"Vibes" is a totally fun, light, cotton-candy puff of a movie and a bit more. The plot is stupid but still hilarious, and Cyndi Lauper turns in a surprisingly (or not surprisingly) wonderful debut performance as an ultra-quirky psychic. Incidentally, the track she recorded for this movie- "Hole in my Heart (That goes all the way to china)"- is awesome, and arguably the best song she ever made after the "She's So Unsual" era. The rest of the cast is also a pleasant surprise. A colourful, cute little bubblegum flick...you can rent "Apocalypse Now Redux" another day.
Reviews
6 Reviews
Sexy Beast
(2000)
Another home run for Ben Kingsley and British crime flicks
7 April 2002
Before I can say anything else about "Sexy Beast", I should mention that even if the rest of the film were a failure, Ben Kingsley's standout performance as intimidating loose-cannon cronie Don Logan makes the movie more than worth viewing. Without his exceptional background this would still be an amazing performance, but knowing that this same man at one time played Gandhi, the absoulute antithesis of Logan, is simply a testament to his rare, profound talent.
Fortunately, the rest of the movie is a solid, darkly witty and captivating piece of British Crime cinema, in the fine tradition (but not in the imitation) of films like "Lock, Stock and Two Smoking Barrels". Certainly this is a heavier piece of film than that, but it's not without its hilarious moments, outrageous cinematography and incessantly quirky characters.
Just as "Lock, Stock" was refreshing in its distinct LACK of gratuitous romance and sex, "Sexy Beast" breaks the mould with it's nearly all- senior cast. There are no wet-behind-the-ears Matt Damon/Angelina Jolie types lying in wait to "sex" things up here, and none are needed. The old-school relationships these characters have to one another makes the film all that much more unique and compelling.
If there are any sticking points, they are perhaps the lack of character development with the two female leads in the film, as well as the protagonist's best friend. However, in a pleasingly short 89-minute flick (another refreshing change from Britain!) you can't expect every minute detail to be dealt with, nor do you really miss it at the end of the day. Also, erstwhile Yankees should be warned that the cockney accents can take some getting used to. Fortunately though, Fox Searchlight doesn't patronize us with subtitles for what is still an English-language movie.
I highly recommend this offbeat, well-executed, underrated gem.
Fortunately, the rest of the movie is a solid, darkly witty and captivating piece of British Crime cinema, in the fine tradition (but not in the imitation) of films like "Lock, Stock and Two Smoking Barrels". Certainly this is a heavier piece of film than that, but it's not without its hilarious moments, outrageous cinematography and incessantly quirky characters.
Just as "Lock, Stock" was refreshing in its distinct LACK of gratuitous romance and sex, "Sexy Beast" breaks the mould with it's nearly all- senior cast. There are no wet-behind-the-ears Matt Damon/Angelina Jolie types lying in wait to "sex" things up here, and none are needed. The old-school relationships these characters have to one another makes the film all that much more unique and compelling.
If there are any sticking points, they are perhaps the lack of character development with the two female leads in the film, as well as the protagonist's best friend. However, in a pleasingly short 89-minute flick (another refreshing change from Britain!) you can't expect every minute detail to be dealt with, nor do you really miss it at the end of the day. Also, erstwhile Yankees should be warned that the cockney accents can take some getting used to. Fortunately though, Fox Searchlight doesn't patronize us with subtitles for what is still an English-language movie.
I highly recommend this offbeat, well-executed, underrated gem.
The Straight Story
(1999)
Truly moving, even for a cynic like me
2 January 2001
David Lynch has done well by himself and the world by choosing to take on "The Straight Story".
This movie came out when I was in Britain, and nearly every critic there was falling over themselves with praise for it- a mystery to me when it seemed like such a dull, Disneyfied yawner ( I didn't know at the time that it was a David Lynch film). When I got back to America, I thought it would be the same story, but instead, hardly anyone here was talking about it. Typical of us Yanks to pass off as boring, sappy shlock what is in fact one of the greatest commentaries in recent times on human existence and, ironically, the American psyche.
I don't mean to make it sound like this is some overly intellectual, artsy-fartsy lecture film, as some of Lynch's other works have threatened to be. Just about anyone could find something here that will stay with them if they are open to it. Intellectual value aside, "The Straight Story" is at least a gentle, beautiful, inspiring tale of one man taking the rare initiative, in the form of a journey, to right the wrong in his life rather than simply accept it, complain about it or run from it. Along the way of this journey, we are literally assaulted with compelling, emotional imagery, most notably Angelo Badelamenti's heart-wrenchingly gorgeous score, which provides the perfect backdrop to the rolling poetry that isthe American midwest when portrayed in this light. I'm not sure how he did it, but I'm sure only a director like David Lynch could take such ordinary-seeming people and settings and transform them into fascinating characters, drawing you further and further in and investing you in them more than you thought you ever would.
It takes a hard heart indeed to deny the arresting, humbling honesty of this film.
This movie came out when I was in Britain, and nearly every critic there was falling over themselves with praise for it- a mystery to me when it seemed like such a dull, Disneyfied yawner ( I didn't know at the time that it was a David Lynch film). When I got back to America, I thought it would be the same story, but instead, hardly anyone here was talking about it. Typical of us Yanks to pass off as boring, sappy shlock what is in fact one of the greatest commentaries in recent times on human existence and, ironically, the American psyche.
I don't mean to make it sound like this is some overly intellectual, artsy-fartsy lecture film, as some of Lynch's other works have threatened to be. Just about anyone could find something here that will stay with them if they are open to it. Intellectual value aside, "The Straight Story" is at least a gentle, beautiful, inspiring tale of one man taking the rare initiative, in the form of a journey, to right the wrong in his life rather than simply accept it, complain about it or run from it. Along the way of this journey, we are literally assaulted with compelling, emotional imagery, most notably Angelo Badelamenti's heart-wrenchingly gorgeous score, which provides the perfect backdrop to the rolling poetry that isthe American midwest when portrayed in this light. I'm not sure how he did it, but I'm sure only a director like David Lynch could take such ordinary-seeming people and settings and transform them into fascinating characters, drawing you further and further in and investing you in them more than you thought you ever would.
It takes a hard heart indeed to deny the arresting, humbling honesty of this film.
Pay It Forward
(2000)
A Huge Disappointment
16 October 2000
I read another user's comments on here about "Pay It Forward", and just as that person said the movie "stayed with" them for a few days, it took ME a few days to realize fully just how bad a film this was.
Why so long? I suppose because the movie has got everything going for it- a phenomenal dream team cast, a proven screenwriter, a good director, a good concept and even a killer score (which I still think is awesome). Why would Kevin Spacey, a man with a nearly perfect track record of script selection, ever involve himself with substandard material? Well, I guess it can happen to anyone, and this proves it.
The central message of "Pay It Forward" -- a commentary on the innate goodness in humans and the interconnectedness of us all-- is not a new one. In fact, if you want to see a movie that covers the exact same ground but does it believably, intimately and compellingly, save some money and go rent the often-overlooked "Smoke" with William Hurt and Harvey Keitel from 1995. You'll be glad you did.
"Pay It Forward", on the other hand, stumbles in delivering its message is in two areas: (1) Believability and (2) Preachiness.
Believability: Over the course of the film, a number of events happen which are enormously convenient, almost Disney-movie style coincidences and predictabilities, all for the sake of filling in holes in the plot. I won't give anything away, but suffice it to say, a block of swiss cheese looks more naturally complete than this script. Furthermore, from beginning to end we see all of the lead characters' personalities change dramatically in a very short period of time. By the end of the movie, everyone, without an ounce of therapy or even much time, is allowed to become the person we all want them to be. We all know that, especially for people as emotionally damaged as the leads all are in this movie, nothing happens overnight. But here, again for convenience, it does. Also, I was particulary offended by the ultra-stereotypical portrayal (i.e. gun-toting, sling spitting hoodlum) of the only featured black man in the film-- this movie regresses about three decades in its handling of diversity.
Preachiness: I walked out of "Pay It Forward" feeling like I had just watched a 2-hour advertisement for The Church Of Jesus Christ of Latter-Day Saints. It's no sin to encourage people to try to be better, or to show by example, or give people a new positive way to look at life, but it can't be done in such a way that assumes moral superiority, acts condescendingly or forgets the reality of most humans, and this does all three. I could tell from the way the Hunt/Spacey relationship was handled (as with any blockbuster, it seems that they HAVE to have sex to demonstrate that they are actually in love) that this movie was pandering to the lowest, slowest common denominator, and this carries right through to the finish.
Finally, the film admits defeat by what happens at the end. As if to say, "look, we really failed at involving you the audience in what happens up to now", the script then has something occur that forces some emotional manipulation on us, much in the same way musicals do, where you're getting goose bumps involuntarily and hating yourself for it. I had to wait for the artificial goosebumps to go away before I realized what a missed opportuinity this movie was.
Why so long? I suppose because the movie has got everything going for it- a phenomenal dream team cast, a proven screenwriter, a good director, a good concept and even a killer score (which I still think is awesome). Why would Kevin Spacey, a man with a nearly perfect track record of script selection, ever involve himself with substandard material? Well, I guess it can happen to anyone, and this proves it.
The central message of "Pay It Forward" -- a commentary on the innate goodness in humans and the interconnectedness of us all-- is not a new one. In fact, if you want to see a movie that covers the exact same ground but does it believably, intimately and compellingly, save some money and go rent the often-overlooked "Smoke" with William Hurt and Harvey Keitel from 1995. You'll be glad you did.
"Pay It Forward", on the other hand, stumbles in delivering its message is in two areas: (1) Believability and (2) Preachiness.
Believability: Over the course of the film, a number of events happen which are enormously convenient, almost Disney-movie style coincidences and predictabilities, all for the sake of filling in holes in the plot. I won't give anything away, but suffice it to say, a block of swiss cheese looks more naturally complete than this script. Furthermore, from beginning to end we see all of the lead characters' personalities change dramatically in a very short period of time. By the end of the movie, everyone, without an ounce of therapy or even much time, is allowed to become the person we all want them to be. We all know that, especially for people as emotionally damaged as the leads all are in this movie, nothing happens overnight. But here, again for convenience, it does. Also, I was particulary offended by the ultra-stereotypical portrayal (i.e. gun-toting, sling spitting hoodlum) of the only featured black man in the film-- this movie regresses about three decades in its handling of diversity.
Preachiness: I walked out of "Pay It Forward" feeling like I had just watched a 2-hour advertisement for The Church Of Jesus Christ of Latter-Day Saints. It's no sin to encourage people to try to be better, or to show by example, or give people a new positive way to look at life, but it can't be done in such a way that assumes moral superiority, acts condescendingly or forgets the reality of most humans, and this does all three. I could tell from the way the Hunt/Spacey relationship was handled (as with any blockbuster, it seems that they HAVE to have sex to demonstrate that they are actually in love) that this movie was pandering to the lowest, slowest common denominator, and this carries right through to the finish.
Finally, the film admits defeat by what happens at the end. As if to say, "look, we really failed at involving you the audience in what happens up to now", the script then has something occur that forces some emotional manipulation on us, much in the same way musicals do, where you're getting goose bumps involuntarily and hating yourself for it. I had to wait for the artificial goosebumps to go away before I realized what a missed opportuinity this movie was.
The Muppet Movie
(1979)
Secretly one of the greatest films of the last 30 years
24 April 2000
Too often it seems we run around in circles looking for things to satisfy our deepest yearnings- in music, in film, in life, whatever- only to find out, sometimes years later, that precisely what we wanted is right under our noses, or as the case may be, right in our past. The Muppet Movie was one of the first movies I remember seeing as a child, and it certainly enhanced my childhood and gave me a lot to think and dream about for a little kid, but the good news is that even now, it has lost nothing for me.
The Muppets have always had a tremendous and subtle sophistication about them-- it's the type of thing that Disney always shoots for and rarely perfectly gets- that cast of characters who for children are endearing and accessible, but for adults have a whole different dimension of wit and personality that is hard to come by for even human actors half the time. And yet every muppet in this movie posesses that- even Animal! In fact, the movie- where the Muppets seem to be doing battle with every bumbling human to come along and attempt to take advantage of them (usually Doc Hopper but occasionally the excellent cameo cast)- is a metaphor for what I'm talking about. At the end of the day, the only characters we really believe in are the Muppets, not the humans- the humans come across flatter, less imaginative, far less inspiring. Kermit's combination of an existential dilemma and drive to succeed within himself are still chock full of beauty and honor, even to someone long since past grammar school. It's easier to care deeply about these Muppets in this film than hundreds of real human protagonists I've seen on the big screen.
And as for emotional power- there are some movies that will cheer you up when you're down, and then there are films that will under no circumstances let you be down no matter how hard you try. This movie is definitely in the second category. It seems to achieve this firstly by the excellent script and aptly placed, well-written songs (when was the last time you could say that about a children's movie?), and secondly, oddly enough, by the directorial feel of the movie. Its pacing, its rambling-down-the-road quality, and its cinematic embellishments (the coziness of the restaurant that Kermit and Piggy go to, the eerie comfort of the desert fire, the smoky comedy club) all create this sort of intangible warmth that just radiates right off the screen. I wish someone today could recapture that again.
So yeah, make sure your kids see The Muppet Movie. But don't commit the sin of growing out of it yourself. We miss you, Jim...
The Muppets have always had a tremendous and subtle sophistication about them-- it's the type of thing that Disney always shoots for and rarely perfectly gets- that cast of characters who for children are endearing and accessible, but for adults have a whole different dimension of wit and personality that is hard to come by for even human actors half the time. And yet every muppet in this movie posesses that- even Animal! In fact, the movie- where the Muppets seem to be doing battle with every bumbling human to come along and attempt to take advantage of them (usually Doc Hopper but occasionally the excellent cameo cast)- is a metaphor for what I'm talking about. At the end of the day, the only characters we really believe in are the Muppets, not the humans- the humans come across flatter, less imaginative, far less inspiring. Kermit's combination of an existential dilemma and drive to succeed within himself are still chock full of beauty and honor, even to someone long since past grammar school. It's easier to care deeply about these Muppets in this film than hundreds of real human protagonists I've seen on the big screen.
And as for emotional power- there are some movies that will cheer you up when you're down, and then there are films that will under no circumstances let you be down no matter how hard you try. This movie is definitely in the second category. It seems to achieve this firstly by the excellent script and aptly placed, well-written songs (when was the last time you could say that about a children's movie?), and secondly, oddly enough, by the directorial feel of the movie. Its pacing, its rambling-down-the-road quality, and its cinematic embellishments (the coziness of the restaurant that Kermit and Piggy go to, the eerie comfort of the desert fire, the smoky comedy club) all create this sort of intangible warmth that just radiates right off the screen. I wish someone today could recapture that again.
So yeah, make sure your kids see The Muppet Movie. But don't commit the sin of growing out of it yourself. We miss you, Jim...
Electric Dreams
(1984)
If you consider yourself an 80's film buff, do not miss this
28 April 1999
If you really LIVED the 1980's, "Electric Dreams" will probably bring back endless memories for you. For everyone else, this little bit of film magic is a quintessential period piece from the decade of decadence. It's worth seeing for anyone who appreciates movies that perfectly represent the time in which they were made (a la "Saturday Night Fever" to the late 70's, or "Singles" to the early 90's) San Francisco residents take note of the special cameos from old KJY DJs at the end of the film. The soundtrack is just as poppy and fun as the movie, including rare new wave gems from Culture Club, Human League, Jeff Lynne, Heaven 17 and more. The "dream sequence" in the middle of the film is still suprisingly moving to me. In spite of the hokey plot and computer animation that is downright archaic by todays standards, they don't really make em like this anymore. Catch it while you can.
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