The Last Samurai (2003)

Now here's a conundrum: do I grade this movie based on how well it's made, or how it makes one feel for watching it. The thing is, the film has a pile of problems as thick as my thigh. It's a painfully predictable affair, flush so full of its big budget mindset that almost all creativity is lost. It's manipulative, dragging you into feeling an emotion without your say in the matter. It chews up history and spits out overly romanticized fiction. The climax, lavish and impressive though it may be, feels more like a plot distraction than a natural progression of the story. And the list goes on. Yet it manages to draw you in bit by bit, letting the slow introduction of ancient Japanese culture play as a driving force to keep you interested, helped along by an utterly superb performance by Ken Watanabe. Also, let's face it, it's hard to be bored watching expert swordsmen do their thing. Even Tom Cruise, as a 19th century American soldier held captive in an enemy samurai village, puts in some of his better work. Before you know it, in spite of everything, you're rooting for the good guys so hard you're ready to learn a new language just so you can turn off the occasional subtitles. Troubled though the movie may be, it simply works. By the end you feel like you've learned a bit about a culture, seen some impressive sights, and spent time with some fascinating characters. It's not a particularly good film, really. But it's a damn effective one.

7 out of 10. (but it's a very solid 7)

Groundhog Day (1993)

Ten years before he finally gained recognition as more than a comedic actor for Lost In Translation, Bill Murray crafted one of the most complex and endearing performances of his career in a movie that was never really built for more than a few cheap laughs. It's a simple plot: a weatherman is forced to relive the same day over and over again until, one assumes, he gets it right. Along the way, he faces confusion, desperation, depression, anger, and enlightenment all within the same twenty-four hour span. Murray plays it to the hilt, showing a surprising tenderness and gravity as a man realizing he's face-to-face with eternity itself. It's a truly remarkable showing and every bit as charming and manic as the script asks for. The rest is no slouch either; every bit of the film is of comparable quality. The writing takes advantage of its concept in almost every conceivable way (the death montage is darkly hilarious), while the expansive supporting cast offer near-perfect work across the board. In the end it isn't much more than a few memorable laughs and a single but potent shot of thoughtful musing, but for being a great idea put to great use thanks to a great performance, this is deservedly a comedy classic.

9 out of 10.

Memento (2000)

Jigsaw puzzles have a lot in common with this film. Both give you a pile of pieces and task you with sorting them into a coherent whole. In the case of Memento, it's one hell of a picture! Told starting at the end and backtracking to the beginning, it is essentially the story of a man searching for his wife's killer, but the problem is that he has short-term memory loss. He is incapable of remembering anything for more than a few moments. By telling the story backwards, we get to be part of his confusion as he comes to grips with, relearns, and deals with his situation. And throughout the gradual flashback you learn about the people he knows, the things he's done, and the full truth behind it all. Simply put, it's a brilliant device, keeping the audience constantly in the dark and wondering about why a thing is happening, but the best part is how it makes you reevaluate most, if not all, of what you know so far every time the narrative resets itself. The rest of it keeps up a high shine as well, with stellar performances all around, some good pacing, and an overall mystery complicated and layered enough to be worth figuring out. There's almost nothing about this film that falls short, and that which does is so insignificant that it really doesn't matter. In almost every way, this is a modern masterpiece of twisting logic and intelligent plotting. In short, it's unforgettable.

10 out of 10.

Donnie Darko (2001 & 2004)

Donnie's got problems. His past is a mess, he's on several kinds of medication, he sleepwalks, and recently he's started seeing a terrifying six-foot-tall rabbit named Frank who tells him the world is going to end in a few days. The thing is, assuming Frank exists, he might be right. So begins writer-director Richard Kelly's twisted treatise on metaphysics, philosophy, time travel, and high school. It's about as strange as it sounds, but it gets enough of a fascinating vibe going that it's difficult to look away. The high school angle of the film is blown appropriately out of proportion, exaggerating all the stereotypes you'd find within, from the overbearing, self-important busy-bodies to the completely unappreciated English teacher. The mystery, however, is how any of this has to do with a sleepwalking kid and a giant apocalyptic bunny. Sorting that out is no small chore. You won't find any easy answers here. It's a film that rewards a confident leap of faith into it's eccentricities, and an understanding that some of it can't be understood. The payoff, however, outweighs the risks for those willing to take the plunge. For all its thick strangeness, there's something smart, subversive, and delightfully confusing going on. If you're up for it then by all means dig in.

Note: There is a theatrical cut (released in 2001), and a director's cut (released in 2004) of the film. Both are equally good films, but significantly different. The theatrical cut offers a more even pace, a better soundtrack, and a more open-ended mystery. Meanwhile the director's cut has better character development, a much slower pace, and a more thorough examination at the science and critical thought behind the mystery. If you're planning to watch the film more than once start with the theatrical cut the move on to the director's, but if you're in it for the single serving then the director's cut might be more rewarding to you. That said, it's hard to go wrong with either.

8 out of 10 for both versions.

Apt Pupil (1998)

Seeing a feeble, elderly man being blackmailed by a ruthless teenager is one thing. When the elderly chap turns out to be a former Nazi prison camp officer in hiding, it's quite another. It's difficult to choose sides in this game of intimidation, mostly because both sides are utterly despicable. But those with a strong tolerance for darkly intense drama will find that Bryan Singer's follow-up to The Usual Suspects is a twisting, disturbingly compelling masterstroke. Ian McKellen does some brilliant work here as a fugitive criminal, but this is really the late Brad Renfro's show as the manipulative youth. And watching the two square off in their battle of wits is heart-stopping in its intensity. Much of the rest of the film manages to keep up with a little help from a subtle but effective score and a sure-handed, even pace. There's really very little not to like here, but it's certainly not a film for everyone. It's probably safe to say that folks who are offended by using such an emotional subject as Nazis and the Holocaust for the purposes of fiction should probably stay clear. But anyone else looking for some powerful, jolting drama should certainly seek this gem out.

9 out of 10.

Bubba Ho-tep (2002)

Honestly, how could anyone not want to see a movie in which a still-living, geriatric Elvis teams up with a black JFK to fight a mummy haunting a retirement home? There's no reason you can possibly come up with to pass this film over. I mean yea, the pace is a bit off at points, slow enough to keep pace with its protagonists, and the film's sense of humor comes and goes with the tide, but for sheer B-movie novelty alone this kind of film is gold. Bruce Campbell plays his caricature of Elvis with enough foulmouthed gusto and wit to make it a beautiful tribute to The King, while Ossie Davis does himself proud in one of his final roles. It may not be anything more than a bit of cheesy, low budget comedy-thriller fun, but for concept, for execution, and for the sheer gall of it, this is absolutely worth the effort.

7 out of 10.

Garden State (2004)

Some lessons in life are tougher to learn than others. Some you're not even aware you are being taught. Garden State is about a man, medicated into oblivion since age ten, going off his meds for the first time in fifteen years while returning home to deal with death of his mother. The film speaks to a lot of things, about moving on from old friends, about alienation with one's parents and about how, ultimately, you can't go home. For a debut, writer-director and star Zach Braff damn near knocks it out of the park, telling his story with heart and humor and an always surprising sense of quirk. It still smacks of amateur filmmaking at points: the pacing can be erratic and Braff's hand seems unsteady handling the older actors. Also the very end reeks of a last-minute rewrite. But on the whole it's an exceptionally competent and, I expect, personal film. It may not be everyone's cup of tea but it's probably safe to say many will find it a fitting and appropriate way to cathartic melancholy.

8 out of 10.

Dark City (1998)

Proof positive that it takes more than amazing art direction, fantastic camera work, and a stellar concept to make a great movie. Set in the tone of quasi-sci-fi film noir, wherein an amnesiac seeks to remember who he is and why the whole world seems to stop at midnight, the story winds and weaves around mind bending ideas that speak of memory, of humanity, and of reality. It's all heady stuff, but writer/director Alex Proyas doesn't quite seem to know how to get his exceptionally talented to sell it, nor his editor to preach it. Things smooth out some after an exceptionally rough first act, but the film's quality never quite matches up to its bold underpinnings. The eye candy and plot are still enough to keep you engaged through to the end, but many moments of the movie seem to fall flat for no reason. It's good fodder for film students or folks looking for a fresh narrative, but in the end it's just too uneven to recommend wholeheartedly.

5 out of 10.