Posted in Comedy, Drama, Indie with tags , , , , , , , , , , , , , , , , , , , , , , on 02/21/2010 by joycereview

I’ve been lucky the past few weeks.

I say “lucky”, because as a film buff,… as someone who loves to dive into the gigantic pool of cinema (often daily), I watch many films that lack substance.

Away We Go wasn’t like that, and Junebug certainly isn’t either.

JuneBug was absolutely a joy to watch from the moment George Johnsten uttered his character’s first words, “I’m from Pfafftown, North Carolina.”

As many of my readers know, I’ve lived and grown up in the city of Winston-Salem, not fifteen minutes away from where this story takes place.  And although North Carolina is the host state for many movies (primarily Wilmington, NC), very few have had stories so closely affixed to our “Southern ways,” not-to-mention the universal complications within families, Life, and our place in them.


Meet George Johnsten (Alessandro Nivola) a charming, near-perfect Southern gentleman.

It’s been three years since he’s been home to visit his family, and it just so happens that his wife, a passionate and career-driven Chicago art dealer, Madeleine (Embeth Davidtz), must visit a reclusive artist in Pinnacle, North Carolina (not far from where George grew up).  Seeming like the perfect opportunity to meet her hubby’s family for the first time, her visit creates a windstorm of emotion and uncovers more than could ever have been perceived, about her in-laws, her relationship with George and herself.

Strangely enough, my celebrity crush of Amy Adams, who plays George’s doe-eyed, child-like and very pregnant sister-in-law didn’t  officially begin until I saw this film.  Nominated for an Academy Award for “Best Supporting Actress (2005)” for her role as Junebug’s “Ray of Southern light,” is an inquisitive and perpetually “sunny” character that says (virtually all in one breath):

[Ashley; about Madeleine] I wonder what she looks like.  I bet she’s skinny.  She probably is.  She’s skinnier’n me and prettier too.  Now I’ll hate her.  I can’t wait!

But obviously she never does (hate her)… as Ashley doesn’t seem to hate anyone.

Ashley’s clearly the “creme-filled center” of Junebug (if you find the “creme” to be the yummiest part of the doughnut), however this film’s sugary-goodness comes from the remaining cast.  Peg (played by Celia Weston), the matriarchal mother-in-law to Madeleine, does two things: voices her opinions and looks after her young’ns.  Her husband, Eugene (Scott Wilson) plays the role of the tight-lipped father… a common trait among spouses of brazen, out-spoken, women.  Even though through most of George and Madeleine’s visit Eugene’s looking for a lost screwdriver (a “Phillips head”), his character shines with the reality of what many good ol’ Southern boys become (especially with a wife such as Peg).  Sometimes what Eugene says is for his benefit only, mostly he keeps quiet, and (like many of us) conveys a Buddhistic wisdom.  Consider for a moment a tense moment in the film when Madeleine walks in on a private conversation between Eugene and Peg.  Maybe she heard what Peg had said about her; maybe not.  Peg gets up from the table and leaves the room.

[Madeleine] She’s a very strong personality.

[Eugene]  That’s just her way.  She hides herself.  She’s not like that inside.  (pause) Like most.

Where the story comes up short is through the character of Johnny (Ben Mckenzie), Ashley’s frustrated and tantrum-giving husband.  He’s a torrent of anger and self-loathing; second-rate when it comes to his successful brother, and emotionally handicapped when it comes to showing affection (this is, perhaps, because he feels that he is undeserving of it).  This is evident in the scene where Johnny desperately scrambles to tape a television show on meerkats.  He knows Ashley loves them.  But like everything in his life thus far, he fails.  Either the acting of Ben Mckenzie was over-done, or it was poor directing on  Morrison’s part,… but it was very hard to believe that Ashley; adorable and pregnant – quite plumply of a bump with his child, could ever arouse such anger and internal discord.

The only other sour point, comes by way of the mentally-challenged, heavily accent, “sought after” genius artist, David Walk.  He lives in Pinnacle, NC (which gives us sentimental Carolinians a beautiful shot of Pilot Mountain) but paints lurid, allegorical pictures of American history.  Madeleine, intent on signing and representing him in the art world, comments over a particular piece –

I like all the dog heads and computers,… and scrotums.

I know very little of art, but the art that I do have an appreciation for… makes sense.  People look like the people they are drawn after.  Picasso, someone whose work I wouldn’t pay for (if I never knew the value) seems more like art than the shallow and jejune “art” described as “breath-taking.”

Junebug, written by Angus MacLachlan and directed by Phil Morrison, is…above all else… a story that shows that the problems of Life can seldom be solved within the scope of a single film.  The evolution of the character’s relationships with one another, the deep undercurrent of emotion and pain, and any sort of resolution or understanding cannot be deciphered in 106 minutes (nor could it be solved in 300).  I can’t wait to personally own this film, not only to watch again, but to pass amongst my fellow North Carolinians as a relatable, highly-authentic story about real people… living, loving… and dealing.


THE COVE :: DOC :: 037

Posted in Documentary, Drama, Special Interest with tags , , , , , , , , , , , , , , , , , , , , , , , , , on 02/13/2010 by joycereview

The Cove, winner of the Audience Award at the Sundance Film Festival, is a film that everyone should view (at least once… and soon).

World renown dolphin expert, trainer and activist Ric O’Barry (Flipper, television series; 1960s), along with a crack squad of specialists, attempts to expose the horrific animal abuse and potential health threat in Taiji, Japan.

Not for the faint-of-heart, The Cove shows us brutal reality, in hopes that we may become more aware, emotionally invested and sympathetic to the plight of the dolphins (and other whales).  I’ll never look at a captive dolphin the same way, nor will I return to the person I was before I saw this film.

Nature’s cruelest joke is that a dolphin’s smile makes him/her appear to always be happy.  …Captive dolphins are constantly stressed and must be given medicines with their food to prevent ulcers.

After watching, The Cove, something else that O’Barry said struck me to my very core.  He said, “If you aren’t an activist, you’re an inactivist.”

From day-to-day, there is much that we can do.  Living in the “information age” should not only be the mighty catalyst for the exchange of information but for the creation of real change.  If there is one thing that this film shows you, (besides the abuse of animals and the destructive nature of man) is that one person can make a difference, and a group of people can change the world.

Watch this for yourself.  The Cove is just as good as any espionage film, will (very likely) move you to tears …and it is, every bit, real.

For more information on the film, visit: TakePart.Com

[While your there, Sign the petition, and spread the word!]

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Posted in Action, Drama, Thriller, War with tags , , , , , , , , , , , , , , on 02/09/2010 by joycereview

What looks like a sandbox and smells like poop?

Give up?  Answer: The Hurt Locker.

But like sandboxes and pooping… The Hurt Locker can be a little bit of fun.

If you think about it, sand is fun to build stuff with, but in essence, there’s nothing grand about it; it’s just tiny rocks.  And pooping…let’s face it, is sometimes an inconvenience, but at the very least, gives you a well-deserved break from your job, day-to-day stessors, and like all us typical Americans, overeating.  The Hurt Locker is fun at points, but there’s nothing too deep about it.

And in comparison to pooping – a  break from your daily “duties” , but might be a bit of “a waste” [look at that! A double pun!].  Watcher beware.


US Army Sergeant First Class Will James (Jeremy Renner) joins Bravo Company in Iraq, having only a month or so left till they are relieved.  Sgt. James is a bomb disposal expert sent to replace former Bravo leader Sgt. Matt Thompson (Guy Pearce).  Sgt. James’ “cowboy approach” to bomb disposal clashes poorly with squad members Sgt. JT Sanborn (Anthony Mackie) and Spc. Owen Eldridge (Brian Geraghty ); whose main objective it to return home in one piece.

Don’t be fooled by my ‘poop’ simile, The Hurt Locker, is brilliant in several ways.  One particular example of brilliance lies within the character of SFC Will James, who (somehow) operates the battlefield with a searing focus.  He resembles Tom Sizemore’s character in Black Hawk Down*; someone not overly concern with death, but of getting the job done, by whatever means possible.  The role of “The Bomb Specialist,” in his huge, protective suit resembles an astronaut exploring a foreign planet.  This image is one that cinematically paints an atmosphere of isolation and danger, and portrays Sgt. James as a heroic figure on a perilous mission.  From this, one can easily tell that the director has a flair for the artistic [she actually spent 2 years at the San Francisco Art Institute as a painter].

The second dose of “the spectacular” comes in the overall “vibe” of the film.  Director Kathryn Bigelow (Strange Days, Point Break) gives us a glimpse of Iraq without the politics; a battle on simple terms – Man vs. his fear of death.  The bombs that they are there to defuse are the very similar the the bombs they carry with themselves day-to-day through the war… either you adapt/disconnect the wiring, or you eventually detonate.

Where this movie fails (in this reviewer’s opinion) is mainly in Bigelow’s artistic styling, lack of supporting details and character traits.

Bigelow (the ex-wife of “Action film great” James Cameron) is fair, not great, as an action director.  Artistic action, such as Terrence Malick’s The Thin Red Line, masterfully conveys depth and is clearly, poetry in motion.  Ridley Scott (Gladiator, G.I. Jane), on the other hand, is a veteran director whose directorial wizardry gives the eyes the full extent of light and motion, without overload.  Bigelow performs nicely with scenes involving tention, but nothing beyond what one might catch in an episode of 24.

At one point in the film, while under enemy fire, the camera fixates – in slow motion – on a bullet shell as it discharges from the sniper rifle, spins in the air and bounces on the desert sand.  The next shot, showed both the sniper and spotter, as the spotter looks through his binoculars and utters, “You got him [the bad-guy].”  With the consistently mounting tension of the scene, most viewers would be clamoring  for the result… for the bloody aftermath of that final shot… Bigelow just handed us a heaping handful of failure.   Word verification of a kill?  Only?  (Sheesh!)

Finally, (and there are certainly more concerns that reduced this film to a 6) I don’t understand the point of many of these bomb defusings.  I wouldn’t think a deserted road of sand and rubble merits a soldier’s life.  Certainly the main character wants to MacGyverishly defuse a record number of bombs in his extraordinary career, but don’t they have “bomb containment boxes/chambers”?  Why risk life and limb over such a small thing?  Why not walk up to the bomb, plant some c4 explosives on top of “the threat” and detonate (after clearing the area of bystanders/civilians of course)?  Never any explanation from the film.  Also, why the cumbersome and stuffy protective suit?  Either way, suit or naked, you’re as good as dead if you cut the wrong wire.   At least if you’re naked you would have a better chance of running to safety.

In conclusion… not a total dud, wonderful at parts, but not “explosive” enough for me.  Only 2 hrs. and 7 minutes, but felt like 3.

Let us hear what you thought!

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*Kathryn Bigelow is noted for casting Tom Sizemore (i.e. Point Break, Strange Days).  I didn’t know this when I made the comparison to Sgt. Will James and Tom Sizemore’s character in Black Hawk Down.  This connection was made after noticing this little bit of trivia at IMDB.com.  Must have been used as character model (at least in some capacity).


Posted in Comedy, Drama, Indie, romance with tags , , , , , , , , , , , , , , , , , on 02/02/2010 by joycereview

I like funny movies about 30-something couples, partly because I’m 30-something, and partly because I’m finding it hard to relate to anything else.

After a jaw-dropping revelation of what America finds “entertaining & hilarious” (see The Hangover), I felt what most suicidal people might describe as “the great sadness.”

As I picked myself off the floor and the pulled the 9mm revolver from between my teeth, a sense of hope came when I saw that Sam Mendes (American Beauty, Revolutionary Road) directed an independent film with our much-loved, “Jim Halpert” (from The Office) and  Saterday Night Live vertern, Maya Rudolph.


Romantic and charismatic Burt Farlander (John Krasinski) and pessimistic, nuptially-reluctant and 6-months-pregnant Verona De Tessant (Maya Rudolph) are a loving couple.  While visiting Burt’s parents (played by Catherine O’Hara and Jeff Daniels), Burt and Verona discover that they’ve made other plans.  Realizing that there isn’t much to stay around for, they embark on a road trip to visit family and old friends in a quest to find the place they will call “Home.”

Seeing this movie makes me realize, “Hey. I like movies about nice people.”

Burt and Verona are intelligent, corky and “nice” people and I will say here – their relationship and chemistry binds this movie together (like so much maple syrup).  Their odyssey takes them to places like Phoenix and Montreal where they meet old acquaintances and family, and on each meeting discover just what they don’t want to become as lovers and as parents.

The physical and charming style of Krasinski compliments the expressive and uniquely-beautiful* Rudolph superbly.  Their characters, Burt and Verona, give us movie-goes a glimpse at the life of a real couple.  Some people may argue that when they rent a movie they want to be swept away by the unreal.  To this, there is always a time and place.  The best stories… the ones that truly make an impact come not from the Hollywood standard, but from the creation of “real” people.

For one, there is this “real” scene in which Burt and Verona are lying in bed:

[Verona]  Burt, are we F#$@-ups?.  [Burt] No! What do you mean?  [V] I mean, we’re 34… [B] I’m 33. [V] …and we don’t even have the basic stuff figured out. [B] Basic, like how? [V] Basic, like how to live.  [B] We’re not f&$%-ups.  [V] We have a cardboard window.  [B] (looks at window) We’re not f@#%-ups.  [V] (whispers) I think we might be f#$%-ups.

Lots of couples wonder this.  Lots of couples talk about this.  Their life feels flat… that they don’t match up to everyone else and/or their life doesn’t match up to everyone elses.

Watching a film like Away We Go makes me feel a great and powerful connection to Burt and Verona, not just because I feel like “we’re in the same boat” but because the alternative of where we think we are is seldom where we’d like to be [and that is something I’ve always felt strongly about].  Especially if we knew what we’d become or have to give up in order to get it.

I felt “pure and clean” again after watching this film.

The Hangover taste is gone.

Away we go was the dose of Listerine I need so very badly.


Posted in Comedy with tags , , , , , , , , , , , , , , , , , , , , on 01/20/2010 by joycereview

Comedy is a genre with wide-swinging extremes.  Certain films obviously cater to different camps.  My particular style of comedy lies within the witty and satirical, but I can appreciate my share of potty humor.  Somehow I’ve never outgrown that.

This movie reminds me of when I first heard the boyhood stories from Lake Wobegon on NPR’s A Prairie Home Companion.  My two best friends insisted it was funny and when I listened, I had the same reaction that Homer Simpson had, to strike my radio and demand that it “be more funny.”

The Hangover is the evil twin brother of A Prairie Home Companion. But instead of fond stories surrounded by nice Minnesotans, The Hangover was raised in the Animal House (considered by Bravo to be the number 1 comedy of all-time) and fed mind-numbing drugs.


Doug (Justin Bartha), the groom-to-be, and his friends; Phil (Bradley Cooper), Stu (Ed Helms) and Alan (Zach Galifianakis) drive to Las Vegas for his bachelor party.  Their rooftop toast is drugged and they spend the movie trying to piece together the ludicrous and idiotic shenanigans that transpired that night.  In their search for answers, they discover a bengal tiger in their bathroom, a stripper’s baby in their closet, and find that Doug is missing (to name just a few).

This movie completely turned me on my head, but not because it was funny.   Roger Ebert (Ebert & Roeper), Peter Travers (Rolling Stone Magazine), my sister and a handful of friends thought it was a riot of laughs and thus, it leaves me feeling like I’ve been served a joke that  I’m too “square” to understand.  However, since I laughed in this film as much as I laughed in Schindler’s List, [zilch] I feel compelled to uphold my integrity as an honest reviewer and give this film the worst rating (1 bear claw) in the history of The Joyce Review.  I’m sure there will be more (horrible reviews), but nothing quite so surprising [since The Hangover just won the 2010 Golden Globe for Best Comedy]!

After this trashing, I can foresee hoards of movie-goers, respected readers of The Joyce Review, suddenly picking up their torches and pitchforks in a boisterous and bloody revolution.  My peeps, I beseech you,…have mercy.  All I wish is for a friendly debate.  Forget for a moment that I find this movie absurd, and those that like it, a smidge nutty.  We are still family, you are still loved, but till this Hangover hoop-la passes, I’ll still be looking at you a bit funny.  It can’t be helped.

A few questions if I might?  Seeing as if you answered “yes”:

  1. When did absurd (not-to-mention extremely unrealistic) circumstances become not just funny, but (Golden Globe caliber) hysterical?
  2. Do you think (as I do) that The Hangover was written, in its entirety, using Mad Libs?
  3. Do you think, perhaps, that The Hangover won it’s Golden Globe (as I do) by being the only full comedy, amidst a line-up of quasi comedies (i.e. Julie & Julia, It’s Complicated, 500 Days of Summer) and a musical (Nine)?  Where was Bruno or Zombieland?

I’m confused (not “hungover”).

The lines are open…

AVATAR :: SCI-FI :: 033

Posted in Action, Fantasy, Sci-Fi with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on 01/12/2010 by joycereview

Alien worlds fascinates me.  They always have.  Pandora is the closest we’ve been able to get to that world cinematically.  Jim Cameron’s vision delighted me on all levels and was perhaps, the most fun that I’ve had in the theaters wearing dorky 3d glasses.

It’s obvious through his films that the mind of Cameron is a colossal wonderland, full of floating islands, 6-legged horses, brightly-colored pterodactyls, and the blue-skinned, golden-eyed Na’vi.  At least this was the latest of Cameron’s dreams to be shared with us…  a dream tucked away for more than a decade.  In 2005, he revisited the script and agreed that it was time.  What emerged? You’ll have to see it to believe it!


Following the death of his twin brother, a paraplegic marine named Jake Sully (Sam Worthington; Terminator Salvation), steps into a unique position to continue his brother’s project and travel to the amazing world of Pandora.  The mission is for Scully to inhabit a lab-grown-replica body (known as an “Avatar”) of both his twin and of the Pandorian race known as the Na’vi and to infiltrate the tribe and negotiate an exodus, away from an area rich in an Earth-rescuing mineral known as “unobtanium.”  Trigger-happy Colonel Quaritch (Stephen Lang) strikes a deal with Sully to gather intel on the Na’vi in return for post-mission spinal surgery.  Cheif Administrator Parker Selfridge (Giovanni Ribisi) wants diplomacy (only because it looks better), and scientist Dr. Grace Augustine (Sigourney Weaver, Aliens) wants to truly understand the biology and hidden mysteries of Pandora.  As the Avatar, Jake Sully forms a bond with the Na’vi and must make his choice;  stand with his new family, or help the human race blunder Pandoria’s most precious resource.

As a movie-loving public, we’ve seen literally hundreds of movies.  In my case, (and as so many others film-nuts) we’ve seen thousands.  Themes and scenes, especially the good ones, always stand out.  It was apparent to in this film that connections can be made with the following: Dances with Wolves, Last of the Mohicans, The Last Samurai, and even Braveheart.  The world of Pandora was a cross between the amazon rainforest and a coral reef.  The Na’vi were a cross between native american indians (I don’t mean to lump you all together) and african tribes.  The “horses” a cross between a seahorse, and a regular horse – add a pair of legs.  The flying creatures of Pandora were pterodactyls with the head of a savannah monitor.  But the question we must ask ourselves is “does our knowledge of these traits/similarities take away from the film?”  The answer is “no friggin’ way.”

It was explained to me a long time ago, that there is very little in the world that we would fail to assign complete uniqueness to.  To this theory, I agree.  Many years ago, when phones were the size of a Tom Clancy hardback we watched in awe as Kirk and Spock had what looked to be my first Motorola flip-top cellphone.  That debuted in 1966!  From then on we become desensitized to technology and even of artistic creations (to some point).  Had Cameron and his visual artists created creatures, machines and contraptions without a likeness to images of our time, our minds would be quite likely to reject it.  For Avatar, a thin line had to be threaded in order to lock our collective minds into a state of belief and wonderment.  Cameron performed like a surgical Annie Oakley due to his experience, years in film and the fact that his body is made of 60%water and 40% of awesome!

Do you want to know why there are no more Jim Cameron’s in the world?  I’ll tell you why!  Answer:  Because he’s a nerdy woman in the body of a good-looking man.  He’s a tree-hugging, technology-embracing, liberal – not just for alien rights but for universal equality.  It’s a widely-known fact that most powerful men place other powerful men as heroic characters in their stories.  Cameron simply changes the gender and leaves the balls.  Sigourney became the first of Hollywood’s top heroines by way of her role in Alien, and as if she were acquiring more balls along the way, Aliens (the sequel).  Aliens even had Jenette Goldstein playing the toughest female marine in cinema history as Lt. Vasquez.  (Note the enormous similarity of Goldstein to Avatar’s Michelle Rodriquez)  … Linda Hamilton as Sarah Connor in both Terminator 1 & 2.  (She was so bad-ass in T2, that Jim married her!) Even Kate Winslet’s role in Titanic can be seen as unsteriotypically masculine… just in the bold, strong, take charge way… not in the “I bust a cap in alien asses”-type way (obviously!).  Now… we have Zoe Saldana (Star Trek), playing Neytiri, the warrior princess of the Omaticaya Clan.  Blue, fierce and dead sexy!  I remember as a kid I had a crush on Betty Rubble of the Flintstones (yes, the cartoon version), but if the 10 year old in me where to react hormonally (after seeing Neytiri) he’d run out into the woods, risking an arrow of neurotoxic death.

Before viewing Avatar, I had (and still have) some reservations on the use of CGI.  Call me old-school (again), but motion capturing, CGI and the lot can never truly portray what an actor or actress can do.  Recreation is not creation.  CGI gives control and is cost effective but can only be a reflection and a refraction of what a performer creates.  E.T. was more-or-less a sock puppet, but was as real to me today as it was when I was a kid.  The creations of Avatar will always stay with me.  Not just because Earth is “played out” and I want to move to Pandora, but because the CGI realism of Avatar finally hit the mark of believability.  What is key is that we put this technology in the hands of skilled samurai (i.e. James Cameron, Peter Jackson) and not in baby, knife-wielding hacks (i.e. Michael Bay).

I agree 95.8% with my fellow critic, Colin (read his Avatar review at: Cineaste John) when he says,

“I felt like I was on the same emotional journey as Jake Sully.  I felt for the Na’vi.  I felt for Hometree and the Omaticaya.  I felt that the true struggle for Jake Sully, a born-and-bread Marine, suddenly feeling like everything he once knew and was trained to be was savage and inhumane.  Avatar was everything I’d hoped it to be and more.”

It wasn’t a far leap for me (being skinny, tall and good-looking in blue)… but Avatar will always be a film that I feel connected to – for its messages of environmental responsibility, diplomacy, and the fact that it’s far less cool to be human.  At least we can dream.  For the less and unimaginative folk, Cameron holds us up to the viewfinder… and what an awe-inspiring view it is.

Leave your paw-print below!

  • What was your thought on the film?
  • What would you rate it personally?


CHE :: FOREIGN :: 032

Posted in Action, Documentary, Drama, Foreign, Special Interest with tags , , , , , , , , , , , , , , , , , , , , , , , on 01/05/2010 by joycereview

After seeing the film, The Motorcycle Dairies, I knew I had to learn more about the man, the humanitarian, the revolutionary, Ernesto “Che” Guevara.

Steven Soderbergh’s Che (initially split into Che: The Argentine and Che: Guerrilla) is a beautiful, yet somewhat laboring look (pt 1= 134 minutes; pt. 2= 135 minutes) at the asthmatic doctor who fought so hard for the “miserable and alienated” and who becomes not only Latin America’s most legendary revolutionary leader but also one of the most iconic faces for freedom and liberty the world over.

Che is played by Benicio Del Toro with a searing elegance and believability that won him the Best Actor Award at the 2008 Cannes Film Festival.  Fidel Castro, played by Demian Bichir, was a revelation to watch, and (I felt) the Chilean sensation, Santiago Cabrera fit the role of loyal Comandante Camilo Cienfuegos most perfecto!

The entire movie was filmed like a window into the past.  The action was gritty, emotional and in-your-face.  The dialogue throughout the entire will was approximately 98% Spanish and besides a few notables (Franka Potente and Matt Damion), nearly the entire cast of the film was hispanic.


At the risk of seeming ridiculous, let me say that the true revolutionary is guided by a great feeling of love.  It is impossible to think of a genuine revolutionary lacking this quality.

If I am to be as honest as my nature compels me to be, I’d have to say that Che is on my list as one of the Top 5 films of 2008-2009.  The only noticeable flaw (if you know history) is that Che was of average height 5’9 (quite perfect for a guerilla soldier) and no where near the 6 foot 3 inch-sasquatch-ness of Del Toro.  So although Benicio could channel the spirit and essence of the ‘Che’, somehow, and quite disappointingly, he couldn’t make himself smaller.

The next blunder comes when Soderbergh gives us over 4 hours of action, history, and brilliant acting.  I mean, who wants to attach their phat fannies to the sofas for that length of time?  Well… I did.  And I’m sure there are lots of history buffs and Leftists out there that would too.  Not-to-mention the godless communist scum* that I’m sure still need someone to look up to (even though all of this took place half a century ago).

Okay, if I had to pick one truly sour point in the film… which was no big deal really… it was that each part (remember, the movie was split into Che’s time in Cuba [part uno] and in Bolivia [part dos]) began with a map of the country – slowly highlighting the different regions and names of the cities and towns.  If they had used a more photographic and stylish image, perhaps overlaying it with old photos each city/town/village/region, your attention might not go towards how heavy your eyelids are (especially at the very onset of such a terrific film).  I was surprised to see there were no opening credits during this time!  I don’t know why that was… but even a flash or brief flicker of an actor’s name might have woken me from the dreary and drab geography lesson.

Had Benicio not taken the role, Che might have been handed to Val Kilmer.  And had we a gringo playing such a legendary figure, we might just have had… I don’t know… Ben Affleck playing Camilo and even though he kinda looks like him if he grew a big, mangy beard, I would have had half a mind to start a revolution of my very own.

Hasta la victoria siempre!

*eventhough ‘Che’ was Marxist-Communist and was in fact ‘godless’ (when asked, Do you believe in God? Che answered, “I believe in mankind”) I don’t mean all godless communists in a bad way.  The whole “scum” at the end was meant to imply “the frothy goodness.”  Wait a minute, that’s “skim.”  Whatever.