First up: Maria Bello is excellent in the pic, and is definitely in
strong running for a nomination. She's even better than Viggo
Mortensen, who is also very good in an understated sort-of-way.
The film itself is "simple," but not in a bad way. David Cronenberg
just knows the economy of a scene, and pushes each one to the
extreme with intense juxtapositions of sex, bloodlust, and
ambiguous dialogue. A guy at my work, who didn't like it,
explained all of this subtext he saw in the movie -- the Iraq war,
President Bush's follies -- that I, for the life of me, did not see.
More power to you if the film works on contemporary, policy-specific
levels.
Cronenberg's major accomplishment is the matter-of-fact way he
treats violence -- always there, lurking beneath the surface, ready
to explode at the slightest hint of a threat. (Maybe I did see that
subtext after all.) The film has a brilliant mix of black comedy and
terrifying distress, and you're never sure when your pulse will finally
settle for good.
My grade: A-
Screened: Sept 16
Continuing with our theme of pseudo-contemporary political
thrillers, "The Constant Gardener" trots the globe in a very timely
manner to uncover third-world corruption and pharmaceutical
profiteering. Ripped from the headlines!
The movie finally realizes the potential of Rachel Weisz, in her best
performance to date. I'll admit I'm not a fan at all -- until now.
Usually too pouty and know-it-all, Weisz finally grabs the essence
of a headstrong character who is conflicted between what she knows
is right and what she knows she must do. It is one of the fall's
most intriguing characters, essayed in a spirited Oscar-worthy
performance. Ralph Fiennes is stellar as usual, holding the picture
together with, you know, his steely resolve.
"The Constant Gardener" is like vegetables at dinner...but the kind
you actually want to eat.
My grade: B+
Screened: Sept 16
I can rattle off a list of movies that ended horribly because they
ended too precisely. I just love ambiguity. "Mulholland Drive"?
Brilliant in its ambiguity! "Cold Mountain"? Ruined by a final scene
in which the main characters settle down for supper and we know
which ones ended up alright.
"The Corpse Bride" isn't as thematically accomplished as those two
movies, but boy did it have a terrific, ambiguous ending!
Other things I liked: The boney dog, the wild imagination
(expected, of course) in the sets, and the fact that the underworld
was much more vibrant, colorful, and alive than the world of the
living. (We get it, Tim: You want to be a ghost.)
The movie clips along a little too quickly -- and the songs are not
as good as those in "A Nightmare Before Christmas" -- but I just
have a feeling this film is leaps and bounds above "Madagascar."
My grade: B+
Screened: Sept 20
No doubt, it's a chick flick. But I have to hand it to director Curtis
Hanson: If you must see one chick flick this year, make it "In Her
Shoes."
I don't want to cut the movie down, actually. I laughed aloud,
generously, about 10 or 15 times. And you can't fault the
performances at all. Cameron Diaz was perfect for her
free-wheeling part, Toni Collette registered strongly as the
workaholic sister, and Shirley MacLaine was her usual, stately self.
(You'll forget that these three "related" women look nothing alike
after the first ten minutes or so.)
Themes of familial love, regret, responsibility, and personal respect
resonate well, and you just knew this sucker was going to have a
happy ending.
My grade: B
Screened: Oct 6
