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-
Sunday, July 10, 2011
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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