Post by Casablanca on Oct 20, 2009 23:15:44 GMT -5
This is the first review in a series of re-reviews I am doing. I have a nice list of films I have been meaning to get too, and this came first since I read about 75% of it a week ago, and finished it tonight. The re-reviews are mostly to films that I am doing for some reason; either I forgot them, have been meaning to do them, or a sequel is coming out.
The next film will be a Hanelle film (pre-Miss Fortune). After that, I have a list made out of:
[Not in order.]
A Moral Aroma
Eleanor Rigby
X-Men 4
The Comic Shop
A pre-Ricochet Fight Indy Film (need to decide which one)
The Hand of God
A pre-Frankenstein SCF
Captain Scarlet 1 (I might make it 3)
A jester film that is not TLC
That is open to change, and will take quite a bit, but I am on a great start, and have read a few, again, already. Just need to type reviews.
-------------------------------------
Back a few years ago, on television, there was a sit-com titled “Cheers”. And, on it, whenever a specific character would walk into a bar, everyone would raise their glasses and yell out his name, “Norm!”. That is about the attitude I am starting to take with this cast of characters; they have, since the last film in the same series, grown, both on screen, and off-screen; and with this, that development, they strike a new chord of individuality that is personal and comforting. They are not characters; players in a conventional film; but people, and that is one of the few things, if not the one thing, which “19th Road” achieves more so then the previous installment, a sense of familiarity, and a visual display of growth. Isn’t this a comedy, though; I am sure you are asking. Yes, it is, partially, not completely. It is a film with humor, but on the underbelly, a film about friendship and responsibility hidden behind immaturity. It is a drama in a comic’s skin, but with the face showing. There are some moments of real warmth, real interaction; just enough to balance those of sheer silliness; resulting in a inane, off-the-charts project that I daren’t even call a “film”, I call a slice of life; in the most literal sense imaginable.
One thing that is immediate from the start; and carries through during, is how brutal a film this is. From the opening, scorching “warning”, to the devastating suicide attempt (written in such a chilling manner), and all the way to the basic storyline; this is a film that takes no sacrifices or merciful limits. It goes all the way, and some; so much so, that littered through its 130-some page run length, there is some of the riskiest, most daring jokes that have graced this critic’s eyes, since…speak of the devil, “18th Road”. But God, don’t we love it for it? Here we have these vulgar, truly despicable people (no offence), and the script manages to put us simply and effortlessly in their world; vulgarity becomes personality, and irresponsibility, a lifestyle.
One thing that I praised “18th” for, and can carry the same praise over here for, is the wonderful blend of colorful people which, often unfortunately, come into play with this cast’s life. The brilliantly humorous receptionist (with iron lips), Emma, Matt, and even down to the McDonald’s worker. It is a literal joy to see so many people intermix so seamlessly; and that is an achievement as large as any fantasy film- the ability to create a universe.
However, there are a few gripes I had; and this is both something I wish to criticize the film for, as well as pity the film for, because most of these flaws were, sadly, beyond the film’s control, to an extent. Perhaps the main, and largest flaw I have pointed out before, and will do so again, is the general mood. As I said, there is this feeling of growth, and of maturity budding, yes; but where is the freshness? It seems to be the case that with this familiarity, the director has felt the same, and forgot the brightness of “18th”. Is this inevitable? In part. With heavy drama, and a mixture of genres comes a fog that covers up the true intentions, and true charm of the film. We get a fair sampling of mood swings, but with that, not the mood we treasure most. Also, the ending. Now, I must say, this new cut is quite meatier then the original showing. It has more build up, more cohesion, and even more to take pleasure in, but I’ll be damned if the huge drop of, lets say, random humor, feels anything but unusual. There is still that feeling of effort as the movie struggles to turn into something it never was to begin with, and while I see where it is going, and why, and what- the “”how” needs a bit of work. Consider this, though; I have stated most of the film’s flaws are hard to cure, this goes for the same. A few cuts later, and we still have the same fault; there must be something to this. Is it that, no matter how hard the director tries, this is a mood swing that is near impossible to bridge? I think so. At one end of the spectrum, only another twenty pages can successfully pull it off, so why try? At the other end, it could have been pulled off.
Perhaps my only other gripe is something that, during the film, I changed my mind, multiple times, if it was truly a gripe or not. It is the run length, in relation to the many scenes that seem to be there, just for a laugh. At times it is over-long, and, at times, it is a nice and refreshing break from the plot; both so often, and to such a balance, that labeling it as a flaw or not is something I am unable to do, with the exception of the range. Undeniably anything but a flaw is the wonderful range of humor we get, from alcohol, to sex, all the way to Jews, therapy, and vegetarianism. If there is a topic this film left out, it is only because it isn’t able to be ridiculed. Yep, this film tackles it all, and that is a benefit of the insane 130 pages; featuring some truly wonderful scenes of comedy- the part towards the start with Daz being slipped liquor was very good, as was individual introductions of the characters, and a lot of the later stuff at the motel/hotel; including a surprisingly warm interaction of Jennifer and Amber; a well written segment. It is the little things too, though, which make me smile with the delight of thinking back upon it. Some lines, a movement, a little detail, perhaps. The phone one-liner about the 90’s wanting their technology back; the hilarious part where Daz is questioning if what he sees outside his window is a person. It takes a truly personable film to have moments leap at you, like that, off the page and deeply embedded in your memory.
Out of all the major characters, they all work at different times. Like clockwork, the film jumps back and forth between who has a moment to shine. Overall, my favorite was Jennifer. She sees to be the more mature one, and the more layered character, as the ending shows. She always seems to have more on her mind then anyone else, and I applaud the director for this role. As for the rest; sometimes they are individually good in specific, other times they merge; but there is no “bad” player in this somewhat, at times, plot-less story, at times, eventful tale.
As for how this cut is better or worse then the previous cut; there really is no change. A slight improvement, the overall idea of the film seems to be the same; except more filler. Good filler, but more of it, at times. This may be because of a decrease in plot, an increase in humor; or maybe I am wrong, and hardly anything changed at all in terms of a set ratio. All I know is that from the first “cut”, and viewing, I walked away both underwhlemed, and only remembering the final bits of the film. Now, I walk away, not excited, but somewhat more fulfilled. Not disliking what I read, anyways. And, in that, something must have been done right. Where, in the sprawlingly mammoth 130-some pages this “note” has been added; well, it’d take a more of an adventurer, not a critic, to sift through and determine that.
Is this film universal? No, not at all. It is a comedy for those who like, not only a good film, but also comedy done right. There is no idiocy, no joke without wit; and the way the film is done; it takes an effort to get through. A headache inducing snooze fest? Not quite. The film is fun, and the run length goes by like that of a long film, which is good considering the film is extremely long (for what it is). But, certainly no treasure map is needed, there is another motive in the pages themselves to go on.
In terms of constructive criticism, there is only one solid piece of advice I can use, and that is; for the film to make up its mind at what it wants to be. It would wonderful as either a 80-page comedy, or a 80-page drama. (Of course, it can be longer with enough skill). For a mixture, though, the director did marvelous; but it feel in the middle, still moving; tilting to either side. I appreciate the director’s hard effort, but I think it would be better as one or the other. [Note: it can stay both, as long as a more formidable balance is sought- not more balanced- but less of what there is.]
Overall, this new cut of the film offers a lot of insight, and a lot of cuts in the right places, bringing the film’s belt size down a few notches to making more sense. But, like a character says about the television show “Lost”; they’re lives make less sense, and how true it is! Throughout the anger, the sadness, the deception, and the lingering thoughts of friendship, this is a film which, like its characters, bakes in nostalgia in an oven set at 18 degrees. It tries so hard to be like its predecessor, but has the ill sight to do so only in a few categories; character and plot. It leaves mood at the door, and with a richly developed plot and textually nice characters, the mood develops with it. Usually not a bad thing, but when you have perfect to begin with, development can often mean just the opposite of what it implies. Overall, though, my griping is, in essence, urged, as I know the characters would have it no other way. Sarcastic, snide and sharp; I am only acting monkey-see-as-monkey-do; and I like what they do. So I give this film a handshake for holding its own, even if some things sped by faster then a Cadillac at top speed, the film doesn’t care, it just goes on as if all is fine. Until the last act, that is; then the film and the characters break down and show us what is behind the surface. Daring, uneven; and a perfect example of what the film is like- uncontrollably, unconventionally, erratically bonkers. And you know what; I can't wait to return to this road.
The next film will be a Hanelle film (pre-Miss Fortune). After that, I have a list made out of:
[Not in order.]
A Moral Aroma
Eleanor Rigby
X-Men 4
The Comic Shop
A pre-Ricochet Fight Indy Film (need to decide which one)
The Hand of God
A pre-Frankenstein SCF
Captain Scarlet 1 (I might make it 3)
A jester film that is not TLC
That is open to change, and will take quite a bit, but I am on a great start, and have read a few, again, already. Just need to type reviews.
-------------------------------------
Back a few years ago, on television, there was a sit-com titled “Cheers”. And, on it, whenever a specific character would walk into a bar, everyone would raise their glasses and yell out his name, “Norm!”. That is about the attitude I am starting to take with this cast of characters; they have, since the last film in the same series, grown, both on screen, and off-screen; and with this, that development, they strike a new chord of individuality that is personal and comforting. They are not characters; players in a conventional film; but people, and that is one of the few things, if not the one thing, which “19th Road” achieves more so then the previous installment, a sense of familiarity, and a visual display of growth. Isn’t this a comedy, though; I am sure you are asking. Yes, it is, partially, not completely. It is a film with humor, but on the underbelly, a film about friendship and responsibility hidden behind immaturity. It is a drama in a comic’s skin, but with the face showing. There are some moments of real warmth, real interaction; just enough to balance those of sheer silliness; resulting in a inane, off-the-charts project that I daren’t even call a “film”, I call a slice of life; in the most literal sense imaginable.
One thing that is immediate from the start; and carries through during, is how brutal a film this is. From the opening, scorching “warning”, to the devastating suicide attempt (written in such a chilling manner), and all the way to the basic storyline; this is a film that takes no sacrifices or merciful limits. It goes all the way, and some; so much so, that littered through its 130-some page run length, there is some of the riskiest, most daring jokes that have graced this critic’s eyes, since…speak of the devil, “18th Road”. But God, don’t we love it for it? Here we have these vulgar, truly despicable people (no offence), and the script manages to put us simply and effortlessly in their world; vulgarity becomes personality, and irresponsibility, a lifestyle.
One thing that I praised “18th” for, and can carry the same praise over here for, is the wonderful blend of colorful people which, often unfortunately, come into play with this cast’s life. The brilliantly humorous receptionist (with iron lips), Emma, Matt, and even down to the McDonald’s worker. It is a literal joy to see so many people intermix so seamlessly; and that is an achievement as large as any fantasy film- the ability to create a universe.
However, there are a few gripes I had; and this is both something I wish to criticize the film for, as well as pity the film for, because most of these flaws were, sadly, beyond the film’s control, to an extent. Perhaps the main, and largest flaw I have pointed out before, and will do so again, is the general mood. As I said, there is this feeling of growth, and of maturity budding, yes; but where is the freshness? It seems to be the case that with this familiarity, the director has felt the same, and forgot the brightness of “18th”. Is this inevitable? In part. With heavy drama, and a mixture of genres comes a fog that covers up the true intentions, and true charm of the film. We get a fair sampling of mood swings, but with that, not the mood we treasure most. Also, the ending. Now, I must say, this new cut is quite meatier then the original showing. It has more build up, more cohesion, and even more to take pleasure in, but I’ll be damned if the huge drop of, lets say, random humor, feels anything but unusual. There is still that feeling of effort as the movie struggles to turn into something it never was to begin with, and while I see where it is going, and why, and what- the “”how” needs a bit of work. Consider this, though; I have stated most of the film’s flaws are hard to cure, this goes for the same. A few cuts later, and we still have the same fault; there must be something to this. Is it that, no matter how hard the director tries, this is a mood swing that is near impossible to bridge? I think so. At one end of the spectrum, only another twenty pages can successfully pull it off, so why try? At the other end, it could have been pulled off.
Perhaps my only other gripe is something that, during the film, I changed my mind, multiple times, if it was truly a gripe or not. It is the run length, in relation to the many scenes that seem to be there, just for a laugh. At times it is over-long, and, at times, it is a nice and refreshing break from the plot; both so often, and to such a balance, that labeling it as a flaw or not is something I am unable to do, with the exception of the range. Undeniably anything but a flaw is the wonderful range of humor we get, from alcohol, to sex, all the way to Jews, therapy, and vegetarianism. If there is a topic this film left out, it is only because it isn’t able to be ridiculed. Yep, this film tackles it all, and that is a benefit of the insane 130 pages; featuring some truly wonderful scenes of comedy- the part towards the start with Daz being slipped liquor was very good, as was individual introductions of the characters, and a lot of the later stuff at the motel/hotel; including a surprisingly warm interaction of Jennifer and Amber; a well written segment. It is the little things too, though, which make me smile with the delight of thinking back upon it. Some lines, a movement, a little detail, perhaps. The phone one-liner about the 90’s wanting their technology back; the hilarious part where Daz is questioning if what he sees outside his window is a person. It takes a truly personable film to have moments leap at you, like that, off the page and deeply embedded in your memory.
Out of all the major characters, they all work at different times. Like clockwork, the film jumps back and forth between who has a moment to shine. Overall, my favorite was Jennifer. She sees to be the more mature one, and the more layered character, as the ending shows. She always seems to have more on her mind then anyone else, and I applaud the director for this role. As for the rest; sometimes they are individually good in specific, other times they merge; but there is no “bad” player in this somewhat, at times, plot-less story, at times, eventful tale.
As for how this cut is better or worse then the previous cut; there really is no change. A slight improvement, the overall idea of the film seems to be the same; except more filler. Good filler, but more of it, at times. This may be because of a decrease in plot, an increase in humor; or maybe I am wrong, and hardly anything changed at all in terms of a set ratio. All I know is that from the first “cut”, and viewing, I walked away both underwhlemed, and only remembering the final bits of the film. Now, I walk away, not excited, but somewhat more fulfilled. Not disliking what I read, anyways. And, in that, something must have been done right. Where, in the sprawlingly mammoth 130-some pages this “note” has been added; well, it’d take a more of an adventurer, not a critic, to sift through and determine that.
Is this film universal? No, not at all. It is a comedy for those who like, not only a good film, but also comedy done right. There is no idiocy, no joke without wit; and the way the film is done; it takes an effort to get through. A headache inducing snooze fest? Not quite. The film is fun, and the run length goes by like that of a long film, which is good considering the film is extremely long (for what it is). But, certainly no treasure map is needed, there is another motive in the pages themselves to go on.
In terms of constructive criticism, there is only one solid piece of advice I can use, and that is; for the film to make up its mind at what it wants to be. It would wonderful as either a 80-page comedy, or a 80-page drama. (Of course, it can be longer with enough skill). For a mixture, though, the director did marvelous; but it feel in the middle, still moving; tilting to either side. I appreciate the director’s hard effort, but I think it would be better as one or the other. [Note: it can stay both, as long as a more formidable balance is sought- not more balanced- but less of what there is.]
Overall, this new cut of the film offers a lot of insight, and a lot of cuts in the right places, bringing the film’s belt size down a few notches to making more sense. But, like a character says about the television show “Lost”; they’re lives make less sense, and how true it is! Throughout the anger, the sadness, the deception, and the lingering thoughts of friendship, this is a film which, like its characters, bakes in nostalgia in an oven set at 18 degrees. It tries so hard to be like its predecessor, but has the ill sight to do so only in a few categories; character and plot. It leaves mood at the door, and with a richly developed plot and textually nice characters, the mood develops with it. Usually not a bad thing, but when you have perfect to begin with, development can often mean just the opposite of what it implies. Overall, though, my griping is, in essence, urged, as I know the characters would have it no other way. Sarcastic, snide and sharp; I am only acting monkey-see-as-monkey-do; and I like what they do. So I give this film a handshake for holding its own, even if some things sped by faster then a Cadillac at top speed, the film doesn’t care, it just goes on as if all is fine. Until the last act, that is; then the film and the characters break down and show us what is behind the surface. Daring, uneven; and a perfect example of what the film is like- uncontrollably, unconventionally, erratically bonkers. And you know what; I can't wait to return to this road.
