Butterflies Are Free (1972)

Butterflies Are Free is based on a play by Leonard Gershe. It retains some of that theater intimacy through it's limited set, long shots and small cast of characters. 90% of the movie takes place in the apartments of Don (Edward Albert) and Jill (Goldie Hawn). Don is a blind man trying to have a life of his own away from his oppressive mother (Eileen Heckart) and Jill is his hippie actress neighbor.

I know. Goldie Hawn as a hippie. Suprise! Right? Well she plays the free-spirited life-lover well. There's no doubt about that. What bothered me more so was that this set up feels an awful lot like Cactus Flower which came out in 1969. Oddly enough the play Butterflies Are Free opened on Broadway in 1969 too. Cactus Flower had Hawn as a free-spirit in yet another hodgepodge apartment whose life revolved around her relationships with men. And in both her neighbor is a more suitable match for her than the man she's with outside the apartment building. The stories aren't exactly the same and Cactus Flower is more of a comedy, but the Goldie Hawn character and theme are major elements in both and it was enough to distract me throughout this movie.

The bright spot that really brought me back from that distraction was the entrance of Eileen Heckart as Don's mother. Watching a character so thoroughly fleshed out come in swinging is captivating. She's more than that too, but if I talk about her any further I'll spoil things. Let's just say her Oscar win for the role is not unexpected.

The movie has it's share of corniness too. For one the opening credits don't fit with the seriousness of the film. It opens like a TV show... title... all the credits over a song and street scenes... You almost expect characters to appear in freeze frame.

In the end it's an endearing enough movie.

Rating: 3.5/5

Recommended for: anyone whose mother has encroached a little too much in their life... also Goldie-Hawn-as-a-hippie fans

Everyone Says I Love You (1996)

If Charade was ridiculous, Everyone Says I Love You is downright wacky. The amount of suspension of disbelief required to accept this movie is more than could be asked of most movie-goers. And to top it off, it's a musical.

I didn't realize that last part going in, only to be greeted by Edward Norton singing to Drew Barrymore in the film's opening. That's right. Edward Norton. Singing. Happily. Director Woody Allen did round up an extensive well-known cast. The movie is narrated by Natasha McLyonne as DJ, the daughter of ex-couple Steffi (Goldie Hawn) and Joe (Woody Allen). She tells the story of her life with her mom, step-dad (Alan Alda), step-brother (Lukas Haas), step-sister Skylar (Barrymore), and half-sisters (Gabby Hoffman & Natalie Portman) as well as the time she spends with her Dad.

Oh, wait. Did I mention Julia Roberts is in this too? Yes, she is - as the woman Woody Allen's character is interested in, of course. And of course with it being a Woody Allen comedy and an ensemble like this hijinks ensue. There's even a man in trouble with the law and gasp! - it's not Edward Norton. It's Tim Roth.

I'm sure many people would find this whole thing charming and silly. I got hung up on the silly part and was too busy staring in disbelief at the screen. The singing is not perfect, but they say that's what Allen was going for. The dancing is sort of impressive.

It's just all so.... wacky.

Rating: 3/5

Recommended for: viewing on a day you're feeling giddy

Inception (2010)

When writer/director Christopher Nolan was figuring out this film, I'm pretty sure he said multiple times,"Oh look. There's a stake we haven't raised yet. Let's raise it."

Inception is a dramatic, action-packed, science fiction, thriller of a heist film. So if you were looking for mindless summer blockbuster entertainment, run away. You need to go into watching this one knowing that your brain will be running the gambit.

Mine likes to wander off sometimes when I'm watching a movie. I'll start thinking about what other movies I've seen these actors in, or why they chose to light that scene like that, or, if the film is especially not engaging, things I should be doing instead of watching this movie.

Inception did not let me wander to any of those places. My attention was completely wrapped up for all 148 minutes of it. Plus, with how they mess with the concept of time, it doesn't even feel like 148 minutes. Actually, it doesn't feel like any specific amount of time. At the end I had no idea how long I was sitting there. And I wanted to see it again.

As others have said, it's not an easy movie to describe without having to say too much, but here's the premise. Cobb (Leonardo DiCaprio) leads a team that steals ideas out of people's dreams, usually in the name of corporate espionage. After trying to prove they can do it undetected to energy company head Saito (Ken Watanabe), Saito offers them a job doing the much tougher opposite--inception. He wants them to plant the idea of breaking up his dying father's energy empire into the mind of Robert Fischer (Cillian Murphy). Cobb's point man Arthur (Joseph Gordon-Levitt) has reservations about it, but Cobb insists it can be done. If they can do it, Saito will make sure Cobb can see his children again.

There's no standalone star here, even if Leo is on the poster. Instead it's a great ensemble--so much so it reminded me that there should really be a Best Acting Ensemble award at the Oscars. A solid team makes for such a more enjoyable and easier to get lost in film. Ellen Page who plays the team's new architect even manages to remove most of her Juno-esque line delivery and falls right in with the rest of the crew. Marion Cotilliard as Cobb's wife, Mal, pulls off being both caring and menacing. Tom Hardy (Eames, the forger) and Joseph Gordon-Levitt's banter is amusing without becoming tedious. And Dileep Rao as Yusuf the chemist plays the science guy without resorting to a stereotype.

In fact, the whole movie follows the balance you see in the acting. It has strange concepts without getting too trippy. The special effects are amazing without relying too much on CGI. Dialogue moves the story along and informs without hit-you-over-the-head narration. There's a lot of chase scenes without it becoming tiring. Even with some comparing it in ways to The Matrix, the whole thing just feels so fresh. Although the best part of all when I saw it was the collective noise most of the audience made at the end. It's a brilliant move.

Of course, as with most things, if you think about certain elements long enough you can start to pick it apart. But don't do that. Just enjoy the ride.

Rating: 5/5

Recommended for: Its elegant complexity

A Single Man (2009)

A Single Man is so morose but so pretty. It makes me sigh just to think of it.

The story follows George (Colin Firth), a British professor teaching at an American university, as he tries to get to the end of his day after the death of his long-time partner. Firth's performance is so intimate and intricate. It's quiet and reserved but deep. And it's really a portrait of love and grief. What do you do when someone who was such a fixture in your life is gone? Every day can be a struggle. It's complimented nicely by the rest of the cast (especially Julianne Moore and Matthew Goode) sliding seamlessly into supporting positions.

But even with Firth's terrific (and Oscar-nominated) turn, he's slightly out-shined by the styling. Directed by fashion designer Tom Ford, the whole movie is like a slick pictorial come to live. It's set in the 1960s but not the neon, flower-power 60s. Instead it's the cool, clean world also seen in TV's Mad Men. In fact, the same production designers worked on both.

Not too many movies anymore can be paused and leave a beautifully composed image on the screen. Not only does A Single Man do that, but it leaves an image worthy of fashion ad.

Rating: 4/5

Recommended for: viewing in your slickest outfit on a rainy day

The Imaginarium of Doctor Parnassus (2009)

Terry Gilliam likes his movies fantastical and quirky and The Imaginarium of Doctor Parnassus is no exception. Despite his successes, Gilliam is also known for his string of unfortunate production problems. Again, The Imaginarium of Doctor Parnassus is no exception.

This is the movie where Heath Ledger died during a filming break. Upon Ledger's death production shut down until Johnny Depp, Jude Law, and Colin Ferrell stepped up to take over Ledger's role. Magically, this role sharing actually works with the story.

Ledger was playing Tony, a man found hanging from a bridge in London by the gypsy-like performing group of the 1,000-year old Doctor Parnassus (Christopher Plummer). Tony stays with the group as they go around inviting people into Doctor Parnassus' Imaginarium. Like the name implies, inside people can experience worlds of their own imagination, but it's also where Parnassus can collect their souls. Soon the group has to hurry to capture five souls before Mr. Nick (Tom Waits) does. It's an alternate to Parnassus' old deal with Nick that required him to surrender his daughter Valentina (Lily Cole) to Nick on her sixteenth birthday.

No doubt the film is wacky. It's part of the fun. But eventually it flounders before it reaches the end and any concern I had for the characters was gone just when it was called for most. It's really too bad. The cast does a nice job. I especially look forward to seeing more of Lily Cole and Andrew Garfield (another member of the Parnassus group) in other films. And of course there's Ledger. Ledger had reached new levels as The Joker in The Dark Knight and he was still going strong in this movie.

Rating: 3/5

Recommended for: Anyone who wants to see Heath Ledger in one more movie

Extended Review: At certain points it seems like Ledger is channeling Johnny Depp (especially Jack Sparrow Johnny Depp). So when Depp is the first to play Ledger, there's a great symbiosis.

Charade (1963)

Charade is one odd cookie of a movie.

Audrey Hepburn is Regina Lampert, who upon returning to Paris from a holiday plans to ask her husband for a divorce. When she returns to their home though she finds it completely empty and is soon notified that her husband was found dead after someone threw him from a train.

Strangers show up at his funeral and test the body to make sure he's really dead. She then finds out from CIA agent Hamilton Bartholomew (Walter Mathau) that her husband was part of a group of soldiers who buried money that they were supposed to give to the French Resistance during World War II. Mr. Lampert had recently gone back to the site and dug up the money for himself but no one could find it in his possessions. So now Regina and her new randomly-found friend Peter Joshua (Carey Grant) need to figure out where the money is so they can return it to the US before Mr. Lampert's fellow ex-soldiers hunt them down and take it from them.

If it sounds goofy with serious elements that aren't taken seriously, that's because it is. It's also all over the board.

Regina is threatened and intimidated by the ex-soldiers. But then for no apparent reason they don't scare her anymore. Then they follow suit and become more accommodating.

Regina trusts Peter even though she just met him. Then she thinks maybe she can't. Then again maybe she can. Then again, oh look there's Audrey Hepburn managing to be the most fashionable and out-of-nowhere stealthy person in Paris. (Well she was dressed by Givenchy.)

And after all this dated flightiness, I was ready to write it off. But then, in the last fifteen minutes, it becomes this suddenly gripping, really serious, really interesting film. It's as if the film was a balloon floating around Paris and suddenly someone jumped up on a chair, grabbed the string, tied a rock to it and grounded the darn thing. Really it was for the best.

Rating: 3/5

Recommended for: People who like their well-dressed screwball comedies to have sudden moments of gravitas and violence that doesn't involve animals or a man being hit in the crotch

Shutter Island (2010)

When Leonardo DiCaprio and Martin Scorsese collaborate you have certain expectations. For example, you expect the movie to be good. Maybe you expect it to be a little violent. You might even expect it to not treat the audience like idiots.

Well... Shutter Island at least lives up to the second one. And it has an interesting plot. Or at least it makes you think it has an interesting plot.

Teddy Daniels (Leonardo DiCaprio) is a US Marshal in 1954 on the case of a missing patient from a hospital for the criminally insane on the allegedly unescapable Shutter Island. With his new partner Chuck Aule (Mark Ruffalo), Teddy comes across several roadblocks from the staff to the investigation and begins to suspect that something akin to the sinister activities he witnessed in death camps during World War II is taking place on the island. Things are further compounded by a hurricane, more escaped patients, and Teddy's dead wife.

Unfortunately Teddy and Chuck tell us way too many things explicitly. At some points it wouldn't be surprising if they turned to the camera and relayed the lines. And with the storm and the fireplaces and the men sitting in high-back chairs, you almost expect Teddy to announce it was Col. Mustard who absconded with the missing patient in the library with the candelabra.

There's a fair amount of suspense but it gets tiring after awhile and the story really starts to drag. Eventually, it's just annoying and tempting to fast forward to the end.

The actors do a fair enough job with what they've been given. Patricia Clarkson probably gives the strongest performance, but then again she was just making the most of the 5 minutes she's in the movie. DiCaprio and Ruffalo seem like an odd pairing. I never think of them as being in the same genre of films, but they work well together here.

In the end, only parts of it were the thriller I expected and instead of finding the ending itself clever, I felt betrayed. Looking back I see where all the seeds are sown, I just didn't care any more when it came time to harvest.

Rating: 2/5

Recommended for: People who like to be reminded that sometimes great film people put out a not-so-great movie

The Assassination of Jesse James by the Coward Robert Ford (2007)

There should be some sort of rule that movies with foregone conclusions aren't allowed to run past the two hour mark. The Assassination of Jesse James by the Coward Robert Ford drags for over two and a half.

When just from your title and setup your audience already knows the who (Robert Ford), the what (kills Jesse James), the when (somewhere towards the end of the movie because that'd be more dramatic), and the how (probably with a gun considering the time period and the fact that these guys were train robbers) - all you have left is the why, and even that is partially answered (because he's a coward). The challenge is to fill in the details and the rest of that "why" in a gripping manner for the rest of the film. And that's where this film fails. It's no small undertaking but anyone would be hard pressed to sustain tension with this story for two and a half hours.

It's too bad because it is such a striking film visually. Grain shines in the sunlight and sways in the wind. The sky is full of appropriately threatening and tumultuous-looking clouds. The train lights fall on Brad Pitt's Jesse James creating a perfect silhouette before a moment of action. The men disappear through the steam like ghosts. The cast is an array of familiar and vaguely-familiar faces (Brad Pitt, Mary Louise Parker, Casey Affleck, Sam Rockwell, Zooey Deschanel, Jeremy Renner, Paul Schneider). They all do a fine enough job but everything is too subdued for anyone to shine through like the aforementioned grain.

Rating: 2/5

Recommended for: lulling yourself to sleep

The Frisco Kid (1979)

I admit it. I decided to watch The Frisco Kid because it's a western with Harrison Ford. You don't come across that too often (you know, besides his two episodes of Gunsmoke). And I had to know how combing these two elements turned out.

And the result, as you might have guessed, is strange. But it's not just from the aforementioned combo. After all, the tagline is "The greatest cowboy ever to ride into the Wild West. From Poland." The movie also stars Gene Wilder as Avram, a Polish rabbi sent to make his way across the United States (mainly the Old West) so he can lead a synagogue in San Francisco. As Avram makes his way, he crosses paths with Ford's bandit Tommy - except nothing happens the first time. Tommy holds up a train Avram is riding but Avram is in the bathroom and misses the hold-up completely.

Later Tommy comes across Avram trying to stab fish with a huge wooden pole in a stream. He helps the rabbi out by shooting the fish. Then they bond a little and Tommy decides to help Avram navigate the rest of the way. Apparently Tommy has a heart of gold but just considers robbing people his job. They have a few mini-adventures along the way and then eventually their journey is over. And that's pretty much it.

The trailer for The Frisco Kid, builds on Wilder's roles in Young Frankenstein and Blazing Saddles. While slightly endearing this is not the comedy it's built up to be. In fact, it's not a Mel Brooks movie nor is it close to that brand of funny at all. And it certainly doesn't take itself seriously enough to be a drama. It just sort of floats in and out of a few comedic styles and ambles to the end.

I kept thinking "This came out between Star Wars: A New Hope and The Empire Strikes Back."

Rating: 2/5
Recommended for: People who wonder what it'd be like if Han Solo was a softer individual from 1850

Vertigo (1958)

Vertigo stars James "Jimmy" Stewart as recently retired, acrophobic police detective John "Scottie" Ferguson. Scottie's been hired as private investigator by an old college friend to follow his wife Madeline (Kim Novak). Despite Madeline's apparent ritualistic behaviors and suicidal tendencies, Scottie finds himself falling for her.

I'm more a fan of Hitchcock's mental thrillers than his more blatant harming people right in front of your face. I'll take Notorious over The Birds any day. So since I knew Vertigo would include an on-screen death, I felt I was getting a little adventurous with this movie choice. And in a way, I was.

This movie is sort of amazing. With the time period in which the movie was filmed I expected some hokeyness - perhaps along the lines of Dial M for Murder which came out four years earlier. While a little hokeyness persisted in Vertigo, it's not enough to make a lasting impression. Instead it's surprisingly deep story. Jimmy Stewart is more known for uttering lines that include the phrase "hot dog!" but here he gradually transforms into a man compelled by one dark notion.

My only gripe is one that transcends this movie into a general Hitchcock gripe. It's the use of glasses to make a girl "unattractive" so the audience can dismiss her as being anything but a character who will be used by our protagonist. In Vertigo it's Barbara Bel Geddes as Scottie's friend (and former girlfriend), Midge. Her big, red frames (and prior Hitchcock knowledge) telegraph right from the beginning that despite her being the most likable character and the biggest help for Scottie, we can't even hope anyone will take stock in her. You could spin it and say the glasses are a sign that only she sees what's happening to Scottie, but with Judy's existence that seems less likely the case. It's too bad because she's a fantastic character and Bel Geddes give a fantastic performance.

I don't want to give too much more away. It's definitely more fun to view it not quite knowing where it's going. But I was impressed - with the story, symbolism, and acting. I guess I haven't seen enough of the films that came out in 1958 to understand why Stewart didn't at least get an Oscar nomination (although he did win the Zulueta Prize at the San Sebastian International Film Festival).

Rating: 4/5

Recommended for: seeing an exquisite Hitchcock balancing act

The Young Victoria (2009)

The Young Victoria is such a pretty movie to view. And sure enough, it won Best Achievement in Costume Design at the 2010 Oscars and was nominated for Best Art Direction and Best Makeup as well. The sets could swallow you whole with their grandeur - no doubt helped by the fact that many of them were real homes and castles.

The film also focuses on a intriguing subject - the British monarchy - in particular Queen Victoria, whose reign began in 1837 and didn't end until 1901. This particular film chose to focus on the events leading up to her coronation and those first few years as Queen.

Victoria (Emily Blunt) is aware that she's next in line for the throne. Her mother (Miranda Richardson) is too, possibly even more so, as she's done everything possible to keep Victoria in a bubble - not just for her protection but in an attempt to mold Victoria into the leader she and the scheming Sir John Conroy would prefer her to be. Victoria is too aware and too smart to be an ideal piece of clay.

Blunt convincingly portrays the complexity of a young woman who refuses to be pushed around and enthusiastically wants what's best for her people while holding the knowledge that she has absolutely no practical experience at her job. She acknowledges duty but chooses to marry Albert (Rupert Friend), a man she loves. Their relationship makes for an endearing core to the story.

The choice to focus on that time is refreshing - since Queen Victoria movies don't usually focus on how she got there. And yet, this choice also makes the film a little awkward. I felt like things were just revving up when the movie ends. Showing the coronation at the beginning also steals some of the thunder. But still, it's an interesting watch with captivating performances by Blunt and Friend. And for the most part, it's even historically accurate.

Rating: 4/5

Recommended for: quiet, rainy afternoon viewing

Fantastic Mr. Fox (2009)

If you've seen a Wes Anderson film, you know his movies are infused with quirkiness. Fantastic Mr. Fox is no exception.

And if you're a big Wes Anderson fan, you'll also be delighted with the homages to his other films. From a tussle and caper planing worthy of Bottle Rocket, to a precocious, multi-talented cousin out of Rushmore, to a compartmental overview of the Fox tree like in The Life Aquatic to the farmer character introduction and segment labeling out of The Royal Tenenbaums, they're all pieces that work in this movie too.

I don't remember ever reading Roald Dahl's Fantastic Mr. Fox, so my review is based on the movie on its own. And it definitely stands on its own.

Depicted in stop-motion animation is Mr. Fox, who is voiced by George Clooney. He likes to steal squabs, but one time when him and his wife (Meryl Streep) are in trouble during a theft, she tells him she's pregnant and makes him promise that if they get out of this alive, he'll find a less dangerous career. 12 fox years later, Mr. Fox is now a newspaper columnist and the father of the mopey Ash (Jason Schwartzman). Mr. Fox is getting restless though. He moves the family into a tree across the way from the farms of Boggis, Bunce, and Bean and the temptation to return to his old lifestyle becomes too much. Soon he's planning raids of the farms with opossum building superintendent, Kylie (Wallace Wolodarsky), and his visiting nephew, Kristofferson (Eric Chase Anderson - the illustrator of all of the maps, covers, and other packaging of the Criterion Collection editions of his brother Wes' films).

Incredible suspension of disbelief is required to watch this - beyond that of accepting talking animals. Plenty of things that don't quite make sense take place, but if you don't bother questioning it all, it's a fun ride. There's plenty of dry humor but it's also whimsical, amusing, and features some great performances by the voice actors.

Meryl Streep is calm, grounded, a bit more timid than we're used to hearing her. Willem Defoe proves he can be creepy as anyone, especially a rat. Mario Batali even makes an appearance as a rabbit who is also a chef... because of course we need accuracy in our rabbit chef portrayal. Wes Anderson seems to have even pushed George Clooney into the Wes Anderson Line Delivery Method. Anderson had the cast go out to a real farm and record their lines as they were acting out their scenes. So many times animated movies are missing that chemistry that appears when actors are actually performing in the same space. But this technique really helped bring the performances into cohesive ensemble work.

I think this movie even has a broader appeal than his others. Some people might assume with Wes Anderson at the helm, the movie's meant for adults but I think kids can enjoy it too. It carries a message that it's ok to be different. And by the end, no matter what your age, you'll probably find yourself wanting a bandit hat.

Rating: 4/5
Recommended for: Anyone in the mood for fun and bandit hats