EdKoh Reviews

Avatar (2009)

An amazing spectacle, but...

[7/10 · 24 December 2009]

Two thoughts, not meant to be derogatory:

1) It is interesting to me that Cameron has spent about a third of a billion dollars to completely redo the way that movies are made, and then uses this new technology to retell the old cowboys-and-Indians story, not too different from the story of Pocahontas and Capt. John Smith, except that at the end Smith becomes an Indian.

2) Also, it was strangely familiar to me to see people donate their genetic material to help create a new race of beings who are taller, slimmer, shapelier, and more athletic than they. Kind of like being a parent... :>)

Moulin Rouge! (2001)

An outrageous, garish, bombastic, and redeeming movie...

[23 June 2001]

I'm coming down from a two-week period of obsession with this movie that included four viewings (two at the first sitting), not counting one viewing by my wife, three copies of the CD (one from my 10 year-old son for father's day), the hardcover picture book ($35 at Barnes and Noble), and countless discussions with friends, family, and co-workers, proselytizing for the movie. What can I say? I love it. Or to put it better, I love this movie and what it tries to do. It succeeds at much of it (enough of it?), and as for the rest, well, as they say, it's the thought that counts. I have found one central flaw in the film, which is that what is termed "love" and indeed feels like love in this story is actually "love at first sight" which I would say is not true, mature, real love like the love that married couples share over the daily grind of life for decades and decades. Satine "lies" to Zidler that her love for Christian is just "a little infatuation", without realizing that that's what it probably is. However, circumstances don't give these lovers a chance to grow into the real thing, and so they have to settle for what they get. Come to think of it, Romeo and Juliet had the same problem. Despite this flaw, it was not hard for me to do what Baz Luhrmann said in his book and suspend disbelief and skepticism, and go with the flow. Nicole and Ewan I found to be hugely likeable, and the chemistry between them was great. The movie was full to overflowing with characters, events, and sheer life! As a big fan of Strictly Ballroom, I was not completely taken by surprise, but it seemed to be the next step in the evolution of Luhrmann, and the entire production company seemed to take the leap with him. This was a very coherent performance; you could see on the face of every extra that they were completely into it. When I heard the children's choir behind Ewan in Your Song, I was touched, but later had the thought that this could have easily (and conveniently) been computer-synthesized. In the book there was a photo of the production of that song; there was the choir, and it was real, as was the entire show. I must agree with the review by moonlight__________-- as kitschy as it seemed, there was something very honest about this film. It was honestly trying to tell us about truth, beauty, freedom, and love, for our own betterment. It was an act of emotional generosity by someone bursting with the message. To cite one particular scene, the first time I saw it (it seems a long time ago), after the Tango de Roxanne, I said out loud in the theater, "this man is a genius". I hold to that statement. I have several favorite directors, and I can't think of one who could have pulled off this powerful, riveting, upsetting scene. This was not the only moment of genius in this film. If you haven't seen it, see it. If you have seen it, see it again. You won't regret it.

Moulin Rouge! (2001)

An outrageous, garish, bombastic, and redeeming movie...

[23 June 2001]

I'm coming down from a two-week period of obsession with this movie that included four viewings (two at the first sitting), not counting one viewing by my wife, three copies of the CD (one from my 10 year-old son for father's day), the hardcover picture book ($35 at Barnes and Noble), and countless discussions with friends, family, and co-workers, proselytizing for the movie. What can I say? I love it. Or to put it better, I love this movie and what it tries to do. It succeeds at much of it (enough of it?), and as for the rest, well, as they say, it's the thought that counts. I have found one central flaw in the film, which is that what is termed "love" and indeed feels like love in this story is actually "love at first sight" which I would say is not true, mature, real love like the love that married couples share over the daily grind of life for decades and decades. Satine "lies" to Zidler that her love for Christian is just "a little infatuation", without realizing that that's what it probably is. However, circumstances don't give these lovers a chance to grow into the real thing, and so they have to settle for what they get. Come to think of it, Romeo and Juliet had the same problem. Despite this flaw, it was not hard for me to do what Baz Luhrmann said in his book and suspend disbelief and skepticism, and go with the flow. Nicole and Ewan I found to be hugely likeable, and the chemistry between them was great. The movie was full to overflowing with characters, events, and sheer life! As a big fan of Strictly Ballroom, I was not completely taken by surprise, but it seemed to be the next step in the evolution of Luhrmann, and the entire production company seemed to take the leap with him. This was a very coherent performance; you could see on the face of every extra that they were completely into it. When I heard the children's choir behind Ewan in Your Song, I was touched, but later had the thought that this could have easily (and conveniently) been computer-synthesized. In the book there was a photo of the production of that song; there was the choir, and it was real, as was the entire show. I must agree with the review by moonlight reflections-- as kitschy as it seemed, there was something very honest about this film. It was honestly trying to tell us about truth, beauty, freedom, and love, for our own betterment. It was an act of emotional generosity by someone bursting with the message. To cite one particular scene, the first time I saw it (it seems a long time ago), after the Tango de Roxanne, I said out loud in the theater, "this man is a genius". I hold to that statement. I have several favorite directors, and I can't think of one who could have pulled off this powerful, riveting, upsetting scene. This was not the only moment of genius in this film. If you haven't seen it, see it. If you have seen it, see it again. You won't regret it.

Beverly Hills Cop (1984)

One of my all-time favorites: witty, warm, and very funny!

[20 October 1999]

Martin Brest has only made five feature films (Going in style, BHC, Midnight run, Scent of a woman, and Meet Joe Black), films strikingly different from one another, but that all share certain traits. They are finely crafted, energetic, and extraordinarily human. The warmth and friendship shine through, even through the gun- and fist-play which are obligatory in a cops-and-robbers movie. This is one of the first and best prototypes of the buddy movie.

Brest's casting is superb, and he elicits performances which are often the best of even young actors' careers. Judge Reinhold, John Ashton, and Ronnie Cox are outstanding, and the ensemble clicks like a well-oiled infield. To me, this movie is still far and away Eddie Murphy's best performance. He is remarkably talented, a comic genius. As an actor, his expressions are sometimes outlandish, but always completely in character, and appropriate to the dramatic situation. Villain Victor Maitland (played by Steven Berkoff, the husband of Alberta Watson, Madeline in La Femme Nikita) is chillingly underplayed; the cold-blooded evil shines through the civilized facade.

BHC is one of the few movies which I can watch with my loved ones again and again and never tire. Even as a comedy, it has a solidness and integrity which make it extremely durable. I look forward eagerly to Martin Brest's next film. Meanwhile, I always have Beverly Hills Cop.

The Music Man (1962)

A movie that works at many levels--and touches our hearts.

[23 April 1999]

I first learned of the Music Man when my brother's fifth grade class put it on. (My brother played Mayor Shinn.) Our entire family learned the train scene, all of the monologues (especially "Trouble"), and the Music Man became part of our lives. I still remember most of those monologues, and I still love to watch Robert Preston and Shirley Jones create their magic and make their music. Like "My Fair Lady," the players have refined their parts to high art, but have not burned out; the details delight again and again. The chorus is the best I've heard (Wells Fargo Wagon), the cast is just great. When my older son was two years old, The Music Man was his favorite video; he watched it over and over, laughing and gurgling. He "outgrew" it, and is now almost ten. Last night we watched it (again): I, my wife, and both of our sons. It touched me as much as the first time I saw it. ("I always think there's a band, kid.") I hear and read criticism of Robert Preston's acting, that as a performer he is a dilettante. But I feel this criticism misses the point. Harold Hill is the dilettante, trying to pass himself off as a music expert--until he gets his foot caught in the door. Preston is perfect as Hill. I love this film, and will watch it with my loved ones for a long, long time to come.

Strictly Ballroom (1992)

A wonderful, emotional, quirky, uplifting movie!

[26 February 1999]

The first time I saw Strictly Ballroom I tuned in accidentally to the grand climax while flipping through my cable channels: I was transfixed, and when the ten minutes was over I felt emotionally spent and stimulated at the same time, as if some door had been opened in my psyche. I knew I had to find the movie and watch it in its entirety. Now, fifteen viewings, a VHS tape, audio tape, and music CD of SB later, I happened upon it again tonight (interspliced with Sister Act by Emile Ardolino...), and I again watched the grand climax, with a bit of lead-in, with my wife and young sons. It was just as emotional and powerful as the first time, and I cried yet again. This is a very very special film. Baz Luhrman takes risks that most directors would not dare to, and his movies work because he gets to the heart of the matter, gets to the truth. In this case, the truth is "To thine own self be true", a familiar message told in a fresh and wonderful way. Bravo.