Han's Talk

Slumdog Millionaire

Top 3 amazing films of 2008 -- we will see this on most all the top 10 lists and I would guess that includes many of you out their in Flixter land.

Danny Bolye has out done himself with this picture - story - music - casting and direction.

Boyle's technique is flat-out brilliant, a crazy kaleidoscope of craft and color that's a matchless homage to India's limitless favelas: vibrant with revulsion yet pulsating with principled promise. Boyle claims India's slums are less about value judgment and more about geographic statement; his respect for the hard-working people cheerfully existing in these dense and dismal conditions is evident in every frame.

Patel, Mittal and Pinto nail their adult roles, but their child and teen counterparts deserve enormous credit for their enchanting turns as bright-eyed poppet prophets of the ghettos.

The Bollywood finale adds a touch of whimsy, intermittent cliches so beautifully crafted they ultimately become truth.

This is a must see on a screen - if you can - and you won't be disappointed.

Vince
Vmedia
Berk Ca.

The Wrestler

One of the best films of 2008 - will go un noticed at oscar time . But I hope you serious film fans see this one on a screen very soon.

The surprises never stop coming in The Wrestler. The movie's very existence is a surprise for those who know director Darren Aronofsky as the visually florid director of feverish movies like Pi and Requiem for a Dream. A stripped-bare, raw and honest drama set in New Jersey, The Wrestler is as down-to-earth as Aronofsky's last film, The Fountain, was spacey.

The next surprise is Mickey Rourke, an actor who became known as much for his off-screen bad behavior as for his impressive roles in 80s films like Diner and Rumble Fish. Even his fine performance in Sin City can't compare to Rourke as Randy 'The Ram' Robinson, a professional wrestler 20 years past his prime who still attends matches on the weekends to pay the bills not covered by his day job in a grocery store warehouse. Randy's body is all rough planes and scar tissue, and each new injury, we see two wrestling matches in exquisite, brutal detail, is just an added layer on top of decades worth of pain, both physical and emotional.

It's surprising how funny the movie can be, especially seeing the wrestlers plan out their moves together and talk afterward in the locker room, saying things like 'I hope you were OK with that table hit.' It's surprising how well Aronofsky captures the working-class milieu without an ounce of condescension, the chilly New Jersey locations echoing the resignation of its characters. It's surprising how subtly the professions of stripping and wrestling come to emerge as twinned metaphors, the darkest parts of the human brain put on display as entertainment.

But the biggest surprise, and the one earning all the attention, is Randy, tender and resilient and as fully formed as any screen character has ever been.

The parallel stories of Mickey and Randy, each former pros trying to get back on track, are not lost on the audience, but aren't necessary to get it either. The movie is, simply, stellar, an American parable and moving drama found in an unlikely place. Everyone has outdone themselves, including Wood and Tomei in their supporting roles. \

Stylistically The Wrestler, director Darren Aronofsky's fourth film, is a far cry from his previous effort The Fountain. Eschewing wide-angle lenses and awesome set pieces for grainy handheld and the dreary realism of the working-class Jersey suburbs, it's a poignant character study that marks a return to Aronofsky's indie roots, last seen in his stunning 1998 debut effort Pi. (In other words, this is less Spielberg, and more Dardenne Brothers.) And what more could be said of Rourke's performance It is, simply put, magnificent, and rivals De Niro in Raging Bull or Brando in Last Tango in Paris in terms of raw power and emotional catharsis. This tragicomic portrait of God's Lonely Man is the dark horse contender for best film of the year, although I'm sure its star wouldn't have it any other way. You must see this film - Could be the best film of 2008.

Vmedia, Berkeley

Synecdoche, New York

The directorial debut by esteemed writer Charlie Kaufman (Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind) demand a lasting impression on the viewer for its density, complexity, joy and profound existential angst, it, indeed, warrants repeated viewings for repeated pleasures and treasures.

The pronunciation is like this: sin-neck-dokey (as in okey dokey). Yeah, it kinda sounds like Schenectady, and you need to know that to understand the beginning of the joke of it. Because synecdoche is a literary term that's similar to metaphor, but not quite. Synecdoche is when a part of something stands in for the whole thing -- like how when we say ?a hundred head of cattle, we don't mean just their heads but their whole bodies, of course. But -- and here?s part of the mindfrak of this -- it can also mean the opposite, when a word describing the whole of something actually means just a part of that whole... like how society, in certain contexts, actually means just high society.

I could joke and say that I don't have to deconstruct the New York part of the title, but this is a Charlie Kaufman movie...

This is like The Matrix except no one ever discovers they're in the Matrix.

This is like a horror movie that gets more horrifying the more you think about it.

I should stop thinking about Synecdoche, New York, except I can?t.

But no: it's only a movie. It's only Charlie Kaufman goofing around with movie stuff. It's only Kaufman fooling with movie time, like how he compresses half a year into the first sequence in the movie, which appears to depict a single morning in Caden's life but actually stretches from September to March and is still, at the same time, just one morning. Time get compressed and stretched out at the same, er, time, like we're falling into a black hole. (See, it's just Kaufman being a sneaky clever bastard again, pulling in not only paradoxical literary stuff no one understands but also paradoxical physics stuff no one understands.) It's only Charlie Kaufman being Charlie Kaufman and messing with us.

Right?

Vmedia

Låt den Rätte Komma In (Let the Right One in)

Teen Vampire films - I guess arrive in pairs. Twilight was a Harry Potter with fangs pre teen romp - with some tooley fog sfx and youtube acting.

But this second Tween vampire film wins 100% not only a strong teen annexed story, but a tight plausible script.

author John Ajvide Lindqvist wrote the screen play and book. The casting of the two pre teens is perfect and the solid white snow setting really baring out the red in this metaphor.

Forced to attend, many fans of Twilight would doubtless spend the entire running time of Let the Right One In text-messaging their BFF about the boring movie they're presently enduring, while many admirers of Let the Right One In would doubtless flash their presumed intellectual superiority by openly scoffing as Twilight unspoiled before their jaded eyes


This is an arthouse meditation on the vampire genre, and it works out pretty well. The relationship between the two kids is sweet and tender, but there is also a sense of impending doom. LET THE RIGHT ONE IN is a welcome addition to the horror genre. One that I think will get better with age, like a fine wine.

In the final analysis, Let the Right One In is superior to Twilight, although in the annals of vampire cinema -- a rich vein that has already produced definitive flicks with Bela Lugosi and Christopher Lee, two wondrous Nosferatu masterworks, and even a bloodsucking ballet (Dracula: Pages from a Virgin's Diary) -- it would be a stretch to claim that it ranks in the highest echelons of the genre. But it comes closer than one would rightly suspect.

A Swedish import that uses its frozen environment to great advantage, this picture, like Twilight, shows the effect that a vampire can have on the social life of a school-age loner. Here, the central kid is Oskar (Kare Hedebrant), a 12-year-old boy who has no friends and who's the constant target of the school bully and his sycophants. One night while hanging around his apartment complex, he meets his new neighbor: Eli (Lina Leandersson), a mysterious 12-year-old girl. Eli tells Oskar right off the bat that they can't be friends; what she doesn't tell him is that it's because she's a vampire. But Eli is every bit as lonely as Oskar, so the two end up spending a lot of time together. Oskar doesn't always understand Eli's behavior -- for example, why eating candy makes her violently ill -- but he accepts every aspect of their friendship in a matter-of-fact manner. Meanwhile, her empty stomach continues to rumble, and the other neighbors are looking mighty tasty.

From the Frankenstein creature to the wolf man, the movies have frequently given us sympathetic monsters. There have even been pitiable vampires, yet it's possible that little Eli is the most tragic of all. With no backstory on hand, we have no idea what led to her present situation, but it's poignant when she tells Oskar, "I'm 12. But I've been 12 for a long time." Her craving for blood can't be helped, yet it's still chilling to watch the manner in which she descends upon one of her victims (almost as chilling as the later scene in which the victim, now tainted by vampire blood, is attacked by a roomful of frenzied cats). But it's Eli's friendship with Oskar that redeems her, and helmer Tomas Alfredson, working from an astute screenplay by John Ajvide Linqvist (adapting his own novel), emphasizes this connection with a lovely directorial touch: During the bloody climax, he focuses not on Eli's blood-splattered mouth but on her twinkling eyes, ones that wrinkle slightly as she stares approvingly at the best friend a vampire ever had.

Vmedia

The Boy in the Striped Pajamas (The Boy in the Striped Pyjamas)

A great film for the Holiday season. With a dark non harry potter ending.

This film would get past the Hollywood gods who dislike real dark death like endings involving kids. (especially at the holidays).

A hard movie to watch, The Boy in the Striped Pajamas is better received as allegory than as naturalistic depiction of concentration camps and their victims. These internees are entirely too sleek and healthy looking; their grimy faces look like they've been touched up with brushes and blue powder. The decision to have the cast employ British accents is also jarring, although understandable for pragmatic reasons. It's clear the filmmakers didn't intend to make a naturalistic movie about a concentration camp.

As I walked out of the theater, someone asked me whether I would recommend the movie. Of course I do. There is something brave and necessary about this Holocaust movie, but it may be too sad for some of us to bear.

Either you will appreciate The Boy in the Striped Pajamas, particular tact, or you will cringe on what it decides to take you. Like the subject it secures as part of its plotting, there is no middle ground.

Vmedia
Berk Ca

Were the World Mine

This great new Indi opens this weekend in NY LA and SF and its a great new take on Midsummers Nigh Dream - with a new company of actors.

This far surpassed HSM3 in any form. Tom Gustafson finally made his short "Fairies" into a full-scale musical in "Were the World Mine," the script is clever as it is based in an all boys prep HS.

Tanner Cohen has an amazing singing voice, so it isn't hard to believe that he would captivate the school's star rugby player, the handsome Nathaniel David Becker. And Cohen, like Shakespeare's puckish sprite, explodes all stereotypes, managing to be at once masculine and fey. Robie brings the right note of sardonic humor to her witchlike role. Zelda Williams (Robin's daughter) adds considerable spunk as Timothy's best friend. Christian Stolte makes a perfect Shakespearean fool as the macho coach turned into a lovesick ass.

The rich full cinematography belies the modest budget. Lots of movies take no chances and still manage to fail. This picture dares to summon the spirit of the Bard as well as the ghost of Arthur Freed and succeeds as a rousing, warm-hearted feeling.

Take a chance on this film and see it on the big screen. It was a hit at the Frameline film fest in SF and held many honors as the audience fav in other film fests earlier this year.

Vince
Vmedia Berkeley
*THR

Milk

I am amazed at all the Top 10 lists this film has made and I am proud its gone so far - In less than a year it has become one of the most honored films in 2008 - Thanks for all your support

This my original notes on the film:

The Premiere went well, Sean busted the red carpet on Tuesday 10/28 /08to join the No on 8 protest outside the theater.

I have been stressing over this film for weeks - worried that it was released out the gate too soon to beat the other holiday A list films.

But my feelings were positive at the screening and I was really moved by this film - I know i worked closely on this project - fact is all my scenes were cut and are some where in LA in some editors render file

James Franco and Emile steal the this film along with Josh, Luna and Penn. Dustins brillant script always moved me.

Danny Elfmans dark score really makes this gay bio pic raise the bar to the standard use of gay 70's music to make a statement of the times.

Golden Globe, SAG, NY Critics and Oscars are all over this project and I am proud to have been part of it.

Vince
Vmedia berk Ca.

I am excited to learn that the Box Office for MILK has done well rating number 10 in its 3rd week out. The Oscar Buzz is running high for Sean, Brolin, and Gus. But I am honest but the reality that MILK will not get Best pic -- that will go to Slumdog,,

Milk

I am amazed at all the Top 10 lists this film has made and I am proud its gone so far - In less than a year it has become one of the most honored films in 2008 - Thanks for all your support

This my original notes on the film:

The Premiere went well, Sean busted the red carpet on Tuesday 10/28 /08to join the No on 8 protest outside the theater.

I have been stressing over this film for weeks - worried that it was released out the gate too soon to beat the other holiday A list films.

But my feelings were positive at the screening and I was really moved by this film - I know i worked closely on this project - fact is all my scenes were cut and are some where in LA in some editors render file

James Franco and Emile steal the this film along with Josh, Luna and Penn. Dustins brillant script always moved me.

Danny Elfmans dark score really makes this gay bio pic raise the bar to the standard use of gay 70's music to make a statement of the times.

Golden Globe, SAG, NY Critics and Oscars are all over this project and I am proud to have been part of it.

Vince
Vmedia berk Ca.

I am excited to learn that the Box Office for MILK has done well rating number 10 in its 3rd week out. The Oscar Buzz is running high for Sean, Brolin, and Gus. But I am honest but the reality that MILK will not get Best pic -- that will go to Slumdog,,

W.

I saw an early cut or Oliver Stones new fall film.. so I can't say much, other that the casting is amazing.. better that what the Conan writers could have come up with.

This is sure to be a positive Box Office fall film - due on screens this Nov.'

I have a good feeling about this film.. The first screening went well.

Vmedia
UCB Berkeley Ca.

Miracle at St. Anna

Directed by Spike Lee from a screenplay written by James McBride, the author of the acclaimed novel of the same name, the film explores a deeply inspiring, powerful story drawn from true history, that transcends national boundaries,

Yes Spike has been bad mouthing Clints war movies and the white only issue. So I did go to this screening with a bad feeling that Spike was not being fair to Clint.

But Spike is forgiven, This is a powerful script and film set to take screens this fall and I think it will do well.

The race issues are explored in new ways and the soft side of Spike shows in this amazing story telling.

One of the first fall 2008 classics.

Vince
Vmedia UCB

Max Payne

It reminded me of classic characters like Dirty Harry. Its hyper-violence. Its a lot of action. Again, youre talking about the scum of the earth here, so people are okay with seeing this happen.

I saw an early cut so I really cant say much and I am no fan of the game.. but it looks like fun and I hope to share more thought as it gets closer to its release.

Vince
Vmedia UCB

Role Models

Christopher Mintz-Plasse (superbad) second feature role - is darn good in this picture that lacks much else.

It follows a big brother theme. Funny script and Tim Dowling (thankyou for not smoking) has some heart. Reno 911 writers Ken Marino and David Wain ads some great lines for the two younger roles in the script.

David Wain is new to this director game and it shows. But youngster Christopher Mintz-Plasse is a pleaser and worth the 90 minutes.

This should hit screen late September.

Vince
Vmedia UCB

Ghost Town

Ricky Gervais new project. I am a fan and I enjoy his TV and film work.. This is a safe script - The Ghost mr Jordon memories of why writers use ghosts to tell stories (guardian angels etc).

David Koepp (writer of Indi and the skull script) takes the easy path to tell this story. But Ricky is a charmer Greg Kinnear does well.

I am not found of this film, but i do hope many get to see Ricky's work.

Vince
Vmedia UCB

Sex Drive

Clark Duke first main stream film.. Clark is the partner of Michael Cera (juno).

Both Clark and Micheal have a very funny web site they have teamed on Vids and writing. This film is the average teen fable of getting laid on that High School date thing.

In Sex Drive, eighteen-year-old Ian Lafferty sets out on a cross country drive with his best friends Lance and Felicia in order to lose his virginity to a red-hot babe he met on the Internet. But the journey, filled with hilarious misadventures and raunchy escapades, teaches all three more than they expected about life and love. Randy, raucous and unexpectedly romantic, Sex Drive follows three friends on the road trip we all have seen so many times.

Its done well. I am too close to the project to be to odjective so I will be looking at all your comments in the weeks to come - This will hit screens in October.

Vince
Vmedia UCB

Righteous Kill

Heat was a tease for these two actors. Now along comes Russell Gewirtz (writer of Inside Man) to hopefully satisfy our curiosity about what these two acting powerhouses could do together with more shared time onscreen. Gewirtz wrote Righteous Kill with De Niro and Pacino in mind and on screen together for nearly the entire film.

I saw a screening tonight and it should do ok - its the basic over acting from Mr Pacino and the mumbling snicker from DeNiro.

But its well directed and may do well later this month. But i get a gut feeling it won't last long..

Vince
Vmedia UCB

Save Me

With a sensitive, intelligent screenplay and extremely honest performances, this drama goes far beyond its issue-of-the-week premise to ask challenging and important "gay topic" questions.

Yes, it's pretty heavy stuff, but like the similar, Mormon-themed Latter Days, the central drama carries us along effortlessly. And director Cary makes sure that the tone is sharp and realistic, with frequent humorous asides and a refusal to fall into stereotypes. And in the end it actually has the nerve to admit that people have to make this decision for themselves, whichever way they choose to go.

While the story sets itself up as yet another liberal rant against religion, the film rises far beyond that due to its even-handed characterisations. Gayle is strident and narrow-minded, and yet powerfully sympathetic, thanks to a combination of good writing and expert acting from Light. Her silly rules (no pink, don't cross your legs!) mask her underlying compassion. And both Allen and Gant never allow the clichs to take root while adding depth and shadings to their characters.

Vince
Vmedia UCB

What We Do Is Secret

from director Rodger Grossman.
With dead-on details and a fine cast, "Secret" re-creates that brief, colorful period before punk became a "scene" and still served as a melting pot of outcasts, artists and sleazeballs. Aside from Crash (Shane West, who'll front the regrouped band tonight at the Blender Theatre in Manhattan) and future Nirvana guitarist Pat Smear (Rick Rodriguez), nearly every key player is reincarnated here, from influential radio host Rodney Bingenheimer to foul-mouthed journalist Kickboy Face. There's even a nod to Long Beach's Joan Jett, who produced the Germs' album.

The film's documentary style is a distraction, but it fades in and out. "Secret" is most compelling when the people and places of L.A. tell this tragic but somehow still ebullient story. I recommend this picture - but might say it won't be on screens long, so its best to wait for its DVD release later this fall.

Vince
Vmeda UCB

YPF

Year of the Fish

Year of the fish - Is finally getting its US release.

Taxicabs may not turn into a pumpkins, and the fairy godmother may sport fins and a tail, but "Year of the Fish" is a Cinderella story all the way, from its abused heroine to its happy ending. That the film is rotoscoped, or digitally painted, is its arthouse/festival calling card. But the story is so cliched and broadly drawn that few paying auds will feel compelled to call.

That the film is animated gives it an appropriately magical feel, but it can't save the story from being drowned in devices and stereotype. Chin, although a terrific actress, is bound by the dragon-lady conventions of her character; Nguyen's Ye Xian is little more than a doe-eyed victim, waiting for Prince Charming -- who comes in the form of the handsome Johnny Pan (Ken Leung), a local accordionist who's been having problems with modern Chinese women, but who will apparently live happily ever with someone as pliable as Ye Xian.

Cinderella story to the rescue. This is a must see. It should be on screen by September.

Vince
Vmedia UCB

Nothing Is Private (Towelhead)

I was pleased with the long awaited directorial debut of Alan Ball does not disappoint. Towelhead, based on the Alicia Erian novelof the same name, is an alternately moving and bitingly funny portrait of a Lebanese American father and daughter who are lost at sea when it comes to understanding the country they live in, but no more so than their neighbors. Fans of the television show Six Feet Under will instantly recognize Peter Macdissi, the actor playing Rifat, the father, as the unscrupulous art teacher Olivier who was forever giving terrible advice to Lauren Ambrose's character on that show.

Ball shows a real facility for mixing comedy and drama here, and also for delivering some keen insights about race and religion that risk offending in order to make a point. He's also able to use race to elicit big laughs, which is even trickier. Case in point: one of the film's biggest jokes comes when, after Rifat has forbidden Jasira from seeing an African-American boy that she likes because he fears it will shame her in society.

This picture has the biting humor of American Beauty, and exhibits that same quality of the sheer bone-weariness of being an American, but skirts the ponderous, life and death stakes of that film in favor of a fast-moving, ground-level story, and the result is a success.

I do recommend it and I hope its gets an audience.

Vince
Vmedia UCB