Showing posts with label top 10 romantic comedy movies. Show all posts
Showing posts with label top 10 romantic comedy movies. Show all posts

Lady for a Day (1933)

Lady for a DayFrank Capra directed this film twice. The second version was called Pocketful of Miracles, starred the fearless Bette Davis, and was made in glorious technicolor. Both were actually very good films.

I've always been a huge Bette Davis fan so it's interesting that I have a soft spot for the combination of the audacious May Robson and the suave and debonair Warren William, but I think they work off one another really well and Warren William comes off as a more Runyonesque hood with a heart of gold than his counterpart in the later version Glenn Ford. These films were adapted from the Damon Runyon short story Madame Le Gimp.

The plot is fairly simple. Apple Annie (May Robson)is a down on her luck apple vendor during the depression. William's character Dave the Dude is a gambling hood who views Annie's apples as a talisman that brings him good luck. Dave tips Annie well, but she lives in a tenement but uses a swank NYC hotel as her mailing address and that's where the story lies. She is letting her convent educated daughter who is living in Europe subsidized by Dave's generous tips think she is a high society diva.

Annie's lie apparently goes on without complications until she receives a letter from her daughter saying she is coming to NYC with her fiancée who is a nobleman. Of course, this comes with little notice and goes to worse when it looks like her lie is going to be exposed. The rest of the movie involves a collective conspiracy to transform Annie and make her dreams come true.

What makes this story really compeling in both films is that while a lot of the mayhem is played for laughs, there is an underlying sadness in the Annie character that is heartbreaking. Robson was probably well beyond seventy when she made this film. It was completely implausible that she could have been the mother of a young woman, but there is an element of suspension of reason at work here. Her Annie is so sad and sweet that the viewer can totally ignore the age factor and get into the moment of what is going on.

Warren William is admittedly a ham, but he balances irritation with a peculiar affability that makes him come across as a softie when it comes to his good luck charm, Annie. The supporting cast does a good job fleshing out the story, imbuing it with an odd assortment of characters that makes this movie interesting. The hoods in Dave'the Dude's employ include Nat Pendelton, Guy Kibbee, Irving Bacon, and the wonderful deadpan actor Ned Sparks. Perennial wise girl Glenda Farrell play's Dave's girlfriend with charm and a seriously semi-tough edge.

The bonuses on this Blu-ray copy, include Frank Capra Jr.'s commentary and a film essay by Scott Eyeman. It was copied from Frank Capra's personal copy. The quality is o.k., which means better than previously available sources.

This is one of my all time favorite movies! My great-grandmother babysat me whenever school was out. She was a huge movie fan and would tell me stories about where she was in her life when these movies came out. Her favorite director was Frank Capra so when one of his movies came on TV, we stopped everything and watched. This movie was one of her two favorites and has so much to offer. It is a bit of a Cinderella story for a poor apple peddler, it is a comedy, it will pull at your heartstrings it is simply wonderful. If you want a light-hearted, feel-good movie, then this is it. I like this one better than the later version Pocketful of Miracles but both are great.

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Ok. This is my first review. I had virtually no idea what this movie was about,

basically never heard of it. But was familar with Capra's work. This movie

is a hell of little gem. Will actually buy some for friends. Talk about strong endings ! Please put out more classic black and whites on Blu-ray. Many thanks. It was beautiful. Dr. Michael Hauth

Read Best Reviews of Lady for a Day (1933) Here

I have seen some awesome reviews. Even Leonard Maltin loves this new restoration of the film! The Before/After segment is very cool, and really shows how much work goes into something like this. It's gorgeous. Oh, and four minutes are in this version that were missing from the original release. So that's great too. Definitely worth the money!!

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Lady for a Day was an original which established a long-running Hollywood genre, and its theme seems so familiar to us today because its storytelling style was widely imitated for many years. It offers a look into a pivotal time in American film history, only six years into the sound era. It also foretells the successful career of one of Hollywood's most charismatic directors, Frank Capra, whose own life story had the same fairy tale quality as the films he made.

In 1933 Capra was a rising star in Hollywood, directing pictures for the upstart Columbia Pictures studio, whose home neighborhood was derided by other studios as "Poverty Row". A Sicilian immigrant, Capra was self-driven to achieve the American Dream, and to do so he created it on film in picture after picture. Lady for a Day was crafted specifically to earn an Academy Award, which neither Capra nor Columbia Pictures had ever won. Utilizing a story by Damon Runyon, Capra and his frequent collaborator, screenwriter Robert Riskin, wove a tale of an impoverished Depression-era apple seller working the streets of the Broadway district in New York City. Apple Annie was also weaving her own tales in letters to her daughter in Europe, chatting about Annie's fanciful life of wealth and success. Typical of Damon Runyon, the story is replete with soft-hearted gangsters, flummoxed cops, and politicians capable of grand and magnanimous gestures.

The impending visit of Apple Annie's daughter from Europe, with not only her suitor in tow, but his aristocratic Spanish father as well, pitches Annie (Broadway actress May Robson) into despair, and the gangsters into action to make Apple Annie into a lady for a day. "Dave the Dude" (Warren William) orders his henchmen to pretend to be the high-society types with whom a grand lady would associate, just long enough to convince the Count that Annie's daughter is worthy of marriage into his family. Comic relief is provided by pool-shark "Judge" Blake (Guy Kibbee) who is to portray Annie's wealthy and influential husband, and Dude's wise-cracking sidekick Happy (Ned Sparks).

Lady for a Day was Capra's breakthrough picture, and he filled it with the teary-eyed pathos and whimsical comedy that became his trademarks. It was nominated for four Academy Awards: Best Picture, Best Director, Best Actress and Best Screenwriting. At the awards ceremony it lost all four, and in the most humiliating way imaginable. Host Will Rogers opened the envelope for Best Director, and in his typical folksy way, drawled that he had "known this boy for many years". Not mentioning either the full name of the director or the title of the winner's film, Rogers said "come on up and get your award, Frank". Unfortunately there were two "Franks" nominated for 1933, and both started toward the stage. But it was Frank Lloyd who had won for his film Cavalcade. Capra had to slink back to his table, calling it the worst experience of his life. But it set the stage for the 1934 Academy Awards, when Capra's It Happened One Night swept all five major awards, including Best Director.

The beautiful Blu-ray restoration of Lady for a Day was made from a print owned personally by Frank Capra, and provides a luminous and nearly perfect look at the film techniques of the 1930s. It is certain to be enjoyed by any fan of Capra, or of the films of a bygone era.

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Weekend (The Criterion Collection) (1967)

WeekendWith influences ranging from Freud to Marx, De Sade and Eisenstein having walk-on roles and the Parisian weekend transformed into an allegorical bourgeois hell,

Week-End is one of the defining films of the 20th Century. Born out of the nouvelle vague cinema (French New Wave), this is the terrible birth that is brought to light from J.L.Godard's obsession with prophesising the destruction and decline of the West. Even after taking into account his overt political messages, Weekend still exist as one of the most technically revolutionary pieces of cinema to emerge from his studios into a blinding glare of publicity and hostility.

Not content with depicting the destruction of western commercial values, Godard disrupts the visual narrative by interspersing film titles, book titles and music onto a background of patriotic red, white and blue colours. From a personal perspective, one of the most impressive sequences is an eight minute long tracking-shot of the Parisian highway which progresses from straightforward traffic jams to car-wrecks and the inevitable symbol of multinational Capitalism, a Shell oil truck. Essentially Week-End marks the 'Maoist period' of Godard's film-making career, during which he declared that 'the only way to be a revolutionary intellectual is to give up being an intellectual.'

Starring Mireille Darc and Jean Yanne, Week-End's fabular narrative is a weekend journey from Paris to Normandy which slowly becomes an apocalyptic struggle against the French peasant revolutionaries who continually intervene to prevent the couple meeting Darc's mother in order to find out whether they have successfully poisoned her father. This emblematic quest for the Capitalist Grail is hindered by a philosophising character from Dumas, two rebels (African and Algerian) masquerading as refuse collectors and Saint-Juste, before the couple are captured on their return to Paris by the Seine-et-Loise Liberation Front, a group of cannibalistic freedom fighters.

Godard's continued affinity with politics can be witnessed in his other Maoist films, Les Chinoise (1967), Le Gai Savoir and Tout Va Bien (1972). Despite accusations of pretension, he still remains one of the most provocative and influential film makers of his and future generations, whilst his immense cinematic output can be regarded as a Marxist biography of the previous century.

What was an initially ground-breaking piece of cinema has evolved into an essential European film. Heralded by Pauline Kael in the New Yorker as 'Godard's Vision of Hell, and it ranks with the visions of the greatest' and 'somewhere between Swift and Samuel Beckett, alternatively violent and tender, humorous and cruel' (Jan Dawson, Sight and Sound) Week-end is a film that must be seen to be believed and to miss this is to miss out on one of the spectacles of 20th Century cinema.

WARNING: SPOILERS BELOW

I've not seen all of Jean-Luc Godard's films, but of those I have seen this is my favorite. The narrative concerns a conventional, middle class, married couple who conspire to take a weekend trip to kill the wife's parents for money.

The car trip taken by the couple is comprised of a series of disastrous, improbable, and perplexing events. Art terrorists, thieves, rapists, and Marxist revolutionaries assail the couple at all turns. France is being overrun by weirdos! Bloody, flaming car (and plane!) crashes are everywhere. Violent demise is at every turn.

In the movie is a famous traffic jam scene that employed what was, up until the time of this movie's making, the longest dolly ever made. The scene is absurd, comical, and one of the delights of the movie. Likewise, Godard was becoming interested in socialist politics at this time in his career, in light of the Vietnam war and anti-colonial struggles that were happening globally, so a lot of "revolutionary" ideas are expressed by characters in the film. Unfortunately Godard most often has people simply read manifestos to the camera. Godard's political interests are thus conveyed in an awkward, cumbersome way. You do not have to agree with they're saying in order to enjoy the film.

Having said that, the movie is still one hell of a ride -no pun intended. The bourgeois couple at the heart of the story don't care about the flaming chaos around them. They just want their money. At one point the husband even sits idly by as a stranger rapes his wife.

As a journey narrative of two people, WEEKEND (or is it WEEK END?)is reminiscent of Alejandro Jodorwosky's 1968 FANDO & LIS. (There was something in the water in the late 60s.) Like Fando & Lis, Weekend is mainly a series of segments or vignettes strung together over the course of two protagonists' quest. In Fando & Lis's case the couple's uest is for the fabled City of Tar; in Weekend's case it's for an ample inheritance.

The last 30 minutes are the best in the film, as well as the most graphic. Comparisons to Pasolini's SALO or even John Waters's PINK FLAMINGOS may come to mind. In short, the bourgeois couple are kidnapped by mod-ish looking radical militants who look as if they've all come from an MC5 concert. One disturbing scene shows the actors actually slaughtering a duck and a pig on camera. The ducks headless neck suirts blood as its body twitches and its wings flap. The pig struggles as its throat is slit in front of the camera. Of course, people kill pigs and fowl everyday -it's how a lot of folks are supplied with their favorite meals. What could possibly be wrong with showing it, Godard almost seems to ask?

But the radicals also, it turns out, like to literally eat the rich, too. One uncomfortable scene portrays a victim stripping naked, being killed, and then being prepared for a meal as a cook cracks two eggs over her lifeless body and then thrusts a fish into her vagina (not shown on camera). Finally, the bourgeois husband is killed and is served up with the pig meat. The wife, who seems to have accepted the militants' way of life at this point, dines on her husband's and the pig's flesh as the movie ends.

Not for everyone, but some sort of remarkable milestone in cinema. Chaotic, dangerous, transgressive, and never boring.

The version of WEEK END I saw was the PAL version, which featured a great transfer, nice lucid colors, and special features that included an interview with Godard cinematographer Raoul Coutard, who is actually quite humorous and likeable as he sheds light on the circumstances surrounding the making of the movie. ("Godard was in a bad mood most of the time he was making the film, hence all the car crashes," "Godard wanted to piss off the producer with this scene," etc., to paraphrase.)

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Jean-Luc Godard's "Weekend" has reached its four decade milestone. It's a surrealistic cinematic trip into Godard's commentary on then-contemporary French society. It doesn't have a straightforward plot; one assumes Godard didn't mean to have one.

"Weekend" begins with a couple enjoying double entendres in a drive in the country. They find themselves in an endless traffic jam, surrounded by hippies, Marxists, and those living the primitive live. It's a commentary on consumerism--but it's also a commentary on communism as well. Individuals are sacrificed to the community-literally-and the upper-class wife chows down on her husband,while a young woman is garnished with eggs. Communism consumes itself. Godard saw European society degenerating; he was prophetic. He critiques capitalism and communism alike.

"Weekend" is an afternoon trip... for the mind.

Read Best Reviews of Weekend (The Criterion Collection) (1967) Here

Jean-Luc Godard is, quite possibly, the greatest director of all time. I know, that is a hefty title to heap on any individual, but every film I see by the master is better than the last and just further cements in my minds eye his staggering genius.

`Weed End' is no exception.

Godard frequently used his artistic approach to elaborate on the political dilemmas facing his country at that given time, and the Parisian 60's were a ripe canvas for Godard's superior sense of cinematic vision. The life of the bourgeois (for an interesting read, check out the Wikipedia page for `bourgeoisie', which will enlighten you on the very culture with which Godard pointed his camera lens) is dissected with brash statements that firmly underscore a point of view towards the political situations they found themselves in, using vivid and ridiculously obscene imagery and dialog to drive home the absurdity of the moment.

One, two, three, four...

The film revolves around a young Parisian couple who is sifting in their own moral callousness, each individual party possessing disturbed ideals and ideas. The two embark on a dreaded weekend with the wife's parents, where they fantasize about the demise of her father so as to reap the benefits of his will. Along the way they are bombarded with events out of their control that only serve to further embellish their misplaced priorities.

When their car is engulfed in flames, the cries for the loss of a handbag place a bold exclamation-point at the end of this couples `description'.

The absurdity of the film engulfs itself, really piling one ridiculous moment on top of the other, but all in a way that thrives within the context of the film. Godard was never a mainstream director, but he also created art pieces that told a story, that elaborated on truths not willingly admitted by those around him. Godard understood that filmmaking was a gift, a gift to be used as a tool to instill something in others. In all of his works, he did that very thing. With exaggerated sequences that uses unending tracking shots to create a feeling of uneasiness in the viewer (the never-ending traffic jam is one of many), Godard splashed visual wizardry on the screen and imprinted his political satire on the minds of the audience. Some have noted that Godard was a distant or cold director, but I find that aspect of his work endearing, for it sharply places a sense of realism in his wildly imaginative take on reality. There is nothing within `Week End' that appears real. In fact, even the protagonists here question their reality. The sequences (which involve, among other things, murder and cannibalism) all wear the stain of the absurd and yet they feel remarkably `honest' thanks to the `cold' approach that Godard takes. By stepping away from the characters and the moments and delivering a nonchalant take, he inserts a frigid sense of reality that makes this pill a lot easier to swallow.

We buy it, every image and every spoken word.

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"Weekend" (1967) is directed by Jean Luc Godard (Breathless, Pierrot le fou, Le Mepris). This black comedy follows a bourgeois married couple, who both have secret lovers, and who are both planning the others' murder. They set off for her parents' home in the country to secure her inheritance from her dying father. On the way through the picturesque countryside they witness violent car accidents, as well as an assortment of characters, some from literature and history, and others representing the various classes in society. The film is broken up with intertitles that comment on the action as well as on the process of film viewing. Discussions from characters range from notions on identity to class struggle. The two protagonists seem intent on their sole and petty goal of the inheritance despite the fact that most everyone else around them are focused on more grave notions regarding philosophy and the binding relationships between humanity and the disparities between people and their rights and freedoms. This incongruous relationship between the two leads, and those around them, is enhanced by the jarring musical score which often sounds like the dramatic music from a film noire gangster film.

The film also includes some special features, including a commentary by critic David Sterritt, an interview with cinematographer Raoul Coutard, and a Mike Riggis interview about his views on the film.

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Tiny Furniture (The Criterion Collection) (2010)

Tiny FurnitureWhen Lena Dunham's "Tiny Furniture" debuted in 2010, it became somewhat of a critical darling with near unanimous praise from mainstream outlets. Heck, Dunham even won an Independent Spirit Award for its screenplay. While the film is an interesting, if somewhat slight, indie--it probably plays to a more niche market than the critics would have you suspect. Dunham's work (she is its writer, director, and star) and characters ably showcase a combination of post-collegiate ennui and over-educated (and pseudo-intellectual) entitlement. Set in a fashionable New York City young, artistic and urban environment--the film's sardonic tone and cultural critique was sometimes reminiscent (to me) of the works of Whit Stillman (Metropolitan) but with an edgier and more modernized vibe. But the quirky story, which can be quite funny, also achieves a quiet poignancy when you least expect it. I suspect that, in many ways, "Tiny Furniture" will be fairly divisive when discovered by a wider audience. While I do think many will embrace its plentiful charms, I think it will have just as many detractors who might not connect with its core characters.

Dunham plays a recent film school graduate who returns home to live with her mother and sister in New York. Reeling with uncertainty, she has no idea what to do with her life. She reconnects with old friends, take a entry level job, spars with her sister and generally just goes with the flow with a rather apathetic view toward the future. Some of the film's funniest moments are provided by the almost elitist and superior set of friends that Dunham weaves throughout the picture. Kids who have more confidence and entitlement than ambition or talent. This is a world where YouTube has become a proving ground of celebrity, where reading a book is the height of intellectual status. It is a subtle skewering of a generation yet to find a purpose. But although I really enjoyed some of the offbeat humor in these sequences, it is rather stylized and probably not for every taste. The segments of home life are just as interesting, and the final quiet moment between daughter and mother is, perhaps, the film's strongest and most memorable scene.

"Tiny Furniture" is, in no way, a plot-driven piece. If you need a big story, this won't please you. This is a character driven indie that creates a mood and allows its characters to grow and shift in slight, but significant, ways. Dunham, as a writer, has a very specific voice. As an actress, she is unafraid to showcase (and expose) a very personal, and oftentimes unpleasant, side to her persona. And yet, she remains eminently identifiable. I also really liked Laurie Simmons, as her mother, who provides quite a few laughs throughout but whose complexities provide a lot of the film's shadings. While "Tiny Furniture" is not perfect, I really liked its sensibilities which were simultaneously absurd AND real providing for a winning combination. KGHarris, 12/11.

I FULLY ACKNOWLEDGE THAT I HAVE NOT SEEN THE CRITERION BLU RAY. THIS IS A REVIEW OF THE MOVIE ITSELF. I PUT IT OUT HERE, BECAUSE I THINK SO FEW PEOPLE HAVE HEARD OF IT OR KNOW ANYTHING ABOUT IT. TO THOSE WHO THINK WRITING A REVIEW FOR A PRODUCT THAT ISN'T OUT YET IS "BAD"...I APOLOGIZE.

Aura has just finished college in Ohio. Her major is Film Theory. Her boyfriend of 3 years has broken up with her, however. With no job prospects and no love life, she returns to the NYC home of her mother and her gifted younger sister Nadine. She spends a lot of time moping and she half-heartedly restarts a friendship with the far perkier, but clearly spoiled and selfish Charlotte. She takes a low paying job as a day hostess. She half-heartedly dates a Youtube star she meets at a party and she half-heartedly flirts with a good-looking but attached chef at her restaurant.

Aura is utterly aimless...and it is her aimlessness that is the focus of director/writer/star Lena Dunham's TINY FURNITURE. It's a very low-budget film that depicts lots of listless young people doing a lot of whining, navel-gazing and engaging in sharp-edged banter. The movie shows us a very tiny little particular sub-culture of humanity (bored, over-educated, under-employed New York City residents with artistic pretensions). It feels very real and specific...yet the people we meet are extremely aggravating. Some will find them actively upsetting. I found most of them to be beneath getting worked up about...but just low-grade annoyances. And absolutely NOT people I'd want to spend time with.

Aura makes mistakes with both men...but neither of them was right for her anyway. She irritates the heck out of her successful artist mother and has a volatile relationship with her high achieving and oh-so superior teenage sister, who seems to have the drive her intelligent but aimless older sister lacks. She drives away one "good" friend and spends too much time with a "bad" friend.

As I write all this, I realize it makes the movie sound darn near unwatchable. This is not true. Dunham has crafted some very funny dialogue for her characters...and to her credit, the witty remarks actually sound like something these people might say. They are so full of disdain for the world around them, but clearly feel the lack of belonging to that world. The Youtube artist that Aura spends some time with has become "famous" because he's made a series of videos depicting himself riding on a rocking horse while reciting Nietzsche. This has gotten him an agent and some appointments with producers in NYC. Yet it's also earned him no money, and he's essentially homeless in the city while making his rounds. Aura has a degree in film theory, a very passive degree indeed. Not in film production...theory. God forbid she should actually MAKE something. These modest plot turns and observations make TINY FURNITURE some fun to watch.

Dunham does an amusing job playing a character that I sincerely hope is not much like her. She has no shame as an actress...she spends much of the movie lying around her house in a shirt and panties, with her hair unkempt. She just can't make an effort to be presentable...even when she goes out, she appears to deliberately wear unflattering clothing. She has cast her real-life mother as her movie mother and her real life sister as her movie sister. Both performers are okay, but nothing great. But it's amusing see the physical similarities and differences.

TINY FURNITURE is a tiny film (reported budget is $45,000). While only 98 minutes long, it drags in places. Nothing much happens, and next to nothing is resolved. But it's got some wit and a good control of tone. I'm certainly impressed enough to at least be interested in seeing what Dunham does next. This is not a movie for everyone. If you shy away from "indie" or "quirky"...stay far away. But if you're always looking for something new(ish) and offbeat, I think you'll find at least a few satisfying nuggets here.

Buy Tiny Furniture (The Criterion Collection) (2010) Now

If you've enjoyed GIRLS, you will also enjoy this film. I respect what this movie is trying to do, but I cannot endorse it.

This movie is trying to explore the angst and sadness that comes from leaving college and entering the real world. A protected undergraduate world full of academic concerns and intellectual friendships transitioning to an awful job, moving back in with one's family, a realization that the real world is not ivory towers and existential debates. It's a common plight in modern times, and surely many can relate.

I have to say, though, this movie impossible to watch. The characters are "real" in the sense that they are deeply pathetic and depressed. The dialogue is sharp and biting and blatantly (disgustingly) poetic. Mostly the dialogue is awkward, but moreover is incredibly disrespectful and antagonist. The characters are so thoroughly misdirected and unpleasant, it's not worth describing them as "real". Rather, they are caricatures of angst, depression, and loneliness. I have never met "real" people who are as consistently making such stupid decisions and who have such little respect for other human beings. Also, "real" people smile sometimes.

The whole movie is ugly: wallowing in pathos with no real plot or direction. And that's the whole point.

Read Best Reviews of Tiny Furniture (The Criterion Collection) (2010) Here

When Lena Dunham's "Tiny Furniture" debuted in 2010, it became somewhat of a critical darling with near unanimous praise from mainstream outlets. Heck, Dunham even won an Independent Spirit Award for its screenplay. While the film is an interesting, if somewhat slight, indie--it probably plays to a more niche market than the critics would have you suspect. In that way, it seems an ideal choice for a boutique Criterion presentation. Dunham's work (she is its writer, director, and star) and characters ably showcase a combination of post-collegiate ennui and over-educated (and pseudo-intellectual) entitlement. Set in a fashionable New York City young, artistic and urban environment--the film's sardonic tone and cultural critique was sometimes reminiscent (to me) of the works of Whit Stillman (Metropolitan) but with an edgier and more modernized vibe. But the quirky story, which can be quite funny, also achieves a quiet poignancy when you least expect it. I suspect that, in many ways, "Tiny Furniture" will be fairly divisive when discovered by a wider audience. While I do think many will embrace its plentiful charms, I think it will have just as many detractors who might not connect with its core characters.

Dunham plays a recent film school graduate who returns home to live with her mother and sister in New York. Reeling with uncertainty, she has no idea what to do with her life. She reconnects with old friends, take a entry level job, spars with her sister and generally just goes with the flow with a rather apathetic view toward the future. Some of the film's funniest moments are provided by the almost elitist and superior set of friends that Dunham weaves throughout the picture. Kids who have more confidence and entitlement than ambition or talent. This is a world where YouTube has become a proving ground of celebrity, where reading a book is the height of intellectual status. It is a subtle skewering of a generation yet to find a purpose. But although I really enjoyed some of the offbeat humor in these sequences, it is rather stylized and probably not for every taste. The segments of home life are just as interesting, and the final quiet moment between daughter and mother is, perhaps, the film's strongest and most memorable scene.

"Tiny Furniture" is, in no way, a plot-driven piece. If you need a big story, this won't please you. This is a character driven indie that creates a mood and allows its characters to grow and shift in slight, but significant, ways. Dunham, as a writer, has a very specific voice. As an actress, she is unafraid to showcase (and expose) a very personal, and oftentimes unpleasant, side to her persona. And yet, she remains eminently identifiable. I also really liked Laurie Simmons, as her mother, who provides quite a few laughs throughout but whose complexities provide a lot of the film's shadings. While "Tiny Furniture" is not perfect, I really liked its sensibilities which were simultaneously absurd AND real providing for a winning combination.

The Criterion release is a real showcase for Dunham. Her 2009 hour-long feature "Creative Nonfiction" is included in its entirety. Sharing some of the same themes as "Tiny Furniture," the film looks and feels a bit more amateurish but highlights Dunham's deadpan comedic timing and is surprisingly funny and engaging. The presentation also includes four short films by Dunham, an interview with writer/director Paul Schrader, and Nora Ephron's interview with Dunham. Even though "Tiny Furniture" is a micro-budget indie, Dunham already has Hollywood heavyweights Schrader and Ephron acknowledging her work. I say that bodes well for this promising filmmaker, and I look forward to what others stories she has to tell. KGHarris, 12/11.

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When Criterion announced this title, I was intrigued. The film generated some good buzz at Sundance (or SXSW), and Lena Dunham has a show on HBO now. After seeing this film, Criterion should rethink their criteria after this film because this film doesn't belong in the same catalog as masterworks of Fellini, Kurosawa, Antonioni, Visconti, Ford, etc., etc.. It doesn't even come close, and it's an insult to every serious film goer on the planet.

I don't think this film is the worst thing I've ever seen, but it is not a very good film, either. It's barely a mediocre one. It becomes more and more boring as it progresses, and aside from a few funny lines and good widescreen framing, it's an immensely dull exercise. Most of the acting borders on grating, and many of the characters are just dull and very uninteresting. The characters may be aimless, but the filmmaking is also aimless as well. It's shapeless and formless, and feels like a student film more than anything. Some people have called it a glorified home movie, and in some ways, they're right. Lena Dunham's cast consist of her sister and mother (her mother is a famous photographer in NYC, which may explain why Lena is getting a lot of breaks in her career after one mediocre film).

Trendy critics who are praising this film to the hilt should really reconsider their opinions next time. It is more important to look at a film objectively and criticise it on its merits than being part of the next hip, trendy thing. While Tiny Furniture is not as amateurish as other films of its type (Tiny Furniture in in some ways a "mumblecore" genre, and it's more professionally polished than most of those films are), it is by no means a great film, and should not be praised as one. Always remember. Just because a film is an indie film doesn't automatically make it a work of genius or even a decent film.

There are some shorts on the DVD as well, and one of them, Pressure, has to be one of the worst shorts I've ever seen. Criterion received a lot of criticism for including this film in their collection, and they deserved it in my opinion. They should not worry about trying to reach the "hip" audience and worry about releasing high quality works on their label.

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Lost Boys: The Tribe (2008)

Lost Boys: The TribeAlthough I am a big fan of the original "Lost Boys", I went into this movie with a VERY open mind and with no real expectations. I just hoped that the film was, at the very least, watchable. Well let me just say, BARELY. This movie isn't good. Period. It's poorly executed sequel or no sequel. The pacing is off. The direction is amateurish like "The Grudge" or "Pulse" meets a bad MTV video. The movie uses gratuitous nudity and language to try and make up for the fact that it sucks, yet it brings out the film's flaws even that much more. The original "Lost Boys" didn't need extreme gore or nudity because it was relying on other things like a good story and good acting. This story is just a rehash of the first "Lost Boys" with a few things switched around. The movie even incorporates lines from the first film, which may have been cool if the movie was good, but since it's not, it comes off as more of an insult.

In the movie, there is a love scene between Reeser and Sutherland that is shot like the Michael/Star scene in the original with the same "Lost Boys" theme song playing. However, the love scene is emotionless. Any vampire could see it's just a bloodless imitation of the thirst-quenching original (sorry, I couldn't resist using some vampy adjectives there). Also, the film's vampire death lore is inconsistent. For example, sometimes when a vampire is killed, it turns to stone. Other times it explodes, turns to dust, vomits gallons of blood -WTF? Edgar Frog, (played by Corey Feldman) addresses it with the same line from the first film: "No two bloodsuckers go the same way. Some yell and scream, some go quietly, some explode, some implode, but all will try to take you with them". That kind of explains it but no vampires turned to stone or dust in the first one. Since this is a sequel, shouldn't they have stuck to the original? "Death by stereo", anyone? I don't know it just seemed like an excuse to use some CGI.

As for the acting -the lead actor, Tad Hilgenbrink (who plays Chris Emerson) is horrible -please don't act again, dude. PLEASE!!! This guy may look like Jason Patrick but he has zero acting skills. Autumn Reeser who plays Nicole Emerson is not much better and is pretty forgettable. Angus Sutherland, who plays the main vamp, Shane, falls really far from his family tree. He possesses none of the skills of his famous father, Donald, or his half-brother Kiefer. What's up with his accent? He's like half-surfer, half-Brit? Very strange. So acting-wise, this movie gets like an F+. That excludes, Corey Feldman, of course, the only ray of hope in the whole mess. Jamison Newlander (Alan Frog) was cut out of the entire film and Corey Haim (Sam Emerson) appears in a 20-30 second cameo in the end credits. Why would they cut Alan Frog out of the story? Jamison Newlander filmed several scenes for this movie and all were cut. Why? He could have been a great addition. In fact, they should have just scrapped the two leads and made the entire movie with Haim, Feldman, and Newlander. In fact, if you like "Lost Boys" (which I'm guessing you do since you're reading this), check out the four comic mini-series, "Lost Boys: Reign Of The Frogs". It tells the story of the original gang between the end of first film and the beginning of this one. It's far more enjoyable than "The Tribe".

Out of everything in this disaster of a movie, I enjoyed Corey Feldman and the Haim cameo at the end. I also liked the alternate endings available on the DVD's special features. Other than that, this movie was a complete letdown and ruined what could have been a successful franchise theatrically or on home video.

When I first heard that they were making a sequel to the 1987 hit "The Lost Boys," I was floored. Why would they do such a dumb thing? I wondered. Supposedly, a script for a sequel floated around Hollywood for years before it finally fell through, and after watching "Lost Boys: The Tribe," I see why the legitimate Hollywood gave up on it.

Forget the fact that there isn't one single original idea in the script. Forget that, even after 21 years, the special effects in the original film are far better than "Tribe." Forget that there is a lot more nudity, gore, and foul language in "Tribe" than there ever was in the original. Forget all of that. This film is just plain bad. It sucks, if you'll pardon the pun.

If you have seen "The Lost Boys," then you've pretty much seen a vastly superior version of "Lost Boys: The Tribe." In my opinion, a great horror movie must have several things...a really good script, characters you actually care about, superb actors to bring those characters to life, some humor, and decent special effects. "The Lost Boys" had all of that, and more, whereas "Lost Boys: The Tribe," only wishes it had 1/10th of what its predecessor had.

The story is the same...siblings move to a crappy little coastal town where the missing person population is staggering and jobs are hard to come by. This time, it's Chris & Nicole Emerson (any relation to Mike & Sam from the first film? Apparently, the writers were too lazy to come up with a different last name.) Their parents are dead (instead of divorced, as in the first film; Mike & Sam show up at Grandpa's house with mom,) so they are forced to rent a house owned by their aunt.

They go to a party. Nicole (Autumn Reeser) catches the eye of obvious head vampire Shane (Angus Sutherland, who definitely does NOT have brother Kiefer's talent at all.) She drinks from a flask, which obviously has more than booze in it, and voila! She becomes a half-vampire, much to the shock and dismay of her brother, Chris (Tad Hilgenbrink.) Enter Corey Feldman as Edgar Frog, the only returning original cast member that has any decent screen time. He's still getting ideas from the comic books, slaying vampires, and is still a complete weirdo. Feldman is LONG past his prime here. What worked for him as a teenager definitely does not work in his mid-30s. His character, who makes it clear that he lost a loved one to the vamps a while ago, should be more darker, and have more of an edge. The childish, home-made gadgets should be left behind, but they're still in use. I would have liked to see Jamison Newlander reprise his role as Allen Frog, because that may have made the film slightly more tolerable, but instead, we only see him in the 2 alternate endings that are included on the DVD. Don't get me started on Corey Haim showing up as a vampire during the end credits. That made no sense at all, and the 2 alternate endings he's in (as a human) make no sense. It was nice to see them on screen together, but Haim is not the cute kid he once was, and Feldman just looks pissed that he's even there to begin with.

As far as the other vampires go, they were all annoying, obnoxious adrenaline junkies (think "Point Break" meets "The Lost Boys," & you'll get the idea.) They surf, skate, ride motorcycles, and take great joy in stabbing each other for fun. They videotape their kills, and go "whoooooo hooooooo" a lot. They are nowhere near as evil or menacing as the original 4 vamps from the first film (Kiefer Sutherland, Alex Winter, Brooke McCarter, & Billy Wirth.) Kiefer Sutherland, as nice a man as he may be, has the most evil, menacing face and voice that I've ever seen & heard on film, and he was absolutely perfect in the original. He really should give his brother, Angus, some serious acting lessons. Apparently, the filmmakers thought that casting a Sutherland boy would give the film an air of credibility, which, sad to say, it did not. Kiefer's David in the first film had an evil, menacing seductiveness about him, whereas Angus' Shane only has plain seductiveness, without any real evil or menace, and even the seductiveness isn't that convincing.

The amount of gore, nudity, & unnecessary foul language in the film is substantial, as well as the serious lack of creativity (in one scene, dialogue from the first film is recited, word for word; it's Edgar talking about the various ways a vampire will "buy it...it's never a pretty sight. Some yell & scream, some go quietly. Some explode, some implode. But all will try to take you with them.") I was flabbergasted. It's one thing to recite a famous line, like Bruce Willis does in the "Die Hard" films ("Yippee-ki-ay, motherf***er,) but to recite dialogue, verbatim, from an earlier film...it only goes to prove how hard "Tribe" tries to be like the original "Lost Boys." They even went so far as to put the tag line from the original film in as dialogue. All I could do is shake my head in amazement. What little humor it has seems forced, as well.

I must say, however, that I did chuckle a couple of times at some of the fresh one-liners. I already forgot what they were, but they were funny. And most important, they weren't ripped right out of the original film. I also like the remix of "Cry Little Sister," Gerard McMann's theme to "The Lost Boys." The video for this remix is included on the DVD, although it's not on the official soundtrack to "Tribe." There is another cover of "Cry Little Sister" (done by another band) that is on the soundtrack, though; you can hear it when you're at the main menu.

Also, I must say this about the Coreys. They are more than their past mistakes. If Hollywood were as forgiving back in the 80's as it is today, I feel they would still have very strong careers. They are both very talented actors; all one has to do is watch films like "Stand By Me," "Lucas," "Silver Bullet," or "The Goonies" to see that. Hopefully, they will both realize that what worked for them when they were younger won't work for them today. They don't have to be a Hollywood joke or stuck in an A&E reality show for the rest of their lives. Even though my teenage crush on both of them ended years ago, I still like them as actors. They just need better parts (and, apparently, better agents.)

"The Lost Boys" had a great story, a strong cast, characters I actually gave a crap about, just the right amount of humor, and great special effects for its time. "Lost Boys: The Tribe" tries in vain to be all of these things, but it only achieves one thing...being a truly disappointing and forgettable piece of trash that deservedly went straight to video. The magic that was "The Lost Boys" was left back in 1987, and even though this film tries in vain to recapture that magic with nearly identical characters, storylines, and a "stunned-look" ending, it only succeeds in gloriously failing to do so. Perhaps the makers knew all along that it would be a failure that never should have happened. Now, I must cleanse myself of the memories of this film. I'm going to watch "The Lost Boys." 100 viewings should do it.

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First thing I wanna say is stick around during the credits as there's a brief scene; now with that out of the way onto the review.

There's a lot of hype surrounding Lost Boys: The Tribe and fans of the original have been waiting 21-years for a follow up. There were plot ideas thrown around, but the movie never came to be until now. The original Lost Boys I personally don't know if I'd call it a classic movie, but is a cult classic and the movie is so fun and entertaining that it elevates the movie to almost greatness. The Lost Boys is a cult classic for a reason and now with Lost Boys: The Tribe expectations might be a little high.

Simply put Lost Boys: The Tribe isn't as good as the original, which I think most people would assume going into the movie, but with that said Lost Boys 2 is actually a surprisingly fun ride. I didn't really expect much, but hoped for at least a fairly decent flick, but it actually turned out a lot better than I thought it would; like the original Lost Boys: The Tribe is campy and a bit silly, but it does step up on the gore and nudity.

The screenplay by Hans Rodionoff wasn't bad, but it's never as fun and creative as the original movie and the characters are entertaining, but lack the depth like the characters from the original. But overall the screenplay was a lot better written than I thought it would be. There's some funny and creative moments and very much plays out like a homage to the original. Overall the script isn't without flaws, but works on an entertaining level like the original. The biggest problem is it relies too much on the original screenplay. If not for mentions of the first film this could actually pass as a remake.

Director P.J. Pesce does a solid job with the movie and gets the best out of all the scenes for the most part, around the hour mark the pacing does start to drag in some spots and while it never gets bad I thought it might just start to fall a part, but it quickly gets back on track. Even when the pacing lags its still an entertaining movie just doesn't fully work. There are some good vampire action and fun action movies. While his directing credits may not be anything to write home about he does show some talent and makes an entertaining film.

Angus Sutherland as Shane is the head vampire and his character isn't nearly as cool or as mysterious as David played by his brother Kiefer. That's actually the biggest flaw with the movie. Shane feels like a poor mans David and while a fun character he just doesn't really shine as much as he could have due to the writing making him too much like David. Angus Sutherland gives a fairly good performance, but he's still early in his career and has potential and seeing as his brother is Kiefer Sutherland and his father is Donald Sutherland I'm quite sure he'll be fine as his career goes on.

The rest of the characters are a bit mixed; the vampires are alright, but aren't nearly as fun as those in the original and like Shane, the vampires are too much a clone of the original vampires and they don't work as well. They were fun, but could have been stronger. Tad Hilgenbrink as Chris Emerson gives a fun performance and his character was pretty good as well. Autumn Reeser as Nicole Emerson was a fun character and steals the show early on.

About the only complaints I have with their characters is the same as I did with Shane's; Chris is pretty much a take on Sam and Nicole is a take on Michael. But both characters at least get a little more than just playing a new version of Sam and Michael, but a bit more could have been done, but regardless both characters work well overall.

Corey Feldman reprises his role as Edgar Frog and bottom line is Corey Feldman is what elevates the movie. His character is the same as the original only older. Any scene with Edgar was highly entertaining and like the original Feldman plays it straight, which makes it so funny since both movies are a bit silly. But that's the whole point on both his performances. I've always liked Feldman and it's great to see him back. Even though Lost Boys: The Tribe is direct to video it's still a high profile movie and its great seeing Feldman in a solid role rather than some of the movies he's done the last decade. Lost Boys: The Tribe may not lead to bigger things, but it's a step up and Corey knocks it out of the park.

Lost Boys: The Tribe is rather gory at times and it's a mixture of practical and CGI. But both really look excellent for a DTV movie and I have no complaints on the F/X and it's always good to see the red stuff shooting out.

Overall Lost Boys: The Tribe is a surprisingly fun and very entertaining, while some parts of the movie does drag in spots it always remains mostly fun. It's not as good as the original, but that should be expected. Like the original it works on a campy level even if not as good. Fans of the original should enjoy this on some level as long as you don't expect too much you won't be let down. And if anything the movie is very much worth watching due to Feldman who really delivers a great performance.

The DVD features 2 alternate endings both feature Corey Haim and Jamison Newlander. Newlander is listed in the credits, but his scenes aren't in the movie itself. Also Tom Savini makes a cameo in the opening scene.

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I didn't hate it. I went into it expecting nothing better than an on-screen fanfic with more nudity, or something along the lines of some of Feldman's bad 90's movies, so I was fairly surprised. It had holes and a generic plot line, and I didn't like the cover of Cry Little Sister, but besides that...

The gore was so over the top it was funny (I laughed anyway), none of the acting was cringe worthy. Some of the writing was iffy, but it wasn't terrible. Feldman played Edgar *exactly* as he did in 1986--there's a character with zero growth. He even had the same hair and red bandanna. (He cleaned up really well, not his usual scruffy, sleazy self.) I liked the soundtrack, the sets weren't bad. The bike tricks were pretty cool.

Yes, it plays homage to the original A LOT. They even stole a chunk of memorable dialogue. The sex scene isnt nearly as well shot as in the original.

It's not a good movie, but it's not terrible either. If you go in hating it, you will. If you go in with a sense of humor and low expectations, it might surprise you. It was written as a love letter to the original. It wasn't trying to be its own movie, and it wasn't trying to be better. If you're a fan you will love it or hate it, it all depends on your attitude. If you're not a fan, well, there are many worse vampire movies out there.

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I for one was dissapointed.....not even close to what the original was.....This lacked Oomph, Panache what ever you want to call it.....What happened to the rest of the old crew, they could have came back as parents at least that would have helped this thing.....What happened to Santa Carla...Now Malibu....they tried to make up for story with campyness and sillyness,too much damn gore and nudity.

The screenplay by Hans Rodionoff was terrible....What a waste of 21 years....I am a "B" Movie lover but this this was a complete "F"

Sorry, My Opinion...

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Flirt (1995)

FlirtHal Hartley appears to be an acquired taste... I have only seen 3 of his films so far (this, the flat-out brilliant Trust, and the okay Henry Fool) but he's clearly one of the most underappreciated American directors working today. I think the delivery of his dialogue is what kills it for most people. It's very deliberate and generally not filled with an overkill of emotion. I find this approach allows me to listen to what the characters are actually saying (as opposed to just how they're saying it). That Hartley's one of the few screenwriters with something to actually say really seals the deal.

I don't want to suggest Flirt lacks emotion though. It manages to pack in more complex emotions that most more histrionic films. In one scene, a man threatens another with a gun, reconciles with him, embraces him, has a change of heart, and shoots him. A woman who witnesses this, hearing some music that begins to play, begins to dance, caught in the moment, slips to the ground, and gets up regaining her sense of reality. This sounds absurdist, and it plays that way in the film. Still, it manages to convey a great deal of human emotions in about a minute without a false note. Hartley is a master at achieving a desired effect.

Flirt is somewhat experimental in that it replays the same narrative with nearly the same dialogue in three different countries with three different casts. This never felt boring to me, as the intention of some of the lines and the overall outcome of the situation changes each time. What's interesting is that the plot of the episodes is that the character has 90 minutes to make up their mind about whether their relationship has a future. Not coincidentally, the film is 90 minutes long. Clearly Hartley is commenting on the use of art (screenwriting, film direction) to solve personal demons. One feels he is using this film to explore a personal dilemma for himself, a point that is driven home when Hartley himself shows up in the third episode as the possibly spurned lover.

It's interesting that such an apparent act of directorial vanity never feels like hubris. Hartley manages to make an extremely personal film that actually has something universal to say. He manages to be stylistically bold without being gaudy or excessive. He manages to make the same plot interesting three times. He manages to create a masterpiece in "Flirt".

FLIRT is not your typical romantic movie of the 90's (when it was filmed). But that's what makes it so great. If you are tired of the "boy meets girl, boy falls for girl, boy loses girl, boy gets girl back" scenario, then you'll like FLIRT. If not, go rent SHE'S ALL THAT with pretty boy Freddie Prinze, Jr. And spare me the details, please.

I would also suggest that when viewing this film, you not concentrate on the fact that many of the lines are repeated from one setting to the next (and there are a startling number of lines repeated). But rather look for the more subtle differences and similarities.

If you are a person who views things with greater depth than "black and white", I think you will enjoy this movie.

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Hal Hartley is way ahead of his time. This is not his best film, but it's definitely worth watching. I first saw an excerpt in a sociology/religion class which hooked me: advice on love and commitment in a bathroom. This film takes chances, and some of them aren't that entertaining, but overall it's not as bad as elsewhere reviewed on this site.

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Repeative. Heard mixed reviews and decided to give it a chance. Liked the different variations on the theme in difference cultures. Felt likie a Woody Allen work but not sure if it was worth the time spent in the end. Worth a viewing to form your own opinion.

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I find it amusing that people have been lured to watch this film by indy queen Parker Posey. As all Hal Hartley films tend to be, dialogue and narrative is negated and transformed by repetition and by intentional "non-acting". I mean, do people really think all the actors are acting this poorly? By having the actors not act, the ideas cannot be discolored by subjective interpretation. The film strips away traditional storytelling by repeating it in three forms. The narrative disappears in repeating it. In the three vignettes, nuances in each and differences between them are what is of primary interest. The actors are tools for Hartley's obsession with love, desire, and identity. This film is a poem. It is difficult to evaluate Hartley's films without considering the entire body of work. It may not be Hartley's most successful effort, but it is an interesting experiment nonetheless.

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