Three years ago, the literary world experienced the finale of J.K. Rowling's seven-part wizarding chronicle in Harry Potter and the Deathly Hallows. Even though we all know how the saga concludes, that won't make the end of the film series any less bittersweet. Watching Part 2 (out next July) will be like reliving the moment we turned the last page in the seventh book. Luckily, the ending has been prolonged to make the epic conclusion play out in all of it's glory, and will temporarily delay the inevitable 'good-bye'. These characters have become very close friends to us; and although it will be a tearful parting next summer, we can at least take solace in the fact that Harry and the gang are being given the proper farewell that they deserve.
The wizarding world is no longer the whimsical and enchanting place it was in the earlier installments. It is now under the darkest threat it has ever faced, and the dark wizard Lord Voldemort (Ralph Fiennes) is on the war path, and even Muggles are being caught in the crossfire. Meanwhile, Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) have decide not to return to Hogwarts and complete their seventh and final year. They are determined to pursue their own journey and find Voldemort's remaining horcruxes, pieces of his soul that he has placed in several items throughout the country. If they aren't found, he will remain immortal. More obstacles hinder their task as tensions within the trio fire up and followers of Voldemort continuously hunt them down. And they soon realize that they must also obtain three coveted items that are being sought out by Voldemort: the Deathly Hallows.
This series hasn't been just a blockbuster book/film event, it has been a generational one. We've watched these cherished characters grow up on page and on screen, and it was a privaledge for all fans. Upon seeing Harry leave 4 Privet Drive for the last time, I couldn't help but think about the first time I watched him emerge from the cupboard under the stairs, him being unaware of the epic showdown that lay before him. These actors have fully grown into their roles, and are on the verge of adulthood. They aren't the children that once entered the world of magic six films ago, but are now challenged with real world dangers.
The emotions expressed by the wizarding trio show how much they've been through, and how much they are going through. Radcliffe's acting has become more mature with each adventure. Where we once saw his wide-eyed wonder as a pre-teen, we now see experience, anguish, and acknowledgement of his destiny. Grint's character isn't just there for laughs anymore. This film involves him in some of the film's best scenes. Watson's Hermione has gone from being the bookworm student to the peacekeeper and mother-figure of the group. Watching her wipe her parents' memories of her before leaving them is near heartbreaking, and stands for all of the sacrifices our heroes are making to secure a future without evil.
Besides the three leads, the extensive British cast add many sparks to the film. Helena Bonham Carter is frightening to watch as the sadistic and delightfully mad witch, Bellatrix Lestrange. Imelda Staunton returns as the wretched Dolores Umbridge, one character that we all love to hate. Other standouts include Rhys Ifans as the odd Xenophilius Lovegood, Bill Nighy as the new Minister of Magic, and Brendan Gleeson returns as the snappish Mad-Eye Moody.
'The Deathly Hallows- Part 1' isn't just director David Yates's best job so far with the franchise, it's also the most faithful adaptation yet of the series. It's the first Harry Potter film to give the audience the full experience of seeing the book on screen. The beautiful cinematography by Eduardo Serra showcases the full landscapes that act as makeshift homes for the trio. The set design adds to the fish-out-of-water theme of the young wizards. Instead of striding across the grounds at Hogwarts school, they walk through a trailer park and pass by power plants in unfamiliar areas of the Muggle world. And there's a remarkable animated sequence detailing the story of the Deathly Hallows, directed by Ben Hibon. The cliffhanger prepares us for the epic battle of Hogwarts that is fast approaching, and will leave fans anxiously, and impatiently, awaiting these next eight months for the final installment. If Part 1 is the calm before the storm, then Part 2 will call out the thunder.
Final grade: A-
Monday, November 22, 2010
Monday, November 8, 2010
Opposites attract in Todd Phillips's new road comedy
After his breakout role in last year's The Hangover, Zach Galifianakis (and his beard) have been getting some major exposure. His talent has provided some of the biggest laughs in the comedy world for a little more than a year now. So it wasn't a surprise that Todd Phillips chose to work with Galifianakis before their Hangover sequel, due out May 2011. Phillips does what he does best, and blends elements of buddy comedies with some gross-out humor. And with the addition of Robert Downey Jr., this makes for a clash of two very different actors. The constant arguing between the two make Due Date worth the watch, but it's missing the over-the-top laughs and shocks that Phillips's other films have presented.
Peter (Robert Downey Jr.) is a career-driven man who is trying to get back to Los Angeles in time to see the birth of his first child. After meeting an aspiring actor, Ethan Tremblay (Zach Galifianakis), and having an unpleasant encounter with an air marshal, they both get kicked off the plane. Being without an ID or money, Peter doesn't have any other choice but to accept a ride from Ethan to get from Georgia to California. Little does he know, it won't be one straight trip to his destination. With a few unexpected pit stops on the way, this trip will be more than just a car ride.
Peter (Robert Downey Jr.) is a career-driven man who is trying to get back to Los Angeles in time to see the birth of his first child. After meeting an aspiring actor, Ethan Tremblay (Zach Galifianakis), and having an unpleasant encounter with an air marshal, they both get kicked off the plane. Being without an ID or money, Peter doesn't have any other choice but to accept a ride from Ethan to get from Georgia to California. Little does he know, it won't be one straight trip to his destination. With a few unexpected pit stops on the way, this trip will be more than just a car ride.
The mismatched duo of Downey and Galifianakis is what carries the film. Peter's surliness and Ethan's idiocy is what makes these two fun to watch. You realize how different these opposing forces are on-screen. They are as disagreeable with one another as Tom and Jerry. Their witty bantering is what keeps their relationship alive. It's refreshing to see Robert Downey Jr. let loose and perform in this type of comedy; but Zach Galifianakis plays perilously close to the same character as he did in The Hangover. He has the beard, is unintelligent, gets on the other main character's nerves, and carries around a pug this time instead of a baby.
Many of Phillips's other characters got into awkward situations. Due Date is lacking that. In his previous projects, the characters got themselves into hijinks left and right, and they were outrageous. Peter and Ethan get into them just every so often, and it only causes a chuckle. With their star power, there was a lot more potential to make some serious trouble. Jamie Foxx has a supporting role as Peter's best friend, but isn't given much to do. In The Hangover, you can't forget Mike Tyson singing and air-drumming to Phil Collin's "In the Air Tonight," or Ken Jeong popping out of the trunk of a car with a crowbar. Watching Downey and Galifianakis conflict with each other is amusing at first, but their material runs out of gas after awhile.
Final grade: C+
Sunday, November 7, 2010
The afterlife serves as new territory for Clint Eastwood
The subject of the afterlife isn't something a Clint Eastwood fan would think of him exploring in a film. A sensitive topic like that doesn't appear too often on his filmography. Let's not forget, this is the man who has played a gruff boxing trainer and a racist war veteran, and has directed grittier films such as Unforgiven and Letters From Iwo Jima. But Hereafter isn't all soft. It centers around three characters as they try to cope with death as it affects each of their lives under very different circumstances. Eastwood's latest work is a comforting, but powerful look at the questions we ask and the answers we seek concerning life after death.
George Lonnegan (Matt Damon) is a psychic living in San Francisco with his brother, Billy (Jay Mohr). Although George is trying to live a normal life and discontinue the use of his powers, Billy tries to persuade his brother to use his supernatural abilities to his full potential and make a profit from it. Meanwhile, Marie Lelay (Cecile de France) is a Parisian journalist who survives the 2004 Indian Ocean tsunami in Thailand after nearly drowning. Although she returns to work soon afterwards, she begins to ponder upon the visions she had while unconscious; glimpses that might have been a window into the great beyond. In London, twin boys Marcus and Jason (Frankie and George McLaren) are trying to take care of their alcoholic mother so she won't lose them to social services. After Jason gets hit by a car and killed, Marcus gets sent to live with foster parents, all the while attempting to find ways to contact his deceased brother.
George Lonnegan (Matt Damon) is a psychic living in San Francisco with his brother, Billy (Jay Mohr). Although George is trying to live a normal life and discontinue the use of his powers, Billy tries to persuade his brother to use his supernatural abilities to his full potential and make a profit from it. Meanwhile, Marie Lelay (Cecile de France) is a Parisian journalist who survives the 2004 Indian Ocean tsunami in Thailand after nearly drowning. Although she returns to work soon afterwards, she begins to ponder upon the visions she had while unconscious; glimpses that might have been a window into the great beyond. In London, twin boys Marcus and Jason (Frankie and George McLaren) are trying to take care of their alcoholic mother so she won't lose them to social services. After Jason gets hit by a car and killed, Marcus gets sent to live with foster parents, all the while attempting to find ways to contact his deceased brother.
Following last year's Invictus, Damon and Eastwood pool their talents again, and prove a terrific moviemaking team, like DiCaprio and Scorcese. Damon gives a solemn performance as the reluctant psychic. Although his mystical powers are a gift, they are an obstacle for George. Besides the individuals that he helps with contacting their loved ones, he can't hold onto a real relationship. This is an anchor on George. The viewer sees the pain in Damon's eyes as this takes a hold on his life and quietly tortures him. But the true heartbreaking performance of the film is that of Frankie McLaren, who plays Marcus. After losing his brother to a tragic accident and his mother to rehab, Marcus must deal with his troubles alone. The maturity of his performance is reflected in his character. Since Eastwood uses a real set of twins, instead of having one actor play both twins, that makes the love and connection between the two look and feel more genuine.
Intertwining storylines is always a fascinating tool in film, and screenwriter Peter Morgan (The Queen and Frost/Nixon) assembles the story in a style similar to 2006's Babel. Three separate scenarios taking place in different parts of the world eventually meet in the end. In Babel, however, the links between the characters were built over time. In Hereafter, although the characters are connected in the end, it happens only in the last fifteen minutes, making it seem rushed.
Hereafter isn't Eastwood's best film, but it's not a bad one. It's a worthy effort for a supernatural drama. He kicks-off his story with a special-effects sequence of the tsunami, and it's shown in disturbingly realistic detail. The film doesn't answer many of the audience's questions about the afterlife, only with rather foggy visions; but that leaves the viewer to think about what they believe follows death. Despite its flaws, Eastwood has shown that he still has the ability to connect with his loyal followers.
Final grade: B+
Sunday, October 31, 2010
'Paranormal Activity 2' echoes its predecessor with all of the haunted house shivers
When Paranormal Activity was released a year ago, it presented audiences with a unique spin on the haunted-house genre. With its Blair Witch Project approach to the handheld camera style of filming, the movie took its ghost story to the suburbs of California. In most of our minds, that would be the last place for the dead to haunt the living. After the first installment delivered the scares, we weren't expecting a sequel. How could the story continue after the terrifying ending in the first installment? Many of us, myself included, had the fear of the sequel going down the path of the Blair Witch sequel, which tanked after the first became a horror phenomenon. Well, the skeptics have been proven wrong. Paranormal Activity 2 isn't just a worthy continuation of the story. It dishes out the suspense and jolts and takes it to the next level; and does justice to its predecessor.
The story takes place two months before the events of Paranormal Activity, and centers around a family in Carlsbad, Ca., where parents Kristi (Sprague Grayden) and Dan (Brian Boland) arrive home with their newborn son, Hunter. After they return home one night and find that their house has been burglarized, they install six video cameras around the house to catch anything else that might happen. Soon, the family begins to hear loud noises and experiences strange goings-on in their house. Dan and Micah (Micah Sloat, from the first film), think nothing of it. But Kristi and her sister Katie (Katie Featherston, also from the first film), think that something otherworldly is causing the family's trouble. It's not until Kristi's older step-daughter Ali (Molly Ephraim), begins to conduct some research, that the horrors occuring in the house begin to happen more frequently, and starts to assume it has something to do with the family's past.
One of the factors that makes Paranormal Activity 2 that rare, better sequel is that it takes the handheld camera concept and expands upon it. In the first installment, the camera was mostly limited to the bedroom, and captured the activity that only happened there. In this one, the scares are captured through multiple angles of the house: the nursery, the front hallway, the kitchen, the living room, the front of the house, and the pool area. This wider perspective of the house allows the audience to see almost anything that goes on. Any one of these cameras can spot something sinister, and we wait with baited breath to see where it will happen, and what will happen. The surprises never become stale. And of course, there's also a handheld camera, mostly used by Ali. When she wakes up in terror and investigates to see what went bump in the night, she needs some way to document it, doesn't she?
The film doesn't take the typical horror convention of having the ghouls come out only when the sun goes down. In the sequel, the frights threaten the family in both night and day. Some of the movie's best scares happen during the day, and this shows that the family is as vulnerable while awake as they are when they're asleep. The baby and the family dog are also put to clever use. It's common knowledge that in many other horror stories, infants and pets can see what many cannot. What's unsettling is that when they see a ghost or a demon, only they can see it, not the audience or the other characters; and this provides another dimension to the idea that what we can't see can scare us just as well as anything else. Sudden noises and total silence are enough to give you a feeling of anxiety as you wait for the next big shock.
A small problem with Paranormal Activity 2 is that it follows most of the same format as the original; but with the few tweaks given to the sequel, it's almost never an issue. And although it takes a while for the frights to pick-up, the second half will leave you shaking. I won't give anything away, but the ending does leave the door ajar for another installment. The writers silenced our doubts about the sequel by giving it a clever approach; but it's difficult to imagine the story being stretched any further into a third film. There isn't any need to spoil what's already scary.
Final grade: B+
The story takes place two months before the events of Paranormal Activity, and centers around a family in Carlsbad, Ca., where parents Kristi (Sprague Grayden) and Dan (Brian Boland) arrive home with their newborn son, Hunter. After they return home one night and find that their house has been burglarized, they install six video cameras around the house to catch anything else that might happen. Soon, the family begins to hear loud noises and experiences strange goings-on in their house. Dan and Micah (Micah Sloat, from the first film), think nothing of it. But Kristi and her sister Katie (Katie Featherston, also from the first film), think that something otherworldly is causing the family's trouble. It's not until Kristi's older step-daughter Ali (Molly Ephraim), begins to conduct some research, that the horrors occuring in the house begin to happen more frequently, and starts to assume it has something to do with the family's past.
One of the factors that makes Paranormal Activity 2 that rare, better sequel is that it takes the handheld camera concept and expands upon it. In the first installment, the camera was mostly limited to the bedroom, and captured the activity that only happened there. In this one, the scares are captured through multiple angles of the house: the nursery, the front hallway, the kitchen, the living room, the front of the house, and the pool area. This wider perspective of the house allows the audience to see almost anything that goes on. Any one of these cameras can spot something sinister, and we wait with baited breath to see where it will happen, and what will happen. The surprises never become stale. And of course, there's also a handheld camera, mostly used by Ali. When she wakes up in terror and investigates to see what went bump in the night, she needs some way to document it, doesn't she?
The film doesn't take the typical horror convention of having the ghouls come out only when the sun goes down. In the sequel, the frights threaten the family in both night and day. Some of the movie's best scares happen during the day, and this shows that the family is as vulnerable while awake as they are when they're asleep. The baby and the family dog are also put to clever use. It's common knowledge that in many other horror stories, infants and pets can see what many cannot. What's unsettling is that when they see a ghost or a demon, only they can see it, not the audience or the other characters; and this provides another dimension to the idea that what we can't see can scare us just as well as anything else. Sudden noises and total silence are enough to give you a feeling of anxiety as you wait for the next big shock.
A small problem with Paranormal Activity 2 is that it follows most of the same format as the original; but with the few tweaks given to the sequel, it's almost never an issue. And although it takes a while for the frights to pick-up, the second half will leave you shaking. I won't give anything away, but the ending does leave the door ajar for another installment. The writers silenced our doubts about the sequel by giving it a clever approach; but it's difficult to imagine the story being stretched any further into a third film. There isn't any need to spoil what's already scary.
Final grade: B+
Tuesday, October 12, 2010
Don't bother hooking this 'Catfish'
To alliviate confusion, this is the other Facebook movie. This isn't the new David Fincher film that chronicles the origin of a communication sensation. It's a documentary drama that captures the making of a romantic relationship through the internet, and the lies that can be told when not interacting face-to-face. Catfish tackles an interesting premise that's relevant to the situation of today's countless social networking interactions. The story, camera techniques, and approach to the suspense genre make for what seems to be a small, yet promising thriller; but doesn't deliver as a whole.
Yaniv Schulman is a young photographer living in New York City with his filmmaker brother, Ariel, and his friend, Henry Joost, who is also a filmmaker. One day, Nev receives an e-mail from an eight-year-old named Abby, who lives in Michigan. She has seen one of Nev's photos in a newspaper, and asks for permission to create a painting from it. After getting his approval, she paints the portrait, and mails it to him. Astounded by how professional it looks, Nev doesn't know whether Abby is a fraud or a child prodigy. Soon, he decides to call the family for the first time, and starts talking to Abby's alluring 19-year-old sister, Meghan. After some romantic exchanges between the two digital lovers, Nev, Ariel, and Henry decide to make a surprise trip to Michigan to finally meet the family. However, once they make it to their destination, Meghan's family isn't at all what they appeared to be.
The problem with Catfish is that it ends as you would think. There could have been a tweak to what was expected, but no. It concludes with a disappointing emotional twist, rather than a shocking psychological twist. The acting from everyone in the cast fits in suitably with the plot material; but it can't save the movie from the obvious direction in which it's going. All of the suspense evaporates halfway through the film when we finally see the family. At that point, Catfish turns into a completely different movie. It goes from a documentary mystery, to a documentary about the family. Catfish should have been one of those films that keeps you in its grip until the end. It holds you, but as the story progresses, it slowly releases you.
Final grade: C
Yaniv Schulman is a young photographer living in New York City with his filmmaker brother, Ariel, and his friend, Henry Joost, who is also a filmmaker. One day, Nev receives an e-mail from an eight-year-old named Abby, who lives in Michigan. She has seen one of Nev's photos in a newspaper, and asks for permission to create a painting from it. After getting his approval, she paints the portrait, and mails it to him. Astounded by how professional it looks, Nev doesn't know whether Abby is a fraud or a child prodigy. Soon, he decides to call the family for the first time, and starts talking to Abby's alluring 19-year-old sister, Meghan. After some romantic exchanges between the two digital lovers, Nev, Ariel, and Henry decide to make a surprise trip to Michigan to finally meet the family. However, once they make it to their destination, Meghan's family isn't at all what they appeared to be.
The problem with Catfish is that it ends as you would think. There could have been a tweak to what was expected, but no. It concludes with a disappointing emotional twist, rather than a shocking psychological twist. The acting from everyone in the cast fits in suitably with the plot material; but it can't save the movie from the obvious direction in which it's going. All of the suspense evaporates halfway through the film when we finally see the family. At that point, Catfish turns into a completely different movie. It goes from a documentary mystery, to a documentary about the family. Catfish should have been one of those films that keeps you in its grip until the end. It holds you, but as the story progresses, it slowly releases you.
Final grade: C
Monday, October 11, 2010
David Fincher brings Facebook from the computer screen to the silver screen
At first, news about a film based on the creation of a website would be something to scoff at. Audiences would sarcastically think to themselves, “What will they think of next?” It would lead us to believe that screenwriters have officially run out of fresh ideas for stories. Not true. What director David Fincher presents to us is the opposite in his new film, The Social Network. After teaming up with talented scribe Aaron Sorkin, writer of the television series, The West Wing, the two have brought to life the story of friendship and betrayal in the rise of one of our biggest communication advancements.
It is Fall 2003 in the prestigious land of academia known as Harvard University, and student Mark Zuckerberg (Jesse Eisenberg) is aching to boost his status on campus and become known for something. After a harsh break-up with his girlfriend, Erica Albright (Rooney Mara), he gets drunk and goes on a techno-frenzy. He creates a website called "FaceMash," where male students rate girls based on their looks, with the help his friend, Eduardo Saverin (Andrew Garfield). After realizing his talent with computer-programming, Cameron and Tyler Winklevoss (both played by Armie Hammer), two very wealthy students, recruit Mark to assist them with launching their new website, Harvard Connection, which is exclusively for Harvard students. After being accused of "stealing" their idea, Mark is soon faced with threats of lawsuit and the loss of his only friends. All the while, he is being encouraged by Napster founder, Sean Parker (Justin Timberlake), to expand Facebook into a global network.
Eisenberg nails the jerk attitude of Mark Zuckerberg. He’s not a person you would associate with; but he portrays Zuckerberg in such a way that first makes you root for him, then hate him, then at the last minute, feel sorry for the situation he’s sunk into. Newcomer Andrew Garfield is a star-in-the-making. He plays Eduardo as a calm and quiet cohort to Mark; but when he performs his scenes when a rise in emotion is needed, we see what he can really do as an actor. And Justin Timberlake brings his famous all-star charm to his role as Sean Parker. Timberlake portrays Parker as the embodiment of business-world temptation without flaw. We know he can sing. We know he always delivers the funny on Saturday Night Live whenever he hosts. But this performance officially makes him a true actor.
Fincher has the noticeable ability to make even the minor characters memorable, as seen two years ago in his last film, The Curious Case of Benjamin Button. He makes sure that every performance counts, and gets all the feelings out of each person; even if they only have a few scenes. He achieves this with characters such as Erica Albright, and Christy Lee (Brenda Song), the latter of who quickly becomes a “facebook groupie.” He gets his cast to do the best possible job they can, and it shows.
Sorkin adapts his screenplay from the book, The Accidental Billionaires, by Ben Mezrich. Sorkin’s script is one of the most well-written to come along in a while. Although it’s mostly drama, it’s also peppered with some humor. Between the anger and jealousy spouted by the characters, there are some very memorable quotes. One of the best is said by Timberlake after a one-night-stand. The characters deliver the sharp-as-a-tack dialogue at great speed, especially in the opening scene shared by Eisenberg and Mara. The rapid exchange of words draws us in, wanting us to listen to them as we find out what makes them tick.
David Fincher cuts the story back and forth between Facebook’s creation and the lawsuits over its rightful ownership. This technique highlights the theme of best friends who become bitter rivals. He goes from the wild and crazy life of college, to the ambitious shark tank of the business world. He presents these two worlds in such a way that gets the viewer invested in the plot; because in the film, college isn’t just about college, and business isn’t just about business.
If Sorkin and Fincher can make a film about a website so enthralling, the sky’s the limit for these two talents. The film is one of the best achievements in story and character this year. The cast brings such kinetic energy to the film and eagerly feeds off of the dialogue like starving lions. The story not only shows how Facebook became a communication revolution; but also a cultural one. In short, The Social Network is a film to be celebrated.
Final grade: A
It is Fall 2003 in the prestigious land of academia known as Harvard University, and student Mark Zuckerberg (Jesse Eisenberg) is aching to boost his status on campus and become known for something. After a harsh break-up with his girlfriend, Erica Albright (Rooney Mara), he gets drunk and goes on a techno-frenzy. He creates a website called "FaceMash," where male students rate girls based on their looks, with the help his friend, Eduardo Saverin (Andrew Garfield). After realizing his talent with computer-programming, Cameron and Tyler Winklevoss (both played by Armie Hammer), two very wealthy students, recruit Mark to assist them with launching their new website, Harvard Connection, which is exclusively for Harvard students. After being accused of "stealing" their idea, Mark is soon faced with threats of lawsuit and the loss of his only friends. All the while, he is being encouraged by Napster founder, Sean Parker (Justin Timberlake), to expand Facebook into a global network.
Eisenberg nails the jerk attitude of Mark Zuckerberg. He’s not a person you would associate with; but he portrays Zuckerberg in such a way that first makes you root for him, then hate him, then at the last minute, feel sorry for the situation he’s sunk into. Newcomer Andrew Garfield is a star-in-the-making. He plays Eduardo as a calm and quiet cohort to Mark; but when he performs his scenes when a rise in emotion is needed, we see what he can really do as an actor. And Justin Timberlake brings his famous all-star charm to his role as Sean Parker. Timberlake portrays Parker as the embodiment of business-world temptation without flaw. We know he can sing. We know he always delivers the funny on Saturday Night Live whenever he hosts. But this performance officially makes him a true actor.
Fincher has the noticeable ability to make even the minor characters memorable, as seen two years ago in his last film, The Curious Case of Benjamin Button. He makes sure that every performance counts, and gets all the feelings out of each person; even if they only have a few scenes. He achieves this with characters such as Erica Albright, and Christy Lee (Brenda Song), the latter of who quickly becomes a “facebook groupie.” He gets his cast to do the best possible job they can, and it shows.
Sorkin adapts his screenplay from the book, The Accidental Billionaires, by Ben Mezrich. Sorkin’s script is one of the most well-written to come along in a while. Although it’s mostly drama, it’s also peppered with some humor. Between the anger and jealousy spouted by the characters, there are some very memorable quotes. One of the best is said by Timberlake after a one-night-stand. The characters deliver the sharp-as-a-tack dialogue at great speed, especially in the opening scene shared by Eisenberg and Mara. The rapid exchange of words draws us in, wanting us to listen to them as we find out what makes them tick.
David Fincher cuts the story back and forth between Facebook’s creation and the lawsuits over its rightful ownership. This technique highlights the theme of best friends who become bitter rivals. He goes from the wild and crazy life of college, to the ambitious shark tank of the business world. He presents these two worlds in such a way that gets the viewer invested in the plot; because in the film, college isn’t just about college, and business isn’t just about business.
If Sorkin and Fincher can make a film about a website so enthralling, the sky’s the limit for these two talents. The film is one of the best achievements in story and character this year. The cast brings such kinetic energy to the film and eagerly feeds off of the dialogue like starving lions. The story not only shows how Facebook became a communication revolution; but also a cultural one. In short, The Social Network is a film to be celebrated.
Final grade: A
Sunday, September 26, 2010
This 'Town' is the home of Ben Affleck's redemption
If there is anything to be said about The Town, is that Ben Affleck is back in the spotlight. More than a decade after winning a screenplay Oscar, alongside Matt Damon, for Good Will Hunting, and a successful directorial debut three years ago for Gone Baby Gone, Affleck has amazed us for a second time with his newfound talent for directing. Like the latter two films mentioned, The Town ventures back to the coarse city of Boston, and doesn't hold back in its depiction of the rough-and-tough of it's citizens' exteriors. Based on the novel Prince of Thieves by Chuck Hogan, the film delivers as equal parts crime-drama, action-thriller, and believe or not, love story.
The film tells the story of a group of professional bank robbers in Charlestown, Massachusetts. Being the hotspot for the most robberies in the country, these guys know their craft and how to work it. A team comprised of four friends, Doug MacRay (Affleck) and his crew decide to hold-up a bank and take its manager, Claire Keesey (Rebecca Hall), as a hostage. After letting her go unharmed, they realize she lives a short walk from their home, and decide to have one of their own spy on her to see how much she knows about her ordeal and her kidnappers. Thinking he's best for the job, Doug fakes a chance encounter with Claire. A romantic relationship soon evolves, and Doug wants to exit the crime business. His best friend Jem (Jeremy Renner), catches wind of this, and soon starts to question Doug where his allegiance lies.
The cast is all-around superb. I'll get to Ben Affleck later on, seeing as there's more of him to praise. As far as the supporting players go, Renner is a true standout. After portraying a rowdy and reckless army sergeant in last year's The Hurt Locker, and now playing a Bostonian with a fighting-Irish mentality, it's safe to conclude that Renner knows how to play tough and does it well. Rebecca Hall might be one of today's best least-known actresses; but hopefully, this film will make her more recognizable. Her role as the central female character allows her to show her range of talent. The way she channels her emotions while dealing with the bank robbery and its after-effects helps us see all of her character's vulnerabilities. And Blake Lively, who plays Doug's ex-girlfriend Krista, adopts a thick Boston accent and a ragged look, and is enjoyable to watch in her few scenes. She makes a smooth transition from tv show Gossip Girl's world of petty drama to a world of crime.
The real person to commend is Ben Affleck. We all knew he was a decent actor and writer; but directing might be his next big talent. Affleck directing this film proves that Gone Baby Gone wasn't just a stroke of luck. He can clearly direct a film, and stages some heist scenes that get your blood pumping from the get-go. Each one seems to top the previous, from the bank raid in the film's opening, to an armored-truck robbery at the film's midpoint that takes us all over the streets of Boston, to an ultimate heist showdown at Fenway Park in the conclusion that pits these Boston thugs against a group of FBI agents led by Jon Hamm. It's a confrontation that brings out all barrels blazing.
Affleck adequately balances each story element used in the film. Never does the action become too overbearing, the drama doesn't go over-the-top, and the romance between Doug and Claire never becomes too sappy. If Gone Baby Gone made Ben Affleck relevant again, then The Town has completed his comeback in Hollywood. He has a big future in the film industry, and that future is bright.
Final grade: A-
The film tells the story of a group of professional bank robbers in Charlestown, Massachusetts. Being the hotspot for the most robberies in the country, these guys know their craft and how to work it. A team comprised of four friends, Doug MacRay (Affleck) and his crew decide to hold-up a bank and take its manager, Claire Keesey (Rebecca Hall), as a hostage. After letting her go unharmed, they realize she lives a short walk from their home, and decide to have one of their own spy on her to see how much she knows about her ordeal and her kidnappers. Thinking he's best for the job, Doug fakes a chance encounter with Claire. A romantic relationship soon evolves, and Doug wants to exit the crime business. His best friend Jem (Jeremy Renner), catches wind of this, and soon starts to question Doug where his allegiance lies.
The cast is all-around superb. I'll get to Ben Affleck later on, seeing as there's more of him to praise. As far as the supporting players go, Renner is a true standout. After portraying a rowdy and reckless army sergeant in last year's The Hurt Locker, and now playing a Bostonian with a fighting-Irish mentality, it's safe to conclude that Renner knows how to play tough and does it well. Rebecca Hall might be one of today's best least-known actresses; but hopefully, this film will make her more recognizable. Her role as the central female character allows her to show her range of talent. The way she channels her emotions while dealing with the bank robbery and its after-effects helps us see all of her character's vulnerabilities. And Blake Lively, who plays Doug's ex-girlfriend Krista, adopts a thick Boston accent and a ragged look, and is enjoyable to watch in her few scenes. She makes a smooth transition from tv show Gossip Girl's world of petty drama to a world of crime.
The real person to commend is Ben Affleck. We all knew he was a decent actor and writer; but directing might be his next big talent. Affleck directing this film proves that Gone Baby Gone wasn't just a stroke of luck. He can clearly direct a film, and stages some heist scenes that get your blood pumping from the get-go. Each one seems to top the previous, from the bank raid in the film's opening, to an armored-truck robbery at the film's midpoint that takes us all over the streets of Boston, to an ultimate heist showdown at Fenway Park in the conclusion that pits these Boston thugs against a group of FBI agents led by Jon Hamm. It's a confrontation that brings out all barrels blazing.
Affleck adequately balances each story element used in the film. Never does the action become too overbearing, the drama doesn't go over-the-top, and the romance between Doug and Claire never becomes too sappy. If Gone Baby Gone made Ben Affleck relevant again, then The Town has completed his comeback in Hollywood. He has a big future in the film industry, and that future is bright.
Final grade: A-
Subscribe to:
Posts (Atom)