The Grand Budapest Hotel Movie Review

I’ve just written about Rushmore and touched on the great stylistic difference between Wes Anderson’s earliest films and the techniques he uses in his latest. The Grand Budapest Hotel is a great example of how Anderson’s stylized world, whimsical flights of fancy, and self-conscious artifice have grown and joined together to blend into a harmonious vision.

I was a true Anderson enthusiast through The Royal Tenenbaums, but he lost me until Fantastic Mr. Fox, which struck me as the absolute perfect representation of what he has always tried to accomplish. The Grand Budapest Hotel has brought him back completely into my good graces and though it contains moments that are so previously Wes Anderson-y that it risks becoming a parody of his own style, it somehow reached me in surprising and new ways.

Side Effects Movie Review

Like most avid filmgoers, I too hope Steven Soderbergh isn’t being genuine when he claims Side Effects is his last film before retiring. He is one of the few directors currently working in Hollywood who can elevate a standard genre film above its perceived limitations. Even when he’s off his game, his films are usually very good. Films like Magic Mike and Haywire didn’t exactly set my world on fire, but they would have been utterly forgettable trash in the hands of a lesser artist. Side Effects similarly didn’t have me begging for more, but as a crime thriller in the mode of a lone wolf investigator trying to clear his name I can think of a few worse examples and hardly any better.

Anna Karenina Movie Review

The classics of Russian literature don’t tend to have definitive film versions, though it may be that Tom Stoppard’s adaptation of Leo Tolstoy’s Anna Karenina changes that – for a while anyway. There was a Hollywood version in 1948 starring Vivien Leigh, but it has not stood as an important work of cinematic adaptation. Generally speaking, the literary adaptations from Hollywood in the Golden Age offered little in making the works cinematic. They were so often (and still are, for that matter) like filmed stage plays with sumptuous sets and intricately patterned costumes and British actors donning an air of pomposity. These films feel stifled by a desire to be ‘true’ to the material, making for very boring viewing experiences. To read Anna Karenina should not be the same experience as it is to view it.

Sherlock Holmes - A Game of Shadows Movie Review

I wish I could remember more than a few vague details about Guy Ritchie’s first Sherlock Holmes so that I could make some kind of pithy comparison between it and its sequel Sherlock Holmes – A Game of Shadows. Unfortunately the first was a mostly forgettable exercise in style over substance. Ritchie’s films have always tended toward a strong emphasis on camera tricks, bits of slow motion spliced together with regular speed action and a cacophony of thudding and popping sound effects to conduct a symphonic overload of the senses. It worked for his first two outings but now grows tiresome.

Hugo Movie Review

This review is based on the 3D version of the film. As this is only the second film I’ve seen in the contemporary 3D style I don’t feel I’m familiar enough with its uses and implementations to 100% accurately judge whether it’s any good or not. However, I have taken the liberty of commenting on my reaction to the 3D as I believe it is the critic’s duty to report his response to a film as completely as possible.

When I read that Martin Scorsese was going to make his next film in 3D and it was also going to be an adaptation of Brian Selznick’s children’s picture novel The Invention of Hugo Cabret, my first reaction was to be simply dumbfounded. Why would the director of so many dark and violent films that deeply explore the human condition venture into such new territory? And why would the man who still insists on using film stock, a man who supremely values film history, shoot in 3D? Surely this must have been some kind of total commercial sellout. Well, the final judgment is yet to be determined as it often takes years for the critical and audience response to render a final verdict on a piece of pop culture’s place in the canon, but after seeing it I can say it makes a lot more sense now that Scorsese was drawn to this particular story and this particular use of 3D technology to make Hugo.

Contagion Movie Review: Sanitize Your Hands, Cover Your Mouth

How disease can spread without your knowing it.

Leave it to director Steven Soderbergh to take a worn out movie premise and zap us with a unique take. How many iterations of the global pandemic film can we take? That’s what I thought when I saw the ads for Contagion, which rather unfortunately make the film look much more like an action thriller than it really is. Soderbergh, working from an original screenplay by Scott Z. Burns, guts the genre of just about everything we expect. There are no chases. There’s no government cover up, though one particularly repugnant character hints at one. There’s no thumping and pounding musical score. There’s no child in danger (actually, a young child is dispatched early on with very little fanfare and no time for reflection) and no last minute rescue or rush to manufacture a vaccine to save the world.

A.I. Artificial Intelligence Movie Review: The Meeting of Two Worlds

This review was written in July 2001 and is presented here for the first time.

The anticipation surrounding the release of A.I. Artificial Intelligence has been great because it is the melding of two minds: those of Steven Spielberg and Stanley Kubrick – two of the most influential filmmakers of the last forty years.

Much of the interest is no doubt a result of these two men having such different approaches to filmmaking. Spielberg is the sentimentalist, always drawing the audience in to emotional (and sometimes schmaltzy) scenes, while Kubrick's films are known for their cold detachment and claustrophobia. So we watch with a keen eye as Kubrick's pet project of the last twenty years unfolds in the hands of Spielberg.

Enemy at the Gates Movie Review

This review was written in March 2001 and is presented here for the first time.

Jude Law is an actor who exudes tremendous energy in any role he takes. He became a star and earned an Oscar nomination in The Talented Mr. Ripley as an American playboy living the high life in the south of Italy. In Enemy at the Gates, a new film by Jean-Jacques Annaud, he plays a Russian soldier during WWII elevated to hero status by his skills as an expert marksman. In every scene, Law boils with intensity and sinks deep within the story.

The story (based loosely on fact) is of a young soldier in the Russian army helping a tired nation fend off the Nazi regime at the Battle of Stalingrad. The opening battle sequence will warrant comparisons to Spielberg's harrowing invasion of Normandy in Saving Private Ryan. Both are bloody and seem to be completely futile attempts at victory even though we know that the Allies won at Normandy and that the Russians halted the German advance at Stalingrad.