I'm a Cyborg, But That's OK (2006)

I'M A CYBORG, BUT THAT'S OK
DIRECTED BY: CHAN-WOOK PARK
WRITTEN BY: CHAN-WOOK PARK & SEO-GYEONG JEONG
OVERALL SCORE: 7.00/10

Cha Young-goon (Su-jeong Lim) is checked into a mental hospital after she attempts to plug herself into the wall, via cutting her wrists (something which is construed as a suicide attempt). Believing herself to be a Cyborg, she is immediately befriended by Park Il-Sun (Rain), a kleptomaniac seeking to save himself from non-existence.

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A whimsically surreal adventure, torn between the dark underlying flaws of our main characters, and their almost childlike innocence... of course I'm excluding their self obsession, and one's dream of going on a killing rampage. I'm a Cyborg, But That's OK is Chan-Wook Park's embrassing of a more lighthearted analysis on the darker side of human life.

I'm a Cyborg, at its very core, deals with the many subtle worries humans face. Their troubles, dreams, desires, and the ultimate consequences when those whom are supposed to be protecting, ignore in favor of their own selfishness. Young-goon's journey to find her purpose in life is captivating, if not equally irritating, in the most comical sense. Her characters quirks put heavily on display give great moments of comedy, and heart to the viewer.

While at the same time we get to see Il-Sun, and his many efforts to help others through the only medium he understands (theft). Both of our main characters are brought to life through great performances from Su-jeong Lim and Rain (whom I was most worried about after having seen Ninja Assassin). With the supporting cast stepping up at each occasion, handling their scenes with great awareness to what Park seeks to present. A dark comical satire, with enough heart, and zaniness, to capture the raw emotion, without losing its surrealism. Confusing enough?

Where Park really stumbles is in the narrative. Seeking to be both a character study on finding ones purpose, and a surreal visual exercise, Park seems unsure of which to be at any given point. Spending much of the film leaning more towards character, and oddity, with surrealistic images slowly becoming more and more prominent. The downside to this is that it works in exact opposite of the plot. As the plot moves forward more and more the characters become closer, and I would argue, become less and less over the top. While our images becoming increasingly more so.

All of which culminates in an ending which will likely split most viewers. Beautifully captured, but not very fulfilling, Park leaves Cyborg feeling like the end of a chapter, rather than the end of a film. It's an exciting, fun, and emotional journey, that I feel could have used a better destination.

With beautiful imagery, and great characters, Park blends surrealism, hyperbole, with reality, and satire, to create a memorable, if not misguided effort in I'm a Cyborg, But That's OK. One you'll most definitely be captivated by, even if its narrative shortcomings don't inspire repeat viewings.

Jennifer's Body (2009)

JENNIFER'S BODY

DIRECTED BY: KARYN KUSAMA
WRITTEN BY: DIABLO CODY
OVERALL SCORE: 4.25/10

After being sacrificed by a small time band seeking fame, Jennifer (Megan Fox) becomes possessed by an evil spirit, one that thrives on the eating of humans. Her childhood friend Needy (Amanda Seyfried) quickly figures out what's wrong, but is unsure what, if anything, can be done about it.

If there's one positive about Jennifer's Body it's that it is never boring. There's always something going on that'll keep your attention, and that's about where the quality of it ends. Diablo Cody's second writing effort is muffled to say the least. Caught between trying to be hip and edgy, while maintaining a dark satirical comedy aspect, Cody takes everything to the point of played out, almost reaching comical status. While director Kusama, who seems out to prove her breakthrough film Girlfight was a fluke, does pretty much nothing to help the film. Sticking directly to the script, utilizing nothing to spice up scenes, and horrible placement of music, everything bad about this movie just stands out like a sore thumb.

Worse yet Megan Fox is just not an actress with range. Utilizing what I can only describe as a Paris Hilton look on a young Angelina Jolie face, Fox's role will do little for anyone past puberty. While Amanda Seyfried does show some signs of promise, but the role is too restricting to the obligatory geeky high school friend that it never elevates beyond the same 4 lines. Supporting players do little to help as well. Johnny Simmons doesn't have the experience to add anything, but does play his character well. While Adam Brody's character forced me to constantly ask myself, "is that really Adam Brody?" In fact the only actor to stand in front of the screen that I wanted to see again was J.K. Simmons, who is just awesome to begin with, in absence of a script.

Of course all of their performances have to come with a grain of salt as they have little to work with. As stated Kusama's direction seems lost, while Cody's writing feels uninspired and forced. If there is one real bright spot in Jennifer's Body it would lie in the shooting locations and set designs. The finale at the pool is quite an amazing scenery, which of course I doubt few would be intended to notice with a levitation wet Megan Fox. Perhaps someone can explain this film to me. It was neither a dark comedy nor a thriller, and certainly never both at the same time. Ultimately I'd knock it up to an attempt at inspiring puberty ridden boys to get excited... but if that's the goal why make it R rated? That's probably why it barely made back it's measly $16million budget.

Uninspired, and riddled with failed attempts at being unique and different, Jennifer's Body is just a jumbled mess of good and bad, whose under-achievements stand out far too well.

Extract (2009)

EXTRACT

WRITTEN AND DIRECTED BY: MIKE JUDGE
OVERALL SCORE: 5.50/10

After an employee (Clifton Collins Jr.) at his extract plant gets hurt in an accident, Joel (Jason Bateman) accidentally takes a horse tranquilizer from his friend Dean (Ben Affleck), and hires a male prostitute to sleep with his wife (Kristen Wiig), so that he can guilt free cheat on her with his sexy new employee (Mila Kunis).

After waiting years for his next major release comedy (let's be honest Idiocracy was not that good) Mike Judge has dropped the very mediocre Extract on his loyal fans. Now I would never go as far to as to call Extract bad, as much as I would say uninspired. While Office Space felt like an ingenious send up to the stupidity of the current work system, Extract feels like a send up to the stupidity of business owners, and their wives lack of desire to put out, than anything. If nothing else Extract really just manages to be entertaining. It's short run time glides by as plot point after plot point are tackled, constantly filling space with new things for the viewer to sink their teeth into.

Of course with all these plot points Judge forgot on the very basic thing that allowed us to love his prior work, the characters. Joel is barely established as a character (beyond generic, I just wanted to make extract life long dream - happens to us all), while his friends come and go with a particular character quirk and that's about it. One some level almost each of his characters feels like a shell of his characters from Office Space. All too uninspired, and never really grasping at the depth you'd expect from such a comedy. At the same time though I'm not sure if I would really ever call it a comedy. I laughed a couple of times, but more often than not I was more concerned with where the story was going than whether or not a joke had just been said.

There's something to be said for that sort of narrative adventure. It's not the most memorable, but it doesn't force you to boredom while you eagerly anticipate the role of credits. As well nothing that happens in the movie is really all that shocking (say maybe one piece of the ending). Most of the plot points you'd expect are the ones that come, and even then there's not much you could ask for differently. Extract is one of those films that just runs its course, and by the end you're basically left with the thought, "ok, well that's over." Nothing good or bad, nothing annoyingly present or not present, just a generally mediocre film throughout.

Mediocre from start to finish, there's nothing overly impressive about Mike Judge's latest outing, other than its general feeling of uninspired.

Raising Arizona (1987)

RAISING ARIZONA
WRITTEN AND DIRECTED BY: JOEL AND ETHAN COEN
WATCHED FOR: 1001 MOVIES TO SEE
OVERALL RATING: 5.25/10

When career criminal H.I. (Nic Cage) marries career policewoman Edwina (Holly Hunter) his life finally seems to be on the straight track. But when marital issues ensue following difficulty having children, the duo decide to kidnap one of the quintuplets from a local business tycoon.

Raising Arizona is the second film on our 1001 film trek, and I have to say in contrast with yesterday's The Apartment, I find myself lacking care. The farther I got away from Raising Arizona, the more I found myself annoyed by the characters, the opposite of what usually happens. That's not to say this film is without merits. It's oddball to the t, with fun performances from Hunter, Cage, and Goodman, but even then I never really cared. None of the character's are especially likable, despite the Coen Brothers' best attempts at making them emotionally attachable (primarily in Ed and Hi). The problem I think is that the Coen Brothers try to make them so absurd, they become almost like a morning cartoon.

Sure we find it funny when the coyote falls off the cliff or when Daffy fails once again, but do we really care? Not really... There is where I really struggled with Raising Arizona. I recognized the moments of humor far more than I laughed at them, I understood the emotional moments were occurring far more than I felt for them, and all the while I sort of watched with a faint disinterest. I love oddball comedies, but Arizona just felt odd. There's of course a certain testament to films of this nature. While I didn't much care for it, I wouldn't recommend against seeing it. It's that knowledge that no matter how much I didn't care for it, I recognize that there are plenty of people (just look at the IMDB) score that will love every moment of it.

Of course with the Coens behind the camera you never really know what to expect. You know their style is built around the absurd and off color, and as a visual film Raising Arizona has a lot going for it. The Coens wonderfully use lighting and visuals to make certain scenes all the more memorable. As well they get the very best out of their actors, regardless of the character's they try to play. It's for those reasons that I can see why the book 1001 movies to see placed it on their list, yet that doesn't mean I have to care for it.

While it has good intentions, and will appeal heavily to fans of cult/oddball films, I can't say I really enjoyed Raising Arizona enough to give it a passing grade.

Intermission (2003)

INTERMISSION
DIRECTED BY: JOHN CROWLY
WRITTEN BY: MARK O'ROWE
WATCHED FOR: GREAT FILMS NOBODY SAW
RECOMMENDED BY: THE MAD HATTER
OVERALL SCORE: 6.75/10

A collective of underachievers struggle with careers, life, and love in Dublin.

Until Mad recommended this film I'll admit I hadn't heard even the slightest whisper of it. It's a rather shame as it's sort of your Magnolia/Love Actually combination film with some great moments emotionally and comically. It doesn't hurt the fact that Intermission starts out incredibly strong, if the first 2 minutes of the movie don't get you into it, nothing will. The opening conversation from Lehiff (Colin Farrell) sets a tone for the movie, it's going to be funny, it's going to be romantic, and just when you think you've got it, it's going to flip the script on you and make you guess again.

As performances go Farrell and Cillian Murphy are the real shiners, even if their character's decisions are among the least likable. Of course Mad happened to luck into picking a film with a huge guilty pleasure of mine in Kelly MacDonald, she has an amazing knack for making every scene she's in better, even when the movie is rather weak. The rest of the supporting cast are character players who do their part, with a small but entertaining role from Colm Meany. Given such talent, director John Crowly doesn't have to do much behind the camera but bring the story together, and that's exactly what he does.

Unfortunately though, Mark O'Rowe seems a bit unsure behind the pen. The movie has a dark sense of humor, moments of off the wall irony, but is rather standard material. At the same time the movie undermines it's rough characters with an ending that feels all too disneyish considering what some of these characters have done. Where the story beings to lack Crowly does manage to step up and put some nice visual spins on it, really highlighting the characters and putting a smile on the face of he audience. I don't fault either of them for the way the film goes though, they're both first-timers and they're sort of like a new kid with car keys. Sure they'll probably put a few dings in the car, but in the end they bring it home just fine.

Despite a few bumps along the way in narrative Intermission is a perfectly deep entertaining film that'll get you laughing and thinking at the same time.

Bronson (2009)

BRONSON
DIRECTED BY: NICOLAS WINDING REFN
WRITTEN BY: BROCK NORMAN BROCK & NICOLAS WINDING REFN
OVERALL SCORE: 6.50/10

Career criminal Charles Bronson (Tom Hardy) dreams of one day becoming famous. How he decides to go about this, by being the most insane and violent man in prison.

As a movie I'm not quite sure what to make of Bronson. Hardy gives a tour de force performance, well worth some recognition come awards time, but the movie always just feels like it's not sure where to go. Narratively speaking, Bronson is told entirely from the perspective of Bronson as he fantasize's performing his life on stage for an audience who cheers him on. These scenes range from straight forward audience discussion to old school antics and Charlie Chaplin style stage performances. These interludes occur in order to speed up the narrative as it seems to jump from one event to the next. My only problem is I can't quite figure out what to make of why they choose the life events they choose.

There's inarguably lots of acting talent here, yet Refn opts for style and grotesque violence, & fights that last a minute instead of anything with subtext. For an action film that's fine, but Bronson seeks to be a character film. Refn wavers back and forth between moments of real character study, random moments that'll make you laugh and be horrified at the same time. Perhaps the movie is trying to be a caricature of Bronson himself. It seeks to humanize him, but not sympathize him, it tries to analyze him, but not go in depth into what defines him. The movie makes light of some of the weirder parts of Bronson, his desire to fight nude (it happens quite a few times), his odd sense of humor and antics, and in that respect the movie manages to go carry through.

In fact, entertainment is the least of this films problems. The style and the writing are heavily built towards entertainment, and as such most audiences will find the film's short run time to glide by with the greatest of ease. That's not to say it's all good, or a highly entertaining film, because Bronson is not really a likable character. He's off the wall, over the top, and horribly violent, and the movie matches such a character. As a movie I'm not really sure if I enjoyed it, respected it, or just sort of mix matched the two.

While a obviously flawed movie, Bronson gets by with solid entertainment value and a great performance by Tom Hardy.

Barton Fink (1991)

BARTON FINK
WRITTEN AND DIRECTED BY: JOEL AND ETHAN COEN
OVERALL SCORE: 6.00/10

New York playwright, Barton Fink (John Tuturro) has just finished his first widely successful play on the modern working man. He is given a heavy contract with Hollywood to write a wrestling picture for them, but he struggles to determine what is expect of him, and suffers from writer's block. Seeking solace in his heavy drinking, car insurance salesman, neighbor Charlie (John Goodman), and the secretary of another successful playwright, Audrey (Judy Davis).

Going into Barton Fink I had no idea what it was about, I know it had something to do with a playwright and that it starred a personal favorite of mine (excluding some of his more recent films) John Tuturro. In hindsight that was probably a mistake... I've stated on here before I'm rather grumpy when it comes to interpretational films, mostly because they often come off as self important with a heavy handed moral agenda masked by the selling of none. It takes a lot to put me into the mood to really hop into the subtext of a film, and maybe 4-5 films I've seen in my lifetime have pulled it off. Anyways, no ranting needed, Barton Fink is definitely a unique flair of a film, entertaining in its intrigue, and oddly mysterious.

As a character Fink isn't all that interesting, he's heavy in ideology, weak in action, not that observant, and sort of annoying. To make up for this the Coen brothers provide us Charlie. Charlie's tough, funny, off the cuff, likable, but at the same time we're not sure if we trust him, and in that the two provide a solid odd couple, and their moments together are probably the film's highlights (especially the final conversation). Their unveiling, and struggles makes us wonder what this mysterious world, filled with empty hallways, and crazed characters, holds. The certain flair and intrigue is aided by Coen brothers knack for setting up shots, best of all when their film is lacking in the writing department.

What keeps Barton Fink from being boring, or dull, lies in several great laughs with the absurd characters to bring them home. The film's intrigue comes from great directing, and without it I can't see audiences staying awake unless they are really into this genre of film. The main problem I ran into with this film is that I found the side characters more interesting than the main one. Sure Tuturro is masterful, but the character is dull, not really likable, and really never does anything (literally and metaphorically). I'm sure if I was to bother to dwelve into this film's analogies, subtext, and such I'd enjoy it quite a bit more, analyzing each scene with careful critique, but the movie just didn't inspire me to do it. Because of that I struggle to recommend the film beyond those to who are already fans of the genre, but hey, they've probably already seen it.

Heavy on interpretation, Barton Fink is an entertaining and mysterious film that will probably encompass all range of emotions (pure hatred to absolute obsession) for the viewers... it's just where on the line you'll fit is unpredictable at best.

Dead Snow (2009)

DEAD SNOW
DIRECTED BY: TOMMY WIRKOLA
WRITTEN BY: STIG FRODE HENRIKSON & TOMMY WIRKOLA
OVERALL SCORE: 5.50/10

A group of med students on ski vacation, head up to an old cabin in the middle of the mountains for a short getaway. Though their trip is soon turned inside out when a group of nazi zombies begin to attack.

Dead Snow is another of many modern horror films high on concept, low on execution, and teetering on nothingness. Horror fans will find solace in the film's great final action sequence, and series of crazed gore, but the Dead Snow is a true case of the parts being greater than their sum. As characters they couldn't be more generic: the tough one, the smart one, the geeky one, the horny one - guys taken care of. For girls you have the slutty one, the always scared one, and the strong supportive girlfriend - check again. Then of course you have the film's bread and butter, the concept behind it all, the nazi zombies! People who loved films like Black Sheep which survive solely on the strength of their concept will probably love the idea here, heck I checked it out solely for it. Alas, much like Black Sheep, Dead Snow is a film that's far too concerned with trying to be scary and mainstream, all the while making fun of it, and forgets that's it easier to just be scary, mainstream, and funny.

Certain scenes in the film stand out as unnecessarily disturbing, and a tad gross, and I'm not talking about the zombies even... Once the zombie's arrive the movie turns into a blood bath with a rather disturbing fascination with intestines, about 4-5 scenes involve their apparent various uses. Yet, at the same time, the movie does have a few good laughs, but it's definitely there for the more sick humored individuals. The film benefits from trying to escape the norm by altering some of the more classic zombie characteristics. In this film the zombies organize, plan, attack, and maneuver their way, and as such it adds quite a bit to the intensity of the film.

But of course anyone who watches the film will probably point towards the movie's finale as its main hitting point. Filled with gore, body parts flying everywhere, and a machine gun laden snowmobile (see above photo), it's got everything a horror buff would want. Though this scene only works because the actors, for all the lack of their characters, draw us in to the action. I think even the writers understand if we spent too much time away from the action we'd realize the characters are incredibly weak, and we really could care less about them (a few of them are rather sick). So ultimately Dead Snow becomes a film you watch because you want to see nazi zombies, and because you want lots of action... all concept and action, reminds me too much of modern films.

Despite a great concept and a few over the top action sequences, Dead Snow is worth a view for action and gore fans, but isn't fluid enough to offer anything outside of that.

I Sell the Dead (2009)

I SELL THE DEAD
WRITTEN AND DIRECTED BY: GLENN McQUAID
OVERALL SCORE: 5.00/10

Hours before he is to be beheaded, Arthur Blake (Dominic Monaghan) recounts his life story to one Father Duffy (Ron Perlman). He discusses his life as a grave robber, his run ins with vampires, zombies, and aliens, and the ill fated island fight against rival Murphy Group.

This is normally not a film I'd bother checking out much. Straight to DVD Irish comedy, but it had Perlman and Monaghan in it, so I figured it was at least worth a look. Despite some rave reviews on IMDB I don't really see the appeal here. It's a screwball comedy, of the Brooks sort, that's never really as funny as it should be, and always feels underproduced. There's nothing really scary about the movie, I don't recall even thinking about jumping once. Then the dark humor, while there, always feels as if McQuaid assumed if he put the cast in funny situations the laughs would just roll out... and I just didn't really laugh much.

A few chuckles here and there perhaps, but I'd argue comedy, especially dark comedy, is among the hardest of genres to review as taste is so insanely wide spread. The characters aren't really likable, and are your basic cliche screw ups who hit it big with one idea. McQuaid's adaptation of his 2005 short film makes you question if the movie wouldn't have been more entertaining in better hands. McQuaid combines a lot of great visuals to make scenes work, but he doesn't possess the talent to bring it all together, to make it mesh, and as such the comedy is just way too hard to get into. Luckily though the films run time is incredibly short, it breezes on through, and I can't really say it's a "bad" film. Perhaps it's best said if you're into low budget indie horror comedies of the Undead variety you'll find yourself well pleased... if not, save yourself the money.

Despite a great cast and a funny concept, McQuaid can't find a coherent footing for the jokes to roll off of, instead trying to force humor by situations alone.

World's Greatest Dad (2009)

WORLD'S GREATEST DAD
WRITTEN AND DIRECTED BY: BOBCAT GOLDTHWAIT
OVERALL SCORE: 5.00/10

Suffering a mid-life crisis, failed author, single father, and unpopular high school poetry teacher, Lance Clayton's (Robin Williams) life is suddenly changed after his life is struck by a great tragedy. Amidst this tragedy Clayton slowly begins to gain the fame he has always dreamed of, but at what cost?

When I heared Robin William and Writer/Director/Comedian Bobcat Goldthwait were teaming up for a dark mid-life crisis centered comedy I turned into a high school girl who just saw Zac Efron faster than you can say "high school musical 100." I was absolutely giddy, Robin Williams, possibly the greatest improv stand-up comedian of the last 30 years, and one of the most overlooked actors of our time. Bobcat Goldthwait, a definitive off the wall, over the top goofball, with a knack for the difficult art of yelling and being hilarious at the same time. So when I got the chance to see the film, you can imagine I did a 100 yard sprint that would make Usain Bolt go "holy crap he's fast... for a mildly obese guy (don't judge me!)."

...Then I watched the film. Dark comedy, yes, good comedy, eh. Simply put the movie just doesn't work. Your main character is a failed author, self consumed, who goes through step by step life changing events as if read straight from a guide book. His love interest (Alexie Gilmore) is a bit of a bitch, who dates him out of convenience, and early on is implied to have played the field. The son (Daryl Sabara) is a perverted, also self consumed ass, who never appreciates his father's attempts to get to know him (even if they are pretty bad). In fact the only really likable character in the film is The son's best friend, Andrew (newcomer Evan Martin), a lonely teen who doesn't make friends easily, has a drunk for a mother, and finds a father figure in Lance.

Don't get me wrong, the performances are spot on, but you have no reason to care about these characters. The good will towards Lance is quickly backlashed amidst his impending decisions, leading to one of only two possible outcomes (redemption or despair). Even then the movie has plenty of opportunity to redeem itself, but it never does. It never escapes generic, mediocrity. The jokes never become hilarious, the characters never really become intriguing, and ultimately the whole even just feels to forced, without enough raw development. Lots of the love for the film has called it feeling genuine, and real... I never once felt that way.

The movie struggles with feelings of detachment from its audience, utilizing some great moments that bring you in, followed by moments that shove you out. It's not all bad though, Robin Williams delivers a great performance, Goldthwait's direction gives his script's better moments great life, but there's just not enough there to sustain your undivided interest for the entire hour and a half, something I find very unfortunate.


Despite their best efforts, Williams and Goldthwait just can't get enough coherent cinema into the film to make it worth your time and money, but I still hope they try again.

After Hours (1985) 5/10

AFTER HOURS
DIRECTED BY: MARTIN SCORSESE
WRITTEN BY: JOSEPH MINION

Worker drone Paul Hackett (Griffin Dunne) is in for the night of his life after he meets the odd Marcy Franklin (Rosanna Arquette) at a local restaurant. After things go awful at her place he goes on a mind-bending journey through New York, with no money to buy a cab or metro, and constantly running into weird women, he's caught in Soho with the worst kind of luck.

This 1985 interpretive dark dramdey, is one of Martin Scorsese's more overlooked oddball films. Much in the same way as his King of New York, the audience is left with a series of random events, entirely open to interpretation. I can't really tell you whether or not I liked the movie as a whole, it's very very strange, with very strange characters, none of them really likable. At the same time it is contrasted by this overbearing curiosity as to whether or not we're watching a nightmare, a descent into madness, or actual occurrences. Maybe it's all three, but to be honest... I can't tell you.

In the end I found myself staring in a sort of vibrant curiosity, which heavily outweighed my general lack of interest. Right up until the ending, After Hours is just more of a series of interconnected, but seemingly random, stories that make you feel a wide variety of emotions. Sadly though the movie's ambition seems to outweigh its actual offerings. For an interpretive film, the movie relies heavily on generic story constructs, which provide a strong counter to what exactly the movie is trying to do. Granted the fact that the movie lacks a central theme, it is surprisingly boring for a Scorsese film, and will likely only appeal to the art film crowd.

The supporting cast of Cheech and Chong, Linda Fiorentino, Teri Garr, John Heard, Catherine O'Hara, and Will Patton, bring a vibrant life to the scenes, but don't really stand out because they're all completely crazy, and moronic. Almost as if all of them are basically the same character with different varies of weird, who knows though, maybe that's a point.


In the end I'm sad to say I was greatly disappointed in After Hours, but I must say for those of you who love art house films you'll probably find this a gem.

Observe and Report (2009) 6/10

OBSERVE AND REPORT

WRITTEN AND DIRECTED BY: JODY HILL

Bi-polar head of mall security, Ronnie Barnhardt (Seth Rogen), and his crew of misfits seek to catch a parking lot flasher, and night time robber, so that Ronnie can impress his dream girl, the wild, and promiscuous Brandi (Anna Faris).

Well now... what to say. Observe and Report is definitely an interesting experience. Entertaining, and without a dull moment, the movie charges to its own beat, much in the same respect as films like King of Comedy, Cable Guy, and Taxi Driver. Now I'm not saying it's as good as KC or TD, but it's definitely better than CG, and possesses a great amount of wit, and uncare as to who exactly it offends.

The following of Ronnie's quests, his overly violent tendancies, and his extremely bad rational provides an intriguing look at someone who constantly struggles with reality. With absurd characters like Ronnie's best friend Dennis (Michael Pena), the movie had me laughing both during and after the fact. As the movie progresses we spend a bit more time in the head of Ronnie, and we're allowed a small glimpse into his idealistic life. At the same time, we're forced to ask ourselves... just what is real and what are parts of Ronnie's grand dillusions.

One of the more entertaining aspects I found was Ronnie's relationship with Nell (Collette Wolf), the kind coffee girl stuck in a wheelchair. Outside his encounters with her, he's often vulgar, and extremely violent, but when he's talking with her a unique, very normal attitude, seems to have come about him. It kind of makes you wonder, just who is the real Ronnie. His dealings with Detective Harrison (Ray Liotta) put that sort of bi-polar stature well on display.

Though even at its highest moments, there's this backhanded knowledge that some things they display to the audience just shouldn't be there. There's the sex scene with Brandi, in which a form of date rape may have occurred, the violent attacking of several cops, crackheads, and skateboarders. All of these leave a feeling of whether or not Ronnie is in fact the man the film shows, a victim of his own dillusions. The ending is no different. Much like King of Comedy, the ending is open to debate, especially given the extreme nature of the character.

Yet for all that I enjoyed about the movie, I can't whole heartedly recommend it. The movie is very polarizing, likely to both entertain, annoy, and disturb the audience in a way that will segregate them almost to a fault. As well Observe and Report will likely force the audience into a multitude of "that's not right" while they either laugh in shock, humor, or sit them in disgust. Ultimately I really don't know who is the right audience for this movie, which probably explains its rather bland box office figures.

In the end all I can really say is give it a shot, and see if it works for you. No guarantees, but it worked well enough for me.

Arsenic and Old Lace (1944) 9.50/10

ARSENIC AND OLD LACE
DIRECTED BY: FRANK CAPRA
WRITTEN BY: JULIUS J. AND PHILIP P. EPSTEIN
BASED ON THE PLAY BY: JOSEPH KESSELRING

When career bachelor Mortimer Brewster (Cary Grant) marries preacher's daughter Elaine Harper (Priscilla Lane) he thinks saying "I do" will be the hardest part of his day. Yet upon returning to his aunts' (Josephine Hull and Jean Adair) house, where he grew up, he makes a startling discovery... a dead body by the window and his aunts are the killers, it's for charity of course! Things aren't helped any when his sociopathic brother Jonathan (Raymond Massey) makes a surprise visit home after years running from the cops. With a wife next door waiting for him to go on their honeymoon, a dead body to hide for his aunts, a dead body to hide because of his brother, and a crazy uncle who thinks he's Teddy Roosevelt, Mortimer is in for the day of his life.

To be honest I probably could have written a shorter description of the film, but my god to say this movie has a complex series of plots would be to call the Pacific Ocean moderate in size. Arsenic and Old Lace, based on the play of the same name, is a fun over the top screwball comedy/drama, that follows the worst day Mortimer Brewster will ever have. From beginning to end Cary Grant carries the film, no pun intended, with a series of hilarious moments, out of the park acting, and a great sense of the distress his character is going through. The supporting cast each deliver amicably, helping to bring out the multiple layers, twists and turns, that lie at each new plot point.

Not all the jokes make a perfect transition, the constant jokes on the similarity between Jonathan and Boris Karloff was put in do to the fact that Boris Karloff (of Frankenstein fame) played the roll on Broadway. Yet Raymond Massey takes over the roll with every bit of respect it deserves, and is as maniacal as you could ever dream of.

For a 1940's film/play the movie deals with a surprising amount of violent subject matter, but none of it really detracts from the film. Instead it makes the film much more of a dark humor affair. Mortimer's mental descent throughout the film is captured with brilliance by Capra, who keeps the film very simple, using the film's ability to go beyond the set of a stage only when necessary.

The use of darkness for comedic moments is simply perfect, with a goofy sense of things around it. Capra and crew often use shadows to heighten scary moments, or add a level of darkness, to these colorfully odd characters. The writing supports Capra's effort, in being pitch perfect, wonderfully capturing Kesselring's fine play. Bringing to life the great lines such as "Insanity runs in my family... It practically gallops."


In end Arsenic and Old Lace is the perfect Cary Grant film. Dark, funny, over the top on every level, and so entertaining you'll want to watch it again and again.