Django Unchained - Review

"Adult supervision is required."

Django Unchained is a bloody, insane, often disturbing film with colorful characters and dialogue... released on Christmas day.  In other words, it's a Tarantino film.  Fans of his will enjoy it, Tarantino haters won't bother seeing it.  I don't think it's the director at his absolute best, but that's not to say that I didn't enjoy the film.  Above all else, Tarantino (like many of his characters) is a brilliant storyteller.  I will always applaud his love for the cinematic medium, which shines through in every frame of his films.  The dinner scene pictured above was the highlight of Django without a doubt.  It recalled the events leading to the "Mexican standoff" in Inglourious Basterds.  With that scene in mind, the question becomes when will a gun go off and who will be the one pulling the trigger?  The theater in which I saw the film was silent during these scenes, filled with a nervous tension.  THAT is Tarantino at his best - sculpting beautifully literate dialogue juxtaposed against graphic, sudden violence.  The standout performances here were Samuel L. Jackson and Leonardo DiCaprio who both portrayed devious, yet hilarious characters right out of the mind of Quentin Tarantino.  Christoph Waltz does a fine job once again and I enjoyed his character quite a lot, but it was a bit reminiscent of his Hans Landa and lost some of its originality as a result.  It probably won't be your favorite from the director's series of bloody masterpieces, but even so it still marks another darkly entertaining entry in the Tarantino canon.

4.5 out of 5

Note: I don't own the rights to any of the photos on this website.  They're copied here from Google images for entertainment purposes only.

Silver Linings Playbook - Review

"Calm down, crazy!"

I loved this movie.  Bradley Cooper and Jennifer Lawrence have the best performances of their careers to date.  Cooper's character is erratic and unpredictable but driven by love.  Lawrence's character masquerades a tough exterior protecting a big heart capable of being broken.  Both characters are vibrant in their own right and are even more volatile when they collide.  Their interactions together help shape who they are as individuals.  David O. Russell's energetic direction further emphasizes the characters' mindsets with quick zooms and pans which draw attention to themselves.  He's proven in The Fighter that he can successfully convey the family dynamics of a set of complicated individuals.  There's an urgency in the film that's hard to describe.  It's a palpable energy.  Silver Linings Playbook is an all around good movie that hinges upon the creation of real life drama with real life characters & emotion.

4.5 out of 5

Note: I don't own the rights to any of the photos on this website.  They're copied here from Google images for entertainment purposes only.

Argo - Review

The whole country is watching you.  They just don't know it.

For about 95% of the movie, Argo is a brilliant thriller crafted by one of the surprisingly adept actors-turned-directors Ben Affleck.  However, in the film's final act, the filmmakers drop the ball at the 5-yard line, pick it back up, and eventually score.  But let's talk about the good stuff first.  The stage is set during the wonderfully done opening sequence that establishes the urgency of the situation via rapid cuts and sudden shifts in tone and pacing.  The actors, both lead and supporting, are all pitch perfect in their respective roles.  Affleck is on-point as the bold risk taker who organizes the extraction of the American hostages.  Alan Arkin is probably the most fun and essentially adapts his persona from Little Miss Sunshine as the crass grandpa here as a Hollywood producer.  He and Bryan Cranston provide much of the dark comedy that works in the context of the film and nicely balances the tension.  The actors/actresses portraying the hostages all successfully create believable characters (based on real people) who approach their predicament in differing ways.  Behind the camera, Affleck creates the tension necessary for any good thriller all while blending the facts with the fiction, mixing found footage with cinematic drama.  He established this knack for suspense previously in Gone Baby Gone and The Town, which seemed to me heavily influenced by Hitchcock (but then again, how can you talk about suspense without bringing up Hitch in the conversation).  Now there's that little matter of the third act blunder.  Maybe it wasn't a blunder for some audiences, BUT it seemed to me there were one too many phone calls made during the film's climax.  It was just silly.  The producers go out for a drink, are held up by a ridiculous C movie shoot, and we're left wondering if they'll pick up the phone in time to save the hostages.  It just didn't make sense that all of the film's brilliantly established tension should hinge on what seemed to me to be a contrived happenstance. Up until that point, I legitimately feared for the characters' lives (having intentionally not researched the true story beforehand) and the suspense was there.  Despite the minor fumble in the 4th quarter, Argo represents another winning achievement from Director Ben Affleck that will likely go on to receive the award recognition it deserves.

4.5 out of 5

Note: I don't own the rights to any of the photos on this website.  They're copied here from Google images for entertainment purposes only.

This is 40 - Review

Have you seen my starfish?

I probably should've gathered from the title that This is 40 would be a whiny film.  I love Paul Rudd.  Leslie Mann does a fine job.  But they're trapped by a screenplay that heavily tips the scale towards the negativity of going over the hill.  The film oscillates between moments of hilarity and extended moments of the main couple fighting.  For over 2 hours.  It never quite reaches the level of uncomfortability that Apatow's Funny People reached, thank God, but the jokes are often outweighed by the characters' unease with themselves and their lives.  Even the pop culture references that define Apatow's works don't hit home as well as they have in other films.  The hotel sequence pictured above was brilliant, the Indian doctor was pretty hilarious, and the repartee between Rudd and Mann often entertains.  But the fact of the matter is that This is 40 could've been great, but just came up short.

3 out of 5

Note: I don't own the rights to any of the photos on this website.  They're copied here from Google images for entertainment purposes only.

Fall Movie Wrap-up

Skyfall

5 out of 5

Skyfall is one of the best bond movies in years and perhaps one of the best ever.  It makes for one of the most entertaining and satisfying experiences I've had at the movies in recent years.  The filmmakers have taken Bond back to his roots while simultaneously exploring new story lines - Bond's backstory/childhood, his relationship to M, the introduction of previous MI6 agents, etc.  Skyfall has a fantastic opening credits sequence backed by the perfect Adele.  It's got thrilling set pieces that are shot such that you can actually follow the action; unlike Quantum of Solace, where the editing was so quick and choppy that you couldn't possibly follow it all, Skyfall is paced appropriately and well balanced between plot & action.  Some of my favorites were the Asia sequences (notably, the fight atop a skyscraper shot in silhouette with brief glimpses of light from the gunfire).  I would be remiss not to mention Javier Bardem and his awesome performance as the Bond villain, Raoul Silva.  From his long take introduction with that fantastic "rat" parable, to that helluva mouthpiece, the evil version of William Tell shooting the apple off the head, and that creepy laugh, he's created one of my favorite Bond villains who leaves an indelible impression.  I've seen the film twice already.  It's just so good.

Lincoln 

4.5 out of 5

Under the guise of a biopic about Abraham Lincoln, Spielberg's Lincoln is actually several films in one.  It's first and foremost a story of bravery and conviction on the part of our founding fathers, and the decision-making that led to the revelatory 13th amendment that ended slavery.  It's a story about a quiet man, who often told stories with a smile; a man who didn't have the most extensive educational background, but was a thinker and visionary all the same.  It's about a father/husband and his relationship to his family; as in many of Spielberg's films, the relationship of father to son is at the core of the film.  It's a film about politics and all of the many people that had a hand in making a historical choice that changed the course of history, a choice that necessitated delicacy and making the right moves with the right people at the right time.

Whether you're a history buff or not, Lincoln is fundamentally a good story.  The film reminded me of an extended, feature-length version of the John Adams HBO series.  It's "special effects" are good old fashioned storytelling/writing, confident direction, and stuffed with a surprising number of familiar faces in supporting roles.  My favorites were Tommy Lee Jones as Thaddeus Stevens (who is absolutely going to get an Oscar nod, along with Daniel Day-Lewis as Lincoln), James Spader, Tim Blake Nelson, John Hawkes, and Jared Harris (who can do no wrong in my mind) as Ulysses S. Grant.  This is a film that's assured Oscar recognition, and for good reason.

Perks of Being a Wallflower

4 out of 5

A surprising, emotional coming of age story backed by performances by actors who are mature beyond their years.  It intimately captures all the awkwardness, the love, the new friendships, the heartache, and the confusion of those pivotal high school years.  It all feels very personal and immediate.  Interestingly, the film is written/directed by the very man who wrote the book the movie is based on - Stephen Chbosky.  I wonder what that will do to those who always argue that books are better than movies-based-on-books.  What happens when author becomes director?  A quick Internet search revealed that this isn't the first time this has happened, and I know writers often co-write movie screenplays of their stories.  Regardless, Perks of Being a Wallflower creates memorable screen characters who you can actually relate to and care about.  And the tunnel scenes are just great.

http://www.youtube.com/watch?v=dGjJ12R6B_M

Life of Pi

3.5 out of 5

Visually breathtaking.  This is a film that MUST be seen on the big screen (and in 3D!).  BUT, I think the voice-over narration did make it obvious that Life of Pi is a movie-based-on-a-book and weakened the overall effectiveness of the story.  Why not get rid of the Canadian reporter (whose role is clearly to mirror the audience and ask all the questions we're meant to ask)?  On the other hand, it did mirror the nature of the Indian parable structure it clearly follows.  I just felt it was a little heavy-handed at time.  However, many of the sequences were quite impressive visually, the story is a good one, and the revelation at the end makes multiple viewings worth considering.  

And no, I did not read the book.


Note: I don't own the rights to any of the photos on this website.  They're copied here from Google images for entertainment purposes only.

Cloud Atlas - Review

"Yesterday, I believe I would never have done what I did today."

Cloud Atlas represents colossal filmmaking at its most ambitious.  To pull off a movie of this scale that still retains emotional resonance and doesn't come across as gimmicky is no easy feat.  As evident from the previews (and the book), the story is actually made up of 6 sub-stories or segments.  I use the term "segment" here loosely, meaning that each story combines with the next to effortlessly form the gestalt of the movie.  They're like 6 puzzles that create an even bigger and more beautiful puzzle when combined together.

Each segment has its own unique personality, and it could be inferred that each of the six segments represents a life.  One life's timeline intersects, influences, and alters others.  Meeting new people or even our interactions with loved ones have the ability to elicit dramatic shifts in the course of our lives.  The same is true of Cloud Atlas.  Characters who make poor choices in a given situation might not experience consequences until much further down their life's timeline.  Characters' actions in the 1800's have a ripple effect that extends to the distant future.  The same is true of our lives.  The mistakes or misjudgments in one time period are often reciprocated in subsequent decades; it's a fancy way of saying 'history repeats itself' but also that people are faced with similar emotional and ethical dilemmas, despite differing backgrounds.  The directors definitively use cross-cutting to drive this point home and increase suspense as viewers are forced to be concerned with multiple characters in vastly different (and often dangerous) settings simultaneously.

 "We cross and re-cross our old paths like figure-skaters."

While on the surface Cloud Atlas is about the connection between humanity across millennia, it could also be read as a celebration of various cinematic genres and an argument that "genre" is becoming an increasingly complicated notion as many films fall under multiple cinematic categories.  Each segment reinforces recurrent themes: courage in the face of evil, refusal to "let go" of love past or present, the idea of destiny ("do you ever feel that the universe is against ya?"), etc.  But as mentioned previously, each segment has a distinct personality and is largely grounded in a specific genre:

• 1846 - historical fiction at sea
• 1931 - forbidden, secret love affair expressed via letters 
• 1974 - 70's detective thriller investigating potential government scandal
• 2009 - comedic British story about an aging man aching to regain his youth
• 2144 - futuristic sci-fi story about the line between human and machine
• 2346 - post-apocalytic setting that blends the ancient with the distant future

Blending the six stories together effectively blurs the very idea of genre, suggesting that similar stories can be told under the guise of different costuming, time period, makeup, and setting.  

This shot with Somni-451 behind the fence evokes feelings of helplessness and the sense of being "trapped."  The character is soon compelled to take action after facing the stark brutality before her.

A movie like Cloud Atlas provides much to talk about after the credits roll.  I only present a fraction of that discussion here.  It's a film about fate, chance, reincarnation, love, emotion, and kindness (to name a few) and their impacts on the human experience.  Suffice it to say that I admire such grand vision & collaboration and thoroughly enjoyed this giant piece of cinema.

Note: stick around for the credits, which reveal the 6 characters that the lead actors portray.  Some are sure to surprise.

5 out of 5

The Master - Review

"He's making all this up as he goes along - you don't see that?"

The Master is an enigmatic film that's about the illusion of control.  Director P.T. Anderson has crafted another demanding film that necessitates multiple viewings.  I won't pretend to have picked up on all of his nuances nor do I know enough about Scientology to make the comparisons that other critics have. Regardless, the film seems to be dealing with, among other things, psychology.  The line between manipulation, research, and therapy becomes blurred throughout the film.  Hoffman's character is eloquent and assumes a role of supposed mastery and control, but can also explode with emotion at any moment.  His "program" establishes a following based on a philosophy that is held together by fluctuating principles.  Phoenix's character, too, is a ticking time bomb in his own right - more erratic, almost animalistic, and intermittently sympathetic.  The dynamic between the two is nothing less than compelling and is sure to gather much Academy recognition.

The film is a stylistic wonder and, if nothing else, just plain interesting.  The question could be raised if several scenes are real or imagined.  Even raising that question is an accomplishment in and of itself, and further represents the lines being blurred.  There aren't any absolutes in The Master, but the film's characters seem to be constantly looking for them.  P.T. Anderson once again has created a film that asks big questions, consistently catches viewers off guard, and stands in a category that's all its own.

4.5 out of 5

Seven Psychopaths - Review

"Ghandi was wrong!"

Seven Psychopaths is a twisted, often hilarious subversion of the crime comedy genre.  The film hinges around the pivotal performances of Walken and Rockwell who consistently steal the show (and share it when they appear on screen together).  Walken's typically off-beat, cool humor gels nicely with Rockwell's over-the-top, crazy performance.  The two actors are immensely entertaining in their own right and work well as both a comedy team and crime buddy duo.  That's not to discount Colin Farrell, who does a fine job as the tenuous glimpse of sanity in a film centered around loony characters.  Director Martin McDonagh (who also created the great In Bruges in 2008) provides the stylistic flair needed to underline the film's unique tone.  Psychopaths contains sly commentary on the cinematic medium, plays with viewers' expectations, and at the same establishes itself as a film with its own personality.  I particularly liked Walken's backstory and found the Asian psychopath plot line to be effective.  All in all, Psychopaths does a lot more right than it does wrong.  It certainly represents a gleeful, shamelessly insane piece of fun filmmaking for those looking for their daily dose of crazy.

4.5 out of 5

Looper - the quick & dirty review

I never actually took the time to write up a "real review", but here's the bottom line(s):

Looper was great - go see it!  It works as a neo noir, science-fiction film, and classic action movie (complete with Bruce Willis butt-kicking) all wrapped up into one.  Really well done, clever storytelling with plenty of memorable sequences.

Also, is Joseph-Gordon Levitt becoming the next Leonardo DiCaprio?  He's been attached to a number of lucrative films recently, and there are some interesting parallels to their careers...

The Cabin in the Woods - Review

 "DO NOT read the Latin!"

The Cabin in the Woods makes for a great time at the movies.  Its success depends largely on a knowledge of basic horror stereotypes.  As in any run-of-the-mill horror movie, we're presented with "the whore, the hero, the scholar, the fool, and the virgin" (the movie's vocabulary).  The filmmakers use these and other familiar horror staples to flip the genre on its head... and then some.  Right from the get go, we're clued in that this is no typical horror movie, but we don't know what's in store for the next hour and a half.  To say the film takes an unexpected turn is quite the understatement, but it's hard to say too much else without spoiling the fun.  Suffice it to say that we essentially get a metaphorical peek behind the curtains into the imagination of horror film directors.  The film poses the question of free will in horror films.  Are the characters in horror films really given the option of free will, or are they stock characters who essentially are written to do drugs, drink alcohol, have sex, and then get killed?  The film poses this and other questions as it picks apart the horror genre to create a film that's both imaginative and fun.  I love and appreciate movies that surprise viewers with something unexpected.  The Cabin in the Woods certainly does just that.

They're not like something from a nightmare.  They're something nightmares are from.

SPOILER ALERT: In The Cabin in the Woods, the facility employees in the film act as stand-ins for the film's creators, pulling the strings along the way to manipulate the characters.  The "ancient ones" could be the horror film audience itself.  We've been around for years (as long as the genre has existed), and we've grown accustomed to the typical horror film.  As Marty states in the film, maybe it's time to give some new life a chance.  Filmmakers like Goddard and Whedon are certainly allowing exactly that - breathing new life into the horror genre and subverting it to no end.  The film was fittingly released on Friday the 13th.

5 out of 5 (because it's just so darn fun)

Lawless - Review

"We're survivors.  We control the fear.  Without that fear, we're as good as dead."

At the beginning of Lawless, we meet three brothers who have reached legend status in a small, southern town.  But they aren't the "good guy" type of legend.  Just the opposite is true. They have instilled a fear in the townsfolk that sparks whispers of their wildly brutal actions.  The brothers subscribe to a sort of self-fulling prophecy of immortality - if believe themselves to be invincible, they become invincible.  These strikingly different men are brought to life by three similarly distinct actors - Shia LaBeouf, Tom Hardy, and Jason Clarke.  Tom Hardy shines again as a quietly terrifying yet sympathetic character, while Jason Clarke's character is more openly dangerous and wild.  Shia does a fine job as the youngest and most innocent of the brothers; obviously his character has the biggest arc as violence surrounds and consumes him.  Surprising things happen to each of the brothers, and their dream of "immortality" becomes more and more uncertain.  Each one's fate is perhaps the biggest surprise of all.

However, these characters exist in world where plot is secondary to style and mood.  It's largely OK for the plot to be a bit flimsy in a genre that depends much more heavily on atmosphere.  I do wish the film had fleshed out the Gary Oldman-as-a-badass-gangster plot.  It felt like the talented actor was included in the world of Lawless almost as an afterthought and wasn't given his due screen time.  The film also makes it difficult to root for the characters at times.  Luckily, the female characters (Jessica Chastain and Mia Wasikowska) create a great foil for the brothers and help establish some balance to the otherwise male-dominated genre.  It's never unclear who we're supposed to root against (clearly the flamboyant Guy Pearce character).  But the brothers commit such violent acts that we feel a little guilty condoning their vengeful deeds.  Regardless, the film creates several nice set pieces and successfully creates the stylized world of the western.  While Lawless doesn't reach the level of immortality that it sets out to, it's still a great exercise in genre and atmosphere.

3.5 out of 5

Celeste and Jesse Forever - Review

You want to be right or you want to be happy?

Celeste and Jesse Forever gets off to a great start.   We're presented with a montage of images that give us the bullet points of the title couple's relationship.  It's like flipping through a photo album where the people start off happy and deeply in love, separate, and then attempt to regain happiness together as best friends.  Celeste and Jesse still love each other, but are no longer IN love.  Their friends don't understand and disapprove of their post-break-up relationship.  The film begs the following question: can two people stay together ("forever") even after breaking up?  It's like a character study, but for a relationship.  Both members of the partnership explore new potential lovers (some with shockingly bad results), but can't seem to totally avoid one another.  The story is refreshing and attempts a level of honesty that many films do not.  There are a few sub plots that could've been withheld and wouldn't have been missed, but the originality and outstanding soundtrack distract from the film's flaws.  Of course I won't spoil what the relationship status of Celeste and Jesse is at the end of the film.  That's not really the point anyways.  It's about two people who discover new ways to find each other and continually redefine their relationship.

4 out of 5

10 Must See Movies for Jazz Lovers

I love movies.  And I love jazz.  So all of the films below deserve high marks and would easily receive 5/5 stars in my book.  Each is uniquely stylized and set to an appropriately jazzy score.  These films feel like jazz itself.  If you haven't heard of or seen any of them, I encourage you to look them up.  You won't be disappointed.

Sweet Smell of Success (1957) Directed by Alexander Mackendrick

Sweet Smell of Success has one of the best screenplays of all time.  Its snazzy, biting dialogue ricochets from one character to the next.  The film speeds along breezily, relying on strong characters and an involving story with multiple mini sub-plots.  Mackendrick's film brings 1950's NYC to life on the big screen, utilizing characteristic film noir lighting techniques to complement its equally sharp script and cast.  This is truly a classic.  "I love this dirty town."

Elevator to the Gallows (1958, French) Directed by Louis Malle

Absolutely brilliant from start to finish.  Elevator to the Gallows takes a familiar narrative and revitalizes it with plot twists and an excess of noir style.  Miles Davis famously recorded the film's legendary improv soundtrack.  Malle's direction and Dacae's cinematography infuse ETTG's Parisian setting with suspense and suspicion.  As in any good noir, we're rooting for characters who are duplicitous murderers.  And we want them to get away with it.  It's elaborately crafted and efficiently told, while maintaining the freshness of the French New Wave.  Elevator to the Gallows stands the test of time and ranks among the best of film noir.

Breathless (1960, French) Directed by Jean-Luc Godard

Considered by many to be one of the most influential movies of all time.  Its impact can be seen directly in Bonnie & Clyde and countless other films.  Breathless, along with other French New Wave films, helped changed the rules of cinema.  The film came as a reaction to Hollywood's crime genre, blending homage with dark comedy and smart screenwriting.  It takes a rigidly controlled genre and transforms it into something unpredictable.  It's innovative, fresh, and light on its feet.  A masterpiece.

The Hustler (1961) Directed by Robert Rossen

Paul Newman is one of Hollywood's classic cool guys.  His existence in The Hustler is a shaky one as he gets involved with some shady characters.  Though the film revolves around the pool table, its message could easily be extended to any number of "hobbies" that end up consuming one's time, rather than passing it.  As Newman's character, Fast Eddie, puts it, "you can play the game the way nobody's done it before."  Robert Rossen did just that when he crafted this work over 50 years ago, and Newman's cool hasn't aged a day.

Taxi Driver (1976) Directed by Martin Scorsese

One of the darker, more unsettling films on this list, but great just the same.  Taxi Driver places the viewer precariously inside the mind of Travis Bickle, the intriguing anti-hero of the film.  We're presented with a dirty, messy view of NYC juxtaposed with a romantic, jazzy soundtrack.  Such contradictions define Travis, as he struggles to interact with the people and city around him.  The film is a stylish character study that features some of the best talent in Hollywood.

L.A. Confidential (1997) Directed by Curtis Hanson

L.A. Confidential is one of the best neo noirs ever made.  The film effortlessly weaves between its three central characters (Crowe, Pierce, & Spacey), connecting them to each other throughout.  Featuring an appropriately jazzy score and a fair amount of gritty violence, it doesn't require black & white photography to evoke the feel of the best 1940's thrillers.

Catch Me If You Can (2002) Directed by Steven Spielberg

Perhaps Spielberg's coolest movie in his impressive canon of work.  Catch Me If You Can finds the director tackling the crime/comedy genre with great success.  From its nicely done opening credits sequence, we know we're in for a treat.  The film introduces us to some familiar faces (Leonardo DiCaprio, Tom Hanks, Amy Adams, Jennifer Garner, Christopher Walken to name a few), and they're all in the unique cinematic world that Spielberg has created in Catch Me If You Can.  It's extremely clever, stylish storytelling that's worth revisiting over and over.

Matchstick Men (2003) Directed by Ridley Scott

Nicholas Cage turns in one of his finest performances.  OK, maybe that's not saying a whole lot.  But when he isn't completely insane (i.e. The Wicker Man), he can actually do a hell of good job acting.  In Matchstick Men, he plays an OCD con man.  Think of Monk meets Danny Ocean (sort of).  He's immensely entertaining.  Add that to the jazzy, Sinatra-filled soundtrack and Ridley Scott applying his skill behind the camera to the crime/comedy genre and you get an amazing film.

Good Night, and Good Luck (2005) Directed by George Clooney

A film's opening moments often establish its personality.  After the opening montage in Good Night, and Good Luck, I knew I'd enjoy the film.  The camera delicately introduces us to some of the film's key players, but through unique means.  We don't yet hear the characters, but the images and music do the talking for them.  What follows is a stylish dissection of the CBS news team that went after Senator Joseph McCarthy.  Their argument was that television could be used as a tool for the greater good in a time when it was only considered a form of entertainment.  Never before has a history lesson looked better.  I read that the film is punctuated precisely every 23 minutes by Dianne Reeves and her beautiful jazz accompaniment to match the run-time of the very television program around which the plot follows.  Brilliant.

Kiss Kiss Bang Bang (2005) Directed by Shane Black

Kiss Kiss Bang Bang is a loving homage to the noir genre.  It's densely (and cleverly) plotted but entertaining and funny at the same time.  The film lifts the cinematic curtain to expose some of the very devices at play (i.e. Robert Downey Jr. announcing himself as the narrator and addressing the audience directly, stopping the reels to backtrack on itself, etc.).  It has a sense of humor about itself that feels fresh and helps keep some of the violence from becoming too unsettling.  It's a smart satire that stands firmly among the best of them.

Note: The films are presented in chronological order based on theatrical release date.  I attempted to find a still from each film that featured a character smoking or holding a gun.  It was not difficult.

Beasts of the Southern Wild - Review

"The whole universe depends on everything fitting together just right. If one piece busts, even the smallest piece... the entire universe will get busted."

If ever a movie could be considered alive, it's Beasts of the Southern Wild.  This is a movie that must be seen, heard, felt, and experienced.  There's an energy throughout the film that's unlike any other I've seen.  It's powerful.

The film is teeming with ideas, teeming with life itself.  Its inspiring, central character is a 7-year-old called "Hushpuppy."  She reflects, "I see that I am a little piece of a big, big universe."  But there's nothing little about her presence in the film.  She's a fierce child of nature, exploring and discovering the world around her.  The film presents us with a blend of her vibrant imagination and the stark reality of the world in which she lives - a fictional bayou known as "the bathtub," perhaps because of how quickly it fills up with water during the storm.  


There isn't a moment in Beasts of the Southern Wild that doesn't feel magical or uniquely enchanting.  The music, the non-actors, the imagery.  It all registered with me on an emotional level.  The film appeals to the animal within and offers us a totally original cinematic experience.


Trailer: http://www.youtube.com/watch?v=ZF7i2n5NXLo

5 out of 5

Total Recall (2012) - Review

I'd be upset, too, Arnold.

Total Recall is instantly forgettable and unnecessary.  Why can't movies exist as a product of the time in which they were created?  Not every film necessitates a remake (in fact, very few do).  Say what you will about Schwarzenegger as an actor, but his films are fun and entertaining.  This one trades out Arnold's goofy charm for an overly serious tone and forced political overtones.  Filmmakers should utilize advances in technology to take us somewhere we haven't been before or even reinvent a series.  I'm fine with remaking a film into one that seems totally unique and fresh.  But we should aim to create new worlds in cinema, not recycle old ones.  Perhaps Total Recall is meant to act as a memory test to see if audiences can remember a 'similar' film that was released about 22 years ago?  Hmm...

This is a great video comparing old and "new": http://www.youtube.com/watch?v=sIduDF61WlM

1 out of 5  

The Dark Knight Rises - Review

Each character's prominence in the shot accurately indicates his amount of screen time.

The Dark Knight Rises completes one of the epic trilogies of modern cinema.  Without reading any further, you will have probably already seen the movie or know if you want to.  So my writing, as always, is meant to be a reflection on the film, not a way to convince you whether or not to see it.

My initial reaction to the film was posted as a Facebook status: "The Dark Knight Rises is a flawed but spectacular film."  Having now seen it a second time, I stand by this reaction.  But... the scale tipped in favor of spectacular for the second go around.  The flaws I mention didn't go away, but I guess I chose not to care about them as much.  They mainly include the influx of a slew of new characters whose main purpose is plot filler/to be killed off, a slightly bloated runtime (cut out 20 minutes and some of the aforementioned new characters), it gets a little too "talky" at times, and some scenes that weren't properly underscored as they could've been.  The film sometimes struggles to slow down from its lightning pace to let some of its key moments set in (i.e. a sad parting of ways for two main characters at the film's halfway point, a major character's departure towards the end of the film, silent shots of a Gotham in disarray, etc).  These are moments which Nolan should drive home to pack a bigger punch, but they sometimes get bulldozed over by the next scene in the queue.  TDKR is immensely ambitious, perhaps to a fault.

However, there's just so much that's great in TDKR.  And it's pretty hard to complain when that Hans Zimmer score kicks in with the action, especially in the third act.  The imagery is stunning, and I loved the scenes in the pit.  Michael Caine turns in another outstanding performance as Alfred - both witty and emotional.  Anne Hathaway makes for a brilliant femme fatale and was the most fun to watch.  Tom Hardy (whose mask forces you to read his eyes) plays an intelligent, but still brutal Bane.  Christian Bale plays a quieter, reclusive Bruce Wayne.  His Batman is broken and must rise up to become the symbol for the city that he set out to be.  TDKR doesn't feel like "the third Batman film", but rather a fitting exit for Gotham's watchful protector.

Selina Kyle is a classic femme fatale... on a Bat Pod.

Nolan's Batman films are particularly effective because they speak to themes Americans hear about constantly in the news: terrorism (TDKR opens with a hijacking), privacy issues ("clean slate" software, cell phone tracking in TDK), and their setting in what is clearly NYC.  The films are set in post-9/11 America and call for a hero to rise up from the masses to combat the terror at her doorstep.  "Batman can be anybody," we're told.  These are compelling examples of modern filmmaking that hit home with audiences and critics alike.  Hollywood can turn on the bat signal Nolan has left for us.  He'll be sure to answer with another fantastic blockbuster for years to come.  Job well done.

4.5 out of 5 

The Watch - Review

"Look at him and understand me. Look at both of us, but understand no one. Listen to my words, and hear his face."

The Watch gets spoiled by the trailers.  The interrogation scene pictured above makes me laugh no matter how many times I see it.  However, many of the film's best moments are given away in its trailers.  The best comedies don't reveal their hand during their marketing efforts, and save the big guns for showtime.  This is not one of the best comedies.  Unlike many critics, I found the mix between sci-fi horror and raunchy humor to be a fun idea.  Though there were some sequences that were well done, the overall execution could've been better.  Ben Stiller has been one of my favorite comedians since I saw him in Heavyweights, but it's newcomer Richard Ayoade who steals many of the scenes.  Ayoade is the director of the wonderful Submarine which came out last year.  I absolutely recommend seeing that film.  As for The Watch, if you haven't seen the trailers, you'll probably enjoy yourself more than I did.  

2.5 out of 5

3 Movies Worth Seeing... that you probably haven't heard of.

Safety Not Guaranteed

4.5 out of 5

"Stormtroopers don't know anything about lasers or time travel.  They're blue collar workers."

Clip: http://www.imdb.com/video/imdb/vi430350873/

Safety Not Guaranteed has heart and intellect.  It's simultaneously funny & original.  Mark Duplass is completely believable and genuinely talented.  Really the only problem is tracking down a theater that it's playing at!  What a shame.

Your Sister's Sister

4.5 out of 5

"Whatever you think is helping you, I have a responsibility as your friend to tell you that it's not."

Clip(s): http://www.heyuguys.co.uk/2012/06/18/4-clips-your-sisters-sister-emily-blunt-mark-duplass-rosemarie-dewitt/

An engaging drama that's often funny and consistently smart.  The direction stood out the most for me; it emphasizes the dialogue without detracting from it.  I love the focusing choices - really superb.  The characters are all fleshed out nicely and avoid cliches.  Another great hole-in-the-wall find at "select theaters."

To Rome With Love

3.5 out of 5

"I have an IQ of 140."

"Yes, but that's in euros."

Clip: http://www.youtube.com/watch?v=cJtaMnwjNLg

Alec Baldwin and Woody Allen himself are the true highlights, without question.  It's great to see the neurotic Allen and the suave Baldwin on screen in the same film, though never together.  Baldwin is reminiscent of the "Bogart" character in Play it Again, Sam and just as entertaining.  The rest of the characters are fine but are out-shined by those guys.  Too much time was spent with the shower singing nonsense.  Regardless, we still get the cleverly crafted romance vs. intellect love entanglements that define many Woody Allen flicks.  Not his best work, but as Woody once said "even the worst orgasm I ever had was pretty good."

The Amazing Spider-Man - Review

Look out!  Here comes the Spider-Man... again.

The Amazing Spider-Man is a fun, but flawed film.  If you can overlook these flaws (see below), you'll be entertained.  I was entertained.  Maybe I'm being a glass-half-full kinda guy on this one because I love Spiderman so much.  This is one instance when I know the movie isn't perfect and missteps often but I still have a good time watching it.

It will be understandably difficult for viewers to not play the "let's compare this one to the original series" game.  Don't.  Like comparing books to movies based on books, they're different animals and should be judged accordingly.  Of course, you'll probably like one more than the other, but that doesn't mean both can't be good or bad.  It's in their nature to be simply be different... because they are.

I decided to review this one atypically because I had such mixed reactions to the film.  One second I would be loving it, and the next I'd be shaking my head.

The Good:

• The chemistry (science pun) between the leads is fantastic.   
• I also liked the Dr. Connors/Lizard villain.  It's a sort of extreme version of Dr. Jekyll/Mr. Hyde.  
• The film boasts many great set pieces.  Notable action sequences include Lizard roaming about an abandoned Oscorp, the sewer sequences, and a showdown at Parker's school.
• Martin Sheen and Sally Field make for a nice Uncle Ben and Aunt May.
• We get to see much more of Oscorp, a place teeming with innovative science and an area left unexplored by the previous Spidey flicks.
• The film is wonderfully shot on the latest digital technology, which makes it easy on the eyes (unless you experience 3D discomfort).  Speaking of which, it was a great one to see in 3D!   
• The Stan Lee cameo.

The Bad (and the Ugly):

• Judging from the many trailers, a TON of footage (including entire scenes and plot points) were cut from the theatrical release.  Some parts of the film felt like they weren't given their due time on screen while others felt dragged out.  The editing seemed off to me.
• I hated skater Peter Parker.  Parker is supposed to be a likable, intelligent nerd who becomes a superhero.  I didn't get that vibe here.
• No J. Jonah Jameson?  Disappointing.
• The basketball and crane scenes were silly.
• For me, the film didn't deliver on all of its grand promises of "the dark backstory never been told about Peter Parker's past."  We get little hints of it here and there, but it's all really just a tease until they figure out an inevitable sequel.  Even the scene during the credits sequence gives us very little information.  You can probably guess who the man in the shadows is, but that's not really tremendously helpful.
• I hope the quickness with which Hollywood decided to re-boot this series will not predict more re-boots in the near future.  I'm looking at you, Twilight series...

Despite all the nonsense, I still enjoyed the film.   

4 out of 5 (because I'd recommend seeing it and overall it was more good than bad/ugly)

Moonrise Kingdom - Review

Jiminy cricket, they flew the coop!

Sometimes I feel like if you've seen one Wes Anderson film, you've pretty much seen them all.  Other times I feel like each one is a totally unique world created by the same cinematic visionary.  Regardless, they're all good, and they don't even remotely resemble any other filmmakers' style.  The Royal Tenenbaums remains my personal favorite (but maybe that's because it got to me before all the others did).  Moonrise Kingdom comes in at a very close second.  The film is, as one would expect, beautifully shot and heartfelt.  It's a deft blend of fantasy, young love, comedy, eccentric characters, cartoon, and a few other qualities I don't think they quite have words for.  The soundtrack, too, is fantastic.  There really aren't too many glaring flaws here.   Moonrise Kingdom is an example of unique filmmaking from one of our time's proven auteurs and another creative story from the imagination of Wes Anderson.

Note: I find the increasingly prominent role that young actors are taking in modern films to be interesting and worth making note of.  Today, children and young adults are more commonly allowed much more maturity and complexity on film than in the past (Leon (The Professional) and Kids are two quick exceptions).  The two young people in the photo above are at the heart of this film, and their youthful passion and bravery are enchanting.

A sample of the soundtrack: http://www.youtube.com/watch?v=MbPO7OzGTqs

5 out of 5

Ted - Review

"OK so that's where we'll draw the line."

Ted is funny.  Honestly though... I wanted it to be more outrageous, laugh til you cry, offensive, over-the-top, unbelievable, shocking, gut-busting funny.  And only some scenes were close to that.  So I was a little disappointed.  Don't get me wrong, Ted has some really funny stuff.  I just expected a live-action version of the "Family Guy" humor to be better than it was.  The film focuses too much on the Mark Wahlberg-Mila Kunis relationship, which nobody really cares about.  Let's be honest, you're going to this movie to see a stuffed animal to completely ridiculous shenanigans.  As always though, go see it and judge for yourself.  Ted gets laughs, it just won't cement itself as a new & influential comedy classic like The Hangover or Bridesmaids.

3 out of 5

P.S.  My favorite part of the movie was its (now familiar to me) Boston setting.  It made me miss the city and look forward to going back in August.

Seeking a Friend for the End of the World - Review

A dog named "Sorry."

Somewhere in the runtime of Seeking a Friend for the End of the World is a great movie, but the film itself is not "great."  The film has a lot of heart... but also a lot of jarring tonal shifts that leave you with mixed emotions.  It contains interesting insight into the mentality of people faced with "the end of the world" and showcases various strategies of coping... but also occasionally resorts to forced caricatures that detract from the film's true emotion (I'm looking at you, William Petersen, the trucker in this film).  Steve Carell and Keira Knightley are two gifted actors who have made a name for themselves ...but their chemistry is only sporadicly on target (perhaps the age difference?).  There are moments in the film that I truly enjoyed and that felt real.  I just wished they had left out some of the others.  When it comes to Seeking a Friend for the End of the World, you could do a lot worse at the movies this summer... but the film should've been a lot better.

3.5 out of 5

P.S. Steve Carell will always be Michael Scott from "The Office", in my mind.  I have a hard time hating anything that he does.

Abraham Lincoln: Vampire Hunter - Review

Vampire hunting with Honest Abe isn't as fun as it sounds.

You wouldn't think that a movie titled Abraham Lincoln: Vampire Hunter would have a problem laughing at itself.  But that's the case here.  Surprisingly, the film seemed to take itself a little too seriously.  It should've been much more fun than it was.  I found myself longing for more outlandish scenes and more ridiculousness.  The film was marketed as much more campy, bloody, & outrageous (think of Drag Me to Hell).  The best scenes were the ones that were so insanely conceived that you can't help but laugh.  Unfortunately, there's not enough of them!  Some of the 3-D technology was implemented quite nicely (the smoke-filled set pieces, the dust floating in the air that reveals a sinister, invisible enemy), but others were disappointing.  How many times are filmmakers going to make us sit through scenes where a character fires a bullet "at the audience" or cracks a whip "at the screen?"  These are silly scenes that are more frustrating than fun.  What the film boasts in atmospheric imagery it lacks heavily in screenwriting.  The voice-over narration was a distraction from the film's vibrant visual flair.  When done correctly, voice-over can greatly enhance a film (i.e. Taxi Driver, Double Indemnity).  But when it's bad, it is BAD.  Abraham Lincoln: Vampire Hunter has got some entertainment value, but it can't seem to strike the proper balance of horror, camp, and comedy.

2.5 out of 5

Prometheus - Review

"Big things have small beginnings."

Prometheus presents a long-awaited return to science-fiction for acclaimed director Ridley Scott.  The film does not disappoint.  It's absolutely beautifully shot and filled with intelligent, thought-provoking questions.  What is the origin of human life?  What happens when two species collide?  These are giant questions that the film doesn't need to answer, but chooses to pose and play with.  Prometheus kicks off with some stunning shots of a vast world not yet populated with life of any kind.  Without giving away plot details, we then see the double helix typical of human DNA floating down a river followed by cells forming a new life form.  In very broad terms, the film is about creation.  

 "I watched your dreams."

Michael Fassbender turns in what should go on to be an Academy Award winning performance as David, the AI on board.  Scott has explored the realm of humanity vs. machine in both Alien and Blade Runner, and further questions the two here.  Interestingly, David seems disappointed in his human creators especially when one crew member informs him that he was created "because we could."  His biting tone reveals his frustration with "you people" (humans) creating him in their likeness because it would upset them to create something that didn't resemble them - a notion that bears heavy significant for other scenes in the film. Fassbender injects complexity into an already well-written character.  He has childlike curiosity, bitter jealousy, cruel intent, and the desire for knowledge often all at the same time.  David frequently quotes from Lawrence of Arabia, and brilliantly alters the meaning of the lines given their context in this film.  Unlike previous films by the director, David actually succeeds in creating a new species, albeit indirectly and through unorthodox means.  Other than Noomi Rapace's Elizabeth Shaw, David is at the center of the film and catalyzes much of the action.  He offers an interesting contrast to Charlize Theron as Meredith Vickers, who I believe to be human (though this point, I'm sure, could be argued).  Though both characters' "creator" is the allusive Peter Weyland, David's interests and motives seem more in line with his father's than do Vickers'.  David is willing to sacrifice human casualties to further the mission, while Vickers is not.  

"There is nothing in the desert.  And no man needs nothing."

This is a fascinating film that will likely go under appreciated.  Prometheus is about the journey, rather than the destination, and many people don't like that sort of movie.  It's a film about exploration which ponders the questions of creator, creation, and faith.  Scott's Blade Runner was perhaps one of the most misunderstood pieces of cinema upon its initial release.  While the film isn't without flaws and doesn't quite reach the level that Blade Runner or Alien have earned, to hold its own against such worthy competitors makes it worth the price of admission.

P.S. I strongly recommend seeing the film in 3-D.  It's the most effective use the technology to date. 

5 out of 5