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.