Based on the ending to Guy Ritchie's Sherlock Holmes from two years ago, it was unmistakable that the legendary British detective had another set of clues to follow. In the film, the director not only included Holmes's talents as a spy, but as a skilled brawler too, engaging him in some bare-knuckle fight scenes. This is Guy Ritchie, afterall, one who's known for his experienced background in the action genre. He places Sir Arthur Conan Doyle's famed sleuth in another high-stakes mystery thriller where Holmes uses his fists as much as his smarts to outwit his latest adversary. It's an entertaining return in the beginning; but it doesn't keep itself as fresh or as energetic as the first.
Sherlock Holmes (Robert Downey, Jr.) is investigating a series of bombings that have been occurring throughout Europe, and has an idea of who might be instigating them: the criminal mastermind, Professor Moriarty (Jared Harris). On top of this, Holmes's crime-solving partner, Dr. Watson (Jude Law), is about to get married, so Holmes is worried that he might be losing him. However, due to unforeseen malevolent circumstances, Watson is influenced to help his friend solve the case. The two obtain the help of a gypsy fortune-teller named Simza (Noomi Rapace), who is desperately searching for her brother who might be involved in Moriarty's deadly game. As the case unfolds, the group realizes that there's a lot more at risk than they had imagined.
Robert Downey, Jr. brings back his gleeful eccentricities that could be shown as well by a crazy scientist. His various disguises perfectly fit his unpredictability. He handles the different sides of his role well, bringing the comic-relief factor of his character to the lighter moments, and has graceful shifts to his serious temperament when there's danger in sight. A majority of the funnier scenes in the film come when Holmes is with his dear friend, Watson. The bromance that sparked between them in the first installment is slightly more amplified, and it's played to more laughs; but it thankfully doesn't take away from the bigger picture.
Some fresh faces include the addition of Sherlock's brother, Mycroft (Stephen Fry). The first time we see these two together, they don't miss a beat with engaging in humorous, brotherly quarreling. Noomi Rapace, who is best known for her lead role in the Swedish film adaptation of The Girl With the Dragon Tattoo novel, takes her first dip into mainstream film. Her gypsy character is fierce with a knife, and gets as involved in the action as her male counterparts.
But the strongest new character is Professor Moriarty. What's unsettling about him is as normal as he might seem, he is deadly and heartless. He and Holmes think alike, and are two halves of one brain. One half is light, one half is dark. One half abides by the law, and the other half breaks it.
Guy Ritchie knows how to stage an action scene. The best one of the film is a chase that has the protagonists being pursued through a forest in Germany, with guns and cannons firing away at them from behind. However, Ritchie could have left out a lot of the slow-motion shots on this part. It arrived at the point where it almost drained away the excitement of this sequence, as well as in any other scene that used slow-motion.
The end confrontation between Holmes and Moriarty is more of a battle of brains than braun. Although it's missing some of the fun of watching Holmes face-off with his nemesis on the under-construction Tower Bridge at the conclusion of the first movie, it's still interesting to watch.
The screenplay by Kieran Mulroney, Michele Mulroney and Guy Ritchie takes the globe-trotting characters from England, to France, to Germany, and finally, to Switzerland. This places the narrative on a greater scale, conveying how much is at stake if the villain succeeds.
The story employs some of the tricks we saw in the first film, such as Sherlock's analysis of a fight, seconds before it happens. At this point, however, they come off as musty, and make us feel at times as though we're just watching the original again.
The plot doesn't wrap-up entirely, and it leaves the door ajar for a third movie. Wise choice, seeing as A Game of Shadows feels like part one of a two-part movie, waiting to reveal more surprises for the third installment. What the next entry needs is a better dose of the mystery-solving fun and some new tricks that made the first movie a treat to watch. Those are some clues that the filmmakers, and certainly Sherlock Holmes, could decipher.
Final grade: B-
Sunday, December 18, 2011
Sunday, November 27, 2011
The Muppets Take Back Their Stage, and it's Showtime
It's time to play the music. It's time to light the lights. It's time to meet the Muppets. Those are the opening lines to the theme song for The Muppet Show, a 1970s television program that showcased the late Jim Henson's popular puppet creations. Those of you who were around back then had the privilege of viewing such amiable characters that were full of gusto. I wasn't around in the disco era; but being a child of the '90s, my appreciation for Kermit and the gang stemmed from some of their other feature films from back then, such as The Muppet Christmas Carol, Muppet Treasure Island and Muppets from Space.
In director James Bobin's nostalgic comedy, The Muppets, he revives the life that these puppets embraced and brings them back into the limelight that all of them, especially Miss Piggy, always strived for. After a 12-year hiatus from movie theaters, the Muppets make a cordial and musical return to the glorious land that is Hollywood.
Gary (Jason Segel) and Walter (voiced by Peter Linz) are brothers and the best of friends living in Smalltown, USA. Over their childhood years, Gary introduces his brother to The Muppet Show, and he instantly becomes their most devoted fan. They are now older, and Gary is in a relationship with his long-time girlfriend Mary (Amy Adams). When Gary treats Mary with a trip to the famed Muppet Studios in Los Angeles for their tenth anniversary, he decides to bring Walter along, who is elated for the opportunity. But his sense of joy is soon crushed when he overhears a greedy oil tycoon, Tex Richman (Chris Cooper), plans to demolish the dilapidated studios and convert it to a drilling site. Once Walter reveals this to Gary and Mary, they seek out Kermit, who then recruits them to help him find and reunite the Muppets. They soon devise a plan to host a telethon in their old theater to raise money and help save it from destruction.
After starring in several R-rated comedies and the hit show How I Met Your Mother, Jason Segel doesn't waste any time with this chance to broaden his appeal from adults to children. After being highly underused in this summer's comedy Bad Teacher, he returns to his affable charm that's reinforced by his interactions with the Muppets. Amy Adams, with her luminous disposition and voice as sweet as geloto, once again confirms herself to be one of film's most endowed starlets. Having Segel and Adams work together reminded me of a couple you would watch in a romantic movie-musical of the '50s or '60s. Being able to act, sing and dance, these love birds are triple threats.
There is a wealth of supporting roles and celebrity cameos. Chris Cooper is just enough of a kooky villain to make his character entertaining; but gratefully, he doesn't become too over-the-top and irritating. He is a dastardly oil magnate with a penchant for maniacal laughter. Rashida Jones plays the reluctant and daunting network executive who eventually gives the Muppets a chance to air their telethon. Alan Arkin is a bored-out-of-his-mind tour guide for the Muppet Studios. The always-reliably funny Jack Black makes an appearance, but as what, is a secret. Among the cameos, there is Sarah Silverman as a snide diner host; and Mickey Rooney, as a Smalltown, USA resident, adds a touch of classical Hollywood. I won't reveal any more visitors, but there is a fantastic bunch.
As wonderfully wide-ranging as the human cast is, the Muppets are the real stars of the show. Kermit the Frog, the amphibious leader of the pack, carries us back to our childhoods the moment he shows up in his first scene. His amorous partner, Miss Piggy, is as assertive as ever, and doesn't let anyone get in the way of what she wants, including the attention. Gonzo returns with his dangerous circus tricks and loyal chickens. Fozzie Bear is back with his scores of jokes and his characteristic catchphrase, "Wocka Wocka Wocka." Animal, the feral drummer returns with all of his anger issues. Statler and Waldorf are back on their balcony as the two old men who joyfully criticize whatever they are watching.
Thankfully, the filmmakers didn't feel the need to cram in too many new Muppets, despite their lengthy absence from the big screen. The latest additions, however, deserve their roles in Jim Henson's puppet squad. Walter is a young chap with hope in his heart and a pocket full of dreams. There is also a Muppets tribute band called "The Moopets." Think of them as a gang of anti-Muppets. Where the Muppets are on one side of the happiness spectrum, the Moopets are falling off the edge of the other side.
The film employs a colorful arrangement of original songs. The opening number, "Life's a Happy Song," is a cheery and upbeat musical ray of sunshine. "Pictures In My Head" is Kermit's sincere song of remembrance for the Muppets' former stardom. When not being paid attention to by their boyfriends, Amy Adams and Miss Piggy perform "Me Party," which is a fun song about enjoying the times when you're flying solo.
The Muppets also bring out some '80s and '90s hits. As they are restoring their theater to its previous splendor, they belt out Starship's "We Built This City." It is in this scene that we know the Muppets are back in action. At one point, the Muppets Barbershop Quartet croons Nirvana's "Smells Like Teen Spirit." But it's when you see Kermit on the stage with his banjo and company of friends singing their timeless tune, "Rainbow Connection," that your nostalgia reaches its zenith. Even if you have never seen The Muppet Show, you have probably heard this endearing showstopper at some point in your life. It will leave you happily teary-eyed and will melt your heart like butter on a hot piece of toast.
Although the plot bears some similarities to Disney's 2002 family film, The Country Bears, it has better quality with The Muppets. The crucial reason is that the latter movie involves characters that many people have come to love over the last few decades; whereas the former movie is just based on a non-too-memorable Disney World attraction.
The screenplay by Jason Segel and Nicholas Stoller, both of who scribed recent comedies such as Forgetting Sarah Marshall and Get Him to the Greek, show that they can create comical situations that can appeal to the children's crowd, but also keep their usual adult crowd as well. However, many of the jokes will resonate more with the 18-and-older audience members, since they are the age demographic that grew-up with the Muppets when they were still prominent in the pop culture scene.
Being fluent in the art of show business, The Muppets were never a group that lowered themselves to cheap, immature gags that were solely aimed at children. Everyone can celebrate with this welcome-back party for the Muppets, and there is a generous bouquet of laughs that can be reached by all viewers. This film also acts as an acceptable gateway for those younger moviegoers that are just beginning to get into the Muppets.
I can't remember the last time I smiled during an entire movie; but The Muppets delivered that feeling back to me, and it's that type of experience that makes going to the movies a remarkably joyous experience. For 90 minutes, I took a nostalgic trip back to my childhood. Having not watched this lively cast of characters for some time, I felt as though I was being introduced to them again, and it was a heart-tugging reunion. The Muppets have followed us into our adult years. We haven't forgotten about them, and it's clear they haven't forgotten about us.
Final grade: A-
In director James Bobin's nostalgic comedy, The Muppets, he revives the life that these puppets embraced and brings them back into the limelight that all of them, especially Miss Piggy, always strived for. After a 12-year hiatus from movie theaters, the Muppets make a cordial and musical return to the glorious land that is Hollywood.
Gary (Jason Segel) and Walter (voiced by Peter Linz) are brothers and the best of friends living in Smalltown, USA. Over their childhood years, Gary introduces his brother to The Muppet Show, and he instantly becomes their most devoted fan. They are now older, and Gary is in a relationship with his long-time girlfriend Mary (Amy Adams). When Gary treats Mary with a trip to the famed Muppet Studios in Los Angeles for their tenth anniversary, he decides to bring Walter along, who is elated for the opportunity. But his sense of joy is soon crushed when he overhears a greedy oil tycoon, Tex Richman (Chris Cooper), plans to demolish the dilapidated studios and convert it to a drilling site. Once Walter reveals this to Gary and Mary, they seek out Kermit, who then recruits them to help him find and reunite the Muppets. They soon devise a plan to host a telethon in their old theater to raise money and help save it from destruction.
After starring in several R-rated comedies and the hit show How I Met Your Mother, Jason Segel doesn't waste any time with this chance to broaden his appeal from adults to children. After being highly underused in this summer's comedy Bad Teacher, he returns to his affable charm that's reinforced by his interactions with the Muppets. Amy Adams, with her luminous disposition and voice as sweet as geloto, once again confirms herself to be one of film's most endowed starlets. Having Segel and Adams work together reminded me of a couple you would watch in a romantic movie-musical of the '50s or '60s. Being able to act, sing and dance, these love birds are triple threats.
There is a wealth of supporting roles and celebrity cameos. Chris Cooper is just enough of a kooky villain to make his character entertaining; but gratefully, he doesn't become too over-the-top and irritating. He is a dastardly oil magnate with a penchant for maniacal laughter. Rashida Jones plays the reluctant and daunting network executive who eventually gives the Muppets a chance to air their telethon. Alan Arkin is a bored-out-of-his-mind tour guide for the Muppet Studios. The always-reliably funny Jack Black makes an appearance, but as what, is a secret. Among the cameos, there is Sarah Silverman as a snide diner host; and Mickey Rooney, as a Smalltown, USA resident, adds a touch of classical Hollywood. I won't reveal any more visitors, but there is a fantastic bunch.
As wonderfully wide-ranging as the human cast is, the Muppets are the real stars of the show. Kermit the Frog, the amphibious leader of the pack, carries us back to our childhoods the moment he shows up in his first scene. His amorous partner, Miss Piggy, is as assertive as ever, and doesn't let anyone get in the way of what she wants, including the attention. Gonzo returns with his dangerous circus tricks and loyal chickens. Fozzie Bear is back with his scores of jokes and his characteristic catchphrase, "Wocka Wocka Wocka." Animal, the feral drummer returns with all of his anger issues. Statler and Waldorf are back on their balcony as the two old men who joyfully criticize whatever they are watching.
Thankfully, the filmmakers didn't feel the need to cram in too many new Muppets, despite their lengthy absence from the big screen. The latest additions, however, deserve their roles in Jim Henson's puppet squad. Walter is a young chap with hope in his heart and a pocket full of dreams. There is also a Muppets tribute band called "The Moopets." Think of them as a gang of anti-Muppets. Where the Muppets are on one side of the happiness spectrum, the Moopets are falling off the edge of the other side.
The film employs a colorful arrangement of original songs. The opening number, "Life's a Happy Song," is a cheery and upbeat musical ray of sunshine. "Pictures In My Head" is Kermit's sincere song of remembrance for the Muppets' former stardom. When not being paid attention to by their boyfriends, Amy Adams and Miss Piggy perform "Me Party," which is a fun song about enjoying the times when you're flying solo.
The Muppets also bring out some '80s and '90s hits. As they are restoring their theater to its previous splendor, they belt out Starship's "We Built This City." It is in this scene that we know the Muppets are back in action. At one point, the Muppets Barbershop Quartet croons Nirvana's "Smells Like Teen Spirit." But it's when you see Kermit on the stage with his banjo and company of friends singing their timeless tune, "Rainbow Connection," that your nostalgia reaches its zenith. Even if you have never seen The Muppet Show, you have probably heard this endearing showstopper at some point in your life. It will leave you happily teary-eyed and will melt your heart like butter on a hot piece of toast.
Although the plot bears some similarities to Disney's 2002 family film, The Country Bears, it has better quality with The Muppets. The crucial reason is that the latter movie involves characters that many people have come to love over the last few decades; whereas the former movie is just based on a non-too-memorable Disney World attraction.
The screenplay by Jason Segel and Nicholas Stoller, both of who scribed recent comedies such as Forgetting Sarah Marshall and Get Him to the Greek, show that they can create comical situations that can appeal to the children's crowd, but also keep their usual adult crowd as well. However, many of the jokes will resonate more with the 18-and-older audience members, since they are the age demographic that grew-up with the Muppets when they were still prominent in the pop culture scene.
Being fluent in the art of show business, The Muppets were never a group that lowered themselves to cheap, immature gags that were solely aimed at children. Everyone can celebrate with this welcome-back party for the Muppets, and there is a generous bouquet of laughs that can be reached by all viewers. This film also acts as an acceptable gateway for those younger moviegoers that are just beginning to get into the Muppets.
I can't remember the last time I smiled during an entire movie; but The Muppets delivered that feeling back to me, and it's that type of experience that makes going to the movies a remarkably joyous experience. For 90 minutes, I took a nostalgic trip back to my childhood. Having not watched this lively cast of characters for some time, I felt as though I was being introduced to them again, and it was a heart-tugging reunion. The Muppets have followed us into our adult years. We haven't forgotten about them, and it's clear they haven't forgotten about us.
Final grade: A-
Thursday, October 20, 2011
A Young Girl's Imaginary "Friend," and Fear That's Anything But
I've never been to a midnight premiere before, because I'm always nervous about falling asleep during the movie. When I go to the movies, I love to immerse myself into what I'm watching; and I don't have any intention on dozing off. But it's a bit of a challenge to have forty winks when your heart is in danger of erupting from your chest like the chestburster in Alien. As your heart rate increases, you are on full alert of what's happening on screen.
For a pre-Halloween festivity, I jumped at the chance to attend a midnight showing of the new found-footage horror film, Paranormal Activity 3, directed by Ariel Schulman and Henry Joost. What first started out as a modest ghost story with a shoe-string budget has now generated a madly popular horror trilogy, with each installment successfully topping each other. This one, however, goes a scare beyond and does some significant anxiety amplification.
As a prequel to the previous two films, this third entry takes place 18 years prior in 1988. We see Katie (Katie Featherston of PA 1 and PA 2) and Kristi (Sprague Grayden of PA 2) as sisters at a younger age. They are portrayed by Chloe Csengery, who plays Katie, and Jessica Tyler Brown, who plays Kristi. When Kristi begins talking to her imaginary friend Toby, bizarre things begin to happen throughout their home. Her father Dennis (Christopher Nicholas Smith) decides to set up cameras in several rooms to try and find some ghostly activity, and her mother Julie (Lauren Bittner) decides to dismiss Kristi's behavior as normal for a child. But when Toby begins to harass the family with spooky and dangerous actions, their seemingly ordinary life starts to turn into a nightmare that grows bigger with each passing day.
The forte of the film, as with the previous two, is its effective use of camerawork to derive much of its terror. There are three camcorders that are set up in the house, one of which is in the parents' bedroom and another one being in the daughters' bedroom. But the placing of the third camcorder is one that strikes you with the most trepidation. It's placed on the base of an oscillating fan in the living room, and it's view tracks back and forth from the dining room to the kitchen. The suspense piles on as it goes from room to room; and we sit frozen in the theater, not knowing what will be waiting for us when the fan goes back to the kitchen or the living room.
The movie, in some instances, utilizes offscreen space to add to its eerie atmosphere. On a few of the nights when we see the daughters' bedroom, Kristi wakes up, goes to the corner of the screen and talks to Toby. The demon is out of the frame, so we can't see him as she's talking to him, nor do we ever actually see the demon in these films. But, we can tell that Toby is visible to Kristi, and he's definitely there in her room at that time.
You hear a lot of people referring to an exciting story as a "roller coaster ride." That comparison is often overused, but it certainly works for this film. Every scene is, in fact, like a roller coaster ride. At the beginning of each one, we'll ascend as we wait in frightened anticipation for the inevitable jolt-moment. We can't really tell when the top of the hill will come, because the big "Boo!" can arrive at any instant. But when it does, we as an audience scream together as we immediately descend. Then, we are thrown for a loop at the grandly bloodcurdling finale that is always the supreme scare for all three movies.
Two years ago when I saw the first Paranormal Activity, I had trouble believing that the filmmakers could make a sequel without spitting on the original. They ended up making a prequel that not only topped the first, but also lived up to the mythology that was established by the first film. Then, after viewing Paranormal Activity 2 a year ago, I had even more difficulty thinking that a third film could be made, especially after the sense of closure we had at the end. Now, I can say that after seeing Paranormal Activity 3, I can eat my own skepticism. The screenplay by Christopher B. Landon ties well into the previous two movies and answers many questions that, until now, have remained a supernatural mystery. It brings this trilogy-in-reverse to a full finish. Hopefully this time next year, I'm not lamenting this horror series being tarnished by a needless fourth movie. I think it's time for the demon to pack his bags and move on, because he has given us enough enjoyably nerve-piercing scares to be thankful for.
Final grade: A-
For a pre-Halloween festivity, I jumped at the chance to attend a midnight showing of the new found-footage horror film, Paranormal Activity 3, directed by Ariel Schulman and Henry Joost. What first started out as a modest ghost story with a shoe-string budget has now generated a madly popular horror trilogy, with each installment successfully topping each other. This one, however, goes a scare beyond and does some significant anxiety amplification.
As a prequel to the previous two films, this third entry takes place 18 years prior in 1988. We see Katie (Katie Featherston of PA 1 and PA 2) and Kristi (Sprague Grayden of PA 2) as sisters at a younger age. They are portrayed by Chloe Csengery, who plays Katie, and Jessica Tyler Brown, who plays Kristi. When Kristi begins talking to her imaginary friend Toby, bizarre things begin to happen throughout their home. Her father Dennis (Christopher Nicholas Smith) decides to set up cameras in several rooms to try and find some ghostly activity, and her mother Julie (Lauren Bittner) decides to dismiss Kristi's behavior as normal for a child. But when Toby begins to harass the family with spooky and dangerous actions, their seemingly ordinary life starts to turn into a nightmare that grows bigger with each passing day.
The forte of the film, as with the previous two, is its effective use of camerawork to derive much of its terror. There are three camcorders that are set up in the house, one of which is in the parents' bedroom and another one being in the daughters' bedroom. But the placing of the third camcorder is one that strikes you with the most trepidation. It's placed on the base of an oscillating fan in the living room, and it's view tracks back and forth from the dining room to the kitchen. The suspense piles on as it goes from room to room; and we sit frozen in the theater, not knowing what will be waiting for us when the fan goes back to the kitchen or the living room.
The movie, in some instances, utilizes offscreen space to add to its eerie atmosphere. On a few of the nights when we see the daughters' bedroom, Kristi wakes up, goes to the corner of the screen and talks to Toby. The demon is out of the frame, so we can't see him as she's talking to him, nor do we ever actually see the demon in these films. But, we can tell that Toby is visible to Kristi, and he's definitely there in her room at that time.
You hear a lot of people referring to an exciting story as a "roller coaster ride." That comparison is often overused, but it certainly works for this film. Every scene is, in fact, like a roller coaster ride. At the beginning of each one, we'll ascend as we wait in frightened anticipation for the inevitable jolt-moment. We can't really tell when the top of the hill will come, because the big "Boo!" can arrive at any instant. But when it does, we as an audience scream together as we immediately descend. Then, we are thrown for a loop at the grandly bloodcurdling finale that is always the supreme scare for all three movies.
Two years ago when I saw the first Paranormal Activity, I had trouble believing that the filmmakers could make a sequel without spitting on the original. They ended up making a prequel that not only topped the first, but also lived up to the mythology that was established by the first film. Then, after viewing Paranormal Activity 2 a year ago, I had even more difficulty thinking that a third film could be made, especially after the sense of closure we had at the end. Now, I can say that after seeing Paranormal Activity 3, I can eat my own skepticism. The screenplay by Christopher B. Landon ties well into the previous two movies and answers many questions that, until now, have remained a supernatural mystery. It brings this trilogy-in-reverse to a full finish. Hopefully this time next year, I'm not lamenting this horror series being tarnished by a needless fourth movie. I think it's time for the demon to pack his bags and move on, because he has given us enough enjoyably nerve-piercing scares to be thankful for.
Final grade: A-
Tuesday, October 11, 2011
A Little Bit of Laughter is the Best Medicine
It's an unfortunate and well-known truth that cancer, no matter what kind, affects millions all over the world. Not just those that are stricken ill, but their loved ones as well. Many try their best to take it in stride; but for others, it's a little harder. It's important to know that even when times might seem the toughest, it's how the person takes control of the situation that can help him or her choose how to live life and find the much sought after silver lining. This is what Adam (Joseph Gordon-Levitt) must comprehend in director Jonathan Levine's dramedy 50/50, a film that takes a semi-lighthearted approach to a relatable and serious topic.
Adam is living a normal life and loves his job at the local radio station. When he begins to experience some back pains, he decides to go to his doctor and find out the cause of the trouble. The doctor tells Adam that he has a very rare form of cancer, to which there are limited options for treatment. Once he reveals this to his family and friends, including his pal and co-worker Kyle (Seth Rogen), his questionable girlfriend Rachael (Bryce Dallas Howard) and his mother (Anjelica Huston), they all try to help him out and figure what's best for him. In the meantime, Adam begins to attend sessions with a young psychologist Katie (Anna Kendrick) who tries to help him to better understand and live with the situation he has been thrown into.
Joseph Gordon-Levitt brings out the audience's understanding for him trying to be an ordinary guy that gets hit with this life-changing event that he doesn't have any control over. When given the startling news of his illness, he responds with, "That doesn't make any sense though. I mean...I don't smoke, I don't drink...I recycle..." His stunned reaction shows how unexpected something like this could happen to anyone, even if you have a good health record. The nonchalant attitude that he tries to feel in light of the circumstances gives a greater emotional punch, because we know there's a storm cloud behind the false expressions of his seemingly carefree exterior. We want to reach out to him and let him know that everything will be alright. But like him, we don't know for sure if it will be. What's happening to Adam is something that many are experiencing, and that's what makes his character worthy to bond with.
One especially resonant and empowering scene is when Adam decides to shave his head, before the cancer gets to it first. It's a sign that he's not going to be a victim to this illness. Rather, he's going to be a fighter.
Seth Rogen is his usual goofy self as Kyle, Adam's loud and foul-mouthed best friend. Kyle tries to help him by sharing his "embrace the moment and have fun" philosophy, which is something that Adam is in great need of at the time. Although his use of Adam's current condition as a means to pick up women for the two of them can come off as selfish, you can tell he has Adam's best interests at heart and wants to provide some merriment to take Adam's mind off his ailment. He tries to have Adam look on the bright side of things throughtout the film. At one point, he reassures Adam with his 50/50 chance of survival by saying, "If you were a casino game, you'd have the best odds." In one scene right before the end, you see how much Kyle sincerely cares for his friend.
Anna Kendrick is, and still remains, a natural-born scene-stealer. She has considerable screen presence, and there's something about her acting style that leaves an impression and charm on the viewer after each of her scenes. Anjelica Huston, as Adam's mother, gives the reasonably smothering love and care that any parent would give to their child in a time of crisis. Philip Baker Hall and Matt Frewer bring more of the film's comic relief, outside of Seth Rogen, as jokester cancer patients who Adam befriends.
Director Jonathan Levine and screenwriter Will Reiser, the latter whose life the story is loosely based on, treats the material sensitively. They add just enough humor to make it tasteful; but they don't forget that the film also needs the drama to reaffirm the audience that this is a realistic situation with a young life at stake. The characters are written and acted believably in how they each react to Adam's circumstance and help him navigate through an uncertain time after his life takes a sudden left turn. 50/50 fully transcends the typical "disease of the week" kind of film, and is instead a celebration of the familial and friendship bonds that can be as healing as any medicinal treatment.
Final grade: A
Adam is living a normal life and loves his job at the local radio station. When he begins to experience some back pains, he decides to go to his doctor and find out the cause of the trouble. The doctor tells Adam that he has a very rare form of cancer, to which there are limited options for treatment. Once he reveals this to his family and friends, including his pal and co-worker Kyle (Seth Rogen), his questionable girlfriend Rachael (Bryce Dallas Howard) and his mother (Anjelica Huston), they all try to help him out and figure what's best for him. In the meantime, Adam begins to attend sessions with a young psychologist Katie (Anna Kendrick) who tries to help him to better understand and live with the situation he has been thrown into.
Joseph Gordon-Levitt brings out the audience's understanding for him trying to be an ordinary guy that gets hit with this life-changing event that he doesn't have any control over. When given the startling news of his illness, he responds with, "That doesn't make any sense though. I mean...I don't smoke, I don't drink...I recycle..." His stunned reaction shows how unexpected something like this could happen to anyone, even if you have a good health record. The nonchalant attitude that he tries to feel in light of the circumstances gives a greater emotional punch, because we know there's a storm cloud behind the false expressions of his seemingly carefree exterior. We want to reach out to him and let him know that everything will be alright. But like him, we don't know for sure if it will be. What's happening to Adam is something that many are experiencing, and that's what makes his character worthy to bond with.
One especially resonant and empowering scene is when Adam decides to shave his head, before the cancer gets to it first. It's a sign that he's not going to be a victim to this illness. Rather, he's going to be a fighter.
Seth Rogen is his usual goofy self as Kyle, Adam's loud and foul-mouthed best friend. Kyle tries to help him by sharing his "embrace the moment and have fun" philosophy, which is something that Adam is in great need of at the time. Although his use of Adam's current condition as a means to pick up women for the two of them can come off as selfish, you can tell he has Adam's best interests at heart and wants to provide some merriment to take Adam's mind off his ailment. He tries to have Adam look on the bright side of things throughtout the film. At one point, he reassures Adam with his 50/50 chance of survival by saying, "If you were a casino game, you'd have the best odds." In one scene right before the end, you see how much Kyle sincerely cares for his friend.
Anna Kendrick is, and still remains, a natural-born scene-stealer. She has considerable screen presence, and there's something about her acting style that leaves an impression and charm on the viewer after each of her scenes. Anjelica Huston, as Adam's mother, gives the reasonably smothering love and care that any parent would give to their child in a time of crisis. Philip Baker Hall and Matt Frewer bring more of the film's comic relief, outside of Seth Rogen, as jokester cancer patients who Adam befriends.
Director Jonathan Levine and screenwriter Will Reiser, the latter whose life the story is loosely based on, treats the material sensitively. They add just enough humor to make it tasteful; but they don't forget that the film also needs the drama to reaffirm the audience that this is a realistic situation with a young life at stake. The characters are written and acted believably in how they each react to Adam's circumstance and help him navigate through an uncertain time after his life takes a sudden left turn. 50/50 fully transcends the typical "disease of the week" kind of film, and is instead a celebration of the familial and friendship bonds that can be as healing as any medicinal treatment.
Final grade: A
Saturday, October 8, 2011
A Road to the White House That's Paved With Scandal
How well do we know our politicians? Hopefully well enough, since we trust them with our nation's future. Will they keep their promises to their voters? Or are they lying through their television-friendly white teeth? It's not a complete shocker that as much as we do know about them can be equal to what remains in the dark about them. George Clooney, who himself is very involved in government matters, directs and stars in The Ides of March, a twisty political drama that pulls back the voting booth curtain on the dirty secrets and dealings that can occur on the campaign trail.
Stephen Meyers (Ryan Gosling) is a young, hot-shot campaign manager for Governor Mike Morris (George Clooney). When the race for the Presidency's Democratic nomination brings the group to Ohio, they realize that how well they do there could make or break Morris's chances at winning the nomination. When the opposing Democratic hopeful's campaign manager Tom Duffy(Paul Giamatti) witnesses Meyers skills, Tom encourages him to switch over to his side. When Meyers neglects to notify his boss Paul Zara (Philip Seymour Hoffman) about the meeting, Paul fires him. Fueled with anger, Meyers plans to join Duffy and use a career-damaging secret of Governor Morris against him.
The film's cast emanates the heated tension that causes opposing sets of morals to ignite sparks on the campaign trail. Ryan Gosling fluently synthesizes suave with political smarts. He's a flirtatious guy who knows how to work a girl as well as he works a campaign. His character, like anyone, easily gives in to flattery, which is his undoing and sets the film's events into ominous action. George Clooney brings his passionate political attitudes to his role, and it's conclusively visible that he's incorporating his love of these ideals in the film. His character almost mirrors how he is in reality. We basically see two Clooney's in the film: Clooney the actor, and Clooney the politician.
Paul Giamatti is the essence of an unfair political game as the manipulative and deceitful Tom Duffy. Philip Seymour Hoffman is entirely different from Duffy as Meyers's boss who values loyalty over everything else. The two are as opposite as Republicans are to Democrats. The youthful and gorgeous Evan Rachel Wood is impressive as a campaign intern who catches Gosling's eye. She is thrown into a tough adult world when a life-altering secret of her's is revealed; and her playfulness turns to desperation as quickly as an undecided voter's choice in an election. And Marisa Tomei does a lot with a little as the pesky New York Times reporter who always gets the scoop.
Clooney is certainly not an outsider to political cinema. He has dabbled in it twice back in 2005 when he starred in Syriana and Good Night, and Good Luck, the latter of which he also directed, and received awards and nominations for both projects. It doesn't matter if you agree or disagree with his political views. You have to appreciate his fervor for politics and film and his gift for uniting them into sharp, stimulating stories.
The screenplay by George Clooney, Grant Heslov and Beau Willimon is based on the latter's 2008 play Farragut North. The first half hour of the film is mainly for the fleshing-out of what Clooney's role is as a candidate, his policies and the current status of his campaign. So the movie takes some time to get started because of that. But when a major plot revelation about one of the character's is exposed, the movie spikes to life. It becomes a web of scandal, blackmail, corruption and revenge, where some people aren't who them seem to be. Political films, mercifully, tend to leave out all of the tiresome mudslinging between candidates that we watch on television. The Ides of March spares us all of that as well, and serves us an intelligently engaging story. It has my vote.
Final grade: A-
Stephen Meyers (Ryan Gosling) is a young, hot-shot campaign manager for Governor Mike Morris (George Clooney). When the race for the Presidency's Democratic nomination brings the group to Ohio, they realize that how well they do there could make or break Morris's chances at winning the nomination. When the opposing Democratic hopeful's campaign manager Tom Duffy(Paul Giamatti) witnesses Meyers skills, Tom encourages him to switch over to his side. When Meyers neglects to notify his boss Paul Zara (Philip Seymour Hoffman) about the meeting, Paul fires him. Fueled with anger, Meyers plans to join Duffy and use a career-damaging secret of Governor Morris against him.
The film's cast emanates the heated tension that causes opposing sets of morals to ignite sparks on the campaign trail. Ryan Gosling fluently synthesizes suave with political smarts. He's a flirtatious guy who knows how to work a girl as well as he works a campaign. His character, like anyone, easily gives in to flattery, which is his undoing and sets the film's events into ominous action. George Clooney brings his passionate political attitudes to his role, and it's conclusively visible that he's incorporating his love of these ideals in the film. His character almost mirrors how he is in reality. We basically see two Clooney's in the film: Clooney the actor, and Clooney the politician.
Paul Giamatti is the essence of an unfair political game as the manipulative and deceitful Tom Duffy. Philip Seymour Hoffman is entirely different from Duffy as Meyers's boss who values loyalty over everything else. The two are as opposite as Republicans are to Democrats. The youthful and gorgeous Evan Rachel Wood is impressive as a campaign intern who catches Gosling's eye. She is thrown into a tough adult world when a life-altering secret of her's is revealed; and her playfulness turns to desperation as quickly as an undecided voter's choice in an election. And Marisa Tomei does a lot with a little as the pesky New York Times reporter who always gets the scoop.
Clooney is certainly not an outsider to political cinema. He has dabbled in it twice back in 2005 when he starred in Syriana and Good Night, and Good Luck, the latter of which he also directed, and received awards and nominations for both projects. It doesn't matter if you agree or disagree with his political views. You have to appreciate his fervor for politics and film and his gift for uniting them into sharp, stimulating stories.
The screenplay by George Clooney, Grant Heslov and Beau Willimon is based on the latter's 2008 play Farragut North. The first half hour of the film is mainly for the fleshing-out of what Clooney's role is as a candidate, his policies and the current status of his campaign. So the movie takes some time to get started because of that. But when a major plot revelation about one of the character's is exposed, the movie spikes to life. It becomes a web of scandal, blackmail, corruption and revenge, where some people aren't who them seem to be. Political films, mercifully, tend to leave out all of the tiresome mudslinging between candidates that we watch on television. The Ides of March spares us all of that as well, and serves us an intelligently engaging story. It has my vote.
Final grade: A-
Monday, September 26, 2011
For the Love of the Game
Director Bennett Miller opens his behind-the-scenes baseball drama, Moneyball, with a quote from one of the game's all-time greats, Mickey Mantle: "It's unbelievable how much you don't know about the game you've been playing all your life." After reading it, skepticism might take hold and have you asking, "How could this prodigy think that he doesn't know a lot about baseball?" 15 minutes into the film, you'll realize there's a whole other side to America's greatest pastime that has remained unnoticed, even by hard core sports fanatics. Instead of sitting in a stadium eating a Ball Park Frank, you'll be in a movie theater getting acquainted with the curious inner workings of this ageless game.
Billy Beane (Brad Pitt) is the general manager of the Oakland Athletics who's at the end of his rope. His team suffers a loss in a 2001 postseason game against the New York Yankees, three of his top players have become free agents due to expired contracts, and he can't afford any good replacements. Beane soon recruits the help of a Yale graduate in economic studies named Peter Brand (Jonah Hill) who has an innovative process on how to find the values in less expensive players that scouts would fail to notice. While attempting to get his team off the ground, Billy also tries to provide for his daughter Casey (Kerris Dorsey) while on a limited budget. As other people working in baseball continue to express their doubts about the future of the Oakland Athletics, Billy will show them how this new system could very well be a game-changer.
Brad Pitt's portrayal of Billy Beane is the high-flying grand slam that helps this film to score its home run. Just like a World Series game, it's exhilarating to watch. The way his character does a balancing act between being a committed coach and an affectionate father speaks a lot about Billy's priorities. One of the finest qualities of his character is that he never mopes around and feels bad about himself for being divorced, and doesn't let it cloud his mind. Billy accepts it and concentrates on the tasks at hand. His life on the field and at home are both in his view, and this translates into Pitt mastering both sides of Billy, making this one of the optimum performances of his still flourishing career.
Jonah Hill acts as Pitt's character's reassurance, promising Billy the benefits of using Peter's way of picking specific players and finding their values that have gone overlooked. His role as Peter is Billy's beginner's-guide to the system that will carry his team further than they would have ever anticipated. Hill still has that timidity in his character that we've seen in some of his other roles; but he keeps his Jonah Hill-isms to a minimum, and still manages to make us laugh on occasions when it's called for. He's just a regular guy who becomes a piece in the changing of this celebrated game.
Of course, the story focuses on the actual baseball games. But that's not entirely what the movie is about. It's about what happens backstage that's the point of intrigue in the film. How we see the science behind the figuring-out of baseball statistics makes this film as much a learning experience as it does a viewing one. Archival footage of past ball games are shown at certain points in Moneyball, and they are used to rich effect. It brings us into realization that in baseball, there is what we see on the field as spectators; but there is also what we don't see that goes on outside of the game.
Steven Zaillian's and Aaron Sorkin's screenplay, based on the 2003 book, Moneyball: The Art of Winning an Unfair Game by Michael Lewis, completely throws you into the sport. I don't watch baseball; but even if you're not a fan of the sport, I can assure you that you won't feel that same lack of interest when you experience this film. In the end, you come out of the theater with a better understanding of the game than you had walking in. It's a sports movie that's both the same as others and different from others. It has the common plotline of the coach striving for the best in his team; but it has the revealing aspect of the statistical method that was used to make a better team. The script doesn't get sidetracked with cheap sentimentality of Billy trying to get back with his wife Tara (Kathryn Morris). In fact, they only have one scene together. The story is all focused on a man trying to support his daughter, guide his team to victory and undertake a dream unfulfilled. So do as the song says, and take yourself out to this ball game.
Final grade: A
Billy Beane (Brad Pitt) is the general manager of the Oakland Athletics who's at the end of his rope. His team suffers a loss in a 2001 postseason game against the New York Yankees, three of his top players have become free agents due to expired contracts, and he can't afford any good replacements. Beane soon recruits the help of a Yale graduate in economic studies named Peter Brand (Jonah Hill) who has an innovative process on how to find the values in less expensive players that scouts would fail to notice. While attempting to get his team off the ground, Billy also tries to provide for his daughter Casey (Kerris Dorsey) while on a limited budget. As other people working in baseball continue to express their doubts about the future of the Oakland Athletics, Billy will show them how this new system could very well be a game-changer.
Brad Pitt's portrayal of Billy Beane is the high-flying grand slam that helps this film to score its home run. Just like a World Series game, it's exhilarating to watch. The way his character does a balancing act between being a committed coach and an affectionate father speaks a lot about Billy's priorities. One of the finest qualities of his character is that he never mopes around and feels bad about himself for being divorced, and doesn't let it cloud his mind. Billy accepts it and concentrates on the tasks at hand. His life on the field and at home are both in his view, and this translates into Pitt mastering both sides of Billy, making this one of the optimum performances of his still flourishing career.
Jonah Hill acts as Pitt's character's reassurance, promising Billy the benefits of using Peter's way of picking specific players and finding their values that have gone overlooked. His role as Peter is Billy's beginner's-guide to the system that will carry his team further than they would have ever anticipated. Hill still has that timidity in his character that we've seen in some of his other roles; but he keeps his Jonah Hill-isms to a minimum, and still manages to make us laugh on occasions when it's called for. He's just a regular guy who becomes a piece in the changing of this celebrated game.
Of course, the story focuses on the actual baseball games. But that's not entirely what the movie is about. It's about what happens backstage that's the point of intrigue in the film. How we see the science behind the figuring-out of baseball statistics makes this film as much a learning experience as it does a viewing one. Archival footage of past ball games are shown at certain points in Moneyball, and they are used to rich effect. It brings us into realization that in baseball, there is what we see on the field as spectators; but there is also what we don't see that goes on outside of the game.
Steven Zaillian's and Aaron Sorkin's screenplay, based on the 2003 book, Moneyball: The Art of Winning an Unfair Game by Michael Lewis, completely throws you into the sport. I don't watch baseball; but even if you're not a fan of the sport, I can assure you that you won't feel that same lack of interest when you experience this film. In the end, you come out of the theater with a better understanding of the game than you had walking in. It's a sports movie that's both the same as others and different from others. It has the common plotline of the coach striving for the best in his team; but it has the revealing aspect of the statistical method that was used to make a better team. The script doesn't get sidetracked with cheap sentimentality of Billy trying to get back with his wife Tara (Kathryn Morris). In fact, they only have one scene together. The story is all focused on a man trying to support his daughter, guide his team to victory and undertake a dream unfulfilled. So do as the song says, and take yourself out to this ball game.
Final grade: A
Saturday, September 24, 2011
Close encounters of the diseased kind
The wondrous thing about cinema is that it can conjure up our wildest dreams on the movie theater canvas. The haunting part of it is that it can also bring us perilously close to our greatest fears. As the rule of thumb would be for the scare factor of film: It's what we can't see that's most frightening. In Steven Soderbergh's epidemic drama Contagion, he unleashes what is invisible to us but what comes into contact with us everyday: germs. They are a living example of size doesn't matter, known to decimate entire civilizations. These micro-dangers prepare for attack once again in this too-close-for-comfort thriller.
When Beth Emhoff (Gwyneth Paltrow) returns to her Minneapolis suburb after a business trip to Hong Kong, everything seems normal. A couple of days later, her husband Mitch (Matt Damon) has to rush her to the hospital after she suffers a seizure. After she succumbs to the mysterious illness, Mitch must help his family survive a society where chaos is at the threshold. Meanwhile, Dr. Ellis Cheever (Laurence Fishburne) of the Center for Disease Control and Prevention and Epidemic Intelligence Service officer Dr. Erin Mears (Kate Winslet) try to make necessary precautions to prevent further infection amongst the world's population. At the same time, epidemiologist Dr. Leonora Orantes (Marion Cotillard) is sent to Hong Kong to trace the outbreak back to its source. In the background, blogger Alan Krumwiede (Jude Law) is trying to gain some information that he believes the government is withholding.
The roles in this film aren't particularly demanding; but having Oscar winners and nominees occupy them give the performances a little something extra and prevent them from being so-so. Each of them knows how much to put into their part, and they don't feel the need to overact, despite being involved in other projects that might have required more work, acting wise.
Some roles, however, have a little more oomph than others in the movie. Matt Damon asserts his character's fatherly approach with tenacity as he tries to protect what's left of his family in a world thrown into a sudden crisis. Jude Law's performance brings to light how the issue of blogging vs. the "dying" print media are portrayed in a situation where everyone is clamoring to hear the truth of what world leaders are doing to help them through a calamity. One minor character goes as far to say that blogging is just "graffiti with punctuation." Law commands his scenes as he inquires the government, particularly in one scene when he faces-off with Laurence Fishburne's character on a news show. It's appropriate that Damon's and Law's roles are the primary two of Contagion, reflecting how the public outside of doctors and the government should either protect their loved ones or ask questions, not loot and cause disorder. Their characters, however, are also prone to some irrational behavior, just like everyone else in a period of bedlam.
Contagion isn't essentially a horror film, but it does have the horror movie aspect for creating the fear of something real. In this case, disease. The film doesn't have the audience shout things like, "Don't go in there!" or "Look out behind you!" Instead, we're influenced to shout, "Don't touch that doorknob!" The close-ups of contaminated surfaces and infected individuals are enough to make you want to shield yourself from people in crowded areas, or wear rubber gloves when shaking someone's hand.
This is the second time that director Soderbergh has collaborated with screenwriter Scott Z. Burns. The first time being two years ago when Burns wrote the screenplay for The Informant!, which Soderbergh helmed as director. Burns's script shifts between several different storylines, which Soderbergh knows how to competently handle, since he directed the multi-story 2000 film, Traffic. With these interlocking accounts, we can see how the public, the Center for Disease Control and the World Health Organization react to this increasing danger. The situation is exposed on all sides, from the ordinary citizens to the medical professionals. Soderbergh labels the days for us as they go by. For each passing day, we grow increasingly anxious with wondering if a cure will be found before the unknown pathogen claims another million lives.
Contagion will likely make you point it out for being similar to 1995's Outbreak, and it is. But as long as there's a reliable cast and crew behind the project with something novel to mix into the formula, it should still work like an antibody against complete copycatting. If you want to know the effectiveness of the film, I'll tell you this: You might want to refill your Purell bottle more often, just in case.
Final grade: B+
When Beth Emhoff (Gwyneth Paltrow) returns to her Minneapolis suburb after a business trip to Hong Kong, everything seems normal. A couple of days later, her husband Mitch (Matt Damon) has to rush her to the hospital after she suffers a seizure. After she succumbs to the mysterious illness, Mitch must help his family survive a society where chaos is at the threshold. Meanwhile, Dr. Ellis Cheever (Laurence Fishburne) of the Center for Disease Control and Prevention and Epidemic Intelligence Service officer Dr. Erin Mears (Kate Winslet) try to make necessary precautions to prevent further infection amongst the world's population. At the same time, epidemiologist Dr. Leonora Orantes (Marion Cotillard) is sent to Hong Kong to trace the outbreak back to its source. In the background, blogger Alan Krumwiede (Jude Law) is trying to gain some information that he believes the government is withholding.
The roles in this film aren't particularly demanding; but having Oscar winners and nominees occupy them give the performances a little something extra and prevent them from being so-so. Each of them knows how much to put into their part, and they don't feel the need to overact, despite being involved in other projects that might have required more work, acting wise.
Some roles, however, have a little more oomph than others in the movie. Matt Damon asserts his character's fatherly approach with tenacity as he tries to protect what's left of his family in a world thrown into a sudden crisis. Jude Law's performance brings to light how the issue of blogging vs. the "dying" print media are portrayed in a situation where everyone is clamoring to hear the truth of what world leaders are doing to help them through a calamity. One minor character goes as far to say that blogging is just "graffiti with punctuation." Law commands his scenes as he inquires the government, particularly in one scene when he faces-off with Laurence Fishburne's character on a news show. It's appropriate that Damon's and Law's roles are the primary two of Contagion, reflecting how the public outside of doctors and the government should either protect their loved ones or ask questions, not loot and cause disorder. Their characters, however, are also prone to some irrational behavior, just like everyone else in a period of bedlam.
Contagion isn't essentially a horror film, but it does have the horror movie aspect for creating the fear of something real. In this case, disease. The film doesn't have the audience shout things like, "Don't go in there!" or "Look out behind you!" Instead, we're influenced to shout, "Don't touch that doorknob!" The close-ups of contaminated surfaces and infected individuals are enough to make you want to shield yourself from people in crowded areas, or wear rubber gloves when shaking someone's hand.
This is the second time that director Soderbergh has collaborated with screenwriter Scott Z. Burns. The first time being two years ago when Burns wrote the screenplay for The Informant!, which Soderbergh helmed as director. Burns's script shifts between several different storylines, which Soderbergh knows how to competently handle, since he directed the multi-story 2000 film, Traffic. With these interlocking accounts, we can see how the public, the Center for Disease Control and the World Health Organization react to this increasing danger. The situation is exposed on all sides, from the ordinary citizens to the medical professionals. Soderbergh labels the days for us as they go by. For each passing day, we grow increasingly anxious with wondering if a cure will be found before the unknown pathogen claims another million lives.
Contagion will likely make you point it out for being similar to 1995's Outbreak, and it is. But as long as there's a reliable cast and crew behind the project with something novel to mix into the formula, it should still work like an antibody against complete copycatting. If you want to know the effectiveness of the film, I'll tell you this: You might want to refill your Purell bottle more often, just in case.
Final grade: B+
Monday, August 29, 2011
An Irishman and an American walk into a crime scene...
...That would be quite the beginning to a joke. What would be the punchline? I couldn't tell you that, since it's not really a joke. Well, not until someone else creates one out if this. What we do have with this, however, is the premise of director John Michael McDonagh's dark comedy, The Guard, which tells the story of two mismatched crime stoppers, with one being from the 50 states, and the other being from the Emerald Isle.
Buddy-comedies involving cops can go one of two ways: either they can both handle situations with a mutual understanding, or they can have their own ways of solving them. It most certainly makes for a better narrative to have the latter choice for a movie, which is what McDonagh's film explores in a violent, yet joyfully amusing and original yarn.
Sergeant Gerry Boyle (Brendan Gleeson) is an experienced and tough policeman in Ireland who has seen enough over the years to not become fazed by the brutality of criminals. He's a foul-mouthed racist who likes things to be done his way, and doesn't know anything outside of his home country. Gerry soon experiences an episode of culture clash when an FBI agent from the United States, Wendell Everett (Don Cheadle), travels to Ireland with his squad in order to investigate a murder inside a drug smuggling gang, headed by Clive Cornell (Mark Strong). As they get deeper into the case, the two will have to navigate through blackmails, briberies and killings so they can catch their culprits.
The draw to Gleeson's character is that although he can be very uncouth at times, he's still a lovable guy. He's just a simple, everyday man trying to do his duty as a community protector, while also caring for his ailing, yet cheerful mother (Fionnula Flanagan). Gleeson has you laughing and gasping at his rudeness in one scene, and then he will have you sympathizing with him in another as he spends his mother's final days with her. We're able to see two sides to his life: that of the police precinct, and that of his personal life when being a thoughtful son and wanting a family of his own.
The fish-out-of-water aspect of the story is strengthened by the fact that Don Cheadle is the only American actor in the film. When he and Gleeson are together, it's highly satisfying to watch them interact and see how different their roles are. Their are some very funny exchanges between the two of them when Gleeson says some stereotypical comments and when Cheadle corrects him. They remind you of lab partners in school who are assigned to work together, but aren't able to do so until they find some common ground.
The screenplay, written by the director, is unique in the way that it shifts the cop-comedy genre overseas. So in this case, the two law enforcers aren't just different in their personalities like in other films of its kind; but they are different in their backgrounds as well. Gleeson and Cheadle work it to its full uproarious effect. Seeing as the plot involved drug smuggling and bribery, it could have been more interesting with some intricacies; but the chemistry between the two leads is enough to make you forgive the few faults. As Gleeson's character can surely tell you, crime doesn't pay; but it's undoubtedly worth it to pay a few dollars to watch this unusual cop in action.
Final grade: A-
Buddy-comedies involving cops can go one of two ways: either they can both handle situations with a mutual understanding, or they can have their own ways of solving them. It most certainly makes for a better narrative to have the latter choice for a movie, which is what McDonagh's film explores in a violent, yet joyfully amusing and original yarn.
Sergeant Gerry Boyle (Brendan Gleeson) is an experienced and tough policeman in Ireland who has seen enough over the years to not become fazed by the brutality of criminals. He's a foul-mouthed racist who likes things to be done his way, and doesn't know anything outside of his home country. Gerry soon experiences an episode of culture clash when an FBI agent from the United States, Wendell Everett (Don Cheadle), travels to Ireland with his squad in order to investigate a murder inside a drug smuggling gang, headed by Clive Cornell (Mark Strong). As they get deeper into the case, the two will have to navigate through blackmails, briberies and killings so they can catch their culprits.
The draw to Gleeson's character is that although he can be very uncouth at times, he's still a lovable guy. He's just a simple, everyday man trying to do his duty as a community protector, while also caring for his ailing, yet cheerful mother (Fionnula Flanagan). Gleeson has you laughing and gasping at his rudeness in one scene, and then he will have you sympathizing with him in another as he spends his mother's final days with her. We're able to see two sides to his life: that of the police precinct, and that of his personal life when being a thoughtful son and wanting a family of his own.
The fish-out-of-water aspect of the story is strengthened by the fact that Don Cheadle is the only American actor in the film. When he and Gleeson are together, it's highly satisfying to watch them interact and see how different their roles are. Their are some very funny exchanges between the two of them when Gleeson says some stereotypical comments and when Cheadle corrects him. They remind you of lab partners in school who are assigned to work together, but aren't able to do so until they find some common ground.
The screenplay, written by the director, is unique in the way that it shifts the cop-comedy genre overseas. So in this case, the two law enforcers aren't just different in their personalities like in other films of its kind; but they are different in their backgrounds as well. Gleeson and Cheadle work it to its full uproarious effect. Seeing as the plot involved drug smuggling and bribery, it could have been more interesting with some intricacies; but the chemistry between the two leads is enough to make you forgive the few faults. As Gleeson's character can surely tell you, crime doesn't pay; but it's undoubtedly worth it to pay a few dollars to watch this unusual cop in action.
Final grade: A-
Tuesday, August 23, 2011
The pizza is delivered on time, but can the same be said about the laughs?
Comedy can blend with just about anything: romance, horror, and even drama. So it shouldn't be a surprise that it can make a harmonious pair with action. It's foolproof in most cases, putting two popular genres together in a neat package. So it was a no-brainer to hire Ruben Fleischer to direct the fast-paced action-comedy 30 Minutes or Less, since he also directed the equally fast-moving and funny Zombieland from two years ago. In both cases, he had to deliver the goods in less than an hour and a half. Unfortunately for Fleischer, he had a hit, and now a miss.
Nick (Jesse Eisenberg) is a down-on-his-luck teen who hates his job as a pizza delivery boy; but nonetheless is masterful in the skills of driving and drifting his car through the streets to deliver to his customers. After having a fight with his best friend Chet (Aziz Ansari), Nick is even worse off than before. Elsewhere in town, two amateur crooks, Dwayne (Danny McBride) and Travis (Nick Swardson), devise a plan to obtain Dwayne's inheritance from his military-toughened father. To do this, they need money to hire an assassin to commit the violent act. They decide to kidnap Nick, strap a bomb-vest to him, and force him to rob a bank within 10 hours. So he quickly reconciles with Chet, and the two friends set out on their robbery, and face more obstacles than they could have expected.
Eisenberg and Ansari are ripe in comedic experience, with the former starring in films such as Adventureland and Zombieland, and the latter starring in the NBC sitcom Parks and Recreation. At first, it's entertaining to watch these two as best friends hanging out and living on pizza and beer. But after a scene where they have a scuffle and reveal things that they've done to each other in the past that the other doesn't know about, it gets to the point where they are not all that likable anymore. It's tough to believe that they remain friends after the truth is let out. Even the pairing of McBride and Swardson isn't as riotously funny as it should be, seeing as they are always a hit with their television shows. The only bright spot of the cast is Michael Pena as the hot-blooded hired assassin Chongo, who has the attitude-appropriate nickname, " The Satanic Hispanic."
The film's chief fault is with the script, which reduces the talents of the four main characters to bland sex jokes and colorless banter. After everything the characters go through, the ending will be hard for some to accept, since it stretches it's believability. Even though the film is fairly short, that's not an excuse to shortchange the audience out of laughs. The film's energy only spikes during the bank robbery and the last 10 minutes, and both scenes only manage to summon a few chuckles. But after that, we're left wondering why the rest of the movie didn't have that same force. If only the drive and humor of 30 Minutes or Less was as punctual as their title.
Final grade: C
Nick (Jesse Eisenberg) is a down-on-his-luck teen who hates his job as a pizza delivery boy; but nonetheless is masterful in the skills of driving and drifting his car through the streets to deliver to his customers. After having a fight with his best friend Chet (Aziz Ansari), Nick is even worse off than before. Elsewhere in town, two amateur crooks, Dwayne (Danny McBride) and Travis (Nick Swardson), devise a plan to obtain Dwayne's inheritance from his military-toughened father. To do this, they need money to hire an assassin to commit the violent act. They decide to kidnap Nick, strap a bomb-vest to him, and force him to rob a bank within 10 hours. So he quickly reconciles with Chet, and the two friends set out on their robbery, and face more obstacles than they could have expected.
Eisenberg and Ansari are ripe in comedic experience, with the former starring in films such as Adventureland and Zombieland, and the latter starring in the NBC sitcom Parks and Recreation. At first, it's entertaining to watch these two as best friends hanging out and living on pizza and beer. But after a scene where they have a scuffle and reveal things that they've done to each other in the past that the other doesn't know about, it gets to the point where they are not all that likable anymore. It's tough to believe that they remain friends after the truth is let out. Even the pairing of McBride and Swardson isn't as riotously funny as it should be, seeing as they are always a hit with their television shows. The only bright spot of the cast is Michael Pena as the hot-blooded hired assassin Chongo, who has the attitude-appropriate nickname, " The Satanic Hispanic."
The film's chief fault is with the script, which reduces the talents of the four main characters to bland sex jokes and colorless banter. After everything the characters go through, the ending will be hard for some to accept, since it stretches it's believability. Even though the film is fairly short, that's not an excuse to shortchange the audience out of laughs. The film's energy only spikes during the bank robbery and the last 10 minutes, and both scenes only manage to summon a few chuckles. But after that, we're left wondering why the rest of the movie didn't have that same force. If only the drive and humor of 30 Minutes or Less was as punctual as their title.
Final grade: C
Friday, August 19, 2011
Fall 2011 Movie Preview
Another summer has come and gone, and has left us with an ample assortment of movies to discuss. From May to August, there was a healthy helping of many genres for a range of cinematic tastes. Sci-fi thrill-seekers satisfied their hunger with Super 8 and Rise of the Planet of the Apes; indie-fans were treated to Midnight in Paris and The Tree of Life; and comic book fans took some high-flying adventures with Thor, X-Men: First Class and Captain America: The First Avenger; and audiences shared a fond farewell to a very famous boy wizard, as they experienced Harry Potter and the Deathly Hallows - Part 2, the epic finale to the biggest movie franchise in history.
Summer 2011, however, wasn't like other summers that came before it. In a season where superheroes, aliens and giant fighting robots have much of the spotlight shine on them, there was one type of film that seemed to be everywhere we looked: the comedy. Every week or two, there was a movie released that was ready to make us double-over with laughter, some of the most memorable being Bridesmaids, Horrible Bosses and Crazy, Stupid, Love. It's safe to say that the comedy genre has been coroneted with the summer season crown.
It is now time for the Fall movies to arrive. September to December is normally the time of the year when a bulk of the Oscar-contending films get released, whether they be independent or mainstream. In these four months, audiences will be served many different stories, including: Clint Eastwood's latest film that delves into the history of our nation's first head of the FBI; a third outing with some paranormal activity; Part 1 to the finale of the Twilight saga; the long-awaited return of the Muppets; Tom Cruise's acceptance of his next mission; and Sherlock Holmes' next twisty-turny mystery. All of that and more awaits this Fall and in this preview.
Contagion (Sept. 9) Steven Soderbergh directs this tale of a worldwide epidemic caused by a deadly airborne virus that has all medical personnel trying to find a cure and stop the spread. Meanwhile, a group of ordinary people try to survive a society that is rapidly crumbling. Starring Matt Damon, Kate Winslet, Marion Cotillard, Laurence Fishburne, Jude Law and Gwyneth Paltrow.
Moneyball (Sept. 23) This sports comedy-drama tells the true story of the Oakland Athletics baseball team and their manager, Billy Beane (Brad Pitt), who tries to make them into a winning team, despite troublesome finances. Also starring Jonah Hill and Philip Seymour Hoffman.
The Ides of March (Oct. 7) Based on the play by Beau Willimon, this film deals with Stephen Myers (Ryan Gosling), who is a young staffer for a new presidential candidate, Mike Morris(George Clooney). While on the campaign trail, Stephen learns all about the dirty side of politics. Also starring Paul Giamatti, Marisa Tomei, Evan Rachel Wood and Philip Seymour Hoffman.
Paranormal Activity 3 (Oct. 21) This third installment of the unnerving ghost story will take place 18 years before the first two movies. The story will dig deeper into when Katie (Katie Featherston of PA and PA2) and Kristi (Sprague Grayden of PA2) were terrorized by the demon when they were children.
Puss in Boots (Nov. 4) Shrek's faithful feline friend gets his own movie in this spinoff prequel. Puss (voiced by Antonio Banderas), along with his sidekicks Humpty Dumpty and Kitty Softpaws, must vanquish the villainy of two dangerous outlaws, Jack and Jill, after they discover a disasterous power that could destroy the world. Also starring the voices of Salma Hayek, Zach Galifianakis, Billy Bob Thornton and Amy Sedaris.
J. Edgar (Nov. 11) Clint Eastwood directs this biopic that will detail the fascinating career of J. Edgar Hoover (Leonardo DiCaprio), and will also peer into his private life as a possible homosexual. Also starring Armie Hammer, Naomi Watts, Damon Herriman, Jeffrey Donovan, Judi Dench and Ed Westwick.
Melancholia (Nov. 11) Lars von Trier directs this drama about two sisters (Kirsten Dunst and Charlotte Gainsbourg) who have the strengths of their bond tested as Earth is on a collision course with an unknown planet. Also starring Kiefer Sutherland and Alexander Skarsgard.
The Twilight Saga: Breaking Dawn - Part 1 (Nov. 18) In this first part of the Twilight finale, based on Stephenie Meyer's popular book series, Bella (Kristen Stewart) and Edward (Robert Pattinson) enjoy their time together as newly-wedded husband and wife, while venturing to Rio de Janeiro for their honeymoon. It isn't long before they must deal with the complications of Bella's unexpected pregnancy, as well as the chance of a battle against the ruling vampire group, the Volturi. Also starring Taylor Lautner, Billy Burke, Peter Facinelli, Elizabeth Reaser and Ashley Greene.
Hugo (Nov. 23) Martin Scorsese directs this adaptation of Brian Selznick's 2007 novel, The Invention of Hugo Cabret, which tells the story of the titular character as he lives an orphaned life in a Paris train station. When Hugo (Asa Butterfield) finds a broken automaton and meets a strange girl (Chloe Grace Moretz) and her standoffish grandfather who owns the local toy shop, he is swept up in a mystical journey that could put all of his secrets in danger. Also starring Ben Kingsley, Sacha Baron Cohen, Jude Law and Christopher Lee.
The Muppets (Nov. 23) When an oil tycoon, Tex Richman (Chris Cooper), discovers oil beneath the Muppet Theater, Gary (Jason Segel) and Mary (Amy Adams) plan to stop him by setting up a telethon to raise money and save the theater. In order to make this happen, they must reunite the Muppets, who have separated over the years. Also starring Rashida Jones, along with countless celebrity cameos, such as Jack Black, Billy Crystal, Neil Patrick Harris, Mila Kunis, Mickey Rooney, Ben Stiller and many more.
We Need to Talk About Kevin (Dec. 2) A devastated mother (Tilda Swinton) recounts the events that happened before and after her son's (Ezra Miller) killing of several students and teachers at his high school. Also starring John C. Reilly.
New Year's Eve (Dec. 9) After the success of his 2010 romantic comedy Valentine's Day, Garry Marshall directs his next holiday-oriented film. It follows two dozen New Yorkers on one of the biggest nights of the year as they look for love and have their stories intertwine. Starring Ashton Kutcher, Sarah Jessica Parker, Robert De Niro, Hilary Swank, Josh Duhamel, Zac Efron, Lea Michele and many others in a star-studded cast.
Carnage (Dec. 16) Roman Polanski directs this film version of Yasmina Reza's Tony Award-winning play, God of Carnage. It follows two sets of parents as they have a meeting about a fight that their children had in school that day. As the night goes on, however, the parents begin to get hostile with one another. Starring Jodie Foster, John C. Reilly, Kate Winslet and Christoph Waltz.
The Iron Lady (Dec. 16) In this biographical film of former British Prime Minister Margaret Thatcher (Meryl Streep), the story is told in flashbacks, which include the 17 days that led up to the Falklands War in 1982. Also starring Jim Broadbent, Anthony Head and Richard E. Grant.
Sherlock Holmes: A Game of Shadows (Dec. 16) Famed detective Sherlock Holmes (Robert Downey, Jr.) and his loyal assistant Dr. John Watson (Jude Law) try to defeat their nemesis Professor Moriarty (Jared Harris), with the help of Holmes' older brother Mycroft (Stephen Fry) and a fortune-telling Romani woman named Sim (Noomi Rapace). Also starring Rachel McAdams and Eddie Marsan.
The Girl with the Dragon Tattoo (Dec. 21) A computer hacker (Rooney Mara) and a journalist (Daniel Craig) realize that even the richest families have their own deep secrets, as they try to crack the case of a 40-year-old murder. David Fincher directs this American adaptation of the 2009 Swedish thriller of the same name, which is based on the first book of the Millennium trilogy by Stieg Larsson. Also starring Stellan Skarsgard, Christopher Plummer and Embeth Davidtz.
Mission: Impossible: Ghost Protocol (Dec. 21) When the Kremlin is demolished by a terrorist bombing, Ethan Hunt (Tom Cruise) and his team are to be blamed for the attack. The U.S. government, however, allows them to escape and work in secret, outside of the agency. But Hunt is warned that if any member of the team is caught during their mission, then they will be charged as terrorists planning to initiate a nuclear world war. He is also told to work with ex-IMF agent Brandt (Jeremy Renner), who's more familiar about Ethan's past than he is himself. Also starring Ving Rhames, Simon Pegg, Tom Wilkinson and Paula Patton.
War Horse (Dec. 28) Based on a 1982 children's novel by Michael Morpurgo, and later a 2007 stage adaptation, Steven Spielberg directs this war drama set in England during the beginnings of World War 1. When Albert Narracott's (Jeremy Irvine) beloved horse is sold to the cavalry and taken to France, Albert refuses to forget him. While he's still not old enough to enlist in the army, Albert takes on a perilous journey to find his horse and bring him back home. Also starring Emily Watson, Peter Mullan and David Thewlis.
With a diverse group of films coming out this Fall, you might as well escape the impending cold weather and sample a few different genres of cinema. This was only a portion of what's to come later this year. There are numerous other stories arriving to your screens that will surely be worth viewing.
Don't forget: Fall is the prime season for potential Oscar-nominated indies. While many of them won't get a wide release right away, it will be to your benefit to keep checking the movie theater schedule to see if any independent gems will be shown in your area. They deserve as much attention as the mainstream films. So this Fall, follow these three simple steps: 1) Pick out a movie that suits your interest, 2) Go see it, and 3) most importantly, enjoy.
Summer 2011, however, wasn't like other summers that came before it. In a season where superheroes, aliens and giant fighting robots have much of the spotlight shine on them, there was one type of film that seemed to be everywhere we looked: the comedy. Every week or two, there was a movie released that was ready to make us double-over with laughter, some of the most memorable being Bridesmaids, Horrible Bosses and Crazy, Stupid, Love. It's safe to say that the comedy genre has been coroneted with the summer season crown.
It is now time for the Fall movies to arrive. September to December is normally the time of the year when a bulk of the Oscar-contending films get released, whether they be independent or mainstream. In these four months, audiences will be served many different stories, including: Clint Eastwood's latest film that delves into the history of our nation's first head of the FBI; a third outing with some paranormal activity; Part 1 to the finale of the Twilight saga; the long-awaited return of the Muppets; Tom Cruise's acceptance of his next mission; and Sherlock Holmes' next twisty-turny mystery. All of that and more awaits this Fall and in this preview.
Contagion (Sept. 9) Steven Soderbergh directs this tale of a worldwide epidemic caused by a deadly airborne virus that has all medical personnel trying to find a cure and stop the spread. Meanwhile, a group of ordinary people try to survive a society that is rapidly crumbling. Starring Matt Damon, Kate Winslet, Marion Cotillard, Laurence Fishburne, Jude Law and Gwyneth Paltrow.
Moneyball (Sept. 23) This sports comedy-drama tells the true story of the Oakland Athletics baseball team and their manager, Billy Beane (Brad Pitt), who tries to make them into a winning team, despite troublesome finances. Also starring Jonah Hill and Philip Seymour Hoffman.
The Ides of March (Oct. 7) Based on the play by Beau Willimon, this film deals with Stephen Myers (Ryan Gosling), who is a young staffer for a new presidential candidate, Mike Morris(George Clooney). While on the campaign trail, Stephen learns all about the dirty side of politics. Also starring Paul Giamatti, Marisa Tomei, Evan Rachel Wood and Philip Seymour Hoffman.
Paranormal Activity 3 (Oct. 21) This third installment of the unnerving ghost story will take place 18 years before the first two movies. The story will dig deeper into when Katie (Katie Featherston of PA and PA2) and Kristi (Sprague Grayden of PA2) were terrorized by the demon when they were children.
Puss in Boots (Nov. 4) Shrek's faithful feline friend gets his own movie in this spinoff prequel. Puss (voiced by Antonio Banderas), along with his sidekicks Humpty Dumpty and Kitty Softpaws, must vanquish the villainy of two dangerous outlaws, Jack and Jill, after they discover a disasterous power that could destroy the world. Also starring the voices of Salma Hayek, Zach Galifianakis, Billy Bob Thornton and Amy Sedaris.
J. Edgar (Nov. 11) Clint Eastwood directs this biopic that will detail the fascinating career of J. Edgar Hoover (Leonardo DiCaprio), and will also peer into his private life as a possible homosexual. Also starring Armie Hammer, Naomi Watts, Damon Herriman, Jeffrey Donovan, Judi Dench and Ed Westwick.
Melancholia (Nov. 11) Lars von Trier directs this drama about two sisters (Kirsten Dunst and Charlotte Gainsbourg) who have the strengths of their bond tested as Earth is on a collision course with an unknown planet. Also starring Kiefer Sutherland and Alexander Skarsgard.
The Twilight Saga: Breaking Dawn - Part 1 (Nov. 18) In this first part of the Twilight finale, based on Stephenie Meyer's popular book series, Bella (Kristen Stewart) and Edward (Robert Pattinson) enjoy their time together as newly-wedded husband and wife, while venturing to Rio de Janeiro for their honeymoon. It isn't long before they must deal with the complications of Bella's unexpected pregnancy, as well as the chance of a battle against the ruling vampire group, the Volturi. Also starring Taylor Lautner, Billy Burke, Peter Facinelli, Elizabeth Reaser and Ashley Greene.
Hugo (Nov. 23) Martin Scorsese directs this adaptation of Brian Selznick's 2007 novel, The Invention of Hugo Cabret, which tells the story of the titular character as he lives an orphaned life in a Paris train station. When Hugo (Asa Butterfield) finds a broken automaton and meets a strange girl (Chloe Grace Moretz) and her standoffish grandfather who owns the local toy shop, he is swept up in a mystical journey that could put all of his secrets in danger. Also starring Ben Kingsley, Sacha Baron Cohen, Jude Law and Christopher Lee.
The Muppets (Nov. 23) When an oil tycoon, Tex Richman (Chris Cooper), discovers oil beneath the Muppet Theater, Gary (Jason Segel) and Mary (Amy Adams) plan to stop him by setting up a telethon to raise money and save the theater. In order to make this happen, they must reunite the Muppets, who have separated over the years. Also starring Rashida Jones, along with countless celebrity cameos, such as Jack Black, Billy Crystal, Neil Patrick Harris, Mila Kunis, Mickey Rooney, Ben Stiller and many more.
We Need to Talk About Kevin (Dec. 2) A devastated mother (Tilda Swinton) recounts the events that happened before and after her son's (Ezra Miller) killing of several students and teachers at his high school. Also starring John C. Reilly.
New Year's Eve (Dec. 9) After the success of his 2010 romantic comedy Valentine's Day, Garry Marshall directs his next holiday-oriented film. It follows two dozen New Yorkers on one of the biggest nights of the year as they look for love and have their stories intertwine. Starring Ashton Kutcher, Sarah Jessica Parker, Robert De Niro, Hilary Swank, Josh Duhamel, Zac Efron, Lea Michele and many others in a star-studded cast.
Carnage (Dec. 16) Roman Polanski directs this film version of Yasmina Reza's Tony Award-winning play, God of Carnage. It follows two sets of parents as they have a meeting about a fight that their children had in school that day. As the night goes on, however, the parents begin to get hostile with one another. Starring Jodie Foster, John C. Reilly, Kate Winslet and Christoph Waltz.
The Iron Lady (Dec. 16) In this biographical film of former British Prime Minister Margaret Thatcher (Meryl Streep), the story is told in flashbacks, which include the 17 days that led up to the Falklands War in 1982. Also starring Jim Broadbent, Anthony Head and Richard E. Grant.
Sherlock Holmes: A Game of Shadows (Dec. 16) Famed detective Sherlock Holmes (Robert Downey, Jr.) and his loyal assistant Dr. John Watson (Jude Law) try to defeat their nemesis Professor Moriarty (Jared Harris), with the help of Holmes' older brother Mycroft (Stephen Fry) and a fortune-telling Romani woman named Sim (Noomi Rapace). Also starring Rachel McAdams and Eddie Marsan.
The Girl with the Dragon Tattoo (Dec. 21) A computer hacker (Rooney Mara) and a journalist (Daniel Craig) realize that even the richest families have their own deep secrets, as they try to crack the case of a 40-year-old murder. David Fincher directs this American adaptation of the 2009 Swedish thriller of the same name, which is based on the first book of the Millennium trilogy by Stieg Larsson. Also starring Stellan Skarsgard, Christopher Plummer and Embeth Davidtz.
Mission: Impossible: Ghost Protocol (Dec. 21) When the Kremlin is demolished by a terrorist bombing, Ethan Hunt (Tom Cruise) and his team are to be blamed for the attack. The U.S. government, however, allows them to escape and work in secret, outside of the agency. But Hunt is warned that if any member of the team is caught during their mission, then they will be charged as terrorists planning to initiate a nuclear world war. He is also told to work with ex-IMF agent Brandt (Jeremy Renner), who's more familiar about Ethan's past than he is himself. Also starring Ving Rhames, Simon Pegg, Tom Wilkinson and Paula Patton.
War Horse (Dec. 28) Based on a 1982 children's novel by Michael Morpurgo, and later a 2007 stage adaptation, Steven Spielberg directs this war drama set in England during the beginnings of World War 1. When Albert Narracott's (Jeremy Irvine) beloved horse is sold to the cavalry and taken to France, Albert refuses to forget him. While he's still not old enough to enlist in the army, Albert takes on a perilous journey to find his horse and bring him back home. Also starring Emily Watson, Peter Mullan and David Thewlis.
With a diverse group of films coming out this Fall, you might as well escape the impending cold weather and sample a few different genres of cinema. This was only a portion of what's to come later this year. There are numerous other stories arriving to your screens that will surely be worth viewing.
Don't forget: Fall is the prime season for potential Oscar-nominated indies. While many of them won't get a wide release right away, it will be to your benefit to keep checking the movie theater schedule to see if any independent gems will be shown in your area. They deserve as much attention as the mainstream films. So this Fall, follow these three simple steps: 1) Pick out a movie that suits your interest, 2) Go see it, and 3) most importantly, enjoy.
Saturday, August 6, 2011
It's a jungle out there
Everyone says you can't beat the classics, and that's true. Others would go as far as to say that some originals are untouchable, and that's even more true. But once in a blue moon, we'll get a reputable remake, reboot or any other form of continuation to a familiar story that we've come to love. After Tim Burton's 2001 remake of Planet of the Apes left a cinematic bad taste in moviegoers, there were many reasons to be iffy about the reboot, Rise of the Planet of the Apes. Rest assured, director Rupert Wyatt's film remembers and respects the original from which it stemmed, and doesn't try to outdo it. It renews our fascination with the "what if" scenario that shows what would happen if apes stepped over humans as Earth's dominating species.
Will Rodman (James Franco) is a San Francisco scientist who has dedicated his job to developing a cure for Alzheimer's disease. After testing a possible cure on a mother chimp, Will sees that it repaired brain cells and increased intelligence, and prepares to present it to the rest of his colleagues. After she is shot down for causing an episode of mayhem in the labs, Will decides to take her baby home, and names him Caesar. Seeing that the mother's aptitude has passed on to her son, Will and his father (John Lithgow), who is suffering from Alzheimer's, begin to nurture Caesar's rapid growth of intelligence. Following Caesar's attack on an aggressive neighbor, he is sent to live in a primate facility. Because of much mistreatment there, he and the other apes soon begin to form a plan for an escape and an eventual take-over on the unsuspecting city, and the world.
James Franco lends himself well to this familiar, but nonetheless engaging, "boy and his dog" story, except this involves a chimp. Despite this film being mostly about the apes, it still smoothly handles the complications that Franco's character experiences as he juggles with trying to cure his father's disease and taking care of his new chimp friend. Franco's interactions with Caesar are genuine to the point where it's remarkable that the primate is only motion captured, and not real. The father-son relationship between Franco and Lithgow isn't used that much, but the emotions are still present when we see them together.
As good as the main actors are, the real stars of the show are the rebelling apes. Andy Serkis, the most reliable motion capture actor working today, who's best known for his roles as Gollum in The Lord of the Rings trilogy and Kong in King Kong, turns in another digital and energetic performance. Weta, which is the same team that provided the stunning special effects for 2009's Avatar, provide visuals that look so striking that you tend to forget that these are actors portraying the primates, with the effects not added until later. The special effects are used to move the story forward. They give the monkeys personalities and emotions, and are a contributing factor to the growth of Caesar's character as he goes from the "new kid" in the primate facility to the alpha ape. Thankfully, the filmmakers didn't need the use of 3D for us to appreciate the full beauty of what these effects could accomplish. A few of the best visual effects shots are of a maturing Caesar swinging and climbing across a forest of redwood trees.
The screenplay honors the original Planet of the Apes, while at the same time setting itself up to take the story in a new direction. It's an exemplary case of a reboot done right. The majority of the film is centered on Will and Caesar, in addition to Caesar being locked away and planning his escape; so by the time the primates get loose, we've seen enough of what they have been through and are able to find a reason to root for them as they head out on their conquest. The streets of San Francisco soon become their stomping grounds; and the Golden Gate Bridge turns into their jungle gym and a place where the apes make their climactic final stand against their human oppressors. There are messages of ethical animal treatment in the film that are understated in such a way so the story doesn't beat the viewer over the head with them, but can still be valued. Rise of the Planet of the Apes is said to be the start of a new film series, with this installment ending on a cliffhanger. If the sequels can make the story of the friction between humans and the new ape uprising as surprisingly good as this one did, I'm all in for some more monkey business.
Final grade: B+
Will Rodman (James Franco) is a San Francisco scientist who has dedicated his job to developing a cure for Alzheimer's disease. After testing a possible cure on a mother chimp, Will sees that it repaired brain cells and increased intelligence, and prepares to present it to the rest of his colleagues. After she is shot down for causing an episode of mayhem in the labs, Will decides to take her baby home, and names him Caesar. Seeing that the mother's aptitude has passed on to her son, Will and his father (John Lithgow), who is suffering from Alzheimer's, begin to nurture Caesar's rapid growth of intelligence. Following Caesar's attack on an aggressive neighbor, he is sent to live in a primate facility. Because of much mistreatment there, he and the other apes soon begin to form a plan for an escape and an eventual take-over on the unsuspecting city, and the world.
James Franco lends himself well to this familiar, but nonetheless engaging, "boy and his dog" story, except this involves a chimp. Despite this film being mostly about the apes, it still smoothly handles the complications that Franco's character experiences as he juggles with trying to cure his father's disease and taking care of his new chimp friend. Franco's interactions with Caesar are genuine to the point where it's remarkable that the primate is only motion captured, and not real. The father-son relationship between Franco and Lithgow isn't used that much, but the emotions are still present when we see them together.
As good as the main actors are, the real stars of the show are the rebelling apes. Andy Serkis, the most reliable motion capture actor working today, who's best known for his roles as Gollum in The Lord of the Rings trilogy and Kong in King Kong, turns in another digital and energetic performance. Weta, which is the same team that provided the stunning special effects for 2009's Avatar, provide visuals that look so striking that you tend to forget that these are actors portraying the primates, with the effects not added until later. The special effects are used to move the story forward. They give the monkeys personalities and emotions, and are a contributing factor to the growth of Caesar's character as he goes from the "new kid" in the primate facility to the alpha ape. Thankfully, the filmmakers didn't need the use of 3D for us to appreciate the full beauty of what these effects could accomplish. A few of the best visual effects shots are of a maturing Caesar swinging and climbing across a forest of redwood trees.
The screenplay honors the original Planet of the Apes, while at the same time setting itself up to take the story in a new direction. It's an exemplary case of a reboot done right. The majority of the film is centered on Will and Caesar, in addition to Caesar being locked away and planning his escape; so by the time the primates get loose, we've seen enough of what they have been through and are able to find a reason to root for them as they head out on their conquest. The streets of San Francisco soon become their stomping grounds; and the Golden Gate Bridge turns into their jungle gym and a place where the apes make their climactic final stand against their human oppressors. There are messages of ethical animal treatment in the film that are understated in such a way so the story doesn't beat the viewer over the head with them, but can still be valued. Rise of the Planet of the Apes is said to be the start of a new film series, with this installment ending on a cliffhanger. If the sequels can make the story of the friction between humans and the new ape uprising as surprisingly good as this one did, I'm all in for some more monkey business.
Final grade: B+
Monday, August 1, 2011
A tale of falling in and out of 'Love'
Love is a complicated feeling. It comes in many forms, and has diverse meanings amongst all people. Once under the influence of love, it can cause a person to do brave and passionate things, sometimes without that individual thinking of what he/she is doing. Everyone fights for love, because it's worth it. In directors Glenn Ficarra's and John Requa's heartfelt romantic comedy, Crazy, Stupid, Love, they throw their ensemble cast into a tangled web of emotions that isn't straightforward at all to figure out. It's a portrait of love that viewers can have a connection with, and that is the film's glowing charm.
Cal Weaver's (Steve Carell) once ideal life has taken a sudden turn for the worse. His wife of 25 years, Emily (Julianne Moore) confesses to Cal of cheating on him with a coworker (Kevin Bacon), in the fear that her husband has stopped trying to make their marriage work after all these years. After moving out of the house, Cal is picked up by ladies man Jacob Palmer (Ryan Gosling) who promises him that he will assist Cal in becoming a new person and get him back into the dating world. Meanwhile, Jacob starts to have feelings for law student Hannah (Emma Stone); and Cal's 13-year-old son Robbie (Jonah Bobo) is dealing with a crush on his 17-year-old babysitter Jessica (Analeigh Tipton), who herself has an affection for Cal. When Cal realizes that dating isn't working for him, he decides that all he wants is Emily, and he will do whatever he can to win her back.
Steve Carell's appeal is a beacon of comedy light that never fails to shine through. Every character he plays has a significant lovability factor, and his role in this film is the quintessence of that. He still manages to be our golden boy of unstoppable wit, but he also manages to blend some realistic human drama into his Cal character. His persistent fight for his wife is one that produces both laughs, applause and sympathy. Seeing him sail through the tumultuous tides of marriage further reminds us how flexible he is as an actor with whatever script he's given. If this is a sample of what to expect from Carell in his post-Office career, then his future in the industry is limitless.
Ryan Gosling and Steve Carell are two very different actors; so seeing their characters as total opposites of each other had just the right feeling. The pairing of them is flawless. Gosling as the smooth-talking pick-up artist easily wins over the audience, just like he does with the women he meets on his nightly excursions to the local bars. The relationship between Cal and Jacob is just as important as the ones between boyfriend and girlfriend, and husband and wife; because they both help to change each other and point out the other's flaws.
Julianne Moore's performance achieves in making us feel for her even though she has cheated on Cal. She is remorseful for what she has done, so we know there are still some sparks of goodness in her. Emma Stone is on her way to becoming one of Hollywood's next great actresses, and proves in her scenes that she belongs in the same league as the screen veterans she is costarring with. Marisa Tomei is madly funny as Cal's psycho new girlfriend.
The screenplay by Dan Fogelman proficiently focuses on each person in order to help them grow throughout the movie. Seeing Cal go from a student to a master makes for some wonderful character development. It doesn't matter if a character is experienced or inexperienced in romance; because the film shows love as a battlefield, with its players trying to make sense out of what they feel for each other. There's an equal dose of relationships that are in need of repair, as well as those that are just beginning to get structured. The story shows love from different points-of-view and ages. Although the ending is a tad predictable, the way that the film arrives there compensates for that. There are a couple of twists with great payoffs that you would be hard pressed to find in many romantic comedies these days. Is Crazy, Stupid, Love crazy? Yes, but in a lighthearted way. Is it stupid? No, not at all. It's brainy.
Final grade: A-
Cal Weaver's (Steve Carell) once ideal life has taken a sudden turn for the worse. His wife of 25 years, Emily (Julianne Moore) confesses to Cal of cheating on him with a coworker (Kevin Bacon), in the fear that her husband has stopped trying to make their marriage work after all these years. After moving out of the house, Cal is picked up by ladies man Jacob Palmer (Ryan Gosling) who promises him that he will assist Cal in becoming a new person and get him back into the dating world. Meanwhile, Jacob starts to have feelings for law student Hannah (Emma Stone); and Cal's 13-year-old son Robbie (Jonah Bobo) is dealing with a crush on his 17-year-old babysitter Jessica (Analeigh Tipton), who herself has an affection for Cal. When Cal realizes that dating isn't working for him, he decides that all he wants is Emily, and he will do whatever he can to win her back.
Steve Carell's appeal is a beacon of comedy light that never fails to shine through. Every character he plays has a significant lovability factor, and his role in this film is the quintessence of that. He still manages to be our golden boy of unstoppable wit, but he also manages to blend some realistic human drama into his Cal character. His persistent fight for his wife is one that produces both laughs, applause and sympathy. Seeing him sail through the tumultuous tides of marriage further reminds us how flexible he is as an actor with whatever script he's given. If this is a sample of what to expect from Carell in his post-Office career, then his future in the industry is limitless.
Ryan Gosling and Steve Carell are two very different actors; so seeing their characters as total opposites of each other had just the right feeling. The pairing of them is flawless. Gosling as the smooth-talking pick-up artist easily wins over the audience, just like he does with the women he meets on his nightly excursions to the local bars. The relationship between Cal and Jacob is just as important as the ones between boyfriend and girlfriend, and husband and wife; because they both help to change each other and point out the other's flaws.
Julianne Moore's performance achieves in making us feel for her even though she has cheated on Cal. She is remorseful for what she has done, so we know there are still some sparks of goodness in her. Emma Stone is on her way to becoming one of Hollywood's next great actresses, and proves in her scenes that she belongs in the same league as the screen veterans she is costarring with. Marisa Tomei is madly funny as Cal's psycho new girlfriend.
The screenplay by Dan Fogelman proficiently focuses on each person in order to help them grow throughout the movie. Seeing Cal go from a student to a master makes for some wonderful character development. It doesn't matter if a character is experienced or inexperienced in romance; because the film shows love as a battlefield, with its players trying to make sense out of what they feel for each other. There's an equal dose of relationships that are in need of repair, as well as those that are just beginning to get structured. The story shows love from different points-of-view and ages. Although the ending is a tad predictable, the way that the film arrives there compensates for that. There are a couple of twists with great payoffs that you would be hard pressed to find in many romantic comedies these days. Is Crazy, Stupid, Love crazy? Yes, but in a lighthearted way. Is it stupid? No, not at all. It's brainy.
Final grade: A-
Tuesday, July 26, 2011
Stars, stripes and superheroes
America loves it's heroes, whether they are firefighters, police officers or soldiers. They live to serve the people so we could get through a safer day. They don't have special powers, nor do they need them. But in the Marvel Comics lore, there would most certainly be a superhero mixed in with our everyday-protectors. That is exactly what's delivered in director Joe Johnston's American pride comic book adaptation, Captain America: The First Avenger. With a character that has been much anticipated to save the world on the big screen, a well-crafted background story and some entertaining action put in the mix, Captain America is one to cheer for as he defends our star-spangled land.
Steve Rogers (Chris Evans) is a young man who is determined to enlist in the U.S. army during World War 2. But because of some medical conditions, he is constantly rejected. Upon seeing the passion in him to serve his country, Dr. Abraham Erskine (Stanley Tucci), who works for the U.S. government Strategic Scientific Reserve, recruits Steve to a squad of soldiers that is under the control of Colonel Phillips (Tommy Lee Jones). After seeing his promise as a soldier, Dr. Erskine suggests to the colonel that Steve should take part in an experiment that changes ordinary army men into "super-soldiers." After is alteration, Steve does whatever he can to assist the U.S. army in taking down Nazi officer Johann Schmidt (Hugo Weaving) and his terrorist group known as HYDRA, who are attempting to destroy the world by merging their technology with the godly power of an ancient artifact known as the Tesseract.
Chris Evans has improved greatly from back when he played another superhero, the Human Torch, in the two Fantastic Four films. He drops all of the annoying smugness of that character, and trades it in for someone who's a lot more likable. His character is well-developed throughout the film. He goes from a scrappy boy from Brooklyn to a war hero. Even in his new physical state, Steve doesn't show-off or become egotistical. He remembers the purpose of his powers is to help his fellow soldiers, and he retains the same strong-minded and courageous attitude as he kept in his previous self.
The script has a good sense of pace when telling the portion of the film where Steve Rogers becomes Captain America. It fleshes out his character before diving into the action. There is a sprouting relationship between Captain America and SSR officer Peggy Carter, played by Hayley Atwell. In this, we have just the right amount of a love story; and, thankfully, it's not too much and doesn't dilute the main purpose of Steve Rogers' journey, which is saving the world while also coming to terms with his enhanced abilities.
Hugo Weaving's character, who becomes the dreaded Red Skull, doesn't go beyond the usual villain trying to take over the world; and therefore, he isn't too memorable. He still does well with what he's given. The action scenes aren't anything special, but watching Americans take on some Nazis never gets old. This is the final film in a stream of Marvel adaptations that all lead to next summer's The Avengers, and this set up ends on a good note. Joe Johnston has made a superhero movie that was well worth the long wait. It's not spectacular, but it does have its bright spots of red, white and blue.
Final grade: B
Steve Rogers (Chris Evans) is a young man who is determined to enlist in the U.S. army during World War 2. But because of some medical conditions, he is constantly rejected. Upon seeing the passion in him to serve his country, Dr. Abraham Erskine (Stanley Tucci), who works for the U.S. government Strategic Scientific Reserve, recruits Steve to a squad of soldiers that is under the control of Colonel Phillips (Tommy Lee Jones). After seeing his promise as a soldier, Dr. Erskine suggests to the colonel that Steve should take part in an experiment that changes ordinary army men into "super-soldiers." After is alteration, Steve does whatever he can to assist the U.S. army in taking down Nazi officer Johann Schmidt (Hugo Weaving) and his terrorist group known as HYDRA, who are attempting to destroy the world by merging their technology with the godly power of an ancient artifact known as the Tesseract.
Chris Evans has improved greatly from back when he played another superhero, the Human Torch, in the two Fantastic Four films. He drops all of the annoying smugness of that character, and trades it in for someone who's a lot more likable. His character is well-developed throughout the film. He goes from a scrappy boy from Brooklyn to a war hero. Even in his new physical state, Steve doesn't show-off or become egotistical. He remembers the purpose of his powers is to help his fellow soldiers, and he retains the same strong-minded and courageous attitude as he kept in his previous self.
The script has a good sense of pace when telling the portion of the film where Steve Rogers becomes Captain America. It fleshes out his character before diving into the action. There is a sprouting relationship between Captain America and SSR officer Peggy Carter, played by Hayley Atwell. In this, we have just the right amount of a love story; and, thankfully, it's not too much and doesn't dilute the main purpose of Steve Rogers' journey, which is saving the world while also coming to terms with his enhanced abilities.
Hugo Weaving's character, who becomes the dreaded Red Skull, doesn't go beyond the usual villain trying to take over the world; and therefore, he isn't too memorable. He still does well with what he's given. The action scenes aren't anything special, but watching Americans take on some Nazis never gets old. This is the final film in a stream of Marvel adaptations that all lead to next summer's The Avengers, and this set up ends on a good note. Joe Johnston has made a superhero movie that was well worth the long wait. It's not spectacular, but it does have its bright spots of red, white and blue.
Final grade: B
Tuesday, July 19, 2011
A fond farewell to a generation's hero
How do you sum-up a saga that began with a book published back in 1997, and ended with its last adaptation this year? The truth is, you can do so in many ways. The Harry Potter series has established itself in a special place in the hearts of millions of avid readers and moviegoers, that they all probably have differing opinions on how this unparalleled adventure has resonated with them. Although we completed Harry's journey with him in the literary world four years ago, it was still comforting to think that there were still the last few films to look forward to. Now, author J.K. Rowling's famous wizard has ended his run on the big screen in Harry Potter and the Deathly Hallows - Part 2, the grand finale to the epic of The Boy Who Lived. This is the experience that fans have been waiting for. Despite our reluctance to watch the final installment because of the bittersweetness, we've stuck with Harry through everything, and his last stand against evil does not deserve to be missed.
While still being on the run from Voldemort's (Ralph Fiennes) army, Harry (Daniel Radcliffe) and his friends Ron (Rupert Grint) and Hermione (Emma Watson) continue their search for the rest of the dark lord's Horcruxes, which are pieces of his soul embedded in objects of significance to him. If they can destroy them all, then they will be able to defeat him. Their seach will eventually bring them back to Hogwarts School of Witchcraft and Wizardry, where Harry must help in the effort to fend off Voldemort and his followers, and finally come face to face with the wizard who has wanted him dead from the very beginning.
It's a cinematic marvel of how we've watched these once-child actors grow up throughout eight films. They've gone through the awkward stages of being teenagers and into the beginnings of accepting huge responsibilities as young adults, something that all viewers can relate to in some way. Harry, who we first witnessed as a young boy who was forced to sleep in a cupboard by his wicked aunt and uncle, has fully grown into a person who is ready to thrust himself into battle in order to save the people he loves. Radcliffe has fully matured along with his character into a confident individual. Whatever roles he pursues after this, I have complete faith in him. The same can be said wholeheartedly for Rupert Grint and Emma Watson.
Even amidst the battle scenes, there is some astonishing character development. Professor Snape (Alan Rickman) has his secrets and true motives revealed in a flashback sequence that's as gripping as it is heartrending. Neville Longbottom (Matthew Lewis) has transformed from a timid young student into a sword-wielding warrior. Teachers and pupils who were first in classrooms filled with whimsical magic are now involved in combat on the castle grounds. In the end, there are sacrifices made by many.
As appropriate for the final film, it has the most visual extravagance of any of the other Harry Potter's. Harry and his friends' break-in at Gringotts bank in the first half hour was a clear indication that this final installment would begin and end with a bang. Watching Harry, Ron and Hermione escape the bank on a majestic fire-breathing dragon brought me back to the first entries of the saga where I first gazed upon giant monsters such as Fluffy the three-headed dog and the Basilisk. The battle of Hogwarts displays how far computer-generated effects have come since the beginning when the film version of The Sorcerer's Stone was released in 2001. The final clash of good and evil is as climactic and hold-your-breath exciting as anyone could have asked for.
Director David Yates and screenwriter Steve Kloves provided a respectable treatment to the source material, and made Part 2 as true to the book as Part 1. By splitting the last book into two movies, the filmmakers took into consideration the love and devotion of the fans for the series, as well as the need to tell the conclusion in its entirety and tie up all the loose ends. It's rare that a film series has successfully kept and grew its audience throughout the time that it took to be completed, which was ten years in this case. With The Deathly Hallows - Part 2 finished, Harry Potter is definitely as much a motion picture achievement as it is a literary one. It is an enthralling and timeless story worthy of decades of new fans. It's hard to believe that this all started with a book, but it happened. Thank you, Harry, for sharing the quest.
Final grade: A
While still being on the run from Voldemort's (Ralph Fiennes) army, Harry (Daniel Radcliffe) and his friends Ron (Rupert Grint) and Hermione (Emma Watson) continue their search for the rest of the dark lord's Horcruxes, which are pieces of his soul embedded in objects of significance to him. If they can destroy them all, then they will be able to defeat him. Their seach will eventually bring them back to Hogwarts School of Witchcraft and Wizardry, where Harry must help in the effort to fend off Voldemort and his followers, and finally come face to face with the wizard who has wanted him dead from the very beginning.
It's a cinematic marvel of how we've watched these once-child actors grow up throughout eight films. They've gone through the awkward stages of being teenagers and into the beginnings of accepting huge responsibilities as young adults, something that all viewers can relate to in some way. Harry, who we first witnessed as a young boy who was forced to sleep in a cupboard by his wicked aunt and uncle, has fully grown into a person who is ready to thrust himself into battle in order to save the people he loves. Radcliffe has fully matured along with his character into a confident individual. Whatever roles he pursues after this, I have complete faith in him. The same can be said wholeheartedly for Rupert Grint and Emma Watson.
Even amidst the battle scenes, there is some astonishing character development. Professor Snape (Alan Rickman) has his secrets and true motives revealed in a flashback sequence that's as gripping as it is heartrending. Neville Longbottom (Matthew Lewis) has transformed from a timid young student into a sword-wielding warrior. Teachers and pupils who were first in classrooms filled with whimsical magic are now involved in combat on the castle grounds. In the end, there are sacrifices made by many.
As appropriate for the final film, it has the most visual extravagance of any of the other Harry Potter's. Harry and his friends' break-in at Gringotts bank in the first half hour was a clear indication that this final installment would begin and end with a bang. Watching Harry, Ron and Hermione escape the bank on a majestic fire-breathing dragon brought me back to the first entries of the saga where I first gazed upon giant monsters such as Fluffy the three-headed dog and the Basilisk. The battle of Hogwarts displays how far computer-generated effects have come since the beginning when the film version of The Sorcerer's Stone was released in 2001. The final clash of good and evil is as climactic and hold-your-breath exciting as anyone could have asked for.
Director David Yates and screenwriter Steve Kloves provided a respectable treatment to the source material, and made Part 2 as true to the book as Part 1. By splitting the last book into two movies, the filmmakers took into consideration the love and devotion of the fans for the series, as well as the need to tell the conclusion in its entirety and tie up all the loose ends. It's rare that a film series has successfully kept and grew its audience throughout the time that it took to be completed, which was ten years in this case. With The Deathly Hallows - Part 2 finished, Harry Potter is definitely as much a motion picture achievement as it is a literary one. It is an enthralling and timeless story worthy of decades of new fans. It's hard to believe that this all started with a book, but it happened. Thank you, Harry, for sharing the quest.
Final grade: A
Thursday, July 14, 2011
For a good laugh, you wouldn't mind being hired by these 'Bosses'
There's an old saying that goes: "Choose a job you love, and you will never have to work a day in your life." That's the kind of occupation that we all crave, one where we can put our talents and dreams to good use so we can be happy and successful. You can't, however, enjoy your job if you're being supervised by a ghastly boss. We've all either had one or had a friend with one. They are those that make the workday seem longer and make us reluctant to clock-in everyday. Some of them tantalize us with rewards if we do their demeaning bidding. All of this, and more, happens in the workplace dark-comedy, Horrible Bosses. If you think you have it bad at your job, it's nothing compared to what the three friends have in this high-stakes murder caper.
Nick (Jason Bateman) is a dedicated worker who's at the office from sunrise to sundown. He's aiming for a big promotion that his boss (Kevin Spacey) keeps hinting is Nick's. When his boss gives the position to himself, Nick is resentful. Meanwhile, Kurt (Jason Sudeikis) is suddenly disliking his job at a chemical plant when his recently deceased boss (Donald Sutherland) gives the company to his incompetent son (Colin Farrell). Dale (Charlie Day) is a dental assistant to Julia (Jennifer Aniston). While constantly being sexually harassed by her, Dale's engagement to his girlfriend is at risk. These three friends are finally fed up, and hatch a plan to murder each other's boss. With the help of their murder consultant (Jamie Foxx), Nick, Kurt and Dale will turn the tables on their employers.
The three leads all have equal shots at bringing the laughs. Jason Bateman delivers is lines with bite. He's the logical center of the trio (because every group needs one) who tries to keep his friends in line in order to complete their murderous mission. Jason Sudeikis prolongs the trend of Saturday Night Live stars succeeding in big screen comedies. His character is the hilariously irresponsible clique member who accidentally finds new ways of jeopardizing the operation. He also gets many of the film's cascade of one-liners. Charlie Day is a loose canon who's always at danger of firing. He commands the humor while he's on screen. When trying to help his friends, something always goes terribly wrong; but we still love him for the unpredictable live wire that he is.
We can't forget about our horrendously horrible bosses. Kevin Spacey is evilly good as Bateman's manager. He's a paranoid and sadistic psycho, a devil incarnate in the office area. Jennifer Aniston is certainly not the same person as she was when playing the loveable Rachel on Friends. She's far from it. Boundaries don't exist for her character. Aniston played a disgruntled employee in the 1999 film Office Space. In this, she's on the other side of the spectrum. As a highly promiscuous dentist, Aniston does anything, and I mean anything, to make her assistant feel uncomfortable. Colin Farrell changes up his usual game as well. Sporting a comb-over, he's a cocaine-addicted slacker who loves kung fu. Jamie Foxx is a riot as the friends' shifty murder consultant. Thankfully, he's given a much better and funnier character than he had in last November's comedy Due Date.
In film and television, we often just see unhappy workers suffer through whatever their bosses have them do. In the screenplay by Michael Markowitz, John Francis Daley and Jonathan Goldstein, it's revitalizing to see these three friends set out to do the dirty deed. There is an unexpected twist halfway through the film that kicks it into high gear. The downside of that is this causes Nick, Kurt and Dale to fix their main focus on Kevin Spacey's character; so as for the other two bosses, Aniston is almost forgotten about until the end, and SPOILER ALERT (sort of), you'll have to see what happens to Colin Farrell. With the dueling trios of employees and supervisors, however, it's enough to forgive the flaws. For an hour and a half, the workplace is shown to be an area where anything can happen.
Final grade: B+
Nick (Jason Bateman) is a dedicated worker who's at the office from sunrise to sundown. He's aiming for a big promotion that his boss (Kevin Spacey) keeps hinting is Nick's. When his boss gives the position to himself, Nick is resentful. Meanwhile, Kurt (Jason Sudeikis) is suddenly disliking his job at a chemical plant when his recently deceased boss (Donald Sutherland) gives the company to his incompetent son (Colin Farrell). Dale (Charlie Day) is a dental assistant to Julia (Jennifer Aniston). While constantly being sexually harassed by her, Dale's engagement to his girlfriend is at risk. These three friends are finally fed up, and hatch a plan to murder each other's boss. With the help of their murder consultant (Jamie Foxx), Nick, Kurt and Dale will turn the tables on their employers.
The three leads all have equal shots at bringing the laughs. Jason Bateman delivers is lines with bite. He's the logical center of the trio (because every group needs one) who tries to keep his friends in line in order to complete their murderous mission. Jason Sudeikis prolongs the trend of Saturday Night Live stars succeeding in big screen comedies. His character is the hilariously irresponsible clique member who accidentally finds new ways of jeopardizing the operation. He also gets many of the film's cascade of one-liners. Charlie Day is a loose canon who's always at danger of firing. He commands the humor while he's on screen. When trying to help his friends, something always goes terribly wrong; but we still love him for the unpredictable live wire that he is.
We can't forget about our horrendously horrible bosses. Kevin Spacey is evilly good as Bateman's manager. He's a paranoid and sadistic psycho, a devil incarnate in the office area. Jennifer Aniston is certainly not the same person as she was when playing the loveable Rachel on Friends. She's far from it. Boundaries don't exist for her character. Aniston played a disgruntled employee in the 1999 film Office Space. In this, she's on the other side of the spectrum. As a highly promiscuous dentist, Aniston does anything, and I mean anything, to make her assistant feel uncomfortable. Colin Farrell changes up his usual game as well. Sporting a comb-over, he's a cocaine-addicted slacker who loves kung fu. Jamie Foxx is a riot as the friends' shifty murder consultant. Thankfully, he's given a much better and funnier character than he had in last November's comedy Due Date.
In film and television, we often just see unhappy workers suffer through whatever their bosses have them do. In the screenplay by Michael Markowitz, John Francis Daley and Jonathan Goldstein, it's revitalizing to see these three friends set out to do the dirty deed. There is an unexpected twist halfway through the film that kicks it into high gear. The downside of that is this causes Nick, Kurt and Dale to fix their main focus on Kevin Spacey's character; so as for the other two bosses, Aniston is almost forgotten about until the end, and SPOILER ALERT (sort of), you'll have to see what happens to Colin Farrell. With the dueling trios of employees and supervisors, however, it's enough to forgive the flaws. For an hour and a half, the workplace is shown to be an area where anything can happen.
Final grade: B+
Sunday, July 10, 2011
A 'Tree' that branches out through millions of years on Earth
Life is a mystery with many secrets that it doesn't reveal too easily. With whatever questions we have concerning our existence, there are just as many answers. There isn't a straightforward response; so like a good story, life is open to interpretation. With everything that goes on through nature, time and space, we are encouraged to ask what it all means to us. In the long run, it's our job to choose a path on how to live and to follow it to our destination. In Terrence Malick's unique and puzzling odyssey, The Tree of Life, he takes us on a journey of discovery that begs the audience to ponder upon what it means to be human and have the chance to experience the world.
Mr. O'Brien (Brad Pitt) is a father who rules his family with an iron fist in a 1950s Midwestern household. His main priority is to teach his three sons that they need to be tough in order to get ahead in the world, while their mother (Jessica Chastain) wants them to go through life appreciating the beauty that's around them. Their older son Jack (Hunter McCracken) begins to rebel against his father, wanting to live the way that he prefers, instead of always doing what his father wishes. This all leads to Jack on a course to question and find the purpose for his existence. The story jumps back and forth from this time period to the present day where an older Jack (Sean Penn) is still trying to come to terms with his life.
Brad Pitt gives a performance of domineering force. He displays a different side of himself in this role that I don't ever recall seeing before. His character is hateful through much of the film, and yet, we understand that he wants the best for his sons, even if it means pushing his Darwinian survival-of-the-fittest methods on them. He is a parent and a life coach. As a father, he shows signs of love and tough love. Pitt has moments of tender emotion with his wife and children, but isn't afraid to remind them who is boss when he has his fits of anger. His character speaks most of the film's dialogue, which assists in highlighting the power that the father holds over the family.
Jessica Chastain is the loving and compassionate mother that anyone would be fortunate to have. Chastain's character understands the situation that her sons are in, and suffers along with them. She is a wife that obeys her husband and his ways, but isn't afraid to let her children run wild and have fun as their father is away on a business trip. Letting her sons have those experiences and explorations is important to her, and is what any mother would want for her young ones.
Although Chastain and other characters aren't given much to say, that doesn't mean that we don't know what's going on in their heads. The mother expertly conveys the feelings she has when showing a look of adoration or disappointment in her children. The younger Jack and his brothers go through their boyhood with laughs and cries, expressing their thoughts with minimal use of actual words. Sean Penn, as the older Jack, has piercing anguish in his eyes as he attempts to decipher the reasons for his being. Penn doesn't appear in the film too often; but the story let's us spend enough time with his younger self, and therefore, we already know a lot about him in the few scenes with his older self.
The screenplay, also by Malick, doesn't just concern the family. Using richly beautiful images, it details the creation and end of life, and covers much ground from the untamed nature to the infinite cosmos. All of this makes the meaning of the movie so much stronger and mysterious, and shows that we are a part of something a lot bigger than ourselves. It helps that it's accompanied with a triumphant score by film composer Alexandre Desplat. The sequence that plays out the beginning of life is quite lengthy; and while it's remarkable to watch, it sometimes implicates that it's trying to be this generation's version of Stanley Kubrick's 2001: A Space Odyssey, which itself had a portion that was dedicated to the B.C. era of time.
Malick took a risk in crafting a narrative that's very different from what we've seen in the past few years. It's an experience that will be enlightening for some, baffling for others, or a little bit of both for some people. The film presents a worthwhile challenge to the audience, having them piece the story together in order to try to make as much sense of it as they can. No matter how you interpret the story, there will still be something mystifying about it, just like life itself.
Final grade: A-
Mr. O'Brien (Brad Pitt) is a father who rules his family with an iron fist in a 1950s Midwestern household. His main priority is to teach his three sons that they need to be tough in order to get ahead in the world, while their mother (Jessica Chastain) wants them to go through life appreciating the beauty that's around them. Their older son Jack (Hunter McCracken) begins to rebel against his father, wanting to live the way that he prefers, instead of always doing what his father wishes. This all leads to Jack on a course to question and find the purpose for his existence. The story jumps back and forth from this time period to the present day where an older Jack (Sean Penn) is still trying to come to terms with his life.
Brad Pitt gives a performance of domineering force. He displays a different side of himself in this role that I don't ever recall seeing before. His character is hateful through much of the film, and yet, we understand that he wants the best for his sons, even if it means pushing his Darwinian survival-of-the-fittest methods on them. He is a parent and a life coach. As a father, he shows signs of love and tough love. Pitt has moments of tender emotion with his wife and children, but isn't afraid to remind them who is boss when he has his fits of anger. His character speaks most of the film's dialogue, which assists in highlighting the power that the father holds over the family.
Jessica Chastain is the loving and compassionate mother that anyone would be fortunate to have. Chastain's character understands the situation that her sons are in, and suffers along with them. She is a wife that obeys her husband and his ways, but isn't afraid to let her children run wild and have fun as their father is away on a business trip. Letting her sons have those experiences and explorations is important to her, and is what any mother would want for her young ones.
Although Chastain and other characters aren't given much to say, that doesn't mean that we don't know what's going on in their heads. The mother expertly conveys the feelings she has when showing a look of adoration or disappointment in her children. The younger Jack and his brothers go through their boyhood with laughs and cries, expressing their thoughts with minimal use of actual words. Sean Penn, as the older Jack, has piercing anguish in his eyes as he attempts to decipher the reasons for his being. Penn doesn't appear in the film too often; but the story let's us spend enough time with his younger self, and therefore, we already know a lot about him in the few scenes with his older self.
The screenplay, also by Malick, doesn't just concern the family. Using richly beautiful images, it details the creation and end of life, and covers much ground from the untamed nature to the infinite cosmos. All of this makes the meaning of the movie so much stronger and mysterious, and shows that we are a part of something a lot bigger than ourselves. It helps that it's accompanied with a triumphant score by film composer Alexandre Desplat. The sequence that plays out the beginning of life is quite lengthy; and while it's remarkable to watch, it sometimes implicates that it's trying to be this generation's version of Stanley Kubrick's 2001: A Space Odyssey, which itself had a portion that was dedicated to the B.C. era of time.
Malick took a risk in crafting a narrative that's very different from what we've seen in the past few years. It's an experience that will be enlightening for some, baffling for others, or a little bit of both for some people. The film presents a worthwhile challenge to the audience, having them piece the story together in order to try to make as much sense of it as they can. No matter how you interpret the story, there will still be something mystifying about it, just like life itself.
Final grade: A-
Tuesday, June 28, 2011
'Bad Teacher' just barely makes the grade
Educators aren't only respected in the real world, but in cinema as well. From Morgan Freeman in Lean on Me, to Robin Williams in Dead Poets Society, to Michelle Pfeiffer in Dangerous Minds, teachers have been the center of some highly uplifting stories. Those characters would gasp in shock, however, if they saw the methods of learning that Cameron Diaz uses in Bad Teacher. The film is the ultimate anti to those mentioned before. Despite having Diaz as the undedicated instructor and a cast that's highly experienced in bringing the laughs, it doesn't fully reach the heights of a classroom comedy, but tries its best anyway.
Elizabeth Halsey (Cameron Diaz) seems to have her life in order. She has ended her brief teaching career and is ready to breeze through life with the money provided by her future husband. When he suddenly breaks off the engagement, Liz reluctantly goes back to her old job. Not willing to accept this for long, she decides to use her class in ways to earn money for a secret plastic surgery, which Liz hopes will help her attract a new, and rich, boyfriend. When she meets a new substitute, Scott Delacorte (Justin Timberlake), who has some family wealth, Liz realizes that he could be her ticket to the good life. In the process, she has to compete for his affection with an intrusive colleague (Lucy Punch), while also rebuffing the advances of the school's gym teacher (Jason Segel).
Diaz's character is the definition of a professional slacker. She does as little as she can to get by, and doesn't care about her students. Although many of her past roles have called for her to be gregarious and bubbly, playing a standoffish teacher is just as fun to watch. Seeing her able to make that switch into mean-spiritedness and deliver her snappy dialogue reminds us why she's a respectable, laugh-inducing actress. Her performance, yet, can be a double-edged sword. While she delivers some genuine laugh-out-loud moments, the character of Liz can be quite shallow on numerous occasions. Someone who we should be rooting for all the way instead forces us to bounce back and forth between liking her and disliking her.
For the most part, both of the male leads are put on the sidelines, not being able to express the dynamite wit that they both have. Jason Segel, who has shown to be a loveable comic soul in other films, is unfortunately not given much to do or have fun with. He is just a lovesick teacher with a crush on a coworker. Liz doesn't care about him, and we're in the same boat as her. It's a challenge for us to acknowledge him when we know his humorous side is being restrained. Timberlake, as the play-it-safe substitute, isn't utilized to his full comedic ability either. He finally gets an awkwardly funny scene closer to the film's end; but by the time that rolls around, we're left wondering where his usual bursts of hilarious charisma were for the rest of the movie. The cast is, however, punctuated by some supporting standouts, such as Lucy Punch, who plays Amy, an annoyingly sweet and meddling teacher; and Eric Stonestreet, who plays Liz's clueless roommate.
The idea of a bored and indifferent teacher is a refreshing twist on the typical story of an inspiring teacher. Diaz does what she can with what she is given and runs with it. If the movie was a little longer, there could have been more material provided to the other equally-talented costars. Since this is an R-rated comedy, there are several possibilities of where this could have gone that we unfortunately don't get to see. What's frustrating about the film is that Diaz's character gets away with her wrongdoings as a teacher too easily without any consequence, and let's others take the fall for her. This teacher doesn't provide us with many valuable lessons, but Diaz saves the story from being a lot worse. On a report card for Bad Teacher, we would put, "Is trying, but needs improvement."
Final grade: C+
Elizabeth Halsey (Cameron Diaz) seems to have her life in order. She has ended her brief teaching career and is ready to breeze through life with the money provided by her future husband. When he suddenly breaks off the engagement, Liz reluctantly goes back to her old job. Not willing to accept this for long, she decides to use her class in ways to earn money for a secret plastic surgery, which Liz hopes will help her attract a new, and rich, boyfriend. When she meets a new substitute, Scott Delacorte (Justin Timberlake), who has some family wealth, Liz realizes that he could be her ticket to the good life. In the process, she has to compete for his affection with an intrusive colleague (Lucy Punch), while also rebuffing the advances of the school's gym teacher (Jason Segel).
Diaz's character is the definition of a professional slacker. She does as little as she can to get by, and doesn't care about her students. Although many of her past roles have called for her to be gregarious and bubbly, playing a standoffish teacher is just as fun to watch. Seeing her able to make that switch into mean-spiritedness and deliver her snappy dialogue reminds us why she's a respectable, laugh-inducing actress. Her performance, yet, can be a double-edged sword. While she delivers some genuine laugh-out-loud moments, the character of Liz can be quite shallow on numerous occasions. Someone who we should be rooting for all the way instead forces us to bounce back and forth between liking her and disliking her.
For the most part, both of the male leads are put on the sidelines, not being able to express the dynamite wit that they both have. Jason Segel, who has shown to be a loveable comic soul in other films, is unfortunately not given much to do or have fun with. He is just a lovesick teacher with a crush on a coworker. Liz doesn't care about him, and we're in the same boat as her. It's a challenge for us to acknowledge him when we know his humorous side is being restrained. Timberlake, as the play-it-safe substitute, isn't utilized to his full comedic ability either. He finally gets an awkwardly funny scene closer to the film's end; but by the time that rolls around, we're left wondering where his usual bursts of hilarious charisma were for the rest of the movie. The cast is, however, punctuated by some supporting standouts, such as Lucy Punch, who plays Amy, an annoyingly sweet and meddling teacher; and Eric Stonestreet, who plays Liz's clueless roommate.
The idea of a bored and indifferent teacher is a refreshing twist on the typical story of an inspiring teacher. Diaz does what she can with what she is given and runs with it. If the movie was a little longer, there could have been more material provided to the other equally-talented costars. Since this is an R-rated comedy, there are several possibilities of where this could have gone that we unfortunately don't get to see. What's frustrating about the film is that Diaz's character gets away with her wrongdoings as a teacher too easily without any consequence, and let's others take the fall for her. This teacher doesn't provide us with many valuable lessons, but Diaz saves the story from being a lot worse. On a report card for Bad Teacher, we would put, "Is trying, but needs improvement."
Final grade: C+
Saturday, June 11, 2011
For these filmmaking youngsters, it's lights, camera...alien!
The summers of the late '70s and early '80s can be considered the golden age of the summer blockbuster. Master directors such as Steven Spielberg and George Lucas delivered on several occasions with one-of-a-kind spectacles such as Star Wars, E.T., Raiders of the Lost Ark and Jaws. You knew the summer season was approaching when you couldn't wait to sit inside a movie theater to see something on the screen that you haven't seen before. The same could be said now with J.J. Abrams's latest whack at sci-fi, Super 8. The film that has been shrouded in mystery for over a year has finally had its veil lifted, and you'll like what it has to reveal.
For young Joe Lamb (Joel Courtney), it feels as though his childhood is at a standstill. He has lost his mother in a factory accident, and his father is rather neglectful towards him. Joe spends the time with his friends, including Charles (Riley Griffiths) and Alice (Elle Fanning), a girl who Joe begins to have feelings for. The group decides to film a zombie movie for enter in a competition. In the process of doing so, they witness a horrific train derailment that unleashes an extraterrestrial life form. It is then up to Joe, his friends and his deputy father (Kyle Chandler) to figure out why the monster is wreaking havoc on their town and why the Air Force is trying to keep it a secret.
Some of the younger cast members have refreshingly mature acting for their age. Joel Courtney and Elle Fanning are reminiscent of a young Henry Thomas and Drew Barrymore from E.T. Joel's role is a perfect example of childhood innocence placed in a backdrop of uncertainty and mayhem. Although his character is young, there is nothing childish about him. When staring in the face of certain danger, he doesn't flinch, but channels his bravey to save those that he loves. When watching Elle Fanning, it's clear that she inherited talent from her sister, Dakota. There is one particular scene with Courtney and Fanning that stands out. As they are watching home movies of Joe's deceased mother, there is a great deal of tenderness and emotion that emanates from these two, and it's a marvelous thing how the director was able to extract these powerful feelings from actors who are so young. Kyle Chandler is excellent as Joe's deputy father who is trying to balance keeping both the town and his son away from harm.
Abrams has a trained eye for visual effects. He wowed us two years ago with his Star Trek reboot, and he succeeded in doing so here. The train derailment is one of the most exhilerating scenes in cinema that you'll watch this year. With the boxcars flying and crashing to the ground every which way, it's enough to send your heart racing. The segment of the film with Joe and his friends running through their town-turned-war-zone echoes Spielberg's War of the Worlds, where peril and adventure merge into one to make for an eye-popping indulgence. As for the alien, the director doesn't give it all away at once. He waits until near the end to expose it, just like what was done in Cloverfield, which Abrams worked on as a producer. So we're not sure what we're exactly afraid of until we come face-to-face with the beast. It looks a little too much like the monster from the aforementioned film, but it's an impressive visual nonetheless.
The screenplay by Abrams is a tribute to the classic Spielberg sci-fi movies, and deals with some of the same plot elements; but not with the purpose of copying it. He does it out of respect for Steven's filmography. When the two work together, they create a dream team (Spielberg helped to produce the film). These collaborators have a personal connection with the child characters, in that they all got involved with film at an early age. These children are committed to making their creature feature, and then are ironically thrust into a situation that deals with an actual monster. The film turns out to be more than just about that. Super 8 is a story about letting go and forgiveness; and in the end, it's a monster movie with a very human center.
Final grade: A-
For young Joe Lamb (Joel Courtney), it feels as though his childhood is at a standstill. He has lost his mother in a factory accident, and his father is rather neglectful towards him. Joe spends the time with his friends, including Charles (Riley Griffiths) and Alice (Elle Fanning), a girl who Joe begins to have feelings for. The group decides to film a zombie movie for enter in a competition. In the process of doing so, they witness a horrific train derailment that unleashes an extraterrestrial life form. It is then up to Joe, his friends and his deputy father (Kyle Chandler) to figure out why the monster is wreaking havoc on their town and why the Air Force is trying to keep it a secret.
Some of the younger cast members have refreshingly mature acting for their age. Joel Courtney and Elle Fanning are reminiscent of a young Henry Thomas and Drew Barrymore from E.T. Joel's role is a perfect example of childhood innocence placed in a backdrop of uncertainty and mayhem. Although his character is young, there is nothing childish about him. When staring in the face of certain danger, he doesn't flinch, but channels his bravey to save those that he loves. When watching Elle Fanning, it's clear that she inherited talent from her sister, Dakota. There is one particular scene with Courtney and Fanning that stands out. As they are watching home movies of Joe's deceased mother, there is a great deal of tenderness and emotion that emanates from these two, and it's a marvelous thing how the director was able to extract these powerful feelings from actors who are so young. Kyle Chandler is excellent as Joe's deputy father who is trying to balance keeping both the town and his son away from harm.
Abrams has a trained eye for visual effects. He wowed us two years ago with his Star Trek reboot, and he succeeded in doing so here. The train derailment is one of the most exhilerating scenes in cinema that you'll watch this year. With the boxcars flying and crashing to the ground every which way, it's enough to send your heart racing. The segment of the film with Joe and his friends running through their town-turned-war-zone echoes Spielberg's War of the Worlds, where peril and adventure merge into one to make for an eye-popping indulgence. As for the alien, the director doesn't give it all away at once. He waits until near the end to expose it, just like what was done in Cloverfield, which Abrams worked on as a producer. So we're not sure what we're exactly afraid of until we come face-to-face with the beast. It looks a little too much like the monster from the aforementioned film, but it's an impressive visual nonetheless.
The screenplay by Abrams is a tribute to the classic Spielberg sci-fi movies, and deals with some of the same plot elements; but not with the purpose of copying it. He does it out of respect for Steven's filmography. When the two work together, they create a dream team (Spielberg helped to produce the film). These collaborators have a personal connection with the child characters, in that they all got involved with film at an early age. These children are committed to making their creature feature, and then are ironically thrust into a situation that deals with an actual monster. The film turns out to be more than just about that. Super 8 is a story about letting go and forgiveness; and in the end, it's a monster movie with a very human center.
Final grade: A-
Monday, June 6, 2011
'Class' is in session
In the superhero genre, and as in other film genres, a prequel is every bit as important as the stories that take place after it. With a well-told back-story, we respect the characters more and become attached to them. The beginning of a whole saga brings us to better understand the series, since it shows us the protagonists, the antagonists and the events that have happened that caused them to choose the paths that they have taken. In director Matthew Vaughn's X-Men: First Class, we are given a detailed insight into how the famed group of mutants from the Marvel lore began their struggle to fit in with the non-mutants.
It's 1962, and the world is on the brink of becoming a nuclear battleground. A young Charles Xavier (James McAvoy) is preparing to create a team of mutants to give them a better view into who they are. Erik Lensherr (Michael Fassbender) is on a revenge-driven mission to kill the remaining Nazis that imprisoned him and killed his parents years before. When the two finally meet, they agree to help each other find more of those that are different, just like them. All of this is being done with the hopes to foil the dastardly plans of Sebastian Shaw (Kevin Bacon), who sets out to influence the Russians to begin the Cuban Missile Crisis and eventually start another world war. Little do the mutants know that their struggles will cause Charles to become Professor X, and Erik to become Magneto, which will then ignite the future battles between the X-Men and the Brotherhood of Mutants.
The bond between Charles and Erik serves as the beguiling core of the film. McAvoy and Fassbender are a well-matched mutant duo with their sustained chemistry helping to keep the movie afloat. The genuine connection between these two actors makes it all the more intriguing and unfortunate that as the story gets closer to its conclusion, the two become further apart. Jennifer Lawrence persists in earning her stripes as a breakout star in her role as the mysterious and alluring shape-shifting Mystique. Her own inner confict of whether or not to keep her power but change her appearance in order to fit in with society subtly ties in with her mutant power. Kevin Bacon is superbly nefarious as the odious Sebastian Shaw. The only weak part of the cast is January Jones as Emma Frost. Several viewers will know that she possesses some talent, as seen on AMC's drama series Mad Men. In this film, however, she keeps the same uninterested expression on her face throughout much of it. This character deserved to have more spice added to it.
X-Men: First Class is one of the finest prequels to come along in quite some time. It doesn't feel the need to be overly ambitious and jump right into its action scenes. It considers the history of these characters and takes its time with introducing the viewers to each of them. Besides Professor X, Magneto and Mystique, the film let's us learn more about lesser-known mutants such as Beast, Angel, Banshee and Havok. When the film gets around to its climactic mutant showdown centering around the Cuban Missile Crisis, it's terrifically swift and exciting. Matthew Vaughn has the potential to be the next great director for superhero films, as we were hinted at in his 2010 film, Kick-Ass. He has found a future niche in this genre, since he has a finesse for building his characters, which can be rare in an action film, and for staging some thrilling fights.
One of the top strengths of the film is that it's not just a comic-book film. It's an ethical journey for striving to be different in the face of adversity that is especially prevalent to today. It's not perfect, but compared to all of the other prequels that have been made in recent years, this one has evolved.
Final grade: B+
It's 1962, and the world is on the brink of becoming a nuclear battleground. A young Charles Xavier (James McAvoy) is preparing to create a team of mutants to give them a better view into who they are. Erik Lensherr (Michael Fassbender) is on a revenge-driven mission to kill the remaining Nazis that imprisoned him and killed his parents years before. When the two finally meet, they agree to help each other find more of those that are different, just like them. All of this is being done with the hopes to foil the dastardly plans of Sebastian Shaw (Kevin Bacon), who sets out to influence the Russians to begin the Cuban Missile Crisis and eventually start another world war. Little do the mutants know that their struggles will cause Charles to become Professor X, and Erik to become Magneto, which will then ignite the future battles between the X-Men and the Brotherhood of Mutants.
The bond between Charles and Erik serves as the beguiling core of the film. McAvoy and Fassbender are a well-matched mutant duo with their sustained chemistry helping to keep the movie afloat. The genuine connection between these two actors makes it all the more intriguing and unfortunate that as the story gets closer to its conclusion, the two become further apart. Jennifer Lawrence persists in earning her stripes as a breakout star in her role as the mysterious and alluring shape-shifting Mystique. Her own inner confict of whether or not to keep her power but change her appearance in order to fit in with society subtly ties in with her mutant power. Kevin Bacon is superbly nefarious as the odious Sebastian Shaw. The only weak part of the cast is January Jones as Emma Frost. Several viewers will know that she possesses some talent, as seen on AMC's drama series Mad Men. In this film, however, she keeps the same uninterested expression on her face throughout much of it. This character deserved to have more spice added to it.
X-Men: First Class is one of the finest prequels to come along in quite some time. It doesn't feel the need to be overly ambitious and jump right into its action scenes. It considers the history of these characters and takes its time with introducing the viewers to each of them. Besides Professor X, Magneto and Mystique, the film let's us learn more about lesser-known mutants such as Beast, Angel, Banshee and Havok. When the film gets around to its climactic mutant showdown centering around the Cuban Missile Crisis, it's terrifically swift and exciting. Matthew Vaughn has the potential to be the next great director for superhero films, as we were hinted at in his 2010 film, Kick-Ass. He has found a future niche in this genre, since he has a finesse for building his characters, which can be rare in an action film, and for staging some thrilling fights.
One of the top strengths of the film is that it's not just a comic-book film. It's an ethical journey for striving to be different in the face of adversity that is especially prevalent to today. It's not perfect, but compared to all of the other prequels that have been made in recent years, this one has evolved.
Final grade: B+
Thursday, June 2, 2011
Magic at the stroke of 'Midnight'
If people were asked which place in the world they would most love to travel to, it's a safe bet that many would answer with Paris. The City of Light is a place of endless splendor that overflows with rich art, music, culture and fine dining. It's, without a doubt in my mind, the place to be. The life and spirit of this city is captured in director Woody Allen's time-travel romantic comedy, Midnight in Paris. It doesn't matter if you have or have not been to Paris. The way that the film explores the city is something to highly admire.
Gil Pender (Owen Wilson) is a writer who holds Paris is such high regard. While there on a trip with his girlfriend Inez (Rachel McAdams) and her parents, he tries to soak in the customs of the city in order to obtain some inspiration for his first novel. As he's strolling along a deserted street late one night, a car picks him up and transports him to the 1920s era of Paris, a time period of which he believes he should have been born in. While he's there, he meets many of his artistic idols and absorbs the atmosphere of that time. He must decide, however, if he should continue living in the 21st century and find the beauty of his own era, or if he should stay in the time period of which he prefers.
Owen Wilson proves to be a very charismatic leading man. His character presents himself as a man of the world. He exhibits a curiosity that many of us would feel in a new and fascinating place, and his wanting for exploration fuels a true feeling of adventure. Gil's sincere sense of being star-struck and astonished when he becomes acquainted with some of his favorite authors is just as we would feel if given the chance to meet our favorite icons. Rachel McAdams's role as Inez is one that's different than what we're used to when watching her. Most of her work includes good-natured characters. Her part in this movie, as a girlfriend who doesn't miss a chance to put down her boyfriend, shows the audience that she can play characters that are unlikable as well as ones that are. Michael Sheen, as a know-it-all intellectual, is also a delight to watch.
The best parts of the supporting cast consist of those that Gil meets in the 1920s. It's a mix of some of the world's greatest and most influential cultural figures, such as F. Scott Fitzgerald (Tom Hiddleston), Ernest Hemingway (Corey Stoll), Cole Porter (Yves Heck), Gertrude Stein (Kathy Bates) and Pablo Picasso (Marcial Di Fonzo Bo). Each of these actors are scene-stealers in their own right, especially Adrien Brody as an eccentric Salvador Dali. Watching these trailblazers of the past converse with each other is an absolute joy to watch, and makes this film feel like a time machine. Alison Pill, as F. Scott's wife Zelda, achieves a wonderful southern accent. She is an actress with some noteworthy work; and although she's not as familiar to audiences now, she deserves much recognition in the future. Marion Cotillard is as glowing as ever as Gil's 1920s love interest, Adriana. Cotillard has the looks and elegance of an old-fashioned Hollywood actress, and in the movie, that becomes even more apparent.
Woody Allen's screenplay travels around nearly every corner of Paris. It provides the city with the opportunity to become as vivacious as its many characters. The opening of the film displays many locations in Paris, which allows the viewer to be immersed in the marvelous city and to fall in love with it as much as Gil does. This film is a festive celebration of the bountiful art that the 1920s had to offer; but it also emphasizes the need to notice and appreciate the culture that our own era serves us. With all of the artistic accomplishments being done today, that won't be hard to do. Midnight in Paris is proof of that.
Final grade: A
Gil Pender (Owen Wilson) is a writer who holds Paris is such high regard. While there on a trip with his girlfriend Inez (Rachel McAdams) and her parents, he tries to soak in the customs of the city in order to obtain some inspiration for his first novel. As he's strolling along a deserted street late one night, a car picks him up and transports him to the 1920s era of Paris, a time period of which he believes he should have been born in. While he's there, he meets many of his artistic idols and absorbs the atmosphere of that time. He must decide, however, if he should continue living in the 21st century and find the beauty of his own era, or if he should stay in the time period of which he prefers.
Owen Wilson proves to be a very charismatic leading man. His character presents himself as a man of the world. He exhibits a curiosity that many of us would feel in a new and fascinating place, and his wanting for exploration fuels a true feeling of adventure. Gil's sincere sense of being star-struck and astonished when he becomes acquainted with some of his favorite authors is just as we would feel if given the chance to meet our favorite icons. Rachel McAdams's role as Inez is one that's different than what we're used to when watching her. Most of her work includes good-natured characters. Her part in this movie, as a girlfriend who doesn't miss a chance to put down her boyfriend, shows the audience that she can play characters that are unlikable as well as ones that are. Michael Sheen, as a know-it-all intellectual, is also a delight to watch.
The best parts of the supporting cast consist of those that Gil meets in the 1920s. It's a mix of some of the world's greatest and most influential cultural figures, such as F. Scott Fitzgerald (Tom Hiddleston), Ernest Hemingway (Corey Stoll), Cole Porter (Yves Heck), Gertrude Stein (Kathy Bates) and Pablo Picasso (Marcial Di Fonzo Bo). Each of these actors are scene-stealers in their own right, especially Adrien Brody as an eccentric Salvador Dali. Watching these trailblazers of the past converse with each other is an absolute joy to watch, and makes this film feel like a time machine. Alison Pill, as F. Scott's wife Zelda, achieves a wonderful southern accent. She is an actress with some noteworthy work; and although she's not as familiar to audiences now, she deserves much recognition in the future. Marion Cotillard is as glowing as ever as Gil's 1920s love interest, Adriana. Cotillard has the looks and elegance of an old-fashioned Hollywood actress, and in the movie, that becomes even more apparent.
Woody Allen's screenplay travels around nearly every corner of Paris. It provides the city with the opportunity to become as vivacious as its many characters. The opening of the film displays many locations in Paris, which allows the viewer to be immersed in the marvelous city and to fall in love with it as much as Gil does. This film is a festive celebration of the bountiful art that the 1920s had to offer; but it also emphasizes the need to notice and appreciate the culture that our own era serves us. With all of the artistic accomplishments being done today, that won't be hard to do. Midnight in Paris is proof of that.
Final grade: A
Tuesday, May 24, 2011
Women and comedy walk hand-in-hand down the aisle
It isn't a secret that it takes time and effort to plan a wedding. The same can also be said for the art of creating humor. The jokes should have the potential to put you in stitches, and the characters should be relatable to us, even if the situations they find themselves in might not be the norm for us. Screenwriters Kristen Wiig and Annie Mumolo master this art form in their wedding comedy Bridesmaids. The film celebrates comedy in women and the hilarity that they can generate, and proves that they can be just as side-splittingly funny as men.
Annie (Kristen Wiig) is living a hard-knock life. She is in debt, works at a job she hates, and can't stand the roommate in her apartment. When her life-long best friend Lillian (Maya Rudolph) breaks the news that she's getting married, she asks Annie to be her maid of honor. Despite the heap of pressure that will come with it , she accepts. On top of creating the perfect pre-wedding events for Lillian, Annie also has to juggle competing with fellow bridesmaid Helen (Rose Byrne) who is trying to steal her position as maid of honor, as well as trying to handle her distrust in men as she starts to become smitten with a police officer (Chris O'Dowd).
Kristen Wiig is best known on television for the myriad of characters that she plays on Saturday Night Live. Her role in Bridesmaids, however, could be the one that shoots her to the status of movie-stardom. Her awkward quirkiness that we're so used to remains as comical as ever in a full-length feature as it does in a five minute skit. Since the movie diverts the attention away from the bride-to-be and focuses mainly on the maid of honor, Wiig does a marvelous job with carrying the movie. What's great about her character is that besides being the film's primary laugh-machine, she also makes the audience feel sympathy for her as she realizes that as Lillian's life is coming together, her own life is falling apart.
Alongside Wiig is a motley crew of wonderfully witty women. Maya Rudolph retains the connection she's had with Kristen on SNL, and this holds the charm of an average, everyday gal-pal relationship. The group of bridesmaids includes Wendi McLendon-Covey as a mom trapped in a boring marriage who wants to have naughty fun; Ellie Kemper as a Disney-loving girly-girl; and Melissa McCarthy as the tomboy and standout of the bridal unit, who is truly a caring friend at heart. Rose Byrne nails the prissy attitude of her character. Watching Annie and Helen compete with each other is nothing short of amusing. If Annie is the wedding cake, then Helen is the figure that goes on top. She always feels she has to overshadow Annie.
Wiig and Mumolo's screenplay thrives on the comical interactions of these women. Each of them has their own time to shine. Although there are a couple of characters who were funny enough and should have had more screen time than they did, the movie is mainly about the camaraderie between Annie and Lillian. It all concerns with whether or not they will remain friends through the changes that are happening in their lives. As the stress of being a maid of honor starts to pile on Annie, so does the hilarity. There is some gross-out humor that will make the audience cringe and laugh all at once; but thankfully, it never goes too over the top. It doesn't matter if you're a male or female viewer, Bridesmaids cordially invites everyone to this wedding.
Final grade: A-
Annie (Kristen Wiig) is living a hard-knock life. She is in debt, works at a job she hates, and can't stand the roommate in her apartment. When her life-long best friend Lillian (Maya Rudolph) breaks the news that she's getting married, she asks Annie to be her maid of honor. Despite the heap of pressure that will come with it , she accepts. On top of creating the perfect pre-wedding events for Lillian, Annie also has to juggle competing with fellow bridesmaid Helen (Rose Byrne) who is trying to steal her position as maid of honor, as well as trying to handle her distrust in men as she starts to become smitten with a police officer (Chris O'Dowd).
Kristen Wiig is best known on television for the myriad of characters that she plays on Saturday Night Live. Her role in Bridesmaids, however, could be the one that shoots her to the status of movie-stardom. Her awkward quirkiness that we're so used to remains as comical as ever in a full-length feature as it does in a five minute skit. Since the movie diverts the attention away from the bride-to-be and focuses mainly on the maid of honor, Wiig does a marvelous job with carrying the movie. What's great about her character is that besides being the film's primary laugh-machine, she also makes the audience feel sympathy for her as she realizes that as Lillian's life is coming together, her own life is falling apart.
Alongside Wiig is a motley crew of wonderfully witty women. Maya Rudolph retains the connection she's had with Kristen on SNL, and this holds the charm of an average, everyday gal-pal relationship. The group of bridesmaids includes Wendi McLendon-Covey as a mom trapped in a boring marriage who wants to have naughty fun; Ellie Kemper as a Disney-loving girly-girl; and Melissa McCarthy as the tomboy and standout of the bridal unit, who is truly a caring friend at heart. Rose Byrne nails the prissy attitude of her character. Watching Annie and Helen compete with each other is nothing short of amusing. If Annie is the wedding cake, then Helen is the figure that goes on top. She always feels she has to overshadow Annie.
Wiig and Mumolo's screenplay thrives on the comical interactions of these women. Each of them has their own time to shine. Although there are a couple of characters who were funny enough and should have had more screen time than they did, the movie is mainly about the camaraderie between Annie and Lillian. It all concerns with whether or not they will remain friends through the changes that are happening in their lives. As the stress of being a maid of honor starts to pile on Annie, so does the hilarity. There is some gross-out humor that will make the audience cringe and laugh all at once; but thankfully, it never goes too over the top. It doesn't matter if you're a male or female viewer, Bridesmaids cordially invites everyone to this wedding.
Final grade: A-
Monday, May 16, 2011
The god of thunder conjures a thoroughly entertaining storm
It is widely known that the mystical legends from centuries ago greatly influence the stories that are told today. A prime example of this is the Norse god of thunder, Thor, being initiated into the Marvel universe. He has crossed the bridge from the myths that were revered by earlier civilizations, to the vibrant pages of the comic book by Stan Lee. Director Kenneth Branagh has now plucked the hero from his paneled domain, and made a superhero movie that's every bit as much for broader audiences as it is for those that have followed his otherworldly adventures on the page.
Thor (Chris Hemsworth) and Loki (Tom Hiddleston) are brothers living in the kingdom of Asgard, and their father, Odin (Anthony Hopkins), is ready to pass down the throne to one of his sons, and chooses Thor. Without Odin's knowledge, Thor's first act of business is to go to the world of Jotunheim and battle its inhabitants known as the Frost Giants, Asgard's oldest adversaries, after they try to steal a powerful artifact from Odin. Upon seeing this as a prideful and selfish act that could start a dangerous conflict, Odin banishes Thor to Earth until he can learn what it means to be a leader. Once Thor arrives, he meets an astrophysicist named Jane (Natalie Portman), her assistant Darcy (Kat Dennings) and their mentor Dr. Selvig (Stellan Skarsgard), who all agree to help him get back to Asgard before it suffers a terrible fate at the hand of his jealous brother.
Hemsworth brings the power that it takes to play Thor. With his commanding voice and physical strength, he showcases a true heroic stature. He deserves to fight as the god of thunder and wear the cape and armor. Natalie Portman proves her versatility by lending herself to the superhero genre. She connects well with her co-stars, and looks like she's having a great time being a part of the Marvel world. With Anthony Hopkins as the mighty Odin, he reminds us that he is as legendary in acting as his character is in mythology. Tom Hiddleson is a talented newcomer to American audiences as the villain with an envious force to be reckoned with.
Just like the previous movies adapted from Marvel comics over the past few years, Thor does well in preparing its hero for the Avengers movie, which is due next May. Be sure to look close for a cameo by Jeremy Renner as Clint Barton, who eventually becomes Hawkeye, another member of the Avengers team. He is also set to appear in the upcoming film.
Thor works well as both a superhero film and as an origin story. The first half hour of the film is dedicated to introducing the character of Thor and his home world to the audience. From the storybook-like imagery of Asgard to the Frost Giants' dark and desolate planet of Jotunheim, we become familiar with Thor's universe. The film takes its time with telling this part of the narrative, and this helps those who haven't read the comics. As a result, those viewers don't feel alienated from the story. The screenplay doesn't get derailed by a barrage of special effects-laden fight scenes, and tells the tale of Thor's beginning as it should be told. The few action scenes that are in the film, however, serve the story and are exciting; especially the final battle between Thor and Loki, which is the ultimate fight of sibling rivalry. With all of this put together, Thor is thunderous fun.
Final grade: A-
Thor (Chris Hemsworth) and Loki (Tom Hiddleston) are brothers living in the kingdom of Asgard, and their father, Odin (Anthony Hopkins), is ready to pass down the throne to one of his sons, and chooses Thor. Without Odin's knowledge, Thor's first act of business is to go to the world of Jotunheim and battle its inhabitants known as the Frost Giants, Asgard's oldest adversaries, after they try to steal a powerful artifact from Odin. Upon seeing this as a prideful and selfish act that could start a dangerous conflict, Odin banishes Thor to Earth until he can learn what it means to be a leader. Once Thor arrives, he meets an astrophysicist named Jane (Natalie Portman), her assistant Darcy (Kat Dennings) and their mentor Dr. Selvig (Stellan Skarsgard), who all agree to help him get back to Asgard before it suffers a terrible fate at the hand of his jealous brother.
Hemsworth brings the power that it takes to play Thor. With his commanding voice and physical strength, he showcases a true heroic stature. He deserves to fight as the god of thunder and wear the cape and armor. Natalie Portman proves her versatility by lending herself to the superhero genre. She connects well with her co-stars, and looks like she's having a great time being a part of the Marvel world. With Anthony Hopkins as the mighty Odin, he reminds us that he is as legendary in acting as his character is in mythology. Tom Hiddleson is a talented newcomer to American audiences as the villain with an envious force to be reckoned with.
Just like the previous movies adapted from Marvel comics over the past few years, Thor does well in preparing its hero for the Avengers movie, which is due next May. Be sure to look close for a cameo by Jeremy Renner as Clint Barton, who eventually becomes Hawkeye, another member of the Avengers team. He is also set to appear in the upcoming film.
Thor works well as both a superhero film and as an origin story. The first half hour of the film is dedicated to introducing the character of Thor and his home world to the audience. From the storybook-like imagery of Asgard to the Frost Giants' dark and desolate planet of Jotunheim, we become familiar with Thor's universe. The film takes its time with telling this part of the narrative, and this helps those who haven't read the comics. As a result, those viewers don't feel alienated from the story. The screenplay doesn't get derailed by a barrage of special effects-laden fight scenes, and tells the tale of Thor's beginning as it should be told. The few action scenes that are in the film, however, serve the story and are exciting; especially the final battle between Thor and Loki, which is the ultimate fight of sibling rivalry. With all of this put together, Thor is thunderous fun.
Final grade: A-
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