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March 7, 2010

Carl’s Movie Mini-Review: Alice in Wonderland

Tim Burton’s take on the Alice story seems to have all the right parts: A vibrant, committed, perfect-fit cast, spectacular costuming, and a focused end-point from the get-go. But somehow all these parts didn’t seem well-edited together. Taken individually, the scenes are fine, but I often found myself asking “is this what I’m really concerned with right now?”

In that vein, let me continue this post with a disjointed series of random thoughts:

1. Just how much incomprehensible, demented madness can you tolerate? This movie embodies weirdness, and an example of such is that much of what the Mad Hatter says is like a completely foreign language (though that’s not exclusive to him).

2. As I said before, the costuming is amazing. Alice goes through numerous costume changes as she grows/shrinks and changes company, and even some of the minor characters don’t adhere to the cartoon-character same-clothes-every-day standard.

3. I get Johnny Depp is a bankable name, but I think it’s completely strange that this is being sold as his movie. Which is not to say he doesn’t play a prominent role in it–which he does. I never read the original stories and it’s been a decade or two since I last saw the original Disney cartoon adaptation, but I don’t recall the Mad Hatter being such a central character. Still, in this politically-charged story, his role as a leader in the “tea party” revolution makes sense. Make no mistake, though, this is still Alice’s show all the way through.

4. I think all this movie needed was some cool-down time. Everyone was always rushing around, determined, almost every scene a little too urgent. Can we have a little time to simmer and reflect over what’s going on before throwing the next beat at us?

5. Avril Lavigne. I’ve been wondering what you’ve been up to. Did they not invite you to perform at the Olympics? (If they did, I didn’t follow the games, so I plead ignorance.)

6. Crispin Glover seems as tall & lanky as ever. But then again, almost everyone is caricaturized by CG augmentation. I think I only saw three untouched humans in Wonderland. It works, though.

7. I loved all the side/minor characters except the Mad Hatter. That dude’s just disturbed/disturbing.

It’s not the most easily digestible movie, but I think this is one of those times where the effort is worth appreciating.

Carl @ 1:27 am
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August 16, 2009

Carl’s Movie Mini-Review: District 9

District 9

Since the Halo movie project wasn’t able to get off the ground, producer Peter Jackson and director Niell Blomkamp didn’t care to waste their creative momentum and decided to remake Blomkamp’s short film Alive in Joburg.

District 9 starts off as a sort of racial parable, mimicking the events surrounding apartheid in South Africa. But this time with alien refugees instead of native blacks forced to be second-class citizens.

One day 20 years ago, an enormous alien spacecraft comes to rest above the city of Johannesburg. After nothing happens for quite a long time, the local government decides to break their way in, finding a starving, dying crew of aliens. The Johannesburg realizes that it would be in bad form (in the eyes of the watching global community) to not aid the weary travelers, so they provide them food and shelter right outside the city.

The aliens are given a fenced-in plot of land to build a shanty town (the titular District 9), but sometimes they wander into the city and interact with the other citizens, often in socially negative ways, like stealing sneakers or cell phones (the aliens are believed to have no concept of ownership) or burning cars. Because the “civilized” South Africans (black and white) generally don’t get along with the aliens, they want another camp (District 10) built further away from the city.

And here we enter the story, with ignorant and bumbling bureaucrat Wikus van der Merwe leading the project to serve the aliens eviction notices. This first act of the film is filmed like a comedy mockumentary like Reno 911 or The Office. Then showboating Wikus accidentally squirts himself with mysterious black alien liquid, catalyzing a dramatic physical transformation.

Unfortunately that’s where the plot stops being interesting and the whole film devolves into standard fugitive-trying-to-fix-the-situation chase/action movie but with exploding people and a mecha-suit.

It’s a spectacle on the screen, but I can’t say it’s a spectacular movie overall. Maybe I’m ignorant to any other apartheid allegories in the final two acts, but I didn’t see anything else that bothered to the explore the refugee story any further. The whole movie is undoubtedly and consistently about the value of “human” life, but it just plays its cards so wrong.

Sharlto Copley plays Wikus very well and genuinely through his whole arc; I can’t take that away from him. The CG is mostly above average but sometimes still looks like something made on a TV series budget.

I can’t recommend giving it a viewing, but nor can I call it a total waste, so nor can I recommend not seeing it.

Carl @ 10:23 pm
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May 30, 2009

Carl’s Movie Mini-Review: Up

Up

Pixar remains untouchable with their latest film, especially when led in by a trailer for Sony’s Cloudy with a Chance of Meatballs, which, in its first minute looks like a total Jimmy Neutron rip-off.  The last time I read the book was in first grade or so, but I don’t recall a kid inventor making non-sensical contraptions.

One of the themes of Up seems to be that misery loves company.  The cast of hereos consists of outcasts, misfits, or sad-sacks in various forms.  Through their mis-adventures together, each starting off with seperate goals for journey, they eventually learn to lean on each other, making a whole new family of their own.

The movie is full of laugh out loud quirks which work for both kids and adults.  Note I said “and.” Normally there’s jokes for kids and jokes for adults.  Many of the jokes in Up are truly multi-layered with an extra kick for those with more life experience.

Humor aside, the opening montage in itself is a wonderfully developed, touching, impactful beginning-middle-end story and could easily have been its own short.  More sensitive folks may want to pack tissues; many in my theater were audibly tearful.

Pixar is known for tackling very specific technical challenges with each film.  In A Bug’s Life, it was crowds.  In Monsters, Inc., it was hair.  In The Incredibles, it was humans.  Between the front-attached animated short Partly Cloudy and the iconic balloons lifting a house, I think their challenge here was complex soft-body collisions.  However, the balloons are far from always on screen, so maybe I’m just imagining the showcase because it was far from highlighted.

What is masterfully showcased is the use of depth.  Normally when you see CG films in 3D, all layers are more or less in clear focus.  The primary method of funneling the viewer’s attention is by popping something out of the screen.  Up utilizes traditional camera lense techniques (the “imperfect lense” seen in Wall-E) to make sure that the viewer is not overwhelmed and unsure of what to look at.  The clouds, fog, light/shadow, and frame composition also noticably contribute to the incredible sense of dimensionality. I’m 100% certain that it would still pop without the glasses.

Back to talking about people, I noticed there were numerous elderly couples or small groups attending my showing.  They weren’t accompanied by families or grandchildren, and several groups stayed through the credits.  I don’t recall any similar situation in other family movies, and I wonder if the turnout had anything to do with the protagonist.

Highly recommended.

Carl @ 12:37 am
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May 10, 2009

Carl’s Movie Mini-Review: Star Trek

Star Trek

From my perspective, as not-a-Trekkie, this movie reboot is nothing if not crowd pleasing for every second.  Action, adventure, comedy, and drama fueled by strong personalities.  I was floored by the visuals because it seems for once there was no “B-team” doing any portion of the effects.  I was also amazed at the effort made in actually constructing large sets (at least I think those were practical stage elements).  Every cent spent on production is undoubtedly seen or heard.  Not a penny wasted, not a penny spared.

My only complaint is the all-too coincidental parallelism of the antagonist’s motive.  Nero’s pregnant wife dies when his planet blows up, and it just so happens that he meets face to face with Kirk whose pregnant mother escaped with him in-utero from an exploding space ship.  It doesn’t even matter that Nero was the one attacking that space ship, it’s just too coincidental to believe, and that was my only real eye-rolling moment.

Highly Recommended.  If you’re not invested in the Star Trek lore, then I’ll guarantee you’ll find something to enjoy.  Unless you’re the kind that only likes Euro indie dramas where everyone’s suicidal.  And if you are a Trekkie, I’m sure members your “team” on your favorite forum have already developed opinions one way or the other that you’re likely to share.

Carl @ 5:43 pm
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May 9, 2009

Carl’s Movie Mini-Review: Scoop

 

Scoop

This Woody Allen/Scarlett Johansson team-up comedy/crime thriller comes between Match Point and Vicky Christina Barcelona.  The two star as an unlikely pair of amateur detectives.  Allen plays a stage magician, and while inside his “disappearing man” box during a performance, Johansson comes face to face with a ghost.  The ghost (played by Ian McShane) is a deceased newspaper reporter who, receiving a hot tip on a serial killer case while chatting with other dead people in the afterlife, tries to channel himself back into the world of the living to any reporter he can come across and pass on the juicy lead.  It just so happens ScarJo’s character is a fumbling writer for her college newspaper.  And so begins a series of deception and coincidences as the characters exchange rapid, funny dialogue while investigating Hugh Jackman.  (Note, also in the same year Johansson and Jackman starred together in another magic and mystery movie, The Prestige.)

A Woody Allen mystery movie is like Kevin Smith crossed with M. Night Shyamalan.  You get expansive lengths of funny, character-tinged dialogue and a twist at the end explained briefly by an incidental character who the leads met earlier in the film.  I won’t bother trying to sell you on it, you either love it or hate it.

What I really want to mention is Scarlett Johansson’s perfomance.  She begins by really playing off-type from the roles she’s known for.  Instead of a smoky-voiced femme fatale, she plays a very young, naive, but still headstrong girl.  Who is always conservatively dressed, even post-coitus.  She knows what she wants, but is not sure how to achieve it.  Despite that, she still tries, clumsily, anything she can to pursue the story.  She begins with some uncertain, stuttering vocal quirks when she’s first trying to make up her cover story, but that goes away as the film progresses.  It seems as if as she became less confident that of the guilt of her investigative mark, she became more confident as a woman.  It was a bit of a confusing switch for me, and I’m not convinced it was intentional.  For me, it feels like the character’s interesting quirks that first hooked me just disappear halfway through the movie.  Still, I liked seeing a different side of her, rather than the increasingly played out focus on sexuality or whiny neediness.

Recommended (for Woody Allen’s conversations).

Carl @ 10:42 pm
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May 5, 2009

Carl’s Movie Mini-Review: The Wackness

The Wackness

What a refreshing surprise!  In short, it’s a coming-of-age movie dealing with first loves, last summers before college, and trouble at home.  But that’s merely the plot that takes us from place to place.

It was a surreal, bittersweet dreamscape movie similar to Eternal Sunshine of the Spotless Mind.  The cinematography really sells the random uncertainty of what we see in our dreams.  Not very often do you see things clearly.  Rooms are shrouded in darkness, silhouettes barely lit by their edges by a single light way off in the distance.  A shallow focus blurs out everything in the periphery, and extreme close-ups swallow you in the raw essence of the here and now.  Sometimes the camera bobs and rolls, the action sped up or slowed down, and individual sounds or random background elements aggressively take the fore.  A lot of what you see is just shapes and colors, all of it open to interpretation.  Time jumps happen making you uncertain of where you are and how you got to this point.

Taking place inside this audio/visual framework is an unlikely bro-mance between a drugged out, old shrink Jeff (or “Mr. Dr. Squires”) and his young patient/dealer Luke.  They’re unlikely best friends, offering each other advice good and bad and serving as each other’s emotional rock during their individual and shared experiences getting into trouble.  Their maturity sometimes switches places, both having a chance to be the “big brother”/”father figure.”

The soundtrack is mostly good old ’90s hip-hop from long before it turned from rap-to-crap and drowned the Top 40 airwaves and nightclubs.  The lead character is a drug-dealing white teen, but his music influences the way he speaks.  He’s not a gangsta, but he talks like a thug.  It’s often comic when he (and eventually his older friend) slip into manners of speech that seem less than fitting with the otherwise “normal white guy” way they look.  One especially funny moment is when Luke is rehearsing how he’ll tell a girl “I love you” in the mirror several ways before thugging it up and casually calling her his shorty.

Acting is 100% stellar all around and everyone really owns and lives their character.

Highly recommended.

Carl @ 5:40 pm
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May 1, 2009

Carl’s Movie Mini-Review: X-Men Origins: Wolverine

X-Men Origins: Wolverine

The movie is melodramatic. Though there’s only a few “slow” emotional scenes in the parade of action set-pieces, everything that happens is “super serious and very important, just look at the scowl on my face.” And I mean a parade of set-pieces. Even if several of them are incidental and small setups for later plot points, the production always makes sure there’s some eye candy, be it aggressive cinematography and/or something ‘sploding.

I jokingly call the movie Wolverine & His Excessive Co-stars, and I still think there are far more characters than necessary. However, their relational network is kept small, so it didn’t wind up feeling like Mortal Kombat Annihilation where there are characters just for the sake of ticking up some arbitrary cameo counter.

I’ve got two major complaints for an event pic like this. 1.) After all these years and advancements in technology and techniques, why does some of the wire-work still look laughable? 2.) You know what else is laughable?  There is no excuse for the CG claws to stand out and look so obviously bad and fake.

And speaking of fakes, there are actually two post-credits bonus scenes. Don’t leave after the I’m-not-sure-why-that-was-made-a-big-deal Stryker scene.

Not as good as the X-flicks, but worth it for the grand fight scenes.  I suppose it’s fair about how they’re different.  X-Men is a parable about society, and Wolverine is just about the visceral rush.

Carl @ 1:38 am
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April 9, 2009

Yes, I still adore Disney animation…

…but to be fair, Robin Hood was notorious for being a reheated mess and that ’80s period was a low point in general.

Watch Disney Templates on CollegeHumor
Carl @ 2:47 am
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April 7, 2009

Carl’s Movie Mini-Review: Fast & Furious

Fast & Furious

First, a little background.  With the notable exception of Tokyo Drift, I’d never seen any of the previous movie in whole.  I caught bits and pieces of them on TV or on flights, but I never got pulled in.  This past weekend, in anticipation of catching director Justin Lin’s second go at the franchise and the original’s direct sequel, I watched my DVD of the first movie.  I bought the DVD long ago as part of a promotional two-pack of the first two movies that also included a preview DVD and ticket for Tokyo Drift.  The “acting” of the first movie was painful, the production value and lighting awful, and plot plodding.

The article-free sequel is a noticable improvement on all fronts.  Everything and everyone is much prettier, the line delivery adequate, and pacing brisk.  Tons of exciting car (and foot) chases, fights, and explosions.  It does, however, assume previous knowledge of the procedings of the first movie (and does have a tie to Tokyo Drift) and squandered some perfect opportunities to slip in a non-hokey introduction dialogue to explain certain initially vague and confusing pre-existing character relationships (that does get cleared up for any confused viewers in the second act).

There isn’t really more to say other than it delivers the fun.  Hey, it even has the “rambo lambo,” the Lamborghini LM002.  Also, if you actually watch the end titles, you’ll see it’s actually a continuation of the final scene and not just random computer effects.

Carl @ 2:11 am
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March 7, 2009

Pocketbook giving up the ghost

I’m not so hot on the old Pac-Man/Ms. Pac-Man video game.  BUT.  Pac-Man Championship Edition is one of my favorite Xbox Live Arcade games, and I totally dug the Pac-Man 2 point ‘n slingshot game on 16-bit.  He’s such a cultural icon that I’ve developed a sort of mini-collection of Pac-Man t-shirts within my wardrobe.  Unfortunately, being in the economic bind I’m in, I should cut back on buying any more frivolous graphic tees.  It’s a shame, though.  Just look at these cool Ghostbusters crossover designs! (Click images to go to their sites.)

Busted @ SplitReason.com
Busted design @ © SplitReason.com

Carl @ 2:15 pm
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