Ant_Lan Reviews

The Assassination of Jesse James by the Coward Robert Ford (2007)

Majestic Sadness

[9/10 · 20 March 2008]

There's a lot to be said of a movie whose title dares spoil the punch right from the get go, since in a way in doesn't really. Of course Jesse James ends up assassinated by Robert Ford - just as we knew the Titanic sinks, Marty gets back to the future and Fredo Corleone is a wuss. What it truly spoils though is the irony; History remembers Robert Ford as a sniveling weasel who killed his friend to get famous and rich while Jesse was a Jolly-Golly great guy who loved everyone and never had an evil bone in his body. But the truth, although probably truncated a bit in the film for dramatic purposes, was much more complex, sad and dark.

The story picks up Jesse James during his last big job with brother Frank, and a bunch of hired tugs to help out since the original gang members were all either dead or in jail. One of them, Robert Ford, initially tries to become a sidekick to his childhood idol Jesse, only to realize that the myth was much larger and sunnier than the man. As health leaves Jesse while paranoia gains him, both men will lock themselves in crash course with an inevitability that plagues whatever is left or their lives.

Many naysayers and critics of the film denounce its length -2 and a half hours- for making it a boring montage of depressing tableaux. Lucky for them the original 4-hour cut was trimmed down for theatrical release, but that's besides the point. Their real beef is that most movie goers were expecting a western, an epic with lush action sequences and great moments of emotional roller coasters. The absence of which is what actually makes it such a piece of art.

The very melancholic (and striking) music brings forth and carries a sense of doom and sadness throughout the film, adding to the forbearing narration which puts the viewer on a path to feeling heartbreak for all of its protagonists. With the "mystery" out of the equation, the viewer is allowed to experience the true surprise and discovery - knowing who exactly was Jesse James as a man, what could go through the mind of his killer, what influence did they both have living and dead. Truly majestic editing allows such discoveries and appreciation, even beyond the titular event which isn't the end of the line.

All of it would mean nothing without outstanding performances, by all involved. Of course Brad Pitt is Brad Pitt, with all of his usual ticks and mannerism, but the man also carries tremendous charisma which is a trait everyone seems to agree on for the famous outlaw. The true acclaim however goes to his cast-mates, none of them stars or A-listers but each and everyone respected and admirable thespians, bringing much grounded credibility to the project. To be noted among them are Paul Schneider (previously noticed in "Elizabethtown" and "The Family Stone"), Micheal Parks, the always lovely Zooey Deschanel in a blink-and-you'll-miss appearance and even left-wing commentator James Carville as a self-righteous state governor.

All of them are however overshadowed by the increasingly amazing Casey Affleck, who brings such a mixed bag of mystery, emotions and empathy to his character or Robert Ford that along with "Gone Baby Gone", little-bro Casey has managed to completely shatter the perception of being nothing else than Big Ben's sibling.

A piece of advice - WATCH the movie, in peace and tranquility, without interruption. It is truly one of those epics that deserve such attention to be fully digested and understood.

Slings and Arrows (2003–2006)

Instant Classic

[10/10 · 15 March 2008]

The huge, main and irrefutable difference between American sitcoms and British comedy is that the "Brits" limit one aspect of it, in order to blow the roof on others. It usually plays only for 6 to 12 episodes a "series" but defies conventions, blows its nose at profitability, and exudes complete ingenuity of content.

Canadian television often tries to imitate completely one of the two. Slings & Arrows manages the unthinkable feat of bridging the gap. 6 episodes, an unusual "mélange" of laugh-out-loud funny and character-driven drama, and it's just a whole guilty-pleasure load of commercial fun.

Series stars a deliciously exuberant Paul Gross as a washed out stage actor, forced to take over the Shakespearean company of his recently deceased former mentor. His task: mount a festival-closing Hamlet, in less the 5 weeks, with an action-movie star as his lead, no budget, and against corporate hands trying to turn the whole thing into a theme park. Oh! and he just recovered from a much-publicized mental breakdown.

Trying to 'explain' Hamlet is already no small task, but the series succeeds with brilliance in not only exploring the makes of it behind the curtain, complete with jabs at corporate America and stings at Hollywood, but in incorporating the bard's numerous themes and characters into its very fabric. Gross' colorful Geoffrey embodies the Danish Prince, a man in the edge of insanity, stuck with visions of his annoyingly dead father figure. The company's sponsor, an American tough broad, reeks of Lady Mcbeth's evil trickery -and dialogs ("Are you a man" she asks her accomplice and honorable man of a Brutus). The mentor himself, before becoming an all-Canadian haunting to his pupil's Hamlet, starts out as King Lear, driven to madness by his "children". And the central play's couple, half of it played by a pre-fame and spot-on Rachel McAdams, brings the Romeo & Juliet theme to sweeter yet compelling levels. The rest of the cast and support players compose many microcosms of unforgettably well written moments of dialog, courtesy of "Kids in the Hall" graduate Mark McKinney, himself part of the cast.

When all is said and done, "Slings & Arrows" will rival in Television history with high-level gems the likes of "Blackadder" and "Fawlty Towers", all the while remaining truly Canadian in essence, and completely accessible to anyone out for a good time in front of the tube.

Long Way Round (2004–2010)

Nothing short of an accomplishment

[10/10 · 15 March 2008]

I was intrigued from the start at Ewan McGregor, major and rightly so movie star, for wanting to undertake something so un-Hollywood as a months-long bike trip. And being a big fan of the man, I made a point of checking out the ensuing DVD, expecting a bit of a bore still.

The first two episodes, which concern only the preparations and not the trip itself, left me physically and emotionally drained. The two adventurers, McGregor and his friend Charley Boorman (son of renowned director John Boorman) are so human and devoid of hypocrisy or flashiness that it leaves you with nothing but their pure passion and investment in their quest. Such that from the get go I was swept along, and felt quite heavy-hearted when it was all over.

The basic premise of this series is that, as mentioned, McGregor and Boorman make a round-the-world trip on "motorbikes", from London to Russia, then with a quick plane fare pick up in Alaska all the way to New York. A third motorist accompanies them with a camera (a poor lad who confronts the same hardship as the two "heroes"), while a support crew follows in trucks on easier roads. What comes of it is anything but a Bike trip. It is a journey to the end of a man's expectation and understanding of himself and his planet. The things they see, people they meet and obstacles they overcome makes the viewer rediscover life with ever maturing eyes.

The visual quality itself is nothing short of an accomplishment, given the difficulty level of filming from a motorcycle in terrains that would bring any grown man crying on their knees. Breathtaking imagery and editing are equalled only by the most engaging and exciting soundtrack I have ever heard attached to a simple documentary.

Highly recommended to absolutely everyone. It plays not only as a documentary, but as a dramatic comedy as well as reality show. Quick tip for enjoyment - resist the urge to watch it all at once. It really IS draining. And for those who fall for it as much as I did, a second series has just started airing in the UK, called "Long Way Down", about this time a trip to South Africa.

Cashback (2006)

Breath of Fresh Air

[8/10 · 15 March 2008]

This is one of those films that was never shown in any of the dozen theaters in my area, that no one in my entourage has ever heard of and came under my radar purely by chance. And I have to say I love chance. A lot.

"Cashback" follows brokenhearted college student Ben Willis as he journeys through a supermarket's night shift job to get something out of his prolonged bout of insomnia. Surrounded by spectacularly braindead co-workers and a narrow-visioned best friend, Ben tries to relieve his suffering with his uniquely artistic imagination, and the help of the only co-worker capable of putting him back to sleep.

The film started out as a short, whose Oscar nomination gave author Sean Ellis a template to expand - the short is incorporated "as is" inside the feature. Ellis displays every bit of passion from a burgeoning filmmaker who can finally unleash every concept and idea stored in his mind for years. The result is somewhat flawed and clearly uneven, but injected with an absolutely breathtaking innocence and an unmistakable talent. Young Sean Biggerstaff, known to most as Harry Potter's Oliver Wood, displays a very refreshing yet contained charisma that signals the coming of a future star. The rest of the cast, mostly (and to great effect) unknowns never seem to feel out of place, each chewing their every scene with great fun and gusto. And the lovely Emilia Fox continues to make me wonder why she isn't a much better known actress.

I know Ellis has barely touched the tip of his talent and can bring us much greater pieces of film making with a little kick in the arse. Until it happens, though, I'll keep enjoying his debut for what it is -a surprisingly sweet and original film.

You Kill Me (2007)

Ben goes Bang-Bang

[8/10 · 15 March 2008]

A weird experience is it to watch "You Kill Me". No flashy star, no provocative visuals of blood or anything remotely disgusting, no torrid erotic scene, and no true "action". Yet it is one of the more enjoyable and entertaining films I've seen this year.

The dark comedy follows hit-man Frank Falencsyk (Sir Ben Kingsley), an enforcer for a low-level mob gang in Buffalo (Yes, Buffallo...I didn't know they had mobsters there either...). When Frank sleeps through a crucial hit because of his bad drinking habit, he has no choice but to go away for a while, and join the AA, ultimately finding himself on a strange journey to redemption.

The comedy of the film doesn't so much provoke belly laughs as it does a certain awe at the clever writing and unusual acting. A drunk hit-man attending AA meetings could easily make a film tilt into either tasteless farce or just plain creepy fare. But casting makes the film work on a very special level, one where you actually hope Frank will achieve his goal of sobriety in order to go back to killing people. A level where you're a drawn to the hero's journey for not knowing where he'll actually end up. It takes quite an actor to pull that one off. As for the love interest, never does the straight-faced Tea Leoni display the usual damsel-in-distress syndrome that so many other actresses would have, but instead acts like a genuine and natural new girlfriend, one who takes interest in her man's job and talents. Kudos as well to Luke Wilson, who brings his usual but lovable nice-guy-next-door charisma, and Bill Pullman in a surprisingly nuanced turn for a part normally reserved to character actors such as Christopher Lloyd.

The short running-time is quite perfect to avoid a boring and over-drawn movie, but it still feels like some of the situations and supporting characters could've benefited a little bit more development. As if the writers were focusing and moving the script along, sacrificing a little research and depth along the way. Still, Sir Ben makes you forget about all that with his incredible reactions to some priceless moments.

You Kill Me is far from the kind of entertainment mass audiences are usually looking for, but it's still surprisingly accessible for such a storyline and characters. It ultimately feels like a David Mammet movie written by Aaron Sorkin, in a more amateurish take. A romantic comedy for GUYS, if you will...

Jersey Girl (2004)

Voice of Kevin

[7/10 · 15 March 2008]

I've been a Kevin Smith fan since "Dogma" erupted on the screens and created such a controversy ( I still say it's quite stupid to denounce a film you haven't seen…), and remained just as appreciative of his work even for the much maligned "Jersey Girl". Not that I refused to see the light, but because I genuinely liked the film. I like it even more since so-called hardcore fans of Mr. Smith seem to be in increasing denial of the film's very existence; the man himself appears to mourn it, instead of celebrating the tremendous pleasure he experienced in making the film ("Blowjobs all around" was the expression he once used, if memory serves).

The film was nowhere as bare-bones as "Clerks", or as teen-oriented as most of Kev's other offerings, which is one of the reasons it was lambasted by critics and ignored at the Box-Office. The more I see how everyone treats this cute little dramatic comedy, the more it reminds me of the painting "Voice of Fire".

American artist Barnett Newman, caught in the cultural shift created by Jackson Pollock, the Beatles and Stanley Kubrick at the turn of the 60's, produced in 1966 a very infamous painting, which consists of a unified blue canvas with a large red stripe running down the middle. And that's it; no psychedelic stroke of brush or special "effects". Where things get really weird is Canada's National Art Gallery buying the thing in 1990, to the tune of 1.8 million of tax payer's dollars. That wasn't a typo – 1.8 million fazools! Canadians understandably reacted badly to the acquisition, prompting a still strong debate on what constitutes art, and why should the people have to pay such hefty sums for it. One provincial Prime Minister at the time declared that had he known the federal government was so gullible, he would've painted a red stripe on his barn and collected the money. The Gallery's director retorted that unfortunately for him, Barnett Newman thought of it first.

Of course "Jersey Girl" isn't "Citizen Kane", and nobody should've expected Kevin Smith to become Orson Welles (although he has in some ways, and I'm not talking about his girth). What he did was leave the "anal" side of his work behind, and try to mature. "Jersey Girl" is a love letter to his own wife and child, which also gives audiences a few pounds of solid gold; George Carlin as a sarcastic-yet-warm grandfather, Mike Starr and Stephen Root sharing hilarious chemistry, J-Lo dying only five minutes into the movie (insert loud audience cheer), Ben Affleck back where we like him and Lips Tyler (err, Liv..Sorry) in a shower scene. But above all, it was a cute little dramatic comedy. Sit back and enjoy, or at least have the decency to respect the maturing of an author.

The one big argument naysayers will dish out to my point is that the price tag of $25M was way too high for a simply cute film from an author of which we expected other things. Shouldn't we all put our little filmed love letters on YouTube and collect that money, will they say. And to that, I can only retort one thing – unfortunately for them, Kevin Smith thought of it first.

Mr. Brooks (2007)

Surprisingly fresh

[15 March 2008]

I always loved Kevin Costner's on-screen charisma since his break-out turn in "Silverado", but the strings of (let's be frank) turkeys he dished out following his Oscar-win for "Dances With Wolves" made me doubt him quite a bit. The new millennium saw a more mature and quality-oriented Costner dwelling in unjustly overlooked gems like "Open Range" (arguably the greatest Western between "Unforgiven" and "3:10 to Yuma"), "Thirteen Days" and "Upside of Anger". His latest offering, "Mr. Brooks", keeps it up - a quality script with a Costner visibly having a great time.

Story centers on the titular character, a wealthy and popular family man who strangely allowed his imaginary friend to stick around well into adulthood. Said friend, Marshall, also comes with a monkey on Brooks' back - he's addicted to murder. Following Marshall's insistence to indulge in "just one more" threatens to shatter Brooks' carefully planned double-life, as an amateur photographer blackmails him into an apprenticeship, and a stop-at-nothing cop gets closer to finally catching him. To make matters worse, his 18-year-old daughter might be turning into a chip off the old block.

The film succeeds and surprises on many levels. First in side-stepping the pitfalls of such a setting; the "Imaginary Friend" is never labeled or diagnosed thus allowing us freedom of imagination, the tough-gal cop (played by an unusually sympathetic Demi Moore) shows more layers than the standard film detective, the high-energy soundtrack keeps up the engaging tone and pace, and the story itself sports many non-formulaic (if sometimes expected) twists. But the greatest stroke of genius is casting William Hurt as co-lead. Both he and Costner share such a natural and tangible chemistry that you feel like watching 2 guys who have worked together for years; their split-personality characters feel more like siblings, rivalry and complicity included.

I don't think I'll ever understand why so many people I know downright hated this film, but I for one hope that Kev's interview claim, that the movie is the opening act of a planned trilogy, will become a reality.

Jumper (2008)

Great potential left unfulfilled

[4/10 · 15 March 2008]

If Jumper succeeds in one area, it will be to make viewers want to read the book, since it is unquestionably a very intriguing twist on a recycled-yet-cool concept. But as far as the movie goes, it's a great concept that tripped at the finish line. Well, actually, tripped all through the race track.

Although the visual F/X were bashed by many critics, they provide jaw-dropping sceneries and actions scenes, which is almost enough to make a good movie. The viewer truly feels swept along with the hero when he jumps, dizziness and all.

What makes it veer into lousy-movie territory though is "Manakin" Skywalker (hopefully about to drop out of sight) as the lead, and very poor narrative development. Interesting characters are showcased with walking-tree performances to support them, save for Jamie Bell who literally explodes with charisma in each of his scenes; Sam Jackson phones-in one of his rare bad guy roles, Micheal Rooker is given nothing to work with and Diane Lane shows up for little else but to pick up her monthly paycheck.

Along those lines, mysterious elements are introduced to great viewer-interest only to be left unexplained or unused - A ritual knifed wielded by Sam Jackson which we never learn anything about, David's mother who could have been the next Darth Vader, the anti-hero Griffin who's storyline is left literally "hanging", a mention of centuries-old conflicts that are never exposed and the origin of the power itself which is never explained. The story (and film) ends abruptly with no resolution and VERY little satisfaction, as if it was only the pilot of a yet un-produced TV show.

Still an entertaining film, Jumper should be seen with low expectations and with a focus on the few strengths, which are the awesome visuals and the always-amazing Jamie Bell as bad-ass jumper Griffin - who most definitely should've been the true star of this movie.

Final (2001)

Showcase for Independent movie-making

[7/10 · 15 March 2008]

Final provides a great movie-watching experience when considering it as an exercise - a self challenge by director, cast and crew to film a compelling story on a shoestring budget, and an attempt to show what you can do with great performers to showcase what no special effects will.

Waking up in a hospital room (where most of the movie takes place), Bill Stark can't seem to decide if he's delusional, paranoid, or on his way to death row; he hears inexistent blues music, rants about having been cryogenically frozen, expects to be executed shortly, and gradually sifts through memories of the grim events that lead him to his current state. His only beacon towards sanity and truth is a mild-mannered and cryptic therapist, whose relation with her patient becomes too close for comfort, and slowly reveals that the insane man might not be so insane after all.

The one thing that works against the movie is what it tries to attain - showing that a no-budget film can effectively thread on Kafkaesque territory as well as science-fiction. Pacing and intensity would be better achieved if it restrained itself and kept things more mysterious, as the shift from one genre to another two-thirds into the story feels like a let-down instead of a real dramatic twist.

It does however succeed in relying on a surprisingly rich and nuanced performance by bad boy Irish-American Dennis Leary, whose journey to the inevitable whisks the viewer along with great interest. Even more surprising is the improbable yet strong chemistry with his co-star Hope Davis, whose un-eccentricity of character plays wonderfully against Leary's supped-up testosterone. The two actors are all the more impressive when given limited locations, and absolutely no visual effects, as they manage to paint the world they live in with livid and tangible colors.

Definitely recommended for Leary fans to rediscover the man in a new light, and for aficionados of psychological, no F/X Sci-Fi the likes of "Cube" or "12 Monkeys".

Away from Her (2006)

Pretty title, Amazing movie

[8/10 · 19 September 2007]

Most movies who deal with a striking illness such as Alzeihmer's usually do so by focusing on the disease and overly dramatic consequences for the patient. First-time director Sarah Polley chose to underplay the ailment in her movie Away From Her, by focusing on a journey undertaken by two lovers at the end of a 45 year marriage.

The story concerns Canadian couple Grant and Fiona. Grant used to be a teacher, whose indiscretions were forgiven by his wife providing they move away and start a new life. But reaching an advanced age, Fiona starts loosing her memory, to the point where she can barely venture out of their house without forgetting where she lives, and so with tremendous pain Grant agrees to let Fiona live in a specialized center. Fiona knows the only way to live out her remaining years in peace is to willingly let go of her memories, while Grant slowly realizes he must not only let go, he must mourn as well.

Polley, a former child-star whose own journey in life and art allowed for a vast array of experiences, displays bravery in her debut by casting elderly actors as her leads (one of them unknown outside Canada), and tackles the subject with uncensored honesty. Grant can't understand why even an illness could make his wife forget 45 years of matrimony, and expresses so. The exploration of the man's own condition and soul brings the narrative into the unease of such a person's loneliness, and the extent to which he is willing to go to let his wife be happy.

Casting, which so often makes or breaks such a storyline, is again as brave as any, and rightfully so. After viewing, one can hardly imagine anyone but the glassy-eyed Gordon Pinsent to BE Grant, in a sober and gut-wrenching turn. His own work is matched with gusto by a glamor-less Olympia Dukakis, who brilliantly conveys that her character's own deadlock can only be solved by joining Grant out of his. And the still stunning Julie Christie shines as bright as ever, even though it brings a certain disappointment when flashback scenes use alternate actors on artificially vintaged film, instead of keeping up the film's realism with genuine archive footage.

Some of the photography does point out the director's relative inexperience behind the camera, which is more than made up for by the intuitive pace, mood and uncommon sincerity of the film. Ms Polley may just be learning how to shoot a story, she definitely mastered how to tell one, as witnessed by the intriguing back-n-forth narrative drive AND by a somber and minimized score that maintains the level of emotion from start to finish. Such that one hopes the young lady will stay behind cameras a little longer, if only to challenge other filmmakers to be as bold and uncompromising.

Clerks II (2006)

An open book...

[25 July 2006]

"Clerks II" isn't for everybody, but those it was made for will be more than satisfied. Like every Smith movies, this one is an open book into the director's feelings and thoughts. But contrary to the original, which was made for himself and his friends, this one is also for the hard core fan.

Kevin Smith tried to become a mainstream director with "Jersey Girl", but considers having failed miserably (even though the movie is still above average in quality). He knows he'll never be known as the guy who pulled a $200M + blockbuster, and so accepted with pride that he'll always be the guy who made "Clerks".

The movie isn't star-to-finish laugh fest à la Jim Carrey. It's simply a movie about a guy who's turned 30 and still can't see the promised land of prosperous adulthood, filled with the every day weirdness and quirks that makes him realize he does lead a colorful life. AND he does what he truly wants to do, even though much more has always been expected of him. If the Quick Stop represents "Clerks", that "Mooby" represents "Jersey Girl", And...well, I won't spoil it! Smith did grow up, though, in his cinematic style, even though he'll never abide to one precise signature of movie-making. His characters have more background and depth, his guest stars are much more punchy and useful, and his inner-circle references are more subtle and juicy. Like a scene where Rosario Dawson calls down to Jay from a roof top, and the poor stoner can only answer in utter confusion "Yes, Lord?".

If one bit of criticism can be made, it's that a few punches were pulled. Randall, who gets once again the meatiest dialog, could've ripped into some targets way more, like "Lord of The Rings". Still, the punches that do land are worth watching the movie for. Especially the "Racial slur" debacle...

"Clerks II" won't be the year's greatest movie, but it will solidify Kevin Smith in his come back as a rogue filmmaker.