A Few Notes on "Crazy Heart"

• "Crazy Heart" follows Bad Blake (Jeff Bridges) , a washed up country singer, as he tries to mend his life back together. Along the way, he meets a music journalist Jean Craddock (Maggie Gyllenhaal) and slowly falls for her southern charm. Jean is single parent and has a little boy who also enjoys Blake's company.


• Exceptional performances from both Jeff Bridges and Maggie Gyllenhaal. Bridges feels completely authentic in his character. A tremendous physical and emotional performance. His faces conveys such warmth and texture. Gyllenhaal emotes well and fully understands the maternal nature of her character. She is trying to protect her son, but she is also trying to protect herself.


• The film captures the South with reverence. Feels like one of the first "true" representations of southern life rid of any film cliches or caricatures.


• Narratively, the film feels unfocused. It cannot quite decide which story it wants to tell - Bad Blake's relationship with Jean, Blake reuniting with a fellow musician (Colin Farrell), or Blake's attempt to resurrect his own career.


• Consequently, the film's ending is rather unsatifying. Unfortunately, the filmmakers didn't have the guts to end on a downbeat. Instead, they opted for a neat, happier ending lacking in realism.


• B-

2009 Review Archive

"Sherlock Holmes" C
"Avatar" B
"Invictus" C
"Up in the Air" B+
"The Road" C
"Fantastic Mr. Fox" B+
"The Blind Side" C-
"Precious" B+
"Where the Wild Things Are" A
"An Education" B-
"A Serious Man" A-
"Whip It" B
"The Informant!" B
"Extract" C+
"Inglourious Basterds" A-
"Julie & Julia" B-
"Funny People" B+
"500 Days of Summer" B+
"The Hurt Locker" A-
"Harry Potter and the Half-Blood Prince" B
"Public Enemies" B -
"Transformers: Revenge of the Fallen" D
"The Proposal" D+
"Away We Go" B+
"Brothers Bloom" C+
"Up" B
"Terminator: Salvation" C
"Angels and Demons" C
"Star Trek" B+
"The Soloist" C+
"State of Play" B
"Gigantic" C-
"Adventureland" B
"Monster vs. Aliens" C-
"Duplicity" A-
"Coraline" B

Oscar Predictions - Box Office vs. Quality

As the 2009 awards season heats up, the Best Picture race seems foggy with a few films fighting it out to claim the big prize. Before this past Sunday’s Golden Globe ceremony, I believed Kathryn Bigelow’s war epic “The Hurt Locker” would nab the Best Picture prize at this year’s Academy Awards. Now, after James Cameron’s “Avatar” clinched both Best Director and Best Picture this past Sunday at the Golden Globes, the category has shifted into a two-horse race, “Avatar” vs. “The Hurt Locker” with Quentin Tarantino’s “Inglourious Basterds” remaining the only possible dark horse.

As for Jason Reitman’s “Up in the Air,” the comedy-drama’s buzz has diminished in the Best Picture category. Unfortunately for Reitman, the film peaked far too early as audience reactions failed to match the enthusiasm of many critics. And while “Up in the Air” received top marks from many critics, it never bested “The Hurt Locker” in terms of critical adulation. While “Up in the Air” won the top prize at the National Board of Review, it failed to clinch the Best Picture/Best Director awards with any other major awards group. The Los Angeles Film Critics, the New York Film Critics, the Broadcast Film Critics Association, and the National Society of Film Critics all awarded “The Hurt Locker” with Best Picture and Kathryn Bigelow with Best Director.

While “The Hurt Locker” has garnered the most critical acclaim, Cameron’s “Avatar” boasts a hefty box office total that could catapult the film to a Best Picture win, not unlike Cameron’s other previous juggernaut, “Titanic.” So, in a sense, the 2009 Best Picture race will pit Box Office against Quality – “Avatar” vs. “The Hurt Locker.” Many will disagree with that last statement. Many will moan that I’m a whiny elitist. But, alas, it is my opinion. While “Avatar” features some great action sequences and whiz-bang visual effects, it simply does not match Kathryn Bigelow’s expert mix of character and action in “The Hurt Locker.”

However, personal opinion aside, Best Picture is shaping up to be an exciting category at this year’s Oscars. Let’s hope the races remains suspenseful until the winner is announced at the Kodak Theater in March.

"THE HURT LOCKER" is finally available on DVD and Blu-Ray. Now is your chance to see the movie I have been raving about for months. I guarantee I will not shut up about it until every single one of you has seen it! Rent it! Netflix it! Buy it!

And if you've already seen it once, see it again! The film only improves with subsequent viewings. I recently gave the film a second viewing and it went up a few notches in my book. The problems I had with the character of Sanborn (Anthony Mackie) disappeared and the film's psychological complexities became even more clear. This one's a true winner folks!

The Top Ten Best Films of 2009 (Pt. 2 of 2)

1. “Where the Wild Things Are”




Moving, melancholic, and emotionally truthful, “Where the Wild Things Are” is the best film of 2009 and an instant classic. Capturing the highs and lows of childhood, Spike Jonze taps into an unshakable emotional truth that cannot be faked. Every frame of this film is marked with intense feeling and creative passion. Hats off to Jonze and co-screenwriter Dave Eggers for lengthening Maurice Sendak’s original story, while retaining the book’s simplicity. And while the film’s plot is simplistic, the emotions in the movie are complex, messy, and unflinchingly honest. Jonze has undoubtedly created true masterpiece. But, more importantly, he has created a film that means a lot to me. I will forever cherish this wonderful piece of personal filmmaking.






2. “The Hurt Locker”




A phenomenal mix of adrenaline-pumping action and believable, engaging characters, “The Hurt Locker,” Kathryn Bigelow’s Iraq War epic, is a triumphant directorial achievement. Bigelow, who directed cult classic “Point Break,” delivers an unbearably tense and devastatingly realistic picture, depicting the horrors of war without slapping on any explicitly stated political messages. Bigelow, working off a fantastic script by Mark Boal, merely shows the day-to-day life of three bomb tech soldiers. Orchestrating several superb action sequences, Bigelow not only rattles your nerves, but also engages your emotions through her sharp character focus. Bigelow also understands the geography of her sequences. In many supposed “war epics,” the action is so incoherent that the audience has no clue what the heck is going on. This is not the case in “The Hurt Locker.” Bigelow understands the immediacy of her action sequences and perfectly frames them to ensure the audience knows exactly what is going on. Thus, the film drips with intensity. This intense suspense, created by a seamless combination of action and character, makes “The Hurt Locker” proof of Kathryn Bigelow’s immense talent.





3. “Inglourious Basterds”



Filled with memorable characters and set pieces, Quentin Tarantino’s “Inglourious Basterds,” a film that defies any conventional genre description, works on several different levels. Whether viewed as a Jewish revenge fantasy, or a treatise on the persuasive power of cinema, Quentin Tarantino’s self-proclaimed masterpiece is the most unique film of the year. Boosted by meticulously crafted dialogue and excellent music choices, the film boasts several memorable sequences. From Hans Landa’s interrogation of the French milkman to Shoshanna preparing for her revenge to the tune of David Bowie’s “Cat People,” hardly a scene falls flat. The film also contains several great performances. Christoph Waltz perfectly embodies Hans Landa’s devilish charisma and malicious cleverness. Melanie Laurent captures Shoshanna’s anger and vulnerability with great subtlety. And Diane Kruger amps up Bridget von Hammersmark’s movie star persona, while still capturing the humanity of the character. But, of course, none of these performances would be praise-worthy if Tarantino had not crafted such interesting, layered characters. To conclude, “Inglourious Basterds” stands out as one of 2009’s greatest films from a truly original, insanely gifted, auteur.

4. “Duplicity”


Tony Gilroy’s “Duplicity,” a quick witted spy movie, delights with clever dialogue and suspenseful set pieces. Starring Julia Roberts and Clive Owen as two love-struck corporate spies, the film oozes with charm. While the film’s primary concern is the couple’s spy romance, it also cleverly pokes fun at the competitive nature of the corporate world. In the best opening credits sequence of the year, two corporate CEOs, played with cutting satire by Paul Giamatti and Tom Wilkinson, duke it out at an airplane tarmac. But, this is just one of many great sequences in “Duplicity,” all of which feature a fantastic original score from compose James Newton Howard. Smartly edited and superbly lit, “Duplicity” zips along with comic precision and cinematic pizzazz. Pure filmic fun!







5. “A Serious Man”


An impeccably crafted morality tale, “A Serious Man,” the latest from the great American directors Joel and Ethan Coen (“Fargo,” “No Country for Old Men”), entertains its audience with its deliciously dark humor, while simultaneously confounding them with its deep, often open-ended, themes. However, it is the film’s interpretative thematic queries that make it so fascinating. The film follows Larry Gopnik (Michael Stuhlbarg), a Jewish Physics professor, as his life spins out of control. His wife (Sari Lennick) leaves him for his patronizing colleague (Fred Melaned). His daughter is saving up money for a nose job. An unhappy physics student bribes him for a better grade. And his hillbilly neighbors are encroaching on his property line. All of these problems, ranging from trivial to tragic, make Larry question God’s presence in his life. Seeking answers to his run of bad luck, Larry just wants to know what it all means. By the end of the movie, audiences may be asking themselves the same question. This is not a bad thing. Interpretation and ambiguity, when used correctly, deepens and enriches film. The Coens always challenge their audiences with daring, original work, and “A Serious Man” is no exception.

The Top Ten Best Films of 2009 (Pt. 1 of 2)

6. “Funny People”
Judd Apatow’s “Funny People” is a seriously misunderstood film. Many have complained that the film is not all that funny. Those people, to put it bluntly, have missed the point. “Funny People,” which follows the lives of a group of stand up comedians, is not a comedy. Rather, it is a comedic drama about funny people. The film’s main character, George Simmons (Adam Sandler), is a lonely, self-centered, Hollywood comedian. When George is diagnosed with cancer, he tries to make changes in his life. Unfortunately, these changes are still rooted in George’s inherent selfish attitude. In fact, George does not make one selfless decision until the film’s final scene, and, even then, it’s baby steps. Through George’s predicament, director-writer Judd Apatow expertly filters his dark critique of Hollywood’s superficiality, as well as its viciously competitive nature. Thus, the film makes you look at your favorite comic superstars a little differently. Sure, on the surface, these people always appear light and funny, but, on the inside, they’re just as screwed up as the rest of us.

7. “500 Days of Summer”
“500 Days of Summer” is a true rarity – an original romantic comedy. In a genre plagued with tired storylines, cliché characters, and unfunny jokes, “500 Days of Summer” made me laugh, and that, in of itself, is a blessing. However, the movie also made me think – a feat very few films of this genre come anywhere close to doing. The story is simple, a romance gone wrong. Tom Hansen (Joseph Gordon-Levitt) falls in love with Summer Finn (Zooey Deschanel). The couple starts dating, but, as it turns out, Summer doesn’t like Tom all that much. Sure, it’s a simple premise, but the film digs much deeper than one might expect. Is Tom really in love with Summer, or is he in love with the idea of Summer, the cute girl who has good taste in music? The film answers this question with brutal honesty. Thankfully, this romantic comedy prefers ideas and emotion over sugar-coated frills.

8. “Precious”
Gutsy and ambitious, “Precious” tells the tale of Claireece “Precious” Jones (newcomer Gabby Sidibe), an overweight, African-American, impoverished teenage girl, pregnant for the second time by her father. While it may sound like misery overload, “Precious” is not all gloom and doom. Director Lee Daniels sprinkles the film with a few light moments that not only break the tension, but also make the film’s lengthy sequences of gritty realism more effective. Also adding to the film’s realism is Mo’Nique’s performance as Precious’ abusive mother, Mary Jones. The well-known comedienne manages to elicit both repulsion and sympathy through her characterization of a monstrous, although clearly damaged, individual. Her performance, as well as Sidibe’s, gives an added boost to an already passionate cinematic achievement.

9. “Away We Go”
A refreshingly light tale of self-discovery, Sam Mendes’ “Away We Go” follows parents-to-be, Burt and Verona, as they search for the ideal place to raise their child. Peppered with equal amounts of humor and drama, the film beautifully captures the couple’s anxiety as they seek the advice of others on their journey. Confronted by several different styles of parenting, Burt and Verona realize their own self-worth as a couple, and as parents. Thus, what they were searching for, both literally and figuratively, they found in themselves. Tinged with moments of zany humor and heartbreaking melancholy, “Away We Go” makes for a delightfully human comedy.

10. “Star Trek”
Fast-paced, frenzied fun, J.J. Abram’s reimagining of the classic sci-fi television series zips by with punchy action sequences and lovely character moments. Headlined by a cast of young faces, the film’s ensemble nails the classic charm of their respective characters, whether it be Zachary Quinto as the emotionally calculated Spock or Chris Pine as the cocky, Harrison Ford-esque, Captain Kirk. However, most importantly, after a few years of dumb, charmless summer entertainment, “Star Trek” made blockbusters fun again.

Honorable Mentions: “Up in the Air,” “Fantastic Mr. Fox”
A George Clooney twofer! Both are wonderfully original films with great characters and quick wits.