Movie Review Tangled

Tangled (2010) 

Directed by Nathan Greno, Byron Howard 

Written by Dan Fogelman

Starring Mandy Moore, Zachary Levi, Donna Murphy 

Release Date November 24th, 2010 

Published November 23rd, 2010

In their 50th original animated feature Disney has once again hit a home run. “Tangled” is a joyous musical treat for the ears and the eyes as even in 3D Disney's classic hand drawn style manages to shine. Re-imagining the fairy tale Rapunzel as romantic musical adventure directors Nathan Greno and Byron Howard and writer Dan Fogelman have reinvigorated the tale for a new audience to love.

Mandy Moore offers the voice of Rapunzel. Trapped in a tower by Mother Gothel, the woman she believes is her real mother, Rapunzel spends her days reading, painting and singing with her chameleon pal Pascal, who thankfully cannot duet, he's not a talking chameleon. One day, while indulging her usual pursuits, Rapunzel finds a man in her tower; Flynn Ryder (Zachary Levy, NBC's Chuck) is on the run from the kingdom having stolen a precious royal heirloom.

Rapunzel may have spent the last 18 years trapped in a tower but that doesn't stop her from whipping pretty boy Flynn's butt with her magical long blonde hair. Using her enchanted tresses to toss, trip and tie up Flynn, Rapunzel quickly realizes that what her 'mother' told her about the outside world being dangerous might be true but that she cannot take care of herself is completely false. Once Flynn is subdued Rapunzel decides that the rakish thief would be the perfect guide to the outside world. She will hold his stolen goods until he shows her the kingdom's annual Lantern Festival, up close. If you cannot guess where this is heading, a few songs, romance, more cute animals and eventually a happy ending, you aren't trying.

”Tangled” is not about the preordained outcome thankfully. Rather, it's about a joyous musical journey where the gorgeous music of composer Alan Menken and the perfect Disney Princess voice of Mandy Moore takes hold of you and elevates you to a state of blissful happiness. In all seriousness, “Tangled” is one of the happiest, most joy filled movies ever put to the screen.

Tangled is the rare movie that manages to be happy and joy filled without being cloying or too cute. Mandy Moore and Zachary Levy strike just the perfect chords as the spunky Princess and the suave yet goofball rake. Director's Nathan Greno and Byron Howard create a gorgeous world for these characters to inhabit and while there is darkness on the edges, a pair of twins is known as the Stabbington brothers, the focus is on the warm, the fuzzy, and the fun.

The music of Alan Menken may not hold a standout single, nothing that could become a hit beyond the movie, but he nails the joyful tone and Moore seems born for Menken's spunky lyrics that she delivers with effortless, honest delight without ever becoming excessively sweet or sentimental.

There is a simple, honest excitement that radiates from every inch of “Tangled.” The film is a complete delight, a near overdose of fun. Even in 3D, which I mostly loathe, “Tangled” manages to shine. Great songs, great characters and even a touch of chaste romance combine with classic Disney animation to create arguably the biggest surprise of 2010. “Tangled” may be one of the best movies of the year.

Movie Review Talladega Nights The Ballad of Ricky Bobby

Talladega Nights The Ballad of Ricky Bobby (2006) 

Directed by Adam McKay 

Written by Will Ferrell, Adam McKay 

Starring Will Ferrell, John C. Reilly, Sacha Baron Cohen, Amy Adams, Gary Cole, Leslie Bibb

Release Date August 4th, 2006 

Published August 3rd, 2006 

Will Ferrell struggled through 2005 with a pair of potential blockbusters that went belly up. Kicking And Screaming and Bewitched were Ferrell's attempt to solidify his star status outside the auspices of his frat pack pals Vince Vaughn and the Wilson brothers and they failed. With his first effort of 2006 Ferrell returns to safer territory. Under the guidance of his Anchorman director Adam McKay, Ferrell gets back in the comedic driver seat in Talladega Nights: The Ballad of Ricky Bobby.

Using their Anchorman formula, McKay and Ferrell simply adapt Anchorman to the Nascar track. Take an arrogant simpleton seemingly on top of the world. Pull the rug out from under him and then watch as he crawls back to the top as improvised comic madness rains all around him. Some may fault the formulaic approach but you can't deny that this formula works.

Ricky Bobby (Will Ferrell) is the number one driver in all of Nascar. His risky style has him finishing first or crashing the car and not finishing at all. With the help of his teammate Cal Jr (John C. Reilly), Ricky Bobby's place in the winner circle every week is assured. That is, until the arrival of the French formula one champion Jean Girard (Sacha Baron Cohen) who arrives gunning for Ricky Bobby.

In their first showdown, Girard gets the best of Ricky when Ricky is involved in a major crash. The aftermath of the crash has Ricky thinking he is paralyzed and leads to his being unable to drive fast anymore. Can Ricky get over his fears, get back in the car and win at Talladega again or will he be delivering pizzas on a huffy bike the rest of his life.

That is what passes as a plot for a plot in Talladega Nights though plotting is not something director Adam McKay and star Will Ferrell are all that interested in. Working from a script left open for much improv, the point of Talladega Nights is crafting gag after gag after gag. Some of the gags don't work, many more do work and produce big, big laughs. In particular watch out for Will Ferrell improvising a unique dinner blessing and Ferrell's inspired reaction to his harrowing 'fiery' crash.

The talented cast of Talladega Nights, lead by Ferrell, Reilly and Cohen and backed up more than ably by Michael Clarke Duncan, Jane Lynch and Gary Cole, turns out some terrifically inspired moments of sheer goofiness and energetic weirdness. Much of the humor is based on what must have been hours of improvisation.

If there is one problem with the cast it's with the film's use of Oscar nominee Amy Adams. Hired to play Ferrell's secondary love interest, Adams is introduced early on and then abandoned. She returns but not until the third act and even then is limited to one terrifically eccentric monologue. There is no question from this monologue that Adams can hang with this terrific troop of improv actors but it seems that much of her role is on the cutting room floor.

Talladega Nights is deeply flawed as a typical three act film. The story arc is weak and the storytelling is disjointed. But, none of that really matters once you accept that all of this goofiness isn't really a movie as much as it is a series of gags. Some of these gags are funny, some are very funny and some fall flatter than a blown tire.

Sacha Baron Cohen has star potential rolling off his every mangled syllable. His upcoming comedy Borat, based on a character from his HBO show The Ali G Show, is generating big buzz. Talladega Nights is an excellent introduction of his talent for weird accents and highly eccentric characters. Watching Cohen and Ferrell riff back and forth, Cohen with his astonishingly incomprehensible French accent and Ferrell with his simpleton's twang, in several confrontational scenes is pure comic gold that, no doubt, left plenty of material for a DVD worth of improv riffs, some of which you can see over the films credits.

In a cast filled with scene stealers Gary Cole nearly walks away with the entire picture as Ricky's no good, low down, drug dealing, car racing daddy Reese Bobby. Known more for his buttoned down simps, Bill Lumberg in Office Space or the Vice President on The West Wing, Cole shows a surprising talent for being a dirtbag. With a beer in his hand, a twang in his voice, and clothes that almost stink through the screen, Cole is pitch perfect as a redneck deadbeat.

Talladega Nights: The Ballad Of Ricky Bobby is very funny as a series of Nascar based improv skits. As a movie it's a disjointed, often ridiculous exercise in plot mechanics and minor melodrama. I found the film left a lot to be desired in terms of great filmmaking but that is a minor concern when a movie makes me laugh as much as I laughed during Talladega Nights.

Movie Review Taking Woodstock

Taking Woodstock (2009) 

Directed by Ang Lee 

Written by James Schamus 

Starring Demetri Martin, Emile Hirsch, Eugene Levy, Imelda Staunton, Jonathan Groff

Release Date August 28th, 2009 

Published August 28th, 2009 

The cultural touchstone that is Woodstock has been examined and reexamined in many different forms. Books, TV shows, movies, documentaries, records, have been used to cover every possible angle of this iconic moment in recent American history. So, it is quite notable that director Ang Lee and his writing partner James Schamus have found something of a new angle for their take on Woodstock.

In Taking Woodstock the festival of peace, love and music provides the background for the self exploration of Elliott Teichberg, played by comedian Demetri Martin. Using the concert as the backdrop for a character based story isn't new but the character and the approach to him is something kind of revelatory.

In early August 1969 the organizers of Woodstock found themselves run out of Wallkill New York. Locals pulled the group's festival permit. Luckily for them a young man named Elliott Teichberg happened to have a festival permit and as chairman of the chamber of commerce in tiny Whitelake New York, he had the power to keep it.

A partnership was forged that would change history. Elliott was not meant to be in Whiteside. His parents Sonia (Imelda Staunton) and Jake (Henry Goodman) have run a failing resort in the area for years while Elliott has moved to New York City. When it looked like the place was finally going under, Elliott moved back home.

He became a part of the town and the youngest chamber of commerce chairman in history when he took the risk to bring Woodstock to Whiteside and with it a life changing experience that he could never have envisioned.

I am making Taking Woodstock out to be a little bigger than it is. It's big for Elliott but the story's scale is exceptionally small. Tiny, well observed moments of Elliott Teichberg finding out little things about himself, taking small but escalating risks and dragging his parents, especially his stingy, entrenched mother, along as well.

Some, maybe most, will find Taking Woodstock to be slow, even meandering. For me, the pace was slow but my interest never seemed to wane. Taking Woodstock is a gentle, immersive experience that floats along on a cloud of marijuana smoke and good vibes.

Comic Demetri Martin perfectly captures Elliott's lost soul innocence and longing. He has a wonderful playful spirit hidden behind a nebbish reserve. When he lets loose it's a gentle catharsis perfectly pitched to Ang Lee's waves lapping against the shore pacing.

Yes, Taking Woodstock is slow but it is intended to be slow. It's intended as a gentle study of a gentle man. In that it is highly successful and for me a warm wonderful moviegoing experience. I don't recommend this one to fans of Transformers 2, but for those who enjoy their movies with a little more leisure, Taking Woodstock is the movie for you.

Movie Review Lords of Dogtown

Lords of Dogtown (2005) 

Directed by Catherine Hardwicke

Written by Stacy Peralta 

Starring Emile Hirsch, Victor Rasuk, John Robinson, Heath Ledger, Michael Angarano 

Release Date June 3rd, 2005 

Published June 2nd, 2005 

If there is one character trait that defines the southern California surf kids turned skateboard legends profiled so memorably in the documentary Dogtown and Z Boys and now in the film Lords of Dogtown it is an uncompromising will to do whatever they want. However, compromise is exactly what Lords of Dogtown is. Compromised to achieve maximum mainstream appeal at the expense of the colorful characters that so obviously populate its cast.

Lords of Dogtown is the autobiographical account of the rise of skateboard culture in Southern California in the 1970s and the leaders of this new sport's aesthetic. Written by Z-Boy Stacey Perralta we know the story is authentic but it's also obviously compromised for mainstream appeal by director Catherine Hardwicke and a glut of suits from Columbia Pictures eager to tap the rebellious cool of skateboard culture for a quick buck.

John Robinson, so memorable in Gus Van Sant's indie flick Elephant, plays Peralta as a straight arrow kid whose only personality seems to come from his skateboarding. With his friends Jay Adams (Emile Hirsch; Secret Lives Of Altar Boys) and Tony Alva (Victor Rasuk; Raising Victor Vargas), Perralta grabbed his skateboard just to have a good time after school and ended up finding a calling that would last the rest of his life.

It is the life arcs of these three characters that are the thrust of the drama of Lords Of Dogtown, unfortunately scenes that might expand and deepen those arcs are left on the cutting room floor seemingly to give the film a more marketable run time of just under two hours and to make room for more skating scenes, also a nod to the marketing department.

It's a shame because anyone who saw the documentary Dogtown and Z Boys Directed by Mr. Perralta knows that these kids' lives were just as fascinating as their athleticism. In Lords Of Dogtown there are a number of nods in the direction of these characters and the moments that would change and define their lives but they too often get cut short.

I do not blame director Catherine Hardwicke entirely for the compromised nature of Lords of Dogtown. It seems all throughout the film that she is trying to dig deeper but is constantly being undermined by the studio and its final say in the film's cut.

Everything from the look of the film-- this gorgeous amber hue that captures the heat of the streets of Santa Monica-- to the casting of hot young indie talents like Hirsch and Rasuk to even the hiring of Ms. Hardwicke has the feel of indie barbarians crashing the gates of corporate Hollywood. Sadly you can't fight city hall and you damn sure can't fight the marketing department of a major corporate studio.

Jay Adams' story is the kind of tragedy that great drama is made of. While Stacey Perralta and Tony Alva traveled the world on their skateboards, Adams stayed behind in Dogtown, the nickname for the shoreside ghetto of Santa Monica California, and fell into all of the typical traps: gangs, drugs and violence. Watching the impetuous and impish Adams in the person of the terrific Emile Hirsch go from beach blonde skateboarder to bald headed tattooed gangster and eventually on to prison is a very dramatic arc that gets merely glossed over in the film so that we can get to see more skateboarding.

Perralta and Alva get equally glossed over treatments. The only impression the film leaves of Stacey Perralta is that of a straight arrow, almost nerdy child saint who is about as rebellious as a Hanson concert. As for Alva, his legendary ego is well played by Victor Rasuk but that seems to be his only character trait aside from his astonishing skills on a skateboard.

Skateboarders and fans of the sport will find a lot to love about Lords of Dogtown. The skateboarding is pretty spectacular and terrifically filmed. Though it's not nearly as breathtaking as it is in the documentary footage in Dogtown and Z Boys, it's still quite good and will appeal to fans of the sport.

The film also features a very entertaining performance by Heath Ledger as the skate shop owner and Z-Boys guru Skip Engblom. Ledger does not nearly get the screen time he needs to fully flesh out this character but fans of the actor may find this to be some of his best work.

Lords of Dogtown is a disappointment for fans of the documentary Dogtown and Z-Boys who realized while watching the doc what an extraordinary story could be told about these characters. It would have to have been a sprawling three hour multi-character piece in the Paul Thomas Anderson spirit to work, but it definitely could have worked. Instead, Lords Of Dogtown is yet another compromised product of the Hollywood corporate mindset. Well acted and professionally directed but nearly as shallow as the swimming pools where the Z-Boys polished their aesthetic.

Documentary Review Lost in La Mancha

Lost in La Mancha (2002) 

Directed by Terry Gilliam 

Written by Documentary 

Starring Terry Gilliam, Johnny Depp, Jean Rochefort

Release Date August 30th, 2002 

Published September 25th, 2002 

It's said to be the project that consumed Orson Welles. The dream project of directors as far back as the dawn of cinema. The legend of Don Quixote, the Man of La Mancha. The legendary novel by Miguel De Cervantes has been adapted as a musical, a ballet, and a straight retelling on TV starring John Lithgow as Quixote. But it was Terry Gilliam who had the grand vision of a theatrical Don Quixote. For more than 10 years he had the story in his head, and with the right cast, budget and location it looked like his vision might come about. As the documentary Lost In La Mancha details, Gilliam had the vision, but vision and reality can collide in the most all consuming ways.

In August of 2000, Terry Gilliam arrived in Spain to begin pre-production on The Man Who Killed Don Quixote, his grand reimagining of The Man From La Mancha. With a budget of $38 million, all raised from foreign investors, the film would be entirely non-Hollywood and the largest European financed film ever. However with Gilliam's unique vision, it was also about half the money the production needed.

Production pressed on with costumes, sets and location scouting as problems emerged. One problem, the film had no stars. Though Johnny Depp and French actor Jean Rochefort had signed contracts, neither actor had found time to come to Spain for rehearsal. A bigger problem loomed with actress Vinessa Paradis who had verbally agreed to play the female lead. She had not signed a contract for some two weeks until shooting was to begin.

In Gilliam's story, Johnny Depp played Toby, a man who by some quirk is sent back to the time of Don Quixote who then mistakes him for his colleague Sancho Panza. Toby joins Quixote for a uniquely Terry Gilliam adventure through the book’s many wildly romantic adventures, tilting at windmills and such. It certainly sounds fascinating on the page, and with Gilliam's visionary resume (Brazil, Fear and Loathing Las Vegas and The Adventures Of Baron Munchausen), it was certain to be like no retelling of the legendary story ever.

Early on, even as shooting began, the clouds of doom hung over the production. Sometimes literally clouds hung over as a massive thunderstorm washed out two full days of shooting. The film's biggest tragedy however wasn't strikes from Mother Nature. Seventy year old Jean Rochefort, who was Gilliam's ideal choice for Quixote, who had taken 7 months to learn English for the film, fell ill. Before shooting began, Rochefort had a scare with a severe prostate problem. Once shooting began, the problem was made worse by the requirement that Rochefort ride a horse. As it turns out, Rochefort had two herniated discs in his lower back, which prevented him from riding a horse.

Because Rochefort was signed as a principal cast member, insurance contracts prevented the role from being recast without shutting down the production. Shut down the production and you lose your investors. You can't make Don Quixote without Don Quixote and so despite the visionary director and his talented crew The Man Who Killed Don Quixote was repossessed by the insurance company where it remains in limbo.

The story is somewhat small for a big screen rendition, essentially boiling down to a battle with an insurance company who aren't portrayed as bad guys, merely as realistic businessmen. The film’s foreign producers, Bernard Bouix and Rene Cleitman, are also not the bad guys, though somewhat unrealistic in their expectations of the production. They nevertheless seemed to have the best interest of the film at heart.

The one element that makes Lost in La Mancha a fascinating story is Gilliam. The few scenes where the visionary filmmaker is actually working are mesmerizing. Gilliam clearly has an amazing idea he wants to communicate. The film he wants to make would no doubt be brilliant if he could realize it.

Much like Orson Welles, whose vision of Quixote never made it to the screen (His was completed by another filmmaker after his death but not to Welles' specifications); the outsized romanticism of the project eluded Gilliam. Though if the elements could just come together as he sees them in his head, you know from Lost in La Mancha that it could be brilliant.

Movie Review Lost in Translation

Lost in Translation (2003) 

Directed by Sophia Coppola 

Written by Sophia Coppola 

Starring Scarlett Johansson, Bill Murray, Giovanni Ribisi, Anna Faris

Release Date September 12th, 2003 

Published September 12th, 2003 

Subtlety, a lost art. In the age of Austin Powers and Scary Movie, some would say it's not lost but dead. Before we pass such a judgment though, I would urge you to see Lost In Translation, a subtle, humorous meditation on alienation and intimacy between two strangers in a strange land.

Bill Murray stars in Lost In Translation as Bob Harris, an aging movie star arriving in Japan to shoot a liquor commercial. Staying in the same hotel is Charlotte (Scarlett Johannsen), the wife of a photographer (Giovanni Ribisi) who's work leaves her to roam the foreign country alone. As both Bob and Charlotte wallow in their loneliness and alienation they find each other in the hotel bar and commiserate over being the only English speakers in the room.

It's unclear whether Charlotte recognizes Bob the movie star, but she seems to immediately know Bob the person. Their connection happens quickly but not in the sexual way of most movies. It is an intellectual connection between two smart sardonic people who bond over conversation not carnality.

The plot description for Lost in Translation is difficult because of it's pseudo verite style. In almost documentary fashion we watch these two characters bond over their mutual intelligence and isolation. Director Sophia Coppola does a spectacular job of drawing the audience into a story that is essentially a series of conversations and gestures. It's remarkably absorbing.

Coppola also wrote the smart witty script and then went out and got two terrific actors to interpret it. Bill Murray has never been better. He's always had a terrific slow comic burn but here he doesn't lapse into schtick, he simply accepts the various indignities and we sympathize with him rather than laugh at his reactions. Johannsen, only 19 years old, is Murray's equal in every scene. Showing intelligence beyond her years, she is as smart as she is attractive.

This is a second brilliant outing for writer-director Sophia Coppola and as much as I loved her first film, The Virgin Suicides, I loved Lost In Translation even more. Coppola is not only a talented writer, she has a terrific directorial eye that is very subtle but definitely true. There are a number of terrific visuals in Lost In Translation with equal credit going to Coppola and Cinematographer Lance Acord.

This is a truly remarkable film. Smart, funny, sweet and beautiful. Believe the hype about this one, it's truly one of the best films of the year.

Movie Review Narc

Narc (2002) 

Directed by Joe Carnahan 

Written by Joe Carnahan 

Starring Ray Liotta, Jason Patric, Busta Rhymes, Chi McBride

Release Date January 10th, 2002

Published January 12th, 2002 

We have seen it dozens of times, movies about rogue cops who break all the rules to get the job done. Every actor in the world has played this role from Pacino and DeNiro to Scwarzenegger and Stallone. So what is it about Ray Liotta and Jason Patric in Narc that takes this overused concept and makes it fresh and intense? I'm not exactly sure, but Director Joe Carnahan taps into something that makes Narc a kinetic, high energy drama.

Jason Patric stars as Nick Tellis, an undercover narcotics officer. When we meet Nick for the first time he is chasing a drug dealer through the streets, frantically firing his weapon as the druggy uses a pair of drug needles as weapons on unsuspecting passers by. The confrontation comes to a head in a park where the junkie takes a small boy hostage holding a drug needle to the boy's throat. With little forethought Nick fires three shots, shooting the junkie in the head and saving the little boy. Unfortunately one of the other two bullets Nick fired hit a pregnant woman and killed her unborn child.

Cut to 15 months later, Nick sits in front of a review board rehashing the incident. Nick is under the impression that the meeting is simply to determine whether he gets his job back or not. In reality the meeting is to determine whether or not he will accept an assignment to a particular case, the murder of an undercover police officer. The outcome of this investigation will determine whether or not he gets his job back or not.

Reluctantly, Nick agrees to the assignment and is partnered with the dead cop's partner, Henry Oak (Ray Liotta). Oak is the typical movie cop, a hothead who breaks all the rules and always gets his man. The two men don't get along well, but share a mutual respect that allows them to work together. They also share a willingness to bend the rules, which they do frequently as their investigation progresses.

The film's conclusion is somewhat predictable but somehow writer-director Joe Carnahan rises above the clichés and predictability to make a pretty good cop movie. It all hinges on the performances of Patric and Liotta. The believability of these two great actors combined with Carnahan's awesome handheld camerawork gives Narc an immediacy and purpose that lends suspense to the predictable.

The film isn't a mystery, any intelligent moviegoer knows where this story is going but we accept that because both Patric and Liotta are so endlessly watchable. As Liotta's brutal cop allows his motives to become clear you see the disillusionment that most cops must feel when they get into this violent and harrowing profession. Combine the rigors of the job and a deep personal loss and you begin to understand if not sympathize with his violent rule breaking approach. As for Patric, few actors have played cops so well fleshed out. Nick Tellis shares the same disillusionment as Liotta's Oak, he shares the same penchant for crossing the line between cop and criminal. They are separated only by moments in time.

The film's ending is a kick in the gut finisher that leaves the audience in a daze and makes you rethink everything you had seen before it. Everything leading up to the end is typical, cop movie suspense stuff, made watchable by great acting and unique camerawork. But the ending belongs to Carnahan who also penned the script. Forget what you hate about cop movies and forget what you think you know about Narc. This is a shocking brutal crime movie with a serious kick.