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rsd22
Reviews
The Perez Family (1995)
Unfocused
I love Marisa Tomei's acting ability and expected a lot from this movie because of her. She is, in fact, the unchallenged star, and the film is clearly a must-see for her fans. However, I didn't think the story itself worked as a romantic comedy - - there's a child murdered as a plot point, for heaven's sake! It could have worked as serious drama, and occasionally drifted in that direction, but 'drift' is the operative word here. Even some of the attempts at comic elements, such as the naked 'father-in-law', the paranoid brother-in-law, and the ironic by-play between the federal agent and the police woman seemed forced and contrived. And the romantic tension between Angelica Huston and Chaz Palminteri is non-existent, although we are supposed to believe it overcomes the love she has maintained for 20 years for the husband left behind in Cuba - and now restored to her. Watch this film for a great Marisa Tomei performance, but don't expect much more.
Bridget Jones's Diary (2001)
Four Reasons to See this Movie - None of Them Important
I can't remember watching a film after which I felt less interest in the fate of ANY of the characters. The story is told without any feeling or energy whatsoever, with the sole exception of the Hugh Grant role (Daniel), and even he is far below his usual standard. Colin Firth is so wooden he has caused me to re-evaluate my opinion of the acting talent of Keanu Reeves. The film is nominally a romantic comedy, but the degree of apparent romantic attraction between Bridget and Mark (Firth) can only be described as microscopic even at the end of the film, when they've managed to get together. It's also hard to see what Daniel (Grant's 'Mr. Wrong') sees in Bridget, who is consistently presented unattractively, with respect to clothing, behavior, physical attributes, and personality. Perhaps it's that the two of them are equally shallow. As for comedy, the film (ie. the director) time after time walks away from potential significant comic scenes with a whimper, not a bang. This, after taking some pains to set those scenes up. Cases in point: the fire station interview, and the tarts and vicars party. In both of these cases we are apparently supposed to take the semi-exposure of Bridget's ample backside as sufficient comic payoff for the setup. This is more like British TV humor of the Benny Hill genre than what I expect to see as humor in a major motion picture. Given all of the above, and in all fairness, there are indeed four reasons to see this film: (1) Bridget's speech at the book launch, which is actually quite funny, (2) the fight between Daniel and Mark with their apologetic asides to the restaurant patrons as they trash the place, (3) Zellweger's British accent, which I wouldn't have thought possible, and (4) Daniel's stunning book-lined apartment, which appears, unfortunately, only briefly. None of these, of course, are important.
Le fabuleux destin d'Amélie Poulain (2001)
Insufferably Cute
This movie tries WAY too hard to be quirky and cute. The first ten minutes are pleasant enough, but dismay sets in when one realizes that the smirks are going to continue for almost two hours more. Perhaps I was expecting too much, given the reviews this film has received. But - people - there is no content here, only style. And the style gets old very quickly. I'm a great fan of romantic comedies, but Amelie doesn't even fit that genre well. The few plot twists (for example, the traveling gnome) are not set up well, leaving the viewer wondering what is going on, rather than being a participant in a delicious secret. Romantic comedy should involve several intertwining plots, which the viewer is aware of but the characters are not, with the plot 'intersections' generating sparks that can be both anticipated and savored by the audience. 'Sliding Doors', which I happened to see shortly after 'Amelie', was so superior in this respect that I cannot understand the higher regard in which the latter seems to be held. 'Amelie' is strictly linear; there are side-stories, but they involve no surprises and they have absolutely no impact on the main story. (I suppose the resolution of the traveling gnome mystery and the nature of the repeating photo-booth customer could be regarded as minor surprises, but they were revealed in a strictly linear way, and had no impact on the main story line). Rated at 5, and only that high because it's technically well done, and Audrey Tautou is indeed cute.
Eternal Sunshine of the Spotless Mind (2004)
Flawed, but a gem nevertheless
The theme, the story, the acting, have been covered thoroughly by other reviewers here, and I won't cover these topics yet again. On the whole I agree with the majority that all of these were excellent.
The film would have been excellent in all respects were it not for two factors that I haven't seen discussed much, if at all, elsewhere. One of these is artistic and the other a combination of artistic and technical. First, the sequences of Joel's "internal" mental scenes as Clementine is being erased from his memory are too long - two or three or even six or seven surreal and poignant fading memories would have been plenty - by the time I'd seen what seemed like a dozen or more the point(s) had been made, I began to check my watch, waiting for the _story_ to move onward, Second, the excessive hand-held camera work is annoying. I realize that this cinematographic style is a current fad, but it was really quite distracting particularly in the first 45 minutes or so. While it never reached the nausea level, the continual camera motion kept me from getting "into" the film for quite a while. The overall feel of the film is clearly intended to be surreal, rather than real, so, with due respect to the director's expertise, I would maintain that the realism implied by the hand-held camera actually interfered with the intended artistic impression.
I started out expecting a 9 based on reviews; halfway through the film this had dropped to a 5 or so; by the end I was back up to an 8, which would have been 9 except for the two factors I've just mentioned.
My Cousin Vinny (1992)
Not deep but perfect
Have just finished watching this for about the 10th time in as many years. It never fails to delight and each viewing reveals a new small perfect detail. Lack of energy in the acting by the two 'criminals' makes them non-entities, which is OK, because everyone else is perfect and the movie clicks like a well-oiled machine. Marisa Tomei wears her part as perfectly as she does her outrageous New York outfits, and this tends to obscure what a great job the other major actors and director have done in polishing this gem. See it when you want to walk away feeling really good. One caution: your 'street language tolerance' must be at least medium, although the language used by all the characters (from street to stately) is an essential part of the film's flavor.
Ocean's Eleven (2001)
Not really bad, just dull
Virtually no electricity among, or emanating from, the cast members. Director pulled off the miracle of turning the crime of the century into a series of 1-second cuts that destroyed any sense of continuity or suspense. Don't expect another Topkapi, or even another (old) Ocean's Eleven.
Saving Grace (2000)
Liked it, but disappointed in the end.
A delightful gentle comedic gem, until the last five minutes, which degenerate into run of the mill British TV farce. The last five minutes cost it 2 points in my rating. Despite this major plot and style flaw, it's worth watching for the character acting and the unique Cornwall setting. Many fine little bits to savor, like the tense eternity we all go through waiting for the bank approval after the clerk has swiped the credit card...made more piquant when we're not - quite - sure the card is not maxed.
Les dimanches de Ville d'Avray (1962)
Best movie I've seen in sixty years
Saw this film three times when it was first released in the sixties - the last time walking two miles in pouring rain and skipping study for a college math final the next day. I have not seen a film before or since that has had as powerful an effect on me. If you want to be moved and shaken at the beauty and tragedy of the human condition, see this film. Unfortunately, the video quality is poor, but see it anyway.