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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?

NEW STUFF:

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 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 staggeringy 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. (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)

Harry Potter in '07

           Our Boy is taller, leaner, and filled with angst, interested in girls, but too busy moping and racing around doing magic for romance. So what keeps it from merely being More Of The Same? (That is, supposing you didn't attend for the express purpose of enjoying More Of The Same.) No sports event, for one thing. And a Hateful Housemother for another.
            But on sober consideration, the Chick must admit that she was, like Harry's mass of admirers, really in the market for the same old enchanter and the same old enchantment. A strong storyline, the visual beauty of the environment, the wonderful shifting staircase, the "moving" pictures on the walls, the sense that the world is shifting under your feet . . . that's what we came for: not just the Magic, but the magic of open-ended wonder for what-the-world-might-become. That's what brings us in again and again. Oh, Harry Potter — live forever! (7/07)

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 will be your meat! (12/06)

Flyboys

           This close-to-historical fictional portrayal of the Lafayette Escadrille really captures the courage, the fears and hopes of the young American volunteers who went to France to learn to fly near-suicide missions during World War I. The story line may be well-worn and predictable, but the emotion it evokes is fresh as the young faces on the screen. Go with your kids. Go with your buddy. Go with your honey to this charming and enjoyable film. (10/06)

Devil Wear Prada

           Meryl Streep is handsome, suave, enigmatic, and somewhat cruel. The rest of the cast looks pretty, dresses stunningly, and reacts predictably. The story line is pretty much what you'd expect, there is little or no romance, not much suspense, but (to repeat myself) plenty of neat fashion stuff. Nice bit of fluff. (8/06)

An Inconvenient Truth

           Al Gore has produced a deeply interesting — and deeply troubling film. Worth seeing. Worth acting on. (06)

Da Vinci Code

           Dopey book. Dopey movie. Not believeable. Not exciting. Even Tom Hanks couldn't save this one. (And he looked as if he were worried about it, too.) Hope he chooses better material next time. 5/06

MI-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)

Match Point

           Love Woody Allen films, but hated this one. Same reason that Closer was a bummer. All the characters were selfish, shallow, and without redeeming social characteristics. Let me know how it ended, if you get the chance. We left 2/3rds of the way through. (2/06)

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.