Mini Reviews (or Many Reviews)

Yikes! I haven't updated this blog in months. Time to play catch up.

"Submarine"
Touching "coming of age" story that wows with both its wicked sense of humor and unexpected emotional resonance.

"Super 8"
Entertaining throwback to the Spielbergian blockbuster. Sentimental in all the right ways. Although one wishes the filmmakers would have chose not to visualize some of the film's more mysterious plot points.


"Midnight in Paris"
Clips by at a light, breezy pace without saying anything all that insightful. Underwhelming.

"Harry Potter and the Deathly Hallows: Part 2"
Powerful finale to the "Potter" film series. Wrings emotion out of its epic battle scenes, while also allowing time for some more intimate moments. Stunning visual effects that make for great visual spectacle, while also serving the emotion of the story. Stellar acting from Fiennes, Radcliffe, and Rickman.


"Beginners"
Touching portrayal of a father-son relationship. Handles each of its characters with great warmth and subtlety. Thankfully ditches most of its "indie" cliches by film's second act. Impressive performance from Ewan McGregor.


"Crazy Stupid Love"
Starts off as a bland, but serviceable, romantic comedy, but quickly succumbs to many of the genre's worst cliches. Overstays its welcome by nearly twenty minutes. The film's impressive ensemble somehow manage to stay afloat. Lacks emotional honesty and genuine wit. Should be re-titled "Stupid Stupid Stupid."

"Source Code"
An entertaining, thought-provoking thriller with solid acting, but an unfortunately weak ending. Film's final reveal left this reviewer feeling cheated.

The Tree of Life

EPIC.

Grace. Nature. Perseverance. Beauty. Grief. Light. Darkness. Dinosaurs.

In other words, I'm not even going to attempt to fully analyze this film until I catch it a second time. That being said, it is well worth your time and your money.

"Bridesmaids" Review

"Bridesmaids," which follows Kristen Wiig as down-on-her-luck Annie, as she prepares for the wedding of her best friend Lillian (Maya Rudolph), beautifully mixes physical comedy, witty dialogue and genuine poignancy without feeling forced or unfocused. It is the rare "human" comedy that elicits laughter, while also conveying some greater meaning about human relationships.

The film, written by Wiig and co-screenwriter Annie Mumollo, focuses primarily on the rivalry between Wiig's Annie and Rose Byrne's Helen, one of the other bridesmaids who Annie perceives as a threat to her friendship with Lillian. Adding to the film's humor are the other three bridesmaids: the sugary sweet Becca (Ellie Kemper), the disillusioned mother Rita (Wendi McLendon-Covey), and the butch, eccentric Megan (Melissa McCarthy). This ensemble of strong female comedians are at the top of their game with each one nailing their respective punchlines.

Wiig, in particular, makes quite an impression. She not only shows off both her expert comic timing, but also display sher dramatic acting chops. This versatility allows Wiig to shift effortlessly between comedy and drama, as she create a vivid characterization of a woman who has not only lost the will to fight for herself, but has also lost sight of her own value, both as a friend and as a woman. While Annie cannot provide for Lillian in the same way Helen does, that does not make her any less of a friend - a truth that Annie finally accepts by the film's third act. Annie also realizes her worth in regards to her relationships. Instead of letting the smarmy Ted (Jon Hamm) use her, she chooses a man (Chris O'Dowd) that respects and values her.

It is this attention to emotional detail that makes "Bridesmaids" such a breath of fresh air. Instead of simply stringing together a collection of crass jokes, Wiig and director Paul Feig effortlessly marry gut-busting laughter with emotional poignancy to create what is easily the best comedy of the year thus far.

One-Liners

Dearest Readers,

I am sorry for my lengthy hiatus. I have been busy with school, theater, and other madness, but I should be back for good, now that summer has arrived. I promise to write a full review soon, but, for now, I will leave you with a few pithy one-line reviews of some recent films.

"Hanna"
A loopy genre pic with some fun action sequences. Lacks depth.

"The Conspirator"
Interesting historical thriller featuring a stand-out performance from Robin Wright. Last act fails to pack the expected emotional punch.

"Thor"
Average superhero pic marred by weak dialogue and tonal inconsistencies. Poor Natalie Portman.

"Meek's Cutoff".
A slow-moving, atmospheric western with a feminist twist. Expert pacing. Great performances all around. But perhaps a little dry.

Paul Eyre

"Paul" (d. Greg Motolla)

• Story follows two sci-fi geeks (Simon Pegg and Nick Frost), as they make a road trip across America only to find themselves greeted by a talking, fugitive alien (Seth Rogen).
  
• Gets off to a slow start with much of its humor revolving around pop culture references that only hardcore geeks will pick up on.
  
• Hilarious ensemble of great character actors, but the script rarely gives them anything to work with. While Bill Hader and Joe Lo Truglio milk laughs as two bumbling FBI agents, the usually hysterical Kristen Wiig just seems miscast as a fundamentalist Christian who falls for Simon Pegg's character. Other great character actors, like Jason Bateman and Sigourney Weaver, are wasted in smaller roles.
• The film musters up some momentum in its second act by amplifying its more zany qualities, only to lose that momentum once the film reaches its sappy, overlong resolution.
• While the film remains superior to most of the bland, commercial comedies that populate the multiplexes, it's disappointing that the final product was not more entertaining, especially considering the talent involved.

"Jane Eyre" (d. Cary Fukunaga)

• Impressively atmospheric adaption of the 19th century coming-of-age story by Charlotte Bronte.
• The film follows young orphan Jane Eyre (Mia Wasikowska) as she moves from a strict boarding school to the mansion of Edward Rochester (Michael Fassbender).
• Brilliantly illustrates Jane Eyre's struggle between independence and companionship as she confronts her affection for Mr. Rochester, as well as her want to break free from the bonds which society places her in, due to both her circumstances and her gender. Wasikowska subtly taps into Jane's psyche as she struggles with these two desires. Fassbender also shines as a man yearning for a deeper relationship, whilst also feeling trapped due to his circumstances.
• The film's dark cinematography wonderfully accentuates the film's mood and makes the audience more keenly aware of the feelings of confinement which plague the film's characters.
• Deliberately slow pace adds to the film's atmosphere, but perhaps makes the film harder to connect to on an emotional level. Still, a faster pace would have killed the chilling, almost eerie, mood which makes the film so unique.
• Overall, a fascinating, hauting coming-of-age story with top-notch performances and production values.

"Digimon: The Movie" Review

"Digimon: The Movie," based off the landmark Japanese television series of the same name, quite brilliantly explores the ideas of community and friendship. While the hoi polloi prefer such trash like "Pokemon: The First Movie" and "Pokemon: Mewtwo Returns," neither film holds a candle to the level of quirk and irony found in "Digimon: The Movie."

The film is split into three marvelous acts. The first act follows Tai and Kari, two young Japanese hipsters, as they come across a Digimon, a digital creature with the power to evolve into larger digital creature. After this discovery, the film flashes forward 4 years later and it's almost like you're watching a completely different movie! At this point, the story follows Tai and the gang as an evil mutant Digimon takes over the internet. And just when you think the film's going to end, it flashes forward to the present day with completely different characters trying to defeat the evil Kokomon once and for all. While some totally lame people would find this three act structure disjointed and off-putting, it added to this reviewer's ironic enjoyment of the film.

And let's not forget the stellar soundtrack! With such classic jams like "All Star"by Smash Mouth and "One Week" by the Barenaked Ladies, the film's soundtrack's only adds to the film's hipness. While lesser people may find the songs catchy and enjoyable, they won't pick up on the satiric irony inherent to their placement in the film. In fact, the unwashed masses might enjoy the film as a whole, but they will never have the intellectual prowess to decipher the film's weighty subtext.

But, at its heart, "Digimon: The Movie" truly examines what it's like to be human. It asks us many important questions. Who does one turn to in times of great need? Can community help us overcome great obstacles? And, perhaps most importantly, is this film obscure enough to add to my DVD collection?

[This review is dedicated to Seamus Hamilton, King of the Hipsters]

"Rango" Review

Overflowing with verbal humor and visual wackiness, "Rango," a new animated film from director Gore Verbinski ("Pirate of the Caribbean"), snaps along at a quick pace with its off-the-wall humor, frenzied action sequences, and emotional warmth. The film follows Rango - a lonely domestic lizard - as he ventures into the desert to live amongst other desert animals. In order to fit in with his fellow animals, Rango (voiced by Johnny Depp) pretends to be a tough-as-nails gunslinger. While Rango's ruse proves amusing for him at first, the animals naively buy in to his tall tale and elect him town sheriff. As Rango takes on his sheriff duties, which include solving the town's water shortage and chasing off a mean hawk, he slowly breaks free from his isolation and finds purpose in serving a warm, appreciative community of fellow desert animals. "Rango" very eloquently illustrates this idea of community, without resorting to sappy dialogue or overwrought sentimentality. Instead, the film creates a rag tag group of zany characters that win the audience's affection and lend the film a stronger emotional connection. However, what truly makes the film original is its loony sense of humor. From witty wordplay to hysterical sight gags, "Rango" displays nearly impeccable comic timing. In short, it makes for one heck of a good time at the movies. (And, yes, I did just end this short review with a cliche).

Academy Award Predictions

Best Picture: "The King's Speech"
Best Director: David Fincher - "The Social Network"
Best Actor: Colin Firth - "The King's Speech"
Best Actress: Natalie Portman - "Black Swan"
Best Supporting Actor: Christian Bale - "The Fighter"
Best Supporting Actress: Melissa Leo - "The Fighter"
Best Original Screenplay: "The King's Speech"
Best Adapted Screenplay: "The Social Network"
Best Art Direction: "Inception"
Best Cinematography: "True Grit"
Best Costume Design: "The King's Speech"
Best Film Editing: "The Social Network"
Best Makeup: "The Wolfman"
Best Original Score: "The Social Network"
Best Song: "Toy Story 3"
Best Sound Editing: "Inception"
Best Sound Mixing: "Inception"
Best Visual Effects: "Inception"
Best Animated Film: "Toy Story 3"
Best Foreign Language Film: "In A Better World"
Best Documentary: "Inside Job"
Best Documentary Short Subject: "Sun Come Up"
Best Animated Short: "Madagascar, a Journey Diary"
Best Live Action Short: "Na Wewe"

Best of 2010 (Part 2/2 - Soup Bowl Awards)

Since I see a good chunk of movies every year, I guess I'm allowed to have my own awards show. Unfortunately, there's no movie stars, no red carpet, and not golden statuettes. It's actually just text on a screen.

Well, now that I've successfully lowered everyone's expectations, here are the winners of the First Annual Soup Bowl Awards.

Best Film: Black Swan
Runner-Up: Somewhere

Best Director: Darren Aronofsky - "Black Swan"
Runner-Up: Sofia Coppola - "Somewhere"

Best Actor: Ryan Gosling - "Blue Valentine"
Runner-Up: Stephen Dorff

Best Actress: Nicole Kidman - "Rabbit Hole"
Runner-Up: TIE - Natalie Portman ("Black Swan") and Michelle Williams ("Blue Valentine")

Best Supporting Actor: Mark Ruffalo - "The Kids Are All Right"
Runner-Up: Christian Bale - "The Fighter"

Best Original Screenplay: "Please Give"
Runner-Up: "Blue Valentine"

Best Adapted Screenplay: "The Social Network:
Runner-Up: "Rabbit Hole"

Best Art Direction: "Black Swan"
Runner-Up: "True Grit"

Best Cinematography: "True Grit"
Runner-Up: "Black Swan"

Best Editing: "Scott Pilgrim vs. The World"
Runner-Up: "The Social Network"

Best Score: "The Social Network"
Runner-Up: "Inception"

Best of 2010 (Part 1/2 - Top Ten)

Without further ado, here are my Top Ten Favorite Films of 2010:

1. Black Swan (d. Darren Aronofsky)

A work of art that's just as brilliant (and insane) as its main character.


2. Somewhere (d. Sophia Coppola)

Quiet, moving story of an emotionally deadened movie star's relationship with his daughter.



3. Please Give (d. Nicole Holofcener)

A funny, complicated examination of generosity. Aided by smart, subtle performances.

4. Rabbit Hole (d. John Cameron Mitchell)

Effective, multi-layered portrait of grief. Anchored by Nicole Kidman's brilliant performance.

5. The Social Network (d. David Fincher)

A modern story of friendship and ambition. Fincher and Sorkin effectively put classical themes in a modern context.


6. Blue Valentine (d. Derek Cianfrance)

Realistic, bittersweet portrayal of a dying relationship. Extremely well-acted.

7. Another Year (d. Mike Leigh)

An unsentimental look at loneliness, age, and inadequacy. Manages to lighten its harsh blows with well-balanced humor.


8. The Kids Are All Right (d. Lisa Cholodenko)

Loving portrait of a modern family. Directed and acted with great warmth and sincerity.


9. Winter's Bone (d. Debra Granik)

Chilling thriller that makes superb use of its rural setting.

10. Scott Pilgrim vs. The World (d. Edgar Wright)

Super funny love story that brilliantly utilizes its video game aesthetics.

"Rabbit Hole" Review

Precisely written and expertly acted, "Rabbit Hole" plunges its audience into the grief-stricken minds of its main characters. Analyzing the various emotions tied with death and loss, it presents its audience with two characters who deal with their grief in two very different ways, while still feeling the same amount of sadness, guilt, and heartbreak.

When Becca (Nicole Kidman) and Howie (Aaron Eckhart) lose their only child in a tragic car accidents, their previously strong marriage starts to crumble. Instead of addressing her grief, Becca seeks to shut off her emotions, so she is not constantly reminded of her loss. In attempting to forget her son's existence, she tries to remove everything in the couple's house that carry memories of him. Contrastingly, Howie externalizes his grief. Not wanting to let go of the memories, he constantly watches old home movies of his son and goes to support groups in the hopes of finding sympathy from others. As the two attempt to work out their grief, they clash due to their opposing methods.

Directed with gentleness by John Cameron Mitchell, the film never feels overbearing or dishonest. Instead of amplifying the film's tragic narrative with overly sentimental music or manipulative imagery, Mitchell relies on the strength of David Lindsay-Abaire's screenplay, based on the Pulitzer-Prize winning play, to convey the story's emotionality.

The film also relies on its ensemble to convey the film's heavy emotions in moving, but honest, ways. While Aaron Eckhart does a good job at conveying Howie's external grief, Kidman easily outshines him as the emotionally isolated Becca. Through her performance, Kidman conveys the cold, often bitter, side-effects to her grief. While the audience certainly sympathizes with her character throughout, we also question her judgment when she lashes out at her grieving husband, caring mother, and reckless, but ultimately well-meaning, sister. That Kidman is willing to explore the darker, nastier side of her character proves that she is not only a great actress, but also a brave one. Her performance, along with the film's smart writing and precise, subtle direction, makes "Rabbit Hole" one of the best, and most moving films of 2010.

I Got the Blues

"Blue Valentine" is a brutally honest portrait of an emotionally complicated relationship. Its precise direction, paired with its exceptionally natural performances, makes for a superbly intellectual experience, as well as a moving one. The film charts the relationship of its two main characters, Dean and Cindy, from its sweet beginning of to its messy, ambiguous end. While following this relationship, director-writer Derek Cianfrance explores Dean's idealized view of romance and Cindy's loss of passion. Through Cinafrance's ideas, actors Ryan Gosling and Michelle Williams craft two shockingly authentic performances. Williams beautifully captures Cindy's both sides of her character - both her light tenderness, as well as her dark cynicism. Gosling wonderfully embodies Dean's reckless behavior, along with his eagerness to please. The audience can sense their heartbreak from simply reading the expressions on their faces. That "Blue Valentine" is willing to examine these characters in an honest, meaningful way makes it not only a painful story of failed romance, but also a superbly moving work of art.