Sunset Story

An emotionally gripping and often funny documentary about the friendship between two elderly women in a retirement community for free-thinking elders. Irja is upbeat and optimistic, Lucille dry and cynical. The documentary humanizes old people--a group that our society seems perfectly content to stow away in retirement centers and ignore--and shows that they still have much to offer.

Sunset Story

Score: 70%

The Vicious Kind

Sure, it's another indie film about a dysfunctional family. How original, I know. But I like dysfunctional. And I like self-destructive characters. The Vicious Kind is pretty basic, story-wise. Nothing new to see here, I suppose. And there are issues with the script, to be sure. But the movie's magic comes from its characters, the bulk of which can be attributed to Adam Scott’s turn as the "vicious" self-destructive misogynist, Caleb Sinclaire. The rest of the cast is also very good, but this movie is nothing without Scott.

It's not a great film, but the performances make it a good film and definitely worth watching, especially if you enjoy dark comedies.
 
The Vicious Kind
Score: 62%

The White Diamond

Visually impressive documentary from the incomparable Herzog, The White Diamond begins as a scientific exploration but then transforms into a spiritual one. Herzog often documents humanity's struggle with nature, sometimes with tragic results. Although the film is a little aimless at times, Herzog's The White Diamond is still a poignant and beautiful film, capturing natural wonders at their most breathtaking, and mining the depths of his subjects' souls.

The White Diamond

Score: 77%   

Inglourious Basterds

I've never been a big fan of Quentin Tarantino, so QT lovers can stop reading now. Not that I plan to tear down your idol, but I will not be hoisting him up high as so many others seem to, regardless of what he makes. Inglourious Basterds is certainly his best film since Jackie Brown, but doesn't say much in my opinion, since those films ranged from crap to slightly entertaining.

Tarantino has a flair for dialogue, but can no longer discern the difference between good and bad anymore. The same can be said of his direction and editing. It's as if the voice(s?) inside his head just keeps saying "that's brilliant," or "yes, more of that." His love for his own dialogue and his self-indulgence drag out the film and are, at times, terribly boring. Case in point is the bloated run time of 2 hours and 32 minutes for what is essentially a B-movie revisionist history action film where Jews get to kick some Nazi ass and take out Hitler.

The movie has some amazing parts, but as a whole isn't all that great. It just doesn't deliver fully; we're left with only moments, some great scenes, but wishing for a whole lot more.

Inglourious Basterds

Score: 60% 

Broken Embraces

Not his best film, but a very enjoyable experience and head and shoulders above most of the films Hollywood craps out. Broken Embraces is visually and aurally stunning, well-acted, and, in typical Almodovar fashion, effuses an enormous love for movies and moviemaking. A film lovers filmmaker.

And then there’s Penelope Cruz. In her Hollywood films, she is merely cute, an inconsequential actress making inconsequential films. But with Almodovar, and most specifically with his last two films, Volver and Broken Embraces, Cruz has been inducted into the pantheon of luminous European actresses.

Score: 78%

Ponyo

Ponyo, like all of Miyazaki's films, is beautifully drawn and visually impressive. But where the animated artwork soars, the script is the anchor tied to its legs, pulling it back down to earth. This is one of his more kid-friendly films, and children will undoubtedly love it. But for adults and fans of Miyazaki, this is a lesser work that could have used a few more rewrites to tighten up the story.

Score: 65%