Dave Chappelle's Block Party
(5 stars out of five)
Wow. I went into this film simply to answer a question that's been nagging me for some time: why does everyone like Dave Chappelle? I rarely watch TV, and so I've never seen his show, and I figured, at the very least, that this movie would give me some sense of who this guy was. What I ended up seeing was one of the best depictions of black culture that I've seen in at least a decade. This movie says more about race in 10 minutes than Crash could ever hope to say in its entire running time. But it's not a "race" film as we've come to expect from such a movie... no, it's much more than that. This film celebrates how far we've come all these years, while still making a point of showing how far we need to go. And did I mention that it's fucking hilarious, too? Chappelle's humor is witty, true, and overwhelmingly inviting. Love and happiness flows through the entirety of this picture. What starts out as a great little concert film quickly becomes a funny, touching, and often moving study of the great qualities that can bring many different people together. Even more impressive is the fact that here we have a wonderful, sincere film about the culture of Young Black America in the new millennium, and it's directed by a middle-aged French guy! (Michel Gondry, director of Eternal Sunshine of the Spotless Mind). Further proof that sometimes the best films come from the most unexpected places.

I'd just like to point something out here...
I'm going to move on from all of this soon and consider this last year's stuff, but I just want you all to see this, and see how little sense this actually makes:

Best Film awards for Brokeback Mountain:
BAFTA Awards: Best Film
Boston Society of Film Critics: Best Picture
Broadcast Films Critics Association: Best Picture
Dallas-Fort Worth Film Critics Association: Best Picture
Golden Globes: Best Motion Picture (Drama)
Independent Spirit Awards: Best Feature
London Critics Circle: Film of the Year
Los Angeles Film Critics Association: Best Picture
New York Film Critics Circle: Best Film
San Francisco Film Critics Circle: Best Picture
Satellite Awards: Best Picture (Drama)
Southeastern Film Critics Association: Best Picture
Vancouver Film Critics Circle: Best Film
Venice Film Festival: Golden Lion (Best Film)

Best Film awards for Crash:
Academy Awards: Best Picture
Chicago Film Critics Association: Best Picture

What the fuck?...

John Stewart at this night's Oscars:
"In case any of you out there are counting, here's the tally...
[rap group] Three 6 Mafia, 1 Oscar; Martin Scorsese, still zero."

Transamerica
(2 stars out of five)
Writer/director Duncan Tucker's debut feature is a potentially interesting story in desperate need of a better-realized film. Felicity Huffman is wonderful in it. She convincingly plays a transexual with a subtlety that the rest of the film doesn't have. The film is loud and obvious when it shouldn't be and frustratingly undefined when it comes to the supporting characters. The movie is quite simply a mess. It's all over the place. It's horribly edited (drags on forever), clumsily written (same old "road-trip story"), and filled with terrible dialogue (when a character gives an astoundingly out-of-place monologue about the "gay undertones" in The Lord of the Rings, that's when I start to groan). Even worse is the fact that the film itself gets in the way of Huffman's performance: The movie starts out well enough - it starts simply and assuredly, letting the story tell itself and allowing Huffman's performance to shine. Then, the whole comic "road-trip" starts, and the film goes down in flames. There are moments in the very beginning of the film where we are allowed to study Huffman's face and learn what's beneath the surface; sadly, those sort of moments quickly disappear, and it almost feels as if the director has forgotten that he has actors up on screen. He treats them as props, moving them from one scene to the next with no sense of development or character arc. Against all odds, however, Felicity Huffman manages to inject emotion into the film. Much like the way an actor on stage must talk louder for the audience to hear him, Felicity is somehow determined not to get lost in the chaos of the film. She gives it a center, and that's the only reason this isn't zero stars. It's a pity her performance couldn't have been in a better film.