First-Year Student Journals : David : Reflections

David stands beside the mural of Tower Records building

Vinyl record of Bob Dylan's Blonde on Blonde on David's turntable

A peace sign hangs from David's messenger bag

David | Profile | Reflections | Journals: 1 2

Reflections

For a long time I wanted to be a film critic. It came naturally to me. I now know that lifestyle would be unfulfilling for me, but I still write reviews for some of the movies I see. Here are a few recent ones.

“American Splendor”

Now, come on. Let’s stop holding on to our childhood and pretending that all these comic-inspired movies are actually good. They aren’t. You know it, and I certainly know it. They are cheap plays on your nostalgia that are robbing you of some of your hard-earned dollars. And did I mention they are stupid? They are. None of them hold a single bit of wit or imagination in them. It is amazing how with all the money, these comic-book movies are incredibly dull and lifeless. Except one. Move over “X-Men,” “Spider-Man,” “Hulk” and that horrendous “Daredevil,” here comes…Harvey Pekar! That’s right. This summer’s most enduring and unique hero is a bald, overweight, angry man who loves jazz music and pissing people off. Harvey is a pessimistic file clerk who hates his life. When his friend Robert Crumb (who also has a documentary about him, 1995’s “Crumb”) hits it big in the comic book business, Harvey dips his pen in the craft, creating his critically acclaimed “American Splendor” series. With its unique blend of live action and animation, drama and documentary, “American Splendor” shows why it easily won the Grand Jury Prize at this year’s Sundance Film Festival. The movie is a creative twist on the “mid-life crisis” genre of recent years, relying not on moments of clarity but moments of believable absurdity. It is unashamedly self-centered in its concentration on the life and misery of Harvey. But the movie also shows its sincerity with the many dimensions it gives its supporting characters.

Those who seem like stereotypical nerds will surprise you when you realize they are completely thought out and realized characters. I laughed at the situations and lines presented by Harvey...not because of their audacity, but because of how close to home they hit. Paul Giamatti has made himself into one of the great modern character actors, on par with Phillip Seymour Hoffman. This role challenges him in every way and shows how great a talent he is. Hope Davis, who screamed mediocre in “About Schmidt,” has done a complete 180, and maybe outperforms Giamatti as his even stranger love interest. There is not one piece of bad acting or forced delivery in the film. I was disappointed with the ending of the film, just because I know it was something Harvey himself would have rolled his eyes at. But I’m beginning to think that that tolerable cheese is what Harvey has secretly been hoping for all along.

Grade: 88

“Once Upon a Time in Mexico”

Watching the latest movie in the “Mariachi” series is like watching a group of kindergarteners playing cops and robbers. There is a lot of buildup with the teams being decided. But when the actual fighting starts, every kid wants to change sides, leaving all the others in utter confusion. When the “war” is over, the only things left standing are the jungle gym used as base and the kid who was smart enough to play on the swings. “Once Upon a Time in Mexico” is a dizzying mess of characters, edits, jump cuts and explosions. The story seems like it was custom made to feature every Mexican stereotype, and adhere to every macho male demographic. El Mariachi (played by Antonio Banderas) has been forced into hiding after events in previous films. He is brought back to center stage by a renegade CIA agent (Johnny Depp) trying to prevent a revolution in Mexico. Nothing like exploiting real world problems in the country for some awesome actions scenes and killer deaths! Depp saves the movie with his witty delivery of poor dialogue, and Willem Dafoe seems characteristically evil as a cartel kingpin. But the rest of the acting seems awkward and lost. Banderas delivers few lines and moves with a boring cool, Mickey Rourke plays the same role he has in countless other films and Enrique Iglesias embarrasses himself and his father with his god awful acting skills and rigid fight scenes. Even the beautiful women in the movie (Salma Hayek and Eva Mendez) get little screen time. Robert Rodriguez made the movie for $30 million, very low for an action movie. I give the movie praise for making the money go as far as it could go. I would believe it if they told me it was made for five times as much. It looks that good, partially because of its use of state-of the-art digital film cameras. Rodriguez, who made his first film “El Mariachi” for $7,000, has a knack for coordinating action scenes. For the two minutes they last, I was entertained. But I think it is time he paid a visit to the hated Robert McKee for some storytelling tips. The plot is incoherent and unfollowable, and we are never clear on what side a character is on. Now, Rodriquez is known for his incredibly fast time filming, often shooting only one take of some scenes. This frantic energy transfers onto the film, which was one of the aspects I liked. But a consequence of this style is that much of the movie seems like slapstick instead of slick. I was beginning to wonder if maybe more time should be taken in filming these shots and less time with the quick-editing tricks. I admire Rodriguez’s flare and fire for filmmaking. I just hope for his next film he takes a look at his story from the viewpoint of the child on the swing.

Grade: 54

David’s “Great Movies”…All Those That Ebert Forgot

“Band of Outsiders”

Quentin Tarantino owes his career to Jean-Luc Godard. He may praise Brian De Palma, and critics may compare him to Scorsese, but no other director has had as much influence on Tarantino’s style as Godard. His camera movements are like those in the cramped rooms of “Alphaville.” His dialogue is like that in “Breathless” (sans the jump cuts). But “Band of Outsiders” is the film which takes the cake in influence. For God’s sake, Tarantino named his production company “A Band Apart” after the French title for the film. The irony of this influence is that “Band of Outsiders” was intended to be the middle finger to all that came before it. It spat in the face of traditional filmmaking, defying all unspoken rules about filming and editing.

There are minutes without any spoken words, hand-held tracking shots, action scenes interrupted by narration and held to reality a camera that refuses to move, and dialogue that appears to have no relevance. What was perhaps Godard’s genius was that in his effort to make a film that would be misunderstood, he came out with some of his best, yet under-appreciated work.

“Band of Outsiders” (1964) follows school kids Franz and Arthur as they plot to carry out a heist in the foster home of love interest to both, Odile (played by Godard’s wife of the time, the beautiful Anna Karina). The characters are the main subjects of the movie, not the plot, and Godard enjoys teasing us with small revelations about them all. Like a real relationship, we feel both anger and sorrow for the dreaming teens, and see all sides of their characters. They all switch from good to evil and back again, from young and naive to mature and bitter. It’s a coming of age tale set to the digression of these characters, and we can’t help but sympathize. But, like Tarantino, what makes this movie great is the abundance of unforgettable scenes. The impromptu dancing of the Madison (reportedly un-choreographed) and the “one minute of silence” will remind you of the Jack Rabbit Slim’s scenes in “Pulp Fiction.” The boys’ confusion over the location of the money during the heist will bring back memories of Harvey Keitel and Steve Buscemi arguing about the botched heist in “Reservoir Dogs.” And all the in-jokes, pop culture references and witty dialogue will make you wonder why Tarantino is so praised in the first place.

Jean-Luc Godard was one of the leaders in the French New Wave, along with Francois Truffaut, Claude Chabrol, Louis Malle and Jean Pierre Melville (another huge Tarantino influence). These filmmakers broke away from tradition in all senses, using crude equipment and low budgets, and made some of the most important films in history. Yet recent events have caused an increased disdain for French culture, threatening the future of these classic movies. But thankfully, the movies in the movement are finding new life in the home video and DVD market. Godard is possibly the most accessible of the New Wave directors, combining action, humor and drama very effectively. “Band of Outsiders” may be his masterpiece and one of the gems of the movement.

In an early scene in the film, an English teacher recites scattered lines from “Romeo and Juliet” as “two star-crossed” lovers gaze into each other’s eyes. We can tell what is going to happen in the future. The scene sets the tragic, yet ironic tone of the movie. Godard’s talent is found in his ability to write little but say a lot. Show little but reveal a lot. He is the pinnacle of independent filmmaking, setting the bar for future directors around the world to come. “Band of Outsiders” reminds us of the importance of youth and creativity, trust and loyalty. It never goes for the easy, more dramatic kill at the heart, but instead goes for the gruesome, messy, “turn your head away, yet peek from the corner of your eye” kill at the jugular.



	David \| Profile \| Reflections \| Journals: 1 2 Home
	Reflections For a long time I wanted to be a film critic. It came naturally to me. I now know that lifestyle would be unfulfilling for me, but I still write reviews for some of the movies I see. Here are a few recent ones. “American Splendor” Now, come on. Let’s stop holding on to our childhood and pretending that all these comic-inspired movies are actually good. They aren’t. You know it, and I certainly know it. They are cheap plays on your nostalgia that are robbing you of some of your hard-earned dollars. And did I mention they are stupid? They are. None of them hold a single bit of wit or imagination in them. It is amazing how with all the money, these comic-book movies are incredibly dull and lifeless. Except one. Move over “X-Men,” “Spider-Man,” “Hulk” and that horrendous “Daredevil,” here comes…Harvey Pekar! That’s right. This summer’s most enduring and unique hero is a bald, overweight, angry man who loves jazz music and pissing people off. Harvey is a pessimistic file clerk who hates his life. When his friend Robert Crumb (who also has a documentary about him, 1995’s “Crumb”) hits it big in the comic book business, Harvey dips his pen in the craft, creating his critically acclaimed “American Splendor” series. With its unique blend of live action and animation, drama and documentary, “American Splendor” shows why it easily won the Grand Jury Prize at this year’s Sundance Film Festival. The movie is a creative twist on the “mid-life crisis” genre of recent years, relying not on moments of clarity but moments of believable absurdity. It is unashamedly self-centered in its concentration on the life and misery of Harvey. But the movie also shows its sincerity with the many dimensions it gives its supporting characters. Those who seem like stereotypical nerds will surprise you when you realize they are completely thought out and realized characters. I laughed at the situations and lines presented by Harvey...not because of their audacity, but because of how close to home they hit. Paul Giamatti has made himself into one of the great modern character actors, on par with Phillip Seymour Hoffman. This role challenges him in every way and shows how great a talent he is. Hope Davis, who screamed mediocre in “About Schmidt,” has done a complete 180, and maybe outperforms Giamatti as his even stranger love interest. There is not one piece of bad acting or forced delivery in the film. I was disappointed with the ending of the film, just because I know it was something Harvey himself would have rolled his eyes at. But I’m beginning to think that that tolerable cheese is what Harvey has secretly been hoping for all along. Grade: 88 “Once Upon a Time in Mexico” Watching the latest movie in the “Mariachi” series is like watching a group of kindergarteners playing cops and robbers. There is a lot of buildup with the teams being decided. But when the actual fighting starts, every kid wants to change sides, leaving all the others in utter confusion. When the “war” is over, the only things left standing are the jungle gym used as base and the kid who was smart enough to play on the swings. “Once Upon a Time in Mexico” is a dizzying mess of characters, edits, jump cuts and explosions. The story seems like it was custom made to feature every Mexican stereotype, and adhere to every macho male demographic. El Mariachi (played by Antonio Banderas) has been forced into hiding after events in previous films. He is brought back to center stage by a renegade CIA agent (Johnny Depp) trying to prevent a revolution in Mexico. Nothing like exploiting real world problems in the country for some awesome actions scenes and killer deaths! Depp saves the movie with his witty delivery of poor dialogue, and Willem Dafoe seems characteristically evil as a cartel kingpin. But the rest of the acting seems awkward and lost. Banderas delivers few lines and moves with a boring cool, Mickey Rourke plays the same role he has in countless other films and Enrique Iglesias embarrasses himself and his father with his god awful acting skills and rigid fight scenes. Even the beautiful women in the movie (Salma Hayek and Eva Mendez) get little screen time. Robert Rodriguez made the movie for $30 million, very low for an action movie. I give the movie praise for making the money go as far as it could go. I would believe it if they told me it was made for five times as much. It looks that good, partially because of its use of state-of the-art digital film cameras. Rodriguez, who made his first film “El Mariachi” for $7,000, has a knack for coordinating action scenes. For the two minutes they last, I was entertained. But I think it is time he paid a visit to the hated Robert McKee for some storytelling tips. The plot is incoherent and unfollowable, and we are never clear on what side a character is on. Now, Rodriquez is known for his incredibly fast time filming, often shooting only one take of some scenes. This frantic energy transfers onto the film, which was one of the aspects I liked. But a consequence of this style is that much of the movie seems like slapstick instead of slick. I was beginning to wonder if maybe more time should be taken in filming these shots and less time with the quick-editing tricks. I admire Rodriguez’s flare and fire for filmmaking. I just hope for his next film he takes a look at his story from the viewpoint of the child on the swing. Grade: 54 David’s “Great Movies”…All Those That Ebert Forgot “Band of Outsiders” Quentin Tarantino owes his career to Jean-Luc Godard. He may praise Brian De Palma, and critics may compare him to Scorsese, but no other director has had as much influence on Tarantino’s style as Godard. His camera movements are like those in the cramped rooms of “Alphaville.” His dialogue is like that in “Breathless” (sans the jump cuts). But “Band of Outsiders” is the film which takes the cake in influence. For God’s sake, Tarantino named his production company “A Band Apart” after the French title for the film. The irony of this influence is that “Band of Outsiders” was intended to be the middle finger to all that came before it. It spat in the face of traditional filmmaking, defying all unspoken rules about filming and editing. There are minutes without any spoken words, hand-held tracking shots, action scenes interrupted by narration and held to reality a camera that refuses to move, and dialogue that appears to have no relevance. What was perhaps Godard’s genius was that in his effort to make a film that would be misunderstood, he came out with some of his best, yet under-appreciated work. “Band of Outsiders” (1964) follows school kids Franz and Arthur as they plot to carry out a heist in the foster home of love interest to both, Odile (played by Godard’s wife of the time, the beautiful Anna Karina). The characters are the main subjects of the movie, not the plot, and Godard enjoys teasing us with small revelations about them all. Like a real relationship, we feel both anger and sorrow for the dreaming teens, and see all sides of their characters. They all switch from good to evil and back again, from young and naive to mature and bitter. It’s a coming of age tale set to the digression of these characters, and we can’t help but sympathize. But, like Tarantino, what makes this movie great is the abundance of unforgettable scenes. The impromptu dancing of the Madison (reportedly un-choreographed) and the “one minute of silence” will remind you of the Jack Rabbit Slim’s scenes in “Pulp Fiction.” The boys’ confusion over the location of the money during the heist will bring back memories of Harvey Keitel and Steve Buscemi arguing about the botched heist in “Reservoir Dogs.” And all the in-jokes, pop culture references and witty dialogue will make you wonder why Tarantino is so praised in the first place. Jean-Luc Godard was one of the leaders in the French New Wave, along with Francois Truffaut, Claude Chabrol, Louis Malle and Jean Pierre Melville (another huge Tarantino influence). These filmmakers broke away from tradition in all senses, using crude equipment and low budgets, and made some of the most important films in history. Yet recent events have caused an increased disdain for French culture, threatening the future of these classic movies. But thankfully, the movies in the movement are finding new life in the home video and DVD market. Godard is possibly the most accessible of the New Wave directors, combining action, humor and drama very effectively. “Band of Outsiders” may be his masterpiece and one of the gems of the movement. In an early scene in the film, an English teacher recites scattered lines from “Romeo and Juliet” as “two star-crossed” lovers gaze into each other’s eyes. We can tell what is going to happen in the future. The scene sets the tragic, yet ironic tone of the movie. Godard’s talent is found in his ability to write little but say a lot. Show little but reveal a lot. He is the pinnacle of independent filmmaking, setting the bar for future directors around the world to come. “Band of Outsiders” reminds us of the importance of youth and creativity, trust and loyalty. It never goes for the easy, more dramatic kill at the heart, but instead goes for the gruesome, messy, “turn your head away, yet peek from the corner of your eye” kill at the jugular.