So Long 2010!

Here's a nice "2010 in Film" video. Kudos to Kees van Dijkhuizen for making this little beauty!

Hope Ya'll have enjoyed Cinema Soup in 2010. I'll see you in 2011!

Capsule Reviews

"Winter's Bone" follows a young heroine Ree, as she is forced to find her father, a meth addict who has abandoned the family and issued their house up for his bail bond. Therefore, if he does not show up for his court date, Ree - along with her ill mother and two younger siblings - loses the house. The film, directed by Debra Granik, is conveyed with great naturalism. From the performances to the set decorations, nothing in the film feels inauthentic. Granik and company not only masterfully develop the film's setting, but also give the film a distinct atmosphere. Through its expert attention to detail, "Winter's Bone" instills its audience with chilly feelings of dread and despair. That is not to say the film's all gloomy. The film's single ray of hope comes from its protagonist. Although it's clear that Ree wishes she could return to being a child, she accepts her responsibility to care for her younger siblings and track down her father, and she does so with great conviction and tenacity. Actress Jennifer Lawrence excels in conveying Ree's steely resolve, as well her heartbreaking vulnerability. Her performance, along with Granik's superb direction, makes "Winter's Bone" a chilling portrait of despair and the perseverance that ultimately springs from it.


In "The Fighter," director David O. Russell (I Heart Huckabees) fights to turn a conventional script into a complex portrait of a boxer and his dysfunctional family. Unfortunately, he does not entirely succeed. The film follows boxer Mikey Ward (Mark Wahlberg) as he struggles to make a name for himself due to the reckless behavior of his crack addict brother, Dicky Eclund (Christian Bale), and the authoritarian control of his mother (Melissa Leo). As a director, Russell seems more interested in familial politics than boxing. Unfortunately, the film's script contains the narrative of a conventional underdog sports story. While Russell tries his best to make "The Fighter" unique, he ultimately fails in giving the film a cohesive tone. Some scenes feel like a gritty family drama. Others feel like a paint-by-numbers sports film. And some even take on a farcical tone. While a few individual scenes make an impact, and the film's ensemble hosts several great performances, the film ultimately fails to work as a whole. The film also suffers in its final act. While the film manages to create a riveting conflict between Micky and the destructive members of his family, it never really resolves the family's conflict in a meaningful way. Instead, the characters cheer away their problems by rooting for Micky in a pivotal match. While this may make for a moving ending to "The Fighter," it's also a simplistic one, especially considering the complex familial politics Russell explores in the film's first two-thirds. Unfortunately, these inconsistencies prevent "The Fighter" from being a great film. While the film is certainly entertaining, it's disappointing that Russel and company did not shoot for something greater.

"The King's Speech" Review

As the saying goes, "Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure." While this powerful quote may sound trite from overuse, it undoubtedly applies to King George VI, the subject of Tom Hooper's "The King's Speech."

The film follows George VI (Colin Firth), as he makes the transition from Duke of York to King of England. While George has many qualities of a great king, he suffers from an unfortunate stammer, which prevents him from speaking publicly. To help George overcome his speech impediment, his wife (Helena Bonham Carter) enlists the aid of Lionel Logue (Geoffrey Rush), a speech specialist with a few unorthodox methods. With Logue, George wrestles with his stammer, as he is expected to deliver a speech to the nation on the impending war with Germany.

While "The King's Speech" certainly makes for an inspiring film, it's also a dull one. The film gains some momentum in its last act, but unfortunately most of the film feels sluggish and overly drab. While Mr. Hooper adds some levity to the film, it is not enough to make up for the film's otherwise somber tone.

Still, the film succeeds due to its impressive performances. Colin Firth successfully conveys George's complicated emotions. While George definitely shows a lack of self-confidence, he occasionally displays great arrogance - a sign that he is perhaps masking his true feelings. George VI has the potential to be a great king. He just does not realize it.

Firth is backed by a strong ensemble of British actors. While great thesps like Michael Gambon and Timothy Spall are given little to do, Geoffrey Rush and Helena Bonham Carter give solid performances as George's two main supporters - his speech therapist and his wife.

Still, the film's actors can only do so much to bolster the film's predictable plot and dull direction. The film, much like King George, does not realize its power until the film's last few scenes. While these scenes deliver a powerful message of perseverance and self-confidence, the rest of the film remains adequate at best.

"Black Swan" Review

In Black Swan, director Darren Aronofsky (The Wrestler, The Fountain) creates a wonderfully haunting film that truly captures the mindset of a performer. The film follows Nina Sayers (Natalie Portman), a young ballerina, as she lands the lead in her company’s production of “Swan Lake.” Upon accepting the role, she begins to feel enormous pressure from not only the company’s pretentious director (Vincent Cassel), but also her mother (Barbara Hershey), a former ballerina who retired upon becoming pregnant with Nina. Wracked by the mounting pressure, Nina mentally unravels as the show’s opening night draws near.

The film, shot entirely from the perspective of Nina, truly taps into the psychology of its lead character. As Nina loses grip on reality, Aronofsky mirrors her addled state of mind through the film’s visuals. These visuals not only reflect the state of mind of the main character, but also symbolically comment on the plight of an artist. When Nina takes on a role, she feels an intense amount of scrutiny from her director, her mother, and the other actors in the production. To symbolically comment on the idea of being judged, Aronofsky uses mirrors as a visual motif.

The film also hosts an ensemble of great performances. Natalie Portman truly shines as Nina. Emphasizing her character’s naïve shyness and obsessive perfectionism, Portman shows the progression of both her character’s insanity and maturity. By the time the film reaches its last act, Portman completely lets loose and delivers what is perhaps one of the most audacious, confident performances of the year. Barbara Hershey also stands out as Erica, Nina’s oppressive mother. Hershey imbues Erica with an overly protective sweetness, a sweetness entangled with resentment. Mila Kunis, Winona Ryder, and Vincent Cassel all add great detail as the other characters that haunt Nina’s life.

But what truly distinguishes Black Swan as one of the year’s best films is the bold vision of Darren Aronofsky. Creating dozens upon dozens of visual metaphors (some with multiple meanings), Aronofsky layers his film with ideas, symbols, and emotions, all while delivering a superb thriller laced with suspense and atmosphere. Instead of thrilling the audience from the start, Aronofsky slowly builds suspense by luring the audience into a state of unease. While everything feels “normal” in the film’s opening few sequences, Aronofsky adds a few eerie details to convey Nina’s psychological instability. As the film progresses, Aronofsky, conveying Nina’s mental and emotional unraveling, builds upon and exaggerates his style until the film climaxes in a visually stunning, emotionally tense final act.


Aiding Aronofsky’s impeccable atmosphere is Clint Mansell’s score, a haunting take on Tchaikovsky’s Swan Lake mixed with eerie modern overtones. The score, much like the film, grows more intense as the film progresses. The film also boasts some gorgeous camera work from cinematographer Matthew Libatique. In filming the ballet sequences, Libatique captures the feeling of the ballet by moving the camera with the dancers. Not as concerned with the individual ballet moves, Aronofsky and Libatique are more interested in conveying the feeling of ballet than focusing on each precise movement.

While Aronofsky and crew display great talent and ambition, they do not shy away from the film’s genre elements. Intead, Aronofsky fully embraces the idea that he’s making a horror film. While some critics may disapprove of the film’s genre elements, Aronofsky infuses all of the film’s thrills with thematic meaning. With this unique, often exaggerated, visual language, Black Swan truly captures the mind of a performer. Through Nina, the film shows how one can only break free from self-doubt by completely letting go of oneself and creating art. Thus, while the film may come off a tad too ridiculous at times, the fact that Aronofsky is willing to make risky stylistic choices shows that he, like Nina, is willing to let loose to create something truly memorable – an utterly unique and completely mesmerizing work of art.