Raising Arizona (1987)
Directed by: The Coen Brothers
Synopsis (Rotten Tomatoes): A childless couple unable to adopt decide that a couple who just had quintuplets won't mind if they steal one of the babies. Thus begins the Coen brothers' madcap romp RAISING ARIZONA. Holly Hunter stars as Ed, a cop who is devastated when she learns that she cannot get pregnant. Nicolas Cage is her husband, H.I., an ex-con who wants nothing more than to make his wife the happiest woman in the world. So if she wants a baby, she's going to have a baby, one way or another. Heading up the supporting cast of bizarre characters are John Goodman and William Forsythe as crazy cousins who have just busted out of prison, Sam McMurray and Frances McDormand as Ed and H.I.'s swinging friends, and Randall "Tex" Cobb as a motorcycle madman hired to rescue the baby. RAISING ARIZONA is the Coen brothers' most consistently funny film. Carter Burwell's score, replete with infectious yodeling, is relentless, Barry Sonnenfeld's cinematography is beautifully wacky, and the manic dialogue is the brothers' most quotable. The film is a treat for the ears and the eyes, a one-of-a-kind sensation from a marvelous pair of filmmakers.
Impressions that I get: God, I love the Coens. Raising Arizona has just joined my top 3 Coens platform with Millers Crossing and No Country for Old Men. We had the gangster movie, the old western killer movie, and now the bizzare comedy complete with yodeling getaway scenes and "If you can find a lower price, my name ain't Nathan Arizona!" This film is loaded with original characters. You have the multiple ex-convict who will do anything to please his wife, but still can't let go of his past. You have the crime photographer who just wants to have a baby and live a "normal" live despite her infertitility. You have the charismatic, old salesman who turns out to not be such a jerk after all. You have the wise cracking, typical hick couple with their out of control kids and you have the escaped from prison via hidden tunnel cousins who are just looking to score it big. You have the demon unleashed from hell who blows up rabbits with grenades and is out to hunt them all down. And bringing all these wild and crazy people together, you have the baby, Nathan Jr. Which, despite all the abnormal circumstances, everybody can't help but love (And it is an absolutely adorable baby, mind you!) The dialouge is filled with classic Coen dry wisecracks and clever cinematography that highlights the hysterical absurbity of every scenario. Perhaps one of my favorite assets to the movie though, was the magnificent music of Mr. Carter Burwell, a regular Coen contributer. The bluegrass yodeling of the 10 minute long, roundabout chase scene blends so perfectly that you can't imagine anything else going in there. The beautiful theme for the baby really starts to provide some strong emotional backing over the last 15 minutes or so and it complements Nicholas Cage's monolouge about his final dream wonderfully. There even is some symbolism within the context of the dreams and the demon bike rider as H.I. (great name by the way) consience catches up to him. Overall, this was just a plain enjoyable experience that put together ridicioulous situations with a strong artistic edge and a witty script. Cheers to the Coen Brothers. -AT
Acting (8/10) Gotta love these characters, great to see Nicholas Cage not playing shitty roles
Plot (9/10) Only the Coens my friends. Kidnapping babies in deadneck Arizona with demon bikeriders chasing after them?
Cinematography (8.5/10) Really excellent, was able to compliment the arid enviroment with the hilarity of said situations
Originality (9.5/10) Oh man, stands out, not only on its own merits, but becuase it has nothing to truly compare it to
Grade: A
OKAY, Two other quick synopsies
The Squid and the Whale (2005)
Directed by:Noah Baumbach
Synopsis: Noah Baumbach's THE SQUID AND THE WHALE is an excruciatingly humane, often hilarious portrait of a disintegrating family in mid-1980s Brooklyn. Set in the stately yet off-kilter neighborhood of Park Slope, the film tells the story of the Berkmans, a quintessentially New York family struggling to keep things together. Family patriarch Bernard (Jeff Daniels) is a published author and writing teacher whose insecurity over his own lack of recognition continues to plague him. Meanwhile, his wife, Joan (Laura Linney), is grappling with her own sense of unsettlement. Their sons, who are caught in the crossfire, express their confusion in different ways: 16-year-old Walt (Jesse Eisenberg) tries to pass off Pink Floyd's "Hey You" as his own hit in the school talent show, while his 12-year-old brother Frank (Owen Kline) begins to explore his burgeoning sexuality and alcoholism. When Bernard and Joan finally decide to separate, the family must confront their unraveling situation head on. Rarely has family dysfunction been captured so frankly and honestly as in THE SQUID AND THE WHALE. Baumbach claims his film is only semi-autobiographical, but, from the pitch-perfect writing and nostalgic tone, it feels as if we're watching home videos of the writer-director's past. Featuring an outstanding pop-music soundtrack (Bert Jansch, the Feelies, Lou Reed), the film also boasts performances that seem certain to earn end-of-the-year accolades.
Acting (9/10) Really strong from each of the four family members (I happened to especially like the teenage boy, Jessie Eisenberg). Every person stands out on there own, yet their faint strings of family cohesiveness are felt even as everybody falls apart.
Plot (7/10) Not particuarly plot based, although does come full circle with the meaning of the title. On the short side too, more of a character study than anything else.
Cinematography (7/10) Good, but wasn't an over the top movie in any sense. Very subtle with the city of New York being used effectively to show the larger context of this small families dismay.
Originality (8.5/10) Lots of movies that involve divorce and dysfunctional are made, but the Squid and the Whale seems to ring so true. The arguemnts aren't loud and filled with grand oratory, but rather shown in the actions each character takes when no one else is looking. Makes own take note of their own life in seeing what went right and what went wrong. I have no doubt everybody can relate to someone in this family in one way or another.
Overall Grade: B+ (inching toward A- though, for the sake of its brutal, obscene honesty..)
Rushmore (1998)
Directed by: Wes Anderson
Synopsis (RT) : Director Wes Anderson's follow-up to the acclaimed BOTTLE ROCKET is a funny, warmhearted, and extremely sharp American response to the English "Angry Young Man" films of the 1960s, right down to... Director Wes Anderson's follow-up to the acclaimed BOTTLE ROCKET is a funny, warmhearted, and extremely sharp American response to the English "Angry Young Man" films of the 1960s, right down to its British Invasion soundtrack. Newcomer Jason Schwartzman creates a classic protagonist in Max Fischer, a sophomore at Rushmore Academy. He excels at every extracurricular activity in school, from theater to beekeeping. Gradewise, however, he's failing. He has few friends outside school save for wealthy but depressed industrialist Herman Blume (Bill Murray), father of obnoxious twin boys who also attend Rushmore. Enter Rosemary Cross (Olivia Williams), a beautiful young widowed teacher at Rushmore Elementary. While Max is immediately smitten with Miss Cross, she finds comfort in the company of the emotionally frazzled Blume. But Max won't let Blume have Miss Cross without a fight. Anderson and cowriter Owen Wilson have created a script brimming with oddball humor at the surface, but at its core lies just enough realistic pain and disappointment to create an all-too-rare bittersweet edge, striking a subtle balance that few films ever achieve, and finally giving national treasure Bill Murray the chance to shine like never before. As director, Anderson displays his exceptional talents with careful choices in color palette, effective use of slow motion to comedic effect, and, most important, a brilliant selection of offbeat songs that are integral to the story. Easily one of the finest comedies since THE GRADUATE, RUSHMORE is a monument to brilliant filmmaking.
-Alright, this was an especially good synopsis that I happen to agree with, so I won't even bother writing anything down. I'll give Rushmore a B+ becuase I loved the ferocity yet pitifulness of Max Fisher and the magnificent script tailored by Owen Wilson and Mr.Anderson. Although I will admit to enjoying every bit of it at the time, it didn't move me the way I felt it had the potential to. Maybe I'll have to watch it a few more times and allow it to digest better. Either way, perfect movie for teenagers who recongize themselves or adults who remember what the wonderfully bizzare age was like. (Oh and Bill Murray was excellent also).
Note to Self: Stop seeing so many darn good movies! Or become a cricial snob more often. I keep giving high grades to everything. Well, then again, I still haven't checked out Saw 4 or Bride Wars yet...
