It’s been quite a while since I last updated my blog, and that has been due to a number of reasons. Most of them boil down to two major issues: 1) I am in the process of completing my last semester of college and completion projects having been making the last weeks incredibly hectic for me, and 2) there haven’t been many movies out that was worth me updating my blog for. To be fair, I have seen a lot of movies, in the theater, that I did enjoy and would certainly recommend. However, as I get older, I start to see that most movies no longer elicit the greater nuances of quality I used to find. Most films I see now end up in a homogenous group that can be recommended without a strong passion. Even still, there have been a couple things I have seen that did get a real response out of me. These are films that I would even argue are the best films of the year.
The first film is Drive, and this one came out all the way back in September. If you aren’t familiar with it, and judging by the box office that might be a distinct possibility, this was one of the many Ryan Gosling starrers that came out this year about, a stunt driver who moonlights as a getaway man and gets pulled into a gangster plot. Without a doubt, this is my favorite film of the year so far. Nicolas Winding Refn is a masterful director, and he created one of the few films that deserves to be called “Hitchcockian.” He uses the camera is such beautiful ways, and the offbeat surreal quality is just so mesmerizing. Most of the performances are rather quiet, but engaging nonetheless, particularly from Albert Brooks playing against type as a villain, and Carey Mulligan in a fantastic role as a “supporting wife” kind of character with layers of complexity. I loved pretty much every frame of this film: it is an exercise in cool in cinema. This film was a godsend for me, especially coming off the absolutely abysmal summer. It was dark and brooding, but it was also fun and an incredible joy to sit through. I can’t recommend it highly enough.
The other film that really captured me this year is one with even less of a profile than Drive. It’s a little movie called Weekend, not to be confused with Godard’s 1967 film. This one is a gay romance film, set in London, about two men who meet on a one night stand then take the next few hours to decide whether or not they will attempt to continue a relationship or break it off as one moves to the United States for two years. What struck me so profoundly about this film is that it gets the relationship just right. There’s elements in this relationship that draws parallels to the tribulations of heterosexual ones, thus making the connection that people involved in romances, no matter who they are, face the same problems. However, it also adds flashes of issues that would only pertain to a gay relationship, and that’s something that’s very rare in most films dealing with this subject matter. The movie itself is simply wonderful. Writer-director Andrew Haigh has a wonderful sense of the world and the characters, and he adopts a real fly-on-the-wall style that brings you into real intimacy with the characters. The performances here, too, are marvelous. The two men are played by newcomers Tom Cullen and Chris New, and they bring an incredible amount of joy and sadness to their roles. This is a tender, heartbreaking romance that is most certainly going to be on my list for the top films of the year.
After that, there’s another group of movies that I found were pretty good when I saw them, but didn’t do quite enough for me to become overly excited. The best of that group is probably 50/50. If there’s any reason at all to like the film, it is because of Joseph Gordon-Levitt’s performance. He’s good in pretty much everything he’s in (except G.I. Joe), and here he’s able to realize the sad journey this character goes through. He’s terrific in the film, and so is Anjelica Huston as the overbearing mother with a few sad secrets of her own. Some characters get shortchanged and there’s oddly not a real sense of resolution either in the screenplay, but this is the first film of the year to make me cry, which should mean something.
Filling out this tier are probably Moneyball and, oddly enough, Kevin Smith’s Red State. I was a bit skeptical about the former, but I wanted to see what Bennett Miller could do after his impressive debut with Capote. I thought Miller did a great job at creating an engaging and entertaining “inside baseball” story that I was captivated by. The script by two great writers, Aaron Sorkin and Steven Zallian, is also great. As for Smith’s film, it’s certainly not going to get nominated for anything, but I’m a big fan of Smith as an entertainer, and everytime I watch his latest film I do get pulled into the world, particularly because of the menacing and fantastic performance from Michael Parks as the villainous preacher. It probably won’t be in the very top, but as of now it is standing shoulders above many others. The rest of the films I saw over these last two months have ranged from simply good to mediocre at best. Roland Emmerich’s Anonymous is a nice conspiracy thriller that suffers from too many third act twists, Martha Marcy May Marlene has a terrific breakout performance from Elizabeth Olsen, but the direction of the film takes on a monotonous and dull tone after a while, Margin Call has some good moments of writing and acting, but it’s a bit stale and can’t make the finish line, and Melancholia is a Lars von Trier film I did like, but the second half had to make up for a whiney and passive-aggressive first half.
So that pretty much sums up what I’ve been doing for these few weeks. I’ll try to update this as much as I can (tomorrow I’ll be seeing J. Edgar), and hopefully as I near the end of phase one of my college term, things will calm down a bit just in time for the holiday season to really get started. Until then, it’s just surviving and seeing as much as I can.
I wrote before that I had given up on the rest of 2011 and was looking forward more so to the next year. To an extent, that’s still true, but I have to admit that there’s plenty of movies coming out in the fall that look interesting to check out. This summer was just one brutally depressing experience. So here’s a list of over two dozen films that I’m interested in possibly checking out.*
27. Melancholia Release Date: November 11
Dir: Lars von Trier
Cast: Kirsten Dunst, Charlotte Gainsburg, Keifer Sutherland
I must be a little crazy to be excited for a movie by one of the masters of shock value, Lars von Trier. I’m not a huge fan of his work and don’t really anticipate watching anything from him. At the same time, the film has a very talented cast, including Kirsten Dunst who won the Best Actress prize at the Cannes Film Festival. I’m hesitant to embrace it, but I never dismiss a movie until I see it.
26. Martha Marcy May Marlene Release Date: October 21
Dir: Sean Durkin
Cast: Elizabeth Olsen, John Hawkes, Hugh Dancy
To be honest, I don’t know a whole lot about this Sundance hit, other than it’s about a cult’s hold on a young girl adjusting back to her home life. However, what I have heard about it makes it sound like a really interesting film with a cool premise and great actors. In particular, you’ve got newly minted Oscar-nominee John Hawkes who seems to pull of the menacing cult leader. It sounds like it’s a daring little indie, and I’m interested in it.
25. Moneyball Release Date: September 23
Dir: Bennett Miller
Cast: Brad Pitt, Jonah Hill, Philip Seymour Hoffman
I used to be a great deal more excited for this film, particularly at the beginning of the year. But the latest trailer made the film seem a little more conventional than I initially thought it would be. Even though my anticipation has deflated a bit, I’m still interested in the film, mainly because it’s the first film from Bennett Miller since his awesome debut Capote. That, plus a nice cast and a screenplay fixed up by Aaron Sorkin keeps me interested.
24. The Rum Diary Release Date: October 28
Dir: Bruce Robinson
Cast: Johnny Depp, Aaron Eckhart, Giovanni Ribisi
Anything Johnny Depp is in is worth checking out (except The Tourist), and since this one has been delayed for a bit, the excitement has been amped a bit. Hunter S. Thompson’s source material notwithstanding, really it’s just Depp and an impressive cast surrounding him that makes me want to see this project finally get to the screen.
23. We Bought a Zoo Release Date: December 23
Dir: Cameron Crowe
Cast: Matt Damon, Scarlett Johansson, Thomas Haden Church
Even though I may not be a Cameron Crowe fanatic, I still enjoy almost all of his films, with Almost Famous being one of particular greatness. Along with Bennett Miller, this is Crowe’s first film since 2005, and putting a tremendous actor like Damon front and center makes this project seem quite good. In truth, the only reason it isn’t higher on my list is because I don’t know that much about the film outside its basic premise, and I’m judging it only by the talent I know is involved.
22. Mission Impossible: Ghost Protocol Release Date: December 21
Dir: Brad Bird
Cast: Tom Cruise, Jeremy Renner, Paula Patton
A fourth Mission Impossible movie may not be high on my list, but it does make it for two major reasons. One, it’s the live action debut of Brad Bird, the artistic genius behind The Incredibles and Ratatouille, and to see him take on the live action realm is a debut I desperately want to see. And two, I’m interested to see the capacity Renner will be used and how he’ll presumably progress the series further. Plus I still remain a Cruise loyalist, and it looks like the film promises good action sequences.
21. Albert Nobbs Release Date: TBA
Dir: Rodrigo García
Cast: Glenn Close, Mia Wasikowska, Grendan Gleeson
Realistically, I don’t even know how much I’m truly interested in this project outside of the buzz from outside sources that I’ve been hearing. What does end up pulling me in is what people have been saying about Glenn Close, and with five previous Oscar nominations, this could end up being the one she finally takes home. If that ends up happening for an actress as talented as her, then I’d want to witness the film that made it happen.
20. The Iron Lady Release Date: December 16
Dir: Phyllida Lloyd
Cast: Meryl Strep, Jim Broadbent
If anyone is going to make Close wait once more for the golden stature, it’s going to be Meryl Streep. Even though Streep has won two Oscars already, it’s been almost thirty years since she’s last been up to collect one. For some reason this translates to her being due. For me, any opportunity to watch the infallible Streep shine with her amazing talent is enough for me to see a film.
19. The Descendants Release Date: November 23
Dir: Alexander Payne
Cast: George Clooney, Judy Greer, Matthew Lilard
Alexander Payne hasn’t made a movie in seven years, but his last film was the absolutely excellent Sideways. All of Payne’s films manage to pull off that delicate balancing act of tragedy and comedy along with a deep personal exploration into some very interesting characters. And when you have an actor as good as Clooney headlining, that just happens to sweeten the deal. Sounds like a nice mature film for Thanksgiving.
18. The Thing Release Date: October 14
Dir: Matthijs van Heijningen Jr.
Cast: Mary Elizabeth Winstead, Joel Edgerton, Eric Christian Olsen
I count myself as a fan of John Carptenter’s eerie re-imagining of The Thing, as well as the 1951 original film. It still baffles me a bit that this story requires retelling every thirty years but here we are anyway. With it’s roots planted in Carpenter’s direction, this might be one horror film that actually can deliver on some interesting ideas and story points. That truly remains to be seen, but of the numerous ‘80s properties that are being revisited, this one at least seems like a worthy endeavor.
17. A Dangerous Method Release Date: November 23
Dir: David Cronenberg
Cast: Viggo Mortensen, Michael Fassbender, Keira Knightly, Vincent Cassel
I have nothing but total admiration for David Cronenberg. Every time he announces a new film, I’m right there ready for it. And with the many psychological elements that plague all of his films, doing a film about the relationship between Carl Jung and Sigmond Freud seems like the absolute perfect fit. And having those roles being played by Michael Fassbender and Viggo Mortensen, respectively, makes this one locked and loaded for me to seek out.
16. Margin Call Release Date: October 21
Dir: J.C. Chandor
Cast: Zachary Quinto, Kevin Spacey, Jeremy Irons, Stanley Tucci
It now seems we’re bombarded with stories in films that attempt to explain our first financial disaster that occurred in 2008, with Too Big to Fail and Inside Job being recent examples. In all honesty, I don’t really know what more can be shed with this film, but what I do know is that a cast that is as packed with talent as this one is too good of an opportunity to pass up. And I do still find interest in this topic, one I hope can remain interesting throughout.
15. Carnage Release Date: December 16
Dir: Roman Polanski
Cast: Jodie Foster, Christoph Waltz, Kate Winslet, John C. Reilly
I’ve not had the opportunity to see the play, which I hear is phenomenal. So the film will have to do. I’m all right with that with such a stellar and talented cast like this one and a director like Polanski at the helm. Regardless of the controversy that surrounds the director, I still remain a fan of his artistry and have never let that influence the way I take in his films. Hopefully this one lands similarly on the scale of what Polanski is capable of, behind the camera that is.
14. Extremely Loud and Incredibly Close Release Date: December 25
Dir: Stephen Daldry
Cast: Tom Hanks, Sandra Bullock, Thomas Horn, James Gandolfini
This is one of those projects that can either be cathartic and genuinely emotional or feel really cheap, manipulative and downright exploitative. One can only hope that steps are taken to ensure the former. While the choice in director doesn’t thrill me (I’m just not a Daldry fan), the cast sounds like they could deliver. On the tenth anniversary of the 9/11 attacks, we can only wait and see if this is the touching and respectful tribute it wants to be.
13. We Need to Talk About Kevin Release Date: December 2
Dir: Lynn Ramsey
Cast: Tilda Swinton, John C. Reilly, Ezra Miller
I have a vague idea as to what this film is about. I know that it isn’t a documentary about Kevin Smith and his Sundance incident. What I do know is that there’s an exploration between parents and a child after the child commits a great crime. The buzz has been incredibly positive, particularly for Tilda Swinton, flawless in almost anything that she does.
12. The Girl with the Dragon Tattoo Release Date: December 21
Dir: David Fincher
Cast: Rooney Mara, Daniel Craig, Christopher Plummer
All eyes are on this project, one of the most anticipated for a lot of people for a lot of different reasons. Most are because people have read the original books by Stieg Larsson and have watched the original Sweedish films starring Noomi Rapace in the title role. For me, it’s more about seeing David Fincher return to his dark, grungy roots is a welcomed return indeed. The cast’s impressive and the return of Trent Reznor for a Fincher film makes a good case as well.
11. The Artist Release Date: November 23
Dir: Michael Hazanavicius
Cast: Jean Dujardin, Derenice Bejo, John Goodman, Malcolm McDowell
This was a bona-fide hit at the Cannes Film Festival, kind of an improbable one because from my understanding it’s a black-and-white silent film with little dialogue and only a musical score. Still, I’ve heard it’s a real crowd pleaser that movie lovers will have affection for. That sounds like it’s enough to get me interested in this unique film that I’m also told has a good cast to support it.
10. 50/50 Release Date: September 30
Dir: Jonathan Levine
Cast: Joseph Gordon-Levitt, Seth Rogen, Angelica Huston
Anything with Joseph Gordon-Levitt immediately makes me eager to see it. Seth Rogen a little less, but he’s still able to provide some nice moments in film. With this one attempting to balance the line between tragedy and comedy, it might fail. But with someone like JGL at the helm to steer this mighty ship, I think it could be pulled off. This might be one to watch.
9. The Adventures of Tintin Release Date: December 23
Dir: Steven Spielberg
Cast: Jamie Bell, Daniel Craig, Andy Serkis
After what seems like an eternity of hearing about this film, Tintin is finally released. The years of murmurs about this project makes me curious to see it, as does what Spielberg has in store here with his first attempt at motion capture animation and his first film since the overwhelmingly disappointing Indiana Jones film. This one may suffer the same fate, but I’m hoping for the best based on what I’ve already seen.
8. Hugo Release Date: November 23
Dir: Martin Scorsese
Cast: Ben Kingsley, Chloe Moretz, Sacha Baron Cohen, Asa Butterfield
This looks decidedly like more kid friendly flare, but there are a couple of elements that have me hooked, the most important being Scorsese. Even though I didn’t care for his last film, I still enjoy watching whatever he has to offer. Add to it his first attempt at the 3D medium and a stellar cast, and you don’t have to ask me twice to show up.
7. Drive Release Date: September 16
Dir: Nicolas Winding Refn
Cast: Ryan Gosling, Carey Mulligan, Albert Brooks
Ever since Half Nelson, I’ve been a little obsessed with with Ryan Gosling as an actor, and the great performance he turned in last year’s Blue Valentine only cemented that feeling. This one doesn’t feel like it’s trying for such emotional territory, but it does seem like it’s got a good cast, a great director, a pulpy good premise and nothing but positive things being said about it. I’m there.
6. My Week with Marilyn Release Date: November 4
Dir: Simon Curtis
Cast: Michelle Williams, Kenneth Branagh
Much like her Blue Valentine co-star, I’ve been fascinated with Michelle Williams career for a while now (I even think she should have won an Oscar for the aforementioned film). And like Gosling, she’s also got a new film out, this one in which she plays the iconic Marilyn Monroe. What gets me a tad more excited is seeing Kenneth Branagh playing a man who he has clearly tried to emulate in his own career, Laurence Olivier. I love Branagh in whatever field he takes, and a double douse of him in 2011 is alright with me.
5. War Horse Release Date: December 28
Dir: Steven Spielberg
Cast: Jeremy Irvine, Emily Watson, Tom Hiddelson
After waiting anxiously for another Spielberg film since 2008, we not only get two in the same year but they’re also released a mere five days apart. This one’s going for the gold, literally, as it’s being positioned for a Best Picture prize. That remains to be seen, but Spielberg is a good enough director to turn this material into something spectacular. Let’s hope so.
4. The Ides of March Release Date: October 7
Dir: George Clooney
Cast: Ryan Gosling, George Clooney, Paul Giamatti, Philip Seymour Hoffman
Ever since Good Night and Good Luck, I’ve been very interested in the directorial career of George Clooney. While his last film was a tad disappointing, this one returns him to the political roots of his last masterpiece. Ryan Gosling pops up again, but here he’s just one part of a terrific ensemble. I’m anticipating this one very much, and I can only hope it doesn’t disappoint too terribly.
3. Red State Release Date: September 2 (on demand)
Dir: Kevin Smith
Cast: Michael Parks, John Goodman, Melissa Leo
I never thought I’d see the day when not only would I be looking forward to a Kevin Smith movie, but I’d be anticipating it as much as this one. I guess that’s what listening to SModcast for the better part of four years. Many have already seen it, but I’m waiting for the On Demand option so I can finally see if his radically different direction and style and much talked about performances, particularly from Michael Parks. Who knew I’d be this excited about his penultimate film.
2. J. Edgar Release Date: November 11
Dir: Clint Eastwood
Cast: Leonardo DiCaprio, Armie Hammer, Naomi Watts
I’ve gone on record with being a huge fan of Clint Eastwood, although his last couple haven’t been quite on the level I believe he’s capable of. Whether or not a biopic on the FBI’s most notorious director will reach previous levels remains to be seen, but I remain extremely optimistic. With DiCaprio taking center stage, and possibly taking the Oscar next year, and a script from the writer of Milk, I simply can’t wait for this film.
1. Tinker, Tailor, Soldier, Spy Release Date: November 18
Dir: Tomas Alfredeson
Cast: Gary Oldman, Tom Hardy, Colin Firth, John Hurt
The Best Actor Oscar in contention seems to be down to DiCaprio and Gary Oldman in this film, but this is the one that I’m looking forward to slightly more. The premise sounds interesting, but the place and time look incredibly detailed and is drawing me in completely. Director Tomas Alfredson, of Let the Right One In, showed a very unique eye in his last film and I anticipate more here. Plus that absolutely outstanding cast seems pretty close to feeling impenetrable. There’s plenty to look forward to in the next couple of months, but this one is at the top for me.
*Release dates are subject to change and may be limited releases.
I don’t think I’m in the majority opinion here, but I was not a fan of Super 8. I know that film has a lot of supporters, but I personally thought that film was riffed with very weak storytelling and, outside of Elle Fanning, acting that was serviceable at best. But among the many injustices that film offered, the most egregious I thought was the exclusion of any minority characters in roles of significance. This isn’t to say people of color should be shoehorned into films, but every once in a while it’s nice to see a different face up on the screen. All those problems are avoided with this film: an alien invasion film with kids that I really enjoyed.
You know how these types of films operate: a group of alienated kids encounter a true alien menace that starts to wreck havoc on their community. In this case, it’s kinda interesting to see the setting take place in a poor ghetto in South London, and the group of kids a crop of social misfits, most of them black. At the lead is Moses (John Boyega), the hoodlum with a heart of gold who charges the revolt against the invaders that resemble big gorillas lacking eyes but equipped with rows of glow-in-the-dark chompers.
I’ve seen plenty alien invasion films starring a group of kids, already one from this year. And this is the film that I wish Super 8 had been. Not necessarily in tone, because both are strikingly different, but more so in how the plight of these characters and story actually revolves around something substantial. Writer-director Joe Cornish (an Edgar Wright collaborator) nicely sets up tension and believable suspense, making sure the audience understands the dangers going on and the prize at the end. The beginning does feel a bit rushed, and the film’s localized setting does feel a bit like economical filmmaking, but on the whole he brings a stylish flare that gets bonus points for having complex characters whose faces don’t blend into a sea of unrecognizable stars.
Even though you may not seek this film out for the acting, I actually give it nice props. Boyega doesn’t really blow anyone away as the lead, but he provides grounded believability in this character and a nice soul at the center of the film. The rest of the supporting players serve their roles as one note bit players, but whenever one needs to have a snappy comedic line or provide some hollow sense of toughness masking insecurity, you buy it. Even though the film isn’t being shown for it’s acting, you won’t be offended by it.
The movie may have some issues in the beginning, and the script does follow some pretty predictable conventions within the genre and general storytelling, but that doesn’t stop it from being a hell of a ride at the show. It’s exciting and genuine, providing the pulpy entertainment as well as clinging onto believable characters that offer a different type of setting that isn’t seen in mainstream American films. If you’ve been put off the summer action films as much as I have, try this one; it’s a medicine film in the most ironic sense.
B+
Desert Flower
It’s inescapable. Time and time again, I’m confronted with the same scenario for a particular film. The scenario that provides one exceptional performance in a film that otherwise is lacking in many other areas. Whether or not I say “yay” or “nay” on the film as a whole depends on if the other aspects of the film, and if those elements pass mustard, then the film is worth the investment. I’ve seen enough movies to know that the notion that one good performance can save the rest of the film is a false notion. Fortunately, there are enough surrounding elements to this film that make it a worthy, if flawed, film to seek out.
Inspired by true events, whatever that may mean to you, the story centers on the relationship between Uday Hussein, son of Sadaam, and Latif Yahia, the Iraqi soldier Uday kidnapped and made him his double for public appearances. Both roles are played by Dominic Cooper. It becomes pretty obvious that Uday’s a psychopath who still manages to lead an extravagant life, and it doesn’t take long for the evil from Uday to bleed into the good soul of Latif that’s on the verge of corruption.
The good performance in question here is from Cooper. At the core of the film, he absolutely excels in creating two separate entities on screen. Between the two, Uday is the more showy role, but it’s also the one that’s capable of more dramatic potential. Uday is never shown as anything less than a monster, but Cooper give the glimpses of a man who is more complicated than what might be first shown. It’s a stellar character to watch. Latif has the “straight man” role, and his complexities pale a bit in comparison, but it’s still an interesting performance nonetheless. The rest of the supporting players do their own as spectators to the Dominc Cooper show, holding their own without stealing the spotlight.
Director Lee Tamahori is probably the most implausibly successful filmmaker working today, never really making anything that good and earning a reputation as like the poor man’s Joel Schumacher. There’s plenty of stylish flares that I feel he presents here that distracts from the real central characters and pushes it towards De Palms’s Scarface territory (a film I really don’t like), but most of the time Tamahori actually manages to keep the story he’s presented on track and keeps it moving forward and quite engaging. At the same time, Michael Thomas’s screenplay is probably what is most lacking in the film, with the main problem being that it makes Uday such a fascinating person that Latif is more pedestrian, indulging in predictable story and character arches. Had this film focused a more straightforward pic on Uday, everything would have been stronger.
The film has some serious story problems that keeps it from being the better film it could be, that’s for sure. At the same time, many elements of the film manage to keep the audience engaged throughout, and add to it a commanding performance from Dominic Cooper, and you’ve got a pretty interesting film on your hands. It’s not all perfect, and I’ve heard others almost universally dismiss the film. I guess I’m breaking with the heard here, because I think it’s worth seeing.
Over the past few years now, Kevin Smith has done quite a lot. He’s made a couple films, unveiled a controversial distribution plan for his next, Red State, and built up an undeniably powerful internet podcast network entitled “SModcast.” I’ve been listening to Smith’s podcast for a while now, and still continue to spend hours upon hours hearing the content he delivers, despite never really being a big fan of his movies. In that time, I think I’ve learned a few things from Smith, and these are the most important elements I take in my own life.
1. Just Do It
In the spirit of Smith himself, I won’t bury the lead and start right off with the simplest yet most important element that I’ve taken from listening to him. Smith is the perfect example of someone who might not necessarily have all the talent of a great filmmaker, but what he does have is a passion to tell a story. It might be a backhanded compliment to say, “If Kevin Smith can make a movie, then anybody can”, but I don’t think it’s a sentiment that Smith would totally disagree with. In fact, I’ve heard him herald it himself. Even though I’m not a huge fan of his filmography, it’s still an example of telling a story no matter what the cost and finding an audience. I may not like his films, but I certainly respect that aspect of his life.
2. Love the Man, Hate the Artist
This is a variation of the idea that you should love the art but hate the man (though “hate” is a strong word I’m using for effect only). Generally that idea is what I’ve clung to, as great filmmakers like Roman Polanski and Mel Gibson have seedy personal lives that are at odds with their great work. When it comes to Smith, I’ve never been a fan of his films. Since I’ve been listening to his podcasts, he has made three different films and only Red State has peaked my interest, though that might have more to do with his excessive promoting and talented cast he has gathered around him. For the most part, his films are visually flat and not half as charismatic as he is on a stage. However, if you take away the camera and give him a microphone instead, I’m completely riveted. It’s strange since there’s little difference between Smith the man and Smith the filmmaker, but I respond much more to one than the other. Smith proves the norm isn’t always what it seems to be, and he’s probably glad for it.
3. The Opinion Doesn’t Matter. Having the Platform Does
You know what they say: opinions are just like assholes; everybody’s got one. In that respect, Smith is no different than any other guy on a low-rent website that is sprouting an opinion. Where Smith holds the high ground is that he has an entire podcast network to shout his views and give it legitimacy. I’m not saying he should, because Smith has all the right to do so, and when he attacks someone it only has legitimacy because of the network he built up. In the end, the message is that if you want to have legitimacy in this life, you need the time and credentials behind you, as well as the audience, to back you up.
4. Respect Should Be Delivered All Around
This might be the only negative thing I’ve contributed to Smith since listening to him. Everyone knows about his falling out with critics and the press, and it’s not my place to govern his own thoughts and feelings. He can burn whatever bridges he wants; I don’t care. What I do find rather annoying about some of his personality traits is it seems he’s quick to totally destroy those around him he feels misrepresents him. He has all the reason to be upset, but when he gets into ten minute shouting tirades about a critic or journalist, I don’t like that because it doesn’t feel like he’s accomplishing anything. He preaches to a choir and act like a disrespectful little kid throwing a temper tantrum. I prefer Smith when he’s bathing in laughter rather than malice, and I’m just glad that the happier side is shown more.
5.Don’t Fight the Laughter
Life is far too short to not enjoy the things that give you pleasure. I think there are a lot of people who avoided embracing Smith because of his films, myself included. After listening to his podcasts, I constantly laugh at every episode, and even though I enjoy the others on his network as well, the one consistent element is Smith. I now say with confidence I’m a Kevin Smith fan even without liking the movies. I’ve spent too much time trying to modify my affection for him, thinking I’d throw allegiance behind the movies. That doesn’t matter, what matters is I laugh, and I can’t thank him enough for that, no matter what medium I find it in.
This would normally be the time of the year when I make out my list for the best films released in theaters so far. Generally I’d compile a list of five or six exceptional films, picking one that’s at the top, and then name one that is the worst film. However, I’m saddened to say that 2011 has been a very disappointing year for films, which is why my blog has been lacking updates lately. Nothing has been really grabbing me. So, firstly, I make this simple. The best film so far: Rango. The worst: Battle: Los Angeles. So there you go.
Now that’s out of the way, I can look forward to the beginning. However, I have to look further into the future until I find something that’s worth getting excited about. In fact, I have to look all the way to next year. So instead of reviewing the year so far, I’m going to give a rundown as to why I’m looking forward to 2012 much more than the next six months. At the beginning of the year, I’ll do an official list of films to look forward to, but for now I’ll give a brief rundown.
5. Gritty Spy vs. Gritty Spy (Bond vs. Bourne)
There’s been a bit of a hiatus in the Jason Bourne and James Bond series, and I admit that void hasn’t been filled yet. As far as the former goes, I’m only really excited for it because it’s written and directed by Tony Gilroy, the director of Michael Clayton and Duplicity, as well as the original screenwriter of the Bourne series. Gilroy gets better as a director with every film, and him returning to the series makes me excited to see what he can do. I’m not totally sold on Jeremy Renner, who’s approaching overexposure, but he’s a guy that I like and a worthy successor to Damon.
As for James Bond, I’m a HUGE fan of the franchise, and eagerly await every new entry. However, I was greatly let down by Quantum of Solace and am very hungry for another good film. With Sam Mendes at the helm, a cast that could possibly include Javier Bardem and Ralph Fiennes, and cinematography by Roger Deakins, that only amplifies my excitement. Just in time for Bond’s 50th birthday.
4. Return of the Masters
Next year also sees films released by many great filmmakers whose work I enjoy seeing time and time again. Bryan Singer might not be respected in all corners, but he’s a guy that I really respect and admire and try to support him, which means I’m looking forward to Jack the Giant Killer. Ridley Scott’s Prometheus was almost an Alien prequel, but now that’s abandoned, the film sounds much more interesting, with Michael Fassbender in the lead of an interesting sci-fi epic from a true master at the genre. Ang Lee also comes back with a project that could match his Oscar-winning one, Life of Pi, Peter Jackson goes back to Middle Earth with part one of The Hobbit, and Quentin Tarantino surrounds himself with Jamie Foxx, Christoph Watlz and Leonardo DiCaprio in Django Unchained. A lot of great filmmakers are getting the spotlight again next year.
3. 2 Shots of Tim Burton
Not everyone likes the man, but I still admire Burton’s films and still get excited about his new projects. Just like in 2005, he’s directing both a live action and animated film. This time it’s the adaptations of the soap opera Dark Shadows and his original short film Frankenweenie, which will become a 3D stop motion film. Predictably, Dark Shadows will feature Johnny Depp but still indulge in the gothic scene that Burton does well, not to mention that the 1970s timeframe might be a nice nod to the Hammer Films era. Frankenweenie actually intrigues me a little more because, not only do I love his stop motion style, but it also does not feature Depp in the cast, a first in almost ten years. A little break is needed every now and then, and we’ll get it in this one.
2. 2 Shots of Abe Lincoln
Next year we’re also getting two very different perspectives at probably the most notable American president. First we’ll get Abraham Lincoln: Vampire Hunter (produced by the aforementioned Burton). I’m all for revisionist Civil War epics, and this sounds weird enough to be interesting. The second is a straight forward biopic on the man, the long awaited film being directed by Steven Spielberg. Even though he’s got War Horse out this year, this is the one I’ll see as his real comeback after the misfire that was Indiana Jones 4. And with a cast that includes Daniel Day-Lewis, Sally Field, Tommy Lee Jones and Joseph Gordon-Levitt, you’ll have to practically barricade me in my room to prevent me from seeing this.
1. Superheroes (we actually care about)
The summer of 2011 has had plenty of superhero projects, but I have to say that the likes of Captain America, Thor and Green Lantern don’t really interest me as much. Next year we’ll have the conclusion of the epic experiment known as The Avengers, and I just want to see if this big chance that Marvel is taking can actually pay off. We’re also getting reboots of Spider-Man and Superman. I’m not a huge fan of the latter, but with Christopher Nolan godfathering the project and a Chicago location being featured, that helps to overcome the choice of Zack Snyder as director. Spider-Man is being directed by Marc Webb, whose debut feature made me very impressed to follow him onward, and a fantastic cast that’s headlined by Andrew Garfield and Emma Stone. And then, there’s The Dark Knight Rises. I don’t think anything else needs to be said about that one.
I probably shouldn’t be surprised, but the movie-going experience lately has left me completely depressed. This summer in particular has been quite upsetting, with nearly every film being a disappointment on some level or another. In truth, the only one that I have enjoyed thus far is Thor, and that’s because my expectations were way low. I’m not sure exactly what I expected with this film, but I way excited enough for it, coming from a group of filmmakers that I highly respected. Too bad I was royally wrong yet again.
As a nod to the nostalgic era of current working filmmakers, the film sets its focus on a group of middle-schoolers in 1970s Ohio. Their ambitious plan as of now is to complete the mini-feature of their friend (Reilly Griffiths), which is shot on the illustrious Super 8 film. The lead is played by Joel Courtney and Elle Fanning is along as the love interest for the main character. But while filming, the group witnesses a train accident: one in which a horrible creature is unleashed and wreaks havoc on the small town.
I really like J.J. Abrams, as his reboot of the Star Trek franchise is one of the most entertaining films in a long while, but here he goes for a more personal path and it fails. It fails miserably. What Abrams sets out to do is create a nostalgia drenched piece that harkens back to the days when he and producer Spielberg were falling in love with film. There’s a lot of homage to the master, but most of them are just ideas. There’s no point at all to this film: it’s just overbearing nods and mediocre storytelling. There are some good moments in the film, such as the initial crash sequence, but it’s one of the few that stick out.
What is most bothersome in the story is how divided the narrative is. One half focuses on the puzzle-box mystery surrounding the monster, and the steps that the kids go to in order to uncover the mystery. The other is the intimate, personal relationships between the kids. Problem is that neither one reaches a level of interest. The monster’s motivations are never clearly defined, leaving all scenes involving it to be slick looking mess. The personal relationships are intriguing, but all of them dangle on the surface; none of them are explored to a meaningful level. There’s nothing of value within the characters or the story.
The cast filled of mostly unknowns do a serviceable job, but nothing extremely noteworthy. Courtney’s performance actually feels like it’s one crafted out of clever editing rather than genuine talent. Fanning’s is inconsistent and the others are just downright annoying. The parents are all stand ins and completely useless. However, all of that could be forgiven if there was a hint of diversity in this cast, at least who weren’t used as self-sacrificing ideologues or expendable military pawns. It’s an element that rarely gets talked about in movies today, and even sometimes is unwarranted, but it needs discussion every once in a while.
I had hopes for the film, like a lot of people did. I certainly don’t knock the impressive visual effects or the Michael Giacchino score that does its best John Williams impression, but for the most part I really disliked this film, borderline hating it. It’s all idea and no substance, no point at all in watching it. It’s really sad that people as talented as Abrams and Spielberg can make a film that feels so empty on the inside. As much as I may have hoped otherwise, my depression this summer marches onward.
In spite of my better judgement, or maybe even because of it, I have always found some portion of enjoyment in all of the Pirates of the Caribbean films. The first one is without a doubt the best, and I even say that between Johnny Depp’s three Oscar nominations, that is the film he should have won for. The two succeeding sequels are of lesser quality, obviously, with the second being overstuffed with action and the third being overly-complicated with endless plot. However, I’ve enjoyed pretty much all of the films with varying degrees. I can’t quite go that far with this film, which redeems itself with a streamlined plot but still indulges in numbing action.
As we all know, this is the fourth film in the surprisingly successful Disney franchise that’s inspired be a theme park ride, before that notion was commonplace. Depp is back once again in the role of the notorious and flamboyant Captain Jack Sparrow and he’s on the search for the Fountain of Youth. But we need people to contest his search, and among them are the returning Geoffrey Rush as Barbosa, now inducted into the British Navy, Ian McShane as the notorious Blackbeard, Penélope Cruz as Blackbeard’s daughter and old flame of Captain Jack, and the entire Spanish armada. It’s a crowded field indeed.
Say what you will about the Pirates sequels, but I think the reason they stayed afloat was because of the direction of Gore Verbinski. He knew how to juggle the massive storylines as well as craft some interesting notions out of the gigantic action spectacles. Rob Marshall might be a more honored filmmaker because of his directorial debut, but it’s abundantly clear that the goodwill from Chicago is all but gone. To be fair, his flashy musical tendencies can make for some interesting action scenes, but his touches feel lightly peppered in, and a lot of it becomes dull. He’s also another filmmaker who can’t optimize 3D at all, and despite starting off the film on a high note with a nicely staged breakout scene with Sparrow, it’s a series of diminishing returns with his direction combined with an even more useless script.
Sparrow has been reduced to nothing more than a paycheck for Depp at this point, so in trying to judge his performance, it’s nowhere near as fun as it was or ever will be. At this point, I just hope Depp can turn down some of his theatrics that went out of control in the last sequels, and to his credit he does. Still, I’m not every to get as much enjoyment out of Depp in these movies like I did from the first one. People like Cruz, McShane and Rush are scenery that aren’t worthy of anything in this film. Orlando Bloom and Keira Knightly have been replaced by Sam Claflin as a captured missionary and Astrid Berges-Frisbey as the mermaid he falls in love with. The main problem here is that these characters are given hardly any backstory, making their participation feel stunted and unnecessary.
I’d definitely say that there are worse ways for you to spend your summer, but as it is now, I think there’s also better. There’s some interesting action scenes in here, and Depp isn’t quite as annoying as he used to be, but to be honest, this thing barely passes as a summer tentpole. Most of it is uninspired under the direction of Rob Marshall and it becomes rather dull and useless by the end. I have to say that this is the first Pirates film that I haven’t come to fully recommend, which is why I’ll probably be saying the same once the fifth one comes out.
I have to be perfectly honest and admit that even though this was the film was chosen as the official start to the summer movie blockbuster season, I wasn’t particularly looking forward it. I’m severely limited in knowledge for most comic book superheroes, and Thor is probably one of those that’s furthest from my mind. I wasn’t too familiar with Chris Hemsworth, but considering he wasn’t even able to carry the five emotional minutes at the beginning of Star Trek, I wasn’t holding out hope he could carry an entire film. Even all of trailers and clips for the film did very little to impress me. The only thing that was attracting me to the film at all was the notion of a classically trained director like Kenneth Branagh handling such action heavy material. Understandably, my expectations were considerably low. Perhaps that’s the reason why I ended up enjoying this film pretty much all the way through.
If you’re like me, and unfamiliar with the backstory of the Marvel superhero, here’s the brief rundown. It turns out that the Norse gods that were worshiped hundreds of years ago were actually just plain old folks on a distant planet, still called Asgard and still holding control over some powers on Earth. Asgard’s kingdom has beaten the Frost Giants and have taken their source of power. In the present, as Thor, played by Hemsworth, is about to succeed his father King Odin (Anthony Hopkins), there’s an attack on Asgard and he leads a party to counterattack. As punishment, Thor and his hammer are banished to Earth until he learns his lesson. It’s here where he strikes a budding romance with a scientist (Natalie Portman) and keeps bumping into those mysterious S.H.I.E.L.D. agents.
As strange as it was to here the news, I think that Kenneth Branagh was a perfect choice to direct this material. I often wondered what Branagh’s Shakespearean background could bring to this material, and it pays off well, particularly in the ambitious family dynamics that happen on Asgard. There’s a serious dramatic quality that Branagh brings to the material, and it’s well felt. Branagh even handles the action sequences quite well, maybe not in any spectacular fashion, but considering that serious action is not his pedigree, I was quite impressed with it. He does have some difficulty with the romantic scenes between the Thor and his ladyfriend, and the climax does feel a bit rushed, but for the most part his direction is the saving grace of the film. The screenplay also works well with Branagh’s direction, particularly with some familiar yet still funny “fish out of water” humor. Towards the end, the script does start to have a bit more clunky lines that start to drain on the film a bit more, but it’s still a serviceable screenplay for this material.
Another saving grace for the film is Hemsworth, and I swear that I didn’t believe that I would be saying that. He actually carries the film very well, providing the source for a lot of the film’s heart and humor. He’s a quick comedian when he needs to be, and can be quite tender and emotional when those scenes call for it as well. Hemsworth is a valuable asset for the film, and it’s very entertaining to watch him. Hopkins also gives one of better performances and doesn’t use this opportunity to just stand there and cast a check. Portman is actually kind of unimpressive here, and doesn’t add anything really to the film. Her friend Kat Dennings has that quirky charm, and a lot of the other supporting cast is effective also.
Like most starts to superhero franchises, this one does come up short in some of its exposition and some of the relationships cause the film to drag in the middle and then feel rushed towards the end. However, it’s the winning combination of director Kenneth Branagh and star Chris Hemsworth that makes the film a success. Add to it a worthy supporting cast, a nice sense of humor, and a great look (which maybe has something to do with me not seeing it in 3D), I think this is a great start to the summer movie season. I can’t wait to see if the rest of the summer can be just has entertaining.
I’ll be completely honest here and say that when I first heard about this film, I wasn’t at all enthused about it. That isn’t to say that I was severely against it in anyway, it’s just that the initial premise didn’t appeal to me that much and didn’t think much of it. Then, when I saw a trailer, I still didn’t think much of it, but something about the look of it enticed me. It did so much that I went to look up the cinematographer and was very surprised (and at the same time, not) to learn that it was Rodrigo Prieto. Considering how much of a film geek I am, as well as a huge Prieto fan, my anticipation turned 180 degrees, so much so that I even read the book and was ready for the film. The results are less than stellar, but there are some aspects that are quite attractive.
The meat of the story takes place in Depression-era America, where Jacob Jankowski (Robert Pattinson) is a veterinary student at Cornell about to take his finals. When a fatal accident robs him of his parents, his father’s business and home, he packs up as much as he can and heads out. He crosses paths with a traveling circus train where his skills with animals eventually get him a job there. The show is run by August (Christoph Waltz) who flips back and forth between charming sophisticate to temperamental tyrant in too few strokes. His wife Marlena (Reese Witherspoon) is the show’s beautiful headliner, complete with horse and elephant acts, and with whom a forbidden romance between her and Jacob start to predictably form.
The book that the film is based on is good, not great, and much of the film takes on a similar role. Francis Lawrence has made a handful of films, but so far they’ve all been technically good but haven’t yet had the emotional strength to exist beyond the screen. This films isn’t very different, as Lawrence lets all of the crafts breath with excellence, such as Jack Fisk’s sets and the aforementioned Prieto’s lensing, but it never feels to have much power beyond the screen. It strikes some chords at times, but that may be more of the power of the actors and the script, written by Richard LaGravenese, takes all the best parts of the novel and uses them to full effect. LaGravenese is responsible for some good and bad romantic adaptations, but he gets the formula right in this one, at least as best as it could be from the source material.
I know there’s a lot of hate for Pattinson, and I try not to give into it too much. I admit that he is a limited one, but when required to attain certain emotional beats, I think he carries his own. It’s nothing Oscar worthy, but it’s enough to have no serious distraction. Witherspoon makes this character a bit more in control than she was in the book, but I still find her to be rather passive, and despite all the charm that Witherspoon has, she can’t really get over that shortcoming. Waltz is without a doubt the most fascinating person on screen and steals scenes whenever he appears. I hope that notorious villains don’t become his whole career, even though won and Oscar for doing it so well, but he’s very fun to watch in a role he accomplishes very well. Hal Holbrook also shows up in bookending scenes as an older Jacob and Holbrook shows a tenderness that helps to begin and end this story.
This is a well made film, for sure, but unless you trip over glossy romantic stories set against a sweeping past time period, then I can’t say that you’ll love the film. It’s put together by a group of talented professionals, making it look good, and the cast does a nice job in handling their own roles and creating believable chemistry with each other. However, it never really succeeds beyond anything from the aesthetic, and while I have respect for the players involved, I can’t say that it’s something that will be remembered for years to come. Even still, it’s a fine film, and I have another opportunity to campaign for Rodrigo Prieto to receive a return invitation to the Kodak Theater.
When it comes to certain actors who turn directors, it’s often easy to find where their strengths lie regarding their skills in front of or behind the camera. For instance, while Clint Eastwood was introduced to audiences as an actor, his hand is much more versatile as a director behind the scenes. On the other hand, while Kevin Costner is always able to apply his likable, everyguy charm in the roles he plays, his films are generally a mess in storytelling and compelling drama. In the case of Robert Redford, I tend to feel rather split. I’ve seen Redford give incredible performances, but I’ve also seen him phone it in. I’ve also seen him directing material with passion and incredible detail, and I’ve also seen him trip over the overbearing messages of the material and create a vacuum of dreary dullness. The Conspirator happens to have a mix of the two styles that Redford indulges in, but in the end, I rather enjoyed it as a pulpy court-room drama with a heavy handed social commentary.
The film begins immediately with the assassination of Abraham Lincoln, and everyone knows the story of the lone gunman John Wilkes Booth that was later killed in the burning barn. What some may not know is the conspiracy that included up to eight other people, including a woman, Mary Surratt (Robin Wright). James McAvoy is the Union attorney who battles his own conscience when the government assigns him to defend her in the railroaded military tribunal.
The film paints some very broad strokes in its portrait of an overzealous government unjustly treating individuals accused of heinous crimes and not giving them a fair trial. It’s pretty obvious of the modern day connections of the war on terror that is being communicated. However, even under the veil of propaganda, the core of the film is a tightly wound courtroom drama, and as such, I found it riveting. Redford manages to capture the tension quite well in those scenes, and I’d even argue that his attention to historical detail is impressive in a lot of areas. Redford does falter in some places when he let’s the political grandstanding get too large, the story to drag on about fifteen minutes too long and the action to get repetitive and dull, but on the whole I think he succeeds at keeping the interest in the material.
McAvoy has been doing solid work for a long time now, and here he carries the lead quite well. He sells the determination of the character well enough and does a nice job of embodying that attorney that is so recognizable in these films. Wright is also good in her role that sometimes plays for theatrics but always feels grounded considering the circumstances. There’s also some nice performances from some bit players like Tom Wilkinson as the Southern senator leading the defense, Danny Huston as the over zealous government prosecutor and Kevin Kline as the cold hearted Secretary of War. However, some of the younger cast members like Justin Long, Evan Rachel Wood and Alexis Bledel feel a bit too modern in the backdrop of the era, and do end up distracting in the end.
The film does have some some flaws in the storytelling and the performances, but taken as an entertaining court room drama, I thoroughly enjoyed it. The major players give some good performances, and Redford’s direction of the material shows a dedication to the craft of the time period as well as an engaging and thought-provoking side of the legal battles. I don’t know if this film sells me on me preferring Redford as director or actor, but it’s certainly one that makes me not mind him taking a few more steps behind the camera.
A relatively new concept, that I credit to new Ebert Presents co-host Ignatiy Vishnevetsky, has recently entered my life. That is the idea that some filmmakers can be artists and some can be craftsman. The difference is that the former is one that sees the a story as a whole piece and executes the scenes to work in that whole. The latter is someone who sees the film as individual pieces to be concentrated on in their isolated states, and then find themselves rather disconnected when it comes to laying them in a linear plane. When it comes to this director, and this particular film, those charges can be laid at some parts of it, but as a whole the film does a nice job at being entertaining and partially insightful.
The extremely talented Saoirse Ronan plays the title character, a hard-edged girl living in the Antarctic with her equally tough father (Eric Bana). Her father trains her constantly in geography, language and combat and survival skills in anticipation for meeting the notorious Marissa Weigler (Cate Blanchett, sporting an American accent of unknown origin). It becomes clear that Hanna is part of some government mystery to which Marissa is a part of, and as Hanna treks around the world, the mystery becomes clearer.
Joe Wright has only made a handful of films, and I’ve never really been a huge fan of any of them. Atonement had a decent first half that was brought down immensely by a dour and dreary back end, and The Soloist was so self-indulgently melodramatic and dull that I thought is was one of the worst films of 2009. Hanna still can’t be defined as a good film on the whole because the static tone that bookends the film doesn’t feel genuine. The cold nature of the beginning and the ham fisted action sequences are well shot and executed, but they also feel mechanical, and it’s difficult to put any emotional force behind them. The scenes are well done, but they exist in a vacuum with no shelf-life. However, when the world opens around Hanna, and the tale becomes more of an allegory about growing up and experiencing the world around you, then it becomes interesting, and the emotions feel real and organic to the story. The script also indulges on the pros and cons of this story, but there’s some nice meat in the middle that elevates it form where it was and where it ends.
I almost can’t express how good of an actress Ronan is. Even in subpar work like The Lovely Bones, she still manages to come out unscathed. The character of Hanna does try to operate on many subtle levels, and Ronan rises to the occasion every time. Even when the story is ditching emotional credibility, Ronan is still there as an anchor to the film, and she sells it nicely. Blanchett is trying for the hammy villain role, and for the most part she does it well, though she plays better as a shadowy background figure. I like Bana as an actor, but he’s more of a plot point that a developed character here. There’s also some nice supporting (almost cameo) turns by Tom Hollander as a Mr. Wint/Mr. Kidd style assassin and Olivia Williams and Jason Flemyng as the free-thinking parents of a stranded family that Hanna bonds with. The family scenes are among the film’s most well acted and tender, and also stray away from the thriller chase movie and more into the realm of finding a family and maturity, something I think the film does a better job at commenting.
It’s strange that for a film billed as an action thriller, the parts where there are fast action set pieces and suspenseful thriller are actually the least interesting parts. Wright does his best as the craftsman to make these scenes entertaining (he sometimes fails with overdirection, but for the most part it succeeds), but the film works better when it lingers on intimate moments of the main character settling into a world she is learning to understand. By the time you get to the predictable, cop out of an ending, you really appreciate that tone of the film. I don’t think this is the masterpiece a lot of critics are selling it as, but as an entertaining thriller that does better with its tonal shift scenes, and a decent score by the Chemical Brothers, you could certainly do worse.
Whenever I talk about movies, I always tend to repeat myself on certain topics, particularly those that I have great passion for. In the case of science fiction, I’m quite pleased the where the genre can go, with my personal favorites being of the expansive “space opera” epics like 2001, Sunshine and the works of Ridley Scott. At the same time, I find some comfort in other routes that aren’t as epic. Today’s audiences have already gotten a demonstration of this foray into the genre a mere month ago with The Adjustment Bureau, a movie I liked in the end. This one is a little more blatant with its sci-fi premise but not quite the epic it could be, leading to a nice combination of elements in a pretty good film.
The film opens with a stranger, played by Jake Gyllenhaal, waking up and finding himself in an odd situation. He is sitting across from a woman he doesn’t know (Michelle Monaghan) aboard a Chicago bound train he doesn’t remember being on. Then an explosion happens and he is in an isolation chamber as Colter Stevens and part of a program called “Source Code.” This allows Stevens to enter into the mind of passenger Sean Fentress, who possibly holds the key to finding the bomber and preventing a next attack. The catch is that he can only relive the last eight minutes of the man’s life. While trying to complete his mission, Stevens also tries to break free from the constraints put upon him, and attempt to possibly change the unchangeable past.
Duncan Jones’s last film, Moon, I liked very much because it was able to replicate a grand scale of science-fiction on a very modest budget. He created suspense and tension built around an inquisitive character study. Jones isn’t really working on such somber tones here, and in a more plot-driven vehicle, it feels like part of Jones’s vision is muted. Juggling a more structured plot doesn’t feel quite as passionate, and what is left is a film that is well made but not always interesting. The middle of the film in particular gets a bit repetitive (though that might also be the work of writer Ben Ripley) and the pace can drag a bit. However, I don’t want to give the impression that Jones isn’t doing a good job. He does keep our attention in most of the appropriate places and develops characters and their connections well. This is just the kind of work he can be serviceable at instead of excelling.
The main players are few in numbers, but all of them are reliable in the end. Gyllenhaal actually delivers a surprisingly good performance, surprising only in the sense that this a good performance usually isn’t necessary in these types of films. He not only sells the character’s quest, but also the emotionality of him, particularly in the relationship with his father. By the end, you actually feel something for him and he unfolds in a genuine way. I’m glad Gyllenhaal is trying to make up for Prince of Persia.
The other supporting players do their jobs, but to be honest, it’s nothing really impressive. Monaghan holds some emotional anchors, but most of the time she’s disposable one way or the other. Vera Farmiga as the sympathetic army officer in direct contact with Stevens and Jeffrey Wright as the cold, calculated director of the Source Code program are great actors, but their roles are diminished that we can’t expect them to do anything more than remember the lines. It’s not meant to be an insult to the two of them, who are good in the film, it’s just that outside of Gyllenhaal, no one was required to do anything special outside of their own natural talents, and that ended up being the case.
The movie does have some issues in its storytelling, and I might have to give a second look to the ending to see if it’s a well executed, thought provoking moment of evaluation or convoluted piece of pretentious thought, but overall I really enjoyed the movie (though, as a resident near Chicago, I wish those commuter trains looked that good on the inside). The film is entertaining, suspenseful and even has a really good performance in the middle. I have to be honest and say that if Jones continues with this genre, I hope he goes for more ambitious targets than this one. At the same time, he proves that even if he sacrifices vision, he can still make a good movie.
The first film is Drive, and this one came out all the way back in September. If you aren’t familiar with it, and judging by the box office that might be a distinct possibility, this was one of the many Ryan Gosling starrers that came out this year about, a stunt driver who moonlights as a getaway man and gets pulled into a gangster plot. Without a doubt, this is my favorite film of the year so far. Nicolas Winding Refn is a masterful director, and he created one of the few films that deserves to be called “Hitchcockian.” He uses the camera is such beautiful ways, and the offbeat surreal quality is just so mesmerizing. Most of the performances are rather quiet, but engaging nonetheless, particularly from Albert Brooks playing against type as a villain, and Carey Mulligan in a fantastic role as a “supporting wife” kind of character with layers of complexity. I loved pretty much every frame of this film: it is an exercise in cool in cinema. This film was a godsend for me, especially coming off the absolutely abysmal summer. It was dark and brooding, but it was also fun and an incredible joy to sit through. I can’t recommend it highly enough.
The movie itself is simply wonderful. Writer-director Andrew Haigh has a wonderful sense of the world and the characters, and he adopts a real fly-on-the-wall style that brings you into real intimacy with the characters. The performances here, too, are marvelous. The two men are played by newcomers Tom Cullen and Chris New, and they bring an incredible amount of joy and sadness to their roles. This is a tender, heartbreaking romance that is most certainly going to be on my list for the top films of the year.
The rest of the films I saw over these last two months have ranged from simply good to mediocre at best. Roland Emmerich’s Anonymous is a nice conspiracy thriller that suffers from too many third act twists, Martha Marcy May Marlene has a terrific breakout performance from Elizabeth Olsen, but the direction of the film takes on a monotonous and dull tone after a while, Margin Call has some good moments of writing and acting, but it’s a bit stale and can’t make the finish line, and Melancholia is a Lars von Trier film I did like, but the second half had to make up for a whiney and passive-aggressive first half.
