Stand By Me

There are certain movies that hit the fun and turmoil of growing up squarely on the head, never delving too deep down the mopey well, but knowing it has something to say on the process of transitioning out of childhood. Stand By Me is one of those films, because it balances the deeper insights with some humorous, crazy stuff. And to know the film was based off a Stephen King story... well, it may not be surprising over twenty years since its release, but it shows that the man has something to say, that he can do more than genre fare.

Rob Reiner's film is a wonderful adaptation of the source material, treating it with respect, but embracing the filmic nature of the medium. He sheds light on Gordie, sure, but he also remembers there are three other characters that need development, and we get them subtly throughout. Chris, Teddy, and Vern are all wonderful characters, and because they are all so important to Gordie's growth, it is important that we understand why. Stand By Me is based of Stephen King's The Body, and it is that body, as much as the four of them, that is responsible for their coming-of-age.

The script is tight and draws heavily from the novella it is based upon, and leads to classic moments like the Barf-o-rama, the leech attack, and Kiefer Sutherland's unnerving performance as Ace, among others. As the gang travel to find the dead body of a boy hit by a train in the woods, they face a number of trials that proves to test them, alluding to a far more dangerous adult world than they might have known. Which is hard to say, with each of them with their own fair share of troubled childhoods.

In terms of acting, the young kids hold the movie together well, so adults watching can focus more on the story of the process of growing up, and less on the fact that some of the actors are not holding up their end. Luckily, everyone does an incredible job, credit due to River Phoenix, Kiefer Sutherland, and the whiny, chunky Jerry O'Connell. Not to say Corey Feldman and Wil Wheaton don't do a good job, but they are slightly out-shined. And they can all handle the comedy as well as the drama, be it the hijinks of guarding their camp at night or the somberness of finding the body itself. Also, there is the whole thing with the deer, which is as stereotypically deep as the film goes, and because it is brief, the scene is welcome.

Genre - Drama (4)

Screenplay (4)

Acting (4)

Production (4)

Directing (4)

Inglourious Basterds

As if no time had passed, Quentin Tarantino is back. Occasionally a leap year, or even just half a decade, we as a humble movie going crowd are privileged enough to see Tarantino's latest. Inglourious Basterds, a film he has talked about making for many, many years, has finally arrived. And the verdict? Everything you want from Tarantino. Sure, his name may often be uttered with overestimation, or even disdain, but for me, the man knows how to make a damned entertaining flick. Inglourious Basterds is loosely based on an Italian war film from the late 70's, but is essentially it's own film. There are Nazis, American-Jews hunting Nazis, and a plan to end WWII. But like most Tarantino films, the plot may be the least important aspect. Trademark dialogue and wonderful acting usually are the marks of a great Tarantino film, and this one is no different. Christoph Waltz, as a Jew-hunting, Nazi officer, is probably the strongest and most interesting character in the film, though the likes of Brad Pitt, Eli Roth, and Melanie Laurent are certainly up there. Each have their own story to tell, and each one is equally interesting. Action may not be as high as expected, but when fighting does happen, it is usually bloody and in your face. But did you really expect a ton of action? I didn't think so. Either way, Inglourious Basterds is a 2.5 hour film that hardly feels like it, and is funny, dramatic, and disturbing all at the same time. That's all I need.

Genre - Drama (3.75)

Screenplay (4)
Acting (4)
Production (4)
Directing (3)

The Hurt Locker

Leaving a theater in stunned silence can either mean a film left you wanting, or left you satisfied. The Hurt Locker, a film both about the Iraq war and about bomb squad technicians, should leave you immensely satisfied. It is a war film largely devoid of commentary on war and is a story about a tortured man, without focusing on the specific aspects his tortured, crazy life. And these are components that build an interesting film. The Hurt Locker, directed masterfully by Near Dark and Point Break director Kathryn Bigelow and written by Mark Boal, is without a doubt one of the best films of 2009. From beginning to end, there are reasons to laugh, cry, and shrink into your seat. Watching these men, and one in particular, disarm amazingly dangerous bombs in the middle of a war zone is something to behold. Tension can be ratcheted up even when nothing happens, the inherent danger of the situation allows for it. There is no guarantee on who makes it out, especially in a film where big name actors can die as quickly and easily as a real soldier. Jeremy Renner, steals the show, despite it kind of being his show, simply by acting as passionately as his character feels about disarming explosive devices. He, along with Bigelow, are likely in contention for an Academy Award, which the film itself is likely to be recognized for, and I think all are deserving. Such a naked, honest examination of humanity and war, and especially one that doesn't overdo itself, is worthy of high praise at the very least. I am not the first to sing its praises, and likely not the last. For me, I wanted the film to draw to a close at certain points near the end, and thought the actual ending would leave a sour taste in my mouth, only to have an ending so pitch perfect to the tone of the film that it actually made me smile (albeit in a rather twisted way). Certainly worth time and money.

Genre - Drama/Action (4)

Screenplay (4)
Acting (4)
Production (4)
Directing (4)

John From Cincinnati (Season 1)

Watching John from Cincinnati made me think about a world where Lost ended its run long before questions could be answered. Chilling, for sure, but more importantly, it would be unfair. That's how I felt with John from Cincinnati. Questions were being asked, but the show never really got a chance to answer them. But where Lost began more conventionally, only later delving into intense mythology, and thus allowing additional seasons, John from Cincinnati jumps right into it, leaving viewers confused. Apparently, most were not willing to wait for the story to unravel, and abandoned ship before anything truly powerful could be developed. But the episodes that do make up the first, and only, season are quite good. The show follows the famous, surfing Yost family - a group as great at surfing as they are at being completely dysfunctional. Everyone has problems, even the peripheral characters who enter into their lives, leaving a stranger named John, likely not from Cincinnati as he states (read: mimics), who has some mysterious powers and seems to be able to read the future, yet cannot string together a coherent sentence unless he repeats others. Suffice it to say, John is an interesting character, and the way he interacts with the Yost's is compelling enough to lead you through the first season even though you know there is nothing to follow. Which, as it happens, is what I advise you to do. Now. Go forth and discover the mind-bending world of John from Cincinnati. Okay, that's it.

Genre - Drama (3.5)

Screenplay (4)
Acting (2)
Production (4)
Directing (4)

Public Enemies

Walking into the theater to see Public Enemies had me feeling a number of emotions. I had high expectations: Michael Mann, Johnny Depp, Christian Bale, some excellent trailers. Then came the underwhelming reviews, discounting the film as entertaining, but not thoughtful enough when examining the man John Dillinger. I think I came down somewhere in the middle. Dillinger's story wasn't something I knew an awful lot about, so the intrigue surrounding his bank robberies, public reception, and inevitable death was fun to learn about. The only real issue I had was the running time (nearing 2 and a half hours), causing only a couple of moments drag time. But the action was tense and exciting, graphic enough to make you realize real people died, not the actors, but the people those actors played. Mann, who likes his films shot in a certain style, didn't overdo it here. Kind of like a mix between his movies Heat and Collateral, both awesome, but stylistically different in ways, at least from a surface level. Depp and Bale both played their parts well, which isn't that shocking, so maybe I should only consider their acting when they do a poor job. By the end of the film, I learned a little bit about famous bank robber John Dillinger, watched some fun heist scenes and bloody shootouts, so I left the theater a happy man. A little more insight into Dillinger would have been welcome, but some of the mystery behind him keeps things interesting as well.

Genre - Drama/Action (3)

Screenplay (3)
Acting (3)
Production (3)
Directing (3)

Doubt

Doubt is an important and necessary part of life. While it can be frustrating, doubt may mean more when seeking the truth than certainty and faith when evidence is lacking. That is what I drew from Doubt, the film by John Patrick Shanley, based on his play. Set in the mid-sixties, Doubt concerns itself with a priest who may have had an inappropriate sexual relationship with a young boy and the nun who is dead set on taking him down. Unfortunately, there is nary a scrap of proof to back either case, so the two battle each other from a faith standpoint, hoping they have the right side of the story. This battle would hardly be convincing if not for the star power behind the central characters. Philip Seymour Hoffman, as if he needed any praise at all, does a fantastic job playing the questioned priest, making you want to believe in him, but leaving you uncertain. Meryl Streep and Amy Adams are two nuns who take very opposing standpoints on the issue, and the hard-nosed Streep character and adorable, innocent Adams character are just two more forces that muddy the waters of the alleged incident. Shanley directed the film from a script adapted from his play, and for the most part he pulls it off. The script is sound enough, and the movie doesn't often feel like a play being filmed, yet moments have staged aspects. But in the end, the mystery that surrounds doubt is integral to the point. Sometimes you don't know, thus, Doubt.

Genre - Drama (3.25)

Screenplay (3)
Acting (4)
Production (3)
Directing (3)

Gone Baby Gone

Ben Affleck makes me nervous. When I head into one of his movies, I ready myself in advance to be disappointed, at least by his performance. He isn't God awful, but certainly not someone I praise after leaving the theater. But then Gone Baby Gone came along, and I found myself eating my own words. Sure, he didn't have an acting part in the film, but he did help write the film, and was the man behind the camera, which is arguably more impressive. The film is based on a novel by Dennis Lehane, an author whose work is among my favorite. So I was shocked to hear Affleck would be the main creative force behind the movie adaptation, especially because the novel is in the middle of a series. But Affleck and his crew handled every aspect deftly, making a dramatic and exciting film. His brother, Casey Affleck, stars with Michelle Monaghan, and I will say the younger Affleck has the acting chops Ben doesn't. He turns in a wonderful performance, one that shocked me as much as Ben's creative turnaround. The story involves child kidnappings and murders, which makes for some uncomfortable moments, all of which enhance the overall quality of the film. Like I said before, the novel Gone Baby Gone is the middle of a series, and while Affleck (of the Ben variety) morphed it into the first, I would love to see more. Maybe one day.

Genre - Drama (3.75)

Screenplay (4)
Acting (4)
Production (3)
Directing (4)

JCVD

Something about meta-esque films appeal to me. The self-aware characteristic of a film can draw you in, present a type of story not typically seen. JCVD (short for Jean-Claude Van Damme) is one of those films. He plays an actor, himself, someone with real world problems. Except he is also involved in the robbery of a post office in Belgium, his home country. What ensues is a wacky, multiple perspective piece that finds Van Damme mixed up in some legal issues, all because his wife is trying to take his daughter from him. Finally, he ends up in the post office, using his action star persona to make it through the hostage situation alive. The film is fun, mostly because Jean-Claude is able to poke fun at himself while maintaining a hint of cool that he is best known for. While JCVD is a fictional spin on Van Damme, there is a moment where the fourth wall is broken, leading to the best scene of the film. The plot is thick enough, and told from enough perspectives, that multiple viewings may be necessary. But, perhaps the most surprisingly aspect, is how great a job Van Damme does playing himself. It feels real, his words, his actions, his emotional toils, and you can't help but feel for the guy and his movie problems. Definitely worth a watch, especially if you're fans of Adaptation, Being John Malkovich, or Kiss Kiss Bang Bang.

Genre - Drama (3.25)

Screenplay (3)
Acting (4)
Production (3)
Directing (3)

Che: Part 1

Figures in history don't get much more controversial than the man they call Che. Ernesto "Che" Guevara is both reviled and adored by people all over the world. So any film to tackle his life as a revolutionary and guerrilla soldier in Cuba has a lot to contend with. Personal feelings about Che and his methods are not my concern, but my thoughts on Che are. Wait, what? I love Steven Soderbergh's ability to jump from independent features to big-budget flicks and back, but I'm especially impressed when he can blend the two, in the sense that you can't quite tell what type of film he's made. Che is one of his more independent films, but you'd be hard pressed to differentiate it from a big-budget flick tackling the same issue. And the best part? Che has enough action and smarts to keep you interested. Politics are certainly prevalent throughout the film, but never enough to deter you. Agreeing, or sympathizing, with Che and his fellow revolutionaries isn't the point, but getting another viewpoint is. But these political statements are sandwiched between interesting character moments and rapid fire gun battles, so there's something for everyone. Something must also be said of Benicio Del Toro, who disappears into the role of Che Guevara. In fact, with Del Toro being the only recognizable face, the rest of the acting triumphs, because it adds to the realism. The story doesn't end with Che: Part 1, as you might have guessed, and much more of the Che story is yet to be told.

Genre - Biopic/Drama (3.5)

Screenplay (3)
Acting (4)
Production (3)
Directing (4)

Shadow Of The Vampire

I like movies like Shadow of the Vampire. Films that blend fiction and reality, twisting a normal story and making it twice as interesting. In Shadow of the Vampire, the tweaking involves the making of the vampire classic Nosferatu, the F.W. Murnau film that circumvented legal rights to Bram Stoker's Dracula. In the film version, we follow Murnau as he makes the film, but hires "Max Schrek" to play the vampire Count Orlok. In reality, Schrek did in fact play the vampire character, but in the film, Schrek is a cover identity for a real vampire Murnau hired to play the part. See, isn't that fun. Willem Dafoe plays Schrek, and he does a fantastic job. He disappears into his role. I also enjoyed how the script started slow and slowly escalated into a horror/comedy blend. While certainly not perfect, and the beginning drags a bit, there is little to complain about. We get some wonderful acting and a peek at what filming Nosferatu might have been life, save for the actual vampire part. The world of film pack then was another beast entirely from the films we know today. And at the time of viewing, I hadn't seen the original Nosferatu, but Shadow of the Vampire has encouraged me to really seek it out. I won't be looking at it in the same light.

Genre - Drama (3.25)

Screenplay (3)
Acting (4)
Production (3)
Directing (3)

Sunshine Cleaning

For a little indie, Sunshine Cleaning sure had me going in with a number of different expectations, none of which matched up to the final result. The trailers promoting the film really pushed the comedic value of the film, yet reviews were saying it was far more serious than one might expect. I, however, found that Sunshine Cleaning turned out to be a mixture of both comedy and drama, and it was a mixture that seemed to work quite well. An easy comparison would be to indie darling Little Miss Sunshine, but, while I enjoy that movie, I don't think the two are all that similar. Sunshine Cleaning, as a story, is one you've seen before, with the twists and turns you'd expect to find. But what sets it apart from the usual bullshit is the subject matter. And no, I don't mean it tackles any heavy issues, but the crime scene cleanup business the Amy Adams and Emily Blunt characters get into is one I haven't seen before. Sure, there are some emotional moments here, but largely the movie has fun with the decomp-cleanup, which is more than I can say most flicks might have done. There is some solid acting unfolding on the screen, and a story you can get behind (despite its familiarity), so I find myself with very little to complain about. Go in expecting to have a good time, and that is likely what you'll have. No need to complicate it.

Genre - Comedy/Drama (3)

Screenplay (3)
Acting (3)
Production (3)
Directing (3)

Naked Lunch

Where do you start with a film like Naked Lunch? I am usually able to decipher David Cronenberg's work to some small degree, but I had the most trouble with Naked Lunch than with any of his others. That's not to say Naked Lunch is beyond understanding, it just means it isn't easy. Cronenberg's touch is all over the film, from slimy creatures to sometimes-ambiguous, sometimes-weird sex acts (and sexually related imagery), the staples to subverting the world of mainstream film. The story doesn't really follow William S. Burroughs' novel per se, but does tie in Burroughs' writing of the titular book, by means that, however high he may have been, did not likely occur. Essentially, truths are included, but twists and additions cover them up, and at times you are unlikely to know what is fact and what is fiction (and this is coming from a film that features talking typewriters and drugs made out of bug powder). The film does feel like one long, bad trip, which I can appreciate, though a couple moments of clarity wouldn't have hurt. Naked Lunch is not Cronenberg's best, but you could do far worse in experimental/outside-the-mainstream films.

Genre - Drama (2.5)

Screenplay (2)
Acting (2)
Production (3)
Directing (3)

Battlestar Galactica (Season 1)

Perfection is hard to come by. Especially in television, where an entire seasons worth of a show must work in order for the whole of it to succeed. Battlestar Galactica is one of those perfect shows, and the first season is a wonder to behold. Sadly, BSG is one of those shows that most wont watch based on solely its title, its premise, or its cheesy predecessor of the late-70s. That doesn't even account for those who tried it, but couldn't stomach the social and political commentary. Yes, BSG is a sci-fi show about spaceships fighting a race of robotic killers, but that is just surface stuff. Battlestar Galactica is not really about spaceships or killer robots, but about life, and what if means to live in a hopeless world (or universe, to be more precise). The show is serious, commenting on the state of world and politics, but also knows how to have fun. There are stunning scenes of battle, where humans shoot down enemy Cylon raiders, and vice-versa. Something about space battles will always be cool. But, again, the cast and crew are the real winners here. The writing staff is about the best you'll ever hope to assemble (and on the SCI-FI channel?). Then you have the acting talent of Edward James Olmos, who kicks so much ass as Bill Adama that you'd want to think twice about even looking at him wrong. Not to mention Mary McDonnell, Jamie Bamber, James Callis, Katee Sackhoff, and Michael Hogan, who round out the amazing ensemble cast. Battlestar Galactica is not just another Star Trek, it is more. It is one of the finest television shows you probably never watched, and all I can hope is that someday you will.

Genre - Drama/Sci-Fi (4)

Screenplay (4)
Acting (4)
Production (4)
Directing (4)

Breaking Bad (Season 1)

AMC is quickly proving itself as a force to be reckoned with. Where HBO once ruled the ballsier, cutting-edge side of television, AMC (along with other cable channels like FX) is proving pay cable stations aren't the only ones who can have fun. Mad Men was AMC's first big hit, but Breaking Bad is the more compelling show. Breaking Bad tells the story of Walter White (Bryan Cranston), a high school chemistry teacher who starts cooking meth with a former student to make some extra cash. Oh yeah, he also has lung cancer. Cranston is stunning in the role, and is so transformed from other roles that you often forget you're watching an actor. Vince Gilligan, the creator of X-Files, has created a brilliant series, and he keeps the drama flowing, and the intrigue mounting. Perhaps the most surprising aspect of Breaking Bad is the fact that the show doesn't seem to demonize meth, but also avoids glorifying it. Morality is a prominent theme in the series, and the show constantly challenges viewers perspectives. Plus, AMC allows the show to throw profanity and drug images around, which is nice. Stunning work.

Genre - Drama (4)

Screenplay (4)
Acting (4)
Production (4)
Directing (4)

The International

How can you not like Clive Owen? You can't, and if you do, then a patriot you are not. Is every movie he stars in perfect? No, not even remotely, but he always entertains me, even if the film I'm watching isn't. Where does The International fall? Somewhere in middle. An action film disguised as a thinking mans thriller. But some of the mystery based plot works, though I found myself thinking of a better film: Michael Clayton. But all that aside, there are some great action scenes, that while a bit over-the-top, are fun and fast, and contrast with the slower moments of political drama. Naomi Watts supports nicely, and I'm glad The International avoided the "necessary" love subplot. The International is a thriller that is perhaps too neatly packaged, with no real investment in the characters, or worry of their fate, but that doesn't stop it from being mildly enjoyable.

Genre - Drama (2.5)

Screenplay (2)
Acting (3)
Production (3)
Directing (2)

Shotgun Stories

Here is a little indie you probably never heard of. And I wouldn't have either if I didn't accidentally read about it. So after pulling it out of my mailbox, I slapped Shotgun Stories in the ol' DVD player and let her rip. What was the result? It was simply an indie drama, but one that could have been so much more. There is a rich back story on Son Hayes (brothers to Kid and Boy), but we never really learn what it is that led to him getting shot in the back by a shotgun. Something important and profound is hinted at, but we are never let in on the secret. Fair enough, but the story Shotgun Stories centers on should be equally interesting, but sometimes it just isn't. The Hayes brothers quarrel with their half brothers, each side eager to ruin the other. When the tension builds, I felt myself drawn in, but it doesn't always last. If only Shotgun Stories had upped the ante, and maybe an R-rating might have been able to deliver, I may have found myself more intrigued. But what can you do?

Genre - Drama (2.75)

Screenplay (2)
Acting (3)
Production (3)
Directing (3)

Blindness

Some critics might call Blindness unwatchable (ha ha...), and others will claim it will open your eyes (ha...ha...ha) to the injustice any minority faces. I wont side with either extreme, and simply say Blindness is okay. Now, as GenReview is about avoiding unnecessary comparisons, I will only say the book Blindness is based on is a masterpiece. It blew me away, and has a lasting impact on its readers. But I don't compare the film to the novel, because they are two separate entities. Whether one is good or bad doesn't effect the other. Blindness, as a film, works for the most part. It has the drama, and follows the dark, yet hopeful plot of the novel, almost as if they pulled the some things straight from the pages. And Fernando Meirelles directs the hell out of every frame. He crafts beautiful images out of bleak and sinister scenes, and throughout the film I was hooked on what I was seeing. So what doesn't work? The whole thing feels a bit rushed, and I wish I had more time to observe the results of this fascinating plague of blindness. And the characters, or at least some of them, are not as clearly drawn as they should be. The characters, thrust unwillingly into this new world, should interest me deeply, and only a handful of them did.

Genre - Drama (3)

Screenplay (3)
Acting (2)
Production (3)
Directing (4)

The Virgin Suicides

What a richly dark, yet hilarious film, despite being about the suicides of five young girls. The Virgin Suicides is subtle in its humor, but the story is, essentially, a dramatic one. While watching the film, I often found myself smirking at the tragedy of the Lisbon family (particularly the daughters), but still felt saddened by their story. Both the humor and serious aspects of the film, however, made me love it even more. Kirsten Dunst gives a fine performance, and shows she is capable of acting when she wants to (unlike in Spiderman 3). Sofia Coppola penned a hell of a script from a story by Jeffrey Eugenides, and she also made her directing debut with The Virgin Suicides. The promise she showed in directing this film definitely paid off in her later features. A stunning film that will have a lasting impact, leaving viewers with the weird mix of a smile and a frown.

Genre - Drama (3.75)

Screenplay (4)
Acting (4)
Production (3)
Directing (4)

Primer

Wow. What can I say about Primer? In short, I loved it. The film is quiet, but intellectually stimulating and fresh. Shane Carruth is the man, literally, behind every aspect of Primer. He wrote, directed, starred, edited, etc. And all on a $7,000 budget. Impressive to say the least. But what on the story? Primer is film about time travel, and how it ties with the idea of causality, without becoming muddled or ridiculous. Sure, Primer is confusing, but I know there is an answer to the questions posed, even if I haven't figured them all out yet. It just goes to show that a film that deals with time travel need not be a science fiction film, or loaded with special effects and silly plots, but can center on a very human, down-to-earth story. Just what the consequences time travel can be, even when only a few short hours are traveled between, which may make the film that much more compelling. I'll need another viewing or two to fully wrap my mind around the twists of Primer, but it will be a pleasure, rather than a chore, to do so.

Genre - Drama (3.5)

Screenplay (4)
Acting (3)
Production (4)
Directing (3)

Friday Night Lights (Season 1)

It's nice to see a television series can successfully adapt, and even transcend, one of the best football films of the last decade. Friday Night Lights focuses on the Dillon Panthers, a Texas high school football team. Two things seem destined to destroy this show, however. One, people think it is a show about football. Wrong. It is just an aspect of the show, but you need no real football knowledge to understand the themes and stories. Two, that it is about teenagers in high school and holds no emotional or intellectual weight. Wrong, again. It is a tightly written, smart show that uses a football town to relate to the larger world. Much like Veronica Mars, another high school centered show that was really for those long out of it. The cast is wonderful, especially when it comes to the work of Kyle Chandler, Connie Britton, and the Zack Gilford/Jesse Plemons combo. A finer season of television will be hard to come by, so give Friday Night Lights the chance it deserves, if only to keep it from cancellation.

Genre - Drama (3.75)

Screenplay (4)
Acting (4)
Production (4)
Directing (3)