The Royal Tenenbaums (2001)

Some people say The Royal Tenenbaums is where writer/director Wes Anderson peaked. I would be inclined to agree so far, but I still hold out hope he'll make another film as great as this one.

You could say this is a character piece with, as you can see from the poster, a whole bunch of characters. In a way it's sort of a choose-your-own-adventure. Pick the character you relate to most and ride through the movie with them. If you don't like them anymore, there are several more from which to choose and each actor pulls his or her own weight resulting in a superb ensemble.

The movie opens as a book where you're introduced to the family as they were about 15 years ago and then a quirky montage shows you them now (and also serves as opening credits). Gene Hackman is the patriarch, Royal Tenenbaum. He wasn't very supportive of the kids when they were growing up and he's been out of their lives completely for many years. Meanwhile their mother, Etheline (Angelica Huston), indulged them in their talents and they all became known as child prodigies (Hello, children who grew up being told they could be whatever they wanted.). Richie (Luke Wilson) was a tennis player. Margot (Gwyneth Paltrow) was a writer. Chas (Ben Stiller) was a financial whiz. But the past several years have been filled with disappointment and failures for all of them.

Broke and kicked out of the hotel he's been staying in, Royal decides now might be a good time to try to reconnect with his family—by lying to them and telling them he has less than two months to live. The whole family soon finds themselves back in the family home and more quirkiness ensues.

The film exists in a hyper-real world. They live in New York, but without any recognizable New York sites. The family dresses in clothing styled after the time when they were all in their heyday. Director Anderson totally ignores the rule of thirds, oftentimes sticking his character smack dab in the center of the screen. He then lets them hang there a moment in a pose before they move on.

The story he's brought us with writing partner Owen Wilson is an odd one but the dysfunctional family line has elements to which everyone can relate. Characters slide between deadpan comedy and heavy drama. And at the end, there's a trademark Anderson slow-motion shot that brings the family together and makes you feel like everyone is taking their final bow. It's a fitting tribute to the charm of a quirky film. Some movies you watch once and their done, but this one can easily stick with you and make you want to watch it again. (For me, again has meant 49 times - no exaggeration.)

Rating: 5/5
Recommended for: Nearly everyone, but especially those of us who grew up entrenched in extracurriculars and are afraid we really might have peaked too early.

The Reader (2008)

The situation one puts himself or herself in to watch The Reader is an interesting one. You know going in that this is not going to be a lighthearted film. Its story is connected to the Holocaust (although it is not a "Holocaust movie") and that's never a happy thing. On top of that it can be hard to connect to the characters for the first hour or so.

Just as I was considering dismissing the film, I found myself hooked and tied to the two main characters and they didn't let me go until the end.

One day on his way home in 1950s Berlin, Michael Berg (David Kross) falls ill. He is taken care of by a stranger who sees to it that he makes it home ok. Several months later he has recovered and goes to thank her. He finds her beautiful and mysterious and can't help but be drawn to her. Her name is Hanna Schmitz, she works on a tram, and that's mainly all we get to know about her for quite some time.

Even though Hanna is several years older than Michael, they embark on a romantic affair which ends up containing a routine in which she makes him read to her. One day Michael goes to her apartment and finds she's packed up and left. Several years later she's back in his life again. Now he's a law student and he's attending the trial of several female former Nazi prison guards. Hanna happens to be one of them. While Michael is dumbstruck about this revelation he makes another that could have a serious outcome on her sentencing. But the question is whether he will speak up or not.

Kate Winslet won an Oscar for her role as Hanna, a woman who suddenly becomes more human right in front of our eyes. The off-putting disposition Winslet buries into at the beginning (the same that played into my wanting to give up on the movie) is what allows her to really showcase the transition as she opens up a little and fights internal battles that play out on her face. Ralph Fiennes is also in the film as "present-day" Michael demonstrating a closed-off nature that much mirrors the one presented earlier by Winslet.

No spoiling of the ending will take place here, but I will say this: Watch it with someone you care about. You'll need a hug when it's over.

Rating: 4/5
Recommended for: Those looking for a film about human nature.

The Usual Suspects (1994)

The end of this movie is so brilliant that it makes the rest of the film worse for the wear. It also makes it pretty boring to watch more than once, which unfortunately I did in order to review it.

A waterfront explosion leaves many criminals dead. The police find two survivors: a badly burnt, most-wanted Hungarian who keeps repeating the name Keyser Soze and a crippled con-artist named Verbal Klint (Kevin Spacey). As the police question Klint on what happened, he tells the story of five career-criminals, including himself, (the usual suspects) brought in for a lineup after a crime they didn't commit. They end up banding together and eventually find themselves forced into the employment of the dangerous and mysterious Keyser Soze.

Stephan Baldwin, Gabriel Byrne, Benicio Del Toro, and Kevin Pollack play the other 4 usual suspects, all just distinct enough in their roles. Pete Postlethwaite is plenty sinister as Soze's number two, Mr. Kobayashi. Chazz Palminteri is what you'd expect as the borderline obsessive detective trying to figure out what happened on the boat that exploded. Kevin Spacey is his usual confident self as Klint, our flashback narrator.

That story Klint tells is long, violent, and often a bit confusing. The good news is if the story confuses you, it doesn't matter. I can't tell you why without ruining anything, but it is ok to be confused.

Rating: 2/5
Recommended for: People who like paying attention to a movie for only ten minutes. (I'd recommend the last ten.)

The Valet (2006)

Writer/Director Francis Veber created a sweet and highly amusing film with The Valet even with it's absurdity. Valet Francois Pignon is hired to portray the boyfriend of the highest paid model in the world, Elena, after he's caught in a paparazzi photo of Elena with billionaire Pierre Levasseur. Levasseur is trying to hide his affair with Elena from his wife, a majority stakeholder in all his businesses. Pignon has just been rejected by the woman he's loved his entire life, bookstore owner Emilie, so he's not really in the mood for pretending to have a fabulous supermodel girlfriend.

Part of the reason the absurdity works is because the characters acknowledge it themselves. Another reason is that behind it all, is a genuine portrayal of relationships which comes from a great combination of the script and the actors who all hold their own. Gad Elmaleh is incredibly sympathetic as the valet Pignon and he has great friendship chemistry with Alice Taglioni who plays the very Heidi Klum-esque (i.e. sweet and beautiful) supermodel. In fact, nearly every character is likable in some way. Kristin Scott Thomas, in beautiful fluent French, is fun to watch as the clever and strong wife of Levasseur.

Overall, it's a fun movie to watch with laugh out loud moments and appeal for American audiences despite the spoken dialogue being French.

Rating: 4/5
Recommended for: Anyone 12 and up (even if you hate the French).

Whatever Works (2009)

Whatever Works features a character who keeps turning away from the people in his world and directly addressing the audience. It's something you just don't find all that often in films today—and probably for good reason. The breaking of the 4th wall provides grand opportunity for awkward corniness. Not to mention it messes with the whole suspension of disbelief thing.

But the main character of this feature, Boris Yellnikoff (Yes, he does yell.), is so disenchanted with the people around him that, even though he tries to talk to the others, he really has no one else to turn to besides the audience. Plus, I guess it wouldn't be a Woody Allen comedy/commentary without something off-kilter like that. Larry David, who is well known for playing disgruntled and bitter, easily yammers on in the role of Boris.

He's a former physicist who almost won the Nobel Prize. One day he finds former southern beauty pageant contestant Melodie sleeping outside his door. He agrees to let her stay while she tries to get on her feet in New York and meanwhile pushes his views on relationships, religion, and existence in general into her incredibly impressionable brain. Evan Rachel Wood takes a refreshing change for her usual rebel roles to play Melodie although oftentimes her performance runs along the borderline of just plain silly. Eventually, Melodie's parents come looking for her and that's when Patricia Clarkson glides in, takes charge of the film, and completely steals it right through the end.

It's definitely not Allen's best, but it's amusing enough if you forget about that suspension of disbelief thing and just listen.

Rating: 3/5
Recommended for: Anyone wondering what Woody Allen's been thinking about lately.

There Will Be Blood (2008)

There will be blood. There will also be lots of anger issues.

The story revolves around Daniel Plainview, a highly-driven and incredibly ruthless oilman, in the late 19th century American west. When he hears of oil-rich land in California, he takes his son, H.W., and sets up operation there - telling the locals exactly what they want to hear while practically stealing their land out from under them. Daniel Day-Lewis is completely entrenched in the role of Plainview, living in a world of his own despite the community around him.

The only difficult human hurdle to his takeover is Eli Sunday, a local preacher. Played with gusto equal to Day-Lewis' by Paul Dano, Sunday is after the same thing Planview is—wealth. Both are clever and both have quite the capacity for cruelty.

Overall it's about materialism and how incredibly horrible people can be to each other. You'll either be completely captivated by it or find it incredibly drawn out. Besides the meanness of it all, what makes it so hard to digest is the length. It drags you through the oil and blood for two hours and thirty-eight minutes. Still, in between the intense acting, there's plenty at which to look. Director Paul Thomas Anderson admirably undertook this project of epic proportions; now if only someone had put a heavier hand in the editing department.

Rating: 3/5
Recommended for: People who want to see a gritty Oscar-winning performance

Fanboys (2009)

First let me say that I enjoy Star Wars a lot. Then I must say that Fanboys is ridiculous - and not in a good way.

The movie centers around 4 friends from high school who, now in their early twenties, are eagerly awaiting the next installment of the Star Wars franchise, Episode 1: The Phantom Menance... or at least 3 of them are and they have to remind the other one that he's a Star Wars fan too (because apparently you can only have a career or be a Star Wars fan).

They develop a plan to drive across the US, break into Skywalker Ranch, and see the movie before it's released because one of them has cancer (although you wouldn't be able to tell by looking at him) and they're afraid he won't live long enough to see it in theaters. The movie then devolves into a low-brow road trip movie. How else would we have opportunity to run into Carrie Fisher, Billy Dee Williams, and Kevin Smith? It also allows for a random, totally unnecessary fight with Trekkies.

When the quartet lands in jail, their friend Zoe (Kristen Bell) comes to bail them out. She manages to bail the movie part way out as well by presenting a likeable, non-comedy-stereotype character. With her kicking their butts into gear, they finally make it to Skywalker Ranch where they see a lot of cool things (for Star Wars fans) before the contrived, outrageous, slap-you-in-the-face reference situations ensue.

In the end this film was a interesting idea that ultimately failed in execution. Unfortunately I'm unsure how much of this had to do with it coming out 2 years after it was supposed to and the fights that ensued over different cuts of the film. There are several funny moments and several that are just supposed to be. There's enough references to fill a Star Wars fan's half month quota, but probably not enough entertainment for a non fan to even consider watching. And to top it all off, the audience has the misfortune of knowing what these kids are after didn't live up to expectations either.

Rating: 2/5
Recommended for: People looking to fill their Star Wars reference quota

Extended Review: Apparently there are not enough actors in the world or even actors who also like Star Wars. This must be why Seth Rogen played three parts in the movie.

Be Kind Rewind (2008)

In case you're not familiar with writer/director Michel Gondry's films the fact that the leads are riding a giant videotape on the poster should clue you in that this won't be your typical movie.

A VHS-only video rental store is facing eviction. While the owner (Danny Glover) goes to see what makes his competition so great, employee Mike (Mos Def) is in charge of the store. His friend Jerry (Jack Black) has recently become magnetized from attacking a power plant he thought was causing his headaches. Magnetized Jerry + VHS rental store = a bunch of blank VHS tapes. So the two go about filming their own versions of the movies so people will keep frequenting the store.

Gondry's probably most widely known for Eternal Sunshine of the Spotless Mind - a cohesive whimsical drama. Be Kind Rewind's drama is more on the scale of a sitcom and so is it's whimsy. And the cohesiveness? It's not really there. The best part by far is watching them try to reenact the likes of Ghostbusters, Driving Miss Daisy, Rush Hour, and Robocop as well as the crazy gadgets they rig up to get certain effects.

Be Kind Rewind would have worked better as a short film. All the disconnected elements that leave the viewer wondering if they missed something in the story could be cut out and the clever idea behind the story can stay. If it can keep their attention the whole time, kids will probably like it in its current form though. They seem to be more of Jack Black's target audience lately. He is his usual crazy and incredibly intense guy who means well. Meanwhile Mos Def is amiable despite mumbling a lot and Melonie Diaz is a delight as the girl from the dry cleaners who helps them with their movies.

Rating:2/5
Recommended for: People looking for tips on how to make their own low-budget movies

The Maltese Falcon (1941)

In case you're not familiar, The Maltese Falcon is the standard for all film noir as well as Humphrey Bogart's career even though its actually a remake of a film that came out only ten years earlier. Humphrey Bogart is the smooth yet cold detective Sam Spade. Mary Astor is Brigid O'Shaughnessy, the frightened dame looking for help finding her missing sister.

When Spade's partner is killed during the investigation, Spade reluctantly picks up the case because, as he puts it, "When a man's partner gets killed, he's supposed to do something about it." Brigid's case isn't what she originally made it out to be and soon enough Sam is involved in the hunt for a statue called The Maltese Falcon. He tangles with a few others looking for it too, including Sydney Greenstreet in his first film role as the gentlemanly yet commanding Kasper Gutman and his oftentimes screen partner, Peter Lorre as Gutman's dapper associate, Joel Cairo. Distinct, memorable performances come from both these men.

While Mary Astor was the female star of the film, Lee Patrick is the one who really stands toe to toe with Bogart as Spade's secretary Effie. She slides in and out of scenes with ease, showing her distaste in small ways without words or disrespect. Meanwhile Astor stands around looking like a worried flower about to wilt, making you wonder how the heck she got involved with any of these people in the first place. And then of course there's Bogart bringing depth to the tough Sam Spade with movements as small as a smile. It's clear he does everything he does with great thought behind it and even though Spade isn't necessarily a nice guy, it's easy to find yourself rooting for him.

The film itself has great flow with the exception of any time anyone disarms anyone else. It's amusing, coming across as a hiccup with moves you can see coming across the room, but that's a style of the time. Outside of that you just float right through.

The Maltese Falcon shines even more so through its fantastic cinematography. Pause it at nearly any moment and you have a beautifully-composed black and white photo. This was soon-to-be-well-known writer/director/actor John Huston's first time directing and he's comes pretty strongly out of the gate. He doesn't shove anything in your face. He just lets you discover the film naturally and that's more beautiful than any jewels the falcon may have encrusted in it.

Rating: 5/5
Recommended for: Photographers and people who like to see where things got their beginnings

Eagle vs Shark (2007)

Eagle vs Shark = Napoleon Dynamite + Flight of the Conchords - comedy.

Taika Cohen's 2007 New Zealand export features the same deadpan, down-on-their-luck type main characters as 2004's Napoleon Dynamite. The difference is you can only root for one of these characters... and only for a limited time.

Loren Horsley's Lily is unpopular even in her job at a fast food restaurant where on at least one occasion, she has given away food for free. After she gets let go from her job, she gains the courage to invite herself to a recent customer's party. This customer is the socially awkward Jarrod (Flight of the Conchords' Jemaine Clement) who is only interested in Lily when she almost beats him at a video game. Moments later they're a couple and she's joining him on a trip back home where he plans on facing a bully from his youth. What follows is people being cold to each other and disappointment. Overall, it is just the aforementioned equation. The movie doesn't bring anything more to those concepts, plus it's uncomfortable to watch with no satisfying redemption.

If you want a socially awkward movie, stick with Napoleon Dynamite - it has a lot more charm and a greater chance of leaving a smile on your face.

Rating: 1/5
Recommended for: People who liked Napoleon Dynamite but found it to be much too uplifting.

Dial M for Murder (1954)

Dial M for Murder seems predictable enough but still holds a few surprises up its sleeve. This well-known 1954 Alfred Hitchcock-helmed howcatchem mystery stars Ray Milland, Grace Kelly, Robert Cummings and John Williams. Based on the Fredrick Knott play, the film introduces us to Tony Wendice, a former pro tennis player who is plotting to have his rich wife, Margot, killed. While Tony was focusing on his game, Margot had an affair with the American mystery writer Mark Halliday. When Tony quit tennis and started paying attention to her, she broke things off with Mark - who has now stopped by for a visit. Tony's come up with a seemingly flawless plan, but as we all know things rarely go according to plan.

The movie easily holds the audience's interest as it strolls through it's 105 minutes. Usually it's for positive reasons, although two cinematographically ick moments come to mind. One is a short sequence filmed from overhead. While Hitchcock was going for a claustrophobic atmosphere, this shot hinders by being just out of the blue. There are no security cameras involved and it's not arty. Perhaps it looked cooler in 3D (in which the movie was actually filmed). If so, it's one step above throwing something at the camera. The other jarring visual is a court room scene. It consists of a person, a blank backdrop, different color flashing lights, anguish, and voice overs. It's so stylized it slaps you in the face. There are classier ways it could have been done without building an entire court room set or even having anyone extra on screen.

Luckily the rest of the film is well done and not so distracting from the captivating plot. It's usually a concern of mine with Hitchcock films that it'll be overly creepy or horrific (i.e. The Birds), but this one isn't. Instead it gives you a story that lets you in on the game but keeps you guessing as to how it'll end.

Rating: 3/5
Recommended for: People who read the last page of a book first

I Love You, Man (2009)

The appearance of Paul Rudd and Jason Segel on the poster should tell you that I Love You, Man is not your typical gross-out, buddy movie. It's so much better.

These men are the thinking person's comedians presenting us with the multi-dimensional characters of Peter Klaven (Rudd) and Sydney Fife (Segel). Peter's a real estate agent whose just proposed to his girlfriend (Rashida Jones). Her friends have noticed that Peter doesn't seem to have any guy friends of his own and everyone's wondering who his best man will be. He realizes he doesn't know how to go out and make guy friends. He doesn't play poker. He doesn't go out drinking. He doesn't do any of the typical things guys do with their buddies.

Luckily for him, he hosts an open house at Lou Ferrigno's house and Sydney is in attendance (to pick up women and score free food). It's here where they first begin to bond. Of course the two men are opposites in many ways. Sydney is a laid back, confident, philosopher-type while Peter is an uptight, timid, by-the-rules man.

Peter somehow gets the courage to call up Sydney to hang out and the friendship that grows out of that comes off as genuine while still being highly entertaining. The guys share a love of Rush and enjoy hanging out in Sydney's "Man Cave". Peter finally has someone he can talk to about anything and Sydney has someone to hang out with when all his other friends have to go home to their wives and kids.

Both Rudd and Segel play off each other with ease. It's nice to see two actors better known for their supporting roles (with the exception of Segel's recent Forgetting Sarah Marshall) shine as leads. Writer/Director John Hamburg has given them some fun material to work with, although there was definitely a fair share of improvisation as well.

Andy Samberg and J. K. Simmons in supporting roles as Peter's brother and father respectively steal the screen in their moments with their simple, seriousness. In fact there's a full cast of comedians doing a nice job of not stepping on each others' toes while taking their characters very seriously. This I Love You, Man team leaves us with something that is funny, yet relatable all the while feeling surprisingly fresh.

Rating: 4/5
Recommended for: Adults who want a feel-good movie that also makes you laugh. Also Rush fans.

Extended Review: After watching the metric ton worth of extras on the DVD, it's easy to see that a) these people had a blast making this movie and b) Hamburg and the editing team had a lot of decisions to make for the final cut of this film. Often when watching deleted or extended versions of scenes, the reasons they were cut are quite apparent. For I Love You, Man, the best reasons seem to be just that they went with an alternate version of the line or it'd make the film 4 hours long to keep it in there. So much of what didn't make it into the film was just as funny as some of the stuff that did make it. You don't see that very often.