jmott
Joined May 2000
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Reviews5
jmott's rating
This deliberate, powerful film follows two brothers taken on a camping trip by an estranged father, returned after a decade into their young lives. Director and screenwriters build an intense and progressively metaphysical story around the alternate dependency/independence of the boys (two terrific young Russian actors). Besides being unmistakably Russian (in the best sense of Checkov or Dostoyevsky), this film also reminded me of the methodical, uncompromising storytelling of Kubrick, or Herzog.
A Knight's Tale is at its strongest in the first half with the irreverent humor and jousting to Queen's "We Will Rock You." It was exciting and different... until the movie started to take itself seriously.
Paul Bettany steals the show as Jeff Chaucer within the merry band that accompanies Heath Ledger, the low-born peasant who would be knight. His onscreen love-interest is equally wooden (Jocelyn, played by Shannon Sossamon), and I had to keep myself from cringing in their scenes together.
While Helgeland scores a coup for the most part in his directing with hoof-pounding jousts and great production value, nice integration of CGI and tight pacing of scenes, he fails miserably with the script. (He wrote and directed this one.)
The big decision at the beginning of the film seems rushed and unsupported, like many decisions, large and small, made by the characters throughout the film. You can almost see the man pulling levers behind the curtain, to mix movie metaphors. The supporting cast remains woefully underdeveloped, especially the female armorer played by Laura Fraser, who was so good in Titus.
The film pays lip-service to feminist themes while reveling in the sex appeal of Mr. Ledger, which seems to easily forgive his misogynist outlook. Also, there is passing mention of the horrible crimes of Edward, the Black Prince of Wales, but the medieval world we see is one of cheering peasants and beautiful royalty. The question is, why bother to put any of this in?
The answer is: the filmmakers shouldn't have. Where the film wins is with the energy and willingness to please. This is a fun popcorn movie that could have been so much more, but alas! it isn't. I'd predict a mild hit if Mummy Returns doesn't steal too much audience.
A 5/10 -- bonus for the pasta mixed in with splinters of wood in the jousts.
Paul Bettany steals the show as Jeff Chaucer within the merry band that accompanies Heath Ledger, the low-born peasant who would be knight. His onscreen love-interest is equally wooden (Jocelyn, played by Shannon Sossamon), and I had to keep myself from cringing in their scenes together.
While Helgeland scores a coup for the most part in his directing with hoof-pounding jousts and great production value, nice integration of CGI and tight pacing of scenes, he fails miserably with the script. (He wrote and directed this one.)
The big decision at the beginning of the film seems rushed and unsupported, like many decisions, large and small, made by the characters throughout the film. You can almost see the man pulling levers behind the curtain, to mix movie metaphors. The supporting cast remains woefully underdeveloped, especially the female armorer played by Laura Fraser, who was so good in Titus.
The film pays lip-service to feminist themes while reveling in the sex appeal of Mr. Ledger, which seems to easily forgive his misogynist outlook. Also, there is passing mention of the horrible crimes of Edward, the Black Prince of Wales, but the medieval world we see is one of cheering peasants and beautiful royalty. The question is, why bother to put any of this in?
The answer is: the filmmakers shouldn't have. Where the film wins is with the energy and willingness to please. This is a fun popcorn movie that could have been so much more, but alas! it isn't. I'd predict a mild hit if Mummy Returns doesn't steal too much audience.
A 5/10 -- bonus for the pasta mixed in with splinters of wood in the jousts.
This film a treasure trove.
Starting from a script (Donn Pearce and Frank R. Pierson) that not only captures life in a Southern prison camp, but also the characters in it, this film tells a rich rollercoaster of a story. Even the smallest characterizations like Society Max and Bobaloogats (young Dennis Hopper) are human and wonderful. And that's not even mentioning the superb work of Paul Newman and George Kennedy, who won a Best-Supporting Oscar as Dragline. Unforgettable lines delivered... unforgettably.
The acting only scratches the surface of what is lovable about this movie. While the story is entertaining it is also richly nuanced, sometimes suggesting the story of Christ, sometimes acting as a primer for Existentialism. I myself lean toward a more Existential interpretation -- but the greatness of the movie is that this does not distract a first-time viewer from a compelling story. It adds depth, not pretension.
Director Stuart Rosenberg keeps the action moving. The pace and overall construction of this movie could be a textbook for aspiring filmmakers. His work with legendary cinematographer Conrad Hall on this movie is gorgeous. Watch this one on DVD in widescreen if you can.
The great visuals are backed up by the music, especially the simple but versatile Lalo Schifrin theme, which is alternately melancholy, menacing, and ecstatic.
This movie never gets old to me, and I've seen it many times. The filmmakers have created a rich world, full of human characters and a dense symbology. Look for motifs of stoplights and stopsigns, crossroads and bridges. This is one film that is top-level in nearly every department, especially the one that really matters: it is a story that just gets better and better as it gets older. And I'm not "just standing in the rain, talking to myself."
Starting from a script (Donn Pearce and Frank R. Pierson) that not only captures life in a Southern prison camp, but also the characters in it, this film tells a rich rollercoaster of a story. Even the smallest characterizations like Society Max and Bobaloogats (young Dennis Hopper) are human and wonderful. And that's not even mentioning the superb work of Paul Newman and George Kennedy, who won a Best-Supporting Oscar as Dragline. Unforgettable lines delivered... unforgettably.
The acting only scratches the surface of what is lovable about this movie. While the story is entertaining it is also richly nuanced, sometimes suggesting the story of Christ, sometimes acting as a primer for Existentialism. I myself lean toward a more Existential interpretation -- but the greatness of the movie is that this does not distract a first-time viewer from a compelling story. It adds depth, not pretension.
Director Stuart Rosenberg keeps the action moving. The pace and overall construction of this movie could be a textbook for aspiring filmmakers. His work with legendary cinematographer Conrad Hall on this movie is gorgeous. Watch this one on DVD in widescreen if you can.
The great visuals are backed up by the music, especially the simple but versatile Lalo Schifrin theme, which is alternately melancholy, menacing, and ecstatic.
This movie never gets old to me, and I've seen it many times. The filmmakers have created a rich world, full of human characters and a dense symbology. Look for motifs of stoplights and stopsigns, crossroads and bridges. This is one film that is top-level in nearly every department, especially the one that really matters: it is a story that just gets better and better as it gets older. And I'm not "just standing in the rain, talking to myself."