Monsters University (2013)

4/5

Monsters University, the prequel to Monsters Inc., is another impressive installment in Pixar's already phenomenal canon. It tells the story of the unlikely meeting between Mike Wazowski (Crystal) and James P. Sullivan (Goodman) in the scare academy. Like the best prequels, it deepens our love for each character, enriching their personalities and unveiling their motivations. We learn how they got to where they are today, what obstacles they had to overcome, what imperfections they had to live with, what prejudices they had to endure. They become more compelling than ever before and so we treasure our time with them.

The story and animation are both absolutely charming. The pacing is spot-on, shifting from comedy to excitement to sentiment with seeming ease. It is a delight to watch and it will leave you grinning with glee. Part of what makes Monsters University so good is how good Monsters Inc. is, knowing how it all ends. And now that we have Monsters University to enjoy, Monsters Inc. becomes that much better too!

IMDb link: http://www.imdb.com/title/tt1453405/

The Big Lebowski (1998)

4/5

The first time I saw The Big Lebowski, I was a bit underwhelmed. I had heard the superlatives thrust about in zealous reviews, but at that time I was unfamiliar with the Coens and I didn't know "what it was that they did." Now I know, and I am truly impressed by their work here. Their inimitable style--from the precisely-crafted dialogue to the beautifully-envisioned compositions--is in full force in this movie. Unforgettable characters have emerged from forgettable roles. Simple phrases have become generational mottos. This is a movie that will remain in the collective cultural memory for a long time to come.

The humor finds itself in what the characters do and do not say and how they say it; it finds itself in their actions but more importantly in their motivations; it finds itself in the times, the places, and the moods of these individuals we slowly grow to appreciate if not love (thanks to narration by a "stranger"). While it is not particularly rare for me to laugh during a movie, it is hard for me to remember laughing so loudly, forcefully, and obnoxiously before this one.

Even so, the animated dream sequences are dated. I really don't like special effects that don't hold up over time. But there is a far more significant underlying problem I have with the film. As when I saw it the first time, I have trouble finding a point to it--something I can apply to my daily life more than simply quoting hilarious lines and/or putting them in my movie quotes quizzes. Maybe this movie is just entertainment, but I think the Coens should do more than that. I certainly know they can. But the question is whether or not I got anything more out of it than hearty laughs and good memories; and what is the answer? Does anyone have an answer in the affirmative, because I very much would like to love this movie more than I already do, and that is one major hurdle it must jump. Still, I would pop this movie in the DVD player in a heartbeat if I ever needed a quick laugh. And it's definitely worth watching if you haven't seen it already.

IMDb link: http://imdb.com/title/tt0118715/

Fargo (1996)

5/5

Fargo is an American classic. The darkest, funniest one I've seen--next to No Country for Old Men. Set in the folksy Midwest, it is the story of a pathetic man (William H. Macy) who hires second-rate criminals (Peter Stormare and Steve Buscemi) to kidnap his wife while the chief of police Marge Gunderson (Frances McDormand) tracks them down. As events spiral wildly out of control, we catch a glimpse at just how far men will go to save themselves. And yet we laugh. At the most morbid moments. The Coens manage to integrate the holy and profane with aplomb, seemingly reckless abandon for "proper" emotional or comedic timing. Tension coexists with humor, the banal with the bizarre. The crime story is electrifying and gripping while the dialect brings an unrelenting charm to every scene. Fargo is unique and inimitable--in a word, unforgettable.

The cinematography and editing are spot-on. The snow is beautiful and evocative, the fades unobtrusive and descriptive. The writing and acting are indelible. Their accents and mannerisms are tattoos, inseparable from the characters. The technical achievements are amongst the best film has to offer. And yet we see the movie's genius in the smallest moments--the moments other writers wouldn't have envisioned and other producers wouldn't have kept. The ones that define the places, the characters, and life as a whole. We see lonely desperation as it turns to inexplicable, irreversible mistakes. We see how common sense and hard work can be all you need for success. We see the tallest reaches and deepest depths of humankind, and are shocked by them both. The ending is one of the most tender, uplifting ones I have witnessed. And not to be missed.

IMDb link: http://imdb.com/title/tt0116282/

Paris, je t'aime (2006)

4/5

Paris, je t'aime consists of 18 stories all set in Paris that discuss some form of love. Some of the films intermingle those two requirements, but a lot of them don't. Being a compilation of so many different filmmakers, naturally some will be better than others. This movie has its fair share of bad apples, but also good apples and amazing apples, which made the overall experience really enjoyable. My favorites were by the Coen brothers (Tuileries), Alfonso Cuaron (Parc Monceau), and Alexander Payne (14e arrondissement). Close seconds belong to Tom Tykwer (Faubourg Saint-Denis), Oliver Schmitz (Place des fêtes), Sylvain Chomet (Tour Eiffel), and Walter Salles (Loin du 16e). Most of the rest were decent, and some were merely adequate, but Christopher Doyle's Port de Choisy (Chinatown) stands as far and away my least favorite of them all. And this seems to be the consensus that most people come to after seeing the film, but the great thing about this movie is that there are so many different stories you're almost bound to love one and like most of the others. After you're done you get a wonderful patchwork of emotions and ideas about what Paris is like ... and what love is like. This is by far the best compilation work I've ever seen and is definitely worth a watch. Think of it as a good Love Actually.

IMDb link: http://imdb.com/title/tt0401711/

Ghost World (2001)

3/5

Ghost World is a bizarre, angst-filled, social-outcast teen comedy starring Thora Birch and Scarlett Johansson. After finally graduating high school, they decide to play a mean prank on Steve Buscemi, quite the middle-aged loser, after which Birch forms a strong bond with him. Their relationship forms the backbone of the story. Overall, it's a very fun and enjoyable movie. Most of the cinematography, shot compositions, and editing were spot-on and quite a joy to watch. I loved the blunt, comedic dialogue, the quirky attitude of the three main eccentrics, and the subtle jabs at "normalcy." The script is great except for some minor pacing and progression issues. I found the emotional aspects touching, although not particularly groundbreaking or new. All the acting, however, was amazing; I especially loved Steve Buscemi and Bob Balaban. There was one great scene with Birch in art class that I found flawless; she just deflates for a couple frames when her teacher dismisses her drawings as simple, light-hearted entertainment. Actually, that reminds me: every single scene in the art studio was absolutely hilarious. Also, I really liked the ending, even though it was predictable.

Thora Birch has a face that makes her look twelve and boobs the size of Greenland; it's really quite a striking and not altogether normal physique that distracts from her acting. She's really whiny in this movie, all the characters are, and their emo-ness is funny to laugh at at first, but after a while it just gets a bit old. Scarlett is really young, but still really hot, which almost makes me feel like a pedophile, but not quite. The unique story is not for everyone, and the Harold and Maude relationship between Birch and Buscemi stumbles into real pedophilia, although a romantic kind and not really a disgusting kind. There are a lot of minor characters that have greater meaning like Norman, but also a lot of worthless, throwaway ones like Josh. Same with side stories and events. And I'm not really sure what the time period was supposed to be. Anyway, check out this movie if you want a little smarter comedy about misfits.

IMDb link: http://imdb.com/title/tt0162346/

Miller's Crossing (1990)

4.9/5

Miller's Crossing is exquisitely detailed, exceedingly complex, and fully realized from start to finish. Darkly comic, this crime movie set in the Prohibition-era 30's tries to be a film noir in dialogue and a gangster movie a la The Godfather in content. Instead of fitting well into either category, it ends up being a fresh blend of both. Filled with double crosses, hidden agendas, and snappy dialogue, the plot can get quite confusing at times, but never out of reach for the attentive viewer. It envelops you in its own world, where every word has meaning if you know how to hear it right. The atmosphere is so real you're breathing the same air they are. My favorite aspect of this movie, and what keeps me coming back for more, is the abundance of subtle nuances left in the background for the especially watchful to pick up on. While the movie does explain the main story, it leaves a lot of important side stories and relationships open for the audience to chew over and realize on their own, which makes it much more engaging and memorable for those watching.

Onto the technical specifics. The acting was unerringly precise from all parties. The editing was terrific, milking every shot and scene for all they're worth while still maintaining mood and environment. The script itself is so rich and multi-layered in plot alone that it could stand up to analysis from a dozen different angles and produce different results each time. The dialogue is pithy and smart, as only the Coens know how to make it, although it does sometimes feel a bit "written." And it requires a very sensitive ear and very active mind to pick up on everything.

I remembered it being prettier, and was a little disappointed seeing it again and noticing rather bland colors and flat shots. While brilliant in composition and framing, the actual execution itself was not up to my expectations. The sound design as well made it a bit difficult to hear what the characters were saying, although perhaps the accents and word choice added to that problem. The dialogue doesn't quite succeed as a 40's noir, but the fervent and dedicated attempt more than make up for it. The music felt extremely out of place, specifically the choice of the main theme and also the times at which it would crop up, almost as if by accident. Also, some of the violence was a bit too exaggerated and almost laughable, although I'm pretty sure it's intentional. Very highly recommended, for any Coen brothers fan, Byrne fan, or gangster/noir fan. I will leave you with my two favorite lines from the movie.

"Nobody knows anybody. Not that well."

--"Look in your heart, look in your heart!"
--"What heart?"

IMDb link: http://imdb.com/title/tt0100150/