Sherlock Holmes [B-]
Men in Black [A]
Up in the Air [A]
Star Trek: The Motion Picture [D+]
I'm Not There [A]
Beyond a Reasonable Doubt (2009) [D-]
American Violet [B ]
Inglourious Basterds [A]
Death at a Funeral [B ]
A Serious Man [A]
The Hurt Locker [A-]
Mad Max 2 (AKA The Road Warrior) [C]
The Book of Eli [C-]
Close Encounters of the Third Kind [A]
The Invention of Lying [B-]
Pandorum [B ]
Raiders of the Lost Ark [A]
Indiana Jones and the Last Crusade [A]
Fun with Dick and Jane [C]
Stanley Kubrick's The Killing [B+]
Ernest Hemingway's The Killers (1964) [A-]
Ernest Hemingway's The Killers (1946) [B+]
Glengarry Glen Ross [B-]
The Big Chill [ B]
The Producers [A]
Blade Runner [A]
My Cousin Vinny [B-]
Zombieland [ B]
Infernal Affairs [A]
The Walker [F]
Starship Troopers [A]
Mrs. Washington Goes to Smith [F]
Altered States [A]
Devil in a Blue Dress [ B]
Renaissance [ B]
District 9 [ B]
The Shawshank Redemption [B+]
Walk Hard: The Dewey Cox Story [ B]
The Goods: Live Hard, Sell Hard [D-]
The Box [B]
Like Donnie Darko
, the strengths of this are two-fold. One, Kelly is excellent at depicting family dynamics. The banter between mother, father, and son all remind me of my relationship with my own parents. Two, a period setting and other visual design choices create an intenseley dream-like state throughout the entire film. Visually, it's very appealing. And like his first film, The Box
suffers from an ending which is a little bit of a non-answer.
Actually, that's not quite right. I think the answer is pretty plain, just as it is in Donnie Darko
. But the entire movie is a build-up to something bigger, more complex, and ultimately, that's not what we get in the end.
Still, I rather liked it.
I don't know why it would need to be explained or justified. She murdered his partner in cold blood; he quite succinctly gives all the reasons it would be a bad idea in the movie itself. My problem was it's hard to see why he'd have any second thoughts about that at all.
There is the rather unsavory fact that Spade doesn't care one bit about Miles Archer, before or after he dies. Spade is perfectly happy to sleep with Iva Archer when Miles Archer is still alive, and ignore her when Miles is dead (this story element is greatly reduced in the film, of course, but it's still there). Miles' name comes off the door before his body is cold, too. His statement that he's just doing what a man's supposed to do when his partner is murdered rings false for this reason.
Spade also doesn't seem that interested in delivering a guilty suspect to the police--he's perfectly happy to serve up Wilhelm when he is already convinced of Brigid's guilt, just as long as he gets his cut of the Falcon. But the Falcon is a fake, Gutman is no longer willing to let Wilhelm be their patsy, and Spade has no choice but to serve up Brigid--it's her or him.
The thing is, Spade cares about Brigid, so I can forgive him a second thought.
All that written, though, I have to confess that I'm not sure Spade has any strong second thoughts in the film. In the end, he's a selfish man, and that means turning over Brigid, which Bogart does without offering up much regret.