Perhaps you've seen the trailers and thought, "Wow, that's another terrible film with Jim Carrey."  After seeing The Number 23, how could I blame you?  I thought the same thing myself, even though 23 was so bad it was a riot.  However, a bit inexplicably, I was drawn to this film.  Maybe it was the premise itself that sucked me in--a man who ( Read more... )

For the record:

There Will Be Blood is nothing compared to No Country for Old Men.  If you get to see one, catch the latter.

It lives up to the hype and so much more.

Tonight I watched 21 Grams:

• 21 Grams: Long.  Drawn-out.  Overly melodramatic.  Twenty minutes into the movie, I'm wondering what the film is even about--more importantly, why I'm supposed to keep watching.  Halfway through the only things I'm really noticing are first that Benicio Del Toro is more talented that Sean Penn and Naomi Watts combined, ( Read more... )

• Twelve and Holding: Partly sensitive, partly funny, but invariably disturbing, Twelve and Holding features three 12-year-old protagonists: one endearing, one pitiable, and the last vengeful, annoying, and terrifying.  This film tries to address "real issues," and because of its perspective seems to be speaking primarily to 12-year-olds themselves ( Read more... )

Somehow, I've managed to watch several movies lately:

• The Prestige (2006): Awesome all around, and I really can't complain about the ending.  It was too cool, too cinematic for me to think that all the twists at the end had to make perfect sense.  Nolan/Bale strike again.  A
  
• The Illusionist (2006): Why was this ever mentioned in the same sentence as ( Read more... )

I visited Boston this past weekend and, realising that Children of Men was playing locally thereby making Boston far superiour to Worcester and Connecticut (where Children of Men is not playing), I got my ass down to a cinema with my Iranian-Californian buddy Shahin and paid good money to watch that film.

( Disclaimer: If you have not yet seen Children of Men, do not read this post. )

...it makes every single other movie--including Gibson's The Passion of the Christ--look Christfully good.

To describe how terrible Mother India (1957) actually is, you'd need an expert command of nearly a dozen ancient languages. Even then, you'd only scratch the surface. It is a disgrace to Indian national cinema, and to both the art and ( Read more... )