The Secret Rules of Modern Living: Algorithms (2015)

Algorithms is a pretty cool documentary about an exceptionally dry and technical subject. The host is an energetic British math professor who starts out by playing an algorithmic game with his students outside in the commons; he later explains how to make it so one’s playing partner is always forced to take the sweet pepper as the last item in the jar after all the wrapped candies have been removed by taking turns. He explains how algorithms now form the core of much of modern society’s technology, from organ matching to online dating (lame) to air traffic control. He could do with more examples but the simplicity of his explanations are exemplary. I think you could only do better if the late Richard Feynmann had his own series of documentaries. Here is a dry, eyelid-numbing subject turned alive. 3.5 stars. (4-12-2016, posted 6-27-2016)

Tennis Anyone? (2005)

Tennis Anyone? is a mild-mannered indie film that is worth its salt, or celluloid. Donal Logue often plays a hapless schlub, and the skin fits him like a glove. Here he is an actor who is lucky enough to star in a popular family show, but he is coaxed into making a couple mistakes that threaten his acting career. Kirk Fox plays his loyal buddy who teaches tennis on the side, and draws him into charity tennis competitions, usually facing off against an acid-tongued nemesis who is expertly played by Jason Isaacs. The story develops at a leisurely pace, and the chemistry between characters feels organic. I would have liked this movie as much as Orange County, except for a prevalent macho misogyny (social events are just a pretext to "score pussy"), a darkened-room masturbation scene, and some drug references. In the final scene, the charity work continues, so all is apparently redeemed. Enjoy! 3.5 stars. (6-25-16)

Sharknado (2013)

Sharknado: The term itself conveys all the contempt for intelligence and "good movies" that the producers intend. It goes without saying that any viewing of this celluloid excretion is a waste of time, except to practice spit-takes and sneers born of your intellectual superiority (even if you failed grade school). Any amount of words I expend here are similarly a waste of time and talent, but I do so to exorcise this thing from my brain and to kick it when it's down. All that being said, Sharknado is no Attack of the Killer Tomatoes. Now there was an unrepentantly crappy movie that was funny, entertaining, and even worth repeated viewing (by those with the properly motivated self-flagellating personality). The producers of Killer Tomatoes didn't care how bad their movie was -- and they achieved their target, while overshooting it and making it creatively bad! On the other hand, Sharknado, brought to you by those ill-equipped purveyors of utter dreck (Asylum and Sy-Fy), tried yet again to deliver a show that competes with professionally crafted movies for acceptable production values (plot, script, acting, editing, sound) -- and again mortally fell short of every semblance of credible artistic skill. This film is full of scenes where the sky is clear one second, and the next second a ravaging vortex is engulfing the building within arm's reach of the cast (yet they are standing in a breeze). This film is full of scenes where the cast encounters a challenge they must solve and -- count from 1 to 5 seconds -- you can watch everyone's heads weave and wobble as they wrack their brains as a group. The big solution in the end is to fly a helicopter into a series of tornadoes -- impossible! -- and throw cobbled-together "bombs" out of an open door -- impossible! -- to try to blow up hundreds of soaring, chomping sharks that have been out of water for lethal periods of time -- impossible! -- and even snuff out entire tornadoes with a single "bomb" -- absolutely freaking impossible! I finally watched Sharknado for the entertainment value of its sheer stupidity but was surprised at how they outdid themselves with exceptionally poor sound editing, film editing, and (of course) special effects. Enjoy? 2 stars. (6-8-2016)

Taken (2008)

I finally got to see the first movie about the man with "certain skills"! It's quite captivating with good action and fight scenes. I'll watch it again, next chance I get, just like any of the Die Hard, Bourne, and Transporter films. One man against all the bad guys: Go get 'em, Liam! 5 stars. (6-7-2016)

The Quiet American (1958)

It is no Casablanca, but The Quiet American (1958) feels similar. A cynical and noncommittal British journalist (Fowler) loves a Vietnamese woman (Phuong), who he cannot wed, and who promptly becomes the romantic target of The American (no name given). Fowler is so fair-minded that he gives the American equal opportunity to make his case to Phuong before the two men demand that she choose between them. Her choice is gradually revealed as the two men go about the individual purposes for why they are stationed in Vietnam. Fowler, for his part, may have misread the character of the American, who seems brash and shallow but over time proves that he may be a match for the high-minded but increasingly petty journalist. Their first debate, and brush with death, comes in a roadside guard tower. Later, after Fowler's extended investigation by the police detective (who has a more laser-like focus than "round up the usual suspects"), we begin to understand what a gap exists between Fowler's words, emotions, and actions. It is true the American was never quiet while he had the chance to talk; this movie starts with the ending, and then rewinds the tale to see how what happened came to be, and why. The script is intelligent (though the politics from the novel are gauzed over); I appreciated the analysis and repartee. Enjoy! 4 stars. (6-7-2016)