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(5 Msgs in forum)    LastPost: Oct-29 2011 10:22 PM
Beat the Devil Click here to view ONLY this message
    (IMDB) (BMW Films)
    You won't find this nine-minute film in your local theater listings, but you might see it before the next feature you attend, and it's a great reason to get there on time (you can also download it at the BMW Films link above). After last year's successful marketing campaign, carmaker BMW has commissioned another set of "shorts" by top-shelf film directors like John Woo, Ang Lee and the late John Frankenheimer. The point of this largesse is to sell Bimmers, but calling these efforts "commercials" is a minor unjustice. Tony Scott ( Top Gun, True Romance, Enemy of the State) directs this one, which features Clive Owen as The Driver, Gary Oldman as The Devil, singer James Brown as himself, the Godfather of Soul, and a shiny brand-new BMW Z4 roadster. The hardest working man in show business wants a new soul, and will drag-race the devil to get one.

    Director Scott empties his very large bag of tricks to make this hyper-active onslaught, and while one's head would explode if it were a full-length feature, here the barrage of music, quick cuts, special effects and subtitles (Brown has enunciation trouble) is powerfully effective. There's no letup, right through the last scene, which is best left as a surprise. I've seen it three times, and could easily see it another three, and hope that its success will bring shorts back to the theater, and give us more of our money's worth.

Comedian Click here to view ONLY this message
{Bulletin Board Photo4} (IMDB) (Netflix)
Jerry Seinfeld makes his way back to stand-up comedy after his hit sitcom has ended its phenomenal run. The challenge is that he's not recycling old material, but building up his act from scratch bit-by-bit, showing up late at New York City comedy clubs and asking for a few minutes to go on, try out some jokes and get back the funny. There's also a parallel story of still-struggling Orny Adams, who's working the same spots, asking Seinfeld if he should hang it up at the age of 29.

Even with the private jet that Seinfeld now flies in, it's a terrifying and anxiety-laden lifestyle ("Trying out new material is like working a normal job in your underwear"). Neither of these guys are particularly charming offstage, but the commitment they exhibit to the craft and their uncontrollable need to perform are almost endearing. Adams is incapable of being happy for more than a few minutes, and an awed Chris Rock tells Seinfeld how the venerable Bill Cosby still does two 2-hour-and-twenty-minutes shows a day, of new material no less, just when Seinfeld's proud of reaching the hour mark. While more could have been done with this subject (Seinfeld was the executive producer, and presumably had a lot of say over what got shot and the final cut), it's still a compelling portrait of two people driven to succeed, whether they enjoy it or not.




Die Another Day Click here to view ONLY this message
    (IMDB) (Netflix)
    The latest in a 40-year string of Bond flicks, with Pierce Brosnan and Halle Berry, who's recovered from her Oscar meltdown and plays an American agent from the National Security Agency (not that the NSA does this kind of wetwork, but no matter). This time the writers are picking on the non-Islamic leg of the Axis of Evil, the North Koreans, and gene therapy makeovers and death rays from space are the plot-enabling technologies. Refreshingly, the fate of the world doesn't even hang in the balance, just a critical piece of it.

    As with most action films, this one starts out better than it finishes and progressively gets more conventional. The opening sequence is a doozy that Navy SEALs should check out, and not a throwaway one; it has consequences for Bond that set up the rest of film. All the trademark scenes with Q, Moneypenny and M are there, but they're fresher and even inventive at times. The action is mostly stunt-a-licious, with a couple chases across the Icelandic, um, ice, the plot more inventive, and the dialogue far less smarmy than the Roger Moore days. Also, the women have decent spy chops, reminiscent of Michele Yeoh in Tomorrow Never Dies (Berry's character will be getting her own movie). The final scene doesn't live up to the first 3/4 of the movie, but on whole, a very above-average Bond flick that won't convert the anti-Bond populace one whit but will more than satisfy fans of this venerable genre.

Solaris Click here to view ONLY this message
    (IMDB) (Netflix)
    What would you do, given the opportunity to correct a tragic mistake and re-unite with the one you love, or at least a re-created version of your inamorata? How far would you go, and what would you sacrifice to get there?

    The 1961 classic novel by Stanislaw Lem inspired a highly respected 1972 Russian film (playing now on the Turner Classic Movie Channel and the Independent Film Channel), but this is the first Hollywood version, by director/writer/cinematographer Steven Soderbergh, with George Clooney as the man with the black hole in his life, and Natascha McElhone as the chance to fill it. Although technically in the sci-fi genre, this is really a love story made possible by a writer's imagination, and Soderbergh wisely strips the technology to the bare essentials, keeping the story in the foreground.

    The dialog is equally spare, as are answers to tough questions about the power of human longing. Clooney challenges those who think he's just an empty T-shirt, and McElhone impresses as the too-real and increasingly self-aware apparation. Soderbergh's photography is arresting without being too clever by half, which is more than can be said about Jeremy Davies, who might be one of the most mannered performers short of the early Jim Carrey. You might want it to move faster, and you might leave wondering what the film was all about, but you'll also know that you've been somewhere new.

Standing in the Shadows of Motown Click here to view ONLY this message
    (IMDB) (Netflix) (Soundtrack)
    The musical common denominator of the Motown era wasn't impresario Berry Gordy, but a loose bunch of studio musicians known as The Funk Brothers. Singers like Marvin Gaye, The Temptations, Stevie Wonder, The Supremes and others would come into the studio with some lyrics and maybe a concept for the melody, and the Brothers would do the rest. Name a Motown hit from the 60s, and they almost certainly played the music that transcended racial boundaries and made Detroit famous for something other than cars. I remember my parents hosting a party when I was eight or nine years old, and as I listened to the music from my bunk bed, I heard a knock on the bathroom door, and the words "Come on, honey, it's the Supremes."

    This documentary finally gives them the recognition these musicians deserve, through the usual interviews with the surviving members and a reunion concert fronted by modern-day artists like Ben Harper, plus evocative recreations of key incidents. Missing are scenes with almost all of the big-name artists who made millions off the Brothers' talent, which is telling, but we don't really need their opinion, because the music, and its success, speaks for itself.

Legend  (Your Last Visit: 28 Mar 2024 12:51)
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