New York Times Short Movie Reviews, 2001-2004
All That Glitters… (2001)
Ralph Fiennes reprises his role as the next James Bond one last time[1] in this remake of the classic 1964 Sean Connery classic
Goldfinger. And alas, the gold does not shine quite so well. In keeping with the ongoing “New Old Bond” series, the film follows the book more closely, sadly to its detriment as many of the pragmatic changes to the 1964 film, such as the nature of Auric Goldfinger’s plot, were for the better. A simple plot to steal the gold of Fort Knox, as noted by Connery’s Bond, just isn’t practical, even using a tactical nuke to break in. The 1964 film idea, to simply radiate the gold to destroy the US economy and spike gold prices, was infinitely more practical and ingenious. As such, Goldfinger comes across as more deluded than brilliant in this interpretation, with Bond instead wondering if Goldfinger’s Soviet allies are setting him up specifically to irradiate the gold.
Similarly, others may find the simple attempted strangling of Bond by Odd Job less memorable than getting cut in half by a giant laser, however campy.
But whatever the case, the film still manages to hold on well as popcorn fare. Fiennes could have phoned in his last appearance, but instead is as solid as ever as 007. Jeroen Krabbé shines as the titular Goldfinger, arguably giving Gert Fröbe a run for his money. B.D. Wong gives stoic dignity to the role of Oddjob, Rebecca Romijn and Amy Smart do well as the doomed Jill and Tilley Masterson, and Cate Blanchett gives a new honor and decency to Pussy Galore, who in this version of the film thankfully remains a lesbian, with no uncomfortable “rape her straight” scene (said scene was never in the original Fleming novel, though he did fall back on the old saw about lesbianism being a trauma-induced mental illness). And Freddie Mercury’s platinum-selling cover of the original Shirley Bassey song is a delight all on its own.
And if this version of
Goldfinger can’t compete for hearts and minds with the “original” Connery vehicle, there is little doubt that it is enjoyable on its own, helping to correct some of the sins of the earlier production while still providing an action-packed caper worthy of Bond.
Goldfinger; Rated T for violence, adult situations, sexuality, and substance use; ⭐⭐½
This Film Rocks (2001)
Many have wondered when Arnold Schwarzenegger would make a comics film. Well, believe it or not, he just has. Directed by John McTiernan based on a screenplay by John Milius,
Sgt. Rock is actually based upon an old DC Comic of the same name. And while the film does follow some of the usual action movie tropes, with a few choice quips for Schwarzenegger, this is decidedly a more serious film in the vein of
Crusader rather than
Conan. The film follows Rock as he leads an all-star force on a dangerous secret mission in Nazi Europe in World War 2. Paying homage to
The Dirty Dozen and similar classic war films, the movie explores the complexity of the conflict, even as it is decidedly pro-US. And if the thought of an Austrian son of a German soldier holds a certain irony, they acknowledge this fact, making Rock in this retelling an Austrian emigree named Rachmuhl whose family fled when Hitler annexed Austria.
While the film can be formulaic and unapologetically violent and hyper-masculine, there is still a soul to the film, brought out by McTiernan’s subtle direction and sympathetic camera work, even as his “eye for action” is displayed in full. While some may want to dismiss this as empty action, it takes its time to set the stakes, both physical and emotional, and gives Rock a vested interest in this Austrian-set mission.
In all, Sgt. Rock is one of the better DC comics films, even if you didn’t know it was a DC comics film.
Sgt. Rock; Rated T for violence, profanity, adult situations, and alcohol and tobacco use; ⭐⭐⭐
Brothers Reunited (2002)
Luke Wilson has been a staple of quirky comedies for the last few years, but it was his brother Owen that was once seen as the rising star. And yet when his 1996 comedy
Bottle Rocket failed at the box office, Owen joined the US Marines as a helicopter mechanic and served briefly in Rwanda while his brother went on to fame in Hollywood. Well, now Owen is back, having completed his enlistment and is costarring with his brother Luke in
Brothers in Arms, a quirky new comedy by their friend Wes Anderson[2]. Starring two brothers (Luke and Owen) who enlist together in the US Marine Corps,
Brothers in Arms is a strange and quirky Indie comedy, and one much drier than you might expect from what is superficially a war film. Released by Wildside Productions,
Brothers in Arms has a style all its own, and, when following
Bottle Rocket and 1998’s
Revolutionary, shows Anderson to be an auteur unlike any other. Using almost old-fashioned sets and effects sewn together using CG,
Brothers in Arms is also visually unlike anything else that you have seen, with an almost pastel pallet and uncanny symmetry. Luke and Owen shine together, inevitably hyper-calm and flat-faced even in the face of the strangest of circumstances, be that boot camp, work on the flightline, or the war in Rwanda. Cate Blanchett shines as their commanding officer, as does Gwyneth Paltrow as the triangulated love interest. In all, this strangely stylistic and postmodern war film is best seen rather than described.
Brothers in Arms; Rated T for mild violence, profanity, alcohol use, sexuality, and adult situations; ⭐⭐⭐½
A Hostile Partnership (2002)
The era of the Activist Investor was bound to make its way to the Big Screen, and naturally, given the headline-grabbing Good Shepherds Group proxy battle with Disney, Hyperion Pictures would be the first to have some fun with the concept. And the resulting film,
Proxy, is a blast. When politically Liberal Chairwoman Amy Fuller of the Fuller Toy Company (Tina Fey) finds her struggling company suddenly partly acquired by politically Conservative Activist Investor Dick Kaiser (Dean Winters), the resulting proxy fight moves beyond business and into the deeply personal. The result is a quirky, messy, highly-dysfunctional Rom-Com, or satire of Rom-Coms…or possibly a bit of both. Full of humor that straddles both the High Brow and the Low and a strangely perfect toxic chemistry between the two leads,
Proxy is probably the funniest take on Boardroom Drama we have ever seen, not that anyone should be surprised by that.
Basically, these two (Image source Twitter)
Proxy; Rated R for Profanity, Adult Situations, Substance Use, and Brief Nudity; ⭐⭐⭐
Life on the Street (2003)
Oscar is sure to pay close attention to this brutal and visceral tale of life on the LA Streets, in particular the titular Sunset Strip. The last film to star Biggie Smalls prior to his tragic DUI-related death,
The Strip, which was written, produced, and directed by his friend Tupac Shakur, is dedicated in his honor. And indeed, the loss is extra-tragic given that this was by far Biggie’s best performance to date[3]. Shakur’s Poet’s Eye and Ear stand out in this story, which follows Tupac’s “Low Boy” and his complex relationships with his brother-in-law “Kush” (Kurt Cobain), sister Lisaah (Aaliyah), and friend “Eight Ball” (Smalls), a small time “Thug” and addict who’s trying to go clean. Drugs, crime, poverty, racism, and the other challenges of life in the poor urban areas of LA are explored in depth, with a brutal naturalism worthy of Fellini.
The Strip is a must-see for cinephiles and casual audiences alike.
The Strip; Rated R for Violence, Nudity, Substance Use, Crime, and Adult Situations; ⭐⭐⭐⭐
An Epic Romance (2004)
Universal took a big gamble in this epic retelling of the tale Liz Taylor made famous, and thankfully they pulled it off.
Anthony and Cleopatra is epic in scope and ambition, bringing us a modern take on the ancient and tragic romance and political union. Angelina Jolie and Brad Pitt shine and sizzle as the titular duo with screen chemistry, which, if the tabloids are to be believed, is based in reality. River Phoenix is menacing as the ambitious antagonist Octavian. The location shots and cinematography by Scorsese shine, as does his particular retelling of the great and tragic historical romance, which he imbues with themes of guilt, temptation, and sacrifice. The sets and props, particularly the fleet of triremes, are as ambitious as Cesare himself. $130 million well-spent, in my mind.
(Image source IB Times)
Anthony and Cleopatra; Rated T for Violence, Sexuality, and Adult Situations; ⭐⭐⭐
In Brief:[4]
- A Touch of Magic: (2001) Harry Fletcher, boy wizard, reaches the big screen (courtesy of Penguin Pictures) in what’s sure to be the start of a magnificent series that honors the source material; ⭐⭐⭐½
- Meat-Eater Swarm: (2001) Trey Parker and Matt Stone bring us a deliberately campy B-movie about carnivorous dinosaurs falling from the sky in this send-up of both monster and disaster films; ⭐⭐
- Lord of the Rings: The Fellowship of the Ring: (2001) Tolkien’s Magnum Opus[5] finally reaches the big screen in spectacular fashion; ⭐⭐⭐⭐
- Bored of the Rings: (2002) National Lampoon, Trey Parker, and Matt Stone bring us this merciless parody of Lord of the Rings based upon the Douglas Kenney and Henry Beard novel. Follow Frito Bugger (nephew of Dildo, naturally), his fellow “Bogies” Spam, Moxie & Pepsi, and Goodgulf the Inept Wizard as they meet a Tall Dark Ranger (Arrowroot, son of Arrowshirt, also known as “Stomper”) and set out to destroy a rather cheap and ugly ring, despite the machinations of the evil Sorehead, his Nozdrul, and the obnoxious Goddamn; ⭐⭐⭐
- Game: (2002) The “Ballers” (Will Ferrell and Terry Crews) return in this fun if frivolous sequel where the two take their rivalry to the baseball diamond; ⭐⭐
- Big Pianist: (2002) A raunchy Farrelly Brothers comedy about a well-endowed piano player; ⭐⭐
- The Room: (2003) Executive Producer Tommy Wiseau’s film debut brings us this brilliantly quirky Indie romantic comedy-thriller directed by Gus Van Sant and starring Matt Damon, Minnie Driver, and Casey Affleck. Oscar, take notice; ⭐⭐⭐⭐
- Eleven: (2003) Snoop Dog, Tupac, Kurt Cobain, Aaliyah, Freddie Mercury, and Seth MacFarlane, among others, recreate the Rat Pack classic Ocean’s Eleven for the Hip Hop generation; ⭐⭐⭐
- Break the Bank: (2003) A surprise hit comedy from Hyperion featuring Melissa McCarthy; ⭐⭐⭐
- Crash: (2004) A Hyperion comedy that explores the Dot-Com Bubble and the business culture that fed it; ⭐⭐⭐
- Gridlocked: (2004) The “Ballers” return, this time on the football field, and fumble the ball. The magic is gone; ⭐½
- Munich: (2004) Director and Producer Steven Spielberg brings us this historical drama about the 1972 Munich Olympics terrorist attack; ⭐⭐⭐⭐
- Maurice and his Educated Rodents: (2004) Penguin Pictures and Thunderbird Studios join forces to bring Sir Terry Pratchett’s story[6] of a hyper-intelligent can and mice who enlist a fake piper to run a con on localities; ⭐⭐⭐
[1] This is Fiennes’ last Bond Film and the last one I will write about. While the Bond Films will continue to follow the “New Old Bond” of the Ian Fleming novels through
Octopussy and The Living Daylights, I will leave the rest of the franchise, to include whomever will play the next bond, up to a guest writer.
[2] What happens next with Anderson and the Wilsons? Up to you all!
[3] He will win a posthumous Best Supporting Actor Oscar. The film in general will dominate the Oscars in 2003.
[4] All open for Guest Posts!! PM me.
[5] Yes, all
Lord of the Rings and
Harry Fletcher novels will reach the Big Screen and be a success. No I will not be detailing them, but someone else can as a guest post.
[6] Hat tip to
@GrahamB for this idea (waaay back when), though he thought of it for the Creatureworks while I kept it all British. You blokes are welcome.