Movies from March and April
April 15th, 2009, 1 Comment »
I’ve been a bit remiss in writing blurb reviews of movies that I’ve seen over the last couple of months. It hasn’t exactly been chock full of winners. I’ve added these to the big list of every movie I see in 2009.
Watchmen - 6/10 - I reviewed it elsewhere, but it’s essentially two hours of back story and one hour of a pretty ordinary plot. It’s a movie made (and a story told) 25 years too late.
One Week - 6.5/10 - A love letter to our nation (at least the half between Toronto and Vancouver). It’s as much a travelogue as a film, following a stricken Joshua Jackson as he spontaneously rides his motorcycle out west. The script is wonderful in places, and quite clunky in others. I liked the lead performances (I could watch Liane Balaban read census results all day), and the film has a kick-ass soundtrack. If you’re looking for a little feel-good Canadiana, you could do worse.
I Love You, Man - 6.5/10 - Who doesn’t love a bromantic comedy? An ordinary movie with pretty ordinary themes. The cast is watchable (Jason Segel and J.K. Simmons in particular), and there are plenty of amusing moments. Still, it’s nothing to write home about.
Twilight - 5/10 - The broodiest movie in Sombre Town. Man, those teenage vampires are moody bastards. After Kirsten Stewart, the cast is unilaterally wooden. I’d imagine that, much like the Harry Potter series, subsequent films will get better as the cast matures and the burden of exposition lightens. I watched this on the plane, so that may have negatively impacted my impressions (though I doubt it). I’m not a fan of Catherine Hardwicke’s work generally, so that doesn’t help.
Duplicity - 7.5/10 - I really liked Clive Owen and Julia Roberts in Closer, but I found their scenes together in this film rather lifeless. They lacked the sizzle of, say, Clooney and Lopez in Out of Sight or Pitt and Jolie in Mr. and Mrs. Smith. Perhaps it’s because they felt repetitive, and rarely advanced the plot. I did really dig the directorial work of Tony Gilroy, it felt stylized without being intrusive. In particular, the film’s opening scene (after the one the studio obviously required he add) is beautifully shot. The film’s plot is ridiculously byzantine, so don’t even try to follow it–just sit back and enjoy the good-if-not-spectacular ride.