Summer Movie Round-Up ’09: Part 2

Talent v. Tantrum

I haven’t been able to catch too many more flicks recently thanks to a torrential downpour of stupidity in my work and social life, so I unfortunately have nothing to report on the Harry Potter front. I’m very excited for HP6 though, as I’ve heard tell that it’s the best in the series.

Public Enemies – A lot of people give Michael Mann a hard time for using shakey-cam on a period piece, but I really dug it. If you’ve never seen a Michael Mann movie before, you probably would be shocked to realize that Public Enemies is not an action movie, disappointed even. I know many of my comrades in the theater felt that way. Not me though. I loved every brilliantly calculated frame of this movie. Sure there’s no jaw-dropping performances or real moments of drama, but this is an art film in the basest sense. Mann uses his actors as puppets to convey an overall message, that John Dillinger’s celebrity benefitted the public more than his death ever could. This is not an intricate character study of a man’s life. Rather, it is a depicition of a man on his way down the mountain, a glimpse at the simplicity and humanity of a person who could have been any of us. He just robbed banks and murdered people too.

It’s not hard to root for Johnny Depp in any role, and I think that’s the point of making him an everyman murderer. As opposed to co-star Christian Bale’s intricately satiric portrayal of an American Psycho, Depp makes Dillinger’s lifestyle seem almost plausible. The villains of this movie are the agents of the American government, sworn to uphold the nation’s laws and protect its citizens. Even when he kills people, Depp’s Dillinger never appears to be shaking the sheets of society in a chaotic way. He simply gives society a thrill in an otherwise sepia-toned existence. The real chaos ensues when Bale’s FBI agent chases down and brutally murders a wanted felon in an apple orchard. The rich colors and scenery contrast the brutality nicely. The natural order is tainted by his presence.

There has to be something deeper at work here than Mann simply urging us to root for the bad guy, and I believe there is. When Bale and Depp finally collide at the film’s end, there is a deadening silence that follows. That silence is the absense of personality, as if the color has literally been drained from American living with the death of one of its most iconic citizens. Can a man make life worth living through murder? This is the question Mann asks the audience in the film’s conclusion, as further evidenced by the post-script about the fate of Bale’s real-life counterpart.

This film’s greatest mistake was its release as a summer movie. It could have done a lot better for itself in the fall or in the push toward award season. It’s a bare-bones art film, not a shoot ’em up. For that, it may be forgotten by the summer crowds in place of bigger noisier entertainment. I’ll always remember it as a beautiful and surprisingly quiet thinkpiece with shades of commercial interference, and as the movie whose set I broke onto last summer to audition for my first paid acting gig in Chicago. For that alone it deserves the Grade: A.

Bruno – I really wanted to like this one, folks. I really did. Sasha Baron Cohen is probably my favorite modern comedian (or at least was) and I’m a Borat apologist even in spite of the douchey frat guy quoting sandstorm that accompanies all popular comedies (I’m looking at you, Family Guy & Austin Powers). Thankfully (or maybe not) there’s nothing worth quoting in SBC’s latest movie, a gay-joke wrapped in an enigma wrapped in a velcro suit that barely bothers to scratch the surface of satire before diving back into the depths of MAD TV level vulgarity.

It’s not that the movie isn’t funny. It is occasionally laugh-out-loud ridiculous. The problem is that the laughs, like everything in the movie, are incredibly shallow. While SBC characters Ali G and Bruno had the ability to prolong their interactions with interviewees because of their brilliant blend of innocense and ignorance, Bruno is such an obnoxious asshole that no one is willing to defend him, whether they be gay, straight, Austrian or American. All of the “skits” in Bruno seem staged or rushed, as if the humor of the concepts was thought to outweigh the lousiness of the outcomes and there wasn’t enough time to reshoot anything. Is it really funny to see Ron Paul become slightly uncomfortable while a straight man performing a gay stereotype strips naked for him? I guess. But is it funnier than Bob Barr’s look of panic and disgust when he realizes he just ate cheese made of breast milk from Borat’s wife? The brilliance of Borat is that all of his disgusting habits and beliefs could be chocked up to cultural differences, so people would struggle to keep things diplomatic despite all reason. While Borat’s backstory was as contrived and jokey, it was quickly established that this character comes from some place where his absurdity is perceived as normalcy, that in some strange fictional universe Borat is the everyman. Bruno is just too unlikable to function as a fish out of water. His backstory is too shallow to allow for him to ever function as an everyman in any situation. It’s hard to imagine a situation where Bruno is well-liked, especially in the Austrian gay community. As a result, SBC resorts to cheap, tired and repetitive Hitler jokes in between dropping his pants and saying something gross.

I really thought that a Bruno movie could surpass Borat in terms of cultural impact. While the original Borat sketches on the Ali G Show were at times funnier and more brilliantly satiric than anything that happens in the Borat movie, the movie did a great job of exposing American xenophobia in a gung-ho patriotic post-9/11 world. Whether SBC realized it, America needed Borat to poke fun at them so they could start to laugh at themselves and relax a little. When I heard that Bruno would be getting his own movie, I was overjoyed. Surely SBC could build off the satiric momentum of his last movie, and attack homophobia on a worldwide scale, forcing the ignorant to come to terms with their outdated and illogical beliefs. Instead Bruno’s homosexuality is the biggest joke of all, reaffirming the stereotype of the outrageous flaming homosexual without providing the counter-balance of depth to make him seem like a real person.

In the original skits on Ali G, Bruno was an innocent thrust into unlikely situations. When Bruno went to a gun convention in the American south, you feared for SBC’s life not because of how ridiculously he behaved but because of his quiet yet honest pride in his lifestyle. For the movie, SBC redesigned Bruno to parody the self-indulgent American fame-seekers with nothing to offer society, the Paris Hiltons and Spencer Pratts. What SBC was too short-sighted to see is that America’s greatest pop icons are destined for their own brutal demise without his help. Britney Spears, Elvis, even the late Michael Jackson metamorphosized from edgy icons to media monsters thanks to the press and public’s goading. We as a culture are aware of how stupid Paris Hilton is, and we like to laugh at her. That’s the reason why she’s famous, and that’s the reason why The Hills is so popular. Those dumb enough to actually fantasize about being these vapid trollops will one day become them, and thus the cycle begins anew with younger, hotter sexier fools to entertain the court. In parodying American obsession with celebrity, SBC satirizes something too innately shallow to care about, and the resulting movie does more to make him appear as self-indulgent and imperceptive as the stars he’s mocking.

The real death knell of the film happens at the very end. Bruno enters a California marriage office and tries to procure a license for himself and his lover. Rather than poking fun at the absurdity of repealing Prop 8, Bruno brings his lover in drag and tries to convince the man at the counter that his lover is actually a woman. Funny? Maybe when it was topical. You know, back when Some Like it Hot was released. In some ways, Bruno is the perfect representative for the fashion industry. He’s constantly all dressed up with nothing to say. (Sorry Ms. Klum.)

Grade: D-

Summer Movie Round-Up ’09: Part 1

The Mecca of Movie Entertainment

The Mecca of Movie Entertainment

One of the greatest things about living in Los Angeles is that I reside next to some of the coolest movie theaters on the planet. The Arclight on Sunset is incredible, but I’m dead center between the Grove Multiplex, the Fairfax Mildewplex, and the New Bev. Usually, I don’t have to walk very far for big screen entertainment. But this week I got the opportunity to revisit the Landmark in Westwood and visit the Arclight for the first time. Both incredible theaters, both with incredibly stupid assigned seating. I feel extra sorry for the poor schlub employees who try in vain to force people into their numbered seats. No thanks. This ain’t Dodger Stadium. And even then, I’d be moving down after people cleared out in the fourth inning. If it ain’t about a window seat, I don’t need an annotated touch screen is all I’m saying.

I used to write a lot about the movies I’ve seen, but I’ve gotten into the bad habit of simply tweeting about it without giving you graphic detail. Here’s a summer movie round-up for all the films you may have missed:

Transformers 2: Revenge of the Action Figures – This movie is not as bad as everybody says, but in the same vein as Spider-Man 3 it’s so loud in its badness that it’s hard to ignore. Giant robots with testicals aren’t exactly brilliant subtlety. However, this movie should be credited for having Megan Fox occasionally onscreen. True, she gets humped by a Decepticon but rather than judge, I choose to live my life vicariously through said robot. I have to give them credit. They made senseless violence look damn convincing and almost exciting enough to care about, whenever you could tell what was happening.

If the first Transformers was stupidity wrapped in crap and giant robots, the second one is a somehow longer crap, minus Anthony Anderson, Jon Voight and the Australian Chick. You’d think that’d make it better, but it’s not much. There’s one bad jump cut in particular, when Isabel Lucas ditches Shia after the party that looks so amateurish that I wished the robots from MST3k were there to teach Michael Bay a lesson. Where does he get off crafting three-hour multi-million dollar crapfests when I’m stuck blogging better ideas in my sleep! In fact my 347 page draft of Beast Wars: Return of Dinobot gathers dust on the desks of agents around the city! It’s ludicrous, I tell you!

But if you want a really great, really racist giant robot movie this is the one for you. Everyone hambones the idiot sambots but I think the painfully stereotypical Asian music in the opening fight sequence takes the racist cake. An old man is eating a meal. GIANT ROBOTS BURST THROUGH HIS HOUSE! He is slightly startled! (and like most “comedic” moments in this movie, the bit falls flat faster than the jetpack-hamburgers in Minority Report). Because Michael Bay doesn’t want anyone to miss a “laugh,” he adds in four seconds of audio-racism, reminding the audience that Asian characters in his films are stereotypes first, people second. That being said, I do recommend that everyone sees this movie on the grounds that it’s something we can all hate this summer minus seemingly essential components Heidi & Spencer.
Grade: D-

Whatever Works – Larry David is a fine successor to Woody Allen, but the story surrounding him is not. While I’ll be a fan of Woody no matter what kind of crap he schlocks out, this one is only watchable from the perspective that you’re either a huge fan of Curb Your Enthusiasm or are a decade long Woody Allen apologist. In terms of bad Woody Allen it’s a little worse than Scoop only in that Woody’s never on camera, but it’s decades better than Melinda & Melinda, a film that could never decide whether it was an unfunny comedy or a lackluster tragedy. It’s worth it to see Larry David monologue clever Woody Allen quips, but it would almost be better to ask Woody to write a Curb at this point than expect the guy to invent a new universe as blissfully chaotic as that one. Say what you will about genius. It doesn’t always age well.
Grade: C+

This is the only New Moon you should care about

Moon – Duncan Jones’ Moon is a technical masterpiece as well as an actor’s thinkpiece. You will believe a man can act as Sam Rockwell brings introspective dialog to new heights, tapping into the subtle changes that manifest after three years of solitary confinement. I don’t want to spoil too much of the plot, for as predictable as my friend Elizabeth thinks it is, I believe there’s a whole sector of the populous who never enjoyed 2001: A Space Odyssey or Alien in their youth and would be wowed to know that good science fiction actually exists. Not only that, it’s good science fiction that’s well acted. Battlestar Galactica, eat your heart out. While Rockwell exudes Han Solo-like enthusiasm at times, this is hardly a bombastic film. Still an effects-driven space opera, Moon is more focused on proving its humanity to the viewer than satisfying mankind’s natural desire for explosions and bouncing breasts. Simple moments like a high-five take on new meaning in this universe, and that’s enough to promise a second viewing from this reviewer. (Also, Kevin Spacey is a robot who communicates through smiley faces. Hell yes.)
Grade: A

The Hurt Locker – The problem with The Hurt Locker is not that it has a bad message, or that that message is badly delivered. Its only flaw is that the message is one we’ve heard as a nation time and time before, that only a certain breed of man is cut out for the armed forces and that man must behave like a fearless demigod. While I have no doubt that our armed forces are packed with men and women with this sort of macho take-no-prisoners attitude, the stark realism of the film’s environs present a depressing image of the American soldier. Even at his best in combat, the soldier is subject to so many horrors that the nature of his duties seem unfair to inflict upon any American citizen. The result is the sort of gung-ho patriotic message you might expect from this summer’s upcoming G.I. Joe or Team America: World Police. “Be the impossible in any circumstance,” the movie suggests to its viewers, “even situations that don’t warrant it and might possibly make you look like an asshole.”

In the same way that the past two Batman films strove to make the superhuman practical, Hurt Locker attempts to make the American soldier a superhero, rising above the call of duty no matter the cost. Of course this results in some needless breaking and entering, some mistaken identity, and some occasional friendly fire, but that’s the nature of the beast for a bomb specialist. While skilled at showing the reality of the characters’ external struggles, director Kathryn Bigelow occasionally misses the mark when attempting to display their inner turmoil. There is nothing particularly emotional about this film, which is a shame considering how high the stakes are. Otherwise this is another brilliantly shot technical masterpiece that forces us to relive the anxiety that we’ve ignored for the past few months thanks to recent celebrity deaths and imminent economic collapse. Our soldiers are still living a nightmare in a foreign land, never certain whether they’ll live to see another day. Whether brave or riddled with fear these men deserve to know that coming home means they made a difference.
Grade: B+

That’s all the time I’ve got for now. Stay tuned for more movie reviews! So far Star Trek and Moon are my favorites this summer, although Bruno is fighting for that position pretty hard (gay innuendo unintentional). I didn’t see Terminator but I guess I’ll just have to settle for seeing the OTHER Christian Bale movie this summer, Public Enemies. I broke onto the set of that movie in Chicago, which is undoubtedly one of reasons it’s getting such lackluster reviews. I swear, I didn’t mean to be such an anachronism, but I really needed to finish playing Tetris on my phone. In case I don’t see ya, have a Happy Fourth of July!

My Breakfast with Wyclef

We are badasses.

This morning I woke up semi-groggy from the aftermath of Brittania karaoke and a hugely successful improv show, vaguely remembering that yes, today was the day I was supposed to meet Wyclef. Still skeptical and shocked that the whole thing was possible and reeling from a day full of friendly jokes about the situation, I shot out of bed and stumbled to the shower unsure of what to expect. One of my comrades cleverly suggested that I was about to be punk’d, that the whole thing was a scam set up by Ashton Kutcher’s twitter account. I brushed those thoughts aside, threw on my best Mr. Sparkle t-shirt and headed toward Sunset. I remembered that Jay, Wyclef’s assistant, had told me the place was right near the House of Blues. (At this time I am willing to divulge that the secret location of our meeting was in fact the perfect place for Wyclef’s new worldwide social movement: the international house of pancakes!) I dropped my car off at the meter and strolled by the Comedy Store to ask a guy where the iHop was. He pointed down the long hill south on Olive Street. It seemed wrong, but the guy worked at the Store so he had to know the area fairly well. Time was running short, and Wyclef had just sent a message to his followers saying “don’t be late!” I headed down the hill and after asking a supermodel-ish brunette for further directions, I found myself on Santa Monica right near Barney’s Beanery. There stood the glorious iHop, and I headed inside.

The place looked deserted. Aside from a few dining families, there was no sign of an international hip-hop sensation. I asked the hostess if there was another iHop in the area. She said that there was, but that it was on Sunset and Orange. Something triggered in my memory, and I recalled that Jay had mentioned Orange Avenue. “Is it in walking distance?” I asked. “No. Not that place,” she replied.

Like a bolt of lightning I shot back up the hill on Olive Avenue, sweating and panting like Chris Farley on a treadmill. Through asthmatic puffs of breath and beads of sweat dripping down my glasses I managed to jog uphill while Google mapping the intersection on my phone. Most disappointingly, the real iHop was even closer to my home than the one I’d just visited. Sweltering from the heat and my own physical inadequacies I surmounted Olive Avenue, jetted back down Sunset, popped in my car and cranked the A/C. Last night’s late night drinking hadn’t helped my hydration any, and I was definitely feeling it now. I called Jay to let him know I’d be a few minutes late (the clock had just hit 10:00 AM on the dime). Jay seemed laid-back and let me know he’d pass the message along to Wyclef. I felt a little more at ease.

When I rolled into iHop (the one across from In ‘N Out near Sunset & LaBrea, NOT the closest one to the House of Blues, although I can see how an out-of-towner could easily make that mistake) I was a sweaty mess. My Simpsons shirt was clinging to my body like a baby marmoset, and I was dripping beads like a slutty girl at Mardi Gras. I walked inside and saw a long table of about twelve people. There at the center, like a hip-hop messiah at his own last supper, sat the man himself, Wyclef Jean. He was looking slick in a white button down shirt with close-cropped hair and I looked like I’d just been on the Rotor at Geauga Lake. I sidled up to the table and strangely enough, Wyclef recognized me from my twitter picture. I reintroduced myself and shook his hand. They added some extra spots at the table and I sat down next to some adorable little girls, maybe six and eight years of age. Wyclef came over briefly to inquire about my background. I gave him a little run-down of my travels from the past four years and told him that I was sorry I was late but I had to run uphill to get here. He was calm cool and collected, as you might expect, and seemed to have little need for apologies or formality. The more time I spent in his company the more I realized he was a man who respects honesty and generosity of character, that no amount of schmoozing could ever win this guy over.

After downing five glasses of water and meeting a few more people, the lady in charge of Wyclef’s new website started broadcasting a live streaming video of our breakfast. I briefly got to do a shout-out to the web where I pimped my blog and stated my appreciation for Wyclef’s approach to Twitter and social media. I wasn’t sure if we were broadcasting live at that point, or if I was being recorded for a future video montage, so I apologize if I seemed unprepared, awkward or incredibly sweaty. According to most people, I am less sweaty in person, I promise.

Wyclef bought us all breakfast and I got to chat with a guy named Grafiki about his idea for a new webisode series. It sounded pretty cool so we exchanged contact information and promised to keep in touch. Noticing Grafiki had left his seat across from Wyclef to talk to me and had now sidled over to a nearby table featuring two very attractive ladies, I took the opportunity to pop closer to Clef and ask him a few questions.

Me: So what’s the next step for this online community?

Wyclef explained that gathering more support, followers (or Warriors, as we like to be called) and creating a real community is the next step. Wyclef envisions a world where artists and fans can interact directly without big business getting involved. While labels and traditional marketing companies have been helpful throughout Clef’s career, there have been times when they have failed to promote certain events correctly or have misread his intentions. Clef dreams of cutting out the middle man and connecting to people directly, so that the true fans can share their messages and stories with the world and also experience the music firsthand. He wants to create more autonomous flash-mob style events rather than big corporate stadium shows.

Me: How do you feel about file-sharing? Has it affected you directly?

Wyclef replied, “With the economy the way it is, you can’t expect people to buy something without giving something away for free.” Yesterday Jay sent me some of Wyclef’s newest tracks. Not only were they incredible, it was a great taste of the things to come on his latest album and they definitely made me hungry for more. Wyclef believes that if you let the people sample the music, they’re more likely to buy the album when it drops.

Me: I think people really respond to your honesty on Twitter. I follow a lot of celebrities, but most of them just crack jokes and you don’t feel like you ever get to know them as human beings. That’s not the case with you.

Wyclef thanked me and said that for him “Twitter is a lot like a psychiatrist…sometimes you’re feeling sad and you don’t want anyone around you to know that you’re sad, so you just- [pantomimes typing on phone]”. We laughed and it was clear that many people at the table could relate. It was interesting that he thought of Twitter as a cathartic release, a form of expression. I didn’t get to follow up on this point, but I would have assumed that his music was his primary form of catharsis. Perhaps the nature of the music industry, big business and traditional marketing had changed the nature of music in his eyes, that what was once performative and expressive had become a full-time job. Twitter and Clef Zone seem to be Wyclef’s method for combatting that stagnancy and despondency that often follows the stress of work. Now he can connect with fans all the time, whether or not his album is getting press.

I asked a few more questions, but the answers were mostly covered by Wyclef’s toast at the end of the meal. He thanked everyone for coming and for their support (especially the wonderful woman who constructed his new website and ran the webcast) and then reiterated that anything is possible with this sort of grassroots movement. He used to ride a donkey in Haiti and now he lives in a McMansion in the states. Anything is possible, but it all starts from communities like the one sitting around him at the table and the gathering masses online. He envisions outdoor shows in parks and creating new content for the streaming video on his website so that it runs twenty-four/seven like a real television channel. Clef suggested that everyone records everything, films whatever they see and shares it with the world (a sentiment echoed by my newfound friends at Found Magazine).

We took a few photos and said our goodbyes. As we were parting I asked the question I’d been dying to ask since I’d started chatting with the man: When are we going to see another Fugees reunion? Clef cracked a slight smile and said that I should look for it sometime next year. Yes. God Yes. I’ll be blaring Fu-Gee-La all day, every day until it happens! Thanks, Clef!

If you haven’t already signed up for Clef Zone, started following @wyclef (or me: @shorester) on Twitter, I suggest you do so now. If this isn’t a story about the magic and wonder of Twitter, I don’t know what is.

Faster Moviecat! Kill!! Kill!!

I just saw this movie called “Funny Games”. It looks like this.

The movie is written and directed by Michael Haneke, the guy who delivered the brutally tense Cache a couple years back. You could say that Funny Games is a little more upbeat and coherent than that film, but let’s not go crazy. Funny Games is demented. It has some of the most horrifying imagery I’ve ever seen on film. That being said, it’s also one of the best thrillers I’ve ever experienced. It’s as psychologically manipulative as Silence of the Lambs but decidedly more intimate. Haneke’s long-shots suck you in and refuse to let you blink, leaving you to cringe in anticipation for the torturous events yet to unfold. I watched it once yesterday, horrified the whole time, then recommended it to bada friend and ended up watching it again today. I’ll say this– it’s not as scary when you know what’s about to happen, or if you fail to take the full leap into Haneke’s world. But it is still a well-shot captivating thrill-ride of a movie. And I highly recommend it to anyone over sixteen with a pulse.

Speaking of thrill-rides, I also caught Pineapple Express earlier today. Apatow’s done it again. I don’t know how he’s cornered the market on comedy, but he keeps nailing them out of the park (Drillbit Taylor excluded). Pineapple Express is an action/weed/buddy-comedy that simultaneously nods to and demolishes the conventions of its predecessors. It’s the American Hot Fuzz, but more compact and less reverent. What’s nice about Apatow’s universe is that his characters defend their unique senses of morality against conventional standards. Knocked Up is about the beginnings of an unconventional family. 40-Yr Old Virgin is about a character whose unconventional behavior causes an outrage amongst his friends. In Pineapple Express the questionable content ranges from Seth Rogen dating an 18-year old girl to the copious amounts of marijuana smoked by both Rogen and co-star James Franco. While the movie makes a fairly hilarious case for the dangers inherent in both of those sweet sweet vices, it never openly condemns them. Rather it takes the apathetic and easy-going stance of all the moral lessons in the Apatow universe: as long as nobody’s getting arrested and everything is chill, there’s not much to complain about.

I can’t recommend this movie enough. It’s a stunning homage to all buddy cop comedies, but mostly it’s a love song to bad 90’s blow-em-ups. There was a surprising amount of violence in the movie (maybe tying it with Funny Games??!) but the tone is mostly amicable. David Gordon Green directs in a compromise between Apatow’s point-and-shoot method and the over-the-top melodrama of 90’s gun movies. The result is non-stop laughs and a decent amount of pseudo-gay male bonding.

I caught Pirates of the Carribean 3 earlier too. It sometimes gets maligned for being on the butt-end of a trilogy (a common and pitiable fate shared by the cinematic triumph Spider-Man 3) but I think once you get past the first hour or so of exposition, it delivers in a major way. Gore Verbinski has a talent for crafting incredible computer-generated effects that feel real and interactive. The vividness of the imagery he uses is almost tactile. Regardless of the setting, Verbinski’s chief skill is his attention to detail in the mise-en-scene, to the point where every shot is sensory. It’s what helped make the Ring so creepy and made the Pirates universe such a fun place to visit. That’s a notoriously difficult task. Think how many terrible horror movies are ruined by bad visual effects, bad lighting, poor storyboarding. The only real downfall I ever have with the Pirates universe is that when the characters are taking themselves too seriously, it sometimes becomes less fun to imagine yourself in their shoes. It’s part of the reason I think the Star Wars prequels are less engaging than the originals. The audience wants to see characters having fun in ridiculous surroundings, not sorting paperwork. Not that a Pirate Council isn’t immensely more fun than a dry-as-prohibition Jedi Council meeting, but for God’s sakes, I came for adventure! Not conversations about adventure. By the third act, once all of the plot pieces are in motion the visuals take hold and collide in some brilliant and spectacular ways. Everything from Davy Jones’ tentacles to the explosive sea storms look authentic and mesmerizing at the same time. I hate it when I can tell a CG-effect isn’t practical. It takes me out of the universe to recognize that everything but the actor is digitally added, even if it’s an interesting shot. Verbinski blends reality and fiction so well visually, I can’t tell where the ‘real world’ begins or ends. That’s impressive.

Similarly visually impressive was Tim Burton’s recent musical Sweeney Todd. Although most of the effects in that movie are practical, and as far as Burton’s design style goes par for the course, it’s still an engaging and morbid romp powered by its performances. I know a lot of musical snobs give the movie shit for not using trained singers, but if any of them can fault the brilliance of Sasha Baron Cohen’s performance, they’re mental. The movie is consistently dark and funny, which is nothing new for Burton, but I couldn’t imagine anyone else handling the material better. Mostly I was intrigued by the story structure. Most musicals are so sugar-coated and jazzified that they fail to understand compelling narrative. Sweeney Todd is beautiful and tragic and extremely well-structured. No character is unnecessary and everything falls neatly into place. In less skilled hands the whole thing could be insanely campy, and I am thankful that Burton embraced the story’s darkness rather than poking fun at it.

All in all, a pretty good crop of movies these past few years. Yup, yussir. Looks like I’ll keep seein’ em.