10 Lesser Known Recent Movie Gems

The following films are clear examples that the future of movies is still as bright and as promising as ever.  Despite hundreds of years of movie-making that have preceded them, the movies below are still surprising, engaging, and unpredictable.  Many of the them have young, talented directors at the helm with unique, innovative visions.  Check em out.  They won't disappoint.

All of these films are available on Blu-Ray / DVD (or soon will be).  Many are already available on Netflix and other streaming sites or On Demand.

*Presented in no particular order.



#1 = A Most Violent Year 

This film is from the same family tree as cinematic classics like The Godfather and Goodfellas.  In addition to smart, capable direction from J.C. Chandor, Oscar Isaac and Jessica Chastain just blow it out of the park as the two leads.  The dynamic between the two is powerful and entirely engaging.  The film plays like a time bomb just waiting to explode, until the final gun goes off in the third act.  Don't go in expecting an action thriller as the title might suggest.  But if you go along for the ride, A Most Violent Year is a rewarding, intelligent film that might be one of the finest ones Hollywood has released in recent memory.



#2 = The Guest

If you liked Drive, then The Guest is right up your alley.  Like Drive, the film plays like a drive-in 80's era thriller with a modern twist.  It's effortlessly cool.  Featuring a killer soundtrack and sleek cinematography (the end scene at the haunted house... awesome), The Guest subverts its classic premise with style and ingenuity.



#3 = It Follows

A truly creepy premise (which I won't spoil here) sets the backdrop for this entirely unique cinematic experience.  Another recent gem with a unique and suitably unsettling soundtrack which nicely adds to the already high tension and striking visuals.  It Follows represents a new take on the classic "teens having sex in horror movies" schtick.  This one is unforgettable, wild, and has several nice scares.

#4 = Ex Machina

An engrossing exploration behind a tried and true science fiction staple - man vs. machine.  The film raises questions about the nature of creation, ingenuity, madness, and innovation all wrapped up in a stylized presentation (and one heck of an ending).  Beautifully shot and fully engaging, Ex Machina is a modern science fiction classic that should not be missed.

#5 = Short Term 12

An "indie drama" about teens with a slew of behavioral issues that's both touching and heartbreaking, often at the same time.  It fully immerses you into the world in which the characters reside, which proves stressful one minute but totally worth it and rewarding the next.  The film wears its heart on its sleeve, much like its characters.  This is a movie with heart and soul that hits a nerve and leaves an impression.

#6 = The Babadook

The film cleverly conveys its messages about grief, family, and sanity under the guise of an Australian horror film.  This is what the horror genre is all about - taking everyday fears and horrors and creating a parable to allow its characters (and the audience) to confront and conquer them.  The Babadook is filled with creepy, atmospheric tension and imagery without relying on cheap thrills or scare tactics to achieve its effect.



#7 = The Skeleton Twins

Bill Hader and Krist Wiig use their comedic backgrounds to pull you into this "dramedy", which actually leans closer to the dramatic side of the scale.  That's not to say The Skeleton Twins isn't funny, because it is.  But the film also deals with serious issues at its core.  It deftly walks the line between drama and comedy often with sudden shifts in tone.  The film smartly uses staging to deconstruct and nuance its two main characters, exploring their complex interrelationships and personalities.   With several familiar faces in supporting roles to boot, The Skeleton Twins is a memorable piece of filmmaking that fully fleshes out its characters and engages the viewer throughout its duration.



#8 = Robot and Frank

This is a funny little sci-fi indie comedy about a retired criminal and his newfound friendship with a robot.  What more is there to say?  The film is a smart, touching, poignant, surprising portrait of aging that's definitely worth checking out.



#9 = Kumiko The Treasure Hunter 

This film is inspired by a real life urban legend which may or may not have been a real story.  It goes something like this: a woman from Tokyo finds a VHS copy of the movie Fargo and becomes obsessed with finding the money buried by Steve Buscemi's character; her journey takes her across oceans from Japan to Minnesota in search of her fortune.  The film is great.  It's beautifully shot and visually spectacular.  Rinko Kikuchi shines in the lead role, and we see the world through her eyes.  Even if you haven't seen Fargo, you can appreciate this quirky independent gem.  It takes several tonal turns that are unexpected and surprising, much like Kumiko herself.



#10 = Nightcrawler

 Jake Gyllenhaal does an outstanding job in the title role (which has nothing to do with X-Men).  The film is essentially a character study, in the same vein as Taxi Driver, that explores the dark psyche of its lead.  Gyllenhaal's character is born out of the information age, searching out for the dirtiest, juiciest pulp stories that rise to the surface after the clock strikes midnight.  His wide-eyed character never seems to sleep or get tired and is always scanning for information.  It's a fascinating film that's often tough to stomach but hard to resist.



BONUS: #11 = Jurassic World  

You may have heard of this recent indie film that didn't go on to break any major box office records at all.  But if you haven't... this is a fantastic popcorn sequel to one of the greatest Hollywood movies of all time.  Of course, it doesn't surpass the original.  But it does offer two hours worth of beautiful cinematography, smart use of visual effects, and awesome set pieces.  The film is fun from beginning to end and is riddled with subtle (and not so subtle) nods to the original Jurassic Park from 1993.  Jurassic World features a number of clever scenes that are inspired by old school visual storytelling and fueled by over 20 years worth of nostalgia.  It's awesome to see the original park come to life, and then, of course, get destroyed by the final act.  Chris Pratt pulls off the daunting task of filling the title role and continues his run as one of Hollywood's new action/comedy talents.  This one should be seen on the big screen, and it's returning to IMAX theaters next week.  Go see it again!



Image Sources:

1. http://static4.businessinsider.com/image/54661320ecad04bb176c845c/a-most-violent-year-is-a-gripping-take-on-the-american-dream.jpg
2. https://stylishclothingblog.files.wordpress.com/2015/02/the-guest-dan-stevens-jacket.jpg
3. http://cdn.bloody-disgusting.com/wp-content/uploads/2015/04/It-Follows-1-620x400.png
4. https://pmcvariety.files.wordpress.com/2014/10/ex-machina-movie.jpg?w=670&h=377&crop=1
5. http://www.rosestheatre.org/images/made/images/uploads/events/ShortTerm12_495_305_c1.jpg
6. http://geeksauce.rocks/wp-content/uploads/2014/11/babadook-kid.png
7. http://www.shockya.com/news/wp-content/uploads/st.jpg
8. http://erikhanberg.com/wp-content/uploads/2014/08/Robot-and-frank-arm-wrestle.png
9. https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdVGUwSTeGSD6ZjD6bnJn7U_LQdd07zXHYVKaEfWNvcwTbjNq0RYzE0h_xE-F0ONQPT2Vs3dRwEs111-7tMiedNkgtTTpDQxw-rSvyanbTU_TeLS5mIg6yHzMcuARnO5jTGe8Lavsw5zs/s1600/kumiko-the-treasure-hunter-2014-movie-film-review-shelf-heroes.jpg
10. http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2014/10/17/1413580534586/Jake-Gyllenhaal-plays-an--014.jpg
11. http://blogs-images.forbes.com/markhughes/files/2015/06/JURASSIC-WORLD-7.jpg

Top 10 Favorite Films

Without a doubt, the question I get asked the most is "what's your favorite movie?"  When I inevitably cannot come up with an answer, I'm often offered a second option: "OK, what's your top 10?"  This list changes from moment to moment, day to day, and year to year.  It's entirely possible that I still haven't even seen my favorite movie or what I'd consider to be the best movie ever made yet.

In making this list, I notice a few things: 

- I have left off any animated films, despite thoroughly enjoying many.

- Only one foreign film made the list, despite the fact that there are a great many excellent films from around the globe.

- 4 out of the 10 are in black & white.

- 2 are films of Steven Spielberg, whom I greatly admire.  His canon of work never ceases to amaze me, and at least ten of his films could be in a favorites list of their own.

- Directors like Scorsese, Fincher, Soderbergh, Tarantino, and others are somehow left off.  All are hugely talented.

At any rate, here's today's top 10 list.I've broken it down into my 5 favorite movies and what I consider to be 5 of the best films.  Enjoy!

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Annie Hall (1977)
#5 Favorite Movie

Woody Allen's masterpiece.  A classic on all accounts, from start to finish.  The opening & closing dialogue are particularly memorable, but Allen's comic wit and Keaton's irresistible charm do the leg work.

Beasts of the Southern Wild (2012)
#4 Favorite Movie

I often describe this film as being alive, as if it's a living, breathing thing.  It certainly feels that way.  What a stunning blend of naturalism and fantasy, all done using non-actors, location shooting, and practical effects.

Fargo (1996)
#3 Favorite Movie

Fargo is one of the many Coen Bros great films.  No Country For Old Men could easily compete for its spot on the list.  What sets Fargo apart is its heart, humor, colorful cast, and endlessly quotable script.  The performances are all spot on and the directing is typically top notch.

Beginners (2011)
#2 Favorite Movie 

Beginners is a hole-in-the-wall movie that gained attention after Christopher Plummer won the Best Supporting Actor Oscar for his performance in the film.  The film deals with 3 main characters at turning points in their lives.  What we get is a touching, poignant, and heartfelt depiction of modern relationships as well as a photo album of memories.  It's clever and entirely unique.

Jurassic Park (1993)
#1 Favorite Movie

This is hands down the movie I have seen the most but never get tired of.  Seeing it in IMAX 3D recently for its 20th anniversary was one of the best times I've had at the movies, ever.  The film is literally a theme park on screen.  It delivers the thrills and was a breakthrough in the visual effects world, which is now littered throughout modern cinema.  Jurassic Park has aged well and remains fun, quotable, and unforgettable.




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Psycho (1960)
#5 Best Film

My favorite Hitchcock film.  The brilliant director opted for thrills and suspense over blood and gore.  The film features several characters who could be considered "psychos" based on their respective psychology.  Hitch's use of shadow, careful use of close-up, and sound/music all create the atmosphere of this classic thriller.  Anthony Perkins turns in a pitch perfect performance as the infamous Norman Bates.

Citizen Kane (1941)
#4 Best Film

Orson Welles is a true master.  His skill behind the camera is undeniable in Citizen Kane.  The film features a dizzying array of trick shots, deep focus, and innovative camera work that might be taken for granted to the untrained eye.  Even if you're not watching for the camerawork, the story itself is enough to get you hooked as you try to decipher the meaning behind the mysterious "Rosebud."  This one makes it onto countless Top 10 lists, and for good reason.

Saving Private Ryan (1998)
#3 Best Film 

This is the standard by which all modern war movies are judged.  The film is harshly realistic, strikingly beautiful, and intimately personal.  Each shot is composed with the level of technical skill that a painter would implore on a canvas.  Spielberg paints his picture over nearly 3 hours, without a dull moment.  With Tom Hanks leading a cast of talented actors, Saving Private Ryan is a modern classic.

Breathless (1960)
#2 Best Film

Breathless is the only French New Wave film to make the list, but I love many of them.  The film doesn't get old for me.  Director Jean-Luc Godard is essentially redefining cinema through his radical techniques and various cinematic and editing styles.  The interplay between the two leads is great to watch as Godard picks apart the Hollywood Gangster film and simultaneously creates a new genre entirely.

Casablanca (1942)
#1 Best Film

Casablanca has one of the best screenplays of all time, phenomenal acting, a classic romance set in WWII, and numerous memorable scenes.  It typifies what the term Classic Hollywood means. Even people that "don't like" black & white films still enjoy Casablanca.  Roger Ebert himself said it might just be his favorite movie on his commentary for the film.  Over 70 years after its initial release, I think it's safe to say that Casablanca has stood the test of time.

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Image sources:
http://d12vb6dvkz909q.cloudfront.net/uploads/galleries/34417/casablanca_1.jpg
http://academicsecrets.com/wp-content/uploads/2014/04/Breathless-Essay.jpg
http://www.betterlivingthroughbeowulf.com/wp-content/uploads/2014/06/Saving-Private-Ryan.jpg
http://www.amovieaweek.com/images/kane3.jpg
http://thestorydept.thestorydepartme3.netdna-cdn.com/wp-content/uploads/2014/03/movies-psycho-alfred-hitchcock-movie-legends-anthony-perkins-HD-Wallpapers.png
http://www.wallpaperup.com/289297/JURASSIC_PARK_adventure_sci-fi_fantasy_dinosaur_movie_film_rain.html
https://cynicritics.files.wordpress.com/2011/12/beginners2.jpeg
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http://thefilmstage.com/wp-content/uploads/2012/06/beasts-of-the-southern-wild02.jpg
http://www.brattleblog.brattlefilm.org/wp-content/uploads/2014/08/04_copy7_original.jpeg

January 2015 Reviews

Here are some quick bullet points on recent releases that can be viewed either in theaters or at home (legally, please).  

The One I Love: 5/5

Brilliant.  A truly original work that defies genre while holding the modern relationship under the microscope.  This contemplative film exists all by itself with a bare bones cast (essentially two actors, an actress, and a couple extras) that you can't help but be drawn towards.  Mark Duplass and Elisabeth Moss offer truly nuanced, subtle, skilled performances that would reward multiple viewings.  I wouldn't dare give away the plot, but suffice it to say that this is one masterpiece that seems to have flown under the radar.  

The Imitation Game: 5/5

Brilliantly scripted and acted, The Imitation Game is captivating right from the get go.  Benedict Cumberbatch excels once again and will make a strong run for Best Actor during this year's Oscars (whether or not he actually wins will be another matter).  It's thrilling, timely, and completely engaging - truly a "based on a true story" film done right.

Wild: 4/5

Reese Witherspoon turns in a phenomenal performance.  However, the (relatively) unsung stars of this film are Laura Dern as supporting actress and Jean-Marc Vallée behind the camera.  The film is challenging and beautifully shot.  I appreciate films that play with the portrayal of memory, complicating what could be done with a simple flashback into a more realistic montage of thoughts and images that whiz in and out of consciousness (or on screen, in this case).  Wild lives up to its title with stellar editing, acting, and directing making it truly a tour de force on all accounts.



American Sniper: 4/5

This is one where I actually read the book before seeing the film.  The film certainly takes a few cinematic liberties with the facts for the sake of drama.  That's fine. The memoir and the movie are both riveting in their own right.  Bradley Cooper is absolutely fantastic in the title role.  And you get your typical dose of patriotism from director Clint Eastwood.  To preempt the natural comparisons, the film doesn't quite live up to the recent Iraq films of Kathryn Bigelow (The Hurt Locker, Zero Dark Thirty).  In all fairness, the film is extremely well made and gripping.  With many memorable moments, American Sniper represents an admirable addition to the recent collection of excellent films regarding the conflict in Iraq.

Top Five: 4/5

As you might expect, Top Five is often outlandish, but also occasionally touching.  Regardless of which tone a given scene may take, the film is immensely entertaining from start to finish.  Chris Rock directs and stars in a surprisingly thoughtful incite into the entertainment business, the nature of public relationships, and the psyche of "celebrities" that delivers the laughs along with its messages.



Big Hero 6: 4/5

Modern animated films have proven time and time again that their target audience is much more than children alone.  Big Hero 6 is a thoroughly enjoyable superhero film that only adds to the list of outstanding Pixar films.  It works as an action film, a celebration (and cautionary tale) of technological advance, and as a family film.  The film embraces modern medical achievements and converts it into a palatable experience for the audience.  This is the kind of film where the heroes are intelligent and have a love for learning, an important concept to instill in today's youth.  


Into the Woods: 4/5

An undeniably enjoyable, comic twist on some tried and true fairy tales.  With a diversely talented cast, excellent score, and suitably magical visuals, Into the Woods makes for a wonderfully entertaining time at the movies.



Big Eyes: 4/5 

Christoph Waltz and Amy Adams turn in phenomenal performances, yet again!  Director Tim Burton takes a welcome break from his typically gothic subject matter to give us a timely biopic, all while maintaining his knack for visual splendor.

You're Next: 3.5/5

A gruesome horror film that succeeds almost solely upon the shoulders of its unlikely hero, which I won't spoil.  The film does have a nice mix of dark comedy and brutal action violence, allowing it to rise above genre cliches.  The end result is a better-than-average home invasion flick that manages to achieve enough originality to separate itself from the pack.

Image Sources:

https://flavorwire.files.wordpress.com/2014/08/one-i-love2.jpg

http://cdn.collider.com/wp-content/uploads/the-imitation-game-keira-knightley-benedict-cumberbatch1.jpg

http://static01.nyt.com/images/2014/11/02/arts/02BUCKLEY2/02BUCKLEY2-articleLarge.jpg

http://www.hollywoodreporter.com/sites/default/files/imagecache/modal_800/2014/10/american_sniper_still.jpg

http://cdn.screenrant.com/wp-content/uploads/Big-Hero-6-Movie-Reviews1.jpg

https://thenypost.files.wordpress.com/2014/12/top_five.jpg

http://cdn.screenrant.com/wp-content/uploads/Into-the-Woods-Lilla-Crawford.jpg

http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=0CAQQjBw&url=http%3A%2F%2Fwww.bristolpost.co.uk%2Fimages%2Flocalworld%2Fugc-images%2F276268%2FArticle%2Fimages%2F25774214%2F9249888-large.jpg&ei=TCa7VMi1NYanggSi8YOoAg&bvm=bv.83829542,d.cWc&psig=AFQjCNHPrg7MIImOq6dSJNPksXtkFjjy7w&ust=1421637570865423

http://thehorroronline.files.wordpress.com/2013/08/youre-next-blood.jpg

The Hunger Games, Mockingjay Part 1: thoughts

Dear Movie Moguls,

If you're going to split a single book into two or more (i.e. The Hobbit) films, you better make them ALL amazing.  Harry Potter & co. got it right with The Deathly Hallows parts 1 & 2: the first was effective tension that nicely set up an action-packed capper to the series.  The latest addition to The Hunger Games was a huge disappointment following two excellent film adaptations.  If we are presented 4 films on 3 books (or the insane Peter Jackson approach 3 films for 1 book), you can't have the first of the final two be mediocre set-up for the final chapter.  That's a cop out.  Instead, make one film that kicks butt even if it ends up clocking in at 3+ hours.  The counter argument to those who insist on proclaiming "the book is better than the movie" has always been to make a better movie.  Not to give audiences 1.5 OK movies from a single novel.  Interestingly, the author of Fight Club has gone on record stating that he felt the film adaptation beat out his own novel.  Filmgoers deserve better if they're going to line up at the movie theaters and continue to support the industry.  I'm definitely not asking for non-stop action, but some level of suspense and tension would be much appreciated.  This FEELS like half of a story, an unfinished entry, not one that could stand alone and succeed like the Potter films.  At the end of the day, Mockingjay part 1 is a forgettable entry that stands alongside two exceptional films that preceded it.  Here's hoping the final chapter doesn't disappoint.

Sincerely,
Citizen J.Kane

2.5 out of 5 stars (I mean, it wasn't the worst movie in the world either)

October 2014 at the movies

All three of the following films are compelling examples of modern cinema and fully worth the trip to the theater.  I'd recommend each of them.









Gone Girl: Without a doubt the biggest "water cooler" film of the year.  Once you see it, you'll immediately know what all the buzz is about.  One of the things that interested me most is the above image.  We see this at two key points in the film: the opening and the closing.  How we react to this image is dramatically influenced by everything revealed between those two points.  The image is the same, but our knowledge of the characters and their motives are vastly different.  Is she guilty, surprised, deceitful, afraid, malicious, victimized, or some combination?  This is the type of film in which you can't even trust the cat.  Everyone is under the microscope, and director David Fincher is behind the oculars.  He's a master of creating atmosphere and tension.  Gone Girl is a carefully crafted and expertly directed whodunnit with plenty of play on point of view and the ambiguous nature of an investigation.

Fury: If you thought a movie that was about a crew of five men in a tank could be anything less than riveting, think again.  Fury enters into a long list of WW2 films and features all of the usual archetypal soldiers: the war wearied leader, the God-fearing religious man, the new kid (whose experience introduces the audience to war), the foreigner, and the grunt.  Fortunately, each of these characters is brought to life by outstanding actors who blend together and play off each other perfectly.  The tank scenes in the belly of the beast suggest that each man is totally dependent on the next to "do your job - do what you're here for", no matter how gruesome.  Director David Ayer extracts tension from every frame of the film and warns you never to let your guard down.  However, one standout scene took place off the battlefield - the encounter with the two German girls in a worn-torn city.  The scene is still fraught with tension which shifts from one character to the next as the main characters cycle through the frames.  Not to worry - the battle sequences do not disappoint, nor do they feel tired or old hat.  Anchored by Brad Pitt, Fury is a fantastic WW2 film that stands among the best of them.

Birdman:  Wow.  A stunning example of intricately designed filmmaking, bursting with originality and technical prowess.  The entire cast and crew are at the top of their games and have successfully created a truly phenomenal cinematic masterpiece.  Birdman is a departure from director Alejandro Gonzales Inarritu's typically morose yet gripping films (Babel, 21 Grams, etc.).  Rather, the film is enveloped in the world of the theater, with flights of fancy at every corner.   The film works on many levels: as a reaction to the recent influx/excess of superhero blockbusters that have been dominating cinemas as of late; a psychological character study of its protagonist (pictured above and portrayed by Michael Keaton, who is sure to earn deserved recognition for his performance); a genre-bending filmmaking experiment in which the director pushes the limits of the long take;  a multi-layered original film that tackles the very nature of creativity/acting/fiction all while juggling multiple, interconnected story lines.  It's a dizzying experience that's wholly one-of-a-kind.

 
Image sources: 
Birdman = http://www.hollywoodreporter.com/sites/default/files/2014/06/birdman_a.jpg
Fury = http://imageserver.moviepilot.com/fury-slice-five-new-fury-clips-brad-pitt-michael-pena-and-shia-lebouf-look-intense-in-war-flick.jpeg?width=600&height=360
Gone Girl = http://img2.timeinc.net/ew/i/2014/09/11/gone-girl-01_1485x612.jpg

Lucy vs. Hercules (2014)

Lucy vs. Hercules!  Since neither film is all that great, I decided to break down various aspects of each and declare a "winner".  Though they're not exactly the same type of movie (science fiction vs. action epic), I thought it might be an interesting exercise.  Happy reading!

    

Image source, Lucy: http://images.fandango.com/images/fandangoblog/Lucy-Scarlett-Johansson.jpg

Image source, Hercules: http://i57.tinypic.com/29ykthz.jpg

Plot: tie!

• The plot of Lucy is far more original, but it almost completely collapses in the ridiculous final act.  The film starts off promising, but around the halfway point the scale tips in favor of the absurd.  Whatever messages the film is trying to convey (is it pro-cell phones or anti-cell phones?  I couldn't tell), gets lost in the shuffle.  It's messy.
• Hercules isn't breaking any new ground in terms of storytelling, but the film does take a few unexpected turns (i.e. mainly, the fact that it isn't completely engrossed with Hercules' labors and rather portrays the titular hero as a vulnerable team player).

Hero: Lucy

• Scarlett Johansson has the chops to carry a film.  As Lucy, she represents a formidable hero who has both the brains and the brawn to kick some serious butt.  As mentioned previously, she is let down by an abysmal final act in which she (SPOILER ALERT) devolves into an emotionless computer.  Not exactly riveting.
• Hercules features a fine performance from Dwayne Johnson.  However, he doesn't get any classic action hero lines (i.e. think of Gerard Butler in 300 or Brad Pitt as Achilles in Troy), so he loses points for that reason if nothing else.

Director: Lucy

• Luc Besson has created several great films, my favorite being Leon (The Professional).  Here, he maintains his typical sense of humor throughout.  The short vignettes and montage sequences are used well in the first & second acts.
• Brett Ratner has yet to create a truly outstanding action film.  His crowning achievement is Rush Hour.  

Supporting characters: Hercules

• Lucy has Morgan Freeman.  Literally, the rest of the cast is a waste.  There are about 2 total female characters (one being Lucy; the other being her "friend" whose screen time totals less than 1 minute as she represents the stereotypical "dumb girl roommate").  The males in the world of Lucy mainly serve to get in the way and really serve no purpose.  Morgan Freeman is a narrator "disguised" as a character in the film.  He simply explains the events that are unfolding.  
• Hercules has a collection of supporting characters, who all get their day in the sun.  We get a view of Hercules that is almost the stuff of ancient urban legend.  Hercules and his crew go into battle together, and the friends he does battle with are just as vital to the victory as he is.  It's an interesting deconstruction of the Herculean mythology.  The film also scores points by crafting a world in which women fight alongside men and intellect is rewarded as is brawn.  The colorful crew makes the fight sequences more entertaining and takes some of the pressure off of Dwayne Johnson to carry the film... though that wouldn't be all that difficult on his massive shoulders.  The dude is jacked.

Villain: tie!

• This one is a tie, because Lucy's key villain (a particularly angry Asian mob boss) is menacing but almost absent from the film.  He makes a memorable impression in his opening moments, but then fades into the background as the film devolves.
• Hercules doesn't really have one singular threat for the hero's main adversary, a main problem with the film.  However, it does feature some green undead zombies which are pretty cool.

Action sequences: Hercules

• Lucy features a pointless car sequence that solely serves to check off the list of requirements for an action movie set in Europe.
• Hercules has some nice battle sequences that don't quite measure up to its predecessors in the genre (i.e. 300, Gladiator, Troy, etc.).  Still, they're fun to watch.

Overall: Hercules

• I was surprised that I enjoyed Hercules as much as I did.  Don't get me wrong, it isn't great, but you know what you're signing up for when you walk into the theater.  It does have a surprising sense of humor about itself, and the supporting characters really elevate the film beyond a purely muscle-filled Rock-fest.

Lucy: 2 out of 5

Hercules: 3.5 out of 5

10 Great Films You Probably Haven't Seen

Submitted for your approval,  another contribution to the always popular demand for "lists."  My apologies for the mis-title if you have seen some or all of these films.  At any rate, they are all worth checking out (or checking out again).  Enjoy!

Image source: http://moviedex.com/wp-content/uploads/hugo-2.jpg

Hugo (2011, directed by Martin Scorsese)

• Hugo is a clear departure from Scorsese's violent, graphic classics.  It's also likely to be his most personal, heartfelt film and a true testament to the magic of movies.  Scorsese ingeniously utilizes 3D, the latest technological muse in the film world, to remind us (or probably educate most viewers) of the very origins of cinema - the early films of George Melies & the Lumiere Brothers.  Parts of the film are largely devoid of dialogue and let the images do the talking, as did the early silent films.  Hugo truly is a magical experience that will delight movie lovers of any age.

Image source: http://media.warp.net/images/SubmarineStill2.jpg

Submarine (2011, directed by Richard Ayoade)

• Submarine is as much of a movie as it is a personality.  The film is well-written and directed by new talent Richard Ayoade, showcasing a variety of camera and editing tricks.  It often resembles a French New Wave film.  Oliver Tate's (the protagonist) voice-over narration is eloquent ("I mustn't let principles stand in the way of progress"), but his actions/speech feel much less scripted when faced with the real-life pressure of confronting his teenage crush.  He feels very put together and insightful internally, but is more awkward externally.  Submarine has enough visual flair and ideas to back it up to satisfy any independent film lover.

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Shame (2011, directed by Steve McQueen)

• Shame isn't about sex.  It's about addiction.  Brandon, the film's main character, has an addiction.  Brandon doesn't enjoy his vice so much as he is totally dependent on it.  Like Travis Bickle in Taxi Driver, he's incapable of normal human interaction and is consumed by his addiction.  It's a brilliant, intense film filled with long takes; some make us feel "trapped" as Brandon does; others linger, like a moment frozen in time, and allow us to sit in on a scene and watch it transform (i.e. the "date" Brandon goes on where the camera slowly zooms in w/o cutting the camera).  Much of the film takes place on the subway.  Brandon's interactions with a certain woman were particularly interesting; we approach those scenes from Brandon's point of view and are likewise surprised at the (avoiding spoilers...) realization he has.  The interactions also allows us to see the arc of Brandon's character from 1st to 3rd act.  I took the subway to be a metaphor for the way Brandon lives his life - quickly moving from one place to the next, temporarily fixating on someone & getting what he wants, then moving on.  No real connection.  No real emotion.  No mention of love.  He lives a tormented existence it seems.  This way of life ultimately comes with consequences as we learn in the film's third act.  Sex is just a foothold here; drugs, greed, gambling, or alcoholism could easily be substituted and have a similar effect.  Perhaps sex makes the most sense because of its relevance to human interaction.  But this is not "a movie about sex."  Shame is a meditation on crippling addiction.  It's compelling.

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Before the Devil Knows You're Dead (2007, directed by Sidney Lumet)

• The film could have been called "Anatomy of a Bank Robbery Gone Awry."  But that's not as catchy.  Before the Devil Knows You're Dead examines a "simple" plan that gets completely out of control.  The actors are outstanding, each with their own unique level of deception or sin.  Director Sidney Lumet shows us the outcome, then back tracks to see how each player got involved and what role he/she played.  It's hard to pick any one of the characters to root for really... but you'll be interested to see what happens next nonetheless.  It's a great film with no good guys.

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Trust (1991, directed by Hal Hartley)

• Smart, uncommonly well-written, and clever,  Trust offers a unique love story about two flawed characters who find love through each other's imperfection.  Many of the cinematic strategies implemented in Trust seem unusual or outside the norm, much like Matthew and Maria (the film's central couple).  Director Hal Hartley’s camerawork is atypical, dominated by two-shots during the conversations throughout the film as opposed to the common shot-reverse shot strategy; this allows the viewer to see both speaking characters simultaneously rather than forcing him/her to see only one at a time.  The film is full of lesser-known actors as opposed to big-budget movie stars, giving the film the impression of “reality” or an intimacy that might be harder to achieve with well-known actors.    Interestingly, the Matthew-Maria relationship does not seem sexual, though they do kiss and show affection.  The key “equation” of the film, rather, is at play: respect + admiration + trust = love.  Each one is there to protect the other from harm (to “break their fall”) because Maria and Matthew both recognize the challenges they are facing and will face.  Trust is an honest love story that refrains from over-glamorizing or idealizing Matthew and Maria’s relationship.

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Brazil (1985, directed by Terry Gilliam)

• Brazil transports the viewer into a world that's wildly imaginative and filled to the brim with stunning visuals.  The film deftly blends dream-like fantasy & romance, dull office life with endless paperwork (literally), beautiful music, and a slew of quirky characters all wrapped up together in this one-of-a-kind sci-fi experience.  Terry Gilliam is a master of making strange even the most mundane of encounters.  Like Brazil's metaphorical meaning, the film itself takes the viewer away to a unique place that may only exist in fantasy.  With quite a view memorable scenes, Brazil is worth visiting over & over.

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The Big Chill (1983, directed by Lawrence Kasdan)

• The Big Chill is an ensemble film centering around a group of old friends who re-unite for a weekend after the death of one of their own.  One of the key "characters" which adds personality to the film is its amazing soundtrack which features a slew of great, soulful classics.  The film plays like a jukebox from track to track with sometimes poignant, sometimes funny conversations about the current state of all of the friends' lives in between.  The characters all get equal attention, as their personalities click and clash.  All the while the audience feels like they're spending the weekend with them, too.  Rather than taking an overly somber approach to the subject matter, Kasdan has crafted an honest, personal film that goes down smooth.

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Harold & Maude (1971, directed by Hal Ashby)

• One of my favorites.  A classic example of American dark comedy at its absolute best.  The film has heart, wit, great performances, and a fantastic soundtrack.  Clever from start to finish, from the opening credits we get insight into Harold's personality and later discover how perfect Maude is for him.  Harold & Maude is a wonderful post-60's countercultural film that's easy to love and impossible to forget.  

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Seconds (1966, directed by John Frankenheimer)

• This is a crazy movie.  Seconds tells the story of an older man whose life has hit a standstill, but that all changes when he receives a mysterious call from an old friend whom he believed to be dead.  The man discovers a group of scientists who are in the business of giving people a "second chance," transforming the man from his older body into a young man once again.  Think of it as an extreme, science-fiction version of the witness protection program.  The film is beautifully shot in black & white by the acclaimed cinematographer James Wong Howe.  The camerawork is as haunting as the story itself.  Starting from the brilliant opening credits, the audience knows this film is anything but ordinary.  And the final act of the film leaves an indelible impression.  Think of Seconds as a 107 minute long episode of The Twilight Zone.  Yeah, it's good.

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Shoot the Piano Player (1960, directed by Francois Truffaut)

• Truffaut’s Shoot the Piano Player features breaks from the classical Hollywood modality.  The very beginning of the film seems noir-esque, featuring an unknown male character (who turns out to be Charlie, the film’s protagonist) running through a dark street only lit by a few streetlights; the tone then abruptly shifts when he begins discussing marriage/relationships with another male character who will never appear again in the film.  In this opening scene and again in the final shootout in the snowy cabins, Truffaut does not seem interested in preserving continuity; it seems impossible to follow who is shooting who in the finale, and it seems like Truffaut focused more so on the “feel” of the sequence than its strict continuity.  Like Michel inverts the classical Hollywood protagonist of film noir, the gangster kidnappers (Ernest and Momo) seem quite unthreatening, showing off their musical lighters, Australian wool suits, and flexible metal scarfs from Japan.  Unlike the intimidating noir villains of Hollywood, these gangsters seem much more friendly and unimposing.  Shoot the Piano Player is a brilliantly crafted, breezy ride through the French New Wave.