Category Archives: 2001 Movies
Donnie Darko (Jake Gyllenhaal) is your normal malcontent teenager in late 1980s Regan America. He bickers with his older sister, worries over the right moment he’ll kiss his new girlfriend, and tries to ignore the advice of many imprudent adults. Donnie’s your typical teenager, except for his imaginary friend Frank. Frank is a sinister looking six-foot tall rabbit that encourages Donnie into mischief and gives a countdown to the impending apocalypse. And I haven’t even gotten to the time travel yet.
One night as Donnie wanders from his home at the behest of Frank, an airline engine mysteriously crashes through the Darko home and lands directly in Donnie’s room. The airlines are all at a loss for explanation, as it seems no one will take responsibility for the engine or knows where it came from. Donnie becomes a mild celebrity at school and initiates a relationship with a new girl, Gretchen Ross (Jena Malone). One of his classes consists of watching videos of self-help guru and new age enlightenment pitchman Jim Cunningham (Patrick Swayze). His school has even, under the persistence of self-righteous pain Kitty Farmer, persuaded Cunningham to speak and try to help students conquer their “fears.”
Donnie is also seeing a therapist for his emotional problems and taking medication for borderline schizophrenia. Around this time is when Donnie starts to inquire about a strange old woman, obsess over the possibilities of time travel, as well as see weird phosphorescent pools extend from people’s chests. He also floods his school at the urging of Frank. This is no Harvey type rabbit.
The longer Donnie Darko goes on the more tightly complex and imaginative the story gets. First time writer-director Richard Kelly has forged an excitingly original film that is incredibly engaging with charm and wit. He masterfully mixes themes of alienation, dark comedy, romance, science fiction, and a sublime satire of high school. Donnie Darko is the most unique, head-trip of a movie unleashed on the public since Being John Malkovich. Kelly has a created an astonishing breakthrough for himself and has ensured he is a talent to look out for in the future.
Gyllenhaal (October Sky) is superb as disenchanted Donnie, a Holden Caulfield for middle suburbia. His ghastly stare conveys the darkness of Donnie but his laid-back nature allows the audience to care about what could have merely been another angst-ridden teenager. Swayze is hysterical as the scenery-chewing Cunningham. The rest of the cast is mainly underwritten in their roles, including stars Drew Barrymore (who was executive producer) and ER‘s Noah Wyle, but all perform admirably with the amount they are given. Not every plot thread is exactly tidied up but this can easily be forgiven.
Donnie Darko is a film that demands your intelligence and requires you to stay on your toes, so you can forget any bathroom breaks. The film is one of the best of 2001 but also one of the funniest. You’ll be honestly surprised the amount of times you laugh out loud with this flick. The theater I saw this in erupted every half a minute or so with boisterous laughter.
Donnie Darko is a film of daring skill and great imagination. You don’t see too many of these around anymore.
Nate’s Grade: A
Monster’s Ball has already garnered two Oscar nominations, including one for the lovely Halle Berry for Best Actress, and received numerous end of the year accolades. Is Monster’s Ball the startling ruminations on race that you’re being told? Well yes and no.
Set in the South, Hank Grotowski (Billy Bob Thornton) and his son Sonny (Heath Ledger) are prison guards at the state penitentiary and preparing for an execution. The man to die is Lawrence Musgrove (Sean Combs) who will be leaving behind an overweight young son and making a widow out of Leticia (Halle Berry). The tension in the Grotowski home escalates especially as Hank has chosen to care for his own ailing father (Peter Boyle), who still finds the time to spout out racist rhetoric through an oxygen mask. One last confrontation leaves a permanent mark of emptiness on the family.
Leticia is struggling to just make ends meet and fight an impending eviction. Her car keeps breaking down on her, she’s been let go from her job as a waitress and she has to raise a son by herself all the while trying to encourage him to lose weight. Leticia is breaking down and her world around her is crumbling. One night Leticia gets into an accident walking home along the roadside and needs assistance badly. The one who pulls the car aside to help is actually Hank. As time goes by he helps Leticia however he can whether its giving her a ride home from the diner or just staying with her so she won’t be alone.
Hank and Leticia come together out of mutual need and grief. They are two people entirely wrong for each other that kindle a passion that seems to transcend race. Leticia needs someone to take care of her, after having a husband on death row and fighting to stay above the poverty line. Hank needs someone to take care of, out of a mixture of compounded loneliness and grief.
Thornton reprises the repressed protagonist of The Man Who Wasn’t There with his portrayal of Hank. His lips are pursed, looking a tad like Mr. Limpet, and he expresses more with a furrowed brow and stare than words could manage. Thornton’s performance is good, and the audience does really end up rooting for Hank, but the performance doesn’t resonate, possibly because of the writing for the character. I guess one could say Monster’s Ball is Halle Berry’s legitimization as an actress. Berry gives the performance of her career and has moments where she’s on the verge of ripping your heart out.
Monster’s Ball is not exactly the scorching portrait of race relations that it has been hyped to be. It’s really more of a story about two characters with race being underscored except for a convenient occasion where it can become the catalyst to a fight.
The film also takes some of its metaphors rather simply. The connection between father and son includes Hank and Sonny using the same prostitute. Hank eats every night in the same diner and always orders a bowl of chocolate ice cream (get it?) and black coffee (get it?).
All the ballyhoo over the explicit sex scene (thank you so much news-fluff) is undeserving. The sex scene is no different than a hundred seen before and many on Showtime during the late hours. The scene serves its purpose thematically in the story for its characters but it really isn’t “hot and steamy” as it’s been dubbed to be. Move along, folks.
Besides the acting Monster’s Ball has some other accomplishments up its sleeve. The cinematography is gorgeous and uses lights and darks to an incredibly effective degree. There are many scenes where you might be paying more attention to how the scene looks than the scene itself. The music is also commendable for the simple task of not becoming intrusive and actually enhancing the story. This is what scores are intended to do.
Monster’s Ball may be the biggest suck-in-air-uncomfortably movie to come out in a long time. I found myself enacting this measure every time someone did something horrible, said something racists or surprisingly died. This may be because I had the entire theater to myself for my own amusement. Monster’s Ball is certainly a well-written and well-acted film. It’s just not up to snuff when it comes to Best Picture speculation.
Nate’s Grade: B
Denzel Washington won an Oscar for this? Instead of Malcolm X? For THIS?! Yes he gets to huff and puff as he plays against type as a dirty cop, but is this reason alone to give an Academy Award to such a forgettable and collectively implausible film? Ethan Hawk, his co-star, is actually better in the film. All I can say is right actor, wrong movie. It’s like rewarding Kevin Spacey for Pay It Forward over the other screamingly better movies. It doesn’t make sense. There are plenty of hip-hop stars making cameos or small roles (Dr. Dre, Snoop, Macy Gray) but most of the time Training Day feels like tired and dead air especially as the contrivances begin to pile onto one another the longer this day goes. And Denzel is huffing and puffing but the house still stands. Man, the voters must really have not wanted Russell Crowe to win.
Nate’s Grade: C-
In the fall of 1993 Somalia was a nation being torn by civil war with feuding warlords and slowly being crippled by rampant hunger. The UN intervened to try feeding the starving nation but warlords like Mohamed Farrah Aidid cut off many of its shipments of food. The United States had plans to capture two top lieutenants of Aidid’s in the capital of Mogadishu. Over 100 Delta units and Army Rangers were sent into the heart of the Mogadishu market to execute the operation.
Things didn’t go well from the start as casualties began to pile up and first one, then two Black Hawk helicopters were shot down from ground fire. Medical vans and Humvees were continually blocked access to help the stranded soldiers by civilian roadblocks consisting of smoldering debris. It wasn’t supposed to take longer than 45 minutes. It ended up lasting over 15 hours. In the end 18 American lives were lost, over 70 were wounded, and over a 1000 Somalian lives were lost. What’s truly amazing is the courage the men displayed, and the fact that being surrounded by a sea of armed Somalians that more lives weren’t lost.
Black Hawk Down is essentially a two-hour action sequence. The emphasis of the film is on the stark recreation of the Somalia skirmish and it is indeed an achievement in grueling realism. You truly feel like you have been thrown into the middle of this firefight. With all the gunfire and chaos it leaves little time for getting to know characters. This is probably why they have names written on their helmets so the audience can attempt some semblance of who’s who.
The film is by no means for the faint of heart. Saving Private Ryan had some intense violence, but it was mainly condensed for the opening and closing 20 minutes. Black Hawk Down, on the other hand, is two straight hours of non-stop blood and gore. The violence and the intense realism are not gratuitous but indicative of the horror these men faced. If you can’t stomach a soldier plunging his entire forearm into the chest cavity of another to cut off a bullet wound – stay at home and read a good book.
Ridley Scott is on an ultra-violent hot streak after directing big name Hollywood tokens like Hannibal and Gladiator. His handling of Black Hawk Down is masterful, just for the simple fact of keeping the audience free from confusion. Throughout the duration we know who is where, where they want to go, and the general geography of the hot spot. The staging of the entire battle is beautifully filmed and the recreation of the Mogadishu market place is amazing in its fine detail. Some criticism has been projected at the film for portraying the Somalians as basically black people with guns. This is entirely true, but one must remember that the film is told from the American point of view.
The acting, as expected in a war film, takes a back seat to the heroic histrionics and the fireworks. Josh Hartnett is sullen in his duty as Staff Sergeant Matt Eversmann but always a comfortable figure to see on screen amidst the chaos. Ewan McGregor plays a soldier promoted to action instead of desk work and adds some touches of humor to the fray. Tom Sizemore is the most recognizable person as the often-frustrated Lt. Colonel Danny McKnight who fearlessly strolls across the battlefield while bullets whiz by.
Black Hawk Down for some will be the right movie at the right time, though it was never intended to be. The riveting action is more than entertaining and worth admission price, but you might leave pondering on the sacrifice few know the full details. Just make sure to go to the bathroom before the film starts.
Nate’s Grade: A-
Never, under any circumstances, do you want to piss off Gandhi. Sexy Beast is a British crime story where the ferocious mad dog Don Logan (Ben Kingsley) is trying to recruit a retired hand (Ray Winstone) into one last job back in London. Winstone is enjoying the sun of California with his middle-aged ex-porn star wife who he loves dearly. But Don does not take “no” for an answer. Kingsley is the true focal point of the film and is astounding and brutally terrifying as the wound up gangster. He gives an electrifying performance that is the polar opposite of India’s non-violent leader. When Kingsley vanishes from the screen Sexy Beast suffers and becomes a variation of the old crime film, except a very short one at that being under 90 minutes of running time. Video director Jonathon Glazer has done a fine job for his debut but there isn’t much to this tale without Kingsley’s memorable efforts.
Nate’s Grade: B
Talk about a film’s back story. Tom Cruise signed on to do a remake of the 1997 Spanish film Abre Los Ojos (Open Your Eyes) which was directed by Alejandro Amenabar. During the filming the romance between Cruise and Penelope Cruz (no relation) got a little hotter than expected onscreen and broke up his long-standing marriage to the luscious Nicole Kidman. At the time she was finishing filming The Others which is the second film by Amenabar. This, by the way, is much more interesting than Vanilla Sky unfortunately.
Cameron Crowe’s remake starts off promising enough with Tom Cruise running around an empty Times Square like a Twilight Zone episode. Afterwards the film begins to create a story that collapses under its own weight. David (Cruise) is a rich boy in control of a publishing empire inherited through his dear old deceased dad. He has the time to throw huge parties where even Spielberg hugs him, and even have crazy sex with crazy Cameron Diaz, whom he tells his best friend (Jason Lee) is his “f*** buddy.” David begins to see a softer side of life with the entrance of bouncy and lively Sophia (Cruz) and contemplates that he might be really falling in love for the first time. But this happiness doesn’t last long as jealous Diaz picks up David in her car then speeds it off a bridge killing her. Then things get sticky including David’s disfiguration, his attempts to regain that one night of budding love and a supposed murder that he committed.
Crowe is in over his head with this territory. His knack for wonderful exchanges of dialogue and the perfect song to place over a scene are intact, but cannot help him with this mess. Vanilla Sky is an awkward mish-mash of science fiction. The film’s protagonist is standoffish for an audience and many of the story’s so-called resolutions toward the end are more perfunctory than functional. The ending as a whole is dissatisfying and unimaginative. By the time the wonderful Tilda Swinton shows up you’ll likely either be asleep or ready to press the eject button yelling “cop out!”
Seeing Vanilla Sky has made me want to hunt for Amenabar’s Abre Los Ojos and see what all the hype was about, because if it is anything like its glossy American counterpart then I have no idea why world audiences went wild for it. I mean, it’s not like you can’t see a nude Cruz in other movies. She’s like the Spanish Kate Winslet.
Nate’s Grade: C
Spoofing is often believed the cheapest and lamest form of comedy. One runs jab after jab, and gag after gag relentlessly hoping that some hit but content that if they don’t more will follow with the potential to. But many of the jokes in a spoof aren’t textured; there’s nothing below their surface. Spoofs can be done well or they can be embarrassing and wretched to sit through. Count Not Another Teen Movie in the latter category.
At John Hughes High School (can you feel the parody, can you?) it’s life as we know it for stereotypes and clichés. The Bitchy Cheerleader has just dumped the Popular Jock and the Cocky Blonde Guy has initiated a bet that PJ cannot turn anyone into prom material. The men size up their choices, including an albino girl singing about her lost pigmentation (one of the few funny gags), and decide on the Pretty Ugly girl who is beyond all hope with her glasses and ponytail. Meanwhile, the Cruelest Girl is trying to find a way to seduce her brother, the Popular Jock, a trio of Virgins try and, what else, lose their virginity, and the Best Friend with Hopeless Crush tries to work his klutzy charm.
In a genre full of Freddie Prinze Jr.’s greatest hits (or misses, however you want to look at it) a parody wouldn’t be too difficult to prescribe. All too often the film has no edge and falls back on scatological humor as its savior once too often. An exploding toilet and a flying vibrator can only do so much. There has to be things behind it. Alas, there is nothing. For every one part funny (a character tries to find the right moment to start a slow and building applause) there are three parts inane, satirically flaccid, crudely useless, or bordering on exploitative (the foreign exchange student who drapes around completely nude the entire film). The jokes arrive many times cold and require a good deal of familiarity with the subject material it’s spoofing. NATM seems to not think too greatly of the audience for it. The film continually seems to explain jokes after they happen or reacquaint the audience with the source for spoofery. The worst example may be that the movie has to SHOW a character watching a scene from ‘Pretty in Pink’ mere seconds before it spoofs that very scene.
The movie, as a whole, has about six good gags and bits but the rest is watch-checking time. Some comedic threads don’t even get the proper treatment to become good jokes. The Token Black Guy’s introduction is rather funny, but then all he does in the film is repeat the words he said he could only say. Now, if the other characters had begun to question this law of teen movies, and asked him questions then this idea could have been ripely handled. As it stands it’s another joke in a line of jokes that go nowhere but we keep going back to repeatedly.
The flick was directed by Joel Gallen, marking his film debut after years as an MTV producer. Gallen shows no finesse when it comes to comedy as everything is rammed into the ground. His film is a spoof with nothing to do, much like the bad but better Scary Movie 2 earlier this year. Jokes come and go but they serve no purpose in moving things along or setting up greater jokes. This is comedy lost in the woods.
NATM is an attempt to satirize the teen genre, which should have been a rather easy job to do but instead just becomes another sad addition to it. And a rather poor and limp addition at that. NATM doesn’t know that the audience isn’t laughing with it but at it.
Nate’s Grade: C-
In the Bedroom hits all the right notes of agonizing pain, devastation and loss. The heart of the film is on the grief encompassing Matt and Ruth Fowler (Tom Wilkinson and Sissy Spacek) over the loss of their son. The Fowlers are well regarded in their cozy New England town. Matt is a flourishing local doctor and Ruth teaches a chorus of local high school girls.
In the Bedroom opens with Frank Fowler (Nick Stahl) chasing his older girlfriend Natalie (Marisa Tomei) across an open grassy field. Frank is a budding architecture student home for the summer and thinking of prolonging his time so he can stay together with Natalie. Frank and Natalie have a distinct age divide but also seem to have been given different lots in life. She has a pair of boys from her abusive husband Richard (William Mapother) that she is finalizing a divorce from. Richard is hopeful he can reconcile with Natalie if he just gets another chance, but Natalie is stern in her refusal.
Ruth sees the relationship as a detriment to her son’s future. She’s even more upset that Matt is so casual with their son dating an older, working-class mother. Frank rushes over to calm Natalie after another of Richard’s outbursts of violence has left her house in shambles. She rushes her children upstairs just as Richard returns back. He manages to sneak in through a back door and confronts Frank in their kitchen, shooting and killing him. What should seem like a clear-cut case begins to unspool. Natalie admits she didn’t actually see the gun fire and the charges are dropped from murder to manslaughter. Richard is released on bail and free to stroll around occasionally bumping into the grieving and outraged Fowlers.
The majority of the film is the aftermath of the murder and the strain it puts upon Matt and Ruth and their marriage. Beforehand jealousy, anger, and bitterness would simply sit but slowly the tension begins to bubble to the surface. Ruth holds resentment and blames the leniency of Matt for the death of their son. Matt tries to get out of the house as much as possible, even if it means sitting in his car in their driveway at night.
One of the most harrowing scenes of In the Bedroom is also its emotional and acting centerpiece. After the mounting frustration with justice, Ruth and Matt explode into an argument that had slowly been building long before their son’s death. This is the first time they have truly talked about the whole situation and accusations fly like bullets in their first emotional confrontation. In the Bedroom could have easily fallen into the area of sticky made-for-TV land, but the exceptional performances all around by the cast and the deft and studied direction never allow it to falter.
Spacek (Carrie, Coal Miner’s Daughter) can begin writing her Oscar acceptance speech right now. Her portrayal of Ruth displays the pride and seething anger, but keeps her human throughout. She exhibits pure, raw emotion that strikes directly inside you leaving a knot in your stomach and in your throat. Her performance is truly breathtaking and so emotionally visceral to watch. Wilkinson (The Full Monty) plays Matt with passive-aggressive doubt and repression. He dominates in any scene he is in and takes the audience on a wide range of emotions. He has a commanding presence and compliments Spacek’s Ruth nicely. Perhaps the greatest thing Tomei (My Cousin Vinny, Slums of Beverly Hills) was known for was miraculously winning an Oscar and dumbfounding a nation. With ‘In the Bedroom’ she is given the ubiquitous “And” credit at the end of the opening cast list. She has less to work with and less screen time to work it, fully earning the “And”‘ credit she has.
Todd Field is an actor-turned-director and has appeared in such a wide array of films from Twister to Eyes Wide Shut. Field has layered his film with rich symbolism and an intelligent, patient pace. Most of the action in movies is centered on what is going on in a scene, but the most telling moments of In the Bedroom are what are not going on in the scenes. Field creates such an intimate portrait that the camera almost turns into another character, catching the lingering silences and the burgeoning inner turmoil. Field also adapted the screenplay from a short story by Andre Dubus, whom he dedicates the film to.
In the Bedroom is not going to be for everyone. Some will find it slow and some might even find it boring. As it stands, it is a powerful film on the study of loss that grips you and refuses to let go. You will feel all the blame, jealousy, anger, and pain of this family and for such emotions to resonate from the screen to the audience is a great achievement.
Nate’s Grade: A
If you don’t know about Harry Potter at this point you must be living under a stone, perhaps a Sorcerer’s stone. The little tyke with glasses and a lightning scar has become a sensation across the seas and of course a big budget movie was merely just a matter of time. The imagination of author J.K. Rowling is bustling with a complex world that has given her acclaim from children and parents all over, not to mention made her filthy rich. The movie is a meticulously faithful adaptation but this is both its strength and its weakness.
The story of Harry Potter is a long and complicated one, full of numerous funny names as well. Harry (Daniel Radcliffe) is an orphan living with his nasty aunt (Fiona Shaw) and uncle (Riachard Griffiths) who force Harry to live under the stairs. Harry is informed one night by a gigantic and bearded figure named Hagrid (Robbie Coltrane) that both Harry’s parents were magically inclined and he is to gather his own education at Hogwarts School of Magic. On his way there, after picking up supplies in a special place I have forgotten totally the name of, Harry meets and befriends the aloof Ron Weasley (Rupert Grint) and the Type-A studious Hermione Granger (Emma Watson). Once there Harry picks up a rival in Draco Malfoy, a cold glare from Professor Snape (Alan Rickman), a good scare from a poor CGI three headed guard dog, and a mastery in the art of broomstick flying. The school sessions are a barrage of characters and minute plot points that readers will just be grinning that have been included.Through later revelations it is divulged that Harry’s parents were killed by the powerful wizard Lord Voldermort. It seems that old Voldy for whatever reason decided not to kill Harry. Thus because of this Harry has worldwide fame as the boy who lived against Voldermort. It seems as well that this evil wizard is trying to achieve immortality by using the advantages of the hidden Sorcerer’s stone. It’s up to Harry and his friends to stop this from happening.
Chris Columbus (Home Alone, Mrs. Doubtfire) wrestled this franchise away from such directorial heavyweights like Spielberg, and it’s clear to see why he was selected. Rowling ordered the movie adaptation to be completely faithful to her book, and Columbus is a director with no remarkable visual flair or distinct vision. Everything that is occurring is so faithful to the book that it has no individual flavor or distance. It’s directing with your hands tied, which is fine for most people. With this project he seems like he is basically a go-between with Rowling and the studio suits. Basically it should be Rowling’s name for the director’s credit because she’s the one with the vision being translated.
Large portions of this film need to carried by the acting of several of its young stars and it’s quite a 120 million dollar weight. For the most part the child actors in Harry Potter deliver. Emma Watson is the standout as Hermione, with her extra energy and enthusiasm in every step and every smile simply winning over the audience in spades. The only real detraction acting wise in the entire film is, unfortunately, the star. Daniel Radcliffe plays Harry in a very stiff manor and spends most of the film looking overly subdued. After you experience more time with the other characters in the film one realizes how frightfully dull the character of Harry Potter really is. Any of the characters would be more exciting to watch than Harry. As characters go, he’s about as interesting or entertaining as stereo instructions.
Harry Potter contains an all-star all British cast for the fanciful faculty of Hogwarts. Everyone seems so meticulously cast that they were born to play these roles. Richard Harris becomes a gentle grandfatherly figure as the headmaster. Robbie Coltrane is a large and lovable figure that the audience can rely on again and again. Richard Griffiths is so over-the-top in a very entertaining light. Alan Rickman owns every scene he is in with such a snarling and full-of-life presence. He is perfect, as is most of the adult casting.
The most exciting moment of the film occurs during a match of Quidditch, which is basically like rugby in the sky. Two teams on broomsticks whiz and zoom around one another in a fierce aerial competition. At this moment Columbus can declare himself the true director. The entire sequence is done that it perks the viewer’s imagination and also provides great moments of excitement. Seeing the scene itself was a testament to the wizardry of special effects.
The length of Harry Potter and the Sorcerer’s Stone clocks in around two hours and thirty minutes, which might seem like an eternity to small children if they weren’t so overly obsessed with the book series. The film is structured more like a novel than a screenplay (again with the induced restrictions), so instead of a usual three-act system it has moments that drag and moments that seem to go on endlessly (like the final near obstacle course the three kids must go through). The entire first hour or more is set-up explaining all of the characters and the world they inhabit, then they just sneak in a mention to the Sorcerer’s stone toward the end and introduce our titular story line. Hopefully, with the set-up out of the way now, the next movie will be a tad shorter.
Harry Potter is a worldwide phenomenon that is already breaking box-office records and parents’ bank accounts. The first four books have been optioned by Warner Bros. so expect to see an armada of kids dressed up in Halloween costumes around Thanksgiving for the next few years. Harry Potter is a fairly light-hearted but entertaining venture that I wouldn’t mind revisiting and reacquainting every now and then like an old friend.
Nate’s Grade: B
The Coen brothers dark, twisty entry to the world of film noir looks mind-blowing with its black and white lensing. And the story is great too. Billy Bob Thronton plays a barber who gives new definition to the word passive. One day a customer lets him in on an up-and-coming financial project and if Thronton were to provide some dough then surely he would rake it in. As with most film noir, the normal man is thus pulled into the web of intrigue and crime. The ball gets rolling after Thornton blackmails his wife’s tryst (James Gandolfini), who also happens to be her boss and his friend. Things get far more complicated from there and nothing seems to go right as Thornton makes one bad decision after another. The Man Who Wasn’t There is an engaging and smart drama with game bits of comedy strewn at key moments. The Coen brothers are a pair not very easily topped when it comes to excellence in films, and this latest entry is a wonderful addition to their resume.
Nate’s Grade: A-