Latest Blog Posts

by Marco Lanzagorta

3 Jan 2008


When we think about soundtracks, it is impossible to avoid bringing up the names of the giants in the field: Jerry Goldsmith, John Williams, John Barry, Ennio Morricone, and Bernard Herrmann, to name just a few. Unfortunately, such a bias tends to affect our listening habits, and we often ignore the new voices that emerge from the film music community every year. And this is a real shame, as truly innovative and high quality scores have recently been made by newcomers who may lack the fame, but have the talent necessary to create blissful music. In an attempt to correct this situation, the current installment of Surround Sound will review some recently released soundtracks that feature sublime music made by relatively new talents.

30 Days of Night - Original Motion Picture Soundtrack [rating: 8]

In spite of its detractors, the cinematic adaptation of the groundbreaking graphic novel by Steve Niles proved to be an entertaining and intriguing horror flick. Directed with a good sense of pace by David Slade, 30 Days of Night offers a truly nightmarish situation. As the title suggests, in the small town of Barrow, Alaska, the longest night of winter lasts 30 days (in reality it takes 65 days, but I guess Niles thought that 30 made a better title than 65). This long period of time without sunlight is used by a clan of vicious vampires to kill and feed with equal gusto. As a handful of survivors manage to take shelter in a claustrophobic attic, the movie turns suspenseful and ominous. Featuring gruesome visual effects, an absorbing storyline, awesome cinematography, and decent characterization, 30 Days of Night is one of the best horror offerings released in 2007.

The creepy music for 30 Days of Night by Brian Reitzell nicely fits the onscreen horrors and mayhem. Even though this is only Reitzell’s third score (following Friday Night Lights [2004] and Stranger than Fiction [2006]), he magnificently knows how to provide an aural atmosphere that will support the development of the narrative. A former drummer with rock bands, Reitzell followed a truly unusual approach to create the eerie score for 30 Days of Night. Indeed, besides using traditional digital instrumentations, Reitzell produced unsettling noises by manipulating a fast spinning pottery wheel that he bought at the local Home Depot. The result is a cacophonic, non-melodic musical soundscape that aptly captures the violence, otherness, and gruesomeness of the terrifying blood suckers. It may not have sophisticated compositions, instrumentations, or musical structure, but nevertheless the soundtrack of 30 Days of Night remains original and effective.

In the Shadow of the Moon - Original Motion Picture Soundtrack [rating: 7]

A beautiful documentary that showcases probably the greatest achievement of mankind, In the Shadow of the Moon narrates the dramatic events that culminated with astronauts Neil Armstrong and Buzz Aldrin walking on the lunar surface. The film not only uses stunning materials from NASA archives, but it also brings together some of the astronauts that participated in the Apollo program. Some of the legendary astronauts featured in the movie include Jim Lovell (Apollo 8 and 13), Dave Scott (Apollo 9 and 15), Buzz Aldrin (Apollo 11), and Gene Cernan (Apollo 10 and 17). Unfortunately, the recluse Armstrong does not provide his personal reflections of such a groundbreaking event. As this flick confirms, even after nearly 38 years, the landing on the moon continues to be an awe-inspiring and breathtaking accomplishment.

The beautiful music for In the Shadow of the Moon composed by Philip Sheppard reflects the epic magnitude of the conquest of the moon. Composed for full-sized symphonic orchestra, choirs, and electronics, this soundtrack is heroic at times, and enigmatic at others. The track “The Eagle has Landed”, for instance, uses overwhelming Americana sounds that bring to mind the frontier mentality. On the other hand, “X-15 Jet” uses minimalist arpeggios that reveal the tenacity of mankind to understand the universe. The second soundtrack commissioned to Sheppard, In the Shadow of the Moon showcases his eclectic education and sensibility for classical music. A respected cellist, Sheppard heavily uses the ominous sounds of this instrument on his compositions and orchestrations. Overall, even though the soundtrack for In the Shadow of the Moon is not as majestic as Bill Conti’s The Right Stuff (1983) or James Horner’s Apollo 13 (1995), it still delivers a beautiful musical background for unforgettable images of human endurance and perseverance.

Lust, Caution - Original Motion Picture Soundtrack [rating: 9]

The latest film by acclaimed director Ang Lee, Lust, Caution is a charged thriller set in an exotic-looking Shanghai, and takes place during the torrid years of World War II. This film tells the story of a woman who is swept into a dangerous situation with a prominent political figure. Espionage, intrigue, eroticism, and romance characterize Lee’s movie, which is based on the short story written by the highly praised Chinese author Eileen Chang. Featuring the histrionics of Tony Leung and Tang Wei, stunning cinematography by Rodrigo Prieto, and incredible production design by Lai Pan, Lust, Caution is an elegant flick that brings to mind the alluring works of Kar Wai Wong.

Perfectly matching the delicacy and exoticism of Lust, Caution is the gorgeous score composed by Alexandre Desplat. Even though Desplat has been composing film scores since the early 1990s in his native France, he only came to international prominence very recently, with his work for English-language movies such as Birth (2004), Syriana (2005), Firewall (2006), and The Queen (2006). Desplat’s inspired orchestral compositions for Lust, Caution prominently use a melodic piano to underscore the drama and the romance, while a solo violin and accompanying strings are used to convey the suspense and scorching political landscape of the locale and time period. The musical duality of Desplat’s score is very expressive, features elegant instrumentations, and manages to provide a pleasing listening experience on its own.

Reservation Road - Original Motion Picture Soundtrack [rating: 6]

Upon its original release, this film was celebrated as an effective dramatic thriller directed by two-time Academy Award writer and director Terry George. Reservation Road tells the heartbreaking story of two fathers and their families, and how their lives suddenly converge after a tragic car accident claims the life of a young child. This is a moody movie that deals with some of the darkest feelings from the human heart such as resentment, retribution, grief, hatred, and unbearable guilt. Featuring an outstanding cast led by Jennifer Connelly, Mark Ruffalo, Joaquin Phoenix, and Mira Sorvino, Reservation Road is a truly emotional flick.

Composed by the celebrated Mark Isham, the soundtrack for Reservation Road is as bleak and gloomy as the movie itself. For some strange reason, even though Isham has scored over 100 movies, he has never achieved the stratospheric levels of popularity that characterize Williams or Goldsmith. Still, Isham’s work for Reservation Road shows what a great musician he is. For this movie, Isham uses a small instrumental ensemble as well as keyboards and other electronic gadgets. Incessant electronic percussions, a sax, an oboe, and a clarinet offer an aural soundscape that conveys sorrow. Placing mood and atmosphere over melody, Isham delivers a haunting score that faithfully reflects the anguish and distress of the characters.

Superman: Doomsday – Original Soundtrack Recording [rating: 7]

Based on the bestselling series of comic books from the early 1990s, Superman: Doomsday presents the tragic story of the death, funeral, and resurrection of the indefatigable Man of Steel. Of course, as it was eventually revealed, this milestone in the history of the comic book industry was more a calculated ploy to increase sales than an artistic compulsion to explore a world without Superman. But nevertheless, not completely faithful to the original source, this animated movie tells how Lex Luthor’s LexCorps accidentally releases an intergalactic creature aptly named Doomsday. The ensuing battle between Doomsday and Superman reaches epic proportions, and culminates with the death of the quintessential American hero. Featuring the voices of Adam Baldwin, Anne Heche, and James Marsters, Superman: Doomsday is fun escapism if not much else.

The composing duties for Superman: Doomsday fell in the able hands of Robert J. Kral, who already had shown sensitivity for dramatic and action oriented scores with his work for the popular TV series Angel (1999-2004). Perhaps the greatest challenge confronted by Kral in scoring Superman: Doomsday was to follow the giant footsteps left by Williams with his unforgettable music for the original Superman (1978). To this end, Kral created a new heroic theme for the Man of Steel, which, even though it lacks the acoustic strength of Williams’ composition, it still delivers a musical punch. Kral’s score combines high and minor chords, and aptly balances action, suspense, and pathos. Quite unfortunately, Kral performed his music with electronics and synthesizers instead of a real orchestra, and the limits of the technology are often revealed during his more majestic compositions.

Things We Lost in the Fire - Original Motion Picture Soundtrack [rating: 5]

In this dramatic film, Audrey Burke (Halle Berry), a widow, befriends Jerry Sunborne (Benicio del Toro), the troubled best friend of her recently deceased husband. As Jerry finds his way back in life, he also helps Audrey and her two sons to cope with their grief and confront their loss. Directed with flair by Danish filmmaker Susanne Bier, and featuring powerful performances by the leading stars, Things We Lost in the Fire presents a heartbreaking story of great sorrow and unbearable anguish, but also of immense hope.

The bleak soundtrack for Things We Lost in the Fire was composed by Gustavo Santaolalla and Johan Soderqvist. However, in spite of the alleged collaborative effort, the musical structure feels rather similar to Santaolalla’s Babel (2006) and Brokeback Mountain (2005). That is, the music for Things We Lost in the Fire is minimalist and mostly made of guitar snippets with infrequent harmonies provided by a small orchestral ensemble.  Lacking major themes and melodies, the lonely guitar in the score effectively provides an atmosphere of lamentation and sorrow. However, while the music is effective within the context of the film, those detractors who have questioned in the past the musical abilities of two-time Academy Award winner Santaolalla are not likely to change their mind after listening at his work for Things We Lost in the Fire.

Hollywood’s Greatest Hits: Classic Music From the Movies [rating: 6]

Arguably, the big problem with “Best of” compilations of film music is that, more often than not, we get the exact same pieces. Indeed, most of these collections feature nearly identical excerpts from John William’s Star Wars (1977), Maurice Jarre’s Lawrence of Arabia (1962), Miklos Rozsa’s Ben Hur (1959), Ernest Gold’s Exodus (1960), and Jerry Goldsmith’s Star Trek (1979). And even though these are undisputable landmarks of the genre, even casual fans probably already own the original releases. Therefore, Hollywood’s Greatest Hits: Classic Music From the Movies is highly commendable because it offers an eclectic selection of high quality film music that is rarely brought together in this type of compilation.

Hollywood’s Greatest Hits offers awesome film music that most casual fans probably have not had a chance to hear before. Some excerpts found on this outstanding 2-CD collection include John Addison’s A Bridge Too Far (1977), Ron Goodwin’s Battle of Britain (1969), Franz Waxman’s Taras Bulba (1962), Mario Nascimbene’s The Vikings (1958), Bronislau Kaper’s Mutiny on the Bounty (1962), and Nino Rota’s Roma (1972). Unfortunately, these are not original recordings, but re-recordings played by the Czech Philharmonic Chamber Orchestra. And even though the performance of the orchestra is top-notch, some instrumentations and arrangements may sound a bit off the mark for those connoisseurs who are familiar with the original recordings. But nevertheless, featuring 47 tracks this compilation is likely to offer something new for everybody, and perhaps inspire the search for the original recordings. Personally, listening to the excerpt from Geroges Delerue’s Viva Maria (1965) was a true revelation to a beautiful score I was not familiar with.

The Nanny Diaries - Original Motion Picture Soundtrack [rating: 1]

The stunning Scarlett Johansson may well be the only reason to watch The Nanny Diaries, an uninspired comedy directed not by one, but two directors, Shari Springer and Robert Pulcini. In this flick, Johansson plays the role of Annie Braddock, an aspiring anthropology student who has to work as a nanny for an obnoxious wealthy family to support herself.

The soundtrack for the Nanny Diaries is made up of popular songs, and quite frankly, it is thought provoking. Indeed, after listening to it, one wonders how a major film would be accompanied by such a lame compilation of uninspired songs. Perhaps with the sole exception of WAR’s timeless classic “Why Can’t We Be Friends”, all the other songs are not that good. As such, it is very difficult to envision why anybody would like to purchase such an insipid soundtrack.

The Ten - Film Soundtrack [rating: 3]

David Wain’s amusing comedy is made of 10 vignettes, each of them telling a story of what happens when different characters break each of the Ten Commandments. Even though it brings to mind the wacky situations and narrative structure that characterized Monty Python’s The Meaning of Life (1983), The Ten feels refreshingly original. As an added incentive, The Ten features three of the hottest girls from Hollywood, Jessica Alba, Femke Janssen, and Winona Ryder. Towards the film’s end, rather bizarrely, all the interwoven stories culminate with a climatic song and dance cavalcade in the inimitable style of 1940s Hollywood musicals.

The soundtrack for The Ten was composed by Craig Wedren, who also composed the music for Wain’s previous flick, Wet Hot American Summer (2001), and the short lived TV series The State (1993). The music is fitting for the film, and equally multifaceted. From an epic opening in “Fanfare”, to Latin rhythms in “Mexico” and country-style music in “Goof/Prison”, Wedren shows a noteworthy musical background and sensible artistic inspiration. Unfortunately, some of the songs featured on the soundtrack CD are interrupted with snippets of dialogue from the movie. Overall, in spite of its underscoring achievements, The Ten may prove to be a soundtrack that is difficult to be listened on its own.

 

by Bill Gibron

2 Jan 2008


While you were sitting around celebrating the holidays, SE&L was busy compiling its lists of the year’s best (and worst) releases. Focusing on the unique and the illogical, the routine and the outrageous, each assemblage attempted to address both the standard and the strange, releases everyone had heard of and efforts nobody knows.  Beginning with our look at The Top 10 Films of 2007 You Never Heard Of up and including yesterday’s unusual take at the Best DVDs of the Year, it’s time to play a little collective catch up. Enjoy!

The Top 10 Films of 2007 That You’ve Never Heard Of

The 10 Worst Films of 2007

The 10 Worst DVDs of 2007

The 10 Best Films of 2007

The 10 Best DVDs of 2007

by Bill Gibron

1 Jan 2008


The transition has been interesting - and aggravating - to watch. Companies that, at first, failed to embrace the digital format and all it could offer, are now taking the content-laden high road to battling the ongoing HD/Blu-ray confusion. We finally saw Holy Grail releases, titles no one thought would ever make it onto DVD, arriving in well planned marketing droves, while some filmmakers (David Fincher, Todd Field), purposefully released bare bones versions of their efforts (Zodiac, Little Children) in anticipation of far more fleshed out Special Editions. As independent producers and distributors continued to use the flexible technology as a means of getting their movies out and into the mainstream, archivists plundered vaults and resolved rights issues hoping to uncover some previous lost cinematic gems.

It was also a sad year for certain companies. Troma took a massive home theater hit, the inflated budget for its feature film Poultrygeist limiting its ability to continue providing promised direct to video titles, and Something Weird Video broke ties with Image Entertainment, ending the exploitation enterprise’s run with the commercial content provider. In fact, with the unclear clash over high definition ready to either explode or implode the industry, lots of little companies trying to champion the outsider or unusual entertainment have seen their strategies come up short. Still, 2007 was a stellar year for DVD, the big names brandishing even bigger guns to illustrate the medium’s potential - and profitability.

While the list could be much, much longer, here are SE&L“s selections for 2007’s best. Eclectic, diverse, and missing many celebrated releases (Blade Runner, anyone?), it still represents what the format does best - bringing well known and fringe films to the avid cinephile. We begin with a definite Criterion classic:

#10 - The 3 Penny Opera: The Criterion Collection
G. W. Pabst’s adaptation of Kurt Weill and Bertolt Brecht’s 3 Penny Opera is an astounding cinematic experience - like watching M the musical as filtered through a neo-realistic view of silent-film German Expressionism. At first, you feel overwhelmed by the arch, stylized approach to the story. When it’s all over, wrapping up its cutting condemnations and finishes with a flourish, we wonder why we ever doubted it. Because of the knotty narrative turns, the backdoor wheeling and dealing, and clearly defined criticism of Germany’s lax citizenry, what started out stark and dated turns timeless and all too telling. Criterion’s presentation is just perfect, including enough context to further update the seemingly arcane approaches.


#9 - The Beatles in ‘Help!’
It’s a shame that Help! is constantly saddled with the “second best Beatles film” moniker. When compared to the rest of their output, it’s faint praise indeed. Certainly A Hard Day’s Night set a cinematic bar so high that not even the most important band in the history of modern music could compete with it, and compared to other rock and roll film showcases of the time, it’s an unbridled masterwork. But for some reason, when placed along an equally fictional version of a ‘day in their life’, The Beatles’ East Indian romp gets some substantial short shrift. Thanks to this new deluxe two DVD version (the film has been MIA from the home theater format for years), that assessment should now change.


#8 - This Film is Not Yet Rated
If it accomplishes nothing else, Kirby Dick’s brilliant This Film is Not Yet Rated should put to rest all the arguments about the MPAA and its influence over movies. The next time you hear a spokesperson for the group argue that they “don’t determine substance or require edits,” and that “the rating is merely voluntary…etc”, you will have a factual rebuttal for all that bullshit. In fact, the MPAA is like the Warren Commission, totally unflappable in its party-line approach to any issue brought before them. But just like Oliver Stone, Dick opened a door that few have ever walked through, especially in the 40 years since the entryway was first built. His dissertation, and the wonderfully dense DVD that accompanies the documentary, is JFK.


#7 - The Three Stooges Collection: Volume 1 - 1934 - 1936
Fulfilling the wishes of longtime fans, Columbia has finally wised up, dropped the three short per package DVD format, and delivered The Three Stooges in a logistically sound chronological breakdown. Covering the first three years the performers pitched their vaudeville shtick to motion pictures, the 19 mini-masterworks presented all contain the classic line-up that most devotees prefer: mean leader Moe, absent minded minion Larry, and unbelievably brilliant bundle of butter, Curly. There is no Shemp, no Joe Besser, and definitely no Curly Joe DeRita to muck things up. While there is nothing wrong with any of these later stage substitutes, nothing beats the magic of the original Stooges. Looking over the titles offered, there is not a bad apple in the bunch.


#6 - Aqua Teen Hunger Force Colon Movie Film for Theaters for DVD
Who says they don’t make good dada anymore? This big screen version of the Cartoon Network/Adult Swim anomaly offers three amiable (if slightly psychotic) fast food products - a shallow shake, some science-minded fries, and a babyish blob of mystery meat - taking on unhinged elements from around the universe. Part origins exploration, part satiric stream of incontinence, it may not make a lick of sense. But when you’re laughing this hard, does logic really matter? Even better, the DVD version (complete with a whole other version of the movie) reimagines the medium in a way that both embraces and mocks the special feature heavy format. It stands as a symbol of the film, and the series in general.


#5 - The Sergio Leone Anthology
He was born into the belly of Italian show business. By the time he was a teenager, he was very familiar with the Italian film biz. While helping out on the peplum epic The Last Days of Pompeii, he suddenly found himself behind the lens, and it would be a place he’d remain for the rest of his career. He only made nine credited films, but for fans of the spaghetti Western, four would remain major motion picture milestones. But there was much more to Sergio Leone than squinting antiheroes and one-horse towns draped in quick-draw bloodshed, as illustrated all throughout this sensational box set. It’s the perfect place to begin your journey into the bleak bombastic world of the director, and all the cinematic splendor that comes with it.


#4 - David Lynch’s INLAND EMPIRE
INLAND EMPIRE is a masterpiece. It is also an aggravating avant-garde amalgamation of incomplete ideas. It’s a brilliant distillation of David Lynch’s career defining dream logic. It’s also a three hour exercise in excess and a brilliant argument for the switchover to digital filmmaking. As with most works by the artist/auteur, this fragmented take on “a woman in trouble” (to quote the film’s tagline) raises many more questions than it ever dares to answer, and squeezes more imagination and invention into three hours than most movie studios manage in a lifetime. The DVD delves even deeper into the narrative, providing deleted material and additional context to show how the ‘film’ was formulated. 


#3 - The Films of Kenneth Anger Volume 1 & 2
How lucky are we film fans? In the span of less than eight months (Volume 1 hit in January), we’ve been able to finally get our hands on the entire output from one of avant-garde filmmaking’s most revered names. Every single cinematic statement Anger attempted are here - from the homoerotic horror of Fireworks to the seminal Scorpio and Lucifer Rising - and they have never looked richer or more inviting. With a restoration overseen by the filmmaker himself, and a collection of added bonus features that helps to explain his importance, we finally see that there was more to this man than his craven collections of Tinsel Town tawdriness, Hollywood Babylon.  He stands as a true outsider artist.


#2 - Grindhouse Presents Planet Terror/ Death Proof
As a greatest hits package of every exploitation conceit ever considered for heating up a local passion pit, Quentin Tarantino’s dazzling Death Proof stands as a sensational slice of electrified genre porn. With his creative cameos, attention to genre detail, and meta-manipulation of the medium itself, Robert Rodriguez’s Planet Terror stands as a pert post-modern masterpiece, one of the best self-referential scarefests ever conceived. Together, they created one of 2007’s most sublimely satisfying cinematic experiences. While we wait for the eventual DVD release of the entire Grindhouse experience, we have this pair of sensational separate releases. Each movie is modified to fit the expanded running time, and the additions are amazing - as are the enlightening extras that help flesh out the filmmakers’ intent.


#1 - The Films of Alejandro Jodorowsky
Many have never heard of him. Others only know selected works - the ‘80s effort Santa Sangre, the consistently mentioned “midnight movie” El Topo - but even for those who claim an intimate knowledge of cinema, director, poet, agitator, self-described “deity” Alejandro Jodorowsky remains an enigma. This could be due to the fact that the filmmaker has only helmed seven projects in the 50 years he’s been in the business. Part of the problem is also that Jodorowsky remains a vehemently idiosyncratic artist. Like many Latino moviemakers, he lives his works and is only driven to create when the passion (and the fiscal possibility) strikes him. The final issue with his covert career is the lack of access to his major films - Fando y Lis, El Topo, and The Holy Mountain. Only the first title has ever appeared on DVD, the other two considered “lost” due to ongoing animosity between the director and infamous ‘70s business bully Allen Klein.

Now, with all wounds apparently healed, Anchor Bay is beginning the post-millennial re-evaluation of the incredibly talented maverick’s career. With The Films of Alejandro Jodorowsky box set, not only do we get a chance to see the works that loom largest in the auteur’s considerable legend, but we have a chance to see the best that the digital medium has to offer as well. To go into detail on each and every extra would take pages, but, in brief, here’s what one can expect. There’s the definitive 90-minute documentary, La Constellation Jodorowsky, which provides a wonderful overview of the director’s life and career, and each movie houses a full-length audio commentaries by the auteur that really explains and illustrates his artistic ambitions and personal themes. And in doing so, it gives a forgotten film giant his more than necessary due.

by Bill Gibron

31 Dec 2007


Okay - so it’s actually 11. Instead of playing by the rules and sticking to the mandatory 10, another title managed to sneak its way onto SE&L‘s annual celebration of the artform’s best. Even more depressing, there are dozens of releases from 2007 that deserve almost equal appreciation. You know it’s been a banner 12 months when films like Grindhouse, SiCKO, The Simpsons Movie, Knocked Up, Eastern Promises, Juno, and Before the Devil Knows You’re Dead are stuck circling around numbers 11 through 20. Unlike past years, where compiling this list required a fair amount of aesthetic archeology, practically every week saw another astounding effort announce its classic intentions. Some may quibble with a few of the selections, but the bottom line remains firm - 2007 was a great year in cinema, and these 11 masterworks are proof of same.

Still, with nearly 300 titles taken in during the last 52 weeks, what is and is not included here may seem specious. After all, there were dozens of foreign works (Persepolis, 4 Months, 3 Weeks and 2 Days) that never got screened for SE&L. In addition, there were monumental movies that had to use a direct to DVD ideal just to get distribution. Leaving them out was painful as well. It’s important to remember, however, that said lists may look like consensus, yet remain securely in the paradigm of personal opinion. Your choices may vary, and indeed, probably should. If we all agreed, it would make such annual wrap-ups rather pointless. With that in mind, here are SE&L‘s selections for the 11 best films of the year, starting with the tie at 10:

#10 (tie) - Sunshine
Sunshine is a film about sacrifice. It’s a movie that asks the big questions and waits for the inevitable answer. It’s the kind of intellectually driven science fiction that Hollywood can’t be bothered to make nowadays. Instead of staying betrothed to the George Lucas School of Speculative Design, where everything is techno-wow and movie serial sodden, director Danny Boyle and writer Alex Garland have gone back to the original source of serious future shock – Stanley Kubrick’s 2001 – and fashioned their own post-modern, post-punk space odyssey. The results resonate inside the brain in a way few films in recent memory can claim, awakening long dormant desire for truth and explanation. This is the kind of movie that stimulates debate as it mires us in the mysteries of the cosmos. It sings – and it also saddens.


#10 (tie) - Ratatouille
Like the gourmet food it so exquisitely renders, one fears that the sensational Ratatouille will end up being a decidedly acquired commercial taste. Far too languid for sugar fried kid brains, but marketed in such a manner as to keep the more mature demographic it’s actually perfect for from lining up, it represents a brilliant step forward in Pixar’s continued domination of the 3D animation realm. It also proves that Brad Bird is the reigning king of outsider cartooning. From his pen and ink triumph The Iron Giant to the pumped up perfection of The Incredibles, he’s managed to become a genre genius by refusing to believe the artform’s inherent limits. Constantly pushing beyond its narrative and visual capacities, Ratatouille ends up one frighteningly effortless entertainment.


#9 - The Darjeeling Limited
Like a once in a lifetime trip that only grows grander with the passage of time, The Darjeeling Limited is idiosyncratic filmmaking at its finest. Sure, there will be those who see director Wes Anderson’s trademark quirks, his moments of forced magic realism and out of the blue character shifts and claim the same old self indulgent designs. And within his previous settings—a private school, a New York apartment, an oceanic research vessel—such strategies did indeed appear downright excessive. But within the context of India, a mysterious nation with its own inherent eccentricities and extremes, Anderson finds a totally complementary venue. In a country where seemingly anything can happen, where faith folds itself neatly into the fabric of everyday life in a manner so seamless that it’s almost indecipherable, the idea of three wayward men seeking interpersonal salvation doesn’t seem quite so quixotic. The way Anderson portrays it, it’s standard operating procedure in such a pulsing, overpopulated locale.


#8 - The Brave One
Try as you might, you cannot shake The Brave One. It sticks with you, digging down into your own scarred psyche and touching on every pain, problem, and possibility your current life holds. Calling it an estrogen-laced Taxi Driver or a female fashioned Death Wish misses the point. Certainly, there is vigilantism and the immediate, ill-considered impact of such street style justice. But there is something much deeper here, something that goes to the very nature of being human. When confronted with the possibility of letting those obviously guilty instantaneously pay for their actions, or to simply go free, which way does your moral compass point? This movie not only asks the question of what would you do, it then goes a step further to question whether you can live with yourself, and what you’ve become, afterward.


#7 - Into the Wild
Based on a book by Jon Krakauer and Christopher McCandless’ own diaries and writings, Into the Wild stands as the best movie in Sean Penn’s limited career behind the camera. After The Indian Runner, The Crossing Guard, and The Pledge, the Oscar winning actor pools all his talents to take on one of those too good to be true storylines. In the McCandless saga, you’ve got familial dysfunction, interpersonal pipe dreams, psychosocial subjectivity, the call of nature, and the undeniable allure of the open road to transform a simple act of individual wish fulfillment into something far more meaningful. Laced with amazing visual stunts, standout performances, and a perspective of our nation that’s nearly incomprehensible, we wind up tramping right along with our wide-eyed hero. We experience his dizzying highs…and everything that countermands such living in exile delights.


#6 - Gone Baby Gone
In the hands of first time director Ben Affleck, Gone Baby Gone arrives as an incredible cinematic experience. Taken from a novel by Mystic River author Dennis Lehane, this simple story of an abducted little girl, the surrounding investigation, and the suspicious mother at the center, has the kind of narrative power and acting prowess that elevates it above other like minded dramas. By capturing a sense of society lost, by using both the media focus and the behind closed doors denouements that seem to follow such situations, Affleck produces tragedy on an epic Greek scale and moviemaking of classic neo-noir artistry. In combination with some of the most riveting performances in recent memory, as well as a true sense of setting, what we wind up with is an incredibly dense and layered exploration of human ethics.


#5 - Zodiac
It’s a film about a famous serial killer with very little murder in it. It’s a story about an iconic crime figure from the late ‘60s/early ‘70s that only eventually gets around to discussing the possible suspects. It’s a police procedural, but it’s the old school kind of cop work: Lots of late nights; Way too many cups of coffee; Offices without fax machines trying to coordinate the jurisdictional division of evidence and information. And it’s a character study, told in triplicate. In each case, an individual who we are introduced to toward the beginning of the story is intrigued, obsessed, and then destroyed by the ongoing investigation of a man calling himself Zodiac, and a string of slayings that threaten to go unexplained…and unavenged. It’s also David Fincher’s best work to date - and when considering his creative canon, that’s amazing.


#4 - Hot Fuzz
Stop with all the spoof talk, already. The latest masterpiece from Brit wits Edgar Wright and Simon Pegg, the spectacularly anarchic action buddy cop caper Hot Fuzz is more than just a simple-minded lampoon. Such a categorization limits what the amazing movie manages to achieve, bringing it down to a level of creative crassness that the duo manage to transcend time and time again. The truth is, Wright and Pegg have much larger funny business fish to fry than merely taking on the Bruckheimer/Bay gonzo gunplay dynamic. There is more to their satire than flying bullets, fisticuffs and testosterone-laced fireworks. No, this exceptionally talented duo is out to undermine their very own Englishness, to poke fun at a country that still views itself as a bastion of good manners and inbred etiquette. And they do so magnificently.


#3 - There Will Be Blood
This is the Paul Thomas Anderson that all his past films promised. This is the unbelievably talented young gun whose been accused of channeling Robert Altman for a lack of his own style. Well, all reverence and referencing are now officially gone, replaced by a solid conceit which announces the 37 year old as one of his generation’s greatest. How Upton Sinclair’s mannered Oil became this brilliant dissection of greed and God, stoked by a sensational performance by Daniel Day Lewis as wildcatter Daniel Plainview, will remain part of cinema’s creative karma. Still, all credit to a director for playing outside his contemporary comfort zone, exploring period piece precision in a way that few filmmakers have ever managed to accomplish. In concert with the amazing cinematography and storytelling, we end up with an epic so electric it threatens to destroy everything we know about the medium.


#2 - No Country for Old Men
Shockingly effective and incomprehensibly great, No Country for Old Men proves that the Coen Brothers are America’s reigning motion picture Gods. Looking over their creative canon, a body of work that includes Oscar nods, a single win, several career defining films and more than a couple cult classics (“We want the money, Lebowski!”), they argue for their place among the artform’s true greats. Sure, some find them unusually quirky and lost in their own insular world of homages, references, and crudely hidden in-jokes, and in the past, all of those caveats would be concerning. Fact is, they are painted over every frame of their consistently fascinating flights of fancy. But No Country for Old Men is different. Instead of going outside their sphere of influence to the cinematic stalwarts that defined the medium, the Coen’s are riffing on themselves – and by doing so, they forge a near flawless filmic experience.


#1 - Sweeney Todd: The Demon Barber of Fleet Street
Fans of Stephen Sondheim had every reason to be worried. His Tony Award winning masterwork Sweeney Todd: The Demon Barber of Fleet Street, is perhaps the most difficult and obtuse of his shows to make the cinematic leap - and with a track record that includes the unbalanced A Funny Thing Happened on the Way to the Forum and the miserably miscast A Little Night Music, he’s far from foolproof. Luckily, the right auteur came along, a director so perfectly in tune with the composer’s layered conceits that one imagines it was written specifically for him. Many have dismissed Tim Burton as a goofy Goth visionary who has never met a narrative he couldn’t defang. Even worse, some have suggested that, as his mainstream acceptance has grown, his artistic acumen has faded.

Not true - and his brand new version of Sweeney Todd is more than enough proof. As the perfect marriage of maker and material, this dark, disturbing splatter-etta stands as the best film of 2007. It is an outright masterpiece, a work of bravura craftsmanship by a man whose been preparing for this creative moment all his directorial life. Like soulmates bound at the most primal, bloodlusting level, Sondheim and Burton merge to form a cohesive, craven whole, the show’s thematic undercurrents of malice, corruption, and revenge splashing across the screen in monochrome mise-en-scene and torrents of arterial inevitability. Stripped of its need for constant self-referencing (fans may balk at the cutting of some key expositional numbers) and reduced down to its nastiest nature, it’s the reason that film continues its status as art.

by Bill Gibron

30 Dec 2007


It will be remembered as the year when past geniuses (The Coen Brothers, Sidney Lumet) made astounding comebacks, while others (Francis Ford Coppola) merely continued to slip and stumble. It will be the time when the ongoing writer’s strike threatened to close down the industry come Summer blockbuster time - or destroy the union in the process. The typical topic areas - family dysfunction, crime and punishment - found new and novel ways of expressing their ancient Greek drama dynamics, and blood flowed freely from barber’s razors and a despotic oil baron’s temperament. All in all, 2007 was an astounding year in film. Too bad we’re about to look at this baby’s messy, muck filled diaper.

Many of the nominees for the year’s worst derive their awfulness from a purposeful demographic pose. Apparently, making entertainment for the underage crowd gives Hollywood hacks a creativity migraine. At least half of the movies that made the list are pre/post tween terrors, geared so far down on the intellectual paradigm that they battle the Earth’s magnetic core for control of its gravitational pull. The rest of the dross is derived from unfunny comedies, unexciting thrillers, and the kind of sickening schmaltz that leaves many a viewer in a cinematic sugar coma. While direct to DVD offerings can be far, far worse (look here for some incredible foul examples), you’d think a major mainstream corporate media giant would know better. Looking at the 10 worst films of 2007, that’s clearly not the case, beginning with:

#10 - Hitman
Hitman overstays its welcome from the moment the ammunition starts flying, and never finds a satisfying way of winning us back. It’s dry and dour, so full of itself that you’d swear it was a college athlete. In a genre not known for its subtlety, cinematic tact, innovation (unless you’re John Woo), or lack of contrivance, this vacant videogame adaptation is a barely passable poster child. You’d figure a movie with such a title should revel in its gory, gratuitous killings. Sadly, the filmmakers don’t comprehend the fun in firepower. Instead, they keep pushing things into political intrigue mode – and in these days of uncertain international ideology, a From Russia with Love storyline feels so Tom Clancy.


#9 - Underdog
Underdog is so piecemeal it should come with a roll of duct tape. It’s so desperate to be everything to everyone that it ends up being very little to nobody in particular. Scripted by a committee that obviously didn’t contain a logician, a comedian, or someone adept at characterization, what we wind up with is a one trick dog and pony show without the little horse. It’s hard to figure out what’s more insulting about this post-millennial live action update - the way it talks down to, and then plays perfunctorily to, its intended audience, or the opening credits callback to the original series, complete with material showing the classic cartoon icons we’ve come to know and love.


#8 - Shrek The Third
Though it tries to deliver something new this third time around, the truth is that this tired tre-quels narrative more or less sits there, lifeless and limp, waiting for the already creaky cogs in its comedy machine to make up for the lack of complexity. Indeed, this type of clothesline yarn is ripe for many a hilarious animated set piece, but the quartet of screenwriters can find very little to do with it. Indeed, lame rap lingo and prevalent pop culture references that seemed to work before now come off as amateurish and pat. Even the standard star stunt casting has been lowered a couple of notches, resulting in good but generic voices looking to enliven things. They don’t.


#7 - Mr. Bean’s Holiday
Physical comedy is officially dead, and Rowan Atkinson killed it. Well, not the actor himself, but his inexcusable desire to keep destroying the reputation of his resplendent Mr. Bean with all manner of mediocre motion picture incarnations. That sunny British series was a class act of timing and treatment. Now, on celluloid for a second time, it’s nothing more than crass kid fodder, a G-rated response to the parental cries of media inappropriateness. Once he was a mean spirited plank who saw the entire world as worthy of his slightly askew scorn. But now he’s been transformed into a gangly, goofball Gamera, friend to everyone except the sideswiped member of the audience who didn’t see such a tiresome trainwreck coming.


#6 - The Heartbreak Kid 2007
This is a disaster, an unmitigated humorless horror that never once plays as raunchy or as outrageous as it thinks it is. Realizing that their patented gross out scheme has long been usurped by others more adept at said scatology (read: Judd Apatow), the Farrelly Brothers have managed to make the worst film of their careers – and that’s saying a lot. Using extremes like excuses and shouting where a script should be, this guaranteed to please the least demanding of audiences atrocity is a perfect illustration for why Mr. Freaks and Geeks and his party posse had to step in and save cinematic comedy. Without their Superbad life support, an effort like this would have been fatal.


#5 - August Rush
Heavy-handed, undeniably saccharine, and about as magical as a clown at a kid’s party, August Rush is an implausible, pus-covered pixie stick. It’s Oliver without the twist, a well-meaning lament fashioned out of arrogance, artificiality, and artlessness. This ‘adult fairytale’ is one of those films that announces its archetypal intentions from the very start. It salutes you with schmaltz and then turns up the convolutions until the clichés no longer have room to breath. Eventually, they die off in waves of unexplored potentiality, resulting in a literal ghost of a film. There are times when this maudlin muck is so lightweight and wispy, we fear a sudden sneeze from the audience will cause the screen to go blank.


#4 - I Now Pronounce You Chuck & Larry
No one in Hollywood ever went broke underestimating the entertainment taste of the American public. I Now Pronounce You Chuck & Larry is proof of such a sentiment. Geared directly toward the lowest common denominator, with occasional side treks into PC-lite pronouncements of tolerance and acceptance, this is comedy as callous homophobia. In a current social climate where same sex marriage has been bandied about as a powerful political and pundit tool, to treat the issue as the basis for a frat house level of funny business is disturbing. But then to watch as the plot purposefully backtracks in order to make amends for such lampoon-based insensitivity is disingenuous at best.


#3 - Mr. Woodcock
With the proper, no holds barred approach melded with a mean-spirited, manipulative script, this could have worked. But because of a preemptive PG-13 mandate from the studio, and a lack of any real intelligence or insight, this potential testosterone-laced standoff ends up a panty waisted wuss-out. It’s not just that the film is painfully unfunny – it fails to even understand why its jokes don’t begin to work. Had the movie spent more time in the setup, showing John Farley as a sad little boy in a constant war with the evil and uncouth PE pig, any payoff would have some context. But all we get are lame ‘lame’ kid riffs, followed by more dull Wood-cockiness.


#2 - Alvin and the Chipmunks
Alvin and the Chipmunks is, what we call in the profession, a “-less” film. This means it’s point-less, joy-less, soul-less, and worth-less. It is nothing more than an excuse for overpaid computer geeks to render quasi-realistic wildlife. While it only plays the fart and poop card once each, this is still a juvenile effort helmed by individuals who should really know ‘funny’ better. Substituting stupidity for smarts and silliness for satire, we wind up with the kind of mindless box office babysitter that lets inattentive parents feel safe about dragging their kids to the Cineplex. And with box office grosses well beyond $100 million, it’s clear that many are taking the ersatz au pair bait.


#1 - Norbit
Like a Jerry Lewis vehicle gone gangrenous, Norbit is a nauseating mess. It finds Eddie Murphy once again treading water, working within the same lame stunt gimmickry that resuscitated his lagging star quality some 11 years ago. Back then, his multi-character turn in The Nutty Professor actually had some intelligence and humorous heft (excuse the pun) behind it. The remake of the classic farce contained heart, insight, and just a smattering of the scatological material that usually mires most post-modern comedies. But by the time the inevitable sequel came along, the crappy Klumps proved that the ‘man of many make-ups’ conceit had really run its course.

Now, seven scattered years later, Murphy is back under latex and foam, reduced to race baiting and egregious ethnic slurs for his supposed satiric insight. Norbit is so bereft of laughs that it actually owes the cosmos a couple dozen cleverness IOUs. What passes for jokes are obvious swipes on color, creed, and context, and the physical slapstick is so outrageously amplified that it plays like a metaphysical Merrie Melody on massive stupidity steroids. From the opening moment where an infant is randomly tossed out of a car, to the sequence where the rotund Rasputia gets scrimshawed in the blowhole (don’t ask), the basic brutality and aggressive abuse garners little except contempt.

//Mixed media
//Blogs

Mr. Robot: Episode 6 -- "Br4ve-Trave1er.asf

// Channel Surfing

"When episode six opens to find Elliot in terror and panic, it is soon confirmed that he should be.

READ the article