In The Land of Women and Disturbia

In The Land of Women - As someone who worships Lawrence Kasdan and thinks The Big Chill is one of the greatest movies ever made (and that has little to do with my slightly creepy William Hurt obsession), I was actually excited to see anything directed by his son Jon Kasdan. But this movie only shows that the younger Kasdan has promise. It's a sometimes funny/sometimes touching film that is mostly boring and prodding, but there are moments of potential greatness so it's not a total waste of time. Adam Brody, who is undeniably charming and resembles a young Tom Hanks although much cuter, plays Carter Webb a 26 year-old soft core porn writer from Los Angeles who takes off to suburban Michigan to take care of his dying grandmother (a hilarious and well used Olympia Dukakis) after getting his heartbroken by a movie starlet named Sophia (Elena Anaya) in the ho-hum opening scene. Anyway, while in the suburbs, Carter meets Sarah (Meg Ryan) and her two daughters, inarticulate, put-upon teenager Lucy (Kristen Stewart) and precocious Paige (Makenzie Vega). This is the "land of women" in question. They all take a sort of liking to Carter as he tries to escape his broken heart and write a novel about high school life. Brody is inherently charming and does a fine job with his role. Meg Ryan is playing every role she's ever played before in her life. She's no longer the girl-next-door... now she's the mom-next-door. Still, there are times when she is very touching in her sweet role. I can't really say anything constructive about Stewart other than she annoys me and I don't entirely know why. Comparisons to The Graduate are laughable, at best. A few autumn walks with a dog and a sweet kiss do not a sexual coming of age story make. A fumbling plot and a clumsy hero pale in comparison in the light of Mike Nichol's seminal, razor-sharp Graduate. Brody is charming, sure, but he's not Dustin Hoffman. Ryan is sweet, sure, but she's no Anne Bancroft. Like I said, there are a few promising moments but they are only moments of possibility, not achievement. In The Land of Women is not a terrible movie - it's just not a great one either.

Grade: C

Disturbia - I promise not to mention my love for Shia LaBeouf after this moment (he's so gorgeous). Ok, I'm done. Promise. Disturbia is unique as it blends together elements of the teen comedy, romance, drama and thriller genres. It's got a little Hitchcock thing going on (as it should since it largely rips off - I mean pays homage to - Rear Window). The film is gripping and suspenseful in an entertaining way and it's a pleasant surprise. Not to say the film is perfect, as it definitely isn't (what with all those boom mike mess ups!), but it accomplishes what it sets out to do and is actually entertaining. Not so bad. LaBeouf plays Kale a seemingly nice kid who takes a turn to violence after tragedy befalls his father. After punching his Spanish teacher during class, he gets place on house arrest for the summer. For the first few days, he has a good time - playing video games, watching soft core porn, downloading everything imaginable on I-Tunes. Then his mother (Carrie Anne Moss) starts to take his video games and television and I-Tunes away. So, he's forced to do something a little more creative with his time - spy on the neighbors! The neighbor across the street is having an affair with his maid. The kids next door watch porn in their rooms without their mothers knowing. A really hot girl (Sarah Roemer) does yoga and swims during the day. But, another neighbor (the wonderful David Morse) just might be a serial killer. So Kale becomes very invested in his day to day activities and soon his friend Ronnie (Aaron Yoo) and hot girl Ashley join in the fun. It's generally difficult to create suspense under the restrictions of a PG-13 rating, but instead of shocks, the film conveys a level of paranoia instead. There is a lot that makes Disturbia unique but at heart it's a very commercial film. The twists are obvoius, the secondary characters are underdeveloped, etc. However, it's fast paced, it's fun, it's funny and Shia LaBeouf is hot (sorry). For what it is, it's an undeniably entertaining film.

Grade: B

Fracture

Like Primal Fear (also directed by Gregory Hoblit), Fracture proves that the courtroom drama is alive and well. Although, Fracture is a little less courtroom and a little more character study, but that's another topic for another time. Fracture succeeds because it pairs a living legend with one of the best young actors around: Anthony Hopkins channels Hannibal Lecter (and I'm not saying that's necessarily a bad thing) while Ryan Gosling holds his own as a cocky young hot shot in the district attorney's office.

Hopkins plays Ted Crawford, a brilliant aerodynamic engineer who very cooly and calmly shoots his wife after finding out that she was having an affair. Then he washes himself off and wipes off fingerprints from the gun and the bullet shells and just hangs out in his house until the cops arrive. One of the cops just so happens to be the very man his wife was having an affair with and Ted tells him point blank: I shot my wife. This seems like an open and shut case to young rising star lawyer Willy Beachum (Gosling) who has one foot out the door as he prepares to leave his job at the D.A's office to take a cushy corporate law gig. This case against Ted will be his last and he thinks he can't lose (and he doesn't want to since he has a 97% conviction rate) since he has the murder weapon and a signed confession. But, soon, all of his evidence is deemed inadmissiable as Ted pleads Not Guilty and is set to defend himself in court.

Hopkins and Gosling have very few scenes where they are actually together on screen but they have great chemsitry none the less. Hopkins is deliciously evil even though he's doing his best Hannibal Lecter. But it's not a problem since he does it so well. Gosling has charm to spare and certainly holds his own against Hopkins. Fracture isn't so much a court drama... it certainly works better as a character study. Both leads are overflowing with pride and ego. they both believe themselves to be flawless and both try to find the 'fracture' in the other. This movie is about their arrogance and ultimately about how they deal with the discovery that perfection is a little more elusive than they thought.

There are a few problems I had. Mainly with the absurd romance subplot involving Willy and his new corporate boss (Rosamund Pike). Not only did it seem absolutely absurd, but also it ended as soon as it started and seemed to only be thrown in there to give the audience some sex. Another problem I had was the ending. It was clever, sure, but not realistic at all. I don't want to give it away but I had some problems believing a certain aspect of it (and it doesn't involve the murder weapon as I found that very clever).

Still, this film is packed with drama, excitement, suspense and intelligence, but the best thing about it is that it's actually surprisingly really, really funny. The great writing, directing and acting easily makes this one of the most entertaining films of the year so far. Fracture is a superior psychological thriller that keeps you interested from beginning to end.
Grade: B+

Harsh Times and Candy (DVD)

Harsh Times - The concept of Harsh Times sounds brilliant. Iraq vet Jim Davis returns home with post tramautic stress disorder, applies to the LAPD and in the meantime, gets caught up with local gang life. Davis has no problem sinking into an unsavory lifestyle because, let's face it, he's done worse. As an added bonus, the filmmakers hire two of the best working actors for the leads: Christian Bale and Freddy Rodriguez. Instead, Harsh Times mostly falls flat, despite solid performances by Bale and Rodriguez. Taxi Driver this film is not. Bale's Davis falls dangerously close to stereotype while Eva Longoria offers little more than eye candy. The really sad part is that writer/director David Ayer has traversed this territory before and with much better results (Training Day). Harsh Times is so good in spots and then... it just goes so wrong. It does suffer from worrisome editing and pacing at times. Had the film been whittled down to 90 minutes, it might have fit the "intense" bill that Ayer was aiming for. The dialogue is laughable at best. Someone even utters the words "hella cool" at one point. Now that I'm done complaining, allow me to praise one of my new favorite actors: Freddy Rodriguez who shined with his dark and realistic role. He definitely tried his hardest to keep the plot and climax from falling, managing to do so at times. Creating one of the only truly touching moments in the film, he tried his best to communicate with Bale on the theme of brotherhood and deception. Loved Rodriguez, and loved specific parts of the movie very much. It's just a shame that they couldn't carry the same intensity throughout the whole film.

Grade: C-

Candy - Granted, the drug genre is a bit tired. If I see another painful withdrawal scene, I think I'll scream or something. Still, within this tired genre, a true gem squeaks through every now and again. Candy is a good movie that could have been great but at least gives us a few incredible performances from Heath Ledger and Abbie Cornish. Ledger stars as Dan, a troubled yet likeable juvenile-come-poet who is in love with Cornish's Candy, a part time artist who falls head over heels in love with Dan... and heroin. Ledger's understated performance gives Dan a boyish vulnerability that would otherwise leave him less sympathetic. He has a great ability to use his eyes to communicate his emotions (which was probably what got him an Oscar nomination for Brokeback Mountain). Cornish, too, is brilliant as the often abrasive troubled artist. She's at times an innocent and beautiful angel and other times a wasted bitch. Geoffery Rush is superb as well in a supporting role. What sets it apart from other druggie movies is the love between Dan and Candy. Call it Trainspotting meets Romeo & Juliet. Maybe that will help you get through some of the grittier and depressing scenes. Their story is affectionate, painful, hopeful and hopeless. It's an intense and unpleasant film but it's still very watchable and well done. It's harsh but beautiful. It's not a perfect movie (it drags a bit now and then) but it's still worth watching (as is the career of Abbie Cornish).

Grade: B+

Grindhouse

Grindhouse is a throw back to seventies exploitation films with a back to back premise and as much violence and gore as you can stomach. These two films, Robert Rodriguez' Planet Terror and Quentin Tarantino's Death Proof, together give you 3 hours of action packed fun. The two directors have updated the sleazy grindhouse movie experience and bring it to a new generation. Rodriguez and Tarantino are easily the two hardest working and most innovative directors in Hollywood. They compliment each other well and you can tell they are having the time of their lives making these films (which shines through in most films they make).

First we are presented with a mock trailer for a movie called Machete which stars Danny Trejo. This was supposed to be one of the four fake trailers but rumor has it they are actually making it into a movie. Maybe they'll do the same with Thanksgiving. Planet Terror opens with Rose McGowan doing a sexy dance set to the wonderful theme music written by Rodriguez. Planet Terror is a gross out zombie flick that has appropriate amounts of gore and guts. If you like Rodriguez, then you'll love this movie. It's typical Rodriguez: explosions and sex, tons of humor and men (and women) jumping over things while shooting two guns at bad guys. This movie is pure fun, fun, fun. No one does action quite like Rodriguez. Much ado has been made about Rose McGowan's go-go dancer character and her machine gun leg. My one tiny little problem with the movie is that what you see in the previews of the machine gun is pretty much all there is of the machine gun leg. But that doesn't even matter because she's not the coolest character in the movie. That prize goes to Freddy Rodriguez and his wonderful El Wray, a guy who never misses with a gun and who kills people with ease and style. Marley Shelton also adds to the fun as a slightly crazy and kooky doctor who is terrified of her doctor husband (Josh Brolin) and for good reason. Oh! And don't miss Robert Rodriguez' son who has a small part and ends up getting his head blown off. Best. Dad. Ever.

Planet Terror is typical Rodriguez and there is absolutely nothing wrong with that at all. The thing Grindhouse proved to me (and I have been debating this with myself for months) is that Rodriguez is the better director in this match up. Planet Terror is endlessly entertaining. You'll spend the hour and a half running time laughing hysterically, being grossed out and engrossed in the constant action and hijinx. While Planet Terror is typical Rodriguez, Death Proof is typical Tarantino. And again, there's nothing wrong with that... except for the fact that it follows Planet Terror. After you've sat through all the fun and action of Planet Terror (and three more faux trailers including one for Thanksgiving which would be the coolest movie ever if Eli Roth actually made it), you go into Death Proof which is typical Tarantino: lots of talking followed by some action, followed by more talking, followed by the coolest car chase scene ever. There's nothing wrong with the fact that it's a typical talky Tarantino flick except that it all seems sort of dull after Planet Terror. Still, the dialogue is rich and wonderful (as you would expect from Tarantino) and most of the girls he employs kick ass (Vanessa Ferlito, Rose McGowan again, Rosario Dawson, Zoe Bell and Tracie Thoms are stand outs). Of course there's Kurt Russell as the crazy Stuntman Mike. He's wonderful and easily the best part about the film (although Freddy Rodriguez' character in Planet Terror is still cooler). Death Proof is a little on the dull side... until the last 20 minutes or so. The finale brings it all home. I don't want to spoil anything but it involves Zoe Bell (who did Uma Thurman's stunt work in the Kill Bill movies) being crazy awesome and a huge elaborate car chase scene that is unlike anything you've seen in recent movie history. It even trumps some of the greatest car chases in movie history (and, being that I go to the movies with my Dad a lot and I grew up liking boy movies, I've seen my fair share of car chases).

Both movies are well executed, well scored, well written and well delivered. The extra fake trailers add to the ambience and the wonderful camoes are icing on the cake. Grindhouse is surely the most fun experience you'll have at the movies all year long.

Planet Terror - A
Death Proof - B
Grindhouse - A-

10 Best Rodriguez/Tarantino Movies

In anticipation of Friday's release of the Robert Rodriguez / Quentin Tarantino double feature Grindhouse, here is my personal list of the top 10 films by the directors. While Tarantino is infinitely more popular, keep in mind that I personally prefer Rodriguez in all of his infinite coolness.

10. The Faculty (1998) - This film could easily have been a typical high school slasher flick. It could have been... except Robert Rodriguez is endlessly entertaining and consistently makes entertaining films. Instead of his ususal formula of large guns and spectacular stunt choreography, Rodriguez makes a classy ensemble picture with awesome special effects. Like all of his films, The Faculty never loses its sense of humor and pulls off its own absurdity with artful visualization and a tight, driving pace.

09. Kill Bill: Vol. 1 (2003) - One thing is for sure: Quentin Tarantino loves movies. This movie showcases his love for the 70s over-dramatized Kung-Fu movie era and the story of revenge with rich dialogue. Tarantino may be (very) extreme but in the loveliest way (and he isn't the one who wrote a character with a machine gun for Grindhouse). People expect Tarantino to present a mind-blowing, adrenaline-pumping film and that's what he always, always delivers.

08. Once Upon a Time in Mexico (2003) - Complex script? Sure. But who cares? There are action sequences in this film that will blow your mind. As the third part of Rodriguez' Mexico trilogy, it's not stale or tired in the list. Rodriguez has impeccable style. It's just not a Robert Rodriguez movie until someone jumps off a Church balcony shooting two guns! Plus, with the Johnny Depp character, you could see what was to come with the machine gun leg character. His character had no eyes for the last act, for god's sake. Brilliant!

07. Pulp Fiction (1994) - I won't argue that Pulp Fiction is brilliant and probably Tarantino's best project. Still, it's not my favorite and so don't argue with me about it's ranking seventh. I always got the feeling that Tarantino put into this film whatever struck his fancy at the time. It's not a totally cohesive film but it's still wonderfully textured enough that it doesn't really matter. This film is so intricately structured, with so many astonishing details. It really has all the characteristics we associate with great movies: fine writing, first rate acting, unforgettable characters, one of the most well-constructed narratives in years. Wonderful movie, for sure. Just not my favorite.

06. Desperado (1995) - The second part of Rodriguez' Mexico trilogy, it was the first with a budget to speak of and Rodriguez used it to build a wonderful roller coaster of a film. He takes all the best elements of El Mariachi and expands them to new levels. He is simply a genius behind the camera - giving the audience the right amount of action, drama, and comedy. He gives us a deeply rooted character hell bent on destroying a drug lord, but lets imagination run wild with cartoonish action sequences. The scenes of men flying through the air after being shot are somewhat comical, yet completely Rodriguez. Time and time and time again he successfully creates a world that is uniquely and entirely his own.

05. Kill Bill: Vol. 2 (2004) - It will probably always be a debate about which volume of Kill Bill is better. Let's end it right here: David Carradine doesn't even appear in Volume 1. This is a departure from Volume 1 based solely on tone and style. He pulls back and lets the plot breathe, rather than filling every second with a homage-cum-parody that maybe a dozen lucky fans will even get. Throughout Volume 2, the emphasis is on storytelling and Tarantino is one hell of a storyteller when he wants to be. Volume 1 is great for what it is but its flash and action are no match for the depth and nuance of Volume 2.

04. Sin City (2005) - Some people give Rodriguez a hard time for his taking such total control of his films. I heard someone reference his editing and cinematography of Once Upon a Time in Mexico to a hack job. Whatever, man. This movie has seamless editing, cinematography and directing from Rodriguez. This is what you associate with Rodriguez: smart, stylish, sexy and sick. It's violent and funny... sometimes at the same time. This is the kind of visually stunning storytelling that filmmakers will strive to duplicate for years to come.

03. El Mariachi (1992) - Robert Rodriguez made this movie, his debut, for $7,000. And it's one of the most enjoyable action movies of the last few decades. Time and time again, Rodriguez proves that creativity and imagination beat million dollar budgets every time. He takes every resource he can and rebuilds the classic concept of mistaken identity. With the fast-framed photography and interesting choice of camera angles, he takes a straightforward story and builds a legend.

02. Reservoir Dogs (1992) - I don't even know where to start. It's Tarantino's first and his best. Even in his first film, this is a stylish film full of cool dialogue, cinematography, editing and music. The whole story comes together perfectly. The plot is excellently written and told. I seriously couldn't think of better casting in a movie ever. (Mr. Blonde is the most believable total psycho in recent film). All of his visceral film-making ingredients are here - suit and tie baddies argue regulary in expletive-laden conversations with sudden outbursts of violence in between. Even in the resulting bloody mess of gunshot wounds and mutilation, they still have to keep talking. It's pretty much - talk, shoot, talk, kill, talk, shoot. This kind of existence becomes an art form in Tarantino's hands.

01. From Dusk Till Dawn (1996) - Quentin Tarantino writes the script (and acts but we just won't talk about that) and Robert Rodriguez directs the movie... sounds pretty perfect to me! Foul-mouthed, hot tempered criminals and sexy strippers in a phenomenally seedy and sleazy bar (called The Titty Twister, of course) full of vampires. The excesses of this movie are probably too much for conservative folk, this is action-packed and spectacularly gory the way you would expect a Tarantino or Rodriguez movie to be. It's like being in an intense and gruesome haunted house ride. What sets Rodriguez apart from every other filmmaker (Tarantino included) is that his films always look like he's having a great time. His lack of pretensions and his dedication to film seems to transmit the fun he has making movies to the audience. The other thing about Rodriguez is that he is always just plain cool. Everything he does is cool. He even makes the undead look cool. From Dusk Till Dawn is one big bloody action extravaganza.