Mathieu Amalric, Emmanuelle Seigner, Max Von Sydow. Drama. Written by RONALD HARWOOD. Directed by JULIAN SCHNABEL
FILM SYNOPSIS: Based on a true story of Jean-Dominique Bauby (Mathieu Amalric), a successful and charismatic editor-in-chief of French Elle, whose sudden stroke leaves him in a life-altered state. Unable to move, he is trapped in his mind, where he begins to find solace reexamining his rich memories. After getting over self-pity, he uses his newfound imagination to escape his physical boundaries and, with the assistance of a patient aide, even to write a book. PREVIEW REVIEW: It’s a masterpiece! But as with all masterpieces, it will not be appreciated by all audiences. It’s deliberately paced (translation – it’s often slow), it’s subtitled, and the subject has to do with a man paralyzed from head down due to a stroke – not exactly Friday night escapist fare. Another drawback for us Christians is the fact that the lead is anti-religion and the content is peppered with objectionable language and casual sex (though nothing is included in order to be titillating, but merely to reveal his outlook and lifestyle). The lead character is not just a man with little use for religion; he’s downright hostile to the concepts of Christianity and the Hereafter. He’s uncomfortable with being in the presence of spiritual images and reflections, as if a hidden awareness of his guilts are being smothered by ego and self-centeredness. This becomes disturbing, for his rejection of spiritual matters leaves him with little more than his limited time left in a world where he is scrubbed and tended to by others. Despite these PG-13 deterrents, the film remains, as I said, a masterpiece. Julian Schnabel (Rockets Redglare, The Million Dollar Hotel) directs like a baroque painter – using thoughts that reflect underlining tension and images that demand attention with their violent movement and strong emotion. It’s almost a classical movie. But what makes the film so powerful, so worthwhile, is the lesson that lingers once we leave the theater. We are reminded that our health and place in this life can change instantly. We are reminded to live every moment, enjoy every day as a gift, and to realize that our limitations and struggles often pale in comparison to the true afflictions of others. By film’s end, this viewer thanked God for His blessings and prayed for a merciful end when that time comes.
Distributor:
Jason Lee, Jane Lynch, Cameron Richardson, David Cross. Kids comedy. Written by Jon Vitti, Chris Viscardi, Will McRobb. Directed by Tim Hill.
FILM SYNOPSIS: A wannabe songwriter’s house is invading by three precocious chipmunks. And to his surprise, they talk. And to his astonishment – they sing! Soon a record deal is signed and the trio of rodents find themselves beloved rock stars. But is life on the road what the little guys are looking for? And is the songwriter about to learn that it’s a lonely life without family – even if family consists of three talking, troublemaking tree-dwellers? PREVIEW REVIEW: If you’re looking for a sparkling satire on the music industry, what are you doing at this movie? This one’s slapstick and poop-humor fueled. Though baby boomers may have a nostalgic warm spot for these cartoon critters, their generational appeal is as outdated as the Slinky. What grownup wants to see a live-action/computer-generated kiddie film about high-pitched speaking squirrels? Not even those who bought Alvin’s two biggest hits, The Chipmunk Song and The Witch Doctor, are going to be first in line for this one – surely. That’s not to say the film is a stinker. It has some positives. Basically, it’s aimed at little ones. And that’s where the grownup appreciation will come in. Sitting amid a matinee audience (I missed the press screening, darn), I got a charge out of the reaction of little ones in the theater. Their laughter helped make it an enjoyable experience for this critic. I assume that’s the greatest aspect for a parent having to sit through such films, as well. There are some funny moments, some positive messages about needing to be loved and belonging to family, the special effects are satisfactory, and despite some gyrating dancers, and the requisite poop joke or two, it’s a clean movie – mostly. Entertainment wise, well, it’s better than 27 Dresses. But don’t expect me to go buy the soundtrack. Wondering about the PG rating? Please read the content section.
Distributor:
Eva Longoria Parker, Paul Rudd, Lake Bell, Jason Biggs. Comedy. Written & directed by Jeff Lowell.
FILM SYNOPSIS: Devastated when his fiancée, Kate (Eva Longoria Parker), is killed on their wedding day (crushed by a falling ice sculpture), Henry (Paul Rudd) reluctantly agrees to consult a psychic named Ashley (Lake Bell) at the urging of his sister Chloe (Lindsay Sloane). Despite his skepticism over her psychic abilities, Henry finds himself falling hard for Ashley, and vice versa. But there is a big snag. Ashley is being haunted by Kate’s ghost, who considers it her heavenly duty to break up Henry and Ashley’s fledging romance, if it is the last thing she does on this earthly plane... PREVIEW REVIEW: I am grateful when a studio delivers a film during the first two months of the year that catches the imagination and tickles the funny bone. I’ve come not to expect it. Alas, Over Her Dead Body is not one of those welcome surprises. Despite the promise of the title, this is one of those films studios stuff into movie theaters in January and February while talented movie makers and real movie stars complete summer blockbusters and year-end award contenders. The concept of ghosts haunting numbskulls has been around since Topper. Here, that concept and the story structure suffer from what I call TV-itis. TV-itis is an ailment which numbs the part of the brain that distinguishes between wit and sit-com klutziness. The writing may be okay for home entertainment, where phone disruptions and children’s needs don’t necessarily cause viewers to lose sight of the storyline. Once these projects are given the big screen treatment, however, audiences can clearly see through the plot holes and the absurdity that’s meant to pass as comic calamity. Here’s a symptom of TV-itis found in Over Her Dead Body. The comic sidekick is thought to be gay. But maybe he’s not. Maybe he just pretends to be for five years so he can be the best friend of the woman he secretly loves. Oh, I know that doesn’t make since. That’s TV-itis at its most insidious. Here’s another example of how TV-itis has stricken writer/director Jeff Lowell. When the sidekick’s arm catches on fire during a cooking mishap, he plunges it into a huge pot of boiling water, then rants around the room like Ralph Kramden. That’s what I said, his arm catches on fire. Seeing a human being on fire – that’s always classic. Much of the film’s humor runs in that vein. The ghost causes one embarrassing situation after another, making everyone in the story think the other female lead is nuts. And how does the victim of this supernatural harassment handle these embarrassing moments? Well, think back to each episode of I Love Lucy. Trouble is, Ms. Lake is no Lucy. And I suspect the crudeness of the situations here would have been discarded by Lucy’s writing staff. As this review is already more time consuming than the film deserves, suffice it to say, my theory that no one sets out to make a bad movie has once again been tested. DVD Alternative: Topper with Cary Grant, Constance Bennett and Roland Young, and directed with style and class by Norman McLeod. Unsettled ghosts return to earth to dominate then befriend a meak businessman. I realize it’s really old (made in 1937), and in black and white to boot. I mention it because a few weeks ago a young publicist told me she loved it. So, maybe there are those who will watch a clever and funny film despite its age. Want a stupid one, but funny due to its star? Try The Ghost and Mr. Chicken with Don Knotts. Remember, I told you it’s stupid. Or Ghostbusters. The first one has some objectionable material, but there are also a few positives – there’s a reverential discussion about Jesus and the movie is funny.
Distributor:
Jason Lee, Jane Lynch, Cameron Richardson, David Cross. Kids comedy. Written by Jon Vitti, Chris Viscardi, Will McRobb. Directed by Tim Hill.
FILM SYNOPSIS: A wannabe songwriter’s house is invading by three precocious chipmunks. And to his surprise, they talk. And to his astonishment – they sing! Soon a record deal is signed and the trio of rodents find themselves beloved rock stars. But is life on the road what the little guys are looking for? And is the songwriter about to learn that it’s a lonely life without family – even if family consists of three talking, troublemaking tree-dwellers? PREVIEW REVIEW: If you’re looking for a sparkling satire on the music industry, what are you doing at this movie? This one’s slapstick and poop-humor fueled. Though baby boomers may have a nostalgic warm spot for these cartoon critters, their generational appeal is as outdated as the Slinky. What grownup wants to see a live-action/computer-generated kiddie film about high-pitched speaking squirrels? Not even those who bought Alvin’s two biggest hits, The Chipmunk Song and The Witch Doctor, are going to be first in line for this one – surely. That’s not to say the film is a stinker. It has some positives. Basically, it’s aimed at little ones. And that’s where the grownup appreciation will come in. Sitting amid a matinee audience (I missed the press screening, darn), I got a charge out of the reaction of little ones in the theater. Their laughter helped make it an enjoyable experience for this critic. I assume that’s the greatest aspect for a parent having to sit through such films, as well. There are some funny moments, some positive messages about needing to be loved and belonging to family, the special effects are satisfactory, and despite some gyrating dancers, and the requisite poop joke or two, it’s a clean movie – mostly. Entertainment wise, well, it’s better than 27 Dresses. But don’t expect me to go buy the soundtrack. Wondering about the PG rating? Please read the content section.
Distributor:
Michael Stahl-David, Mike Vogel, Odette Yustman, Lizzy Caplan. Written by Drew Goddard. Directed by Matt Reeves.FILM SYNOPSIS: Five young New Yorkers throw their friend a going-away party the night that a monster the size of a skyscraper descends upon the city. Told from the point of view of their video camera, the film is a document of their attempt to survive the surreal, horrifying event as the gliding Gorgon smashes well-know edifices and mashes insignificant people.
PREVIEW REVIEW: One colleague described it as Godzilla meets You-Tube. I can’t beat that description of this apocalyptic monster movie. This is one instance where a hand-held camera works to energize and center us within the action. That said, the constant motion of the shaky cam is used to dizzying effect and the cell-phone toting, self-absorbed characters refer to everyone as “Dude.” (That term just won’t go away.) It’s a horror movie for iPod people. Cloverfield is an armrest-grabbing thrill ride (containing a few truly scary moments), but with no one explaining how this flying prehistoric-looking destroyer came about. We’re not to ask questions, just watch with “awesome” fascination as Manhattan buildings come tumbling down. There are elements of Godzilla, The Day the Earth Stood Still, King Kong and The Blair Witch Project to be found in this salute to the “B” horror flicks of the 1950s. The difference is, Godzilla (Gojira) was an indictment of those who use atomic bombs; The Day the Earth Stood Still was a warning for mankind to make peace before it destroyed itself; King Kong was a love story; and The Blair Witch Project was an experiment in eeriness. Cloverfield has no such high-minded agendas (though maybe it’s supposed to be seen as a metaphor for 9/11). It’s just meant to excite and sell popcorn to a generation unfamiliar with Blair Witch, let alone Godzilla. Now, I certainly can’t wish this for those in real life, but for anyone who still says “Dude” in the movies, well, they deserve to be monster-mashed.
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