Chris Sparling’s “Balance” reminded me a lot of one of my favorite revenge films “In the Bedroom.” That’s a film many have written off as a blatant grab for Oscar attention, but I consider it one of the best revenge films ever made. Possibly one of the most original as well. “Balance” is in the same vein of the aforementioned title, yet it’s also almost as good as “In the Bedroom,” too. Sparling’s truly good short film explores the sheer wrath of loving parents on anyone that inflicts pain on their children.
Category Archives: Movie Reviews
June 9 (2006)
Ah, “The Blair Witch Project.” Now a canon for budget horror filmmaking, whether we like it or not. Some people love the film, some people utterly despise it. I love it, personally, but I’m always very weary at budget films that copy the formula. This concept is very difficult to mimic. Sometimes it comes off well, and sometimes we have nothing but a bunch of dipsticks running around with a camera screaming like morons, sans the tension and suspense. I can count the number of films that achieved this formula on one hand, and surprisingly, “June 9” did it right most of the time.
Cars (2006)
Maybe it’s because Pixar seems to be attempting to appeal to the NASCAR crowd, maybe it’s because Pixar seems to be glorifying a “sport” that’s really just cars driving around in circles, or maybe it’s because Pixar has created a movie that is preaching about the good days of society when it was more innocent, from a company like Disney that’s basically sterilized and dominated the world with its utterly sickening spree of overpriced merchandise. Turn any corner in Times Square in New York and you’re guaranteed to see something from Disney. And that’s not a coincidence. Disney is the cause of many problems in America, one of which is their sheer monopoly on companies and media, and the contribution to the overall vast consumption that’s ruined how Americans think.
Sherrybaby (2006)
Sherry Swanson is a child in a woman’s body. She’s petty, selfish, immature, completely void of anything resembling public etiquette, and is utterly self-deprecating. She’s willing to do whatever it takes to get what she wants, hates herself for it, and simply has no idea how to stop. Some viewers will be hard pressed to find some sort of sympathy for this character. She’s unlikable, despicable, and utterly obnoxious at times take for example her competing for her father’s attention with her own daughter. But she’s simply the result of a young girl who hasn’t been in the real world, a young woman who is still a baby that hasn’t received the proper help necessary. If there’s any help for her at all.
On The Outs (2004)
You’re probably sitting there, thinking “On the Outs” is a good enough film, and even though it’s fiction, probably need a conventional plot. As for me, I sat there and had to stop it four times before finishing. For you it’s fiction, but for me in New York, it’s about as realistic as it gets. “On the Out” may be fiction, but explored is a world that’s hardly withdrawn my own. Taking a run in Sundance, “On the Outs” is quite possibly one of the best depictions of inner-city life, and young adults set down a path of doom consistently, with no hope of getting out of it.
Pirates of the Caribbean: Dead Man's Chest (2006)
To pretend “The Curse of the Black Pearl” possessed an elaborate, epic story rich in characterization and subtle dialogue, would be to set up all sorts of pretensions. “Dead Man’s Chest” is in the same vein as the former, only slightly more intent on showing its blatant grab for big bucks. Disney ran out of ideas, turned to make their rides into movies and got lucky. Big whoop. “Dead Man’s Chest” is fun, though, and I can’t sweat them for that. Verbinski’s direction is on par as usual, and “Dead Man’s Chest” is a gorgeous epic, with some of the better action scenes that trump the original’s.
Texas Chainsaw Massacre: The Beginning (2006)
Liebesman’s direction is very tight, with much more suspense and atmosphere this time around. When we set down on the four teens being ravaged by the psychotic family, we can instantly gain a sense of futility and sheer dread that otherwise was lacking from the remake. And that helps because “The Beginning” is a much more entertaining entry than the remake was. The acting is better from Ermy this time around, and the basic characters fleshed out slightly more to where they’re less walking victims, and more human drawing slightly more sympathy. And it’s also a plus to watch Jordrana Brewster and Diora Baird run around screaming and giving their surefire scream queen routines. Brewster is a much more sympathetic heroine, and Baird’s “busty babe victim” role is pulled off with as much gusto it requires.