felicityking (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
felicityking) wrote2011-09-28 02:31 am
felicityking) wrote2011-09-28 02:31 am
Entry tags:
Scrapbook 2011: movie review (continued, again...)
24. Harry Potter and the Deathly Hallows, Part 2
Harry may be the hero, but the "screw-ups" steal the show. A problem I've long had with the movies is that they neglect to show Ron's growth: he's too often used as the comic sidekick, rather than brave and resourceful (if unorthadox) friend. The previous movies neglected his journey to such a degree that he's kickass prowess in DH1 and 2 looks random rather something built-up throughout years (but not unexpected, remember how he won the chest game in SS/PS?). Then, there is Neville. God bless Matthew Lewis for agreeing to be uglified throughout the years, because it forced on to focus on his character. However, he is just. so. taking charge here, it's really nice to see. He's the dork you don't realize you are crushing on until suddenly you find yourself obsessing about him when he's not there. (Yes, I have a crush and ML is good looking!) What I like about the books and movies is that they do remind us Neville could have had HP's fate, but despite not having it, and despite his many insecurities, he still becomes strongn and willing to fight for what is right. Oh, and I finally get Harry/Ginny now. Seeing them as parents,...suddenly, it clicked why are perfect.
25. The Social Network.
Cold, distant but not overrated. This (mostly) fictional movie explores the rise of Facebook. The biggest bone I have to pick with this movie is that it takes the stereotypical route that the artist, the genius, is a loner---afraid of love, friendship, and people. It was old when Sondheim explored the idea in "Sunday in the Park with George," and it feels worn out here too. The acting and the zippy dialogue and clever pacing make you forgot the unoriginality of the idea though. (And apparently RL Zuckerburg is nothing like the movie: he had a girlfriend and lots of friends while creating Facebook...). I'm glad Aaron Sorkin finally won an Oscar but I hope he gets over his sexism (another element of the movie that drove me crazy: it's a boys' club here).
26. Country Strong
This could have been a good move but it's stuffed with too many cliches during first hour and a half, and while the last 30 minutes are rather original--or at least not been-there-seen-that before--one is impatiently waiting for the movie to be over. The movie also only has energy when the music is playing. Gwyneth is miscasted but she does her best as Lindsay Lohan/Charlie Sheen country star coming home from rehab singer Kelly Canter. One doesn't feel sympathy for her character though, or the husband either. Leighton Meester plays the only likable character. The does explore one good theme: fame vs fulfillment but spends so much time on cliches that the theme is not studied enough. It's brushed aside for montages of Kelly getting drunk in bars. Kelly crying. Kelly singing her country hits. And to make the theme work, the movie should have been explicit on whether Kelly had wanted to be famous or not or in the first place (we know she's not fulfilled now, but it's implied she was in the past).
27. The Help
By turns, this movie reminded me Divine Secrets of the Ya-Ya Sisterhood, The Hours, and The Color Purple. However, it manages to be earnest without being smaltzy and truthful without being pretentious, and political without being overtly so. I've read elsewhere is is a "make white people feel better about racism" movie but I don't think it is. Emma Stone's character reveals the racism in her community, but she has to cut ties there because the white women shut her out she exposes them for their hypocrisy.. The black women who expose the racism to Emma's character to document have to deal with harrassment, losing their jobs and blackmail. The movie also works in revealing it's truths because Emma's character (blanking on her name) is an outsider: the dorky girl in the 1960s who goes to college, not interested in fashion or finding a man (all things, which back then were looked down upon). She makes clear she knows she comes from a privileged background, that her ways of helping the disempowered are limited. Yet, she does. And, even though this is her story, the chiling, scary and thought-provoking racism, sexism and classism that the African-American maids have to endure overpower Emma's character and come to the forefront. This is my second favorite movie of the year (after A Single Man, which also happens to take place in the 1960s & is about people living double lives). I highly rec to everyone. Oh, and I have not read the book yet but I definitely am after seeing this superb movie!
28. Monte Carlo
A total snoozefest with one unbelievable plot twist after another. It's quite like "Chalet Girl": poor girl gets dumped into cirumstances where she's among the super-rich, but CG never let itself stray too far into fantasy. It always made sure you knew what the characters limitations were. MC doesn't work because stretches the limits of believability. For example, Selena Gomez is mistaken for Cordelia. However, Cordelia has slicked back, short hair. Selena's character always has long hair. Also, Cordelia wears gaudy fashion while Selena's character's fashion is ....blah. Yet, we are supposed to buy that everyone (in this age of twitter, youtube, and other fast media) would fall for Selena-as-imposter. That no one would discover her as fake. It's a by-the-numbers movie made even worse by bad 70s style music and editing. The only entertaining thing about it was Catherine Tate, who obviously knew she was in a bad movie, and so had no problem with hamming it up while the rest of cast want the viewer to believe "we are oh-so-genuine and brand new." And Leighton really needs to stop getting herself typecasted! She was just a nicer Blair Waldorf here, in both fashion sense and personality.
29. Cementery Junction
I'm not a fan of Ricky Gervais, so I wasn't sure if I was going to like this movie or not. I watched it only for Felicity Jones and was surprised by how much I enjoyed it otherwise. It fits a very specific British film genre: the dying, backwater town where nothing happens because there is no opportunity for something more, yet somehow there is still hope for something better. Cementery Junction is one such town. We are told that people who live there go to the worst schools then are hired for the worst jobs and then just live. It's reflected in the film: National Geographic is considered a shocking and worldly magazine, going to Cornwall is considered traveling the world, and the boss considered expensive cut glass a good parting gift. Like Gervais's other material, the film has a quiet desperation but sharply observant eye with an off-beat colour mixed in. The film is very good because it doesn't stereotype or go sappy with the characters: at the end, one knows that everyone is still limited, but that they will try to make something of those limits. The cast turn in great performances particularly Ralph Fiennes and Emily Watson.
30. Keeping Mum
Imagine Mary Poppins as a homicidal murderer in contemporary England and you basically have this film. It's very British, it's humour is very dry, and it is definitely offbeat and quirky (although in an understated way). The film centers around a pastor's family in a small (very small!) town in the English countryside. They are bored, disenchanted, uninspired until the new housekeeper comes along. The acting is top-notch: Maggie Smith, Tamsin Egerton and Kirstin Scott Thomas particular deliver. Even though the reveals in the film can be spotted a mile away, the way they are unveiled makes for a treat. I definitely loved it!
31. Third Star
My mind is blown! This is one fierce, intensely brave, very politically incorrect film. James (played by the flawless Benedict Cumberbatch), dying of terminal cancer, goes on a camping trip to his "favorite place in the world" Barafundle Bay with his buddies Miles, Bill and Davy. If Hollywood had made this, it would have been trite, sentimental and "dying patient spreads his wisdom" cliche. The film takes a new, very different route. I loved it. It was painful to watch, but it was exciting. It also made an interesting contrast to the polished and precise "A Single Man." (TS is more naturalistic and unpredictable.) Definitely one of the very best--top 3--films I've seen this year.
32. A Room with A View
I love this movie, but I haven't seen it in well over a decade. How I miss Merchant Ivory! Yes, people still make period dramas, but no knew how to capture books and time period quite like they did. The costumes, the scenery, and the actors are all top-notch. This is the type of movie that makes me wish I lived in Edwardian England: where enchantment and idyll are always lurking around the corner. Despite everything that is great about this movie, George is a miss for me. I don't feel that his character--why Lucy would be attracted to him--is made quite clear. Poor tragic, elder Mr. Emerson! So kind and yet so broken-hearted! I love his character! Helena! You were so young! I hope someone will make period dramas like this again: lush, vibrant, true to the book.
33. Die Hard
I'm so glad the days when lone, macho can-do-anything white male hero saving the world days are over. I'll take my Neville Longbottoms and Jean Greys over John McClaine any day. I know this is a classic action movie, but I found it stupid. The LAPD, the FBI and the press wouldn't be THAT dumb. Insensitive, but not dumb. I do like over the top silly action movies like "Air Force One" but this one....not so much. It required me to suspend what I know about reality too much of the time. Oddly, this isn't the first DH that I've watched (I've seen WAV on TV) and while that sequel was dumb, it was amusingly dumb. I also couldn't identify with McClaine because the action hero angle was pushed hard and often. I find one aspect of it rather hilarious: the 80s/early 90s archetype of the bad guy being super-posh, super-slick and always sounding Shakespearean in his sentences (because obviously back then the "bad guys" couldn't look like you and me).
Harry may be the hero, but the "screw-ups" steal the show. A problem I've long had with the movies is that they neglect to show Ron's growth: he's too often used as the comic sidekick, rather than brave and resourceful (if unorthadox) friend. The previous movies neglected his journey to such a degree that he's kickass prowess in DH1 and 2 looks random rather something built-up throughout years (but not unexpected, remember how he won the chest game in SS/PS?). Then, there is Neville. God bless Matthew Lewis for agreeing to be uglified throughout the years, because it forced on to focus on his character. However, he is just. so. taking charge here, it's really nice to see. He's the dork you don't realize you are crushing on until suddenly you find yourself obsessing about him when he's not there. (Yes, I have a crush and ML is good looking!) What I like about the books and movies is that they do remind us Neville could have had HP's fate, but despite not having it, and despite his many insecurities, he still becomes strongn and willing to fight for what is right. Oh, and I finally get Harry/Ginny now. Seeing them as parents,...suddenly, it clicked why are perfect.
25. The Social Network.
Cold, distant but not overrated. This (mostly) fictional movie explores the rise of Facebook. The biggest bone I have to pick with this movie is that it takes the stereotypical route that the artist, the genius, is a loner---afraid of love, friendship, and people. It was old when Sondheim explored the idea in "Sunday in the Park with George," and it feels worn out here too. The acting and the zippy dialogue and clever pacing make you forgot the unoriginality of the idea though. (And apparently RL Zuckerburg is nothing like the movie: he had a girlfriend and lots of friends while creating Facebook...). I'm glad Aaron Sorkin finally won an Oscar but I hope he gets over his sexism (another element of the movie that drove me crazy: it's a boys' club here).
26. Country Strong
This could have been a good move but it's stuffed with too many cliches during first hour and a half, and while the last 30 minutes are rather original--or at least not been-there-seen-that before--one is impatiently waiting for the movie to be over. The movie also only has energy when the music is playing. Gwyneth is miscasted but she does her best as Lindsay Lohan/Charlie Sheen country star coming home from rehab singer Kelly Canter. One doesn't feel sympathy for her character though, or the husband either. Leighton Meester plays the only likable character. The does explore one good theme: fame vs fulfillment but spends so much time on cliches that the theme is not studied enough. It's brushed aside for montages of Kelly getting drunk in bars. Kelly crying. Kelly singing her country hits. And to make the theme work, the movie should have been explicit on whether Kelly had wanted to be famous or not or in the first place (we know she's not fulfilled now, but it's implied she was in the past).
27. The Help
By turns, this movie reminded me Divine Secrets of the Ya-Ya Sisterhood, The Hours, and The Color Purple. However, it manages to be earnest without being smaltzy and truthful without being pretentious, and political without being overtly so. I've read elsewhere is is a "make white people feel better about racism" movie but I don't think it is. Emma Stone's character reveals the racism in her community, but she has to cut ties there because the white women shut her out she exposes them for their hypocrisy.. The black women who expose the racism to Emma's character to document have to deal with harrassment, losing their jobs and blackmail. The movie also works in revealing it's truths because Emma's character (blanking on her name) is an outsider: the dorky girl in the 1960s who goes to college, not interested in fashion or finding a man (all things, which back then were looked down upon). She makes clear she knows she comes from a privileged background, that her ways of helping the disempowered are limited. Yet, she does. And, even though this is her story, the chiling, scary and thought-provoking racism, sexism and classism that the African-American maids have to endure overpower Emma's character and come to the forefront. This is my second favorite movie of the year (after A Single Man, which also happens to take place in the 1960s & is about people living double lives). I highly rec to everyone. Oh, and I have not read the book yet but I definitely am after seeing this superb movie!
28. Monte Carlo
A total snoozefest with one unbelievable plot twist after another. It's quite like "Chalet Girl": poor girl gets dumped into cirumstances where she's among the super-rich, but CG never let itself stray too far into fantasy. It always made sure you knew what the characters limitations were. MC doesn't work because stretches the limits of believability. For example, Selena Gomez is mistaken for Cordelia. However, Cordelia has slicked back, short hair. Selena's character always has long hair. Also, Cordelia wears gaudy fashion while Selena's character's fashion is ....blah. Yet, we are supposed to buy that everyone (in this age of twitter, youtube, and other fast media) would fall for Selena-as-imposter. That no one would discover her as fake. It's a by-the-numbers movie made even worse by bad 70s style music and editing. The only entertaining thing about it was Catherine Tate, who obviously knew she was in a bad movie, and so had no problem with hamming it up while the rest of cast want the viewer to believe "we are oh-so-genuine and brand new." And Leighton really needs to stop getting herself typecasted! She was just a nicer Blair Waldorf here, in both fashion sense and personality.
29. Cementery Junction
I'm not a fan of Ricky Gervais, so I wasn't sure if I was going to like this movie or not. I watched it only for Felicity Jones and was surprised by how much I enjoyed it otherwise. It fits a very specific British film genre: the dying, backwater town where nothing happens because there is no opportunity for something more, yet somehow there is still hope for something better. Cementery Junction is one such town. We are told that people who live there go to the worst schools then are hired for the worst jobs and then just live. It's reflected in the film: National Geographic is considered a shocking and worldly magazine, going to Cornwall is considered traveling the world, and the boss considered expensive cut glass a good parting gift. Like Gervais's other material, the film has a quiet desperation but sharply observant eye with an off-beat colour mixed in. The film is very good because it doesn't stereotype or go sappy with the characters: at the end, one knows that everyone is still limited, but that they will try to make something of those limits. The cast turn in great performances particularly Ralph Fiennes and Emily Watson.
30. Keeping Mum
Imagine Mary Poppins as a homicidal murderer in contemporary England and you basically have this film. It's very British, it's humour is very dry, and it is definitely offbeat and quirky (although in an understated way). The film centers around a pastor's family in a small (very small!) town in the English countryside. They are bored, disenchanted, uninspired until the new housekeeper comes along. The acting is top-notch: Maggie Smith, Tamsin Egerton and Kirstin Scott Thomas particular deliver. Even though the reveals in the film can be spotted a mile away, the way they are unveiled makes for a treat. I definitely loved it!
31. Third Star
My mind is blown! This is one fierce, intensely brave, very politically incorrect film. James (played by the flawless Benedict Cumberbatch), dying of terminal cancer, goes on a camping trip to his "favorite place in the world" Barafundle Bay with his buddies Miles, Bill and Davy. If Hollywood had made this, it would have been trite, sentimental and "dying patient spreads his wisdom" cliche. The film takes a new, very different route. I loved it. It was painful to watch, but it was exciting. It also made an interesting contrast to the polished and precise "A Single Man." (TS is more naturalistic and unpredictable.) Definitely one of the very best--top 3--films I've seen this year.
32. A Room with A View
I love this movie, but I haven't seen it in well over a decade. How I miss Merchant Ivory! Yes, people still make period dramas, but no knew how to capture books and time period quite like they did. The costumes, the scenery, and the actors are all top-notch. This is the type of movie that makes me wish I lived in Edwardian England: where enchantment and idyll are always lurking around the corner. Despite everything that is great about this movie, George is a miss for me. I don't feel that his character--why Lucy would be attracted to him--is made quite clear. Poor tragic, elder Mr. Emerson! So kind and yet so broken-hearted! I love his character! Helena! You were so young! I hope someone will make period dramas like this again: lush, vibrant, true to the book.
33. Die Hard
I'm so glad the days when lone, macho can-do-anything white male hero saving the world days are over. I'll take my Neville Longbottoms and Jean Greys over John McClaine any day. I know this is a classic action movie, but I found it stupid. The LAPD, the FBI and the press wouldn't be THAT dumb. Insensitive, but not dumb. I do like over the top silly action movies like "Air Force One" but this one....not so much. It required me to suspend what I know about reality too much of the time. Oddly, this isn't the first DH that I've watched (I've seen WAV on TV) and while that sequel was dumb, it was amusingly dumb. I also couldn't identify with McClaine because the action hero angle was pushed hard and often. I find one aspect of it rather hilarious: the 80s/early 90s archetype of the bad guy being super-posh, super-slick and always sounding Shakespearean in his sentences (because obviously back then the "bad guys" couldn't look like you and me).