Roger Ebert – Original Review – 2008
I have no particular rhyme or reason by which I am choosing these movies. I wish that Ebert’s website had a random review button, but since it doesn’t, I am looking through them alphabetically and then grabbing one that catches my eye. Today I choose the 22nd installment of the James Bond Series from 2008, Quantum of Solace. Ebert was not a fan of this film. He pretty much eviscerates it because it fell short of what he believes a Bond film is supposed to be. 2 stars.
What did you think of the film?
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I didn’t expect a period price about 1970s TV news anchors to be funny. I remember seeing the previews back when Austin Powers was in his heyday thinking, “This is a cheap knockoff. Somebody trying to make money by getting in on a popular idea.” I didn’t even see Anchorman: The Legend of Ron Burgundy until relatively recently. But it immediately became one of my favorite and most quoted movies. It’s impossible not to laugh at this massive skit that is a perfect blend of left-field jokes and uncomfortable sexist humor. I was certainly not a Will Ferrell from the comedies he produced before Anchorman. I was so unimpressed by the Saturday Night Live skit based films that he did, like Night at the Roxbury, that Old School, Elf, and this film all flew under my radar. It wasn’t until I saw Stranger Than Fiction that Will Ferrell really got my attention and I began to look back through his filmography. And found that he has remarkable comedic timing and a way of fluctuating between over the top and deadpan deliveries that really translates well to the screen.
But his crowning achievement is the creation of this fictional San Diego legend. You see, in the Seventies, men read the news. And the movie tells us that in San Diego, no one read it better than Ron Burgundy. In fact, he reads so well off the teleprompter that he’ll read anything (and I mean that). Burgundy rules the local news arena with the help of his crack news team. All men of course, but when the network forces the station manager (Fred Willard) to hire a female reporter, the sexy Veronica Corningstone (Christina Applegate), the men fall into a panic. And the world that they have come to know and love will never be the same.
Anchorman is a wealth of wickedly stupid humor, the type that’s so dumb it could only ever be thought up by someone intimidatingly smart. That smart duet is Ferrell himself with his co-writer/director Adam McKay, who has teamed up with Ferrell three times since (Talladega Nights, Step Brothers, and The Other Guys). Ron Burgundy is hopelessly juvenile, terminally inappropriate, and so completely unpredictable that he’s also ridiculously funny. I will wager that this is the only film in which you will find someone shooting flames from the end of a jazz flute. But Anchorman is always willing to take things a few steps farther than you’d expect. The result is comedy which produces unstoppable belly laughs simply from the shock of where Ferrell takes the joke next.
Possibly even more hilarious than Ferrell is his capable news crew. Steve Carrell as Brick Tamland repeatedly doubles me over with insane comments that seem to just come from out of the blue. He shouts, “LOUD NOISES!” when everyone else is in the station manager's office complaining about the addition of Corningstone to the news team. Paul Rudd’s reporter on the scene Brian Fantana is worth seeing just for his musk collection. Even Christina Applegate gets in a few good shots, because she is willing to dish out just as much as her fellow cast mates can throw at her. David Koechner is the weak point as the cowboy hat wearing sportscaster Champ Kind as he just made me uncomfortable. My biggest wish for this film would have been to see John C. Reilly in that spot.
I get the feeling that half of this script was improvised on the spot, and that isn’t a bad thing. I wonder if once they got rolling on set, they just couldn’t stop. The talent pool on this cast was so deep, I can totally believe that at some point they simply abandoned the printed page after realizing they were coming up with better stuff just giving each other the giggles. And with cameos from people like Tim Robbins, Luke Wilson, Ben Stiller, Jack Black, and Vince Vaughn the comedy chemistry and laugh factor is wrenched up even higher.
Being a dad, it seems like I watch more animated movies than any other type. And since I am a film snob, I can’t stand to endlessly re-watch sub-par movies the way that I see so many parents do. Just because Cars is my kids’ favorite Pixar movie, that doesn’t mean that I am going to put it on every time they ask to watch a movie. Although they would be happy with that, I would go insane. And even if it was a good movie, it would lose some of its magic after seeing it twice a week for 3 years. I am constantly looking for good animated films to share with my family. That passion, along with my general love for film, led me to the breathtaking and impressive canon of Japanese hand-drawn animation director 
But Miyazaki is a glowing exception. His animation has an attention to detail that rivals the exacting standards of a company like Pixar. His intense yet delicate shading of colors would make his works of art more at home in a fine art gallery than in the Sunday comics. Miyazaki also has a great sense of humor, a gift for poetic storytelling, and a taste for adventure. His beautiful children’s movie, My Neighbor Totoro, is a charming and deeply affecting look at how a child’s imagination helps her endure a time of private fear and sadness. His most recent work, Ponyo, is a beautiful story of the transforming power of love. Princess Mononoke, is a powerful, sprawling epic about the need for humankind to respect and live in harmony with the environment. And that is a message that people of all faiths should proclaim.
Spirited Away is a coming of age story of a little girl named Chihiro, who gets lost in a wonderland of spirits and witches, and her quest to find a way to break the curse that has transformed her parents so they can return home. Her only friend in this world is a mysterious boy named Haku who helps her to survive. Eventually we come to hope that Chihiro, her parents, and Haku will all eventually break away from the harsh tyranny of the powerful and dictatorial witch Yubaba.
One of the things I love about Miyazaki is that he never sets up a simplistic face-off between good and evil. He knows we all have good and evil within us, and thus his “villains” have moments of kindness, and his heroes do things they regret.
Some will say that this film is too complex for children, and too scary. For small children, possibly. They could get lost in the intricate plot, and the monsters might scare them. I personally showed it to my kids starting at age 5 and up. But I think kids should be challenged to think through what they’re watching, and this is a story that provides great opportunities for discussion with grownups. Spirited Away is at times frightening, but it emphasizes the importance of an individual’s virtue, and affirms that the smallest of characters can make a big difference. It offers powerful displays of sacrificial love. And it, as I mentioned before, portrays “villains” who are redeemable and can be transformed by compassion and kindness.
One spirit in particular, No Face, appears at first to be gentle and friendly. But he becomes more and more mysterious, shifting between gentleness and violent destructive behavior. Eventually, we come to understand that he is a lonely spirit who seeks approval. When he is around greed and evil, he responds with greed and evil. But when he is offered friendship and unconditional love, he seems to try a better path. Chihiro has patience with him and her kindness reminds me of how Christ patiently endures with me in my own tendency to become self-absorbed. He waits patiently, always offering love, forgiveness, and direction to a better way. No Face is amazed at Chihiro’s virtue. And I came to hope that he would abandon his violence and follow Chihiro to a better life. This is just one of many such parables within a vast tapestry of interconnected stories.
It’s the mark of a great documentary that it can make you care about something you had no interest in otherwise. That is the reason I loved this documentary, because the fight between Billy Mitchell the jerk and underdog Steve Wiebe is something utterly captivating, and a story that’s continued even though the movie came out in 2007. That’s right, the two are still competing, and the saga continues. Sure, it might not seem like a big deal to us, but to these guys, it’s everything.
Mitchell’s record stood, undisturbed, until 2005. That’s when Steve Wiebe, who had recently been laid off, decided to accept the challenge to compete with Mitchell’s high score. The most amazing part of the film is the fact that Wiebe’s wife and kids let him engage in what is a very trivial competition.
But he is one of the best villains I have seen on the screen in a long time. Wiebe, on the other hand, is a guy you can’t help but pull for. We cheer when he bests Mitchell’s score by over 200,000. Then we feel his setbacks when the score is invalidated.
No, I didn’t mis-count, it is still day 20. Yesterday I stretched this question into two questions by naming 
My favorite modern actress is another tough decision. The leading lady I picked has been very selective in her roles. She started her career at 12 years old by getting herself kidnapped by a hitman named Leon. She would go on to get her Bachelor’s degree in Psychology from Harvard University, and become the Queen of Naboo and a representative in the Galactic Senate. But Natalie Portman really caught my eye when she shaved her head and learned an English accent to play Evey in the futuristic V for Vendetta. She is the accomplice to V, a masked and mysterious anti-hero who’s either a terrorist or a freedom fighter, depending upon which side of the explosion you’re on.
Considering my current line of work, my mind immediately went to two films about security guards. Paul Blart Mall Cop and Observe and Report. In case you don’t know, I work security for UPS at their Worldport facility. But I don’t take my job as seriously as either of those characters. Then I thought of the numerous caricatures of ministers in popular culture and couldn’t in good faith (pardon the pun) align myself with the likes of the cross-dressing, peep-show visiting, homicidal Rev. Peter Shayne (played by Anthony Perkins) in Crimes of Passion, to the faith-challenged Father Karras in The Exorcist, and the fornicating Rev. Russell in Simon Birch. If I could choose a television character, I might pick Rev. Camden from 7th Heaven. I always liked him.
The best portrayal of a solid, faithful movie pastor that I have seen in recent years was Preacher from Because of Winn-Dixie. Played by Jeff Daniels, Preacher is a deep character with personal problems. He was abandoned by his wife because she no longer wanted to be married to a pastor, now he is lonely. He loves and wants to care for his little small-town flock. He has a sincere desire to find ways to make God’s Word meaningful to his congregation, and buries himself in his work. Because of this, he frequently lacks time for his daughter, but we can tell that he deeply loves her. He gets angry. He is unashamed to pray in public. In other words, he is human. He is flawed, but he is trying to do what is right. It is a shame that characters like Preacher, who accurately reflect many pastors, emerge so infrequently in film. But the fact is, most of the time, pastors simply don’t exist in the landscape of film. When these pastors do not appear where they should in the cultural landscape, it conveys the idea that they are irrelevant, inconsequential, or worse, completely absent from thought. The assumption is that pastors are unnecessary.
At this junction of my life I feel like an average Joe. I frequently give advice to a group of misfits. I’m a funny guy who tends to take a laid-back approach to life. With that being said, I can relate to Peter LaFleur from Dodgeball: A True Underdog Story. Peter La Fleur, played by the excellent Vince Vaughn, operates a small gym called Average Joes. The opening scenes in Average Joes could have very well used the theme song from the television sitcom, Cheers, a place where everybody knows your name. Too bad Peter has been too busy developing genuine friendships to hone his business sense. Average Joes is in foreclosure unless they can come up with $50,000. To do this, these averages will have to become something extraordinary. And Peter La Fleur must step out in faith, and put everything of value to him on the line.
I have two films that have changed my ideas about the food industry. It has made me question everything I put in my mouth. These are the Morgan Spurlock McDonald’s experiment, Super Size Me, and Food, Inc. that asks how much we really know about the food we buy in the supermarket. After watching both of these movies, I wanted to move to a big 40 acre farm in Montana where my family and I could grow crops and raise cattle and we could seclude ourselves. Of course, then I got hungry and couldn’t afford to be a vegan, so I settled for a double cheeseburger.
This is an eye-opening and shocking look at the effects of fast food on the body, and it’s more important that ever with 60% of the United States being obese. We are literally eating ourselves to death.
A little over halfway through the month, the doctors finally catch on to the danger and indicate that the side effects are going far beyond what they predicted. His triglycerides and cholesterol are up, but his liver also looks like he has been a heavy drinker all his life. By the end of the 30 days, he’s put on almost 25 lbs, and his body fat has increased from 10% to 18%. In the closing credits, we’re told that it took him 8 weeks to get his liver back to normal and over one year to get down to his previous weight.
I consider myself pretty well educated when it comes to nutrition. I mean, I actually read and understand most of the stuff that is put on the nutrition labels. But I was shocked when I watched Food, Inc. and found out that some of those items that I thought were healthy could have been doctored to the point that they harbor franken-bacteria. And if I was this taken aback, I can imagine how many people who don’t take the time to educate themselves would really be stunned if they realized where their food comes from and what the food they are consuming could be doing to their bodies. Most Americans biggest concern about their food is that it is fast, cheap, and tasty. Food, Inc. examines the costs of valuing cost and convenience over nutrition and environmental impact.
The most difficult part of writing a review for Monster’s Inc. Is that it is an animated film and we tend to treat these movies simply for their entertainment value for kids. But I think that animated films can have great value apart from mindless entertainment. And that is the area in which Pixar films in recent years have excelled above their peers in the animation business.
Monster’s Inc. at its core is the inversion of a horror film. Normally, kids are wetting their beds at the idea that monsters live in their closets and are going to come out to scare them. Monsters Inc. simply admits this epidemic of home invasion as fact and then goes inside the closet to tell the story from the monsters point of view. It turns out that monsters don’t particularly enjoy scaring children, it is simply their job. Monstropolis (the Narnia on the other end of these impressionable children’s wardrobes) runs on the screams of children. But because human children are flooded with violent movies and television shows at increasingly younger ages, they are getting harder to scare and consequently Monstropolis has a scream shortage.
Add to that two of the most likable characters in all of Pixar’s movies, second only to Woody and Buzz, and you’ve got a movie that went toe-to-toe with Shrek, and by all counts lost that battle. But I would invite you to rematch both films and decide for yourself which has aged better. I think that Monsters Inc. could do equally well today, but I’m not sure I could say that about Shrek.
Anymore, it is pointless to mention the superb animation that is present in these movies. But in its time, the computer animation rendering of every frame featuring Sully took 11 hours to complete because the movement of each of his 2,320,413 hairs. With a frame rate of 24 fps that is nearly a month of processor time to create a single second of footage.