Summer Review #3 -- Prometheus

Cinematic rarities are surprises that make your head spin and that make your brain work itself to pleasant exhaustion. Rare is a gem that dares to ask existential questions and make the audience think long after seeing it. Such is the case with Prometheus, Ridley Scott's first science fiction offering in 30 years and a return to exciting, imaginative genre filmmaking. 

**THIS REVIEW CONTAINS SPOILERS**

After archaeologist Elizabeth Shaw (Noomi Rapace) discovers cave drawings that could represent the answer to humanity's inception, she receives funding for an investigative space expedition from the Weyland Corporation. On the Prometheus ship, Shaw joins a team that includes her colleague Charlie Holloway (Logan Marshall-Green), android assistant David (Michael Fassbender), corporate bigwig Meredith Vickers (Charlize Theron) and pilot Janek (Idris Elba). Once the ship lands on a planet that Shaw and Holloway had pinpointed as the planet of origin, the crew's discoveries threaten their relationships, sanity and their very lives... 

I have always loved films that entertain through the analytical lens of introspection and Prometheus is a prime example. Its contemplative nature and gorgeous visuals blend seamlessly with the story's sense of wonder, while its theories on mankind give the screenplay an edge that not many works possess. The only understandable kink in the chain is that the Alien mythology is so rich and its background so full of possibilities, it is infeasible to condense its beginnings within a philosophical context AND cram this entire origin story with its hypotheses into two hours. That is exactly what sequels are for and if any franchise requires them, it is this one. We cannot expect a black-and-white, open-and-shut single film set in the universe of no less than six entries; if anything, we expect a detailed start followed by a gradual concept evolution and get it in Prometheus. I hope for sequels and I hope Scott is on board, since each feature should have more potential for debate than the last.

The notions of life, death and religion are explored throughout, but not too much via actions or plot developments. Interestingly, they are examined through and interwoven into the prism of character relations. We see these reflections in Shaw and David's relationship, which seems to be at the core of the film's thought process. Even the principal character's first name gives us a clue to this dynamic and the twists in its arc. According to the Bible, Elizabeth means "consecrated to God". The archaeologist's attitude toward religion certainly justifies the significance, but it is also her role as the lead seeker AND human that is likely to sanctify her, in her eyes. Contrary to Shaw, David is a human creation, an Imago Dei construct made, of course, in the image of man. Nobody expects him to feel or believe because he apparently does not have a soul, yet it is David that eventually rescues Shaw, which begs a question -- is David the narrative's true survivor? One could argue that he was not, since he had not been naturally born, but who gets to define life and how do we classify it?

The script looks at the idea of creation from a fresh perspective as well. Just like Greek mythology credits Prometheus as the creator of mankind, humans have created David and programmed him to serve their needs. With any and all of his conceivable freedoms compromised, he brings to mind the David/Goliath duel by becoming the little guy that outlives his makers against all odds. No, names are not coincidences in this tale. Also worth noting is the fact that Shaw and David are the only survivors and that both are incapable of generating new life, except under extreme circumstances, as is the case with Shaw's inadvertent pregnancy. In the end, this dichotomy demonstrates how, while sometimes unable to procreate, humans are always capable of extermination. The film shows humans as the ones who create the infamous xenomorph race liable to destroy them and any other life, paradoxically giving birth to the ultimate killer. Therefore, the Engineers are not the only race intending to and able to annihilate us. We have proven that we can do it quite well ourselves, thank you.

The performances are flawless, with Rapace and Fassbender being the best actors in the cast. Having seen the Millennium Trilogy and Prometheus, I firmly believe that Rapace is one of the bravest and toughest actors out there. After revering the original Alien for nearly two decades, I did not think that I would ever say the following, but the actor's fearless resolve is a match to Sigourney Weaver's on-screen authority and intensity. Her Shaw does everything humanly possible for her mission, with her religious convictions simultaneously providing motivation and solace in her darkest moments. On the other hand, Fassbender's portrayal of the eternally cryptic David is one of the most nuanced and subtle performances you will see this year. We never know what the android is up to. His curiosity has the potential to transform into unpredictability at any instant which, in turn, can become amicability or hostility. We are never sure where he stands, and Fassbender plays with this uncertainty, his performance hovering above the fine line of tranquility and concern. Theron is ambiguously menacing as the secretive Weyland player, her cool demeanor radiating indifference with a hint of vulnerability. Elba provides some great comic touches as the wry captain and the rationality of Marshall-Green's scientist is the perfect antithesis to his partner's unwavering passion.

I cannot overlook the moody writing, cinematography and music. The screenplay by Damon Lindelof and Jon Spaihts asks terrific questions, giving enough closure for the audience to discuss what had transpired and make up their own minds. The film is beautiful to watch in its steely apocalyptic glory -- cinematographer Dariusz Wolski has done a masterful job -- and Marc Streitenfeld's music is an enchanting mix of triumph and sorrow, with doom just around the corner.

Prometheus is not a work to everyone's taste. Its enigmatic temperament and lack of instant answers may leave some viewers frustrated, but it is contemplation and debate that are the film's main objectives. Its guise is that of a science fiction blockbuster, but its spirit is that of true philosophy, leaving cinephiles grateful for having been introduced to a fascinating new world.

10/10

Summer Review #2 -- Battleship

In box office terms, summer is a period for high concept flicks and mindless cheesy actioners. Sometimes we get a film that is stuck in between these breeds with no way out, and this is where we find Peter Berg's Battleship.

After a secret government project -- but of course -- yields results in the form of hostile alien contact, new Navy recruit  Alex Hopper's (Taylor Kitsch) leadership skills are tested. Along with his brother (Alexander Skarsgård) and a petty officer (Rihanna), Alex has to defend his crew and our world from the onslaught. In the meantime, his girlfriend (Brooklyn Decker) might be in danger while trying to uncover what the aliens' intentions are... 

And so are we. The most disappointing aspect of the film is the lack of clarification on the aliens' plans. Disabling communication and transportation seems to be their goal, but for what purpose? Taking over the world is a simple answer -- why are they doing what they are doing? Why do they need our planet? At least the Independence Day visitors were perfectly clear on what they were here for, from the first to the last explosion. Even the flat characters did not disappoint me as much as this missing element of the story did. On the other hand, the action sequences are a cool sight to see on the big screen, although I cannot forgive the rip-off of the iconic monolith visual from 2001: A Space Odyssey. Honestly, people, if you had wanted to copy anything, you should not have copied from a work that can blow yours away with one scene. In general, casual summer thrills seem to be the entire point of Battleship. Being that it is based on a board game, we should feel lucky that it accomplishes that task.

The cast does their best. Actors can only ever be as good as the writing, so I do not know why Kitsch is getting such a bad rap. He is likeable enough and I get the sense that a good screenplay could bring out an unanticipated edge. The film is Grammy winner Rihanna's acting debut, and she is actually pretty good, as is the charming Decker. Even though he has some of the blandest lines, Skarsgård's calmly imposing appearance makes him perfect for the role of a dutiful officer. At least he does not have to contend with flirtation involving a chicken burrito. I kid you not. Liam Neeson's talents are properly wasted -- there is no nuance or depth to be found in any plot point here -- and real-life veteran Gregory D. Gadson makes an impressive debut as well. Finally, to all the screenwriters out there, can we please retire the "bad feeling" line? It must have felt fresh once, but it has passed its expiration date a hundred cinematic dooms ago.

Battleship is a fun adventure to watch if you throw your expectations to the wind. Full of dynamic sequences and beautiful locations, innocuous and unpretentious, it is a chip off the old block as far as the blockbuster season goes. Do not expect to be dazzled, but do expect to be entertained.

6/10

Summer Review #1 -- The Avengers

What do you get when you bring together a group of outcasts to save the Earth?

What happens if some of them possess egos bigger than the planet that they are meant to be defending and others are a bit out of the loop?

What do you do when each personality threatens to take over at any given moment, for a few more literally than for others?

Did I mention that this bunch includes doctors, soldiers and playboys, with a bit of deity thrown in for good measure?

When it comes to cinema, this kind of high concept premise can lead to either success or disaster. Thankfully, it is geek king Joss Whedon's job to mold the tale into a film and he achieves perfection. The Avengers is a smashing, thrilling, fun ride, with not only incredible visuals that will make your eyes pop, but also the human element to pull the story along.

When god of mischief Loki (Tom Hiddleston) arrives on Earth to enslave its inhabitants, S.H.I.E.L.D. agency director Nick Fury (Samuel L. Jackson) assembles a team of superheroes to stop him. The group is comprised of billionaire industrialist Tony Stark a.k.a. Iron Man (Robert Downey Jr.), god of thunder Thor (Chris Hemsworth), Dr. Bruce Banner a.k.a The Hulk (Mark Ruffalo), soldier Steve Rogers a.k.a. Captain America (Chris Evans), marksman Hawkeye (Jeremy Renner) and assassin Natasha Romanoff a.k.a. the Black Widow (Scarlett Johansson). Through their loud quarrels and quiet respect for one another, the Avengers start advancing toward a common goal...  

The film works on numerous levels, simply because it does not rely on one layer of storytelling. What could easily have been a soulless slam-bang-boom actioner becomes a clever and often moving adaptation in the hands of writer/director Whedon. The filmmaker never lets his audience forget that the majority of the protagonists, as preternaturally powerful as they are, are human beings... with slightly amplified problems, that is. Once you take away their mind-boggling gifts, resources and whatever else makes them distinctive, they are humans with the same kind of quirks, fears and insecurities like the mere mortals they are protecting. As for the effects, they are phenomenal. I am hard-pressed to choose my favorite sequences, but the New York City sequences are pretty high up on my list, even though the script gets a little lost among the kicks and explosions. The film deserves to be seen in IMAX 3D; it is the kind of gem that this technology was made for.

The cast infuses the proceedings with plenty of heart and spunk. Downey has always been the perfect choice for Stark, and Hemsworth proved his leading man potential as Thor in his 2011 introduction to the Marvel universe. Hiddleston is quickly becoming one of the newest chameleon performers. His Loki is a sadistic yet vulnerable villain aiming for devastation in all forms, no questions asked. Johansson is a force to be reckoned with as the Widow, with her lines being quite the zingers, and Renner plays Hawkeye with a sense of duty and a bit of wry humor. The most affecting portrayal, though, belongs to Ruffalo, whose Bruce Banner is constantly at odds with himself and his unfortunate alter ego. Banner is reserved and almost frightened of his own self in this incarnation, which makes the anticipation of the Hulk's appearance palpably intense and turns the scene into one of the crucial points in the character's development.

The Avengers is one the best comic book adaptations in recent years. Its way of blending the earthly with the fantastic brings gravitas to the characters' stories and creates a stable  context for their reality. It is a terrific cinematic escape fueled by intelligence and imagination, sure to delight comic book and film fans alike.

9/10

Weekly Review -- The art of happiness and sorrow

Midnight in Paris (2011) -- Do you know what happiness is?

It might seem like a simple question. It is anything but.

Is true happiness doing work that you love? Is it interacting with people that you care about? Is it loving who you are? Is it freedom to be your complicated self? Maybe all of the above? A rumination on individuality and bliss, Woody Allen's Midnight in Paris is part fantasy and part satire, lampooning the fast and ruthless North American lifestyle.

Screenwriter Gil (Owen Wilson) has arrived in Paris with his fiancée Inez (Rachel McAdams) and her parents. Gil is at the crossroads in both his personal and creative life. His career, although lucrative, is not fulfilling, while the novel he is writing is at a standstill. His relationship with the emotionally distant Inez is also missing the mark. One night, by whimsical happenstance, Gil falls into a time warp that takes him to his favorite time and place, 1920s Paris. The air of bohemian celebration soon inspires him anew, but his new reality is about to collide with his old one...

I cannot praise the film's originality enough. Not many filmmakers are capable of drawing sketches of humanity's quirks through dialogue, and Woody Allen is one of the greats. From Sleeper to Celebrity to Vicky Cristina Barcelona, his writing never fails to surprise me with its insights to life and love. The characters brim with a polished yet spontaneous vivacity, some of them lost in their neuroses and often finding themselves through the same. Midnight in Paris deftly combines classy laughs and thoughtful morsels of philosophy, enveloped in joie de vivre. Always on the contemplative side, never preachy or condescending to its characters or its audience, this fantasy transforms its context from "what if" to "why not" through its wispy vignettes. Gil's Twilight Zone experiences serve as a terrific contradiction to his earthly existence, where he is being hounded for being himself. It can be said that whereas Gil and his love of Paris are on one bank of the Seine, his fiancée, her family and the cynicism they drag along can be found on another, all wagging their judgmental fingers at him. The question is, which side wins? 

The cast is terrific. Wilson's trademark boyish enthusiasm serves him well in the role of idealistic Gil, while McAdams shines as the pretentious Inez. Another standout is Michael Sheen, an actor that has already shown his transformative abilities in films like Underworld and The Queen. Here he delves into the quasi-intellectual mess that is Paul with relish, making one ponder how it is that a man without a soul can keep going. It is no wonder that Inez is enamored of him; like Paul, she is only capable of living in her own tiny bubble. Corey Stoll is incredible as a pragmatically honest Ernest Hemingway; Kathy Bates adds some nice comedic touches as Gertrude Stein; and Tom Hiddleston is all joy and exuberance as F. Scott Fitzgerald.

Midnight in Paris is one of 2011's best films, putting a new spin on the art of the original work. It operates on pure imagination, never forgetting its satirical leanings or the human factor that is the focus. For all the dreamers having problems fitting in today's hectic world, this film is yours to discover.           

10/10

Melancholia (2011) -- One cannot deny that sadness is an intricate, exhausting and intricately exhausting state of mind. It simultaneously tricks you and drains you, leaving you bereft of hope and heightening the negativity roaming around the corners of your brain. Any kind of anguish is unpleasant to deal with, but what if these feelings grow to the point of no return? This is the question that Lars von Trier poses in his beautiful harbinger of cinematic doom, also known as Melancholia.

By all accounts, Justine (Kirsten Dunst) should be happy. She is about to exchange vows with gentle and affectionate Michael (Alexander Skarsgård) in a beautiful ceremony, held at her sister Claire's (Charlotte Gainsbourg) mansion. Her boss (Stellan Skarsgård) plans to reward her talent with a surprise. Her family and friends have gathered to wish the newlyweds well, while the night seems tailor-made for lovers. 

However, Justine is far from even being content. She sneaks away from the party more than once, not caring about convention or about Claire's organizational efforts. She feels a desperate need to be alone, obviously unable to expend energy on random conversations and chance encounters. Her heart plunged in a deep depression, Justine is tired of life itself. As if these feelings are not overwhelming enough, there is another dark cloud hanging over the wedding party. A planet named Melancholia is passing Earth and may collide with it, instantly shattering the world as we know it. If one thinks life is not worth living, what happens when there is no life to live at all anymore? 

Lars von Trier is a master at creating an ambiance of despair and listlessness, as he has proved with Breaking the Waves and Dancer in the Dark, among other works. In Melancholia, he creates the same kind of darkness but, as befits the traits of the condition depicted, in a more insular manner. I also need to give praise to cinematographer Manuel Alberto Claro for bringing the emotionally claustrophobic apocalypse to life. It is Justine's internal tragedy that translates into and takes over the way that the viewer sees the film's realm. She is so drained of interest, so fragile from emptiness, that she is simply enduring every step she takes. Silence through Justine's eyes is genuine, deafening stillness; even the wedding ceremony loses a lot of its joy once the character appears in a frame. One of the most poignant parts, the heartbreaking photograph sequence, sums up the condition in a nutshell. In fact, I will go so far as to say that the approaching planet represents Justine's depression itself, about to consume her and her family whole. That is simply what this state of mind is -- a world of its own, a raging vortex that threatens to suck into it the patient and everyone around them.

The acting is excellent and the cast impeccable. Dunst carries the film, immersing herself in Justine's pathology and her quirks. Her choices are brave and unpredictable, with the viewer not knowing if a scene will lead to a mental breakdown or emotional meltdown. Charlotte Gainsbourg and Kiefer Sutherland are fantastic as the long-suffering sister and her uptight husband, and Alexander Skarsgård shows versatility in the role of meek Michael. Lastly, Charlotte Rampling and John Hurt provide bitter comic relief as Justine's parents.

Inspired by von Trier's own depressive episode, Melancholia is a startling and honest account of a devastating illness, wrapped up in an existential disaster drama. It examines how an individual's lack of will can impact themselves and those closest to them, who get swept into the pit of hurt, their attempts to help insufficient or unanswered. Moreover, it rightfully shows life as a fleeting instant, merely a grain of sand that the universe ponders, toys with and, finally, blows away.

9/10