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The Flick Chick There are always a few swell films out there. Don't know which ones they are? Check here for the Chick's flickpicks. Do your opinions match mine? Then take in the ones I like. Hate my choices? Okay, you know what to avoid. Simple, huh?

GREAT STUFF TO SEE
(And also some bad stuff to avoid):

Sherlock Holmes

           Well! This is not the Holmes with whom we have previously been acquainted. Nor the Watson. We have always suspected, my dear Reader, that there were areas of Holmes' life into which we had hitherto never been invited. But now the veil is lifted, and we discover that Master Detective is also a master of the manly arts, as a bare-knuckle fighting event displays his skills. His softer side is also on display from time to time, and we frequently see him dishabille, unkempt and unshaven. Moreover, we are made privy to his genuine regard for his young friend's rapier-like wit and also his skill with the rapier. (Obviously, in Watson's narratives, his innate modesty has kept him from revealing the true extent of his own abilities.) And, as we always suspected, the fair sex is not immune to Holmes' charms, nor is he immune to theirs.
           All in all, the Chick found Holmes and Watson both to be great fun and Really Hot Stuff! The film's a rousing thriller and Robert Downey, Jr, and Jude Law distinguished themselves! (1/2010)

Avatar

           Perfectly beautiful. Kind of inspiring. And yet, after a little thought . . . you have to know that, ultimately, bows and arrows really can't win against AK-47s. The tanks can keep coming, and change keeps coming, and civilization evolves. It's not just a lot of greedy guys and the sale of cokes and blue jeans. It is also literacy. And philosophy. And plumbing. And medicine that — if it cannot always save life — can work its own real miracles. So be aware that this film is more Lord of the Ring than it is Charlie Wilson's War. Much as we love the fantasy, let's recognize the realities, too. (12/09)

Julie and Julia

           Been a long time since a film gave such pleasure.
           While acknowledging her great acting ability I'd never entirely liked Meryl Streep until now, but the radiant warmth of her Julia Child has won my heart. Stanley Tucci's glowing benevolence was an inspired choice for Paul Child. And Amy Adams and Chris Messina were winning performers as Julie and her kind and long-suffering (and hungry) husband. This is a very funny, immensely good-humored production. A gold star to Nora Ephran for screenplay and direction. Gold stars all around.
           You know, films (and novels) today too often portray lovers and married partners only in states of confict. We view rough love, tough love, the struggles of narcissistic and shallow relationships, often based on competition, and laced with sarcasm and unkindness — both deliberate and accidental. It's as if the film-makers thought the end purpose of human relationships was to do harm. Or take coup. The cutting word almost always trumps the loving one. As if our best hope is for no more than quiet desperation.
           Ah, but in JULIE AND JULIA, for a touch over two hours, we had the joy of sharing time with two very different but equally loving couples — treating each other with good humor and affection in easy times and in hard times, too. When Paul Child comes home to a mountain of smelly, chopped onions, he shakes his head, complains mildly and goes downstairs. He does not wave his fists and shout "To the Moon, Julia!" When Eric Powell has put up with one too many obsessive cooking catastrophes, he does not flee to the arms of some cutie . . . he just camps out on the couch at his office until she calms down and his temper has cooled. These married people are good to each other. Patient with each other. This is what it should be like! So . . . this is THE film. Be good to yourself and see it now. (And maybe buy the DVD later, so you can enjoy it again!) (8/09)

Harry Potter and the Half-Blood Prince

           All our favorite characters. Lots of excitement. Mysterious doings. Hagrid weeping over the death of a giant spider (one of his numerous pets). Love potions. Noble sentiments. Horrid threats. A quick game of quidditch. Major and minor villians. Several passionate kisses. Lowering skies. But there was, for me, something missing. There were almost no lovely bits of occasional magic. Oh, there was still a lot of neat stuff. Still lots of action for Harry and the gang. But not so many grace notes. And (sigh) I missed them. (7/09)

Public Enemy

           Who can criticize Johnny Depp?
           Yet how many gangster movies can one see without noticing that we feel a certain . . . um . . . emotional ambivalence?
           Yes, there are films in which the gang members are really bad. All bad. Shown to be bad, as when Jimmy Cangney pushed a grapefruit into the pretty girl's face. Proven to be bad, by machine gunning innocents. But since the Godfather films, we have grown to know many of these law-breakers intimately. We know their mothers and their tastes in cuisine. We have insight into their motives and the pressures that drive them. We see their louche surroundings, and feel a certain sympathy for the good-bad hero. We develop awkward emotions toward ending the career of our protagonist and supporting the the Forces of Law and Order. Do we really want the gorgeous burgler or bank robber to commit his next robbery? How do we feel when he fires that pistol? That tommy gun? Are we just a little . . . just a little pleased?
            Ah, but ought we to be pleased when the bad guy wins?
           Sometimes our "hero" gets away with a bundle and sometimes not. Sometimes he glories in his loot, but more often than not, it seems so paltry that he must go on and on. And we go along with him, into a deepening grey area between right and wrong.
           Don't get me wrong. This is an enjoyable film. Johnny Depp does a fine job. There is a charming scene in which he ambles innocently (!) into a police station one hot summer afternoon. Hands in pockets, stylish straw hat cocked back on his head, he looks around through his cool sunglasses and strolls up a flight of stairs. A policeman is listening to a ball game on the radio, and Depp/Dillinger asks, "Who's ahead?" The officer glances over his shoulder (excitement deepens) and answers casually. Depp nods and moves on. Eventually, he descends the stairs and goes outside again. And goes on his way. A few days later he is shot down as he leaves a movie theater. Clark Gable starred in the picture, playing a hoodlum. He, too, was executed at the end of the film. Poetic justice?
           Dillinger's pretty girlfriend (in jail for a few years) hated the cops and was loyal to Dillinger's memory all her life. That was the last scene in our film. Very effective. (7/09)

Angels and Demons

           Oh, this is a very silly movie! Why would Tom Hanks do such a thing? Again! Surely he does not need the money. Although, indeed, nothing much was required of him: only to look wise . . . except of course for jumping into speeding taxis, breaking through walls of bullet-proof glass, saving a few Cardinals from certain death, and half drowning in Italian fountains. That sort of thing.
           But it was so very silly! The ritual murders, the secret documents, the secret societies, the bit about reading the mind of Leonardo da Vinci and the other Greats Sculptors, the plot, and also the plot that was not, the parachute jump — you know what I mean!
           On the other hand, I do like seeing Tom Hanks get some lucretive work, even in such a nit-wit storyline. And it had good chases. And the sculpture and the scenery was wonderful. Oh well. 5/09

Tender Mercies

           Yes, of course, it's a real oldie.
            We saw this on video the other night. And it was as wonderful as ever. Robert Duval, the Godfather's suave consigliore, was metamorphosized into Matt Hammer, ex-alcoholic country singer. Hunt this one out and see it. Or see it again. Beautiful performances, really nice rings-true script. And as an added bonus . . . read the final credits and see who wrote the songs and who did the voiceover on the singing. You'll be surprised!

Slumdog Millionaire

           Yes, I know it won all the awards, and that all those horrors actually take place on a daily basis, but it was too much for us. We left before it was over. Happy ending? Don't know. But how could there be a happy ending to so much pain, loss, and desolation! You have been warned. (3/09)

Frost-Nixon

           This is a great flick for history buffs and for all those who Remember When. Not especially flattering to either protagonist (the Chick kept looking at "Frost" and thinking "Tony Blair") but there are those who remember the interviewer as something less of a lightweight. And it is certainly a powerful and somewhat sympathetic portrayal of Nixon although there are still those who remember him as less vulnerable and more menacing — siccing the IRS on those who made his Enemies List. And of course some still consider Nixon a great statesman. Whatever your age or your politics, there's plenty of built-in suspense and a couple of surprises which may or may not have been authentic. Anyway, Frost-Nixon is one to see.(2/09)

Last Chance Harvey

           Well FINALLY! Dustin Hoffman, after a long series of stinkers, has turned in a charming performance as an aging semi-loser digging around in the ashes of his failed life, looking for a last chance at the Good Stuff. And who could ask for better Stuff than the beautiful and mature Emma Thompson (who has never to my knowledge produced any bad films at all).
            One interesting aspect of this film is a matter of scale. Hoffman, as we DH-lovers are all aware, is not a large man. Thompson, as we suddenly notice, is, although slender, built to a somewhat larger scale. A lesser woman might . . . hesitate. A lesser man might quail. But this very lovely team takes it right in stride, and in the last scene, she calmly takes off her high-heelers and unashamedly walks along the river with her man in stocking feet. Hey — we all know it's how tall you are from the ears up that really matters. Bravo! Absolutely!
            And wasn't that Emma's mama Phyllida playing her mama in this flick? Missed the name in the credits, but . . . sure looked like it. (1/2009)

Body of Lies

           This really is Leo DiCaprio's movie. Although some of his recent films have been too tough for the Chick's delicate sensibilities, this very-tough and gritty film really makes the grade. But — Oh! I do hope that Our Guys In The War Zones are not really as calculating and cruel as here portrayed!

Brideshead Revisited

           Embarassed to say that the story line of the deeply cynical book had dropped from memory — all except that ridiculous teddy bear! Even so, do see it, unless you would be severely put off by the homoerotic theme. This is not an altogether happy narrative, and without exception the characters are dissolute, neurotic, and self-indulgent, but they certainly are beautiful. And the filming is so gorgeous, so lush, it was an aesthetic experience to watch it. Most of Evelyn Waugh's writing expresses a dark view of the world, and that is retained in the film, but the ending allows you to judge these sinners and their histories in any way you choose. (Reviewed: fall, 2008)

Get Smart

           If you remember and loved the Get Smart of yore . . . forget that. This ain't it. Smart himself is a bit too smart to be so dumb, and the wide-eyed dumb-like-a-fox 99 that we loved and laughed at is too street-smart by half. Every punchline from the original is replayed — and replayed — but most are out of context and fall very flat. (Although the Chick has to admit that the ballroom dancing scene really was pretty funny.)
           However, if you never saw the original series, maybe you'll think all those infantile bathroom jokes are funny. Who knows? (Reviewed: Summer, 2008)

Journey to the Center of the Earth

           Even after admitting a long-term crush on Brendan Fraser, the Chick can seriously recommend this film. Without ever planting tongues in cheek, everyone had a rip-roaring good time with this one. It was exciting, the Monsters were great, and . . . well, who could hate a floor made out of diamonds. Certainly not me!
           So see this one. Watching it delivers a really happy evening. (Reviewed 2008)

Charlie Wilson's War

           One splendid film with everything in place: Razor sharp structure; a strong and believable storyline; immensely cool dialogue; Julia Roberts looking luscious; mustached Phillip Seymour Hoffman as a tough, smart-alec professional spy (Capote has vanished!); and Tom Hanks easing his way from hot-tub to ballroom, from to Kabul to smoke-filled congressional offices. Whether in the battlefield or in bed with Julia his performance is this central gem in this superb jewel of a flick. Hate films? See this one. Love films? See this one.
           Aaron Sorkin wrote it. Mike Nichols directed. Need I say more? And — oh yes, by the way, it's a true story. (12/25/07)

Mr. Margoriam's Miss-This- Emporium

           It was embarassing to watch the (formerly) great actor (who remains nameless here in order to avoid humiliating him further) smirk and swiggle through this terrible mistake. And Natalie Portman should fire her agent for getting her involved with it. Spare them. Miss it. (11/07)

Michael Clayton

           Troubled, edgy, running for his life, trying to justify his life to his brothers, his five-year-old, and himself, our protagonist (George Clooney) stands on the knife edge, holding to his integrity with both hands as he wends his way through the staggeringly speedy, deeply textured, well written thriller. Chameleon Clooney's versatility never ceases to amaze us. A fine thriller you don't want to miss. See it on DVD if you missed the original. (Reviewed 10/07)

3:10 to Yuma

           This is one great flick! There's major action in the line of multiple killings, a shoot-em-up finale that uses more bullets than Pulp Fiction, and plenty of mud, dirt, double-crossing sneaky rats, stage-coach robbings, yellow-bellied cowardice, dynamite explosions, and some real, genuine nobility. And it's all shadowed and nuanced with murky motives, and backstories that grow longer as the film progresses.
            Despite the Western-cliche format of the Noble Protagonist being driven off his ranch by the Heartless Dudes from the Big-Money East, the film shudders with solid emotion. Needless to say, this would be true of any film starring Russell Crowe, who is one of the great actors of his generation. Cast as a heartless killer, sugject to quicksilver mood changes, glinting humor, and a smooth line talk, Crowe reveals the character's three- (or four-) dimensional human heart. Why, actually, did the rancher make his final decision? Why, really, did each change of the outlaw's heart take place? I don't really know the answer. Can you figure it out?
            Of course, Christian Bale is no slouch either, pally.
            And one more side-note. There really was a contemporary character named Ben Wade (the Russell Crowe character), but he was no outlaw: Speaker of the House of Representatives just after the Civil War, he was a passionate advocate of equality and a fierce foe of slavery. How 'bout that! (9/07)

Bourne I, Bourne II, & Bourne III

           These crisp, action overstuffed films are like a quick trip to the arctic — just the antidote for hot, sluggish summer afternoons. Not very strong on plot, but the story hangs together while hanging by its toes from various high wires.
           Matt Damon is a very capable actor, and this role is no great challenge, but he's likeable enough to root for, and it's easy to believe that he really is resourceful enough to vanish in a crowd, and tough enough to knock off the bad guys and come back with hardly a bruise. The quick cuts keep viewers off balance, but not disagreeably so. The Bournes are a fine choice at the movies or to rent when what you want is an fast-paced evening and a raised pulse. (7/07)

Ocean's Thirteen

           Ocean's Eleven was great! Fast, funny, cogent. All the many stars each got a star-turn, and they each gave the impression that they were having a blast. It was a joy to watch them work. And it even had a plot. Sort of.
           Never saw O-12, so don't know, though the word was that it lacked lustre.
           But I can say for sure that Thirteen was a bad number for Oceans. Had a lavish set. Had great stars and more of them. Even had a few moderately funny bits, maybe, but surely surely with that much talent on hand, they could have come up with something better than the stale, uncharming rehash we saw on the Fourth. Pity. So much talent. Such a waste. (7-4-07)

Amazing Grace

            When people describe a film as inspiring, it's always a temptation to inspire and then suspire — that is, to heave a large sigh and run in the other direction. Not so here. Sets beautiful enough to enhance a production of Pride and Prejudice; a handsome, haunted, and impassioned hero (who can sing); a moving and articulate script, and a marvelous cast (complete with a fieisty leading lady who won't take no for an answer) combine to make this a great film. Plus, whoever thought William Pitt the Younger would be such a cutie! I ask you! ( 3/07)

The Queen

           This is a deeply nuanced, beautifully made, and psychologically interesting film.
            It has something for the lovers of Royals — lots of palace pictures; lots of long and short shots of Princess Di; Royalty impersonations and caricatures; breathtaking panoramas of the north of England; guys in kilts. So even if your interest goes no further, there's that. (What does the Queen carry in that handbag? Answer: her cell phone and her car keys, of course!)
            For politics-watchers, PR types, and fans of West Wing intrigue, there's a sampling for their interests also. ("Tony Blair," for example, is torn between his loyalty to HRH and his understandable interest in keeping his job and doing it well.)
             But the real strength of this film is in the humanity it gives to those we have seen only as icons — moving statues, newspaper people.
            And of course Helen Mirren fans will want to see it merely because she's in it.
            Whatever your motive, folks, take a glim at this one. (1/07)

Little Miss Sunshine

          Completely predictable. Full of surprises. Clever. Extremely cute (the description of Marcel Proust is worth the price of admission, all by itself.) Great actors and charming acting. And a wholly predictable and massively original climax.
            Of course! (11/06)

The Good Shepherd

           Don't trust anybody. Not your partner. Not your friend. Not your handler. Nobody. They're all out to betray you. And they do.
            Paranoia? Nope, all true in the life of a spy. Little by little the gentle, poetic character of our protagonist (Matt Damon) begins to darken, to harden. As years pass and the story line develops, all Damon's kind feelings, all his relationships, and every aspect of his trustful nature begins to turn to stone. The viewer keeps wondering, "Will the last gate hold?"
            Not telling. Watch it and see.
            The star studded, noire studded, cast glitters darkly: Angelina Jolie, William Hurt, John Tuturro, De Niro (who directed), and even those less well known would make the viewing worth while. Add a darkly convoluted plot and, well, if you like this sort of thing, this is your meat! (12/06)

Mission Impossible-III

           At one point in Smoke Signals, (one of the Chick's fave films), the protagonists (both young Native Americans) set up a memorable chant about John Wayne's teeth. Ah, that I had their skills. Some 30%-45% of this third and lame Mission Impossible is devoted to closeups of Tom Cruise's teeth. While the afore-mentioned teeth are neither "plastic nor steel" they certainly do get good play throughout. And as if there were a more powerful spotlight directed at The Grin, other characters in the film are portrayed as faded and interchangeable. One exception: Ving Rheames, unquenchable as ever, despite the fact that his dialogue is limited to exclamations such as, "I'm with you, Buddy," and "No-no, that's too dangerous!" Whatever happened to IM Force missions that had interesting characters and a plot?
(5/06)

Capote

           This is a brilliant and well-made film. Just as in Capote's writing, the reader can never quite judge the sincerity of his words, so in this film, Hoffman's brilliant performance leaves you wondering
. . . wondering how much of the writer himself was truth and how much was illusion.
           Two things, however, are certain: First: when Capote said that his work would change the character of modern literature, he was correct; Second — this is a film (and a set of performances) worth seeing! (3/06)

Good Night and Good Luck

           Seeing this film, one realizes that George Clooney has become a man of parts. More than just a sexy smile, now, and big brown eyes, his portrayal of Fred Friendly is so low in tone that it takes a while to recognize him. And he is now a capable director, a dedicated student of history . . . maybe even a visionary. The film is faithful to the time: it's shot in black and white; the women's hair and clothes hark back to the days when things were not quite movie-sleek — and the "girls" run errands for the guys; David Strathairn actually looks very much like Edward R. Murrow; and the old-fashioned equipment, the cramped quarters and the contrast between the formality of the characters' behavior and the intimate handling of the star (someone actually sits at Murrow's knee and taps him with a pencil to cue him in) all ring true.
          The unease of the atmosphere rings true, too. Most film viewers are probably too young to remember what it was like. But those were desperate times. "Witch hunting," the victims called it, though the hunters called it patriotism. Lives were destroyed. Talented people went to jail. Some of the victims really did kill themselves. Years ago, Woody Allen made a film called "The Front," which co-starred Zero Mostel. It dealt with the same interval in history, the same political paranoia. It, too, was undervalued and comparatively unsuccessful. But it told the same sort of tragic tale.
          Let's hope those times are gone for good.
          A fine film. If you have not yet seen it, get the video when you can. (12/05)

Cinderella Man

          Hate, hate, HATE prizefighting. But when Ron Howard directs, and Russell Crowe stars, well . . . even that bitter repugnance can be overcome.
          Set against the grinding poverty of the 1930s Depression, this true story of prize fighter James Braddock needed no preachy plot embellishments. But it was Crowe's presentation of Braddock's real-life character — as unshakably honest and loyal but never a wimp; as unflinchingly courageous but without any hint of arrogance — that showed us a great man . . . and Crowe as a great actor. Despite the actor's troubled personal life, he was able to convince us of Braddock's gentle good humor, and that he possessed a kind of innocence that strikes the heart. Seeing this film, we can believe that Braddock could indeed inspire hope in a generation that had lost all hope in the future and in itself.
           One interesting note: throughout the film, Braddock is repeatedly referred to as "an old man," "too old to fight," and "far past his prime." And indeed, at the time of his comback in 1933, he was already the father of three children. Yet almost ten years later he served honorably in World War II — for which the ceiling age was 35. "Old" means something different now, I guess. Or maybe youth isn't everything.
           This is a great film, well-written and beautifully directed, with a moving theme, a great star, and a fine supporting cast. I urge you to see it . . . even if, like the Chick, you occasionaly hide under the seat during the boxing segments. (6/05)
To know more about Braddock, try this site: http://www.jamesjbraddock.com/

Supersize Me!

          This film confirms all the horrible things we always suspected were true about fast food. It's bad for your health. It makes you fat. And eating it makes you act dumb. Our protagonist (playing himself) goes from doctor to doctor and is pronounced in super health before he goes on a one-month three-meals-a-day diet of MacDonalds. At the end of the month he has gained 20 pounds, feels awful all the time, raised his cholesterol into the danger zone, possibly damaged his liver and (according to his outspoken girl friend) seriously damaged their sex life. OOps!
           Although the film picks on the Golden Arches exclusively, and although, admittedly, most people do not make fast-food stops at every meal, the evidence against a steady diet of burgers-and-fries-and-oil-based-shakes is compelling. You may not come out of the film as a confirmed vegan, but I bet you won't take quick run-through at the local drive-in on your way home.
          Compelling or not, will this make a permanent dent in the fast-food biz? Only time will tell. My guess: A word to the wise is sufficient. (7/04)

Yep, this 2004 film is still on the top page. Just consider it a reminder to you from me . . . on behalf of your heart. Available on DVD.