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Reviews
David Hockney: The Colors of Music (2003)
Lyric and Beautiful
Seeing this movie on a whim, not knowing what it was about, only reading a review appearing in the "New York Sun," I really didn't know what to expect.
I saw the words "opera" and "art" and "new aesthete" in the review--words that usually accompany reviews about documentaries about art about life. But what got me to buy my ticket was the description that "music is color." And for David Hockney, it's just that. Driving across America--along the mountains of central California, along the edges of Utah deserts and the Grand Canyon--David plays opera music in his car, with his beloved dogs in the backseat. When he hears the music, instead of seeing scenes and images, he sees colors first.
I guess that's why we're given several transitory shots of long drives--a camera taking us around curves on a mountain road in the same sense that panoramic theatres at museums take us on a roller-coaster or around the stars.
This film has striking, beautiful imagery. It has a soundtrack of Wagner, Mozart, Straus. Although it's choppy and tells us little about Hockney other than how he builds sets and that, despite his lust for music he is going deaf, we nonetheless get a glimpse of the passion and unbelievably intricate work that goes into creating an opera.
See this; if only to remind your eyes how colors can make them feel.
Gerry (2002)
Long shots = "Groundbreaking"??
The copy I rented had these words in its description: "Gus Van Sant's groundbreaking achievement..." I tend to be skeptical of such lofty claims in this day in age. It's true that the cinematography is pretty. It's true that the wilderness of Utah/Argentina are gorgeous...but must we defer to iconoclastic terminology. I find it hard to believe a film "groundbreaking" on the basis that it has shots lasting longer than 10 minutes. This, especially when there is little to no dialogue. These shots, although breathtaking, are substantial...but if you want to see a trained, beautiful sustaining shot, rent "The Magnificent Ambersons" or "Touch of Evil." Talk about a nail-biter in the how-long-can-this-shot-last-before-something-goes-wrong genre of film. The film was okay. But nothing "groundbreaking." You'd have better luck with "Winged Migration" if all you're looking for is pretty scenery and tracking shots. At least then you wouldn't have to hide your head under the pillow when Casey Affleck delivers his taudry explanation of the video game "Civilizations."
K-PAX (2001)
Three amazing actors with no where to go.
You have to wonder what was so interesting about this project that drew such big talents to it. It wasn't that the movie had no promise, but I think I can say that without the star power that it has, it wouldn't do very well. Kevin Spacey, Jeff Bridges and Alfre Woodard star in this film about a "space-man" and his last days on Earth. The majority of the film takes place in a psychiatric ward in Manhattan. Here, we meet a selection of quirky inmates and a few semi-defunct psychiatrists. The story unfolds as a new patient--Prot from K-Pax (played by Kevin Spacey)--tells his story to a psychiatrist (Jeff Bridges). I would describe more of the plot in detail, but there are several key-points that shouldn't be shared to those of you who haven't seen it yet. So, in respect for the future movie-goer, I'll jump right to a review. The movie was clever and sometimes cute. But, looking at the movie in its entirety, that's about as much as you get. There are no funny feelings in your tummy, or "damn!" moments. All you really get are a series of subdued, mediocre moments. Much of the drama is downplayed, and is only occasionally heightened by an upward swell of the music or a closeup of Spacey's contorting face. However, the movie has many fine qualities which must be explored. The technical aspects--ie, the editing and cinematography--are interesting, and sometimes brilliant. Also, the score marvelously enhances the cryptic yet spacy (no pun intended) atmosphere of the film. Add to that a new "written/produced/performed by" song from Sheryl Crow and you have a nice overall movie-going experience. I would, however, have to ask that you go into this movie with mid-grade expectations. It was enjoyable, but it lacked the "umph" that we've come to expect from talents like this. In addition to this, Alfre Woodard is in a completely thankless role as the head psychiatrist. Although she exudes the same sophisticatd pinache that she would normally, her part is underwritten and largely superlative. It sounds like I'm completely bashing the film, but believe me I'm not. It was enjoyable, and, it would be a great Friday-night-at-the-movies experience. But, if you're expecting something, I don't know, stunning, you may have to settle for high class mediocrity.
Autumn in New York (2000)
What a waste.
I always try to achieve some sort of balance...so when I'm about to completely bash a movie, I find it necessary to say something good about it first. Okay, this movie is very pretty. As far as shot composition, it is unique. Between the beautiful trees and skylines of New York City at twilight, along with the array of gourmet food, this movie seems very cinematographically good. But all of it is a complete and utter waste (I guess this is a good transition to start talking about the bad). Waste of good talent. Good for the director...and cinematographer. But what were they thinking when they chose this script and storyline for their film? And what were these reputable actors thinking when they signed onto this project? Why does Hollywood make a habit out of packaging melodramas in this form? All this movie does is reinforce horrible Hollywood stereotypes--i.e. the double standard. It's all right for a man to be sexually promiscuous...but once a woman does it, she's considered a whore. This story wouldn't have been made if the roles had been reversed. See, we think that just because we put Richard Gere into the title male gigolo role, everything's all right. He's passed off as a cute, loveable character who does utterly detestable things. We shouldn't connect to this character. He's loathsome. Sub-human. Yet, somehow, the movie wants us to believe that this romance is the best thing for both of the characters involved. And, when Gere's character cheats on Ryder's character...everything, of course, will be smoothed out by the cliched conversation "It's who I am...I can't help it...." "Oh, I forgive you for being a loser and a cheater." If you see this movie, put it on mute and enjoy the nice scenery.
But, I would rather recommend that please, for the love of God, don't fall victim to this tragic slop of a film.
The Bells (1926)
Not bad.....not bad.
After reading the Edgar Allen Poe poem, this film seems like an adequate representation of its original moods and feelings. Plus, you've got great talents like Lionel Barrymore and Boris Karloff (even though he has a small role) moving this picture down its macarbe path. So, if you enjoy silent films, this one will probably float your boat. The only complaint I have is in the the 1998 release's choice of music. It seems overly cheesy to be associated with Edgar Allen Poe. Although, the use of silence and sleigh bells adds a lot to the impact of the film. Intriguing with a good pace (plus, it's only 67 minutes, so if you can't sit through long silent films like "Birth of a Nation," then this one is for you.).
Winterschläfer (1997)
Experimental and evocative.
When filmmakers attempt to do anything radical or completely experimental, critics often hit them hard with insults about how "unreal" or "amateur." But, hello, all of these new devices being used in films ARE unreal AND amateur because they're so innovational (since no one has tried them before). Tom Tykwer is exactly the sort of filmmaker that likes to take chances, who goes against the normal (sometimes recycled) cinematic techniques employed by the majority of the cinematic world. Here, in "Winter Sleepers," we see those revolutionary techniques that led to his international success in "Run Lola Run" in full bloom. The narrative is basically shallow, leaving many gaps in plot and dialogue, but this is done purposefully, and the filling of the gaps is left up to the cinematography, lighting, and color schemes. It is no surprise that Tykwer uses the subjective camera to convey the feelings of his characters (sometimes we fall to the ground in a flash of white when Laura blacks out, or we spin around in circles when Rene has a psychological episode). It is done for a purpose, and we can understand the turmoil that each goes through--without the reliance of a script.
The film can be seen as more character driven than plot. So, if you need the precious plot more than anything else, I wouldn't recommend this movie. But you should see this movie if you're at all interested in how an event can exponentially set off another set of events, continually building, until the life of every character (whether involved in the first event or not) changes forever.
The Replacement Killers (1998)
Killer movie, but a "please kill me" script.
Don't you just love movies that have intense action, an amazing use of editing, and a fantastic cinematographic style? I sure do, and I loved this movie for that reason. As far as technical aspects go, "The Replacement Killers" was great, as far as the rest of the movie goes, umm...well....let's just say, it should have been made as a silent. The screenplay was horrible, and it was hard for even a pro like Mira Sorvino to deliver it in a manner that seemed halfway desent. It was fun, and I liked it; and you will too, as long as you ignore the obvious mistakes and loopholes in the script.
Le violon rouge (1998)
Beautiful and moving, the Red Violin takes us on a magnanimous journey through time and space to reveal one of the most intense final scenes ever.
This is absolutely the most aesthetically pleasing film I've ever seen. From the enriching sets to the extravagant costumes, the film takes us on an all involving quest around the globe. Each scene is like a puzzle, an intricate weaving of story and plot. As the puzzle becomes complete, we reach a heightened suspense as the climactic battle over the violin ensues. The movie gave me goosebumps, tears, and happiness. If you have any sort of interest in music at all, this film will move you.