robototron Reviews

Reel Paradise (2005)

Amusing, but not a "Stevie" or "Hoop Dreams"

[7/10 · 11 February 2006]

This movie is well made. It's amusing. It is an interesting portrait of families, cultures, and their various clashes as well has harmonies. It has a bit of an arc to it - enough to keep it going.

But this is no "Stevie" and it's no "Hoop Dreams," either. The true drama and tension and weight simply isn't there. What we have here is a wealthy and successful family attempting a sort of experiment. Yeah, it's meaningful; yeah, there are lessons to be learned; yeah, you care what happens. But it's not moving or powerful.

Then again, let it be a testament to Steve James and how he skilled he is that he can take a REALLY scant subject like this and spin it into a doco worth watching. Still, I'd prefer it if he returned to the more weighty subjects

Taxi (I) (2004)

Brilliant Beyond Words!

[10/10 · 12 October 2005]

Years from now this film will be in cinema textbooks. It will be called revolutionary, masterful, and a tour-de-force. And truly it is all of this, and more! Never before has there been such chemistry between to acting behemoths as there is between Jimmy Fallon and Queen Latifa.

Gritty, real, urban, and poignant beyond words. This movie is more than entertainment; it is life.

The only real problem this movie has is that it sets the bar too high for many other auteurs in the industry. I simply don't see how a movie of this caliber could ever possibly be made again.

It's sad really, at only 26, I have to go on living knowing that I shall never see another better movie. I have seen the greatest.

Except for Black Spring Break. That movie can actually compete. Rent it! Live it!

The Other Sister (1999)

Probably one of the greatest movies ever made

[10/10 · 26 March 2005]

Starring Julliete Lewis and Giovani Rabisi and Tom Skerrit and Diane Keaton and some other people who are incredible, "The Other Sister" is one of the greatest pieces of cinema to have ever emerged. Gary Marshal confidently directs this masterpiece, combining both drama and humor. Anyone can relate to this brilliant film.

"The Other Sister" is the tale of an incredibly rich family who is cursed with a retarded daughter and a lesbian daughter. There is another daughter, but she's getting married and is not retarded, so she's generally OK. Meanwhile, Tom Skerrit is a recovering alcoholic. Diane Keaton, on the other hand, is torn between loving and protecting her daughters and protecting the social status of her family.

Because she is one of the most incredible mothers, she manages to keep it all together...until Carla (the retarded daughter) falls in love with yet another retarded person. Worse yet, it's right around the normal daughter's wedding, which means EVERYONE's watching! Carla also makes things worse by thinking that she's capable of going to school, having sex, and having an apartment of her own (just like a normal people). She often forgets that really, she's just a retarded person who should be kept in a home.

Daniel (Rabisi) is also afflicted with retardedness and a desire to do normal people-stuff, including drinking. This spells trouble as Daniel frequently gets drunk and almost destroys the family by telling everyone their love secret.

There are many touching scenes in the film. Especially the ones where Diane Keaton is trying to hold the family together. You have to feel bad for her. Not only are 2/3 of her children really messed up, her husband does nothing but undermine her and count how many days he's been off the drink.

There are also lots of disturbing scenes, too. Marshal isn't afraid to really explore the issues and show us how ugly the truth can be. For example, any scene with Lewis and Rabisi is enough to make you want to turn off the TV and forget there are retards out there and that they all speak like they're retarded, but Marshal's film is so compelling, you won't be able to take your eyes away.

In the end, this movie is a sort of tragedy. I don't want to give anything away, but just like in real life, sometimes lesbians DON'T stop being lesbians, and retarded people DON'T stop being retarded.

Unforgettable. Truly, a tour de force.

Garden State (2004)

Perhaps the most cliché/melodramatic/contrived/trite/you get the idea movie

[1/10 · 26 March 2005]

I have no qualms with how the movie does NOT capture New Jersey (like Zach, I'm from there). Fine. Whatever. I lived there WAY long enough. I don't need to see a movie that captures the Garden State.

What I do have qualms with is how bad this movie is. Let's make it easy on you. We'll use some bullet-points. There are probably some spoilers that follow. (Not that you wouldn't be able to predict the movie ANYWAY):

-The music placement was maddeningly forced and patronizing. Example: Large: "What are you listening to?" Sam: "The Shins. Ever heard of 'em?" "No." "Listen to this song - it will change your life!" And then they proceed to play that Shins song that was in a McDonalds commercial. (Don't you love when the characters in a movie blatantly tell you - the viewer - how to react to something? I love that! Hey, they should have put subtitles during various scenes instructing us to "chuckle," "Say 'aaaaaw'" "cry" "feel inspired" etc.)

-The scenes were SO BAD. SO Cliché. SO MELODRAMATIC. Example: The entire movie. But no, really, example: They're in the rainy quarry by the ark. Large runs up - in the pouring rain (oh he's SO TORMENTED!) - on top of a piece of heavy machinery and SCREAMS! Oh how moving! But wait! Here comes Sam and his buddy (the annoying drug addict), and they ALL SCREAM!!!! BUT WAIT!!!! OH MY GOD!!!! Here it comes! THEY KISS!!! LONG, DEEP!!!! IN THE RAIN!!!!!!!!

-The dialogue was SO BAD. SO Cliché. SO MELODRAMATIC. Example. They're leaving the ark and Sam says something like, "Hey. Good luck exploring the infinite abyss." And the guy says back, "You, too." Oh...Oh my! I never realized...could it be? Oh my God it is! Large's life is like...ohmigod...AN INFINITE ABYSS!!!! Another example: Large and Sam in the airport. Sam says something like, "Is this goodbye?" Not enough for ya? OK, Largeman says something like, "This isn't a period at the end of the sentence... it's an ellipses." And guess what happens when he tries to walk down the jetway and go back to his life in LA. You know, what? Don't guess. It's a waste of your time.

-It's a Grade Z Wes Anderson rip-off movie. When not busy being melodramatic and cliché, the movie spends lots of times with crazy-kooky-off-kilter characters. Hey, Sam's brother... thank you Zach Braff for including him, because it really made the movie so much more textured. Also ripping off Anderson: the dialogue. Scene: Sam and Largeman are in a bar. In walks friends, "Vagina!" says one of them. Then they see him sitting with Sam, so one of the friends says, "Sorry I said vagina." And Sam says, "It's OK."

-Inventive cinematography that's not inventive but pointless and annoying. Give me a break with the speed-up/slow down of film. Again, Wes Anderson does it effectively in his movies. And it was done well in "Donnie Darko." But, really, it was pointless. Wow. A crazy party where people are taking X and snorting coke. Better roll out all the tricks!

-You can count the good moments on one hand (even if you're missing fingers). That's what makes it even WORSE. The retarded quarterback thing...well, that was good! The little thing he (largeman) says as they're about to enter the quarry (something about huffing turpentine)...that was good! Oh, wait, that's about it.

You know, Zach Braff is, I think, always a little too cute. But, he's likable. But, man, this is forced, pretentious, melodramatic (have you gotten that yet?), overly cute, overly everything. This movie is terrible. Apparently, I'm outnumbered, as this waste of time is currently rated an 8.0.

Please, though, if you're looking for something truly poignant and subtle and unique DO. NOT. RENT. THIS. MOVIE.

Wesley Willis (2003 Video)

Perfect tone

[5 March 2004]

The most triumphant aspect of "The Daddy of Rock 'N' Roll" is how it handles its subject, Wesley Willis. This makers of this documentary could have very easily followed Wesley around for a few weeks and edited together 90 minutes of footage that makes him look like a really fat, schizophrenic clown. In some ways, his music almost begs him to be seen as such - especially when Wesley Willis himself continually calls himself a "Rock and Roll Star" who plays "Rock Music," yet most of his music is his atonal ranting over pre-programmed casio synthesizer accompaniments.

But instead of taking the easy way out, this documentary has an incredible amount of warmth. It's not condescending, and it's not pitiful. Still, the filmmakers show a great deal of genuine concern for their subject.

In fact, everyone in this film has that in common. While Wesley's friends clearly take on somewhat of a caretaker role, they truly respect Wesley, and love him as a friend.

So, in the end you get hilarious moments (it's one thing to see Wesley Willis on a city street, but seeing him in the crisp and cheery Kinko's is hysterical, especially when he tells a frightened employee "I'm about to have a hellride" just because of a minor printing error). You get caring moments (friends encouraging and helping Wesley Willis). And you get telling moments (They visit the school Wesley was in as a child).

And it all adds up to a fulfilling, exploratory documentary about a true artist who was truly plagued by his demons. Sometimes the demons are cruel; sometimes they are funny.

Comedian (2002)

2 massive and unrecoverable flaws

[4 March 2004]

This is a well-made documentary, that unfortunately is derailed by two fatal flaws:

1. Aside from Jerry Seinfeld, Orny Adams is another comedian featured in this film (though you wouldn't know it from the DVD cover); and he's featured pretty heavily (i'd say it's roughly 60 percent Jerry Seinfeld, and 40 percent Orny Adams). Orny Adams is not funny. Orny Adams is not sympathetic. Orny Adams is not interesting or complex or compelling. Every moment that Orny Adams is on the screen is every moment you, the viewer, will be repulsed. He is arrogant and ungrateful. And when you hear his material, you have to wonder just where the hell his sense of entitlement came from. By all rights, this film should have ruined his career in this field. If it did, then maybe it IS worth it.

2. By the end of the movie, there is one universal thing you can understand about stand up comedians (at least the ones featured in this film): They all have a contempt for their audience. It's disappointing, because even though we rationally understand that we don't really know Jerry, or Colin Quinn, we DO feel like there's something familiar. But, in this film, the audience is so repeatedly and harshly criticized, it's appalling. When the audience is responsive, Jerry Seinfeld mocks them for having the notion that they can relate to the comedy. Colin Quinn makes a comment about how being comfortable as a comedian means that you make the audience laugh, but you don't care about them laughing. And yet, the audience members are the first ones blamed for poor performances. Over and over again, the audience is called idiots, or worse. And while the comedians continually cut down the audience (whether as a comedic device, or out of true malice), the audience is crucified if they attempt any criticism.

The only moments of introspection and tenderness are when comedians are either talking to each other, or comedians of even higher stature. So, while the audience is being ridiculed and belittled and blamed for the comedians' poor jokes, Seinfeld shares a very poignant with Bill Cosby, who rattles off some cliche and rambling sentiment about performing. Seinfeld responds by saying that it is one of his greatest joys to be able to know Cosby. Never is there even a fraction of this appreciation for the paying and appreciative audience. Perhaps the comedians in this film would be most happy performing for each other in some Algonquin Roundtable setup.

Well made, but its own material is its own worst enemy. I think the same can be said for Orny Adams' career, but that's aside from the point.

Stevie (2002)

magnificent multi-faceted documentary

[29 September 2003]

a terrific doco. i won't go into all the reasons why it's amazing, as there are far too many, and it's not even the point of this review.

the point i want to make about this documentary is its subject(s). if you're considering watching this READ THIS:

too many reviews criticize steve james (the filmmaker) for exploiting stevie, or for having no message. do not be scared by this.

even the title functions as a device here. this documentary is about both stevie and steve. steve (again, the filmmaker) never intended to make a doco about some middle america hick, as others have suggested. steve james has a personal involvement with stevie. he was stevie's "big brother" ten years earlier. as steve is learning more about stevie, he is pulled into conflicts. these conflicts do not only exist in stevie's life but in steve james' as well (what is his role? big brother, filmmaker? how does he feel about stevie and the crimes he's committed? how much should he get involved?).

people who say steve james is exploitative are missing the point. this documentary is about those choices. steve james freely admits that - multiple times...right there in the film. did the critics miss the many times steve james says things like, "i was angry with myself for not getting involved" or "i just stood by filming...i felt responsible" or how about the ten or so times steve james asks his subject if they like he's betraying them? or how about the ten or so times he is confronted with the question of WHY he is making the documentary - and he stammers? these stammers could have been edited out, but they're crucial. they're part of the documentary.

all of this uncertainty comes to a poignant and heartbreaking moment at the end when stevie's girlfriend, in a horrible place in her life, is looking for the positive side of things. she offers to steve james her opinion about the good that has come out of all stevie's mess of a life (so far). and the camera shifts to steve james, who doesn't have to say a word for us to know all of the turmoil he's feeling, and had felt the five years before.

one of the best documentaries. i'm tempted to say "the best," but i like to give things a long time before i use such a superlative. though, i really think it will apply to "stevie." for those viewers who find "sherman's march" to be the (or a) pinnacle of documentaries. you will most likely find yourself entranced and fascinated by "stevie." its exploration of subjects both within the filmmaker and the world around him is funny, devastating, and so very real.

Personal Velocity (2002)

contrived and difficult

[20 May 2003]

as you probably have heard, this is a movie that consists of three portraits. three very contrived, hard-to-watch portraits.

this movie charges out of the gate with incredible potential, including a great cast, an effective score, and nearly disorienting (yet, rather successful) camera work. additionally, at the start of the first portrait, the narrative freezes, and the narrator urges the viewer to, "wait!" so he can explain something about what's going on. this device is wonderful, and immediately gives the viewer a healthy shot of intrigue. additionally, at this point, you'll probably be really excited at the unorthodox pacing that the film seems to be setting up.

that's all in the first few minutes. and this movie literally screamed in a nosedive downward from there.

while "personal velocity" bucks conventions in many ways, it bucks the concept of storytelling so much that it is simply contrived. want to see development, plot, resolution? not here. this movie tries HARD to dodge all these things, and relentlessly starves the viewer of any of these elements with its spare dialogue.

but in the absence of these elements, what's left is - quite frankly - repetition. the characters simply keep doing what they did in the first moments of their portrait (or at least what the filmmakers set them up to do). and while they rather gratingly repeat their actions, there is no true character development.

to combat this (and surely the problem of converting short stories to film), the movie employs a narrator. this (and the repetition) is the downfall. first of all, who is the narrator? well, it's a male, which is strange since this is mainly a story about three women. ok, but why is he male? and why is he speaking so conversationally at some points? and why does he know of all these women? none of these questions are answered, and the viewer is forced to contend with this narrator who speaks incessantly throughout the entire film.

now this narrator suffers from an additional problem, which plagues the film: heavy-handedness. the narrator says things like, "she could feel the emotion like a vortex pulling her soul inward." that's actually not a direct quote, but it's very close. i am not exaggerating. at one point a character says, "you look you're waiting for something." and the narrator breaks in, "she was, she always has been." this movie can't afford such lead-weighted narration. and it certainly does not fall in line with the narrator's other parts where he's talking about how great kyra sedgewick's ass looks in jeans.

in the end, you've got however many minutes (i don't know 90ish?) of superb acting and inventive cinematography. but anchoring it down without an inch of slack to go anywhere is an overbearing narrator, and three equally overbearing and repetitious movements of what could have probably been a compelling film.

Dr. Katz, Professional Therapist (1995–2002)

best show in television history

[8 March 2003]

the subject says it all. and, ok, "the best?" maybe not the right words. funniest? yep. the question is: where the hell are the dr katz dvd's?! they got every friggin' cable series on dvd AND for rent at EVERY video store in the world. meanwhile, all they have for dr katz is a couple of lo-fi tapes (everyone i got - 4 of them - has terrible sound that drops in and out of hi-fi and stereo) from rhino!

as for funny tv, there's only two things anyone needs: kids in the hall, and dr katz. and to think, when i was in college, comedy central aired them BACK-TO-BACK!!!!