January 2003

• About Schmidt (1/4, Orange [2002])--Kathy Bates is the bravest woman in the business. I can't decide whether it's brilliant or only very good, but I'm sure I need to see it again. I know for certain that Jack is brilliant. And I certainly understand the problem the trailer cutter faced: slapstick sells better than despair. Really odd audience--first off, there were a couple dozen people in the theater already when I walked in, 11 minutes before showtime, so clearly, there was a lot of eagerness there. But they were all sitting so far back that, even though I sat closer than anyone else there yet, I immediately realized that I was back farther than usual--the existing crowd had apparently intimidated me out of my normal behavior. Anyway, a lot of people did indeed seem to think it was a comedy--there was a lot more laughter than I felt. Perhaps boosted by the discomfort and disorientation of not knowing what the fuck to make of most of it? Or the discomfort of seeing a little too much of themselves? 'Cause if this is Omaha and Mount Sterling, it is also East Haven. God, Payne really doesn't have a very high opinion of the race, does he? I need to see Citizen Ruth again.
• Chicago (1/5, Orange [2002])--Reports of the demise of the spirit of Bob Fosse in the film version seem to be to have been much exaggerated. I agree that it fails to maintain the giddy energy of the first 45 minutes or so, but jesus--how could it? What fun! I didn't even know Queen Latiyfah (sp?) and John C. were in it (geez, we're seeing more of him this season than of Leo!), but what wonderful contributions they make. I find it impossible to compare something like that w/ Schmidt (particularly since I'm still not altogether sure how I feel about it), but I certainly haven't had that much fun at the movies 10 times in the past year. Her lover was right, though: Renée's legs really *are* skinny--I think she looked better at her Bridget Jones weight.
• 25th Hour (1/18, Orange[?] [2002])--How can you not love a movie w/ such a wonderful dog in it as Doyle? It worked for me--it involved me, it moved me, and most of the Spikisms rang true for me. In particular, I thought the "fuck you" litany was an exciting and dangerous piece of work that few if any other filmmakers would have the bona fides even to attempt, and I almost cried when he saw those people again on the way out of town.
• The Hours (1/20, Orange [2002])--I can certainly think of nothing better last year, or most years. In an effort not to overgush, I can say that, as easy on the eyes as she is, Claire Danes just seemed like an outclassed young actress dropped in among these other people's actual lives. And I thought Jeff Daniels played it a little too fey. Otherwise, damn near perfect. But tell me: am I stupid not to have even vaguely have suspected that Richie = Richard until the scene w/Laura's wedding photo? (Frankly, I hadn't paid attention to the kid's name--and usually Laura calls him by some nickname or other, so maybe it's supposed to not be obvious.) Anyway, when Laura shows up at Clarissa's, I was ready for that to be a false note, but no--it was necessary and right. Great fucking film. And how does anyone beat Meryl for the Oscar? ("Greedy, greedy, greedy" in the GG story made me lol.)
• A Dangerous Mind (1/25, NoHa [2002])--Much more ostensibly serious than I expected, and thus not as much fun. Good performance by Rockwell, though, and an engaging Charlie Kaufman script. [5]