Whew!
Now Playing: Yeah, I know I've been gone a while. Sorry, you two.
(listed roughly in the order in which I saw them)

THE FANTASTIC FOUR (2005, Tim Story)- not quite as lame as I was expecting, but not good either. It's certainly not as dark and serious as BATMAN BEGINS or the SPIDEY franchise, but much of the humor falls flat (despite Chris Evans' best efforts), Dr. Doom makes for a lame baddie, there's no chemistry between Jessica Alba and Iaon Gruffuffuff, and the rather sparse action scenes aren't all that exciting. It's harmless enough- it's probably doing well at the box office because it's less demanding than WAR OF THE WORLDS- but that doesn't quite cut it for me. Rating: *1/2.

HISTOIRE DE MARIE ET JULIEN (2003, Jacques Rivette)- I definitely need to see this again, but on first viewing I was positively entranced. Rivette lovers will find a lot to love here- languid pacing, piles-o'-books art direction, the expected great performances from Emmanuelle Beart and Jerzy Radziwilowicz. Likewise, his ability to apply his unique style to what could have simply been a forgettable genre piece has improved by leaps and bounds since SECRET DEFENSE (my least favorite Rivette of those I've seen). The final scene is sure to be a point of contention between romantics and cynics, but I loved it. Also, Beart boobies, for those interested parties. Rating: ***1/2.

IT'S A GIFT (1934, Norman Z. MacLeod)- everything I love about Fields movies is on display here, especially the uncomfortable nature of the big comic sequences. Fields movies were made by, about, and for put-upon misanthropic men who felt impotent in the face of difficult women, mischievious kids, and the like. That's what keeps them feeling completely modern in our more politically-correct world, I think, as many would maintain that this feeling of impotence has only become more pervasive since then. Rating: ***1/2.

DARK WATER (2005, Walter Salles)- yet another J-horror remake (I didn't bother with the original) with the usual storyline- kid dies and comes back to communicate with the living but can only scare them because, duh, she's a ghost. Yet the movie largely worked for me because the dramatic stuff was effective. Connelly of course excels as the mother whose issues only grow when the ghost comes on the scene, and the supporting cast is pretty awesome too (I especially enjoyed Tim Roth- where has he been lately?- as the only non-shyster lawyer in New York). The horror elements are almost an afterthought here, which may be why audiences aren't liking it, but I enjoyed the atmospheric style. This may be my favorite Salles film, but honestly that's not saying a lot. Rating: **1/2.

PASSPORT TO PIMLICO (1949, Henry Cornelius)- genial and fairly amusing, but I fear a lot of the satirical jabs may have been lost on a non-Anglophile half a century down the line. Rating: **1/2.

THE MAN IN THE WHITE SUIT (1951, Alexander Mackendrick)- I fear Ealing comedies may not be my thing, given that this is supposedly one of the greats and I merely liked it quite a bit. Alec Guinness is somewhat colorless (ha ha), though by design, while Joan Greenwood's awesome cultivated-yet-sultry voice and Ernest "Dr. Pretorius" Thesiger steal the show. Maybe I just need to see KIND HEARTS AND CORONETS... Rating: ***.

WEDDING CRASHERS (2005, David Dobkin)- lots of funny moments (dig Vaughn's "just the tip" speech or his demonstration of "motorboating"), but the trouble with a movie with "wedding" in the title is that too often the filmmakers feel the need to appeal to people who come to see a chick flick. Too bad, really, because the earnest romance between Owen Wilson and Rachel McAdams clashes with the raucous, foul-mouthed majesty of the early scenes. Plus the "villainous" character of Sack is over-the-top in the wrong way- violent and psychotic, but not in a way that's funny. But Vaughn rules the movie, except whenever Isla Fisher's looney little sis character is onscreen. Rating: **.

THE ISLAND (2005, Michael Bay)- I always feel a little bad when I dislike a Michael Bay movie, since the guy's style is SO excessive, so cranked-up, that it should be right in my wheelhouse. Shame the movies themselves tend to be so stupid, although this one is slightly less so than usual, which creates a bit of a problem, as a GATTACA-style utopia-with-a-secret sci-fi drama careens repeatedly into a smash-'em-up Bay actioner, in which cars don't so much crash as SHRED. Don't know what detracts more- the rudimentary character motivations or the awkward comic relief (e.g. the "dude" scene). Plus there's Bay's usual reliance on all-American imagery, with Ewan MacGregor's "enlightened liberator" character oh-so-subtly named "Lincoln." Still, nice to see Djimon Hounsou playing a badass, even if he doesn't really get anything badass to do. Archetypal Bay moment comes when MacGregor sees a motorcycle for the first time: "I don't know what it is..." [pause] "... but I want one!" Rating: *1/2.

CHARLIE AND THE CHOCOLATE FACTORY (2005, Tim Burton)- perhaps thirty years from now, the third time will be the charm. First movie had a better Wonka (Wilder's dry disdain trumps Depp's Jacko-esque stylings), but in this one the non-Wonka stuff is superior- better kids, better art direction, MUCH better songs. Loved the opening reel or so, with the poverty of the Bucket family a real presence in the film -the house is a design wonder- and real warmth and humor in the family (Freddie Highmore and David Kelly are great as Charlie and Grandpa Joe, respectively). Once they arrive at the factory, pickings are decidedly mixed, and the only time it really cooks from there on in is during Veruca's demise. It can only be a matter of time before an enterprising young editor attempts place Wilder's Wonka into this movie, which could turn out fascinating; but until then, read the book. Rating: **.

WERCKMEISTER HARMONIES (2000, Bela Tarr)- my first Tarr film, and now I see what Gus Van Sant was so excited about. I can't say I figured it all out on the first viewing, but I did like how the opening scene sets up the story as dealing with the ideal of cosmic order (as in the demonstration of the eclipse) only to see order pulled out from under the feet of the townspeople with the arrival of the traveling circus. Is the film saying that the whale and the Prince disrupted the careful order of the town (which Auntie Tunde clearly represents), or is the town's order an unnatural affectation to be torn asunder in favor of something more basic and primal (much like Uncle Gyorgy's musings on ransacking contemporary musical structure)? But who has time to answer this question on the first go-round when one can geek out on the gorgeous black-and-white cinematography and oh-so-smooth Steadicam work? There's even a side-by-side walking shot here, which Van Sant purloined (and somehow improved upon!) for GERRY. The raiding-the-hospital sequence is a marvel to behold. Is it too much to hope for that someone will put out SATANTANGO in DVD? Rating: ***1/2.

LOS OLVIDADOS (1950, Luis Bunuel)- it's Bunuel. Whaddya need, a map? Rating: ***1/2.

2005: Looking forward
Now Playing: My 25 most anticipated films for the rest of the year
Some of these films aren't currently scheduled for release before the end of the year, but that's not really a big deal for me. I'm more excited that they're coming out at all.

(in *grumble* alphabetical order)

(links provided to official sites where applicable)

ART SCHOOL CONFIDENTIAL - Terry Zwigoff and Daniel Clowes, together again.

THE BAD NEWS BEARS - I'm a little weary of remakes, but I love Linklater and Billy Bob, plus the writers of BAD SANTA are doing this, and that sounds like a winning team to me.

THE BRAND UPON THE BRAIN! - a follow-up to COWARDS BEND THE KNEE? Seems too good to be true...

BROKEN FLOWERS - seems almost conventional by Jarmusch standards, but it has Bill Murray (or billmurray?) in wry-sad mode, and Jarmusch > Sofia Coppola in my opinion.

THE CHILD - the Dardenne brothers' first three films are all great, and all indications are that this one (which copped the Palme d'Or) is just as good.

CORPSE BRIDE - Tim Burton's first animated project since NIGHTMARE BEFORE CHRISTMAS looks great, and that he's co-directing has me intrigued. More than CHARLIE AND THE CHOCOLATE FACTORY, anyway.

ELIZABETHTOWN - if you haven't checked out the online-only trailer yet, I HIGHLY recommend it (warning: huge file).

THE 40 YEAR OLD VIRGIN - the cast (Carell, Keener, Rudd, Rogen) rocks, and the trailer is a hoot. I have high hopes.

THE FOUNTAIN - a hugely ambitious sci-fi film from Darren Aronofsky, starring Hugh Jackman (a talented actor who needs a worthy role), and allegedly spanning over a thousand years. Could go either way, really.

HIDDEN - Haneke is one of the greats, and this is allegedly one of his better works. Good enough for me.

A HISTORY OF VIOLENCE - allegedly Cronenberg's most accessible work since THE FLY two decades ago. And THE FLY rocks, so that's cool with me.

IDIOCRACY - in spite of delays, I'm still excited. Mike Judge's stuff tends to be pretty hilarious.

KING KONG - lest we forget that this, not LORD OF THE RINGS, is Peter Jackson's dream project...

KISS KISS BANG BANG - Shane Black is back! If that doesn't excite you, then you have my pity.

MANDERLAY - oh that Lars. Stirring up trouble again. Either you can't wait to see this or you can't wait to skip it. You know which applies to you.

MATCH POINT - could it be that Woody Allen is really back?

ME AND YOU AND EVERYONE WE KNOW - early word is sparkling. Could be the year's "little-movie-that-could."

THE NEW WORLD - that it has been a mere seven years since the last Malick film was released is some kind of miracle.

PRINCESS RACCOON - I wasn't the biggest fan of PISTOL OPERA, but I'm nonetheless stoked at the idea that Seijun Suzuki is making films again, and is still completely nuts.

THE SUN - Sokurov's film about Hirohito, starring YI YI's great Issey Ogata.

TIDELAND - THE BROTHERS GRIMM looks fun, but I'm more intrigued by Gilliam's upcoming heartland odyssey, not least for Gilliam's reunion with FISHER KING's Jeff Bridges.

UNTITLED SPIELBERG 1972 OLYMPICS PROJECT - I was actually dreading this until I found out that it dealt mostly with the aftermath of the terrorist attacks. Will he deal with the darker themes of the story (namely, vengeance), or will his tendency toward audience-pandering win the day?

WALLACE AND GROMIT: THE CURSE OF THE WERE-RABBIT - these guys rule.

THE WAYWARD CLOUD - along with the Maddin film, Tsai Ming-liang's follow-up to WHAT TIME IS IT THERE? is my most anticipated "sequel" of the year.

WHAT IS IT? - Indeed.

2005 so far: Looking back...
Now Playing: Top 10 films of the first half of 2005
Really, this feels more like a review of the first 1/3 of 2005, since so many movies for a given year don't arrive in Central Ohio until the first several months of the following calendar year. But never mind- I think we've had more than enough noteworthy offerings come to town to justify a pretty decent list.

1. KINGS AND QUEEN - as if it could really be anything else.

2. TROPICAL MALADY - Joe is definitely an acquired taste, but I love his work, and this is his best yet.

2.5.
NOT ON THE LIPS - if only this would get released theatrically, it would be one of the year's best.

3. OLDBOY - you'll never look at a hammer the same way again.

4. KUNG FU HUSTLE - maybe not respectable, but certainly awesome.

5. NOBODY KNOWS - that this isn't perched at #1 on this list is the kind of disappointment I guess I can accept.

6. DOWNFALL - the crunching of glass between little teeth is the most chilling sound effect of the year.

7. SEXUAL DEPENDENCY - the "Mirrors" monologue is harrowing stuff.

8. LAND OF THE DEAD - against all odds (budget-slashing, rushed production, semi-obsolescence), George pulled it off.

9. DALLAS 362 - Scott Caan is a natural filmmaker. Who knew?

10. HEAD-ON - I'm a little ashamed of the tiny blurb I wrote for this, a scruffy little gem about two lost souls who don't quite find happiness together. Aside from being a fascinating look into the subculture of Turkish immigrants in Germany, the film is also a love story of a different stripe, in which life has other plans for the lovers that don't include a clean happy ending.

And the worst...

KING'S RANSOM - everyone in this movie is a moron, though almost none of them are acknowledged as such. If I was African-American, I'd be offended that someone thought this would appeal to me. Comedy at its most dire.

Five-and-seventy, and away we go.
Now Playing: Honestly, I'm running out of catchy titles for these things.
WAR OF THE WORLDS (2005, Steven Spielberg)- starts off awesome, with some of the tensest sequences Spielberg has ever committed to film (my favorite being the single shot where the stolen minivan careens down the highway full of broken-down cars just after the initial attack, as the family struggles to maintain sanity within). Too bad the second hour kinda blows. Rating: **1/2.

UNDERGROUND (1995, Emir Kusturica)- The Palme d’Or winner tackles a heavy, ambitious topic (nothing less than fifty years of Yugoslav history) but is surprisingly raucous. Miki Manojlovic is awesome here as and opportunist who deceives his best friend and others into thinking the war is still going long after it has ended, for his own profit. Many details might mean more to me were I more familiar with Serbo-Croatian history, but even now the film is pretty transfixing. Rating: ***1/2.

IVAN THE TERRIBLE: PARTS I and II (1945/1958, Sergei Eisenstein)- Nikolai Cherkassov’s highly theatrical title performance carries this film, not a womb-to-tomb biopic but the story of one man’s rise to power and his defeat of his enemies. There’s less incident than one might expect, as Eisenstein wisely pares down the story in a way that increases the impact of the climactic sequence. The Technicolor sequences in Part II are gorgeous, as is Sergei Prokoviev’s score. A classic, and rightly so. Rating for both films: ***1/2.

MY SUMMER OF LOVE (2004, Pawel Pawlikowski)- Point seems to be that Mona is the only principal character who is completely straightforward- Tasmin (SPOILER!) sees her relationship as a lark, a way divorce herself from serious life before returning to school, and Phil’s born-again Christianity is largely self-deluding, as he tries to will himself free from his violent nature. However, it all feels too inevitable- both Tasmin and Phil feel like they’re trying too hard, blunting the impact of the final realizations. Rating: **.

Sorry I'm late, guys...
Now Playing: A few more 75ers for ya.
GEORGE A. ROMERO'S LAND OF THE DEAD (2005)- Best zombie flick in years, a worthy entry into the DEAD cycle, but also the best Carpenter movie Carpenter never made (ESCAPE FROM PITTSBURGH?). Even with R rating, some killer gore, but also more action than expected- that DVD’s gonna ROCK.. All this plus Leguizamo acting crazy, Hopper underplaying to nice effect, Simon Baker making a solid Romero hero, and social commentary (haves vs. have-nots) for those who are so inclined. More to come, probably. Rating: ***.

HOWL'S MOVING CASTLE (2004, Hayao Miyazaki)- Once again, Visual Flair dukes it out with Muddled Storytelling, but it’s a closer fight than expected, with Muddled Storytelling giving a surprisingly good showing and Visual Flair getting winded after the first hour. Visual Flair eventually pulls off the decision (thanks to Turniphead, Old Sophie, Calcifer et al), but honestly Miyazaki needs to get some help writing the movies and concentrate on making with the awesome images. Rating: **1/2.

BEWITCHED (2005, Nora Ephron)- In which an insipid heroine and a douchebag of a hero fall in love while “re-imagining” the BEWITCHED series. “Clever” story told in most prosaic manner imaginable, with Kidman and Ferrell on seemingly completely different wavelengths, Caine and MacLaine phoning it in, Schwartzman swearing more than everyone else in the film put together and (SPOILER!) a bizarre late-coming cameo that gets more laughs from sheer disbelief than anything that came before. Harmless, but hardly good. Rating: *1/2.

IT'S ALL GONE PETER TORK, er, PETE TONG (2004, Michael Dowse)- Honestly I have forgotten just about everything about this movie. Let’s see… mockumentary form not really carried through the film… DJ Frankie is pretty obnoxious, even when we’re supposed to like him… “make the most of your condition” isn’t really a world-beater of a theme… the club scene isn’t my scene… drugs bad, love good. Am I right? Am I close? Rating: *1/2.

HIGH TENSION (2003, Alexandre Aja)- A gruesomely effective splatter flick in the vein of original TEXAS CHAINSAW for most of the duration (no wonder Aja landed the HILLS HAVE EYES remake), featuring a performance by Cecile de France that’s fairly accomplished for the genre. But even her performance can’t sell that ending, which is pretty (no offense intended) retarded. Half-subtitles, half-dubbing compromise pretty jarring, but it doesn’t matter much after the first reel. Rating: **.

THE MIRROR (1975, Andrei Tarkovsky)- My first exposure to this, which some believe is Tarkovsky’s best. In some respects, pretty simple- the filmmaker reflects on his life and how it affected those closest to him, particularly his mother and his wife (played by the same actress) as well as his son. But Tarkovsky’s storytelling is enigmatic to the point of being impenetrable in spots. But it’s never less than completely transfixing, with the expected corker of an ending (though this one’s fairly simple by his standards). Could very well be a masterpiece, once I figure out what’s going on. And yes, I know this is more than 75 words already. Rating: ***1/2.

FURY (1936, Fritz Lang)
THE LEOPARD (1963, Luchino Visconti)
MASCULINE-FEMININE (1966, Jean-Luc Godard)-
All three of these movies are just as awesome as they were the last time I watched them, but I don't have a whole lot to say about them right now (I'll refer you to this guy's M-F review if you're hungry for more). Also, why does it always seem like I'm winding up with girls like Elizabeth (sexually inviting but distant) when deep down I pine for someone like Catherine (seemingly innocent, but kinda freaky deep down)? Or am I projecting too much onto the film? Ratings for all three films: ***1/2.

Yeah, it's late this week. So what?
Now Playing: Some more shorties for ya
BATMAN BEGINS (2005, Christopher Nolan)- A perfectly entertaining superhero origin story, though rarely more than that. Nolan wisely downplays Burton’s gothic style (and Schumacher’s day-glo mess) in favor of character study, and Bale is up to the task as Batman and especially as Bruce Wayne. Supporting cast a mixed bag- Wilkinson overplays and Holmes sleepwalks, but Murphy steals all his scenes and everyone else does respectable work. A step in the right direction, though final scene’s a too-blatant sequel grab. Rating: **1/2.

MR. AND MRS. SMITH (2005, Doug Liman)- Diverting but rarely fun, Liman’s heavily-armed action comedy feels like a missed opportunity. Pitt’s loose and fun- his scenes with Vince Vaughn made me yearn to see them work together again- but Jolie’s a buzzkill, a self-absorbed glamourpuss packing heat but little of her much-hyped “edge.” Liman forgets he’s making a comedy in the last half-hour, concentrating instead on blowing stuff up, save an elevator gag that was done better in THE SPONGEBOB SQUAREPANTS MOVIE. Rating: **.

THE ADVENTURES OF SHARK BOY AND LAVA GIRL IN 3D (2005, Robert Rodriguez)- Oh, my eyes! What might’ve been a lame but forgettable kids’ movie becomes a chore due to horrible 3D that caused me to remove the glasses after twenty minutes. Watching the balance in 2D, I don’t think I missed much- lousy acting (by both kids and adults), Rodriguez’s cheeseball DIY effects, and occasional objects being hurled (in either sense of the word) at the camera. Co-written by Rodriguez’s 7-year-old kid, and man does it show. Rating: 0 stars.

THE PERFECT MAN (2005, Mark Rosman)- This movie smells like television, from the telegenic cast (Duff, Locklear, Chris Noth, Mike O’Malley, Carson from QUEER EYE- nothing against TV, but we’re hardly talking Ian McShane here) to the heartwarming and inoffensive messages (scheming is bad, you don’t need a man to be happy, single moms have it tough). Wouldn’t complain about something so bland except that there’s nothing to it besides the tasteless mush. Ah well, at least Hilary Duff doesn’t sing. Rating: *.

WALK ON WATER (2005, Eytan Fox)- An effective, mostly underplayed film about the delicate situation in modern Israel. Lior Ashkenazi is particularly good here as cold Mossad assassin Eyal, coming to grips with his own life through his German “friends.” Fox uses everyday realities such as suicide bombers as fodder for wry humor- cellphones go down, sad music on the radio- while more dramatic moments sneak up on us. Final act in Germany disappoints a bit, but still a strong film. Rating: **1/2.

25 out of 26 ain't bad...
Now Playing: Originally posted at Epinions.com, although this one has way more links.
26 letters, at least 25 have yielded awesome movies (a pox upon thee, accursed X!!!). I had four criteria for the films on this list, listed below in no particular order:
1. I wanted to select films that hadn't been mentioned by too many people, if any,
2. I tried to pick films I've reviewed either here or on my personal site (a link will be provided for Epinions reviews),
3. I didn't want to use filmmakers more than once on the list, and
4. Whenever possible, the films I selected had to be awesome.

Let's see how well I did.

A is for AFTER LIFE- a film that is never less that profound while simultaneously turning me into a wreck at the end (other contenders: ALIEN, ANNIE HALL, L'ATALANTE AU HASARD BALTHASAR).

B is for BELLE DE JOUR- my all-time favorite film, which I refrain from writing about in depth for fear of not doing it justice. Deneuve is my favorite movie star ever, and she's at her most bewitching here, and Bunuel is at his wittiest and most crochety (other contenders: BAND OF OUTSIDERS, BARRY LYNDON, BLOWUP, LES BONNES FEMMES).

C is for COME AND SEE- for my money, the most affecting war film ever made, turning the Nazi invasion of White Russia into a nightmare seen through the eyes of a patriotic teenager (other contenders: CELINE AND JULIE GO BOATING, CHILDREN OF PARADISE, CHINATOWN, CLOSE-UP).

D is for DON- not quite the best "D" film ever made, but certainly the most fun. Amitabh Bachchan is unbelievably cool, especially when he's being loose and goofy (other contenders: DEAD MAN, DO THE RIGHT THING, DETOUR, DOUBLE INDEMNITY).

E is for EIGHT WOMEN- yeah, so it's been used before, but who cares? I love love love this movie, a francophile's fever dream in candy colors, with a surprising final emotional punch (other contenders: 8 1/2, ERASERHEAD, EXOTICA, EYE MYTH).

F is for FACES- Cassavetes is amazing, and for my money this is his best. Rowlands, Marley and Cassel are predictably great, but it's Lynn Carlin who's the showstopper here (other contenders: A FACE IN THE CROWD, FAST CHEAP AND OUT OF CONTROL, THE FOUR HUNDRED BLOWS, FREAKS).

G is for GATES OF HEAVEN>- yes, the pet cemetary doc, as eloquent and graceful a film as has been made about the way we find meaning for our own lives through the deaths of those we care about (other contenders: THE GENERAL [Keaton], GIMME SHELTER, GLENGARRY GLEN ROSS, GRAND ILLUSION).

H for for A HARD DAY'S NIGHT- the Beatles will always rock, and so will this film, which used cinema-verite techniques to reinvigorate the rock musical, previously embalmed by too many Elvis (and Elvis-wannabe) cheapies (other contenders: HEAVENLY CREATURES, HIGH AND LOW, HIROSHIMA MON AMOUR, THE HUSTLER).

I is for IRMA VEP- a pointed film about the making and unmaking of a forgettable film, it's like DAY FOR NIGHT if Truffaut had shot his film hung over, and I mean that in the best of ways (other contenders: IKIRU, IN A LONELY PLACE, IRREVERSIBLE, ISHTAR).

J is for JEANNE DIELMAN- "a film about nothing," says fan Todd Haynes, and he's not far off in his assessment of this 3.5-hour film that uses real-time extensively to follow the everyday routines of the titular housewife. Difficult but completely engrossing (other contenders: JAWS, LA JETEE, JFK, JOAN THE MAID).

K is for KINGS AND QUEEN- I've been obsessed with this movie ever since I first saw it two months ago, and for good reason, as it's the most exciting, disorienting, unpredicable, and alive film to come out in years (other contenders: the KiLL BiLL double feature, THE KILLING OF A CHINESE BOOKIE, KING KONG).

L is for THE LADY EVE- in a dream matchup of old-school stars, con-artist Barbara Stanwyck seduces bookish heir Henry Fonda only to fall in love with him. Hilarious, beautifully-written, and surprisingly sexy (other contenders: LAST TANGO IN PARIS, LAWRENCE OF ARABIA, THE LIFE OF BRIAN, LOLA (Demy)).

M is for THE MOTHER AND THE WHORELA MAMAN ET LA PUTAIN- "I like French films/ pretentious, boring French films/ I like French films/ three tickets, s'il vous plait..."~ Jay Sherman a.k.a. THE CRITIC (other contenders: M, M. HULOT'S HOLIDAY, MCCABE & MRS. MILLER, MY NIGHT AT MAUD'S).

N is for NOTORIOUS- Hitchcock's best, and that's saying a lot. Cary Grant, Ingrid Bergman, and especially Claude Rains have never been better (other contenders: NAKED, NASHVILLE, NIGHT OF THE HUNTER, NORTH BY NORTHWEST).

O is for ORPHEUS- Cocteau was perhaps cinema's great renaissance man: a poet, an artist, a writer, and a director of some of the greatest visions of fantasy ever seen on the silver screen. That he worked with such limited budgets only made his flights of fancy that much more vivid (other contenders: O LUCKY MAN!, ONCE UPON A TIME IN AMERICA, ON THE WATERFRONT, ORDET).

P is for PLAY TIME- to paraphrase Rosenbaum's review, see it as many times as you can in the theatre, sitting in different places in the theatre, in order to discover new treasures contained within (other contenders: PANDORA'S BOX, THE PASSION OF JOAN OF ARC, PEEPING TOM, THE PRODUCERS).

Q is for LE QUAI DES BRUMES- this wonderful 30s French drama has Jean Gabin and Michel Simon and a great score, and it's miles better than THE QUIET MAN, THE QUICK AND THE DEAD, and Q: THE WINGED SERPENT.

R is for RUSHMORE- aside from the discomfort that came from seeing something of myself in Max Fischer, I loved this film the first time I saw it, and have grown to love it even more since (other contenders: RED, THE RED SHOES, RIFIFI, RULES OF THE GAME).

S is for THE SINGING DETECTIVE- not a movie technically, but amazing all the same. Gambon's performance and Potter's teleplay are legendary (other contenders: THE SEVEN SAMURAI, SHAME, SWEET SMELL OF SUCCESS, SUPERSTAR: THE KAREN CARPENTER STORY).

T is for THE THIRD MAN- I saw this in a little theatre in Vienna once when I was 21, and afterwards I strolled over to the Prater, rode the Ferris wheel, and spent the afternoon deep in thought. It's the kind of film you grow into (other contenders: 2001, TAXI DRIVER, THIS IS SPINAL TAP, TWO ENGLISH GIRLS)

U is for THE UNBEARABLE LIGHTNESS OF BEING- one of the only movies I can think of that are both literate and blindingly sexy, which I chalk up to the lack of literacy in cinema. Heartbreaking stuff (other contenders: THE UMBRELLAS OF CHERBOURG, UNFORGIVEN).

V is for VIVRE SA VIE- Godard was untouchable in his prime, and this is one of his greatest films from that period. Anna Karina was so bewitching back in the day (other contenders: VERTIGO, VIRIDIANA).

W is for WALKABOUT- nature and civilization come face to face but the gap is never bridged; therein lies this harshly beautiful film's central tragedy (other contenders: WAKING LIFE, WEEKEND, THE WILD BUNCH, WOMAN IN THE DUNES).

X is for XIU XIU: THE SENT-DOWN GIRL- the only one on the list I'm not really happy with, but at least it's better than XANADU or the X-MEN franchise. Maybe I need to see XALA (Sembene) and XIAO WU (Jia) and resubmit this list.

Y is for THE YOUNG GIRLS OF ROCHEFORT- Deneuve is just one of the treats this film has to offer (along with her sister Francoise Dorleac, Danielle Darrieux, Michel Piccoli, Gene Kelly, and many more). The jazzy score gets stuck in your head for weeks, but it's so much fun you don't mind a bit (other contenders: YELLOW SUBMARINE, YI YI, YOJIMBO, YOUNG FRANKENSTEIN).

Z is for ZENTROPA- not quite a great movie, but interesting nonetheless (when is Von Trier boring), and certainly better than Z, ZARDOZ, ZOOLANDER, and ZORRO: THE GAY BLADE.

Find short pieces on some of the other listed films at my top 100 films page.

Up to 75 words now.
Now Playing: The Sunday Night Review
All right, so the 50-word thing didn't work out so well. I sometimes have a lot to say about a movie, and trying to convey it in fifty words is lying trying to squeeze me into a pair of jeans with a 32-inch waistline- just about impossible. So I've raised the maximum to 75 words, which is more like a 36 waistline- tight, but doable. Or at least I'm hoping that's how it'll be.

PALINDROMES (2004, Todd Solondz)- A missed opportunity, since a truly brave abortion-issue satire would make characters on one side of an issue reasonable to like-minded audience members and crazy to those who disagree. Here the satire feels forced and too easy. Central gimmick- how much of our reaction to a character depends on the performer?- would distinguish a worthier film, as would Barkin’s performance, the only thing that really feels grounded in reality. P.S.: Enough with the pedophilia, Todd. Rating: *1/2.

THE ANIMATION SHOW 2005 (Various artists)- Judge and Hertzfeldt return bearing animated goodies, and while this installment lacks its predecessor’s audience-pleasing segments, it’s also heavier on experimental stuff, most memorably the mixed-media short PAN WITH US. Other highlights: HELLO (a charming boom-box love story); WARD 13 (twisted Kafkaesque claymation); the darkly comedic FALLEN ART; and Hertzfeldt’s latest, the surprisingly cerebral MEANING OF LIFE. Can’t wait to see what the next installment will bring. No rating.

THE LONGEST YARD (2005, Peter Segal)- Amiable but pointless remake lacks the original’s anti-authority bent, largely because prison life in this one doesn’t seem all that terrible. Sandler, aside from being unconvincing as a disgraced ex-NFL quarterback, who’s in charmless slacker-in-search-of-a-cause mode here, gives a lazy performance. Reynolds turns up again and charms the pants off the audience, but I despair that Chris Rock will never be as funny within the confines of a narrative movie as he is doing standup. Rating: *1/2.

LORDS OF DOGTOWN (2005, Catherine Hardwicke)- fun, but lacks the headlong charge of doc DOGTOWN AND Z-BOYS, directed by Stacy Peralta, who wrote this. Emile Hirsch is a force of nature as Jay Adams, who as in Z-BOYS is depicted as the greatest talent of the bunch, albeit the most troubled. Victor Rasuk is also good as hotshot Tony Alva, ELEPHANT John Robinson is opaque as bland pretty-boy Peralta, and Heath Ledger channels Val Kilmer’s Jim Morrison as the team’s father-figure. Rating: **.

THE BALLAD OF JACK AND ROSE (2005, Rebecca Miller)- Starts off awesome, with Day-Lewis (great, naturally) and Camilla Belle conveying the emotional conflicts inherent in an isolated father/daughter lifestyle. Once other characters are introduced, so is conflict, to mixed results- I would have rather Catherine Keener (as Day-Lewis’ mainland girlfriend) had simply brought son Rodney (Ryan MacDonald, dryly funny) to the island, leaving behind more antagonistic Thaddius (Paul Dano). Final reel goes overboard with tragedy- and what’s with the coda?- but still worth seeing. Rating: **1/2.

LAYER CAKE (2004, Matthew Vaughn)- Vaughn tones down the laddish irony typical of most contemporary British crime films to good effect- rather than piling on style, this film focuses on storytelling and characters. The plot has a Chandleresque feel, as the unnamed protagonist, who thinks he knows all the angles, finds himself repeatedly in over his head. Craig proves his talent and versatility here, and he’s ably supported by a rogue’s gallery of Brit character actors (Gambon, Meaney, George Harris). Rating: **1/2.

Links to long reviews written since the last update:

Madagascar (2005, Darnell/McGrath)- Rating: **1/2.

Jurassic Park (1993, Steven Spielberg)- rating: ***.

Another periodic update
Now Playing: Stuff I've seen recently, in case you couldn't guess
So I've seen a good number of movies lately, although you wouldn't know it to look at my blog here. My excuse for not posting is that I've been busy. Plus boiling my thoughts on a movie down to 50 words is hard, since I usually feel the need to explain where I'm coming from before I really get into my opinion. In other words, doing this is probably a big waste of time, and you should make do with the star grades on my screening log and the occasional longer stuff I've posted on Epinions.com. But I'm a trouper, so I press on. Just don't expect much.

OFF THE MAP (2003, Campbell Scott)- Strong performances (dig Allen and Elliott both playing against type) bolster story about early-teenage girl coming of age in unlikely surroundings, and a houseguest searching for himself. Scott, predictably, is good with actors, but also acquits himself visually. Quirkiness laid on thick at times, but the film is satisfying overall. Rating: **1/2.

MONDOVINO (2004, Jonathan Nossiter)- Pretty boring, and I don’t use that word often. Yeah, globalization and homogenization of wine is bad, local traditional recipes are good, okay. Also dogs. Perks up some when the film heads to Argentina, but a snore overall. Thank goodness we have Nossiter to show us what real connoisseurship is. Rating: *1/2.

CHAIN (2004, Jem Cohen)- Feature-length video contrasts a foreigner’s POV of American mall culture with that of a native, and the result is thought-provoking but rarely compelling. Probably worked better as gallery installation, as I got impatient with this stand-alone version after about 45 minutes. Not uninteresting, however. Rating: **.

BABY FACE (1933, Alfred E. Green)- Delicious Pre-Code offering, with Stanwyck as a brazen woman sleeping her way to the top. Restored scenes add teeth to the story, although the finale still feels a bit soft. Wonder if Jean-Claude Brisseau has seen this? Rating: ***1/2.

THIRTEEN HOURS BY AIR (1936, Mitchell Leisen)- Not exactly a great movie, but still a fun one. Fred MacMurray flies the friendly skies with Joan Bennett, ZaSu Pitts, and an assist from United, until a fugitive and a snowstorm imperil their journey. Granddaddy of AIRPORT series plays better now than its descendents- it’s a smooth, unpretentious ride. Rating: **1/2.

ADVISE AND CONSENT (1962, Otto Preminger)- Homosexual subplot aside, Preminger’s film dates quite well, with its look at congressional politics strangely modern. Henry Fonda feels like a guest star, as the film mostly takes place around him, and it’s all the more successful for it. Charles Laughton rules, obviously. Love the understated regime-change ending. Rating: ***1/2.

50 words max
Now Playing: stuff I've seen lately, in short
CINDERELLA MAN (2005, Ron Howard)- surprisingly engaging, largely due to the presence of Crowe and Giamatti, two of the least sentimental actors currently working in Hollywood. Zellweger stuff drags down the story, as she fails to trick up a cliched worried-wife role with her crinkly-faced mannerisms. Fight scenes good, in a RAGING BULL-in-color-and-PG13 way. Rating: **1/2.

UNLEASHED (2005, Louis Leterrier)- comes out swinging, starting as a quick-cutting actioner only to become a sometimes touching portrait of a killing machine’s (Jet Li, quite good) movement towards self-awareness. Story’s pretty silly, but the filmmaking and performances sell it (Bob Hoskins makes a scarily avuncular baddie). Certainly the most fun summer movie thusfar. Rating: **1/2.

ENRON: THE SMARTEST GUYS IN THE ROOM (2005, Alex Gibney)- despite attempts to interject filmic flair (moneybags, strippers, etc.), this expose of Enron’s rise and fall is like an audiobook with pictures (videobook?). Moments of outrage come throughout- California power outage/fires scenes especially- but credit belongs to the story, not Gibney. Maybe it’s time to give politically-motivated docs a breather. Rating: **.

HEAD-ON (2004, Fatih Akin)- fascinating character-driven work, with the personalities of aging punk Cahit (Birol Unel) and suicidal party girl Sibel (Sibel Kikelli) dictating the story’s trajectory. Their ethnicity (both German-born Turks), while part of the narrative, matters little to them, freeing them up to be individuals. Sexual frankness and unpredictability justify Fassbinder comparisons. Rating: ***.

JOINT SECURITY AREA (2000, Chan-Wook Park)- Park’s film about a incident along North/South Korea border is less effective as RASHOMON-inspired mystery than as minor-key drama. The central flashback is the highlight, as the major players in the violence become more complex while their dilemma becomes indelibly clear. Bookend material’s more prosiac, but it’s still worth seeing. Rating: **1/2.

And, as promised...

IN THE REALMS OF THE UNREAL (2004, Jessica Yu)- Henry Darger was a fascinating figure- a reclusive janitor who created a massive illustrated epic novel at night in his little room. While Yu’s tendency to parallel events in the book with Darger’s own life feels overly neat at times, computer-animated versions of scenes from the work prove surprisingly effective. Rating: **1/2.