Weekly Review -- Creeping up...

The Unborn (2009) -- There will never be a time when audiences grow tired of films involving the occult. Ghosts, demons and other apparitions, mixed in with a little paranoia and disbelief, can turn a movie into a suspense goldmine of subjects that captivate the imagination. David S. Goyer's The Unborn does deliver in terms of scares; however, it falls flat in terms of detail and, occasionally, logic. Strange things are happening to student Casey Beldon (Odette Yustman). She is having nightmares about dead infants and a mysterious little boy who seems to be following her, she is seeing things that should not exist and, to top it off, her eyes are eerily changing color. Through research and consultations with a Holocaust survivor (Jane Alexander), Casey comes to understand that a curse has been haunting her family for decades and seeks out a rabbi's (Gary Oldman) assistance. If she does not beat the curse, she dies, but how does one stop the unimaginable? Having seen the previews, I figured that any movie starring Gary Oldman and two of the "Dexter" cast cannot be bad. Well, it is not, but it does not the top of the genre pile make, either. For starters, I both liked and disliked the Holocaust element. The evil committed during this period represents one of the most shocking examples of human depravity and, on a philosophical level, it is clear why this tragedy is plausible as a cause for cosmic revenge. However, therein lies the problem. This event does not need to serve as a supportive device in a fictional narrative, when its historical significance is undeniable. It does not stem from the realm of the paranormal; it is real life and fear itself that does not need to be blended into a cinematic haunting, since it is haunting enough. This part of the screenplay reminded me of the unnecessary September 11 references in Final Destination 3, although The Unborn does put its history into a comprehensible context. Still... I digress. Some parts of the movie make no sense. For example, where is Casey's father during the ordeal? One would think that a parent would kind of, sort of, maybe like to be informed if their child was possessed and getting an exorcism. Just maybe. Also, the family that Casey babysat for do not prompt an investigation into a death that occurs only a few days after she had been in their house, nor do they look into the strange behavior of their older child. These plot lines could have been explored further, possibly contributing to the screenplay, which is not a complex one. The writing becomes pretty repetitive after the first 45 minutes, focusing mostly on Casey's terror instead of using the interesting concept to delve into its themes without reservations. I loved the ending, which I thought was one of the strongest parts of the film, making us question many of the events that previously took place. As far as acting goes, I have yet to see Oldman give a bad performance, and The Unborn is no different. His subtle portrayal of the conflicted rabbi makes me wish that the movie was richer. Yustman is convincing as the bewilderingly tortured Casey, while Idris Elba has a nice turn as a helpful Catholic priest. The locations, from mansions to asylums to cathedrals, are appropriate for the creepy proceedings -- showing but not revealing, open yet secretive, always a few steps beyond the approachable. This movie is a fright fest that guarantees plenty of jumps; what it does not guarantee, unfortunately, is a layered story that analyzes its intriguing topic to the core.

6/10

Summer Review #1 -- Terminator Salvation

One of the most anticipated movies of the year, the latest installment in the Terminator franchise explores the very future that the entire saga stems from. It takes us to the world that the past films have only alluded to -- the actual war between humans and Skynet, the malevolent computer system that caused a nuclear holocaust a little over a decade earlier. It also takes us to John Connor ascending the ranks on the way to his prophecized role as leader of the resistance, allowing us to find out just what kind of soldier he has turned out to be. The upside of the movie are its action and depictions of Skynet; however, too much action and too many depictions of Skynet also represent the downside, coming at the cost of the story and character development much too often.

John Connor (Christian Bale) is not the first character we encounter; rather, it is Marcus Wright (Sam Worthington) who, after having been on death row, wakes up in an obliterated California years later and starts piecing back his fragmented memories, meeting jaded young warrior Kyle Reese (Anton Yelchin) along the way. In the meantime, Connor is mostly dealing with the post-nuclear society's political hierarchy, often clashing with hardliner General Ashdown (Michael Ironside) and his military comrades. Throughout it all, he has the unwavering support of his small faction of soldiers, including wife Kate (Bryce Dallas Howard), right hand man Barnes (Common) and pilot Blair Williams (Moon Bloodgood). After learning about Skynet's latest operations and about Ashdown's plan to destroy the system at the cost of human lives, Connor and his team decide to go against the orders, but they do not expect the upcoming turn of events...

I never would have pegged McG as the director to continue the franchise, and the film proves that he was unprepared for the task. The first half introduces the characters with a lot of potential. Of course, everyone wants to find out about the adult Connor; Wright is a mystery waiting to be unraveled; and Williams seems to have some secrets of her own. Unfortunately, the second half is mostly action-oriented, leaving humans in the dust. The effects are exciting -- explosions rock, planes clash, fires burn, Skynet machines are bigger and meaner -- but they are nothing we have not seen before. The first two Terminator movies were impeccable in striking just the right balance between charting human relationships and fusing them with innovative action. The latest one seems lost in its gleeful desire to show off cool toys, rather than a well written and directed movie.

Contrary to the choice of director, I thought that casting Bale as Connor was the perfect decision. Bale possesses a quiet-yet-commanding quality that we could already sense in Terminator 2's Connor and which we have seen in the actor's numerous startling performances, starting with Empire of the Sun and ending with The Dark Knight. Still, the lightweight screenplay relegates Connor to secondary player, mostly due to the unexplored connection between the way he sees himself and the way his team members regard him; indeed, the most emotional scenes are the ones in which a despondent Connor listens to his mother's fading voice on a derelict tape recorder. It is Wright who manages to overshadow Connor in the heroism department and it is Worthington who manages to outact Bale. He displays endearing roughness as Wright, a character whose desperation at redeeming himself turns him inadvertently into something that his worst nightmares could not have conjured up. Yelchin's Reese is a picture of honour and survival instinct; we can see why he is the one chosen by Connor to go back in time and save his mother's life. The supporting cast are not given much to do, although Bloodgood commands quiet intensity as Williams and Jane Alexander is gracefully authoritative as head of a ragtag group of scavengers.

Terminator Salvation is a noble attempt to continue the saga and a pretty competent action movie in its own right. Regrettably, its enthusiasm is mostly focused on its visuals, losing sight of the mythology that precedes them.

6/10

Weekly Review -- Fragments of a mind torn asunder

November (2004) -- Playing out like a noirish, rainy night version of Run Lola Run, this drama is as much a study of a wounded psyche as it is a suspenseful mystery. After her boyfriend Hugh (James LeGros) is murdered in a convenience store robbery, photographer Sophie Jacobs' (Courteney Cox) world starts to unravel, as she finds herself unable to distinguish fantasy from reality. Her memory hazy from the trauma, Sophie is fragile enough without having to hear strange noises and see photographs from the crime scene that start popping up everywhere. She starts her own investigation, but is she prepared for the outcome? I am happy to say that Cox is as far from Scream and "Friends" as she can get, delving into some very dark places in order to palpably demonstrate Sophie's confusion. She possesses an everywoman quality that makes her relatable, yet it is precisely this aura of quiet predictability and routine that creates uneasiness in the already unstable context of the enigma, making the performance stand out. Anne Archer and Nora Dunn have clever supporting turns as Sophie's mother and psychiatrist, respectively. Stylistically, the film borrows a lot of Lynchian elements, particularly with its medley of disjointedly muted sound arrangements and screaming intermezzo images, coming at us straight from humanity's deepest recesses. I should also mention Nancy Schreiber's somber cinematography, a stark reminder of the film's politics of loss. The only major gripe I have about November is that it occasionally gets lost in its own artfulness, while overdosing on the same. I also wish that the story's human relationships had been explored more, an aspect that could have added more depth to the puzzle; the affair, for example, was a very nice touch, but a rather neutral one, neither bringing nor taking away from the central incident. For its few weaker details, this is a calm and composed movie, with a couple of crescendos thrown in for good measure. If you would like to experience a moody mirage that keeps the viewer on the proverbial edge of the seat, see Greg Harrison's November.

7/10

Weekly Review -- Nothing to lose

Taken (2009) -- A sleeper hit that first thrilled the audiences in February, this Luc Besson-produced actioner gives us rough-and-tumble dynamics from start to finish. Ex-CIA operative Bryan Mills (Liam Neeson) is trying to remedy his relationship with daughter Kim (Maggie Grace), all the while dodging his angrily acerbic ex-wife Lenore (Famke Janssen), both of whom he had neglected far too long for the cause of the service. When Kim and Lenore announce Kim's intention to travel with a friend to Paris for the summer, Bryan's alarm goes off, as he unsuccessfully tries to get them to reconsider. His instinct proves to be right, as both Kim and her friend are kidnapped practically as soon as they utter "bonjour", and sold into the black hole of human trafficking. Knowing that every second is critical, Bryan travels to Paris, slowly and surely following a trail that will lead him to the most unscrupulous of villains... I have never imagined Neeson as an action hero but, after this movie, I am surprised that no one saw him in this kind of role earlier. His Bryan Mills is not only a force to be reckoned with, he is a hurricane you should run away from, and fast. The man could easily take on Jason Bourne and Jack Bauer at once and come out without a scratch. Janssen is convincingly hostile as Lenore, while Leland Orser is reliable as one of Bryan's old colleagues and Xander Berkeley appealingly sleazy as Lenore's wealthy husband. The only weak link in the cast is Grace, whose occasionally over-the-top performance does not sync up with the rest of the cast's measured intensity. The chase and fight sequences are flashy and, as in all other action movies produced by Besson, fast and briskly edited, their effect emphasized in great part by the beautiful Paris architecture. The criminal underworld is a soul-destroying hell on earth; the auction scene was not the only one that gave me shivers. Yes, some of the narrative's twists are much too convenient at times -- for example, Bryan manages to infiltrate every circle, while none of the vultures he is hunting down spend time questioning who he is -- but this is part of the story's straightforward purpose, which is having ultimate justice dealt to some of the most depraved subhumans in the world. On a different note, I am glad that a mainstream movie was finally made to publicize a very real problem, one that has taken roots in most corners of the planet. It may not have been the filmmakers' intention, but it is one of the many reasons to see Taken, besides its terrific suspense value. For an exciting film with the best of the good guys and the worst of the bad guys, see Taken.

8/10

Absence

Lest I should come off as a -- gasp! -- casual blogger, I thought I would drop a line tonight and explain my prolonged absence in as few details as possible.

There were some issues I have been dealing with for the past two months, so updating the blog was far from a priority. Not surprisingly, I did not even watch that many movies during this time and could not dedicate my will nor my concentration to this web endeavor. The situation is better now, though; I feel that I can return to my cinematic musings and reel-to-reel thoughts and am looking forward to it.

Thank you for your time and patience.

Copyright matters and common sense

First of all, I would like to wish everyone a happy Easter! I hope everyone is having a relaxing weekend.

Secondly, there is a topic that has been weighing on my mind for a while, and I wanted to start a conversation about it here.

Many readers will notice that I have never put a copyright notice on my blog.

The reason for this omission is simple -- savvy as I (likely) am with all things cinema and writing, I have no clue about HTML or templates or any similar behind-the-scenes stuff. I have never learned how do do this, simply because I would not hesitate in issuing a warning if I recognized some of my writing on another site, and the people who take without requesting might not necessarily be stopped by a prompt. So far, I have been counting on simple human decency and fairness, as well as common sense in knowing and respecting the fact that stealing and reproducing any material without the owner's permission is wrong.

However, all of the above is beside the point. I know that I need to put this notice on my site, and I need to learn how to do it. Therefore, I am inviting readers to provide advice and knowledge, which I would truly appreciate. My writing needs protection and my blog needs you, so come on down! Thank you!

Weekly Review -- Romance crescendo

Nick and Norah's Infinite Playlist (2008) -- With many romantic comedies being a dime a dozen, here comes Nick and Norah's Infinite Playlist, a film that is just as vividly honest as its dialogues are crisp and characters relatable. Heartbroken Nick (Michael Cera) keeps making lovingly obsessive CD mixes for his shallow ex Tris (Alexis Dziena). All the while, Tris is routinely chucking the disks into the nearest garbage bin, but a girl named Norah (Kat Dennings) is routinely picking them up, the songs collected winning her heart one by one. Incidentally, she meets Nick one night, and the two embark on a music-filled odyssey through New York's nighttime. Contrary to many recent contrived romcoms, this movie has a huge heart, which it keeps sharing with the audience. Cera's lovable nerd persona serves him well in the role of smitten Nick, while Dennings is a vision of enchanting vulnerability, capped by an edgy facade throughout the proceedings. The charm of the movie lies in its details, those tiny quirks and unexpected pleasures that make the characters human and their actions understandable, as well as occasionally clumsy. It does not try to present its coming-of-age characters as perfect, since it is aware that life is never such; rather, it regards the characters and their timely dilemmas with genuine respect, always laughing with and never at them. The music and the city that never sleeps are the two entities essential to this melodic affair, providing the perfect background for the unconventional fairytale. From its endearing look at New York's alternative music scene to its observant look at romance, from its lively writing to its vibrant color palette, and from employing narrative devices from handwipes -- oh, yes, you read it correctly -- to iPods, this playlist is sweet music to the ears.

8/10