Tag Archives: Kick-ass!

O Brother Where Art Thou?

Did you know that O Brother Where Art Thou? is an homage to/rip off of Homer’s Odyssey?  Probably.  Did you know that neither of the Coen brothers read the Odyssey before writing this movie?  Probably not.  Having not read the Odyssey myself, I can’t say how accurate the movie is, but when the songs are so toe-tappingly great (in a depression-era sort of way), any lingering concerns about literary accuracy quickly fade.

If you read our site even a little bit, you probably know we are big fans of the Coens.  O Brother is the third Coen brothers film I ever saw (Barton Fink was the first, thoroughly confusing ao-brother-where-art-thound terrifying me at age 14, and Fargo was the second, and at age 20 I was not quite ready to embrace the weird mix of funny accents and wood-chipper gore).  I remember finding O Brother much less creepy than Barton Fink and much easier to digest than Fargo (while also noticing that funny accents were featured in all three).  In fact, I would give this movie most of the credit for making me track down other Coen brothers movies instead of writing them off as more of the same from the guys who were responsible for John Goodman and Peter Stormare stalking me in my nightmares.  So thanks, O Brother, for being my gateway drug to The Big Lebowski, No Country for Old Men, Inside Llewyn Davis, Hail Caesar, and so many more!

Basically, if you haven’t seen O Brother, you should.  It’s not necessarily a classic, and for my money it’s lingering somewhere in the o-brothermiddle of the pack for the Coens, but it’s a great appetizer for their other stuff.  It’s also a fun standalone movie that has a fantastic soundtrack and a bunch of crazy characters doing strange things.  And if you have seen it, why not see it again, if only to notice for the first time (like I just did) that frequent Coen collaborator John Turturro is one of O Brother’s main characters.  Either way, you can’t lose!

O Brother gets a score of eight soggy bottoms out of ten.

 

Some Like It Hot

Joe and Jerry have the serious bad luck of witnessing the St. Valentine’s Day massacre and need to get out of town fast. The only gig leaving the station is with an all-woman band, so Joe and Jerry show up as Josephine and Daphne, and the rest is comic gold.

some-like-it-hot-tony-curtisTony Curtis and Jack Lemmon are dubious women but the disguises prove necessary when the very gangster they’re trying to avoid shows up uncomfortably close. The disguise is a further hindrance when Joe starts to fall for a fellow musician, the band’s fox ukulele player, Sugar Kane (Marilyn Monroe).

To be honest, I’m tickled just writing the synopsis. When, in 2016, do you get to write such words? Billy Wilder, you’re still the man. This is one of my go-to, feel-good movies. It never fails to make me laugh.

It was a super tough shoot though, because one of the stars was a bit of a diva. I’ll give you 3 guesses but you’ll only need one.

Marilyn never knew her lines. Not a one. It took 47 takes to get 3 little wordshero_EB20000109REVIEWS081090301AR correct: “It’s me, Sugar.” She kept saying “Sugar, it’s me” or “It’s Sugar, me” which is harder to forgive. After the 30th take Wilder had the line written on a blackboard but one still wonders why a further 17 were required beyond that. Another difficult 3-word line perplexed her further still. “Where’s the bourbon” often came out “Where’s the whiskey?” or “Where’s the bottle?” so Wilder had it written into the drawer she rummaged through. Then she couldn’t find the right drawer so he had it written in all the drawers. 59 takes tumblr_m6jcvlT4Bf1qgvdf9o2_500later, she says the line with her back to the camera so you can judge for yourself whether she EVER got it right. Meanwhile, Tony and Jack had to stand around in painful high heels while she flubbed line after line, which can’t have earned any goodwill.

Marilyn’s contract stipulated that all her pictures be shot in colour but Wilder managed to talk her into black and white. The makeup on the men wouldn’t have been nearly so convincing in colour, he felt. She was actually reluctant to do the film at all, concerned about playing a character so dumb she couldn’t tell the girls were really men in drag. They convinced her with cash – 10% of the gross, which turned out to be a fantastic deal.

Some Like It Hot has the badge of honour of being one of the few American movies ever given a “Condemned” rating by the Roman Catholic Legion of tumblr_nna8laPUpj1rdfgw4o1_500Decency. Kansas went one better though – the state banned the film from being shown there, explaining that cross-dressing was “too disturbing for Kansans”.  Luckily Vancouverites are made from heartier stock. As long as you aren’t pregnant and don’t have any pre-existing heart conditions, why don’t you check the film out at the Rio Theatre on July 6th. You won’t regret it.

And while you’re there, keep an ear out for the film’s famous last line. It was never meant to make the final cut and was just a place holder until the writers came up with something better. Both writers, I.A.L. Diamond and Billy Wilder, credit each other with coming up with it so I guess we’ll never know, but the “placeholder” has earned the 48th spot on the American Film Institute’s list of greatest movie quotes.

The Mexican

It’s been a long road back from back surgery, and I’m not out of the woods yet, I still have IMG_7429.JPGhealing to do, but the minute I had the tubes finally detached from me and I tasted a little freedom, Sean and I were leaving on a jet plane, headed for sunny Mexico.

One of my favourite offbeat comedies is The Mexican – totally incidentally, I’m sure. In it, Brad Pitt has shit luck. He’s the lowest rung of organized crime and is being sent to Mexico, against his will, “for one last job” to pick up a beautiful antique gun that just happens to be cursed. His girlfriend, Julia Roberts, is tired of this shit. She’s tired of her relationship going according to some mob boss’s whim. So they break up, profusely. He goes to Mexico and puts on a pretty good gringo act, and she drives to Vegas in her Bug, a woman scorned. Until she meets James Gandolfini, who kidnaps and holds her ansom for the ancient pistol.

I’m totally charmed by this movie every time I watch it. I love how Brad Pitt and JK Simmons are openly mocked by the Mexicans. I’m positively tickled by it. And I adore the chemistry between Roberts and Gandolfini. It’s not to be missed.

The Mexico in The Mexican is not the one tourists normally see. It’s dirt floors and seedy bars and low riders. It may be a Mexico that only exists in movies. Sean and I were in need of some rest and restoration, so opted for the good old all-inclusive resort side of Mexico (which is not real Mexico either, but it sure tastes pleIMG_7548asant), with the cheerful Mariachi bands and the frozen margaritas with salty rims.
We stayed on the Mayan Riviera and sunk our toes into the hot, white sand. We got uneven sunburns from underneath palapas. We renewed our vows beside an ancient temple, a ruin on a rocky island just metres from the beach. It was beautiful, as Mexico always is.

Zootopia

videothumbnail_zootopia_officialtrailer_disney_a4d0f4ceIn 2006, Disney purchased Pixar for the equivalent of $7.4 billion dollars. It’s becoming more and more clear how good a deal that was for Disney. Every Disney animated movie since has been amazing, from Wreck-It-Ralph to Frozen to Big Hero 6. maxresdefaultNot only is Zootopia another success for Disney, it may be the best of the bunch since John Lasseter and Pixar came on board, and that’s probably the best endorsement I can give.

The best part of Disney Animation’s renaissance is that these movies aren’t just for kids. They’re as enjoyable for adults as for little ones. Zootopia, for example, includes a spot-on reference to Breaking Bad! Striking that balance must be incredibly hard butb17 Disney has picked up the torch from Pixar in that area and is doing it as well as Pixar ever did. Zootopia is literally a movie that all ages will enjoy. So it’s one up on LEGO!

Most importantly, Zootopia’s underlying message is timely and may be more important for adults than kids at this point, given the horror that is the U.S. Republican party’s nomination process. We as Canadians dealt with some of the same terribleness in our recent election so it’s not just an American tactic.  Fortunately, enough of us were able to reject fear and demonization of minority groups to trump-chicago_wide-af9dd849d37a7079224f21dd42973b4aae2a4c88-s900-c85choose someone who wants to bring us together instead of tearing us apart. We really, really, really want to believe American voters will do the same (just like they’ve done in the last two presidential elections).  Please don’t let us down!

As for Zootopia, it is a movie that will definitely not let you down. It’s smart, funny and deep and you should totally see it. I give Zootopia a score of ten sly rabbits out of ten.

Boy & The World

1026025-watch-gkids-unveils-us-trailer-boy-and-worldThis movie looks different, feels different, sounds different. Actually, I’d heard it was a silent film, and that’s not quite true. There’s a smattering of dialogue, unsubtitled, but that didn’t bother me. The images and the score are so evocative they’ve already buried under your skin, and you know what’s going on even if you can’t decipher the words. I probably shouldn’t admit this next bit, but upon looking it up, I see that the language is actually just a made up one – backwards Portuguese, apparently – so Boy_and_the_World_2.0.0that may reassure you while making me look stupid. Incidentally, I don’t speak Portuguese forwards either.

Long story short, the film’s about a young boy searching for his father who has gone to the city in search of work, but the combination of sweet and simple imagery coupled with jaunty music and depth of imagination makes for a pretty powerful message. We see the world through the eyes of a child, and it’s as fanciful as you’d think, but it’s also reflective. I think the larger statement being made is a cautionary tale. At one point the boy seems to have found 960his father, only to find many identical men exiting an office building. Has his father become a clone? Has the city stolen his soul? Is there simply no difference between men who don’t make things with their own hands?I’m not sure of the exact sentiment the Brazilian film makers were hoping to convey, but that’s kind of the beauty of the thing. In its quiet, it allows the viewer to be making judgments for herself, and my reading of it was obviously pretty damning.

This film actually made its debut right here at the Ottawa International Animation Festival where it received special honours “Because it was full of some of the most beautiful menino_mundo_01_wide-31e6e3590ce09f3e938c01ad238ba8e1298eac2f-s900-c85images we’ve ever seen” and I think that’s putting it mildly. It’s some of the most innovative work I’ve seen in a while, despite the fact that the main character is basically a stick man, truly thrilling to watch and absorb. There we go, that’s what I’ve been getting to this whole time: it’s a movie that you don’t just watch. You experience it. The visuals feel quite personal and they take you back to your own childhood while thrilling you and keeping you guessing. All the drawings were hand-made The-Boy-And-The-World-thumb-600x350by the Director, Alê Abreu, and I just love how he makes this very basic character come to life against a geometric, swirling, abstract background. It’s moving. This is an image-heavy post, and I think you can tell it’s for good reason. Yes, I could talk about this all day but honestly, this is one you’ll have to see for yourself, if only you feel up to risking the nontraditional style.

45 Years

When I first got married, I used to fantasize about a 40th wedding anniversary. As one character in 45 Years puts it, a good marriage is “so full of history”. I couldn’t wait to start living forty or more years of history with the woman I was marrying and to one day hopefully celebrate how we beat the odds and stood the test of time. We lasted a little more than four years.

I knew that marriage would be hard. Literally everyone I knew who had ever walked down an aisle warned me of this and I really did think I understood what they meant. But nothing could prepare me for the seemingly impossible choices and challenges that awaited me. If I, as keen and committed as I was, couldn’t last 5 years, what does it take to make it to 45? I’ve often thought about the kinds of compromises the couples that last would have to make, the things they’d need to talk about, and the things they’d need to avoid talking about.

45 Years looks at what happens when a happily married couple are faced with one of those subjects that they got along just fine without talking about just one week before their 45th anniversary party. Five years before he married Kate, Geoff (Tom Courtenay) lost his girlfriend in a tragic hiking accident. Fifty years later, he gets a letter telling him that her body has been found.

Initially, Kate (Charlotte Rampling) can’t understand why Geoff is so preoccupied with this development. Once she realizes how much he wants to talk about his memories of her, she tries her best to be supportive and starts to ask questions about her husband’s former lover. Although she seems genuinely curious at first, she starts to regret her questions when his answers make it more and more clear that her husband’s previous relationship may have been more serious than she’d been led to believe.

Kate’s jealousy of a woman that died fifty years ago is fascinating. She always knew that Geoff’s last relationship didn’t so much end as was cut tragically short but she seemed to always avoid asking herself the hard questions. Would he have married her had she lived? How often does he think of the life he could have had with her?

What makes a good marriage? 45 years seems to suggest it’s as full of little white lies as it is of history and explores whether a seemingly strong partnership can withstand being shaken up by a little truth. Of course, these are polite old British people in a British movie so the distance that begins to develop between husband and wife may not express itself explosively enough for some audiences. This is a restrained film with restrained performances where the drama comes as much from what is NOT said as from the dialogue itself. Luckily, Courtenay and Rampling are masters of subtlety. Oscar-nominee Rampling in particular is captivating both with the brave face she puts on and the unshakeable doubt that she occasionally shows us. She gives a performance that is way too honest and low-key to ever win her an Oscar. But she gets my vote.

Son of Saul

A few days ago, I wrote about my experience with the movie Mustang, Turkey’s submission for the Oscar for Best Foreign Language Film. I was a little disconcerted by the hearty laughter from the audience at our local Bytowne cinema at the battle of wits  between a little girl and her mean (and probably violent) uncle. Even though the film’s director takes a hopeful and sometimes humorous approach to some tough material, I was way too nervous for this girl to laugh. I was reminded that night how differently two people can experience the same film.

Competing with Mustang for the Oscar is a film that even the Bytowne crowd can’t (and didn’t) find funny. Son of Saul is set in a Concentration Camp but is unlike any Holocaust movie I’ve ever seen.

There’s so much going on around Saul as he navigates his way through the camp in search of a rabbi who can help him give his son a proper Jewish burial. But we rarely see any of it. First-time feature director Laszlo Nemes used the Academy aspect ratio of 1.375:1, which I’d be lying if I claimed to understand exactly what it means but I gather that it produces an unusually narrow field of vision. The camera is usually either right in his face or right over his shoulder so we can see the camp only from his point of view. We have only the off-camera cries of anguish to remind us of the atrocities in the background. Through the eyes of Saul, there are no Oskar Schindlers, no Roberto Benignis to pretend for us that this is all a game.

This is some bleak material that is expertly shot by Nemes. With a technical prowess that occasionally reminded me of Alfonso Cuarón, I would have expected Son of Saul to move me more than it did. Mustang, for example, may not have the same flawless attention to detail but still managed to elicit an emotional response from me that I just couldn’t seem to manage with son of Saul. I was more impressed with the filmmaking than I was captivated by the story.

Mustang

I saw Mustang, as I see most foreign language films, surrounded by baby boomers. In Ottawa, the Bytowne is really the only place to go for foreign, documentary, and most independent films. The other thing about the Bytowne: Old people love it, partly because it’s reasonably priced but also because they can ask each other “Who’s she again?” without fear of getting shushed because their neighbours were most likely wondering the same thing. So I wondered at some points whether the hearty laughter coming from the audience during this tale of female oppression was the reaction that the director was hoping for.

To be fair, I’m not at all confident that I know exactly what reaction Deniz Gamze Ergüven was going for with her debut feature. Mustang can shift tones pretty quickly and, for once, I don’t mean that as a criticism. We first meet Lale (Güneş Şensoy, who’s just wonderful) and her four sisters on their way home on the last day of school in their small Turkish village. When they run into a group of boys, it’s off to the beach to sit on their shoulders and splash each other. In a Hollywood movie, this would just be a throw-away scene for a Best Summer Ever montage but, in this time and place, it’s enough to set in motion a chain of events that are just plain infuriating. Word spreads fast about the sisters’ scandalous behavior and their livid uncle immediately pulls them out of school and keeps them home to learn to cook, clean, and be good future wives. Worried that their reputation as corrupted girls would get worse, he rushes to marry them off as soon as possible.

They’re just good kids who like to have good silly fun. To see them oppressed in the name of sexist religious fundamentalism is an outrage. Ergüven’s trick is that she has made a film that effectively captures the cruelty of the situation but is always watchable -sometimes even entertaining- and almost never unpleasant. She is as committed to portraying the girls’ resilience in the face of oppression as to the oppression itself.

There are occasional scenes of very broad comedy in which I’m sure the Bytowne crowd’s laughter was exactly what Ergüven was hoping for. In the ever-escalating battle of wits between Lale and her mean uncle, I can’t be sure. I couldn’t laugh at Lale’s increasingly clever plots to sneak out of the house. The cost to her freedom and, eventually, her safety once she’s inevitably caught made me way too nervous.

It’s a credit to Ergüven that she’s made a film that could affect audience members so differently. Mustang calls attention to gender inequality and injustice that is as hopeful as it is frustrating. Through her faith in one young girl’s fighting spirit. her feature debut is a worthy nominee for the Best Foreign Language Film Oscar.

 

Over the Top

Strange things are happening lately.  Sylvester Stallone won a Golden Globe and is nominated for an Oscar.  I’ve made Jay return to George Lucas’ glory days and watch the original Star Wars trilogy for the first time, which is something she swore would never happen.  And since these sorts of things come in threes, I like my chances of convincing Jay to watch Over the Top, whiover the topch I just found out is on Netflix.  Especially because Jay is still on oxycontin recovering from her back surgery.

Over the Top is a hidden gem in the same way as a lump of coal.  It was a very 80s attempt to reboot Rocky: take Stallone, put him in another salt-of-the-earth role where his muscles do the talking, give him a wholesome never-quit attitude, and add in Robert Loggia as the villain for good measure.  The ingredients are all here but this movie is absolutely awful.  So awful I can’t help but love it.

First, Robert Loggia.  This is exactly how I feel when I see him in anything.

He was the best (RIP, Mr. Loggia) and he really chews the scenery here.  Which is fortunate because in Over the Top, Stallone shows absolutely no charisma, the arm-wrestling bad guy is the most boring villain you could think of, and the kid Stallone is fighting for is so annoying, spoiled and entitled that you think all the way through that Stallone would gladly take $500,000 to never have to see him again.

over-the-top-poster

Second, trying to get us to cheer for Stallone’s down-on-his-luck arm wrestler is so misguided it hurts.  Is there even such a thing as an up-on-his-luck arm wrestler?  Are any of these guys in good financial standing?  I don’t know how legitimate the World Armwrestling League is, but the champion only gets $20,000.  So that was probably like $10,000 in 1987 dollars.  If you’re driving a semi across the country like Stallone does in Over the Top, I guess you can save money by sleeping in the cab, but how much are you left with at the end of the day even if you are good/lucky enough to win?  Just one more reason you wonder why Stallone wouldn’t take the $500,000 [SPOILER ALERT] rather than selling his truck (HIS ONLY SOURCE OF INCOME) so he can pull a Pete Rose and bet on himself to win the contest [END SPOILERS].  See how much you are going to love this movie?

Third, the music is the worst thing imaginable.  Any song that was cheesy to make the cut for Rocky IV can probably be found on Over the Top’s soundtrack.  No Easy Way Out is literally too good a song to be in this movie.  I didn’t think that was even possible but it’s true.  The featured ballad is a Kenny Loggins wuss rock gem, and the soundtrack also features songs from Sammy Hagar, Eddie Money and Asia.  It is probably the perfect music to arm wrestle to, if you have the urge.  And after watching Stallone [SPOILER ALERT] rock his way to victory [END SPOILERS], I predict that you are going to have that urge.

I give Over the Top a score of one man against the world out of the world.  But since the one man is 2016 Golden Globe winner and 2016 Academy Award nominee Sylvester Stallone, that’s actually a very good score.

 

 

Slow West

Slow West tells the story of a young Scot named Jay (Kodi Smit-McPhee doing his best Jay Baruchel impression) travelling across Colorado in search of his lost love Rose (Caren Pistorius).  Almost immediately, Jay is saved from bandits by Silas (Michael Fassbender) and from then on, it’s a western version of The Odd Couple, except writer/director John Maclean replaces much of the comedy with despair.  The wild west depicted in Slow West (which incidentally is New Zealand standing in for the midwestern plains) is the saddest, loneliest place imaginable.  Still, in spite of its melancholy, Slow West manages to be a very enjoyable movie, and even a surprisingly funny one at times.

Going into Slow West, I had one expectation: that the title would have some deep meaning to be revealed during the course of the movie.  I was let down in that regard but that was really the only disappointment I had coming out – I still don’t understand the title and feel like there’s something there to get.

Anyway, as far as the movie itself, Fassbender and Smit-McPhee make a very good pair, and that’s fortunate because we spend a lot of time with them as they make their way to Rose.  Fassbender gives us a convincing tough guy with a heart of gold silver tin.  Smit-McPhee is well cast as the naive, good-hearted foreigner.  Ben Mendelsohn, who really impressed me in Mississippi Grind, makes a quick appearance as a scummy outlaw and looks the part.  And yes, everything in this paragraph reads like a back-handed compliment, but it’s coming from a good place, I swear.

Slow West climaxes in a shootout.  I don’t
think I have to tag that as a spoiler,  do I?  You knew it was going to happen.  The way the shootout plays out, though, is well done and is much different than I expected.   It even includes a few surreal moments that worked really well (especially one involving a jar of salt).

Overall, Slow West is a solid, though sad, tale from the wild west.  Much like the story told by an old gang member, it entertained me throughout its 85 minute run time with its unusual mix of sadness and death with a hint of offbeat comedy.  It’s definitely worth tracking down, and I give it a score of eight wanted posters out of ten.