The Ethics of Desperation

A key reason Dirty Pretty Things works so well is that the audience can never be sure in what direction it will go. It might be a sober exploration of issues related to immigration, or it might be a romance, or it might be a humanistic thriller, or it might be a Lynchian mystery, or … . It’s all those things, actually, and at least pretty good at all of them. The movie is nimble, and just when you think you’ve nailed it, it swerves in another direction.

Village Idiocy

Bashing The Village, of course, is easy. But out of M. Night Shyamalan’s plodding, over-deliberate bore — neither intellectually stimulating nor marginally entertaining — could have been salvaged a good, serious, potentially wrenching exploration of the concept of the social contract.

The Magic’s in the Details

Film Rotation pointed me toward an article that does an excellent job of explaining and demonstrating how motion-capture technology itself (as used in computer-animated movies) is only the means to an end, not the end itself. In the case of The Polar Express, the author argues (and shows), the animators botched the detail work, resulting in bizarre-looking, seemingly possessed characters. By way of comparison, he offers Gollum and the decidedly unrealistic CGI of The Incredibles.

Water Torture

Open Water would barely be worth the effort of dismissing except for some shockingly enthusiastic reviews. So to prevent you from wasting 80 minutes of your valuable time with this piece of shit, I’m wasting considerably less of your valuable time with the piece of shit that you’re presently reading.

Animation on a Human Scale

With its sixth feature, Pixar succeeds wildly at its first human endeavor. But beyond The Incredibles’ myriad charms as entertainment, the movie could prove to be groundbreaking, building a bridge between the studio’s wonderful family-oriented work and a new way of making fantasy pictures. It portends great things.

Forced Whimsy

Watching The Life Aquatic with Steve Zissou initially created a pleasant sensation — ah, yes, my old friend Wes Anderson — that over two hours turned tedious and finally grating. Anderson has taken his love of artifice and dry humor to its logical end and proves that it doesn’t work. Now, hopefully, he can go back to making rewarding movies.

Competent, Worthy, and Lacking

Maria Full of Grace is a straightforward, clinical, nearly artless movie that starts out as a rote tract on the human cost of the drug trade and eventually builds itself into a story in which the audience has an emotional investment. In the end, it sits somewhere between the brilliant and razor-sharp British miniseries Traffik and its obvious, too-condensed American re-make Traffic (directed by Steven Soderbergh).