Forgotten NetFlix Reviews #8
This should have been ready to post a few weeks ago - this was all around the time of our Barcelona trip - but I forgot about it until I went back to add notes for the most recent batch of viewings. So the next one will be along shortly as well.
SOLARIS: * * *
I liked the overt nod to the look and feel of 2001: A SPACE ODYSSEY (* * * * *) and I'm glad it was at least less draggy than Tarkovsky's original (* *) but I still found myself nodding off a few times. Note to the Future: When a space expedition is experiencing some sort of trouble, don't send just one dude out there to try and fix it. Take a hint from ALIENS (* * * * *) and send a whole batch of marines with pulse rifles. They'll still fail but they'll be more exciting on their way down.
SLUMDOG MILLIONAIRE: * * * *
I will freely admit it: I am precisely the sort of privileged white American UC-educated audience member programmed to enjoy this movie. Danny Boyle works me over pretty good every time; his films stick with me more than and long after they should. The only thing I didn't like about it was the almost total clean-sweep happy ending, but I guess that's being true to Bollywood roots.
QUANTUM OF SOLACE: * * * *
Though not quite as good as CASINO ROYALE (* * * *) I don't think it was markedly inferior, either. Craig continues to impress me as Bond, the action was very good, and I thought the pacing was fine. I do think they're unfolding the "Quantum as SPECTRE replacement" concept a bit too slowly.
THE WRESTLER: * * *
Mickey Rourke is excellent, fully inhabiting this total fuck-up of a character, but the rest of the film was rife with structural elements and tropes that I've pretty much just seen enough of. Oh, here's the scene where he gets fed up with the soul-sucking job and has a tantrum walk-out. Ah, here's the stripper who somehow really does turn out to be in love with the busted-out loser who's broke and two steps away from the grave after all. Ugh. On the other hand, the wrestling is great to see and I have it on good authority that none of it, horrifyingly enough, is at all far from truth.
JOHN CARPENTER'S VAMPIRES: * * *
I liked Steakley's original novel well enough, and I generally love Carpenter's work, but the combination here was a little flat, lacking in energy, and it felt edited together a bit strangely somehow - shot to shot transitions and such.
TORN CURTAIN: * * * *
The first fifteen minutes or so have the most confusing musical background cues ever. This is going to be a Cold War thriller? Once they're in East Berlin, though, it settles down just fine. However, I have to say that - with the exception of Gromek, who was nicely menacing without being Excessively Hitchcockishly Menacing - I wasn't all that intimidated by the East Germany, and the Communist Menace, of the film. Where was the constant surveillance? The bugs and cameras? Who the hell lets a defector wander around the countryside on his first day, even with a shadow? Crazy.
VERTIGO: * * * *
After stumbling across TORN CURTAIN in my Cold War viewing, I realized there's more Hitchcock I haven't seen than I have. This was not the first time I've had that realization, but it *was* the first time since I had a way to just queue stuff up and catch up on it all. So what else should I finally see? At that point, my iPod shows the way, throwing Harvey Danger's "Carlotta Valdez" at me. Fair enough. I vaguely recall seeing the film when I was real young, but I don't think I understood what was going on at all, so it was more or less like a first viewing. And man, even darker than I vaguely recalled. For the most part, excellent through and through, except for an entirely too abrupt ending. Dig those high-tech opening credits, huh?
RATATOUILLE: * * * *
C managed to overcome her vermin-in-kitchen revulsion to watch this, though there were a couple of bits that still had her instinctively recoiling. (The early shot where the ceiling collapses and it's all covered with rats is, um, excellent in this regard.) Liana joined us for this one and asked the requisite number of toddler questions. Going forward, I think it will be a good idea to pre-flight films that Liana might see - not just because there may be scenes to skip past, but also because she constantly asks what will happen next, how will they do this thing or that thing, etc. and when it's our own first viewing of the film as well, we end up saying "I don't know, sweetie, just keep watching" a LOT.
TOPAZ: * * * *
Hitchcock's other Cold War film. This one was more brutal and more believable, as Communist Threat stories go. Cuba instead of Germany. Felt much more like something I'd want to rip off, uh, pay homage to myself.
VALLEY GIRL: * * * *
This was actually way better than I remembered - a perfect 80s period piece actually made in the moment. I am pretty sure the Douchebag Antagonist character was perfected in the 80s; there is no more optimized film asshole than the 80s jock-prep with feathered hair. But Carmel, who is generally right about most things most of the time, is totally wrong about Deborah Foreman's hair, which is perfect in every way. Also, she has a scary clown doll. Holy crap, what was that about? I also love how all the Hollywood Badass-niks all wear matching red and black. Oh! And Skip's sexual development, right? Meta-content that I never even recognized at the time: Delivery boy shows up, greeted by poolside MILF; quintessential San Fernando Valley scene, indeed. Classic.
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For consideration: coming up, a mixed bag of SF and humor
SOLARIS: * * *
I liked the overt nod to the look and feel of 2001: A SPACE ODYSSEY (* * * * *) and I'm glad it was at least less draggy than Tarkovsky's original (* *) but I still found myself nodding off a few times. Note to the Future: When a space expedition is experiencing some sort of trouble, don't send just one dude out there to try and fix it. Take a hint from ALIENS (* * * * *) and send a whole batch of marines with pulse rifles. They'll still fail but they'll be more exciting on their way down.
SLUMDOG MILLIONAIRE: * * * *
I will freely admit it: I am precisely the sort of privileged white American UC-educated audience member programmed to enjoy this movie. Danny Boyle works me over pretty good every time; his films stick with me more than and long after they should. The only thing I didn't like about it was the almost total clean-sweep happy ending, but I guess that's being true to Bollywood roots.
QUANTUM OF SOLACE: * * * *
Though not quite as good as CASINO ROYALE (* * * *) I don't think it was markedly inferior, either. Craig continues to impress me as Bond, the action was very good, and I thought the pacing was fine. I do think they're unfolding the "Quantum as SPECTRE replacement" concept a bit too slowly.
THE WRESTLER: * * *
Mickey Rourke is excellent, fully inhabiting this total fuck-up of a character, but the rest of the film was rife with structural elements and tropes that I've pretty much just seen enough of. Oh, here's the scene where he gets fed up with the soul-sucking job and has a tantrum walk-out. Ah, here's the stripper who somehow really does turn out to be in love with the busted-out loser who's broke and two steps away from the grave after all. Ugh. On the other hand, the wrestling is great to see and I have it on good authority that none of it, horrifyingly enough, is at all far from truth.
JOHN CARPENTER'S VAMPIRES: * * *
I liked Steakley's original novel well enough, and I generally love Carpenter's work, but the combination here was a little flat, lacking in energy, and it felt edited together a bit strangely somehow - shot to shot transitions and such.
TORN CURTAIN: * * * *
The first fifteen minutes or so have the most confusing musical background cues ever. This is going to be a Cold War thriller? Once they're in East Berlin, though, it settles down just fine. However, I have to say that - with the exception of Gromek, who was nicely menacing without being Excessively Hitchcockishly Menacing - I wasn't all that intimidated by the East Germany, and the Communist Menace, of the film. Where was the constant surveillance? The bugs and cameras? Who the hell lets a defector wander around the countryside on his first day, even with a shadow? Crazy.
VERTIGO: * * * *
After stumbling across TORN CURTAIN in my Cold War viewing, I realized there's more Hitchcock I haven't seen than I have. This was not the first time I've had that realization, but it *was* the first time since I had a way to just queue stuff up and catch up on it all. So what else should I finally see? At that point, my iPod shows the way, throwing Harvey Danger's "Carlotta Valdez" at me. Fair enough. I vaguely recall seeing the film when I was real young, but I don't think I understood what was going on at all, so it was more or less like a first viewing. And man, even darker than I vaguely recalled. For the most part, excellent through and through, except for an entirely too abrupt ending. Dig those high-tech opening credits, huh?
RATATOUILLE: * * * *
C managed to overcome her vermin-in-kitchen revulsion to watch this, though there were a couple of bits that still had her instinctively recoiling. (The early shot where the ceiling collapses and it's all covered with rats is, um, excellent in this regard.) Liana joined us for this one and asked the requisite number of toddler questions. Going forward, I think it will be a good idea to pre-flight films that Liana might see - not just because there may be scenes to skip past, but also because she constantly asks what will happen next, how will they do this thing or that thing, etc. and when it's our own first viewing of the film as well, we end up saying "I don't know, sweetie, just keep watching" a LOT.
TOPAZ: * * * *
Hitchcock's other Cold War film. This one was more brutal and more believable, as Communist Threat stories go. Cuba instead of Germany. Felt much more like something I'd want to rip off, uh, pay homage to myself.
VALLEY GIRL: * * * *
This was actually way better than I remembered - a perfect 80s period piece actually made in the moment. I am pretty sure the Douchebag Antagonist character was perfected in the 80s; there is no more optimized film asshole than the 80s jock-prep with feathered hair. But Carmel, who is generally right about most things most of the time, is totally wrong about Deborah Foreman's hair, which is perfect in every way. Also, she has a scary clown doll. Holy crap, what was that about? I also love how all the Hollywood Badass-niks all wear matching red and black. Oh! And Skip's sexual development, right? Meta-content that I never even recognized at the time: Delivery boy shows up, greeted by poolside MILF; quintessential San Fernando Valley scene, indeed. Classic.
------
For consideration: coming up, a mixed bag of SF and humor