matzucker Reviews

Star Trek: Discovery: Life, Itself (2024) Season 5, Episode 10

An okay finale with a bloated ending

[7/10 · 30 May 2024]

After so many episodes and so many frustrations with this series, especially its often overwrought and unearned emotionalism, it feels odd that I would indeed feel a great many things while watching this finale. One part of that is probably relief that this unequivocally weakest chapter in almost 60 years of Star Trek is now over.

On the other hand though, for once the sentimentality here is actually earned. Too bad that the cast and crew haven't learned any restraint over the years. The story here isn't half bad, the conclusion to the season-long arc is fine, although not as awe-inspiring as it perhaps should have been. (It would have been fitting if Burnham had become the keeper of the Progenitors' technology, although I'm sure the writers were aware that this would only canonize and make too-literal the frequent criticism of the character as "Space Jesus".)

The episode is overstuffed to begin with and all the B-plots keep distracting from the only interesting thing, I.e. Burnham and the Progenitors. But it gets the job done. Sadly, after the plot ends, the show doesn't end. And it doesn't end about five times, Return of the King style. And with each vignette tacked on, the good will earned in the episode proper erodes. Did anyone still wait for an answer to why Discovery looked different in a short film set in the far future from five, six years ago?

Or is it necessary or even effective fan service to reveal Kovich as being Daniels from Enterprise? Of all people? Now I know Trek very very well and even I had to pause for a moment and think: wait, who was Agent Daniels again?

All of which just demonstrates at the last minute that the writers and producers never really knew what they wanted this show to be, or how to make it Star Trek while aiming at the same time for a Gen Z-ready young adult lit tone. It just never worked and Easter eggs like that felt like scraps tossed to longtime fans to give them, if nothing else, something to fanboy over.

So one can be glad it's over now. The ending is as good as could be expected after the quality had so consistently declined for years now.

The Twilight Zone: Long Live Walter Jameson (1960) Season 1, Episode 24

Too short

[6/10 · 20 May 2024]

As good as any TZ episode, but the drawback to the half-hour format becomes evident in this one: it's too short for its lofty ambitions.

The key conceit here is kind of given away early, if not by the title, then by the narrator's early insistence on just how gripping Jamison's history lessons are. The reveal thus comes as no surprise, but still so late in the game that there's not a lot of time left to really explore what immortality must be like beyond leaving spouses behind. This episode would make a good double feature with Star Trek's "Requiem for Methuselah", itself not perfect, but in conjunction one may get an idea. As is, this is fine Twilight Zone as always, just not very thought-provoking.

Star Trek: Discovery: Labyrinths (2024) Season 5, Episode 8

Promising start, questionable resolution

[7/10 · 18 May 2024]

This is one of the better looking Discovery episodes. The archive is a great set that contributes to lending much of this story a classic Trek feel. Sadly, the trope "character trapped in their own mind" is also so... classically Trek that in other words it's been done to death, most recently in one of the lesser episodes of Star Trek: Picard.

Most of what follows is still pretty entertaining, but the whole mystery of what exactly the archive's test is ultimately comes down to DSC's go-to resolution: psychobabble. The rationale for it is halfway apropos this time, but why does it always have to be spoken expressions of feelings? Throughout the season Burnham sure didn't SHOW how insecure and self-doubting she apparently is, according to this episode. As such, the admission sounds hollow.

The episode recovers from this with a suitably tense stand-off with the Breen, which are shaping up nicely as antagonists. The ending though is hard to swallow: Moll is now... their leader? After (again) some WORDS? I don't know. Despite that, after a very shaky first half, the season remains on track to end the series of a somewhat satisfying note.

The Twilight Zone: A World of Difference (1960) Season 1, Episode 23

Solid, but...

[7/10 · 10 May 2024]

... this episode doesn't milk its concept for all it may be worth. To go this meta and blur the lines between a seemingly (TV-)real place and a film set is inspired and unexpected for a 1950s show. But would it not have been more fun if the story had had just one more twist where the protagonist is indeed right in his protestations that he is the only one that is real? Or to reveal that these fictional characters as played by actors become real when the cameras are rolling?

As is, the ultimate theme here seems to be "method acting taken too far", so it reads more as a study of insanity than anything particularly supernatural. Now that theme is frequently the province of the series, so it is certainly a good fit and a good episode. But one does wonder if it could've been more.

Star Trek: Discovery: Erigah (2024) Season 5, Episode 7

See, it can work!

[9/10 · 10 May 2024]

Rare though they may be, the great episodes of Star Trek: Discovery exist. The last such one may have aired in Season 2 or so. This however is one of them. For nearly a full hour, the show manages to avoid just about all its usual pitfalls, and that alone is a win. Characters act like professionals, there are no forced and unearned sentiments beats and the plot follows a logical trajectory.

But even besides the faint praise of saying "it didn't suck like it usually does" this is pretty good Star Trek. A tense stand-off with aliens that are becoming more interesting every time they appear recently. Some science, some diplomacy, a bit of mystery - all ingredients of the classic Trek recipe. With the (apparent) demise of a certain character, hopefully the series will now pivot towards a more imposing adversary than a couple of lovebirds and head towards a conclusion that makes good on the promise of this episode. For the first time in a long time with this show I can say I'm cautiously optimistic.

The Twilight Zone: The Monsters Are Due on Maple Street (1960) Season 1, Episode 22

Its reputation is not exaggerated

[10/10 · 9 May 2024]

Often enough, consensus best episodes in popular series acquire a somewhat exaggerated reputation over time, where a cold hard look after the fact reveals that groupthink may have more to do with the consensus than anything else. Not so here.

But groupthink is certainly the operative word in this story, or else the paranoia and witch hunts of the McCarthy era, effectively acted out on a suburban street. Its ultimate escalation is so compelling that it didn't even need the coda in which it is revealed that aliens were indeed behind the intrigue. Nonetheless the final scene, in its highlighting of the fact that people are alike all over (to coin a phrase), encapsulate the story's moral of the thin veneer of civilization, especially in times of conflict.

The Twilight Zone: Mirror Image (1960) Season 1, Episode 21

Quietly chilling

[9/10 · 9 May 2024]

This is not one of the most talked about episodes of the series, but a gem it is. Very simple, highly economical in its narrative setup and mise-en-scene, yet (or precisely because of that?) a sense of terror creeps in every time a suitcase is shown. The moments in which the key supernatural element is revealed are all bone-chilling, not least because the performances are imbued with an ever so subtle sense of malice. Whether intentional or not, it contributes much to the story's frightening effect.

A further bonus: while Twilight Zone could sometimes tend towards taking its audience too much by the hand, explaining too much e.g. In Serling's narration, this one keeps conclusions pleasantly ambiguous.

Star Trek: The Next Generation: The Bonding (1989) Season 3, Episode 5

Thoughtful exploration of grief

[7/10 · 3 May 2024]

Before Discovery inundated Trek viewers with cheap weekly sentimentalism, TNG showed that one can tell stories that are fundamentally about character relationships and their emotions without being cloying or contrived. "The Bonding" is not a season 3 standout, but rock solid Star Trek that casts a rare glance at the every-day aboard a starship. The ways that the crew attempt to alleviate a bereaved boy's suffering endear all of them to the viewer. And there's a classic Trek message about no matter how pleasant an illusion, it's never preferable to the real. That's not new, hence not a top rating for this one. But it has its heart in the right place for sure.

Star Trek: Discovery: Whistlespeak (2024) Season 5, Episode 6

Not completely insufferable...

[6/10 · 3 May 2024]

... which sounds like faint praise, and it is, but at least after a long stretch, there's cause for some praise at least. In other words, this one plays like a late-period Voyager episode - and we've seen the "Oh, Prime Directive!" and "let's teach primitive aliens some new ways" plot templates many times before - but graded on a curve, as one needs to do with this show, it's a compliment to say one was reminded of some good old Star Trek here.

Discovery still can't help itself and ventures into trite and cringeworthy sentimentalism each and every time as in this episode's low point, Culber's non sequitur of a crisis of faith. What faith? Why is Trek religious now? Why was it brought on by what is claimed brought it on? Where does it lead? Does anyone care? Surely, it will all end up in the same place that DSC storylines always do, in a kumbaya scene of fabricated community that overuses the word "connect". We'll see.

Other than that, if Blu del Barrio's scenes had been cut, this episode wouldn't have had bad acting, and the plot was okay and halfway Trekkian, and at this point I'm relieved and satisfied if that's what Discovery gives me.

Star Trek: Discovery: Mirrors (2024) Season 5, Episode 5

A series of non sequiturs

[5/10 · 26 April 2024]

The villains remember how they met. For what reason should we care? There's a visit to the Enterprise. Is it relevant that it's this ship? Culber all of a sudden remembers things that happened to him three seasons ago. Because there wasn't the mandatory dose of DSC's patented "I'm so confused" emo talk in the episode yet? How can we care about a familial link between Booker and Moll if we've never seen that foster father of theirs?

Much of this episode is non sequiturs like that. Especially confounding: did Moll and L'ak fall so deeply in love in A DAY that he would sacrifice everything he knew? Or are we to be believe that she hid on his ship for whatever time it takes to believably fall in love? Either way, it doesn't ring true.

When all of this is then also so talky and once again resolved by a technobabble 'climax', you know you're watching vintage Discovery. Logic optional.

Star Trek: Discovery: Face the Strange (2024) Season 5, Episode 4

It does the impossible...

[4/10 · 19 April 2024]

... by making a time-travel episode dull. Typically such episodes are Trek staples of entertainment - not all of them are great, but many are, and those that aren't are at least a fun hour. This here is neither fun nor entertaining nor enlightening. The point is really just to (once again) show how everybody in this crew loves each other - yet in most of these cases we have never seen how these relationships develop to that point - and how everyone thinks Burnham is just the best, including her sanctimonious self when she encounters a younger version of herself.

The plot is so heavy on meaningless technobabble that it's incomprehensible what's going on or why it matters. On top of it all, the directing is so uninspired that despite the (allegedly) high stakes, characters just stand around in two-shots with no blocking whatsoever.

All in all, uninspired filler that wasted a good opportunity to bring some actually interesting characters from earlier seasons back. Why Airiam and not Lorca, Tyler, Georgiou?

Star Trek: Discovery: Jinaal (2024) Season 5, Episode 3

Back to all the old vices

[5/10 · 12 April 2024]

Episode 2 was actually pretty good, but I had already feared that it might not last. I was right. This week's episode brings back all the worst tendencies the show has exhibited for years. Minimal advancement of the larger story, because the season arc again is (perhaps) not meaty enough to carry an entire season. Flashy effects set pieces for apparently no other reason than to change the otherwise dull pace. No significant interest in actual believable human drama, but instead melodramatic soap opera dynamics and shortcuts to deliver Hallmark-esque platitudes.

Chief example is their overuse of the word "connect". It always seems to come down to "connecting" and touchy-feely faux-emotional solutions. Where's the science? Reason? Logic? Or if not those: suspense, mystery, sense of wonder? All such things mark science fiction as a genre, and Star Trek in particular. Discovery keeps claiming that these things is what it's interested in, but really it's all about sentimentality.

Callum Keith Rennie and his character remain a bright spot in a mostly one-note ensemble (Rapp, Wiseman and del Barrio being the worst offenders) as a focused professional with an edge, but they set him up this way just so he can be lectured by a sanctimonious subordinate about how professionalism should take a backseat to being friends with everybody. I don't know why the writers think such representation will endear anyone to Tilly.

Star Trek: Discovery: Under the Twin Moons (2024) Season 5, Episode 2

Finally, a bit of Star Trek on this show

[8/10 · 5 April 2024]

The season premiere suffered from all the big and small problems that have plagued Discovery since at least season 3. This second episode is a big improvement, mostly because the plot finally reads like actual Star Trek with a dose of exploration and, you know, discovery.

Also, the farewell scene in Saru's quarters does right what this show has so often gotten wrong: creating an emotionally resonant moment without resorting to cheap sentimentality and hastily manufactured "backstory" to justify why characters well up and cry (as they do often do) upon the payoff of that backstory. This time, we get the reference and it matters to these characters' shared history, and therefore us, because we've seen it (in season 2).

The quest narrative holds up for the moment, but I remain cautious as to whether it can carry the season. After all, so far, none of the season arcs have managed to do so.

The final scene is typical Disco illogic by suggesting that a Captain, especially one as strong willed as Rayner, would simply accept what amounts to a demotion to second-in-command - again the result of a rather contrived setup in THIS VERY episode - but the show can certainly use the character and its grounded portrayal at this point. Here's hoping they do something with it.

Overall, despite some of the usual gripes (all the supporting characters remain annoying, Tilly most of all, although we've certainly seen worse than here), this may have been the strongest episode of this wretched show since season 2.

The Mandalorian: Chapter 19: The Convert (2023) Season 3, Episode 3

Bold and exciting turn for the show

[10/10 · 15 March 2023]

One of the few good aspects of Andor (which I mostly found drawn out and too desperate to not be Star Wars) was its portrayal of both imperial middle management and the ethical quagmires the Rebellion has to get into. Gray areas in short. This episode introduces the same into what is SW mainstream and makes it work both AS Star Wars and as something more profound as it asks: can people change? Can governments truly change? Or are certain methods, infrastructures, ideologies so deeply ingrained (or simply convenient) that the morally reprehensible things that a dictatorshio did with them will always be at risk of resurfacing?

Bold questions indeed. A departure for the show, which will no doubt inspire a lot of fan negativity (as seems to be the case with everything SW these days), but if the detours are this entertaining and challenging, I'm all for it. Don't let the naysayers tell you otherwise: this is not Book of Boba Fett all over again.

Tell It Like a Woman (2022)

Wait... this cost 21 million dollars?!

[2/10 · 18 February 2023]

Wow, this mess of a... feature presentation (one hesitates to call it a film) plays like a screening at a mid-level shorts festival where organizers slapped together two hours worth of Shorts ranging from okay-ish (the Indian one) to embarrassingly on-the-nose (e.g. The Jennifer Hudson one). That screening (the one you might just be walking out of at that hypothetical festival) might be called Women's Voices or something like that, but that's really all they have in common. Annoyingly, if the idea was to represent a female experience, said experience is based all in cliché and narrow views of what female subjectivity can be. You get: woman as mothers, as occupied with housework, as victims of abuse, as having mental health issues (several times), as beauty-obsessed. That's all you could come up with? Feminists would say: thanks for nothing.

And at this point, I think the Academy is actively trolling poor Diane Warren by handing her Oscar nomination after nomination for mediocre songs written for poor movies, never with any chance of winning.

The Boy, the Mole, the Fox and the Horse (2022)

Platitudes galore

[3/10 · 4 January 2023]

The art style of this short is gorgeous, no doubt. And I will grant that this is made for children. But the story and dialogue are just a collection of clichés and platitudes so superficial that it's cringe-inducing. Given the paucity of content, 10-12 minutes would've been enough. As is, it's not just shallow, but it also drags.

I feel bad for crapping on a certainly well-intentioned and sincere film, but come on, have at least one original thought in your narrative. Even if children are the target audience, there needn't be such a saccharine sentimentality to every minute. The maudlin piano score doesn't help in this regard.

The Confession (IV) (2010)

Unexpected gem

[10/10 · 8 February 2011]

You can trust the Academy of Motion Picture Arts and Sciences to introduce you to some very worthwhile short filmmaking with their nominees each year, films that would have otherwise never reached an audience outside of the festival circuit. This one is a particularly outstanding choice, among the very best the short film categories at the Oscars have offered in recent years.

The 26-minute picture, which looks and sounds as good or better than many a costly feature production, begins as one would expect from conventional short film fare: Two kids in a whimsical situation. As anyone raised in the Catholic faith could testify, not knowing quite what to say during your first confession is a dilemma equally absurd and real. But expectations are turned on their heads by what the script spins out of this idea. A few minutes in, the viewer realizes he has committed a sin himself by summarily throwing the film in with all those others which content themselves with milking their singular observation for merely the humor and cuteness of it, especially when there are child actors involved. Not so here, as soon enough "The Confession" turns into a chilling, compelling drama that ultimately leaves one with questions about what faith can lead people to do. In the best short film tradition, the film gets there with surprising storytelling and a resonating message.

Extraordinary acting from the leads, elegant and sober directing, exquisite cinematography. Highest recommendation.

Inception (2010)

We've seen better versions of this

[10/10 · 29 July 2010]

Far less original than it thinks it is, this is a very solid action film that sadly doesn't go far enough in its meditations on dream vs. reality or the ethical implications of mind manipulation, but instead opts for complex machinations that occasionally dazzle, but often just confuse, visually and narratively. This is now the third Christopher Nolan film in a row in which action sequences (not to mention the labyrinthine plot) are hard to follow due to overly frantic editing and unclear directing. It appears as though despite his apparent flavor for it, action is not his strong suit as a director.

Much of the film's appeal depends upon the premise of mind invasion and dream manipulation, yet as these ideas are presented here, one gets a feeling of déja vu - literally - as many of these conceits have been played out in many a Star Trek episode, not to mention "The Matrix" etc., often to better effect. Was Nolan afraid of creating a unique visual style like that film before him because it might become too similar to what the 1999 SF masterpiece had looked like? Maybe so, but "Inception" suffers from a distinct lack of memorable visuals, aside from what the trailer already showed. With that veneer of originality gone, however, the film ultimately tells the tried-and-true story of the broken hero looking for redemption through a final mission. DiCaprio does a good enough job in that role, but Marion Cotillard is the scene-stealer. Joseph Gordon-Levitt and Ellen Page show that they can do more than what they're usually booked for.

In summary, an entertaining summer flick, but far, far, far from the groundbreaking experience many moviegoers have made this out to be. And as such, a huge disappointment as well.

Breaking the Waves (1996)

Powerful and disturbing, but second to "Dancer In The Dark"

[7/10 · 25 October 2000]

For quite a long time, I didn't care much about watching any of Lars von Trier's movies, being irritated by their visual style (what you knew from clips). Only after I watched Thomas Vinterberg's amazing "The Celebration", I got into that "Dogma 95" approach to film-making. And when recently I watched, or more appropriately witnessed, the power of von Trier's latest offering, "Dancer In The Dark", I made it a point to review all his previous films, starting with this, "Breaking The Waves", which I heard was supposed to be similar to "Dancer".

And it is. At the heart of it is the heartbreaking and gut-wrenching portrayal of a saint-like woman who goes through a living hell for the sake of her loved ones, in this case Bess McNeill, as amazingly played by Emily Watson, and in this case, the character's husband (Stellan Skarsgard).

"Breaking The Waves" is a lot more silent than the rather eventful "Dancer", but also a tad less powerful. But that is simply because the situation the character's in is never as desperate as "Dancer"'s Selma's plight, which accounts for a lesser degree of credibility in the character's behavior. Compared to von Trier's latest, here it seems more as if Watson's character could end her suffering immediately if she just stopped and reconsidered. The difference is that, in "Dancer", the object of the main Character's affection is her child, a connection stronger, I figure, than Bess's relation to her (not always so lovable) husband.

That nit aside, it's still a disturbing and moving film that's worth the attention it got, especially in the rather weak movie year 1996. Just as with "Dancer", top credit goes to the fabulous lead actress who effortlessly carries a story that's sometimes a bit hard to swallow.

8 out of 10.

The Sweet Hereafter (1997)

Tragic and beautiful masterpiece

[10/10 · 24 October 2000]

The Sweet Hereafter is as tragic, sad and matter-of-fact as movies get, but it's still so very beautiful that it becomes a film that's virtually impossible to forget.

The story makes no secret of the fact what terrible tragedy will happen, right from the outset. A lesser filmmaker than Atom Egoyan would've jumped at the chance to shock the audience with the freak accident that robs the town of Sam Dent of nearly all their children, by telling the story in a linear fashion. Not Egoyan. The story is fragmented, thus enhancing the true point: This is not about the overwhelming power of loss, it is about the overwhelming power of survivor's guilt (nicely represented in Browning's poem The Pied Piper Of Hamelin, which is referred to in the movie). It's all about people who grieve not only for the ones they've lost, but also for themselves, how empty their lives have become because of their tragedies. In focussing on that point, the film refrains from manipulative sentiment (which so many others don't), and presents true and unintrusive emotion, that, in the end, despite all the terror, shines a light of hope, for the sweet hereafter is not only the peaceful afterlife, it's also the peaceful future, the continuation of life...

The performances speak for themselves. Ian Holm and Sarah Polley shine in particular, through nicely subdued and subtle acting. Polley also excels as a fantastic singer-songwriter. The songs in the movie were written and performed all by herself.

Egoyan's direction is simply masterful in its beauty, elegance and evocation.

One of the best films of the 1990s.

10 out of 10.

The Godfather Part III (1990)

Grand, yet underrated conclusion to a magnificent saga

[8/10 · 23 October 2000]

You might call this film redundant, after what the second part showed us in the end, but then, I guess, you'd also have to call the second part redundant, because the developments in "The Godfather Part II" were already alluded to at the end of the original. Therefore, Part III isn't bad at all.

It's not quite as successful as the first two, but that's simply because, throughout the movie, we get a sense of déja vu: "I've seen that before!" And you did, alright... But it still works, that formula of blood and gore, family traditions, shady meetings behind closed doors, politics and business... you know the routine. It's captivating, thrilling and suspenseful throughout, especially the opera sequence at the end, which can definitely measure up to the legendary baptism scene in the original. This is as good as directing gets. Period.

Sure, there are a few weak points in this film, one of which is Sofia Coppola, who simply can't carry the weight of the part she's given. But well, that's what happens when you cast your daughter (who happens to be a mediocre actress) in your movies. Ask Aaron Spelling!

Al Pacino shines as always in the part of his life, as does Diane Keaton, and several others. I would've wished for someone else than Andy Garcia, who's nothing like Pacino in the original, to play Vincent, but it's an OK choice, though.

Especially beautiful about this third part is that now the whole Corleone saga comes full circle with Michael's realization that crime just isn't the way to protect a family. The same thing his father realized before he chose Michael, his calmest, most considerate son, as his successor. Both learned their lesson the hard way and entrusted their empire to someone who'll most likely destroy it in the long run. Even Michael's final scene mirrors Vito's exit in the original.

Overall, a very fine film that, although not exactly in the league of its predecessors, is severely underrated and makes for a satisfying conclusion to the saga.

9 out of 10.

The Princess and the Warrior (2000)

Tykwer's "make-or-break" is a "make", but an uneasy one.

[7/10 · 12 October 2000]

Only a fool would expect this to be a second Run Lola Run. But unfortunately, there will be a lot of fools out there: This won't be the hit that Tykwer's former film was. And, just to say that: Run Lola Run still plays in a higher league.

But that's, of course, not to say that The Princess And The Warrior is a bad movie. Quite the contrary: there should be more films like this one. It's slow at times, yes, but to the ones with keen eyes it's meditative. It's metaphysical, in the end even surreal, it's down-to-earth, but at the same time very outlandish, it's a love story, but without the usual assets: there's no kissing, let alone sex; yes, even holding hands just occurs for a second. It's about a spiritual love, something epic, as the title suggests.

Many people won't like it; far too few people will love it. And I'm somewhere in between: It's a bold movie to make, especially in the dull (to be polite) movie scene of Germany, and a good one, too. Something refreshingly different (and wonderfully written, directed, shot and acted, I might add...). But somehow, you can't help feeling just a little disappointed after the milestone of modern film making that Tom Tykwer released two years ago.

8 out of 10.

Dancer in the Dark (2000)

Emotionally overwhelming film.

[9/10 · 11 October 2000]

As I just came from the theater, seeing this brilliant masterpiece, I am still a bit shaken, this being an emotionally overwhelming piece of filmmaking, so I'll just state my thoughts as they occur, without order.

1. Björk is fantastic as Selma. From her music videos, I'd never have guessed that she's such an extraordinary acting talent. She makes this character almost frighteningly real. For a large part, it was her performance that pulled me so much into this film.

Kudos to Lars von Trier for making such a bold casting decision. I bet many Hollywood name actresses would've killed for this part. And who would've guessed that Björk, singer-songwriter Björk, was the one to portray the character this perfectly?

2. Not since Schindler's List has any film overwhelmed me so much. I certainly don't measure the quality of a film by how hard it makes me cry, but since in this case (which by the way was the first time I ever cried in a movie theater) the emotions aren't manipulative, but instead sincere as hell, I make it a point to say that Dancer In The Dark, being an emotionally stirring movie, succeeds on all fronts.

3. Beautiful songs (plus the extraordinary overture that plays, so unlike Hollywood, over a black screen) that enhance the respective plot points very well. Look for the enormously touching satisfaction and aching happiness in the song "I've Seen It All"...

4. As in films like "The Celebration", the video cinematography is dizzying and irritating at first, but soon I came to realize that this is the only way that we can see this movie as Selma sees her world: blurred, hazed, shaky... Note that it is just in the musical sequences that the picture is clear and fully colored.

There's much more to Dancer In The Dark than this, but suffice it to say: I agree with another user who commented earlier that this is, I quote, a "hardcore horror movie", in the best sense. A haunting film that the Academy shouldn't ignore at next year's Oscars- if they don't want to lose all the credibility that's left. Björk will be next year's best actress. Remember my words.

10 out of 10 (and then some...)

The Green Mile (1999)

Of mice and men... and murderers.

[3/10 · 11 September 2000]

That it should've been, at least.

But let's start at the beginning, which is, I might add, terribly slow. A lot of time passes before something actually happens. King & Darabont use this time to carefully put their chess pieces in place before making their move in the last 60 minutes or so. There's a host of details during the first 2/3s that later become significant. And since I'm not one of those who need to see fireworks of action and suspense from the first instant of a movie, that's fine with me. After all, the pace increases considerably during the course of the movie.

Some of these aforementioned details are so predictable that I could guess the next turn of events half an hour in advance. And that's never a good thing.

The last hour, however, makes up for a lot of the film's former trappings. There's no arguing that the solution is quite touching.

So finally, a movie worth watching, but there were still a few things that bugged me. First, I would've liked to know more about the inmates as murderers, which I guess they were supposed to be. (You never notice, though.) In the way they're portrayed, these are good, righteous people that are good friends with the wardens, love a cute mouse and are generally lovable. So- why are they in death row anyway? I understand the novel shed some light on this, and the film could've certainly needed some of this other side of the story to avoid some of the schmaltz.

Second, isn't this prison just lovely? I mean, it seems like a camping tour at some points. If death row is like that, I want to be in it!

If The Green Mile was supposed to make any statement about the right or wrong of the death sentence, you'd better watch Dead Man Walking to form your own opinion instead of being manipulated into believing that all killers ultimately become nice people once they're in Our Favorite Death Row. It works for tearjerking, but not for discussion of that subject.

But, mind you, I couldn't help being manipulated myself- and it worked. I was genuinely moved at the end and, despite the occasional predictability, the story had its clever moments.

So, it was an OK movie, at times even a bit more, but it sure didn't deserve its Best Picture nomination at the Oscars, and it sure can't hold a candle to King's and Darabont's first joint venture, the brilliant The Shawshank Redemption. 7 out of 10.

Saving Grace (2000)

The bright spot in this dull movie season

[7/10 · 8 September 2000]

Which pretty much summarizes it...

Saving Grace is simply the best comedy I've seen in a very long time. It doesn't surprise me at all it's a British film. As with those horrible US "comedies" of the last two years or so, and the German comedies not much better actually, it is refreshing to see a film with so much heart and brains again.

You could see from its premise that this would be a very original movie, but it was really so much more. Brenda Blethyn, one of my favorites since Secrets & Lies, shines again, the supporting cast does no less. The scenery is simply gorgeous (and that I say as anything but a fan of the cold, rough climate and landscape of Cornwall...), the writing's spot-on, there's not a single gag in the movie that doesn't work; suffice it to say: the rest just falls into place.

Kudos to everyone involved. I can't wait to see more gems like that in this (so far) dull movie season 2000. 10 out of 10.