The boneheaded Live Free or Die Hard (2007) glorifies the slacker computer geek, believes technological wizardry to be all-powerful, and proffers an indestructible bore of a hero who’s overprotective of his teenaged (?) daughter. There’s domestic terrorism too. Ho hum. . . It’s well-directed by Len Wiseman except for his allowing Kevin Smith to overact, but . . . ugh!
Cover of Live Free or Die Hard (Unrated Edition)
Cloudy With a Chance of Meatballs 2 (2013) is simply a sequel looking for a reason to exist besides making money and not finding it. Along with having a no-account plot, this animated flick is so kooky and nonsensical it’s dumb.
Yes, the animation is splendid, but why do these movies always have to contain scatological humor? (Wedgie-proof underwear?) But that’s what kids like, the studios would say. True, but trendiness is trendiness.
Cloudy With A Chance Of Meatballs 2 (Photo credit: christianz1969)
On Flags Of Our Fathers (2006):
War and deception don’t go together. I mean, war is horrifying enough without deception coming to pass. Why, it’s so horrifying that your heroism nearly counts for nothing.
Here we have what Clint Eastwood’s movie about Americans at Iwo Jima is telling us, and the unsophisticated (though Republican) creator of 2004’s Million Dollar Baby again thinks he has made an important film. In fact it’s worthless. It’s tedious, often weakly acted, and its semi-pacifism over WWII is stupid. Besides that, it gives way to the usual phony sensitivity, complete with guitar chords, of Eastwood’s oeuvre.
Cover via Amazon
It’s an expensive 2013 production, so naturally it’s the best-looking space movie I’ve seen.
The zero-gravity condition in various spacecraft spots in 2001: A Space Odyssey becomes dizzying zero-gravity spinning and ceaseless floating in Alfonso Cuaron’s Gravity. The striking outer hardware of spaceships in 2001 becomes an ugly jumble of fascinating hardware, lengthy cables and all, in Gravity. It’s certainly a technical improvement on Stanley Kubrick’s 1968 film. There is also a bit of Alien-style violence (a dead astronaut with a big hole in his face) and a shot of a space technician played by Sandra Bullock shedding her astro-suit a la Jane Fonda’s Barbarella (ugh), revealing a pair of shorts but without getting topless. Thus Cuaron was influenced by several other sci-fi pics, yet Gravity is indeed its own movie, a singular achievement.
I don’t know why so much goes wrong for Sandra as she struggles in the heavens, but it’s quite a spectacle when it does. And I saw the film in 2D, not 3D—surely even more enthralling. There are terrifically vivid closeups of Bullock, and blunt, beguiling cinematography by Emmanuel Lubezki. Enjoy.
Weightlessness Tests (Photo credit: San Diego Air & Space Museum Archives)
Fay Grim (2008), by Hal Hartley, is superficial and ridiculous.
A sequel to Hartley’s odious Henry Fool, it stars the gifted Parker Posey as a bemused woman, Fay Grim, who is patently not much of a character but must endure intelligence officials and locate her missing husband, Henry Fool, at the same time. Semi-political comedy not at all funny, it tells of the CIA’s fervent interest in the possibility that Henry has written a code which, as J. Hoberman puts it, “amounts to a secret, highly damning history of the Reagan Era.” Close to every artistic choice Hartley has made in FG is highly damning to his film. Again, it’s superficial, but also the tone falls apart, the camera is always tilted, the story is monstrously intricate, the whole blasted movie is foolishly offputting. A Grim situation.
Fay Grim (Photo credit: Wikipedia)
