Kim’s Movie Picks

In a film that strongly resembles The Godfather in tone, texture, and visual emotion.

Munich , which its disclaimer says is ‘inspired by true events,’ seeks to tell the untold story of the aftermath of the massacre of the Israeli athletic team at the 1972 Olympic village in Munich.  And, that violent act, while certainly shocking at the time, gives us all a lesson in perspective right at the film’s outset, since in these post-911 days, this event no longer seems so shocking at all. And that is one of many key points this incredible movie makes so very well.

Munich is not about the tragedy of losing these athletes, it is about the morale dilemma of fighting violence with violence, of viewing retaliation as righteousness, and in trying to balance survival against losing all ethical boundaries.

After the Munich massacre, Israel commissions an unofficial assassination team, who, over time, becomes a close-knit family group, despite their grisly objectives. Their leader is portrayed with stunning abilities by Eric Bana, joined by the talented Geoffrey Rush, who plays his unofficial government contact and Zionist conscience.  Outstanding performances are plentiful in this movie, but these two stood out above the others. If you have any doubt, let me know how you felt after viewing the last scene between these two characters. To me, this scene was a devastating portrayal of the conflict these assassins faced, both from their so-called enemies, as well as the people they were supposedly protecting. This movie gives no easy answers, for there are none.

Three and a half out of four stars. A must see for anyone who is interested in world events (and that should be all of us). Rated R for strong graphic violence, some sexual content, nudity and language. This movie is about assassination, and while the violence is not usually gory, it is stark and real. Recommended for teens age 16 and over. Grandma should see this film, even if she thinks she shouldn’t. Take grandpa too.

And while the majority of the movie is interesting, I felt the narrative missed its opportunity to evoke that fragile sense of being inside a special world that I felt so keenly when I read the book. 

There has been a bit of a tempest over this film, directed by Rob Marshall (Chicago, Victor/Victoria), because it is set in pre-World War II Japan, and yet none of actors portraying the main characters are of Japanese ancestry – in fact, many of them are Chinese.  I wasn’t overly bothered by this inaccuracy, but of course, I grew up in an era when Anthony Quinn routinely played Indians in Westerns (what WAS with that?!

The good news is that, if you haven’t read the book, this movie provides a good overview of the basic story line – unknown but strikingly beautiful young girl is sold by her family to the service of a geisha house, and survives the political intrigues of that insular world to become a ‘world famous’ geisha.

I have to admit to being disappointed by the film’s ending – as it presents the most Hollywood of finales, and ignores the real ending of the book (which I will not spoil for you here. Read the last four or five chapters. It still ends happy, but there are some serious facts missing from the film about Chiyo’s relationship with the Chairman, her Prince Charming.)

Two and a half out of four stars. Not a must see, but still entertaining. Rated PG-13 for mature subject matter and some sexual content (yes it’s a geisha house, and there is a bidding war, at one point in the movie, for the main character’s virginity. But the film glosses over the subject by using a Japanese phrase for this ‘most precious of gifts.’ And the sex scenes in this movie are fairly discrete.) Okay for teens and above and grandma as well.

Upfront disclaimer: I admire the writings of C.S. Lewis and have been fortunate enough to have not only read the entire Chronicles series, but also his science fiction novels (yes, I am one of those….) That being said, I approached this movie about his most famous children’s books with much trepidation, as it is, on one hand, a simple story and yet, on the other, a complex and rich tapestry of ideas. 

The good news is that this movie is entertaining. It could be deemed a bit intense for young children –those under the age of 9 — most especially any sensitive to separation anxieties.( The story begins with the London blitz and the evacuation of its children to the countryside.) But the performances are good, most especially those of Georgie Henley, who plays young Lucy Pevensie and also Tilda Swinton who plays the White Witch. Warning: this witch is totally unrepentant and is not punished in this high morality tale for her wickedness. Swinton plays her as straight and as evil as can be, with not a hint of campiness or delight. This witch is just plain mean. 

Director Andrew Adamson (of Shrek and Shrek 2) allows Christian theology references to abound in this film, which would be impossible to avoid, since they are the underlying theme of the entire book upon which the film was based. But unless you know to look for them, key items like the tenets of Christian forgiveness, the sacrament of penance, the rewards of personal sacrifice and the ultimate meaning of resurrection will not necessarily leap out at you. 

The digital special effects in this film (CGI) merit mention, as the lifelike depiction of all the animal characters (who converse and act like humans) as well as the combination characters like centaurs, satyrs, minotaurs and gryphons were breathtaking. Aslan the lion, voiced by Liam Neeson, is the spiritual leader of Narnia, and moves with a stately grace that is right out of Animal Kingdom.

Two and a half out of four stars. Rated PG for battle sequences and ‘frightening moments.’  As previously mentioned, the battle scenes in this movie are intense, as is the performance of Tilda Swinton. And some of the scenes are a bit tedious… But a good family movie if your kids are over age 9, and yes, even grandma should like this one, as long as the battle scenes don’t frighten her too much.

giving minimalist life to his stunning portrayal of Ennis Del Mar, a lonely cowboy who finds himself inexplicitly and unexpectedly in love with his friend and fellow cowboy, Jake Twist, played by Jake Gyllenhaal.  This is one of the most agonizing, modern love stories that I have ever seen played out on a movie screen. 

Director Ang Lee gives this story a rare dosage of stark realty as well as painful poignancy, as we follow these two lovers across the decades.  Through two marriages, the birth of respective children, and various love affairs with others, these two, truly star-crossed lovers keep coming back to their favorite mountain retreat to grasp at the happiness they know they cannot have within the confines of their own, separate, contemporary lives.

Jake Gyllenhaal gives a solid performance, as does Anne Hathaway, who plays his wife, as well as Michelle Williams, in her role as Ennis’ wife.  Both women’s roles could have easily been toss-aways , but they both hold their own in pivotal and dynamic scenes with these two, powerful, male performers.

One pleasant surprise was the addition of Linda Cardellini (who plays a recurring role on TV’s ER, as nurse Sam Taggart), who gives a wonderful, heartfelt performancce as a waitress who unsuccessfully tries to romance Ennis after his marriage ends.

Much has been made of the ‘gay love story’ quotient of this movie. However, at its very core, this film chronicles a basic story of two tortured romantics who know what they want and also know, just as well, that they can’t have it. While many will tag this story as tragic, Lee presents it as just plain sad.

The cinematography, as in most of films that Lee directs, is stellar. The landscape of the West is breathtakingly beautiful and adds to the overall melancholy and sense of longing that both characters endure throughout their relationship.

That being said, the pace of the movie matches the scenery and the cadence of the West. At times, we East Coasters felt that scenes could have been shorter. Dialogue is sparse and emotions boil beneath the surface. People walk away in silence to endure.

Bottom line: Three out of four stars. Rated R for sexuality, nudity, language and some violence. Warning: There is a fair amount of nudity in this film (more than half of it, ironically, female), and there is one brief scene of sexual intercourse between the two men. And while that scene is edited very tightly, there is no real doubt as to what is taking place. Not recommended for anyone under age 15. An interesting note: The day we saw this movie, half the theatre was made up of couples, many of them older than I would have expected (so probably not Heath Ledger fan club members). So there is a real buzz out there for this film, deservedly so.

the film’s pace left me wanting.

Yes, it stirs the pot on current political intrigue and reality in the Middle East and should be lauded for telling multiple truths.

 But as a film, it’s pace and editing left alot to be desired. I found I had to truly pay attention in order to follow the plot.  And it is not necessarily a bad thing to have a complex plot, but when viewers have to struggle to stay interested, to me, that is not a good thing.

The film tells three, interconnected stories, all centered on America’s role and interests in the Middle East oil trade and its resulting politics. Not a new story, but one told, finally,  in a very clear and direct way. And not unbiased in the least.

The story deserved better direction.

The director, Stephen Gaghan, should have kept a firmer pace, and the editing could have been tighter as well. The film is shot in stark contrasts, almost bordering on film noir, but lacks any moodiness or texture. It tells a good story, I just felt it could have been told better. (And it fact, it has been. If you like modern spy stories, I recommend you check out 2001’s Spy Games starring Brad Pitt and Robert Redford. Better pace, tighter editing and the characters’ motivations are clearer.)

Performances in Syriana are high caliber: George Clooney is very good in the ‘spy brought in from the cold’ main character role, but with so much of his emotional state internalized, that, I think, the director missed an opportunity to turn this into an outstanding performance. Matt Damon gives one of his best performances since his breakout role in Good Will Hunting in this film, but the writers could have given him more. Without giving away too much of the plot, there is a point at the end of this film when you begin to believe that Damon’s character might also have a dual role…but the storyline doesn’t give you enough to follow that line of thought, and I think the film would have been stronger if more of those suggestions had had follow through.

Jeffrey Wright is wonderful as an attorney walking the fine line between questionable ethics and outright fraud, with Chris Cooper giving a crusty performance as his blustery and shrewd client. And William Hurt and Christopher Plummer round out the cameo/supporting cast roles admirably.  Even Amanda Peet gives a short, tart turn as Damon’s wife.

And one of my current favorites, Alexander Siddig (late of TV’s Deep Space Nine, and one of the only reasons to rent the recently released DVD, Kingdom of Heaven), has a pivotal, and sympathetic Arab role in this film that he carries admirably – okay, full disclose time– I also think he’s stunning to watch on the big screen.

Three stars, mostly for the storyline and performances. I have to admit a tad of disappointment over the pace, direction and editing, since the buzz on this movie has been so strong. But I still recommend it; I just don’t think it is a must-see. Note that this movie is rated R for violence and language.  The violence is stark, real, and often, unexpected,  so be warned. Not a movie for grandma, unless she is into political intrigue. Not for children over 14, mostly because they won’t be able to catch, and understand, all the nuances of the plot. A good date movie if you like to debate topical subjects.

But aren’t we all getting just a bit tired of this story? Yes Keira Knightley plays a much more lively, lovely, and assertive Elizabeth Bennett, but honestly, there is very little new to this story, or its telling in this most recent film.

Is it an enjoyable experience? Yes.  Is it worth the price of admission, yes, if you like Jane Austin or a solid, classic love story.  And is it entertaining? Well, that’s where I am stuck. Having seen quite a few, already solid, if not classic, tellings of this story on film (of which my favorite still remains Gurindera Chadha’s 2004 Bollywood tale of Bride and Prejudice), I am not certain for those of us who know this story more than well enough, that this film entertains us fully.

For me it was just too predictable, despite Knightley’s solid performance.  There was very little that was fresh here. And this film completely wastes the talents of Donald Sutherland who plays the Bennett’s father figure — Sutherland had to laugh all the way to the bank on this one – as he is given a supporting role that borders on a cameo appearance. He has only truly two pivotal scenes and I could have recited the dialogue from one by rote.

There was not much new here for me. For those of you who have not yet seen a classic telling of this tale, then by all means, go see this one. Two and a half stars. Safe for all ages, as most of Jane Austen’s tales are. Rated PG for some mild thematic elements. An okay date movie, and yes, grandma will like this as well. Any young girl over the age of 11 may also find it enchanting.

November 16, 2005

Shopgirl is not just a film, it is a work of art. This film demonstrates what acting is supposed to be, folks, and so rarely ever is. Directed by relative unknown Anand Tucker, and with a screenplay and outstanding performance by Steve Martin, this movie took my breath away, again and again.

Despite a surprisingly simple plot — girl-meets-boy-and-Man, dates both, ultimately chooses one — this movie deftly uses its basic elements sparingly and effectively to convey very complex emotions.

First of all, there is Clare Danes, an understated, and mostly under appreciated, young actor, who, in this film, gives a performance like fine crystal. Her character, Mirabelle’s, troubled and yet clear spirit, her innate ability to move almost effortlessly from the high society world of her more mature admirer, Ray Porter — played with rare panache and poignant frailty by Martin – and that of her more ardent, younger, grunge suitor, Jeremy — played fearlessly by Jason Schwartzman — leaves you wanting more.  

Shopgirl boasts a small, but highly talented, cast. They are all plunked down in an always-surreal Los Angeles set made up of high-fashion department stores, the macabre and wacky ‘streets’ of Universal’s Citywalk (shameless promotional alert), Porter’s two tasteful, but empty showcase homes, his equally empty private plane cabin and Mirabelle’s cozy, but sparse, lower valley apartment. 

Throughout this film, we are struck by each character’s perseverance, their courage, their aching loneliness and very familiar fears. Despite their diverse backgrounds, ages, and economic divides, they each have much in common, and yet, ultimately, are so very different. With the opening of this film, Steve Martin has suddenly become the anti-Woody Allen, using the barest wisps of language, the most austere of sets and the greatest minimalist set of effective facial emotions since Buster Keaton. Chaplin is cavorting in his grave. 

This movie was a delight on all levels. I found myself comparing scenes from it to Hitchcock’s Rear Window, not for the suspense, but for the similarities between the cool, romantic relationship of the two main characters – and, of course, the clothes.

Yes, the clothes! Clare Danes wears a breathtaking assortment of both funky, artsy clothes (when alone at home and on dates with Jeremy) and then comfortably dons the best of high-fashion items for her liaisons with Ray. (Many of the outfits are given to her as gifts from this newest admirer.) She gives each ensemble the same fluid presentation as the then young Grace Kelly, you can see it in her walk and feel it in her attitude. The homage is very well placed.

Go see this movie – it is beautifully filmed, masterfully edited and directed and has outstanding performances from all the cast. I give it four stars. Shopgirl is rated R for some sexual content and brief language. A good choice for anyone over age 16. There are sex scenes, but they are discrete and what nudity there is, is very tastefully done. A very good date movie.

November 15, 2005

Okay, we should know by now that I am a reluctant Nicholas Cage fan….hated his early work. Torture for me is being asked to watch Peggy Sue Got Married. Not only was his performance insipid, but hey, wasn’t Kathleen Turner just a tad old for that role, even back then?

But then Moonstruck came along and just pole-axed me….it is one of my favorite movies of all time and I had to admit, again reluctantly, that Mr. Cage’s performance, while clunky, was a big part of the appeal (as was the whole, wickedly talented ensemble, from Cher to Vincent Gardenia).  And so I became an on-screen Nicholas Cage stalker, picking and choosing among his performances over the years, looking for those occasional flashes of brilliance.

And so it was that The Weatherman tempted me, as do many current films, by adding in that most tempting bait of all – a supporting role from talented and understated Michael Caine, the busiest and luckiest older man in Hollywood .



I wish I could say my time was well spent on this film, but overall it has about three good scenes, almost all of them involving Mr. Caine.  The rest of the film is, at best, misguided, at its worst, muddy.  Like the many viewers of Mr. Cage character’s weather programs, we too want to throw a slurpee. This film had good potential, but instead of exploring the emotional limbo of its main character, it takes its near misses for granted, hoping they alone will move the plot forward.

Directed by Gore Verbinski, who gave us the very clever Pirates of the Caribbean, as well as the haunting thriller, The Ring, it becomes obvious that this director still lacks the discipline to tackle drama. Without any swashbuckling or horrifying images available to move the story emotionally, Cage’s character, Dave Spritz is left with throwing snowballs, getting hit in the face with fast food, and (in one of the few charming sequences) taking his daughter on an unexpected, and greatly needed, wardrobe shopping spree in New York.

One and a half out of four stars. Not a must see; wait for the DVD. Rated R for strong language and sexual content.  Warning: this movie has somewhat unnecessary, and constant, cursing and very adult themes. Not for the under 15 crowd, or grandma if she is easily offended by direct sexual references.

November 15, 2005

Director Niki Caro, who gave us the emotionally rich film Whale Rider in 2002, has done it again with this season’s North Country . Emotionally powerful, embroidered with complex and unflinchingly stark characters, this film cuts to the quick, for it is a modern story of sexual discrimination in the workplace that will surprise younger viewers.

For yes, sexual discrimination still happens. This story, set in 1984 is based on a real-life, historical class action suit against a mining company in Minnesota that changed employment laws and practices in this country, and with good cause.

Academy Award winner Charlize Theron plays the film’s main character, Josey Aimes, who flees an abusive boyfriend, taking her two children with her, to the home of her parents in Minnesota. There an old friend, Glory, played with incredible grit by Frances McDormand, convinces her to work at the mines, where the money is good, but the environment harsh. Neither of them anticipates what will happen when this local girl, whose own father works in the same mines, realizes what the other women must face every day in order to support their families. And when a brutal secret from her past comes back to haunt her, she is forced to take action against the company, alienating her own father, the rest of the female workforce and pulling her children into a battle that ultimately engages the whole town.

I challenge any woman to see this movie and not be emotionally impacted. Watch for Woody Harrelson’s surprisingly understated, but pivotal, role as Josey’s attorney. And for the incredible power of Sissy Spacek’s as Josey’s mother, who, finally, takes the bull by the horns and shakes him. Outstanding performances are also given by Richard Jenkins, Jillian Armenante (from TV’s Judging Amy), and Rusty Schwimmer.

Three out of four stars. See this film. Rated R for sequences involving sexual harassment including violence and dialogue, and for language. But reasonably safe for anyone over 13. Take every teenage girl, and boy, that you know. This film has a powerful message for all people, even if it does make men squirm (and it does).

October 25, 2005

Tim Burton’s latest stop-action animated film, The Corpse Bride, is a delightful diversion – that is, if you like your diversions a bit macabre. 

Obviously not satisfied with the ghoulish antics of his last animated film, the equally dark Nightmare Before Christmas,
Burton takes us a on journey to a timelessly Victorian town, where two sinister pairs of parents attempt to marry off their respective children, for all the wrong reasons.

Johnny Depp plays Victor Van Dort, the groom half of this ill-fated duo, with Emily Watson playing the part of Victoria, the innocent and sheltered (human) bride. Custom in this strange, dark town leads this engaged couple to meet face to face only the day before their nuptials – and then to have tragedy strike when the nervous groom cannot manage to memorize his wedding vows. Sent out of the church to practice said vows by himself, he inadvertently repeats the vows in a graveyard and instantly finds himself shackled to a bride who is a corpse (played with real panache by Helen Bonham Carter).

The animated characters in this farce are lovely to look at and the musical score by Danny Elfman adds immediate charm to some very chilly surroundings. Odes to other movies abound, and while the dialogue and song tunes are snappy, parents should be cautioned that this movie is not for small children, unless of course, you are part of the Adams Family. Then you will fit right in.

And while the plot may seem at times as thin as its main characters, this movie is a lot like Halloween candy corn, my favorite autumn candy: there is no obvious nutritional value, but there is still guilty delight, sweet satisfaction and yes, seasonal poignancy. This movie, like the candy corn, will not last long. Catch it while you can.

Two out of four stars. Rated PG for some scary images and action, and brief mild language.  Safe for all family members over 8 years old.