Reviews

When I was looking through IMDb's Top 250 movie list and saw a movie called "3 Idiots", I was surprised. Why would a movie with such a bad title be voted so highly? I went in thinking this would be India's version of Animal House or American Pie. But after watching the film, I was in love! It is so much more than the usual college story of young guys getting drunk, flunking classes, and getting back at their superiors. It is an extremely well-made film about doing what you love and facing your fears. The acting is incredible by the ensemble cast. The script is funny and poignant at the same time. Even the scenery is breathtaking. Although the length of the film is pretty long and has some quirky musical numbers, 3 Idiots is a delight. It is worth the watch!

Just finished watching The Master and I have to say I'm disappointed. I rated it a 5/10 because I thought the performances were excellent. I do think Hoffman deserves to win Best Supporting Actor and Phoenix is now my choice for Best Actor. Amy Adams, although not given much to do, is very good in her supporting role. The cinematography was also impressive. With that said, I found the script shallow and pointless. I am one of those who ask "what was the point?". As some have been mentioning, there was NO explanation as to why Master and Freddie needed each other. Sure, some are giving cockamamie, pseudo-intellectual explanations as to why but it really wasn't shown in the movie itself. At first, I thought Master needed Freddie to get rid of or beat up non-believers or people who were against The Cause but that didn't seem to be the case. Master just inexplicably wanted to "reform" Freddie and it was never shown why. On top of everything else, it was just a lifeless story of a disturbed man taken in by a cult leader with no payoff or anything remotely exciting happening.

Let me start by saying that Tim Burton will always be a great artistic director/production designer. His movies will always carry that weird, offbeat imagery which will please fans to no end. Unfortunately, he will always be at fault for choosing such weak scripts for his projects. John August's run-of-the-mill script for Big Fish leaves much to be desired because of the shallow storytelling and flimsy characterization. Most of the characters involved are either too flat, or too deliberately odd, for the viewer to relate to. Big Fish introduces us to Ed Bloom, a man who tells some unbelievably amazing stories. But these episodic stories didn't seem to have any point other than just to flaunt Burton's visual style and twisted imagination. I failed to see young and old Bloom as inspirational or even likable, rather he came off as annoying. Old Bloom droned on for hours, talking nonsense. Young Bloom was a self-centered dolt, who always got what he wanted. His son, Will, had all the reason to resent his father, but even he came off as a jerk at times. On the bright side, the movie delivers good results in the acting department, although McGregor's southern accent isn't quite convincing. All in all, an unsatisfactory effort.

I just had the unfortunate experience of watching The Big Lebowski for the first time. All I can say is that I'm amazed at its popularity. It's hard to comprehend people actually like this overrated dud and claim it's funny and entertaining. As if the muddled and overloaded script and plot weren't enough, the characters aren't the least bit interesting to watch. Jeff Bridges' character is an unemployed loser, and for that reason alone, we're suppose to think he's "really cool". I bet slacker misfits must be the only ones who could identify with such character. Moreover, John Goodman's character is downright obnoxious. Julianne Moore, Steve Buscemi, and John Turturro are wasted in nonsensical roles. Plus, the laughs are few and far between. The cliff scene when John Goodman scatters Steve Buscemi's ashes but the wind blows them on to Jeff Bridges' face, is probably the funniest bit in the whole movie. Everything else seems forced. The music is forgettable and if you want a better display of Roger Deakins' cinematography, I suggest you see a better Coen brothers' film - O Brother, Where Art Thou? To think this film came from the same people who brought us Fargo and Blood Simple.

Joel Barish (Jim Carrey) has just discovered his girlfriend Clementine (Kate Winslet) went to some company to have her memory of him erased. He's so devastated that he goes to that very company to have the same procedure done. During the process of erasing his memories of her, he realizes he still loves her and tries to stop the procedure.

Jim Carrey, playing against type, gives his best performance to date. He shows his funny side but proves he can also be a good dramatic actor. Kate Winslet is nothing short of wonderful. She glows as the eccentric Clementine. The supporting actors all do very well, even when they're given little to do. The script by Kaufman is second to none. He pens a classic and beautiful love story in the most original and interesting way. No wonder he got the Oscar. Michel Gondry's direction is weird, to say the least, but it is imaginative and inventive.

I think the message of this film is that no matter how many faults your partner may have, you can't help but love them for who they are. It's a message mostly everyone can relate to. And the actors and filmmakers make it memorable along the way. Satisfyingly Sweet!

Requiem for a Dream marks my first Darren Aronofsky film to date. In short, I am disappointed and has given me a bad first impression of the director. This overwrought public service announcement follows the lives of four people suffering the consequences of drug addiction. An interesting subject treated with the utmost superficiality. My major issue is with the script. It doesn't seem to be doing much except saying "look how bad drugs are". There's no deep or profound meaning on the subject matter and doesn't leave much for interpretation. Furthermore, I could not manage to muster an ounce of sympathy for any of the characters. The script simply lacked any real depth to make them remotely interesting or relatable. We basically just watch all of them crash and burn. It might be visually interesting but we never get to emotionally connect with any character. There's also Aronofsky's visual techniques which are quite striking at first, but after a while they get tiresome. The four principal actors do well enough given what they have to work with. Ellen Burstyn is most notable for her Oscar-nominated performance. But not even a good performance can redeem this relentlessly pretentious film. A Let Down!

On the front cover of the DVD, Roger Ebert proclaims City of God is: One of the Best Films You'll Ever See! I don't agree with some of his reviews but man, was he right on this one! It blew me away! It is an amazing true story of a young Brazilian man living in the slums of the City of God and who dreams of becoming a photographer. The camera not only keeps him in the slums but also serves as a way out. The story is told through his eyes and in the process we're introduced to some of the most interesting and complex heroes and villains to ever appear on screen. It is a tour-de-force production that has merit in many areas. From the vast array of amateur actors who did a splendid job realizing each character with raw energy to the ultra-kinetic editing and camera movement. This type of frantic editing actually contributed greatly to the effectiveness of the film. Despite some dark and even disturbing moments, director Fernando Meirelles brilliantly puts it all together. It's fast-paced, realistic, and superbly written. Without any doubt, City of God is one of the greatest foreign films ever made.

About 40 minutes into 25th Hour, I looked at the clock and asked myself, "Where is this movie going?" It left me wondering what direction the movie was taking.

Edward Norton (excellent as always) plays Monty, an ex-drug dealer about to serve time in the pen. The film chronicles his last day of freedom as he spends time with his loved ones. The acting was actually pretty good but some story elements should have been left in the cutting room floor.

To begin with, the story meanders for quite sometime. It takes too long to introduce the characters. Barry Pepper's introduction scene at work, for instance, took away from the gist of Monty's story. So did an incongruous subplot involving Philip Seymour Hoffman and Anna Paquin. Spike Lee also tried to incorporate 9/11 images into the narrative. What was probably meant as tribute came off as wasted and mishandled opportunity. And the question of who ratted Monty out to the DEA agents was not a burning issue even though it seems it should have been. It is not Lee's fault so much as the silliness of the script.

My verdict: Uneven film that overstays its welcome at a running time of 135 minutes.

One Man Band is simply one of the best shorts ever produced. The minute I saw it I was enchanted and knew I had found my favorite Pixar short to date. Pixar's meticulous attention to detail is conveyed in the brilliance of the story and the craftsmanship of the animation. The short plays like a silent film. No dialogue. Just pantomime. It tells the story of two street musicians trying to compete for the gold coin of a young peasant girl who just wants to cast it in the town square's wish fountain. A simple story told with lots of wit and humor. Plus, there's a twist. It doesn't end the way you think it will. As always, the animation is spot-on and very impressive. The character designs are so cute and appealing. The sound quality is top notch. And the surrounding Renaissance world is a feast of warm colors and visual beauty. It's funny, original, and clever. Proves the simplest ideas are often the best. If I have one complaint about One Man Band is that it isn't longer in length. I was hoping for more! Great addition to the Cars DVD!

There seems to be a lot backlash against Crash. It may not have been the most deserving Best Picture winner, but I still think it's a very good film. It tells an interesting story with solid writing, acting, cinematography, and editing. For starters, the screenplay is structurally very good. Paul Haggis does a great job of connecting the stories resulting in powerful, dramatic payoffs for each character. Some scenes are gut-wrenching with emotion which moved me to tears. Matt Dillon rescuing Thandie Newton from the car wreckage and Michael Pena's little girl jumping into his arms as the gun goes off are the two most memorable scenes in the movie. The score is haunting with Bird York's In the Deep single being a beautiful addition. Most of the actors do very well. Dillon, Newton, Pena, Don Cheadle, Terrence Howard and Sandra Bullock stand out. The rest are debatable. Brendan Fraser's performance, in particular, is wooden at best. At times the dialogue can be stilted and unnatural, but the overall film is engaging and thought provoking.

What's so admirable about Pixar Animation Studios is how they pay attention to the most important factor, story and the art of storytelling. The Incredibles continues the studios' long line of films that excel not only in animation, but in quality as well. Filling the screen with highly detailed and stylized images, the story introduces us to a family of superheroes. After they are forced to go undercover and live a normal suburban life, they must join and work together in order to defeat the maniacal Syndrome. The movie has a great plot that not only explores many common family issues but has lots of action and adventure that will please the young and old alike. The characters are a blast to watch because they are so well-drawn and full of life. Aside from our family of superheroes, there's fashion diva Edna Mode, "oh-so-cool" Frozone, and obnoxious boss Gilbert Huph (perfectly voiced by Wallace Shawn). Even the smallest of characters stand out (such as Bomb Voyage). Pixar made a great investment in hiring Brad Bird. He's a very talented man who has created a popcorn masterpiece.

Unbreakable is a slow moving film with a twist ending that doesn't quite work. But my major problem with the film was with the villain, Elijah. He wants to find David, the guy on the other side of the spectrum and simply tell him he's super human. But Elijah's motives are never made clear. We never really learn what is his goal in seeking out David. In the end, all he does is tell David to go to a crowded train station and have some kind of psychic experience. When you stop and think about it, there's nothing in it for Elijah! Because the villain's plan makes no sense, the entire film makes no sense. On top of that, David has a decent job. He helps people for a living as a security guard. Plus, he's having marital problems. There is no logical reason for him to compound his problems by following orders from some lunatic who's been stalking him and his family. This makes the film unsatisfying - it's a big build up... to nothing. The whole comic book concept is potentially interesting but the movie's attempt at it is disappointingly flawed. On top of that, Bruce Willis appears to have overdosed on tranquilizers.

There's a point in the movie when Behrani (Kingsley) asks Kathy (Connelly) : "Why should I be penalized for their incompetence?" He's referring to the county who mistakenly evicted Kathy from her home and auctioned off the house to him. Behrani is right. It's not his fault. It's the county's. In fact, it's Kathy's fault for not opening her mail. The problem is Kathy and her cop boyfriend think differently and begin to harass Behrani and his family. Their actions become increasingly out of character and way over the top. It's hard to identify with people who go after the innocent. They not only look stupid but come off unsympathetic. Kathy should have been dealing with county in the first place. Her backstory is so poorly developed that her motive ends up coming across as petty vindictiveness. Nevertheless, the movie has its moments of intense drama with Connelly, Kingsley, and Aghdashloo turning in powerful performances. Roger Deakins' photography is also noteworthy. A film with great potential that falls apart due to some poorly developed characters.

On a rainy Friday night, staring out the window watching the rain fall will be more exciting than this movie. As has been stated in other reviews criticizing The Big Chill, nothing really happens. A group of old college friends gather for the weekend after the funeral of one of their pals. They talk, they eat, they dance. But that's it. No drama! No conflict! No real plot! A complete bore. Yes, the all-star cast is very good. The production values are decent. There's even a couple of good oldies inserted in the movie that make you move to the music. But that's not good enough to keep one's interest for nearly two hours. I couldn't wait for the movie to end as I kept looking at my watch every 5 minutes. I'm a fan of Lawrence Kasdan. Looking at the roster of flicks he's written over the years (Raiders of the Lost Ark, The Empire Strikes Back) you can see this guy has talent. But I wonder how this movie managed to win a WGA for best original comedy much less get nominated for a Best Picture Oscar. A dull movie-viewing experience.

In most movies, the good guys are portrayed as models for others, examples for a better life. The bad guys, on the other hand, are usually dirty rat scums. What a refreshing surprise to see that The French Connection has the roles loosely interchanged. Set against the backdrop of bleak New York City streets, ill-tempered narcotics detective 'Popeye' Doyle and his partner 'Cloudy' Russo intercept a drug shipment coming in from France led by urbane master criminal Alan Charnier. The two cops, however, have a hard time capturing the drug lord as he outwits them throughout the city. Popeye and Charnier make an interesting contrast. Popeye is portrayed as an obsessive, racist drunk while Charnier is the mellow, European sophisticate. This is, of course, an action thriller and the sequences are gritty, tense, and heart-pounding. It features one of the best car chase scenes ever filmed. What makes it so effective is the fact that it was shot in real-time, heavy traffic and we vicariously experience moment-by-moment. The acting is strong and believable. Gene Hackman's portrayal is exact and deservedly won the Best Actor Oscar. William Friedkin did a superior job in giving us a diverting and realistic look of cop life and the raw work they undergo to clear the streets of illicit activity. Great action thriller!

The highest grossing movie of all time depicting a tortured love-affair in the midst of one of history's most tragic times. No, it is not Titanic! It is Gone with the Wind. The story begins in the Old South on the eve of the Civil War. Our indomitable heroine Scarlett O'Hara is a coquette belle living an idyllic life in her daddy's plantation called Tara. She professes her love to her man-of-desire Ashley Wilkes who already belongs to the wholesome Melanie. Scarlett schemes her way to win Ashley's love, but the more she does, the more it backfires. The film takes us on her journey of struggle against the consequences of the war which leads to her stormy love affair with dashing scallywag Rhett Butler. This turbulent romance is one for the books full of fiery sparks. Leigh gives one hell of a performance as one of cinema's most recognizable movie heroines. She is petulant, vain, and spiteful. But we love her, relate to her, and we care for her. Gable, de Havilland, and the rest of the cast deliver noteworthy performances but this is Leigh's show. With an unforgettable musical score, lavish sets, prodigious display of imagery, exquisite costumes, and most importantly, countless scenes offering maximum dramatic impact all combine to give ample entertainment for all. A true classic!

When I watch a war movie, I expect to see lots of disturbing deaths, full-throated explosions, and rousing action. But most importantly, I expect a compelling story with strong characterizations that'll engage me for the next 2 and a half hrs. Black Hawk Down only delivered half of it! The movie's major flaw is the characters. None of them are 3-dimensional and we really have no reason to care for any of them. There are about 30 soldiers who get screen time and none of them are nearly as developed as they should be. There are many scenes showing troops reacting to the death of their fellow soldiers, the music playing in the background indicated me these were sad moments. Those scenes were intended to move me (the audience) but since I hardly knew any of them, I felt nothing but disgust, as some scenes were graphically full of gore. They were gross but not emotional. This may be war, but cinematically there is no true conflict here, no emotional investment, no setbacks to surprise, no obstacles to draw the viewer in. Nice attempt from director Ridley Scott but he definitely came up short of what he could have accomplished on this. Maybe Bruckheimer should be blamed!

This is one of those slim-budget, generation-defining movies that appeal mostly to those that lived through the times depicted or to those young kids who wish they had. First of all, if I wanted to see a bunch of high school deadbeats do nothing but get stoned, I would just go back to school and videotape them. The movie offers a non-existing plot, just a countless number of irritating characters placed in random circumstances. I don't mind a large ensemble cast but I do mind when I'm given too many one-dimensional characters with no purpose whatsoever. The movie only makes you want to beat up some of these kids in bad 70's hairdo's and tight clothes. The only treat coming out of this lame and uninteresting movie is an early look at up-and-coming actors like Ben Affleck and Matthew McConaughey. The rest seem to be actors with minimal acting experience trying to come up with things to say as they go along. You literally have to be dazed and confused in order to like this movie. Maybe the title even refers to how director and writer Richard Linklater felt while creating it. A definite dud of a movie over-hyped by its cult following!

Much debate has been sparked over the political stance of this film. Nevertheless, it is an immensely entertaining action thriller that solidified Clint Eastwood as the ultimate action hero of the 70's. Police inspector Harry Callahan works on tracking down maniac rooftop killer Scorpio before a kidnapped 14 year old girl dies. Once he is caught, Harry violates the murderer's civil rights which leave the police no choice but to let him go free. When the madman hijacks a school bus full of children, Harry is called on once again. Eastwood is perfect in the title role, as he creates one of the most memorable characters in movie history. Harry carries himself with a cool, suave, and in-control disposition. He's intimidating but definitely likable. Don Siegel's direction is terse and suspenseful. He doesn't waste time in giving us the goods from start to finish. The great dialogue is also accompanied by an eerie jazzy electronic score by Lalo Schifrin. I found this kind of ghostly sound to be used in many other crime thrillers of the day. Siegel provides us with an interesting look at how one man defies the law and takes matters into his own hands. Are his actions justified? Well, that's up to you! One of the best films of the 70's!

Exhilaration, anxiety, and tension all describe North by Northwest, Hitchcock's masterpiece about mistaken identity. Manhattan advertising executive Roger Thornhill is kidnapped by a gang of spies led by debonair Phillip Vandamm. Vandamm believes Thornhill is George Kaplan, a CIA agent supposedly working to stop him from exporting a valuable statue full of top-secret microfilm. After his first attempt at murdering Thornhill (or Kaplan) fails, Thorhnill is chased across the Midwest in a deadly game of cat-and-mouse. What makes this movie so much fun to watch is the fact that it starts going from frame one and doesn't stop until the very end. The action unfolds seamlessly, no scene is wasted, and even has comedic touches. This is in partly due to Ernest Lehman's rich screenplay. He wrote other films full of great dialogue ( Who's Afraid of Virginia Wolf, Sweet Smell of Success) but in North by Northwest, he is at his peak. The dialogue between Cary Grant and Eva Marie Saint at the train dinner table, for example, is full of awesome sexual innuendo. The Master of Suspense uses his mastery of direction by creating yet another suspenseful story full of excitement and mystery. The luscious photography and tension-building musical score are attributed to the masterminds of Robert Burks and Bernard Herrmann, respectively. Be on the look out for many unforgettable scenes--the auction scene, the crop duster scene, the Mt. Rushmore sequence and many more in between. Highly Recommended!

This movie is the perfect example of having a good premise and high production values yet having bad execution. The story is about Treasury officer Eliot Ness' recruitment of 'untouchables' and their work in defeating crime boss Al Capone. My problem with the movie was it tried to be two things at the same time; a family-friendly epic adventure and a gritty crime drama. The result was a full set of contrived and hokey scenes. There's no character development courtesy of the inane script. The actors spout off one cheesy line after another. Ennio Morricone's musical scores are always top-notch but this time the music doesn't fit quite well. The score sounds too upbeat and silly for the movie's vacillating tone. You also have an uninvolving antagonist in the form of Robert De Niro. All we get from him is long speeches that have nothing to do with the main plot. His scenes didn't advance the story. They only exist to show off De Niro as Capone. Furthermore, Sean Connery's performance isn't Oscar-caliber and Kevin Costner isn't convincing as Ness. Andy Garcia showed promise, but like I mentioned earlier, the screenplay didn't develop him or anybody enough for me to care. And what's worse, you get an implausible resolution set in a court room. It's a fast-paced movie with stylish images but not as great as some might suggest.

Movies like this usually come once in a lifetime. It's been over 60 years and people still watch it in admiration. New generations are also discovering and appreciating its messages of benignity, optimism, and aspiration. The story is simple, Dorothy and her beloved dog Toto are transported to the brightly-colored world of Oz after a tornado hits Kansas. She wants to get home but must first follow the yellow brick road leading to Emerald City where only one person can help her--The Wizard of Oz. Along the way, she makes three best friends in the form of a talking Scarecrow, a heartless Tin Man, and a Cowardly Lion. She also faces wits with the Wicked Witch of the West who is after those magical ruby slippers. Everything about this film is superlative. The cinematography is gorgeous. We start off in a black and white Kansas where the landscape looks dry and desolate. Then the film transitions to an eye candy Technicolor world called Oz. It also has ingeniously-written musical numbers performed by some of the greatest talents of yesteryear. Judy Garland leads a wonderful cast full of paramount performers. Ray Bolger, Bert Lahr, and Jack Haley are unforgettable as Dorothy's three sidekicks. Frank Morgan (in 5 roles) is terrific and Margaret Hamilton is wickedly fun as Miss Gulch and the Wicked Witch of the West. Kudos to the director (or directors) for creating such an endearing film that brings jolly entertainment to people of all ages. This is by far, the greatest fantasy, musical, adventure, moral story of all time!

You know why this is one of the best war films of all time? Because Spielberg puts us right in the midst of the war! We experience the unvarnished, direct, and all the nitty-gritty details that went on in battle. I can't think of any other film of the same genre which has done this. He does this by using shaky POV camera shots, showing us graphic images of soldiers getting blown up or getting shot, brutal sound effects, etc. We also get a solid storyline with an actual plot. Our heroes have a goal and a mission to complete (besides winning the war). After a grueling 20-minute opening that depicts the horrors that went on D-Day, Capt. Miller and his crew of soldiers are assigned to rescue private Ryan, a paratrooper lost behind enemy lines. His three brothers have just been killed in action and the Army wants to send him home. This leads Capt. Miller and his crew to undertake a dangerous task with an uncertain outcome.

Tom Hanks and company are excellent. They all give convincing and rather low-key performances. Giovanni Ribisi and Matt Damon are particular standouts. Another thing I loved about the film was the pacing. The balance between the ghastly battle scenes and the quiet scenes which gives us time to get to know our heroes is perfect. You hardly notice that it's a 2 hr and 50 min film. The photography by Janusz Kaminski is incredibly distinctive. It has this "washed-out" look which makes it look like an old war newsreel. John Williams' musical score is also appropriately effective. It's not his most memorable nor as haunting like the one he did for Schindler's List but good enough to appreciate. Without a doubt, all this wouldn't have been achieved if it wasn't for Steven Spielberg's expertise. Once again, he shows us his versatility and mastery as a director to let audiences experience a story rather than just see it. I can live with the fact that the film didn't win an Oscar for Best Picture but it would have been an injustice if he hadn't won for Best Director. A great war film and one of the best of the 90's!

This has got to be one of the coolest movies ever made and the pinnacle of 80's popcorn cinema! High school teenager Marty McFly is sent back to 1955 through a DeLorean time machine invented by his friend, nutty scientist Doc Emmett Brown. Once there, he inadvertently changes the course of time. He must now do everything he can in order to bring his parents back together or he and his siblings will be erased from existence. He must also fight off school bully Biff Tannen and ultimately get back to the future. Director and co-writer Robert Zemeckis gives us pure solid entertainment with excellent pacing, likable characters, and a cleverly-written screenplay. The special effects are also exceptional. Twenty years later, they still look fresh and new. Zemeckis also succeeds in bringing to life an idealized and nostalgic 1950's look. Furthermore, the movie is filled with great performances. Michael J. Fox and Christopher Lloyd are superb and have great chemistry together. Crispin Glover, Lea Thompson, and Thomas F. Wilson are also splendid in their underrated performances. Alan Silvetri's musical score and a couple of songs from Huey Lewis and the News are also enjoyable and serve their purpose to heighten the excitement. This is such a great movie for people of all ages. It personally holds a special place in my heart because of the fond memories it brings. I've seen it countless times since I was a kid and it never gets tiring. A must see for all!