by Jason Pyles / January 25, 2009
“Dogville” cannot be accurately conveyed through mere description. The only way to know “Dogville” is to endure it.
I say endure not because the film is three hours long and set like a sparse stage play, rather, I say endure because of the way it drags us through twisted bouts with morality. Somehow, amid its minimalistic design, “Dogville” manages to expose the heinous depths to which human nature is capable of plummeting.
And what’s more, the film’s concluding scenes make us root for deplorable (albeit retributive) behavior. The former victim makes victims of her abusers, sinking to their inhumanity, and our spectator’s gladness thereby incriminates us vicariously. Thus we realize that writer and director, Lars von Tier, has lured us into validating his film’s apparent assertion that bubbling beneath the exterior of us all are evil acts waiting to spring forth. After all, Grace hoped for a different lifestyle, but small-town Dogville squelches her hope; goodness is mythical, she seems to decide.
Though “Dogville” is a magnificent film, it’s not profound. Many other films have reached similarly sad conclusions. Aside from the emotional responses it provokes, “Dogville’s” meanness is only matched by its unusualness. I cannot think of another motion picture quite like this one.
Though the film is set in the late 1930s, early ’40s, “Dogville” reminds me of something Nathaniel Hawthorne might have written to comment on the sociology of Puritanism, particularly with regard to issues of morality.
The film’s shabby stage is adorned, here and there, with occasional physical objects of set design, but the bleak stage is nonetheless prominent. Similarly, the residents of the township of Dogville dress up their viciousness with the illusion of simple values and piety, but their monstrous natures are ever visible through their invisible homes. We witness the first rape in a long shot from across the town. One can’t help but wonder, through the film’s “illustrations,” how differently we might behave if our walls were also transparent.
Setting aside the multiple rapes, the human dog chain (a masterstroke), the heartless breaking of figurines and parallel ruthless execution of children, “Dogville” offers other stimulating considerations for lovers of the filmic medium: We’ve seen plays and we’ve seen films; we’ve also seen filmed plays. But to me “Dogville” is something more, because it overlaps the two and reveals the fine line between them.
I suppose nearly all actors in films and plays emit the illusion of total acceptance of their surroundings; seemingly convinced themselves that their props are real, we also agree to believe. But in “Dogville” the vehicles that drive in and out of “the town” are just as tangible to the cast as the doors that we cannot perceive, yet the actors still knock, open and close those doors and we still hear each action.
We also hear other things that we know aren’t there: crickets, rain, thunder. And the set is given visual additions, such as the fog and snow. All of these could also be presented in a play. Even the condensing of time is characteristic of both plays and movies.
Yet “Dogville” strikes me as more than just a filmed play: I was astounded at my willingness to be deluded into overlooking blatant artificiality and perceiving this odd town and its appalling goings-on as reality.
The very last shot shows us “Moses,” the dog, in actuality — the same dog that before we could only hear or see a chalk drawing of. This final moment reinforced my illusion, and for an instant, made me think to myself, ‘See? This is really happening! Even the invisible objects were truly there all along.’
Sunday, January 25, 2009
Thursday, January 22, 2009
81st Academy Awards Nominees
To see a list of the nominees announced earlier today, visit my movie review site:
www.rhapsidiommoviereviewer.blogspot.com
Jason
www.rhapsidiommoviereviewer.blogspot.com
Jason
Wednesday, January 14, 2009
Caught in "Traffic"
by Jason Pyles / January 14, 2009
This week’s film is “Traffic,” which was selected by Andrew James. I’m interested to know why he chose this as an example of an unusual film.
After some thought, I concluded that the most unusual aspect about “Traffic” is that it’s actually a drama about the illegal drug industry — and not a shoot-‘em-up action flick. Most movies with a backdrop of drug wars have gun battle after gun battle, but “Traffic” sticks to its agenda as a message film.
At the 73rd Academy Awards, which recognized the films of 2000, “Traffic” was nominated for Best Picture, contending with “Chocolat,” “Crouching Tiger, Hidden Dragon,” “Erin Brockovich” and that year’s winner, “Gladiator.” The director of “Traffic,” Steven Soderbergh, won Best Directing for this film, but he was also nominated again that same year for “Erin Brockovich,” which he also directed. Robert Osborne, who writes the “Official History of the Academy Awards” notes that a director hasn’t had dual contenders for Best Picture since the 1948 Oscars; nor has a director competed with himself with two films in Best Directing since 1938.
“Traffic” also afforded Benicio Del Toro an Oscar for Supporting Actor, Stephen Gaghan for its Writing, and Stephen Mirrione for its Film Editing.
Some aspects of the film-style are blatant: Notice that the scenes that take place in Mexico are typically a little overexposed and have an overall yellow, sun-bleached tint, as if looking through those cheap, yellow-lens sunglasses. And the scenes set in D.C. and Ohio have a bluish tone. Other than differentiating the story lines, I’m not sure what purpose these colors served, unless they were simply artistic whimsy.
I enjoyed how the stories would barely graze one another, overlapping from time to time — typically with a passing vehicle or a pedestrian. The film’s other prevalent stylistic decision is an unusual but wonderful shot that appears to be upside down as the camera (aka “we”) watch a helicopter land on top of it.
I’ve loved Benicio Del Toro in everything I’ve ever seen him in, but I’m still not sure why he got an Oscar for this role; though I’m not particularly fond of the actress, Erika Christensen’s drug addict “Caroline” is notably persuasive during her trips, and perhaps more deserving of recognition.
So what is the message? The tagline is “No One Gets Away Clean,” which is convincingly depicted in “Traffic.” In summary I think the film is trying to tell us the War on Drugs is ultimately futile, but the dangerous and costly efforts matter to those individuals who receive assistance. But still, no one gets away clean.
This week’s film is “Traffic,” which was selected by Andrew James. I’m interested to know why he chose this as an example of an unusual film.
After some thought, I concluded that the most unusual aspect about “Traffic” is that it’s actually a drama about the illegal drug industry — and not a shoot-‘em-up action flick. Most movies with a backdrop of drug wars have gun battle after gun battle, but “Traffic” sticks to its agenda as a message film.
At the 73rd Academy Awards, which recognized the films of 2000, “Traffic” was nominated for Best Picture, contending with “Chocolat,” “Crouching Tiger, Hidden Dragon,” “Erin Brockovich” and that year’s winner, “Gladiator.” The director of “Traffic,” Steven Soderbergh, won Best Directing for this film, but he was also nominated again that same year for “Erin Brockovich,” which he also directed. Robert Osborne, who writes the “Official History of the Academy Awards” notes that a director hasn’t had dual contenders for Best Picture since the 1948 Oscars; nor has a director competed with himself with two films in Best Directing since 1938.
“Traffic” also afforded Benicio Del Toro an Oscar for Supporting Actor, Stephen Gaghan for its Writing, and Stephen Mirrione for its Film Editing.
Some aspects of the film-style are blatant: Notice that the scenes that take place in Mexico are typically a little overexposed and have an overall yellow, sun-bleached tint, as if looking through those cheap, yellow-lens sunglasses. And the scenes set in D.C. and Ohio have a bluish tone. Other than differentiating the story lines, I’m not sure what purpose these colors served, unless they were simply artistic whimsy.
I enjoyed how the stories would barely graze one another, overlapping from time to time — typically with a passing vehicle or a pedestrian. The film’s other prevalent stylistic decision is an unusual but wonderful shot that appears to be upside down as the camera (aka “we”) watch a helicopter land on top of it.
I’ve loved Benicio Del Toro in everything I’ve ever seen him in, but I’m still not sure why he got an Oscar for this role; though I’m not particularly fond of the actress, Erika Christensen’s drug addict “Caroline” is notably persuasive during her trips, and perhaps more deserving of recognition.
So what is the message? The tagline is “No One Gets Away Clean,” which is convincingly depicted in “Traffic.” In summary I think the film is trying to tell us the War on Drugs is ultimately futile, but the dangerous and costly efforts matter to those individuals who receive assistance. But still, no one gets away clean.
Wednesday, January 7, 2009
Water - comments by Andy
Wow Barrett. What a fantastically depressing movie. Thanks for totally killing my buzz. What a stark difference between the young kids in "Water" and "Billy Elliot." I watched this with my wife, and, as usual, I fell asleep in the middle. I dozed off with the certainty that everything was going to be just fine; that Chuyia would break the mold that was the vicious cycle of making widows third-class citizens. Not so much.
I too thought this movie was the most brilliant, beautiful, well-acted, totally depressing movie I've ever seen. And now I'll try to forget it.
by Andy
I too thought this movie was the most brilliant, beautiful, well-acted, totally depressing movie I've ever seen. And now I'll try to forget it.
by Andy
Thursday, January 1, 2009
Poring Over "Water"
by Jason Pyles
Though it looks like a film from India, “Water” is technically a Canadian film that was set in India, filmed in Sri Lanka, and written and directed by the Indian-born Deepa Mehta. (And today — January 1 — I noticed, happens to be Mehta’s birthday.)
“Water” was nominated for an Academy Award in 2006 for best foreign language film but was beat out by Germany’s “The Lives of Others.” Also, “Water” is part of a trilogy and is preceded by Mehta’s films “Fire” (1996) and “Earth” (1998), which I haven’t seen.
When movies begin with some kind of ominous prologue, my interest is immediately piqued:
A widow should be long-suffering until death, self-restrained and chaste. A virtuous wife who remains chaste when her husband has died goes to heaven. A woman who is unfaithful to her husband is reborn in the womb of a jackal.
We’re told this comes from “Sacred Hindu texts.” And we know that what follows will be a widow who disobeys the edict. But what we don’t know is that the widow who introduces us to the aforementioned disobedient widow will be about 7 years old.
It is immediately difficult not to be judgmental of this belief system. And for those of us who attempt to approach “Water” with an open mind, Mehta antagonizes further because she has an agenda: We are shown vividly how some widows in India around 1938 (and still today) are neglected and mistreated. As I watched, I couldn’t stop thinking of how lepers were similarly detested in the Bible. Naturally, the grotesque irony in “Water” is how Kalyani (Lisa Ray) was no longer good enough to speak to men, but she could be prostituted for income and treats.
These surface observations have deeper implications that tell us this is more than just another sad tale of star-crossed lovers: At first, we may suppose that the vulgar Madhu Didi (aka “Fatty”) and Gulabi (the pimp) were just two bad seeds. But after hearing Narayan’s logistical breakdown about widows being an economic burden on their families, we realize that financing an “ashram” or house of widows may indeed be tricky. So, we are left to wonder if prostitution for survival (because “not even God can question survival”) is not as uncommon as we might suppose.
In an effort not to ramble on, I must finally comment on what a beautiful film “Water” is, particularly its soundtrack. The film’s main lovers’ theme, which may be called “Chanchan,” evokes Rusted Roots’ “Beautiful People,” which I dearly love.
Thanks for choosing this film, Barrett.
Though it looks like a film from India, “Water” is technically a Canadian film that was set in India, filmed in Sri Lanka, and written and directed by the Indian-born Deepa Mehta. (And today — January 1 — I noticed, happens to be Mehta’s birthday.)
“Water” was nominated for an Academy Award in 2006 for best foreign language film but was beat out by Germany’s “The Lives of Others.” Also, “Water” is part of a trilogy and is preceded by Mehta’s films “Fire” (1996) and “Earth” (1998), which I haven’t seen.
When movies begin with some kind of ominous prologue, my interest is immediately piqued:
A widow should be long-suffering until death, self-restrained and chaste. A virtuous wife who remains chaste when her husband has died goes to heaven. A woman who is unfaithful to her husband is reborn in the womb of a jackal.
We’re told this comes from “Sacred Hindu texts.” And we know that what follows will be a widow who disobeys the edict. But what we don’t know is that the widow who introduces us to the aforementioned disobedient widow will be about 7 years old.
It is immediately difficult not to be judgmental of this belief system. And for those of us who attempt to approach “Water” with an open mind, Mehta antagonizes further because she has an agenda: We are shown vividly how some widows in India around 1938 (and still today) are neglected and mistreated. As I watched, I couldn’t stop thinking of how lepers were similarly detested in the Bible. Naturally, the grotesque irony in “Water” is how Kalyani (Lisa Ray) was no longer good enough to speak to men, but she could be prostituted for income and treats.
These surface observations have deeper implications that tell us this is more than just another sad tale of star-crossed lovers: At first, we may suppose that the vulgar Madhu Didi (aka “Fatty”) and Gulabi (the pimp) were just two bad seeds. But after hearing Narayan’s logistical breakdown about widows being an economic burden on their families, we realize that financing an “ashram” or house of widows may indeed be tricky. So, we are left to wonder if prostitution for survival (because “not even God can question survival”) is not as uncommon as we might suppose.
In an effort not to ramble on, I must finally comment on what a beautiful film “Water” is, particularly its soundtrack. The film’s main lovers’ theme, which may be called “Chanchan,” evokes Rusted Roots’ “Beautiful People,” which I dearly love.
Thanks for choosing this film, Barrett.
Saturday, December 27, 2008
Only SOME of the Best Films of 2008
by Jason Pyles / December 27, 2008
2008 was a great year for the cinema and a momentous year for my family. I only make mention of my life’s personal events to emphasize that after having our first baby, a college graduation, a move across the country and working one and a half new jobs, I’ve only been able to see 101 of this year’s films (in contrast to my 176 reviews in 2007). And unfortunately, many films that are receiving the most critical acclaim are, as of yet, unseen by me.* (see list below)
So again, the following 11 films are only some of the best films of 2008.
1.) The Dark Knight (PG-13)
Some people have said “Iron Man” is a superhero movie for those who don’t like superhero movies. OK, maybe, but it’s still a superhero movie, an excellent one. But “The Dark Knight” transcends the genre. And not to be technical, but Batman never really was a superhero in the truest sense: He’s just a rich guy with the means to have slick, crime-fighting gadgets. But let me be clear here: Yes, Christopher Nolan is a superb director whose contributions cannot be diminished; Christian Bale successfully pulls off the bat man with a straight face; in fact, all the film’s actors have become their characters. Yet it is Heath Ledger’s performance as the Joker that makes “The Dark Knight” so lofty. Ledger deserves the Oscar — and not as a consolation prize for being deceased. A good villain is just as important as having a good hero. Among the films I’ve seen in 2008, “The Dark Knight” is the best of the year.
2.) The Orphanage (R)
“The Orphanage” is a truly creepy film and perhaps more impressive, one of the few effective haunted house movies. Filmed in Spanish with English subtitles, this non-slasher, spine-tingler is rated R but not for the usual reasons: Its rating is solely due to “disturbing content.” I might have termed it “troubling” content.
3.) Cloverfield (PG-13)
Everybody plays the “what if” game. And because of that, “Cloverfield” is pure cinematic delight because it allows the “what if” game to unfold before our eyes. What if a real monster attacked New York City? This is no King Kong or Godzilla monster mash; “Cloverfield” endeavors, as realistically as possible, to portray such a horrific event. Best of all, the movie pulls us up onto the screen, into the action, because we identify with a character videographer’s subjective point of view through his camera lens, a trick that “Quarantine” later attempted in October but with much less success.
4.) Expelled: No Intelligence Allowed (PG)
Highly controversial and arguably slanted unfairly, “Expelled” is a documentary for “the believers,” meaning, those who believe “Genesis” over “The Origin of the Species.” Ben Stein is the gadfly of the scientific community as he observes that it seems to have closed its mind to ideas like Creationism and wholly accepted Evolution. “Expelled” is a showdown that is much more engaging than it sounds.
5.) Snow Angels (R)
Some films can carefully portray with lifelike verisimilitude the sad dramas that play out in the lives of regular, everyday people. “Snow Angels” is one such film, and its magnificence is matched only by its pensiveness.
6.) Run Fatboy Run (PG-13)
Because its director is David Schwimmer and its title is “Run Fatboy Run,” you may doubt my judgment on this surprising comedy. But Schwimmer shows considerable promise as a director, and the movie’s title is likely a marketing design, even though it is somewhat fitting. “Run Fatboy Run” is funny, but it’s also inspiring. This movie is a banner and a beacon for anyone who’s tired of being a loser and wants to stop sucking.
7.) Rambo (R)
I know. Sy Stallone is like 62 years old and “Rambo,” like most of the “Rocky” movies, is a thing of the ‘80s. But who goes to see a “Rambo” movie? Someone expecting a Merchant Ivory Production? No. Someone who wants to see “Rambo” blow everybody away. Done. But that’s not what makes this movie excellent: Reportedly, in this time of war, Stallone wanted to try to depict the true horrors of warfare, and it appears he has succeeded with a film that approaches the graphic violence of “Saving Private Ryan” (1998). And though it’s difficult to make a war film that doesn’t ultimately glorify war (which I suppose “Rambo” still does), it still paints a vividly grotesque picture.
8.) Iron Man (PG-13)
As mentioned above, “Iron Man” is a fine example of a comic book movie. It’s a well made, summer-fun, big-budget, popcorn blockbuster that is wonderfully entertaining. But as Heath Ledger is to “The Dark Knight,” so is Robert Downey Jr. to “Iron Man.” He makes the movie worth seeing on the merits of his humorous performance alone.
9.) Tropic Thunder (R)
Speaking of Robert Downey Jr., when an actor can convincingly perform in layers, piling character upon character within a role, then you know he or she has a remarkable gift. I don’t care if this is a comedy, he still should be nominated for his performance. Not only is “Tropic Thunder” hilarious, it savagely cannibalizes and ridicules the Hollywood from whence it sprang. It has an updated variation of the “Three Amigos!” (1986) plot that’s both smarter and funnier.
10.) The Ruins (R)
Many people will disagree with my ranking “The Ruins” among this list, but I don’t care. This is an excellent horror movie, which is nearly an oxymoron. While watching this film, imagine that you have fallen into this scenario. Yes, the vines (which are not the point) are ridiculous, but this is no “Little Shop of Horrors” (1986). Setting the vines aside, which are merely a plot device, the true horrors of “The Ruins” could happen. What is scarier than being marooned in another country and watching those who are with you — the only people you thought you could trust — make dreadful decisions out of fear? It is what the characters do to one another (and it’s typically not meant to be mean-spirited) in this midst of their crisis that makes “The Ruins” an effective horror movie.
11.) U2 3D (G)
I’m not even a U2 fan, per se. But I like their music, and besides, who doesn’t enjoy concerts? “U2 3D” is comprised of incredible footage from several U2 concerts that puts the viewer up on the stage with the performers. And even without the 3-D glasses, this would still be an enjoyable experience for any music lover — especially a true U2 fan.
Honorable Mention of 2008:
4 Months, 3 Weeks, and 2 Days
Appaloosa
Changeling
Charlie Bartlett
Definitely, Maybe
The Happening
Horton Hears a Who!
The Incredible Hulk
Lakeview Terrace
The Other Boleyn Girl
Penelope
Pride and Glory
Quantum of Solace
Righteous Kill
Smart People
Under the Same Moon
Untraceable
------------------------------------------------------------------------
* These are the films from 2008 that I haven’t seen yet that are supposed to be exceptional:
Ballast
The Band’s Visit
Che
A Christmas Tale
Chop Shop
The Curious Case of Benjamin Button
Defiance
Doubt
The Duchess of Langeais
The Edge of Heaven
Encounters at the End of the World
The Fall
Frost/Nixon
Frozen River
A Girl Cut in Two
Gran Torino
Happy-Go-Lucky
In Bruges
I.O.U.S.A.
I’ve Loved You So Long
The Last Mistress
Let the Right One In
Man on Wire
Milk
My Winnipeg
Rachel Getting Married
The Reader
Revolutionary Road
Shotgun Stories
Slumdog Millionaire
Standard Operating Procedure
Synecdoche, New York
Tell No One
Trouble the Water
Vicky Cristina Barcelona
WALL-E
The Wrestler
XXY
------------------------------------------------------------------------
And for what it’s worth (which isn’t much), these are the 10 worst movies of 2008, with the absolute most terrible one listed at the bottom.
Doomsday
Harold & Kumar Escape From Guantanamo Bay
Vantage Point
The Eye
How She Move
Superhero Movie
First Sunday
Witless Protection
One Missed Call
Meet the Spartans
2008 was a great year for the cinema and a momentous year for my family. I only make mention of my life’s personal events to emphasize that after having our first baby, a college graduation, a move across the country and working one and a half new jobs, I’ve only been able to see 101 of this year’s films (in contrast to my 176 reviews in 2007). And unfortunately, many films that are receiving the most critical acclaim are, as of yet, unseen by me.* (see list below)
So again, the following 11 films are only some of the best films of 2008.
1.) The Dark Knight (PG-13)
Some people have said “Iron Man” is a superhero movie for those who don’t like superhero movies. OK, maybe, but it’s still a superhero movie, an excellent one. But “The Dark Knight” transcends the genre. And not to be technical, but Batman never really was a superhero in the truest sense: He’s just a rich guy with the means to have slick, crime-fighting gadgets. But let me be clear here: Yes, Christopher Nolan is a superb director whose contributions cannot be diminished; Christian Bale successfully pulls off the bat man with a straight face; in fact, all the film’s actors have become their characters. Yet it is Heath Ledger’s performance as the Joker that makes “The Dark Knight” so lofty. Ledger deserves the Oscar — and not as a consolation prize for being deceased. A good villain is just as important as having a good hero. Among the films I’ve seen in 2008, “The Dark Knight” is the best of the year.
2.) The Orphanage (R)
“The Orphanage” is a truly creepy film and perhaps more impressive, one of the few effective haunted house movies. Filmed in Spanish with English subtitles, this non-slasher, spine-tingler is rated R but not for the usual reasons: Its rating is solely due to “disturbing content.” I might have termed it “troubling” content.
3.) Cloverfield (PG-13)
Everybody plays the “what if” game. And because of that, “Cloverfield” is pure cinematic delight because it allows the “what if” game to unfold before our eyes. What if a real monster attacked New York City? This is no King Kong or Godzilla monster mash; “Cloverfield” endeavors, as realistically as possible, to portray such a horrific event. Best of all, the movie pulls us up onto the screen, into the action, because we identify with a character videographer’s subjective point of view through his camera lens, a trick that “Quarantine” later attempted in October but with much less success.
4.) Expelled: No Intelligence Allowed (PG)
Highly controversial and arguably slanted unfairly, “Expelled” is a documentary for “the believers,” meaning, those who believe “Genesis” over “The Origin of the Species.” Ben Stein is the gadfly of the scientific community as he observes that it seems to have closed its mind to ideas like Creationism and wholly accepted Evolution. “Expelled” is a showdown that is much more engaging than it sounds.
5.) Snow Angels (R)
Some films can carefully portray with lifelike verisimilitude the sad dramas that play out in the lives of regular, everyday people. “Snow Angels” is one such film, and its magnificence is matched only by its pensiveness.
6.) Run Fatboy Run (PG-13)
Because its director is David Schwimmer and its title is “Run Fatboy Run,” you may doubt my judgment on this surprising comedy. But Schwimmer shows considerable promise as a director, and the movie’s title is likely a marketing design, even though it is somewhat fitting. “Run Fatboy Run” is funny, but it’s also inspiring. This movie is a banner and a beacon for anyone who’s tired of being a loser and wants to stop sucking.
7.) Rambo (R)
I know. Sy Stallone is like 62 years old and “Rambo,” like most of the “Rocky” movies, is a thing of the ‘80s. But who goes to see a “Rambo” movie? Someone expecting a Merchant Ivory Production? No. Someone who wants to see “Rambo” blow everybody away. Done. But that’s not what makes this movie excellent: Reportedly, in this time of war, Stallone wanted to try to depict the true horrors of warfare, and it appears he has succeeded with a film that approaches the graphic violence of “Saving Private Ryan” (1998). And though it’s difficult to make a war film that doesn’t ultimately glorify war (which I suppose “Rambo” still does), it still paints a vividly grotesque picture.
8.) Iron Man (PG-13)
As mentioned above, “Iron Man” is a fine example of a comic book movie. It’s a well made, summer-fun, big-budget, popcorn blockbuster that is wonderfully entertaining. But as Heath Ledger is to “The Dark Knight,” so is Robert Downey Jr. to “Iron Man.” He makes the movie worth seeing on the merits of his humorous performance alone.
9.) Tropic Thunder (R)
Speaking of Robert Downey Jr., when an actor can convincingly perform in layers, piling character upon character within a role, then you know he or she has a remarkable gift. I don’t care if this is a comedy, he still should be nominated for his performance. Not only is “Tropic Thunder” hilarious, it savagely cannibalizes and ridicules the Hollywood from whence it sprang. It has an updated variation of the “Three Amigos!” (1986) plot that’s both smarter and funnier.
10.) The Ruins (R)
Many people will disagree with my ranking “The Ruins” among this list, but I don’t care. This is an excellent horror movie, which is nearly an oxymoron. While watching this film, imagine that you have fallen into this scenario. Yes, the vines (which are not the point) are ridiculous, but this is no “Little Shop of Horrors” (1986). Setting the vines aside, which are merely a plot device, the true horrors of “The Ruins” could happen. What is scarier than being marooned in another country and watching those who are with you — the only people you thought you could trust — make dreadful decisions out of fear? It is what the characters do to one another (and it’s typically not meant to be mean-spirited) in this midst of their crisis that makes “The Ruins” an effective horror movie.
11.) U2 3D (G)
I’m not even a U2 fan, per se. But I like their music, and besides, who doesn’t enjoy concerts? “U2 3D” is comprised of incredible footage from several U2 concerts that puts the viewer up on the stage with the performers. And even without the 3-D glasses, this would still be an enjoyable experience for any music lover — especially a true U2 fan.
Honorable Mention of 2008:
4 Months, 3 Weeks, and 2 Days
Appaloosa
Changeling
Charlie Bartlett
Definitely, Maybe
The Happening
Horton Hears a Who!
The Incredible Hulk
Lakeview Terrace
The Other Boleyn Girl
Penelope
Pride and Glory
Quantum of Solace
Righteous Kill
Smart People
Under the Same Moon
Untraceable
------------------------------------------------------------------------
* These are the films from 2008 that I haven’t seen yet that are supposed to be exceptional:
Ballast
The Band’s Visit
Che
A Christmas Tale
Chop Shop
The Curious Case of Benjamin Button
Defiance
Doubt
The Duchess of Langeais
The Edge of Heaven
Encounters at the End of the World
The Fall
Frost/Nixon
Frozen River
A Girl Cut in Two
Gran Torino
Happy-Go-Lucky
In Bruges
I.O.U.S.A.
I’ve Loved You So Long
The Last Mistress
Let the Right One In
Man on Wire
Milk
My Winnipeg
Rachel Getting Married
The Reader
Revolutionary Road
Shotgun Stories
Slumdog Millionaire
Standard Operating Procedure
Synecdoche, New York
Tell No One
Trouble the Water
Vicky Cristina Barcelona
WALL-E
The Wrestler
XXY
------------------------------------------------------------------------
And for what it’s worth (which isn’t much), these are the 10 worst movies of 2008, with the absolute most terrible one listed at the bottom.
Doomsday
Harold & Kumar Escape From Guantanamo Bay
Vantage Point
The Eye
How She Move
Superhero Movie
First Sunday
Witless Protection
One Missed Call
Meet the Spartans
Monday, December 22, 2008
Billy Elliot...
I'm glad you guys liked this film. The first time I saw it, I was blown away. There are so many things about it that I loved. Every character was perfectly cast and I would go so far as to say that if any big time "Stars" were in it, it would have ruined it. You truly believe that these characters are going through these tough times. I was in my late teens and early twenties in the early 80's and I remember that recession, I also remember it was even more difficult in England.
So the scene where Billy is dancing in pure frustration after his family has had the fight with his teacher to the song Town Called Malice by The Jam is not only pure brilliance but absolutely perfect when you read the lyrics to that song and understand that when it came out in the early 80's it shot to number 1 within a week partly, I think, because of it's lyrics and it's commentary on the times.
Prior to suggesting this movie to this group I had some friends watch it and some them thought it had a hidden gay agenda (hence Andy and my discussion) but I didn't think so. To me the theme was purely - be who are, and find what you love doing and do that for a living. That message is driven home so strongly at the end when the strike is over and you see Billy's dad and brother heading back down into the mine on the elevator; and the look on their faces says it all. I can relate to that look - it's same look I have as I'm driving to my current job. It's not in a mine - but it's just as dark :)
The only part of the movie I didn't think was accurate (and I may be wrong) was all of the cursing (F bombs in particular) that was depicted among the family. I'm from working class Northern Ireland and so is my mother and father. I've never heard my family speak that way and according to my mother it wasn't that way when she was growing up. And even now when I ask members of my family that are still in England and N. Ireland they say that it's not how movies portray it. Maybe there are working class areas of England that conversation is continually laced with profanity but I've never heard of or seen it. To me it actually just becomes distracting.
I think we all hope to be Billy Elliott some day (if we're not already there)... finding what makes us jump out of bed every morning and excited to keep moving forward.
It's interesting to see Jamie Bell grown up now... recently in the King Kong remake and also in the new movie coming out soon called Defiance with Daniel Craig. I think he's got a bright future.
-Karl Huddleston
So the scene where Billy is dancing in pure frustration after his family has had the fight with his teacher to the song Town Called Malice by The Jam is not only pure brilliance but absolutely perfect when you read the lyrics to that song and understand that when it came out in the early 80's it shot to number 1 within a week partly, I think, because of it's lyrics and it's commentary on the times.
Prior to suggesting this movie to this group I had some friends watch it and some them thought it had a hidden gay agenda (hence Andy and my discussion) but I didn't think so. To me the theme was purely - be who are, and find what you love doing and do that for a living. That message is driven home so strongly at the end when the strike is over and you see Billy's dad and brother heading back down into the mine on the elevator; and the look on their faces says it all. I can relate to that look - it's same look I have as I'm driving to my current job. It's not in a mine - but it's just as dark :)
The only part of the movie I didn't think was accurate (and I may be wrong) was all of the cursing (F bombs in particular) that was depicted among the family. I'm from working class Northern Ireland and so is my mother and father. I've never heard my family speak that way and according to my mother it wasn't that way when she was growing up. And even now when I ask members of my family that are still in England and N. Ireland they say that it's not how movies portray it. Maybe there are working class areas of England that conversation is continually laced with profanity but I've never heard of or seen it. To me it actually just becomes distracting.
I think we all hope to be Billy Elliott some day (if we're not already there)... finding what makes us jump out of bed every morning and excited to keep moving forward.
It's interesting to see Jamie Bell grown up now... recently in the King Kong remake and also in the new movie coming out soon called Defiance with Daniel Craig. I think he's got a bright future.
-Karl Huddleston
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