Priceless : Blu-ray Review

The Movie Itself is written by Benoît Graffin, Pierre Salvadori and directed by Pierre Salvadori.

In my mind, there are few women that possess such unrivaled beauty and class — not to mention screen presence — than the lovely Audrey Tautou. Because of this genuine charm it’s no wonder she was the top pick for Salvadori’s romantic comedy, “Priceless.”

This might seem off base, but I actually hate the name for the genre: Romantic Comedy. I think that it sells many films short. It seems like there’s a more appropriate genre that has yet to be named, one that’s a better fit. Then again, there’s no doubting the components of this film. It contains both romance and comedy in equal parts, and is most definitely not dramatic, at least not in the traditional sense. Even still, there’s an ingredient that eludes me — something that I can’t readily identify. Perhaps it’s that the film is refreshing, different and so far removed from the Hollywood Rom-Com formula that it almost feels like new.

Whatever the reason, this film is a breath of fresh air amidst the Hollywood sappy-dreck that’s churned out every year. A lot of the strengths of the film are owed to its foreign roots. With this comes a a great foreign cast, a fresh perspective on love, and a pristine, unique script that doesn’t read as though it’s been script-doctored to all hell. The result is a surprisingly endearing and unexpected comedy that explores the world of “gold digging” and a budding romance between two unlikely candidates: a bartender and a gold digger.

Worth noting is the genuinely humorous comedic effort of the leading man, Gad Elmaleh. Equal parts slapstick and deadpan, Elmaleh continuously made me laugh and smile throughout the film. I can only imagine that his extremely expressive face, and comedic timing was cultivated over the years through interaction with his father, a mime. He was as perfectly cast to represent the hopeless romantic, Jean, as he was paired with the lovely Tautou.

If you fancy foreign films, Audrey Tautou, or just happen to love French films in general, this is definitely worth picking up. It may not reinvent the rom-com wheel, but it definitely has a fresh take on it.

The Proposition : Blu-ray Review

The Movie Itself is written by Nick Cave and directed by John Hillcoat.

When I picked up my copy of “The Proposition” it wasn’t because I had to have it. To be honest, I didn’t know much about it at all. It was simply there on the shelf, at the time when I was feeling like I wanted to do a blind buy. At fifteen bucks, I thought it to be a great price, and well worth the risk.

Just to be safe though, I gave a quick read over the front and back of the case. I had never heard of John Hillcoat before, but I didn’t pay that much attention. All great directors have to start somewhere. Then I noticed the great cast. That too seemed really intriguing. Lastly, it didn’t hurt that the film was penned by Nick Cave, a musician whom I am very much starting to warm to ever since my introduction to his work in “The Assassination of Jesse James by the Coward Robert Ford.”

I walked out of the store fairly certain that I had made a good purchase.

As it was, it wasn’t until a couple days ago that I found myself popping the disc in for the first time. Immediately I was drawn into the film through the stark contrast of the opening titles and the opening sequence. At once the film was so peaceful and haunting, and yet the viewer is abruptly flung into the middle of a tin-shed that’s getting shot to pieces. This is gonna be good, I thought. I was right.

Through and through, whether it’s the brilliant cinematography, the engrossing dialogue, or the solid performances, “The Proposition” strikes its very own path into the heart of the Outback. Its uniqueness being derived from the absence of Australian Western competition, but more importantly its aim to differentiate its locales and characters from all things spaghetti-western.

Among other things, “The Proposition” is also a beautifully lensed film, and I can’t think of any other films that have managed to capture the unforgiving landscape in such a loving and artful way.

Alas, I don’t think that “The Proposition” is all gravy. As much as I enjoyed the scenes between Ray Winstone and Emily Watson, I felt that their storyline only took away from the epic tale of the three brothers, and ultimately slowed down the narrative a bit too much. Of course, as you’ll come to find out, the two of them are indispensable — as they are heavily involved in the film’s climax — but I can’t help but feel that more could have been done to trim their story, and explore Charlie’s dilemma at greater length.

Complaints aside, I do hold this film in very high esteem, but I don’t think that it’s the best Western I’ve ever seen — there are far too many other films to compete with. At any rate, the film brings a lot to the table, both visually and in its narrative, and if you fancy yourself a fan of Western films — or Nick Cave for that matter — you should most definitely give this one a look. It’s well worth the money.

Paris Je T'aime : Blu-ray Review

The Movie Itself is a collective love story about the city of love. Told through a series of short films envisioned by world renowned directors — featuring an all-star cast — this film succeeds in wooing Parisians and foreigners alike, opening their hearts and minds to the charm of titular city.

Shot all throughout Paris, each film was given a section of the city in which to stage their short, two shooting days to get it done, and up to six minutes of running time with which to tell their story. It was no small task, but the filmmakers rose to the occasion — some relishing the challenge — and the collective effort is nothing short of a stunning success. While not every film will warm your heart, or leave a lasting impression, the overall experience surely will.

With that in mind, we thought it might be best if we addressed each individual short, rather than trying to summarize the film at large. Because each short is so different and unique, this seemed to us like the most appropriate course of action. And so, you’ll find impressions for each of the eighteen films below:

“Montmartre”
Written and Directed by: Bruno Podalydès
This film bears the burden of opening the collective film, which is not an easy thing to do, but it succeeds fairly well. It isn’t the strongest entry, but it does serve as a nice, light-hearted introduction to the film, and it was a good choice to stick this towards the front. “Quais de Seine”
Written by: Paul Mayeda Berges & Gurinder Chadha — Directed by: Gurinder Chadha
Next up is the short from the Gurinder Chadha, who is best known for her film, “Bend It Like Beckham.” While I’m not a huge fan of her work, you can’t deny that Gurinder is exceptional at delivering heart warming moments, and this film is no different. Much like the previous story, the love story takes place between two strangers: a young Muslim girl, and your typical “nice guy.” It’s not wildly inventive, but it does manage to squeeze in a decent message within a small time frame. “Le Marais”
Written and Directed by: Gus Van Sant

Undoubtedly, Van Sant is best known for his academy award winning film, “Good Will Hunting.” His quiet, introspective, and non-disruptive style garners him as many fans, as it does polarize them. This film will probably suffer a similar fate with most audiences. It is extremely nonchalant, and subdued — with much of the story rising out of the characters’ failure to communicate. I found it to be quite good, and a bit surprising as well. Van Sant fans will be pleased, but likely find themselves begging for more.

“Tuileries”
Written and Directed by: Joel & Ethan Coen

The Coen brothers need no introduction. They’ve been at it for years, delivering some of the most disturbingly-funny and raucous cult comedies the world has ever seen, and most recently they’ve tapped into their dark side with the suspense-thriller, “No Country For Old Men.” While I’m a huge fan of their serious work, I think the brother’s true calling is comedy, and this is precisely the type of film they’ve given us here. A lowly, mum tourist — played perfectly by Steve Buscemi — is unfortunate enough to cross the path of an unstable couple in the subway. What ensues is sure to put a smile on your face, but bear in mind, it is pretty light on the “love story” aspect. Even still, this is easily one of my favorite films in the bunch.

“Loin du 16ème”
Written and Directed by: Walter Salles & Daniela Thomas

Best known for directing “The Motorcycle Diaries,” Salles has a style all his own. I was really looking forward to this film, but my expectations were dashed rather quickly. It’s not that the film is bad, it’s just sorta ‘blah.’ Salles goes to great length to establish a convincing feeling of fatigue, through color/editing choices and while he succeeds, the film seems to drag a bit, even though it’s only six minutes. By the time the film is over, my friend and I just looked at each other and shrugged. Everything had been good/great up until this point, so it’s unfortunate that this misses the mark. Even still, it may be a weak link, but it’s still a competent entry on its own.

“Porte de Choisy”
Written by:Christopher Doyle, Gabrielle Keng, Rain Li — Directed by: Christopher Doyle

Doyle hasn’t directed nearly as many films as he’s shot — this being his second directorial effort — but he has a very interesting perspective that comes through vividly here. In what is arguably one of the more surreal films in this collective effort, Doyle crafts a love story between a Salon owner in Chinatown and a door-to-door hair product salesman. As I said before, this film is very surreal and bizarre, but it is charming and funny as a result. I can see a lot of people scratching their heads, or rolling their eyes after this one is over, but I enjoyed it a lot.

“Bastille”
Written and Directed by: Isabel Coixet

This is the first of the sad love stories, and it is also one of the most effective. Coixet manages to craft a very potent and resonant tale of rekindled love in the face of terminal cancer. While I was very moved by this piece, many people object to the film, arguing that the husband only took care of his dying wife — whom he had planned to leave prior to her diagnosis — out of obligation, and not love. However, if they actually pay attention, they would know that their love was lost, and then found once more. At any rate, this is definitely one of the best films, and a personal favorite of mine.

“Place des Victoires”
Written and Directed by: Nobuhiro Suwa

Following directly in tow of Coixet’s sad tale, is yet another film about love lost, only this time it is about a Mother’s love for a recently deceased son. Suwa’s film stars the lovely and incredibly talented Juliette Binoche as the grieving mother. We’re not told how the son died, but it’s not really important. The focus here is the mother’s inability to let go of her son, and move on with her life. Through a surreal/imaginary visit by a cowboy (Willem Dafoe) — who leads her to her son — she is able to say goodbye, and obtain closure. This film is a real treat. It’s very sad, but extremely well done.

“Tour Eiffel”
Written and Directed by: Sylvain Chomet

After a couple sad films, you’re probably going to welcome this jovial and uplifting tale of love with open arms, and rightfully so. This is quite possibly the best film out of the whole lot. It is wholly original, imaginative, uplifting, and a lot of fun to behold. Told from the perspective of a child, he recounts how the story of how his parents met and fell in love. I won’t spoil anything for you because it’s a lot more fun to watch it for yourself, but trust me when I say that this one will leave you feeling light-hearted with a smile on your face. It’s that good.

“Parc Monceau”
Written and Directed by: Alfonso Cuarón

In a relatively short span of time, Cuarón has made an incredible name for himself in the film community, with his realistic, documentary-esque style and exceptional direction setting him apart from the competition. A member of the “holy trinity” (my words not his — consisting of Del Toro, Cuarón, and Iñárritu) his most recent films represent some of the finest cinematic works of recent memory — you need only watch “Children of Men” to see why he’s held in such high regard. All of that considered, my expectations were ridiculously high when it came time for Parc Monceau. Shot in his oft-utilized steadycam rig, the film is composed of one single shot. Unfortunately, while the techniques and style are all exquisite the story doesn’t achieve much depth. Granted, it is extremely difficult to do much in six minutes alone, but it is infinitely harder to work towards a cohesive/interesting story in a single, six minute shot. Regardless, the film works. The story is meant to be somewhat deceptive, prompting the viewer to arrive at an incorrect assumption about the relationship between the two lead characters. The performances are good, and the cinematography is great, but ultimately the film doesn’t hold up quite as well as I’d hoped upon multiple viewings. Ultimately, the film just lacks substance, and as such it doesn’t quite hold its own against the other stories on either side of it. It’s still good though, so don’t skip over it. Who knows, you might end up loving it, right?

“Quartier des Enfants Rouges”
Written and Directed by: Olivier Assayas

This story revolves around an American actress (Maggie Gyllenhaal) in Paris, and her brief encounter with her drug dealer. When she’s unable to break a bill with the drug dealer, she shares a quick drink with him at a nearby bar. The two exchange numbers, with the dealer being invited to the film shoot that night. I won’t give it all away, but this isn’t exactly my favorite entry either. I feel like Gyllenhaal was a bit underserved, and that the ultimate message is a little too depressing. The film’s tone is very laid back and natural, so the ending is fitting, but it’s not redeeming enough, for me anyway. This was another one of the films where I just kinda shrugged my shoulders. It’s pleasing to watch, and Gyllenhaal does well with what she’s given, but in the end, the resolution is a bit too predictable — despite the attempts to make it appear otherwise.

“Place des Fêtes”
Written and Directed by: Oliver Schmitz

If there is one film that wins the “tear jerker” award, it’s this one. I’m not going to let on about the story, because it will spoil the film. I will say that this is another one of my favorites. It gets me every time, and I’ve seen all of the films four times now. Unfortunately, because I can’t speak to the specifics of the film, there isn’t a whole lot to say except that you will probably find this one to be very sad and quite moving. I hope you enjoy it as much as I do.

“Pigalle”
Written and Directed by: Richard LaGravenese

Featuring the indomitable screen presence, Bob Hoskins and the electric Fanny Ardant, LaGravenese’s short is very memorable. Beyond that, it is also ultimately sweet and touching, but it does take a little while to get up to speed. The story is a bit cryptic at first. You won’t be sure of the characters, or their motivations until the end of the film, but it all pays off in the end. It’s not one of my favorites, but it is very good nonetheless.

“Quartier de la Madeleine”
Written and Directed by: Vincenzo Natali

Without a doubt, this is the most surreal entry in the entire film. Envisioned and brought to the screen by Vincenzo Natali — best known for “Cube” — this film is sure to delight, and possibly even fright some of the more timid viewers. It’s all in good fun though, and the events that transpire are often comical, despite the grave nature of the situation. The story follows a backpacker who stumbles upon a vampiress feeding on her prey. What ensues is the unpredictable love story between a human and a vampire. It’s shot with the intent of emulating the look and feel of an old horror movie, but contains some modern twists on the genre. It’s a delightful short, and it is arguably one of the most creative segments contained within the whole.

“Père-Lachaise”
Written and Directed by: Wes Craven

In what seemed to me, an odd turn for Craven, this film is a departure from his trademark genre: horror. In fact, it would seem far more plausible that the previous film — a vampire love story — would have been his creation, but I assure you, there is no mix up. At any rate, Craven turns in a rather nice dramatic piece, proving that he is not the one-trick-pony I had pegged him to be. Filling out the short are the superb actors, Rufus Sewell and Emily Mortimer who play a bickering couple touring a famous graveyard. It isn’t until an unlikely guest gives our man, Rufus some much needed advice that he’s ready to be the man she’s longing for. I really enjoyed this film, and I feel as though Craven should put more effort into dramatic filmmaking. He does a great job here.

“Faubourg Saint-Denis”
Written and Directed by: Tom Tykwer

Tykwer is quickly becoming one of my new favorite directors. Through his incredibly unique narrative style — evident in “Run Lola Run,” “Perfume: The Story of a Murderer” — he crafts a wholly distinct and memorable piece of art. No two are the same, but traces of his style can easily be gleaned from his body of work. Here we’re treated to his beloved rapid fire storytelling technique, which makes for an incredibly effective and affecting story, all in a mere six minutes. Featuring the oh-so-gorgeous, and incredibly talented Natalie Portman, this story paints a picture of a relationship between a sightless Parisian, and a struggling actress. It is easily the strongest narrative piece in the set, and it is also the most creative. Through Tykwer’s brilliant approach to the editing and shooting of the film — all done in two days, mind you — we feel as though we know these people so intimately, and as a result, the film resonates long after the final frame. This is my favorite film. No question.

“Quartier Latin”
Written by: Gena Rowlands — Directed by: Gérard Depardieu

After the hyperactive narrative of Tykwer’s film, Quartier Latin takes it down more than a few notches — to a small, leisurely crawl. We pick up with the character leads as they meet up for a drink, and discuss their pending divorce. Each of them have moved on, and have a new love in their life. However, through their conversation and subsequent banter they come to find that they still love each other. In spite of their rekindled feelings, they both know it won’t work out — that their love still remains, but that it has changed form — and agree to proceed with the divorce. The film is one of my favorites because of its delicate, and authentic performances, in addition to its bittersweet ending.

“14th arrondissement”
Written by: Alexander Payne & Nadine Eïd — Directed by: Alexander Payne

I must admit. I’m not that big of a fan of Payne’s body of work. I find that his bittersweet comedies rely a bit too much of the bitter element, and as a result they tend to depress me more than they make me laugh — especially “Sideways.” Even still, I have a lot of respect for his style, and his craft, and invariably I will continue to see his films, hoping that I’ll one day love one of them. This film in particular is one of my favorites of his. It has some depressing dialogue — as is characteristic of his writing — but overall, the message is an uplifting one, and it makes for the perfect bookend to the series of shorts. In just a few minutes, he manages to craft a tale of a foreigner that falls in love with the city itself — which no other film attempts to do here. I like it because it captures the essence of belonging so effectively — that perhaps this lonely woman has finally found a place to call home. All of the feelings he associates with this realization are summarized so poetically in the final moments of the short, that there is no denying his feelings for Paris. He genuinely loves it.

— Final Thoughts —

Whether you’ve traveled to Paris, or you’ve been living there for years, you’ll likely rediscover your love for the city as the film showcases the beauty and uniqueness of its people, locales, attractions and of course, the various romantic tales that take place everyday within the city.

It might not be for everyone, but we’re strongly urging you to give it a shot. With so many talented directors and actors/actresses, you’re bound to find something you love about this movie, and with any luck, Paris as well.

Step Brothers : Blu-ray Review

The Movie Itself is written by Adam McKay, Will Ferrell, and directed by Adam McKay, of “Anchorman“, “Talladega Nights” and fame.

I don’t know about you, but I can’t get enough of the collaboration between Ferrell and McKay. Like most McKay fans, my love for the director began with the now-classic comedy flick, Anchorman. Later, I found myself laughing quite hard at Talladega Nights, but not nearly as much as I’d hoped — though I was very excited to see John C. Reilly join the crew. My friends and I couldn’t help but wonder what the next film would be about — would it be another “RB” (Ron Burgundy/Ricky Bobby) flick, thus making a trilogy of films?

We were thoroughly excited, and surprised to see that the latest epic from the dynamic trio was slated to be about reluctantly-united stepbrothers who hated each others guts. The premise, and the cast seemed too good to be true, and the vulgarity present throughout the “red band” trailer was oh-so-amazing. Childish, sure. Irreverent? Absolutely. But, hey, that’s exactly how I like my comedies, so sue me.

In my mind, there’s no doubting it. This is hands down, Will Ferrell’s best film since Anchorman. And for John C. Reilly, he’s absolutely on fire in this movie, so much so that it’s almost hard to picture him in his more serious, indie roles.

With so many memorable scenes and lines, you will have no shortage of quoting material for years to come.

In my opinion, this ranks up there with the best of the best, Dumb and Dumber, and that’s not a statement I throw around very often. This film has instant classic written all over it.

The Recruit : Blu-ray Review

The Movie Itself is directed by Roger Donaldson, of “The Bank Job“, and “Cocktail” fame.

I love Al Pacino, but in the past few years, he’s seldom had a film that was decent, let alone entertaining. He’s delivered some of the most awe-inspiring performances in his time, but as of late, he seems to be slipping. As far as I’m concerned, the last great film he performed in was Christopher Nolan’s remake, “Insomnia.” Of course, he was also exceptional in the acclaimed, and emotionally-charged HBO mini-series, “Angels In America” but we’re talking feature films here, not TV. In the years between “Insomnia” and the present, he’s been attached to such misfires as “Gigli“, “Two For The Money“, and “88 Minutes.” To his credit though, all of the directors responsible for these films have made far better movies, and it’s also very difficult to know whether or not a film will be a success from the script alone. I suppose he’s just been out of luck, and unlike his character in “The Recruit“, he’s not quite the “scary judge of talent” as he once used to be.

Thankfully, “The Recruit” is actually one of the more enjoyable films of Al’s in the past six years. It features the then-rising-superstar Colin Farrell, fresh off the publicity train from his first Spielberg gig, “Minority Report“, who had a great deal of momentum heading into this film — though his career has also been dodgy in the years past.

The strengths of Donaldson’s film were lost on me the first go-around, and it wasn’t until this second viewing that I actually came to appreciate much of his work. Even still, the film isn’t as inventive or original as it could be, and much of the twist-turn narrative will seem oddly familiar because it is awfully derivative of the espionage-thrillers that have come before it. What separates the film from its predecessors is its depiction of an otherwise undisclosed process, the training of CIA agents. This alone makes the film worthwhile fiction for anyone that’s ever been interested in how the process might unfold. We can only imagine how much of what we see is true to form — though the special features on the disc corroborate some aspects, and discount others — but most of it is interesting, if not effectively glamorized.

In the end, you will likely find yourself frequently one step ahead of the narrative, but you’ll likely still have a fun time watching all of the double-crossing unfold. I just wish the film’s script had been given more care, with stronger dialogue/characters and a more rewarding finish.

It’s definitely not the best film around, but you could do worse. You could be subjected to “Gigli.”

Gangs of New York : Blu-ray Review

The Movie Itself is directed by Martin Scorsese, of “The Departed“, “Goodfellas” and “Taxi Driver” fame.

I enjoy “Gangs of New York” but I certainly don’t love it, and I’m far from decreeing that it’s one of Scorsese’s best films. In truth, I think it’s actually one of his lesser films, but it still manages to present a unique and compelling story, with first-class acting talent that makes the epic-running time all the more tolerable.

Back when the film came out, I made the mistake of catching it at the last available screening on opening night. It wasn’t necessarily by choice. I had to wait for one of my friends to get out of work since I had promised to wait and see it with him.

When the film’s title finally hit the screen, and the lights went up, we filed out of our seats half asleep. It was obvious that we had made a mistake, and we knew that we’d have to see it again before we were to determine if we truly enjoyed the film, or not. At the same time though, we were certain of one thing, and that was Daniel Day Lewis. He lit the screen up, and delivered one of the most memorable film characters we’d ever seen. It’s funny how that’s almost common place for Day Lewis these days, but it’s a testament to his craft and skill.

When I finally got around to seeing the film again, I made sure to see it much earlier in the day, armed with an attentive mind. Much to my surprise however, I didn’t get nearly as much out of the second viewing as I had previously hoped. Many of my initial impressions still remained. Too long. Too ambiguous. Not memorable enough — despite the earnest efforts of the cast/crew.

Like I said before, I like the film, but I don’t love it like some fans do. As for why, I just think that an epic running time should support an epic story, and I don’t think the story is as epic as they would have you believe. In fact, I wouldn’t be surprised if someone else could come along and shoot the same story, and have the film clock in under 120 minutes in length. It’s heretical to suggest such a thing, I am aware, but I’m just stating my opinion. If the pacing issues were addressed, and needless scenes were removed, a more succinct and compelling picture would surface.

Regardless of my criticisms, the film retains a huge following, and also my admiration. The scope of the film is grand, and the origins of the New York gangs compelling — if only a tad slow.

A Christmas Story : Blu-ray Review

The Movie Itself is directed by Bob Clark, of “Black Christmas” and “Baby Geniuses” fame.

I’ve always been a fan of “A Christmas Story.” It’s one of those films that you simply can’t avoid, no matter how hard you try. In many ways, I suspect that’s part of the reason why the fan-base finds it so endearing, and memorable. It will forever be inextricably linked to the Christmas holiday, whether we like it or not.

Fortunately, I find the movie to be entertaining, but I am aware that there is an equally powerful group of dissenters who despise the movie. While I can’t say I agree with them, I partially understand where they are coming from. Clark’s film isn’t your typical “feel good” Christmas flick. In fact, I’d go so far as to say that it’s not really a “feel good” film at all. Much of this can be attributed to the satirical and downbeat source material, and through the adaptation of the memoirs of Jean Shepherd — In God We Trust, All Others Pay Cash — much of the biting sarcasm, and unpleasantness of the holidays is ever-present in the film. As you might expect, this inevitably turns away much of the “happy-go-lucky” crowd that simply wants to snuggle up by the fire, and sip their non-alcoholic eggnog. No, this movie appeals to the dysfunction in all of us, and for this reason it shatters everyone’s expectations for a cuddly family Christmas flick.

Come to think of it, I recall thinking the movie wasn’t quite what I had expected when my Grandmother sat down to watch the film with me for the first time. I vividly remember a number of scenes that disturbed me. The foremost was the “frozen flagpole” scene, which genuinely freaked me out, as well as my younger brother. Also, the film was morally ambiguous in a lot of ways — not that I understood what that meant back then, but I certainly felt it. I was confused by a number of things, but to this day, the main thing that still eludes me is Ralphie’s borderline-unhealthy-obsession with acquiring a gun. Real or fake, the quest for a gun strikes me as slightly suspect, especially when there is no purpose or need for having it, outside of hunting — and obviously he wasn’t planning on hunting anything with a BB gun. I know, I know, it’s the very crux of the film — childhood obsession — but perhaps that’s one of the reasons why so many families opt out of the annual “Christmas Story” viewing whenever it hits the airwaves, or is viewed on your home video format of choice — hopefully by reading this review, yours is Blu-ray.

Despite my reservations about certain aspects of the film, and regardless of how you may or may not feel about the film, I believe everyone should be willing to agree that it is unique. It’s ability to separate itself from the typical fun-filled, sugarcoated sap-fests has given it unsurpassed longevity in the home video market, and in the minds of consumers everywhere. It may forever polarize or delight audiences, but if for no other reason, it will be remembered just as long.

While “National Lampoon’s Christmas Vacation” still takes the #1 spot as my all-time-favorite Christmas film, “A Christmas Story” follows in closely behind in second place. It may not be everyone’s favorite, but it suits me just fine, and unlike most holiday films, it only seems to get better with age.

Southland Tales : Blu-ray Review

The Movie Itself is written and directed by Richard Kelly, of “Donnie Darko” fame.

I’ll be the first to admit it. I did not fully understand this movie, even to this day. But, while many people relish the chance to rip a movie to shreds, I usually find myself trying to find the good in every film, no matter how low the score on IMDb, Metacritic, or the awful-metric, Rotten Tomatoes.

In the case of Richard Kelly’s Sophomore effort, “Southland Tales,” the film has been critically lambasted, and thoroughly maligned by nearly every critic/filmmaker-wannabe, and entirely misunderstood by the legions of teens and adults alike who cherish Kelly’s breakthrough flick, “Donnie Darko” and were expecting a comparable film. In many ways, I think that’s where most of the film’s opposition stems from to this day — heightened expectations.

I too love “Donnie Darko,” but I also loathe the director’s cut of the very same film. How is that possible, you ask? Well, it’s simple really. Through the implementation of a series of bizarre editing choices, song changes, and some all-too-obvious passages from Roberta Sparrow’s book, “The Philosophy of Time Travel“, nearly all of the mystery and wonder that filled the original cut was lost. In a few words, I thought the “Director’s Cut” of “Donnie Darko” was a complete failure, and in many ways, my expectations for Kelly’s second film were crushed.

Had I not seen the piss-poor version of “Donnie Darko,” I don’t think I would have been prepared for the apocalyptic-musical-comedic-epic, that is “Southland Tales.” And clearly, not many people were ready for it either, else it would have fared far better at Cannes, and international box offices worldwide.

So what is it about the film that makes is so confusing, so inaccessible, or downright unlikeable that it would prompt audiences at Cannes to “boo” and “hiss” at the original cut of the film? Well, to be perfectly honest, I’m not entirely sure. I actually enjoyed it quite a bit, in retrospect, and having never seen the 160 minute cut of the film, I suppose I’m not inclined to speak to the effectiveness — or lack thereof — of the Cannes screening.

However, I do know that it’s imperative to approach the film with as open a mind, as you can spare. In addition, you should most definitely head into the film expecting a dark-comedy of sorts, with psychedelic musical interludes, metaphysical discussion, time travel, religious stigmata, and apocalyptic overtones on the side. If that sounds like a lot to handle, you’re probably right.

This is ultimately the fatal flaw of the film, but strangely enough, it’s one that I admire it for. Layers, upon layers of narrative material are stacked upon one another, to the point where the film begins to buckle under it’s own philosophy, character arcs, and dense storyline, and in many ways you’ll feel this very moment, when your brain reaches critical mass, and your disbelief can be suspended no more.

As I said before though, I actually admire the film in many ways. While it certainly confuses more than it informs — fans of Darko should be familiar — and there isn’t really an engaging plot to make the film worthwhile for the masses, I can’t help but find something endearing about this utter mess of a film. Maybe it’s the overarching satire of all things American that I find amusing, because it’s pointed and funny at the same time. Or perhaps my sentiment is due in large part to the grand scope of the film, which I personally find enthralling.

Unfortunately, at the end of the day, most will be quick to label this film an epic failure, but for better or worse, I’m just gonna go ahead and stick with “epic” or better yet, “misunderstood epic.” I believe the film deserves nothing less.

Black Christmas [1974] : Blu-ray Review

The Movie Itself is directed by Bob Clark, of “A Christmas Story” fame, and written by Roy Moore.

Like so many people, I thoroughly enjoyed John Carpenter’s “Halloween.” And like many fans of the film, I was under the impression that Carpenter’s film was the first of its kind — the very genesis of the “Slasher” film sub-genre.

It wasn’t until college that I learned about the film, “Black Christmas” through my pop-literature professor. As it so happened, Halloween was quickly approaching, and the professor decided to hold a lecture about “mastering the unseen.” Many examples of classic horror were cited for their effectiveness in implementing the “unseen” technique. By this, I mean of course the deliberate use of shadows, literal and metaphorical, to prevent the audience from seeing — or understanding — the horror stimulus too much. The theory was that if you, or the audience, were to fully behold the element driving the horror scenes, that they would in effect no longer ensnare you. In many ways, this can be directly applied to the common understanding of fear — that we fear what we do not understand.

Prompting a debate about the effective usage of these techniques and methods in film, our professor asked us to create a list of films we thought adhered to these principles. Naturally, I was quick to mention “Halloween” among others, and as we went around, the list on the board was fleshed out. After all was said and done, we had a substantial collection of films, but we were informed that there was one remaining film that we failed to mention, one that was the true forgotten master of the unseen. That film, we were told, was “Black Christmas.”

Having never heard of the film until that point, I was greatly enthralled by the possibility of watching the forgotten classic, and understanding further why it had gone overlooked by so many horror fans, for so long.

As it turned out, I had a great deal of trouble tracking down the film on DVD, as no copies had been released at that time — at least none that I could find through traditional means. It wasn’t until 2006 that I finally got my hands on the (then new) special edition of “Black Christmas” and I was able to see for myself first hand why this horror classic was so iconic, and revolutionary.

Predating all slasher films, “Black Christmas” essentially defined the sub-genre through the heavy usage of the subjective/P.O.V. camera, isolation narrative techniques, realistic scenarios, and grisly, disturbing — though never gratuitous or exploitative — murder sequences. Arguably, one of the most effect film techniques that was employed, and popularized by the film was indeed the killer’s P.O.V. camera. It’s hard to imagine now — since P.O.V. has been used in films to the point of viewer desensitization — but up until this film, the technique was used very sparingly, and never to such degree. Shot through an almost dizzying wide-angle lens, with an unsteady movement it effectively creates a bridge between the viewer and the killer, which succeeded in unsettling many people. Aside from this subjective view, we are given little else to associate with the killer. His identity remains a mystery, even after the film has concluded. Short of a few quick glimpses of legs, hands and silhouettes — and one very haunting image of the killer’s eye — the audience is given very little photographic evidence of what the killer looks like. This, combined with the aesthetic choices made by Clark, make this one of the greatest slasher/thrillers ever made — a veritable trendsetting film.

While “Black Christmas” might not have pioneered the down-beat, unresolved ending, it definitely popularized it, as is evidenced by the films that followed in its wake, recycling the formula.

What’s interesting to note is that Clark himself isn’t happy with being labeled the forefather of the “Slasher Film.” In his commentary, he informs that he’s always seen the film as more of a thriller than anything else, and that his goal was to show as little of the killer, and the death scenes as possible. As a result, we’re left with a film that succeeds in its aspirations to be a unique thriller, but also inadvertently ended up giving birth to an entire sub-genre through its fresh approach to a tired horror genre.

Also worthy of note is the fact that Clark was said to have been approached by Carpenter, and asked whether or not he planned to make a sequel to “Black Christmas.” Clark informed him that he had kicked the idea around but decided against it, but instead offered Carpenter a hypothetical storyline — had he gone through with it, it would have taken place the following Fall, picking up with the escape of the killer from a mental institution, and it would feature the title “Halloween.” Obviously, this idea struck Carpenter, and so the seed was planted for the 1978’s semi-spiritual-successor, “Halloween.”

If you haven’t seen “Black Christmas” you’re truly missing out. There’s a reason why this film has such a loyal and dedicated fan base. It is sad that it wasn’t released in time for Halloween — as it would have made a great addition to horror-movie-marathons the world over, but it will surely be available in time for the Christmas holiday, providing everyone with the chance to have a frightfully “Black (and Blu) Christmas.”

The Invincible Iron Man : Blu-ray Review

The Movie Itself is directed by Patrick Archibald and Jay Oliva.

When setting out to create an origin story for a monumental comic book character, such as Tony Stark/Iron Man, I can only imagine how daunting the task might be. You’ve got years, and hundreds, if not thousands of comics worth of material to pick from. A mediocre introduction will not suffice, as it will disappoint the fans, and a lackluster jump-start will be lost on everyone but the most die-hard followers.

Unfortunately, the latter is the case with “The Invincible Iron Man.” Now, first and foremost, I want to make it abundantly clear that I have no exposure to Tony Stark, or Iron Man outside of the live-action blockbuster released this year. As a result, I can only picture Robert Downey Jr. as Tony Stark. Terrence Howard as James Rhodes. And the incredibly detailed, and magnificent Mark III suit as it was envisioned for the most recent film.

As if to further raise the bar, I’ve been told by many an Iron Man fan, that Jon Favreau’s depiction of the title character has been the most faithful, and entertaining to date — an argument that I can’t help put purport given my disposition towards the film, and my belief that it was the greatest comic book film until The Dark Knight hit theaters. In a few words, “Iron Man” is a masterpiece.

So where does that leave “The Invincible Iron Man?” It’s not awful, it’s really awful. From the moment the opening credits lifted, and the animation filled the screen, I caught myself tensing up — as if to brace for impact. It was a good thing I did, because to be quite frank, the film that unfolds is an extremely bumpy ride.

Chock full of poor animation, emotionless voice acting, and a lackluster/unbelievable story make for one of the most forgettable origin stories I’ve ever seen. I’d like to think that some Iron Man fans will find something worthwhile here, but I’m not sure it’s possible. Quite literally, I don’t think it’s possible for the filmmakers to have made a worse movie. Not only is Tony Stark’s sarcastic line delivery, and smarmy nature butchered or left out, but he appears to have the emotional depth of a sheet of paper. It’s that bad. The romance sub-plot is tired and worthless. The camaraderie between Rhodey and Stark is non-existent or stale. Oh, and the father/son relationship is bogus and unnecessarily enigmatic. As for the nemesis, “The Mandarin” and his elemental goons, they’re as worthless as can be, and equally out of place in the origin story for Iron Man.

As I said before, I was hoping to find something worthwhile, but alas, I did not. As far as origin stories go, this is one of the most laughable, and uninspiring attempts I’ve ever experienced. I hate to put it so bluntly, but if I were to pull some punches, I wouldn’t be truthful.

Simply put, this is one to avoid. If you’re in the mood for a quality Iron Man origin story, look no further than Jon Favreau’s comic book masterpiece, “Iron Man.”