Ally's Talk

Harry Brown

Humboldt County

Emotional and touching. A wonderful tale of self discovery set in a place I have longed to visit, see, and experience for myself. The world needs more movies like this.

Up

"Adventure is out there!"

In the past, Pixar have tackled talking cars, washed-up superheroes, a rat who cooks and a mute garbage robot in a post-apocalyptic environment. For Up, the revered animation pioneers deliver something unexpected: a melancholy action-adventure concerning a 78-year-old widower and an obese young boy. No doubt on paper this idea seemed impetuous, but the Pixar squad have hit the pay dirt once again; scoring over $400 million at the worldwide box office and garnering the sort of acclaim that Michael Bay and McG could only dream of for the idiotic blockbusters they create. For their 10th motion picture, Pixar have weaved together a strange and shrewd amalgam of comedy and heart-rending pathos in the form of a visually dazzling, high-flying marvel of an adventure.

At the centre of Up is aging, bespectacled curmudgeon Carl Fredricksen (Asner). Reeling from the death of his beloved wife Ellie, Carl is caught in a mournful stasis; maintaining his curmudgeonly senior citizen lifestyle while an encroaching development threatens his comfortable old house. When Carl is forced to move into a retirement home, he senses the opportunity to pursue the life of adventure that his wife had always dreamed of. Attaching hundreds of balloons to his house to lift it off the ground, Carl travels in the direction of South Africa in the hope of landing near the jungle stomping grounds of his boyhood hero - adventurer Charles Muntz (Plummer). Inconveniently, however, he has a stowaway onboard: pudgy, devout boy scout Russell (Nagal) who hopes Carl can help with the achievement of his "Assisting the Elderly" badge.

Up is vehemently an old man/young kid "buddy film" transplanted effectively into the animation format - on that note, it's practically James and the Giant Peach meets Gran Torino. Chief among the film's myriad pleasures is watching this unlikely inter-generational friendship take root. It's even more satisfying to watch the relationship blossom given its unpromising and highly amusing beginning. The vocal work is top-notch right across the board. Instead of seeking big names to fill roles purely for the novelty value, Pixar found the right voices. Edward Asner and Christopher Plummer are not unknowns, but neither are they A-list stars. They're perfect for their respective characters of Carl and Muntz, and viewers are not left with the afterimages of their real-life features burned onto the animated characters.

The brilliance of Pixar is their ability to say more in five wordless minutes than most other films can say in ten pages of dialogue. Pixar understands that this is a visual medium, and the team strongly believe in the old adage that a picture says a thousand words. From an emotional standpoint, the greatest thing about Up is its prologue - running at approximately 10 minutes, it's a masterpiece of economy and could stand on its own as a self-contained short. It tells the story of Carl and Ellie, whose childhood meeting (when they were both adventure-spirited kids) is charm personified. The episode that follows has a certain grace that's seldom seen in a motion picture - it's an emotionally resonant, beautiful montage that exquisitely captures the couple's young love, marriage, hopes, dreams and heartbreaks. But Ellie eventually dies and Carl is left alone in a house rich with memories where every floorboard is imbued with Ellie's presence. It brings a tear to the eye. Furthermore, this is all communicated brilliantly and mutely by the filmmakers who utilise the gift of elegant animation and well-lubed character expressions to lend the audience a glimpse into Carl's stubborn psychology. Through this, a viewer gets to know everything there is to know about Carl... We understand him, and feel with him. His decision to abandon the world and float away seems sensible and right. All the central characters are brilliantly developed; Pixar understands that the action set-pieces are far more nail-biting with likeable characters entangled in the perilous situations.

Every frame of Up is meticulously constructed to the finest detail, with every behaviour (be it dog or human) carefully observed and replicated. The film is constructed with all the required narrative elements in place, yet the functionality is rarely obvious. There's a villain in the film, as well as conflict, but that's all external. At surface level, Up is the story of an elderly man and his boy scout sidekick wandering through exotic jungles and fighting dastardly air pirates. But in truth, this is the story of Carl coming to grips with the loss of his beloved wife and struggling to find a way to move on. The rest is just window dressing. See, above all else, those who constructed the movie never forgot that entertainment is job one. The film itself is therefore a piece of entertainment which can also be appreciated for what it carries underneath its surface.

As always, the animation in Up (a marvellous blend of realism and caricature) is breathtaking - especially in 3-D, which is the best way to experience the movie. Pixar have become so excellent at what they do, it's almost no longer a requirement to stop and marvel their artistic efforts. The filmmakers' attention to detail borders on pathological, from the way Carl's beard subtly grows as the days roll by to the vivid candy colours of the beautiful mound of balloons. There are a number of images here that would be considered amazing in any film (animated or live-action). On top of all this, the stunning visual world is set to a wonderful musical score. Composer Michael Giacchino recalls the lushly orchestrated compositions of cinema's golden age; providing ebullient pieces of music perfectly suited to Carl and Russell's lofty adventure.

One thing's for sure: Up is very touching, but it's also hilarious. There are sequences included here with the inventiveness of a Charlie Chaplin comedy, not to mention an abundance of clever laugh lines with nary a pop-culture reference in sight. One of the greatest pleasures of Up is a bunch of talking dogs. Anyone who has ever spent time with a dog will find infinite pleasures in the spot-on approximations of what might be going through a lovable, slobbery mutt's mind at any given moment. It's comedy gold. Granted, some of the characters feel more like the product of a DreamWorks animation film, but they're grounded with a glorious Pixar sensibility (for instance, if this was a DreamWorks movie, the talking dogs would all carry iPhones and the giant bird would be voiced by Eddie Murphy). In a way, Up does succumb to screenwriting clichés towards the opening of its third act; hatching a break-up-to-make-up scenario that feels alien to the material. Yet this is only a small objection within a film of boundless beauty and gorgeous cartoon buoyancy.

A motion picture like Up makes it clear that Pixar has moved beyond the point where they need to pander children. Unlike DreamWorks, Pixar allows sophisticated themes and ideas to seep into their movies and they don't feel the need to oversimplify everything. That's not to say Pixar creates family unfriendly art films - Up includes plenty of jokes that kid will get, and its appeal is boundless. To describe the pleasures afforded by Up is ultimately an exercise in futility because it wins you over in so many ways - alternating between solid belly laughs to cliffhanger thrills to gorgeous imagery - that one is simply left wondering what they're smoking over at Pixar studios and why more filmmakers aren't smoking the same thing.

Gone Baby Gone

The aunt of a young girl who goes missing hires two local private detectives to find her amidst the usual accompanying media frenzy. Gone Baby Gone was directed and co-written by Ben Affleck on his debut behind the camera but please don't let that put you off! It's actually one of the most refreshingly adult and well-written cop thrillers in recent memory. The story felt to me almost like L.A. Confidential done in the style of TV series The Wire, in that there is very little in the way of moralistic black and whites, all set in a ghetto-like environment with the associated colourful yet believable language and characters. It's a film that actually has something to say, examining questions of the personal sense of right and wrong and the cynical media hype machine milking such incidents for all their worth for its own gain. Of course having such superb acting talent involved certainly doesn't hurt, Affleck, Freeman and in particular Ed Harris are are excellent and Casey's brother shows an excellent eye in his surprisingly mature direction. It's not perfect; the story is perhaps a little too convoluted, I myself feeling that there was one too many endings for its own good, but aside from that there is very little to find fault with. One of the most accomplished directorial debuts I have seen in years, and all this from the star of Gigli! Who would've dared to think...?

Gone Baby Gone

The aunt of a young girl who goes missing hires two local private detectives to find her amidst the usual accompanying media frenzy. Gone Baby Gone was directed and co-written by Ben Affleck on his debut behind the camera but please don't let that put you off! It's actually one of the most refreshingly adult and well-written cop thrillers in recent memory. The story felt to me almost like L.A. Confidential done in the style of TV series The Wire, in that there is very little in the way of moralistic black and whites, all set in a ghetto-like environment with the associated colourful yet believable language and characters. It's a film that actually has something to say, examining questions of the personal sense of right and wrong and the cynical media hype machine milking such incidents for all their worth for its own gain. Of course having such superb acting talent involved certainly doesn't hurt, Affleck, Freeman and in particular Ed Harris are are excellent and Casey's brother shows an excellent eye in his surprisingly mature direction. It's not perfect; the story is perhaps a little too convoluted, I myself feeling that there was one too many endings for its own good, but aside from that there is very little to find fault with. One of the most accomplished directorial debuts I have seen in years, and all this from the star of Gigli! Who would've dared to think...?

Gone Baby Gone

The aunt of a young girl who goes missing hires two local private detectives to find her amidst the usual accompanying media frenzy. Gone Baby Gone was directed and co-written by Ben Affleck on his debut behind the camera but please don't let that put you off! It's actually one of the most refreshingly adult and well-written cop thrillers in recent memory. The story felt to me almost like L.A. Confidential done in the style of TV series The Wire, in that there is very little in the way of moralistic black and whites, all set in a ghetto-like environment with the associated colourful yet believable language and characters. It's a film that actually has something to say, examining questions of the personal sense of right and wrong and the cynical media hype machine milking such incidents for all their worth for its own gain. Of course having such superb acting talent involved certainly doesn't hurt, Affleck, Freeman and in particular Ed Harris are are excellent and Casey's brother shows an excellent eye in his surprisingly mature direction. It's not perfect; the story is perhaps a little too convoluted, I myself feeling that there was one too many endings for its own good, but aside from that there is very little to find fault with. One of the most accomplished directorial debuts I have seen in years, and all this from the star of Gigli! Who would've dared to think...?

Whip It

This movie was awesome!! Loved every minute of it. The script was so refreshing and delightful, A round of applause to screenwriter and novelist to Shauna Cross (who herself was a derby girl). Drew did a really good job directing as well, and I loved her character as well. She might have some anger issues there but she is lovable and sweet. I loved how her character would always have some sort of injury, you would see her sporting off a neck brace, bloody noses, bruises, I believe she a had a crutch in one scene. It was awesome. Iron Maiven (played by Juliette Lewis) is such a bitch in the movie.. But I loved how she came around at the end. There was other really great performances by Eve, Kristen Wiig, Zoe Bell, Alia Shawkat, Marcia Gay Harden and more. It couldn't be the more perfect cast then that.

But I after to talk about the astounding Ellen Page. Can this girl do no wrong? She has the perfect comedic timing. But she can also be heartfelt, and charming, endearing. She is such a wonderful actress. She had me laughing and then she had me at the brink of tears. I love her so much. And according to Shauna Cross herself, she did ALL her own stunt work. The film crew had a stunt double off screen, just in case, but Ellen refused. That just goes to show, how dedicated she is to craft. I love her for it.

This movie really depicts women as strong and intelligent, and I think that's just so great. You don't see it too often. And I also loved how everyone got along, in the film. Not just with rivals (except for Juliette Lewis' character) but within their own team. Like there is this one part where Bliss (Ellen Page) where she has had this falling out with her parents and her best friend and now she has to tell the truth with her teammates that she is actually 17 ( she was supposed to be 21), and her teammates still remain supportive. You telling her that she is always be a Hurl Scout no matter what. I think it's great to show positive messages like that. I also like in the script that there wasn't really a happy ending with the boyfriend. You see in so many movies that there is a problem and they break up but then they are together and they are so happy, and what to spend the rest of their lives together...and this one doesn't really end that way. But it doesn't really end in a angry sort of way either. I liked how ending. Apparently in the book, it's a lot worse though.

So overall, I was very pleased. I highly recommend it. Also stay during the credits, to see bloopers. It's just a little something extra, that I am sure you will appreciate. I am so glad that I got to see this film. I want to see again.

Destry Rides Again

When the sheriff of a corrupt frontier town is murdered and replaced with the town drunk, the man calls on the services of the son of a legendary law man, only to find that he is a pacifist. James Stewart is at his very best for this, one of his defining roles. His easy going charm and integrity are a perfect foil for Marlene Dietrich's feisty music hall girl (so brilliantly parodied by Madeline Kahn in Blazing Saddles) and they have fantastic chemistry together; the cat-fight scene is pure comedy gold. Essentially a story about standing by your principles no matter what the provocation, all the characters are impossible to dislike, with some great comic relief provided by a quality supporting cast. Consistently funny with a timeless story of a hero who refuses to resort to violence in the face of adversity, this is one of my all time favourites and a true classic from the golden age.

Dorian Gray

Its a pretty decent thriller. It didn't quite live up to the book. One thing is for sure though, there is lots of sex in this film, quite surprised, yet happy, to see Ben Barnes shed some clothes, it was a nice turn. I think they did a good job with all the gore and the horror aspect. One of the things I didn't like was how they would make the picture move, I would have just preferred it, if each time you saw the picture, it would be different. Just some of the scenes where the picture itself was moving looked a little cheesy to me. Also when I was watching it the audience was laughing at some parts, that aren't technically supposed to be funny, so I would take that as a disclaimer, but then again, when they left the theatre they said it was good.

I think they added some scenes, it wasn't completely like the book, but I think it was a good adaptation. Ben Barnes really does look the part of Ben Barnes and he does a pretty good job, he might have to work on the crying part though. When Sybil Vane dies, his crying just looked odd. This also a scene where people in the audience laughed. Colin Firth does a really good job. He can be funny, he can be dramatic, he can be angry. He plays it well.

So overall it was pretty good, I probably could have waited but its not entirely bad. I am glad that I did get that TIFF experience and here what director had to say about it and stuff.

The Killing

Fresh out of prison, a career criminal cooks up an ingenious scheme to rob a racetrack. An early film from Stanley Kubrick, and yet another masterclass. He takes to the visual trappings of Film Noir and creates one of the most efficiently told and tautly directed heist films ever made. Sterling Hayden is perfect as the straight-talking, street-wise mastermind, as is Marie Windsor's Machiavellian femme fatale who twists doomed sap Elisha Cook Jr round her little finger. So much of this film has influenced some of the best directing talent working today that it still feels remarkably contemporary; Tarantino owes much to the over-lapping timeline in particular, and the mix of off beat characters, violent crime and cruel twists of fate is straight out of a Cohen brothers movie (Vince Edwards actually looks the spit of Peter Stormare in this film!) In fact the only element that dates it is the newsreel style voice over, although it does help fit the pieces of puzzle together quite well. Johnny Clay was a brilliant character whom I would have liked to have learned more about, to the point where you are almost sorry to see him caught. But wishing the film was longer is hardly the most damning criticism! Is there any genre Kubrick couldn't do?

The Final Destination

Let me say, I like The Final Destination series, but this has to be the worst. The gore isn't even that good, I mean in a realistic sort of way. And I surprised that they chose such a c-list cast. I mean there wasn't one person I recognized. And some of them aren't the greatest actors.

And the plotholes, at some point during the film, Hunt (Nick Zano) gets stuck at the bottom of the pool, now they're are people swimming all around him, don't they notice that someone is clearly in distress and can't move....wouldn't someone be like...hey this guy must drowning....and try to save him. I mean he probably would have died anyway, but you think someone would notice. And then the way he died, was pretty ludacris as well.

There was more, but I don't feel like wasting my breath too much. The one thing I did like was the opening credits, there was some cool graphics that showcased the first three films. And also during the film, the little things like McKinley Road (McKinley was a character and the highschool in the 3rd one) and the Clear Rivers Water ( a nod to the character in the 1st and 2nd one)...stuff like that was cool. But overall, I don't think it was the best addition to the series.

Chaplin

A very well done film, with strong performances by the cast. Robert was truly amazing, he nailed Charlie Chaplin. His moves, his expressions, I found it to be very on point. I adored Geraldine Chaplin as well. She played her own grandmother in the film. And she did a great job, her scenes were very sad and emotional and she played well in them. I also really liked Moira Kelly who got to play two different characters both equally as endearing. I wonder now that I have seen the film, if Chaplin married her ( her second character Oona) because she looked like his first love. I mean, Im sure there was lots of other reasons, but I wonder if that was the main reason.

I am glad that I saw this film and got some insight into one of our most legendary actors. Charlie Chaplin was a truly gifted comedian, actor and director. He was very thoughtful and courageous and ahead of the curve. And he was honest, never afraid to say what he thought. It was interesting to see his life story. I loved how in the movie (and in real life) how he made everything relevant. Like with his immigration movie, or with Modern Times (that dealt with The Great Depression) or The Great Dictator(with dealt with World War 2). He wasn't afraid to push boundaries, and do something different. And I have more respect for him now.

I l think they did a great job aging Robert. Some great make-up effects. One of my favourite quotes from the film was where he was discussing how he didn't want The Tramp (his most famous character) to be in talkie. How it would take away the charm. And I have to say, I think he is absolutely right. When you have something so iconic, its hard to make a change, and to still have something great come out of it. Look at all our endless remakes these days, some of them just don't live up to the original, because the first was so special to begin with. I also loved his quote in The Great Dictator as well. Im sure at the time, he lost a lot of fans,but again I think that shows his genius and his courage to publicly take a stand and make fun of hitler, at time where Hitler was reigning. Also I love how at the end of the film when he is at the Oscars, that they actually used the real clips of Charlie Chaplin himself in the films, I thought it was a rather nice touch.

So I highly recommend you to see this film, whether you are a fan of his work, or never really knew what he was about. I think this film did a great job portraying his life, gave me some good insight.I do want to check out some Charlie Chaplin films. I already had some interest, this just re-instated it.

Stalag 17

When a self-serving operator in a WWII prison camp is suspected of collaboration with the enemy, he is forced to uncover the true culprit. Another of Billy Wilder's cynical classics, there is a lot more humour in the material than you would think. In fact it is often so broad it can resemble an extended episode of Sgt. Bilko, full of fast paced wise-cracking and army camaraderie. It is Holden's character of course that provides the real drama, and he plays it pitch perfectly. Unlike most prisoner of war films that are full of stiff upper lipped heroics, his cynical attitude never wavers and the sharp, witty dialogue makes for some fine black comedy. Easily one of the best examples of the genre.

Pineapple Express

OMG I love James Franco. Can he do no wrong? I loved all his lines, I loved his character, the man is incredibly talented and very diverse in his roles. Seth was pretty good too. I usually don't like him because I tend to find that he plays the same kind of character (which he is in the movie too) but I enjoyed it and I enjoyed him.

This movie was actually pretty funny. Found myself laughing a lot. I honestly expected it to be really stupid and a damper on James Franco's career, but I don't think it was at all. He shines in the film.

The one main thing that did bother me in the film, is how so many people got shot (Red's character multiple times) and yet they somehow manage to not only survive but then get up, walk around, fight whatever. That isn't going to happen. I just thought all of those scenes were stupid, and not needed. And what was up with Seth's character (Dale) dating a highschooler? I mean yeah sure that happens in real life all the time but I don't think it was the most appropriate thing to put in the film. Although the film is about weed so it's not necessarily to most appropriate film to begin with, but I still think that should have been changed as well.

So overall it was pretty funny. I enjoyed myself. Some minor glitches but an overall funfest.

Pineapple Express

OMG I love James Franco. Can he do no wrong? I loved all his lines, I loved his character, the man is incredibly talented and very diverse in his roles. Seth was pretty good too. I usually don't like him because I tend to find that he plays the same kind of character (which he is in the movie too) but I enjoyed it and I enjoyed him.

This movie was actually pretty funny. Found myself laughing a lot. I honestly expected it to be really stupid and a damper on James Franco's career, but I don't think it was at all. He shines in the film.

The one main thing that did bother me in the film, is how so many people got shot (Red's character multiple times) and yet they somehow manage to not only survive but then get up, walk around, fight whatever. That isn't going to happen. I just thought all of those scenes were stupid, and not needed. And what was up with Seth's character (Dale) dating a highschooler? I mean yeah sure that happens in real life all the time but I don't think it was the most appropriate thing to put in the film. Although the film is about weed so it's not necessarily to most appropriate film to begin with, but I still think that should have been changed as well.

So overall it was pretty funny. I enjoyed myself. Some minor glitches but an overall funfest.

Iron Man

So there was lots of action, lots of explosions etc, yet somehow I wasn't too overly thrilled by it. Maybe it was due to all the hype surrounding this movie. It just didn't live up to my expectations.

Robert is of course brilliant and hilarious, I enjoyed watching him. I love the scene where he has come back from captivity and he is in the car with Pepper and he demands to get a cheeseburger before anything else. I wonder if that is something Robert ad-libbed. Also when he is doing all the test runs and he says to the robot "If you douse me again, and I'm not on fire, I'm donating you to a city college", that was pretty funny. Also the beginning where the soldier is taking a pic with him and he's like "Please no gang signs" and then hes like "I'm kidding". Yeah Robert is pretty great, the best thing out of the movie really, I think he is what saves the film.

I felt like there was plot holes. Tony should have died or at the very least, been majorly hurt so many times, and yet he manages to just walk it off. Like when his first suit crashes in the desert, and you see pieces of it everywhere, and he buried half way, If that impact didn't kill him, then he should have some broken bones, or gotten knocked out. Or when he is doing all those tests and he flies backward into the wall, shouldn't he not have some sort of back injury? I know it's just an action movie and its meant to be fun but come on. Also wouldn't those soldiers notice him making a suit, especially in the scene where you see him holding up the mask. They should have come busting in there and shooting him, at least in the foot or something to show him they're serious.

I don't know. I expected something more, something better than this. I mean especially after hearing some great reviews for this. So I was a little disappointed, but it's not worse movie, its not even the worst action or comic book adaptation but I've seen better.

Run Lola Run (Lola rennt)

A young woman receives a phone call from her boyfriend telling her that if he doesn't get 100,000 Deutchmarks within 20 minutes he's a dead man. It tells of the consequences of the phone call in 20 minutes of real time three times over, each containing a slightly differing timeline, thus showing how minor incidents or coincidence can have a massive knock on effect to not only your life, but those around you. Run Lola Run is very much a product of its time; the techno soundtrack, grunge fashion and fascination with the mathematics of probability (ie "the butterfly effect") all reek of the 1990s, but Run Lola Run still feels strangely fresh, probably because of its brisk, no-nonsense pace and 75 minute running time meaning it never gets too caught up in pretentious navel gazing. I could have lived without some of the directorial affectations that made it feel a little too much like a music video in places, and the coincidences are of course extremely unlikely, but the urban crime element gives it a Luc Besson-esque flavour that makes for an entertaining and original experience.

Lat sau san taam (Hard-Boiled)

A renegade cop teams up with an undercover agent to bring down a gun runner with a massive arms cache hidden in a local hospital. John Woo is pretty useless when it comes to anything but action, so it comes as little surprise that his best film by far includes very little else. And action it has in spades! The now familiar tough guy cop clad in sunglasses and duster coat, leaping through the air in slow motion, twin pistols blazing has now passed into cliche territory, but Woo invented it. Woo's artistic take on action influenced everyone from James Cameron to the Wachowski brothers and Robert Rodriguez would probably be gainfully employed behind the counter of the nearest Taco Bell without this film. The action is non-stop and absurdly over the top, and if it weren't it wouldn't have worked half as well. It's an exploitation flick cunningly disguised as a cop thriller, and the combination of brilliantly choreographed violence (the extended takes of the hospital shoot out in particular) and super-cool leads makes for an unpretentious, action packed blast. The birth of the modern action movie.