All About Steve (2009)

1 ½ stars

"Oh, Jesus! She's got a machete! Where the hell did she get a machete?!" (Steve)

The infamous movie for the part of which Sandra Bullock got a Razzie Award as a leading actress right the day before the triumphant win at the Oscars for another film 'The Blind Side' is also produced by her. Being the kind reviewer and an avid opponent of the Razzies, I would like not only to pan fiercely the lame flick but also to look deeper into its core to see whether there's anything good in it.

Mary Horowitz (Sandra Bullock) is a frenzied crossword puzzler, whose life revolves around her work that overgrew into a frightening obsession, but there's a new craze on the horizon that immediately comes in her view. In attempts to organize well her personal life, the girl's parents arrange another blind date for her, and Mary meets him… Steve (Bradley Cooper), who at a glance puzzles out a weirdo in her. Nevertheless, she believes that they are meant for each other and after the quasi-journalist successfully loses her job, she starts off to follow her "true love" across the country, as he performs his cameraman duties for CCN at different hot for news points in America. Naturally, this thorny path leads her to ridiculous and sometimes dangerous situations.

That's it, so simple. The point is that the whole story is badly written as the troubles Mary gets into are as much ludicrous as her funny looks, but if you laugh, I doubt whether it would be enjoyable. Why was Sandra Bullock called the worst actress? I'm strongly convinced that it's not because of her acting talent but because of her heroine, that evokes the feelings of understandable irritation and slight scorn. Therefore, I don't think that it's fair to humiliate Bullock only because she chose the role we don't accept. After all, I'm a passionate Razzies' opponent because it's so easy to conduct that annual ceremony and revile people no matter if they are gifted or not. If Sandra picked this part, maybe, she found something special about it that however, didn't work out. So what? Is she the worst?

I always say that in any way you can learn something worthy even from a bad-written book or a cheesy film. 'All About Steve' is about being different from the whole world; and being such a person, you don't have to change to please someone and you can still find true friendship like Mary did. Perhaps that's the message Bullock wanted us to notice but we didn't. The additional half of the star in the rating is due to this and the fact that the main character is the embodiment not only of craziness but of kindness and courage.

Rating: 1 ½ stars (see what that means)

Batman 3 News

I rarely post news. But now in a fit of excitement, I would like to sum up what every movie-oriented site trumpets about.

1. The revealed title is 'The Dark Knight Rises'. It's fine I think. You don't always need a ground-breaking name to make a great film.

2. The Riddler won't appear in the motion picture. Well... okay.

3. Maybe I'm wrong and too inattentive but different sources say different things about the way it'll be realeased: some inform us that it won't be in 3D for sure, others state that the question is still up in the air for Christopher Nolan didn't give a clear answer. I vote against 3D, that's obvious.

What are your thoughts? Are you excited? Are you disappointed? What old and new characters would you like to see in the film?

Have a great day!

The Social Network (2010)

3 stars

"If you guys were the inventors of Facebook, you'd have invented Facebook." (Mark Zuckerberg)

Some time ago, many people openly demonstrated their skepticism about the idea of making a film devoted to the Facebook founders but today and at this very moment, no touch of irony is seen, while the movie confidently enters the top of best flicks of this year. So many passionate praises, so many rosy predictions, such high ratings. But what can I say? The film is good indeed but for the life of me, I never noticed anything truly special or valid.

After a definitely unpleasant breakup with his girlfriend Erica (Rooney Mara), in a fit of anger the Harvard undergrad Mark Zuckerberg (Jesse Eisenberg) blogs about his ex in a more than disrespectful way, incidentally and, for sure, absolutely illegally hacks the system to download the photos of girls from the university and launches a website where his fellow students can vote for them (who's better, who's not). Although the investigation is waiting for Mark, at the same time, he becomes rather famous that results in him meeting twins Cameron and Tyler Winklevoss (Armie Hammer) and their friend Divya Narenda (Max Minghella) who ask the young genius to tackle programming their exclusive social network for Harvard students. Evidently, Mark decides to misappropriate the great idea, that undoubtedly turns out a ground-breaking success. Working with his peer Eduardo Saverin (Andrew Garfield), he enjoys the life and makes some new acquaintances, like for instance with Sean Parker (Justin Timberlake), the Napster co-founder.

Mark, being the main character, is the villain of some kind but his dark sides are skillfully portrayed without exaggeration in a way he looks like a usual person. However, I haven't noticed a glimpse of good in him, and I must also admit, that Jesse Eisenberg knows and feels his scoundrel character very well, so as for this one, I wouldn't be against an Oscar nod for the best leading actor.

So what's so great about 'The Social Network' that attracts so much intent attention and exceedingly good responds? I don't have the answer. From my part, I may say that YES, it's good but not to frenzy: Eisenberg's acting, wittily-written dialogues (screenplay by Aaron Sorkin), David Fincher's direction, and of course, the score (the film is a historical biopic, not an action one, but what greatly helps it work, is the music adding some sort of energetic pace to the narrative).

Rating: 3 stars (see what that means)

Bottle Shock (2008)

2 stars

"Great wine is great art, my friend. I am, in effect, a shepherd... whose mission is to offer the public another form of great art and to guide its appreciation thereof." (Steven Spurrier)

A little movie based on a true story of Californian wines getting the status of high quality product, and of Napa Valley first steps on becoming the best vineyard region in the US, holds a decent share of charm in itself but lacks in driving factors that usually prevent viewers from falling asleep in the middle of the screening.

A British-born sommelier Steven Spurrier (Alan Rickman), whose business is based in Paris, makes up a decision to hold a contest between Californian and French wines, later known as "Judgment of Paris" of 1976, and he sets off to the sunny American state to get acquainted with local vintners, not really believing that he can find anything worthy the competition, but eventually, he selects the best wines for it. At the same time, we follow the story of a wine-making family, that includes the head of the business Jim Barrett (Bill Pullman) and his hippie son Bo (Chris Pine) for whom, besides a crowd of vineyard hands, also work Gustavo Brambila (Freddy Rodriguez) who nevertheless, hopes in secret to start his own business, and a newcomer just after the university, a good-looking blonde Sam Fulton (Rachael Taylor).



However, there's nothing distinguishing about the story presentation for the narration type is rather slow but the end bursts with fun moments. For instance, the one when Jim Barrett almost takes a job at a boring office where he used to work. He's ruined and looks unnatural in a suit with a frayed bag in his hands. He's obviously the unhappiest person in the world, until the moment when Bo calls him and informs that their wine is actually a mere success. The vintner's reaction provokes the heartiest feelings. The same is with the scene in which Mr. Spurrier gets into a trouble at the airport because he cannot leave in his carry-on bag the 26 bottles of wine, so that kind people around obligingly agree to help him, and everyone who goes to Paris takes a bottle into their luggage.

Furthermore, it's nice to see the 'Star Trek' star Chris Pine in such a down-to-earth part. As usual, Alan Rickman is very cool and very British. The supporting actors' performances are not the ones we can complain on, too.



Maybe, it's not a strong film, but it leaves a light pleasant aftertaste, although the spirit of Californian wine-making could have been rendered better. By all means, if you decide to see this flick, prepare a bottle of good drink to sample while watching.

Rating: 2 stars (see what that means)

The film at IMDb.

On the Beach (1959)

3 stars

"There isn't time. No time to love... nothing to remember... nothing worth remembering." (Moira Davidson)

Continuing the apocalyptic subject of the yesterday reviewed film 'The Road', which describes the world's afterlife preceded by its end due to unknown catastrophe, here's the review of 'On the Beach' that can be considered a kind of a prelude to the above-mentioned movie. Based on Nevil Shute's book, directed by Stanley Kramer and produced in 1959, it is concentrated on the Earth's near future for that time, the year 1964 what probably could send shivers through viewers.

The plot summary is quite simple. Right after the global nuclear war, almost entire humanity is destroyed save for those who live in Australia but they also prepare to face the untimely death because soon the radioactive cloud will reach Down Under to plunge its denizens into embrace of fatal illness. In expectations of doom that is about to bring down the curtain on life on the planet, people still live their normal lives: go to the beach, go to the parties, run in races and fall in love. But all these day-to-day happenings have already been touched by ill fate.

Commander Dwight Lionel Towers (Gregory Peck), who has lost his family in nuclear war, meets an extremely attractive elbow-bender Moira Davidson (Ava Gardner), and although he doesn't want to yield to the strong feeling of love to her, he can't overcome the affection that is, maybe, just a result of imminent disaster. There's another couple in love, Lieutenant Peter Holmes (Anthony Perkins) and his wife Mary (Donna Anderson), whose family life used to be so sweet thanks to true feelings they share and to their baby daughter who now doesn't have an opportunity to see life. Nevertheless, the cataclysm has come. Sadly, all those people's love is killed by the perfectly rendered air of fatality, like for instance, when Peter gives Mary the poisonous pills to kill her and their baby, so that they won't suffer. Throughout the country, the spots of such pills distribution are opened, and the nation forms lines to get those. It is undoubtedly heartbreaking. The scenes with deserted San Francisco and San Diego streets look ominous although not very true to life because there must have been dead bodies all over the cities.

The worldwide tragedy annihilates the spirit of the civilization remnants: there's no panics, no chaos, no people trying to find the way out. What is only left is just a great humility before the doom, before "the air they are about to breathe", before the Grim Nuclear Reaper. A sad film.

Rating: 3 stars (see what that means)

The Road (2009)

4 stars

"I knew this was coming. They were warning us." (Old Man)

"We are not gonna quit. We are gonna survive this." (The Man)

Post-apocalyptical subject matter is getting more and more spread in movies nowadays, as all kinds of science fiction have established themselves as popular trends on screen. "The Road" is based upon the book of the same name written by American writer Cormac McCarthy who also had got a Pulitzer Prize for Fiction for this literary chef-d'oeuvre in 2007. At first, I read the book, and only after that, I finally watched the motion picture. Both are very good and substantially intense (though the story on paper remains a bit better).

The dismal narrative revolves around the Man (Viggo Mortensen) and the Boy (Kodi Smit-McPhee) who in their desperate attempts to survive travel to South of desolate and burnt America with ash flying in the air, huge gloomy areas covered with dead trees, with no grass, no animals, no life. Except for only a handful of people dispersed in different directions of the land that lost the last hope. Those folks are divided into two categories: those who try to sustain the horror of the situation, and cannibals.

The film raises a few crucial questions. First of all, it's very suggestive talking about human nature, which allows some sort of people, brought up in the civilized world, to stoop to cannibalism after the unknown global calamity. Even if a human is starving, he must stay humane. Even if a human doesn't want to die starving, the same here, he must stay humane. For some acts are irreversible. Another thing is the Man's true fatherly love to the Boy. This feeling makes him move forward, struggle and never give up for the sake of his son, even if he doesn't have any strength anymore. The burden is especially difficult for him to carry because the Woman (Charlize Theron) leaves them alone as she cannot overcome the overwhelming terror and cannot stand this shadow of life. Playing the perfect father, Mortensen is brilliant as usual, while Smit-McPhee surprises with his incredible acting. Theron only appears in not numerous flashbacks but without her the movie would have been too dull. The tiny cast is occasionally joined by other actors: the Old Man (Robert Duvall), Veteran (Guy Pearce), his wife (Molly Parker). The post-apocalyptic atmosphere is expressed flawlessly, even with some use of CGI, so that no sunbeam would force its way through the overcast gray sky.



Although it's so dark and perhaps depressing in some way, the film is a real story about hope and love.

Rating: 4 stars (see what that means)

Working Girl (1988)

3 stars

"You can bend the rules plenty once you get to the top, but not while you're trying to get there. And if you're someone like me, you can't get there without bending the rules." (Tess McGill)

"Working Girl" has rather a typical storyline but still bears some kind of attractiveness in it and is quite interesting overall. Now I can't even imagine a light movie like that to get six Academy Awards nominations as this one received. The great ensemble of leading actors Melanie Griffith and Harrison Ford, supporting actress Sigourney Weaver and some minor ones like Joan Cusack, Alec Baldwin, Kevin Spacey and others crowns the motion picture about taking risks, luck and success.

A 30-year-old, Tess McGill (Griffith), is not satisfied with the living she leads, especially with her great ambitions and brilliant ideas, which eventually help her to get on in life. Tess works as a secretary for a chic, confident and, as it's disclosed later, bitchy Katharine Parker (Weaver), who unscrupulously uses fresh business ideas suggested by Tess. Luckily, after the unsuccessful weekend in the mountains that results in leg fracture of the spiteful boss, so that she is not able to work for some time. Thus, Tess doesn't fails to borrow Katharine's position. Literally. As well as her office; and posh clothes from her wardrobe; and perfumes and make-up from her dressing-table. In the process of becoming a real career woman, she finds a business and love partner, Jack Trainer (Ford), who is much better than her unfaithful ex-boyfriend (Baldwin).

What Tess must do is to demonstrate not only her ability to generate brand-new ideas but also be flexible in the business sphere and not be afraid to take chances, whether its wearing Katharine's clothes or be a gatecrasher at a huge wedding. In her turn, Weaver's heroine, though not a key character, strongly imposes her will and perfectly displays her malicious disposition. These both female characters are beautifully acted, and we can't forget that they were both nominated at the Oscars.

It's a very pleasant from-rags-to-riches film, with some romance, some business, and some struggle.

Rating: 3 stars (see what that means)

A Single Man (2009)

5 stars

"Just get through the goddamn day." (George)

Directed and fully financed by Tom Ford, his directorial debut after his prolonged career in the fashion industry, "A Single Man" is the most stylish film presented to the audience last year. Based on the novel of the same name by Christopher Isherwood, the excellent piece of the modern silver screen suggests us joining a single man in his one-day journey through painful recollections of the days gone by and endeavors to make difficult decisions about what to do next.

George (Colin Firth) is a British born English professor at the college, and after his long-time partner Jim (Matthew Goode) had passed away several months ago, there's nothing left in the life of the devastated by grief man. Sometimes his friend of youth Charley (Julianne Moore) storms into his sorrowful loneliness but she fails to bring George to life.

Set in Los Angeles of the sixties, the movie is very exquisite and fashionable, and offers simply an enormous number of subtle details to explore, for instance, heart beating occasionally interwoven into the original score, almost imperceptible and unobtrusive, but still adding a few fine threads to the tapestry of the story. Furthermore, when George gets to know about the loss, we're so fortunate to observe Firth's transcendent performance, as myriad tints of emotions, from disbelief to feeling of doom, appear on his face, and then with those tears in his eyes he turns into a single man. At the same time, the dialog is kept strong for when George asks whether their dogs had also died in the car accident, in that question we clearly hear his overwhelming despair.

As the day of the man begins, we can be watching his everyday routine, when he wakes up, gets dressed and prepared, everything done with adjusted precision, but afterwards we see him watching other people's, his neighbors' routine: the children full of joy and frisking in front of the house, while their parents calmly argue about some trifles. Later on, he passes by them in his car and the scene is shot in slow motion, so that we already receive a message that for George, his day will be a very long stroll, that is so hard to get over. When the professor arrives to the college, we see him alone heading in the direction opposite to the one that follow people on his way, and once again, this tells about his lonesome soul. At the lecture, he perhaps doesn’t really refer to the students, while dwelling upon the fear of being different, getting old and becoming useless and insignificant. All these ideas inlay the pieces of the mosaic of his inner world and anxiety. I suppose, there's no secret and won't be any spoiler, if I mention that George is willing to commit a suicide, as he prepares the gun in the morning but when the evening comes and the dark is quietly falls on the city, he can't do this — actually, he doesn't want to do this for he unsuccessfully tries to find a convenient place and position to shoot himself. But he can't, and then Charley calls George to remind him about the bottle she asked to bring.

What really won my heart is the play of colors, so to say. All scenes of the present time for George are colored but bleak and faded. Only when he sees something nice and agreeable, that makes his heart warm up and rejoice. The scenes that makes him feel relieved are rather numerous, and this clever and talented move makes me worship the film makers; the vivid colors revive, forcing out somber shades:

- when his secretary gives him a wonderful smile;

- when young people are playing tennis;

- in all scenes with the student Kenny (Nicholas Hoult);
- when he sees a charming blue-eyed creature, the neighbor girl, named Jennifer, wearing a blue dress, blue shoes and blue ribbons in her hair;
- when he for a little while pats a dog of the breed that he and Jim used to have;
- when he encounters the male hooker and admires the beauty of smoggy LA sunset;
- when he sees the flowers near Charley's house, and its owner herself;
- almost all flashbacks with Jim are bright (except for one, black-and-white scene).

There's much more beauty to behold: a gorgeous butterfly hovering near the flowers, though cruelly comminuted by a kid; Kenny and his Brigitte-Bardot-looking friend also add some enticing style, and Charley with all her finesse embodies the charms of life.

The film's profound meaning is that sometimes, unnecessary rush won't help, and when the irreversible happens, there won't be any time for and absolutely no use of sobbing and whining because everything will fall into the place. "A Single Man" is an extremely sophisticated motion picture, and impressed me so much that even conquered a place in my top of the greatest films of all time.

Rating: 5 stars (see what that means)

It Should Happen to You (1954)

3 stars

"Just a theory of mine: that not only 'where there's a will, there's a way'... but, 'where's there's a way, there's a will'. See?" (Pete Sheppard)

The year of 1954 was the year when, for the first time, Jack Lemmon ("Some Like It Hot", "Days of Wine and Roses") appeared in a feature film after some time of TV work. It happened so, that the film was directed by one of our favorite classical filmmakers George Cukor ("My Fair Lady", "The Philadelphia Story"). Another remarkable figure in the motion picture is Lemmon's co-star, the star of that time and a theater thespian, Judy Holliday ("Born Yesterday").

A young girl, Gladys Glover, originally from the country, lives in New York now but the city doesn't seem to welcome her kindly: she has been fired and people around are unfriendly and rude, except for a man, Pete Sheppard, that she meets in Central Park, who is shooting a documentary about people there, and who falls for the heroine at a glance. Unfortunately, her mind is crowded with thoughts on becoming famous, and at last, she finds a rather unusual solution: she rents a huge billboard in the busiest part of the city to put her name on it, so that everyone would wonder and discuss who the Gladys Glover is. However, the site for the advertisement is more than favorable, that's why not only the girl is for the place, so evidently, she faces some difficulties that at all events lead her to being recognizable and even popular. Even "the average American girl" can achieve success, they say. But is it any form of success?

Holliday and her character prove that if you want to be someone, you must act, must do something, and must make difference. Putting your name or picture on a billboard or a matchbox or whatever won't make you deserving of attention. You can flood the town with hundreds of pieces of paper with your name on them and quasi-gorgeous photos, but this will never make you significant. Moreover, sometimes an obsessed person should give up on his/her something on the brain to look around and see another person in love (read here "Pete Sheppard").

Although there's a possibility that you'll hate Gladys' mania and will long for film to end only because of this obsession, the flick is enjoyable enough and full of funny moments. Another thing that was not really to my liking is Holliday's acting, and taking into account that she used to be a theater actress, somehow her performance looked fake and not true to life. To top it off, it's a good movie with action held in New York, and that's what you're gonna love. Besides, it's so easy to shut your eyes to certain not numerous flaws.

Rating: 3 stars (see what that means)

Machete (2010)

4 stars

"I absolve you of all your sins. Now get the f*ck out." (Padre)

"We didn't cross the border. The border crossed us." (Santana)

"Machete don't text." (Machete)

Once I was browsing viewers' comments on the film in the Internet and surely, I read some pretty good responds written by guys who greatly enjoyed the flick. Nevertheless, some negative remarks wormed their way into the feedback flow and they were left by girls. It was super amusing to look through such critical mini reviews, like for instance, a gal complained that she never saw such an awful film the first sequences of which made her want to throw up. C'mon, folks, before going to the movies, find out what the film you're going to see.

"Machete" is a perfectly balanced slaughter film with, so to say, moderate violence, sufficient humor and some big stars. Quentin Tarantino's soulmate Robert Rodriguez combined a lot in one flick: it's a tale about justice, segregation, revenge, perfidy, bloody murders, charismatic and fun personalities, and about how Lindsay Lohan got into a nun's outfit. Danny Trejo as Machete, Michelle Rodriguez as the courageous rebellion leader and Robert De Niro as a crafty politician did their best and look awesome in their parts. Personally for me, Steven Seagal's cameo passed almost unnoticed but who knows, maybe, that was the plan. One of the most interesting characters is the padre played by Cheech Marin whose part is also the most humorous one. Gorgeous Jessica Alba adds some share of reasoning and triviality, that is quite a smart balancing move. The only one part that disappointed me was the role by Lindsay Lohan for I expected her to be cool and tough like Michelle Rodriguez's Latin American warrior but not a shallow daughter of a rich bad guy performed by Jeff Fahey. Plus, the nun's clothing. Great idea but didn't work. In such a ball game.

"Machete" is a pure fun and absolute rest from the troublesome life, although still, the film raises the questions of inequality and xenophobia. If there are any sequels, I'll be anticipating them.

PS I called violence in the flick to be moderate but if you're not into such films, you may call me a liar after watching it. It's just my subjective opinion, so don't blame me if yours is different. And, everybody, please, feel free to share your point of view.

Rating: 4 stars (see what that means)

Monster (2003)

3 stars

Aileen Wuornos, one of the first American female serial killers on the roads, was sentenced to death for killing six men who according to her words tried to rape her. The true facts gave us a possibility to explore the inner world of a murderer who eventually was not sorry for her sanguinary deeds.

The story begins with Aileen's narrative, her recollections of the childhood and youth, and it makes her more human in our eyes. Child abuse, drug addiction, prostitution, pregnancy when she was 13, — so many horrendous and painful events in her early life that make flesh creep and that made a monster out of her. She appears before us frustrated, unloved and disrespected, with broken dreams and cracked pride. As the movie begins, Aileen is about to commit suicide but the miracle happens and she meets a life-remote, dependent on her religious parents, lesbian Selby who makes difference for a while but not more.

Aileen still has to earn something for living as a highway prostitute but in self-defense, she discovers another resource of extra money: she loathes men who pick her up on the roads and doesn't mind taking the contents of their wallets after killing ill-starred victims. Unfortunately for her, this doesn't work out, just as her romance with Selby.

The transformation of Charlize Theron is incredible: the looks, voice, figure, manner of behavior; the actress absorbed all the outer features of the criminal and was honored with the Oscar for the best leading part. Her supporting colleague Christina Ricci portrayed a calm and helpless creature very fine, too. They tell us about people who cannot escape from their life, no matter how hard they try.

"Monster" is rather hard to watch for those who prefer feel-good movies with upbeat endings, so if you are one, don't. In general, it's a must see for every film-lover.

Rating: 3 stars (see what that means)

I Am Sam (2001)

4 stars

The film delivers a great story of love, faithfulness, devotion and sincerity, provided by striking talents of Sean Penn whose acting gift doesn't stop to amaze me and Dakota Fanning who obviously possesses this unbelievable thesp capability from cradle. In some parts, the pace may seem slow and somewhat protracted but in such a moving story it's hardly appreciable.

A mentally retarded man, Sam Dawson, takes care of a kid whose mother of doubtful reputation and even more questionable core values left him alone with a baby in the lurch. The girl, Lucy, is raised by Sam who often resorts to the help of his neighbor Annie (Diane Wiest), a person with no mental disorders save for estrangement and isolation from the society. Sam's friends, who have similar problems to his, also support the newly-fledged father. They all are kind-hearted and caring, and it seems that nothing can enter upon the path of Sam and Lucy's happiness. But the terrifying obstacles are on the horizon and even closer. The 7-year-old is becoming smarter than her father is, so eventually, the authorities decide to find a better home and appropriate parents for the kid. Poor Sam is to face one of the most hideous things in his life — the court and daughter away from him.

Clearly, that's the time for Michelle Pfeiffer's character, Rita, to make her entrance. Unlike Sam and his cronies, she is a reasonable, intelligent and confident woman, a professional in her sphere, an always-winning lawyer who never works pro bono. Her family — the husband who regularly cheats on her, the son who she is often mad at — is the absolute opposite to the tiny family of the Dawsons. She has everything possible but not the happiness as theirs. There's a scene in the film where Rita talks to the couple of divorcees, and no one of them manifests the willingness to bring up their offspring after separation. That's the staggering contrast. So who's wiser: Sam who fights to the last drop of blood, tries all he knows, or those people? During the case she takes up, Rita studies what real love and family notions are.

The film is full of affecting moments, so if you're in mood for it, be ready to shed a tear or two. The motion picture is utterly beautiful, so feel it deeply and follow to the end of the story about Sam struggling for the right to return his daughter Lucy Diamond home.

Rating: 4 stars (see what that means)