Zombieland!

The Columbus Film Guild viewed "Zombieland," the new movie written by Rhett Reese and Paul Wernick. Both these writers have a lot of TV credits behind them, and it showed in "Zombieland," for good and bad. The pacing was a bit off for a feature film, and I sure knew when I was supposed to laugh. But it was still a great zombie movie, following many of the monster movie conventions and introducing a few new ones. It was very much along the lines of "Shaun of the Dead" (2004). I loved the list of ways to not be zombie-food, which added cohesiveness to the plot. And these rules unfolded much like the sound effects in the TV Batman series, demonstrating a good "BAM!" when disaster was about to strike. For a monster movie, "Zombieland" had a very strong plot, albeit one that revolved around a quest for twinkies. As in all good monster movies, I felt the need to shout "don't go in there," more than once, but especially when the female leads jump on a ride that was sure to get them eaten once the power was cut. Woody Harrelson was a natural as Tallahassee, but with a jolting character twist at the end of the movie. (I liken it to Alan Alda in the final episode M*A*S*H.) Jesse Eisenberg played a character much like the Columbus Film Guild saw Michael Cera play in "Year One" this summer.

Chris Bournea brought up the point that the movie was more an action comedy with a few zombies thrown in, rather than a typical zombie movie.

Overall, I'd recommend it during this monster movie viewing season. If you see it for no other reason to than to see Bill Murray, it's definitely worth the full price of admission.

Public Enemies vs. Funny People

A quick review of recent movies...the Columbus Film Guild attended "Public Enemies" last week. Good flick. A bit long, loved Johnny Depp, but really felt like this was just one more romanced gangster-story movie. And why did the film not include actual newsreel footage or police photographs? How much of the movie is factual? I guess I'll never know, but there is a John Dillinger museum in Hammond, Indiana. Road trip anyone?

But if I may, I'd like to mention Judd Apatow's "Funny People." Terrific and fresh. I saw a couple of reviews before seeing it, and really expected the movie to be a series of loosely connected comedy skits. Quite the opposite. "Funny People" was an interesting, funny, sad and thoughtful look at celebrity life, and the life of a comedian. And the comedy was hysterical, penis jokes and all.

Year One

Director: Harold Ramis
Writers:
Harold Ramis
Gene Stupnitsky

Viewed by Columbus Film Guild June 2009

It’s hard not to like movies written by Harold Ramis. Loved, still love, Ghostbusters. Classic. And Groundhog Day and Analyze This are still up there as favorites. But the entire first act of Year One makes me question my loyalty. What happened? The rest of the movie reads like a classic, with more than a hint of Mel Brooks’ comedy. But Act I, no way. Dull lines and a predictable plot with so-so jokes make up the caveman universe. Maybe Harold didn’t have much to do with the writing on this act. The way writers come and go on feature films, and the writing credits only list the primaries (or last ones remaining standing), it’s hard to tell who wrote the really painful-to-watch beginning (think Captain Ron) and who gets kudos for the rest.

But finally, when Zed (Jack Black) and Oh (Michael Cera) set out to impress everyone in their caveman village by exploring the far reaches of their world, the movie starts to pick up. Cane and Abel were hysterical (think Monty Python). And only in movies with great comedic writing would numerous circumcision jokes make everyone fall on the floor laughing. It was tremendously funny to see Zed and Oh experience motion sickness and throw their hands in the air roller coaster-style while in a cart pulled slowly by a mule.

Steven and I felt like Oliver Platt as the High Priest stole the show. I mean really, that had to be improv when he was foretelling the future by examining fresh animal entrails. And I loved the frankness and dry delivery of the medicine man. Hank Azaria was great as Abraham, much better than Kahmunrah in Night at the Museum/Smithsonian. The conflicting timelines and eras (Cavemen and biblical figures intertwined with Romans and Greeks) were, as Erin pointed out, confusing. But it also gave the writers a chance to make jokes about multiple historic figures all the while adding some contemporary quips …”Thursday is the new Friday!”…and Michael Cera’s barely audible, “Yes we can!”

The Film Guild saw many cameos… Someone in the group (forgive my poor memory) said Year One was like the old Bob Hope/Bing Crosby Road-To movies, but it should be renamed Road to Sodom. Did you catch that the actor from “Best Week Ever” as the enthusiastic volunteer amidst the slaves, or Paul Rudd as Abel (not credited)? And could Steven be right, that Oh’s wig during the final scenes was a leftover from Wayne’s World?

Too many site gags, poop jokes and idiotic revelations? Year One is a Jack Black movie, after all. And with a tagline of “Meet your ancestors, “ we knew what we were in for. And it didn’t fail to deliver on this count. But Sodom seemed a bit tame, and Chris suggested that perhaps the PG-13 rating or a length issue caused raunchier jokes to remain on the cutting room floor.

Year One garnered a C+ or B- from the Columbus Film Guild, but would be good as a rental over a couple of cocktails.

There was a great discussion of the movie afterwards, especially given the major rainstorm and overall gloom that the MJ and Farrah deaths brought earlier that day.

- Mary Lyski

July Movie: TBD (Juan Torres)

The Soloist

The Columbus Film Guild attended the Soloist at the Lennox this week. An interesting film with insights on mental health, homelessness, character transformation, etc. I particularly enjoyed the cinemagraphic queues such as the tangled LA freeways that seemed to parallel the tangled voices in Nathaniel's head. Laura and Juan thought the movie ran a little slow in parts, and others tended to agree. We got into discussion about rights of public figures like Mayor Antonio Villaraigosa (Marcos De Silvas) and the effects of showing police mercilessly arresting homeless people for stolen shopping carts. In hindsight, I feel like the movie straddled the line between a full fledged documentary and a Hollywood blockbuster, which left it wanting. Both Jamie Foxx and Robert Downey, Jr. played their characters fully, Foxx being frighteningly good.

The Betrayal

Written and Directed by Ellen Kuras and Thavi Phrasavath
Cinematography by Ellen Kuras

A couple of Guild members were able to view the documentary The Betrayal, by Ellen Kuras. Amazingly, the making of this movie spans 23 years as the life of a Laotian refugee family evolves. Their story is one of betrayal by the American government, and then further betrayals within the family itself. But the cinematography and direction, by the very talented Kuras, is truly what makes this documentary exceptional. Her ability to capture the feel of complete abandonment with gritty, bumpy shots of planes flying away, (much like crows flying south for the winter), was riveting. And a beautiful shot of children herding animals in much simpler times was offset by the possibility that the large beasts may flee at any moment, creating mayhem, much like the US leaving Laos. Phrasavath has done an amazing editing job, one that I imagine was difficult as well as fulfilling as he examined his family's pain. Kuras, through her unique filming and layering of the story is able to pull us into Thavi’s story, feeling the family’s emotions, and compelling us to ensure that as a country, we do not let this happen again.

Slumdog Millionaire

Slumdog Millionaire
Director: Danny Boyle

What can we say, it was great. And the discussion afterwards by the Guild left me mulling over the film for weeks. Given the many Oscars/nominations, though, expectations were high. It was a hard way to learn about slums in Mumbai, but it truly showed the viewer the gaps between the very wealthy and the very, very poor.

In retrospect, I thought the script might have been more powerful if it contained fewer detailed torture scenes. Not to say that they did not happen with the frequency shown in the film, but a little went a long way, and unfortunately the torture rather than the story is what I remember in great detail. Perhaps the amount was an attempt to pull in specific audience segments. Or maybe the frequency was to ensure lasting impressions on viewers who can effect change in Mumbai slums.

It was easy to see how a childhood of atrocities manifested itself in Samil. Amazingly Jamal and Latika evolved despite the torture. I would have liked to have seen, though, more about how such a past influences daily struggles and decisions in these characters. Slumdog Millionaire was truly a triumphant story of the spirit over unimaginable circumstances.