Posts Tagged ‘dog’

Wendy and Lucy

Wendy and Lucy

Wednesday, January 21st, 2009

It’s that old story … girl loses dog …

… and that’s it.

Y’know, to me this is like the Marx brothers thing. I can understand a person getting a little more out of it maybe than I did – situation, place and time all contribute and chances are even I might see it differently one day … but, like, to rank it up with the greats the way some people do – even, in this movie’s case, of the past year – that’s where I call, “huh?” This movie is literally 80 minutes of a girl (played by Michelle Williams on perfectly naturalistic form, but nothing on her work in Brokeback Mountain and never anything more than vaguely impressive) walking around a small town first looking for her dog which disappears after she’s arrested for shoplifting, and then just plain trying to leave. It’s like the Oliver Stone / Sean Penn movie U-Turn with all the fun sucked out.

Apparently it’s because it has something to say about people living on the edge in this screwed up economy etc. This puts me in mind of what I wrote about Milk. I just get the sickening suspicion that there are some people who watch these movies and sleep sound thinking they’ve somehow made a difference and done their part by merely empathising. Maybe this isn’t the movie’s fault … but it doesn’t make it any better, that’s for sure.

Again, like the Marx brothers stuff, it’s not like I’m predisposed to be averse to this stuff either. I’ve got movies like Buffalo ’66, Pieces of April, Palindromes and Felicia’s Journey up on my tops list. This one just to me resembled so many of that first big wave of “Indie” movies that managed to reach the mainstream in the 90s I found it almost laughable at times. The only thing that kept me hoping it might turn around and give me something good was Michelle Williams’ performance – but like I said, calling her performance one of the absolute best the movies can provide right now is to me like saying Heath Ledger’s Joker was a worthy swan-song to go out on, it’s like some kind of moviegoer’s remorse bordering on plain mental illness. I know ticket prices are getting higher, but the number of so-called “great” movies released in the past year is just silly and getting sillier every year. People just can’t wait to write meaningless drivel like, “at last the great movie for our time,” “a fantastic new voice in American Cinema,” (why is it some people think putting “American” before a word makes it more significant?) Get a clue – if you’re singling out movies like this as masterpieces just because they’re not full of explosions, sex and CGI, then you’re watching too many movies full of explosions, sex and CGI. This thing is absolutely average at best.



Bolt

Bolt

Saturday, January 10th, 2009

If I called Igor on being too like a whole raft of other things, then I’ve gotta be fair and point out from the start that Bolt is really just Toy Story in new clothes. Replace Buzz Lightyear – a toy spaceman confronted with the plastic hard fact of his fiction – with a little girl’s pup who believes he is the superdog he plays in a top TV show, and you pretty much have Bolt. The difference between this movie’s familiarity and Igor’s with its multiple sources? What can I say except this is just plain better.

The movie opens with one of the best action sequences I have seen since the first Matrix sequel – John Powell’s score is fantastic and on top of the thrills there are laugh-out-loud visual gags. Where a movie like Igor has me glad to find other things to do, this one makes me put things down as I find myself more and more incapable of removing my eyes from the screen. This, and considering how fully adorable I found first the younger Penny then of course Miley Penny, the best news here is how the movie kept me happy even in its middle section without her. In Mittens we have a kind of substitute for Jessie of the Toy Story sequel (which arguably told the same story, too) – her monologue that begins with her making an argument for Bolt not returning to Penny but ends with her finally revealing some of her backstory is just one of many moments that reminded me of the gutwrenching “When She Loved Me” scene in Toy Story 2.

Basically, it has all the substance these movies require on top of the great animation (which, incidentally, even that is better than Igor and the like – take the characters out of some scenes and you’d think you were looking at a photograph … heck, even some of the character stuff left this impression on me) that Igor sorely lacked. I kinda knew it from the moment at the start with the toy carrot. I just knew as soon as I saw the look between Bolt and Penny, “if it comes back to that carrot at the end, I’m gonna be in tears,” … you guess whether I needed tissues or not :) Needless to say, Disney, thank you, this makes up for Tinker Bell almost like Meet the Robinsons did for The Wild.



Straightheads

Straightheads

Sunday, December 30th, 2007

As this got underway, I found myself of course wondering if I hadn’t already seen it earlier in the day in the form of Outlaw. The set-up is similar, and of course, there’s Danny Dyer.

Actually, I ultimately found it quite a neat blending of something like Outlaw and, with the presence of Gillian Anderson, what I missed in Outlaw that The Brave One had to offer. I was surprised to find I liked Danny Dyer in Outlaw, and the same was true here; I love Gillian Anderson, of course; and despite the very clearcut masculine-feminine thing here (the women quite literally leave the movie for “somewhere safe” before horrible manly things happen), I found it much better than the reviews I’ve read. Clocking in at little over 70 minutes, it’s easily worth that just for Anderson’s performance, but there’s plenty more to get into too.



I Am Legend

I Am Legend

Thursday, December 27th, 2007

I can only apologise, but again I have to say Kermode pretty much nailed this one in his review. I really didn’t expect this, from what I’d seen and heard, to be a monster movie – the moment he mentioned this aspect of the movie in his review, my interest in the whole thing all but disappeared. It seems so entirely pointless, not only following the obvious 28 Days Later … that he mentioned, but also following unrelated projects like Vanilla Sky and Devil’s Advocate which gave us those frightening vistas of a deserted American city; slightly more related flicks like the recent 30 Days of Night (incidentally, one thing I’d say Kermode and others have got wrong is that if you’re gonna say ‘it’s pretty much a zombie movie even though they’re not zombies’ a la 28 days later … then you may as well count in their aversion to sunlight and fangs too and say it’s actually more like a vampire movie, hence my 30 Days comparison); and End of Days, which at the time of its release seemed to be some kind of consolation for how badly this very project (which was once to be directed by Ridley Scott – why did you do American Gangster instead of this Ridley?!? – and starring, ahem, Arnold Schwartzenegger … no comment …) was going.

For what it is, I can’t deny it has its moments and Will Smith is at his very best, being as he is the only person onscreen for much of the movie. But this is one case where the 90 minute blessing does not apply in the slightest. This movie needed to be longer, it needed to go further. Yet at the same time, I can’t help but remember the long stretches of Smith just wandering around shouting “Anna!” and just how many times did he have to tell her “everyone … is … dead!”? Enough for his voice to metamorphose into Norman Lovett’s in my head, that’s for sure. Even the visual effects – on the creatures side of things, at least – are a disappointment here. Double bill 28 Days Later and iRobot and read the book if you must instead.



Because of Winn-Dixie

Because of Winn-Dixie

Tuesday, October 4th, 2005

“The world has changed – people … used to know each other’s sadness.”

Ah, the important second viewing. I didn’t know how I’d feel about this movie watching it again. I really love the book – it’d be among the first I’d recommend reading to any child – but I probably wouldn’t have even read the book if it hadn’t been made into a movie starring Courtney Jines (maybe I would have – since I’d have watched the movie, having watched Charlie and the Chocolate Factory, for AnnaSophia Robb, I guess). So I guess I was trying to watch it this time and view it as any other movie – book, Courtney, AnnaSophia aside, lol – and I was surprised to find everything even better than I remembered.

“What kinda tree is this?”
“It’s a wait and see tree – you gotta wait till it’s grown up till you can see what it is.”

The movie, like the book, has a lot of important ideas and lessons, not only for kids but most adults too – the importance of telling stories, moving on, letting go, making friends out of strangers, remembering but not getting lost in memory, finding one’s place – some of it’s a little corny, but some of it is also surprisingly honest, even a little controversial considering this thing comes packaged as a family movie: the pet store owner / transient ex-con Otis, for example, of whom Gloria Dump tells Opal,

“We should judge Otis on the pretty music that he makes – and how kind he is to those animals – ‘cos that’s all we know about him right now, ain’t it?”

(Incidentally, I love the scene between Otis – played by Dave Matthews, yes, that Dave Matthews and he does sing in the movie – and Opal, in which he calls her a butterfly.)

“You cannot hold onto anything that wants to go. You just gotta love it while you got it.”

I think what is so surprising about this movie is how honest it is, how honest the adult characters in it – especially Gloria Dump (Cicely Tyson, seriously deserving an Oscar nomination in my opinion) and Miss Franny (Eva Marie-Saint) – are to the child characters, and that it makes no exceptions with its “love everyone” message. It starts with a dirty stray dog, extends to the “witch out in the woods,” (very like Lori MacGregor in the similar old Disney movie The Three Lives of Thomasina, simply a recluse whose existence is misunderstood by children) to the lonely librarian, to this ex-con who we never learn the truth about, the ultimate message I guess being, “We need to talk.” Then there’s the Litmus Lozenges, an almost Roald Dahl like device, a candy that unleashes the repressed sorrow of anyone who tastes it.

I wrote in the first review about the cast being absolutely perfect, bringing the book to life on the screen. The one part I’d say could’ve been better cast is Jeff Daniels. He turns in a really moving performance but I always imagined the Preacher to be a little older, a little wiser, a little scarier to a 10-year-old girl. He is a really nice guy and that’s how Daniels plays it, but there’s a stronger sense in the book of how Opal perhaps thinks he’s a big meanie. There again, I’m reminded of how I first described the book to someone who hadn’t read it, just after I’d finished it – it’s simply a story about people being nice for once.

Very cool soundtrack, too.


2nd March 2005:

This movie won’t be winning any Oscars next year (though I’ll keep it in my personal “predictions” till I see some more movies :-P ), not even for Adapted Screenplay, because there’s hardly anything creative about the translation of Kate DiCamillo’s book to this screen incarnation. That sounds like a criticism, but in the case of “Because of Winn-Dixie,” I’m sure anyone who’s read the book wouldn’t want it any other way. Aside from a few needless, miniscule changes (in fact, the only thing I can think of right now is a line mentioning eBay, but I think there are others), this is the cutest book I’ve ever read perfectly captured in film form.

Watching it reminded me of how I felt when I saw the first Harry Potter movie, seeing how perfectly cast all the characters were, how Hogwarts “looked like” Hogwarts, etc. Wayne Wang’s movie of “Because of Winn-Dixie” is exactly how I imagined it in my head, down to the tiniest detail.

The acting’s a tad hokey in places – AnnaSophia Robb is no Dakota Fanning (but hey, who is?), and I’m intrigued as to how she’ll do in Charlie And The Chocolate Factory later in the year (then, nobody could ever replace Denise Nickerson as Violet Beauregarde for me) – but everybody just looks so damn right that it hardly ever matters. Elle Fanning is the perfect Sweety Pie; Eva Marie Saint the perfect Miss Franny; Cicely Tyson, Gloria Dump; and so on and so on.

The reason I first got interested in the book and then this movie, Courtney Jines, is my one disappointment from the movie. She posted recently to her message board that a bunch of her scenes had been cut from the movie, and really she’s barely onscreen. Like everyone else though, she truly looks the part as Amanda Wilkinson, and I guess all I can do is hope for a nice DVD with the cut scenes hidden away somewhere :-P

And I don’t understand peoples’ objections to the CG enhancements. They only served to make a cute story even cuter. If anything, I disliked the far-too-slapstick style of the comedy. I can imagine kids’ll get a kick out of all the pratfalls etc, but sometimes it’s just too forced.

I loved the Lawn Dogs–style visual effects illustrating wacky stuff like, say, Opal’s mom planting a tyre and growing a car etc. Totally unnecessary but an absolutely perfect idea.

It really couldn’t have been better.



Greyfriars Bobby: The True Story of a Dog

Greyfriars Bobby: The True Story of a Dog

Sunday, September 11th, 2005

Simple, but sweet, cute wittle doggie movie. I’d rather watch The Three Lives of Thomasina (yeh I know that’s about a cat, but same thing :-p) or Because of Winn-Dixie, really. I see they’re remaking, I have no idea why, since it’s really not much of a story (dog’s master dies, dog sleeps on the master’s grave for 14 years).