Dir: Jim Jarmusch A- |
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In “Broken Flowers,” Bill Murray plays Don Johnston, an aging but lackadaisical womanizer, who receives an anonymous pink letter from a woman in his past informing him that his 19-year-old son (who he never knew existed) may be looking for him. His chipper Ethiopian neighbor, who has picked up spying as a hobby, insists he narrow down his lovers and set off on a soul-searching road trip in order to determine the mother of his child. The concept is a good one, and there is much humor to be had as he visits each ex, looking for clues, but only getting vague answers. Bill Murray’s performance is top-notch. He plays his middle-aged Don Juan character with apathetic class. As he goes on this unconventional journey, he never seems fazed by even the most bizarre twists and turns of his past lovers, played by Sharon Stone, Tilda Swinton, Jessica Lange and Frances Conroy. In fact, it is a treat just to relish in Murray’s dumbfounded expressions, even when the poor bastard simply stares into space. As for Jarmusch, this is one of the best films he’s done since “Stranger in Paradise” and “Down by Law.” It’s a type of philosophical experiment that will leave the audience as flabbergasted as Murray’s character.—Karla Esquivel
Dir: Rob Zombie C- |
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Apparently this is Rob Zombie’s grittier, more realistic attempt at a horror movie shocker than “House of 1000 Corpses.” Unfortunately everything is so over-the-top that there’s not much shock and it looks so slick that there’s no real grit. The movie pretty much takes up where “Corpses” left off. It opens with a shootout between the creepy band of killers and local law enforcement, who’ve cornered them at their creepy house of carnage, and meanders along while the vengeful sheriff tracks the escapees. Each actor hams it up so much that it bypasses campy completely and heads directly for annoying. I was expecting something along the lines of “Last House on the Left,” or “I Spit on Your Grave,” but other than some cool set designs, a few predictably gruesome scenes and some grimy rednecks, there’s not much in the way of real horror. There were a few interesting scenes, but they overstay their welcome. The only saving grace was the perfectly on point southern rock soundtrack. I kept thinking to myself, “I don’t care how long the scene drags, just let the song finish.” I’m still waiting for a film to come along and disturb like “Henry: Portrait of a Serial Killer.” Any takers? —Kristopher Monroe
Dir. Phil Morrison
B-
From the outline of this film—city boy (Alessandro Nivola) returns to the country with his sophisticated bride (Embeth Davidtz)—I expected a stereotypical slice of Southern whimsy, but North Carolina native Morrison is more ambitious than that. Consequently, “Junebug” feels like two films, a comedy and a tragedy. I liked the comedy best, but that may be because I was expecting it and because the fit between the two is a little precarious. Still, this Sundance Grand Jury Prize nominee is worth a look for the performance of Amy Adams (“Catch Me if You Can”). She plays Ashley, an eternally optimistic young pregnant woman, doing her best to make the most out of a bad situation—she lives with her in-laws (Celia Weston and Scott Wilson) and her marriage (to The O.C.’s Benjamin McKenzie) is on the rocks. She handily steals the show from the bigger names around her.—Kathleen C Fennessey
Dir. Werner Herzog
A-
I grew up in Alaska, so most films about the state interest me, but you don’t need to share that interest to appreciate “Grizzly Man.” Despite the attractive scenery, it’s no travelogue, but rather a character study. And what better character to study grizzly enthusiast Timothy Treadwell than German director Werner Herzog? In recent years, he’s been gravitating away from drama (“Fitzcarraldo”) towards documentary (“My Best Fiend”). It’s a wise move and “Grizzly Man” is one of his best films. Most of the fascinating footage comes from Treadwell himself, who spent 13 summers in the Alaskan wild studying the grizzly until the day a particularly surly specimen turned on his biggest fan—and ate him (his girlfriend, too). Sounds like a bad joke and Treadwell is, at times, a rather comical character, but this is ultimately a sympathetic portrait of a complex, contradictory individual—made by one who would know.—KCF
A+
With Buster Keaton we celebrate the apex of Vaudeville as motion picture
comedy. While Chaplin had a touching, sentimental and slightly naughty
quality, unsurpassed in film, Keaton put the camera to more creative use. Chaplin, a product of British music halls, was the most human of all. He relied on his tremendous physical abilities and his sense of timing to get us in our guts with his brand of comedy and pathos. Keaton was raised in his family's Vaudeville act of physical extremism and took that to his career in film. When he got there he used the camera as an active part of the performance with greater success than
any of his peers. His best films have a sense of visual poetry that
reminds me of Murnau. Also, Keaton’s Midwestern sensibilities brought a
uniquely American flavor to his work. The opportunity to enjoy these wonderful films in the ambience of Seattle’s greatest silent movie palace with a spectacular live accompaniment is a treat for the eyes and ears. (Call for show times).
—David Jeffers