The franchise that has a knack for glorifying the ecstasy of street racing returns for a gas-guzzling fifth installment. Just like its predecessors, it ignores all the rules of the road that we wish we could. The Fast and the Furious movies display racing on a grand scale, and place us in the passenger's seat of these speed demons. Fast Five, directed by Justin Lin, is put into drive with its 100-mile-per-hour action and the adrenaline rush that is the sustenance for the characters.
The film begins right where the fourth entry ended, with Dom Toretto (Vin Diesel) on his way to prison. When his friends, including former FBI agent Brian O'Conner (Paul Walker) and Dom's sister Mia (Jordana Brewster), break him out, they head to the exotic Rio de Janeiro to hide from the authorities. Before Dom and his team leave the city for good to begin a new life, they decide to plan one last job: taking down a malicious businessman, Hernan Reyes (Joaquim de Almeida), and stealing his money from a heavily-guarded bank vault. At the same time, Dom and his friends are being tracked by a squad of U.S. DSS agents, led by Luke Hobbs (Dwayne Johnson).
The cast is an enjoyable reunion of the diverse group of car aficionados from every other installment, including Chris "Ludacris" Bridges and Tyrese Gibson from 2 Fast 2 Furious, and Sung Kang from The Fast and the Furious: Tokyo Drift, with each person having a special talent for a successful heist. After the original, Walker and Diesel weren't together in any of the other films until the fourth entry, Fast and Furious. This above-the-rules duo of tough guys is a major part of the appeal to these movies, and that's why the first, fourth and fifth street racing escapades are superior to the second and third films. Dwayne Johnson's role as the hardnosed DSS agent is one that fits him like a glove. He finds an equally unyielding persona in Dom, and the two fight each other like rock-'em-sock-'em robots. There are some brief times of serviceable drama among the characters; but given that we've been through five movies with them, there should be some more of those moments.
Fast Five doesn't have as much racing as the previous four movies; but that provides it with a chance to focus on its heist story, which gives the movie a feel of Ocean's 11 with tricked-out cars. Although the street racing in these movies have become routine with a been-there-done-that vibe, the climactic car chase through the streets of Rio de Janeiro will satisfy the appetite of any action-movie fan who has a taste for destruction in their summer movie entertainment. There is a post-credits scene with a plot twist that sets up the franchise for a sixth movie. Although this might be a little much to ask from a Fast and Furious movie, but let's hope that the next film has more of a new car smell.
Final grade: B
Friday, May 13, 2011
Thursday, April 28, 2011
Summer Movie Preview 2011
Going into the new year, box office analysts predicted that 2011 was going to be a juggernaut year for Hollywood. Before the film industry could deliver the big guns, audiences had to go through the inevitable bottom-of-the-barrel movies that always get released between January and April. Although there were some exceptions, such as The Adjustment Bureau and Scream 4, there wasn’t anything else to call home to about. With box office receipts trailing behind those of this same time last year, movie theaters are relying on this summer’s tidal wave of hopeful blockbusters to bring Hollywood out of its springtime slump.
This year, there will be a record amount of sequels and comic book adaptations, each one competing for our wallets. While there is still the appetite for originality among moviegoers, if these sequels can still serve us some quality in between their action-filled sequences, then they should receive our attention.
Summer 2011 will bring a lot to the table. Thor, Captain America and the Green Lantern will have their first go-around on the silver screen; America’s dearly loved wolf pack will experience their second hangover; Captain Jack Sparrow has his next adventure on the big blue; and Harry Potter will work his magic in his heroic showdown with Lord Voldemort. That is just a small sampling of what May through August has to offer. There is a bounty of other films to get eager for in the following preview.
Thor (May 6) Summer’s first big blockbuster will come in the form of this famous Norse god (Chris Hemsworth). When the titular character is sent from his home planet to Earth as a result of his egotism, he must unite with a beautiful astrophysicist (Natalie Portman) in order to take down his younger brother, Loki(Tom Hiddleston), who seeks to destroy the world so he could become his father’s only heir. Also starring Anthony Hopkins, Idris Elba, Rene Russo and Stellan Skarsgard.
Pirates of the Caribbean: On Stranger Tides (May 20) Captain Jack Sparrow makes a seaworthy return in this fourth installment of Disney’s swashbuckling saga. This new expedition has our favorite pirate and his crew searching for the fabled Fountain of Youth, while trying to fend off zombies and mermaids. Starring Johnny Depp, Ian McShane, Penelope Cruz, Geoffrey Rush and Keith Richards.
The Hangover: Part 2 (May 26) The wolf pack survived Las Vegas, now they must do the same in Bangkok while vacationing there for their friend Stu’s (Ed Helms) wedding. After waking up from a night of one-to-many, the friends realize that they have lost his fiancé’s brother. Then, they must search the streets looking for him while countless mishaps are hot on their heels. Also starring Bradley Cooper, Zack Galifianakis and Justin Bartha.
The Tree of Life (May 27) Details of director Terrence Malick’s latest film have been kept a tight secret. What we do know is that the story involves a family with three boys in the 1950s mid-west, the oldest of which suffers the loss of innocence. Starring Brad Pitt, Jessica Chastain and Sean Penn.
X-Men: First Class (June 3) This prequel to the popular X-Men movies revolves around the first meeting of the young Professor Xavier (James McAvoy) and Magneto (Michael Fassbender) as they create the first team of mutants in the early 1960s. Also starring Kevin Bacon, January Jones and Jennifer Lawrence.
Super 8 (June 10) In 1979, while a group of teenagers are making a zombie movie on their home video camera, they are nearly killed by a train that’s delivering something mysterious to Nevada’s Area 51. This creature of an unknown world is soon wrecking havoc on the friends’ unsuspecting town. After director J.J. Abrams’s wildly successful Star Trek reboot two years ago, there’s much to be thrilled about in his next science fiction excursion. Starring Kyle Chandler, Joel Courtney, Elle Fanning and Riley Griffiths.
Green Lantern (June 17) Ryan Reynolds plays Hal Jordan, a member of the Green Lantern Corps, who keep the peace throughout the universe. Each member wears a ring that provides him with superpowers. When their new adversary, Parallax, threatens the safety of all life, the fate of Earth and the rest of the universe relies on Hal Jordan, the first human ever selected to be a Green Lantern. Also starring Blake Lively, Tim Robbins and Peter Sarsgaard.
Cars 2 (June 24) In Pixar’s twelfth film, tow truck Mater (Larry the Cable the Guy) goes to support his best friend Lightening McQueen (Owen Wilson) at the World Grand Prix. Mater then gets mistaken for an American spy and gets taken on a mission with two British agents: a sports car named Finn McMissile (Michael Caine) and a state-of-the-art coupe named Holley Swiftwell (Emily Mortimer).
Transformers: Dark of the Moon (July 1) In this third film of Michael Bay’s Transformers franchise, the Autobots receive knowledge of a spacecraft on the moon that holds secrets of their home planet, Cybertron. The Autobots must race against the Decepticons to find out all the information they can, which might help them in the Transformers’ ultimate battle. Starring Shia LaBeouf, Rosie Huntington-Whiteley, Josh Duhamel and Tyrese Gibson.
Harry Potter and the Deathly Hallows – Part 2 (July 15) The first part of the grand finale ended with Lord Voldemort obtaining the powerful Elder Wand. The second part has Harry (Daniel Radcliffe), Ron (Rupert Grint) and Hermione (Emma Watson) trying to find the remaining Horcruxes, which are objects that hold pieces of Voldemort’s (Ralph Fiennes) soul and are the key to his survival. The film will lead up to an explosive final battle at the Hogwarts School of Witchcraft and Wizardry. This is the movie that everyone has been waiting for in tremendous anticipation for, and it’s finally almost here. Mark those calendars.
Captain America: The First Avenger (July 22) It’s 1942, and Steve Rogers (Chris Evans) is determined to enlist in the U.S. Army to help fight the Nazis in World War II. After being told he is physically unfit to be a soldier, he signs up for the secretive military venture, Project: Rebirth, which turns him into a super-human and he’s given the title of Captain America. With the help of his sidekick, Bucky Barnes (Sebastian Stan), he sets out to battle the villainous Red Skull (Hugo Weaving), who is Hitler’s head of high-tech weaponry. His plans involve gaining control of the world through a supernatural object called the Tesseract. Also starring Tommy Lee Jones, Stanley Tucci, Dominic Cooper and Hayley Atwell.
Cowboys and Aliens (July 29) In 1873 Arizona, Jake Lonergan (Daniel Craig) wakes up to find a strange shackle around his wrist and his memory vanished. As he stumbles into the pioneer town named Absolution, he bumps into Col. Woodrow Dolarhyde (Harrison Ford), who is a past enemy that Jake can’t seem to remember, and Ella (Olivia Wilde), a town prospector. When aliens start abducting Absolution’s citizens, the three characters must unite to save the day in the wild west. Based on the graphic novel by Scott Mitchell Rosenberg.
Rise of the Planet of the Apes (August 5) When scientist Will Rodman (James Franco) tests a possible cure for Alzheimer’s on apes, his test subject Caesar begins to go through a swift increase of intelligence. Caesar then encourages his other chimp inmates and the rest of the world’s apes into rebelling against the humans. Also starring Freida Pinto, Andy Serkis, Tom Felton and Brian Cox.
There are a plethora of other motion picture adventures to choose from the marquee, but the above are just a few that viewers should keep an eye out for. Some of these films might be dazzling enough to warrant two viewings. So in between visits to the beach or to the local pool, take a couple of hours to escape into a different world, whether it be a world of superheroes, wizards or pirates. Immersing oneself into a movie on a hot summer day can be well worth anyone’s time, and will let the imagination soar.
This year, there will be a record amount of sequels and comic book adaptations, each one competing for our wallets. While there is still the appetite for originality among moviegoers, if these sequels can still serve us some quality in between their action-filled sequences, then they should receive our attention.
Summer 2011 will bring a lot to the table. Thor, Captain America and the Green Lantern will have their first go-around on the silver screen; America’s dearly loved wolf pack will experience their second hangover; Captain Jack Sparrow has his next adventure on the big blue; and Harry Potter will work his magic in his heroic showdown with Lord Voldemort. That is just a small sampling of what May through August has to offer. There is a bounty of other films to get eager for in the following preview.
Thor (May 6) Summer’s first big blockbuster will come in the form of this famous Norse god (Chris Hemsworth). When the titular character is sent from his home planet to Earth as a result of his egotism, he must unite with a beautiful astrophysicist (Natalie Portman) in order to take down his younger brother, Loki(Tom Hiddleston), who seeks to destroy the world so he could become his father’s only heir. Also starring Anthony Hopkins, Idris Elba, Rene Russo and Stellan Skarsgard.
Pirates of the Caribbean: On Stranger Tides (May 20) Captain Jack Sparrow makes a seaworthy return in this fourth installment of Disney’s swashbuckling saga. This new expedition has our favorite pirate and his crew searching for the fabled Fountain of Youth, while trying to fend off zombies and mermaids. Starring Johnny Depp, Ian McShane, Penelope Cruz, Geoffrey Rush and Keith Richards.
The Hangover: Part 2 (May 26) The wolf pack survived Las Vegas, now they must do the same in Bangkok while vacationing there for their friend Stu’s (Ed Helms) wedding. After waking up from a night of one-to-many, the friends realize that they have lost his fiancé’s brother. Then, they must search the streets looking for him while countless mishaps are hot on their heels. Also starring Bradley Cooper, Zack Galifianakis and Justin Bartha.
The Tree of Life (May 27) Details of director Terrence Malick’s latest film have been kept a tight secret. What we do know is that the story involves a family with three boys in the 1950s mid-west, the oldest of which suffers the loss of innocence. Starring Brad Pitt, Jessica Chastain and Sean Penn.
X-Men: First Class (June 3) This prequel to the popular X-Men movies revolves around the first meeting of the young Professor Xavier (James McAvoy) and Magneto (Michael Fassbender) as they create the first team of mutants in the early 1960s. Also starring Kevin Bacon, January Jones and Jennifer Lawrence.
Super 8 (June 10) In 1979, while a group of teenagers are making a zombie movie on their home video camera, they are nearly killed by a train that’s delivering something mysterious to Nevada’s Area 51. This creature of an unknown world is soon wrecking havoc on the friends’ unsuspecting town. After director J.J. Abrams’s wildly successful Star Trek reboot two years ago, there’s much to be thrilled about in his next science fiction excursion. Starring Kyle Chandler, Joel Courtney, Elle Fanning and Riley Griffiths.
Green Lantern (June 17) Ryan Reynolds plays Hal Jordan, a member of the Green Lantern Corps, who keep the peace throughout the universe. Each member wears a ring that provides him with superpowers. When their new adversary, Parallax, threatens the safety of all life, the fate of Earth and the rest of the universe relies on Hal Jordan, the first human ever selected to be a Green Lantern. Also starring Blake Lively, Tim Robbins and Peter Sarsgaard.
Cars 2 (June 24) In Pixar’s twelfth film, tow truck Mater (Larry the Cable the Guy) goes to support his best friend Lightening McQueen (Owen Wilson) at the World Grand Prix. Mater then gets mistaken for an American spy and gets taken on a mission with two British agents: a sports car named Finn McMissile (Michael Caine) and a state-of-the-art coupe named Holley Swiftwell (Emily Mortimer).
Transformers: Dark of the Moon (July 1) In this third film of Michael Bay’s Transformers franchise, the Autobots receive knowledge of a spacecraft on the moon that holds secrets of their home planet, Cybertron. The Autobots must race against the Decepticons to find out all the information they can, which might help them in the Transformers’ ultimate battle. Starring Shia LaBeouf, Rosie Huntington-Whiteley, Josh Duhamel and Tyrese Gibson.
Harry Potter and the Deathly Hallows – Part 2 (July 15) The first part of the grand finale ended with Lord Voldemort obtaining the powerful Elder Wand. The second part has Harry (Daniel Radcliffe), Ron (Rupert Grint) and Hermione (Emma Watson) trying to find the remaining Horcruxes, which are objects that hold pieces of Voldemort’s (Ralph Fiennes) soul and are the key to his survival. The film will lead up to an explosive final battle at the Hogwarts School of Witchcraft and Wizardry. This is the movie that everyone has been waiting for in tremendous anticipation for, and it’s finally almost here. Mark those calendars.
Captain America: The First Avenger (July 22) It’s 1942, and Steve Rogers (Chris Evans) is determined to enlist in the U.S. Army to help fight the Nazis in World War II. After being told he is physically unfit to be a soldier, he signs up for the secretive military venture, Project: Rebirth, which turns him into a super-human and he’s given the title of Captain America. With the help of his sidekick, Bucky Barnes (Sebastian Stan), he sets out to battle the villainous Red Skull (Hugo Weaving), who is Hitler’s head of high-tech weaponry. His plans involve gaining control of the world through a supernatural object called the Tesseract. Also starring Tommy Lee Jones, Stanley Tucci, Dominic Cooper and Hayley Atwell.
Cowboys and Aliens (July 29) In 1873 Arizona, Jake Lonergan (Daniel Craig) wakes up to find a strange shackle around his wrist and his memory vanished. As he stumbles into the pioneer town named Absolution, he bumps into Col. Woodrow Dolarhyde (Harrison Ford), who is a past enemy that Jake can’t seem to remember, and Ella (Olivia Wilde), a town prospector. When aliens start abducting Absolution’s citizens, the three characters must unite to save the day in the wild west. Based on the graphic novel by Scott Mitchell Rosenberg.
Rise of the Planet of the Apes (August 5) When scientist Will Rodman (James Franco) tests a possible cure for Alzheimer’s on apes, his test subject Caesar begins to go through a swift increase of intelligence. Caesar then encourages his other chimp inmates and the rest of the world’s apes into rebelling against the humans. Also starring Freida Pinto, Andy Serkis, Tom Felton and Brian Cox.
There are a plethora of other motion picture adventures to choose from the marquee, but the above are just a few that viewers should keep an eye out for. Some of these films might be dazzling enough to warrant two viewings. So in between visits to the beach or to the local pool, take a couple of hours to escape into a different world, whether it be a world of superheroes, wizards or pirates. Immersing oneself into a movie on a hot summer day can be well worth anyone’s time, and will let the imagination soar.
Sunday, April 17, 2011
Ghostface attacks teenagers, remakes and reboots
I felt a pang of nostalgia when the phone rang in the opening of Scream 4. Although it has been six years since I first watched the original Scream, this scene brought me back to my first encounter with the dreadful voice that asked, "What's your favorite scary movie?" This question caused many of us to fear the ringing of a telephone or to be in a house all alone. Now, 11 years later, the return of Ghostface is what we needed to satirize the film industry's onslaught of unnecessary reboots, remakes and uninspired sequels.
Sidney Prescott (Neve Campbell) is finally getting her life back together after facing several tragedies. She has penned a self-help book based on her experiences, and hasn't been harassed by a certain killer in years. As she's returning to her hometown for the last stop of her book tour, she reunites with her two fellow survivors of the Woodsboro murders, Dewey Riley (David Arquette) and Gale Weathers (Courteney Cox), who are now married. This isn't a case of home-sweet-home for Sidney, however, since her return sparks the murders of two neighborhood girls, both by the knife of none other than Ghostface. With the help of a new generation of teenagers, they soon have to find out who is the one donning the notorious white mask and black cloak, while at the same time learning the "new rules" on surviving a scary movie.
In spite of the lengthy hiatus, the three main Scream actors fit comfortably back into their roles. Campbell asserts her girl-power status as the heroine who doesn't hesitate when the time comes to protect her friends and family. We are drawn to her because she immediately taps into her survival instincts when Ghostface is near, and isn't afraid to challenge the killer. Courteney Cox brings the thunder again as Gale Weathers. Her feisty and doesn't-take-no-for-an-answer attitude makes her another tough female character for the Scream saga. Gale will put herself in danger if it means she will grab the latest news story. As usual, she gets many of the film's best lines, and they're a hoot. David Arquette resumes his role as the dimwitted, yet loveable Officer Riley.
The franchise's latest group of pop culture-savvy teenagers includes Jill (Emma Roberts), who plays Sidney's cousin; Hayden Panettiere as Kirby, a secret film-enthusiast; Rory Culkin as Charlie, the brains of the new rules of horror movies; Erik Knudsen as Robbie, a sort of new-age voyeur with his head-set video camera; and Nico Tortorella as Trevor, Jill's mysterious and untrustworthy boyfriend. Each young star contributes to what is a melting-pot of hip high school personalities.
The script by Scream scribe Kevin Williamson retains the terror, albeit less so, and the comedy aspects that have mixed well in these films. After an 11 year gap in between the third and fourth installments, I was very much looking forward to this entry, especially the opening sequence. While nothing can compare to the spine-chilling beginning of the original Scream, I still had my hopes up for this one, given the considerable amount of time there was to create it. There isn't a doubt that it's carried out in a clever fashion, but it is lacking to some extent in the scare department. There are some decent frights throughout, but others fall into predictability. Luckily, it isn't easy to figure out who the killer is; because, just like the three other installments, Scream 4 persists in its guessing game that we as an audience love to play. The tongue-in-cheek dialogue and dark humor are the film's strong areas. Williamson successfully made this sequel relevant to today's media-obsessed populace, incorporating features such as Facebook and video-blogging to serve its plot.
Scream 4 is superior to most recent horror sequels, and it has been hinted that it might be the start of a new trilogy. Hopefully, the writers have in mind a scarier and more suspenseful future for the saga. If so, then I'll be in the theater, ready to jump out of my seat. If not, then they should end it here and give Sidney the peaceful life that she deserves, lest this narrative spawns more pointless follow-ups. I'm looking at you, Saw series.
Final grade: B
Sidney Prescott (Neve Campbell) is finally getting her life back together after facing several tragedies. She has penned a self-help book based on her experiences, and hasn't been harassed by a certain killer in years. As she's returning to her hometown for the last stop of her book tour, she reunites with her two fellow survivors of the Woodsboro murders, Dewey Riley (David Arquette) and Gale Weathers (Courteney Cox), who are now married. This isn't a case of home-sweet-home for Sidney, however, since her return sparks the murders of two neighborhood girls, both by the knife of none other than Ghostface. With the help of a new generation of teenagers, they soon have to find out who is the one donning the notorious white mask and black cloak, while at the same time learning the "new rules" on surviving a scary movie.
In spite of the lengthy hiatus, the three main Scream actors fit comfortably back into their roles. Campbell asserts her girl-power status as the heroine who doesn't hesitate when the time comes to protect her friends and family. We are drawn to her because she immediately taps into her survival instincts when Ghostface is near, and isn't afraid to challenge the killer. Courteney Cox brings the thunder again as Gale Weathers. Her feisty and doesn't-take-no-for-an-answer attitude makes her another tough female character for the Scream saga. Gale will put herself in danger if it means she will grab the latest news story. As usual, she gets many of the film's best lines, and they're a hoot. David Arquette resumes his role as the dimwitted, yet loveable Officer Riley.
The franchise's latest group of pop culture-savvy teenagers includes Jill (Emma Roberts), who plays Sidney's cousin; Hayden Panettiere as Kirby, a secret film-enthusiast; Rory Culkin as Charlie, the brains of the new rules of horror movies; Erik Knudsen as Robbie, a sort of new-age voyeur with his head-set video camera; and Nico Tortorella as Trevor, Jill's mysterious and untrustworthy boyfriend. Each young star contributes to what is a melting-pot of hip high school personalities.
The script by Scream scribe Kevin Williamson retains the terror, albeit less so, and the comedy aspects that have mixed well in these films. After an 11 year gap in between the third and fourth installments, I was very much looking forward to this entry, especially the opening sequence. While nothing can compare to the spine-chilling beginning of the original Scream, I still had my hopes up for this one, given the considerable amount of time there was to create it. There isn't a doubt that it's carried out in a clever fashion, but it is lacking to some extent in the scare department. There are some decent frights throughout, but others fall into predictability. Luckily, it isn't easy to figure out who the killer is; because, just like the three other installments, Scream 4 persists in its guessing game that we as an audience love to play. The tongue-in-cheek dialogue and dark humor are the film's strong areas. Williamson successfully made this sequel relevant to today's media-obsessed populace, incorporating features such as Facebook and video-blogging to serve its plot.
Scream 4 is superior to most recent horror sequels, and it has been hinted that it might be the start of a new trilogy. Hopefully, the writers have in mind a scarier and more suspenseful future for the saga. If so, then I'll be in the theater, ready to jump out of my seat. If not, then they should end it here and give Sidney the peaceful life that she deserves, lest this narrative spawns more pointless follow-ups. I'm looking at you, Saw series.
Final grade: B
Tuesday, March 15, 2011
Matt Damon's free will is put to the test
We make hundreds of decisions everyday, whether they be important or insignificant. With the bigger choices, we ask ourselves if they will have a lasting impact on our future. But do the choices that we make and the effects they present happen by chance? Or is there an other-worldly force involved? These are the questions asked in director George Nolfi's thought-provoking action/romantic thriller, The Adjustment Bureau, which is based the short story, Adjustment Team, by the genius sci-fi author, Philip K. Dick.
David Norris (Matt Damon) is a young, promising congressman who's ready to take on the job as a New York senator. After a near-successful campaign, he loses the election. While practicing his concession speech in a hotel bathroom, he runs into the charming Elise (Emily Blunt), a gifted dancer. After this friendly encounter, David has a chance meeting with her on his way to work. Once he arrives at the office, a group of mysterious men chase him down. After their team leader, Richardson (John Slattery), tells David how they operate, he reveals that at the risk of throwing the work of The Chairman out of order, he can never see Elise again, and they take her number away from David. Three years later, the two lovers meet again, much to the bureau's dismay. The team will then stop at nothing to keep them apart, and David will do anything to stay with the girl he loves.
David Norris (Matt Damon) is a young, promising congressman who's ready to take on the job as a New York senator. After a near-successful campaign, he loses the election. While practicing his concession speech in a hotel bathroom, he runs into the charming Elise (Emily Blunt), a gifted dancer. After this friendly encounter, David has a chance meeting with her on his way to work. Once he arrives at the office, a group of mysterious men chase him down. After their team leader, Richardson (John Slattery), tells David how they operate, he reveals that at the risk of throwing the work of The Chairman out of order, he can never see Elise again, and they take her number away from David. Three years later, the two lovers meet again, much to the bureau's dismay. The team will then stop at nothing to keep them apart, and David will do anything to stay with the girl he loves.
Damon's character has a wide approval from his political followers, and that likeability extends to the audience. He isn't just an all-star politician, but also a man who's trying to fight for the girl of his dreams; just like what any average guy would do. Damon dives slickly back into his Bourne Identity persona in time for the climatic chase sequence through New York City. It's an apt pairing between him and director Nolfi, since the latter co-wrote the screenplay for The Bourne Ultimatum. Damon and Blunt share a chemistry that looks and feels both palpable and natural. Although this is their first outing together, it looks like the two have been doing movies together for quite some time. They could be the film industry's next big power couple, judging by how comfortably they interact with one another. The adjustment team boasts some decent supporting performances as well with John Slattery and Terence Stamp; but the one that stands out is Anthony Mackie, as the member of the bureau who is sympathetic towards Norris. Mackie is one of Hollywood's hidden talents, as he proved in 2009's The Hurt Locker, and should be one to watch for in the future.
The screenplay, written by the director, poses questions that ask if people have free will in their actions, or if the decisions they make are predetermined by a higher power. Similar to Steven Spielberg's Minority Report, another film based on a Philip K. Dick short story, it hands the characters the choice of either accepting their fate or trying to alter it. I think if the movie was a little longer, it could have expanded on the ideas it was proposing. The film had some very interesting material to do so. The Adjustment Bureau isn't showy, outlandish, special effects-loaded science fiction; but is rather low-key with its sci-fi, in a positive sense. That way, the story doesn't get lost, and we are able to learn about the characters. This film showed that even without mind-numbing explosions or expensive visuals, sci-fi can be smart, thrilling fun that makes you think.
Final grade: B+
Saturday, February 19, 2011
Predictions for the 83rd Academy Awards
The glitz, glamour, starlets, paparazzi and a man named Oscar. All of this adds up to one thing: the 83rd Academy Awards. The biggest extravaganza in Tinseltown is on its way back to the famed Kodak Theatre and our television screens. This is what I like to call the Super Bowl for cinephiles. We watch with eagerness and wait for the envelopes to be opened with the hopes that our favorite films of the year will bring home a gold statuette. With the slew of marvelous movies that deserve considerable recognition, I'll be cheering for many of the nominees.
This year, the star-studded ceremony will be hosted by two of Hollywood's best and brightest young stars: Anne Hathaway and James Franco, the latter of who scored a Best Actor nod this year for 127 Hours. The duo of youthful actors will surely bring much of the night's energy. This will be thanked by most viewers who usually think that the 3-hour+ show drags in spots. But given how much I'm devoted to watching the Academy Awards, it can proceed until two in the morning for all I care. Seeing as Franco and Hathaway are just as adroit in doing comedy as drama, we're destined for a memorable show.
2010 brought us everything in film, from a secret team of dream invaders, backstabbing college friends, a mentally-unstable ballerina, a young hiker trapped deep in a canyon, all among other imaginative stories. They all deserve to be awarded; but alas, there are those that strike Oscar gold, and those that go home empty-handed. So here are my picks for who I think will win and who I think should win in the top eight categories.
Best Adapted Screenplay: 127 Hours, The Social Network, Toy Story 3, True Grit and Winter's Bone
Will Win and Should Win: The Social Network - Right when this film came out, it was unmistakable that this was one category where Aaron Sorkin's genius screenplay would reign supreme. His words jumped off the page, onto the screen and into the minds of the audience where the crisp dialogue stayed long after the credits rolled. The script was anchored by a gifted young cast that delivered their lines with vigor, haste and wit. Oscar night can be unpredictable, but Sorkin is sure to emerge victorious. Even though his fellow nominees are all praiseworthy in their own right, they should throw in the towel right now.
Best Original Screenplay: Another Year, The Fighter, Inception, The Kids Are All Right and The King's Speech
Will Win: The King's Speech - Tom Hooper's latest achievement has everything that the academy fancies: a story of a character triumphing over a disability, respected British actors and a momentous historical backdrop. It was an irresistible crowd-pleaser about an English monarch attempting to fix his speech impediment while trying to unite his country as they got ready to enter World War 2. It was a poignant journey that was highlighted by moments of light humor, and the scene with King George's final speech was one to embrace and cheer for.
Should Win: Inception - A summer blockbuster that has ample amounts of fine storytelling and dazzling visuals is a rare thing, and Inception carried both. Its twists and turns made it deserving of multiple viewings, and the ambiguous ending instigated numerous conversations. What more could you ask for in a movie? Christopher Nolan gave us a much-needed dose in originality in our action films, and hopefully others will follow in Inception's footsteps.
Best Supporting Actor: Christian Bale for The Fighter, John Hawkes for Winter's Bone, Jeremy Renner for The Town, Mark Ruffalo for The Kids Are All Right and Geoffrey Rush for The King's Speech
Will Win and Should Win: Chrstian Bale for The Fighter - In 2010, I never saw an actor throw himself into a role as much as Bale. As the boxer-turned-cocaine addict Dicky Eklund, Bale proved again to be one of the most dedicated actors in the business. He took on a Boston accent so fluently that he came off as an authentic native of the area. He lost weight again for a film role, and was almost unrecognizable with his scrawny appearance. You forgot that this was Christian Bale, but his performance was unforgettable.
Best Supporting Actress: Amy Adams for The Fighter, Helena Bonham Carter for The King's Speech, Melissa Leo for The Fighter, Hailee Steinfeld for True Grit and Jacki Weaver for Animal Kingdom
Will Win and Should Win: Melissa Leo for The Fighter - Her character might not have been a boxer; but Leo as Alice Ward had as much fight in her as her pugilist sons. She was a mother who would do anything for her children's success, and was someone that you certainly wouldn't want to cross paths with. Melissa Leo took the role of a sports mom to an elevated level. Alice exhibited tough love, but it was love nonetheless. She was one hard-hitting firecracker.
Best Actor: Javier Bardem for Biutiful, Jeff Bridges for True Grit, Jesse Eisenberg for The Social Network, Colin Firth for The King's Speech and James Franco for 127 Hours
Will Win and Should Win: Colin Firth for The King's Speech - We're used to watching actors portray famous leaders. What separated Firth's performance from the rest was that it wasn't his subjects that looked to him for help. It was the king that asked for the assistance from one of his subjects. In that, he could be seen as an average person, asking for help just like any other person would, and it’s fascinating. Firth mastered an unfaultable stutter and he easily won us over with our sympathy for his character. His performance was nothing short of regal.
Best Actress: Annette Bening for The Kids Are All Right, Nicole Kidman for Rabbit Hole, Jennifer Lawrence for Winter's Bone, Natalie Portman for Black Swan and Michelle Williams for Blue Valentine
Will Win and Should Win: Natalie Portman for Black Swan - As Nina Sayers, a ballerina who's obsessed with being the best dancer she can be, we saw a whole different side to the acting ability of Portman. Similar to what Darren Aronofsky does with his other characters, he showed her character in her lowest and most fragile. I found Natalie Portman's performance symbolic. Nina explored a baleful side of herself that she never thought she had, while Portman expanded her talent as she dove into this physically demanding role. Both character and actor traveled beyond their comfort zone. That's a true test of ability for an actor, and Natalie passed.
Best Director: Darren Aronofsky for Black Swan, Joel and Ethan Coen for True Grit, David Fincher for The Social Network, Tom Hooper for The King’s Speech and David O. Russell for The Fighter
Will Win and Should Win: David Fincher for The Social Network – Fincher is known to be a perfectionist as a director, and films multiple takes of several scenes until he gets what he’s looking for. It’s clear that in his latest film that all of the strenuous work paid off in the end. He skillfully captured both the college world and the business world and didn't leave out any details as he chronicled the origins of Facebook. Fincher easily transported us into the story; and once the film dissolved into the first frame, we were hooked.
Best Picture: Black Swan, The Fighter, Inception, The Kids Are All Right, The King’s Speech, 127 Hours, The Social Network, Toy Story 3, True Grit and Winter’s Bone
Will Win: The Social Network – David Fincher’s film has been scooping up nearly every award for the past couple of months. But with The King’s Speech quickly gaining momentum after winning at the Screen Actors Guild, Directors Guild and Producers Guild, we might have a race on our hands. Although the academy loves a British drama, I think they will swing more towards The Social Network, which captured a global communication revolution and a defining moment in our culture.
Should Win: Toy Story 3 – As much as I loved The Social Network, my unending admiration of Pixar has gotten the best of me. The movie had a picture perfect ending to end the series, and we couldn’t have asked for anything better. Through all of the laughs and tears, we were with Woody and Buzz until the very end, and it was a valued gift from Pixar. Their imagination is one-of-a-kind. Just like its predecessors, Toy Story 3 is a treasure to be honored as one of the most esteemed in animation and cinema.
So ends my 2010 Oscar predictions. I hope many of them come true, but I also wouldn’t mind a couple of surprises. It could happen, since there have been some nominees that have picked up steam against their competition. Can Annette Bening edge out Natalie Portman? Will Hailee Steinfeld derail Melissa Leo? Can anyone beat Colin Firth? And will The King’s Speech or The Social Network stroll away with the evening’s top prize? There’s only one way to find out. Watch the 83rd Academy Awards on February 27th on ABC at 8:30.
This year, the star-studded ceremony will be hosted by two of Hollywood's best and brightest young stars: Anne Hathaway and James Franco, the latter of who scored a Best Actor nod this year for 127 Hours. The duo of youthful actors will surely bring much of the night's energy. This will be thanked by most viewers who usually think that the 3-hour+ show drags in spots. But given how much I'm devoted to watching the Academy Awards, it can proceed until two in the morning for all I care. Seeing as Franco and Hathaway are just as adroit in doing comedy as drama, we're destined for a memorable show.
2010 brought us everything in film, from a secret team of dream invaders, backstabbing college friends, a mentally-unstable ballerina, a young hiker trapped deep in a canyon, all among other imaginative stories. They all deserve to be awarded; but alas, there are those that strike Oscar gold, and those that go home empty-handed. So here are my picks for who I think will win and who I think should win in the top eight categories.
Best Adapted Screenplay: 127 Hours, The Social Network, Toy Story 3, True Grit and Winter's Bone
Will Win and Should Win: The Social Network - Right when this film came out, it was unmistakable that this was one category where Aaron Sorkin's genius screenplay would reign supreme. His words jumped off the page, onto the screen and into the minds of the audience where the crisp dialogue stayed long after the credits rolled. The script was anchored by a gifted young cast that delivered their lines with vigor, haste and wit. Oscar night can be unpredictable, but Sorkin is sure to emerge victorious. Even though his fellow nominees are all praiseworthy in their own right, they should throw in the towel right now.
Best Original Screenplay: Another Year, The Fighter, Inception, The Kids Are All Right and The King's Speech
Will Win: The King's Speech - Tom Hooper's latest achievement has everything that the academy fancies: a story of a character triumphing over a disability, respected British actors and a momentous historical backdrop. It was an irresistible crowd-pleaser about an English monarch attempting to fix his speech impediment while trying to unite his country as they got ready to enter World War 2. It was a poignant journey that was highlighted by moments of light humor, and the scene with King George's final speech was one to embrace and cheer for.
Should Win: Inception - A summer blockbuster that has ample amounts of fine storytelling and dazzling visuals is a rare thing, and Inception carried both. Its twists and turns made it deserving of multiple viewings, and the ambiguous ending instigated numerous conversations. What more could you ask for in a movie? Christopher Nolan gave us a much-needed dose in originality in our action films, and hopefully others will follow in Inception's footsteps.
Best Supporting Actor: Christian Bale for The Fighter, John Hawkes for Winter's Bone, Jeremy Renner for The Town, Mark Ruffalo for The Kids Are All Right and Geoffrey Rush for The King's Speech
Will Win and Should Win: Chrstian Bale for The Fighter - In 2010, I never saw an actor throw himself into a role as much as Bale. As the boxer-turned-cocaine addict Dicky Eklund, Bale proved again to be one of the most dedicated actors in the business. He took on a Boston accent so fluently that he came off as an authentic native of the area. He lost weight again for a film role, and was almost unrecognizable with his scrawny appearance. You forgot that this was Christian Bale, but his performance was unforgettable.
Best Supporting Actress: Amy Adams for The Fighter, Helena Bonham Carter for The King's Speech, Melissa Leo for The Fighter, Hailee Steinfeld for True Grit and Jacki Weaver for Animal Kingdom
Will Win and Should Win: Melissa Leo for The Fighter - Her character might not have been a boxer; but Leo as Alice Ward had as much fight in her as her pugilist sons. She was a mother who would do anything for her children's success, and was someone that you certainly wouldn't want to cross paths with. Melissa Leo took the role of a sports mom to an elevated level. Alice exhibited tough love, but it was love nonetheless. She was one hard-hitting firecracker.
Best Actor: Javier Bardem for Biutiful, Jeff Bridges for True Grit, Jesse Eisenberg for The Social Network, Colin Firth for The King's Speech and James Franco for 127 Hours
Will Win and Should Win: Colin Firth for The King's Speech - We're used to watching actors portray famous leaders. What separated Firth's performance from the rest was that it wasn't his subjects that looked to him for help. It was the king that asked for the assistance from one of his subjects. In that, he could be seen as an average person, asking for help just like any other person would, and it’s fascinating. Firth mastered an unfaultable stutter and he easily won us over with our sympathy for his character. His performance was nothing short of regal.
Best Actress: Annette Bening for The Kids Are All Right, Nicole Kidman for Rabbit Hole, Jennifer Lawrence for Winter's Bone, Natalie Portman for Black Swan and Michelle Williams for Blue Valentine
Will Win and Should Win: Natalie Portman for Black Swan - As Nina Sayers, a ballerina who's obsessed with being the best dancer she can be, we saw a whole different side to the acting ability of Portman. Similar to what Darren Aronofsky does with his other characters, he showed her character in her lowest and most fragile. I found Natalie Portman's performance symbolic. Nina explored a baleful side of herself that she never thought she had, while Portman expanded her talent as she dove into this physically demanding role. Both character and actor traveled beyond their comfort zone. That's a true test of ability for an actor, and Natalie passed.
Best Director: Darren Aronofsky for Black Swan, Joel and Ethan Coen for True Grit, David Fincher for The Social Network, Tom Hooper for The King’s Speech and David O. Russell for The Fighter
Will Win and Should Win: David Fincher for The Social Network – Fincher is known to be a perfectionist as a director, and films multiple takes of several scenes until he gets what he’s looking for. It’s clear that in his latest film that all of the strenuous work paid off in the end. He skillfully captured both the college world and the business world and didn't leave out any details as he chronicled the origins of Facebook. Fincher easily transported us into the story; and once the film dissolved into the first frame, we were hooked.
Best Picture: Black Swan, The Fighter, Inception, The Kids Are All Right, The King’s Speech, 127 Hours, The Social Network, Toy Story 3, True Grit and Winter’s Bone
Will Win: The Social Network – David Fincher’s film has been scooping up nearly every award for the past couple of months. But with The King’s Speech quickly gaining momentum after winning at the Screen Actors Guild, Directors Guild and Producers Guild, we might have a race on our hands. Although the academy loves a British drama, I think they will swing more towards The Social Network, which captured a global communication revolution and a defining moment in our culture.
Should Win: Toy Story 3 – As much as I loved The Social Network, my unending admiration of Pixar has gotten the best of me. The movie had a picture perfect ending to end the series, and we couldn’t have asked for anything better. Through all of the laughs and tears, we were with Woody and Buzz until the very end, and it was a valued gift from Pixar. Their imagination is one-of-a-kind. Just like its predecessors, Toy Story 3 is a treasure to be honored as one of the most esteemed in animation and cinema.
So ends my 2010 Oscar predictions. I hope many of them come true, but I also wouldn’t mind a couple of surprises. It could happen, since there have been some nominees that have picked up steam against their competition. Can Annette Bening edge out Natalie Portman? Will Hailee Steinfeld derail Melissa Leo? Can anyone beat Colin Firth? And will The King’s Speech or The Social Network stroll away with the evening’s top prize? There’s only one way to find out. Watch the 83rd Academy Awards on February 27th on ABC at 8:30.
Tuesday, February 15, 2011
My Top Five Favorite Films of 2010
As far as quality goes, 2010 was certainly a questionable year in Hollywood at first. The start of the summer looked hopeful with films like Iron Man 2 and Robin Hood leading the pack. But when those two and other thought-to-be hits didn't hit the blockbuster status that studios had hoped for, there was reason to worry about the rest of the summer, and the rest of the year for that matter. When Toy Story 3 and Inception saved the summer, it restored our hope and got us excited for the Fall movie season. When films like The Social Network, Black Swan and The King's Speech became critical and audience darlings, filmgoers became more optimistic for the remainder of the movie calender. It was clear that the last few months of 2010 brought out the big guns to cure us from the effects of a mediocre first half.
I know this list is late, but after having to put off previous reviews to make room for final exams, it took me a while to finish my reviews for the films I saw between Thanksgiving and New Year's. Most of the time, a lot of the Oscar-bait films don't get wider releases until the end of December or the beginning of January anyway; so I can't get my list out around the same time as the other critics do, which is at the end of the year. It's easier for them, since they have the privilege to see them before they hit theaters. I also always want to make sure that I've seen, if not all, most of the movies that I've wanted to see. Now that I'm all caught up, I finally have the list for my top five films of the year. Since I've only seen around 30 movies this year, it makes more sense to choose five instead of ten, like on other year-end lists. Other critics see more than 100 in a year, so there's more for them to choose from for a Top Ten list. So without further ado, here are my favorites.
1) Toy Story 3 - We knew it had to come to an end sometime. The story that we all grew-up with gave us one of the most bittersweet of finales. For those that were young when the adventure started, it enriched their childhood. For those that were adults, it helped them remember it. Pixar had a huge responsibility to create a fond farewell to our cherished group of toys. They've never had a movie that lacked heart, and it's safe to say that with Toy Story 3, Pixar outdid themselves. The outcome was one of the best film trilogies of all time, a masterpiece in animation and a hallmark in cinema. Tears were shed as we had to let go of these characters; but it's hard to envision a more perfect conclusion. It was clear as daylight that the filmmakers had a sincere passion for these characters. Woody and Buzz's journey is over, but they will always have friends in us.
2) The Social Network - Screenwriter Aaron Sorkin reinforced the power of the written word with what was easily the alpha script of the year. The characters, especially Jesse Eisenberg as Facebook creator Mark Zuckerberg, conveyed spark after spark of energy as they delivered the world-class dialogue. Director David Fincher is known to be a perfectionist, and it was evident in this film. Everything about The Social Network got etched into your mind with all of it's filmmaking brilliance. Although the plot was launched by the creation of Facebook, it was not all about the website. It concerned best friends who shared in a major communication revolution, only to then share in a detest of one another. It was a new age movie with an old fashioned moral center.
3) Inception - If there is any contemporary director that can seamlessly mix both action and subject matter that makes you think, it's Christopher Nolan. He gave us a film that wasn't just entertaining, but brainy. With a cast of mostly Oscar nominees, every performance was up to par to go along with the complex playground of mind games. The visual effects were, without a doubt, the year's superlative. They weren't there for the sake of being there. The visuals were a crucial part in keeping this adventure going. Inception's refreshingly inventive story will hopefully serve as a wake-up call to Hollywood, letting them know to not be afraid to feed moviegoers something imaginative.
4) The King's Speech - David Seidler's screenplay was a simple story, but a good one that was well told. With Colin Firth as King George VI and Geoffrey Rush as his unconventional speech therapist, it was an archetypical relationship between a student and his teacher. Between the film's dramatic and comical moments, we rooted for this royal underdog to get rid of his fear of public speaking and tap into his bravery to deliver a wartime speech. The charismatic cast brought all of their charm in full force, and I enjoyed every minute of it. With its execution of character development, story and acting, The King's Speech is a first-rate model on what a motion picture should be.
5) The Fighter - Sports dramas usually run the risk of being cliched and hit-or-miss, but The Fighter was a standout. With the use of its shaky-cam style of filming, we got the impression of watching a real out-of-control family that included a determined young boxer (Mark Wahlberg), his crack addict half-brother (Christian Bale), and their domineering mother (Melissa Leo). David O. Russell's film spent as much time out the ring as it did in it, providing a gritty look into the problems the family was confronted with. Of course, boxing was intricate to the plot; but when you sum it up, it was all about the family that helped Micky get to his moment of glory.
It sure was a challenge picking my top five favorites of the year out of all of the achievements done in film this year, but here they are. These movies exemplified everything you need to make a quality work of art, and for that, we must thank the creative teams behind them. There isn't an argument that 2010 had its ups and downs; but when all was said and done, it ended on a high note. With that, I'm very much interested to see what the new year has to offer the silver screen. If it's like previous years, 2011 will be unpredictable, and that's part of the fun.
I know this list is late, but after having to put off previous reviews to make room for final exams, it took me a while to finish my reviews for the films I saw between Thanksgiving and New Year's. Most of the time, a lot of the Oscar-bait films don't get wider releases until the end of December or the beginning of January anyway; so I can't get my list out around the same time as the other critics do, which is at the end of the year. It's easier for them, since they have the privilege to see them before they hit theaters. I also always want to make sure that I've seen, if not all, most of the movies that I've wanted to see. Now that I'm all caught up, I finally have the list for my top five films of the year. Since I've only seen around 30 movies this year, it makes more sense to choose five instead of ten, like on other year-end lists. Other critics see more than 100 in a year, so there's more for them to choose from for a Top Ten list. So without further ado, here are my favorites.
1) Toy Story 3 - We knew it had to come to an end sometime. The story that we all grew-up with gave us one of the most bittersweet of finales. For those that were young when the adventure started, it enriched their childhood. For those that were adults, it helped them remember it. Pixar had a huge responsibility to create a fond farewell to our cherished group of toys. They've never had a movie that lacked heart, and it's safe to say that with Toy Story 3, Pixar outdid themselves. The outcome was one of the best film trilogies of all time, a masterpiece in animation and a hallmark in cinema. Tears were shed as we had to let go of these characters; but it's hard to envision a more perfect conclusion. It was clear as daylight that the filmmakers had a sincere passion for these characters. Woody and Buzz's journey is over, but they will always have friends in us.
2) The Social Network - Screenwriter Aaron Sorkin reinforced the power of the written word with what was easily the alpha script of the year. The characters, especially Jesse Eisenberg as Facebook creator Mark Zuckerberg, conveyed spark after spark of energy as they delivered the world-class dialogue. Director David Fincher is known to be a perfectionist, and it was evident in this film. Everything about The Social Network got etched into your mind with all of it's filmmaking brilliance. Although the plot was launched by the creation of Facebook, it was not all about the website. It concerned best friends who shared in a major communication revolution, only to then share in a detest of one another. It was a new age movie with an old fashioned moral center.
3) Inception - If there is any contemporary director that can seamlessly mix both action and subject matter that makes you think, it's Christopher Nolan. He gave us a film that wasn't just entertaining, but brainy. With a cast of mostly Oscar nominees, every performance was up to par to go along with the complex playground of mind games. The visual effects were, without a doubt, the year's superlative. They weren't there for the sake of being there. The visuals were a crucial part in keeping this adventure going. Inception's refreshingly inventive story will hopefully serve as a wake-up call to Hollywood, letting them know to not be afraid to feed moviegoers something imaginative.
4) The King's Speech - David Seidler's screenplay was a simple story, but a good one that was well told. With Colin Firth as King George VI and Geoffrey Rush as his unconventional speech therapist, it was an archetypical relationship between a student and his teacher. Between the film's dramatic and comical moments, we rooted for this royal underdog to get rid of his fear of public speaking and tap into his bravery to deliver a wartime speech. The charismatic cast brought all of their charm in full force, and I enjoyed every minute of it. With its execution of character development, story and acting, The King's Speech is a first-rate model on what a motion picture should be.
5) The Fighter - Sports dramas usually run the risk of being cliched and hit-or-miss, but The Fighter was a standout. With the use of its shaky-cam style of filming, we got the impression of watching a real out-of-control family that included a determined young boxer (Mark Wahlberg), his crack addict half-brother (Christian Bale), and their domineering mother (Melissa Leo). David O. Russell's film spent as much time out the ring as it did in it, providing a gritty look into the problems the family was confronted with. Of course, boxing was intricate to the plot; but when you sum it up, it was all about the family that helped Micky get to his moment of glory.
It sure was a challenge picking my top five favorites of the year out of all of the achievements done in film this year, but here they are. These movies exemplified everything you need to make a quality work of art, and for that, we must thank the creative teams behind them. There isn't an argument that 2010 had its ups and downs; but when all was said and done, it ended on a high note. With that, I'm very much interested to see what the new year has to offer the silver screen. If it's like previous years, 2011 will be unpredictable, and that's part of the fun.
Friday, February 11, 2011
Darren Aronofsky pulls back the curtain on a more sinister view of ballet
As people, we thrive on our talents to bring us to greatness. No matter how good some of us become, we always try to reach that high level of perfection that we believe will fulfill our dreams. But through reasons that none of us can control, there will always be someone who's better. In the world of performing arts, competition is the name if the game. With so many that want to make it to stardom and worldly recognition, only a few are able to do so. That need to be in the spotlight can consume us. In Darren Aronofsky's deliciously disturbing ballet thriller, Black Swan, he delves deep into the mind of a young dancer who forces herself to connect to her dark side in order to give the finest performance she can.
Nina Sayers (Natalie Portman) deticates her life and love to the art of ballet. She is vying for the coveted part of the Swan Queen in the New York City ballet company's latest production of Swan Lake. When Nina's director (Vincent Cassel) chooses her to dance as the Swan Queen, he knows that she has the innocence and grace to play the White Swan; but isn't sure if she has the attitude that's needed to play the malevolent Black Swan. After the director chooses a newer member of the company, Lily (Mila Kunis), to be the Swan Queen understudy, Nina begins to show paranoid behavior. Thinking that Lily is trying to take the part of the Swan Queen, Nina slips into uncharted territory of her personality, and will use that to bring out her inner Black Swan.
This film is a worthy vessel for Portman's talent. Her performance is transformative, and quite literally at times. We see her go from an angelic young woman to a sensual sprite, all for the sake of her artistic achievement. Nina spirals down through a rabbit-hole of insanity, and pulls us down with her. At some point in our lives, we've wanted to take our specific talents to the next level, and be all that we could be; and Portman's portrayal of a girl whose need for perfection is her Achilles' heel is instantly relatable. With Mila Kunis, you wouldn't be able to tell that she did mostly comedy up until this point. She puts in as much effort as Portman does in order to channel another side of herself. Kunis is the seductive force of the movie. With her soft voice and striking eyes, we are entranced by her, just like Nina.
Barbara Hershey, as Nina's mother, has joined the ranks as one of the most spine-chilling parents in film history. At times, she is a serene and loving person. In other moments, however, she is a manipulative control-freak towards Nina, and has a dangerously unhealthy obsession with her. Winona Ryder makes a brief, yet effective appearance as Beth, a ballerina who was once a star; but is now replaced by Nina. With Beth's depression at being cast aside, and Nina's enthusiasm of being put in the spotlight makes for an interesting out-with-the-old-in-with-the-new correlation. Vincent Cassel is very intimidating as the ballet director who looks for only the best in his dancers. He pushes and pressurizes his students until they turn in the performance that he demands.
There is some superb camerawork by cinematographer, Matthew Libatique, in the film; especially in the scene taking place during Nina's opening night. When she's on stage as the White Swan, the camera follows her every move, and we're given an up-close-and-personal view of the performer that the audience at the ballet wouldn't normally see. Then, as Nina comes out as the Black Swan, the camera continues its dancing with Nina, and we see the complete alteration of her mentality that she has experienced throughout the course of the film. There is one scene where Nina and Lily begin dancing in a night club, and it's probably the most intoxicating part of Black Swan. With the constant flashing of the strobe lights, editor Andrew Weisblum uses them to place split-second images that seem to be out of someone's distorted dream. When Nina hits the dance floor, the viewer joins her descent into a nightmarish state-of-mind.
The screenplay, written by Mark Heyman, Andres Heinz and John McLaughlin, is a thorough vision of the physical and mental tolls that can take hold of an artist when they don't have anything but the need for a faultless performance on their mind. The desperate need to be in the spotlight can ultimately consume them. Black Swan endows the audience with a behind-the-scenes look at what goes on backstage in the world of ballet. A viewer of ballet or broadway productions marvel at the talented cast that tell the story; but they never clearly know what is going on in the performer's mind. By having Swan Lake as the ballet company's production in the film, the screenwriters are very resourceful in using that to draw some inventive parallels between the plot of the actual ballet and the plot of the movie. As in his previous films, Darren Aronofsky has the ability to show his characters at their lowest and most vulnerable. For him to be able to achieve that when his main focus is a ballerina, someone who lives and breathes the utmost form of art, is an unsettling wonder.
Nina Sayers (Natalie Portman) deticates her life and love to the art of ballet. She is vying for the coveted part of the Swan Queen in the New York City ballet company's latest production of Swan Lake. When Nina's director (Vincent Cassel) chooses her to dance as the Swan Queen, he knows that she has the innocence and grace to play the White Swan; but isn't sure if she has the attitude that's needed to play the malevolent Black Swan. After the director chooses a newer member of the company, Lily (Mila Kunis), to be the Swan Queen understudy, Nina begins to show paranoid behavior. Thinking that Lily is trying to take the part of the Swan Queen, Nina slips into uncharted territory of her personality, and will use that to bring out her inner Black Swan.
This film is a worthy vessel for Portman's talent. Her performance is transformative, and quite literally at times. We see her go from an angelic young woman to a sensual sprite, all for the sake of her artistic achievement. Nina spirals down through a rabbit-hole of insanity, and pulls us down with her. At some point in our lives, we've wanted to take our specific talents to the next level, and be all that we could be; and Portman's portrayal of a girl whose need for perfection is her Achilles' heel is instantly relatable. With Mila Kunis, you wouldn't be able to tell that she did mostly comedy up until this point. She puts in as much effort as Portman does in order to channel another side of herself. Kunis is the seductive force of the movie. With her soft voice and striking eyes, we are entranced by her, just like Nina.
Barbara Hershey, as Nina's mother, has joined the ranks as one of the most spine-chilling parents in film history. At times, she is a serene and loving person. In other moments, however, she is a manipulative control-freak towards Nina, and has a dangerously unhealthy obsession with her. Winona Ryder makes a brief, yet effective appearance as Beth, a ballerina who was once a star; but is now replaced by Nina. With Beth's depression at being cast aside, and Nina's enthusiasm of being put in the spotlight makes for an interesting out-with-the-old-in-with-the-new correlation. Vincent Cassel is very intimidating as the ballet director who looks for only the best in his dancers. He pushes and pressurizes his students until they turn in the performance that he demands.
There is some superb camerawork by cinematographer, Matthew Libatique, in the film; especially in the scene taking place during Nina's opening night. When she's on stage as the White Swan, the camera follows her every move, and we're given an up-close-and-personal view of the performer that the audience at the ballet wouldn't normally see. Then, as Nina comes out as the Black Swan, the camera continues its dancing with Nina, and we see the complete alteration of her mentality that she has experienced throughout the course of the film. There is one scene where Nina and Lily begin dancing in a night club, and it's probably the most intoxicating part of Black Swan. With the constant flashing of the strobe lights, editor Andrew Weisblum uses them to place split-second images that seem to be out of someone's distorted dream. When Nina hits the dance floor, the viewer joins her descent into a nightmarish state-of-mind.
The screenplay, written by Mark Heyman, Andres Heinz and John McLaughlin, is a thorough vision of the physical and mental tolls that can take hold of an artist when they don't have anything but the need for a faultless performance on their mind. The desperate need to be in the spotlight can ultimately consume them. Black Swan endows the audience with a behind-the-scenes look at what goes on backstage in the world of ballet. A viewer of ballet or broadway productions marvel at the talented cast that tell the story; but they never clearly know what is going on in the performer's mind. By having Swan Lake as the ballet company's production in the film, the screenwriters are very resourceful in using that to draw some inventive parallels between the plot of the actual ballet and the plot of the movie. As in his previous films, Darren Aronofsky has the ability to show his characters at their lowest and most vulnerable. For him to be able to achieve that when his main focus is a ballerina, someone who lives and breathes the utmost form of art, is an unsettling wonder.
Final grade: A
Subscribe to:
Posts (Atom)