Another summer has come and gone, and has left us with an ample assortment of movies to discuss. From May to August, there was a healthy helping of many genres for a range of cinematic tastes. Sci-fi thrill-seekers satisfied their hunger with Super 8 and Rise of the Planet of the Apes; indie-fans were treated to Midnight in Paris and The Tree of Life; and comic book fans took some high-flying adventures with Thor, X-Men: First Class and Captain America: The First Avenger; and audiences shared a fond farewell to a very famous boy wizard, as they experienced Harry Potter and the Deathly Hallows - Part 2, the epic finale to the biggest movie franchise in history.
Summer 2011, however, wasn't like other summers that came before it. In a season where superheroes, aliens and giant fighting robots have much of the spotlight shine on them, there was one type of film that seemed to be everywhere we looked: the comedy. Every week or two, there was a movie released that was ready to make us double-over with laughter, some of the most memorable being Bridesmaids, Horrible Bosses and Crazy, Stupid, Love. It's safe to say that the comedy genre has been coroneted with the summer season crown.
It is now time for the Fall movies to arrive. September to December is normally the time of the year when a bulk of the Oscar-contending films get released, whether they be independent or mainstream. In these four months, audiences will be served many different stories, including: Clint Eastwood's latest film that delves into the history of our nation's first head of the FBI; a third outing with some paranormal activity; Part 1 to the finale of the Twilight saga; the long-awaited return of the Muppets; Tom Cruise's acceptance of his next mission; and Sherlock Holmes' next twisty-turny mystery. All of that and more awaits this Fall and in this preview.
Contagion (Sept. 9) Steven Soderbergh directs this tale of a worldwide epidemic caused by a deadly airborne virus that has all medical personnel trying to find a cure and stop the spread. Meanwhile, a group of ordinary people try to survive a society that is rapidly crumbling. Starring Matt Damon, Kate Winslet, Marion Cotillard, Laurence Fishburne, Jude Law and Gwyneth Paltrow.
Moneyball (Sept. 23) This sports comedy-drama tells the true story of the Oakland Athletics baseball team and their manager, Billy Beane (Brad Pitt), who tries to make them into a winning team, despite troublesome finances. Also starring Jonah Hill and Philip Seymour Hoffman.
The Ides of March (Oct. 7) Based on the play by Beau Willimon, this film deals with Stephen Myers (Ryan Gosling), who is a young staffer for a new presidential candidate, Mike Morris(George Clooney). While on the campaign trail, Stephen learns all about the dirty side of politics. Also starring Paul Giamatti, Marisa Tomei, Evan Rachel Wood and Philip Seymour Hoffman.
Paranormal Activity 3 (Oct. 21) This third installment of the unnerving ghost story will take place 18 years before the first two movies. The story will dig deeper into when Katie (Katie Featherston of PA and PA2) and Kristi (Sprague Grayden of PA2) were terrorized by the demon when they were children.
Puss in Boots (Nov. 4) Shrek's faithful feline friend gets his own movie in this spinoff prequel. Puss (voiced by Antonio Banderas), along with his sidekicks Humpty Dumpty and Kitty Softpaws, must vanquish the villainy of two dangerous outlaws, Jack and Jill, after they discover a disasterous power that could destroy the world. Also starring the voices of Salma Hayek, Zach Galifianakis, Billy Bob Thornton and Amy Sedaris.
J. Edgar (Nov. 11) Clint Eastwood directs this biopic that will detail the fascinating career of J. Edgar Hoover (Leonardo DiCaprio), and will also peer into his private life as a possible homosexual. Also starring Armie Hammer, Naomi Watts, Damon Herriman, Jeffrey Donovan, Judi Dench and Ed Westwick.
Melancholia (Nov. 11) Lars von Trier directs this drama about two sisters (Kirsten Dunst and Charlotte Gainsbourg) who have the strengths of their bond tested as Earth is on a collision course with an unknown planet. Also starring Kiefer Sutherland and Alexander Skarsgard.
The Twilight Saga: Breaking Dawn - Part 1 (Nov. 18) In this first part of the Twilight finale, based on Stephenie Meyer's popular book series, Bella (Kristen Stewart) and Edward (Robert Pattinson) enjoy their time together as newly-wedded husband and wife, while venturing to Rio de Janeiro for their honeymoon. It isn't long before they must deal with the complications of Bella's unexpected pregnancy, as well as the chance of a battle against the ruling vampire group, the Volturi. Also starring Taylor Lautner, Billy Burke, Peter Facinelli, Elizabeth Reaser and Ashley Greene.
Hugo (Nov. 23) Martin Scorsese directs this adaptation of Brian Selznick's 2007 novel, The Invention of Hugo Cabret, which tells the story of the titular character as he lives an orphaned life in a Paris train station. When Hugo (Asa Butterfield) finds a broken automaton and meets a strange girl (Chloe Grace Moretz) and her standoffish grandfather who owns the local toy shop, he is swept up in a mystical journey that could put all of his secrets in danger. Also starring Ben Kingsley, Sacha Baron Cohen, Jude Law and Christopher Lee.
The Muppets (Nov. 23) When an oil tycoon, Tex Richman (Chris Cooper), discovers oil beneath the Muppet Theater, Gary (Jason Segel) and Mary (Amy Adams) plan to stop him by setting up a telethon to raise money and save the theater. In order to make this happen, they must reunite the Muppets, who have separated over the years. Also starring Rashida Jones, along with countless celebrity cameos, such as Jack Black, Billy Crystal, Neil Patrick Harris, Mila Kunis, Mickey Rooney, Ben Stiller and many more.
We Need to Talk About Kevin (Dec. 2) A devastated mother (Tilda Swinton) recounts the events that happened before and after her son's (Ezra Miller) killing of several students and teachers at his high school. Also starring John C. Reilly.
New Year's Eve (Dec. 9) After the success of his 2010 romantic comedy Valentine's Day, Garry Marshall directs his next holiday-oriented film. It follows two dozen New Yorkers on one of the biggest nights of the year as they look for love and have their stories intertwine. Starring Ashton Kutcher, Sarah Jessica Parker, Robert De Niro, Hilary Swank, Josh Duhamel, Zac Efron, Lea Michele and many others in a star-studded cast.
Carnage (Dec. 16) Roman Polanski directs this film version of Yasmina Reza's Tony Award-winning play, God of Carnage. It follows two sets of parents as they have a meeting about a fight that their children had in school that day. As the night goes on, however, the parents begin to get hostile with one another. Starring Jodie Foster, John C. Reilly, Kate Winslet and Christoph Waltz.
The Iron Lady (Dec. 16) In this biographical film of former British Prime Minister Margaret Thatcher (Meryl Streep), the story is told in flashbacks, which include the 17 days that led up to the Falklands War in 1982. Also starring Jim Broadbent, Anthony Head and Richard E. Grant.
Sherlock Holmes: A Game of Shadows (Dec. 16) Famed detective Sherlock Holmes (Robert Downey, Jr.) and his loyal assistant Dr. John Watson (Jude Law) try to defeat their nemesis Professor Moriarty (Jared Harris), with the help of Holmes' older brother Mycroft (Stephen Fry) and a fortune-telling Romani woman named Sim (Noomi Rapace). Also starring Rachel McAdams and Eddie Marsan.
The Girl with the Dragon Tattoo (Dec. 21) A computer hacker (Rooney Mara) and a journalist (Daniel Craig) realize that even the richest families have their own deep secrets, as they try to crack the case of a 40-year-old murder. David Fincher directs this American adaptation of the 2009 Swedish thriller of the same name, which is based on the first book of the Millennium trilogy by Stieg Larsson. Also starring Stellan Skarsgard, Christopher Plummer and Embeth Davidtz.
Mission: Impossible: Ghost Protocol (Dec. 21) When the Kremlin is demolished by a terrorist bombing, Ethan Hunt (Tom Cruise) and his team are to be blamed for the attack. The U.S. government, however, allows them to escape and work in secret, outside of the agency. But Hunt is warned that if any member of the team is caught during their mission, then they will be charged as terrorists planning to initiate a nuclear world war. He is also told to work with ex-IMF agent Brandt (Jeremy Renner), who's more familiar about Ethan's past than he is himself. Also starring Ving Rhames, Simon Pegg, Tom Wilkinson and Paula Patton.
War Horse (Dec. 28) Based on a 1982 children's novel by Michael Morpurgo, and later a 2007 stage adaptation, Steven Spielberg directs this war drama set in England during the beginnings of World War 1. When Albert Narracott's (Jeremy Irvine) beloved horse is sold to the cavalry and taken to France, Albert refuses to forget him. While he's still not old enough to enlist in the army, Albert takes on a perilous journey to find his horse and bring him back home. Also starring Emily Watson, Peter Mullan and David Thewlis.
With a diverse group of films coming out this Fall, you might as well escape the impending cold weather and sample a few different genres of cinema. This was only a portion of what's to come later this year. There are numerous other stories arriving to your screens that will surely be worth viewing.
Don't forget: Fall is the prime season for potential Oscar-nominated indies. While many of them won't get a wide release right away, it will be to your benefit to keep checking the movie theater schedule to see if any independent gems will be shown in your area. They deserve as much attention as the mainstream films. So this Fall, follow these three simple steps: 1) Pick out a movie that suits your interest, 2) Go see it, and 3) most importantly, enjoy.
Friday, August 19, 2011
Saturday, August 6, 2011
It's a jungle out there
Everyone says you can't beat the classics, and that's true. Others would go as far as to say that some originals are untouchable, and that's even more true. But once in a blue moon, we'll get a reputable remake, reboot or any other form of continuation to a familiar story that we've come to love. After Tim Burton's 2001 remake of Planet of the Apes left a cinematic bad taste in moviegoers, there were many reasons to be iffy about the reboot, Rise of the Planet of the Apes. Rest assured, director Rupert Wyatt's film remembers and respects the original from which it stemmed, and doesn't try to outdo it. It renews our fascination with the "what if" scenario that shows what would happen if apes stepped over humans as Earth's dominating species.
Will Rodman (James Franco) is a San Francisco scientist who has dedicated his job to developing a cure for Alzheimer's disease. After testing a possible cure on a mother chimp, Will sees that it repaired brain cells and increased intelligence, and prepares to present it to the rest of his colleagues. After she is shot down for causing an episode of mayhem in the labs, Will decides to take her baby home, and names him Caesar. Seeing that the mother's aptitude has passed on to her son, Will and his father (John Lithgow), who is suffering from Alzheimer's, begin to nurture Caesar's rapid growth of intelligence. Following Caesar's attack on an aggressive neighbor, he is sent to live in a primate facility. Because of much mistreatment there, he and the other apes soon begin to form a plan for an escape and an eventual take-over on the unsuspecting city, and the world.
James Franco lends himself well to this familiar, but nonetheless engaging, "boy and his dog" story, except this involves a chimp. Despite this film being mostly about the apes, it still smoothly handles the complications that Franco's character experiences as he juggles with trying to cure his father's disease and taking care of his new chimp friend. Franco's interactions with Caesar are genuine to the point where it's remarkable that the primate is only motion captured, and not real. The father-son relationship between Franco and Lithgow isn't used that much, but the emotions are still present when we see them together.
As good as the main actors are, the real stars of the show are the rebelling apes. Andy Serkis, the most reliable motion capture actor working today, who's best known for his roles as Gollum in The Lord of the Rings trilogy and Kong in King Kong, turns in another digital and energetic performance. Weta, which is the same team that provided the stunning special effects for 2009's Avatar, provide visuals that look so striking that you tend to forget that these are actors portraying the primates, with the effects not added until later. The special effects are used to move the story forward. They give the monkeys personalities and emotions, and are a contributing factor to the growth of Caesar's character as he goes from the "new kid" in the primate facility to the alpha ape. Thankfully, the filmmakers didn't need the use of 3D for us to appreciate the full beauty of what these effects could accomplish. A few of the best visual effects shots are of a maturing Caesar swinging and climbing across a forest of redwood trees.
The screenplay honors the original Planet of the Apes, while at the same time setting itself up to take the story in a new direction. It's an exemplary case of a reboot done right. The majority of the film is centered on Will and Caesar, in addition to Caesar being locked away and planning his escape; so by the time the primates get loose, we've seen enough of what they have been through and are able to find a reason to root for them as they head out on their conquest. The streets of San Francisco soon become their stomping grounds; and the Golden Gate Bridge turns into their jungle gym and a place where the apes make their climactic final stand against their human oppressors. There are messages of ethical animal treatment in the film that are understated in such a way so the story doesn't beat the viewer over the head with them, but can still be valued. Rise of the Planet of the Apes is said to be the start of a new film series, with this installment ending on a cliffhanger. If the sequels can make the story of the friction between humans and the new ape uprising as surprisingly good as this one did, I'm all in for some more monkey business.
Final grade: B+
Will Rodman (James Franco) is a San Francisco scientist who has dedicated his job to developing a cure for Alzheimer's disease. After testing a possible cure on a mother chimp, Will sees that it repaired brain cells and increased intelligence, and prepares to present it to the rest of his colleagues. After she is shot down for causing an episode of mayhem in the labs, Will decides to take her baby home, and names him Caesar. Seeing that the mother's aptitude has passed on to her son, Will and his father (John Lithgow), who is suffering from Alzheimer's, begin to nurture Caesar's rapid growth of intelligence. Following Caesar's attack on an aggressive neighbor, he is sent to live in a primate facility. Because of much mistreatment there, he and the other apes soon begin to form a plan for an escape and an eventual take-over on the unsuspecting city, and the world.
James Franco lends himself well to this familiar, but nonetheless engaging, "boy and his dog" story, except this involves a chimp. Despite this film being mostly about the apes, it still smoothly handles the complications that Franco's character experiences as he juggles with trying to cure his father's disease and taking care of his new chimp friend. Franco's interactions with Caesar are genuine to the point where it's remarkable that the primate is only motion captured, and not real. The father-son relationship between Franco and Lithgow isn't used that much, but the emotions are still present when we see them together.
As good as the main actors are, the real stars of the show are the rebelling apes. Andy Serkis, the most reliable motion capture actor working today, who's best known for his roles as Gollum in The Lord of the Rings trilogy and Kong in King Kong, turns in another digital and energetic performance. Weta, which is the same team that provided the stunning special effects for 2009's Avatar, provide visuals that look so striking that you tend to forget that these are actors portraying the primates, with the effects not added until later. The special effects are used to move the story forward. They give the monkeys personalities and emotions, and are a contributing factor to the growth of Caesar's character as he goes from the "new kid" in the primate facility to the alpha ape. Thankfully, the filmmakers didn't need the use of 3D for us to appreciate the full beauty of what these effects could accomplish. A few of the best visual effects shots are of a maturing Caesar swinging and climbing across a forest of redwood trees.
The screenplay honors the original Planet of the Apes, while at the same time setting itself up to take the story in a new direction. It's an exemplary case of a reboot done right. The majority of the film is centered on Will and Caesar, in addition to Caesar being locked away and planning his escape; so by the time the primates get loose, we've seen enough of what they have been through and are able to find a reason to root for them as they head out on their conquest. The streets of San Francisco soon become their stomping grounds; and the Golden Gate Bridge turns into their jungle gym and a place where the apes make their climactic final stand against their human oppressors. There are messages of ethical animal treatment in the film that are understated in such a way so the story doesn't beat the viewer over the head with them, but can still be valued. Rise of the Planet of the Apes is said to be the start of a new film series, with this installment ending on a cliffhanger. If the sequels can make the story of the friction between humans and the new ape uprising as surprisingly good as this one did, I'm all in for some more monkey business.
Final grade: B+
Monday, August 1, 2011
A tale of falling in and out of 'Love'
Love is a complicated feeling. It comes in many forms, and has diverse meanings amongst all people. Once under the influence of love, it can cause a person to do brave and passionate things, sometimes without that individual thinking of what he/she is doing. Everyone fights for love, because it's worth it. In directors Glenn Ficarra's and John Requa's heartfelt romantic comedy, Crazy, Stupid, Love, they throw their ensemble cast into a tangled web of emotions that isn't straightforward at all to figure out. It's a portrait of love that viewers can have a connection with, and that is the film's glowing charm.
Cal Weaver's (Steve Carell) once ideal life has taken a sudden turn for the worse. His wife of 25 years, Emily (Julianne Moore) confesses to Cal of cheating on him with a coworker (Kevin Bacon), in the fear that her husband has stopped trying to make their marriage work after all these years. After moving out of the house, Cal is picked up by ladies man Jacob Palmer (Ryan Gosling) who promises him that he will assist Cal in becoming a new person and get him back into the dating world. Meanwhile, Jacob starts to have feelings for law student Hannah (Emma Stone); and Cal's 13-year-old son Robbie (Jonah Bobo) is dealing with a crush on his 17-year-old babysitter Jessica (Analeigh Tipton), who herself has an affection for Cal. When Cal realizes that dating isn't working for him, he decides that all he wants is Emily, and he will do whatever he can to win her back.
Steve Carell's appeal is a beacon of comedy light that never fails to shine through. Every character he plays has a significant lovability factor, and his role in this film is the quintessence of that. He still manages to be our golden boy of unstoppable wit, but he also manages to blend some realistic human drama into his Cal character. His persistent fight for his wife is one that produces both laughs, applause and sympathy. Seeing him sail through the tumultuous tides of marriage further reminds us how flexible he is as an actor with whatever script he's given. If this is a sample of what to expect from Carell in his post-Office career, then his future in the industry is limitless.
Ryan Gosling and Steve Carell are two very different actors; so seeing their characters as total opposites of each other had just the right feeling. The pairing of them is flawless. Gosling as the smooth-talking pick-up artist easily wins over the audience, just like he does with the women he meets on his nightly excursions to the local bars. The relationship between Cal and Jacob is just as important as the ones between boyfriend and girlfriend, and husband and wife; because they both help to change each other and point out the other's flaws.
Julianne Moore's performance achieves in making us feel for her even though she has cheated on Cal. She is remorseful for what she has done, so we know there are still some sparks of goodness in her. Emma Stone is on her way to becoming one of Hollywood's next great actresses, and proves in her scenes that she belongs in the same league as the screen veterans she is costarring with. Marisa Tomei is madly funny as Cal's psycho new girlfriend.
The screenplay by Dan Fogelman proficiently focuses on each person in order to help them grow throughout the movie. Seeing Cal go from a student to a master makes for some wonderful character development. It doesn't matter if a character is experienced or inexperienced in romance; because the film shows love as a battlefield, with its players trying to make sense out of what they feel for each other. There's an equal dose of relationships that are in need of repair, as well as those that are just beginning to get structured. The story shows love from different points-of-view and ages. Although the ending is a tad predictable, the way that the film arrives there compensates for that. There are a couple of twists with great payoffs that you would be hard pressed to find in many romantic comedies these days. Is Crazy, Stupid, Love crazy? Yes, but in a lighthearted way. Is it stupid? No, not at all. It's brainy.
Final grade: A-
Cal Weaver's (Steve Carell) once ideal life has taken a sudden turn for the worse. His wife of 25 years, Emily (Julianne Moore) confesses to Cal of cheating on him with a coworker (Kevin Bacon), in the fear that her husband has stopped trying to make their marriage work after all these years. After moving out of the house, Cal is picked up by ladies man Jacob Palmer (Ryan Gosling) who promises him that he will assist Cal in becoming a new person and get him back into the dating world. Meanwhile, Jacob starts to have feelings for law student Hannah (Emma Stone); and Cal's 13-year-old son Robbie (Jonah Bobo) is dealing with a crush on his 17-year-old babysitter Jessica (Analeigh Tipton), who herself has an affection for Cal. When Cal realizes that dating isn't working for him, he decides that all he wants is Emily, and he will do whatever he can to win her back.
Steve Carell's appeal is a beacon of comedy light that never fails to shine through. Every character he plays has a significant lovability factor, and his role in this film is the quintessence of that. He still manages to be our golden boy of unstoppable wit, but he also manages to blend some realistic human drama into his Cal character. His persistent fight for his wife is one that produces both laughs, applause and sympathy. Seeing him sail through the tumultuous tides of marriage further reminds us how flexible he is as an actor with whatever script he's given. If this is a sample of what to expect from Carell in his post-Office career, then his future in the industry is limitless.
Ryan Gosling and Steve Carell are two very different actors; so seeing their characters as total opposites of each other had just the right feeling. The pairing of them is flawless. Gosling as the smooth-talking pick-up artist easily wins over the audience, just like he does with the women he meets on his nightly excursions to the local bars. The relationship between Cal and Jacob is just as important as the ones between boyfriend and girlfriend, and husband and wife; because they both help to change each other and point out the other's flaws.
Julianne Moore's performance achieves in making us feel for her even though she has cheated on Cal. She is remorseful for what she has done, so we know there are still some sparks of goodness in her. Emma Stone is on her way to becoming one of Hollywood's next great actresses, and proves in her scenes that she belongs in the same league as the screen veterans she is costarring with. Marisa Tomei is madly funny as Cal's psycho new girlfriend.
The screenplay by Dan Fogelman proficiently focuses on each person in order to help them grow throughout the movie. Seeing Cal go from a student to a master makes for some wonderful character development. It doesn't matter if a character is experienced or inexperienced in romance; because the film shows love as a battlefield, with its players trying to make sense out of what they feel for each other. There's an equal dose of relationships that are in need of repair, as well as those that are just beginning to get structured. The story shows love from different points-of-view and ages. Although the ending is a tad predictable, the way that the film arrives there compensates for that. There are a couple of twists with great payoffs that you would be hard pressed to find in many romantic comedies these days. Is Crazy, Stupid, Love crazy? Yes, but in a lighthearted way. Is it stupid? No, not at all. It's brainy.
Final grade: A-
Tuesday, July 26, 2011
Stars, stripes and superheroes
America loves it's heroes, whether they are firefighters, police officers or soldiers. They live to serve the people so we could get through a safer day. They don't have special powers, nor do they need them. But in the Marvel Comics lore, there would most certainly be a superhero mixed in with our everyday-protectors. That is exactly what's delivered in director Joe Johnston's American pride comic book adaptation, Captain America: The First Avenger. With a character that has been much anticipated to save the world on the big screen, a well-crafted background story and some entertaining action put in the mix, Captain America is one to cheer for as he defends our star-spangled land.
Steve Rogers (Chris Evans) is a young man who is determined to enlist in the U.S. army during World War 2. But because of some medical conditions, he is constantly rejected. Upon seeing the passion in him to serve his country, Dr. Abraham Erskine (Stanley Tucci), who works for the U.S. government Strategic Scientific Reserve, recruits Steve to a squad of soldiers that is under the control of Colonel Phillips (Tommy Lee Jones). After seeing his promise as a soldier, Dr. Erskine suggests to the colonel that Steve should take part in an experiment that changes ordinary army men into "super-soldiers." After is alteration, Steve does whatever he can to assist the U.S. army in taking down Nazi officer Johann Schmidt (Hugo Weaving) and his terrorist group known as HYDRA, who are attempting to destroy the world by merging their technology with the godly power of an ancient artifact known as the Tesseract.
Chris Evans has improved greatly from back when he played another superhero, the Human Torch, in the two Fantastic Four films. He drops all of the annoying smugness of that character, and trades it in for someone who's a lot more likable. His character is well-developed throughout the film. He goes from a scrappy boy from Brooklyn to a war hero. Even in his new physical state, Steve doesn't show-off or become egotistical. He remembers the purpose of his powers is to help his fellow soldiers, and he retains the same strong-minded and courageous attitude as he kept in his previous self.
The script has a good sense of pace when telling the portion of the film where Steve Rogers becomes Captain America. It fleshes out his character before diving into the action. There is a sprouting relationship between Captain America and SSR officer Peggy Carter, played by Hayley Atwell. In this, we have just the right amount of a love story; and, thankfully, it's not too much and doesn't dilute the main purpose of Steve Rogers' journey, which is saving the world while also coming to terms with his enhanced abilities.
Hugo Weaving's character, who becomes the dreaded Red Skull, doesn't go beyond the usual villain trying to take over the world; and therefore, he isn't too memorable. He still does well with what he's given. The action scenes aren't anything special, but watching Americans take on some Nazis never gets old. This is the final film in a stream of Marvel adaptations that all lead to next summer's The Avengers, and this set up ends on a good note. Joe Johnston has made a superhero movie that was well worth the long wait. It's not spectacular, but it does have its bright spots of red, white and blue.
Final grade: B
Steve Rogers (Chris Evans) is a young man who is determined to enlist in the U.S. army during World War 2. But because of some medical conditions, he is constantly rejected. Upon seeing the passion in him to serve his country, Dr. Abraham Erskine (Stanley Tucci), who works for the U.S. government Strategic Scientific Reserve, recruits Steve to a squad of soldiers that is under the control of Colonel Phillips (Tommy Lee Jones). After seeing his promise as a soldier, Dr. Erskine suggests to the colonel that Steve should take part in an experiment that changes ordinary army men into "super-soldiers." After is alteration, Steve does whatever he can to assist the U.S. army in taking down Nazi officer Johann Schmidt (Hugo Weaving) and his terrorist group known as HYDRA, who are attempting to destroy the world by merging their technology with the godly power of an ancient artifact known as the Tesseract.
Chris Evans has improved greatly from back when he played another superhero, the Human Torch, in the two Fantastic Four films. He drops all of the annoying smugness of that character, and trades it in for someone who's a lot more likable. His character is well-developed throughout the film. He goes from a scrappy boy from Brooklyn to a war hero. Even in his new physical state, Steve doesn't show-off or become egotistical. He remembers the purpose of his powers is to help his fellow soldiers, and he retains the same strong-minded and courageous attitude as he kept in his previous self.
The script has a good sense of pace when telling the portion of the film where Steve Rogers becomes Captain America. It fleshes out his character before diving into the action. There is a sprouting relationship between Captain America and SSR officer Peggy Carter, played by Hayley Atwell. In this, we have just the right amount of a love story; and, thankfully, it's not too much and doesn't dilute the main purpose of Steve Rogers' journey, which is saving the world while also coming to terms with his enhanced abilities.
Hugo Weaving's character, who becomes the dreaded Red Skull, doesn't go beyond the usual villain trying to take over the world; and therefore, he isn't too memorable. He still does well with what he's given. The action scenes aren't anything special, but watching Americans take on some Nazis never gets old. This is the final film in a stream of Marvel adaptations that all lead to next summer's The Avengers, and this set up ends on a good note. Joe Johnston has made a superhero movie that was well worth the long wait. It's not spectacular, but it does have its bright spots of red, white and blue.
Final grade: B
Tuesday, July 19, 2011
A fond farewell to a generation's hero
How do you sum-up a saga that began with a book published back in 1997, and ended with its last adaptation this year? The truth is, you can do so in many ways. The Harry Potter series has established itself in a special place in the hearts of millions of avid readers and moviegoers, that they all probably have differing opinions on how this unparalleled adventure has resonated with them. Although we completed Harry's journey with him in the literary world four years ago, it was still comforting to think that there were still the last few films to look forward to. Now, author J.K. Rowling's famous wizard has ended his run on the big screen in Harry Potter and the Deathly Hallows - Part 2, the grand finale to the epic of The Boy Who Lived. This is the experience that fans have been waiting for. Despite our reluctance to watch the final installment because of the bittersweetness, we've stuck with Harry through everything, and his last stand against evil does not deserve to be missed.
While still being on the run from Voldemort's (Ralph Fiennes) army, Harry (Daniel Radcliffe) and his friends Ron (Rupert Grint) and Hermione (Emma Watson) continue their search for the rest of the dark lord's Horcruxes, which are pieces of his soul embedded in objects of significance to him. If they can destroy them all, then they will be able to defeat him. Their seach will eventually bring them back to Hogwarts School of Witchcraft and Wizardry, where Harry must help in the effort to fend off Voldemort and his followers, and finally come face to face with the wizard who has wanted him dead from the very beginning.
It's a cinematic marvel of how we've watched these once-child actors grow up throughout eight films. They've gone through the awkward stages of being teenagers and into the beginnings of accepting huge responsibilities as young adults, something that all viewers can relate to in some way. Harry, who we first witnessed as a young boy who was forced to sleep in a cupboard by his wicked aunt and uncle, has fully grown into a person who is ready to thrust himself into battle in order to save the people he loves. Radcliffe has fully matured along with his character into a confident individual. Whatever roles he pursues after this, I have complete faith in him. The same can be said wholeheartedly for Rupert Grint and Emma Watson.
Even amidst the battle scenes, there is some astonishing character development. Professor Snape (Alan Rickman) has his secrets and true motives revealed in a flashback sequence that's as gripping as it is heartrending. Neville Longbottom (Matthew Lewis) has transformed from a timid young student into a sword-wielding warrior. Teachers and pupils who were first in classrooms filled with whimsical magic are now involved in combat on the castle grounds. In the end, there are sacrifices made by many.
As appropriate for the final film, it has the most visual extravagance of any of the other Harry Potter's. Harry and his friends' break-in at Gringotts bank in the first half hour was a clear indication that this final installment would begin and end with a bang. Watching Harry, Ron and Hermione escape the bank on a majestic fire-breathing dragon brought me back to the first entries of the saga where I first gazed upon giant monsters such as Fluffy the three-headed dog and the Basilisk. The battle of Hogwarts displays how far computer-generated effects have come since the beginning when the film version of The Sorcerer's Stone was released in 2001. The final clash of good and evil is as climactic and hold-your-breath exciting as anyone could have asked for.
Director David Yates and screenwriter Steve Kloves provided a respectable treatment to the source material, and made Part 2 as true to the book as Part 1. By splitting the last book into two movies, the filmmakers took into consideration the love and devotion of the fans for the series, as well as the need to tell the conclusion in its entirety and tie up all the loose ends. It's rare that a film series has successfully kept and grew its audience throughout the time that it took to be completed, which was ten years in this case. With The Deathly Hallows - Part 2 finished, Harry Potter is definitely as much a motion picture achievement as it is a literary one. It is an enthralling and timeless story worthy of decades of new fans. It's hard to believe that this all started with a book, but it happened. Thank you, Harry, for sharing the quest.
Final grade: A
While still being on the run from Voldemort's (Ralph Fiennes) army, Harry (Daniel Radcliffe) and his friends Ron (Rupert Grint) and Hermione (Emma Watson) continue their search for the rest of the dark lord's Horcruxes, which are pieces of his soul embedded in objects of significance to him. If they can destroy them all, then they will be able to defeat him. Their seach will eventually bring them back to Hogwarts School of Witchcraft and Wizardry, where Harry must help in the effort to fend off Voldemort and his followers, and finally come face to face with the wizard who has wanted him dead from the very beginning.
It's a cinematic marvel of how we've watched these once-child actors grow up throughout eight films. They've gone through the awkward stages of being teenagers and into the beginnings of accepting huge responsibilities as young adults, something that all viewers can relate to in some way. Harry, who we first witnessed as a young boy who was forced to sleep in a cupboard by his wicked aunt and uncle, has fully grown into a person who is ready to thrust himself into battle in order to save the people he loves. Radcliffe has fully matured along with his character into a confident individual. Whatever roles he pursues after this, I have complete faith in him. The same can be said wholeheartedly for Rupert Grint and Emma Watson.
Even amidst the battle scenes, there is some astonishing character development. Professor Snape (Alan Rickman) has his secrets and true motives revealed in a flashback sequence that's as gripping as it is heartrending. Neville Longbottom (Matthew Lewis) has transformed from a timid young student into a sword-wielding warrior. Teachers and pupils who were first in classrooms filled with whimsical magic are now involved in combat on the castle grounds. In the end, there are sacrifices made by many.
As appropriate for the final film, it has the most visual extravagance of any of the other Harry Potter's. Harry and his friends' break-in at Gringotts bank in the first half hour was a clear indication that this final installment would begin and end with a bang. Watching Harry, Ron and Hermione escape the bank on a majestic fire-breathing dragon brought me back to the first entries of the saga where I first gazed upon giant monsters such as Fluffy the three-headed dog and the Basilisk. The battle of Hogwarts displays how far computer-generated effects have come since the beginning when the film version of The Sorcerer's Stone was released in 2001. The final clash of good and evil is as climactic and hold-your-breath exciting as anyone could have asked for.
Director David Yates and screenwriter Steve Kloves provided a respectable treatment to the source material, and made Part 2 as true to the book as Part 1. By splitting the last book into two movies, the filmmakers took into consideration the love and devotion of the fans for the series, as well as the need to tell the conclusion in its entirety and tie up all the loose ends. It's rare that a film series has successfully kept and grew its audience throughout the time that it took to be completed, which was ten years in this case. With The Deathly Hallows - Part 2 finished, Harry Potter is definitely as much a motion picture achievement as it is a literary one. It is an enthralling and timeless story worthy of decades of new fans. It's hard to believe that this all started with a book, but it happened. Thank you, Harry, for sharing the quest.
Final grade: A
Thursday, July 14, 2011
For a good laugh, you wouldn't mind being hired by these 'Bosses'
There's an old saying that goes: "Choose a job you love, and you will never have to work a day in your life." That's the kind of occupation that we all crave, one where we can put our talents and dreams to good use so we can be happy and successful. You can't, however, enjoy your job if you're being supervised by a ghastly boss. We've all either had one or had a friend with one. They are those that make the workday seem longer and make us reluctant to clock-in everyday. Some of them tantalize us with rewards if we do their demeaning bidding. All of this, and more, happens in the workplace dark-comedy, Horrible Bosses. If you think you have it bad at your job, it's nothing compared to what the three friends have in this high-stakes murder caper.
Nick (Jason Bateman) is a dedicated worker who's at the office from sunrise to sundown. He's aiming for a big promotion that his boss (Kevin Spacey) keeps hinting is Nick's. When his boss gives the position to himself, Nick is resentful. Meanwhile, Kurt (Jason Sudeikis) is suddenly disliking his job at a chemical plant when his recently deceased boss (Donald Sutherland) gives the company to his incompetent son (Colin Farrell). Dale (Charlie Day) is a dental assistant to Julia (Jennifer Aniston). While constantly being sexually harassed by her, Dale's engagement to his girlfriend is at risk. These three friends are finally fed up, and hatch a plan to murder each other's boss. With the help of their murder consultant (Jamie Foxx), Nick, Kurt and Dale will turn the tables on their employers.
The three leads all have equal shots at bringing the laughs. Jason Bateman delivers is lines with bite. He's the logical center of the trio (because every group needs one) who tries to keep his friends in line in order to complete their murderous mission. Jason Sudeikis prolongs the trend of Saturday Night Live stars succeeding in big screen comedies. His character is the hilariously irresponsible clique member who accidentally finds new ways of jeopardizing the operation. He also gets many of the film's cascade of one-liners. Charlie Day is a loose canon who's always at danger of firing. He commands the humor while he's on screen. When trying to help his friends, something always goes terribly wrong; but we still love him for the unpredictable live wire that he is.
We can't forget about our horrendously horrible bosses. Kevin Spacey is evilly good as Bateman's manager. He's a paranoid and sadistic psycho, a devil incarnate in the office area. Jennifer Aniston is certainly not the same person as she was when playing the loveable Rachel on Friends. She's far from it. Boundaries don't exist for her character. Aniston played a disgruntled employee in the 1999 film Office Space. In this, she's on the other side of the spectrum. As a highly promiscuous dentist, Aniston does anything, and I mean anything, to make her assistant feel uncomfortable. Colin Farrell changes up his usual game as well. Sporting a comb-over, he's a cocaine-addicted slacker who loves kung fu. Jamie Foxx is a riot as the friends' shifty murder consultant. Thankfully, he's given a much better and funnier character than he had in last November's comedy Due Date.
In film and television, we often just see unhappy workers suffer through whatever their bosses have them do. In the screenplay by Michael Markowitz, John Francis Daley and Jonathan Goldstein, it's revitalizing to see these three friends set out to do the dirty deed. There is an unexpected twist halfway through the film that kicks it into high gear. The downside of that is this causes Nick, Kurt and Dale to fix their main focus on Kevin Spacey's character; so as for the other two bosses, Aniston is almost forgotten about until the end, and SPOILER ALERT (sort of), you'll have to see what happens to Colin Farrell. With the dueling trios of employees and supervisors, however, it's enough to forgive the flaws. For an hour and a half, the workplace is shown to be an area where anything can happen.
Final grade: B+
Nick (Jason Bateman) is a dedicated worker who's at the office from sunrise to sundown. He's aiming for a big promotion that his boss (Kevin Spacey) keeps hinting is Nick's. When his boss gives the position to himself, Nick is resentful. Meanwhile, Kurt (Jason Sudeikis) is suddenly disliking his job at a chemical plant when his recently deceased boss (Donald Sutherland) gives the company to his incompetent son (Colin Farrell). Dale (Charlie Day) is a dental assistant to Julia (Jennifer Aniston). While constantly being sexually harassed by her, Dale's engagement to his girlfriend is at risk. These three friends are finally fed up, and hatch a plan to murder each other's boss. With the help of their murder consultant (Jamie Foxx), Nick, Kurt and Dale will turn the tables on their employers.
The three leads all have equal shots at bringing the laughs. Jason Bateman delivers is lines with bite. He's the logical center of the trio (because every group needs one) who tries to keep his friends in line in order to complete their murderous mission. Jason Sudeikis prolongs the trend of Saturday Night Live stars succeeding in big screen comedies. His character is the hilariously irresponsible clique member who accidentally finds new ways of jeopardizing the operation. He also gets many of the film's cascade of one-liners. Charlie Day is a loose canon who's always at danger of firing. He commands the humor while he's on screen. When trying to help his friends, something always goes terribly wrong; but we still love him for the unpredictable live wire that he is.
We can't forget about our horrendously horrible bosses. Kevin Spacey is evilly good as Bateman's manager. He's a paranoid and sadistic psycho, a devil incarnate in the office area. Jennifer Aniston is certainly not the same person as she was when playing the loveable Rachel on Friends. She's far from it. Boundaries don't exist for her character. Aniston played a disgruntled employee in the 1999 film Office Space. In this, she's on the other side of the spectrum. As a highly promiscuous dentist, Aniston does anything, and I mean anything, to make her assistant feel uncomfortable. Colin Farrell changes up his usual game as well. Sporting a comb-over, he's a cocaine-addicted slacker who loves kung fu. Jamie Foxx is a riot as the friends' shifty murder consultant. Thankfully, he's given a much better and funnier character than he had in last November's comedy Due Date.
In film and television, we often just see unhappy workers suffer through whatever their bosses have them do. In the screenplay by Michael Markowitz, John Francis Daley and Jonathan Goldstein, it's revitalizing to see these three friends set out to do the dirty deed. There is an unexpected twist halfway through the film that kicks it into high gear. The downside of that is this causes Nick, Kurt and Dale to fix their main focus on Kevin Spacey's character; so as for the other two bosses, Aniston is almost forgotten about until the end, and SPOILER ALERT (sort of), you'll have to see what happens to Colin Farrell. With the dueling trios of employees and supervisors, however, it's enough to forgive the flaws. For an hour and a half, the workplace is shown to be an area where anything can happen.
Final grade: B+
Sunday, July 10, 2011
A 'Tree' that branches out through millions of years on Earth
Life is a mystery with many secrets that it doesn't reveal too easily. With whatever questions we have concerning our existence, there are just as many answers. There isn't a straightforward response; so like a good story, life is open to interpretation. With everything that goes on through nature, time and space, we are encouraged to ask what it all means to us. In the long run, it's our job to choose a path on how to live and to follow it to our destination. In Terrence Malick's unique and puzzling odyssey, The Tree of Life, he takes us on a journey of discovery that begs the audience to ponder upon what it means to be human and have the chance to experience the world.
Mr. O'Brien (Brad Pitt) is a father who rules his family with an iron fist in a 1950s Midwestern household. His main priority is to teach his three sons that they need to be tough in order to get ahead in the world, while their mother (Jessica Chastain) wants them to go through life appreciating the beauty that's around them. Their older son Jack (Hunter McCracken) begins to rebel against his father, wanting to live the way that he prefers, instead of always doing what his father wishes. This all leads to Jack on a course to question and find the purpose for his existence. The story jumps back and forth from this time period to the present day where an older Jack (Sean Penn) is still trying to come to terms with his life.
Brad Pitt gives a performance of domineering force. He displays a different side of himself in this role that I don't ever recall seeing before. His character is hateful through much of the film, and yet, we understand that he wants the best for his sons, even if it means pushing his Darwinian survival-of-the-fittest methods on them. He is a parent and a life coach. As a father, he shows signs of love and tough love. Pitt has moments of tender emotion with his wife and children, but isn't afraid to remind them who is boss when he has his fits of anger. His character speaks most of the film's dialogue, which assists in highlighting the power that the father holds over the family.
Jessica Chastain is the loving and compassionate mother that anyone would be fortunate to have. Chastain's character understands the situation that her sons are in, and suffers along with them. She is a wife that obeys her husband and his ways, but isn't afraid to let her children run wild and have fun as their father is away on a business trip. Letting her sons have those experiences and explorations is important to her, and is what any mother would want for her young ones.
Although Chastain and other characters aren't given much to say, that doesn't mean that we don't know what's going on in their heads. The mother expertly conveys the feelings she has when showing a look of adoration or disappointment in her children. The younger Jack and his brothers go through their boyhood with laughs and cries, expressing their thoughts with minimal use of actual words. Sean Penn, as the older Jack, has piercing anguish in his eyes as he attempts to decipher the reasons for his being. Penn doesn't appear in the film too often; but the story let's us spend enough time with his younger self, and therefore, we already know a lot about him in the few scenes with his older self.
The screenplay, also by Malick, doesn't just concern the family. Using richly beautiful images, it details the creation and end of life, and covers much ground from the untamed nature to the infinite cosmos. All of this makes the meaning of the movie so much stronger and mysterious, and shows that we are a part of something a lot bigger than ourselves. It helps that it's accompanied with a triumphant score by film composer Alexandre Desplat. The sequence that plays out the beginning of life is quite lengthy; and while it's remarkable to watch, it sometimes implicates that it's trying to be this generation's version of Stanley Kubrick's 2001: A Space Odyssey, which itself had a portion that was dedicated to the B.C. era of time.
Malick took a risk in crafting a narrative that's very different from what we've seen in the past few years. It's an experience that will be enlightening for some, baffling for others, or a little bit of both for some people. The film presents a worthwhile challenge to the audience, having them piece the story together in order to try to make as much sense of it as they can. No matter how you interpret the story, there will still be something mystifying about it, just like life itself.
Final grade: A-
Mr. O'Brien (Brad Pitt) is a father who rules his family with an iron fist in a 1950s Midwestern household. His main priority is to teach his three sons that they need to be tough in order to get ahead in the world, while their mother (Jessica Chastain) wants them to go through life appreciating the beauty that's around them. Their older son Jack (Hunter McCracken) begins to rebel against his father, wanting to live the way that he prefers, instead of always doing what his father wishes. This all leads to Jack on a course to question and find the purpose for his existence. The story jumps back and forth from this time period to the present day where an older Jack (Sean Penn) is still trying to come to terms with his life.
Brad Pitt gives a performance of domineering force. He displays a different side of himself in this role that I don't ever recall seeing before. His character is hateful through much of the film, and yet, we understand that he wants the best for his sons, even if it means pushing his Darwinian survival-of-the-fittest methods on them. He is a parent and a life coach. As a father, he shows signs of love and tough love. Pitt has moments of tender emotion with his wife and children, but isn't afraid to remind them who is boss when he has his fits of anger. His character speaks most of the film's dialogue, which assists in highlighting the power that the father holds over the family.
Jessica Chastain is the loving and compassionate mother that anyone would be fortunate to have. Chastain's character understands the situation that her sons are in, and suffers along with them. She is a wife that obeys her husband and his ways, but isn't afraid to let her children run wild and have fun as their father is away on a business trip. Letting her sons have those experiences and explorations is important to her, and is what any mother would want for her young ones.
Although Chastain and other characters aren't given much to say, that doesn't mean that we don't know what's going on in their heads. The mother expertly conveys the feelings she has when showing a look of adoration or disappointment in her children. The younger Jack and his brothers go through their boyhood with laughs and cries, expressing their thoughts with minimal use of actual words. Sean Penn, as the older Jack, has piercing anguish in his eyes as he attempts to decipher the reasons for his being. Penn doesn't appear in the film too often; but the story let's us spend enough time with his younger self, and therefore, we already know a lot about him in the few scenes with his older self.
The screenplay, also by Malick, doesn't just concern the family. Using richly beautiful images, it details the creation and end of life, and covers much ground from the untamed nature to the infinite cosmos. All of this makes the meaning of the movie so much stronger and mysterious, and shows that we are a part of something a lot bigger than ourselves. It helps that it's accompanied with a triumphant score by film composer Alexandre Desplat. The sequence that plays out the beginning of life is quite lengthy; and while it's remarkable to watch, it sometimes implicates that it's trying to be this generation's version of Stanley Kubrick's 2001: A Space Odyssey, which itself had a portion that was dedicated to the B.C. era of time.
Malick took a risk in crafting a narrative that's very different from what we've seen in the past few years. It's an experience that will be enlightening for some, baffling for others, or a little bit of both for some people. The film presents a worthwhile challenge to the audience, having them piece the story together in order to try to make as much sense of it as they can. No matter how you interpret the story, there will still be something mystifying about it, just like life itself.
Final grade: A-
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