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Short Reviews #29 

First off, apologies for the lack of short reviews lately. Things are rather busy at the moment so I’ve resorted to posting even shorter reviews on my Facebook page. It’s terrible I know. But rest assured, I will still be posting reviews here prominently in the near future. Stay tuned.

No Country For Old Men (2007)

Don’t you love it when a filmmaker you love returns to form after a few misfires? It’s like they suddenly become conscious of the Hollywood machine and step way back, far enough so that they can get back to the very essence of what made them love film in the first place. It doesn’t happen very often because the idea of larger budgets often means the filmmakers take the money and run. But with No Country For Old Men, Joel and Ethan Coen have refused the riches and instead decided to focus on what makes an excellent thriller – story, direction, cinematography and mesmerizing performances. Much like they did with Blood Simple and Fargo, they have an incredible knack of putting you on the edge of your seat, taking you into a world you have never experienced before, while still providing the occasional comedic release. European actor Javier Bardem is indeed ‘the ultimate bad-ass’ and deserves the Oscar. I haven’t seen a villain this chilling on screen in years. Josh Brolin is also outstanding here (he’s come a long way since the big brother in the Goonies) and for those who think this is a Tommy Lee Jones movie may need to think again. He’s very good here but not on the same playing field as the aforementioned actors. Kudos must also go to Roger Deakin’s stark and stunning cinematography and although I absolutely adore everything Carter Burwell has scored, here his music is virtually non-existent and it works beautifully for this film. This may be my favourite Coen brothers film to date (although I am partial to Fargo and The Big Lebowski) and a contender for film of the year. But please, please don’t expect a Hollywood resolution. It doesn’t need one and you will be thankful they didn’t go there.

Into The Wild (2007)

My expectations were unbelievably high for Into The Wild because I loved John Krakauer’s book and have always idealized the notion of escaping the conventions of society and appreciating the world we live in. To be one with nature and test your own strength, both physically and mentally. There’s something very spiritual and earthly about the concept. But I also knew that Sean Penn was going to direct this and judging from the film’s trailer, it looked like it might be a film that plays overly self-indulgent and pretentious. Thankfully, I think Penn nails the books translation to screen perfectly, allowing us to understand and identify with the main character without actually agreeing with his decision. It’s a fine line Penn treads and it shows his ability as a filmmaker to make the right decisions along the way. Emile Hirsch delivers a real breakthrough performance and not the easiest one to pull off. The scenes with him and Hal Holbrook are genuinely moving as well. Eddie Vedder’s music suits the film well throughout and you must see this on the big screen to appreciate the widescreen cinematography in all its glory. Perhaps a tad too long for my liking but overall, one of Penn’s best and most accomplished films.

Beowulf (2007)

I saw this in IMAX 3D and I had high hopes because of Zemeckis’s involvement. This is the man that brought as the beloved Back to the Future trilogy, Contact, Forrest Gump, Cast Away and yes even The Polar Express. The latter of those films worked because it was a children’s movie that had a timeless seasonal feel to it despite the use of digital performance capture technology. So the eyes didn’t quite cut it, but the story did. But with Beowulf the script felt incredibly underdeveloped and weak, never allowing us to relate or sympathize with any of the characters. A film like this would have served its purpose better had it been live action with CG elements (ala Lord of the Rings). And although the performance capture technology has gotten better over the course of three years, the eyes STILL don’t cut it. And for the heavy emotional scenes involving humans, I couldn’t help but feel pulled out of the drama. However, despite these flaws, there are some highly entertaining 3D moments during the battles and the character of Grendel is superbly realized (although no-where near as effective as ‘Gollum’ for example). Whether this film will have any value in 2D remains to be seen.

Superbad (2007)

So what are the ingredients for a great teen comedy? First and foremost – is it hilarious? Check. Does it include great dialogue? Check. Memorable performances? Check. A killer soundtrack? Hell check. Profanity? Well not essential but it helps. Check. Parties? Check. Drinking and/or substance abuse? Check. Nudity? Usually but in this case the crude dialogue almost makes up for it. So here is the second best comedy of 2007 which happens to be from the same people behind the best comedy of 2007, Knocked Up. It could have used some trimming here and there (pun absolutely intended) but teenagers (and those with the inner teenager that never leaves) will certainly find this comedy absolute gold. P.S - It’s certainly been a good year for Seth Rogan, starring in one movie and co-writing (and appearing) in another hit within the same year. Here’s hoping he doesn’t fall into the Jack Black syndrome of over-exposure. Pace yourself mate!

Inland Empire (2006)

Reviewing a David Lynch film here on Hooverdust is always going to have some bias. I mean, I love nearly everything he does and worship the very ground on which he stands. But he can do wrong occasionally. Luckily, it’s not with Inland Empire, arguably his most complex, frustrating, abstract films he’s made ever made. To explain the plot would be to rob you of your own right to go into this ‘experience’ completely in the dark which is the perfect mindset. You need to be open and willing to go through it, as this will test even the most die-hard of Lynch fans. I guess at its core it is a perfect example of experimental cinema and that certainly won’t be for everyone. Personally though, I was captivated in what Lynch achieved and walked out of the movie exactly as potentially intended – to go through an ‘experience’ and be haunted ever since.