Marie Antoinette (2/5)
I don't get it: 20th C. pop songs, tennis shoes, gossip, prancing around Versailles, sex with sailors. My version of Coppola pitching the film to the producers: "It's like a teen Amadeus". My rejoinder: "I don't know what you're talking about".
In Bruges (5/5)
Farrel is an obnoxious half-wit off camera--or what we call reality. So what a pleasant surprise to see him pull off one of the most nuanced and dynamic comedic performances in recent memory: moments after putting a gun to his head, he is making light of his plight and the wussiness of his gun. Yes, the ending goes a bit far and requires some unlikely machinations, but these characters are all so very lovely. If the Academy wasn't dumb the whole ...
Collateral (4/5)
Too many plot holes and absurd action choices to merit a perfect review. The cinematography, score, and feel are ace. And the Korean night club scene is flawless film-making; makes me want to go shoot up a Korean night club with Oakenfold bumping on the PA.
A History of Violence (4/5)
Enjoyable Cronenberg--I never thunk it. Straight forward banal entertainment: the mob boss eats it, the school bully eats it, the dad rapes his kinky wife, just perfect.
Bedtime Stories (1/5)
I can't blame my Little Brother dates on all the sheize films I pay full price to see, but I will here. Adam Sandler and Rob Schneider going for the hard PG rating. I think I like two of Sandler's films: Happy Gilmore and Punch Drunk Love, the rest are tied for last place.
Miami Vice (3/5)
Mann's machine gun sound effects arouse me proper; too bad the attempts at romance or drama are quite unarousing. I am praying for Public Enemies; it has just as much potential as this one had.
Heaven’s gonna burn your eyes.
I've concluded that my well-being is entirely up to me; I am done hoping or expecting anything from God, it just isn't worth it.