The NY Times’ Manohla Dargis tries to reconcile the emotion she feels with her cold, hard common sense, caught somewhere between enjoying it and faking it, as though this ride were battery operated rather than the real thing:
In the end, what gives me reluctant pause about this bright, cheery, hard-to-resist movie is that its joyfulness feels more like a filmmaker’s calculation than an honest cry from the heart about the human spirit (or, better yet, a moral tale). In the past Mr. Boyle has managed to wring giggles out of murder (“Shallow Grave”) and addiction (“Trainspotting”), and invest even the apocalypse with a certain joie de vivre (the excellent zombie flick “28 Days Later”). He’s a blithely glib entertainer who can dazzle you with technique and, on occasion, blindside you with emotion, as he does in his underrated children’s movie, “Millions.” He plucked my heartstrings in “Slumdog Millionaire” with well-practiced dexterity, coaxing laughter and sobs out of each sweet, sour and false note.
So, she was moved and then embarrassed? That happens to me with a certain Sarah McLachlan video. Release thyself, Manohla, let it bleed!
Speaking of the NY Times, I’m not liking their new web interface. It’s frustrating enough to drive me away.
Kenneth Turan is unreserved in his admiration:
Who would believe that the best old-fashioned audience picture of the year, a Hollywood-style romantic melodrama that delivers major studio satisfactions in an ultra-modern way, was made on the streets of India with largely unknown stars by a British director who never makes the same movie twice? Go figure. That would be the hard-to-resist “Slumdog Millionaire,” with director Danny Boyle adding independent film touches to a story of star-crossed romance that the original Warner brothers would have embraced, shamelessly pulling out stops that you wouldn’t think anyone would have the nerve to attempt anymore. But Boyle has been nothing if not bold with this film. He’s dared to use so many venerable movie elements it’s dizzying, dared us to say we won’t be moved or involved, dared us to say we’re too hip to fall for tricks that are older than we are. And, as witnessed by “Slumdog’s” capturing of the Toronto Film Festival’s often prophetic audience award, he’s won that bet. Because he’s a director who is always up for something different, Boyle’s films run an unmatchable gamut, from the punk operatics of “Trainspotting” to the sweetness of “Millions,” the shock of “28 Days Later” and the science-fiction theatrics of “Sunshine.” What unites all of them, though, is the unstoppable cinematic energy pouring off the screen that’s at the heart of Boyle’s always vigorous style.
So far, Slumdog is clocking in at one of the best reviewed films of the year, with an 84% on Metacritic and 91% on Rotten Tomatoes. Four stars from Ebert.
No Response for "Slumdog Dazzles Critics"
Cool blog! I can’t wait to see this movie.
Really good film, just saw it today and it was a delight. I’m not confident it’s the complete slam-dunk success it’s being touted as by critics (a lot of Boyle’s choices I felt were misjudged and a lot of opportunities I felt were missed), but it’s a beautifully solid, uplifting, spirited film brimming with energy and life. Those last 15 minutes are just about as poignant and uplifting as they get, a true feel-good crowd-pleaser. Stay for the wonderful Bollywood-dance ending credits.
The Dark Knight score has been disqualified. Shall we all cry together?
Yes we should! And it’s not even because it was done together by Hans Zimmer and James Newton Howard!
It wasn’t even that good… who the heck cares. I wasn’t aware people even thought it had the slightest chance to be nominated.
TDK for best original score? Since when?
Everything about Slumdog seems to scream “my kind of movie,” but for some reason I just can’t seem to bring myself to be excited for it. It just doesn’t seem to interest me.
On a side note, why isn’t Waltz with Bashir on the sidebar under animated feature?
Let me answer about Waltz and Bashir: it did not qualify as a usual animated feature by the Oscar folks.
As for Danny Boyle: he greats reviews from critics but I don’t fall for it. It’s like I see how critics love it, but so what? So, I don’t expect Slumdog to have any different affects/effects from his other movies. Remember, how cool Trainspotting was? Yes, but Oscars? No. We’ll see if Slumdog sticks.
“Let me answer about Waltz and Bashir: it did not qualify as a usual animated feature by the Oscar folks.”
Uh, yes it did.
Check. I am an idiot. It’s qualified, but I’m guessing that it’s not in a reasonable release yet–only movies that have been released are listed. I think. Sorry about that.
Waltz with Bashir didn’t qualify for documentary….it’s an easy mistake, RichardA.
I’m pretty excited for this film. I’m usually skeptical about Oscar pics (The Departed was great entertainment but Hairspray moved me more – I know that’s not the same year, but you catch my drift…maybe I should say King Kong but I hate Jack Black…I’m drifting now…don’t even know what I was talking about initially)
As the days go by, Slumdog Millionaire not only seems poised to be a nominee for Best Picture but also a likely winner. In a year where the United States has elected an African American as their next President, a film that inspires and gives hope to viewers should strike a core with the Academy.
Also I see The Dark Knight haters are out early this morning. TDK’s score is genius! I downloaded the whole thing and I can’t get enough of it! But I guess that’s just me.
I don’t think Slumdog Millionaire is going to go all the way but a crowd-pleaser is a crowd-pleaser, and the Academy has a difficult time ignoring those. The critics did fall in love with Trainspotting but a) it came out in the summer and b) it was about an extremely dark subject matter. It seems difficult to compare the two in respect of Oscars. Plus, Trainspotting did get one nomination.
As for The Dark Knight score, it is not genius. No recent film score has been genius, and certainly not one as conventional as TDK. Apart from that wonderful screeching violin, everything about it is ordinary background music.
“Let me answer about Waltz and Bashir: it did not qualify as a usual animated feature by the Oscar folks.
“As for Danny Boyle: he greats reviews from critics but I don’t fall for it. It’s like I see how critics love it, but so what? So, I don’t expect Slumdog to have any different affects/effects from his other movies. Remember, how cool Trainspotting was? Yes, but Oscars? No. We’ll see if Slumdog sticks.”
You, dear sir, will be remembered as the one who didn’t jump off the tracks in time as the “Slumdog Millionaire: Best Picture Nominee” train came barrelling down.
The rest of us saw the train coming when it was too close to ignore. And now we’re on it. Enjoy next January as you’re picking up the pieces… your own.
Yeah, I really don’t think the comparison between “Trainspotting” and “Slumdog Millionaire” are that accurate. Same director, sure, but that’s about it.
Because a dark movie about hardcore drug use wasn’t recognized by the Academy doesn’t mean that a crowd-pleaser about destiny and love won’t. Apples and oranges.
Isn’t it time for Slumdog Millionaire to be listed on the sidebar under Adapted Screenplay, Cinematography and Editing? Also, Dev Patel is being campaigned for Supporting Actor, and looks to have a shot. Not to mention A.R. Rahman’s score.
I think this film is the one to beat at this stage. It’s almost a lock (dare I even mention the word!) for a nom at least. I for one can’t wait to see it.
Because a dark movie about hardcore drug use wasn’t recognized by the Academy doesn’t mean that a crowd-pleaser about destiny and love won’t. Apples and oranges.
Not entirely. Slumdog Millionaire is a dark movie that also manages to be a crowd pleaser, which is one of the reasons I enjoyed it so much. I’m not convinced it will get one of the five slots, but that’s only because I haven’t seen five of the other big contenders.
I think in manys the review with the highest praise is the NY Post where the critic suggests it may be the most entertaining movie he has ever reviewed. But I saw it yesterday and liked it (though there are a number of movies this year which I think are better), and it is the kinda movie that stays with you, I don’t know if it will grab a BP nom but it certainly wouldn’t shock me if it does.
I have no idea how anyone, with any logic, could possibly call Dev Patel “Supporting.” It’s a Lead role through and through… and through.
“I have no idea how anyone, with any logic, could possibly call Dev Patel “Supporting.” It’s a Lead role through and through… and through.”
Natural – Presumably because the role of Jamal is shared with two younger actors. As in Atonement, where Briony was the main character but none of the actresses who played her were leads.
Yeah, but this is a totally different case. The film is front and center Patel’s. He is the character, the ACTOR, that appears throughout the entire film and is the one we keep coming back to. After the first set of flashbacks with the character played by other actors, we meet up with Patel once again and get lengthy flashbacks with him. He starts the movie and then ends the movie, all the meat of the role in his palm. Saoirse Ronan is a COMPLETELY separate idea, and I simply cannot except Patel as anything but Lead. I’m surprised this is a debate.
“As for The Dark Knight score, it is not genius. No recent film score has been genius. . .”
Really? Have you heard Jon Brion’s score for Eternal Sunshine (or, for that matter, his score for Synecdoche which can be heard on the movie’s website)? Thomas Newman’s score for American beauty? Johnny Greenwood’s score for There Will be Blood? Dario Marianelli’s score for Atonement?
All examples, in my mind at least, of amazing composers creating “genius” scores.
Oh man, I weep like a baby at that Sarah MacLachlan commercial, too! I mean, like uncontrollable sobbing.
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