IDIOCRACY.  The new Mike Judge (Beavis/Office Space/King of the Hill) pretty-much-direct-to-video movie (only theatrical in seven cities with $0 promotion spent). It's about the Butthead-ification of America and what it would be like in the future if all the stupid people continued to breed indiscriminately. It's incredibly immature, but I laughed out loud sooo many times it was definitely worth checking out. Reminded me of Human Nature a little bit. Clunky but funny. I've never liked Luke Wilson cuz he just has no personality, but this role was actually perfect for him. They even got the "I told those fudgepackers I liked Michael Bolton" guy. In the future, logos cover everything, laws are made by the House of Reprazentin, "Oww, My Balls" is the most popular TV show, a Gatorade-type substance replaces water, and we're subjected to slogans like "Carl's Jr.: Fuck you, I'm eating."
IF. . . (1968). I can see how Malcolm McDowell got cast in Clockwork Orange after seeing this. Had kind of a Full Metal Jacket feel to it. Lots of the Brit satire was lost on me I'm sure, but I still thought it was really good. Criterion-worthy, I dunno, but I'm too young to appreciate its significance. I was expecting something far more transgressive, given the hype.
IGBY GOES DOWN.  My confusion of this for Quigley Down Under kept it off my radar for years, and it's a shame, because this is a really good film and nothing at all to do with Australian cowboys. It feels like Bret Easton Ellis territory: northeastern teens of privilege self-medicating to prolong adolescence and defy parents who emphasize the second syllable in week-end. At first I thought Kieran Culkin was cast too young for believability, and while his character is endlessly annoying, it's a quality performance. Ryan Phillippe bascially rehashes his Cruel Intentions character, Sarandon is perfectly maternally oblivious, Goldblum Goldblums as usual, and Claire Danes and Amanda Peet have never looked tastier.
THE ILLUSIONIST. Not a bad picture, but the twist is too obvious (um, he’s an illusionist?) and it pales against the brilliance of The Prestige.
I'M NOT THERE. I'm not a Dylan worshipper. Love his lyrics, but prefer them covered by others. This was still way entertaining, if way too long. Blanchett was the shit as everyone now knows. And aping that Pennebaker Don't Look Back look was wise. I wish David Cross as Ginsberg had a bigger role.
IN BRUGES. In Fucking Bruges would've been a better title. I like when Colin Farrell plays vulnerable roles like this. He's a rookie hitman who accidentally shoots a child and is exiled (with his mentor) to a sleepy medieval Belgian tourist town by the boss until things blow over. It's got some hilarious exchanges, like when Farrell says, after punching an American, "That's for John Lennon." (Might I return the favor for The Spice Girls?) Some unexpected situations, and good cast chemistry – hallmarks of indie production. Raph Fiennes is also great as the mercurial boss.
THE INCREDIBLE HULK. You know an actor's delivering a compelling performance when you'd rather watch Bruce Banner on screen than his angry green CGI alter ego. The opening montage brilliantly condenses the trendy superhero origin story and lets us get right into today's adventure. And so glad they worked in the original theme music.
INFERNAL AFFAIRS. It certainly got to the point a lot quicker than The Departed, but the character development suffered. Less contrived ending = good. I missed the Wahlberg character, and the heavy was certainly no Jack Nicholson. Fairly stylish flick.
INLAND EMPIRE. The scariest movie I’ve seen this year. Shot on video (though it doesn’t have a realistic feel), it’s David Lynch at the top of his game (and it is a game, dontcha know?) and at his daydreaming/nightmarish best. A tour-de-force performance from Laura Dern. Excellent soundscapes as always, and a plot you can almost follow. Watch it in the dark, I dare you.
IN THE VALLEY OF ELAH. The title refers to the David vs. Goliath story, which begs the question "why did the country send a boy to take on the giant?" A resourceful father seeks answers about his son's murder shortly after returning home from Iraq (based on a true story). It fuses the excitement of a mystery with commentary on wartime and post-traumatic stress. Tommy Lee Jones delivers a tenacious but restrained performance that perfectly captures everything from rage to regret through his retired military facade, with Charlize as the detective who must cut red tape between civilian and military protocol. Paul Haggis reels in some of his Crash soapboxing while retaining its poignance.
INTIMATE CONFESSIONS OF A CHINESE COURTESAN. A softcore kung-fu women's prison exploitation film with lesbian overtones would seem par for a Cinemax Friday night, but this was new ground for 1972. A girl forced into a life of high-class prostitution seeks revenge on her powerful clients and the lecherous house madam. Lush production and gorgeous set design betray the now-campy storyline, with its snap-zooms and arterial spray. Yet another film that Kill Bill seemed to thieve liberally.
INTO GREAT SILENCE. Two hours and forty-five minutes spent observing life in a French monastery. It's a true documentary: no narration, no storyline, no clever juxtapositions or manipulations, no judgments (yeah, yeah, I know, even things like camera placement can be considered subjective, but come on). Incredibly boring and thoroughly fascinating at the same time. Some great videography and lots of painterly window-light compositions.
INTO THE WILD. Wow. A unique film. Not the least bit boring in that Cast Away sense; they kept it interesting by putting people in his path and jumping around nonlinearly.
IRMA VEP.  An English-speaking crew of French filmmakers work with a female Hong Kong action star (playing herself) to remake a vampire film (as in the title's anagram) for a director fighting his career's final gasp. It is exactly as good as you think it will be from that synopsis.
IRON MAN. John Favreau's come a long way. He's got quite the eclectic resumé now that would make most directors green with envy. Downey was perfect for this, and his flaws are what make him endearing to us. Jeff Bridges needs to play more of these kinds of roles, even in smaller films. I do think the two-Iron-Mans battle was a cheesy, obvious choice for a climactic scene. But for me, this movie was less about action than character development (like Batman Begins), and I hope they maintain this through any sequels.
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