Showing posts with label best comedy movies list. Show all posts
Showing posts with label best comedy movies list. Show all posts

Inglorious Bastards (1978)

Inglorious BastardsI watched this classic on HBO as a child and loved it. I recently bought it and watched it the first day I received it. It is the best "B" class WW II movie out there. The acting is pretty good and the story, while implausible, is pretty cool. All of the actors were perfect for their role. Other than Bo Svenson, Fred Williamson, and Ian Bannen, I have not seen any of the other actors since. It's too bad. I would like to see them in something else. By the way, if any of you out there who were in the service is wondering why Bo Svenson sounds authentic calling cadence in the movie, it is because he was in the Marines for six years.The movie is relatively short by today's standards so pause it if you go to the bathroom. Anyway, a great and fun movie. I loved it as a kid and do today.

Thanks to the odd impressive matte shot and a skilful marshalling of its limited resources, Enzo Castellari's Inglorious Bastards doesn't look cheap even if the same extras keep on getting killed in every action scene, but despite Quentin Tarantino's slavish devotion it's more Garrison's Guerrillas than the Dirty Half-Dozen. Castellari's heroes are a standard issue group of American military prisoners: black marketer (Michael Pergolani), would-be mobster (Peter Hooten), coward (Jackie Basehart), proud black man who got tired of taking s*** (Fred Williamson), mildly sympathetic disillusioned German deserter to avoid offending the lucrative German market (Raimund Harmstorf) and the obligatory cocky but heroic one who got busted for using his fighter plane as a taxi for dates across the English Channel in his downtime (Bo Svenson). Naturally their plan to make a break for the border when they're waylaid en route to the stockade by some Nazi planes naturally ends up with them embarking on a mission vital to the success of the war (admittedly only after inadvertently killing some of their own side), but then this is a film that exists purely to do only what's expected of it rather than offer any unwelcome surprise. Sure, there's the odd spin on some of the old favorites, but there aren't nearly enough naked women with machine guns to truly lift it above the formulaic.

Dialogue isn't exactly sparkling "All Americans are mongrels... and your women are whores!" and half the cast are dubbed anyway (Ian Bannen's Scottish tones are replaced by an American actor and Hooten by what sounds like John Dall), but the film does its job even if it's more supporting feature than main event. Castellari is the best kind of hack, one with a good eye for framing and who knows how to shoot action (although the sight of one German soldier being lifted up, Peter Pan-style, on a visible wire in an explosion is worthy of one of the sight gags in Top Secret! It's a minor film and one it's best not to expect too much from, but there a lot worse exploitation films out there.

The three disc US Region 1 NTSC DVD comes with a decent array of extras, including Easter Egg alternate title sequences for a couple of the film's many video reissues as Deadly Mission and G.I. Bro (it's also known as Counterfeit Commandos, Hell's Heroes and Commando Bastards) a cheap-and-cheerful hour long making of, brief then and-now tour of the locations with Castellari and a CD (not included on the 2-disc set) of what little remains of the score the composer recorded his son's school play over most of the masters! By far the most curious of the extras is an interview with Quentin Tarantino and Castellari, with the chin treating it as part confessional, part therapy, unburdening himself on the engaging director as if an unworthy disciple at the feet of a true master.

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it's hard to say what I think of this film. It's, in some ways, a brilliant war film that deserves recognition, while it can simultaneously make you shudder. it has a clever plot but then you have dialogue like "hey, those are our flyboys!" (impersonates an airplane while making a machine gun noise); there are some great effects and sets that are made good use of, but you can see the ropes pulling men from an explosion more clearly than you can see the strings in an Ed Wood film; you have naked german women firing machine guns at retreating American troops, and then you have the fact that this scene only lasts a couple of seconds (this is first time that an Italian movie has skimpped out in this category, let alone not completely over do it. It should have been at least a few minutes long, if not for the sex appeal then for the pure hilariouty of it.)

It's like a movie that's so bad that it's good, but at the same time is actually good. And, like many films of this sort, it's main source of entertainment comes from it's cleverness that simply oozes from it's different aspects including plot and filmwork.

The only major problem is that I had expected it to actually go on for about two hours or so until it ended. I would've given it four stars if it were only longer (especially certain *clear throat* scenes).

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Wahoo!! Let's grab some beer and go shoot our machine guns at some Nazis!

Inglorious Bastards is a campy cult war flick, high on violence and insanity but a little low on common sense. You've got a bunch of reject U.S. soldiers facing court martial for various infractions, like flying the jetplane to visit their girlfriend a few thousand miles away.

On the way to the military prison the convoy gets hit by some German artillery. This enables a few of the prisoners to escape. This ragtag group decides to head for neutral Switzerland while avoiding the American armies plus the Nazis.

Now along the way there is all sorts of unrestrained madness. The highlight has got to be when they stumble across the female German soldiers skinny dippin in the lake. Allright! Just what you expect to see when running for your life through Europe. The soldiers masquerade as Nazis and get ready for some wet-n-wild fun.

Inglorious Bastards is an entertaining thrill ride that makes war seem like a party. The acting is decent. I recognized the cigar-smokin' Fred Williamson from Rodriquez's classic From Dusk til Dawn.

I'm anxious to see QT's remake, supposedly due out in 2010. Somehow I doubt it resembles this film too much. But PLEEEEASE Quentin, keep the naked nazi chicks with the machine guns. I'm begging you!

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A World War II adventure set somewhere in France, The Inglorious Bastards (1978) is solidly entertaining affair, where a group of escaped prisoners become involved in a top secret commando mission. Directed by Enzo Castelari, the movie is an Italian production with an international cast, and features some nicely executed combat scenes, creative cinematography, and interesting European locations.

A group of inmate soldiers is being transported, when their convoy is attacked by a German fighter. Led by Lieutenant Robert Yeager (Bo Swenson) and Private Fred Canfield (Fred Williamson), the surviving prisoners take command, and escape from captivity, heading off in a truck bound for Switzerland. The rest of the "Bastards" are Tony (Peter Hooten), Berle (Jackie Basehart), and Nick (Michael Pergolani). They eventually wind up on foot, where after taking refuge in a barn, they discover a German soldier named Sachs (Raimund Harmstorf) who is willing to help them to escape. Travelling through the French countryside, the group encounters various German forces, and has to fight for their lives several times. Sachs is killed in a skirmish, where a group of Germans is wiped out.

Soon after, the escapees fall into the hands of a group of Partisans. They discover that the German soldiers they just killed, were actually Allied soldiers in disguise. These men, were to have collaborated with the partisans on a top secret mission. American Colonel Charles Thomas Buckner (Ian Bannen) parachutes in to lead the mission, and is furious when discovers that his trained commando team is dead, and his only option is a bunch of misfits and deserters.

It's been a fun ride so far, but things ramp up to a new level as the complicated mission goes into operation. This is where the Bastards really shine, as the various pieces fall nicely into place. Buckner and Yeager impersonate German scientists in order to try and steal a vital V2 rocket component being transported on a train guarded by the German army. Meanwhile the partisans are setting up to take over a railroad station, and blow up a bridge. What follows is a number of nicely executed action scenes, large scale battle sequences, and action aboard the train, that all build up to a dramatic conclusion.

Like many war tales, it isn't necessary to have a lot of depth regarding motivation or character development. Since the Bastards killed the men who were to go on the mission, it seems fair that they take their place. Being an Italian production, many of the actors are dubbed, which kind of colors some of the performances. Bo Swenson (Walking Tall) is rather low key as Yeager, a capable leader that can kill when necessary. Being black, slightly restricts what Fred Williamson's character Canfield can do, but "the Hammer" definitely makes his presence known, and executes his role with style and a brash attitude. Williamson, Swenson, and most of the cast, perform many of their own stunts. Dubbing hides his British accent, and Ian Bannen may not quite look the part as an American General, but his performance still comes across as quite solid. The only thing that seems out of place, is the instant romance between Tony, and Nicole (Debra Berger), a member of the partisans. This is the only tenderness, in a bittersweet tale.

Director Enzo Castelari's commentary track provides lots of background information regarding the production of the film, and the cast. Quentin Tarentino, a huge fan of the film, is featured in an extensive conversation with Castelari, almost gushing with glee at times. This discussion is quite informative, as at the time Tarentino's planned remake (The Inglorious Bastereds) was still in its infancy. In the three disc edition, Disc 2 contains two featurettes, including Train Kept-A-Rollin', an extensive 75 minute retrospective with lots of meaty information, and interviews with Casterlari, Hopkins, Williamson, and various cast and crew members. Disc 3 contains four musical selections from the film's soundtrack.

The Inglorious Basterds (2009), has increased interest in the original film that impressed and inspired Quentin Tarentino so much. This is a good thing, as Enzo Caselari's film is well deserving of a wider audience. The Inglorious Bastards is a tough straight ahead war adventure, with some unassuming and unlikely heroes, who do what needs to be done without any fanfare. "Inglorious" they may be, but they operate with a sense of style, bravely accepting their fate and fighting hard till the end.

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Slacker (Criterion Collection) (1991)

SlackerRichard Linklater was always spawning ideas about our society and why do we live this way when we should take action. In his first film, Slacker, Linklater focuses on forty different college dropouts and their lives. This is a film I can't really explain to you. It's not necessarily a story, but more of a documentary on urban city life in Austin, Texas. The characters being portrayed are usually non-socialists who happen to drop by different groups and what discussions they come across. Linklater does a supreme job of capturing moments of thought processes and characters with flaws. He also happens to do many one shots in where the camera focuses on that one person and then progresses to the next even if it's only a few minutes. What I really love about this film is how it explains life itself. How our conspiracies form over time. How our obsessions are a part of us, and never falter because it's the only thing that makes us something. It's a highly recommended film that I believe the misanthropes, loners, or outsiders should definitely watch. Definitely changed my life. Linklater your awesome!

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50 First Dates / Click (2010)

50 First Dates / ClickLove 50 First Dates. one of my favorite movies! Click is another great one. Funny!! As always, the music is great.

My hubby loves Adam Sandler movies, so I added these to his Valentine's Day gift basket. I'm sure we'll see them over and over and over again!

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the movies were a gift and they seem to be happy with the quality and choice of selection. Thank you

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The Complete Jean Vigo (A propos de Nice / Taris / Zero de conduite / L'atalante) (The Criterion Co

The Complete Jean VigoSight unseen.... the Blu-ray DVD has not yet been released. I have however seen all of these films, and own l'Atalante on DVD--which improved the quality of this very old movie. In Blu-ray it will probably be further improved, but I cannot speak to that.

For me there is no movie more romantic and heartfelt than L'Atalante. It's story is simple enough, a young couple is married in a small town and then begins married life on Seine River barge heading for Paris. The deck hand is Michel Simon, (Boudu Saved From Drowning -Jean Renoir) in another funny role. They arrive in Paris, complications ensue... L'Atalante inspired the French New Wave, especially Francois Truffaut, Claude Lelouch and Jacques Rivette. It's one of the great treasures.

Zero de Conduite is about a rebellion in a boarding school and established that genre. Luis Bunuel's Los Olvidados and Truffaut's the 400 Blows, quote directly from it.

A Propos de Nice and Taris are a City Film and a study of a swimming champion. They will seem very dated, but if you love movies, city films-films about cities-are interesting, both historically, and for the film techniques they used. The qualities of these short movies led directly to Vigo being allowed to make his two feature films.

I can't say enough about Jean Vigo and especially L'Atalante and Zero de Conduit.

Jean Vigo is one of the best directors you might not have heard of until recently. This set completely does his work justice. I have the dvd version, and the transfers are absolutely gorgeous. There are informative commentaries, in depth episodes, an interview with Truffaut and Rohmer about the man and his work (and the short amount of time he had to do it), and a neat little tribute from the director Michael Gondry. This set is essential to any lover of cinema, and its storied beginnings. Get it.

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The Criterion Collection is a beacon of light for film aficionados. For those of you who are not familiar with his work, I do not want to influence your experience. Have your own first impression. For anyone who has seen the work of Jean Vigo (preferable of film screened in a theater with an engaged audience), I do not need to tell you what a master and early innovator he was. He was a great story teller and his influence has been far reaching to every generation of great directors after him. Even those young directors who don't know his work were influenced by his followers.

Thank you Criterion, for continuing to broaden and show appreciation for the medium of film. This was a great inclusion to your canon.

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Accessing Vigo's works has been a challenge until Criterion recently issued this 2 disc set. The image and sound quality has been restored as well as they can be.

Vigo may be obscure to many filmgoers, but his influence on cinema has been substantial since his untimely death at the age of 29. His total film output was under 2 hours, but what a 2 hours they are!

The extra features in the Criterion version put Vigo into context and help the viewer appreciate the conditions under which the films were made and the difficulties faced by the restorers.

Criterion does it again!

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"The Complete Jean Vigo," consists of three short, early silent works of the French filmmaker, "A propos de Nice,""Taris," and "Zero de conduite," along with "L'Atalante," (1930),thankfully a talkie, a romantic drama that is considered one of the lesser known glories of early French cinema, which is a shame, as it is a masterpiece.

"A propos de Nice" is a rhythmic view of life in that bustling tourist city; it occasionally rises to unexpected absurd heights. "Taris" is a portrait of a swimming champion. "Zero de conduite" is an inventive, charming tale of rebellious boarding school students, a topic on which Vigo can be presumed to know a lot: It has been endlessly influential to other film makers world wide over the years.

"L'Atalante"is in black and white, runs a tight 89 minutes, and is the greatest achievement of Vigo, a too-little known but greatly respected and influential film maker, who died of tuberculosis, shortly after its completion, at the shockingly young age of 29. The film is now generally available only on this disk that constitutes the entire oeuvre of the director's short, turbulent life.

Vigo's master work opens as Juliette, a young girl who has never set foot outside her village, marries Jean, mate on a French river barge named "L'Atalante," and sets up housekeeping aboard. Also aboard are a cabin boy, and the colorful old sailor Pere Jules, played by the inimitable Michel Simon (Port of Shadows (The Criterion Collection),The Train). When the barge reaches Paris, Juliette, who has never seen that great city, slips off to take a look at it. Jean awakes, discovers her gone, and leaves her to her own devices in the French capital. She knows no one there, has no money, does not know the city at all, and will have a very hard time there. But so will Jean, on his own again, until Pere Jules goes to find her.

But this simple, engaging plot isn't the reason the film is so loved. It was restored in 2001, making Boris Kaufman's brilliant cinematography and Maurice Jaubert's lovely score accessible again. The picture is legendary for its sheer, sparkling beauty: the waterways of France, and of Paris the movie was filmed in that city's "Bassin de la Villette, Paris 19"-among other locations, have never looked more evocatively beautiful. The characters are full-blown, their actions unpredictable, confusing, true to life. The film is wildly imaginative, inventive, surrealist, and has been compared to the daring early works of Vigo's contemporaries, the better known Jean Cocteau and Luis Bunuel. It remains fresh today, with scenes that still have the power to surprise and absorb us.

Vigo was the son of Miguel Almareyda, a notorious anarchist, who died mysteriously in jail when Vigo was 12. The young boy was always in poor health: he was abandoned by his mother and sent from boarding school to boarding school. Lucky for us, he took up film at age 23. Just because Vigo is little-known today, doesn't mean his work is not accessible. You want to see what we're all talking about.

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Max Payne (Unrated Edition) (2008)

Max PayneThe Blu-ray Disc includes the Theatrical Version and the Unrated, Extended Cut. We watched the 'Extended Cut' and were not disappointed. They spared no change in producing this film. If you want to see the best your Blu-ray system can deliver, then look no further. It was extraordinarily beautiful---almost 3D like. I'm left to think of some of the snow scenes and how I felt I could reach out and capture the giant snowflakes---how I reached for a throw, suddenly feeling a chill.

I thought Mark Wahlberg did a splendid job portraying Payne. I was immediately drawn into the storyline with him seeking those responsible for the brutal murders of his wife and baby and how he was willing to die to avenge their deaths. His grief and anger were palpable and justifiable.

I've enjoyed Max Payne video games and I don't feel that they did an injustice to the gaming fans, with this production. I could easily translate Mark Wahlberg's character and the setting, into that of the games.

I did have to suspend disbelief regarding the pharmaceutical company and, 'the drug.' This is why I took off one star. For example, every person who takes a hallucinogenic drug will not have the same hallucinations, so I was a little baffled by the big winged creatures that appeared to be everyone's' side-effect, but they looked really cool, so I almost forgive them.

Several have said they felt there were slow moments, but I have to say I was on the edge of my seat for the entire 103 minutes. Perhaps I would not have felt so positive about the movie, itself, if it had not been such a spectacular AV experience. But considering the complete package, I do recommend you give it a try. You might want to rent it first, before buying, since this one seems rather polarizing with folks either liking it a lot, or hating it.

I enjoyed this movie for the action and cinematography but that was about it. The gun play is fantastic, and it reminded me of the movie "Desperado," starring Antonio Banderas and Joachim Almeida (it even featured Cheech Marin as the bartender) from 10 or 15 years ago in its emphasis on fancy gun play. That much was entertaining at least.

I didn't mind that the plot was full of holes (after all, the movie is based on a video game so I wasn't expecting anything profound there),but unfortunately, the worst thing about the movie is that Wahlberg, who is certainly a talented actor and who I like, just doesn't seem that involved in the role. His whole performance is somewhat wooden, and from his past roles he's certainly capable of better. He's also a quite competent martial artist and quite athletic, reminding me of Lawrence Olivier when he was young, who used to do all his own stunts, when he broke a lot of bones. My generation only remembers Olivier from his senior years' roles as an old man such as in "The Jazz Singer," and most don't know how physical he was when he was younger.

Anyway, I ramble on. I give this movie three stars for all the great action sequences, and also the cinematography is actually excellent, and in many ways quite beautiful and aesthetic in many scenes, so I want to give whoever was in charge of the camera his due. He did a great job with what was otherwise a less than stellar vehicle for Walhberg, who I hope will get some better roles in the future since he is certainly capable of more.

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Three years ago, NYPD detective Max Payne's wife and baby were murdered. Max gets himself transferred to the cold case office where he can continue searching for the killer who got away. He's a loner, but two people reach out to him during a fateful week: Alex, his ex-partner who may have found a clue, and BB, the security chief at the pharmaceutical company where Max's wife worked. Meanwhile, bodies are piling up, some as a result of a drug on the street that is highly addictive and, for many who take it, brings hideous hallucinations. When one of the bodies is a woman Payne was the last to see alive, her sister comes looking for him armed to the teeth; Max must move fast.

I thought this movie was pretty good. If you ever played the games and liked it, then you will like the movie. Great action and great visuals.

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The Unrated cut of Max Payne appears to be the same as regular Max Payne, except with all the computer graphic blood effects added back in, as well as plentiful swearing. There were a few extra miscellaneous scenes added back in, but no major additional plot points or action scenes.

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My wife likes Mark Walbergh. I am not a huge fan of him ever since I saw him in The Happening. In this movie he was a decent actor, but the weird part of the movie is that you were unsure what was real and what was not real. In some movies this "real vs unreal" concept is compelling, ala Black Swan. But in this movie it just gives you a headache and you want to stop watching.

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Roadie (2011)

RoadieJimmy was a roadie for Blue Oyster Cult all his adult life who has painfully and wrongfully according to him been fired by the band and left by them somewhere in the wilds of Michigan. With nowhere else to go, he makes his way back home to Queens where he has not been since his father's death many, many years before. He has barely spoken with his mother in the interim and now he overstates his role with the band to her manager, writer, producer, etc. He tries to collect himself to deal with this massive setback, but he is not making the situation any better with angry calls to the band's actual manager.

I think that roadie is one of the coolest jobs in the world next to rock star and Jimmy does as well. I, too, would have major problems dealing with his rude awakening after so many years and the loss of his livelihood and dream.

Out for some butter for his Mom's famous tuna melts, Jimmy runs into a high school classmate who is and was quite a butthead who is now married to Jimmy's first love, Nikki. Jimmy and Nikki wind up back in his boyhood room which is untouched by time and looks like a "rock and roll museum" according to Nikki.

Out of his vinyl record collection, Nikki pulls out Ratcity In Blue by, local 70s favorites, the Good Rats and they listen to a couple of tracks. This brings back memories of seeing the band every Saturday night with their friend Steph who passed away unbeknownst to Jimmy.

This movie is about real people, with lots of issues, who love music and are dealing with some very real problems. If you enjoy music, have been on the road with a band or thought about doing so (one of my life's regrets is turning down an offer to be a roadie) you will really like this movie.

Full disclosure I also own this "original" album with the cool pizza sleeve art, am a huge Good Rats fan and may have seen Steph, Nikki and Jimmy at one of those Saturday night shows back in the day. My heartfelt thanks go to Gerald and Michael Cuesta for a wonderful film and soundtrack including these New York music legends and a great version of Jackson Browne's Stay by Adam Duritz of the Counting Crows. Did they misspell "Peppi" Marchello in the closing thanks to him?

By Jim Clark, publisher Lee County Courier, Tupelo, MS

Jimmy Testagross (Ron Eldard) has been living his dream for over 20 years. He has been a roadie for Blue Oyster Cult. The key words are "has been." Blue Oyster Cult has quit filling large arenas and have cut back on equipment and personnel. Jimmy is a victim of that downsizing.

Since Jimmy doesn't have any other skill sets he limps back home to his mother.

He hasn't seen her or talked to her since his father died. She is developing Dementia. The band continues to tour in South America but Jimmy's repeated calls go unanswered.

After seeing what has happened to his mom he makes up a more successful Jimmy. He says he's become the band's manager, even produced and written some songs for them and is simply visiting before he must get on the road again because, "they are lost without him."

Downtrodden he walks into town to get a drink. There he becomes reacquainted with his longtime nemesis Randy Stevens (Bobby Cannavale) who has inherited his dad's car lot and married the girl, Nikki (Jill Hennessy) who Jimmy uses to pine for. I should say still pines for.

The problem is Jimmy never grew up. He still harbours the regrets and frustrations that he's carried with him. The road was the only thing that gave him a feeling of normal ... his only true home. Now he's forced to make a life changing decision either step up, tell the truth and take on the responsibility of his ailing mother or continue to live a lie.

This is a neat little drama filled with great music.

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I'll admit a bias here: I'm a small-town guy who headed to Hollywood to pursue my musical dreams. As it turns out, this movie had little to do with music and musicians--it had a lot to do with a man returning home to the neighborhood of his youth, lost, and in that it succeeded wonderfully.

It's no surprise some have labeled Roadie "slow" or "boring"--character studies eschew the busy-ness of plot-driven movies for the subtle, the understatement. There were many moments in the film where I expected it to decay into melodrama or the big message, and above all I applaud the writer(s) and director for avoiding that. This is Death of a Salesman type fare, a story about a man who thought he knew what his life was about suddenly faced with a new, harsh reality. For some, life plays out in big dramatic moments--cancer, heart attack, accident--but for many more it plays out in small pieces of entropy, and that's the case here.

Certainly my small town background and four musicians in a Ford Econline musical career played into my appreciation of Roadie. I realized many of my dreams on a small scale, and I appreciate that every day, but there is a bittersweet quality to what was left on the table, so to speak. I belief this movie can speak to anyone who's returned to the place of their childhood to find so many of the same dynamics are still in play. The same thing goes for anyone who set out believing they knew where they were going, only to find out one day the detours are too many to count, the triumphs counterweighted by lost opportunities, whether willingly set aside or forced to the side by "reality"--job, money, marriage, kids or even lack of skill/talent.

If you need the big message or the hopeful ending you will be disappointed. If you want grand language or symbolism, look elsewhere. In fact if you want that stuff go watch Crazy Heart, a film that had all the potential of Roadie and threw it away for fairy-tale land. The success of this film is it's simple honesty, one of the hardest things to pull off.

Finally, the music director nailed it--the soundtrack was eerily spot on, songs chosen not only for atmosphere but for message. I would have like the Jackson Browne version of The Load-Out, but Adam Duritz does all right.

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Is this movie a musical tribute to roadies who vicariously act out their rock-n-roll fantasies through the live performances of their employers or is it a musical rebuke of all forms of career mediocrity that settle for a greasy hamburger without even looking at the gourmet steak menu? For me, it was both.

Many scenes had the realistic look and feel of a low-budget documentary that exposes the dreary monotony of people talking a lot but saying very little. But other scenes played out more like attention-captivating music videos where the classic-rock song playing in the background was perfectly synchronized with the fleeting frames of film it was linked to in such a way as to reveal more in a few musical measures than even the most eloquently constructed lines of dialog could ever hope to express using the medium of the written-to-spoken word.

Thematic elements of Roadie dealt with connecting to people and places from one's past but despite being portrayed under the center-stage spotlight of honesty, these themes are never totally submerged in a bottomless pool of pessimism where hopelessness and despair become deadly poisons to those who dare to dream and dream to dare. Instead, I found a few rays of sunny optimism shining through the dark clouds of experiential adversity and disappointment as though to subtly suggest that just as wisdom is gained from taking an honest look at the many seeds of mistakes (erroneous judgment) sown in the gardens of the past so can wisdom be applied to improving the blossoming realization of the future by making better (wiser) choices in the decision-sprouting reality of the present moment!

Led Zeppelin said it better than I ever could in a line from the lyrics from their 1971 hit, Stairway to Heaven:

"There's still time to change the road you're on."

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Not exactly an uplifting movie, though there are a few great musical moments in Robin Trower and Blue Oyster Cult songs. This movie plays out the nightmarish scenario dreaded by all near-do-wells, coming home a failure. Other subject lines within the film include unrealized dreams, excessive drug usage and aging.

But actor ( ) cast as Jimmy Testagross delivers as the one-time roadie who's lost his job.

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Vicky Cristina Barcelona (2008)

Vicky Cristina BarcelonaIn "Vicky Cristina Barcelona," Woody Allen begs to contradict another pundit of his age, Mick Jagger. Woody demonstrates in his latest movie that you can't EVER get what you want, and you also can't get what you need. He demonstrates this in the story of how Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), two lovely young Americans staying in Barcelona for a few months, react to the romantic overtures of the dashing, primally sexy artist Juan Antonio (Javier Bardem). Vicky--a master's candidate in "Catalan identity," although she is not Catalan and barely speaks Catalan or even Spanish--finds that sex with Juan Antonio shakes up her previously solid feelings for her dullish American fiance, Doug (Chris Messina). Cristina--a dilettantish photographer/filmmaker who is defined by the fact that she only knows what she DOESN'T want in a relationship with a man--finds greater satisfaction with Juan Antonio, at least until Maria Elena (Penelope Cruz), Juan Antonio's volatile, insanely jealous ex-wife, shows up.

Some critics have opined that "Vicky Cristina Barcelona" is a hackneyed blast at naive Americans left at sea by European sexual sophistication. However, I think it's more a delineation of Woody's basic belief that happiness in love is transitory at best. How can you possibly hold up Juan Antonio and Maria Elena--who are constantly at each other's throats, to the point that Maria Elena brandishes knives and guns--as an example of sexual sophistication? They can't live with each other, they can't live without each other, but she may end up killing him, herself, and a few innocent bystanders. As enacted in a scintillating performance by Cruz, Maria Elena embodies the eternal irrationality of love, a blind craziness that--at least in Woody's view--stamps an irrevocable expiration date on even the tenderest, most ardent love.

Not quite a comedy but certainly not a tragedy, "Vicky Cristina Barcelona" is a rueful commentary on the constant dissatisfactions of love and life, made all the more bittersweet by the heartbreakingly beautiful scenes of Barcelona and Catalunya wrapped in golden light by photographer Javier Aguirresarobe. The film offers us multiple pleasures--not least the excellent performances--yet, in the end, it feels slight. There are too many of Woody's familiar tropes for us to take the film at face value, especially the overly familiar characters; personally, I'm tired of the gorgeous, nubile young "Woody women" who are drawn vaguely toward a career in the arts yet are completely confused about everything except their need for hot sex. And, yes, Woody, we got the point decades ago that you consider life and the Universe meaningless; why do you always have to have one character in every movie (in this case, Juan Antonio) declare that belief baldly? "Vicky Cristina Barcelona" is worth seeing, but it falls short of being one of Woody's masterpieces.

On first hearing about this new Woody Allen film Vicky Cristina Barcelona, marked up as a comedy and listed as Woody Allen return to form, I was certain to see this on release date in the UK. But life once again had me side tracked and I've only managed to get around to it now. Even though I've heard good/bad opinions from friends it was still a film I was always going to view for myself; so rented this film to draw my own conclusion.

The whole film is interwoven and shaped so that different storylines are voiced together by a narrator who fills us; the viewer; with a bigger picture of what happening at all times. Vicky Cristina Barcelona, three characters are placed in the title, starting with two americans who have different attitudes to life and love. Victoria (Rebecca Hall) plays it straight laced; a no nonsense attitude; questioning everything; her sensible cerebral life is her. Currently working on a Master's degree in Catalan Culture she leaves a well-off fiance behind in New York and travels to Barcelona with Cristina to stay with friends for the summer. Cristina (Scarlett Johansson) free spirit; sexually adventurous; committed only to herself; knowing what she doesn't want in life rather than what she does. Cristina's art is photography. The third character Barcelona with amazing architecture, music, cuisine, a beautiful enriched festively soak up the sun atmospheric city.

Living in Barcelona; Juan Antonio Gonzalo (Javier Bardem) plays the moody, seductive Picasso-ish artist who in turn sets out to seduce both girls alone or even both at the same time, a distraction part time, using what he needs to remain creative. Juan might even be looking for a re-placement of losted love as he clearly has not gotten over Maria Elena (Penélope Cruz) the passionate muse and fiery ex-wife who returns when mood suits.

Before long Victoria begins to question her own life; could she live on the other side like Cristina; Carefree. While Cristina questions commitment to any life with either one or two people in it. As for the artist and his ex-wife fire and passion holds the bond but realistically a third party is needed for them to remain harmonic. Could happiness be elusive?

One thing I did notice from the off: Woody Allen had chosen not to give himself an acting role but British actress Rebecca Hall; (Vicky) who does a great american accent for her part, seemed to be playing Woody's part in this film, the mannerisms are more than recognizable here. Other film trademarks are visible like encounters in the street also Cristina's artistic bent, like Annie Hall's so long ago, should be for photography. Also the fact Vicky and Cristina speak in that distinctive indulgent conversational babble which worked quiet well from both actress.

But there is no doubt the Spanish players have it; presence and forthright energy, Javier Bardem as the artist; alpha male; Penélope Cruz clearly stealing the show; everything she does and says seems to mean more, count for more, she certainly walks off with the film and an Oscar.

Summing up: What I loved mostly was the beauty of Barcelona on film, the photography was marvelous. Things I could relate too in this; Victoria taking in the local music played, this is certainly something I'd do; seek out and find wonderful acoustic guitar outside a Café or Bar. It deals quiet nicely with modern day relationships; in tune with our times this film is PG rated; which would not have been the case maybe ten years ago; dealing with sexual topic's on a PG shows life; moving forward. Overall perfectly watchable; evening in; glass of wine. Three and a half stars I'd give this; I wouldn't put this down as a return to form for Allen; comically speaking, but it's more than a likable film to watch; worth seeing.

Andrea Bowhill

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VICKY CRISTINA BARCELONA is a film about youth, about self-discovery, and about the anything goes freedom and spontaneity that Americans feel (or try to feel) when far from their own homeland and therefore liberated from their own cultures notions about love and life. Abroad one escapes the tyranny of ingrained convention and habits of mind and one gives oneself permission to experience another version of self and life in another land, or such is the promise of travel.

The problem with Vicky and Cristina (and perhaps with this film) is that Barcelona does not really liberate either of them from anything. Both seem too self-conscious and/or too self-occupied to step outside themselves and what they know. Both have a comfort level with themselves and each other that is never breeched. And so although Barcelona promises and delivers a certain amount of adventure, it does not really deliver either girl from themselves. During their stay, they are exposed to a passionate Spanish culture and introduced to a fiery tempered Spaniard but ultimately they both make the same kinds of choices that they made back home. Cristina (Scarlett Johansson) has always been an impulsive free spirit who starts things, loses interest, and does not finish them. It does not matter what country she is in, she is the same, and so the Spanish trip ultimately changes nothing for her. Vicky (Rebecca Hall) has always been conservative in matters of life and love. Although she is attracted to others that feel things and act on those feelings (like her friend Cristina) Vicky does not altogether trust emotions and is afraid to have them and, therefore, is never certain what she feels or if she feels anything at all. Vicky is very much like a classic Henry James male and she is driven by the same fear that drives James' male characters which is a fear that they are missing out on life. Although engaged before she embarks on her Spanish holiday, and apparently immune from the advances of strangers, she, nonetheless, remains fearful that she is missing out on something. Its really only when her friend enjoys a spontaneous summer with the painter Juan Antonio (Javier Bardem) and his former lover Maria Elena (Penelope Cruz) that she wishes that she too could live so passionately, so recklessly. The fact that she holds everything in is what makes her so alluring to the passion-drunk Juan Antonio. But she is who she is, neither Spain nor Juan Antonio have the power to changer her.

And so there is something sad about this trip (and this film). Woody Allen is one of the few directors who gives us genuinely interesting characters and stories and that should be applauded. In this film the two main characters, Vicky and Cristina, are ultimately incapable of being anything but who they are and who they are is Vicky and Cristina. Whether Woody thinks that their inability to live or think outside of their own comfort zone is an affliction that is peculiarly American is not exactly clear, but likely. Marie Elena's view of the Americans is that they are too self-involved to really live. Of course Maria Elena who does allow herself to live also opens herself up to suffering. I'm guessing that with Vicky Cristina Barcelona Woody is perhaps analyzing the American psyche (which is what he does best) and that what he finds is a psyche that is firmly rooted in and addicted to self and that resists any kind of self-surrender. This seems to be the sober reflection of an artist who has seen and contemplated America and Americans for many years.

Despite the location this is a very sober film and, despite a few well-placed laughs, also a very somber one.

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In a way, Woody Allen is every bit the escapist a filmmaker as are the directors who give us CGI dinosaurs and galactic space battles. In what world other than Woody's do Bohemian painters, sculptors, writers, photographers and poets live in handsome houses, drink fine wines, drive luxury cars, and buy expensive antiques? Of course it's not that no great artists are so successful in the real world, but in Woody's movies everyone is. And none of the other characters blink, or remark what an unusual situation we have here. (For a more realistic vision of how a relatively obscure artist lives [a poet this time] see The Hours.) Woody's people may still reside in the Village mentally, but materialistically their tastes are more Park Avenue, Rome and Paris, just like their creator.

Woody wants to eat his cake and have it too. His films always include boring characters (or more precisely, attractive, young and insecure females married or engaged to boring male characters) who work in the stuffy corporate world. The implication from Allen is always that these are the dull people in life, that the Bohemians are the romantics with imagination and fire and passion. Yet the Bohemians never pay the price by living as Bohemians do. Their lifestyles and the incomes required to support them are those of the bean-counters that Woody seems to disdain. Only their sexual appetites seem more acute, their mores looser. Even though he's now 73, I can still feel Woody's adolescent insecurities, which he's never seemed to get over, and I'm not being puritanical here: I don't just mean the preverted insecurities...

Which brings me to Vicky Cristina Barcelona. This film is reminiscent of Manhattan, with a touch of Annie Hall, Match Point, Midsummer Night's Sex Comedy, Hannah and her Sisters, Mighty Aphrodite, and a dozen other films thrown in: young Ivy League-ish females of conflicting temperaments and values and have "existential" crises in the middle of the film; said crises are solved by rotating or experimenting with sex partners. Or maybe the rotating of the sex partners *caused* the crises--we're so confused. But we do a lot of hand-wringing in the second act, always over fine wines and killer views, or inside million-dollar apartments somehow owned by the aforementioned Bohemian artists. In the end, there's a change once again of heart and we basically wind up at square one, where we started with these people. After years of being accused of making the same basic idea over and over, Woody has bought a Fodor's guidebook and set some of his more recent remakes in Europe.

At least it's all great fun. Throughout VCB I felt Woody wasn't taking this too seriously: this *isn't,* thank heavens, Interiors. It's almost as though Woody's become a self-aware manqué of himself lately. I mean, can we really expect anything new and eye-opening in the 30th film about young neurotic females on a journey that involves partner-swapping and clever allusions to the art world any more than we can expect anything new from Star Wars VII: Revenge of the Droid Clones, whenever George Lucas decides to make it? By now attending Woody Allen films, like attending Lucas' films, has become ritual to the fans.

Rebecca Hall plays the Diane Keaton part. Scarlett Johansson plays the Mia Farrow, or Mariel Hemingway, or whoever, part. It's well-written, within strict limits. Woody has a great ear for how people, at least people of a particular circle, talk, and he lets them talk, which is refreshing in an era where so much film "dialogue" consists of the "f" word or sarcastic one-liners and immature sex jokes. At he same time, name me, jokes aside, a really great, memorable line from any WA film. Most of it is throwaway, and you could cut and paste a rant from Dianne Wiest's mouth from Hannah And Her Sisters into one of the characters here. But at least Allen's gotten over his other big insecurity, which is filling his scripts with allusions to writers, philosophers, composers and other highbrows to show you how literate he is.* (Yes, I know he makes fun of people like this--Diane Keaton in Manhattan--but he also fills his "Woody" character with enough knowledge from Everyman's Library to keep the writers on Jeopardy busy for months.) The film is gorgeously shot, well-acted (especially by the women) and engaging. But in the end, it feels hollow, partly because we've been there before, partly because he's not even *riffing* on himself anymore. No one and nothing changes at the end of VCB. Without giving away spoilers, I'll just say no one seems to come to any realizations, which is why I put quotes around the word existential. They just have problems that last for two hours, conveniently. Fade out with some plucky music and those Windsor-font credits.

Not a bad film, but nothing to write home (or send postcards) about either. Also, as a few others have pointed out, the narrator was unnecessary, and the film would have been a bit better if we could have reached for ourselves some of the conclusions we are spoon-fed.

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* Of course I wrote this review before Midnight in Paris.

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Woody Allen has produced an excellent film for thinking adults in Vicky Cristina Barcelona. I say this because he is able to capture much of the paradox of relationships as two young women in their 20s begin to explore what they want from life and from their relationships.

The character of Vicky, played wonderfully by Rebecca Hall, is a young woman who plays it safe most of the time. However a short and unexpected fling with artist Juan Antonio, played by Javier Bardem, opens up emotional doors for her that she can't close with her rational mind. Vicky and her good friend Cristina are staying at the home of Vicki's family friends, where Vicky accidentally sees the wife in the embrace of her Spanish lover. Patricia Clarkson plays the middle aged woman who tries to explain to Vicky why she has taken a lover and then begins to take the role of advisor to Vicky so that Vicky doesn't make the same mistake of marriage for stability rather than passion.

Cristina on the other hand moves in with the artist and his mentally unstable wife, Maria Elena, played by Penelope Cruz. Despite all the freedom, drama and sex, in the end Cristina sadly learns that they are a highly dependent couple, passionate about each other, but so unstable that they can not maintain a solid relationships.

In the end we might expect Vicky to learn from her experiences with Juan Antonio and drop her wealthy privileged boyfriend, Doug. Or we might expect Cristina to learn some lessons about dependency and stability from living in a 3-way relationship with Juan Antonio and Maria Elena. But this is a Woody Allen film and behind the wry humor Woody is a wise philosopher. For in the end we can only learn from our own mistakes and unfortunately we often have to make the same mistakes repeatedly before our foolish hearts get a clue.

This is excellent film making. The film is warm and sunny and often shot outdoors, exploring the Catalan landscape. The architecture of Gaudi pops up here and there in scenes in Parc Guell or Sagrada Familia.

All the actors were in top form with Rebecca Hall emerging to the top with a subtle performance of a naive and insecure young woman playing the role of a determined and stable woman. Scarlett Johansson is excellent as the risk taking young woman who gradually understands that she is the third party to a highly dynamic mutually dependent relationship which really holds no future for her. Javier Bardem is very good as an intelligent, intuitive, man who finds he can't live in peace with his soul mate. Penelope Cruz is superb as a volatile dramatic creative woman who struggles against her own dependency needs. Last of all, Patricia Clarkson is excellent as the older woman who has been there and done that and now wishes that others would not make the same mistakes.

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