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Zombieland: Double Tap (2019)
Just Great Zombie-Killing Fun!
I'll watch Emma Stone in anything. Zoey Deutch kills as the airhead Madison. Why was I the only one laughing in my screening. It was FUNNY! Definitely not a classic but worthwhile for fans of this genre. I'll be back for "Triple Tap."
Sin City (2005)
Sadism masquerading as art
Rodriguez has reached the nadir of his career with this sadistic, sophomoric trash. The only thing interesting about it is the black-and-white cinematography, similar to that of last year's "Sky Captain and the World of Tomorrow." After two hours of non-stop, over-the-top, cartoon-like violence, I felt dirty leaving the theater. I'm not familiar with the graphic novel genre, other than the Tom Hanks film "The Road to Perdition." That film had real characters and genuine interactions between them. The violence was necessary to the telling of the story, unlike this film where the violence is the story. This piece of junk has no redeeming qualities. Avoid it!
Open Range (2003)
Classic western in the spirit of High Noon and The Missouri Breaks
Costner excels as director and star, repeating his successful combination in "Dances with Wolves." Robert Duvall is the perfect sidekick, playing a somewhat lighter version of his "Lonesome Dove" Texas Ranger character. Annette Bening is fine as Costner's love interest. The director squeezes every bit of emotion possible out of the traditional "free rangers vs. ranchers" story, leading to a sure-to-be classic gunfight.
Erin Brockovich (2000)
Julia Roberts rules!
Nineteen members of the Film Society of Greater Kansas City's Film Discussion Group ranked "Erin Brockovich" number two of the four films discussed this year. The median score was 3.2 (out of 4.0) and the mean was 3.01. Surprisingly, the range of scores fluctuated wildly. Two members rated the film below a 2.0, and two others gave it a perfect 4.0.
Much of the discussion concerned the accuracy of the film when compared to the real-life events that spawned it. Also, one member circulated articles from the Wall Street Journal that debunk the claims by the real Erin Brockovich that Chromium 6 caused great harm to the people of the town of Hinkley, Calif.
Most of the group enjoyed the chemistry between the two lead performers (Julia Roberts and Albert Finney), appreciated the David and Goliath plot line, and found interesting the enigmatic nature of a woman who dresses like a slut but demonstrates competency as a legal investigator. Other modern themes about the nature of women in the workplace, and role reversal in child-care made the film stand above other courtroom dramas.
Eyes Wide Shut (1999)
A boring, disappointing finale to a great career.
My sister-in-law rates movies by how many times she looks at her watch. For me "Eyes Wide Shut" was a three-watcher. The movie starts abruptly with a full length shot of Nicole Kidman (Mrs. Tom Cruise) fully undressed--definitely an attention-getter. In fact, the lure of seeing the beautiful Ms. Kidman was a big reason to see the film--and ultimately also a reason not to see it. It's too late to tell Stanley Kubrick (he died earlier this year), but reality doesn't necessarily translate into art. And there is entirely too much reality in this film when it comes to seeing Kidman. We see her using the toilet then wiping herself; later she applies her deodorant and smells her armpits. What is this fascination with bathroom activities? Enough already! THIS IS NOT NECESSARY! THIS IS NOT ENTERTAINING! Additionally, we see Kidman stoned on pot and smoking cigarettes. I know this movie is intended for adult audiences, but many youths will sneak in to see it and her actions are definitely not good role modeling.
Perhaps the movie's greatest fault is that it is boring. Yes, BORING! I never thought a film by Kubrick, director of such classics as "Paths of Glory," "Dr. Strangelove,""A Clockwork Orange" and "The Shining" could make a boring movie. Not only boring but pointless, ponderous, circuitous, confusing, unbelievable and stupid. By now you've guessed I didn't like it.
For years audiences have speculated about the potentially magnificent eroticism of a big-budget Hollywood porno movie with beautiful Oscar-caliber actors. Actors don't get more beautiful and handsome than Kidman and Cruise. And who better to direct such an experiment than Kubrick, whose work on "A Clockwork Orange" was stunning and shocking? Alas, "Eyes" disappoints. No eroticism and very little shock value (especially since the sexual couplings in the big orgy scene were effectively eliminated when Warner Bros. re-edited the film by placing digital actors in front of the live ones).
For the life of me, I can't figure out what the heck Kubrick was doing during the unusually-long two-year shooting schedule with Cruise and Kidman. Was he rehearsing the love scenes as part of a dirty old man's fantasy (his perfectionism is legendary)? Whatever he was doing certainly didn't show up on the screen, produce great acting performances or add to his legacy.
Perhaps the fault lies with the screenplay. It provides no insight into the themes of sexual obsession and jealousy. Much of the dialogue is trite and uninspired ("OK, I'm going to be frank with you"). And the discussions between Cruise and Kidman about the nature of love and relationships fail to surpass the level of profundity found on an above-average television sitcom like "Friends."
Valerie Flake (1999)
Grieving widow struggles to find her true self.
The buzz was good. "Why can't more films be like this one," remarked an audience member as he left the Dickinson WestGlen 18 theater complex in Shawnee, Kan. after the special Film Society of Greater Kansas City screening of "Valerie Flake," the independent film from director John Putch starring Susan Traylor and Jay Underwood. The movie drew praise from several members--but not this critic. And yes, it pains me to say so, considering Underwood traveled hundreds of miles to Kansas City from California just to promote the film (and serve as featured speaker for the Eighth Annual KAN Film Festival at the University of Kansas the following day).
In his remarks before the screening, Underwood described the film as a "labor of love." He auditioned for his role as Tim, the heroine's love interest, because he was attracted to the "great script." Every movie needs a strong story, and according to Underwood this one has one. So strong, in fact, it was one of those rare occasions when both his manager and his agent were in agreement after reading the script. However, as Underwood himself remarked the next day at the KAN Film Festival, a great script doesn't always guarantee a great movie. Sadly, that seems to be the case with "Valerie Flake."
This film revolves around the character of Valerie. She's in every scene and somewhat of an enigma. She's a grieving widow who unsympathetically ridicules her dead spouse. She sleeps around (to mask her pain?) and fears commitment. And she struggles with at least one demon inside her, which she unleashes at her in-law's 40th wedding anniversary celebration.
The film is a complex character study (as many independent films are), and for it to succeed, the audience must relate in someway to Valerie. Unfortunately, Traylor failed to connect with me. She plays Valerie too blandly. She's supposed to be an alcoholic, yet she seems to be the same person drunk or sober. Most people I know change personalities at least a little bit when they are under the influence of the booze. Valerie stays in the same stupor all the time.
Traynor's blandness becomes even more apparent when contrasted with Underwood's character Tim. He's a sweet, instantly-likeable guy who's suddenly smitten by Valerie when he sees her helping the new cashier in the grocery store he manages. Granted he's been separated from his wife for eight months and is extremely lonely, but it's impossible to see what attracts him to Valerie. She's certainly not very charming, and yet within two days he invites her to live with him. By the end of the week, he proposes marriage, much to the dismay of his disapproving mother, nicely played by Christina Pickles. I could understand Valerie falling for Tim, but not the other way around.
The rest of the ensemble does a fine job. Director John Putch (son of actress Jean Stapleton) enticed several veteran actors into the cast (Peter Michael Goetz and Rosemary Forsyth are particularly effective in what amounts to cameo roles as Valerie's in-laws). The music by Kathleen Wilhoite helped set the mood for several montage sequences and the production values belie the film's meager (by Hollywood standards) $500,000 budget. According to Underwood, the film was well-received by the Daily Variety critic at this year's Sundance Film Festival, but failed to attract a distributor.