The Masterpieces is an ongoing list of the greatest films ever made. Any film can qualify, the only requirement being a movie can't be added until at least one year after it's initial release. Other than that, it's fair game. These are the films that set the highest standards for their art form and respective genres. They can be important socially, universally, or personally, or they can simply be damn entertaining. As long as a movie can be considered to have achieved true greatness, it can be added to The Masterpieces.
An alphabetical list of all films added to The Masterpieces (click to see the original article)...
2001: A Space Odyssey
The Enigma of Kaspar Hauser
The Royal Tenenbaums
September 30, 2008
The Bronze. Lists
Here is a summary of all lists published on The Bronze.
------------------------------------------------------------------------------------------------------------Adam's Top Ten 2005
1. Serenity
2. Crash
3. Batman Begins
4. The 40 Year Old Virgin
5. Sin City
6. The New World
7. The Constant Gardener
8. Brokeback Mountain
9. Walk The Line
10. Oldboy
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Adam's Top Ten 2006
1. Children of Men
2. Clerks II
3. Little Miss Sunshine
4. The Departed
5. Letters From Iwo Jima
6. Borat
7. Blood Diamond
8. Pan’s Labyrinth
9. Babel
10. The Prestige
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Adam's Top Ten 2007
1. Juno
2. Ratatouille
3. There Will Be Blood
4. Superbad
5. Once
6. Hot Fuzz
7. Knocked Up
8. No Country For Old Men
9. Into The Wild
10. Before The Devil Knows You’re Dead/The Savages (Tie)
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List Logic
An article about the point of top ten lists, and why they work. The article includes a revised Top Ten 2007 list.
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Adam's Top Ten 2008
1. Synecdoche, New York
2. The Dark Knight
3. In Bruges
4. Entre Les Murs
5. Paranoid Park
6. The Wrestler
7. Wall-E
8. Milk
9. Rachel Getting Married
10. Revolutionary Road
Parker's Top Ten 2008
1. In Bruges
2. The Dark Knight
3. Synecdoche, New York
4. The Wrestler
5. Wall-E
6. Milk
7. Rachel Getting Married
8. Slumdog Millionaire
9. The Fall
10. Forgetting Sarah Marshall
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The 10 Greatest Works of Joss Whedon (as of July 2008)
1. Once More With Feeling (Buffy the Vampire Slayer Season 6, Episode 7)
2. Serenity
3. The Body (Buffy the Vampire Slayer Season 5, Episode 16)
4. Hush (Buffy the Vampire Slayer Season 4, Episode 10)
5. Restless (Buffy the Vampire Slayer Season 4, Episode 22)
6. Dr. Horrible's Sing-A-Long Blog
7. The Chain (Buffy the Vampire Slayer Season 8, issue #5)
8. Objects in Space (Firefly Episode 14)
9. Waiting in the Wings (Angel Season 3, Episode 13)
10. Fray
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The Masterpieces, an ongoing list of the best movies of all time can be found here.
September 28, 2008
Il Divo
VIFF 08 Movie Review.
Written & Directed by Paulo Sorrentino
Starring Tony Servillo, Anna Bonaiuto, Piera Degli Esposti and Giulio Bosetti
Il Divo is the story of Italian Prime Minister Giulio Andreotti's last couple years in office. He served as such from 72-73, 76-79, and 89-92. This film is so rich in politics and information, that one would assume it would unwatchable if politics did not interest you or if you knew nothing of Italian history. The movie even starts with tons of text on the screen, given you some background in political groups and events, but it's hard to absorb, and doesn't exactly tell you everything you need to know. At this point, I was a bit nervous, until the somewhat Tarantino-ish opening began, showing a bunch of political figures being killed to some Italian pop song. Nice. It turns out, that a serious political movie can be funny and a lot of fun, in the right hands.
There is humour throughout the film, and pride taken in making the direction interesting. When we are introduced to Andreotti's political pals, it does it in slow mo, as they all walk together, kind of like in Kill Bill when Lucy Liu and her people are walking down the hall. It keeps the film interesting, for those who nothing of Italian politics. Those who do have a knowledge of such things will probably be in cinematic heaven. I think there's serious "favourite movie" potential for some people here.
As one would hope in a bio-pic, the acting is top-notch. Toni Servillo as Anderotti would be a shoe-in for an Oscar nomination if Il Divo was American. He's subdued and meticulous, crafting one of the more memorable screen performances of recent years. He as at once distant and hard to like, but oozing with an odd charisma, that in certain moments is irresistible. The supporting cast are all perfect. The character who seems to advise Anderotti is the perfect complimentary personality to Anderotti. Instead of being quiet, reserved, mysterious, he is loud and open, and lots of fun. One outstanding moment is when he finally gets a moment to himself inside a giant empty room in Anderotti's mansion, he takes a run and slides across the floor and yells.
Things like this make Il Divo sublime entertainment as well as unmatched political brain candy. For some, that combo could be the best thing ever, or some may like only one of the two. Either way, there's no denying that this is masterful film making from Paulo Sorrentino. This is certainly one of the best films of the year, so for anyone who can withstand the political content, it is a must-see.
Written & Directed by Paulo Sorrentino
Starring Tony Servillo, Anna Bonaiuto, Piera Degli Esposti and Giulio Bosetti
Il Divo is the story of Italian Prime Minister Giulio Andreotti's last couple years in office. He served as such from 72-73, 76-79, and 89-92. This film is so rich in politics and information, that one would assume it would unwatchable if politics did not interest you or if you knew nothing of Italian history. The movie even starts with tons of text on the screen, given you some background in political groups and events, but it's hard to absorb, and doesn't exactly tell you everything you need to know. At this point, I was a bit nervous, until the somewhat Tarantino-ish opening began, showing a bunch of political figures being killed to some Italian pop song. Nice. It turns out, that a serious political movie can be funny and a lot of fun, in the right hands.
There is humour throughout the film, and pride taken in making the direction interesting. When we are introduced to Andreotti's political pals, it does it in slow mo, as they all walk together, kind of like in Kill Bill when Lucy Liu and her people are walking down the hall. It keeps the film interesting, for those who nothing of Italian politics. Those who do have a knowledge of such things will probably be in cinematic heaven. I think there's serious "favourite movie" potential for some people here.
As one would hope in a bio-pic, the acting is top-notch. Toni Servillo as Anderotti would be a shoe-in for an Oscar nomination if Il Divo was American. He's subdued and meticulous, crafting one of the more memorable screen performances of recent years. He as at once distant and hard to like, but oozing with an odd charisma, that in certain moments is irresistible. The supporting cast are all perfect. The character who seems to advise Anderotti is the perfect complimentary personality to Anderotti. Instead of being quiet, reserved, mysterious, he is loud and open, and lots of fun. One outstanding moment is when he finally gets a moment to himself inside a giant empty room in Anderotti's mansion, he takes a run and slides across the floor and yells.
Things like this make Il Divo sublime entertainment as well as unmatched political brain candy. For some, that combo could be the best thing ever, or some may like only one of the two. Either way, there's no denying that this is masterful film making from Paulo Sorrentino. This is certainly one of the best films of the year, so for anyone who can withstand the political content, it is a must-see.
September 26, 2008
Momma's Man
VIFF 08 Movie Review.
Written & Directed by Azazel Jacobs
Starring Mike Boren, Flo Jacobs & Ken Jacobs
Momma's Man is the story of middle aged man, Mike, who abandons his wife and baby in California, to return to the apartment he grew up in with his parents in New York. His parents are pleasantly surprised to see their son, but it's odd that he showed up all of a sudden. Mike says he flew out cause of work, and there was a screw up with the plane, so he has to stay for a night. A night becomes a weekend which becomes another week etc. "Mikey" as his parents call him, has fled adulthood for the simple comfort of the childhood he once knew. He spends nearly all his time at home in his old room, flipping through old comic books, notes, song lyrics and finding all sorts of mementos.
His wife calls him constantly, trying to get an explanation. Eventually, Mike turns his phone off, silencing his wife, and his real life. The parents play dumb for most of the time. part of them does want him to stay home and be their little boy. Especially the mom, who longs for when Mike was a child, and when she was a younger woman. Seemingly everyone portrayed dreams of being in a different state of their life. Regret and nostalgia being a powerful combo to consume the present.
Of course he can't stay forever, but what will motivate him to move on? I believe it comes when he meets with an old girlfriend from high school. In his room he finds a note from Bridgette, a girl he liked. In it she curses him for hurting her. This prompts Mike to call her and ask her to get some coffee. He explains to Bridgette that he wanted to meet so he could apologize for hurting her. One must wonder, however, if his real reason is to have yet another memento to connect him to simpler times. When he sees her, and the baby she brings to the coffee shop, she doesn't connect him to the past, but reaffirms his responsibilities as an adult, a father and as a husband.
It's very easy to relate to this film. Growing up is scary, even when you've already done it. Being young, or at least younger is something everyone thinks about. Once you've started a family, you still fondly think of when you'd lie in your mother's arms. Perhaps the most touching moment of the film is when the mom embraces Mikey and he begins to cry. In an odd way, Momma's Man is at least partly an ode to parents and their unique bond to their children. I figure that's why writer/director Azazel Jacobs casted his real parents for the role, and shot the movie in the actual apartment he grew up in. In a way, Azazel Jacobs, like Mike, returns home to capture his childhood.
Jacobs is a very talented film maker. Momma's Man moves a little too slowly, but it's admirable that this story was given such a treatment. Instead of making the movie follow a traditional narrative, Jacobs merely presents an environment and explores the behavior of the people within it. Such a method should be praised, as it is far too rare in film. I eagerly look forward to his next project.
As thoughtful as the film is, the slow pace is damaging. Personally, I usually appreciate a slow careful pace, but here, even I was a little antsy. If you need something exciting or particularly funny in a movie it may be best to avoid Momma's Man. If you can be patient, I recommend you give it a try. It's not the greatest movie, but it'll give you something to think about, and it will make you feel. Two of the most important things a movie can do.
Written & Directed by Azazel Jacobs
Starring Mike Boren, Flo Jacobs & Ken Jacobs
Momma's Man is the story of middle aged man, Mike, who abandons his wife and baby in California, to return to the apartment he grew up in with his parents in New York. His parents are pleasantly surprised to see their son, but it's odd that he showed up all of a sudden. Mike says he flew out cause of work, and there was a screw up with the plane, so he has to stay for a night. A night becomes a weekend which becomes another week etc. "Mikey" as his parents call him, has fled adulthood for the simple comfort of the childhood he once knew. He spends nearly all his time at home in his old room, flipping through old comic books, notes, song lyrics and finding all sorts of mementos.
His wife calls him constantly, trying to get an explanation. Eventually, Mike turns his phone off, silencing his wife, and his real life. The parents play dumb for most of the time. part of them does want him to stay home and be their little boy. Especially the mom, who longs for when Mike was a child, and when she was a younger woman. Seemingly everyone portrayed dreams of being in a different state of their life. Regret and nostalgia being a powerful combo to consume the present.
Of course he can't stay forever, but what will motivate him to move on? I believe it comes when he meets with an old girlfriend from high school. In his room he finds a note from Bridgette, a girl he liked. In it she curses him for hurting her. This prompts Mike to call her and ask her to get some coffee. He explains to Bridgette that he wanted to meet so he could apologize for hurting her. One must wonder, however, if his real reason is to have yet another memento to connect him to simpler times. When he sees her, and the baby she brings to the coffee shop, she doesn't connect him to the past, but reaffirms his responsibilities as an adult, a father and as a husband.
It's very easy to relate to this film. Growing up is scary, even when you've already done it. Being young, or at least younger is something everyone thinks about. Once you've started a family, you still fondly think of when you'd lie in your mother's arms. Perhaps the most touching moment of the film is when the mom embraces Mikey and he begins to cry. In an odd way, Momma's Man is at least partly an ode to parents and their unique bond to their children. I figure that's why writer/director Azazel Jacobs casted his real parents for the role, and shot the movie in the actual apartment he grew up in. In a way, Azazel Jacobs, like Mike, returns home to capture his childhood.
Jacobs is a very talented film maker. Momma's Man moves a little too slowly, but it's admirable that this story was given such a treatment. Instead of making the movie follow a traditional narrative, Jacobs merely presents an environment and explores the behavior of the people within it. Such a method should be praised, as it is far too rare in film. I eagerly look forward to his next project.
As thoughtful as the film is, the slow pace is damaging. Personally, I usually appreciate a slow careful pace, but here, even I was a little antsy. If you need something exciting or particularly funny in a movie it may be best to avoid Momma's Man. If you can be patient, I recommend you give it a try. It's not the greatest movie, but it'll give you something to think about, and it will make you feel. Two of the most important things a movie can do.
September 22, 2008
VIFF 08
Beginning on September 25th, 2008, the 27th Vancouver Film Festival Begins. It will be my first time attending and I'm really excited. I'm seeing 12 movies in about two weeks, so my head may explode with happiness...Or, if the movies suck, it may implode with disappointment. Anyways, I'm going to try to write about as many of the movies as possible. Below is an alphabetical list of the movies I'm going to see.
Ballast
Blindness
The Class
Hunger
Il Divo
Momma's Man
Rachel's Getting Married
Real Time
Religulous
The Secret of the Grain
Sugar
Tokyo!
Blindness
The Class
Hunger
Il Divo
Momma's Man
Rachel's Getting Married
Real Time
Religulous
The Secret of the Grain
Sugar
Tokyo!
September 16, 2008
Burn After Reading
New Movie Review.
Written by Joel & Ethan Cohen
Directed by Joel & Ethan Cohen
Starring Francis McDormand, George Clooney, John Malkovich, Tilda Swinton, Brad Pitt
Here is yet another great movie to be added to the Coen's already overwhelmingly impressive filmography. Like how The Big Lebowski came right after Fargo, Burn After Reading follows the Oscar-winning No Country For Old Men, and it provides the reminder that the Coens can do the serious thriller thing, and impress everyone, but still do the wacky comedy just as well. I wouldn't go as far as to say this is as good as The Big Lewbowski, but it's in my Coen top five.
The story kicks into gear when an airhead gym employee, Chad, played by Brad Pitt, finds a disc in the locker room. The disc contains what he describes as "C.I.A. shit". Thinking it's highly valuable top secret information, he along with co worker Linda Litzke decide to organize returning it to it's owner in exchange for a reward. In Chad's mind, he's being a good samaritan, but in an instantly classic scene when he and Linda phone Osborne Cox (John Malkovich), the ex-C.I.A. agent, that the disc belongs too, it quickly and somewhat accidentally becomes black mail. Chad and Linda become obsessed with somehow capitalizing on the situation,to get much needed cash. Linda has been planning on getting some plastic surgeries done, and the money from this could pay for it. Meanwhile, George Clooney's character, Harry, is having an affair with Osborne Cox's wife Katie, played by fellow Micheal Clayton alumni Tilda Swinton. The wonderful Richard Jenkins plays the manager at the gym who longs for Linda, unbeknownst to her.
The Coens once again paint a dark picture of humanity. Everyone in this movie is either greedy, self-centered, cheating, paranoid, vain or all of the above. Nearly every Coen movie is about normal people getting involved with dirty money and shady dealings. You might think it would have gotten old after 20 years of film making, but it's interesting each and every time. Just because all the characters have their vices doesn't mean they aren't likable. Every character in their own way is interesting and earns at least a slight bit of empathy. The other common trait of Coen movies is that the normal people get hurt for getting in such business, and things get real ugly here.
Of course the screenplay and direction are Coen-y, and near perfect, but the performances are outstanding and make Burn After Reading worth seeing on thier own. The most surprising turn is by Brad Pitt, who is a revelation here. In the trailer, it was obvious he was gonna be silly and fun, but it doesn't take long to realize he's doing something special. His comedic stylings are uproarious and brilliant. In two particular scenes, the first being the time he phones Cox, and second being when Chad meets Cox are comedic heaven. Brad Pitt is becoming a very respectable actor with last year's performance as Jesse James, what he has done here and hopefully in what he does in David Fincher's The Curious Case of Benjamin Button, coming out later this year. Frances McNormand is Oscar worthy with what may be her best work since Fargo. Her character isn't quite as memorable, but she's not far off either. This is my favourite George Clooney role, and it's great to see him at his twitchy, paranoid best rather than seeing him play himself. John Malkovich is perfect, but that goes without saying, I think. Tilda Swinton is very good, but I question her staying power as a Hollywood top dramatic actress. The always enjoyable J.K. Simmons (Juno, Spiderman) shows up and does his thing with only a couple of minutes of screen time, but he nails it. The cast is one of the best this year, and in Coen canon it's beaten only by Fargo and Lebowski.
In a breezy 96 minutes, the Coens tell a comical, dark, hilarious, sad, surprising story. Each of their best films are sacred, precious, so different and smart that we will never see a successful imitation. Each must be savoured, appreciated, recognized. It's important to know how vital the Coens have been to American film, without whom we would be missing a vast portion of cinematic genius of the 80's, 90's and the early 21st century. These are film makers that will be revered, and studied years after they are gone. They are in their prime and they have 4 more movies on the docket, all set for release in the next couple years, according to IMDB. So, enjoy it while it lasts, because there will never, ever, be film makers quite like the Coen Bros.
Here is yet another great movie to be added to the Coen's already overwhelmingly impressive filmography. Like how The Big Lebowski came right after Fargo, Burn After Reading follows the Oscar-winning No Country For Old Men, and it provides the reminder that the Coens can do the serious thriller thing, and impress everyone, but still do the wacky comedy just as well. I wouldn't go as far as to say this is as good as The Big Lewbowski, but it's in my Coen top five.
The story kicks into gear when an airhead gym employee, Chad, played by Brad Pitt, finds a disc in the locker room. The disc contains what he describes as "C.I.A. shit". Thinking it's highly valuable top secret information, he along with co worker Linda Litzke decide to organize returning it to it's owner in exchange for a reward. In Chad's mind, he's being a good samaritan, but in an instantly classic scene when he and Linda phone Osborne Cox (John Malkovich), the ex-C.I.A. agent, that the disc belongs too, it quickly and somewhat accidentally becomes black mail. Chad and Linda become obsessed with somehow capitalizing on the situation,to get much needed cash. Linda has been planning on getting some plastic surgeries done, and the money from this could pay for it. Meanwhile, George Clooney's character, Harry, is having an affair with Osborne Cox's wife Katie, played by fellow Micheal Clayton alumni Tilda Swinton. The wonderful Richard Jenkins plays the manager at the gym who longs for Linda, unbeknownst to her.
The Coens once again paint a dark picture of humanity. Everyone in this movie is either greedy, self-centered, cheating, paranoid, vain or all of the above. Nearly every Coen movie is about normal people getting involved with dirty money and shady dealings. You might think it would have gotten old after 20 years of film making, but it's interesting each and every time. Just because all the characters have their vices doesn't mean they aren't likable. Every character in their own way is interesting and earns at least a slight bit of empathy. The other common trait of Coen movies is that the normal people get hurt for getting in such business, and things get real ugly here.
Of course the screenplay and direction are Coen-y, and near perfect, but the performances are outstanding and make Burn After Reading worth seeing on thier own. The most surprising turn is by Brad Pitt, who is a revelation here. In the trailer, it was obvious he was gonna be silly and fun, but it doesn't take long to realize he's doing something special. His comedic stylings are uproarious and brilliant. In two particular scenes, the first being the time he phones Cox, and second being when Chad meets Cox are comedic heaven. Brad Pitt is becoming a very respectable actor with last year's performance as Jesse James, what he has done here and hopefully in what he does in David Fincher's The Curious Case of Benjamin Button, coming out later this year. Frances McNormand is Oscar worthy with what may be her best work since Fargo. Her character isn't quite as memorable, but she's not far off either. This is my favourite George Clooney role, and it's great to see him at his twitchy, paranoid best rather than seeing him play himself. John Malkovich is perfect, but that goes without saying, I think. Tilda Swinton is very good, but I question her staying power as a Hollywood top dramatic actress. The always enjoyable J.K. Simmons (Juno, Spiderman) shows up and does his thing with only a couple of minutes of screen time, but he nails it. The cast is one of the best this year, and in Coen canon it's beaten only by Fargo and Lebowski.
In a breezy 96 minutes, the Coens tell a comical, dark, hilarious, sad, surprising story. Each of their best films are sacred, precious, so different and smart that we will never see a successful imitation. Each must be savoured, appreciated, recognized. It's important to know how vital the Coens have been to American film, without whom we would be missing a vast portion of cinematic genius of the 80's, 90's and the early 21st century. These are film makers that will be revered, and studied years after they are gone. They are in their prime and they have 4 more movies on the docket, all set for release in the next couple years, according to IMDB. So, enjoy it while it lasts, because there will never, ever, be film makers quite like the Coen Bros.
September 04, 2008
Hamlet 2
New Movie Review.
Written by Andrew Fleming & Pam Brady
Directed by Andrew Fleming
Starring Steve Coogan, Catherine Keener, Elisabeth Shue, David Arquette
Hamlet 2 is the last hurrah of summer comedies, and as such, it's a bit underwhelming. The laughs are infrequent, and not exactly rumpus inducing. However, thanks to an above average start as well as finish, and a brilliant performance from Brit star, Steve Coogan, it's undeniably not terrible. It even manages to slide past mediocrity! It earns such a fervently expressed accolade by telling a conventional story in a slightly less than conventional fashion...Kinda.
The story follows a wacky, perhaps substandard, drama teacher Dana Marschz (don't worry, no one in the movie can pronounce his last name either) as he tries to keep drama class in school by putting on the ambitious original play, Hamlet 2. The movie seems to take aim at all inspiring teacher movies, such as Mr. Holland's Opus or Dead Poets Society, but it actually is one. Yes, it's a silly comedy with appropriately silly antics, but that's merely a charade to cover up that it really is an inspirational teacher movie that even seems to try to win over our hearts by the end credits. Deceptive methods aside, the conventional plot is presented in a peculiar way. Particularily the opening 15 minutes, which hands-down is the best part of this film, where we are immediately thrown at Coogan's character in a frantic, messy fashion. It feels like they didn't really know how to start this movie, or how to introduce the players, and it actually benefits it, becuase it feels fresh. Accidental success is no less succesful than other successes. Right? The movie loses it's unorthodox feel after a bit and soon it's nothing special, and nothing all that entertaining.
It's a long wait until it picks up again when Dana, and his students, finally perform the play to close out the picture. Even then, we only see two musical sequences, and while fun, they are not great. The hyped song, "Rock Me Sexy Jesus", is good and worth a chuckle, but nothing more. Then the movie ends, and it quickly escapes your memory, everything, except Steve Coogan.
Steve Coogan gives us a comedic performance for the ages. I'm not familiar with his previous work (other than Tropic Thunder and a memorable bit part in Hot Fuzz), but after seeing him in Hamlet 2, I'm convinced he's one of the most gifted comedic actors on this planet. He's the first to surpass Jim Carrey with use of facial comedy. He, like Carrey, has an uncanny awareness and subsequent control of his face, and he puts it to use with full force. It's very rare he delivers a line without some sort of hysterical contortion. After delivering his dialogue, the camera tends to sit on Coogan, as he delivers one of a variety of brilliant expressions, as if to be a signature for each line. I won't go as far as to say he's subtle, but compared to Carrey he's the utmost version of understated. Pretty much every laugh comes from Coogan's role, which prompts the realization that this could have been a train wreck, without such a conductor as Steve Coogan.
Hamlet 2 is co-written by Pam Brady, co-writer of South Park and Team America. I expected more from someone affiliated with some of the most brilliant, and thoughtful comedy in history. Oh well. The movie may be full of disappointment and David Arquette (annoying even with only having a couple brief lines) but it gives us an endlessly promising actor, already renowned in the Mother Country (lets just ignore that he was accused of eagerly supplementing his friend Owen Wilson's drug addction which lead to the infamous suicide attempt). More specifically it gives us a performance worth seeing. I can't reccomend you spend your hard earned cash at the theatre, but it's a must rent.
Written by Andrew Fleming & Pam Brady
Directed by Andrew Fleming
Starring Steve Coogan, Catherine Keener, Elisabeth Shue, David Arquette
Hamlet 2 is the last hurrah of summer comedies, and as such, it's a bit underwhelming. The laughs are infrequent, and not exactly rumpus inducing. However, thanks to an above average start as well as finish, and a brilliant performance from Brit star, Steve Coogan, it's undeniably not terrible. It even manages to slide past mediocrity! It earns such a fervently expressed accolade by telling a conventional story in a slightly less than conventional fashion...Kinda.
The story follows a wacky, perhaps substandard, drama teacher Dana Marschz (don't worry, no one in the movie can pronounce his last name either) as he tries to keep drama class in school by putting on the ambitious original play, Hamlet 2. The movie seems to take aim at all inspiring teacher movies, such as Mr. Holland's Opus or Dead Poets Society, but it actually is one. Yes, it's a silly comedy with appropriately silly antics, but that's merely a charade to cover up that it really is an inspirational teacher movie that even seems to try to win over our hearts by the end credits. Deceptive methods aside, the conventional plot is presented in a peculiar way. Particularily the opening 15 minutes, which hands-down is the best part of this film, where we are immediately thrown at Coogan's character in a frantic, messy fashion. It feels like they didn't really know how to start this movie, or how to introduce the players, and it actually benefits it, becuase it feels fresh. Accidental success is no less succesful than other successes. Right? The movie loses it's unorthodox feel after a bit and soon it's nothing special, and nothing all that entertaining.
It's a long wait until it picks up again when Dana, and his students, finally perform the play to close out the picture. Even then, we only see two musical sequences, and while fun, they are not great. The hyped song, "Rock Me Sexy Jesus", is good and worth a chuckle, but nothing more. Then the movie ends, and it quickly escapes your memory, everything, except Steve Coogan.
Steve Coogan gives us a comedic performance for the ages. I'm not familiar with his previous work (other than Tropic Thunder and a memorable bit part in Hot Fuzz), but after seeing him in Hamlet 2, I'm convinced he's one of the most gifted comedic actors on this planet. He's the first to surpass Jim Carrey with use of facial comedy. He, like Carrey, has an uncanny awareness and subsequent control of his face, and he puts it to use with full force. It's very rare he delivers a line without some sort of hysterical contortion. After delivering his dialogue, the camera tends to sit on Coogan, as he delivers one of a variety of brilliant expressions, as if to be a signature for each line. I won't go as far as to say he's subtle, but compared to Carrey he's the utmost version of understated. Pretty much every laugh comes from Coogan's role, which prompts the realization that this could have been a train wreck, without such a conductor as Steve Coogan.
Hamlet 2 is co-written by Pam Brady, co-writer of South Park and Team America. I expected more from someone affiliated with some of the most brilliant, and thoughtful comedy in history. Oh well. The movie may be full of disappointment and David Arquette (annoying even with only having a couple brief lines) but it gives us an endlessly promising actor, already renowned in the Mother Country (lets just ignore that he was accused of eagerly supplementing his friend Owen Wilson's drug addction which lead to the infamous suicide attempt). More specifically it gives us a performance worth seeing. I can't reccomend you spend your hard earned cash at the theatre, but it's a must rent.
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