7 stars

Walk the Line

dir: James Mangold
[img_assist|nid=1224|title=May you be reunited in death so you can use drugs together again, June and Johnny|desc=|link=none|align=right|width=300|height=400]
Johnny Cash. The Man in Black. An icon and a music legend. Contemporary of Elvis Presley, Jerry Lee Lewis, Bob Dylan, Carl Perkins, Roy Orbison, Waylon Jennings, and a stack of others, influenced by and influential to them all. Could a two and a half hour film do him and his life justice? Can Joaquin Phoenix and the toothsome Reese Witherspoon do the story of the Big Big Love between Cash and June Carter justice? Or even get close?

Someone as simultaneously recognisable and mysterious as Cash needs a twenty hour film about his life. With a squillion dollar budget, all the CGI in the world, and the best actors and production people alive or dead (resurrected) to work on it. It would need a director who combines the spirit and ability of Leni Reifenstahl, Sergei Eisenstein, Otto Preminger, Carl Dreyer, John Ford, John Huston, Akira Kurosawa and Jean Renoir to get it right. It would need the greatest actors culled from history, put into a blender until gooey, with their DNA spliced and respliced until the mixture was just right, re-coded up into the greatest actor possible, which would then be discarded anyway in favour of a resurrected, young, vital, dangerous Johnny Cash to play the lead.

Rating: 
7 stars

Thumbsucker

dir: Mike Mills
[img_assist|nid=1223|title=Guess what he's doing. Go on, guess|desc=|link=none|align=right|width=300|height=230]
Another coming of age story. Another coming of age story about an oddball teenager in high school. Another coming of age story about an oddball teenager in high school who tries to find a way to fit in for most of the film, and only realises at the end that the important thing is to be yourself.

Yes, being your fucking self is the solution to all of life’s problems. Because there aren’t enough arseholes being themselves out there fucking shit up for the rest of us. There aren’t enough of us who are ourselves, which is where all our problems come from in the first place.

As if the world hasn’t had enough of these monstrosities lumbered onto it already. In the last few years I can think of a multitude of flicks with a similar premise (though substantially different execution). Enough already. Napoleon Darko Holden Caufield has left the building.

So. Thumbsucker is a minor, pleasant flick about a 17 year old called Justin (Lou Pucci) who still sucks his thumb. He doesn’t know why he does it, his parents are embarrassed by it, and for Justin it is the cherry on top of a seething mess of teenage neurotic confusions. Which is little different from the lives of most teenagers, minus the thumbsucking, I guess.

Rating: 
7 stars

Squid and the Whale, The

dir: Noah Baumbach
[img_assist|nid=908|title=No, not the prequel to Megashark Versus Giant Octopus|desc=|link=none|align=right|width=450|height=338]
Ah, the agony and the ecstasy of being part of a New York literary, dysfunctional family falling apart in slow motion in the 80s. Well, there’s no ecstasy, and the agony is keen yet comedic. It’s the best way to get revenge on your family that I’ve ever heard of, apart from converting to Islam, possibly.

From what I gather, The Squid and the Whale is almost entirely autobiographical. As such, I don’t know if director and writer Noah Baumbach is welcome at either of his parents’ places for Thanksgiving dinner. His portrayal of his parents, his brother and himself is scathing. Even though the film persistently goes for humourous pathos rather than miserable domestics, it is nonetheless ruthless in its treatment of its characters.

For all that, the characters are pretty well-rounded and believable, and uniformly well acted. I guess Noah knew exactly how he wanted these characters to look and sound, since he grew up with their templates.

Rating: 
7 stars

40 Year Old Virgin, The

dir: Judd Apatow
[img_assist|nid=897|title=Some people choose a life of celibacy. Others have celibacy thrust upon them|desc=|link=none|align=right|width=318|height=400]
It’s rare that I venture forth to the cinema in order to catch a comedy. They’re rarely funny and usually so disposable that I forget I’m watching them whilst I’m watching them. It’s always scary when you have to check your ticket to remind yourself what you’re watching. Ah, senility, my friend, you make everything old new again.

It’s far easier to catch them on DVD or cable, with little loss to my time, brain cells or threadbare wallet. In this instance there was clearly something different going on. I went out of my way to see this instead of the myriad other stuff on display at any of Melbourne’s fine theatres. There was a different thought process involved.

Judd Apatow is the name that made me think this might be worth watching. Apatow is one of those hellishly talented people who makes some great stuff for television but keeps getting shafted by the networks. His show Freaks and Geeks was a fresh and highly enjoyable entry into the high school kids tv genre. It wasn’t Degrassi High, but it also wasn’t Rich White Teenagers With Problems, part of the legacy Beverly Hills 90210 has left in its murderous wake.

Rating: 
7 stars

Junebug

dir: Phil Morrison
[img_assist|nid=912|title=See how the other half live|desc=|link=none|align=right|width=450|height=679]
Junebug is a strange slice-of-life about a bunch of people that you otherwise wouldn’t get to see in a movie. Of course they’re actors acting in the roles they’re given, but the roles themselves are of simple people living simple lives.

Into their simple lives, which meander along in a town in North Carolina, comes the number one son of the family George (Alessandro Nivola) and his new wife Madeleine (Embeth Davidtz). Though they’ve been together for six months, Madeleine clearly has no idea about the kind of family that George comes from. She herself is an art dealer with practically no clues about the South. The real reason they’re so way below the Mason-Dixon line is that Madeleine, who deals in ‘outsider’ art, is trying to get the works of a true Southern lunatic called David Wark (Frank Hoyt Taylor).

George is clearly the golden boy of his family, but we never really figure out why. He gets a surprisingly small amount of dialogue in a film that you’d think either himself or Madeleine would be the main characters of. In truth it is enough of an ensemble piece that no one character seems to dominate proceedings.

Rating: 
7 stars

Star Wars III: Revenge of the Sith

dir: George Lucas
[img_assist|nid=907|title=The main reason I turned evil? Cataracts.|desc=|link=none|align=right|width=430|height=292]
It's finally over. The waiting, that is. I don't believe for a second that this is going to be the last Star Wars film. It's just way too lucrative. Capitalism demands that more films get made. Nerds demand that more films get made. Normal people and unborn generations insist as well. I don't care what Lucas himself says, this isn't the end.

The wait has been worth it. Revenge of the Sith isn't only the best of the three prequels, it's a pretty good film in and of itself. Lucas, being Lucas, makes the kind of elementary errors a first year film school student would know to avoid. But he gets a lot of stuff right as well.

He still can't write dialogue, or direct humans, but he makes do with amazing special effects, lots of lightsaber battles and a cracking story. Although, you know, I think there could have been a few more. I don't think sixteen lightsaber fights were enough.

Rating: 
7 stars

Aristocrats, The

dir: Paul Provenza
[img_assist|nid=911|title=Very hoity toity|desc=|link=none|align=right|width=300|height=429]
Many (bad) comedies and films in general are often accused of being one joke movies stretched out painfully for an hour and a half more than they should be. Many of Jim Carrey’s movies fall into this category (the one joke being on the audience for paying to watch him twitch, flail and fulminate). The Passion of the Christ fits the bill. The Ahnuld – De Vito flick Twins falls into this category (They’re so different!) Anything arising from a television sketch show is emblematic of this plague upon all our houses when it defecates itself onto our silver screens.

Well, in The Aristocrats, we have instead a movie about one joke, and the myriad permutations and combinations thereof. And even though the flick is about this one joke, it is nothing like the aforementioned craptacular extravaganzas referred to earlier.

I guess you could call it a documentary, but that makes it sound like a studied, plotted course taken to reveal the origins and mysteries surrounding a legendary joke dating back to the vaudeville era. Which it approximates, but mostly it’s a bunch of talking heads either talking about the joke or telling their version of the joke.

Rating: 
7 stars

Hard Candy

dir: David Slade
[img_assist|nid=910|title=What's in your basket, Little Red?|desc=|link=none|align=right|width=337|height=450]
A 14-year-old girl and a 32-year-old man converse through the magic of the internet. Their flirtatious banter sounds harmless enough on one level and then completely disturbing on another. They then agree to meet in public for the first time. This does not bode well at all…

Aren’t there plenty of stories in the media, especially the American media, about children sneaking from their homes to meet significantly older perverts that they met online? The whole MySpace phenomena, which should die out within a few weeks and be replaced by some other new fad, like yo-yos, whittling or scrimshawing, has become notorious because of the occasions where oldies have gone there with
ill intentions to meet the young.

Also, these days, you can’t go into any chat room without soon discovering that whatever that alleged nubile jailbait is saying, it’s probably a fifty-year old, heavy-set FBI agent with a mortgage and an enlarged prostate pretending he’s a suggestible girl just waiting to bloom.

So it’s a pretty rich source of current material to be playing around with for this here flick by first-time director David Slade. Whatever it might sound like, the flick is not really about sex, aberrant or otherwise. But goddamn is it a rough ride, all the same.

Rating: 
7 stars

Hidden

dir: Michael Haneke
[img_assist|nid=909|title=Cache sounds so much more continental|desc=|link=none|align=right|width=283|height=400]
Austrian director Michael Haneke is a cruel man. His career has been devoted to torturing audiences with his diabolical flicks. I don’t mean in the same manner that Uwe Boll and Celine Dion torment audiences. As Haneke gets older, his techniques become more refined, his blunt instruments are replaced with scalpels, and the damage goes deeper.

Hidden focuses on a middle-class, middle-aged French couple who start receiving video tapes of themselves documenting their movements at their flat. As well, they receive harmless but unsettling child-like drawings depicting a person bleeding from the mouth, or a chicken getting its head cut off.

The feel of the film is quite unsettling. Haneke uses a static camera for all the shots, not just the surveillance videos, and generally only moves left or right, to make us unsure if we’re really watching the scene, or watching the surveillance depiction of the scene. The flick also has no musical score or soundtrack, which adds to the oppressive atmosphere.

It might sound like a clinical Dogma-like experiment, but it’s not. The performances from all involved, especially Daniel Auteil and Juliette Binoche, are good, as you would expect from two mainstays of modern French cinema.

Rating: 
7 stars

Three Burials of Melquiades Estrada, The

dir: Tommy Lee Jones
[img_assist|nid=914|title=You owe it to yourself to watch, um, Trois Enterrements De Melquiades Estrada|desc=|link=none|align=right|width=400|height=534]
Films that don’t immediately jump themselves into a recognisable pigeonhole already have a point or two in their favour, for my money. When films follow formula, I tend to start evaluating the film along the lines of its adherence to or variance from the formula. Whatever happens on screen filters through to me with that lens in use.

When I don’t get what the formula is, or the obvious destination point, I’m already more interested than usual. Because such a scenario makes me wonder what is going to happen next, as opposed to generally being able to predict it.

The Three Burials of Melquiades Estrada is not a great film. It has some great scenery, gorgeous cinematography, and some interesting characters. Its greatest advantage is that it has a script by Guillermo Arriaga.

Arriaga usually collaborates with director Alejandro Gonzalez Inarritu, so you may be familiar with his work in the form of Amores Perros and 21 Grams, both films I have a lot of time for.

Rating: 
7 stars

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