The Reader (2008)

This film has Oscar bait written all over it. From the music, to the subject material, it screams to be noticed as important. Sure enough, it worked, because it earned a Best Picture nomination and a Best Actress win for Kate Winslet’s performance. My curiosity coming in was if it was deserving of all these nods.

Without giving too much away, The Reader is a little strange to watch because it centers on an affair between 15-year old Michael Berg (David Kross and later, Ralph Fiennes) and a mid-30’s bus-ticket puncher, Hanna Schmitz (Winslet). What starts as seemingly just a sexual adventure blossoms into a relationship that ends suddenly for both characters. The way the two meet again is not as much surprising as a moralistic decision that no person would want to take on.

The Reader takes a little time to get into. I didn’t know if it’s because of the uneasiness of the main relationship at first, but once the plot arrives at the turning point, my interest was set in. Kate Winslet is very good here giving a sympathetic feel to at the very least, a faulted character. I would usually go more in depth about both the plot and setting, but trust me, the less you know about the story going, the more you will get out of it at the end.


I wasn’t blown away by the total package of the film, but the moral dilemma forces you to invest, which made for a movie that is very much worth seeing, but won’t stay in my subconscious for a long while.

I give The Reader 3.5 out of 5 tape recorders.

#92: GoodFellas (1990)

Oscar Winner: Best Supporting Actor (Joe Pesci)

When I think of the best directors in movie history, Martin Scorsese is always at the top of that list. He’s had some so-so films here and there, but it’s not from a lack of talent. As an avid film lover and historian, you know his heart is poured out into every film, so you always forgive his missteps and wait for his new one to release. He always seems to be at his best when it comes to gangster films and GoodFellas is no exception. It acts as the pinnacle of Scorsese’s style, preciseness and vision.

GoodFellas is the classic rise-and-fall story of the real-life gangster, Henry Hill, played by Ray Liotta. The movie follows him and his two pals, Jimmy Conway (Robert De Niro) and Tommy De Vito (Joe Pesci) as they climb the ranks of the New York mafia ladder in the 60’s and 70’s. As their fame and prestige grow, so do the murders, as they continue to adapt to the ever-changing climate of their trade.

Like other gangster films before it, GoodFellas gives you an in-depth look at how the mob operates. What makes it different is that its fast pace perfectly reflects the graphic violence and whirlwind nature of the lifestyle. Every scene and moment moves with a quick pulse, yet each one is truly memorable and builds upon the next. Having the knowledge that everything is based on a true story (Wiseguy by Nicholas Pileggi) adds to the shock of it all, but like no other film, you feel like you are getting an insiders peak that not even a documentary film could cover. Scorsese is the master of being innovative with his camera movement, use of soundtrack, and editing technique. With every swoop and cut, more and more depth is added to the characters.

Along with being a perfect movie technically, the acting is super. Joe Pesci has always been great at playing characters with a ferocious short-man syndrome, but here he plays a character so out of control that you get nervous anytime he appears in a scene. Robert De Niro’s character isn’t as up front as you would expect, but his acting chops shine through in his subtle nature of knowing that he’s not the main character in the film. Also, I think it’s a shame that Ray Liotta doesn’t get more credit for his role here. He’s likable and charming, yet provides the dangerous qualities that is needed for his tragic nature. In particular, I marveled at how well he did the voice-over narration, which is wound throughout the film so much, that with one bad inflection, it could’ve derailed the film.

I could go on and on about how well made the film is, but at the heart of it all is that it’s just flat out entertaining. It’s funny, suspenseful, dramatic… all the elements that make up a great movie. It’s crazy that at the time, Scorsese didn’t win the Oscar for directing or for best picture. Dances With Wolves pretty much stole everything that year, but Scorsese was finally awarded the statues for The Departed, which is great as well, but not nearly as good as this film. Perhaps the Academy was making up for past mistakes.

GoodFellas has always been a favorite of mine that I can watch over and over and not get tired of it. In short, it’s a perfect film. I give it 5 out of 5 pistol whips.

Watchmen (2009)

Who watches the Watchmen? I’m not sure, but I know you shouldn’t.

Although my wife teased me about it, I wanted to read the film’s original source that landed on Time’s All Time 100 Novels list. True devotees of the graphic novel should be enamored by the fact that the movie is a very, very true representation of the film. Unfortunately, the comic book dialogue and staging did not translate to the screen at all.

The film is set in a reimagined world where Nixon is serving his third term and America has won the Vietnam War. With America on the brink of nuclear war with Russia, a now banned group of superheroes, The Watchmen, come together once again after one of their own has violently been murdered.

I’ll get the compliment out of the way… Zack Synder knows how to appeal to the visual senses. Watchmen is a beautiful film to look at, but it’s too bad that Synder is way too in love with his style. Everything moves in slow motion… the dialogue, the action, the transitions, the story… to a point that the run time of 2 hours and 40 minutes feels like 3 hours and 40 minutes.

Jackie Earle Haley as Rorschach brings the only redeemable acting to the film, but the rest do a terrible job, especially Patrick Wilson and Malin Akerman (who I call the second coming of Cameron Diaz). I feel sorry for anybody who hasn’t read the source material, because I can’t imagine going into this film without any background on the story line. Synder completely forgets to intertwine the themes that made the graphic novel so adored.

I sat there feeling sorry for the people who watched this who weren’t “fan boys.” I myself felt lost and just not caring about anybody, so I really don’t see how anyone else could. Watchmen is a sloppy film that drags on just to showcase how innovative Synder can be with his camera.

I give it 2 out of 5 doomsday clocks.

Zack and Miri Make a Porno (2008)

Titles are a very important thing to a movie. This one alone made you decide to read the review with cautious curiosity or an expected shaking of the head. With sexual content right up there with The 40-Year Old Virgin and Knocked Up (if not worse), and the word ‘porno’ in the title, it’ll be hard to convince anybody to look past their barriers to see this film.

My stance is not to convince you to see this because frankly, you know what you can or can’t handle. I’ve been a fan of the controversial director, Kevin Smith, for a long time. Not so much because of his ability to write dialogue that even makes Tarantino blush, but because he adds a real-life feeling to his films that tackle hard-hitting issues like religion and homosexuality. Ok, not all the time (Jay and Silent Bob Strike Back), but he does always try to entertain.
Seth Rogan and Elizabeth Banks (both extremely good here) play long-time best friends and roommates who find themselves not being able to pay their bills. So what’s the simple solution you ask? They make a porno! Yes, Smith uses the set up to poke fun at the industry and probably provide a platform for jokes he always wanted to use, but he once again brings intimate and sweet moments to his raunchy world (which he’s done long before the Apatow crew became famous for this).

It sounds crazy to say this considering the context, but Smith, his core group of actors and the story are very reigned in, and in a way they have become adults who still like to have fun (especially compared to Smith’s Mallrats). Along with this and a scene that I think really demonstrates how important love is to sex and how it can go the complete opposite way when abused, this was a very funny, touching (no pun attended) and well-made film. Just make sure you pray and repent afterwards…

I give Zack and Miri 4 out of 5 awkward high school reunions.

Films Whitney Can’t Believe I’ve Never Seen- 8/20/09

There is a list of movies that my wife, Whitney, gasps at due to the fact that I’ve never seen before, especially being such a “movie guy.” Yes, they are often chick flicks, but they are ones that I somehow missed that the world did not. I’ll occasionally write a brief synopsis of these films that I finally took time to watch.

The Cutting Edge (1992)
A very campy movie that was way more fun than I would have ever expected. It’s one of those rare occasions where early 90’s cheesiness still translates to an enjoyable experience.

3.5 out of 5 Dorseys.

The Notebook (2004)
Although I was surprised by the lack of depth and mystery to the story, it’s one that is truly moving (yes some tears formed) and totally justifiable of being on EW’s 50 Sexiest Movies list. A guy will score major points for watching this one with their significant othe.

3.5 out of 5 dances with no music.

Some Kind Of Wonderful (1987)
In honor of John Hughes’ death, we watched this film. With a plot that is as thin as a sheet of paper, the 80’s nostalgic feel can’t save the film from Eric Stoltz’s constant whispering, Lea Thompson’s overacting, and lack of humor that usually carries Hughes’ films. Mary Stuart Masterson’s tomboy character is about the only thing that makes it worth watching.

2 out of 5 drum solos.

#93: The French Connection (1971)

Oscar Winner: Best Picture, Best Director (William Friedkin), Best Actor (Gene Hackman), Best Editing, Best Adapted Screenplay

The best way to describe The French Connection is a cat and mouse chase. Except for a few of the character-building scenes, it’s as if somebody is after another in some form or fashion. This characteristic provides for a movie that overall I wasn’t blown away by, but one that is heavily entertaining throughout. It’s a cop movie that has elements that are all too familiar, but I had to remind myself that it’s from 1971, so in reality it is the source of all the copycats we see today.

The French Connection perfectly embodies the launching ground of the anti-hero movement in 70’s film. The main character, Popeye Doyle (Gene Hackman) is a cop who is overtly racist and fights crime for the thrill of fighting, not for justice. With his partner Buddy Russo (the always good Roy Scheider) in toe, he comes across a heroin smuggling ring that may be his ticket out of sniffing petty drugs out of local bars every day. What follows are French crooks and mafia men who push Popeye’s temper and patience to a point where he tries everything to solve the case just because he can’t stand not solving a case.

Unlike most cop films, you find yourself not rooting for either side because you don’t want the chase to ever end. Friedkin’s direction is very spot-on and calculated, providing for shot compositions and transitions that are unforgettable. This movie is most known for its subway/car chase scene that still holds up today. It remains so raw and computer effects free, that you feel every crash, screech and near miss. Even more so, I think I enjoyed a foot chase between Popeye and the main villain, because it’s more mental in its suspense than physical.

It was hard to keep in mind that this film was revolutionary for the cop drama because there have been so many incarnations of Popeye Doyle since then (a more carefree Sgt. Riggs comes to mind). As a pure enjoyable ride, it hits all the marks, but it forgets about its themes too often until the last shot. The ending is about as bleak and surprising as one you’ll find, but I wished that was strung throughout the film more. It just comes off more as a blockbuster to me than an Oscar winner.

Still, I feel like The French Connection is one of the more accessible films on this list. I give it 3.75 out of 5 subway chases.

Gran Torino (2008)

Despite his legendary status, I have not seen many Clint Eastwood films. I’m more familiar with his current work as a director than his spaghetti-westerns back in the day. So, as an acting swan song, he’s left his iconic image with what my wife put so well as, “A made-for-TV movie that looks really good.”

Eastwood is Walt Kowalski, a Korean war veteran stuck in a Detroit neighborhood with every ethnicity but his (think of an elderly Dirty Harry). Facing loneliness for the first time and children who just don’t give a damn about him, he reluctantly meets his Chinese neighbors after an act of gang violence. He’s faced with overcoming his racial mindset as he learns to stop cursing at life and finally become connected to the community that has left him far behind.

I’ve heard Eastwood is one of the fastest directors when it comes to shooting and making a film. Part of that is taking a screenplay as is (this is unheard of) and shooting 1 to 2 takes for each scene. This method isn’t recognizable in his Million Dollar Baby and Mystic River, but he couldn’t get away with it with this one. It’s a good story that just needed a little more tweaking and maybe just a few more takes from an inexperienced supporting cast.

At times scenes seemed too clunky and cheesy, but also have times where it’s very dramatic and actually funny. It feels odd to laugh at this old crotchety man, especially with his racial slurs that never let up. Eastwood pulls it off though by giving heart and depth to a character that I unfortunately still was not pulling for at the end. You see the transformation in him, which is commendable, but it never apologizes for his racial thoughts that never sat too well with me.

I would put Gran Torino in that category of a good movie, but you aren’t missing anything if you don’t see it. I give it 3 out of 5 “Get off my lawn” growls.