Truth be told, it's been quite awhile since I've been smitten with Mr. Tarantino. I know people love his recent films, but Jackie Brown was the last one to hit home with me. So, I really had no expectations going into Inglourious Basterds and, to my shock, I absolutely loved it.

It's a ballsy, insane movie with pops of extreme violence, unexpected laughs, and cinematic beauty. Not to mention a cast of extremely handsome, strapping young Jews and allies. There were so many armed and bloody men to swoon over, that it will take some time to include them all in my hunks list.

Clearly taking cues from suicide mission military films like The Dirty Dozen and the original Inglorious Bastards, which shares very little with this film except the title and Nazi bad guys, he is equally inspired and paying homage to classic spaghetti westerns – punctuated with the clever use of music by our favorite Ennio Morricone.

It's an odd bag of tricks and the result is all just a little bit off: Mike Myers is strangely cast in a Peter Sellers role (but is his usual old bullshit self) within a fairly straightforward scene, a tense confrontation between old enemies over dessert is interrupted by extreme close ups of fresh whipped cream, and David Bowie's song from Cat People plays over a putting-make-up-on-to-kill-Nazis montage.

Like his revolutionary hit, Pulp Fiction, the movie has a way of knocking you back after you've seen it. In part because of the graphic gore, but moreover – it's a talky, unique and shocking remixing of popular movie genres turned completely inside out. Unlike the typically somber tone of films like Defiance, Tarantino actually rewrites history so that we all get the bloody revenge we always wanted in an extremely satisfying, cinematic way.

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Posted on August 24, 2009

It's been years since I've seen Tipping the Velvet, but this lush and lusty saga is pretty unforgettable. Based on the debut novel by Sarah Waters of the same name, the BBC adaptation is in the capable hands of adaptation king Andrew Davies. Set in Victorian England, the story is a rambling and expansive look at lesbian life during the era.

Nan, a spirited young woman goes from poor oyster house wench to stage performer to kinky rent “boy”, to kept woman and more. She's played by Rachael Stirling, who may be better known to you as the lovely daughter of Diana Rigg.

Lots of great costumes and settings abound and an entire world that rarely makes it to the big or little screen comes alive in this acclaimed series that is available on DVD.

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Posted on June 22, 2009

Things that make me happy: dramatic recreations, century old mysteries, historic costumes, family scandals, melodrama, and wry wit – all of which can be found in the surprisingly little known true crime series, A Most Mysterious Murder. From a well-to-do woman with a shocking past and a newly dead husband, to an entire family poisoned by a possible mad man, these are the real life stories that gripped the world, inspired headlines and have fostered speculation for decades.

Julian Fellowes (author of the charming novel Snobs and adored screenwriter of Gosford Park) is the perfect host to these ghastly and salacious stories, wandering in and out of scenes with smirky quips and modern asides. So often the narrative tone of documentary shows negatively impacts the entire program, but in this case the narration is spot on.

Also satisfying are the plausible solutions to the murders that Fellowes presents. Even though the findings cannot be conclusively confirmed, it's always great to feel like a mystery has been solved. This is a perfect pairing with this week's book, The Suspicions of Mr. Wicher.

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Posted on May 18, 2009

Doubt centers around an acting tour de force that never becomes annoying the way a lot of movies that feature acting tour de forces usually do (read: Rachel Getting Married). I really didn't have a lot of interest in seeing this one and think it was too mildly presented to audiences and advertised as something much more boring than it is. True, it's comprised of speeches and monologues (as you probably know, it's adapted by John Patrick Shanley from his own renowned stage play), but I found it completely compelling.

Much of the credit goes to the ever wonderful Meryl Streep – a woman who knows how to act with an accent (in this case Bronx, 1960s) who's so good so often that one takes her for granted and forgets her talents, or at least only recalls recent performances in Mama Mia and Prime over her roles in Kramer vs Kramer and Angels in America. But the credit extends to Philip Seymour Hoffman too (man who, when he's good, he's exceptional), this is one of his best roles in years (I also personally loved him most in Boogie Nights) and the small supporting cast, including Amy Adams doing wide-eyed as only she can and Viola Davis, are great.

Some critics have complained about the film's 'staginess', but it never bothered me. I thought it was a thought provoking still life of a problem that we now know has been far reaching and horrible. It plays with your emotions and prejudices and you find yourself in doubt as the plot progresses. The amiable characters that you like and want to believe may in fact be monsters, and those that are less likable and even frightening could actually be the only voice of reason. This was a real surprise.

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Posted on May 18, 2009

Unforgettable and awe inspiring.

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Posted on December 18, 2005