Rob Schneider, David Spade, I want you to get down on all fours and thank the stars you know Adam Sandler. Thank Sandler. Build an altar to him and thank him for helping your mere shreds you call careers. Where would you be without that douche bag? Nowhere and you know it. How else can you explain your cameos in “Grandma’s Boy,” an otherwise glorified custom made vehicle for all of Sandler’s pals? “Grandma’s Boy” is a vain film. Vain in the assumption that through endless sex jokes, and weed induced sight gags, that it’s making a commentary about ageism. Really, it’s nothing but a veil thrown over it to add a thin sense of non-existent intelligence.
Primer (2004)
When you can create a film under $7,000 dollars and end up with a pretty esoteric and elaborate science fiction film, that’s quite an achievement. “Primer” was a very low budget film that managed to achieve considerable critical acclaim, as well as respectable grosses, and it’s a film many have deemed difficult to watch. Which is a complaint that’s with merit. “Primer” is an often confusing film about a group of men attempting to build a machine. But what makes it such an entertaining and rather engrossing bit of independent cinema, is the dialogue. And Shane Carruth’s dialogue will suck you in because the characters are so natural.
Security (2006)
Hey Hollywood, it’s me Felix. You don’t know me, and possibly don’t care, but have you ever bothered to look up the word comedy in the dictionary? While you’re out there making “Epic Movie,” and “Dance Movie,” and anything else that involves fart jokes, there are people out there making honestly good comedies with a budget of a little over a hundred bucks. And you know what? They’re funnier than anything you can shit out in your room of Yes men, and monkeys on typewriters. Take for example, the nut jobs at Bullcrank. I’m a fan. Yes, I admit it, and yes, they’re kind folk, but I laughed more in “Zombies in My Neighborhood,” and “Batman’s Gonna Get Shot…” than in any piece of crap you have ever come up with.
Osama (2003)
Around the time of the attacks of September 11th 2001, America was at its all time high of security, ignorance, idiocy, anger, hatred, sadness, etc. But most importantly, filmmakers were compelled to express their sheer rush of emotions responding to this attack. Some gave us patriotic films, some paid homage to that day, and others preferred to examine more original views. Director Siddiq Barmak instead gives us an inside look at the practices and cruelty of the Taliban, and a society paralyzed under the control of the Taliban.
Sarah Silverman: Jesus is Magic (2005)
At some point, within the tirade of racial jokes Silverman willingly passes, and within the admissions of peeing in her bed, and having unusual body hair, you have to wonder. If she was an ugly utterly huge woman, would we be okay with this? If a heavy woman went on stage and said “I pooed a little,” would we still laugh? It just seems that just because Sarah Silverman is basically good looking, it’s okay to say this stuff, and get out of jail free because—well, she’s hot. And in some way, she seems to know this, and that’s why instead of groaning, the audience simply laughs. I like Sarah Silverman. She’s funny, quick with the put downs, and is very pretty, but “Jesus is Magic” is an uneven balance of skits, musical numbers and stand up comedy, neither of which as uproarious as I would have wished and hoped for.
Death Note (Desu nôto) (2006)
I admit to never having seen the original anime of “Death Note,” but now I feel compelled to. “Death Note” is an excellent horror film about self-righteousness, and what lengths people are willing to go through to ensure that justice is served when the law fails. Light Yagami is a boy seeking to become a police officer with his girlfriend, but after a frightening confrontation with a child killer who had just been excused of his crimes in a trial, he decides the law doesn’t work. One night, after walking home, he discovers the black book called “The Death Notebook,” a mysterious notebook that kills anyone with the name the holder prints.
Light then secretly becomes an angel of death codenamed Kira, who destroys criminals, and earns a countrywide following of folks who believe him to be a sign from god striking down the wicked. But Light knows better, after being confronted with a twisted winged demon named Ryuuk who explains the intent of the book. “What is the price for this book?” Light asks Ryuuk who responds with a wicked laugh. That’s the question, isn’t it? What price will Light Yagami ultimately pay? But Kaneko simply doesn’t make it a film about a sad little boy killing criminals. He then inserts many other folks into the fold, including many, many plot twists. When it seems Light has fate at his control, a mysterious investigator simply named L enters, and explains that they are on the hunt for Kira.
Light, a pure genius, now attempts to outwit L, who has also narrowed down the list of suspects, killing times, and is intent on finding Kira once and for all. “Death Note” turns then from a horror film, to a murder mystery as L attempts to investigate Kira, while Light attempts to outwit L, who has yet to ultimately reveal his identity to confused officials. But, as the power corrupts Light, he learns that power in the wrong hands is pure evil. Teamed with his wicked accomplice Ryuuk who watches with great interest, Kaneko directs a beautiful horror mystery, introducing many elements and questions. Why the focus on the TV star Misa Misa? How did L figure Kira’s identity? Who is L’s accomplice? Is Ryuuk merely an observer?
Why does he seem so interested in this mystery? Kaneko hopefully answers much of those questions in the last two sequels, but “Death Note” alone is a wonderful elaborate horror film about power and fate. The direction is dark often sleek, with Tatsuya Fujiwara giving a memorable performance as Light, while Ken’ichi Matsuyama is twisted and entertaining as the sugar fiend, L who watches and waits with sheer patience. I enjoyed this film immensely, even if it was a gamble to buy it blindly. Ultimately power corrupts, and Kaneko’s “Death Note” is an entertaining, creepy, and beautifully written horror film about the power of death placed in the hands of someone with the best of intentions. I can’t wait to check out the sequels.
Breakfast on Pluto (2005)
I submit to you that if there’s a film that can perfectly express the notion of gay pride, “Breakfast on Pluto” would properly fit that ideology. Because, there’s never been a film before that’s depicted its flamboyantly homosexual main character before as something other than a caricature, gag, or sex joke. The character Patrick Braden is so utterly in tune with his own nature that he comes off more as an avenger and true symbol than as someone who is simply gay. Patrick knows he’s gay, dresses as women quite often, and simply will not be knocked down by people who fear his differences, because he enjoys what he is.