Category: External Movie DVDs (Page 42 of 74)

Flaming Lips: Christmas on Mars

Flaming Lips is one of those bands where the idea of them is easier to love than the band itself, and their foray into moviemaking, “Christmas on Mars,” will serve as the definitive litmus test between Lips fans and Lips admirers. Shot mainly in black and white, the movie takes place on a futuristic Mars space station, where several members of the crew are losing either their minds or their faith. There is also a woman and a baby in a protective bubble, aliens with heads shaped like female genitalia, Lips singer Wayne Coyne as a non-speaking green alien who saves Christmas for Major Syrtis (Lips member Steven Drozd), and more ‘F’ bombs than John Malkovich’s character in “Burn After Reading.” It’s all very avant garde – or as Moe Szyslak would define it, weird for the sake of being weird – and if you can make heads or tails of any of it, you’re smarter than we are. It’s a given that the movie would be odd, but that doesn’t mean it couldn’t be entertaining at the same time. Fans of the band will surely declare this to be their new favorite Christmas movie. Everyone else should probably steer clear.

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Harold

A confession: I know only too personally the joy of early onset male pattern baldness. In my case, it crept up just slowly enough for Minoxidil to preserve a few token sprouts. Still, my “early onset” was late twenties, how much more traumatic would it have been if I’d been in my early teens? That’s the predicament facing the title character of this mostly irritating comedy from SNL gagster turned writer-director T. Sean Shannon.

Shannon doesn’t seem to know whether he wants to make a wholesome and small-scale yet over-the-top teen-comedy a la “Napoleon Dynamite” or a more realistic coming of age tale. He might have done slightly better with the latter because, despite his background, the ratio of good to bad jokes is about 1 to 15, Moreover, as Harold, young Spencer Breslin (Abigail’s big brother) is asked to almost single-handedly carry the movie. The stocky Breslin at times seems to be channeling a young Paul Giamatti in the scenes where he’s supposed to be way-prematurely crochety (apparently, he’s internalized his baldness to some degree), but then lapses into Michael Cera-style deadpan once all the old-guy “Murder She Wrote”/”Matlock” jokes we’ve been hearing for months in regards to John McCain have been exhausted. Unfortunately, neither really works — but it’s clearly not his fault. More experienced costars Ally Sheedy as Harold’s mom and Cuba Gooding, Jr. as his school’s wacky-but-helpful janitor, are equally at sea. Even cameos by such comedy sure things as Fred Willard and Chris Parnell aren’t able to do a whole lot with this unsure, and sometimes downright agonizing, material. While not completely wretched — I laughed several times and things do pick-up slightly in the last reel – in the ranks of coming of age comedies, “Harold” doesn’t really rank at all.

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Futurama: Bender’s Game

For all the collective brain power that there is on the “Futurama” writing staff, you’d think that they would come up with better reference points for their recent straight-to-DVD movies. Their first movie, “Bender’s Big Score,” revolved around the Planet Express crew falling for email scams, and the latest movie, “Bender’s Game,” dedicates its third act to a parody of…”Lord of the Rings.” Really? Didn’t that ship sail about the time “The Fellowship of the Ring” hit theaters? The subplot involves Mom (the always entertaining Tress MacNeille) cornering the market on dark matter, which means there are a fair amount of poop jokes as well. And all of this would be fine if they were smart about it, but they seem to confuse complex with clever, resulting in another Byzantine story line that’s sorely lacking in the laughs department. One of the better jokes involves the orcs, which in this universe are Morks (yep, the Robin Williams alien), and even that is a severely dated reference. And they missed a golden opportunity to make the eye of Sauron to be Hypnotoad in disguise. Sigh.

Click to buy “Futurama: Bender’s Game”

Le Plaisir

This one’s for you, Criterion fans. It’s a French-language black and white extravaganza from the German-born master of subtle romance and outlandish tracking shots, Max Ophüls. Following up on the director’s previous international smash, the episodic “La Ronde,” “Le Plaisir” is an adaptation of three tales by France’s master of the short story, Guy de Maupassant, all on the theme of pleasure. Story #1 concerns the identity a strange masked dancer; Story #2 features French superstars Danielle Darrieux and Jean Gabin (“Pepe Le Moko,” “Grand Illusion”) and deals with the attractive staff of a cozy, midline brothel attending a first communion; and Story #3 features Simone Simon (1942’s “Cat People”) as a woman who takes precipitous action when her boyfriend wants to end their relationship.

His propensity for elaborate long-takes aside, Max Ophüls remains hugely respected for his work on four terrific Hollywood melodramas made in the late forties, followed by four ambitious and widely acclaimed French works completed in the following decade, including the recently restored cinephile sensation, “The Earrings of Madame de….” Still, on the level of story, “Le Plaisir,” which was cowritten with Jacques Natanson, may not be among his absolute best. The middle segment, which takes up the bulk of the running time, is a beautifully wrought low-impact comedy, but it’s almost too gentle and threatens to wear out its welcome at various points. Even so, the closing segment, about the cataclysmic resolution of an failed romance, feels like an anticlimax – until we get to the actual climax, which includes one of the most unbelievable single shots in film history, outdoing even some similar moments from Alfred Hithcock’s “Vertigo.” What that guy could have done with a Steadicam….

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The Small Back Room

Life during wartime is getting to English weapons researcher and bomb disposal expert Sammy Rice (David Farrar). He’s in constant pain from an artificial foot and his preferred method of medication, whiskey, is highly problematic. It gets worse because his struggle to avoid drinking is just one of a few thorny issues that’s giving Susan (Kathleen Byron), his very serious girlfriend, some equally serious doubts about their future. Oh, and those damned bloody Nazis have taken to leaving a new kind of tricky unexploded bomb laying around, and it’s killing local soldiers and Prof. Rice’s own colleagues.

Based on a famed wartime novel by Michael Balcon, 1951’s “The Small Back Room” is one of the less well known films from “the Archers,” the writing and directing team of Michael Powell and Emeric Pressburger. Best known for ravishing and slightly insane Technicolor spectaculars like “A Matter of Life and Death,” “The Red Shoes,” and their masterpiece, “The Life and Death of Colonel Blimp,” the influential pair also had a flair for creating genuinely captivating black and white thrillers and love stories. “The Small Back Room” is a bit of both and possesses a degree of complexity and implied sexuality unusual in its time, and also today. Still, the film maybe bites off a bit more than it can chew resulting in a relatively distancing second act, and one semi-dream sequence involving a giant whiskey bottle shows how Pressburger/Powell’s admirable creative risk-taking could sometimes lead to unintended laughs. Still, there is humor, fine drama, suspense in the climactic bomb disposal sequence, and an amazing cast of some of Britain’s best local talent. This may not be the Archers at their absolute best but, trust me, that’s no insult.

Click to buy “The Small Back Room”

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