When Paranormal Activity was released a year ago, it presented audiences with a unique spin on the haunted-house genre. With its Blair Witch Project approach to the handheld camera style of filming, the movie took its ghost story to the suburbs of California. In most of our minds, that would be the last place for the dead to haunt the living. After the first installment delivered the scares, we weren't expecting a sequel. How could the story continue after the terrifying ending in the first installment? Many of us, myself included, had the fear of the sequel going down the path of the Blair Witch sequel, which tanked after the first became a horror phenomenon. Well, the skeptics have been proven wrong. Paranormal Activity 2 isn't just a worthy continuation of the story. It dishes out the suspense and jolts and takes it to the next level; and does justice to its predecessor.
The story takes place two months before the events of Paranormal Activity, and centers around a family in Carlsbad, Ca., where parents Kristi (Sprague Grayden) and Dan (Brian Boland) arrive home with their newborn son, Hunter. After they return home one night and find that their house has been burglarized, they install six video cameras around the house to catch anything else that might happen. Soon, the family begins to hear loud noises and experiences strange goings-on in their house. Dan and Micah (Micah Sloat, from the first film), think nothing of it. But Kristi and her sister Katie (Katie Featherston, also from the first film), think that something otherworldly is causing the family's trouble. It's not until Kristi's older step-daughter Ali (Molly Ephraim), begins to conduct some research, that the horrors occuring in the house begin to happen more frequently, and starts to assume it has something to do with the family's past.
One of the factors that makes Paranormal Activity 2 that rare, better sequel is that it takes the handheld camera concept and expands upon it. In the first installment, the camera was mostly limited to the bedroom, and captured the activity that only happened there. In this one, the scares are captured through multiple angles of the house: the nursery, the front hallway, the kitchen, the living room, the front of the house, and the pool area. This wider perspective of the house allows the audience to see almost anything that goes on. Any one of these cameras can spot something sinister, and we wait with baited breath to see where it will happen, and what will happen. The surprises never become stale. And of course, there's also a handheld camera, mostly used by Ali. When she wakes up in terror and investigates to see what went bump in the night, she needs some way to document it, doesn't she?
The film doesn't take the typical horror convention of having the ghouls come out only when the sun goes down. In the sequel, the frights threaten the family in both night and day. Some of the movie's best scares happen during the day, and this shows that the family is as vulnerable while awake as they are when they're asleep. The baby and the family dog are also put to clever use. It's common knowledge that in many other horror stories, infants and pets can see what many cannot. What's unsettling is that when they see a ghost or a demon, only they can see it, not the audience or the other characters; and this provides another dimension to the idea that what we can't see can scare us just as well as anything else. Sudden noises and total silence are enough to give you a feeling of anxiety as you wait for the next big shock.
A small problem with Paranormal Activity 2 is that it follows most of the same format as the original; but with the few tweaks given to the sequel, it's almost never an issue. And although it takes a while for the frights to pick-up, the second half will leave you shaking. I won't give anything away, but the ending does leave the door ajar for another installment. The writers silenced our doubts about the sequel by giving it a clever approach; but it's difficult to imagine the story being stretched any further into a third film. There isn't any need to spoil what's already scary.
Final grade: B+
Sunday, October 31, 2010
Tuesday, October 12, 2010
Don't bother hooking this 'Catfish'
To alliviate confusion, this is the other Facebook movie. This isn't the new David Fincher film that chronicles the origin of a communication sensation. It's a documentary drama that captures the making of a romantic relationship through the internet, and the lies that can be told when not interacting face-to-face. Catfish tackles an interesting premise that's relevant to the situation of today's countless social networking interactions. The story, camera techniques, and approach to the suspense genre make for what seems to be a small, yet promising thriller; but doesn't deliver as a whole.
Yaniv Schulman is a young photographer living in New York City with his filmmaker brother, Ariel, and his friend, Henry Joost, who is also a filmmaker. One day, Nev receives an e-mail from an eight-year-old named Abby, who lives in Michigan. She has seen one of Nev's photos in a newspaper, and asks for permission to create a painting from it. After getting his approval, she paints the portrait, and mails it to him. Astounded by how professional it looks, Nev doesn't know whether Abby is a fraud or a child prodigy. Soon, he decides to call the family for the first time, and starts talking to Abby's alluring 19-year-old sister, Meghan. After some romantic exchanges between the two digital lovers, Nev, Ariel, and Henry decide to make a surprise trip to Michigan to finally meet the family. However, once they make it to their destination, Meghan's family isn't at all what they appeared to be.
The problem with Catfish is that it ends as you would think. There could have been a tweak to what was expected, but no. It concludes with a disappointing emotional twist, rather than a shocking psychological twist. The acting from everyone in the cast fits in suitably with the plot material; but it can't save the movie from the obvious direction in which it's going. All of the suspense evaporates halfway through the film when we finally see the family. At that point, Catfish turns into a completely different movie. It goes from a documentary mystery, to a documentary about the family. Catfish should have been one of those films that keeps you in its grip until the end. It holds you, but as the story progresses, it slowly releases you.
Final grade: C
Yaniv Schulman is a young photographer living in New York City with his filmmaker brother, Ariel, and his friend, Henry Joost, who is also a filmmaker. One day, Nev receives an e-mail from an eight-year-old named Abby, who lives in Michigan. She has seen one of Nev's photos in a newspaper, and asks for permission to create a painting from it. After getting his approval, she paints the portrait, and mails it to him. Astounded by how professional it looks, Nev doesn't know whether Abby is a fraud or a child prodigy. Soon, he decides to call the family for the first time, and starts talking to Abby's alluring 19-year-old sister, Meghan. After some romantic exchanges between the two digital lovers, Nev, Ariel, and Henry decide to make a surprise trip to Michigan to finally meet the family. However, once they make it to their destination, Meghan's family isn't at all what they appeared to be.
The problem with Catfish is that it ends as you would think. There could have been a tweak to what was expected, but no. It concludes with a disappointing emotional twist, rather than a shocking psychological twist. The acting from everyone in the cast fits in suitably with the plot material; but it can't save the movie from the obvious direction in which it's going. All of the suspense evaporates halfway through the film when we finally see the family. At that point, Catfish turns into a completely different movie. It goes from a documentary mystery, to a documentary about the family. Catfish should have been one of those films that keeps you in its grip until the end. It holds you, but as the story progresses, it slowly releases you.
Final grade: C
Monday, October 11, 2010
David Fincher brings Facebook from the computer screen to the silver screen
At first, news about a film based on the creation of a website would be something to scoff at. Audiences would sarcastically think to themselves, “What will they think of next?” It would lead us to believe that screenwriters have officially run out of fresh ideas for stories. Not true. What director David Fincher presents to us is the opposite in his new film, The Social Network. After teaming up with talented scribe Aaron Sorkin, writer of the television series, The West Wing, the two have brought to life the story of friendship and betrayal in the rise of one of our biggest communication advancements.
It is Fall 2003 in the prestigious land of academia known as Harvard University, and student Mark Zuckerberg (Jesse Eisenberg) is aching to boost his status on campus and become known for something. After a harsh break-up with his girlfriend, Erica Albright (Rooney Mara), he gets drunk and goes on a techno-frenzy. He creates a website called "FaceMash," where male students rate girls based on their looks, with the help his friend, Eduardo Saverin (Andrew Garfield). After realizing his talent with computer-programming, Cameron and Tyler Winklevoss (both played by Armie Hammer), two very wealthy students, recruit Mark to assist them with launching their new website, Harvard Connection, which is exclusively for Harvard students. After being accused of "stealing" their idea, Mark is soon faced with threats of lawsuit and the loss of his only friends. All the while, he is being encouraged by Napster founder, Sean Parker (Justin Timberlake), to expand Facebook into a global network.
Eisenberg nails the jerk attitude of Mark Zuckerberg. He’s not a person you would associate with; but he portrays Zuckerberg in such a way that first makes you root for him, then hate him, then at the last minute, feel sorry for the situation he’s sunk into. Newcomer Andrew Garfield is a star-in-the-making. He plays Eduardo as a calm and quiet cohort to Mark; but when he performs his scenes when a rise in emotion is needed, we see what he can really do as an actor. And Justin Timberlake brings his famous all-star charm to his role as Sean Parker. Timberlake portrays Parker as the embodiment of business-world temptation without flaw. We know he can sing. We know he always delivers the funny on Saturday Night Live whenever he hosts. But this performance officially makes him a true actor.
Fincher has the noticeable ability to make even the minor characters memorable, as seen two years ago in his last film, The Curious Case of Benjamin Button. He makes sure that every performance counts, and gets all the feelings out of each person; even if they only have a few scenes. He achieves this with characters such as Erica Albright, and Christy Lee (Brenda Song), the latter of who quickly becomes a “facebook groupie.” He gets his cast to do the best possible job they can, and it shows.
Sorkin adapts his screenplay from the book, The Accidental Billionaires, by Ben Mezrich. Sorkin’s script is one of the most well-written to come along in a while. Although it’s mostly drama, it’s also peppered with some humor. Between the anger and jealousy spouted by the characters, there are some very memorable quotes. One of the best is said by Timberlake after a one-night-stand. The characters deliver the sharp-as-a-tack dialogue at great speed, especially in the opening scene shared by Eisenberg and Mara. The rapid exchange of words draws us in, wanting us to listen to them as we find out what makes them tick.
David Fincher cuts the story back and forth between Facebook’s creation and the lawsuits over its rightful ownership. This technique highlights the theme of best friends who become bitter rivals. He goes from the wild and crazy life of college, to the ambitious shark tank of the business world. He presents these two worlds in such a way that gets the viewer invested in the plot; because in the film, college isn’t just about college, and business isn’t just about business.
If Sorkin and Fincher can make a film about a website so enthralling, the sky’s the limit for these two talents. The film is one of the best achievements in story and character this year. The cast brings such kinetic energy to the film and eagerly feeds off of the dialogue like starving lions. The story not only shows how Facebook became a communication revolution; but also a cultural one. In short, The Social Network is a film to be celebrated.
Final grade: A
It is Fall 2003 in the prestigious land of academia known as Harvard University, and student Mark Zuckerberg (Jesse Eisenberg) is aching to boost his status on campus and become known for something. After a harsh break-up with his girlfriend, Erica Albright (Rooney Mara), he gets drunk and goes on a techno-frenzy. He creates a website called "FaceMash," where male students rate girls based on their looks, with the help his friend, Eduardo Saverin (Andrew Garfield). After realizing his talent with computer-programming, Cameron and Tyler Winklevoss (both played by Armie Hammer), two very wealthy students, recruit Mark to assist them with launching their new website, Harvard Connection, which is exclusively for Harvard students. After being accused of "stealing" their idea, Mark is soon faced with threats of lawsuit and the loss of his only friends. All the while, he is being encouraged by Napster founder, Sean Parker (Justin Timberlake), to expand Facebook into a global network.
Eisenberg nails the jerk attitude of Mark Zuckerberg. He’s not a person you would associate with; but he portrays Zuckerberg in such a way that first makes you root for him, then hate him, then at the last minute, feel sorry for the situation he’s sunk into. Newcomer Andrew Garfield is a star-in-the-making. He plays Eduardo as a calm and quiet cohort to Mark; but when he performs his scenes when a rise in emotion is needed, we see what he can really do as an actor. And Justin Timberlake brings his famous all-star charm to his role as Sean Parker. Timberlake portrays Parker as the embodiment of business-world temptation without flaw. We know he can sing. We know he always delivers the funny on Saturday Night Live whenever he hosts. But this performance officially makes him a true actor.
Fincher has the noticeable ability to make even the minor characters memorable, as seen two years ago in his last film, The Curious Case of Benjamin Button. He makes sure that every performance counts, and gets all the feelings out of each person; even if they only have a few scenes. He achieves this with characters such as Erica Albright, and Christy Lee (Brenda Song), the latter of who quickly becomes a “facebook groupie.” He gets his cast to do the best possible job they can, and it shows.
Sorkin adapts his screenplay from the book, The Accidental Billionaires, by Ben Mezrich. Sorkin’s script is one of the most well-written to come along in a while. Although it’s mostly drama, it’s also peppered with some humor. Between the anger and jealousy spouted by the characters, there are some very memorable quotes. One of the best is said by Timberlake after a one-night-stand. The characters deliver the sharp-as-a-tack dialogue at great speed, especially in the opening scene shared by Eisenberg and Mara. The rapid exchange of words draws us in, wanting us to listen to them as we find out what makes them tick.
David Fincher cuts the story back and forth between Facebook’s creation and the lawsuits over its rightful ownership. This technique highlights the theme of best friends who become bitter rivals. He goes from the wild and crazy life of college, to the ambitious shark tank of the business world. He presents these two worlds in such a way that gets the viewer invested in the plot; because in the film, college isn’t just about college, and business isn’t just about business.
If Sorkin and Fincher can make a film about a website so enthralling, the sky’s the limit for these two talents. The film is one of the best achievements in story and character this year. The cast brings such kinetic energy to the film and eagerly feeds off of the dialogue like starving lions. The story not only shows how Facebook became a communication revolution; but also a cultural one. In short, The Social Network is a film to be celebrated.
Final grade: A
Sunday, September 26, 2010
This 'Town' is the home of Ben Affleck's redemption
If there is anything to be said about The Town, is that Ben Affleck is back in the spotlight. More than a decade after winning a screenplay Oscar, alongside Matt Damon, for Good Will Hunting, and a successful directorial debut three years ago for Gone Baby Gone, Affleck has amazed us for a second time with his newfound talent for directing. Like the latter two films mentioned, The Town ventures back to the coarse city of Boston, and doesn't hold back in its depiction of the rough-and-tough of it's citizens' exteriors. Based on the novel Prince of Thieves by Chuck Hogan, the film delivers as equal parts crime-drama, action-thriller, and believe or not, love story.
The film tells the story of a group of professional bank robbers in Charlestown, Massachusetts. Being the hotspot for the most robberies in the country, these guys know their craft and how to work it. A team comprised of four friends, Doug MacRay (Affleck) and his crew decide to hold-up a bank and take its manager, Claire Keesey (Rebecca Hall), as a hostage. After letting her go unharmed, they realize she lives a short walk from their home, and decide to have one of their own spy on her to see how much she knows about her ordeal and her kidnappers. Thinking he's best for the job, Doug fakes a chance encounter with Claire. A romantic relationship soon evolves, and Doug wants to exit the crime business. His best friend Jem (Jeremy Renner), catches wind of this, and soon starts to question Doug where his allegiance lies.
The cast is all-around superb. I'll get to Ben Affleck later on, seeing as there's more of him to praise. As far as the supporting players go, Renner is a true standout. After portraying a rowdy and reckless army sergeant in last year's The Hurt Locker, and now playing a Bostonian with a fighting-Irish mentality, it's safe to conclude that Renner knows how to play tough and does it well. Rebecca Hall might be one of today's best least-known actresses; but hopefully, this film will make her more recognizable. Her role as the central female character allows her to show her range of talent. The way she channels her emotions while dealing with the bank robbery and its after-effects helps us see all of her character's vulnerabilities. And Blake Lively, who plays Doug's ex-girlfriend Krista, adopts a thick Boston accent and a ragged look, and is enjoyable to watch in her few scenes. She makes a smooth transition from tv show Gossip Girl's world of petty drama to a world of crime.
The real person to commend is Ben Affleck. We all knew he was a decent actor and writer; but directing might be his next big talent. Affleck directing this film proves that Gone Baby Gone wasn't just a stroke of luck. He can clearly direct a film, and stages some heist scenes that get your blood pumping from the get-go. Each one seems to top the previous, from the bank raid in the film's opening, to an armored-truck robbery at the film's midpoint that takes us all over the streets of Boston, to an ultimate heist showdown at Fenway Park in the conclusion that pits these Boston thugs against a group of FBI agents led by Jon Hamm. It's a confrontation that brings out all barrels blazing.
Affleck adequately balances each story element used in the film. Never does the action become too overbearing, the drama doesn't go over-the-top, and the romance between Doug and Claire never becomes too sappy. If Gone Baby Gone made Ben Affleck relevant again, then The Town has completed his comeback in Hollywood. He has a big future in the film industry, and that future is bright.
Final grade: A-
The film tells the story of a group of professional bank robbers in Charlestown, Massachusetts. Being the hotspot for the most robberies in the country, these guys know their craft and how to work it. A team comprised of four friends, Doug MacRay (Affleck) and his crew decide to hold-up a bank and take its manager, Claire Keesey (Rebecca Hall), as a hostage. After letting her go unharmed, they realize she lives a short walk from their home, and decide to have one of their own spy on her to see how much she knows about her ordeal and her kidnappers. Thinking he's best for the job, Doug fakes a chance encounter with Claire. A romantic relationship soon evolves, and Doug wants to exit the crime business. His best friend Jem (Jeremy Renner), catches wind of this, and soon starts to question Doug where his allegiance lies.
The cast is all-around superb. I'll get to Ben Affleck later on, seeing as there's more of him to praise. As far as the supporting players go, Renner is a true standout. After portraying a rowdy and reckless army sergeant in last year's The Hurt Locker, and now playing a Bostonian with a fighting-Irish mentality, it's safe to conclude that Renner knows how to play tough and does it well. Rebecca Hall might be one of today's best least-known actresses; but hopefully, this film will make her more recognizable. Her role as the central female character allows her to show her range of talent. The way she channels her emotions while dealing with the bank robbery and its after-effects helps us see all of her character's vulnerabilities. And Blake Lively, who plays Doug's ex-girlfriend Krista, adopts a thick Boston accent and a ragged look, and is enjoyable to watch in her few scenes. She makes a smooth transition from tv show Gossip Girl's world of petty drama to a world of crime.
The real person to commend is Ben Affleck. We all knew he was a decent actor and writer; but directing might be his next big talent. Affleck directing this film proves that Gone Baby Gone wasn't just a stroke of luck. He can clearly direct a film, and stages some heist scenes that get your blood pumping from the get-go. Each one seems to top the previous, from the bank raid in the film's opening, to an armored-truck robbery at the film's midpoint that takes us all over the streets of Boston, to an ultimate heist showdown at Fenway Park in the conclusion that pits these Boston thugs against a group of FBI agents led by Jon Hamm. It's a confrontation that brings out all barrels blazing.
Affleck adequately balances each story element used in the film. Never does the action become too overbearing, the drama doesn't go over-the-top, and the romance between Doug and Claire never becomes too sappy. If Gone Baby Gone made Ben Affleck relevant again, then The Town has completed his comeback in Hollywood. He has a big future in the film industry, and that future is bright.
Final grade: A-
Monday, August 16, 2010
Fall Movie Preview 2010
It's now the middle of August. That means that the weather will soon start to get cooler, the days will become shorter, and hopefully for the rest of this year in Hollywood, the movies will continue to get better. After a lackluster first half, and an even worse first month of summer, the rest of 2010 looked grim, except for a handful of promising movies.
After the summer's first much-anticipated films such as Iron Man 2 and Robin Hood failed to leave an impression on moviegoers, the rest of the season seemed to rest on the shoulders of the later part of the summer. And it didn't let us down. Pixar's Toy Story 3 has now grossed $4oo million domestically, and over $900 million worldwide. Christopher Nolan's dream-thriller Inception was the most talked-about movie for weeks upon its release in July, thriving on repeat business, word-of-mouth, and the audiences' appetites for an original storyline. Even The Twilight Saga: Eclipse managed to attract more critical love than its two predecessors, and has almost crossed the $300 million mark in North America. And we can't forget this summer's most acclaimed indie comedy The Kids Are All Right. After it expanded to more theaters, it quickly became an audience favorite.
Now, from September through December, there are a batch of new adventures headed to our silver screens. The last few months of the year are always when studios plan to unleash their films that they hope become Oscar-bait. Many of these movies turn out to be independent films. Coming from someone who loves them, after I hear continuous critical raves for an indie, I'm more than happy to find one being shown in my area. I realize that it's now my chance to see it, and find out what all the fuss is about. And this Fall has its share of indies. There's the creepy faux-documentary Catfish. We have Ryan Reynolds battling claustrophobic conditions in Buried. Academy Award nominees Ryan Gosling and Michelle Williams pair-up for the love story Blue Valentine. Also, Natalie Portman and Mila Kunis are competing ballerinas in Darren Aronofsky's dark thriller Black Swan.
Although Summer is usually the season of the blockbuster, this Fall will have a presentable package of them. Facebook takes center stage in David Fincher's new drama The Social Network, which will tell the intriguing story of its creation. TRON: Legacy, a sequel to 1982's TRON, will attract sci-fi fans and conjure up '80s nostalgia. And the movie that we've all been waiting for, Harry Potter and the Deathly Hallows- Part 1, will surely become the biggest film of the year, and have Potter fans and moviebuffs alike in a frenzy.
Now that I have your attention and your excitment is brewing, let's get this preview rolling.
Never Let Me Go (Sept. 15) Based on a novel by Kazuo Ishiguro and directed by Mark Romanek (One Hour Photo), the film follows a group of students in a British boarding-school. Although the school is a haven-like place, the students' instructors hold secrets about their grim purpose in life. They soon embark on an emotional journey that has them come to terms with their futures and feelings towards one another. Starring Carey Mulligan, Keira Knightly, and Andrew Garfield.
Catfish (Sept. 17) In this faux-documentary, a man is filmed as he pursues a relationship with a girl he met on Facebook. As the group of friends take a trip to the girl's house, they soon realize that nothing is what it seems.
The Town (Sept. 17) A master theif (Ben Affleck) begins a relationship with a bank manger (Rebecca Hall) after a recent robbery. All the while being with her, he also tries to keep off the radar of an FBI agent (Jon Hamm). Based on the novel Prince of Thieves by Chuck Hogan, this marks the second directing job for Affleck, following his 2007 film Gone Baby Gone. Jeremy Renner, Blake Lively, and Chris Cooper also appear in this heist thriller.
Buried (Sept. 24) Ryan Reynolds is Paul Conroy, a truck driver who wakes up in a coffin six feet underground with just a knife, a lighter, and a cell phone. Not able to recall how he got there, Paul must begin to piece everything together to find out how he arrived in this death trap before time runs out.
Wall Street 2: Money Never Sleeps (Sept. 24) Set 21 years after Oliver Stone's first Wall Street film, Gordon Gekko (Michael Douglas) is released from prison after his crimes in the finance world. When he tries to warn Wall Street of a forthcoming stock market crash, there isn't anyone who will believe him. Gordon chooses to try and fix his relationship with his daughter Winnie (Carey Mulligan) who blames her father for her brother Rudy's suicide. Meanwhile, the mentor of an up and coming Wall Street trader Jacob (Shia LaBeouf) mysteriously dies, and he suspects it's at the hands of his hedge fund manager. Since Winnie and Jacob are engaged, Jacob accepts Gordon's offer for revenge, and in turn Jacob starts to help Gordon with his relationship with Winnie.
The Social Network (Oct. 1) Who ever thought that a movie would revolve around Facebook? Let alone that it would work? Director David Fincher was up for the challenge. The story follows Harvard student Mark Zuckerburg (Jesse Eisenberg) as his social status skyrockets when he creates today's most popular networking site. But it doesn't come without its consequences. Also starring Justin Timberlake, Andrew Garfield, and Rashida Jones.
Secretariat (Oct. 8) In Disney's latest sports drama, Diane Lane plays Penny Chenery, who after taking over her ailing father's financially troubled Meadow Stable, led her racehorse Secretariat to a Triple Crown victory in 1973. Also starring John Malkovich, James Cromwell, Kevin Connelly, and Dylan Walsh.
Conviction (Oct. 15) Based on a true story, Betty Anne Waters (Hilary Swank), an out-of-work single mother puts herself through law school so she can represent her brother Kenneth (Sam Rockwell) in court, who has been wrongfully imprisoned for murder. Minnie Driver, Melissa Leo, and Juliette Lewis round out the cast.
Hereafter (Oct. 22) Clint Eastwood's latest film chronicles three separate storylines dealing with mortality. Matt Damon plays a San Francisco citizen who has the ability to speak to the dead, which ruins many of his relationships. French actress Cecile de France plays a Paris anchorwoman who almost perishes in the 2004 Indian Ocean tsunami. And two new actors, Frankie and George McLaren, play English children around the time of the tragic 2005 London subway bombings. Bryce Dallas Howard, Jay Mohr, and Richard Kind also star in this supernatural drama.
Paranormal Activity 2 (Oct. 22) After seeing Paranormal Activity last Fall, I couldn't help but think, "They can't possibly make a sequel. Not after that ending." As it turns out, the filmmakers found a way to do so. The trailer doesn't provide too much information; but what we can gather is that the demon-possessed Katie (Katie Featherston) is back to cause more terrifying trouble.
Harry Potter and the Deathly Hallows- Part 1 (Nov. 19) The seventh and final chapter of the Harry Potter saga is being split into a two-part epic, with part two being released on July 15th next year. In this grand finale, Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) decide not to return to their beloved school of magic, Hogwarts. Instead, the trio set out on a perilous journey to obtain Lord Voldemort's remaining Horcruxes, which are items safeguarding parts of his soul. And Harry knows that only one of them can triumph in the end, and realizes that his final confrontation with Voldemort is fast approaching.
Black Swan (Dec. 1) You wouldn't expect Darren Aronofsky, director of such gritty films as The Wrestler and Requiem for a Dream to make a movie about competing ballerinas. But it's a film about a ballerina tapping into her dark side. That sounds more like Aronofsky, certainly. When the director of a NYC ballet company decides to present Swan Lake, director Thomas Leroy (Vincent Cassel) needs to replace his main ballerina, Beth MacIntyre (Winona Ryder). He needs a girl who can portray both the elegant White Swan, and the sensual Black Swan in the production. Soon, competing dancers Nina (Natalie Portman) and Lily (Mila Kunis) start an unusual friendship that roots itself in their rivalry, and Nina soon finds a dangerous part of herself that begins to surface.
The Chronicles of Narnia: The Voyage of the Dawn Treader (Dec. 10) In this third installment of the fantasy franchise, Edmund Pevensie (Skandar Keynes), Lucy Pevensie (Georgie Henley), and their cousin Eustace (Will Poulter), set sail on the high seas of Narnia and battle various dangers to travel to the great lion Aslan's (voiced by Liam Neeson) home at the edge of the world.
TRON: Legacy (Dec. 17) Joseph Kosinski directs this sequel to 1982's TRON. 27-year-old Sam Flynn (Garrett Hedlund) is disturbed by the disappearance of his father Kevin Flynn (Jeff Bridges), who was once the world's top video-game developer. When Sam detects a signal from his father's abandoned arcade, he gets taken to a world that has kept his father imprisoned for 20 years. With the help of a warrior, Quorra (Olivia Wilde), the two Flynns journey across this new world in order to take down a powerful villain that will do everything he can to keep them trapped.
Little Fockers (Dec. 22) After Greg (Ben Stiller) and Pam (Teri Polo) marry and have 5-year-old twins, Greg begins to feel the onset of a mid-life crisis, as he worries about being an attentive father and sustaining a job to support his family. As Greg's father-in-law Jack (Robert DeNiro) realizes something's amiss, his suspicions about Greg rise once again. Much of the original cast of the first two return, including Blythe Danner, Barbara Streisand, and Owen Wilson. New additions are Laura Dern, Jessica Alba, and Harvey Keitel. There isn't any word yet if Dustin Hoffman will reprise his role as Greg's father.
True Grit (Dec. 25) This adaptation of a 1968 novel by Charles Portis, which is also a remake of the 1969 John Wayne western, is directed by Joel and Ethan Coen. When the father of a teenage girl, Mattie Ross (Hallie Steinfeld), is murdered by a drifter named Tom Chaney (Josh Brolin), she sets out on a quest for revenge with the help of a one-eyed marshal named Rooster Cogburn (Jeff Bridges). Matt Damon and Barry Pepper also take part in what is sure to be another unique vision by the Coen brothers.
Blue Valentine (Dec. 31) The life of a married couple, Dean and Cindy (Ryan Gosling and Michelle Williams), is examined over the course of a few years as Cindy encounters some difficulties with marriage, and as Dean focuses on keeping their family together.
Thus marks the end of this preview. You couldn't ask for a better crop of movies to hit your multiplex this Fall. As always, there is something for everybody, and there should be at least a couple of films that match your taste. Although your first response might be to seek out the latest blockbuster, that's fine. But I highly recommend to occasionally look for an indie that's playing close by. It's a wonderful surprise to find how much originality can be on display in an indie film. With everything that's coming out this season, it'll be a challenge not to find some quality cinematic escapism. That being said, have a terrific Fall. And as I always say, enjoy the movies!
After the summer's first much-anticipated films such as Iron Man 2 and Robin Hood failed to leave an impression on moviegoers, the rest of the season seemed to rest on the shoulders of the later part of the summer. And it didn't let us down. Pixar's Toy Story 3 has now grossed $4oo million domestically, and over $900 million worldwide. Christopher Nolan's dream-thriller Inception was the most talked-about movie for weeks upon its release in July, thriving on repeat business, word-of-mouth, and the audiences' appetites for an original storyline. Even The Twilight Saga: Eclipse managed to attract more critical love than its two predecessors, and has almost crossed the $300 million mark in North America. And we can't forget this summer's most acclaimed indie comedy The Kids Are All Right. After it expanded to more theaters, it quickly became an audience favorite.
Now, from September through December, there are a batch of new adventures headed to our silver screens. The last few months of the year are always when studios plan to unleash their films that they hope become Oscar-bait. Many of these movies turn out to be independent films. Coming from someone who loves them, after I hear continuous critical raves for an indie, I'm more than happy to find one being shown in my area. I realize that it's now my chance to see it, and find out what all the fuss is about. And this Fall has its share of indies. There's the creepy faux-documentary Catfish. We have Ryan Reynolds battling claustrophobic conditions in Buried. Academy Award nominees Ryan Gosling and Michelle Williams pair-up for the love story Blue Valentine. Also, Natalie Portman and Mila Kunis are competing ballerinas in Darren Aronofsky's dark thriller Black Swan.
Although Summer is usually the season of the blockbuster, this Fall will have a presentable package of them. Facebook takes center stage in David Fincher's new drama The Social Network, which will tell the intriguing story of its creation. TRON: Legacy, a sequel to 1982's TRON, will attract sci-fi fans and conjure up '80s nostalgia. And the movie that we've all been waiting for, Harry Potter and the Deathly Hallows- Part 1, will surely become the biggest film of the year, and have Potter fans and moviebuffs alike in a frenzy.
Now that I have your attention and your excitment is brewing, let's get this preview rolling.
Never Let Me Go (Sept. 15) Based on a novel by Kazuo Ishiguro and directed by Mark Romanek (One Hour Photo), the film follows a group of students in a British boarding-school. Although the school is a haven-like place, the students' instructors hold secrets about their grim purpose in life. They soon embark on an emotional journey that has them come to terms with their futures and feelings towards one another. Starring Carey Mulligan, Keira Knightly, and Andrew Garfield.
Catfish (Sept. 17) In this faux-documentary, a man is filmed as he pursues a relationship with a girl he met on Facebook. As the group of friends take a trip to the girl's house, they soon realize that nothing is what it seems.
The Town (Sept. 17) A master theif (Ben Affleck) begins a relationship with a bank manger (Rebecca Hall) after a recent robbery. All the while being with her, he also tries to keep off the radar of an FBI agent (Jon Hamm). Based on the novel Prince of Thieves by Chuck Hogan, this marks the second directing job for Affleck, following his 2007 film Gone Baby Gone. Jeremy Renner, Blake Lively, and Chris Cooper also appear in this heist thriller.
Buried (Sept. 24) Ryan Reynolds is Paul Conroy, a truck driver who wakes up in a coffin six feet underground with just a knife, a lighter, and a cell phone. Not able to recall how he got there, Paul must begin to piece everything together to find out how he arrived in this death trap before time runs out.
Wall Street 2: Money Never Sleeps (Sept. 24) Set 21 years after Oliver Stone's first Wall Street film, Gordon Gekko (Michael Douglas) is released from prison after his crimes in the finance world. When he tries to warn Wall Street of a forthcoming stock market crash, there isn't anyone who will believe him. Gordon chooses to try and fix his relationship with his daughter Winnie (Carey Mulligan) who blames her father for her brother Rudy's suicide. Meanwhile, the mentor of an up and coming Wall Street trader Jacob (Shia LaBeouf) mysteriously dies, and he suspects it's at the hands of his hedge fund manager. Since Winnie and Jacob are engaged, Jacob accepts Gordon's offer for revenge, and in turn Jacob starts to help Gordon with his relationship with Winnie.
The Social Network (Oct. 1) Who ever thought that a movie would revolve around Facebook? Let alone that it would work? Director David Fincher was up for the challenge. The story follows Harvard student Mark Zuckerburg (Jesse Eisenberg) as his social status skyrockets when he creates today's most popular networking site. But it doesn't come without its consequences. Also starring Justin Timberlake, Andrew Garfield, and Rashida Jones.
Secretariat (Oct. 8) In Disney's latest sports drama, Diane Lane plays Penny Chenery, who after taking over her ailing father's financially troubled Meadow Stable, led her racehorse Secretariat to a Triple Crown victory in 1973. Also starring John Malkovich, James Cromwell, Kevin Connelly, and Dylan Walsh.
Conviction (Oct. 15) Based on a true story, Betty Anne Waters (Hilary Swank), an out-of-work single mother puts herself through law school so she can represent her brother Kenneth (Sam Rockwell) in court, who has been wrongfully imprisoned for murder. Minnie Driver, Melissa Leo, and Juliette Lewis round out the cast.
Hereafter (Oct. 22) Clint Eastwood's latest film chronicles three separate storylines dealing with mortality. Matt Damon plays a San Francisco citizen who has the ability to speak to the dead, which ruins many of his relationships. French actress Cecile de France plays a Paris anchorwoman who almost perishes in the 2004 Indian Ocean tsunami. And two new actors, Frankie and George McLaren, play English children around the time of the tragic 2005 London subway bombings. Bryce Dallas Howard, Jay Mohr, and Richard Kind also star in this supernatural drama.
Paranormal Activity 2 (Oct. 22) After seeing Paranormal Activity last Fall, I couldn't help but think, "They can't possibly make a sequel. Not after that ending." As it turns out, the filmmakers found a way to do so. The trailer doesn't provide too much information; but what we can gather is that the demon-possessed Katie (Katie Featherston) is back to cause more terrifying trouble.
Harry Potter and the Deathly Hallows- Part 1 (Nov. 19) The seventh and final chapter of the Harry Potter saga is being split into a two-part epic, with part two being released on July 15th next year. In this grand finale, Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) decide not to return to their beloved school of magic, Hogwarts. Instead, the trio set out on a perilous journey to obtain Lord Voldemort's remaining Horcruxes, which are items safeguarding parts of his soul. And Harry knows that only one of them can triumph in the end, and realizes that his final confrontation with Voldemort is fast approaching.
Black Swan (Dec. 1) You wouldn't expect Darren Aronofsky, director of such gritty films as The Wrestler and Requiem for a Dream to make a movie about competing ballerinas. But it's a film about a ballerina tapping into her dark side. That sounds more like Aronofsky, certainly. When the director of a NYC ballet company decides to present Swan Lake, director Thomas Leroy (Vincent Cassel) needs to replace his main ballerina, Beth MacIntyre (Winona Ryder). He needs a girl who can portray both the elegant White Swan, and the sensual Black Swan in the production. Soon, competing dancers Nina (Natalie Portman) and Lily (Mila Kunis) start an unusual friendship that roots itself in their rivalry, and Nina soon finds a dangerous part of herself that begins to surface.
The Chronicles of Narnia: The Voyage of the Dawn Treader (Dec. 10) In this third installment of the fantasy franchise, Edmund Pevensie (Skandar Keynes), Lucy Pevensie (Georgie Henley), and their cousin Eustace (Will Poulter), set sail on the high seas of Narnia and battle various dangers to travel to the great lion Aslan's (voiced by Liam Neeson) home at the edge of the world.
TRON: Legacy (Dec. 17) Joseph Kosinski directs this sequel to 1982's TRON. 27-year-old Sam Flynn (Garrett Hedlund) is disturbed by the disappearance of his father Kevin Flynn (Jeff Bridges), who was once the world's top video-game developer. When Sam detects a signal from his father's abandoned arcade, he gets taken to a world that has kept his father imprisoned for 20 years. With the help of a warrior, Quorra (Olivia Wilde), the two Flynns journey across this new world in order to take down a powerful villain that will do everything he can to keep them trapped.
Little Fockers (Dec. 22) After Greg (Ben Stiller) and Pam (Teri Polo) marry and have 5-year-old twins, Greg begins to feel the onset of a mid-life crisis, as he worries about being an attentive father and sustaining a job to support his family. As Greg's father-in-law Jack (Robert DeNiro) realizes something's amiss, his suspicions about Greg rise once again. Much of the original cast of the first two return, including Blythe Danner, Barbara Streisand, and Owen Wilson. New additions are Laura Dern, Jessica Alba, and Harvey Keitel. There isn't any word yet if Dustin Hoffman will reprise his role as Greg's father.
True Grit (Dec. 25) This adaptation of a 1968 novel by Charles Portis, which is also a remake of the 1969 John Wayne western, is directed by Joel and Ethan Coen. When the father of a teenage girl, Mattie Ross (Hallie Steinfeld), is murdered by a drifter named Tom Chaney (Josh Brolin), she sets out on a quest for revenge with the help of a one-eyed marshal named Rooster Cogburn (Jeff Bridges). Matt Damon and Barry Pepper also take part in what is sure to be another unique vision by the Coen brothers.
Blue Valentine (Dec. 31) The life of a married couple, Dean and Cindy (Ryan Gosling and Michelle Williams), is examined over the course of a few years as Cindy encounters some difficulties with marriage, and as Dean focuses on keeping their family together.
Thus marks the end of this preview. You couldn't ask for a better crop of movies to hit your multiplex this Fall. As always, there is something for everybody, and there should be at least a couple of films that match your taste. Although your first response might be to seek out the latest blockbuster, that's fine. But I highly recommend to occasionally look for an indie that's playing close by. It's a wonderful surprise to find how much originality can be on display in an indie film. With everything that's coming out this season, it'll be a challenge not to find some quality cinematic escapism. That being said, have a terrific Fall. And as I always say, enjoy the movies!
Tuesday, August 3, 2010
No need to cook at home, RSVP to this 'Dinner'
Many people know that a lot of the time, PG-13 comedies fail to hit their targets; whereas R-rated comedies attract larger followings since they're allowed to be more edgier and risk-taking. If we believe that Dinner for Schmucks is one of those dull PG-13 comedies, we might have to call ourselves schmucks for suspecting so. Directed by Jay Roach (Meet the Parents), the film is a remake of Francis Weber's film The Dinner Game (Le diner de cons). The two uproariously-mismatched main characters deliver laugh-upon-laugh as they navigate ways to keep their 'friendship' going long enough to make it to the anticipated dinner. You can't ask for anything more from a Steve Carell-Paul Rudd pairing.
Tim (Rudd) is in the running for a promotion at his office. He's then given the chance to join more of his elite co-workers to a dinner held by their boss. The objective is for each attendant to bring the biggest idiot they can find, and then bring them to the dinner to be ridiculed. Tim is then thrust into a moral tug-of-war as people are telling him he should/should not do it. Fate soon shines upon him, and he meets the socially-inept Barry (Carell), an IRS agent who's main hobby is performing taxidermy on mice and creating what he calls "mouseterpieces," imitating famous worls of art. Now that he's found his schmuck, Tim tries to survive the time he has with Barry until the dinner.
Steve Carell brings all of his charismatic wit to the role; his silliness going beyond much of his other work. At one point, Tim describes him as a "tornado of destruction." That's certainly one way of putting it. But we as an audience reap the benefits of that. Carell's character throws the laughs like an endless supply of confetti. And his facial expressions dance along the lines of creepy and funny. Paul Rudd's serious-minded Tim works well off of Barry's eccentric personality, making the two as awkwardly paired as apples and oranges. Rudd isn't by any means a bad actor; but you just wish that his character wasn't so stern, and would allow him to shake loose sometimes and join in on the fun with his co-star, like he did with Jason Segal in last year's I Love You, Man.
There's an abundance of amusing supporting roles as well. We have Therman (Zack Galifianakis, with his always-present beard), who is Barry's co-worker and nemesis, and believes that he can control people's minds. There's also Darla (Lucy Punch), Tim's out-of-her-mind ex-girlfriend, who stalks him as much as she obsessively loves him. And Kieran (Jemaine Clement), is the epitome of a strange, sensitive artist who works with Tim's girlfriend, Julie. I couldn't for the life of me, however, stop picturing Russell Brand with this role that seemed tailor-made for him. It was a missed opportunity for Brand, but Clement is a worthy substitute.
The appealing aspect of the film is that it doesn't depend on too much crude and sexual material to get laughs. Many of them are delivered by the dialogue, along with some nice touches of physical comedy. Particularly a scene with Barry and Darla throwing wine bottles at each other and engaging in unsuccessful role-playing.
Although it's titled Dinner for Schmucks, the actual dinner is only the last 25 minutes of the movie. Before that, we begin to wonder when the dinner will happen; or we would occasionally forget that there's one involved. If the film was cut down a little bit, there might have been more time for the dinner party. I would have loved to see more of Jeff Dunham's character with his ventriloquist-dummy wife, a clever nod to his comedy routine; as well as the loony animal psychic (Octavia Spencer).
Not much time is dedicated to the actual dinner as many advertisments have promised; and we're left with a wanting to see more of these "guests of honor." But surprisingly, the screenwriters bring an adequate amount of zaniness that comfortably fits into the last half hour. As we anxiously, and sometimes impatiently, wait for the climax, Carell keeps the movie alive. He serves our craving for his oddball humor like he does every week on The Office. Jay Roach, thankfully, didn't feel the need to overload the movie with too many obsenities than were needed. All he needed was a talented comic and some screwball comedy.
Final grade: B+
Tim (Rudd) is in the running for a promotion at his office. He's then given the chance to join more of his elite co-workers to a dinner held by their boss. The objective is for each attendant to bring the biggest idiot they can find, and then bring them to the dinner to be ridiculed. Tim is then thrust into a moral tug-of-war as people are telling him he should/should not do it. Fate soon shines upon him, and he meets the socially-inept Barry (Carell), an IRS agent who's main hobby is performing taxidermy on mice and creating what he calls "mouseterpieces," imitating famous worls of art. Now that he's found his schmuck, Tim tries to survive the time he has with Barry until the dinner.
Steve Carell brings all of his charismatic wit to the role; his silliness going beyond much of his other work. At one point, Tim describes him as a "tornado of destruction." That's certainly one way of putting it. But we as an audience reap the benefits of that. Carell's character throws the laughs like an endless supply of confetti. And his facial expressions dance along the lines of creepy and funny. Paul Rudd's serious-minded Tim works well off of Barry's eccentric personality, making the two as awkwardly paired as apples and oranges. Rudd isn't by any means a bad actor; but you just wish that his character wasn't so stern, and would allow him to shake loose sometimes and join in on the fun with his co-star, like he did with Jason Segal in last year's I Love You, Man.
There's an abundance of amusing supporting roles as well. We have Therman (Zack Galifianakis, with his always-present beard), who is Barry's co-worker and nemesis, and believes that he can control people's minds. There's also Darla (Lucy Punch), Tim's out-of-her-mind ex-girlfriend, who stalks him as much as she obsessively loves him. And Kieran (Jemaine Clement), is the epitome of a strange, sensitive artist who works with Tim's girlfriend, Julie. I couldn't for the life of me, however, stop picturing Russell Brand with this role that seemed tailor-made for him. It was a missed opportunity for Brand, but Clement is a worthy substitute.
The appealing aspect of the film is that it doesn't depend on too much crude and sexual material to get laughs. Many of them are delivered by the dialogue, along with some nice touches of physical comedy. Particularly a scene with Barry and Darla throwing wine bottles at each other and engaging in unsuccessful role-playing.
Although it's titled Dinner for Schmucks, the actual dinner is only the last 25 minutes of the movie. Before that, we begin to wonder when the dinner will happen; or we would occasionally forget that there's one involved. If the film was cut down a little bit, there might have been more time for the dinner party. I would have loved to see more of Jeff Dunham's character with his ventriloquist-dummy wife, a clever nod to his comedy routine; as well as the loony animal psychic (Octavia Spencer).
Not much time is dedicated to the actual dinner as many advertisments have promised; and we're left with a wanting to see more of these "guests of honor." But surprisingly, the screenwriters bring an adequate amount of zaniness that comfortably fits into the last half hour. As we anxiously, and sometimes impatiently, wait for the climax, Carell keeps the movie alive. He serves our craving for his oddball humor like he does every week on The Office. Jay Roach, thankfully, didn't feel the need to overload the movie with too many obsenities than were needed. All he needed was a talented comic and some screwball comedy.
Final grade: B+
Wednesday, July 28, 2010
'The Kids Are All Right' is an absorbing presentation of a contemporary American family
"Marriage is hard. Two people, year after year. Sometimes you stop seeing the other person," says the character, Jules. In writer/director Lisa Cholodenko's The Kids Are All Right, her innovative screeplay explores the world of marriage and parenthood in an unconventional setting. It's a witty and heartfelt story about the bonds that make us a whole, both marital and familial.
The story follows a lesbian couple, Jules (Julianne Moore) and Nic (Annette Bening), living in Southern California with their two children, Joni (Mia Wasikowska) and Laser (Josh Hutcherson). Since Joni is about to leave for college, and Laser is aching to have a father figure in his life, they make a call to finally meet their "donor dad." Paul (Mark Ruffalo), an up-and-coming restaurateur, comes into the picture. The family's quiet living soon has to learn to adjust to having the children's father in their lives.
The crown jewel of this indie treasure is the acting from its gifted cast, Moore and Bening in particular. It's difficult to praise one without praising the other at the same time. They are a duo of genuine talent, setting off dramatic and humourous sparks of life. Mia Wasikowska's talent is much more noticable in the film. Seeing as she's not being upstaged by visual effects like earlier this year in Alice in Wonderland, she's given room to branch out, making her one of Hollywood's best newcomers. The acting is so natural throughout the entire cast, that it feels as though you're watching a home video rather than an actual movie.
Lisa Cholodenko's script never preaches its stance on marriage. It's not about gay or straight marriage, what's right or wrong. All it does is share a tale of family dynamics, and the obstacles and rewards of parenthood and marriage. The family shown in the film might seem unconventional, but that's not always the case. Seeing the care and love that the parents express for each other and their children is about as conventional as it gets. It doesn't matter what your views on marriage are before and after you see the film. It's still one of the finest comedies of a modern American family to treat us in a while. And that's coming from a moderate conservative.
Final grade: A
The story follows a lesbian couple, Jules (Julianne Moore) and Nic (Annette Bening), living in Southern California with their two children, Joni (Mia Wasikowska) and Laser (Josh Hutcherson). Since Joni is about to leave for college, and Laser is aching to have a father figure in his life, they make a call to finally meet their "donor dad." Paul (Mark Ruffalo), an up-and-coming restaurateur, comes into the picture. The family's quiet living soon has to learn to adjust to having the children's father in their lives.
The crown jewel of this indie treasure is the acting from its gifted cast, Moore and Bening in particular. It's difficult to praise one without praising the other at the same time. They are a duo of genuine talent, setting off dramatic and humourous sparks of life. Mia Wasikowska's talent is much more noticable in the film. Seeing as she's not being upstaged by visual effects like earlier this year in Alice in Wonderland, she's given room to branch out, making her one of Hollywood's best newcomers. The acting is so natural throughout the entire cast, that it feels as though you're watching a home video rather than an actual movie.
Lisa Cholodenko's script never preaches its stance on marriage. It's not about gay or straight marriage, what's right or wrong. All it does is share a tale of family dynamics, and the obstacles and rewards of parenthood and marriage. The family shown in the film might seem unconventional, but that's not always the case. Seeing the care and love that the parents express for each other and their children is about as conventional as it gets. It doesn't matter what your views on marriage are before and after you see the film. It's still one of the finest comedies of a modern American family to treat us in a while. And that's coming from a moderate conservative.
Final grade: A
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