Gunnin' For That #1 Spot

Directed by Adam Yauch.
2008. Rated PG-13, 90 minutes.
Cast:
Michael Beasley
Brandon Jennings
Kyle Singler
Jerryd Bayless
Kevin Love
Tyreke Evans
Donte Greene
Lance Stephenson
Bobbito Garcia

In September of 2006, the mecca of streetball, otherwise known as New York City's Rucker Park, puts on it's first ever "Elite 24" game. This is a game involving 24 of the highest ranked high school basketball players in the nation. This documentary focuses on eight of the players, a number of whom have already moved on to the NBA. Director Adam Yauch, of Beastie Boys fame, has chosen his subjects wisely. They're from diverse backgrounds with a wide range of personalities. The first two thirds of the movie does a nice job showcasing this. We also get some insight into how the sometimes shady people who run recruiting websites work and how the often shadier agents and shoe companies try to hook these kids young. There's even a nice pre-game speech given by then New Jersey Nets head coach Lawrence Frank. I highly suggest watching the full length version of the speech, found among the special features on disc 2, especially if you're an aspiring ball player. On the court, we get the sort of high energy and acrobatic game, enhanced by the never-silent courtside MC Bobbito Garcia, that we've come to expect from Rucker Park events. Though, admittedly this isn't the constant trickeration of an And 1 tape. Still, many of the plays are amplified by terrifically done sound effects and the soundtrack is a lively mostly hip hop affair (lots of Jay Z, by the way). The unquestioned star is current Miami Heat forward Michael Beasley. From what we see, he appears to have been the best player on the court that day but that's not what makes him the star. What does it is his big-time, motor-mouth driven personality. With good reason, he was mic'd for the game. He talks and talks and talks. Then he talks some more. Most of it is pure basketball smack. However, we still like him because he comes off similarly to NFL wide receiver/showman Chad Ochocinco. Even when Beasley is saying something harsh, you get the sense that it's all in fun. As proof, in this machismo charged atmosphere no one seems to even bat an eye over his more venomous barbs. There does seem to be a little mano y mano between him and current Minnesota Timberwolves forward Kevin Love. Still, even as they try to stare each other down they both appear on the verge of uncontrollable laughter. All said, we have a solid basketball documentary. It's not emotionally charged like Hoop Dreams but it's an excellent watch for b-ball fans. Look for current Cleveland Cavalier J. J. Hickson and Kansas star Cole Aldrich, who are two of the players not chronicled. There are also brief appearances in the crowd and after the game by Jason Kidd, Ben Gordon and Steve Nash. If you're not into basketball, don't bother.


MY SCORE: 7.5/10

Gran Torino

Directed by Clint Eastwood.
2008. Rated R, 116 minutes.
Cast:
Clint Eastwood
Bee Vang
Ahney Her
Christopher Carley

Plot: Bitter, old, racist widower Walt (Eastwood) begrudgingly takes a liking to the Asian teenagers who live next door, even after one of them tried to steal his 1972 Gran Torino.

The Good: Like most Eastwood directed movies, the story breathes and the characters develop without dragging. As our ever-abrasive (anti)hero, Clint proves himself more than a capable actor as well. Through his portrayal, enabled by an excellent script, he gives Walt pain, bitterness and depth. That depth most often surfaces in his exchanges with Father "J" (Carley). His young female costar, Ahney Her who plays Sue, has a real presence and commands attention. She appears to have a bright future if, ironically enough, her race doesn't typecast her.

The Bad: The racial epithets constantly flying from Walt's mouth are fine because they're germaine to the story. However, a better job could've been done showing more diversity within the different ethnicities. Not doing so lends credence to his racism and undermines what appears to be the moral of the story. In other words, since most of the Asians, Blacks and Hispanics we see are low-lives, why shouldn't he behave the way he does? Acting wise, Vang who plays Thao, appears to give a forced performance. However, since his character's relationship with Walt is akin to Daniel's with Mr. Miyagi in The Karate Kid I can live with it. It's not like Ralph Macchio was really all that great, either. Yes, I realize that's blasphemy to those of you old enough to care.

The Ugly: What happens to Sue.

Recommendation: This a very good drama for about 100 minutes followed by an ending that elevates it to the level of excellence. It might sound strange but it's really a hybrid of Falling Down and the aforementioned The Karate Kid. However, it doesn't just copy them. It borrows elements of both and adds some of its own to create something different.

MY SCORE: 9/10

The 400 Blows

Directed by Francois Truffaut.
1959. Not Rated, 99 minutes.
Cast:
Jean-Pierre Leaud
Claire Maurier
Albert Remy
Guy Decomble

Young Antoine Doinel (Leaud) navigates his tough childhood without much guidance from his largely apathetic parents. Part of appreciating this movie is understanding why it was made. This is the directorial debut of Truffaut. Prior to getting behing the camera, he was one of France's top movie critics and had become increasingly disappointed with the way movies were being made. Instead of continuing to complain about the matter, he simply made a movie himself, setting out to do something different than what he'd been seeing. On top of that, its largely autobiographical as well. In the process, he helped kick off what became known as the French New Wave. Read more about it, here. It is a real slice of life, feeling like you're simply spending time with our young hero, not necessarily watching a movie with a traditional plot and conflict, though both eventually become apparent. Nor is it manipulative melodrama, intent on getting you to cry as it so easily could've been. That its unobtrusively shot without a ton of fancy editing tricks helps foster the illusion. The natural feel of the writing and acting work heavily in its favor, also. Though each performance is effortlessly realistic, including that of our child star Leaud, the actors never seem to preen for the camera. Finally, in true slice of life fashion we get a stopping point moreso than an ending. The possibilities of what could happen next are endless, both good and bad. This gives the movie more resonance than your typical happy ending does. If you're an artsy-fartsy film buff, you must see this movie. If the sight of a black-and-white movie instantly puts you to sleep and the thought of reading subtitles turns your stomach stop reading this review now and forget I ever mentioned this flick. Yup subtitleophobes, we're speaking French.

MY SCORE: 10/10

9

Directed by Shane Acker.
2009. Rated PG-13, 79 minutes.
Cast:
Elijah Wood
Christopher Plummer
Martin Landau
Jennifer Connelly
John C. Reilly
Alan Oppenheimer
Crispin Glover

Plot: Man has been completely destroyed by it's war with machines. A group of dolls created shortly before this that have been given life, is the closest thing to humanity left. Each is known only by a number, and appear to be made of burlap. Together, they try to overcome what man couldn't.

The Good: It's an interesting take on a post-apocalyptic world where man vs. machine has technically become machine vs. machine. The overally dusty look works well and aids in the mood of the story. The moral dilemma of whether to run and hide or stay and fight is played quite nicely. On top of those things, we get excellent visuals during the many chase sequences.

The Bad: At only 79 minutes, it doesn't seem to fulfill it's potential. So much more could've been said and done. It's PG-13 rating ensures that it's not strictly for kids so worrying about the audience's attention span shouldn't be an issue. Therefore, it should've been free to expand it's world, situations and relationships, becoming a serious epic. Instead, it ends and leaves us feeling like it pulled it's punches.

The Ugly: We get perhaps the most menacing use of Somewhere Over the Rainbow, ever.

Recommendation: First, don't go in thinking this is another cuddly kiddie flick because it's not. Though the creative minds behind The Nightmare Before Christmas and Corpse Bride are producers, Tim Burton and Timur Bekmambetov, don't even think this is in a similar vein to those. This is not a musical and is a rather humorless affair. That said, it is a fascinating watch. I just wish there were more of it to see and absorb.

MY SCORE: 7/10

My Year Without Sex

Directed by Sarah Watt.
2009. Not Rated, 96 minutes.
Cast:
Sacha Horler
Matt Day
Jonathan Segat
Portia Bradley
Maude Davey
Sonya Suares
Roy Davies
Eddie Baroo
Chloe Guymer

Natalie (Horler) and Ross (Day) are your typical middle class married Australian couple with a pair of kids, a boy and girl. We meet them one morning in May when the children walk in on them while they’re starting the day off right. Due to the movie’s title, this is presumably the last time they get it on for quite a while, but why? Well, shortly after this little rendezvous, Natalie suffers a near-fatal aneurysm and spends a few weeks in the hospital. Her doctor informs our lovebirds that orgasms are one of the things that might trigger a reoccurrence. So, they abstain while she recovers physically and they both do some psychological healing.

Okay, I’ve gotta stop right there. To paraphrase the late Malcolm X, I’ve been bamboozled, led astray. I didn’t land on My Year Without Sex, My Year Without Sex landed on me. As the movie plays I do something I try not to do while watching a film, start reading the back of the DVD cover. Yup, there it is. Right there, it tells me how great a romantic comedy this is. Romantic? Maybe, eventually. Comedy? It’s nothing of the sort.

Natalie’s recovery puts a serious strain on her marriage. Her union with Ross is stretched very near the point of breaking. Likewise, for this movie’s sense of humor. That’s because all of this is rendered in painful detail. How painful depends on the viewer. MYWS is far more depressing than any movie willing to call itself a rom-com should be.

There are some comic moments. Most of them revolve around how oblivious the children seem as their lives continue without missing a beat. Other humor comes in the form of point-blank sex talk by Natalie’s sister who is half of the only other couple our heroes spend any time with. This threatens to bring it to the level of dramedy, but doesn’t quite do the trick.

How is it for what it is? It moves along nicely, helped by placards that mark the passing of the months. Each has clever titles like “I Have a Headache” or “Missionary Position.” The performances are excellent throughout, particularly Horler as Natalie. She is outstanding. Together with Day as her husband, they feel like a genuine couple. However, it’s still a downer, making it a struggle to wade through.

It’s also rather heavy-handed with its atheism. Just as other movies can be overbearing with their religious messages, this is as much with it’s antithetical stand. Through a female priest, Margaret (Davey), the movie repeatedly questions any notions of God. It uses her as an example that’s intended to disprove the existence of a superior being. The ending is also one last thorn in the paw of the lion know as organized religion. The biggest problem with all this is it doesn’t sufficiently support its own argument. It would seem that the movie subscribes to the idea of science in favor of the hocus-pocus of religion, but never fully enables the doctors as it needs to to solidify its point.

Despite what some would say, there can be good movies with an atheist slant. The Invention of Lying is one. That movie doesn’t dwell on it for an hour and it’s actually funny. This is like a sledgehammer to the base of the skull. There’s no punchline to soothe us, just repetitive blunt force. The rest of the ride is well done, but less than enjoyable.

Everybody's Fine

Directed by Kirk Jones.
2009. Rated PG-13, 99 minutes.
Cast:
Robert De Niro
Kate Beckinsale
Sam Rockwell
Drew Barrymore
Lucian Maisel
Damian Young
James Frain
Melissa Leo

Frank (De Niro) has recently become a widower. He lives alone while his four adult-children live in four different cities across the country. They are supposed to come see him this weekend for a small family reunion. However, they all cancel at the last minute. Frank then decides to go on a journey to pay each of them a surprise visit.

Of course, Frank discovers that he doesn’t know nearly as much about his kids as he thought. In addition, we’d be hard pressed to say they even give a crap about him, the way they shoo him from one destination to the next. And yes, each of his offspring phones ahead to the next one he’s going to see, so the surprise is shot pretty early.

The melodrama mounts as we, and Frank, realize his kids have been duping him for a long time about a great number of things. Sadly, there’s little mystery. We know that this is all just hurtling towards some great revelations and a happy ending. To make matters worse, we’re robbed of the big dramatic moments and the histrionics that one par for the course for such movies. True, they would’ve been cliché, but they may have added some life to the proceedings. Instead, everything is revealed, to us and Frank, through a supernatural event that fits this movie like a round peg in square hole.

Those of you prone to crying over movies will probably have a few of your tears jerked. For me, it comes off as way too hokey and undeserving of its impressive cast.

MY SCORE: 5.5/10

Scott Pilgrim vs. the World

Directed by Edgar Wright.
2010. Rated PG-13, 112 minutes.
Cast:
Michael Cera
Mary Elizabeth Winstead
Ellen Wong
Kieran Culkin
Anna Kendrick
Alison Pill
Mark Webber
Johnny Simmons
Chris Evans
Brandon Routh
Jason Schwartzman

Every now and then you watch a movie that just shouldn’t work, but absolutely does. Scott Pilgrim vs the World is one of those movies. On paper, it seems to have nothing going for it. It’s based on a graphic novel I’m apparently not cool enough to have ever heard of. The story feels ripped from the early days of fighter games, not exactly profound literature. There is going to be lots of action, but our hero, Scott Pilgrim, is played by Michael Cera, the wimpy whiny dude from Juno and a number of other teen focused flicks. Unconventional heroes are fine. After all, I loved Kick-Ass. This just seems to be too much of a stretch. A comic book movie with a video game plot? Or is that the other way around? Either way, I’m not exactly overwhelmed by anticipation as I press “play” on my remote.

An odd thing happens once the movie actually starts. It strikes a perfect tone and absolutely relishes in how ridiculous things are going to get. It knows its premise is dumb and that our hero is something less than our ideal of heroic. However, unlike Macgruber, which I recently had the displeasure of watching, in this film the script, sight gags and action scenes are actually very smart. Together, they take the last three decades of what was once strictly nerd culture, comics and video games, and morphs it into a clever, funny imagining of those two worlds colliding on the screen. It uses cartoonish, but still flesh and blood people full of the attitudes prevalent among those in their late teens and early twenties taken to absurdist extremes. There’s even some sly social commentary and an obvious moral. And all of it works.

That dumb premise? Scott Pilgram has an odd dream one night. The next day, he meets the girl from that dream, strangely enough. He falls head over heels for her that instant and hounds her until she goes out with him. Where does all the action come from? Shortly after starting to date Ramona (Winstead), the girl of his dreams, it is revealed that to continue seeing her, he will have to defeat each of her “7 evil exes”. These guys pop up out of nowhere and have all sorts of powers and fighting skills.

If you’re a fan of the original Super Mario Bros. and fighting games like Mortal Kombat, Street Fighter, Tekken, or any number of classic video games, you’re prepared to love this movie. The same goes if you’re a comic book fan as a number of scenes are made to look like panels from the hero mags. Then there’s the occasional narration that is spot-on. Finally, Cera’s usual self deprecating humor is perfect.

Here’s the thing: I get the sense this is a love it or hate it type of deal. People like me will sing its praises. Others will roll their eyes at all the madness, complain about how unrealistic it is, proclaim it moronic, and me a moron for liking it. It boils down to this: if you can’t understand the brilliance behind the “pee meter," you’ll never get this movie.