That is essentially the same reaction I had to it too Michael. It's essentially like watching a 2-hour chase movie -- but the thing that Spielberg's best films, even the "escapist" ones, had in spades was "heart." I found that quality severely lacking in TINTIN. It's a charmless movie that feels, and looks, mechanical. Williams' score...honestly...it is one of his least satisfying works. Very "busy" and frantic, much like the film, but not a lot of fun.

That said -- I appreciated the technical expertise of the film...and I love the characters...but it's not a very good film on the whole. Watching it through a second time, I disliked it even more than I did the first time.

DARK SHADOWS 7/10

Maybe it's because I knew this was Burton on auto-pilot that I dialed my expectations down accordingly. Whatever the case may be, this is an imperfect but -- surprisingly -- intermittently charming film that reaffirms how good an actor Johnny Depp can be. He absolutely anchors a sometimes chaotic and under-written (or is it over-written?) Seth Grahame-Smith screenplay that has too many supporting players running around to little or no effect. Yes, Depp's Maine vampire Barnabas Collins is "quirky" yet the actor retains enough of his aristocratic origins to make the part not just a rehash of the "colorful" characters the actor has been essaying of late; he's fascinating, alternately sinister and sympathetic, and the fish-out-of-water material, while not as dominant as the advertising campaign suggested, provides some of the film's more entertaining aspects.

The movie does fumble countless dramatic possibilities -- so much of it seems overstuffed and yet undercooked, between Barnabas' weakly drawn relationship with the younger Collins clan (Chloe Grace Moretz's role is close to a throwaway, at least in the released version; after establishing her part early on, Bella Heathcote's role as the reincarnation of Barnabas' lost love disappears almost completely, resurfacing just in time for the climax), to his confrontation with a witch played by Eva Green in an unsatisfying performance (her affected American accent sounds more like she's from Texas as opposed to a witch who's lived in Maine for 200 years). Michelle Pfeiffer, Jackie Earle Haley, and, of course, Helena Bonham Carter also appear in roles that never seem to serve the dramatic purpose that they should have.

It seems evident here that Burton didn't seem to apply himself as much to the film -- despite using familiar personnel like production designer Rick Henrichs and costume designer Colleen Atwood, the picture has a glossy, "digitized" appearance unlike his past works -- and even Danny Elfman's score often takes a backseat to a parade of familiar, effectively utilized period pop tunes. Yet there's just something infectious about "Dark Shadows" when it does score -- particularly in several amusing moments of offbeat humor (Barnabas pounding his head against an organ that simulates the scoring of the old Dan Curtis TV series; Alice Cooper showing up to perform at a Collins family party) and through Depp's winning performance. Though one of Burton's weaker outings all told, it's at least livelier than "Alice in Wonderland" and should find a receptive genre audience this Halloween season on video.

Yeah, Dark Shadows was "Burton Lite", but it's fitfully amusing, looked gorgeous, and was certainly a step up from the dreary Alice In Wonderland. Fantastic Elfman score, too. If Burton and the screenwriters had trimmed the number of superfluous supporting characters and made the relationship between Depp and Bella Heathcote more of a central theme instead of pushing it to the sidelines, it would have been more satisfying. I'll no doubt get the Blu Ray out of a sense of Burton completism, but not until it hits the $10 or less point about six months from now.

THE ARTIST - 6/10. I thought the film was entertaining; the lead actress reminded my of a younger Pat Benatar where her looks are concerned. I don't know if it deserved Academy Awards, but I will give them credit for paying homage to silent films in great detail, from references to silent film stars (Rudolph Valentino, maybe Mary Pickford, etc.) to the dress and style of the times, and to other films (such as SUNSET BOULEVARD).

However, I do have one MAJOR issue with the film...I am extremely perplexed as to why they would directly quote Bernard Herrmann's "Scene D'Amour" music from VERTIGO for the climax. The music for that scene in VERTIGO does not come close to fitting the context of the scene from THE ARTIST.

In VERTIGO the music underscores the "reverse striptease" as Judy transforms back into Madeleine. The whole movie focused on Scottie's obsessive love for Madeleine and this is the climax of that obsession. There is something deeply perverted and sick in the beauty of the scene and music as Scottie "recognizes" Judy/Madeleine and is finally content...I did not even come close to feeling that way about George or Peppy. Yes, both of them are obsessed: he with his past and she with him. But the film never allows her obsession for him to be dangerous, perverted, or sick. Rather, there is an innocence with her love that they insist on implying throughout the movie.

I think their choice of music for that scene was dead wrong and, frankly, lazy. The composer should have come up with a love theme that was triumphant since the film ends that way. VERTIGO ended on a severe down note. Actually, when George was sitting amidst the ruins of his past and yearning for those days I thought of CITIZEN KANE. So that was my only complain but it was a major one.


JAWS - 10/10. Blu-Ray looks incredible...what an amazing and entertaining film. I don't know what else to say except it's about time!

LOOPER
7.5/10

Not quite the "instant classic" some have raved about, but a well-made, compelling sci-fi/thriller obviously shot on a modest budget. Very hard to get into specifics about the film without divulging spoilers, and since it just came out today, I won't do it. I will say it's a fascinating film, though I'm not entirely sure what the great dramatic message was -- in fact, I'm not sure it really was as "deep" as some of the reviews overflowing with praise have made it out to be. What it IS is a refreshing piece of filmmaking with some effective scenes, strange moments, and a good score by Nathan Johnson. Wasn't crazy about Gordon-Levitt's make-up -- he's such a good actor, I think he could've done Willis' mannerisms as effectively with just a bit of the prosthetic on. Emily Blunt does some nice work however, and Willis still commands a presence on-screen, though most all of the characters are patently unlikeable.

The only thing I'll say about the story -- aside from one particular element of its narrative that bothered me after having seen how it ended -- is that the movie kind of does an about-face on its premise in the second half with a kind of male version of FIRESTARTER that the trailers don't indicate anything about -- and the momentum of the movie dulled for me. Overall, it's nothing groundbreaking, but the director is clearly capable of doing something great. This isn't it necessarily, but Looper is still certainly worth seeing.

Joined: Fri Jun 17, 2005 10:44 pm
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Location: Ohio
THE ARTIST - 6/10. I thought the film was entertaining; the lead actress reminded my of a younger Pat Benatar where her looks are concerned. I don't know if it deserved Academy Awards, but I will give them credit for paying homage to silent films in great detail, from references to silent film stars (Rudolph Valentino, maybe Mary Pickford, etc.) to the dress and style of the times, and to other films (such as SUNSET BOULEVARD).

However, I do have one MAJOR issue with the film...I am extremely perplexed as to why they would directly quote Bernard Herrmann's "Scene D'Amour" music from VERTIGO for the climax. The music for that scene in VERTIGO does not come close to fitting the context of the scene from THE ARTIST.

In VERTIGO the music underscores the "reverse striptease" as Judy transforms back into Madeleine. The whole movie focused on Scottie's obsessive love for Madeleine and this is the climax of that obsession. There is something deeply perverted and sick in the beauty of the scene and music as Scottie "recognizes" Judy/Madeleine and is finally content...I did not even come close to feeling that way about George or Peppy. Yes, both of them are obsessed: he with his past and she with him. But the film never allows her obsession for him to be dangerous, perverted, or sick. Rather, there is an innocence with her love that they insist on implying throughout the movie.

I think their choice of music for that scene was dead wrong and, frankly, lazy. The composer should have come up with a love theme that was triumphant since the film ends that way. VERTIGO ended on a severe down note. Actually, when George was sitting amidst the ruins of his past and yearning for those days I thought of CITIZEN KANE. So that was my only complain but it was a major one.

Michael I totally agree about the VERTIGO music. It had no connection with the era of filmmaking or the kind of story -- really felt out of place.

Bye Bye Birdie (1963) 6.7 of 10

-I got Twilight Time's Blu-Ray release. The transfer is excellent, but their choice of cover and menu screen of Ann-Margret in the pink outfit against a pink background is just awful. They needed to use something multi-colored or the poster art to convey the film's whole sense of early 60s silliness. Also, Julie Kirgo's notes veer off into the pretentious, which I don't think is a first as I recall.

-The film itself I hadn't seen in a few years. I've been one of those who recognized that the structure of the original musical had to be changed for film because on-stage the moment of Conrad getting slugged is an Act 1 finale and after that, everything is kind of meandering. That said, some of the silly touches aimed for the film version especially in the odd use of animation just get a bit annoying at times.

-Janet Leigh, while obviously a weak singer, does get to demonstrate that she was quite underrated as a dancer in the Shriners number, and deserved some more films that showed off that skill.

I got Twilight Time's Blu-Ray release. The transfer is excellent, but their choice of cover and menu screen of Ann-Margret in the pink outfit against a pink background is just awful. They needed to use something multi-colored or the poster art to convey the film's whole sense of early 60s silliness. Also, Julie Kirgo's notes veer off into the pretentious, which I don't think is a first as I recall.

I don't care for the ENEMY MINE artwork either. They did a nice job with the insert artwork and should've used that instead.

PERKS OF BEING A WALLFLOWER
9/10

This is one of the best movies I've seen this year -- and not knowing much about it going in, I was prepared for a typical high school flick, which ultimately, this certainly isn't. Logan Lerman (who apparently was in the running for Peter Parker in the last Spidey film; they missed their chance there given that he's 10 years younger than Andrew Garfield and would've been as capable) gives a sensitive and sympathetic turn as a troubled high school freshman who finds navigating his Pennsylvania school problematic for reasons that become clearer as the film progresses. Emma Watson is terrific as the girl he develops a crush on in a circle of friends that welcomes him into the fold in an '80s set slice of adolescence.

Stephen Chobsky wrote and directed this atmospheric, moving film from his book -- the movie has a tremendous supporting cast that's not always well utilized, but I'm guessing some of his story was trimmed for the final cut (Paul Rudd, Dylan McDermott, Kate Walsh, and Joan Cusack among them). Either way, the movie is a winner -- funny, moving, and ultimately quite serious with some unsettling subject matter dealt with in a mature, believable manner that's also superbly acted across the board. Terrific soundtrack too with a nice underscore by Michael Brook.

Meek’s Cutoff 7/10
This bleak but gripping film from director Kelly Reichardt tells the story of a group of 19th century pioneers desperate to cross the Oregon desert. They’re not sure they can trust their guide, food and water are scarce and the prospect of attack by Indians is ever present. This movie is not for all tastes. The pace is slow and the dialogue is often hard to hear but both of these are deliberate and meticulously planned out. The cinematography , with its many images of the stark Oregon landscape, is striking, especially considering that it is framed in a 1.33:1 aspect ratio. Michelle Williams, Will Patton and Bruce Greenwood all give excellent performances. This isn’t a cheerful movie but it is worth watching if you know what you’re getting in to.

Quantum of Solace 3/10
I missed this when it first came out so I watched it to get ready for Skyfall. What a disappointment. I realize it’s a direct sequel to Casino Royale but its been several years since I’ve seen that one and the plot of Quantum was difficult to follow. The worst part (aside from the awful song) was the ineptly directed action sequences which were full of rapid editing without any sense of coherence or purpose. The supporting cast was all right but nothing special. Gemma Arterton came off the best and she didn’t last long. I hope Skyfall is an improvement.

The Untouchables

I first saw this years ago, and have to say I was never on the bandwagon with those who proclaimed it "great" or a "classic". I thought it was good -- at times very good -- but uneven.

Watching it years later, I found the film to be good -- sometimes very good -- but uneven. The strengths: David Mammett's script, which has a refinement that helps balance Brian DePalma's sometimes vulgar (though for the most part effective and imaginitive) direction. Fantastic art direction and selection of locations. And of course Sean Connery, in one of his best performances. I get the sense that Connery connected more with this character than most (if any) of the other's he's played, (and I suspect he drew a lot on himself to create the role). Charles Martin Smith once again plays the nerd, but no one plays nerds better. Andy Garcia is terrific as a the cool but lethal rookie cop. I admire Robert DeNiro for putting on all that weight to play Al Capone, but he doesn't otherwise do a whole lot new with yet another gangster role. But (as with Smith playing nerds) few do gangsters better.

Unfortunately Kevin Costner is the weak link in the cast, which is problem since he is the star. His performance as Elliot Ness is perfectly adequate, solid and stalwart. Unfortunately the rest of the cast are so outstanding that they just upstage him. Despite the success of this film, as well as Dances With Wolves, Robin Hood, etc. I don't think Costner's popularity was ever a result of his acting skills, but more a knack for choosing projects which audiences really wanted to see (at least in the initial phase of his career).

I have to be honest, I've never been a huge fan of Ennio Morricone's score. It's very well-written but to my mind often misplaced. The elegiac theme is pleasing to the ear, but to far-too "beautiful" for the scenes of Charles Martin Smith's and Connery's deaths. The brassy "triumphant" theme is likewise very good, but too euphoric for shots of people being riddled with bullets. And I've rarely heard anything as insanely misplaced as those rock 'n roll drums for the scene of Al Capone in his hotel room. What was Morricone thinking???

Paul MacLean wrote:And I've rarely heard anything as insanely misplaced as those rock 'n roll drums for the scene of Al Capone in his hotel room. What was Morricone thinking???

It was the 80's, the drum machine decade.

It was the 80's, the drum machine decade.

And I'd much rather hear that than every score today sounding like Hans Zimmer and his minions with their drum machines, strings, synths and percussion making every score sound exactly the same.

I know where Paul is coming from. It WAS the '80s, but I still think it's one of Morricone's better scores -- big, bold, heroic theme; very melodramatic, emotional passages; the Capone material is likewise brassy and larger than life. The thematic material is very strong throughout. Is it too much? Maybe in another film, but I think it suits DePalma's operatic, go-for-broke approach to the material. From the Eisenstein homage with the baby carriage to DeNiro's showy cameo and Connery's great performance, the film is like a celebration of film itself in terms of its dramatic execution. It's a movie, first and foremost, and not a "realistic" depiction of the Ness story necessarily. Along those lines, for me it's DePalma's most purely entertaining film...just wish it had a better Blu-Ray transfer. It's not AWFUL but it is dated by BD standards.

The Hunger Games

Superior thriller, not a little influenced by The Running Man, but far-more suspenseful and emotionally engaging. The costumes and make-up in the city scenes seemed a bit over-the-top to me (and did anyone else notice a distinct "Wizard of Oz" feel to that segment of the film?) but the performances were phenomenal. This is a film that could have collapsed without the right actress in the lead, but Jennifer Lawrence is amazing, and expresses the myriad of emotional states of her character -- who is by turns frightened, ruthless, brave, tender or feral -- in an absolutely convincing performance.

I also appreciated the film's observations on how reality TV is creating a nation of voyeurs, and the way that many (most?) viewers seem relish watching the misfortunes TV producers impose on the "stars" of such shows.

My only problem with this film? There's no real score. The music -- as in so many films today -- doesn't make much of a contribution, and primarily serves as white sound or glorified sound effects.

The score didn't do much for me either. I also was curious as to the backstory of the civilization itself -- felt like something was missing there. Lawrence though, as she was in WINTER'S BONE (well worth checking out), is a tremendous, genuine talent. X-Men really didn't give her much of a chance to shine, but this movie really did and, like you said Paul, she carries you through the film. Plus she's attractive and not an anorexic looking heroin addict like most actresses these days!

It is true though -- the movie felt like they threw Running Man, American Idol, Logan's Run, etc. into a blender...but it worked and was well done.

Too bad the film was RUINED by that oh-so-trendy shakey-cam nonsense.