As my 21-year-old daughter and I walked out the theater after 2 a.m., elated at having seen 'Super 8' at a midnight screening, I mentioned to her that the movie made me wish I were 12 again. By that, I did not mean this movie is only for youngsters—far from it. It's just that if I were 12, 'Super 8' would be destined to live forever in my memory as a defining film of my youth, the way a film like 'The Great Escape' is for my age group or 'Star Wars' for a later generation. True, I'm way beyond 12—but 'Super 8' generated the giddy excitement, thrills, and sense of awe that create enjoyment and good memories at any age.
I've felt burned and bummed in the past few months by forced, unfunny rom-coms such as 'Valentine's Day' and 'The Back-up Plan.' So perhaps I'm going overboard in my delight with 'The Switch'—although I still need to qualify my rating: If I could, I would award the film 4.5 stars for very good, as opposed to the 5 stars I reserve for the likes of 'Annie Hall' and 'When Harry Met Sally…' In any case, 'The Switch' essentially rocked my world during its appropriate, not-dragged-out running time. The chemistry of friendship between Jennifer Aniston and Jason Bateman was recognizable and devoid of the usual silliness of pratfalls and other physical shtick no one performs in real life. What's more, the tentative romantic inclinations of the two main characters are so compelling that one can't help but root for the happy resolution. (I'm not giving anything away; everyone knows happiness lies ahead.) To be honest, as well as Aniston plays Kassie, the film belongs to Bateman's neurotic, uncertain, constantly flummoxed, and completely endearing Wally—and to young Thomas Robinson as Kassie's unusually serious son, Sebastian. The touching and often hilarious scenes with Wally and Sebastian are the film's highlights—and singlehandedly raised my rating from a 4 to a 4.5.
I haven't been so tripped out by a film since I was a teenager seeing '2001: A Space Odyssey' during its initial run in 1968. As in the case of that Kubrick masterwork (and many other equally groundbreaking Kubrick films), 'Inception' is going to receive its share of brickbats from film critics. Not only that, regular filmgoers such as you and I will be exchanging opinions about 'Inception' for days, weeks, months, even years. How many other summer movies of this or any other year are capable of generating this kind of intense love-hate response? In any case, the first time I saw 'Inception' at an invitation-only screening Wednesday night, I was awed, enthralled, and thoroughly confused (in a good way). Seeing it a second time at a midnight show, some of its narrative and visual complexities became clearer--or did they? That's the essence of this film's brilliance: No matter how many times I end up seeing 'Inception,' I will never know if I fully understand it--much like my uncertainty about my own dreams.
Finally, here is a summer movie that soars rather than tanks! As in 'Toy Story 1' and 'Toy Story 2,' the narrative and visuals in 'Toy Story 3' convey heartfelt emotion, inventive action sequences, and a giddy sense of fun. Also, what I love about Pixar's use of 3D is that it enhances the images rather than merely subjecting the audience to random projectiles. With this 3D process, too, I never had the feeling that the images look too dark, which happens with some 3D films I've seen. (I saw both versions of the most recent 'Shrek,' and the 2D print was far brighter-looking than that of the 3D.) Despite its pristine quality in 3D, 'Toy Story 3' will probably look just as vibrant in 2D, which is a testament to how visually stunning all the Pixar films have been.
...and counting, so I don't have much more to say than that. In the St. Louis area, 'Avatar' unfortunately is not available in IMAX 3D, so on a trip o New York in late February, I plan to see the IMAX version then.
Rob Marshall’s ‘Nine’ is based on the 1982 stage musical that was adapted from Federico Fellini’s classic 1963 film ‘8½.’ Familiarity with the Fellini film is not necessary, however, to enjoy ‘Nine.’ The cinematography is spectacular, and the performances are fine, dramatically and musically: Daniel Day-Lewis can sing! And Fergie brings down the house with ‘Be Italian,’ while Kate Hudson’s high-energy singing and dancing of the ‘Cinema Italiano’ number reminded me of her mom, Goldie Hawn, during the ‘Laugh-In’ days. I’m not sure why some critics slammed ‘Nine’; perhaps they consider it a sacrilege to Fellini. That is unfair to ‘Nine,’ which deserves to be judged as the classy, flashy musical it is. In my world, ‘Nine’ is at least a 9½.
When I saw ‘Toy Story’ in 1995 with my then-five-year-old daughter, I was knocked out by the visuals. Four years later, my daughter and I saw ‘Toy Story 2,’ where I discovered that rarity: a sequel that surpasses the original, like ‘The Godfather, Part II’ and ‘The Empire Strikes Back.’ My daughter is away at college now, so I went to ‘Toy Story and Toy Story 2 in 3D’ by myself—twice. The 3D treatment is what I would expect from Pixar: a subtle enhancement of perspective and depth of field, not an in-your-face barrage of projectiles. Both films have withstood the test of time, and the first ‘Toy Story’ remains as radical in its artistic and cultural impact as ‘Snow White and the Seven Dwarfs’ (1937) and ‘The Wizard of Oz’ (1939).
I've been an MST 3000 fan for years, and this show became the first Fathom event I ever attended. There were some technical glitches at the beginning, but luckily none disrupted the actual screening and gleefully snarky commentary for 'Plan 9 from Outer Space.' If I have one criticism about the evening, it's that I could have done without the musical performer. Judging from the reaction shots of the Nashville audience, the guy seems to have some kind of following, but I can't understand why.
When I see movie comedy previews spotlighting hilarious scenes and comic-gem dialog--as with the recent one for 'Tropic Thunder'--I am always apprehensive that the trailer has mined all the funny bits, leaving nothing for the actual, otherwise laugh-free film. Within its opening moments, 'Tropic Thunder' laid all my fears to rest--mainly because I was in stitches. I realized the preview didn't begin to suggest how much insane, almost nonstop hilarity was in store for me and the rest of the audience. A caveat, though: Like many other great comedies that dare to be non-PC, 'Tropic Thunder' has something to offend everyone.
To have seen two intelligently conceived comic book movies in one summer--'Iron Man' and now 'The Dark Knight'--is simply amazing. This one packs so much visual and narrative virtuosity in its action-soaked, tension-filled running time that it's hard to believe it's only about two-and-a-half hours. Be aware, though: In a film bursting with great performances--including, of course, Heath Ledger's already legendary take on The Joker--it would be a Gotham-sized crime to overlook Aaron Eckhart's brilliantly shaded portrayal of Harvey Dent.