My heart has me voting for the luscious candy meets fruit stand environment of “Hell Boy II” on this one, but my head is telling me “The Curious Case of Benjaming Button”. However, will there be a dark horse knight on this one? Just maybe…for Heath’s streaked makeup sake.

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Achievement in music written for motion pictures (Original score)

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) Alexandre Desplat
"Defiance" (Paramount Vantage) James Newton Howard
"Milk" (Focus Features) Danny Elfman
*"Slumdog Millionaire" (Fox Searchlight) A.R. Rahman
"WALL-E" (Walt Disney) Thomas Newman

“Slumdog Millionaire” has this one as the music is fresh, at least to American audiences. Woah, Danny Elfman is nominated for “Milk”? Awesome. But, heck…I’m still voting for Jonny Greenwood’s “There Will Be Blood” score that didn’t make the cut last year! At least he recently received a Grammy nomination for it.

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Achievement in music written for motion pictures (Original song)

"Down to Earth" from "WALL-E" (Walt Disney) Music by Peter Gabriel and Thomas Newman
Lyric by Peter Gabriel
"Jai Ho" from "Slumdog Millionaire" (Fox Searchlight) Music by A.R. Rahman Lyric by Gulzar
*"O Saya" from "Slumdog Millionaire" (Fox Searchlight) Music and Lyric by A.R. Rahman and Maya Arulpragasam

It's no secret that I’m still voting for Bruce Springsteen in this category

The Original Song category is one that has been frustrating me for years. At least a film/songwriter now can’t be nominated for more than two songs now, unlike the past couple of years where “Dream Girls” and “Ella Enchanted” each took up three out of four spots. And why must the number of nominees be up for grabs from anywhere from three to five? I think there are plenty of material in this category to have it be plump at five nominations. Oh well…Maybe I’m just still completely bummed/flabbergasted that Bruce Springsteen was ousted on this one. Fresh off a Golden Globe win for his beautiful capping track for “The Wrestler”, he was considered a favorite to walk away with a second Academy Award. Oh well, hopefully Mickey Rourke will say something about it when he accepts his Best Actor award. I won’t be sore though, as the song is still a gorgeous, bitter-sweet tribute to Rourke and his “Ram”. We’ll get ‘em next time Boss.

I do think that Composer A.R. Rahman will get another Oscar for his collaboration on “O Saya” with M.I.A. on “Slumdog Millionaire”. What an incredible song and its use in the film when the children are running through the slums of India is one of the best three-to-four minutes I’ve spent at the movies. Tt’s simply amazing.

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Best motion picture of the year

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) / A Kennedy/Marshall Production Kathleen Kennedy, Frank Marshall and Ceán Chaffin, Producers
"Frost/Nixon" (Universal) / A Universal Pictures, Imagine Entertainment and Working Title Production / Brian Grazer, Ron Howard and Eric Fellner, Producers
"Milk" (Focus Features) / A Groundswell and Jinks/Cohen Company Production / Dan Jinks and Bruce Cohen, Producers
"The Reader" (The Weinstein Company) / A Mirage Enterprises and Neunte Babelsberg Film GmbH
Production Nominees to be determined
*"Slumdog Millionaire" (Fox Searchlight) / A Celador Films Production / Christian Colson, Producer

After seeing “The Curious Case of Benjamin Button” back in early December, I thought that it was the type of picture that the Academy looks for in their Best category. It’s got the epic and topical and emotional stamps on it that audiences love. But, it seems that every other critic and movie-goer is ganging up on it. I don’t understand it and wish that people could just sit back and enjoy a good film without all the fuss. I think it’s a great movie and one that reminds of my I started loving movie magic in the first place as a child. As if “Fight Club” ten years ago wasn’t enough proof, David Fincher has now proven to everybody that he is a master director who can seam the ground between reality and fantasy so seamlessly. But, this is “Slumdog” time. Even after seeing it twice I’m not convinced it’s a Best Picture, but it’s still a really great movie and very deserving of Best honors. It’s a different Best Picture for the Academy and certainly America. I’m kinda excited for it. I still want to see “Frost/Nixon”, “Milk” and “The Reader”, which I’m sure the rest of America is still wondering what in the heck those last two movies even are. “The Reader” especially, as it seemed to come out of nowhere. I just might get to that one this weekend...

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Best animated short film

"La Maison en Petits Cubes" / A Robot Communications Production / Kunio Kato
"Lavatory - Lovestory" A Melnitsa Animation Studio and CTB Film Company Production / Konstantin Bronzit
"Oktapodi" (Talantis Films) A Gobelins, L'école de l'image Production / Emud Mokhberi and Thierry Marchand
*"Presto" (Walt Disney) A Pixar Animation Studios Production / Doug Sweetland
"This Way Up" / A Nexus Production / Alan Smith and Adam Foulkes

I’ve only seen “Presto” as in typical Pixar fashion, it was the short film before “Wall-E”. I thought it was cute, but not nearly as great as everybody else thought. I think I need to see it again. I’m sure it will win an Oscar.

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Best live action short film

"Auf der Strecke (On the Line)" (Hamburg Shortfilmagency) / An Academy of Media Arts Cologne Production Reto Caffi
"Manon on the Asphalt" (La Luna Productions) / A La Luna Production / Elizabeth Marre and Olivier Pont
"New Boy" (Network Ireland Television) / A Zanzibar Films Production / Steph Green and Tamara Anghie
*"The Pig" / An M & M Production / Tivi Magnusson and Dorte Høgh
"Spielzeugland (Toyland)" / A Mephisto Film Production / Jochen Alexander Freydank

I’m selecting “The Pig” for Best Live Action Short simply because it’s called “The Pig”. I’ve been to a screening of Academy Award nominated shorts before (two years ago) and they are incredible for how well-tailored and enjoyable they are. I really wish there was a better way for these to be distributed to a wider audience before the Oscars take place.

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Achievement in sound editing

*"The Dark Knight" (Warner Bros.) Richard King
"Iron Man" (Paramount and Marvel Entertainment) Frank Eulner and Christopher Boyes
"Slumdog Millionaire" (Fox Searchlight) Tom Sayers
"WALL-E" (Walt Disney) Ben Burtt and Matthew Wood
"Wanted" (Universal) Wylie Stateman

If “The Dark Knight” takes home another Oscar besides Supporting Actor, it will be in the sound department. I’m sure audiophiles could tell me, but I’m pretty stupid with differentiating sound editing and sound mixing. I didn’t like “The Dark Knight”, but I did admire the sound on it. It will either win for this category or the next.

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Achievement in sound mixing

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) David Parker, Michael Semanick, Ren Klyce and Mark Weingarten
"The Dark Knight" (Warner Bros.) Lora Hirschberg, Gary Rizzo and Ed Novick
"Slumdog Millionaire" (Fox Searchlight) Ian Tapp, Richard Pryke and Resul Pookutty
*"WALL-E" (Walt Disney) Tom Myers, Michael Semanick and Ben Burtt
"Wanted" (Universal) Chris Jenkins, Frank A. Montaño and Petr Forejt

I think it’s incredibly awesome that the Academy nominated “Wanted” twice for sound, actually the now Academy Award nominated “Wanted”, for Achievement in Sound Mixing. I love stupid-awesome action flicks and “Wanted” definitely fits the bill. It has some nice sound in it too. But, if “The Dark Knight” doesn’t get some brownie Oscars in this category, I think that “Wall-E” will. I do remember my ears perking up many times and in awe of how well everything sounded in an animated world (well, in-between weeping of course).

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Achievement in visual effects

*"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) Eric Barba, Steve Preeg, Burt Dalton and Craig Barron
"The Dark Knight" (Warner Bros.) Nick Davis, Chris Corbould, Tim
Webber and Paul Franklin
"Iron Man" (Paramount and Marvel Entertainment) John Nelson, Ben Snow, Dan Sudick and Shane Mahan

I think that "The Curious Case of Benjamin Button" has this one for sure. The visual effects are a WOW-WOW! But, I'm tickled that "Iron Man" got a nod as the effects are really impressive and subtle in that one!

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Adapted screenplay

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.) Screenplay by Eric Roth
Screen story by Eric Roth and Robin Swicord
"Doubt" (Miramax) Written by John Patrick Shanley
*"Frost/Nixon" (Universal) Screenplay by Peter Morgan
"The Reader" (The Weinstein Company) Screenplay by David Hare
"Slumdog Millionaire" (Fox Searchlight) Screenplay by Simon Beaufoy

This category can be tricky. I read F. Scott Fitzgerald’s short story “The Curious Case of Benjamin Button” and the movie is in its own big ball park from the book. Both work fine for me, but I’m not sure if the movie is worthy of being called an adaptation and I wouldn’t mind seeing a version that is more true to Fitzgerald’s vision. “Doubt” is a play turn screenplay, so I’m not sure on that one either. I think this one could come down to “Frost/Nixon”, “The Reader” and “Slumdog Millionaire”. “Slumdog” is the forefront for all the big awards and it might just grab this one too for the heck of it, but I’m almost thinking that they Academy will opt for “Frost/Nixon” and maybe give it to “The Reader”. I’ll stick with my gut on “Frost/Nixon” as this could be the only category it has the best chance of winning.

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Original screenplay

"Frozen River" (Sony Pictures Classics) Written by Courtney Hunt
"Happy-Go-Lucky" (Miramax) Written by Mike Leigh
"In Bruges" (Focus Features) Written by Martin McDonagh
"Milk" (Focus Features) Written by Dustin Lance Black
*"WALL-E" (Walt Disney) Screenplay by Andrew Stanton, Jim Reardon / Original story by Andrew Stanton, Pete Docter

Original Screenplay is typically a category that is locked-down months before nominations are even handed out. Remember last year when Diablo Cody pretty much won it when the first time writer submitted her screenplay and it never went through the typical Hollywood mill of multiple drafts? Yep, one time only. I’m not positive who will come out on top in this heat. I’m a big fan of the hiding out hit men on the search for redemption “In Bruges” and watching it mid-last year I knew it was something special. Though, I think it will be overlooked here. The only other nominee I’ve seen in this category is “Wall-E” and I have a hunch that it will be celebrated for more than just Best Animated Feature. I previously mentioned that I didn’t think the second half was as great or strong as everybody else is salivating over, but I think it will win this category. Are we positive that Al Gore won’t win another award for this one, even though he isn’t attached to it at all?

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OK. I'M DONE! ENJOY THE OSCARS!

-djg

DJG / I Love You, Man

2009-02-18T09:16:00.000-08:00

I Love You, Man * * * ½
Directed by: John Hamburg / 2009

The time for the bromantic comedy is now. Perhaps we have Judd Apatow to credit for the recent surge of buddy flicks, and ones that are well-tailored for that matter. And perhaps society is more acceptable to men being more open with their emotions. Apatow didn’t have a hand in “I Love You Man”, but you can tell his brand is rubbing off on fellow funny guys around him. And that’s not a bad thing, at least right now. Of course, some of that might be in favor of Apatow A-Listers Paul Rudd and Jason Segel employed in this latest flick (and seemingly every other comedy coming out these days), but even the comedic writing in Hollywood is starting to get a little smarter and sweeter.

“I Love You, Man” has you meeting a freshly engaged couple peering into the stir of wedding planning I do’s and don’ts. The only don’t is that groom Peter (Paul Rudd at his best) has always found it awkward to befriend guys and instead was closer to girls. He doesn’t have a best friend, not even any worth candidates for close friends and the idea of a Best Man isn’t even on the menu. After much coaxing and coaching from his family (perfect misfit concoction of J.K. Simmons, Jane Curtain and Andy Samberg) and fiancé (screen high lighter Rashida Jones), Peter starts on a hilarious, and at times painfully awkward, search for a best friend and potential Best Man. Peter deals in real estate and while orchestrating the open house for Lou Ferrigno’s condo (yep, THE INCREDIBLE HULK! and yep he’s actually in the movie!) he stumbles upon like-able Sydney Fife (the always enjoyable Jason Segel) munching on sun-dried tomato basil paninis. He’s not there to buy, rather eat free food and hit on prospective home buying cougars. Surprisingly, Peter strikes up a friendship match and starts to get more comfortable with the confident, honest and fun-loving Sydney than his own wife-to-be, resulting in many mis-adventures, growing experiences and pains, risk taking and even some bass slappin' to the RUSH song book. The film is simple, funny, sweet and at times I found myself relating to it greatly. Despite the typical comedic crass of today (which can be funny, but awkward to laugh at while sitting in-between seventy-year-olds), you’ll walk away with nothing but love for “I Love You Man”…and the search for more bromance.

-djg

DJG's Movie Morning Monday

2009-02-16T09:20:00.001-08:00

Chapter 27 * * 1/2
Directed by: J.P. Schaefer / 2007

Jared Leto digested a ton of ice cream soup to puff up his good lookin’ build to lock down the demented psyche of John Lennon’s killer, Mark David Chapman. I’m not sure if he really acts much more than any overweight creepy-sounding clown I’ve been in contact with, but Leto isn’t bad and is lost in his performance due to the added pounds, of course. Though, it is no “Raging Bull” or “Taxi Driver”, “Chapter 27” is a little better than what all the reviews grumbled and does try to hearken back some early Scorsese/DeNiro magic but comes up down in the count. I think I just wanted more? There have been mixed feelings on even producing a film like this (evidence is in the poor theatrical distribution), but I think that the makers meant well and Chapman is a peculiar fella that we can maybe learn from, maybe dissect what surrounds “celebrity” whether it is famous or infamous. Maybe? Still, it makes me wonder if it was necessary and what Lennon’s family/estate thinks? And I’m sure Mark David Chapman (and Holden Caulfield for that matter) are eating up the spot light again like a gallon of melted Haagendas. By the end of “Chapter 27” I thought I’d be frustrated with Leto’s performance, but I’m just frustrated with the fact that I can’t lose my ice cream weight as fast as Jared Leto did after filming AND that Mark David Chapman had to kill John Lennon.

-djg

DJG's Weekend Watcher

2009-02-16T09:10:00.000-08:00

Slumdog Millionaire * * * * ½
Directed by: Danny Boyle / 2008

What a beauty of movie magic and my second time was even better. There are several moments in “Slumdog Millionaire” where the cinematography, light and sound is so moving, vibrant and fresh that I become so absorbed in it that it chokes me up, let alone the darling children running the slums of India. Director Danny Boyle’s best film for me is still “Millions”, but “Slumdog Millionaire” is quickly stepping up and will certainly be doing so on the Academy Award podium this Sunday. I’m just glad it’s finally in wide-release so more people can experience the brilliance of Boyle and a bitter-sweet slice of another part of the world.

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Penelope * * * *
Directed by: Mark Palansky / 2008

I was very surprised by this under-the-radar fantasy about a girl cursed before birth to have the facial features of a pig. At a young age her death is faked and she is kept in isolation and out of the public eye until she is old enough to marry and suitors line up at the door. You see, marriage is the only way to break the curse, or so they think. Tim Burton could have easily put his stamp on this, but first-time director Mark Palansky adds a unique and flavorful hand, proving he’s got a lot of great ideas in him. Thankfully (let’s hope) he doesn’t follow in Michael Bay footsteps, as Palansky understudied with him on several projects. I want more good-natured tales like “Penelope” as it is for all ages, with a great message on loving yourself and overcoming others who try to run, or ruin, your precious life.

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Melinda & Melinda * * ½
Directed by: Woody Allen / 2005

Another dive into creative Woody writing, “Melinda & Melinda” started with potential as play writes discuss comedies and tragedies but ended up as just another Woody-Talkie-Walkie for me. I admire Woody Allen’s ability and stamina at cranking out films so fast, but anymore I’d rather see him just craft another gem (more “Purple Rose of Cairo” please) as his what-is-life and grass-is-always-greener methods are wearing on me pretty thin and he’s not getting any younger. But, at least he didn’t star in this one. Surprisingly Will Ferrell, the last person who I thought could hammer some Woody dialog, churns out a delightful screen presence. Though, it’s not enough to make me care anymore about “Melinda & Melinda”.

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Air Guitar Nation * * * * ½
Directed by: Alexandra Lipsitz / 2006

GUITARDED! JOYFUL! STUPID! AWESOME! BRILLIANT! That is all that needs to be said…and honestly why isn’t there a reality television show on the subject of air guitar players!? World Champion C-Diddy is my new hero as he brings air guitar to a new high and without the way-too-serious cocksures as his arch nemesis Bjorn Turoque! But, seriously, air guitaring is a serious sport. I'm not even near the awesomeness as some of these people, but I really want to rock out right now!

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Rex The Runt * * * * *
Directed by: Richard Goleszowski / Television Series: 1998 & 2001

Another fine addition to the Aardman Animation family, “Rex The Runt” is a serious of hilarious, creative and twisted bite-sized claymation doggy tales involving the misadventures of Rex and his flat mates!

-djg

DJG's CINEMADHESIVE

2009-02-12T09:48:00.000-08:00

Cinema Paradiso * * * * *
Directed by: Giuseppe Tornatore / 1988

If a picture can produce thousands of words then a motion picture can feed the hearts and minds of millions. The picture house in "Cinema Paradiso" feeds the citizens of Giancaldo, Sicily as they travel to other worlds and do so like a sacred temple preservation of the big screen and the images that it inhabits. Going to the movies in Giancaldo is done so with almost the same act of faith as going to church. In fact, the village priest gets first watch of each new film in order to have projectionist Alfredo censor any scene of even the slightest sensuality. Alfredo is uneducated, but the only man in town who knows how to run a projector, therefore the whole town depends on him to give them film food. He is almost a slave as he spends every waking hour in his little projection booth, “…except on Good Friday and if they hadn’t of hung Christ, that day would still be spent at the movies too.” Though, taking the love out of the pictures doesn’t take the patrons’ love out of loving movies. This is especially so in the heart of Salvatore “Toto” Di Vita, a six-year-old curious boy who is in love with the movies and Alfredo’s work, skill and father-figuring…I won’t go further as I want you to see this GEM immediately. In fact, just go buy it. It’s one of those that I wanted to buy after the first twenty minutes. This film oozes and swoons MOVIE LOVE with romantic bells and whistles. It could be the textbook definition for I LOVE MOVIES and I can’t believe I didn’t see it until this morning. If I didn’t have to go to work (darn it), I would have hit PLAY again. SEE IT IF YOU’RE A MOVIE LOVER. THIS MOVIE IS FOR US.

Now it’s time for DJG’s 10 Cent Picture Show…

I'm thankful for the home entertainment market that I grew-up with and cherish. I’m thankful for my early love harboring of movies, creativity and culture. I’m thankful that my Mom and Dad let watch everything. And I’m thankful now to have Netflix and bump great movies like “Cinema Paradiso” at the top of my queue. I’m even thankful for the over-enthusiasm that a strange man in Half Price Books the other day was getting out of trying to hold 20 or 30 VHS tapes all at once in the discount section. He, like me, feels yearn to rescue the discarded EVERYTHING, and especially at a discount…and/or to simply fill up his wagon as much as me!

Though, watching movies at home and alone is something that I love, there is something much sweeter about a group of people sharing the immediacy of a little light pouring out into a big picture. It’s actually quite magical. I feel this is something dwindling fast due to the mega-plexes, home theater set-ups, on-demand television viewings, home viewing copies that basically come when they’re still in the theater and mailed red packages along with Redboxes that can give us what we want when we want it…oh and let’s not forget piracy and the internet and movies in cars now instead of sitting in a car at the drive-in and iPods to watch things on the go and Blah Blahs to Blah with…that today’s and future’s youth will probably never experience this kind of shared going-to-the-theater culture…this type of cinema communion, if you will. Don’t get me wrong, I am thankful to even be able to watch a movie at my own leisure. But, I’m exhausted just thinking about everything with technology and people now that it makes me want to time machine back to the days of “Cinema Paradiso”, heck even the early 1980s. It will definitely be interesting to see in the next four or five decades what movies come out of the change in the movie viewing market going on right now. To see what, if any, purity or sanctuary is preserved. From my vantage point, it’s even changing the way people watch movies as many have to constantly check their cell to check the almighty clock and to text or phone their friends instead of watching something magical and immediate right in front of them. And even still, the ten people who don’t phone text or talk are always the ones who act like they’ve never been in a public place or watched a movie EVER. What the heck people?

My Mom told me that when she recently took her Granddaughters to a movie, the youngest one who was at her first movie said, “Grandma this is a big T.V.!” This type of naïve enjoyment is oddly touching to me and one that I will always think now while at the theater. I try to attend movies in the theater as often as I can, or whenever I have extra resources. And I definitely appreciate this act of communal movie viewing and try to soak up as much magic as I can, and sometimes I too am as enthused as my three-year-old niece. But, “Cinema Paradiso” makes me yearn for a time when going to the movies really did mean something special. There was really a sense of freedom and discovery in it, a real escape from the outside world. Not to mention that the average citizen simply COULD NOT get the movie on disc a week later or see it on the internet that same day.

The one room school house is a thing of yesteryear (unless you’re Amish, 3rd World or elsewhere), as is the one screen movie house (though, I know a few still exist out there, but are mostly special serving operations). In the small town that I was raised near and connected to, some movies would stick around for weeks, even what seemed like an entire season. An extraordinary serving of movie magic like "E.T." would nest at what people referred to as "The Show" forever and every night you could pass on the main drive through town and see a long line wrapping around the building to see what the world was talking about. And I knew that at the end of that line lived a screen of silver EVERY SINGLE TIME. All that physically remains of the theater of my youth is the beautiful strip of hand-laid ornate tile introducing passersby to the left-over debris of a once mighty and sacred movie house. It’s quite tragic to me and I can’t help but get the goose bumps of childhood raised whenever I pass by or even think about it.

Unless I'm at an over-booked free screening of an anticipated film, I rarely experience long lines or even a full theater with full emotion and with the cinema on screen in complete control. And the cause and effects of the human spirit can be outrageous when the word FREE is stamped on the mind's marquee. Crowds can go insane, and can be quite intimidating, but there is also something bonding in and exhilarating about it. And watching “Cinema Paradiso” makes me want to dive right in. I see images of people watching movies within movies all the time, but it too rarely fulfills and captures what it is like to really dive. Even crowds at sporting events like a Major League Baseball playoff game feed off a high energy, enthusiasm, emotion and love…even after translated through cameras, satellites and into my television set, I get a contact high from it. I love simply watching a crowd. There is a strange out-of-control and anxious peace in it. I have always wanted to watch a movie of actual people watching an actual movie. The scenes similar to this idea in "Cinema Paradiso" feed my want as the sense of joy comes with experiencing what feels to be an authentic community taking part in something truly special being poured out of the mouth of a lion. Unison of grins, laughter, tears and horror is lit on the faces of the everyday as they escape to travel through film. They even riot and become rowdy if their film is out of focus or if the messenger bicyclist is taking too long to get the second reel that is in the next town. Now, that is passion and love.

Anyway, I’m rambling. I don't aim to put biblical or spiritual stock at the simple act of entertainment of going to the movies, but in some ways one movie can really provide for the masses like Jesus did with one fish. And just like how our own bodies and lives are merely a vessel for a bigger picture, so is a movie house.

-djg

DJG / The Weekend Watcher

2009-02-09T10:06:00.001-08:00

The Secret Life of Bees * * *
Directed by: Gina Prince-Bythewood / 2008

Read. The. Book. Skip. The. Movie. Those are some words of wisdom from your ol’ pal Uncle DJG. The cast seems spot-on, but for some reason they ushered no life absorbed or care, at least to me, hiding behind stale performances and going through the motions. I’m now wondering what kind of spin young directing talent David Gordon-Green would have put on this tale of coming of girl power age and race relations. He was originally lined up to tackle it, but opted for a chance to get out of his typical small town Southern tales and into the streets of “Pineapple Express”. I know that “The Secret Life of Bees” means well and I think that a lot of people have and will find something great in it. But, it can be hard to watch a film adaptation of a book you like and maybe I just wasn’t ready for it? And Dakota Fanning, I don’t aim to attack you critically, and I know that you mean well too, but please go into hiding for a little bit. Go be a real girl for a while. Go chase your own birds and bees.

In Bruges * * * * ½
Directed by: Martin McDonagh / 2008

When I watched “In Bruges” for the first time last year, I pegged it as one of the better crafted stories I’d seen in a while. The second time is even better and still freshens up the behind-the-scenes hit man genre that seems to be firing blanks of late. “In Bruges” is a treat and one of the finer movies to come out of the post-“Pulp Fiction” era. And wow, this era (is it an era?) has been going for nearly 15 years now! It’s clever, witty, thrilling, poignant and surprisingly redemptive. And did I mention that Colin Farrell really busts some likable acting chops? My heart has it picked to win an Oscar in a couple weeks for Original Screenplay, even though my brain says that “Wall-E” will get it. The award doesn’t matter, but I’m just glad it’s being recognized so that more people might be invited to see “In Bruges”, and several times over. Not bad for writer-director Martin McDonagh who has only made two full-length movies. I just want more! And I want to someday be in Bruges!

Push * * ½
Directed by: Paul McGuigan / 2009

Some movies have better trailers…some movies need to come with a handbook. “Push” served both. The opening credits had me very hooked at the idea of the Nazi’s experimenting with paranormal activities during World War II. This is a possible truth that I still wish to research further. Along with this exciting info, little Dakota Fanning also voiced over a handbook’s worth of information in a matter of two minutes on what I was going to have to try to decipher for the next hour and fifty minutes. Film makers, please don’t do this. First thing, this movie is way too long for the type of movie it is, second it takes its self way too serious. Advertisers call it “The first great action movie of 2009!”. Well guys, give me an action movie and cut out all the B.S…and isn’t this the ONLY action movie so far in the infant stages of 2009? 2007’s “Shoot ‘Em Up” raised the bar for what friends and I love to refer to as “Stupid-Awesome”. Last year’s “Wanted” also raised the standards high. Maybe I was just shooting my wants too high? “Push” is an OK concept, had me intrigued from the get-go, but quickly lost me too from the get-go. OK, I’m not the brightest bulb in the projector, but I’d like to think I can follow most action films. Nope. I had NO IDEA what was going on after the opening credits and I didn’t even care. Can I blame it on what I call “The Michael Bay Effect”? You know, where 99.9% of all filmmakers think it’s awesome to pump their cinematographer full of Speed, Pixie Stix, Mountain Dew, NERDS and with a chaser case of Red Bull? How the heck do people follow this stuff? I can barely follow a well-crafted heist movie and a full-length computer animation. Though, at times I guess I was tickled with “Push” (screeching twin Chinese brothers!). I was just not tickled enough to give a darn about characters who looked straight out of the pages of an Urban Outfitters catalog and with mope-about faces to match. When characters (I mean, actors?) don’t seem to really feel for anything, it certainly doesn’t make me want to feel for anything, not even if surrounded by some stupid-awesome. I guess it’s safe to say that what I did see was a minor mash-up of “X-Men” meets “The Matrix” set in Hong Kong (and the scenery was the best thing in the movie), but save your money and go get that from watching the trailer.

Groundhog Day * * * *
Directed by: Harold Ramis / 1993

This year I’m trying to see all the movies that I feel everybody else has seen but me by now, leading up to my date with “Citizen Kane”. Last week I finally say “Life is Beautiful” and last night I finally saw “Groundhog Day”. I’m 30 years old and a Bill Murray fan. How in the heck have I not seen “Groundhog Day”? OK, I don’t spend much time with cable television. Anyway, I don’t really need to say much other than “I loved GROUNDHOG DAY!” as everybody already knows what I’m talking about with this still fresh and fun comedic fantasy. What’s next on the list? I’m thinking of rounding out my classic Bill Murray comedic genius list. How about some “Caddy Shack” or “Stripes”?!

The Ice Storm * * * * ½
Directed by: Ang Lee / 1997

Always worth repeat watches every couple of years, master director Ang Lee’s “The Ice Storm” still rains fresh and well-execution twelve years later. Where movies of similar interest like “American Beauty” fall trite now, “The Ice Storm” is still superbly submerged in suburban unrest and confusion, and with a parallel backdrop of the 1970s. See it.

-djg

DJG / Bubba Ho-Tep

2009-02-06T07:31:00.000-08:00

Bubba Ho-Tep * * * * 1/2
Directed by: Don Coscarelli / 2002

Can you think of another movie that involves ELVIS (Bruce Campbell) and JFK (Ossie Davis) kicking King Tut butt in an East Texas nursing home? Add to this footage The Lone Ranger, nasty bugs the size of peanut butter and banana sandwiches, wild west dressed mummies, elderly cursing and reflections on life and old age...and you're watching a gem of a well-crafted and clever screenplay and film called "Bubba Ho-Tep". Not only is it fresh and comical, even comic book-like, it's oddly touching. -djg

CTJ: It Sucked, I Loved It

2009-02-05T12:59:00.000-08:00

Fireproof: *1/2 for Filmmaking Quality, **** for Enjoyment

I was prepared to loathe this movie because it is a so-called "Christian" movie. "Let us make a movie for the 'lost' masses," I knew it would say. "They will see it and say, 'Ah, alas. There ist he error of my ways. Now I will become Kirk Cameron's disciple."

As films go, the writing, the acting, and the direction are all really pretty rickety. Watching it was a bit like watching a baby take its first steps. I kept expecting it to topple over and get rugburn. But it never did. It just ambled awkwardly along and left all sorts of directorial don'ts in its wake like a trail of parts from poorly assembled car.

The dialog was superficial and unrealistic: "Hi honey. How are you?" "I am fine. It is really tough having a Mom who has been incapacitated by a stroke, don't you think?" "Yes. I do. Strokes are bad." Different strokes for different folks, maybe, but no cinematic stroke of good fortune could possible make up for this first-time screenwriting effort. (I could also throw in a joke about heat stroke since the film is about a fireman, but I will refrain.)

That being said, I loved "Fireproof." What it lacked in production values, it made up for in heart. It is rare that a deficiency in quality can be made up for with fuzzy-wuzzy goodness, and without the sort of accompanying resentment that comes with emotional manipulation. All that being said, it was definitely emotionally manipulative, and it was fuzzy-wuzzy. But shining between the cracks in its construction, I saw a lot of light and goodness that reminded me that God's love matters in this rickety world that totters back and forth like a child taking its first steps, or a drunken man stumbling headlong down the street. Marriage matters, and it matters a hell of a lot. Relationships matter because we exist in relation to God, and our relationship with those around us says a lot about our relationship with Him. There is a lot of good in this movie even if it is terrible. I enjoyed this terrible Christian commercial vehicle, and I suspect that the people who assembled it meant well. I received it well, probably much as God will someday receive me in my rickety state. When I finally topple over into His arms, I hope he can say, "Well, your life was one-and-a-half stars, but you gave four-stars worth of heart."

Here's to enjoying terrible films...

DJG's CINEMADHESIVE / Life is Beautiful

2009-02-05T11:53:00.000-08:00

Life is Beautiful * * * * *
Directed by: Roberto Benigni / 1997

This movie is Beautiful. That’s all I need to say. Everybody I know has seen this mini-masterpiece and told me of it's beauty until I knew it with my own watering eyes this morning. Some movies should never be left to summarize and analyze, they should simply be experienced, cherished and passed around. This is one of them. I encourage those who have waited twelve years, like me, to see "Life is Beautiful"...to bump it up on your list (and I envy your first time). Now, it's time to bump "Life is Beautiful" up on the Must-Buy list.

-djg

DJG / Most Annoying Movies Seen for the First Time in 2008 (no order other than sucking)

2009-02-05T08:13:00.000-08:00

DJG / "I'm Going to Disneyland!" (aka: Super Bowl XLIII)

2009-02-05T07:38:00.001-08:00

Super Bowl XLIII * * * *
Bruce Springsteen & The E Street Band * * * * * (PRICELESS!)

My big ol’ burger was completely swallowed by the time Jennifer Hudson was done belting out her beautiful “National Anthem”…the commercials were once again so-so (maybe because advertisers blow their bank on commercials every day of the week? The Doritos ones do stand out to me though)…the halftime totally lived up to expectation, was amazing and inspiring…but WOW, let's get to that game first!

Sorry CARDINALS, but that stealer of a STEELER ending was unbelievable, as many plays leading up to that, in what has to be one of the best Super Bowls in recent memory. And don’t we say that every year come the Monday morning after!? But, last night surely put the stamp on why it’s called The Super Bowl, and America needed a boost like this. It was even bigger and better than last year when Eli Manning saved the day at the last possible second (which still perplexes me).

The first quarter of Super Bowl XLIII opened with Big Ben getting his rushing touchdown taken away...the second quarter ended with an I-still-have-no-idea-how-he-ran-that-all-the-way-back 100 yard touchdown interception (longest Super Bowl play ever!)… fast forward a bit to the last few minutes of the fourth quarter, and it was just the most insane amount of Super Bowl emotions, nail-biting plays and highlights in the history of the big game. Though, it was the third quarter that didn’t produce much, at least not to me. I think because it had to do with something about following BRUCE SPRINGSTEEN & THE E STREET BAND!

And a WOW-WOW of a halftime highlight reel! Where do I begin? I first heard about The Boss – Super Bowl rumor courtship connection back in August. So, I’ve nearly had 6 months building up for this. And The Boss has been turning down the NFL for years, I heard even way back when. Being that The Boss is on quite the streak of late, playing Super Bowl XLIII only put the topping on the cupcakes for me. How about we just kick it off from the get-go as pre-recorded Cardinal and Steeler players flashed on the television, introducing me to the legendary E Street Band…then, a backstage camera comes out of the stadium bowels and into the dark with the real life classic “Born to Run” silhouette of The Boss and Clarence Clemons back-to-back with guitar and saxophone in hands like weapons as “10th Avenue Freeze-Out” kicks into it’s opening rhythm and The Boss throws his guitar into the air and his tech fumbles with the catch. The Boss then looks at me and says, “Alright, get away from the guacamole. Put down those chicken fingers…turn your television all the way up for the righteous sounds of the E Street Band!” The Boss then put his near-60-year-old legs in supreme jump-ability and got right up on Professor Roy’s piano and asked me if I was really alive out there. And I said, “Yes I am.” I was ready to rock ‘n’ soul. Bruce proceeded with springing off his piano pulpit, straddled the microphone as if a prayer to God in Heaven and then bounced around the stage, telling his people the recollections on 10th Avenue, a song that live, usually extends into a 20 minute praise and worship sermon turn band introduction, but at the Super Bowl you only get 12 minutes to preach.

It was almost as unbelievable as the longest play in Super Bowl history, before I knew it, The E Street Band gained extra Clarence “Big Man” beef in their horn section pants as from what I could tell, drummer Mighty Max Weinberg brought his entire 7 (from the Conan O’Brien show, of course) with him to help in the halftime party. Thus, Clarence blew gold all over the place as he looked dressed the part of a wizard musical theory instructor in the next “Harry Potter” movie. I knew it was going to happen, but didn’t think it would come this early, but near the end of “10th Avenue Freeze-Out”, The Boss did his famous night-after-night-after-night knee slide across half the length of the stage, colliding with the viewers at home, in what I like to refer to as “Crotch Cam”. I don’t know about those of you there, but from my vantage point the slide into NBC’s camera looked like it was supposed to be intentional, just maybe not that aggressive. However, The Boss hammed it up something fierce as he displayed the biggest “I’m having the time of my life” grin on his face to the over 100 million viewers at home and the thousands and thousands there basking in the flesh of Super Bowl XLIII. I wish I’d been there…

A little winded, but not worn by any means, The Boss strapped on Excalibur as “Born to Run” officially kicked the party into second gear and hundreds of sky rockets destroyed the Tampa Bay night sky. It was a truly mesmerizing and inspiring experience, even from the cheap seats. It actually kind of reminded me of when I watched live C-SPAN coverage of the inaugural bombings of the second Iraq war, but of course the rocket red glare in Tampa was more inspiring as “War, what is it good for?”. Back to basics…“Born to Run” always ends way too soon for me (it’s a repeater ALWAYS, and I’m sure every neighbor or roommate I’ve had since 2001 either knows it by heart or are completely sick of it), but the Super Bowl shortened version brought the quintessential ROCK WRITING 101 guitar thunder and lightning really quick as Bruce and the band slowed it down and then brought it back up to that place where I really want to go and walk in the sun. But, tramps like me are born to run and I had to get to working on my dream.

DANG, is all I could think as Bruce ushered not only Little Stevie and his lovely wife Patti to the front of the extended stage to harmonize with the crowd, but also brought out about a hundred blue robed choir belters holding pure illumination in their palms as their BOSS was “Working on a Dream”, a song choice that I wasn’t expecting at all. I knew he’d more than likely want to plug the new and excellent record, but I had no idea he’d do it with the title track, I was thinking “Lucky Day” all the way. Though, what a fitting salute to America right now and a great way to feed off that “Born to Run” energy and change up the tempo. What a song, but what a performance. I really hope this happens every night on the new tour. This was even more inspiring than the fireworks.

I knew that time was ticking and how do you end a concert like this? In the back of my mind I was pining for either “The Rising”, another inspirational number, but at this point it didn’t seem like the choice. Maybe “Badlands” or “Hungry Heart” would be next!? I then thought maybe, just maybe the place would explode as the drum kicks of “Born in the U.S.A” would sound. However, all along I didn’t think he would play his ‘80s staple (and if so, I would have kicked off the party with the acoustic rendition, if I was The Boss)…I was mostly thinking that The Boss would employ the help of the 12-year-old girl he had in Kansas City, MO at the end of the “Magic” tour for “Dancing in the Dark” lessons and cartwheels. Gosh, I was hoping to get that memory back into reality. What a site that was…and I think The Boss was listening to me, but decided to throw in a change-up as he went one step back to the track right before “Dancing in the Dark” on his classic album “Born in the U.S.A.” and wrestled for them “Glory Days”! Just like any night on tour, you never know what you’re gonna get!

Changing up the lyrics from baseball to accommodate the present event, The Boss told me about his football friend back in high school who could throw a Hail Mary pass! AMAZING. BRILLIANT. But, where was his buddy now? Yep, he was now older and sitting around, thinking about the days of his youth. Little Stevie stepped up to the plate…er, yard dash?...and joined with his best bud on recapturing the youthful spirit of a bar band going down to the video hit well of the 1980s as they loosened a notch or two and belted out their “Glory Days” in extreme grand fashion. The Boss then looked at his watch and asked, “What time is it!?”. He then asked if it was quittin’ time and if they’d get called for a penalty if they went over and even said something about how they might as well just start taking ‘er into over-time!

Then, in what was probably Bruce’s actual 2 minute warning, a frumpy referee whom I didn’t recall seeing make the final play of the half, came on stage, blew his whistle and threw a yellow penalty flag in front of Bruce and Stevie. I was just blown-away at how awesome this exit was. I think that a lot of people found it pure-cheesy, but I thought it was genius orchestration to sum up what a fun-loving, genuine class act Bruce Springsteen & The E Street Band really is. This was their time to get ready to clock out of the office and as Bruce asked again what time it was and Little Stevie replied, “It’s BOSS TIME!!”, dang it iff the entire crowd didn’t go completely bonkers. I think I even bonkered in my pants a bit. The Boss then put in some over-time as he wind-milled his beloved guitar six times and the band kept going and going, extending the final measures and “Alrights!” of “Glory Days”. As the band slowed things down, the Boss officially clocked out with a smiling, classic Super Bowl victory declaration of “I’m going to Disneyland!” They all held hands and I wanted more BRRUUUCCCCEEEEE!!!!!! than the forthcoming halftime football talk.

Bruce and the gang only had 12 minutes to squeeze in nearly 4 decades of music and you could tell that they came fully-equipped with a wallop of a 4-pack medley of power that not even Vegas could have predicted. There have been a lot of pretty good Super Bowl halftime acts in the post-Janet era, but none have even come close to the level of energy, passion, spirit and excitement of the party that took place last night. The halftime bar has officially been raised. I even think it was better than the opening ceremony at last summer’s Olympics (OK, maybe not ZHANG YIMOU THAT GOOD, but take note London 2012!), I just wish that they could have gotten three or four hours! They used every bit of the allotted 12 minutes to remind me how they can do what they do and MORE on any given night of the week with an extra 2 hours and 48 minutes. Well, of course without the awesome aid of exploding rockets, a large backdrop of digital light boxes that brought to mind the communications of “Close Encounters of the Boss Kind”, a choir, added horn section, referee, and not to mention a grand stage and setting that only The Super Bowl could provide. But, Bruce & The E Street Band are no strangers to big venues and big stages…

Cardinals, sorry for your loss. Your road to Super Bowl XLIII was a great, hard-fought one and I was rooting for you. But, look on the bright side of the ball, at least you got to open for THE BOSS!

-djg

CTJ's 2008 List (On Top of Danny's)

2009-02-05T04:52:00.000-08:00

Danny made a great list of his favorite films that he saw in 2008, but as I looked at his list there were a few that we both saw and raved about that I wanted to add to the list, as well as a few that I saw myself and loved. Between the two of us, you should have enough films to keep your Netflix queue full for awhile. :)

DJG / Record Store Day = "High Fidelity"

2009-02-04T11:43:00.000-08:00

In April, I plan to watch a movie that's in my all-time top five list, "High Fidelity". I visit Rob Gordon and friends at least twice a year and I can't think of a better day than National Record Store Day on April 18, 2009.

DJG / Max Payne

2009-02-04T10:39:00.001-08:00

Max Payne * * 1/2
Directed by: John Moore / 2008

Hey BRO, I just kicked off feBROary with the most amazingly madhouse of a movie called "Max Payne". You heard of it? It’s based after a video game. You a gamer? I’m not, used to when I was younger, but that’s cool cause the movie didn’t even need to have good story development or anything to get my investment. Let’s blow that S*%T up! Marky Mark is looking cut in it and he’s pissed cause somebody killed his wife and daughter way back. He’s on the loose and beating up bad guys cause he met some hot babe (well, not really cause I think she kinda looks like Kumar with a wig on, at least in that last James Bond movie poster I saw…ya know, Harold’s White Castle buddy?) for one night and then two minutes later somebody murdered her and planted Max’s I.D. badge on her body. No joke. I was like, “What?!” So, Max just goes ape and uncovers a ton of stuff and with the aid of that Jackie girl from “That ‘70s Show”, whom I think should just stick to receiving her butt-load of royalty checks from that sitcom’s glorious run on syndication. So Marky Max…he goes and beats up Chris O’Donnel, who we haven’t seen in a movie since “Batman & Robin”. Chris is cool and all, but didn’t age well and I bet that is why he’s been in hiding. Remember when I took that picture of his hot mug from People Magazine back in 1996 cause I wanted a fine example of how to get my hair cut for the salon girls? Yep. But, dude…I don’t want his hair now. Anyway, so Max keeps killing people and blowing stuff up and then there is this one part that has him getting nearly frozen to death…to DEATH, bro!...and then he miraculously crawls out of the frozen ice (and thankfully the bad guys quit shooting at him, as bad guys always give up way too easy!) gets whack drunk on this crazy blue liquid stuff that the U.S. military designed to calm down troops in battle, yet it fills them with awesome Terminator-like strength. It’s not really rage, just soothes them and brings peace so they can go into battle and DESTROY. But, the dudes I saw swill it earlier in the film could have already kicked my butt, even if my butt was juiced on the blue stuff. But, whatever. So, Mark (aka: Max Payne) took like a double-dose of this stuff and started getting crunked-out. I guess he didn’t know that you’d see winged demons flying all over the place after you drank it. He just thought those other poor suckers who took it were hallucinatin’ or something? Also, he took the stuff and become unfrozen and got right up and the constant snow that was falling for the entire movie turned to pieces of burning ash and then Max Payne just went downtown on a ton more bad guys until he got to the final bad guy boss. It’s tight. WAY TIGHT. OK, so mark off the checklist dude, because this movie has winged demons and ash falling from the city at all times…and a ton of ripped dudes with machetes, hot babes and guns. Why didn’t we see this in the theater on the big screen and in surround stereo sound!? Also, I shouldn’t forget to mention that “Max Payne” has some mega sweet effects that are sorta like “The Matrix”, but visually it's one of many movies that are trying to milk that whole "Sin City" thing but just don't make the cut, ya know? Ya know, on that "Matrix" thing though, slow-motion acrobatic gun battles with different levels of bad guys and stuff? Sweeeeet. But, Marky Mark is no Keanu Reeves. But, in the end, Max Payne kills all the guys that made him so pissed off in the first place cause they are the same guys that were involved with killing his wife and daughter. Can you believe that? Yeah, so, it was awesome, of course. It IS awesome. I think I want to be a gamer again now. Later, I gotta hit Best Buy now to go purchase a new gaming system and “Max Payne” the video game (heck, maybe the whole franchise) and the DVD or maybe even Blu-Ray cause I've always wanted one of those and why not? Later. Oh, and say hello to your mother for me.

-djg

DJG / Message to Actor Christian Bale: YOU ARE NOT IMPORTANT...and certainly not PROFESSIONAL.

2009-02-04T08:44:00.000-08:00

"The Dark Knight" didn't do it for me, but I was hoping for a solid addition to the "Terminator" family. Not now. As if his recent acting wasn't bad enough, I officially have lost all wish to support new Christian Bale work. I had heard that he had some a-hole in him, but wow, he is now the official definition of a complete a-hole. I tend to either become saddened or lose respect for "artists" when they start to play God with their gifts. He's officially lost my respect and support. I tend to have a fairly long fuse and a hefty grace period...and especially in the entertainment industry and Hollywood...I look beyond personal life and actions beyond the silver screen lining and focus on the work and enjoyment in front of me. I understand the idea of "having a bad day at the office", but this is completely uncalled for, unprofessional and simply not a way to tattoo yourself to this Earth. I realize that there were words said on both sides, but I feel the lower totem pole was simply trying to explain his position and not be an a-hole about it...unlike the golden boy Bale. And besides, Bale stopped acting professionally for me after "American Psycho" and "The Machinist", so I don't feel I'm missing out on any so-called "art". Thanks, but no thanks. Hollywood, critics and film fans, I hope this makes you think twice about supporting such garbage. ARNOLD, please come back.

-djg

DJG's CINEMADHESIVE / Encounters at the End of the World

2009-02-03T11:34:00.000-08:00

Encounters at the End of the World * * * * *
Directed by: Werner Herzog / 2008

Let's take a field trip to McMurdo Station…American Scientific Settlement…Antarctica…Earth.

As God’s children we should behave accordingly instead of exhausting our Mother Earth’s resources, like a mother whose fuse is shortened by a child’s heightened sense of not having any sense. But, what is “behave accordingly”? The word “behave” has two words in it, “be” and “have”. I sometimes just yearn to “be” and with peace of mind, like a child, but at the same time I have to play adult and sometimes that means I “have” to “have” my share and piece of mind. As humans it’s in our driving initiative to put everything under the microscope, to poke and to prod, to exploit, to show-off, to gain founders rights and an objective of intellectual gain. Rarely do we sit back and soak in the given. And will we truly be forgiven? Time will tell, at least in our relation to Earth’s perspective.

Werner Herzog approaches his film subjects like a carver of curiosities, Antarctica being one of his latest escapades, more appropriately ice capades, and it’s a wonder why it has taken Herzog this long to wander his wonders to the belly button of the world's belly. Well, because it's pregnant with life. It’s a thinker’s tank down there and on a surface of "moon-like" conditions as described by some of the inhabitants of America’s McMurdo Station, a scientific settlement nearly four times the size, and more Americanized, than even that of my actual Americanized home town. It wasn’t what I was expecting and neither was Herzog, as he wanted to get out of town and into iceberg exploration the minute he stepped off the plane. I don’t blame him. But, he stumbles on a story behind every door and behind every travel-worn face of these people. There is a line from the ‘90s comedy, “Tommy Boy”, that has always stuck with me and that is, “Your Dad could sell a ketchup popsicle to a woman in white gloves!”, and I think that if there was such a salesman, Herzog would be on the other end of the camera with white gloves on. He just has a knack for finding something in everything and everyone.

The residents of McMurdo all share a similar interest in what seems to be out of the box experiences, even when they’re in the box, so to speak, cut off from the rest of the world. Not to mention when they’re practicing survivor classes with bucket blinders over their heads to simulate a whiteout (one of my favorite scenes). The end of the world has pulled them in like a magnet. The end is their beginning, the bottom is their top. OK, you get it. Some have come to escape a dark past. Others have come due to their constant search of eccentric adventure or wonderment. Many are there for their love of the work (and ice cream, guitar concerts and science fiction) and to simply be in remote isolation. There are even some who have bags packed at all times, ready to move on if need be. But, all have truly lived more than I have and I’m oddly engaged to their inspiring tales and trials through travel. In fact, I found the filmed portions of the people of McMurdo just as captivating as its strange frozen surroundings, ice bergs, actively spitting volcanoes, seals that give off Pink Floyd-like recordings, two story naturally made ice sculptures that house toxic gases and water cathedrals with alien-like creatures under the Herzog coined “frozen sky” of the iced-over sea. Though, there is an odd juxtaposition of McMurdo’s curious, childlike play peoples and their drive to want to scientifically figure out Mother Earth. But, in the end these are still God’s children and even still, serve as a unique parallel to a lone, adamantly wandering penguin taking his own path. It’s a path we’d all want to aid motherly care package advice to, but he’s free to make that choice to poke and prod on his own path of choice.

As a documentarian you can say that Herzog too pokes and prods. Though, it rarely comes with the gusto for scientific documentation of film studies advance (well, maybe a bit of that and some intellectual studying), rather that simple yearning of child awe, spirit and artistry. Herzog has a wonder about him, at times eccentric, but always with a keen eye and brain even to squeeze something extra out of the ordinary and is careful not to draw a fine line between “normal” and “insane”. His camera is constantly looking for something mind-boggling, impressive, inspiring, worshipping, poignant and at times humorous. When someone speaks of their love for Antarctica and its “similar to the moon” likability, the camera tells what could be the rest of the story. As it captures the earth worked over by human dirt machines and “progress” taking place, one can’t help but visualize how the moon will look once we conquer and colonize it and beyond, leaving our inevitable travel tattoos (most likely after we come close to fully exhausting our Mother). And at the same time you can’t help but want to be a part of that in some strange way.

Just like the mysterious come and go of the dinosaurs, humans will too. We’re up to the plate and all signs appear that we’re down in the count. The doctor playing on Earth has good, bad and ugly to its game and maybe just maybe it can boost us to having better odds if we pay attention? Though, perhaps when future civilizations, maybe aliens, come to see who we were and what we were about, they’ll happen to find a complete box set of Werner Herzog curiosities and documentations on Earth (of course they’d have to have a device to make them work, but please humor for a little longer) sitting in a shrine right next to the detailed cast of a sturgeon also mysteriously found frozen in time at the end of the world.

While Mother Earth is busy speaking, are our busy bodies truly listening instead of putting stethoscopes, microscopes and tattoos to the tune of discovering, documenting, detailing…detaching and weaning off from the mystery and childlike wonderment? But, children are nothing more than little adults, naively wandering into a foreign playground to be the first to slide down the slide with a bucket over their heads. And you can bet your bucket that Werner Herzog will be at the bottom with a camera and curiosity

-djg