I’m finally forcing myself to do something I’ve always wanted. To see every Best Picture nominee before the Oscar winners are announced. I’ve gotten a headstart, anticipating which movies might possibly be nominated. Here are some capsule reviews.Adaptation: Being John Malkovich was so blissfully bizarre that I was looking forward to seeing this movie. Unfortunately I do not like it as much. It’s still witty and has a lot to offer, but it might be too clever for its own good. It’s nice to see Nicholas Cage acting again and Meryl Streep has fun with her role. But the movie is not very funny and although the Hollywood action movie ending is foreshadowed it’s still an unsettling disappointment when it happens. Who would’ve expected though that this movie would boast two very cool car crashes?
Gangs of New York: I ended up liking this movie more than I expected. I was put off by the fast edits and rock music in the preview, but those clichéd and anachronistic touches aren’t that bad in the movie (or maybe I just got used to them). The production design is fantastic and, as far as I can tell, the movie has a great sense of period detail. I know little about this part of American history, so I was floored by how completely, anarchically, dangerously corrupt it was. Seeing how evil New York was then it’s a wonder there’s still an America left.
I’m not crazy about the plot though. It’s not that DiCaprio is a bad lead actor, it’s just that his character is such a cypher. He’s there only as a plot device, and he’s treated so much like an Action Movie Hero (Movie Trailer Voice: who must avenge his father’s death!) that what happens to him is of little interest (and the requisite romance is even of less interest).
All in all, it’s an impressive movie. A huge sprawling epic with a lot of great dialogue and a wild performance from Daniel Day Lewis. But I still think that after trying to make it for thirty years, Scorsese would’ve worked on the plot a little more.
Catch Me If You Can: DiCaprio does a much better job here, presenting a more well rounded human being, worth caring about. Tom Hanks is his usually likable self, a smart script, a bouncy score, etc. However, I guess I’m so spoiled by Spielberg movies that I keep expecting Gravity and Greatness every time. It’s almost not enough that this is merely an enteraining, lighthearted romp.
The Hours: Notable for its great female cast: Nicole Kidman, Julianne Moore, Meryl Streep; aided by Jeff Daniels, Ed Harris, and John C Reilly. Some scenes are excellent. The dialogue is beautiful. But I’m unsure what to make of the movie; when all is said and done, I don’t know what it’s trying to say. Since two characters kill themselves and another attempts it, this might be the classiest movie ever to try and bring nobility to suicide. I’m not sure that’s not quite the intent, but it feels like it.
Chicago: I really enjoyed this a lot. It kind of lags near the end, but that’s probably because the bulk of the movie is so energetic as to be exhausting. Screw Moulin Rouge — this is the movie that resurrects the great movie musical. I knew nothing about the story and only knew one song, but this is a very likable and fun movie with catchy songs. All the he-men who swear off musicals might even like it too, since it takes place in a women’s prison for leggy statuesque girls in skimpy clothes who can also do some really athletic dancing.
About Schmidt: A very nice movie, although I wish they would’ve resisted the urge to throw in the unbelievable sitcom-type gags. It’s nice to see Jack Nicholson acting his age. A nice sweet movie; sad, but in a good way. Beware, however, of the naked Kathy Bates!
Narc: a tough gritty movie, with “in-your-face”® camera work and editing. An involved story might make this confusing for some viewers (such as I), but Jason Patric and Ray Liotta put in riveting performances.
Far From Heaven: the story is such a cliché and the movie-making is so studied and mannered that this movie, well-made as it is, still comes off like some kind of Saturday Night Live parody played straight. Dennis Quaid puts in a strong and tortured performance. Julianne Moore is as good as always; and Dennis Haysbert is a rock. Despite all it strengths — lovely cinematography, a lush score, a clichéd but still effective story — the movie still comes off like a stunt or experiment.
Coming up: The Pianist.
