Arlington Road (1999)

Once again, a film that I thought was good the first time around seems obvious and stale the second.

Maybe it's because when I saw this back in 1999 it seemed so impossible, which made the story seem inspired: "Terrorists in our own neighborhoods? Whoa...the world's getting scary." I remember that Gary and I discussed this for a good hour afterward, our entire dinner conversation centered around how deep the plotters' plans went.

Now that trusting America's been blindsided, however, the film seems pretty tame. It's just a standard jumpy thriller now with some pretty crazy lapses in judgment by the lead and some "no-way" coincidences. Oh well.

C

Unknown (2006)

It's rare nowadays to be able to see a film without having had it spoiled at least somewhat by trailers, word-of-mouth, and reviews -- but that was my situation when I sat down and popped this in the player.

This is definitely the kind of movie you don't want to hear too much about beforehand...so much depends on confusion. Because that's the case, I won't say much other than it's pretty original, what could be seen as plot holes can also be explained as effects of a pre-movie event, and I think this would make an amazing mafia game.

I enjoyed this movie quite a bit.

B+

The Longest Yard (1974)

Yet another "ooh -- I love this movie, so my teenage son who's never seen it will probably love it too! Let's watch it!" experiments. Reasons this experiment didn't go too well: 1) I don't love it as much now as I did when I first saw it 20 years ago 2) My son will, apparently, never love it and I don't really blame him.

It's far darker and quite a bit less funny than I remember. Burt Reynolds is a washed-up football player who everyone knows fixed a big game. He's thrown in jail after stealing his girlfriend's car and making fools of the local police force by leading them on a ridiculous (and rather boring) chase. The inmates don't like him because of his ballplayer disgrace and the warden doesn't like him because he won't play ball -- literally.

Of course he redeems himself and becomes one of the guys. Of course he winds up playing ball. Unfortunately, the big game that serves as the film's finale is shot confusingly and actually looks like some cheesy '70s-era college game outtakes. What a mess.

I used to have it listed as a B+, but it's getting downgraded.

C+

Come Early Morning (2006)

I used to love Ashley Judd. The first time I saw her was in Ruby in Paradise, a lovely low-key character study in which she was radiant. She also had a brief dating relationship with Lyle Lovett (my favorite singer/songwriter) and that made me like her even more. But, you know what happened next...Lyle took up with Julia and Ashley took up with some truly stupid scripts.

I'm so glad to report that Judd's got my interest again. She's just perfect as Lucy, a smart and fierce woman who prefers anonymous one nighters in crappy motel rooms to the possible hurt that can result from a real connection. It's not an easy movie, but there's not really anything difficult about it either. I love that we're shown the beginnings of a change -- not a tidy little "she was there, now she's here, ta-da!" arc. I thought it was effective and beautiful, but I wouldn't argue with those who could rightly contend that nothing much happened.

B+

Fargo (1996)

Another one of those "watching it again while my son sees it for the first time" experiences.

This one really holds up well. It's an unusual -- sometimes jarring -- mix of gentle comedy and violent depravity. Frances McDormand is marvelous in her role as Marge, the kindhearted pregnant policewoman who might be dismissed at first glance but who doesn't miss a thing. She's charming in her domestic scenes and believably whipsmart (though with absence of pride) when on the job. This is the type of character creation about which actresses probably fantasize.

The movie's both meaner and sweeter than I remember...and that's a compliment.

A-

The Battle of Algiers (1968)

The French-occupied Algeria struggles for its independence, employing terrorist methods to push their agenda. You don't have to be a genius to see the current-day parallels, eh?

The film nicely employs the look of a documentary newsreel; there was this subconscious assignment of reality to what I was seeing. The filmmakers obviously side with the rebels and succeed in evoking both frustration on their behalf and sympathy for them. So why choose to leave them at times to focus on a hubristic French Commander? Sure, it shows the other "side," but simply working on a "what a jerk" level seems unnecessarily manipulative. We get it -- it's the Algerians' homeland and the French, embodied in this guy, think they've got some right to tell them how to live there. I just think it's more effective to see it from the perspective of the locals. Let the oppressors be oppressive...I don't need to know them.

B

The Silence of the Lambs (1991)

Fourth viewing -- first was in the theater during its initial theatrical run when I was oh-so-young.

Loved it the first time, liked it a whole bunch the second and third, but this time I was watching it with my older son, which caused me to try to imagine how he might be seeing it. What I discovered was that, while the performances were fine and the look of it really good, it's just not the masterpiece I used to think it was. Like I said, when this first came out I was pretty young and really hadn't seen that many "grown-up" movies. I was in awe of it and I think I allowed it to coast on that reputation through the next couple of viewings.

Certainly worth seeing, but I finally admitted that the "A" next to its name in my database needed to be changed.

B

Stranger Than Fiction (2006)

A while back, I came to the realization that I'm not a fan of Will Ferrell's comedies, but I'm starting to find that I rather like him when he plays it straight. Of course, I've only seen a couple of examples of him doing so: Winter Passing (a weak movie with an effective performance by Ferrell) and this movie, but so far so good.

This is a wonderfully original story -- boring man Harold Crick (Ferrell) starts hearing an internal narration (Emma Thompson) to his boring life and seeks help from a literature professor (Dustin Hoffman) to figure out what's going on and what to do about it. I just loved that what starts as an insanity-courting situation becomes a tool for Crick to change his life. He starts using the clues in the narration as a kind of "how-to" for making his life better, while attempting to change the narration's spoiled outcome.

I simply loved it. All of the actors are wonderfully right for their roles and the story is extremely satisfying (though I'd opt for a different ending -- which one will be obvious once you've seen it).

A

The Death of Mr. Lazarescu (2006)

It's a masterpiece! It's an incisive commentary on the indifferent state of healthcare! It's a tragedy! It's a dark comedy! It's everything you ever wanted in a movie, wrapped in creamy nougat!

That's what everyone else said about this movie. Me? I say I'd rather have actually ridden around through the night in an ambulance with this supremely unlikable man visiting several disorganized and dehumanizing hospitals than to have seen this movie. At least then I could've watched the scenery go by and, maybe, read a magazine or two.

Boring, obvious, and unnecessarily long.

F

Casino Royale (2006)

I'm not a Bond fan. I've seen bits of several of the movies (seems like I'm usually in a hotel when I do -- why is that?!) and they seem like silly fun, but I've never have had an interest in actually buying a ticket or renting a disc to view one from beginning to end.

Until now, that is. I've enjoyed several of the prior films in which Craig has appeared (Enduring Love and Layer Cake particular standouts) and had heard that this one's more gritty than pretty. I'm glad I checked it out. Craig may not look like the Bonds who've gone before -- but he fills the reworked role beautifully. He's scrappy and smart and believable as a romantic leading man.

Plus, that early foot chase scene is a knockout. Even if the rest of the movie had sucked, it'd still be worth renting for the first 20 minutes or so.

B+

Dial M for Murder (1954)

It's really enjoyable seeing a movie I know well in the company of someone watching it for the first time. I can't help but steal looks every so often to make sure they got just how terrific a certain line was or to make sure they're not napping (a common problem in my husband's case).

This was the fourth or fifth time I'd seen this film, but the first for my older son -- though I doubt it'll be the last. Grace Kelly is just as lovely, the script just as tight, and the detective just as droll as they've always been. Such a reliable movie -- never changes despite my mood or age.

A

Requiem (2006)

This is a German-made fictionalized take on the true story of Annaliese Michel, the same girl who provided inspiration for The Exorcism of Emily Rose.

This time, it's set in the right place (Germany) and the right year (1976) and is free of special effects which push the "possession" angle. All of these choices make for a much more sad and truly frightening story.

Michaela, a shy 21-year-old, comes from a strict and superstitious Catholic community. Because she suffers from periodic seizures, she's been isolated from people her age and disallowed from attending out-of-town university. With her problem seemingly under control, though, she finally escapes to college life and starts to find out who she is when people aren't telling her who to be.

What happens next is the mystery. Do her seizures return? Is it some more serious medical/mental condition like schizophrenia? Is she demonically possessed? I like the way that the story let us just see what was going on without pushing one answer on us. And my heart broke for the compliant Michaela, whose seemingly simple desire was to be both a good Catholic and happy -- two things that, in her life, were out of reach.

A

Fast Food Nation (2006)

Fast food isn't high quality, hamburger processing plants treat their cows like (gasp) meat, and illegal immigrants have it bad. Oh -- am I supposed to be surprised by this? Did the filmmakers truly think that, at this point, anyone doesn't know this stuff?

OK, so it's not revelatory and its hoped-for shock value is lost. No problem, right? I mean, despite the fact I know that hearts are fragile and that people die and I still can enjoy a good romantic tragedy -- so if they just tell the story well, that'd work just fine. But, no. They screw that up too by packing in way too many characters and chasing three storylines (plus a few quickie tangents), none of them fleshed out enough for me to have felt invested.

The information's too old to impact and the script too unfocused to hook.

C

The Prestige (2006)

There's love and loss and angst blown way out of proportion. There's one-upmanship motivated by a grudge and bitterness and a desire to "win" -- or perhaps simply a desire that the other lose -- even if you have to play dirty to do so. It's also about magicians, so that's pretty cool and very novel (I've not yet seen The Illusionist, weirdly released the month prior to this one).

Watching these men struggle to bring the other down was thrilling, but I found my allegiance constantly switching between the two. It was hard to know who was in the "right" and, although I know it was told in this way so that "the reveal" would be stunning, it also had the effect of making me sure that I wasn't being told the whole story...which meant I knew that my working theories were faulty and that hurt the movie a bit. Once I did figure out a main secret, the movie went on for another 40 minutes assuming I was still in the dark, which made the film feel padded.

It was gorgeous, original, smart, and wonderfully acted. It was also a little long and manipulative.

B+

The In-Laws (1979)

Peter Falk is a zany guy who crashes into the quiet dentist life of Alan Arkin when their children get engaged.

Some parts made me chuckle ("serpentine!"), but it's mostly a series of slight variations of Falk forcing some wacky agenda while Arkin reacts exaggeratedly and almost gets killed. We're also occasionally treated to truly boring scenes of Arkin's family wondering what's happening.

A real letdown.

C

Sarah Silverman: Jesus is Magic (2005)

Sarah Silverman cracks me up. She's so different than anyone else who makes people laugh for a living. She's completely fearless -- her list of "taboo" subjects is non-existent -- and her delivery is sometimes so clever that I often feel as though I'm the only one who catches all of the jokes she carelessly drops, sometimes under her breath.

So I love her. And that's why I hate to say anything negative about the movie, but it sometimes doesn't quite work. Don't get me wrong, it worked in my living room -- where it didn't work was with the live audience. Perhaps some of the subject matter was too...what? Raw? Hard to understand if you're not on the right wavelength? Subtle? Out there? I'm not sure, but whatever it was, the audience didn't always respond as though they found the funny and that hurt the film. It felt a little like I was the only one laughing...which would have been embarrassing if I were in the theater...which made me think "what is WRONG with those people"...which made me realize that a concert film probably was a bad idea for Ms. Silverman.

Not all of the bits killed me -- I could've done without her harmony number (her ass taking a mic for its part), for example -- but most of the material was inventive, brave, and hysterical. I just think she works better in small doses, a theory which seems supported by the fact that her Comedy Central program is gold and I think it's because she's bouncing off a game cast and it's the right length for her.

The comedy gets an A- but the movie gets a

B

Exodus (1960)

Excruciatingly long and self-important adaptation of the Leon Uris novel based on the founding of Israel post-World War II.

It's filled with stereotypes -- the most annoying of which is the Eva Marie Saint character, whose sole purpose is to gather information for the audience by acting like an ignorant, but well-meaning, American who needs everything patiently explained to her. Even Paul Newman bores as Eva's steely tour guide.

There is a decent early storyline in which the Jewish refugees have banded together in an effort to decide their own fate rather than bowing to the British government's plans for them, but it comes early and is over far too soon.

C-

Naked (1993)

David Thewlis is Johnny, one of those pathetic hedonists who lives only for pleasure but is having a hellish time doing so.

After violently raping(?) a woman in a Manchester alley, he flees to London to escape retaliation and looks up his ex-girlfriend. She's not home, but her loopy goth roommate is and she becomes the first victim of Johnny's mile-a-minute talkathon. He's got pithy one-liners, silly puns, existential ramblings, barking put-downs, dismissive asides -- everything you'd ever need in the most annoying guest ever.

Johnny stays for a while, then leaves to roam the London streets and meet colorful characters like a drugged up couple who keep missing each other, a sign-hanger, a lonely security guard, a sad-faced prim waitress, and a broken-down sexpot. He talks and talks and talks and then gets beat up -- I was just surprised it didn't happen earlier and that it didn't come at the hands of someone who just wanted him to shut up already.

It should be obvious that Johnny wouldn't be on my speed dial...but he was only about one-tenth as awful as the other hedonist we see at work. Sebastian is like an upper-class Johnny: he's enamored with himself, takes whatever he desires because no one stops him, and is unbearably cruel. There's no reason for him to wind up in Johnny's universe and the script doesn't seem interested in helping me understand how he does. Maybe he was just there to make us like Johnny comparatively. Like, I hate baked beans -- but next to a plate of feces, they don't look too bad.

This whole thing just felt like a visit from my parents -- I couldn't wait 'til it was over and, once it was, I felt like if I never saw those people again, my life would be a happier place. Some of Johnny's monologues had intermittently interesting pieces, but sifting through the garbage (and accent) to find them was difficult work.

C-

Catch a Fire (2006)

Patrick Chamusso is a family man with a decent supervisor job at the town's biggest employer. He stays out of trouble and is uninterested in changing the world because his world isn't too bad. Set in the last days of South African apartheid, this based-on-a-true story is compelling stuff.

When the refinery where he works is rocked by a bomb blast, Patrick comes under suspicion because he skipped work that day. The subsequent questioning and extended psychological and physical torture -- finally extending to his wife -- winds up, ironically, turning this easygoing man into the freedom fighter he was wrongly accused of being. Tim Robbins plays the lead investigator and it's a kind of weird performance. Or maybe it's just a weird role. I think it's meant to be the same type of horrible-but-understandable figure as Kenneth Branagh's "Mr. Devil" in Rabbit-Proof Fence (by the same director), but somehow it seemed more split personality than two believable sides of one personality.

Great material. Pretty good movie.

B

Experiment in Terror (1962)

The opening scene has a bank teller (Lee Remick) pulling into her dark garage and being seized from behind as she exits her car. For several very long, way- too-close-up minutes, her captor whispers and wheezes threats designed to get her to steal for him. The effect isn't terrifying or suspenseful -- just kinda uncomfortable. The whole movie sort of feels that way: menacing eroticism being favored over tension created by the upcoming crime.

There are two really good scenes, in my opinion: 1) Remick being mistaken for a working girl when accidentally picking up the wrong guy at a scheduled meet and 2) a nervous woman waiting for the cops in her mannequin-stuffed apartment. Nothing else is really worth remembering.

I say this experiment fails.

B-