ecto-3 Reviews

Hostiles (2017)

Nuanced Exploration of Psychological Tensions and Subtleties

[9/10 · 18 January 2018]

I was intensely moved by this film, which I viewed during a preview screening in San Diego.

The composition of the scenes, dark exposures, extreme close-ups, surreal techniques of distortions of focus and viewpoints, saturated and washed out colors, superb acting, and moralistic conflicts between the angels and demons within the humanity that haunts so many, left me transfixed and absorbed by this highly charged and complex production.

I was also aware that this may not appeal to mass audiences who expect plot and action to move at a faster pace, with fewer complexities and inward, sometimes awkward analysis.

In its simplest form, this is a road trip set on the margins of the 19th Century, when the West was almost tamed, by men hardened by the brutalities of the Civil War, and the slaughter of innocents.

It is also a story of honor, of rugged individualism, and a struggle with tribal and racial prejudices that has a very contemporary resonance.

I noticed that some were leaving in mid-screening, but most of the preview audience remained until the end, and a good number applauded with conviction.

I was intrigued by the lush cinematography, the Kodachrome appearance of some scenes, the extremes of violence and brutality, and the morality lessons of wiping out a race of Native Americans who were here first, but needed to make room and be displaced, out of convenience and greed, because it could be done, regardless of the injustice or inhumanity.

Those same prejudices also have a contemporary ring to them, reflecting current attitudes towards immigrants, those of darker skins, and "the others" among us.

I was reminded of such literary works transformed into screenplays as Heart of Darkness, The Red Badge of Courage, High Noon, The Magnificent Seven, and Seven Samurai, along with directors such as Akira Kurosawa, Antoine Fuqua, John Ford, and John Huston.

For those who can endure the graphic violence, scenes with mumbled dialogue, and tormented characters, and can make the effort to go beyond that, this can be a very rewarding film experience.

The Florida Project (2017)

Saturated Colors and Screeching Children Cursing Obscenities Do Not Mix and Left Me Disappointed

[1/10 · 17 October 2017]

Seldom have I walked out of a preview screening. But after enduring one hour of screeching, unsupervised children, dripping obscenities as casually as they dripped ill-gotten ice cream, unsupervised by adults who were as misbehaved and irresponsible as they were, I mercifully exited the theater.

This film neither amused me, nor held my attention. I kept thinking of the times I was on a flight in which the cabin had a child or two who were constantly crying, or kicking the back of my seat, only this viewing experience was worse, because I was expecting better.

In the row to my right was a morbidly obese gentleman with a backpack on the seat next to him filled with chips and other snacks that he dipped into regularly, taking time between bites to laugh uncontrollable at the obscenity laden dialogue, as other members of the audience got up to leave in twos and threes.

This was worse than going to a restaurant and selecting something from the menu that I was sure would give me indigestion.

I go to films, not primarily to be entertained, but for the impact of drama that consists of conflicts and their eventual resolutions, that also reflect and reveal truths about myself, and the world in which I live.

Maybe I left too soon to experience any resolution of conflict, but this so-called "drama" meandered aimlessly for a full 60 minutes, while I wished that I could look out the window at the passing clouds on that imaginary flight at 35,000 feet, and order a double Jack Daniels.

I started the evening in a good mood, on a full stomach, with high hopes, and left hungry, but relieved to be out in the fresh night air.

I did briefly enjoy the fantasy created and alluded to by the lush, saturated colors with references to the Magic Kingdom, but other than that, I could not find anything to like about this very painful experience.

I may be in the minority, and perhaps this was too rarefied a creative effort for me to fully appreciate, but life is too short, and my instincts told me that I made the right decision to exit early.

Blindness (2008)

Indeed a metaphor, but lacking in entertainment value

[3/10 · 2 October 2008]

Man's inhumanity to man has been a constant theme throughout great literature, from Homer to Hemingway. No doubt, this film used lack of sight as a metaphor for lack of vision, insensitivity, and separation from the human condition. All this flashed through my mind during the movie, as I was trying to will the minutes to pass, and as I wondered why with such a fine cast, beautifully dressed sets, credible cinematography, and a primal, universal theme, this all added up to a film lacking in entertainment value, and uncomfortable to sit through. Normally, I'll seek out a serious film with a message, such as The Killing Fields or The Chine Syndrome. Even a recent film, Children of Men, did a better job of celebrating the human spirit in a time of turmoil. Not so with Blindness. The packed preview audience tonight showed no signs of life. I did like the scene in the darkened ruins of a great cathedral where all the religious icons were blindfolded, but unfortunately I found no enlightenment in this movie. It did feel good to get outside into the balmy night air.

Gonzo (2008)

Riveting and sympathetic with touching insights

[10/10 · 27 June 2008]

Going into this preview screening, I knew very little about Dr. Hunter S. Thompson's life, except that he lived on the edge in a very take no prisoners and unconventional manner, often assisted by drugs and alcohol, and that his highly charged descriptive journalism was poetic and amazingly beautiful. I didn't know about his far reaching political and social impact, nor the parabolic curve of his meteoric rise, and eventual decline.

It was not a good sign that the theater was about a quarter empty, highly unusual for an independent film preview, which usually packed the house.

However, from the first scene, until the credits, some two hours later, I was hooked, visually and emotionally. Nothing was sugarcoated, none of his excesses with drugs, booze, or women, or his at times manic conduct, but the effect on myself and the rest of the audience was surprisingly sympathetic, shown by loud clapping as the lights came on at the end. Another positive sign was that the two hours flew by without boredom, because of the visually stunning footage, the engrossing interviews, and the historical backdrop and its relevance to the current political scene.

Mr. Thompson was a rebel with a cause who spoke blunt truth to power, and he used language as if touched by both genius and a higher consciousness. I came away enlightened and saddened by the foreshortened arc of his life.

This is a very beautiful, brilliant gemstone of a film, with many sparkling facets. I hope you may enjoy it as much as I did.

She Hate Me (2004)

Complex and provocative, with real personal & societal insights

[10/10 · 23 August 2004]

It has been said that dying is easy, but comedy is difficult. This latest, masterful release by Director Spike Lee should not merely be viewed as a comedy, although it does has some outrageous laughs based upon a social commentary about morality, corruption, and ultimately personal salvation. What makes this film challenging, and perhaps disappointing to some, is that it is so original that it does not easily fit into categories or expectations. However, Mr. Lee has indeed succeeded on many levels. In the finest traditions of breaking new ground in art, social commentary, satire, and caricature, with the likes of James Joyce, Marxist philosophers, Marshall McLuhan, Herbert Marcuse and others from the Frankfurt school, and pop culture icons, from Tom Lehrer, Bob Dylan, and Madonna, this film is right (or left) on target. It is not about donating sperm to lesbians, as some might think, or corruption in business and government. It uses lesbians and blacks as representations of anyone who is subject to being marginalized. The real message of this movie, in my view, is that our salvation and rescue lies within, and that personal morality, i.e., truth, is the tool we can use to uncover and destroy government and business deceits, from Watergate to Enron, and beyond. If you are looking just for laughs, and not to be challenged to think beyond the superficial, then this movie isn't for you. But for anyone who isn't brain dead, brain washed, or brainless, this just might be the best movie you've ever seen. I give it a 10, must see rating.

She Hate Me (2004)

A brilliant and searing examination of morality and corruption.

[10/10 · 18 August 2004]

It has been said that dying is easy, but comedy is difficult. This latest, masterful release by Director Spike Lee should not merely be viewed as a comedy, although it does has some outrageous laughs based upon a social commentary about morality, corruption, and ultimately personal salvation. What makes this film challenging, and perhaps disappointing to some, is that it is so original that it does not easily fit into categories or expectations. However, Mr. Lee has indeed succeeded on many levels. In the finest traditions of breaking new ground in art, social commentary, satire, and caricature, with the likes of James Joyce, Marxist philosophers, Marshall McLuhan, Herbert Marcuse and others from the Frankfurt school, and pop culture icons, from Tom Lehrer, Bob Dylan, and Madonna, this film is right (or left) on target. It is not about donating sperm to lesbians, as some might think, or corruption in business and government. It uses lesbians and blacks as representations of anyone who is subject to being marginalized. The real message of this movie, in my view, is that our salvation and rescue lies within, and that personal morality, i.e., truth, is the tool we can use to uncover and destroy government and business deceits, from Watergate to Enron, and beyond. If you are looking just for laughs, and not to be challenged to think beyond the superficial, then this movie isn't for you. But for anyone who isn't brain dead, brain washed, or brainless, this just might be the best movie you've ever seen.

Me, Myself & Irene (2000)

Not as funny as food poisoning

[1/10 · 17 July 2000]

I went to see this film in Shawnee, Oklahoma, while recovering from a two-day bout of food poisoning, hoping that it would cheer me up, and trusting on the brand name of Jim Carrey, who I enjoyed so much in "Man on the Moon" and "The Truman Show". I was wrong. Food poisoning was much funnier than this movie. It wasn't just my reaction alone. To see a laughter craving audience from the heartland of America sit in stunned bewilderment, while embryonic giggles faded into nothingness is not a pretty sight. Nor was this mean spirited movie, which poked fun at everything from interracial offspring, little people, and ghetto speak. I think I may have laughed once, during a scene involving a funeral, but that might just have been my fever returning. Finally I couldn't take it any longer and walked out, sorry that I hadn't opted to see "Chicken Run" instead. The real puzzle is why such a gifted actor and comedic genius like Carrey would waste his energies on such a turkey. Can it be that comedy is so unpredictable that nobody saw this disaster waiting to offend mass audiences? I think it's more simple than that: Carrey's name sells tickets. And that's no joke, either.

Eyes Wide Shut (1999)

Reality, phantasy, and desires become mixed together in this rich tapestry

[10/10 · 18 July 1999]

When a couple have been married for nine years, as the ones portrayed by Tom Cruise and Nicole Kidman in Stanley Kubrick's final film, one supposes that they know all the intimate details of each others lives. But such is not the case in this engrossing study of a marriage.

Kubrick weaves a tapestry that is rich in symbolism, set on the margins of reality, and lushly filmed in a New York City which looks slightly alien, erotic and mysterious. In fact, the events of the script leave a wide margin of doubt as to where reality ends and one's dream fantasy life begins.

With a deliberate, slow pace, the audience and the players are constantly teased, led down false paths, confused, all in an effort to strip away the layers and layers of protection that we all construct in our relationships and in our lives, literally the very masks with which we present ourselves to the outside world, and even in our most intimate liaisons.

Reminding me of earlier works by Swedish director Ingmar Bergman, including "Persona" and "Wild Strawberries", the psychological novels and social commentaries of Henry James and Edith Warton, the film has Kubrick's unique imprint composed of endless details, lushly lighted sets that look like Rembrandt or Vermeer paintings, and dark street scenes evoking menace and mystery, and not unlike scenes from "Blade Runner" or even the cult classic "Around Midnight".

The women that fascinate Cruise's character in the film are all variations of his cinematic and real-life wife, Nicole Kidman, in eroticism, hair color and other body features. In one screening, it is very difficult to recall all the nuances and revelations of meaning. Like some other Kubrick masterpieces, including "A Clockwork Orange", "2001", and "Full Metal Jacket" each viewing should unlock new layers of truths. I give Eyes Wide Shut very high marks for serious cinema fare, though many might enjoy it just for its stunning look and beautiful actors.

Run Lola Run (1998)

Riveting action, dynamic sound track, and brilliant editing had me hooked from the first frame.

[10/10 · 27 June 1999]

The concepts are simple. How do our actions affect our own lives, as well as those whom we touch? What part do chance and random events play in determining an outcome? Can we select a different result by making different choices? In short, what is reality? Well, maybe it isn't all that simple, but while others have plowed these same fertile fields, as recently as the film "Go", and also in "The Music of Chance", based on Paul Auster's novel, no one has dealt with such cosmic existential questions with more brilliant originality, fast paced action, and a pulsing score than in this German cinematic masterpiece.

In a compact ninety minutes, combining snips of animation, cinema verité, quirky characters, situations and dialogue, and a pace that makes most music videos look like they've been filmed in slow motion, three versions of the same story sequence unfold, and each time conclude with a jolting finish that defies convention, and keeps the viewer guessing until the final frame.

This is one of those rare cinematic events that is entertaining, satisfying, and absorbing, as well as flawlessly acted, staged, edited, produced and directed. I thought that Lola ran her race with flair and style, and left all others way behind in the dust.

The Loss of Sexual Innocence (1998)

A lush visual treat which requires active viewer effort for maximum impact.

[10/10 · 9 June 1999]

If a picture is worth 1,000 words, Mike Figgis, need not worry about expanding his vocabulary. Without reservations, I loved this film, but I also love a challenge for the mind and the senses. Maybe that is why The Loss of Sexual Innocence pressed all the right buttons for me.

Like the 1983 film, Koyaanisqatsi, a Hopi Indian term for loss of harmony with the natural environment, this movie is also about losses, dysfunction, and mortality -- the separation of twins, loss of childhood innocence, marital indiscretion, loss of appreciation for basic human values, and the most primal loss of all, man's fall from paradise and separation from the divine.

With such cosmic issues to explore, and without a coherent story or dialogue, the viewer is instead served up a smorgasbord of clues, flashbacks, mumbled words, surrealistic images, dream sequences, and the flotsam and jetsam of unfulfilled lives that are in chaos. Unlike more traditional cinema, the audience needs to pay attention, examine, process, and that rarest of all demands, think. Not everyone wants to make such efforts. In the preview screening that I attended, I counted seven people get up and leave during the first hour. Maybe they were puzzled by the abstract ideas, or perhaps just uncomfortable with the frontal nudity, frank sexuality, and universal emotions that ran like a fugue through the symbolism, accompanied by Mozart, Schumann, Beethoven, and other classical pieces on the sound track.

I would urge anyone to see this movie with an open mind. It may not deliver the literal journey into the darkest reaches of the soul, as Figgis's Leaving Las Vegas, but it will expand your awareness of the human condition, and give you something to mull over for a long time.

A Midsummer Night's Dream (1999)

Ersatz Shakespeare left me bored, so I left.

[5/10 · 8 June 1999]

A good story should get better with each telling. This was not the case with this muddled version. Truthfully, I am not perceptive enough to articulate what went wrong. I just felt that the story was flat, unfunny, with very little emotional impact, all particularly puzzling for such seasoned actors. I only lasted about 45-minutes, and then decided that it wasn't worth the struggle to hang in there. At least this was a first for me, walking out on a film based on a Shakespeare play! While Shakespeare in Love was electrifying, this film hardly produced any sparks.