I'm often very cautious of movies that indulge on one particular sensibility. It's not necessarily that I fear I'll get lost in the strict adaptation; it has more to do with a whiff of an arrogant attitude that feels high on its own self indulgent humor and style. I had those concerns earlier this year with a film called Kick-Ass, and while it did carry some of those concerns, it ended up being a fun ride in the end. Last year, there was such a film, and it was Zack Snyder's adaptation of Watchmen. I'll admit that I did have a slight fear with this film, but in the hands of a talented cast and crew, the material manages to escape unscathed.
Based on the very popular graphic novel series, Scott Pilgrim (Michael Cera) is an ordinary twentysomething living his relatively banal life in Toronto. He's unemployed, mooching off his stable, gay roommate Wallace (Kieran Culkin) and a member of a subpar band called "Sex Bob-Omb." While participating in a lackluster romance with a high schooler, he crosses paths with Ramona (Mary Elizabeth Winstead). As his infatuation grows, so does his physical necessity to defeat her seven evil exes before there can even be a cementing of their relationship.
What I generally admire most about Edgar Wright is his enthusiasm behind the camera which gives way to some clever visual gags and an inspired sense of humor. His two big hits, Shaun of the Dead and Hot Fuzz, are fantastic satires on they're genres that eventually become stable entries in their respective genres. This film is working a little differently, but the capabilities of Wright's tight direction is used to a continuing ultimate effect. He creates a gliding pace for the film, allowing the raw emotions to become swept up in the entire world of the film. The action contains the right tone of standard believability along with hyper-realism to go along with the videogame theme. The script, co-written by Wright and Michael Bacall, is also evidence for clever wit that perpetrates throughout.
The one major fault that Wright brings to the project is one that he brings to every film he works on. As the climax starts to rear its head, the film has a difficult time finding the right note to end on, leading the last fifteen minutes of the movie to feel longer than they actually are. Even though that has been present in his last two films, I would say this film's ending drags on more than any of the others he has worked on. The action is stylishly presented, and damn entertaining, but it eventually gets long in the tooth and present maybe one beat too many before the resolution of the film. Still, Wright handles the material pretty well, and the positives he brings far outweigh the sparse negatives.
The elephant in the room for me was Michael Cera, and given his recent performances, I was worried that his predictable character types would diminish the character. Maybe he actually delivers in an engaging character, or maybe the pace is just quick enough not to notice the annoying nuances of a Cera performance, but whatever the case, he actually comes off quite likable in the role of Scott and feels capable to carry the emotional weight. Winstead also pulls her part to bring the right amount of humor and emotion toward her character as well. The supporting cast is full of enjoyable glows, chief among them being Culkin, whose Wallace brims with sassy charm and heartfelt cynicism. The evil exes range from the likes of Brandon Routh to Jason Schwartzman, and even though they're a dime a dozen, they add enough charm to make an imprint in the crowded cast.
I can't aspire to the notion that this is a "perfect film," as it gets into some slow spots every once in a while, and has difficulty wrapping up its finale, but on the whole, it's a very entertaining film. The tone is exuberant, the pace is blissfully quick, and the cast is a joy to watch. Edgar Wright tried to have some indulgence in this film, but fortunately he left out the smug self-awareness attitude and included something for every kind of audience to enjoy. It would seem to me that Wright needs to tell Zack Snyder how to do a successful adaption that is faithful to its source material.
Fall is right around the corner, and most know is the time when most of the prestige pictures and Oscar contenders start to roll out. Times have changed a bit recently, and I’m not as excited as those big Oscar picks as before. Still, as an avid Oscar watcher, I still find the need to at least try to see as many of these films as I can. Here’s a rundown of some things the year has yet to offer, and what I am excited to see.*
21. Morning Glory
Release Date: November 12
Dir: Roger Michell
Cast: Harrison Ford, Rachel McAdams, Diane Keaton
This is the first in a long line of films coming out in which the premise might not sound that interesting, but the promise of an able ensemble is often enough for me to get excited. I might not be too invested in a plot concerning television programing, but the cast seems capable enough to provide laughter and emotional resonance, and since this is written by the same person who wrote The Devil Wears Prada, that’s comforting.
20. I’m Still Here
Release Date: September 10
Dir: Casey Affleck
Cast: Joaquin Phoenix
You can call it a case of morbid curiosity, but I like many others want some answers as to what happened to Joaquin Phoneix during that period when he fell off the map to indulge in a “rapping career?” This could provide some serious insight into his psyche or it could all be an elaborate hoax by a very talented actor. Either way, it’s too tempting to pass up.
19. The Company Men
Release Date: October 22
Dir: John Wells
Cast: Ben Affleck, Tommy Lee Jones, Maria Bello, Chris Cooper
Much in the way Up in the Air had the extra benefit of seeming timely given the current economic conditions, this one has a similar plotline concerning layoffs among the working force. It could add up to the same amount of ironic enjoyment, and a cast as talented as this one makes this not only a bona fide Oscar contender but a possible earnest crowd pleaser as well.
18. The Tree of Life
Release Date: November (tentatively)
Dir: Terrence Malick
Cast: Brad Pitt, Sean Penn, Jessica Chastain
I’d be more excited for this cloak and dagger mystery project if it weren’t for two big things: 1) the release has never been confirmed and has yo-yoed incredibly, and 2) it’s a Terrence Malick film. I was severely unimpressed with The New World, but it might just be a fluke in his repertoire. I’ll admit that my interest is mainly the hush-hush nature of the project, and it could end up being terrible. Nevertheless, it has my interest for now.
17. Black Swan
Release Date: December 1
Dir: Darren Aronofsky
Cast: Natalie Portman, Mila Kunis, Winona Ryder, Vincent Cassel
I’ve warmed up to Darren Aronofsky over the years, and while I might not confess myself a huge fan of his, I am interested in seeing what ideas he can bring to a truly inventive film. This idea of dueling ballerinas is an interesting one, but the hard R-rating suggests we might be in for a ride that is quite unique. That’s just the promise necessary for an Aronofsky picture.
16. Jackass 3D
Release Date: October 15
Dir: Jeff Tremaine
Cast: Johnny Knoxville, Steve-O
In the barrage of 3D we’ve been getting lately, you have to choose wisely about which movies are worth the extra surcharge. From what I’ve heard, this employs one of the most creative and inventive uses of the technology. Sure, it’s in the most juvenile way, but that’s always been the sly genius of this group of guys. They’re idiots, but they’re stunts are very impressive, and with the invitation to see a gloriously cheesy 3D picture, that’s a guilty pleasure I can indulge in.
15. The Kings Speech
Release Date: November 26
Dir: Tom Hooper
Cast: Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce
This has “prestige picture” written all over it. You’ve got a true story as the basis, a talented and Oscar baity cast, and all the glorious costumes and set designs to fill the eyes. Fortunately, Tom Hooper is experienced with this kind of material (he directed the TV projects Elizabeth I and John Adams) and the cast is certainly first rate. Like most Oscar bait, it has the greatest potential to fail miserably. However, I’m hoping the track record of the talent involved will prove that theory wrong.
14. Somewhere
Release Date: December 22
Dir: Sophia Coppola
Cast: Stephen Dorff, Elle Fanning
Full disclosure, I have yet to see a Sophia Coppola movie that I like, with her most overrated piece of mediocrity being Lost in Translation. There’s a strong possibility (more than a possibility) that this can fall into the same type of laborious trap as her other films. However, there’s something about the tone of the trailer that feels a lot more sincere than her other films, and it’s getting me a little more interested in seeing it. If it’s a complete disaster, I won’t be surprised. But I’m holding out that I could be wrong.
13. Let Me In
Release Date: October 1
Dir: Matt Reeves
Cast: Chloe Moretz, Kodi Smit-McPhee, Richard Jenkins
The Swedish vampire film Let the Right One In I don’t think is a flawless film, but it is one that is well made and well crafted in its mood and atmosphere. The thought of an American remake did put me off a bit, but after hearing some positive buzz out of Comic-Con, my hopes have been raised. With the addition of seeing that Chloe Moretz could actually act in Kick-Ass, this will probably not be as good as the original, but it might just be enough to distinguish itself as a standalone piece of work.
12. Wall Street: Money Never Sleeps
Release Date: September 24
Dir: Oliver Stone
Cast: Michael Douglas, Shia LaBeouf, Carey Mulligan, Josh Brolin
Sequels often time have trouble succeeding in the marketplace, and one to a movie that is twenty-three years old doesn’t make it seem any more promising. What does make this appear more interesting than it probably is that, like before, this required timing in order to succeed. Considering what has Wall street has been through lately, it might be fitting to get a stylish revisit. Stone can be hit or miss, but he’s directing a talented cast and a premise with much potential. I’m even betting this might be a quiet hit at the box office.
11. The Conspirator
Release Date: TBA
Dir: Robert Redford
Cast: James McAvoy, Robin Wright, Toby Kebbell
Another prestige picture, this one about the aftermath of Lincoln’s assassination. From the start, I was interested because of the subject matter and the chance to see more directorial effort from Robert Redford, who I still contest was of great value in the underrated Lions for Lambs. Now, interest is even greater given that Spielberg’s Lincoln project has just stalled. The two projects have nothing to do with one another, but I’m incredibly fascinated to see how this one turns out.
10. Love and Other Drugs
Release Date: November 24
Dir: Edward Zwick
Cast: Jake Gyllenhaal, Anne Hathaway
Edward Zwick has had a pretty good track record in terms of films lately, and even though Defiance was a misfire, his batting average is still pretty good. That, plus a Brokeback Mountain reunion between co-stars Jake Gyllenhaal and Anne Hathaway is very exciting. In my opinion, both of these actors should have won Oscars for their past nominated roles, and I’m eagerly anticipating seeing the results the talent involved offer.
9. The Fighter
Release Date: December 10
Dir: David O. Russell
Cast: Mark Wahlberg, Christian Bale, Amy Adams
Oscar time can be quite kind to boxing pictures, especially ones based on true stories. Russell always manages to make interesting, if not always successful, pictures, but this is one that could pay off. The inclusion of Wahlberg can be a positive or negative, but given the right director to morph his natural talent into something spectacular, you can be blown away. Early buzz for him and Bale seem to suggest that, making this one of the most anticipated Oscar contenders around.
8. Hereafter
Release Date: October 22
Dir: Clint Eastwood
Cast: Matt Damon, Bryce Dallas Howard
I believe that Clint Eastwood is still one of the greatest directors working today. Even though I was unimpressed with Gran Torino, I do think he bounced back a bit with Invictus. While the supernatural plot to this film doesn’t sound like a big awards contender, it does sound like an opportunity to have his patented quiet and subtle direction work magic with an ominous tone. Eastwood is one of my favorite filmmakers, and I have faith in this project.
7. Howl
Release Date: September 24
Dir: Rob Epstein, Jeffrey Freidman
Cast: James Franco, Jon Hamm, David Strathairn, Mary Louise-Parker
At Sundance, this film got a lukewarm response, but I have to say that the recent marketing for the film has gotten me more interested. For the last couple of years, James Franco has really begun to prove himself to have a wide range of roles, and the chance to show himself off in a leading biopic role sounds promising. The direction of the film also seems to be a little odd, which I’m on the fence about, but this seems to be an interesting picture that might be something like a more polished and cohesive version of a film like I’m Not There.
6. True Grit
Release Date: December 25
Dir: Joel Coen, Ethan Coen
Cast: Jeff Bridges, Matt Damon, Josh Brolin, Barry Pepper
Whenever the Coen Brothers embark on a new feature, there’s hardly a single person who isn’t interested. The fact that they’re not only remaking a classic film, but re-imagining it in a way that’s closer to the source material makes a very interesting promise. Also with Jeff Bridges reuniting with them for the first time since the cult hit The Big Lebowski, not to mention his recent Oscar win, this makes for a headline to an interesting cast. Not every Coen Brothers film is a success, but they’re all interesting on some level, and I doubt this one will be an exception.
5. Blue Valentine
Release Date: December 31
Dir: Derek Cianfrance
Cast: Ryan Gosling, Michelle Williams
With its time shifting storyline and somber tone, this sounds like a more serious version of (500) Days of Summer. Since I loved that particular film, the premise behind this one is incredibly fascinating. Adding to my anticipation is the knowledge that two wonderful actors are playing opposite eachother. This one was also shown at Sundance, and it was met with outstanding reviews. The Weinstens are obviously pushing for this to become an Oscar contender, but whether it succeeds or not, I would be interested to see the execution.
4. TRON: Legacy
Release Date: December 17
Dir: Joseph Kosinski
Cast: Jeff Bridges, Garret Hedlund, Olivia Wilde, Michael Sheen
When I first heard about this film, I admit I wasn’t terribly excited for it because I couldn’t find a reason why we needed a sequel to a film that was mainly praised today due to nostalgia. Then, after Jeff Bridges was impressing me in Crazy Heart, I got a little more interested. But after seeing the 3D trailer twice at IMAX, my attention suddenly skyrocketed, and my excitement for an incredibly vivid visual landscape seems to promise a very good time at the show. I’m still not sold on the story aspects, but in terms of an enjoyable winter action picture, this seems to be the one to beat.
3. Harry Potter and the Deathly Hallows: Part I
Release Date: November 19
Dir: David Yates
Cast: Daniel Radcliffe, Emma Watson, Rupert Grint
Do I really need to say much here? We all know how popular Harry Potter has become, selling billions of books and resulting in a multi-billion dollar movie franchise. Now we finally come to the conclusion, with the first part coming this year with the second half arriving in summer next year. I’m ready for the end, and will be eager to see how it all wraps up.
2. 127 Hours
Release Date: November 5
Dir: Danny Boyle
Cast: James Franco, Lizzy Caplin, Amber Tamblyn
James Franco’s got two high profiled films coming out later this year, only this one is more interesting because it’s Danny Boyle’s Oscar follow-up. Boyle is a man who can film cows grazing and make it interesting, and the thought of such a talented actor and director getting together is way up on my list of anticipated events. Also knowing that the first hour of the film is roughly dialogue free means that it will take an incredible amount of strength on behalf of the director and actor to make it work. Knowing what Boyle and Franco have showed in the past, I have faith in their abilities.
1. The Social Network
Release Date: October 1
Dir: David Fincher
Cast: Jesse Eisenberg, Andrew Garfield, Justin Timberlake
Fincher is one of the greatest, vizualist filmmakers working today. Eisenberg is a great talent whose nickname of the “Poor Man’s Michael Cera” he has outshone by his acting abilities. Garfield has impressed in the past and it is said his performance here nabbed him the role of Spider-Man. Aaron Sorkin is the writer, and he’s well established in the field of interesting stories. All this talent is colliding together over an interesting that is more current than ever. Style and substance comes together for a film that may not turn out to be the big Oscar contender people think it is, but I’m guessing what we’ll get is a well acted, well director, engaging piece of pseudo-history that, for me, is what I’m looking forward to the most in the next four months.
*Release dates are subject to change or may be limited release schedules.
Whenever someone brings up this film in conversation, there seems to be nothing but praise for one particular performance. That's a promising notion to get somebody to see a film, but I'm always cautious of that. Time and time again, I ask myself whether or not a single good performance in a film can make up for all the shortcomings that engulf nearly all other elements. Most of the time, it doesn't happen; a film needs more than one good element in order to be successful. Fortunately, this film has some more to offer than just one good performance, even though that performance is pretty good on its own terms.
Inspired by an actual event, the film centers on a reclusive hermit, played masterfully by Robert Duvall, who has isolated himself from the rest of the world because of a tragedy in his past that has festered in time. Now, he gets in mind to plan his own funeral, while he is still alive. He hires the staff at the local, struggling funeral home headed by the droll Bill Murray. Sissy Spaceck shows up later as a friend from the old days that exposes more light into this man's checkered past.
Robert Duvall has well established himself as one of the greatest living actors. Still, like many great actors that have already proven themselves, its often easy to go into autopilot and sleepwalk through roles. Even though Duvall's patented Southern drawl is in full force here, it's still a great performance, one of his best in a long time. It never feels overdone, and Duvall puts on the right amount of cynicism, humor and tenderness to make each moment feel genuine. He's tracking territory mined before, to be sure, but sometimes it's the singer, not the song, and he brings enough charm for all to continue to be wowed. It's been a while since Duvall has had a nice leading role to showcase his earnest talent, and this is proof that he needs to have many more occasions to show off his uncanny ability to create an endearing character.
Among the supporting players, Bill Murray shines the brightest by giving the most offbeat humor of the film. You probably aren't going to be blown away by his performance, and if anything you might wish his subdued persona could have been amplified a bit more for a character with such flamboyant potential, but you are more than likely going to enjoy his quick comedic whips and often times genuine portrayal of a businessman with a heart of gold. Lucas Black shows up as an employee of the funeral home, and next to Duvall probably has the greatest amount of depth. Black doesn't overplay his role either, and the glimpses of complexity within the performance give way to thinking this character is more interesting than perhaps actually written. Spaceck, I think, does sleepwalk a bit through this movie, but when the scene requires for something specifically, she delivers in just the amount to not be amazed but to still feel right for the moment.
This is director Aaron Schneider's first feature film, and he comes from a cinematographer's background. Usually, people who start in the visual artistry of filmmaking and move into directing concentrate heavily on the stylish flare while leaving the actors and story to fend for themselves. Schneider does fall into this trap at times and does let the pace become often dull at many points in the film. Still, his eye as a director is not unskilled (he won an Oscar for his short film Two Soldiers) and even though his style can't always mask a thin and predictable script, I do think he has talent to balance intimate moments of emotional reveal with the more vibrant visuals he has the expertise to indulge in.
I don't think this is a flawless film, and its rough pace and quasi-uninteresting story place far away from any best film list, but many qualities of the film do make it an enjoyable one to watch. Mainly, it's Duvall giving a bravado performance that showcases once again why he's so revered and praised as an actor, while his co-stars give more personality to help the directions both pros and cons. I guess the search continues for a film that I like because of one performance. But at this point, that's about as likely as Duvall giving a performance that does not include a Southern accent.
On Saturday evening, 10:35 CST, the long running, movie review show "At the Movies" will show its final reel. The legacy that was started by Chicago bred critics Gene Siskel and Roger Ebert will come to a definite end. There's a lot of reasons why people claim this show is going away, and if you're name is Armond White, you're happy as hell. Suffice it to say, I'm not Armond White, and I've been upset about the news ever since it was announced a few months ago.
When Michael Phillips of the Chicago Tribune and A.O. Scott of the New York Times took over from the "Bens"-Lyons and Mankiewicz- last year, there seemed to be a collective cry of joy. I've written before about why they weren't terrible, just simply the wrong guys for the job. Still, I had faith that Phillips and Scott would add so much to the show that was missing in that short time: a sense of intellect and professionalism that was respected. And they delivered. At least I can take comfort this time that their removal has less to do with perception and qualifications and more to do with the general state of film criticism.
A show like "At the Movies" was never going to have a huge audience; anything that airs that late on Saturday night isn't nabbing huge numbers. For ABC, it's a calculated move to go with the trend of disowning the traditional form of embracing film critics. Phillips and Scott do admirable jobs, and a loyal reader of the former's print reviews can attest to that. In the end, just because we won't get televised reviews anymore, we are not lost.
For the present time, both of these men are still writing for they're respective newspapers, and even if you don't live in Chicago or New York, you can always find the written work online. Not only do you have that, but because of the internet, the field of interesting perspectives on film is wider than ever. If you need one to recommend, mine probably is the /Filmcast. Three guys and a guest get together every week to talk shop about a particular new release. It's certainly a more laid-back presentation than the show, but I'd argue it still provides the same amount of intrigue, passion and even humor that I found in the previous show. I still run to listen weekly with as much excitement as always.
But even with all those other options out there, there's one thing they don't do that "At the Movies" could. Most sites only review one film a week, and it's usually the major release. The television show would often review five or six movies a week, big and small. Often times people would get to hear about smaller films that have trouble getting the attention their big-budget competition would receive. I can't tell you the countless films I've seen thanks to the efforts of this show. I think this is the element that will be most missed. I can handle not seeing two people I like on the television every week, but I'll miss the opportunity to notice a national spotlight on those films. Still, newspapers write about this, so it's not a total loss. But images mean a lot in this world.
I'm sad the show is leaving, not only because I've been watching it for years, but also because a side not is this a great Chicago institution going away. In the end, however, the memories will still be there, and I am grateful for what the show has given to me as just not only an ammeter critic but as a filmmaker too. So to close it all, I want to say thank you. Thank you "At the Movies." Thank you Michael Phillips. Thank you A.O. Scott. Thank you Richard Roeper. Thank you Gene Siskel. Thank you Roger Ebert. Thank you scores of guest critics. I'll even thank the Bens. All of you did fine work on your own terms, and continue to do so. "At the Movies" will not be replaced, nor forgotten. Thanks for the insight, and, in spirit inyway, I'll see you at the movies.
For the record, I don't want to despise Joel Schumacher. In fact, I think his visual artistry behind the camera can lead to some inventive storytelling, and while I don't think I've ever seen a film of his that I have "loved," the ones I do respond to have a way about them that feels creative and engaging. His latest piece of work is, without a doubt, trying for that same tempo. And like most of Schumacher's works, it succeeds in some parts and fails in others, leading to yet another film that cannot be recommended for its few merits.
Based on the well known bestseller that was published by a seventeen-year-old author, the film wants to take a keen, up-close look into the world of spoiled, rich kids in New York whose shallow obsession with looks, fashion and drugs lead the inevitably down a life of downtrodden torment. At the center is White Mike (Chace Crawford), the local drug dealer who divides his life between his business and the subtle relationship with childhood friend Molly (Emma Roberts). But the one drug White Mike won't deal is called "Twelve." One man who does is the dealer that Mike gets his weed from, played by Curtis Jackson, a.k.a. "50 Cent." What follows are these characters slowly circling the drain of self-destruction.
To be fair, I do like what Schumacher does with most of the film. He manages to retain an inspired visual flare that manages to keep you invested throughout most of the story. Even though Schumahcer can't help but stretch his creativity too thin by indulging in an erratic pace and often times suffocating the story in quirky editing and framing, but somehow he manages to pull off the right tone in nearly every scene. His record as a filmmaker has always been erratic, but I think this is one of the few times where his eye is very controlled, and he delivers what is necessary through direction.
However, as accomplished as Schumacher's direction may be (and that's not praising a lot), there is a much larger, fundamental flaw with the material. This is a world inhabited by very few characters that have a relatablity to the audience, and this is a problem. Not every character is unlikable, but they all are not redeemable. White Mike refuses to sell the potent drug Twelve, but his "heart of gold" doesn't stop him from simply taking clients to the more dangerous man who does. There's also a deep melancholy brewing in him because of the death of his mother, but even that feels contrived and shallow. And even when the film is trying to jump through hoops to convey how these lives end up miserable for all involved, the film never fully conveys the tragic nature of these characters, making those miserable ends seem just as fake as the glossy surface they put on for the world.
Nobody here is giving a bad performance, but very few feel like they're doing more than just reading from the script. Crawford's got the rugged charm, but his character feels so two-dimensional that his predictable character path loses the impression of depth to his performance. Most others have the same similar qualities of Crawford's acting, only with even more complexities erased. The only ones who strike any resonance are Emily Meade, as a "Twelve" addict whose downfall is the only one sincerely felt, and Rory Culkin, who, as a young kid whose ambitions to have sex only means partying with people he can't stand, feels like the only one based in some kind of reality.
For the first time, it seems, a film by Joel Schumacher hasn't been damaged by his own heavy direction. He's actually the only one who seems how to responsibly handle this material, and delivers the right amount of style and flash that coincides well with the tone. Still, a boatload of bland performances and a story that feels cheap in its messages, sloppy in its storytelling, and borderline exploitative in its melodramatic ending can't rise this sinking ship. Schumacher is doing his best here, and I suppose that's something to be grateful for. But even though the situation is reversed, and he's doing a good job while everyone else is doing bad, the equation still comes out the same.
World Affairs
