In an effort to be as informative as possible to Tristate cinema geeks of every genre, political persuasion and religious affiliation, I thought I'd alert you to the coming presence of a movie that some have called “excellent,” “very worthwhile” and “absolutely dynamic.”
Are we in the midst of the worst summer movie season on record? The bar's admittedly not very high, but it certainly looks like we're heading in that direction.
The summer movie season is closing with a flurry: Recent weeks have given us such diverse, worthwhile fare as Funny People, The Girl from Monaco, Harry Potter and the Half-Blood Prince, (500) Days of Summer, Ponyo, District 9 and the best film of the year so far, Kathryn Bigelow’s The Hurt Locker.
Lee Daniels’ Precious, which won audience awards at both the Sundance and Toronto film festivals, has drawn largely positive reviews for its unblinking look at a 16-year-old black female dealing with myriad challenges, including but certainly not limited to a serious weight problem, a monstrous mother, an incestuous father and an ineffective school system.
Yet Precious also has its detractors, none more vociferous than The New York Press’ Armond White, a critic who has never shied away from airing his contrarian views.
I was having lunch with a friend yesterday when the topic of my favorite movies of 2008 came up. She had read my Top 10 list in this week’s CityBeat and complained about the fact that I presented them in alphabetical order instead of ranking them from 1 to 10.
I tried to explain my reasons for doing so — something pretentious about how ranking art devalues it and the fact that the order could change based on my mood on any given day — but she wasn’t hearing it.
Nearly 30 years ago, in an essay entitled “Why Are Movies So Bad? Or, the Numbers,” film critic Pauline Kael wrote that “the movies have been so rank the last couple years that when I see people lining up to buy tickets I sometimes think that the movies aren’t drawing an audience — they’re inheriting an audience. They’re stung repeatedly, yet their desire for a good movie — for any movie — is so strong that all over the country they keep lining up.”
Ah, but what to see?
After weeks of neglect, I finally caught James L. Brooks' How Do You Know at Danbarry Western Hills last week. (You know I was keen to catch it if I endured Danbarry WH, a second-run/rate movie house that hasn't been refurbished since its opening more than a decade ago). Released amid the crowded, late-December awards season, Brooks' latest fell off my radar in part due to its lame title and acutely glossy trailer, which played up the ever-distracting presence of Jack Nicholsonas much as whatever unique qualities it might offer.