I knew I wasn't the only one who loved the first Harold and Kumar! But this one, which in one weekend already has grossed more than the first film made during its entire theatrical run, runs a bit of a different route from the first. For starters, there were less hamburgers and more weed. And more (insert: cringe) bottomless parties (as opposed to "topless," which the French love).
GUANTANAMO starts off nastier than its predecessor, with opening shots devoted to toilet time and penis play (like the anal alliteration?) that appropriately set the tone for this raunchy sequel. To be frank, I wasn't prepared. But I tried to jump on board their liberal, mother ship of irreverence, and since the finger-pointing nets they cast tended to scoop up all parties--from yonky Southerners to uppity government officials (see "yonky Southerners") to racist clans (again, see "yonky Southerners")--I more or less enjoyed the ride. I did have to cover my eyes from time to time--and a shocker mid-film involving Neal Patrick Harris that I won't give away almost left me too sad to finish the flick--but in general, the ride, though bumpy, wild and at times plain gross, was fun.
plot: Like Michael Moore...on weed.
thought: See before Dubya bans it.
in five: 3/5
the film: http://www.haroldandkumar.com/
lundi 28 avril 2008
FORGETTING SARAH MARSHALL
Ahhhh, Judd Apatow. You slay me.
I'll say it: I rate KNOCKED UP higher. But officially sliding into third of the Apatow-helmers is the comedy Jason Segel penned and starred in.* (And to keep score, the breakdown is this: (1)Anchorman, which Judd Apatow produced; (2)Knocked Up, (3)FSM, (4)40 Year Old Virgin, (5)Super Bad...though I have yet to see Talladega Nights, Walk Hard or Drillbit Taylor (may never).)
FORGETTING SARAH MARSHALL has the seriousness of a true break-up, much like 2006's THE BREAK-UP starring Vince Vaughn and Jennifer Aniston, mixed with the comedy of a sensitive man trying to deal. Sure, Jason Segel's character PETER is, at times, far too sensitive to be taken seriously, but he's balanced quite well by Russell Brand (whence came THIS wonderful man?) who plays the over-sexualised ALDOUS SNOW, the British rocker who steals Peter's girlfriend's heart. This film balances between admonishing and praising these two extremes of manhood and waters down the social critique with just the right amount of laughter so that we barely notice how honest the film's subject matter really is: a woman dating a depressed musician tries to save her relationship, fails, cheats, confesses and then regrets her decision when she finally fully observes the sub-par options of other men in the room. This is romantic life, and Jason Segel's writing captures it well. Special kudos to Paul Rudd, playing the "If this were an Adam Sandler movie, there'd be a Rob Schneider buddy role" buddy role, here as a loveable pot-smoking surf instructor.
plot: Vacationing with the ex-The One.
thought: PINEAPPLE EXPRESS is gonna ROCK!
in five: 4/5
the film: http://www.forgettingsarahmarshall.com/
*ack, a hanging preposition!
I'll say it: I rate KNOCKED UP higher. But officially sliding into third of the Apatow-helmers is the comedy Jason Segel penned and starred in.* (And to keep score, the breakdown is this: (1)Anchorman, which Judd Apatow produced; (2)Knocked Up, (3)FSM, (4)40 Year Old Virgin, (5)Super Bad...though I have yet to see Talladega Nights, Walk Hard or Drillbit Taylor (may never).)
FORGETTING SARAH MARSHALL has the seriousness of a true break-up, much like 2006's THE BREAK-UP starring Vince Vaughn and Jennifer Aniston, mixed with the comedy of a sensitive man trying to deal. Sure, Jason Segel's character PETER is, at times, far too sensitive to be taken seriously, but he's balanced quite well by Russell Brand (whence came THIS wonderful man?) who plays the over-sexualised ALDOUS SNOW, the British rocker who steals Peter's girlfriend's heart. This film balances between admonishing and praising these two extremes of manhood and waters down the social critique with just the right amount of laughter so that we barely notice how honest the film's subject matter really is: a woman dating a depressed musician tries to save her relationship, fails, cheats, confesses and then regrets her decision when she finally fully observes the sub-par options of other men in the room. This is romantic life, and Jason Segel's writing captures it well. Special kudos to Paul Rudd, playing the "If this were an Adam Sandler movie, there'd be a Rob Schneider buddy role" buddy role, here as a loveable pot-smoking surf instructor.
plot: Vacationing with the ex-The One.
thought: PINEAPPLE EXPRESS is gonna ROCK!
in five: 4/5
the film: http://www.forgettingsarahmarshall.com/
*ack, a hanging preposition!
dimanche 27 avril 2008
look at me, i discovered the hyperlink: the week in words
Hyperlink.
That's hot.
Sunday, I was at Disney's California Adventure theme park. Rode the best roller coaster (he's cute, no?), ate the best churro.
Monday, I was at the movies.
Tuesday the 20th was Earth Day. There was no traffic driving to work in the morning! Who knew this city cared?
Tuesday night went to Sky Bar at the Mondrian (off Sunset) for an overrated "networking" (read: singles) mixer. I loved the venue, though. But be prepared: hotel valet was $15--but there's a spot around the corner that only charges ten! Alas, we didn't realise until it was too late.
Thursday announced the return of Grey's Anatomy (and Ugly Betty). I'd been nervous that I wouldn't like Grey's anymore since it had been so long, but hark! The episode did not disappoint. I don't watch "Betty," but next week, defs gonna, because Christian Siriano (the winner from the most recent season of "Project Runway") is due to geust star. FIERCE.
Friday, had dinner at an old favorite: Crazyfish Sushi at Olympic and Doheny. And I tell you: go there, ask for the waiter named Edgar and order the $25 Olympic Roll. Otherwise known as the Ridiculous Roll, 'cause man that isht is bananas.
Friday night celebrated two friends' birthdays at The Arsenal off West Pico (past the Trader Joe's). Pretty good DJ, cheap drinks and the eats looked good, but I'd had my fill from sushi, so I didn't partake.
So go out. Be merry. And I'll update this blog concerning my thoughts on FORGETTING SARAH MARSHALL and HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY some other time. Short bites: both worth biting.
Wow, hyperlinks are so exhausting. We'll see if I ever do that again.
That's hot.
Sunday, I was at Disney's California Adventure theme park. Rode the best roller coaster (he's cute, no?), ate the best churro.
Monday, I was at the movies.
Tuesday the 20th was Earth Day. There was no traffic driving to work in the morning! Who knew this city cared?
Tuesday night went to Sky Bar at the Mondrian (off Sunset) for an overrated "networking" (read: singles) mixer. I loved the venue, though. But be prepared: hotel valet was $15--but there's a spot around the corner that only charges ten! Alas, we didn't realise until it was too late.
Thursday announced the return of Grey's Anatomy (and Ugly Betty). I'd been nervous that I wouldn't like Grey's anymore since it had been so long, but hark! The episode did not disappoint. I don't watch "Betty," but next week, defs gonna, because Christian Siriano (the winner from the most recent season of "Project Runway") is due to geust star. FIERCE.
Friday, had dinner at an old favorite: Crazyfish Sushi at Olympic and Doheny. And I tell you: go there, ask for the waiter named Edgar and order the $25 Olympic Roll. Otherwise known as the Ridiculous Roll, 'cause man that isht is bananas.
Friday night celebrated two friends' birthdays at The Arsenal off West Pico (past the Trader Joe's). Pretty good DJ, cheap drinks and the eats looked good, but I'd had my fill from sushi, so I didn't partake.
So go out. Be merry. And I'll update this blog concerning my thoughts on FORGETTING SARAH MARSHALL and HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY some other time. Short bites: both worth biting.
Wow, hyperlinks are so exhausting. We'll see if I ever do that again.
THE VISITOR
I'll be honest. Haaz Sleiman kinda turns me on. You may have seen him in one episode of "Veronica Mars." Or in a handful from Jack Bauer-dominated "24." He's got an infectious smile, and when I watched him playing the drums during the Thomas McCarthy-directed indy feature THE VISITOR, I liked pretending he was smiling right at me, perhaps even propositioning me for a pants-free music lesson. But not even his rhythmic prowess was enough to make me weep for his plight in this movie.
I saw it last Monday at the westside Landmark, who unfortunately has chosen to raise its fee for the chance to sit in its obviously luxury car-inspired leather seats. So perhaps I went into the picture a mite surly at having parted with twelve bucks when I was expecting to drop ten. But everyone else in my group got over this slight annoyance and was sobbing into Kleenex (my, they came prepared) about halfway into the film. Me: dry-eyed. Me: not feeling it. Me: soulless bitch? Not usually.
See, the story in short is this: illegal drum-playing immigrant who is otherwise harmless is interned and threatened with deportation. Girlfriend can't save him, as she is also illegal. So old professor man tries to save him. Mother tries to save him. Much drum-playing ensues. Without trying to spoil the film for you if you haven't and want to see it, I must say that (SPOILER ALERT!) Sleiman's character Tarek, and even his mother and girlfriend, make this big hoopla about how he's done "nothing wrong," about how he's an innocent cog of the system that definitely shouldn't be deported, because he's not a criminal. And in general, I agree, but...not really. You see, the trouble with the government is that if they say, tomorrow, that wearing white before Labor Day is not only in bad taste but also illegal, but you decide to don the blanche, and they arrest you...who's wrong? You've officially broken the law. And I don't want to dwell much on my opinions about immigration laws, but (SPOILER ALERT!) I think there's more than the US government to blame.
This movie pitted Bad-Guy Government against Good-Guy Immigrant without making a case beyond Tarek's good drum-playing to convince us (or me, rather) that he was a "good guy." He was a struggling musician. He wasn't supporting anyone's life but his own. He forgot to help his girlfriend with her work. In short, he wasn't a hero. Give me a hero, and I'll cry. I promise. I cried during TARZAN.
plot: An immigrant deserves rights, too!
thought: Too righteous to be appreciated.
in five: 2/5
saving grace: The last shot in the entire film is a beautiful ender. You'll have to sit through almost two hours to get to it though!
the film: http://www.thevisitorfilm.com/
I saw it last Monday at the westside Landmark, who unfortunately has chosen to raise its fee for the chance to sit in its obviously luxury car-inspired leather seats. So perhaps I went into the picture a mite surly at having parted with twelve bucks when I was expecting to drop ten. But everyone else in my group got over this slight annoyance and was sobbing into Kleenex (my, they came prepared) about halfway into the film. Me: dry-eyed. Me: not feeling it. Me: soulless bitch? Not usually.
See, the story in short is this: illegal drum-playing immigrant who is otherwise harmless is interned and threatened with deportation. Girlfriend can't save him, as she is also illegal. So old professor man tries to save him. Mother tries to save him. Much drum-playing ensues. Without trying to spoil the film for you if you haven't and want to see it, I must say that (SPOILER ALERT!) Sleiman's character Tarek, and even his mother and girlfriend, make this big hoopla about how he's done "nothing wrong," about how he's an innocent cog of the system that definitely shouldn't be deported, because he's not a criminal. And in general, I agree, but...not really. You see, the trouble with the government is that if they say, tomorrow, that wearing white before Labor Day is not only in bad taste but also illegal, but you decide to don the blanche, and they arrest you...who's wrong? You've officially broken the law. And I don't want to dwell much on my opinions about immigration laws, but (SPOILER ALERT!) I think there's more than the US government to blame.
This movie pitted Bad-Guy Government against Good-Guy Immigrant without making a case beyond Tarek's good drum-playing to convince us (or me, rather) that he was a "good guy." He was a struggling musician. He wasn't supporting anyone's life but his own. He forgot to help his girlfriend with her work. In short, he wasn't a hero. Give me a hero, and I'll cry. I promise. I cried during TARZAN.
plot: An immigrant deserves rights, too!
thought: Too righteous to be appreciated.
in five: 2/5
saving grace: The last shot in the entire film is a beautiful ender. You'll have to sit through almost two hours to get to it though!
the film: http://www.thevisitorfilm.com/
samedi 19 avril 2008
COLCOA Film Festival
COLCOA stands for "City of Lights, City of Angels," and it's my favorite film festival of the year in Fire City--officially, I just decided--because it's the French Film Festival. Offering a fanfare of world, US, California and Los Angeles premieres, COLCOA graced me this year with two films "tres attendus" (that means "very awaited"): Cedric Klapisch's PARIS and Claude Lelouch's ROMAN DE GARE, the latter of which I'd missed seeing while living in Paris. I also caught Jan Kounen's latest mean feature, 99 FRANCS, and saw the slightly bland but harmless comedy, LA VIE D'ARTISTE. In order, from love to "bof" (that means "whatever"), I rate them....
1. J'adore ROMAN DE GARE. It's the film that introduced me to the genius of Claude Lelouch, the French director who has been making films for 50 years--who has made 41 films to date--and sadly whose films, for some reason, I hadn't previously seen. It beautifully combines four major film genres (psychological thriller, romantic comedy, drama and mystery...and AWESOME!) and keeps you guessing right up to it's suddenly cliche but somehow still delightful conclusion.
PLOT: Nothing is what you expect. (Vague, but that's the plot.)
THOUGHT: Start thinking and enjoy it.
IN FIVE: 4.5/5
2. Je veux achete 99 FRANCS. This film is dark, twisty and wonderful, right from its greasy opening shots: move from fabulous overblown street advert, to man attempting suicide (and succeeding), to washed up ad exec recovering from a bad drug trip--and the journey has just begun. It hates the ad industry it extols from start to finish, and it isn't scared to stab itself in the eye. And I don't even know what that means, but that's the truth. Oh, and the soundtrack was off the hook.
PLOT: Everything is definitely for sale.
THOUGHT: Might as well buy it.
IN FIVE: 4.5/5
3. Comme la ville soi-meme, PARIS m'a vraiment boulverse. Maybe that's because I'd wanted to see it for so long. I first caught the trailer from the L'AUBERGE ESPAGNOLE director about two months ago online, and I'll admit, it made me cry. I longed to go back to that city the minute she appeared on scene. And naturally, the film lived up to the fantasm (is that a word?) of images I'd conjured in my head based on the romantic trailer alone. Like a bittersweetly un-violent version of CRASH, Oscar winner of '06, PARIS pans a city and its regulars with an unflinching eye, catching them at their best, their worst, their most alive. And yes, it made me cry. Again, great music.
PLOT: There is nowhere like here.
THOUGHT: So can I get there?
IN FIVE: 4.5/5 (notice a trend? perfection is hard to attain)
4. Je ne veux pas etre coincee dans LA VIE D'ARTISTE. No thank you. The one "bof" of the weekend, the Fitoussi film chronicled the sadly depressing lives of a number of struggling artists fumbling towards failed ecstasy in the City of Lights. That's not why I wasn't that intrigued--I can deal with a depressing movie, don't worry--it's simply this film...had no salt, no spark. It was a little typical, a little too French. It was a cornucopia with no fruit. And again, I don't know exactly what that means, but it's the truth.
PLOT: Being famous is mostly luck.
THOUGHT: The rest is probably fruit.
IN FIVE: 2.5/5
THE FESTIVAL: http://www.colcoa.org/2008/home/index.asp
THE FILMS (in the order i saw them):
99 francs - http://www.99francs-lefilm.com/
roman de gare - http://www.lesfilms13.com/romandegare/
paris - http://www.lefilm-paris.com/
la vie d'artiste - http://www.hautetcourt.com/fiche.php?pkfilms=129
1. J'adore ROMAN DE GARE. It's the film that introduced me to the genius of Claude Lelouch, the French director who has been making films for 50 years--who has made 41 films to date--and sadly whose films, for some reason, I hadn't previously seen. It beautifully combines four major film genres (psychological thriller, romantic comedy, drama and mystery...and AWESOME!) and keeps you guessing right up to it's suddenly cliche but somehow still delightful conclusion.
PLOT: Nothing is what you expect. (Vague, but that's the plot.)
THOUGHT: Start thinking and enjoy it.
IN FIVE: 4.5/5
2. Je veux achete 99 FRANCS. This film is dark, twisty and wonderful, right from its greasy opening shots: move from fabulous overblown street advert, to man attempting suicide (and succeeding), to washed up ad exec recovering from a bad drug trip--and the journey has just begun. It hates the ad industry it extols from start to finish, and it isn't scared to stab itself in the eye. And I don't even know what that means, but that's the truth. Oh, and the soundtrack was off the hook.
PLOT: Everything is definitely for sale.
THOUGHT: Might as well buy it.
IN FIVE: 4.5/5
3. Comme la ville soi-meme, PARIS m'a vraiment boulverse. Maybe that's because I'd wanted to see it for so long. I first caught the trailer from the L'AUBERGE ESPAGNOLE director about two months ago online, and I'll admit, it made me cry. I longed to go back to that city the minute she appeared on scene. And naturally, the film lived up to the fantasm (is that a word?) of images I'd conjured in my head based on the romantic trailer alone. Like a bittersweetly un-violent version of CRASH, Oscar winner of '06, PARIS pans a city and its regulars with an unflinching eye, catching them at their best, their worst, their most alive. And yes, it made me cry. Again, great music.
PLOT: There is nowhere like here.
THOUGHT: So can I get there?
IN FIVE: 4.5/5 (notice a trend? perfection is hard to attain)
4. Je ne veux pas etre coincee dans LA VIE D'ARTISTE. No thank you. The one "bof" of the weekend, the Fitoussi film chronicled the sadly depressing lives of a number of struggling artists fumbling towards failed ecstasy in the City of Lights. That's not why I wasn't that intrigued--I can deal with a depressing movie, don't worry--it's simply this film...had no salt, no spark. It was a little typical, a little too French. It was a cornucopia with no fruit. And again, I don't know exactly what that means, but it's the truth.
PLOT: Being famous is mostly luck.
THOUGHT: The rest is probably fruit.
IN FIVE: 2.5/5
THE FESTIVAL: http://www.colcoa.org/2008/home/index.asp
THE FILMS (in the order i saw them):
99 francs - http://www.99francs-lefilm.com/
roman de gare - http://www.lesfilms13.com/romandegare/
paris - http://www.lefilm-paris.com/
la vie d'artiste - http://www.hautetcourt.com/fiche.php?pkfilms=129
RUN, FAT BOY, RUN
Caught this one after an afternoon of hesitation last Sunday. Go out to a movie? Rent a movie? Go out to a movie? Rent a movie? Go out to a movie...?
With the promise of strawberry shortcake near the cinema post-picture show, I had no choice but to go out. We drove to Monster Mall, we walked into the theatre and then we sat and watched a movie all about running to win the woman you love.
RUN, FATBOY, RUN, though starring Simon Pegg of SHAUN OF THE DEAD and HOT FUZZ fame, did not have quite the carriage these films did. Perchance that's because, this time around, Pegg shared his pen with Michael Ian Black--who I love, like hearts on stars, LOVE--but who is better, I'd say, at improvisational humor (a la the VHS "I Love the '90s" series) than written wit. I unfortunately blame him for the jokes that veered towards physical and/or slapstick humor. They felt American and out of context in Pegg's usually wonderfully off-color universe. I mean, hey, I love an irreverent blague like the next girl...but I really didn't need to see puss from a blister squirt all over a man's face. Really didn't. And maybe that was Pegg's doing. But maybe it wasn't? (For all I know it was all David Schwimmer's idea. 'Cause yeah, he directed it.) But my mind tells me it might have been Michael.
In short, I didn't audibly chortle nearly as often during FATBOY as I did this time (was it this time?) last year during HOT FUZZ, but I enjoyed the almost Hollywood kiss ending for its smile-worthy, somewhat realistic probability. That's how I think every romantic comedy should end. Somewhat realistically. And/or with puss.
plot: Run marathon, win the girl.
thought: Mmmm, strawberry shortcake, so yummy.
in 5: 3/5
THE MOVIE: http://www.runfatboyrunmovie.com/
With the promise of strawberry shortcake near the cinema post-picture show, I had no choice but to go out. We drove to Monster Mall, we walked into the theatre and then we sat and watched a movie all about running to win the woman you love.
RUN, FATBOY, RUN, though starring Simon Pegg of SHAUN OF THE DEAD and HOT FUZZ fame, did not have quite the carriage these films did. Perchance that's because, this time around, Pegg shared his pen with Michael Ian Black--who I love, like hearts on stars, LOVE--but who is better, I'd say, at improvisational humor (a la the VHS "I Love the '90s" series) than written wit. I unfortunately blame him for the jokes that veered towards physical and/or slapstick humor. They felt American and out of context in Pegg's usually wonderfully off-color universe. I mean, hey, I love an irreverent blague like the next girl...but I really didn't need to see puss from a blister squirt all over a man's face. Really didn't. And maybe that was Pegg's doing. But maybe it wasn't? (For all I know it was all David Schwimmer's idea. 'Cause yeah, he directed it.) But my mind tells me it might have been Michael.
In short, I didn't audibly chortle nearly as often during FATBOY as I did this time (was it this time?) last year during HOT FUZZ, but I enjoyed the almost Hollywood kiss ending for its smile-worthy, somewhat realistic probability. That's how I think every romantic comedy should end. Somewhat realistically. And/or with puss.
plot: Run marathon, win the girl.
thought: Mmmm, strawberry shortcake, so yummy.
in 5: 3/5
THE MOVIE: http://www.runfatboyrunmovie.com/
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