MILK

I don't want to be wrapped up in the sentimentality of it. I don't, but I am. This movie brought me to tears, probably especially because Prop 8 just passed in California, and I'm still smarting from what I personally, benevolently view as the unfortunate, misguided idiocy of the general public. So on the heels of that historic change enters this film by Gus Van Sant...of course I lost it! But I cried at TARZAN, so are you really surprised here? Show me a gay man weeping in the Castro and, yes, I too shall weep.

But really, in all fairness, I'd like to believe I also shed a salty tear because MILK, the biographical film detailing the rise of California's first (and only?) openly gay political official, Harvey Milk, is actually good. It is historically relevant, and it is masterfully told, with the best use of archive footage since, well, FORREST GUMP. And seeing as Tom Hanks played Forrest and that gay guy in PHILADELPHIA, I'm seeing a trend. It's a loose one, but I think we could play at least one round of "Six Degrees of Kevin Bacon" with it. Tom Hanks played Forrest Gump...which used great archival footage, like MILK...which tells the story of a gay man...like PHILADELPHIA, which stars Tom Hanks! Oops, we're back at square one.

At any rate, there's more to be discussed there. Tom Hanks won an Oscar for his AIDS play in PHILADELPHIA, but his character is now only remembered as "that gay guy from PHILADELPHIA." In MILK, Sean Penn was not "that gay gay." Sean Penn was Harvey Milk. Wait, wait: Sean Penn was Harvey Milk. He hit that nail on the head with precision and perfection. The poster ain't gonna fall from the wall. He was as spot on as Jamie Foxx in RAY as Ray Charles, as Brad Pitt in FIGHT CLUB as Tyler Durden. Van Sant couldn't have chosen a better actor. I want him to win the Oscar--and I'm certain like whoa that he should--but I'm nervous about the Academy's stigma. Do gays get praise in this town? The jury's still out.

Apart from Sean Penn's superb performance (he silently cries alone in the dark, people), the historical perfectionism, employed, I assume, by our prolific director, is pretty awesome. The casting matches to a T, as you will see at the end credits. Every actor looks so similar to the real person they're playing, it's almost hilarious. The only one that doesn't entirely match is James Franco. Mr. Franco, the might-be-gay and definitely hot actor who wowed us in PINEAPPLE EXPRESS, is a little underwhelming in his role as Milk's paramour. His face makes up for it, though, as does Diego Luna's over-acting. It's almost a nice balance. So clearly, Penn was the stand-out performance, and the other actor worth watching in this film is not Franco--it's Emile Hirsch. And should you be surprised? Another faulty round of "Kevin Bacon" is upon us: Penn directed Hirsch in INTO THE WILD; Hirsch stars alongside Penn in MILK...and...that is not how you play this game.

Last note: the tagline of this film is "His life changed history. His courage changed lives." Another one I saw read, "Never blend in." Well, I watched the film early thanks to a press screening, and while waiting in line, my friends and I dreamed up some new taglines:
1. MILK: Does a (political) body good.
2. MILK: Drink it up.
3. MILK: White and creamy.
4. MILK: Don't cry over it.
5. MILK: Got it?
Maybe I'll suggest them to Gus for the DVD.

plot: Gay man fights for equality.
thought: We should also be fighting.
in five: 4/5

drink milk: http://www.filminfocus.com/focusfeatures/film/milk/

AUSTRALIA

I was skeptical from day one. Baz had this whole...class on iTunes, whose title was basically, "How to Make a Movie Like Me." That somehow smacked of desperation. Look, Mr. Luhrmann. In case the multiple award noms didn't teach you, your movies are great, because no one can make them like you. If you're now making a movie that you can teach...you're making the wrong movie.

Welcome to AUSTRALIA. I'm not saying it's a bad place. I'm just saying that if, like me, you watched the previews, trailers and commercials, felt nothing special, and actually got a little grossed out by watching Hugh Jackman and Nicole Kidman make out...you wouldn't be wrong. Yes, it features People Magazine's Sexiest Man of the Year being so hunky it's unreal. Yes, it features letop5's Second Most Frigid Ice Queen (first is Tilda Swinton in THE LION, THE WITCH AND THE WARDROBE...and in real life) actually being less than arcticly arctic. And yes, it features cute children speaking bad English, which is adorable, if education isn't your thing. But sexy, warm and cute subjects do not necessarily add together to make the best cast or the best movie.

Coming in at about two hours too long, AUSTRALIA is an historic ode to the country of misfit ex-Brits circa World War II. Sexism, racial and class tension run rampant in the outback, and combating them all are Hugh and Nicole, droving 2000 heads of cattle, raising an aboriginal child and falling in love along the way. I appreciated the history, that I will say. But AUSTRALIA's story clumps along slowly as Baz tries to weave together three tales: that of Australia's aboriginal heritage, that of Australia's war-torn heritage and that of Baz Luhrmann's quest to make another movie with Nicole Kidman heritage. Every one of these stories might be worth telling but not in the same movie--and especially not in the iTunes-Hollywood bubble where Baz chose to build it. It made for a film heavy with sentimentality, predictability and bad dialogue (Nicole: "Let's go home." / Hugh: "There's no place like it."). And might I add, it made the film take far too long to end? This movie had more false endings than the third installment of LORD OF THE RINGS. Just leave Middle Earth, already! Ride to Faraway Downs before the Japanese or Gollum get here! Or at least before I fall asleep. Again.

plot: Australia's rebirth amidst social upheaval.
thought: Stay for Hugh. Only Hugh.
in five: 2.5/5

Australian epic: http://www.australiamovie.com/

ROCKNROLLA

I think things are looking up for Guy Ritchie, now that he's left Madonna. The evidence is in this film, the latest installment in his "the only good movies I can make must involve gangsters" oeuvre. And hey, I'm proud of him. Why wander around in creative darkness trying something new when you can just stick to what you know? Look at Danny Boyle: low-budget is his calling. And apparently anything involving the word "wanker," some guns, animals eating people and a male-centric cast bursting with homosexual undertones belongs to Guy.

Clearly, ROCKNROLLA is great. I'm a super-fan of Guy Ritchie--I admit I even saw SWEPT AWAY, ridiculous--so I know I'm biased, but I freakin loved this movie. It lacks the sharp, albeit slightly Hollywood, wit of SNATCH (which I actually preferred to LOCK, STOCK AND TWO SMOKING BARRELS), but it ain't half bad for a comeback, kid. And might I add: I'm so happy to finally be hitting a good movie streak (does two movies count as a streak?).

ROCKNROLLA centers around an "old school" gangster, Lenny Cole (played brilliantly by Tom Wilkinson), who tries to get rich off new school money--from a Russian, natch. Unfortunately, his estranged stepson, a fearless, coked-out rocknrolla--that is, rock musician of the Pete Doherty or Sid Vicious persuasion--gets in the way and makes business difficult. Star performances go to Gerard Butler, who may soon replace Clive Owen as my favorite beat-up British bad boy (if ol' Clive keeps doing flicks like THE INTERNATIONAL, that is); Tom Hardy, who plays Handsome Bob, the not so closet gay gangster (who might be Guy--I have my inklings); Karel Roden, who plays our cold-as-ice Russian, Uri; Thandie Newton, the lone lass in this heist; and Toby Kebbell, who lost a lick of weight to carry off the part of our nefarious rocknrolla, Johnny Quid. It's a great cast, a confusingly twisted but exciting ride, and--as he has proven he can--Guy carries it off admirably. I'm looking forward to the sequel. That's right, lords and ladies; it's in the works.

plot: Stolen painting creates thug trouble.
thought: Was that Jeremy Piven? And Ludacris?
in five: 3.5/5

rock out: http://rocknrolla.warnerbros.com/
see it in LA: click here

Zankou Chicken | dinner

I know! There's 'chicken' in the title, and I'm vegetarian. But just like the maker of a little booze monkey I know as Captain Pepper, a title doesn't always tell the whole story. There's more than "pepper" in that drink, and there's more than just chicken at Zankou Chicken.

Zankous is a chain of Armenian fast food joints in LA that feeds anyone looking for a taste of the motherland (i.e., the Mediterranean region). I'm usually hankering for something from the region. And really, any place that sells hot, fresh falafel for only sixty cents a ball gets my vote. I spent just over five dollars and still had enough mutabbal (that's eggplant hummous) to take home! But eating there, dwelling on the greatness of fresh pita bread and enjoying good conversation...that was good, too. It was quick and delicious. And that hummous? Mmm, Zankou. You have pleased me.

in five: 3/5 (docked 1/2 point due to ambiance?)

yummy in the tummy: http://www.zankouchicken.com/

slumdog millionaire

THIS is a GREAT film. Go see it. Go, go, go. It is beautiful and revolting and wonderfully fresh like your favorite flavor of saltwater taffy found in the pocket of an old but comfy jacket, halfway out of its wrapper about four weeks after you went to the state fair. Whoa. Disgusting. Gotta eat it. Delicious.

Despite what reports are saying, SLUMDOG is *not* a film about a young man from Mumbai who goes on the hit show "Who Wants to Be a Millionaire?" to impress his girlfriend. No. It's about a kid named Jamal who's been given shit to eat--at times literally--most of his life who goes on a game show to attempt to save the one girl he has ever loved. The part of his love interest, Latika, is clearly played by an Indian model (with some decent acting chops). Our main man has big ears and looks like a virgin. He definitely loves this girl.

SLUMDOG will pick you up, not right at the beginning, but about fifteen minutes in, when young Jamal jumps into the cesspool below a public potty hole (eww) as a sign of affection for his favorite celebrity. From there on, SLUMDOG is a ride you'll believe in. As one of the guards who questions Jamal later in the film intimates, this film makes it "bizarrely plausible" to believe love can conquer all. Oh, don't worry--I'm still a romantic cynic--but as far as cinematic cynicism is concerned, SLUMDOG has temporarily cured me of mine. FINALLY, a good movie. In an out. Not a hitch. Like my festy favorite, KISSES, it is artistically brilliant in its portrayal of "slum" life (or life in the "kiff" as the Irish kids would say), often relying on color to weave the tale on words' behalf. I loved it. And I'm officially expecting a Best Adapted Screenplay nomination for Simon Beaufoy (it's adapted from the Swarup novel "Q and A"), and perhaps a director nod for Danny Boyle, who has officially redeemed himself in my book after the likes of SUNSHINE. Egads.

plot: Anyone can win or lose.
thought: Who doesn't love the underdog?
in five: 4.5/5

for twenty million rupees: http://www.foxsearchlight.com/slumdogmillionaire/

AFI Wrap-Up

Despite my rabid posting, I saw a surprisingly small number of movies during AFI Fest 2008. That's right, I saw a total of...three. Blame Halloween, the elections, and everything else that happened the first week of this month. But here are the two that I liked most, and five facts about them.

UN CONTE DE NOEL (website)
1. translation: "A Christmas Tale"
2. director: Arnaud Desplechin
3. stars: Catherine Deneuve, Mathieu Almaric (also in 007), Emmanuelle Devos
4. premiered: Last May in France; this weekend in the US
5. awards to date: One nomination - Palme d'Or at Cannes 2008

KISSES (article)
1. filmed in: Ireland, Sweden
2. director: Lance Daly
3. why we liked it: Five reasons - 1)The two kids are cute; 2)The bad world in which they live begs our compassion; 3)The use of color or lack thereof to intensify the mood; 4)The unshakable sense of hope; 5)It's kind of funny
4. awards to date: Two - Won "Best Irish Feature" and "Best Irish Feature Film" (what's the difference, exactly?) at the 2008 Galway Film Fleadh
5. when you get to see it: Oh, if only I knew....

So there you have it; the AFI Film Festival. You're welcome. No, but seriously; next year I'll (try to) do better.

--letop5

oo7: QUANTUM OF SOLACE

I FELL ASLEEP IN THE MIDDLE. I'm ashamed, but it's the truth. It was a very long day for me, and I really had no business sitting in a dark room in a comfy chair with room to put my feet up. Really no business there at all. But how could I say no to this man? His name is Bond. James Bond. And he is supafly.

I know exactly what made me space, though, and it wasn't Daniel Craig driving an Aston Martin while rocking a custom-fit Tom Ford suit (that, my friends, brought me back). It was the lack of dialogue. Now, Q OF SOLACE, despite the huh?-able title, is actually an easy to understand flick, at the core: Good fights Evil; Good wins. But in watching this film, I found I almost--just a bit--got bored during the fighting. I almost found myself longing for the gotta-keep-up-with-the-jokes Pierce Brosnan days, invisible car and all. Where Craig is brooding, Brosnan was charming. Where Craig raises his eyebrows, Brosnan pursed his lips, raised his eyebrows and cracked a joke. Brosnan had a certain, gentlemanly sexual je-ne-sais-quoi that forgave him his lack of fighting skills. And though Craig has je-ne-sais-do-me in spades, it's the rugged side of him that gets him in the door, not the talking. And to be honest, I miss the talking. Call me a romantic.

But I guess, in casting Craig, the Bond demographic has changed a bit. We obviously want men who watch video games to like this movie most. Dialogue kills the "This Could Be Me" fantasy, so perhaps that's the reason for the silence. But silence aside, Bond and his leading lady, the mysterious Olga Kurylenko, do have some chemistry. Sometimes, between her Russian-cum-Latin accent, I had trouble understanding her, but it was all in the eyes anyway. Interestingly, though the entire audience definitely was waiting for Olga and Bond to hook it up, je-ne-sais-do-me style, the double-oh-sexy romp never happened. You'd think the video gamers would at least want that. Guess they'll have to wait for the sequel.

plot: 007 gets his sweet revenge
thought: letop5 gets a little sleepy
in five: 3.5/5

he's gone rogue: http://www.007.com/
and there's already a video game: http://007thevideogame.com/

CHANGELING

I guess it's time to realise that Oscar Season, like Santa Ana season, is upon us. Once you get a woman screaming and crying and Clint Eastwood directing, you know what's up. And we haven't seen Angelina Jolie screaming and crying since...last year's A MIGHTY HEART, and she didn't take the (best) statue home for that, so obviously, she felt the need to squeeze out a few more tears.

Congratulations, Angelina. You can cry on cue. Now, you will lose every fight you have with Brad ("Oh for Pete's sake, turn off the Changeling tears, Ange!"), but you might just get one of the greatest honors to ever be bestowed on an actress in Hollywood: an Oscar...nomination. That's what they say right? "It's an honor to just be nominated?" Start practicing the phrase. Because unless Meryl Streep is awful in DOUBT, Cate Blanchett sucks in THE CURIOUS CASE OF BENJAMIN BUTTON, and Kate Winslet disappoints us twice in REVOLUTIONARY ROAD and THE READER (not freakin likely), a nomination is probably all you're bound to get. But it IS an honor.

In CHANGELING, Clint Eastwood takes us through the familiar trajectory of, "you think THIS is bad? Just you wait!" that we've come to hate/love from his more recent films (see MYSTIC RIVER or MILLION DOLLAR BABY). He slowly introduces us to the true story of a woman whose kidnapped son gets mistakenly returned to her as--get this--another boy. It's an awkward, scary mistake that shouldn't ever happen, and it's completely appalling that it did. That's what draws you in first, the frustration of seeing Angelina's character, Christine Collins, helplessly try to fight against the LAPD. You don't win when you fight the po-po--you lose. But thanks to a Reverend Gustav Briegleb, played by John Malkovich (in a role that has allowed me to forget/forgive his persona in BURN AFTER READING), Christine Collins has a chance. The film is pure Eastwood: raw and emotional and going just a little too far into sadness to make you ever want to see it again.

And despite the jokes, Angelina does put in a solid performance--sure, a bit one-sided with the crying and touching-of-the-lips and the furrowed brow and bouts of screaming and yelling, but she's doing much more, for me as a viewer, in this role than she did in THE GOOD SHEPHERD. In general, it's always a bit hard to get past The Angelina Jolie, the persona, the tattoos, the "I was sexy before I adopted a country of children" part of her, but luckily in this film, Angelina as Serious Actress is starting to emerge. Now if we could just tone down that red lipstick...and/or her lips. There's still work to do.

plot: Give her her son back!
thought: Give me my happiness back!
in five: 3.5/5

Oscar Contender: http://www.changelingmovie.net/