Your Blog Ain't Sweet Like Mine

Sunday, April 29, 2012

Song of the Day 4/29/12

It's good to be back. Apparently second semester freshman year takes up all of your free time, so I'm coming back with a vengeance now that it's over. Let's do it.

Unfair
Pavement
Crooked Rain, Crooked Rain (1994)

Wednesday, March 7, 2012

Eternal Sunshine Of The Spotless Mind

Every once in a while, a film comes around capable of pulling at your heartstrings without seeming too feminine, and creating a fantastical world without seeming too nerdy. Eternal Sunshine of the Spotless Mind is like that, plus a giant mindfuck.

It features Jim Carrey in a serious role as Joel Barish, a lovesick thirty-something in a desperate attempt to move past his ex-girlfriend Clementine, played by Kate Winslet. He finds an agency, run by Tom Wilkinson, with the ability to erase certain parts of the memory, specifically those containing crazy ex-girlfriends. With help from Elijah Wood, Kirsten Dunst, and Mark Ruffalo, the company helps Joel erase Clementine and hopefully move on with his life.

A Toast
First and foremost, the names in the above intro should immediately draw attention to this film. If someone told you there was a movie containing Frodo, Mary Jane Watson, Ace Ventura, and swagtastic Mark Ruffalo, you know you'd wanna see it. And this ensemble delivers brilliantly. Some people dislike Carrey's serious roles, which is understandable. It's hard, after all, to look past this image.

But Carrey delivers in expert fashion. He is relatable and believable, and the film benefits greatly from this. Charlie Kaufman's script contains some questionable lines, and anyone other than Carrey wouldn't be able to pull them off. I mean, can you imagine Nicolas Cage saying, "Sand is overrated. It's just tiny little rocks,"?

The character Carrey portrays matches perfectly with Winslet's Clementine. She is perfectly obnoxious and conceited; we hate her, and we love her all at the same time. The rest of the cast is excellent as well. They emulate various states in a relationship, all of which mirror Joel and Clementine at one point or another. Their roles are clearly defined and because of this the film excels. And sure, it's nice seeing Kirsten Dunst jumping on a bed.

What stands out the most, however, is the incredible cinematography. Director Michel Gondry creates a world entirely his own, whether it be on a beach in Montauk or in Joel Barish's bedroom. Everything is connected on multiple levels, which constructs an almost dream-like setting. Specifically, the scenes which are Joel's recalled memories contain an almost astral quality. We know the scenes are from the past, but they seem as though they could happen in the future. These innovative sequences are truly special, and make the film as great as it is.

Verdict

It's easy to understand why this film was on the top of many people's Best of the Decade lists. Its visionary nature combined with its superb acting make this a must-see for any film buff. It is absolutely a modern classic, and deserves to be seen as such. Enjoy this film, and remember: You will never, ever be as cool as Mark Ruffalo.

Bonus Drinking Game
Take a drink - Whenever Clementine has a different hair style/color
Take a drink - Whenever Elijah Wood is on screen, just because he's so silly
Take a shot - At the jumping on the bed scene
Finish your drink - If Mark Ruffalo inspires you to have crazy bed head.

Saturday, February 18, 2012

50 First Dates

Most people go into Adam Sandler movies expecting the same thing: the film will provide a couple chuckles and familiar faces that ultimately proves unfulfilling and emotionally drained. This is the stigma that has resulted from Sandler's yearly up-chuck of declining comedic talent. Unfortunately, he peaked incredibly early in his film career, after which, very few of his films could muster the same amount of energy. 50 First Dates comes close to capturing this essence of Sandler's heyday.

Sandler plays Henry Roth, a Hawaiian playboy who concocts various elaborate lies to seduce tourists. One day he meet Lucy, played by Drew Barrymore, and the two hit it off, causing Roth to stray from his player ways. But, uh-oh, Lucy has serious brain damage and can't remember shit after 24 hours. Her brother and father, (Sean Astin and Blake Clark, respectively), relive Lucy's last day of memories everyday in order to keep her from going nuts.

A Toast

In their second feature together after The Wedding Singer (1998), the chemistry between Drew Barrymore and Adam Sandler is at it's peak and the film really benefits from this. They play off each other well enough that we look past the fact that Barrymore is one step away from being a total vegetable. The chemistry they have make it seem as though their relationship could have actually happened without the whole memory loss shtick. It was a gamble to begin with for a rom-com to have such limits on the primary relationship, but writer George Wing pulls off somewhat of a miracle. Sandler's relationship with Barrymore is one of his best, and helps us forgive him for his previous slam pieces.

Yucky

Yuckier

Oh dear lord, PLEASE STOP!

The film also sports a Hawaiian backdrop well, and while it was probably only set there for Rob Schneider "jokes" (I put jokes in parentheses because what he sees as humor, I see as verbal ipecac), the setting does add to the playfulness of the script.

The best part of the film comes from the soundtrack. It features 311, The Beach Boys, Bob Marley, and all things in the genre of Surf. The combination of the soundtrack, the script, and the Hawaiian setting creates a feeling of happiness and bliss that never dissipates. This synthesis is the reason 50 First Dates has such a strong fan base. People like to feel good, and they also like fat Hawaiian men playing the Ukelele.

Beer Two

Speaking of Rob Schneider, I wish Adam Sandler would have stopped putting him in his films. Actually, I'd be fine if Sandler kept Schneider in his bit part as the "You can do it!" guy with the indiscernible accent.

Someone should curb stomp you.

But Schneider's character Ula is really just a Hawaiian stereotype with a glass eye. His character isn't meant to have any emotional depth; he's pure comedic relief. But here's the thing about comedic relief, it doesn't work if the actor isn't funny. And it especially doesn't work if the actor combines the sense of humor of Carrot Top and Gene Shalit, with the stupidity and racist nature of Carlos Mencia. In short, he blows, he's the main reason this film isn't considered one of Sandler's classics, and I wish he would go away.

Verdict

Ultimately, 50 First Dates is in the second tier of Sandler movies, behind classics like Billy Madison and Happy Gilmore. It's a good twist on the typical romantic comedy and it provides enough comic antics to keep the audience entertained. Sandler's more recent movies have gone unappreciated due to their predictable nature and unoriginal plot lines. But 50 First Dates should go down as one of his better efforts. It's an above average film, as far as rom-coms go, and will never fail to put you in a good mood.

Bonus Drinking Game

Take a drink: whenever someone speaks Hawaiian that you don't understand

Take a drink: whenever you see a Sandler movie veteran

Take a shot: when Drew Barrymore cries like a wildebeest

Finish your drink: when you can't stand Rob Schneider anymore

Thursday, January 26, 2012

The Illusionist

I have always been of the opinion that Edward Norton can carry any film he's cast in. He can adapt to any role and shine even in mediocre films. The Illusionist is no different. Norton plays Eisenheim the Illusionist, a travelling magician who returns to his home of Vienna and attempts to reconnect with his long lost love, played by Jessica Biel. Through magic and illusions their sweaty, pseudo-British-accented love affair is exhibited.

A Toast

Firstly, the film is beautifully shot. From the flashback sequence in the beginning to the depiction of 19th century Vienna, The Illusionist is very romantically charged.

The illusions performed throughout the film act both as spectacle and as plot development. Watching Eisenheim's tricks is possibly the best part of the film, and seeing how the illusions resonate on so many levels throughout the film was something truly unique and exciting.

The film also flaunts an innovative twist that is entirely noticeable even for experience movie goers. It honestly blows your mind and the moment when it's made clear is one of the best the film has to offer.

The acting is generally positive as well. Edward Norton and Paul Giamatti are brilliant in their roles, while sporting some of the best facial hair I have ever been fortunate enough to see.

Bom-chicka-wah-wah

Beer Two

Unfortunately, this all seems kind of familiar to me. Set in the 19th century. All about magicians and illusions. Two strong male leads. Oh wait... I'm pretty sure that all happened in The Prestige. And that also came out in 2006. It's so easy to get these films confused that even now I have to double check and make sure I'm reflecting on the right movie.

This film would be exponentially better if it weren't for The Prestige, and vice versa. Both films have such original ideas; they just happen to be original excluding each other. I don't know whose fault it is that these movies came out so close together, but they are definitely on my shit list. It's almost impossible to bring up The Illusionist in conversation without some guy saying "Is that the one with David Bowie?"

Wham bam thank you ma'am.

I do have to give a slight edge to The Illusionist in this battle, partially for the stylistic differences, but honestly, it's because of the kick ass beards.

Beer Three

This beer is given due to the fact that Jessica Biel delivers a sub-par performance and if it weren't for Rufus Sewell being Crown Prince Douchebag, I wouldn't root for her relationship with Eisenheim.

She lacks the qualities of the best leading ladies, and ultimately, the film suffers because of this.

Verdict

Luckily, the film has Edward Norton and Paul Giamatti to combat this flaw. The illusions really are baffling and entertaining and the twist at the end is hardly foreseeable. Poor timing and casting are the reasons this film is as well known, and for that matter appreciated.

Bonus Drinking Game

Take a Shot: Every time Paul Giamatti talks about the Orange Tree Trick

Take a Drink: Every time you hear a phony accent

Take a Drink: For every Eisenheim performance

Take a Shot: If you know the solution to a trick

Shotgun a Beer: When the whole damn thing starts to make sense