Film, life and everything in between

Weekly Review -- The body's psyche

2012-01-28T20:35:00.001-08:00

The dynamics of sex and the dynamics of our brain are inextricably linked. One may say that enjoying the former leads to the loss of the latter, but we may as well force ourselves to stop functioning altogether, for we are nothing if not instinctual creatures. The following two films explore human quirks in relation to sexual behavior and the effects that this need has on society as we keep evolving.

Shame (2011) -- Addiction, in its many forms, contributes to the downward spiral of millions of people every day. Sometimes the locus of the urge is externalized, such as food or alcohol, and sometimes it is internalized, as in the case of sex or self-harm. In each instance, there is an inner void that triggers the behavioral pattern. This emptiness and the disastrous power that its consequences wield is the subject of Steve McQueen's sophomore film.

**THIS REVIEW CONTAINS SPOILERS**

Thirty-something New York City executive Brandon Sullivan (Michael Fassbender) is handsome, intelligent and successful. He charms everyone that he comes into contact with and has a comfortable lifestyle, one that does not suffer complacency or attachments. Spending his days shuttling between the expensive loft, the high-paying job and the best Big Apple restaurants, Brandon has the world at his fingertips, but he does not want any of it. He does not need any of it.

What he does want and need is sex. Lots of it, in every way and shape and position imaginable. Underneath his cool exterior, Brandon is a time bomb of rabid self-destruction, caught in a whirlwind of a draining addiction. His existence revolves around Internet porn, masturbation, prostitutes, one night stands, threesomes... the list is endless. When his equally troubled sister Sissy (Carey Mulligan) arrives unexpectedly and disrupts his carefully maintained vacuum, Brandon's life starts disintegrating...

I have been a McQueen fan since I first saw the visceral Hunger, and here his starkly expressive technique crystallizes further. The filmmaker takes the topic from a usually bleak talking point to an erudite study of a man lost inside his purgatory. Once again, the body takes centre stage in his vision. Considering the subject matter, the choice is logical; however, it proves to be a brave and elaborate statement on the themes. Whereas in Hunger the body is the conduit for change and tool of defiance, in Shame its purpose turns into means of survival through reckless, numbing devastation. Seeing Brandon burn out following every inane act of sexual gluttony, seeing him get beaten up and seeing him fall asleep in a fetal position -- all of these images show us the fragility that he not only grapples with, but that he is also metamorphosing into. The body, quite simply, is a filigree mechanism that can be shattered with a single push and Brandon is standing on the edge of strength's precipice.

Another element of note are the flirtation and sex scenes and the nuances that they represent in the context of Brandon's compulsions. I found the way these scenes were shot to be telling of his predicament and state of mind in any given moment, and credit partly goes to fabulous cinematographer Sean Bobbitt. For example, every scene concerning on-line pornography is quick and crisp in its somber tones. The interaction between a character yearning for contact and the ultimate instrument of detachment -- the computer -- cannot be presented in a manner that shows a depth to the exchange, simply because there is none to be shown. On the other hand, Brandon's date with co-worker Marianne (Nicole Beharie) is seen through a warm glow, as though to signify a hint of normalcy that she is capable of infusing into his chaos. The threesome sequence is almost a story unto itself, filmed in a frenetic pace, any potential eroticism dissipating into the realm of mere flesh and the act reaching the peak of insignificance. The shades of grey that McQueen finds in the visual aspect of each encounter add a sense of psychological decorum, bringing the inner conflicts to the surface via unique aesthetic setups.

All of the performances are perfection, but Shame undoubtedly belongs to Michael Fassbender. Uncompromising films like Hunger and Fish Tank have already demonstrated what a fearless actor he was, but Shame takes this trait beyond acting and into the domain of another reality. It might not be easy to appear naked on screen, but it takes a special kind of artistic courage to allow oneself to appear emotionally stripped to the bone. Mining the character for clues, Fassbender uncovers a man ripe with anguish and devoid of hope. The public persona that Brandon hides behind, the restraint that he uses to attempt to mask his compulsion, the rare outbursts and pangs of pain that he endures -- these elements are all pieces of the puzzle that this man represents, even to himself. It is obvious that he has become a shell of whoever he once was, identity replaced with the agony of dependency. The actor's subtle facial expressions, his low-yet-forceful delivery and flow of body language from brash to broken to feverish and back again blend to create one of the most mesmerizing portrayals of a wounded human being in recent cinema.

There is no weak link among the other actors. Beharie is wonderful as Marianne, whose healthy perspective on life and love is no match for Brandon's illness. James Badge Dale is in quasi seducer mode as David, Brandon's boss, who seems to admire and envy his colleague, without a clue that it is the normalcy of his routine that Brandon subconsciously covets. Still, special praise has to go to Carey Mulligan, who is fantastic as Sissy, a vagabond damaged in a manner completely opposite from her brother. This woman is so tangled inside a psychic ache that it renders her obsessive in her neediness. Unable to help Brandon with his problems since she cannot even help herself, Sissy is always in danger of getting lost in a vortex of anonymous despair, which might explain her wish to constantly be the centre of attention. The sibling relationship is complicated and painfully fascinating to watch. Many viewers and theorists have been wondering if the pair was connected through incest. While the film does provide hints, it thankfully lets the audience come up with their interpretation of the bond.

Shame is a contemporary tragedy that places a magnifying lens over our culture of sex, shock and excess. Its protagonist's descent into internal disarray explores what happens to an individual once they are devoured by their desires and isolated by their inability to communicate. It is not a pretty picture and not a pleasant experience, but it does not need to be, since losing the soul never is.

10/10

A Dangerous Method (2011) -- The human mind is a labyrinth of mysteries, each one more exciting than the last. Until medical professionals started revealing its riddles, people were not even sure how to view or treat mental illness. Throughout the centuries, most types of disorders were equated with personal rebellion and civil disobedience, with many patients having been placed in institutions and the key thrown away. The situation changed with Sigmund Freud's invention of psychoanalysis, a treatment that delved deep into repressed feelings and blocked memories, thereby beginning to solve the puzzles of the subconscious. David Cronenberg's A Dangerous Method takes a look at this process while examining the lives of the key players, namely Freud, his protégé Carl Jung and Sabina Spielrein, their mutual patient.

In 1906, Dr. Carl Jung (Michael Fassbender) meets Sabina Spielrein (Keira Knightley), a young Russian woman diagnosed with hysteria. He decides to test his new therapy method -- the "talking cure" -- with her and, in time, the two become collaborators and lovers. Once Jung meets Dr. Sigmund Freud (Viggo Mortensen), who disapproves of Jung's practices and the ethically challenged relationship, a rift starts forming among the three people and it is a question if any of them will leave the conflict unscathed...

The striking thing about A Dangerous Method is its subtlety, particularly considering that the film is directed by David Cronenberg, long known as the master of body horror. It is an intriguing entry in the filmmaker's canon which, so far, has been primarily dedicated to the intricate connection between physical decay and psychological ruin. As much as Rabid and The Fly taint their characters' outward appearances, A Dangerous Method heads in the direction of emotional regeneration and intellectual eloquence. The film is a quiet piece, relying more on the fine points of dialogue and gradations in the actors' delivery than on any bombastic displays; indeed, the closest it gets to introducing corporeal damage is a brisk assault. It takes its time establishing relationships and interweaving their paths within the historical milieu, paying particular attention to the role of sexual attraction in the context of otherwise clinical knowledge.

The standout performances come from the two leads. Fassbender is a chameleon, plain and simple. From activist Bobby Sands in Hunger to Edward Rochester in Jane Eyre to Erik Lehnsherr/Magneto in X-Men: First Class, he disappears into every part and this time it is no different. Jung occasionally gets lost in his own idealism; unafraid of pushing boundaries for the sake of scientific advancement, he often lets his heart rule his head. This trait takes him outside the tenets of professional conduct when he begins his affair with Sabina. As much as he wants to curb his passion, as much as he tries to be who he was before they met, he also starts wondering if he is forsaking himself in doing so. Fassbender does incredible work playing men teetering between sin and redemption, and his Jung is the epitome of a person torn between duty and impulse. Mortensen gives one of his best performances as Freud, whose love for the safety of convention is paradoxical, given that his form of therapy is what turns psychiatry upside down. The two actors' chemistry is palpable, contrasting Jung's youthful enthusiasm and Freud's measured and almost jaded coolness. I would have loved to see more of this interaction, though, and felt that the screenplay had shifted abruptly from the two meeting to the two parting ways.

The rest of the cast do mostly well with their roles. Vincent Cassel is stunningly pained as sex addict Otto Gross. I wish he had more screen time, since his exchanges with Fassbender are insightful and certainly essential to Jung's musings. Sarah Gadon is a picture of tradition as Jung's wife Emma, a woman so tied to social norms that comparing her to the forward thinking Sabina is inevitable. As far as the pivotal female character goes, I do not think that Knightley is able to distinguish between hysteria and histrionics. I find her performance to be more distracting than affecting and wish that she had toned the euphoria down a notch. On another note, I do think that an unknown would have done Sabina more justice, because I believe that the anonymity factor would have contributed to the authenticity of the character's evolution.

There are not too many pieces similar to A Dangerous Method in terms of artistic self-control constructing the rhythm of the narrative. The film puts a twist on the standard drama format with its subdued examination of oppressed instincts and usage of dialogue as analytical tool. Placing an emphasis on the workings of the interior in order to reconcile the workings of the exterior, it pays homage to the legacy of the pioneers it depicts and prompts us to perhaps learn a thing or two from their multifaceted research.

9/10

Weekly Review -- Mind's renaissance

2012-01-22T14:27:00.001-08:00

The Help (2011) -- Status quo is one of the most difficult things to overcome. The very name suggests stagnancy in the midst of complacency. It always changes the fabric of society for the worse, amplifying the discrepancies between the classes AND the classes themselves, as well as destroying the soul of an individual.

Unless that individual is Skeeter Phelan or Aibileen Clark.

One of last year's most touching and important films, The Help brings to life a civil rights struggle that has never been presented from the point of view of the women involved. Novelist Kathryn Stockett and filmmaker Tate Taylor document this somber period from the perspective of women uniting against ignorant minds, refusing to back down in the face of injustice and refusing to be bogged down by the past.

Following university studies, the aforementioned Skeeter (Emma Stone) returns to her Mississippi home determined to become a writer. When she gets a job at the local newspaper, she asks her friend Elizabeth's (Ahna O'Reilly) housekeeper Aibileen (Viola Davis) for help with the cleaning advice column that she is working on. Soon, though, Skeeter's focus shifts, as she realizes what kind of treatment the African-American housekeepers are enduring on a daily basis and how her own family and friends are shamelessly contributing to it. She decides to conduct interviews for a book that is going to reveal the racist truth, concealed under the pretense of laws in the segregated South. As Skeeter's preparations unfold, the young woman finds out who she is and who her allies are...

Like the rest of the world, I was aware of the American Civil Rights Movement and its inception. I was aware of Rosa Parks' 1955 triumph, the 1963 16th Street Baptist Church bombing and the 1964 Mississippi murders, among other events of the era. This readiness of knowledge did not prevent me from bawling in the film's first fifteen minutes. Frankly, I was in shock at the brutal treatment of human beings that I knew to be far from fiction. Seeing a reenactment while knowing that someone had lived through these situations was a rather disturbing experience, but not more so than the harrowing reality of 1960s America. Watching these ladies strive to remain invisible to the exploitative white families and watching them laugh in the rare moments of joy is a powerful contrast, one that creates the film's gravitas. In general, it is the element of female friendship and bonding that builds the rapport between the on-screen proceedings and the audience. The characters and the battles they fight are richly drawn, taking us on an emotional roller coaster ride. We bear witness to Aibileen's love for Elizabeth's daughter and Celia's outcast status. We cheer on Skeeter's resolve to remain an intelligent, outspoken woman in a misogynistic environment. These representations of virtues conquering transgressions constitute the core of The Help, with the fresh narrative conveying the intricate nature of relationships borne within bigotry.

The acting complements Taylor's perceptive screenplay. Stone is zeal personified as the spunky Skeeter, who does not let anything interfere with her beliefs and integrity. Octavia Spencer radiates as Minny Jackson, a woman so chronically abused that she has become afraid of hope itself. Viola Davis... wow. What an intense and heartbreaking portrayal of a person who was never given a chance to be whoever she wanted to be. Another standout is Jessica Chastain as Celia Foote, a gentle and misunderstood soul who bonds with Minny and gives her a push to break out of her restrictive life. Howard is also a revelation as the uptight and racist Hilly Holbrook, a woman blinded by her hatred and ill-perceived superiority, while Allison Janney and Sissy Spacek have fantastic supporting turns as Skeeter's and Hilly's mother, respectively. Finally, special mentions must go to Cicely Tyson's Constantine Jefferson. Although the role is small, the character is pivotal for Skeeter's evolution and Tyson does her justice. The actor is able to express more through glances and body language than many other performers might be able to express using pages and pages of script.

The Help is a film that invites the audience into its world and does not allow us to make ourselves cozy. Instead, it requests that we reconsider our lives in light of the oppression that it depicts and look at the bigger picture in regard to the manner in which we treat others. Its story is a slice of truth from a thankfully bygone era; nevertheless, it is impossible to forget that merely half a century has passed since these crimes occurred. The film does not settle for preaching the bland excuse of tolerance, but chooses to foster respect, encourage change and wisely remind us that progress still has a long way to go.

10/10

Weekly Review -- A matter of lore

2012-01-15T23:14:00.000-08:00

Blood and Chocolate (2007) -- I would venture to guess that fantasy was one of the top three most popular cinematic genres at any given time, the other two being horror and family fare. These genres breed fandoms, fill out conventions and spawn fan fiction, all based on the audiences' love of the stories told and characters involved. On the opposite end of the quality spectrum, a fantasy film does not always live up to its potential, which is what happened with this Katja von Garnier adaptation of Annette Curtis Klause's novel.

Teenage werewolf Vivian (Agnes Bruckner) has been living in Bucharest with her aunt Astrid (Katja Riemann) ever since her parents were murdered by hunters. Promised by law to the leader of her pack, the authoritarian Gabriel (Olivier Martinez), Vivian's world turns upside down when she meets artist Aiden (Hugh Dancy) by pure chance. Her affection for him and the pressure from the pack soon brings her alliances into question...

Right off the bat, I have to praise Kevin Phipps' production design. He utilizes the Gothic ambiance and architectural diversity of the gorgeous Bucharest to the advantage of the story, adding a sense of mystery and anticipation. Unfortunately, the aesthetics of the film are also the best part, glossing over a narrative chock-full of unfinished characters and listless plot development. One cannot help but wonder about what happened with the screenplay. Its starting point was a unique take on the werewolf lore, a tale within which the characters would have had plenty of room to grow. As it is, they are stunted, having been removed from any kind of genuine emotional conflict that the viewer would be able to invest in. Vivian is the figure painted with most detail, but a singular personality does not cinematic relationships make, and Blood and Chocolate offers up some pretty hollow liaisons.

The acting is adequate, if a little stilted. Bruckner does what she can with the staccato script, the force majeure that prevents her from delving deeper into Vivien's multidimensional traits. Dancy elicits empathy as Aiden, whose back story could have provided an interesting context had it been examined further. Martinez's performance also suffers from the weak writing, giving us a mere taste of how powerful Gabriel could have been, while Riemann does not have a lot to do as Astrid overall. On a trivia note, fellow "Torchwood" fans will recall Brian Dick's (Rafe) memorable guest appearance as alien Adam on the show.

Blood and Chocolate occasionally feels as though someone had decided to cut up the novel and put pieces of it together for the film without looking. The flaws are frustrating, partly because the film ignores its own hints at depth and partly because it wastes its crop of talent in the process, letting itself teeter between imagination and fabrication. A fantasy exists as such for the audiences to lose themselves in. It is a shame when one has to keep peering over their shoulder and not simply enjoy the escape.

5/10

Weekly Review -- Fighting the bad fight

2012-01-08T00:53:00.000-08:00

Green Street Hooligans (2005) -- The male bonding film trend occasionally falls into two categories -- works with a farcical perspective and works involving inspirational sports metaphors. Sometimes a too-cool-for-school cinematic martini such as Doug Liman's Swingers slips through the shallow cracks, and sometimes we get a film like Lexi Alexander's Green Street Hooligans, which tests the spirit of male camaraderie as it braves the elements of a strictly delineated code.

When Harvard journalism student Matt Buckner (Elijah Wood) is wrongfully expelled, he travels to London to visit his sister (Claire Forlani) and her family. Soon afterward, he meets her brother-in-law Pete (Charlie Hunnam), who introduces Matt to his firm, an outfit of football hooligans. Entering a secretive lifestyle and finding a place to belong for the very first time, Matt also starts participating in the violence that comes with the territory. What he is not counting on is a rival firm's growing extremism...

Right off the bat, I will say that I have never been and will never be able to understand brutality and fanaticism for the sake of anything, let alone a sport. However, do not go into this film expecting bloody barbarians senselessly murdering one another, with the story taking the back seat. Sure, the fights shown are savage, but it is the core of morality and character that drives this narrative, turning it from what might seem like a conventional sports-oriented piece into a tale of unbreakable friendships. The screenplay pays attention to the people inhabiting its pages, never portraying them as cartoonish stereotypes that they could have been; rather, it sees them as complex, fallible, tragic figures. I would have been interested in seeing more of Matt's background with his sister and Pete's with his brother, since the entire context of a football family could have been broadened through the clearer context of the biological ones. The cinematography by Alexander Buono, who had also painted the aesthetics of the fantastically underrated 2003 chiller Dead End, is a perfect fit. Steely and smoggy, it evokes an atmosphere of urban decay and constant surveillance, a real life feeling that is undoubtedly one of the factors contributing to Great Britain's problem of football violence. At one point, one of the characters even refers to Britain as a country under the watchful eye of Big Brother.

The cast is well chosen. Wood gives an effective performance, depicting a true evolution from a naive and confused boy to a tough and confident young man. Hunnam shines as the truly charismatic and often misguided Pete, who places integrity and loyalty above all else, who gives bear hugs to friends right after beating an adversary to a pulp. Leo Gregory is good as Bower, Pete's best friend and utterly weak-willed individual, and Forlani gives a poignant portrayal of a sister and mother caught up in the mayhem.

Green Street Hooligans is one of those works that appear out of nowhere and take the viewer by surprise. Through the prism of its unsavory subject matter, it examines concepts like family, friendship and honor, not veering into melodrama or preachiness for even a second. The film is a fascinating look at a sadistic sub-culture, one that paradoxically breeds closeness among its members just as much as it breeds unnecessary divisions among human beings.

8/10

Weekly Review -- Let the mind games begin

2012-01-01T18:16:00.001-08:00

Sucker Punch (2011) -- Billed as one of the hotly anticipated films of 2011, it was a surprise to many, including yours truly, when the latest Zack Snyder effort was promptly knocked out by critics and audiences alike. Labeled as sloppy, reckless and, worst of all, misogynistic, the film was dismissed and soon forgotten. Flawed though it is, Sucker Punch is undoubtedly a phantasm feast, with a unique story to match its nightmarish realms.

**THIS REVIEW CONTAINS SPOILERS**

After her evil stepfather commits her to a mental institution, Babydoll (Emily Browning) has five days until she is subjected to a lobotomy. Desperate to escape, she loses herself in her imagination running wild, inventing steroid-fueled battlefields that she navigates with a group of fellow patients -- Sweet Pea (Abbie Cornish), Rocket (Jena Malone), Blondie (Vanessa Hudgens) and Amber (Jamie Chung) -- and a mentor (Scott Glenn). In order to get away, the women need to locate five essentials, but will they last long enough to beat the outside forces that keep closing in?

The problem with Sucker Punch is the contradictory method it utilizes to make its points. What purpose did the strip club story serve exactly? I would have enjoyed the multiple warrior fantasies that Babydoll experiences, but without the entire sleaze context. Come to think of it, it is funny how the previews had omitted that part. Was there not a way to link Babydoll's agony directly to these gorgeously disturbing worlds, their magnitude a polar opposite of her current circumstances? It even makes more sense than having the club as go-between, in my opinion. And no, the skimpy outfits do not help. We are supposed to be watching women fighting for their lives, not Barbie dolls doing a runway show. Also, what on Earth is going on with those names? Babydoll, Sweet Pea, Rocket... if the film is meant to be satirizing sexist entertainment, it constantly keeps turning on itself. However, that is precisely the reason why I never got the sense that the film was this big, threatening, anti-woman howl. It feels as though Snyder had intended to create an action fantasy with a feminist slant, but got distracted along the way by visions of pretty CGI landscapes and the boys-and-toys mentality. I do not even think that Snyder the one to blame for the film ending up as a mash-up of dichotomies, since I keep imagining Hollywood (male) execs expanding their wallets and proportionally plunging the (female) actors' necklines deeper into chauvinist debt.

The performances are mostly compelling, but suffering from a hollow script. Browning is ethereal as Babydoll, who brandishes a sword just as easily as she pulls a trigger. Cornish gives a complex performance as Sweet Pea, a girl unaware of herself until tested, and Malone is memorable as Sweet Pea's sister, the often idealistic Rocket. Jon Hamm is excellent playing two very different roles, although he could have used more scenes, and Oscar Isaac's loathsome orderly Blue makes one's skin crawl.

A film like Sucker Punch is either a huge hit or a huge miss, since there is no middle ground when it comes to female empowerment. This is a theme that does not so much require grandiosity as it does finesse in presentations of its metaphorical value. Unfortunately, when intellectual depth and clarity is overpowered by eye candy shuffle, so is any significance that a particular work might have had. Sucker Punch has good intentions, but its thesis fades into a parody of itself through its own conflicted psyche, getting stuck in a wasteland between squandered potential and mixed messages.

6/10

Weekly Review -- In sickness and in health and in laughter

2011-12-17T16:20:00.000-08:00

Bridesmaids (2011) -- I take quite the tough love approach with my humor. I pre-judge, I overthink, and I am choosy about the comedies I watch, simply because I like sophisticated, laugh-out-loud, witty jokes, those zingers that I find not many works can provide. Therefore, I was not sure what to make of Bridesmaids when I first saw it advertised.

Like many others, I had heard a whole lot of praise about this Paul Feig film. I did not believe the hype and I did not have high hopes. I saw the trailer, but I was not too impressed, since nothing suggested this was something that could actually make me smile, let alone laugh. I do not appreciate crude humor and I am not a fan of too many recent comedies. To sum it up, I was not keen on seeing what I thought might be an overrated production about a bunch of loud gal pals overdosing on fraternity-style gags.

Boy, was I wrong. Capital W wrong.

I will say it again. I was wrong. This is one of the funniest and most intelligent films you will have enjoyed this year. It is one of those cinematic delights where the characters, jokes and chemistry come together to create a truly entertaining experience, borne of life's ups and downs and seen through an occasionally whimsical and always sardonic lens.

Annie (co-writer Kristen Wiig) is an unemployed pastry chef, who is also down on her luck with love. Being involved with Ted (Jon Hamm), a friend with benefits that makes one yearn for enemies, she does not care to date, since she likes the uncomplicated arrangement they share. When her best friend Lillian (Maya Rudolph) announces her upcoming wedding, Annie finds a rival in Helen (Rose Byrne), Lillian's new acquaintance and newly appointed maid of honor. As the two squabble over the wedding preparations and as Annie gets to know the other bridesmaids, she starts realizing that her entire life and outlook needs to shift dramatically...

The writing is what makes the film tick. Without Wiig and Annie Mumolo's sensitive yet brawny script, the piece would have fallen apart within the first five minutes. Not only does the film satirize the insanity of the vain and commercialized wedding industry, it also fleshes out characters of substance, those rare creatures that the audience relates to and roots for. The principal and supporting characters alike add to the madness, every one of them a flash of comedic brilliance. Fictional though they are, they each take a little bit from our own reality to shine, dealing with friendships, unemployment, love, sex, you name it. Feig recognizes the parallels, and one gets the impression that improvisation was encouraged throughout the shoot, a concept that enriches the proceedings. The deceptively light story shows human beings living and laughing together while reeling through the circus of over-the-top conventions, only to realize at the end that their bond is now stronger than ever.

The cast is, for lack of a better word, perfect. Wiig is a bumbling star as Annie, her appeal alternating from charm to sarcasm in mere moments. I had first noticed Wiig in Knocked Up, where her deadpan delivery made her stand out immediately, and here the trait contributes to every line coming from a place of pure ingenuity. Rose Byrne is a revelation as the uptight Helen, and I hope that she continues to explore the genre over the course of her career. Melissa McCarthy is terrific as Megan, a woman who might be rough around the edges, but whose vulnerability shows whenever someone else needs rescuing. Wendi McLendon-Covey is the epitome of crass kookiness as the discontent Rita, and Rudolph is great as the self-obsessed Lillian. Chris O'Dowd is a lovable teddy bear as the sweet police officer Annie accidentally meets, while Hamm impresses as the biggest dolt this side of Jesse James. Seriously, give this man more roles. Matt Lucas and Rebel Wilson also deserve special mention as Gil and Brynn, Annie's roommates from hell. Finally, Jill Clayburgh is poignancy personified as Annie's mother Judy, in her last screen role. Truthfully, I could not find one weak performance among the cast. Every portrayal left me either wondering why I was not more familiar with that particular actor or wishing to see much more of them in the future.

In lesser hands, a film with this kind of topic might have ended up leaning toward tiresome schlock or exploitative lewdness. Thankfully, Bridesmaids is a rare gem that does not fall prey to such clichés. Smart, sexy and hilarious, it overturns expectations and makes you want to call up your best friends for a heart-to-heart chat, showing that the film's greatest asset is the comforting sound of its loudly thumping heart.

10/10

Weekly Review -- The iron fist

2011-12-11T00:08:00.001-08:00

The Ledge (2011) -- A dramatic piece with honor at its core is a one in a million find. A conscientious story that does not preach is an even scarcer commodity. Matthew Chapman's The Ledge is an epitome of both, keeping the viewer on the edge of their seat while offering up a thoughtful message, but often losing track of its details.

**THIS REVIEW CONTAINS SPOILERS**

The story is told in flashbacks, as detective Hollis Lucetti (Terrence Howard) tries to talk a young man named Gavin Nichols (Charlie Hunnam) off of a high rise ledge. Gavin tells him about his affair with a new employee, student Shana Harris (Liv Tyler), and his eventual clash with her religious zealot husband Joe (Patrick Wilson), a dispute that has led to Gavin being faced with a horrible dilemma. As Hollis struggles with his own demons and as more facts come to light, Gavin only has minutes to think...

The sole problem with the film is that it frequently gets entangled in the labyrinth of its characters' issues. Every character is overloaded with attributes; Hollis and Gavin's roommate Chris (Christopher Gorham) are those that instantly come to mind. There is a surplus of traits presented within a limited time frame, some of which are merely mentioned and insufficiently explored. Consequently, a few of the dialogues are so bloated, they resemble political debates rather than scripted scenes, bursting at the seams of cinematic space with various hot potatoes. Having said that, The Ledge does manage to successfully show the danger that religion can become in the hands of the under-educated, vulnerable and, most of all, weak-willed individuals. To name an example, there is a brilliant line drawn between Chris' Kabbalah beliefs and Joe's ultra-Christian dogmatism. Whereas Chris has turned to Kabbalah as a tool to cope with personal crises and is not ruled by its principles -- indeed, his set of beliefs starts to crumble when a rabbi refuses to marry him and his boyfriend -- Joe equates his convictions with his existence. His religion is his very identity and vice versa; he has taken the tenets and turned them into weapons against whoever gets in the way of his "washed, sanctified and justified" duty. The scene in which Gavin and Joe contest their views of the world stands out as the strongest verbal depiction of the characters, each in their own element. It is an intellectually charged duel between atheist Gavin, who accepts the beauty of life without being a slave to doctrines, and extremist Joe, whose theocratic ideologies preclude him from actually seeing people, let alone comprehending or accepting anyone else's opinions as plausible.

The performances are excellent. Hunnam is fantastic as the curious and open-minded Gavin, who plays with fire throughout the proceedings, failing to understand just how menacing a fanatic can become and underestimating the potential of human evil. As Shana, Tyler is a deer in the headlights, caught between a strength she may possess and a life she wants to experience. Wilson gives a masterful performance as Joe, turning him into a wretched figure and making the audience loathe and pity him at the same time. The character's sadness and horror upon learning of the affair is disturbing to say the least, and Wilson manages to bring us into his psyche using merely gestures and body language. We know that the event represents the end of the life that Joe is familiar with. We know that, being in uncharted territory, he will do anything to either get it back or avenge his ruin, because he has nothing left to lose, and Wilson takes this doggedness and runs with it. Howard is good as the conflicted Hollis, who finds his own self during the negotiations with Gavin, and Christopher Gorham gives a touching supporting turn as Chris, one of the few voices of reason.

Minor imperfections aside, The Ledge is a work that dares to question what we hold sacred and that dares to provoke controversy with subject matter that other films might balk at. Examining multilayered themes and overturning audiences' expectations, Chapman displays courage not often found in cinema. The film takes the road less traveled, defiantly slamming its characters into the brick wall of fate and possibly choosing to put them back together only after their souls have been torn to pieces.

8/10

Weekly Review -- Sins of the camera

2011-12-03T20:17:00.001-08:00

[Rec] 2 (2009) -- The found footage sub-genre has developed into quite the beast over the last decade. From the somber suspense of The Blair Witch Project to the monster terror of Cloverfield and all the way to the otherworldly scares of Paranormal Activity, horror fans are constantly finding themselves captivated by unrefined cinematic truths. There is just a certain je ne sais quoi about a disturbing piece of footage parading as reality that compels us to watch. What is it they say about train wrecks?

Continuing where 2007's [Rec] left off, [Rec] 2 follows a SWAT team as they set off for the quarantined apartment complex where a massacre had taken place earlier in the evening. Along for the ride is a Ministry of Health official (Jonathan D. Mellor), who seems to know more about the case than he is telling. As the team searches the building for help in containing the infection, the circumstances turn even bleaker when they realize that the situation is beyond their expertise, and are also saddled by three unexpected visitors...

As was the case with its predecessor, the dark appeal of [Rec] 2 lies in its willingness to take the viewers on a ride through Hell itself. Tensions are high, people are frightened out of their wits and cameras document the dire straits for posterity, all of which occurs in the context of almost guaranteed martyrdom. There is also gore aplenty, with the infection sequence pretty much being the most disgusting infestation sequence that I have ever seen. Once again, it is the human factor that makes the audience able to relate and that takes the proceedings to a level above the usual fright fest. [Rec] 2 keeps building upon the raw fear that the first film had claimed as the foundation of the story, thereby succeeding in making us question reality, perception and illusion in one fell swoop.

**SPOILERS (please highlight to read)**

I thought that the idea of the natural light blinding the demons was extraordinary. It was a great way to take the possession aspect in a completely new direction, without creating transparently convenient twists. I did not think that the whole "dumb teenager" element was necessary, since the main topic is potent enough, but the two tales do tie together nicely and there is no senseless whining to be witnessed. To name a prime example, the shootout is one of the scenes that show directors Jaume Balagueró and Paco Plaza's incredible feel for their characters within the film's concept of space, through innovative camerawork and superb sound editing.

**END OF SPOILERS**

The performances are good, particularly considering that it is up to the actors to bring the humanity of this kind of piece to the forefront. The standouts are Oscar Sánchez Zafra as Jefe, the tormented leader of the SWAT team, and another actor, who I will not name for spoiler reasons, but who is expertly channeling Linda Hamilton's Terminator 2 mettle. You will know it when you see it. Andrea Ros also gives an effective portrayal of Mire, the only teenager with a grain of common sense.

While [Rec] 2 does not exactly bring anything new to the horror buffet, it is the fearlessness with which the piece approaches its story and themes that should be the standard for the entire found footage sub-genre. The violent quasi-reality of the film corresponds to the global paranoia of urban living, but also our DNA-ingrained fear of isolation. [Rec] 2 does not merely show that no man is an island, but goes the distance to show that the island can be annihilated at any moment.

7/10

Weekly Review -- End of innocence

2011-11-19T20:08:00.001-08:00

Trust (2010) -- The advent of the Internet has done nothing short of breathing new life into our concepts of space and time. Placing us in the middle of news as they break, creating endless research resources and generally allowing communication to reach a milestone of speed, this invention has revolutionized the world we live in. Nowadays there is practically nothing that we are unable to access in terms of information, with a simple keystroke making the idea of a global village a reality.

However, there is a very dark side to this technology. One can always count on humans to abuse any tool that is initially meant to serve the purpose of good, and the Internet is no exception. From relentless cyber-bullying to viruses capable of annihilating entire businesses, the Internet can be a genuine web of destruction. One of its most revolting side effects involves pedophiles prowling for young and naive victims, committing crimes that are seemingly endless and that represent the subject of David Schwimmer's meaningful new film.

Annie Cameron (Liana Liberato) is a happy, well-adjusted 14-year-old. Her days go by in schoolwork, volleyball practice and occasional bickering with her frazzled and loving parents (Clive Owen and Catherine Keener). Everything changes when she receives a laptop for her birthday and starts chatting to a California high school student calling himself Charlie. Eventually, he concedes to actually being twenty years old; soon afterward, he tells her that he is twenty-five. Experiencing a teenage crush and yearning for attention, Annie decides to meet Charlie in person, an encounter that will shatter her comfortable world and alter her relationships with her family...

Let me start off by declaring that Trust should be mandatory viewing for parents. It is a cautionary tale if ever there was one, providing plenty of discussion topics. Having said that, some of its plot points do not make peace with logic. How come the parents are not monitoring Annie's use of the laptop? A child should not be left to their own devices when navigating the on-line environment. How come they do not know where she is when she is meeting the predator? Why does the counselor not explain to Annie immediately that the guy has simply been exploiting her? Still, even though these lapses can be frustrating, they do not diminish the chilling impact of the story as the ultimate nightmare of the digital era, a kind of urban legend that alarmingly comes to life.

On another note, I disagreed wholeheartedly with the entire "can't control everything" speech; then again, there is a difference between controlling and having control. A parent should not act like Big Brother. Instead, a parent can and should have control over what their child is doing, but this influence has to stem from authority based on mutual respect and communication. Annie's parents seem a bit clueless when it comes to these things, barely spending time with her and never really listening to her problems. It is no wonder that she runs and gripes to a stranger, who then uses the girl's vulnerability to destroy her. Lesson learned? Be a parent. Be a listener. Be there, lest your child should endeavor to find comfort with someone that they should be running away from.

The performances certainly add to the film's effectiveness. Owen is sheer determination as Annie's father, who will stop at nothing to avenge the attack on his daughter. The actor possesses a refined don't-mess-with-me aura, a gritty energy that serves him perfectly in roles requiring a dose of rough yet intellectual intimidation. Keener is excellent as the generally carefree mother, now unable to grasp just how tainted the comfort of home has become. The scene in which she tells Owen's character to get his act together is heartbreaking, because this is precisely the point when the viewer realizes that both she and her husband have always meant well. They have always been a good mother and father duo, but then somehow got lost within the frantic pace of modern living, and Keener's character's desperation paints this picture perfectly. Liana Liberato gives a breakthrough performance as Annie, a girl so starved for attention that she inadvertently endangers her life, and Viola Davis exudes sympathy as the counselor attempting to shed light on the situation.

Trust is a timely film that uses its space to teach and not preach. While it could easily have turned out to be a self-righteous after school special, it ends up being a sensitive and disturbing warning about the perils of an as yet unexplored realm. It manages to burst its protagonists' safety bubble, as well as slowly glue the pieces back together, by successfully showing that bytes and bytes of numerically abstract distances are never enough of a fence to keep monsters away from innocents.

8/10

Weekly Review -- Exploring the uncharted

2011-11-12T12:59:00.001-08:00

Beginners (2010) -- Human emotion is difficult to grasp. Fragile as air, it can slip out of our fingers and never be found again, lost in a sea of mundane predicaments. If capturing it is complicated in reality, it is twice as hard to do in cinema, where the very nature of the medium heightens every sentiment. Therefore, kudos to filmmaker Mike Mills for showing an unpolished slice of truth with Beginners.

Graphic designer Oliver (Ewan McGregor) exists in increments of pragmatic contentment and melancholic boredom. One day, his elderly father Hal (Christopher Plummer) informs him that he is gay, having found the freedom to be himself five years after the death of Oliver's mother. Soon after coming out, though, Hal is diagnosed with terminal cancer and passes away. Through flashbacks, we see how Oliver has cared for Hal during his illness, how his childhood has shaped his commitment phobia and how a chance encounter with actress Anna (Mélanie Laurent) starts changing him, slowly but surely...

More than anything, Beginners is a treatise on the reluctance to and acceptance of change. All of the characters go through a metamorphosis, from Hal's self-discovery to Oliver's newly found openness to Anna adapting to Oliver's fractured self-worth. I like how Mills' screenplay, with its sparse dialogue, gets to the essence of its subjects' humanity by both exposing and sheltering their vulnerability. The nuances in the writing allow the characters to find their personal freedom, a feat achieved by having them plow through speed bumps on the relationship highway. The script introduces humor in all the right places, while never disregarding the fleeting nature of existence and our need to connect to other people.

The performances are masterful. McGregor channels fragility and confusion, dipping into Oliver's childhood lack of affection to create a truly lost figure. Plummer gives a touching portrayal of a man who has learned how to live in the twilight of his life, only to have the ability taken away in its zenith. It is a soulful, understated performance that moves mountains without any fanfare. As Anna, Laurent exudes charming spontaneity, imbuing the character with wide-eyed curiosity and joie de vivre and showing the same kind of artistic honesty she showed in 2009's Inglourious Basterds. She possesses a guileless charisma that not many actors have, and I hope to see her in more intriguing films very soon.

A fact-based story of courage in moving forward, Beginners is a film that everyone needs to see to enrich themselves and their relationships with others. Its candor will make you reconsider what it means being human and its message of hope will brighten your view of the future. Every tale, every transformation, every journey and every Oliver needs to start somewhere in order to turn over a new leaf and, in the end, what is life but a collection of springtimes?

10/10

Weekly Review -- The Tarsem Singh weekend

2011-11-06T00:10:00.000-07:00

The Cell (2000) -- In honor of the Immortals extravaganza, I thought I would step back in time and return to the movie that instantly made me a Tarsem Singh fan -- his first feature, 2000's The Cell. It is one of those rare films that simultaneously fascinate and horrify the viewer with their themes and imagery. Although slightly deficient in the character development department, the film is an innovative and engaging post-millennial fantasy, and I am happy to report that its effects have not aged one bit.

**THIS REVIEW CONTAINS SPOILERS**

Psychologist Catherine Deane (Jennifer Lopez) has been working with a revolutionary new technology -- she is able to literally enter the mind of a patient. Her methods come in handy for FBI agent Peter Novak (Vince Vaughn), after the serial killer he has been pursuing falls into a coma. The killer, Carl Stargher (Vincent D'Onofrio), has been kidnapping young women, leaving them in an unknown location to drown and videotaping the crimes. His latest victim has less than a day to live, so Peter turns to Catherine for help in gaining Carl's trust and locating the girl. However, things go wrong once Catherine finds herself inside the wrecked mind of a psychopath...

I always go back to the visuals when I tell people about this film. I had never seen anything like it before or since, and was impressed by the colorful, often brutal, boldness on display. Many of the dream-like images were inspired by artists and directors such as H.R. Giger and Mark Romanek, giving the film a sculpted, surrealist feel, and yielding the kind of decor that Hannibal Lecter might approve of. Even the workplace and house interiors seem more like moody exhibitions than living or work quarters; one would be hard-pressed to find sets that are more elegant. Singh loves spaces and loves using his actors as set pieces within the cavernous areas, moving them around like chess figures in his cinematic game. This is particularly apparent in the scenes set in Carl's mind, where the design overwhelms the human figures involved in the best way possible. The film is a wondrous hybrid of Singh's imagination and computer graphics milestones, with each of its sequences revealing a new aesthetic side to the story. It is also a synergy of cultural influences reflected in all of the film's elements, from Tom Foden's eclectic production design, to Tessa Posnansky's darkly delightful set decoration, to Eiko Ishioka and April Napier's rich costume design.

As far as the cast goes, I thought that their performances were overshadowed by the visual spectacle, but they still represent the essence of the human element. Lopez alternates between acting intellectual and waxing analytical as Deane, although she is hard to buy when she veers off into the heart-of-gold territory. Vaughn shows off the most nuances playing Novak, occasionally hinting at a deeper motivation behind his actions and interacting well with Lopez. As the severely disturbed Stargher, D'Onofrio shows off a charismatic spectrum of emotions, going from sadistic to vulnerable to merciless and back again, while Marianne Jean-Baptiste and Dylan Baker offer solid supporting turns as Deane's colleagues.

In regard to Mark Protosevich's screenplay, I did not think that the characters were examined sufficiently within the intriguing context of polar opposites -- life and death, light and dark, innocence and evil. I also wish that a few of the characters' backgrounds had been explored further and put into play during Deane and Novak's search for clues, since there were some past events implied as being key to their present. These additions would have made for a more layered, more engaging narrative.

The Cell is a piece that warrants at least a few viewings, simply to be able to absorb the intricate production details. It plays out like a delicate art installation, framing its proceedings in a work of spellbinding distinction. Tarsem Singh has fused disciplines to create a unique film that entrances, shocks, divides and, primarily, provokes discussion. After all, is that not what art is about?

7/10

Weekly Review -- Off the clock

2011-10-30T22:45:00.001-07:00

In Time (2011) -- Science fiction is a lady that wears many hats. It can be philosophical, action-packed or darkly cynical, characteristics that can take the human dimension of the stories to the next level. It can test our sense of morale or make us question the world around us, while transporting us to a milieu that draws from our own reality. Rarely do we find a genre piece that is all of the above, which is where the new Andrew Niccol film comes in.

The story takes place in a future where the aging gene has been switched off and time has become currency. Having been genetically engineered to live only one year past the age of 25, most people need to keep working diligently to buy themselves more life, while the members of the ruling wealthy class are immortal. Paradoxically, anyone can die at any moment, simply because everyone has a price and humanity gets lost at the mere mention of one more precious week. Factory worker Will Salas (Justin Timberlake) is a man stretching his existence hour by hour, who one fateful night comes into possession of an entire century. When the corrupt Timekeeper police force goes after him, he finds himself the voice of the population's neglected segment, but also gains an unexpected ally...

As was the case with Niccol's futuristic rumination Gattaca, In Time's intrigue stems from a possibility of medical research overriding the value of life. Using details like virtual clocks embedded in limbs and multiple generations of youthful esthetics, Niccol toys with the idea of a plasticized dictatorship versus one of genetic democracy. The action sequences are well balanced with the dialogue's thoughtful explorations, but I do wish that the film had either been longer or dug deeper, since its themes demand further analysis. Niccol's vision is so scrumptious and its potential so expansive, it seems that one film would only just be scratching the surface, barely beginning to examine all the angles of such a bizarre realm.

**SPOILERS (please highlight to read)**

I do not understand why the issue of Will's father's death is hinted at and never seen through. From the moment it was mentioned, I was hoping to see how the element -- obviously essential to many of Will's views -- would weave into the narrative, but it never did. Also, how come stealing time is so rampant? Sure, it is a hot commodity in the midst of a cutthroat world but, based on the very configuration of the system, how come it is not guarded more closely? There is no time to waste here and yes, that pun was 100% intended.

**END OF SPOILERS**

As Will, Timberlake shows once again that he can act, alternating between vulnerability and strength to paint a picture of a desperate man. My main problem was that, while watching, I would occasionally be convinced that he was miscast in this particular role. He simply has too much of a public persona, too much of a fame-delineated reputation, to be completely believable as a plebeian that is struggling to eke out a living. I was also hard-pressed to buy what can only be described as an attempt at a James Bond homage sequence, the initial casino encounter between Will and businessman Philippe Weis (Vincent Kartheiser). Still, his talent is apparent, and I have no doubt that he will eventually be able to separate his pop star allure from his thespian self. Seyfried's guileless performance brings to mind the damsels in distress of Hollywood's golden age, her portrayal of socialite-turned-rebel Sylvia throwing poisonous darts at innocence every step of the way. This type of figure has had numerous incarnations in cinema over the years, but the actress turns Sylvia into a sympathetic sidekick, charting the evolution from her anti-rules zeal to anti-establishment energy. Overall, the leads bring a lively aura to their parts and their dynamic provides a fresh take on the cinematic outlaw tradition.

The richest performances, though, come from three of the supporting players. The always interesting Cillian Murphy is ambivalence personified as Timekeeper Raymond Leon. He is a law officer who is so deeply stuck in bureaucracy, so blinded by the neon numbers ticking away, that he has forgotten what it means to have a soul. Murphy is great when probing the morality spectrum, and he has his understated officer journey from ruthless to conflicted in an organic manner. As time-stealing gang leader Fortis, Alex Pettyfer evokes Malcolm McDowell in A Clockwork Orange, displaying a menacing intensity and charismatic wit. Having shown promise in the decent I Am Number Four, he demonstrates here what he is capable of doing with a more eloquent script. These two characters are the singularly most interesting ones, and it is a pity that they do not have more room to maneuver in the screenplay. Lastly, "The Big Bang Theory"'s Johnny Galecki creates a character that is light years away from Dr. Leonard Hofstadter, giving an affecting performance as Will's best friend, the disenchanted, cynical Borel.

With its concept and in its execution, In Time is one of the most original works to hit the screens in a few years. Whatever it lacks in logic, it makes up for with an ingenuous presentation of a bubble that is liable to burst at any moment. It is a thought-provoking film that will have you pondering, debating and -- imagine that -- not glancing at your watch.

8/10

Weekly Review -- Happy Halloween

2011-10-23T00:38:00.000-07:00

The Caller (2011) -- In this era of violence without context and gore without mercy, rare are the thriller and horror films that actually make the viewer think and that emphasize atmosphere above all else. Such precious gems are they, that locating one by word of mouth or word of review makes it double the fun to watch and savor. The Caller is one of those underrated chillers that I was lucky enough to hear about.

As someone I know once said, "When a stranger calls, don't answer", and never does this adage prove to be more true than in regard to this Matthew Parkhill terror piece. After divorcee Mary Kee (Rachelle Lefevre) moves into her new place, she starts getting phone calls from Rose (Lorna Raver), a rather lonely and apparently very kooky lady. Practically in hiding from her abusive ex-husband and on her way to a happier existence, Mary sees no harm in simply chatting to the woman. When Rose starts claiming that she is calling from 1979, though, Mary quickly puts an end to the exchanges, leaving Rose far from pleased...

The film relies on sounds, eye-catching cinematography and extremely innovative camerawork to convey Mary's anxiety and depression. I love the fact that it was shot in Puerto Rico in its entirety, since the exotic locations contribute to a sense of the unexpected, a feeling of warm comfort that can be transformed into heart-arresting upheaval at any minute. Its usage of faded and almost impenetrable spaces reminded me of Brad Anderson's The Machinist, with the isolated dreariness depicted as part of the principal character's saga from the beginning. In fact, Mary does have nowhere to go, her life having seemingly become so small that Rose's call coming from a different era is almost ironic. Sure, there are some obvious questions, like why on Earth Mary would want to get involved in some type of time travel rant, especially with the kind of problems she is already dealing with; still, it is easy to understand the character's curiosity and desire for distraction. The phone call element is an interesting rumination on the ever-increasing isolation of modern life, with the true nature of the calls making the inception of Mary and Rose's conversations that much more frightening and bringing to mind the 2001 masterpiece Pulse.

The acting is soulful and solid throughout. Lefevre shows a different side of her acting chops, moving convincingly from Mary's fear of her ex to utter bewilderment at Rose's insistence. Stephen Moyer is endearing as a new love interest and, after Drag Me to Hell and this film, Raver is cornering the market on unhinged women that you do not want to mess with.

The Caller is a film you will be glad to have discovered. It will leave you pondering its twists and turns, possibly even re-watching it to see if you could have detected certain quirks early on. It is one of those films that uncovers its layers gradually, without pomp, without clichéd and tiresome effects. It does not rely on the usual scare techniques because hey, it does not have to -- the sight of that phone and the knowledge of what may be on the other line is bloodcurdling enough.

8/10

Weekly Review -- Strength outside numbers

2011-10-09T10:45:00.001-07:00

Over the past century, various cinematic works have attempted to depict and, in some cases, epitomize the unwavering potential of the human spirit. While many of them have succeeded, the masterpieces are few and far between. Rare are those films that draw us into the domain of pure strength instead of merely presenting it to the audience, those that transform inspiration into a multidimensional experience, those that create catharsis using a perspective that can only be comprehended as true vision. The following two works are prime examples of these concepts, streaming two breathtaking stories through art without compromise.

Hunger (2008 ) -- One of the most riveting chronicles in recent memory, this film is a staggering narrative about the last bastion of perseverance in the midst of political chaos. The impressive debut by visual artist Steve McQueen pits hope against desperation at every turn, all the while embracing the richness of its minimalism and refusing to allow convention into its storytelling technique.

The film depicts the 1981 Irish hunger strike, the final stage of the Irish republican prisoners' protest against the British government's stance toward their political status. Through stark imagery and quiet script subtleties, we see the protest's influence on the individuals involved directly or indirectly, such as guard Raymond Lohan (Stuart Graham), new IRA prisoner Davey Gillen (Brian Milligan) and, most comprehensively, Bobby Sands (Michael Fassbender). Sands is about to organize a new hunger strike, after one that represented a failed attempt to bring global attention to the prisoners' plight. Having no other option, he embarks on an odyssey of physical and emotional decay for the sake of his beliefs and long-awaited justice, the only two things that he has unshakable faith in...

What I liked the most about Hunger was McQueen's usage of the body as a device that outlines humanity within the most inhuman of circumstances. Every action and its consequence is delineated as an effect on the corporeal essence of life and dignity, from the merciless beatings to organic rage and from unclothed defiance to, ultimately, grim starvation. Whereas the body is too often exploited in cinema as a tool of either victory or horror, McQueen exposes its vulnerability and juxtaposes it with the power of sheer resolve. The raw details of the piece are strewn across the map of its bleakness, with a hint of slight optimism for the protest participants who possess enough willpower to live their principles and abandon all comfort for the sake of freedom. Indeed, one cannot help but feel immense grief for the tortured youth of the men who were forced to fight for their country in the most brutal manner imaginable. McQueen does not begin and end his exploration behind the prison walls, placing a great emphasis on the events unavoidably seeping into the relationships and life outside, with the nursing home scene probably being one of the most haunting sequences of the past decade.

Hunger is full of moments that bring to life the struggle unfolding on screen, constantly reminding us that we are not watching pure fiction. Elements like the dark isolation of the set design and near lack of verbal exchanges push the urgency of the drama forward, with Sean Bobbitt's cinematography highlighting the proceedings. However, it is the intense moral debate between Sands and a priest that steals the spotlight, posing questions that perhaps no one is able to answer. Does the meaning of life and death hinge on a situation? What constitutes a sin? Does Sands have the mental capacity to set the course of action, particularly one this fateful, for the men that rely on his leadership ability? Where, in the entire conflict, is any kind of morality to be found? Fassbender and Liam Cunningham make the sequence function like a short play, a somber back-and-forth between two men standing on the same side, glaring at each other from opposite ends. The scene is not only dynamic as a philosophical dialogue on the edge of a breakdown, but also glorious on a technical level, as a record-holding, continuous 16-minute shot.

The acting is perfection. Fassbender's portrayal of Sands is a stunning testament to the character's pride and tenacity. He journeys ferociously from Sands' religious-like zeal to virtual self-destruction, the activist's motivation always at the forefront. He is electrifying in the debate scene, bringing passion and conviction to the character's determination, while his fearlessness in the last twenty minutes will leave you gasping. Simply put, it is a performance that will forever remain part of the cinematic canon. Cunningham renders his priest into a voice of reason, one that nonetheless empathizes and sides with the prisoners' strife, whereas Graham and Helen Madden give moving supporting turns as the conflicted guard and Sands' mother, respectively. All of the performances contrast the oppressive milieu of the story in a very deliberate and elegant manner, simultaneously infusing the context with a dose of human universality.

Hunger is a masterpiece that opens one's eyes not only to a specific point in modern history, but also to the lengths that we as people are willing to go to, in order to preserve the truth of our identity. The politics of the world we live in are no match to the politics of the bodies we inhabit, each of them an instrument that can serve as the ultimate weapon in the fight against despotism. While its aesthetics may appear to be hopeless and its landscape may appear to be a harsh shade of gray, appearances can be deceiving, since the film's message and its implications are nothing but hope, rising from the ashes of sacrifice and facing off against the barbed wire.

10/10

127 Hours (2010) -- What would you do to survive?

Upon hearing this question, some of us may start thinking, picking and choosing, mentally eliminating phobias and the scenarios that are the most distressing to us. Some of us may say "anything" and then negotiate that claim later on. Some may even stick with "I don't know", the safest, time-purchasing bet. Thankfully, not many of us will ever have the opportunity to find out, contrary to mountain climber Aron Ralston, whose real life story of intrepidity is the subject of Danny Boyle's latest film.

In April 2003, Ralston (James Franco) arrives in Utah's Blue John Canyon for one of his usual outdoor adventures. After a promising start to the exploration, he endures a freak accident when he falls down a crevice, along with a boulder that ends up crushing his right arm and imprisoning him miles away from civilization. Having told no one where he was going and knowing that he is alone, he has to rely on his wits to figure out a way to prevail. Running out of resources and slowly falling victim to his own mind's wanderings, Ralston soon realizes that he will have to resort to doing what can only be possible in a desperate situation...

From the very start, it is Boyle's unique style that pushes us, the audience, into the principal character's inadvertent isolation. There is hardly any music, except ominous monotones; there are no voices, except cries for help; there are no glossed-over resolutions to sequences, but mostly close-ups that focus on Ralston's external and internal struggles. Using fluctuating camera and cinematography techniques, Boyle depicts the young man's horror through the perspective of a witness, not merely an observer. The film employs lyrical pirouettes to shift from Ralston's visions to memories, trekking from his unending desire to live beyond his predicament to his heightened awareness of possibly perishing in the canyon's deadly embrace. The hallucinations involving his family, who he knows he may never see again, are heartbreaking, as are the scenes with the last video he had filmed before the incident. The actual and infamous arm-cutting scene is not so much gruesome as it is pragmatically clinical evidence of survival instinct's voracity. What Boyle manages to do is bring each and every one of us into the canyon with the climber, making us re-examine everything we ourselves value and creating not only empathy, but also a strong sense of human connection.

As far as the performances go, it is Franco's portrayal that drives the proceedings, and the actor does a truly fantastic job. It is a tour de force circle of gravitas, going from Ralston's initial adventure-hungry euphoria to his shock at the unexpected impasse, and concluding with his determination to overcome the obstacle. Making some brave choices and fully immersing himself in the story, Franco captures the indomitable force of grit and breathes soul into the screenplay.

127 Hours is an inspirational example of willpower ethos. It is a film that teaches us about the mercurial nature of existence and its relationship with fate, both cosmic entities that toy with the frequent human naivete. Its message is a tribute to a person who is capable of finding a warrior within when they need them the most, and a hope that each one of us is that lucky when life dusts off its hazards.

10/10

Weekly Review -- Bodies of water

2011-07-31T01:12:00.001-07:00

Piranha (2010) -- Combine utter lack of pretense with suspension of disbelief and a cult horror film may pop up. Its self-explanatory title firmly in place, Alexandre Aja’s Piranha also has its tongue planted firmly in its cheek, promising nothing beyond carnage and sex jokes and boy, does it deliver.

The town of Lake Victoria is in the midst of an invasion by spring break partygoers. After a boater disappears, Sheriff Julie Forester (Elisabeth Shue) plans to close down the beach, but first has to contend with her teenage son Jake’s (Steven R. McQueen) shenanigans. Under the pressure of hormones and unbeknownst to Julie, Jake has begun working as a quasi location scout for a porn producer (Jerry O’Connell) for the summer, jeopardizing his safety in the process. Having managed to catch a live piranha, Julie gets in touch with a marine biologist (Christopher Lloyd), right around the time that all Hell breaks loose and the predatory fish start devouring the tourists…

As in some of his earlier works, like High Tension -- oh, how I still prefer Switchblade Romance -- and The Hills Have Eyes, Aja delves into the story using the maximum amount of blood that he can splash across the screen without getting an NC-17 rating. Nevertheless, the difference between this piece and his previous efforts lies in the pure, comical, drinking game type of fun that Piranha offers in spades. Screams abound, pretty bikini girls get less pretty as their limbs go missing and as the fish keep on plowing through the buffet. Aja shoots and displays the massacre with enthusiasm, all the while taking digs at North American pop culture spectacles such as Girls Gone Wild and spring break. This is particularly true of the mass killing scene, which is relentless in its viciousness yet loaded with dark humor, as is the rest of the film.

The performances are just as unpretentious as the screenplay. Each and every one of the actors appears to be enjoying this bloodbath, although Shue seems to be taking the proceedings a tad too seriously. Hiring Dreyfuss and creating a mini homage to Jaws is a nice touch; Aja knows exactly what he is doing here, but is aware of the beast that started it all, deciding to bow in reverence. It is good to see the always reliable Christopher Lloyd and Ving Rhames, while filmmaker Eli Roth has an amusing cameo as the appropriately titled Dying to Get Wet contest emcee. Additionally, fans of the CW Network will be pleased to see McQueen and Jessica Szohr, belonging respectively to the “Vampire Diaries” and “Gossip Girl” families.

Piranha is the kind of film that the viewer goes into with no expectations. It is a no-holds-barred cheesefest and a deliberate slap in the face of political correctness. Its entire raison d’être is to merge hysterical laughter with hysterical screams; the French summed it up best with their tagline, which just so happens to be 'Sea, Sex and Blood'. Watch it, relish the silliness and give your brain a rest.

5/10

Summer Review #4 -- Transformers: Dark of the Moon

2011-07-16T19:26:00.000-07:00

Not every movie can brag about operating as both film and testing ground. This is why Michael Bay's latest offering is so irreplaceable in its intent. After the slam, bang, boom, unsavory experience of Transformers: Dark of the Moon, I can say that the movie has thoroughly tested my survival skills. If I made it through it, I can make it through anything.

In the wake of the two messy battles between the Autobot and Decepticon factions, Sam Witwicky (Shia LaBeouf) is an American hero unable to find a job and his parents are apparently inhabiting an RV -- nothing like a timely slice of life for the audience to relate, right? After Sam's new girlfriend (Rosie Huntington-Whiteley) pulls some strings with her boss (Patrick Dempsey) to get her guy hired, and before you can say Victoria's Secret, Sam gets embroiled in another war. This time, the conflict revolves around an ancient Cybertron spacecraft, which happens to have been discovered by the first American astronauts. Ginormous displays of elaborate action sequences and textbook examples of bad acting follow, as we sit patiently, counting down the minutes and wondering why we did not see X-Men: First Class again instead...

If there is a story somewhere, it quickly gets lost among the grandiose technical achievements. Admittedly, these aspects are a sight to behold -- the highway scene and the skydiving sequences are truly impressive -- but they alone do not a movie make and we have seen most of these elements in the previous two installments. It is ironic that Dark of the Moon is being screened in 3D, considering that its terrain is void of multidimensional developments, effervescent characters and a single grain of ingenuity. No, I did not go in expecting a Shakespearean depth of narrative, but I was expecting an entertaining nugget on the level of the playful original, particularly because the filmmakers were boasting that they have made a better sequel than the insipid Revenge of the Fallen. Who were they kidding? Was that not a low standard from the start? This movie contains slow motion, bullet time, aerial shots and all other cinematic techniques in existence, dragging on for 2 1/2 hours with nothing substantial to show for it. Eventually, the proceedings turn into Battle: Los Angeles... oops, I mean, Battle: Chicago. And the warfare goes on. And on. And on. Suffice to say, an action movie that ends up boring its audience is never a good idea.

Another aspect that I found irritating, and offensive to boot, was the screenplay's latent homophobia. The only way that the franchise is capable of flaunting its "macho" factor is by throwing barbs at those perceived as not up to par in the rough-and-tumble, bring-it-on world. Guys, there IS a significant policy repeal being discussed in the media these days, and a military one, no less. You may have heard about it. Get informed. And yes, Virginia, somebody of the same sex is free to touch your hand without you growing "afraid" that they might be gay. The year is 2011.

Are the performances really worth mentioning? If I had to pick the best one, my vote would go to the special effects wizards who created the robots, but let me try and stick to convention. LaBeouf is going through the motions, by now probably well aware of the fact that method acting has no place in the Transformers universe. Huntington-Whiteley is so pretentiously, distractingly wooden, I was seriously starting to miss Megan Fox and her curvaceous lack of persona. I could not help wondering what Frances McDormand and John Malkovich were doing here, but hey, the cost of living is steep. Dempsey and McDormand are the only actors attempting to flesh human beings out of the cardboard characters -- the former does away with much of his charm-fueled image, while the latter hams it up as an uptight bureaucrat.

Transformers: Dark of the Moon is so laughably bad, it actually managed to infuriate me while watching. I would have done anything for it to end and I would do anything to erase it from my mind. It is a shame that milking a cash cow and tossing creativity aside remains an acceptable way to get a movie made but, considering the financial intake so far, I guess the assumption is that the laugh is on us.

3/10

Weekly Review -- Mind's eye

2011-07-16T10:47:00.001-07:00

Shelter (2010) -- Thrillers always have the potential to walk that fine line between thoroughly effective and thoroughly disappointing. This film by Måns Mårlind and Björn Stein takes a different route, one that brings ambiguity to its value. While Shelter offers a unique idea and good performances, the U-turn that its topic takes leads to dubious developments and an anticlimactic conclusion.

Forensic psychiatrist Cara Jessop (Julianne Moore) has spent her career refuting the existence of multiple personality disorder. One day, her father (Jeffrey DeMunn) introduces Cara to amnesiac Adam (Jonathan Rhys Meyers), who not only exhibits the classic symptoms of the condition, but also plays host to identities of murder victims. As she starts uncovering the details of the crimes, Cara realizes that whatever is happening with Adam goes beyond her expertise, and indeed the natural world...

Shelter is a film that you invest yourself in, then end up hoping it will stay on the course that was initially mapped out. I loved the subject matter and the idea of a mind game between someone like Cara, who has allowed her religious views to override her professional curiosity, and Adam, who can quite obviously provide enough proof for Cara to question both her personal and scientific beliefs. The film could have been the perfect psychological thriller if it had kept to its fascinating premise and, along the way, employed intelligent twists examining human psychology, faith and the conflict between good and evil. Instead, it dissolves into a puddle of supernatural mishmash, lifeless mysteries and underdeveloped relationships. I did not see the point of the paranormal elements and felt that they represented an easy way out, particularly because the human element was so prominently introduced at the beginning. I felt that the screenplay should have paid more attention to aspects such as Cara's background and convictions, which would have painted a genuine contrast to Adam's disorder and missing memories.

**SPOILERS (please highlight to read)**

The film is full of plot holes that undermine its credibility. How does Cara know to look for the names in the yearbooks? We are assuming that her skills are based on experience, but even then her actions are far-fetched. How come no one discovered the body in Adam's house? Why does no one go to a hospital when strange lesions start oozing and bleeding all over their body? How come Cara does not search for descendants of the people in the recordings? None of these points are ever illustrated, rendering parts of the piece confusingly empty.

**END OF SPOILERS**

The actors are light years ahead of the material. Moore is luminous as always, even in the scenes that the viewer is neutral about due to the script's oversights. Myers moves seamlessly between the different personalities that torment Adam. His emotional range is incredible and, with his expressive face, you never know if he is a hero, villain, victim or survivor. Frances Conroy gives a touching portrayal of one of the victims' mother, while Brooklynn Proulx shows a lot of promise as Cara's daughter and DeMunn is affecting as Cara's father.

Shelter is a thriller that should be watched with a grain of salt; come to think of it, you could do with an entire salt shaker. The cast makes it compelling and the beginning is excellent, but the narrative goes downhill from there and never looks back. Unfortunately, the story's essence is marred by the usage of senseless peculiarities, going to show that sometimes the most riveting intricacy is simplicity.

6/10

Weekly Review -- Going under

2011-07-03T00:29:00.000-07:00

The Invisible (2007) -- Supernatural phenomena are a bottomless well for filmmakers. From The Haunting to The Blair Witch Project to Paranormal Activity, many of these works have been successful due to a profound and everlasting interest in otherworldly subjects. Although The Invisible comes with quite the cinematic pedigree -- The Sixth Sense! Batman Begins! Prominently displayed! -- it suffers in comparison with these films, being that many of its aspects simply feel unfinished.

Nick (Justin Chatwin) is about to graduate from high school and is setting off for London, to start his dream life as a writer. After he tries to help his best friend Pete (Chris Marquette) fend off harassment by school bully Annie (Margarita Levieva), Annie and her gang attack Nick and leave him for dead. Stuck in limbo, Nick realizes that Annie is the only one who can rescue him, but she is on a self-destructive path that does not allow her to turn back...

The film suffers from that most frustrating of cinematic issues -- an intriguing idea lost in a barely passable execution. The premise is truly innovative, but could have benefited from a screenplay that dared to examine the details of its own enigma a little further. It made me wonder about the 2002 Swedish original, which I might seek out at a later date. The main problem with The Invisible are the random, unexplained and heavy-handed fragments that pop out of nowhere and are generally too out of context to be part of an eloquent narrative. I am not a fan of relationships without backgrounds or characters that change their motivation with every turn of the script. To name a few examples, I wish we could have got to know Nick's mother Diane, played with oppressively agonizing melancholy by Marcia Gay Harden, a little better; their stalled relationship would have added a new dimension to the tense events unfolding. As far as Nick goes, he is a surprisingly bland character. Yes, he has dreams and yes, he has a future that might be over before it has begun, courtesy of the wrong side of the tracks. We understand these facts, but please, give us something to wrap our minds around, something that makes us recognize ourselves in his fictional plight, something that makes us humanize. His arc simply moves from point A to point B, ending up void of any and all emotional expenditures on the part of the audience. And what is going on with Annie, anyway? In one scene, she is a maniacal delinquent with family issues; in another, she erupts in histrionics at the drop of a hat; in yet another, she is merely a misunderstood nihilist with a heart of gold. The character cannot decide whether to go the route of redemption or rebellion until the hurried finale, a dilemma that also ultimately leads to a lack of investment in her predicament. Contrary to a remake such as 2009's The Last House on the Left -- a remake that cherishes its every nuance and that, in my opinion, is the standard against which all remakes should be measured -- The Invisible wastes its psychological depth potential for the sake of superficial suspense.

The actors do the best job with what they are given. Chatwin displays anguished wrath as Nick, while Levieva is at her best when exploring Annie as a flawed human being with a latent sense of morality. Easily the best actor among the cast, Harden relishes an amazing moment -- indeed, the most effective moment in the film -- and Marquette is sufficiently shifty as Pete, the best friend unable to deal with his demons.

Overall, The Invisible leaves the impression that it could have been so much better, if only the writing had delved beyond the surface and into the rich fabric of human psychology. It is a different breed of supernatural whodunit and it deserves to have been carefully crafted, not assembled through slapdash tactics. See it if you are curious, but be prepared to deduce more logical questions than existential answers.

6/10

Summer Review #3 -- X-Men: First Class

2011-06-05T20:58:00.000-07:00

There comes occasionally a film so awe-inspiring, you do not feel like watching another one for a long time afterwards, lest you should ruin the impression with an inferior work. There comes a film, every once in a while, that combines genres with utter creativity and compliments the eloquence on the page with a classy cast, infusing soul into every dialogue and imagination into every scene.

X-Men: First Class is such a film.

The story starts in 1944 Poland, where young Erik Lehnsherr (Bill Milner) displays his first feat of power, as he and his family are being dragged off to a concentration camp. At the same time, a boy named Charles Xavier (Laurence Belcher) discovers his own extraordinary abilities and makes a new friend with similar gifts. Fast forward to 1962, when Erik (Michael Fassbender) is being consumed by a desire for revenge and Charles (James McAvoy) is being recruited by CIA agent Moira MacTaggert (Rose Byrne) to help the U.S. government discover the truth behind the rumor of a new breed of humans. As Erik and Charles' paths cross, new allies come into the fold, relationships become more and more complex and the U.S. finds itself on the brink of nuclear war, a situation that an old enemy seeks to exploit for their own gain...

The screenplay is ingenuously evocative, playing with revisionist history whilst introducing the various mutant characters and exploring their powers. There are some wonderful details and effects, along with sparks of humor and moments of gravitas flying about. The context of the Cuban missile crisis serves as the perfect prism through which to depict the film's two main topics -- the brewing war between the human and emerging mutant population and the progressing rift between Charles and Erik, two people whose initial goals might be similar, but whose philosophical viewpoints differ sharply from the beginning. Director Matthew Vaughn proves that he can effortlessly carry a work of this scope and not lose the narrative to CGI, shootouts and similar genre elements, that often end up as gimmicks in the hands of lesser filmmakers. In fact, throughout First Class, there are no purposeless characters that are present for the sake of a cool trailer, no unnecessary action scenes for the sake of imagery and no forced romantic liaisons for the sake of attracting a certain demographic. The writing is poignantly perceptive, building the tension within the underlying conflicts, crafting the relationships in a sophisticated way and adding the twists, turns and devices as is appropriate.

The cast is, for lack of a better word, incredible. McAvoy has charm to spare as Charles and Byrne imbues Moira with multidimensional passion and wisdom. Their subtle chemistry is fun, sexy and never schmaltzy. Jennifer Lawrence gives anguished humanity to Raven, bringing each nuance of vulnerability to a boiling point. Kevin Bacon is appropriately sadistic as the mad and madly swaggering scientist Sebastian Shaw and January Jones is a literal picture of coolness as Emma Frost, his unbreakable sidekick. Zoë Kravitz is a no-nonsense tough girl as flying mutant Angel Salvadore and About a Boy's Nicholas Hoult is brilliantly awkward as Dr. Hank McCoy, affectionately named Beast. However, the absolute knockout among the cast is Michael Fassbender. His Erik Lehnsherr is a man on a mission, an outsider whose existence has been etched out by pain and anger, and who slowly and surely embraces his metal-bending alter ego. He is utterly incapable of seeing the bigger picture when it comes to a harmonious society, simply because he has witnessed firsthand the dark side of humankind early on in life, and Fassbender conveys his torment in a feverish yet refined manner. It is impossible to take your eyes off of him; his regal ruthlessness is charisma itself and his intensity takes over every scene he is in. This man is an actor with a capital A and, while he should already have become a star after his harrowing performance in 2008's Hunger, this film is definitely going to be the one that propels him into the leading man stratosphere.

X-Men: First Class is a literate and innovative adaptation, portraying the origins of beloved characters through a unique perspective. Fans and novices alike will enjoy it, simply because the film sets the standard for all origin stories and storytelling in general. You are about to be enthralled by cinema at its finest.

10/10

Weekly Review -- Doppelgänger fiesta

2011-05-21T15:05:00.000-07:00

The Roommate (2011) -- Why, oh why do I rent movies such as this gem? I know what to expect and what I will get out of them (hint - not much), so I often wonder about subjecting myself to this kind of cinematic masochism. Hey, sometimes a girl simply needs a night of B-grade dialogue and carefree cheesiness, and The Roommate is everything you anticipated and less.

Peppy student Sara (Minka Kelly) has the world at her fingertips. Having been accepted to a top school to study fashion design, she quickly makes new friends and gets involved with an amateur musician (Cam Gigandet). When she meets her artsy roommate Rebecca (Leighton Meester), they become pals with many interests in common, but the bliss does not last. Already dealing with family issues and her new environment, Rebecca becomes dangerously obsessive, turning against everyone she sees as obstacles on her way to keeping Sara to herself. Will Sara survive and save the people she loves? Do we even care?

The movie is a blatant copy of Single White Female, a film that also belongs to the B-grade opus, but which at least boasts a great cast and a complex villain, played to perfection by Jennifer Jason Leigh. Indeed, the filmmakers had duplicated the 1992 film to such an extent that some situations and relationships in the two releases were identical, so I did not understand how the studio behind The Roommate was not sued. After doing some research, I found out that the studio, Screen Gems, is a direct offshoot of Columbia Pictures, the studio behind Single White Female, so any perceived coincidences might not be very coincidental.

On a different note, cliches abound in the tale, which offers up a good girl, a bad girl, clueless friends and boyfriends, sleazy so-called professors and even some girl-on-girl action for good measure, and why not? When titillating, do it to the max, even at the cost of cheapening the presence of the sole gay character. I am telling you, this thing is on fire. The movie is a cornucopia of faces from the CW network and obviously made to cash in on the success of "Gossip Girl", "The Vampire Diaries" and Twilight. Come to think of it, two actors from Titanic are in it, too. How the mighty have fallen...

The performances are mostly hashed out by the numbers. Kelly is sufficiently cheery as a sheltered student, while Gigandet is bland as the boyfriend who -- let's face it -- has nothing to do to begin with, and Billy Zane is simply not lascivious enough to be believable as a professor who likes his extracurricular activities just a tad too much. The only player that might come out unscathed is Meester, whose innocent-yet-unhinged facial expressions successfully convey a disturbed soul underneath a friendly loner's facade. If given the right screenplay, the actress could work wonders.

I am not capable of recommending The Roommate in good conscience. What I can say is that, if you are like me and have a playful appreciation for all things tacky, you will surely have a fun time watching it. You might want to throw a drinking game in there somewhere or even have a double bill, and you will not have to devote a lot of thought to choosing the other movie, because you know damn well which one it should be.

5/10

Summer Review #2 -- Thor

2011-05-14T20:04:00.001-07:00

When it comes to summer heroes and villains, nobody does it better than Marvel Studios. The epic battles between good and evil, set in the context of grandiose set pieces and larger-than-life stakes, are always eye candy for film buffs and comic book fans alike, and this year's Thor is no exception.

In the godly realm of Asgard, a power game is brewing. King Odin (Anthony Hopkins) is about to hand over the reigns of the kingdom to his son Thor (Chris Hemsworth), but the ceremony is cut short by the attack of the Frost Giants, the ancient enemies of Asgard. Without consulting his father, the hotheaded Thor stages a revenge attack on the Frost Giants' realm, which almost ends catastrophically. As punishment, Odin strips Thor of his powers and banishes him to Earth. Ending up in New Mexico, Thor is found by physicist Jane Foster (Natalie Portman), her assistant Darcy (Kat Dennings) and boss, Dr. Erik Selvig (Stellan Skarsgård), and soon finds out that Earth is the new frontier he will need to protect...

The appeal of Thor lies in the filmmakers' ability to make the ancient tale work on numerous levels. As a superhero film, it effortlessly traces the principal character's journey from arrogance to selflessness, while bringing the other characters into the fold and linking them to the hero's odyssey. As an action film, it offers some spectacular sequences, not the least of which are Thor and his warriors' attack on the Frost Giants and his crash landing on Earth. As a science fiction film and comic book adaptation, it alternates between the regal and surreal ambiance of Asgard and the scientific eloquence of Earth, placing both spheres within the universe of the Avengers. Finally, as a romance, it makes use of the genuine and innocent chemistry between Hemsworth and Portman to depict two lone-wolf personalities that come together under the most extraordinary of circumstances. Director Kenneth Branagh blends these genres seamlessly, all the while drawing on his vast experience with classic literature to give the story the scope and mood of a Shakespearean saga.

The performances are vibrant and fun. Newcomer Hemsworth possesses that rare combo of brawn and charm, peppering his performance with humor and proving that he can carry a film with ease. Portman's character is not etched out that well, but she injects Jane with ingenuity that can only stem from childlike curiosity, making her instantly identifiable. I have liked Dennings ever since seeing her cynic-with-a-heart-of-gold performance in Nick and Nora's Infinite Playlist, and her Darcy spouts some fantastic lines. Skarsgård is a reliable and no-nonsense mentor, and Idris Elba is quietly commanding as Heimdall, the guardian of the Bifröst, the bridge between the cosmic worlds. Hopkins possesses an ever-present air of persuasive leadership -- a quality essential to Odin -- and Tom Hiddleston gives a breakthrough performance as Loki, Thor's brother attempting to come out of his sibling's shadow.

Thor is what a good time at the cinema is all about. It draws upon universal concepts of love and honor and combines them with cutting-edge visuals, in order to dramatize Marvel's innovative spin on the legend. On a related note, please make sure to see the film in 3D, if possible. The transfer is gorgeous, and the appearance of detail phenomenal. Intelligent and entertaining, Thor is a film that should be enjoyed on the big screen, in its full multidimensional glory.

10/10

Summer Review #1 -- Fast Five

2011-05-08T19:49:00.001-07:00

As you would recognize that summer was here by the rising temperatures and sunny days, so you would also undoubtedly know that it had arrived by yet another installment of the wildly popular Fast & Furious franchise. Yes, the boys are back in town in what is probably their most boisterous, guns blazing, revved up adventure. And it is FUN.

After getting their guru Dominic Toretto (Vin Diesel) out of custody, Brian O'Conner (Paul Walker) and his girlfriend, Dominic's sister Mia (Jordana Brewster), move to Rio, where they expect to pull off a final heist with a new team, in anticipation of retirement. Things do not go quite according to plan, though, what with a tenacious U.S. DSS agent (Dwayne Johnson) hot on their trail and a local police officer (Elsa Pataky) beginning to doubt the villainy of the supposed bad guys...

This franchise is a well-oiled machine, pun completely intended. Each of the films is fully aware of itself and its grease-fuelled machinations; each of the actors is in the picture to enjoy themselves in fabulous locales and possibly take part in, like, awesome stunts... but I digress. As always, the principal characters come glued to their tricked-out rides, and the race and chase scenes are truly spectacular, particularly a scene toward the end.

When it comes to performances in a film like this one, I find myself wanting to heap praise upon the stunt people, the visual effects magicians and, of course, the monster vehicles themselves, rather than the actors for their work. The human performances are inextricably linked to the gas-guzzlers, having become increasingly so over the course of the three earlier sequels. Diesel and Walker still have a bromance going on, and Johnson adds a dose of steroid-infused, dour authority to the proceedings. Brewster plays well off of a new dimension added to Mia, while Tyrese Gibson and Ludacris provide a healthy dose of comic relief.

One sees a film like Fast Five for one simple reason -- to get into the spirit of summer through pure adrenaline created by cinematic velocity. It is what it is, people, and it was never meant to be anything else. Watching the movie, we get a good sense that it was made for the audience's enjoyment, and that is exactly what it achieves. Do not be a backseat driver and do not question the destination. Just enjoy the journey.

6/10

Weekly Review -- Single white... male?

2011-04-30T14:48:00.001-07:00

The Resident (2011) -- Innocuous on the outside, apartments can be rather creepy locales, as proven to us by the numerous film and television characters that found out about this fact the hard way. Filmmakers have been exploring and demonizing urban living for decades; indeed, the sequestered isolation of unit dwelling is fertile ground for nightmare narratives. Somewhere in between the suspenseful Single White Female and the disappointing-yet-intriguing Sliver, a peculiar space is inhabited by director Antti Jokinen's uncomfortable thriller.

Dr. Juliet Deverau (Hilary Swank) is looking for a new place to live. Soon enough, she manages to find a gorgeous and decently priced apartment, in a convenient location to boot. In the character's words, "what is the catch?" It turns out that friendly building owner Max (Jeffrey Dean Morgan) is an obsessive psycho, one of the if-I-can't-have-you variety, who swiftly ingratiates himself to Juliet and starts spying on her, all the while posing as the ultimate neighbor. By the time Juliet finds out the truth, will it be too late?

The movie boasts plot holes and cliches all over the map. The main problem I had was Juliet's lack of common sense. It is always frustrating to see a dimwitted characterization of a female who is supposed to be a sensible professional. If a woman moves alone into an apartment in present day New York City, the first thing she has to do is inquire about an alarm system, no ifs, ands or buts. If the building does not have the alarms set up already, the aforementioned woman should ask questions, many questions and more questions, AND then she should have one installed herself before moving day. I find it hard to believe that Juliet did not think she needed one or, even worse, that she was so consumed by her breakup, she neglected the basics of her personal safety.

**HUGE SPOILERS (please highlight to read)**

Another thing that frustrated me to no end was that darn laptop, open for everyone -- including the stalker -- to see. I did not get the impression that Juliet was hiding it that well in general, and was wondering about Max not seeing the recordings prompt upon entering that room. There were at least two instances when he could find out that she knew about his extra-curricular activities, so why did he not notice anything? Come to think of it, is it really plausible that even the owner of a building can have that much access to a unit? Has the building never been inspected and how come the secret tunnels have never been discovered? On another note, Max's past is too horrific for a mere mention and should have been closely examined in the context of his psychosis. These plot holes diminish any credibility that this movie could have had, and the whole piece feels forced and rushed in order to make the quick proverbial buck.

**END OF SPOILERS**

It goes without saying that both leads are light years ahead of the screenplay. I am not even going to discuss the realms of emotion that Swank is capable of depicting in her performances; the half-baked character of Juliet is not up to par here. As for Morgan, he makes for one hell of a villain -- some scenes truly made me cringe -- and deserves a complex, intriguing horror tale to sink his teeth into. The two actors had previously worked together in P.S. I Love You and obviously have good chemistry, but they deserve writing that is worth it. Both Christopher Lee and Lee Pace have nothing more to do than mope around, which brings the grand total of squandered actors to four.

It is no wonder that you have not heard or read much about The Resident. If you are looking for a casual, thrill-a-minute potboiler, this is the perfect movie to watch -- see it for what it is and enjoy the guilty pleasure. If you like to use your noodle, well... let us just say that the filmmakers require you to check your brain at the door, along with your expectations. This one is a fixer-upper.

5/10

Weekly Review -- True fairytales

2011-04-23T22:56:00.000-07:00

Somewhere (2010) -- Another entry in Sofia Coppola's elegiac opus, this gorgeous, contemplative drama is a stark rumination on life and its real treasures. Movie star Johnny Marco (Stephen Dorff) lives a lifestyle of no importance. Constantly canoodling with superficial beauties, jetting off from one monotonous interview to the next and indulging in the spoils that only money can buy, Johnny inhabits a whirlwind all his own, until he is forced to reconnect with his 11-year old daughter Cleo (Elle Fanning). As their worlds start interweaving, Johnny slowly begins questioning his priorities and re-evaluating his existence... Coppola's mellow directorial and visual style is the perfect brush with which to paint the contrast between Johnny's jaded routine and Cleo's genuine guilelessness, as well as the fractured relationship between father and daughter. These two aspects of the film comprise its soul and Coppola handles them with aesthetic care, not once dissecting their fragile elements in a clinical manner. As was the case with The Virgin Suicides and Lost in Translation, Coppola employs her unique brand of whimsy and a tinge of nostalgia to portray the evolution of the connection between Johnny and Cleo. Her screenplay places importance on the human factor in a realm of facades, putting the celebrity charade in the foreground when needed and subduing it when unnecessary. Dorff is perfect in the role, playing Johnny as a man who has thrown aside everything that makes him tick, whether intentionally or not; the scene where he consciously reflects upon his values is acting at its best. Fanning is a revelation as Cleo, a child who, without realizing, is merely trying to survive in an environment that fails to pay any precious attention to her. The two actors share a spark of innocence throughout the proceedings, making the story feel almost like a docudrama. With its deliberate pacing and philosophical outlook, Somewhere relies on raw emotion rather than forced theatricality to prove its point about finding true magic in a context of fake enchantment.

8/10

Weekly Review -- Post-capacity

2011-04-16T23:41:00.000-07:00

Source Code (2011) -- The human mind is an everlasting source of awe and inspiration. It is also fantastic fodder for science fiction works, some of them groundbreaking, which is exactly the epithet that can be given to Duncan Jones's latest film.

Captain Colter Stevens (Jake Gyllenhaal) finds himself on a train, talking to a woman he does not know and wondering how he got there, when the train explodes and... he does not die because, as he discovers upon waking, he is part of a secret government experiment called Source Code. The experiment places him on the aforementioned train in order to find a bomber; if he does not succeed, he returns over and over again, always with only eight minutes to complete his mission. Along the way, he begins to question the shady doctor (Jeffrey Wright) behind the operation and fall for the enigmatic woman (Michelle Monaghan) he met on the train...

As he has proven with his 2009 debut Moon, Jones likes taking chances with his material, going for risky innovation rather than polished reiteration. His new film does not only ask the audience to pay attention to every detail, as every great film should; it also asks that the audience forget their assumptions about what science fiction really is. He achieves this goal by placing an ordinary man, played masterfully by Gyllenhaal, in a set of unimaginable circumstances and having him essentially fight for his life. Under the guise of science and mystery, Jones questions universal truths and concepts, rendering Ben Ripley's screenplay into a multi-dimensional philosophical piece.

The ending is deeply contemplative and subject to debate and interpretation. You will want to examine and dissect every bit of the final fifteen minutes, which is why I think it is important not to discuss this ending in reviews, even under the heading of spoilers. I believe that every viewer should discuss it at length, and I believe that finding meaning in it that makes sense to yourself is more relevant to your experience than reading anyone else's observations.

The performances are solid throughout. As I mentioned, Gyllenhaal is incredible, deftly blending apprehension and intrepidity as Stevens. Monaghan's reluctant sidekick provides a much needed balance between the threats, while Vera Farmiga is a strong presence as the kindly Captain Colleen Goodwin, Stevens's guide through the procedure. Wright lends his usual air of authority to Dr. Rutledge, the inventor of the program.

Source Code is one of the best science fiction films of the past five years, and quite possibly the new decade. It is a rumination on being human, hidden within a structure of time-shifting realities. Its every frame will thrill you and its story will keep you riveted but, most importantly, it will make you use your brain like not many recent films do.

10/10

Weekly Review -- Invasion weekend

2011-03-27T02:16:00.000-07:00

In the context of our entire world coming apart at the seams and naturally leading to fantasy, science fiction and horror genres reaching a popularity pinnacle, I present to you a week of otherworldly mystery. We may all hold differing opinions on the status of life on other planets and in other galaxies, but one thing is for sure -- speculation is divine, neverending and, most of all, inspiring. If they are desperate enough to decide to drop by, hope springs eternal and belief springs certain that benevolence would outweigh malevolence. After all, the human appetite for destruction is a difficult trait to come by.

The Arrival (1996) -- An interesting take on alien lore and a nifty little thriller in its own right, this early David Twohy work is worth a look. Radio astronomer Zane Zaminsky (Charlie Sheen) receives a signal of unknown origin. When he starts investigating, he uncovers an alien conspiracy and, soon, a trail of dead bodies and secrets force Zane to run for his life. Can he outrun and expose the extraterrestrials before they take over the Earth? Twohy does a great job at maintaining an atmosphere of paranoia within a shocking context, creating a piece reminiscent of 1978's version of Invasion of the Body Snatchers; he would explore similar themes with his underrated 2009 gem A Perfect Getaway. As Zane, Sheen is alternately enthusiastic about his discovery and overwhelmed by the findings, turning the character into the eyes and ears of the audience. The always good Lindsay Crouse shines in a subdued performance as an idealistic climatologist, while Teri Polo and David Schiff give credible supporting turns as Zane's girlfriend and colleague, respectively. The whole take on the aliens is what makes the film stand out, though. The appearance and motivation of the beings is pretty different from what we are used to seeing in similarly themed stories. I also liked the effects; the whole spaceship sequence has dated quite well, giving off a rather organic and unsettling vibe, and not so much relying on budget as it does on imagination, which is the mark of any decent science fiction and fantasy film. On the whole, The Arrival is an innovative and engaging narrative, but what it really gets points for are its genuine attempts to breathe new life into a familiar story.

7/10

Skyline (2010) -- I believe that every cinema buff has a Skyline experience at least a few times in their life. No, I am not talking about witnessing an alien invasion. I am talking about films that seem pretty exciting as you watch them, but that inevitably lead to a what-the-hell moment as the credits start rolling. That is the kind of film that the brothers Colin and Greg Strause have made -- it has its moments, but also misses the mark with a few crucial elements. Jarrod (Eric Balfour) and his girlfriend Elaine (Scottie Thompson) have come to visit Jarrod's friend Terry (Donald Faison) in Los Angeles, for Terry's birthday. Before the guy has a chance to even blow out his candles, strange blue beams start descending from the sky and luring people into bizarre-looking spaceships -- think H.R. Giger meets M.C. Escher meets Independence Day. The friends band together and attempt to survive the invasion as the interplanetary war rages on... The effects are undoubtedly the best part of the film and the very first scene is a sight to behold. Unfortunately, the film falls flat in almost every other aspect. The acting is monotonous at best, with the exception of Thompson and Faison, who inject their performances with a spark of life; to be fair, their characters are the only ones that have potential to begin with. The story picks up details from other and better films here and there, and does not capitalize on the seed of its originality, which it should have focused on exclusively. There is a lot to be explored here, from the aliens' unique appearance to a sort of controlling telepathy that the beams suggest to the aftermath of the invasion, so it is a shame that the entire film is derailed by the pedestrian screenplay. Let us hope that the Strause brothers' next effort will take charge of its own idea, rather than allowing it to dissolve into a lazily written and questionable imitation.

5/10

Weekly Review -- A not-so-great morning

2011-03-12T12:56:00.001-08:00

Morning Glory (2010) -- A bit of charm here, a bit of spark there, a host of characters whose flaws are our own and a brisk screenplay that weaves a simple yet lively story -- that, my friends, is what a romantic comedy should be about. Old favorites like Broadcast News and My Best Friend's Wedding relied superbly on these elements, rightfully earning the status of classics. Unfortunately, we have no such luck with Morning Glory, a film that tries and tries in vain to please, attempting so vigorously to be sprightly nonchalant that it stumbles over itself, not unlike its heroine.

After losing her longtime job, TV producer Becky Fuller (Rachel McAdams) is hired to revamp a New York morning show that has all but imploded. While tangling with the network's problems and a capricious host (Diane Keaton), Becky decides to offer a co-hosting job to a legendary, but rather curmudgeonly, anchor (Harrison Ford), in an effort to boost the ratings. As the two hosts bicker and the show remains in limbo, a prospective romance with another producer (Patrick Wilson) and Becky's dreams of greatness hang in the balance, and Becky starts re-evaluating her priorities...

Chemistry is to romantic comedies what suspense is to thrillers, and this is why the most frustrating part of Morning Glory is the underused spark between Keaton and Ford. Keaton's often neurotic, self-analytical acting style finds a wonderful contrast in Ford's gruff exterior and subdued emotions, and I wish that the two had shared more scenes. Their rapport has a lot of potential and, had it been exploited further, the film would not only have been more appealing, but also more substantial. Contrary to these two subjugated characters and performances, the connection between McAdams and Wilson's characters is supposed to be sizzling, but instead is close to fizzling at every turn. The two have ingredients, but they somehow never make lush, full-on, all-out chemistry. In fact, I find the romance aspect to be painfully underwritten, considering that it is supposed to be one of the main factors that represent a change of perspective looming on Becky's horizon.

The best performances come from actors in supporting roles. McAdams' acting is so over the top that she comes across as manic and unfocused at times. With plenty of natural appeal and charisma, she does not have to try so hard. Wilson shows promise for the genre in a pretty thankless role, but it is Keaton and Ford that steal the show and run with it. John Pankow, so hilariously sleazy on "Episodes", a show you should be watching if you are not already, has a nice turn as a self-deprecating producer. As always, I pay attention to the visual mood of the film and Alwin H. Kuchler's cinematography does not disappoint; the gentleman was responsible for the cinematography in Sunshine (2007) and Code 46, after all.

Morning Glory is one of those films where the great fragments never come together as an entertaining whole. You will enjoy the delightful bits, then spend the rest of the evening wondering about the lack of a certain je ne sais quoi, that rich essence of characterization and storytelling which links the details and creates poignant cinematic fun. The film is a head-scratcher instead of a gem, and that is too bad, because it could have been glorious.

6/10

Weekly Review -- The different meanings of horror

2011-03-06T02:11:00.000-08:00

Paranormal Activity 2 (2010) -- One of the hotly anticipated sequels of 2010, this Tod Williams film expands the novelty act that was Oren Peli's original, but does not bring anything new to the table. A family that has just moved into an upscale neighborhood starts experiencing strange occurrences that initially only take place at night -- the yard lights are mysteriously switched off, the pool cleaning device is moved by an invisible force, and so on and so forth. When they decide to record the goings-on, numerous secrets start surfacing as the doings of the ghastly entity become increasingly disquieting... What I like the most about Paranormal Activity 2 is the structure. It links the narrative to the first tale and its characters in rather imaginative ways and, even though the ending is slightly over the top with the convenient violence, brings the characters and events from both movies together in a plausible fashion. The ambiance itself was more effective in Peli's film, due to the fresh anticipation factor; here we get more of the same exact thing, although some of the scares are truly chilling. The film fares much less successfully when veering into [REC] territory, with the entire night vision part being a brazen rip-off of the 2007 shocker and a cheap attempt at suspense. Another unnecessary part of the screenplay is the father's skepticism, persisting even after all evidence points to something unexplainable, but obviously possible. Still, the depth of story and character development is not the main attraction of this franchise; the shadows, slamming doors and omnipotent sounds are, and there is plenty of that to keep the viewer's attention. If you liked Paranormal Activity, you are going to love the sequel.

6/10

My Soul to Take (2010) -- After giving us one of the best films of the last five years and the best remake I have ever seen -- 2009's The Last House on the Left -- Wes Craven's production company inexplicably turns to the opposite side of the spectrum and gives us a movie that is not only nonsensical, but also cliched and hurried in the execution of its relatively original idea. Sixteen years after a serial killer known as the Riverton Ripper died in a police sting, seven teenagers that were born on that fateful night believe that the killer is returning to claim their lives. The problem is, he may either still be alive or reincarnated as a member of their group, and the time to learn the truth is running out... I do not know which element this film does not lack, but the main aspect is any semblance of a cohesive plot. I suspect that the screenplay may have been one of those scripts that get butchered by a mass of writers, thereby ruining the original vision. The story could have been intriguing, but that is where the appeal ends. The characters are stereotypical whiners who make inane decisions and talk in some sort of bad cinema code; there is mumbo jumbo about birds and a revolution starting, and no one can guess what it all means, but you should not try too hard to figure it out. The acting is panicked and unconvincing throughout, while the screenplay offers some truly bizarre sequences. There is the entire voice-changing, personality-shifting mode that most of the characters find themselves in, and then there is that classroom presentation scene, which can perhaps be digested if viewed as a quasi-Lynchian effort... oh, forget it, I am incapable of extolling any virtue here. My Soul to Take is more than unmemorable; it is practically unnoticeable. Do not under any circumstances bother with it.

2/10

Weekly Review -- Making friends, are we?

2011-02-19T13:20:00.001-08:00

The Social Network (2010) -- How many friends do you have?

The question which would have been simple to answer during the early days of my generation has now become a cryptic quasi-merit query, borne of the digital age and Facebook, the ultimate contact grid. Five hundred million of us have signed up for membership; most of us have done so in order to keep in touch with pals and colleagues, as well as waste time on quizzes and personality tests when experiencing writer's block or when feeling uninspired to go to sleep. Some of us also have at least fifty or more 'friends' on the site, averaging a dozen that we have not actually met.

So, who is the enigmatic brain behind the operation? Who is Mark Zuckerberg, the programmer whose work has led to a revolution in human interaction, but whose career has also been subject to controversy, speculation and more than one lawsuit? We can only get lost in guesswork, while being certain of one thing alone -- this man and his creation leave plenty of room for ardent debate.

Films based on real life stories are usually made in one of two ways: either sharply deviating from the facts for the sake of sheer sensationalism or peppering the truth with sporadic grains of salt. Director David Fincher does neither with The Social Network, choosing to delve into the background of the people and relationships that were at the forefront, as well as on the fringe, of the invention of Facebook. Seeing the film as a display of pure facts could prove to be a highly dubious endeavor, as is the case with most biographies; seeing it as a superbly entertaining piece on loyalty, success and duplicity is the best way to experience it fully.

After a harsh break-up, Harvard student Mark Zuckerberg (Jesse Eisenberg) creates a sexist site that compares the school's female students' physical virtues, jamming traffic to Harvard's main server in the process. When he gets suspended, he is contacted by Cameron and Tyler Winklevoss (Armie Hammer) and their business partner Divya Narendra (Max Minghella) to become programmer for a networking site that the brothers are creating. Instead, Zuckerberg pitches their idea as his own to his best friend, Eduardo Saverin (Andrew Garfield), who decides to invest in the venture. The twins learn about this turn of events and decide to sue Zuckerberg, opening a Pandora's box of disintegrating friendships and fraying egos...

Fincher steers the action unflinchingly and precisely, putting the audience in the position of observer, but never encouraging us to cheer; if anything, this story is one of the first 21st century socio-cultural sagas, a bloodless dystopia inhabited by detached anti-heroes. Jesse Eisenberg, who had already shown a spark of major promise in indies like The Hunting Party and Adventureland, is a revelation as Zuckerberg. His performance teeters on the brink of awkward madness, treading the line between painfully misunderstood and inconceivably arrogant. The viewer is unsure whether to sympathize with Zuckerberg's social ineptness or be angered by his callous deeds, simply because we can never relate to this person and are not meant to; the concept of humane behavior and compassion is as foreign to him as the domain of bytes is familiar. Garfield's gently understated Saverin provides a nice contrast to the mania that is Zuckerberg, while Justin Timberlake is a pleasant surprise as the ambivalently cocky Sean Parker, founder of Napster. Finally, Armie Hammer paints a unique characterization of no less than two people, finding each of the brothers' distinct voices as the film progresses.

As sharp as the acting and directing is, the screenplay is what makes the story and characters crackle and pop. It takes incredible talent, experience and comprehension of the human condition to bring to life a tale where, in reality, not much happens. Let me clarify. The basic, bare-bones structure of the film deals with people talking a lot, arguing a lot, throwing snide glances at one another and periodically throwing things in disillusioned anger. Frankly speaking, the entire affair could have been a pretentious mess, had it not been for screenwriter Aaron Sorkin. It is his brisk dialogue that makes the proceedings fascinating and that sculpts the characters into crazy, passionate, obstinate, perplexed and fallible individuals, those captivating creations that we are unable to take our eyes off. It is Sorkin's masterful writing that injects the social into The Social Network.

Even though we are capable of drawing our own conclusions on the suit, based on legal evidence and corroborated statements, we will never know the facts. Regardless of the truth, The Social Network is a stark portrait of a genius whose intelligence is more of a curse than a blessing, whose loneliness overrides any and all brilliance that he can conjure and whose moral ambiguity places him in conflict with his peers, if he has any to begin with. The film is an antidote to a conventional cinematic account of a real life incident, representing a provocative portrait of a figure that is nothing short of polarizing.

10/10

Weekly Review -- Turning the page

2011-01-09T00:27:00.000-08:00

The Ghost Writer (2010) -- I have not known Roman Polanski to ever make a bad film. Never. It is one of those universal facts of life, akin to the sky being blue and the universe being endless. His latest film is a political thriller, mystery and drama woven into one, and it is a truly delectable treat.

A writer (Ewan MacGregor) takes on the job of revising the former British Prime Minister's (Pierce Brosnan) memoirs. Meeting his long-suffering wife (Olivia Williams) and enigmatic assistant (Kim Cattrall), the 'ghost', as he becomes known later, slowly settles into his new and explosive environment. Along the way, the politician is charged with war crimes and the writer finds himself in danger, after uncovering clues to a conspiracy...

The narrative is eloquent, moving at a gradual pace and inviting us into intrigue with every sequence. The screenplay by Polanski and Robert Harris, who had also written the novel the film was based on, is taut and intense. Polanski's frequent theme -- that of a lone protagonist getting caught up in a web of paranoia and deceit -- is the main element in this film as well, corresponding nicely to Harris's view of the classic David-versus-Goliath tale. It might be a long shot, since thrillers are not usually recognized during award season, but I will go on the record with my wishful thinking and predict an Academy Award nomination for Best Adapted Screenplay.

On another note, the central topic of the film is a timely concept, coming to us during a period of worldwide upheavals, when countries are under constant threat of terrorism and people's distrust of government is at an all-time high. Just like he had positioned the machinations of Rosemary's Baby during the second wave of feminism and the corruption of Chinatown in the midst of the Watergate era, to name a few examples, so Polanski has now decided to (literally) haunt the post-millennial, socially charged and digitized politics. Not many filmmakers are so in tune with the twists and turns of their lifetime, and not many of them dare to question the continually imposed authority, but Polanski is always the one storyteller who has his finger on the pulse of the zeitgeist. Geist, indeed.

**HUGE SPOILERS (please highlight to read)**

The only part I did not see as logical was a scene toward the ending. Why on Earth would McGregor's character have announced his findings to Ruth at the book launch? I was already wondering about why he had told her about Emmett at a time when he was still unsure as to who he could trust, and this moment at the party was simply unnecessary. I am guessing that the purpose of it was to demonstrate the futility of his efforts to expose the truth and bring the real culprit to justice, since he was not going to survive a cover-up of such proportions anyway, but it felt redundant nevertheless.

**END OF SPOILERS**

The cast is well chosen, with some of the actors playing very different roles than the ones we are used to seeing them portray. McGregor gives a subtle yet intricate performance as the unnamed writer, who attempts not to get in over his head. Brosnan straddles the thin line between officiousness and sleaze, while Williams is the femme fatale that one might expect Cherie Blair to be in an alternate universe. It was fantastic to see Kim Cattrall as the seemingly cool and collected assistant, especially after the debacle that was the summer chickfest which shall not be named; here, she is a chic puzzle disguised as a posh headmistress, topped with an uncompromising English accent. The performances are an exceptional part of the film, rendered even more effective by their unassuming quality.

The Ghost Writer is a sophisticated film that thrives on the potential of its source and utilizes the power of dialogue to the maximum, in order to deliver its jolts. It does not rely on noises or histrionics to prove its point; rather, it sneaks under your skin through silences that speak louder than any screams. After all, it is the quiet truth that makes more of an impact than a blaring lie. Just ask Rosemary.

10/10

Weekly Review -- Award-winning weekend

2010-12-26T21:13:00.000-08:00

The Kids Are All Right (2010) -- Known for her layered examinations of human behavior, Lisa Cholodenko is one of those rare filmmakers who lay out life's ephemeral qualities and leave them open for interpretation. Having analyzed the struggle between self-discovery and ambition (High Art) and journeys into adulthood (Laurel Canyon), she now looks at the post-nuclear family in The Kids Are All Right.

Nic (Annette Bening) and Jules (Julianne Moore) have been together for nearly twenty years. Having raised two teenage children -- Joni (Mia Wasikowska) and Laser (Josh Hutcherson) -- their relationship has turned into a not-so-blissful domesticity. When Joni and Laser set off to meet their biological father and their mothers' sperm donor, the free-spirited entrepreneur Paul (Mark Ruffalo), the family's routine unravels into humorous, poignant and unexpected developments...

What I have always appreciated about Cholodenko's work is that no subject is ever black and white. Kids is not an exception, dealing with and challenging our preconceived notions of commitment and the fluidity of sexuality. In a unique twist, Cholodenko makes a sharp distinction between the two, injecting a dose of honesty and unpredictability into the story and asking us in the process -- is this not what life is?

**HUGE SPOILERS AHEAD**

I can understand how the affair between Jules and Paul could have been a delicate issue for the gay community, to say the least. I can see how the film's abrupt landing into standard and heterosexual romcom territory could have been seen as controversial, even as a betrayal, by many people. Personally, I did not think that the narrative required it, since I believe that the story of children bringing a third party into the parent fold would have been intriguing enough. Still, I ask that we all open our minds. We do not know if Jules is gay or bisexual; we do not know if she had ever been with men before meeting the love of her life, who just so happened to be a woman. The point is, it does not matter. Falling for someone is falling for someONE -- note the absence of a gender-specific pronoun. Committed relationships are not immune to extramarital affairs, and gender is not a determining factor in these occurrences.

**END OF SPOILERS**

The acting is excellent. Bening is a true force of nature as a mother protecting her family at all costs, alternating between Nic's controlling and doting attributes. Moore gives an equally terrific performance as an insecure woman lacking passion who, after having searched for it outside her relationship, returns as a stronger wife and mother. As Paul, Ruffalo finds comedic timing within the changes that his character is facing, the sobering reminders of a maturity that has somehow managed to pass him by over the years. Wasikowska and Hutcherson are both revelations as the siblings, whose natural curiosity leads to events that may alter their lives in unforeseen and irreversible ways.

The Kids Are All Right is another proof that Cholodenko is one of the most courageous filmmakers working today. Her portrayals of people are painstakingly accurate and her views of life's conundrums never leave viewers cold, inspiring debate and daring us to reconsider our beliefs. Her latest piece is a thought-provoking study of the bond between soulmates and the strength of commitment, soothing us into a firm conviction that yes, the kids are all right indeed.

8/10

The Town (2010) -- I will go right ahead and say it: Ben Affleck is better at directing than he is at acting. As an actor, he is mostly decent; as a director, he finds details and nuances, breathing life into situations that another filmmaker may have handled in a cliched manner. Like his directorial debut, Gone Baby Gone, The Town is both a crime drama and Affleck's love note to his city.

Robber Doug MacRay (Affleck) and his crew, including his best friend James (Jeremy Renner), are in the middle of a heist spree. After a job during which they took bank manager Claire (Rebecca Hall) hostage, Doug and Claire fall for one another through sheer happenstance. Torn between his loyalties and his new love, and pursued by a ruthless FBI agent (Jon Hamm), Doug knows he has to make a choice, but how can a man whose life has been based on predetermined mistakes ever make the right decision?

As in Affleck's previous directorial effort, Boston is one of the main characters. The sprawling streets and gloomy corners of the city's underbelly are merciless in the context of the transgressions, but strangely comforting in the context of a nascent love story. Affleck puts this environment under a microscope, without judging its notoriety even once. He prefers to simply paint the picture of a harsh existence, rather than preach about the drawbacks, gloss them over and lose their essence. All of his characters are caught up in the darkness and all are attempting to find themselves before Charlestown's way of life swallows them whole. The gritty cinematography is the work of Robert Elswit, who creates a gray and ominous grotto with a soul, making the proceedings that much more fascinating.

The acting is excellent across the board. Affleck and Hall are achingly believable as two strangers who come together under the most brutal of circumstances, and Hamm is delightfully bureaucratic as the relentless FBI agent closing in on Doug's gang. The best acting, though, comes from Jeremy Renner and Blake Lively. Renner's James is a picture of volatility, a hardened felon whose consciousness is so steeped in mayhem that his only redemptive trait is his fierce loyalty. Apart from the principal liaison, it is Doug and James's friendship that is at the heart of the film. Neither of the two ever forget where they have come from, but Doug has the common sense to avoid any more pitfalls, while James has no clue where to begin and has made peace with himself. As Krista, James's sister and Doug's ex-girlfriend, Lively shows a startlingly rough side of herself. Like Sara Paxton had done in The Last House on the Left, Lively's turn as a troubled single mother shows that she is capable of much more than teen-oriented fare. Lastly, the late Pete Postlethwaite and Chris Cooper give stellar performances as a criminal mastermind and Doug's incarcerated father, respectively.

The Town is a truly engaging crime saga. It is a visceral film that pays as much attention to its inhabitants and relationships as it does to its glorious action sequences. This town is not the most pleasant place you will visit, but it is certainly one of the most spirited locales you will see in your lifetime.

8/10

Weekly Review -- The end is nigh

2010-12-05T17:19:00.000-08:00

Carriers (2009) -- When it comes to the horror genre, rarely do we manage to find a horror/drama hybrid to begin with, let alone one that does not employ the pretense and gloss of a big-budget confection. For an underrated gem that swerves 360° from your usual Hollywood fare, look no further than this Àlex and David Pastor film.

Brian (Chris Pine), his brother Danny (Lou Taylor Pucci), Brian's girlfriend Bobby (Piper Perabo) and Danny's friend Kate (Emily VanCamp) are fleeing a viral epidemic that has decimated the planet. On their way to the seaside, they happen upon a man (Christopher Meloni) and his sick daughter (Kiernan Shipka), setting in motion some very unwelcome events. More than anything, the encounter proves to be revelatory of the quartet's sense of morale and virtue, in a world that allows decency to dissipate without a trace...

The strength of Carriers lies in its deceptively simple story, one that sheds its layers as the proceedings unfold. Marketed as a straight-up genre film, this is a truly slick character study, its emotional impact augmented by the sibling relationship at its core. It is easy to make a film that capitalizes on the interplay between cheap thrills and gore, but it is quite difficult to create a work that invests in and finds meaning within its narrative. Carriers evolves from a tale of a makeshift family to a testament of its disintegration in the midst of catastrophe, leaving us to wonder what comes after the primary building block of humanity has evaporated and after the last vestige of civilization has been abandoned.

The acting, writing and cinematography are three of the film's strongest suits. Pine is impressive as Brian, a cynical realist whose stifled compassion is in conflict with the savagery around him. Pucci does an excellent job as the rather naive Danny, an idealist coasting on a vision of what might or might not be utopia. Perabo is simultaneously tenacious and melancholy as Bobby, while VanCamp gives a complex performance as Kate, a survivalist wolf in sheep's clothing. The chemistry among the cast is palpable, rendering rich and believable personalities and relationships and making the film that much more harrowing. The Pastors' screenplay explores these nuances, relying partly on the characters' inner plight and partly on the gravity of the inescapable situation. Benoît Debie's cinematography contributes to the somber mood of the piece, its vivid colors and crisp glow further illustrating a time and space outside any and all comfort zones. One of the most important facets of the film is the symbiosis between its aspects, with the technical elements feeding off the narrative and vice versa, its parts forming an eloquent sum that draws upon the themes of connection and isolation in an increasingly desolate world.

Carriers is an atypical mainstream thriller, coming from a place of bare truth, rather than a place of congested hyperbole. The film's style and commitment to its story is what gives it substance and relevance, making it stand out among numerous blood-soaked shockers. This time, the shock is real, because this time anyone can fall victim to its pull and anyone can find themselves facing the toughest choice of their life when they least expect it.

8/10

Weekly Review -- Off the track

2010-11-28T16:12:00.001-08:00

Unstoppable (2010) -- Take an engaging true story, frenetically glorious visuals, meticulous direction and creative editing. Mix and shake the ingredients well. What do you get? Why, Unstoppable, Tony Scott's new action bonanza, which is huge on thrills but, unfortunately, short on characterization and screenplay nuances.

After an unmanned train carrying a cargo of hazardous chemicals is accidentally sent zipping through Pennsylvania, it is up to a veteran engineer (Denzel Washington) and rookie conductor (Chris Pine) to stop it, before it derails and destroys a town. Along the way, they encounter reluctant support from a frazzled station master (Rosario Dawson) and resistance from corporate headquarters, all the while devising techniques to prevent the derailment...

Unstoppable is a curio of a movie, its good and bad aspects sharply divided. The good part is the representation of not only the relatable protagonists, but also of the steel beast creating the chaos. With its sense of impending catastrophe, the movie brings to mind The Cassandra Crossing and its atmosphere of doom and gloom. The train on the loose is quite the monstrosity, playing with our expectations and posing an almost ghostly threat, not unlike the ominous truck from Duel. The moments involving the heroic protagonists and ordinary townsfolk being affected by the possibility of a horrific accident feel authentic and surprisingly warm, as though we were watching a documentary that is taking an organically sympathetic turn, without auto-tuning and cheapening emotions for the audience.

The bad part is an aspect that should be a crucial factor for a film which bases its premise on unpredictability, and that is the screenplay. While it presents a believable context -- this narrative, after all, deals with a real-life incident -- the script is missing a richness that could have deepened its initial perspective of the characters and circumstances. To name an example, I would have liked to know more about Frank's relationship to his job and about Will's background, both of which were hinted at in a couple of places, but never fully explored. I would also love to have seen more situations linked to the train set loose, which would have elevated the level of human drama that already exists in the piece. The script follows a straight line at all times, opting not to take a chance on its story and not to -- pun intended -- veer off course. In a film where the stakes are this high, a bit of risk might have served the purpose of raising them to a degree of an intimate chronicle, which would have been more riveting than holding back and staying with generic action.

The cast is well chosen and mostly better than the film. The exchanges between legendary Washington and up-and-comer Pine reflect the proceedings in a whimsical way. The two actors share great chemistry, making me wish yet again that more attention had been paid to the writing. The only weak link in the cast is Dawson, whose performance gets stronger as the film moves forward, but still leaves me thinking that someone older would have fared better in the role.

Unstoppable presents an actual tale of heroism that works well as an action film, but is missing some ingredients to make it truly absorbing as a dramatic saga. It is a fun movie to watch as far as the style and cast go, but it barely scratches the surface of its own potential. Watch it to appease your thrill-seeking self.

6/10

Weekly Review -- Cocktails turn sour

2010-11-21T20:11:00.001-08:00

Sex and the City 2 (2010) -- After having enjoyed the summer melange of girl talk and fashion that was the first Sex and the City, I was looking forward to seeing what the sequel might hold in store. I decided to ignore the negative reviews, since I was going for the outrageous, sugary fun of it all, and nothing more. I was not wishing for, nor was I anticipating, a labyrinthine brain teaser. I was expecting and hoping for a light-hearted tale that harked back to the show and the first film, populated by some witty repartees and poignant moments between the four protagonists.

Let us put it this way: they were right.

The story examines our four protagonists' misadventures two years after the first film's events. Carrie (Sarah Jessica Parker) and Mr. Big (Chris Noth) have settled into their version of domestic bliss, one that leaves much to be desired. Charlotte (Kristin Davis) is dealing with, rather than enjoying, her family with husband Harry (Evan Handler), while Miranda (Cynthia Nixon) decides to quit her job, after her boss' misogyny becomes too much to handle. Finally, Samantha (Kim Cattrall) is trying to battle age and ageism by juggling an assortment of medications and lovers. When the friends decide to accept an offer from Samantha's new client for an all-expense paid trip to Abu Dhabi, old flames appear and new friendships are made, every connection a side note to the friendship that started it all.

Where to begin with this unfortunate sequel? The best scene is the opening ceremony, simply because it is the only scene that offers genuine emotion without pretense. As the film progresses, though, the jokes get more and more revolting and the situations become more and more obnoxious, making the audience feel bad for the usually good actors, who try, try and try even harder as each minute passes. The screenplay makes caricatures out of all the characters, placing them in the midst of quasi-farce sex jokes that are better suited for juvenile fare. Even Nixon and Cattrall, undoubtedly the best actresses of the bunch, are unable to do much with the lame writing. Yes, it is fun and refreshing seeing Miranda cut loose for once, but why does the portrayal have to veer into over-the-top Zen territory? Why turn self-confident, sassy Samantha into a pathetic shadow of her former self, having her use her sexual power as a mere way to get men instead of dominating them, as was always the case? To be perfectly blunt, the filmmakers should have invested effort into crafting an honest continuation of the characters' lives, rather than attempt to figure out how to cash in on the second movie as soon as possible. The script makes for a very distasteful and hackneyed experience, and the acting never has a chance to reach a higher level, being that it is the writing that can make or break this franchise.

Sex and the City 2 presents a sad state of affairs in comparison to the effervescence of the first film, but especially in comparison to the groundbreaking feminism of the series. Its entire purpose is seemingly to drag its characters into a very particular sort of mud, that nethermost region of cinema where great stories go to die after they have been milked out of the last cent that they can bring to greedy studios. I shudder to think what awaits me with the second sequel. Ladies, tempting though it may be, giving those Manolos another go might not be such a good idea.

3/10

Weekly Review -- Just chillin'

2010-10-23T12:24:00.001-07:00

Frozen (2010) -- Ah, winter. Time for Christmas, skiing, sledding, hot chocolate in front of the fireplace, getting stuck on a ski lift... oh, wait. Generally no one's idea of a good time, the latter is exactly what befalls the protagonists of Adam Green's newest venture, and yes, the outlook is grim indeed.

Three winter sports enthusiasts (Shawn Ashmore, Kevin Zegers and Emma Bell) spend a fun-filled weekend at a ski resort. Right before leaving, they decide to have another go at the slopes, but their plan quickly turns into a nightmare when they are accidentally left stranded on a ski lift, with no chance of rescue. Frightened and cold, they have to rely on their wits and each other to possibly escape, but the situation proves to be even more complicated than it initially appears...

I had thoroughly enjoyed Green's horror comedy Hatchet and was looking forward to a seemingly more primal and sobering film, with Frozen delivering on all fronts. The debacle it represents is not a zombie apocalypse that wipes humanity out or a supernatural monster on the prowl; in the vein of Open Water and The Strangers, Green's latest focuses on a relatively plausible scenario, caused by most disagreeable happenstance. There are no computer graphics, histrionic music, quick startles or any other unnecessary effects. There is painfully earnest dialogue and the occasional bout of violence that, though anticipated in the context, is somehow always unexpected in its abrupt brutality, rendering the proceedings a lofty and worthwhile investment for the audience.

The actors are relatable and understated. Newcomer Emma Bell steals the show as the spunky newbie snowboarder, while Ashmore and Zegers play off of each other nicely as best friends caught up in an event that they are unable to fathom. Hiring up-and-comers for this kind of introspective drama was a perfect casting solution, being that any huge Hollywood star would have reduced the believability factor to zero. After all, it is people like you and me that get lost in the middle of nowhere, not Anne Hathaway and Leonardo DiCaprio.

Frozen is a creepy little film that plays on the universal fears of demise and abandonment, and that exploits its themes for all they are worth. Green is aware that the most frightening situations are always borne of the most ordinary of circumstances, not of noise and fanfare. Michael, Freddy and Jason might be the figures that make us hide behind the sofa, but they are not the shadows that provoke our deepest anxieties. Real terror is concealed within the silence of a snowy night, the darkness of isolation and the knowledge that your screams cannot be heard, no matter how desperate you may become.

9/10

Weekly Review -- Low-cal western

2010-10-17T01:33:00.000-07:00

Jonah Hex (2010) -- In the film canon, there are certain genres that can end up being representative of extremes. Either awesomely good or mind-numbingly bad, genres like horror, comedy and comic book adaptations fall into an all-or-nothing area that usually involves a point of no return. For every X2 and The Dark Knight, there is a Batman & Robin and, unfortunately, Jonah Hex is the latter type of attempt.

The title character, played by Josh Brolin, is a vengeful outlaw, who makes a deal with the U.S. military to bring to justice criminal mastermind Quentin Turnbull (John Malkovich). Turnbull had also murdered Hex's wife and child and left Hex for dead, with the help of his psychotic sidekick Burke (Michael Fassbender), and our hero cannot wait to finally get his hands on both perpetrators. Off he rides, into the sunset, on his journey of revenge and redemption...

... but the audience is hard-pressed to care. The film is an incomplete mishmash of gunfights, supernatural elements, hyper flashbacks and a tinge of a story, none of which come together in a cohesive whole. Jimmy Hayward is not an experienced enough director to take on the task of orchestrating an adaptation of this magnitude. The screenplay was written by the ubiquitous duo of Mark Neveldine and Brian Taylor, those visionary auteurs that brought us such cinematic gold as Crank and Pathology; they are not up to task either, being that their work is not exactly known for subtlety and innovation, two of the things that this film could have used in spades. At a paltry 81 minutes running time, Jonah Hex feels unfinished, underdeveloped and overall neglected.

The actors are mostly better than the film, but even they are unable to elevate the material. Brolin plays Hex with more decorum than is warranted, and Malkovich sleepwalks through the role of his arch nemesis. Fassbender is having a lot of fun with the sadistically playful character of Burke, while Megan Fox is just posing as her bland self, in the cliché role of a hooker with the heart of gold. For some reason, we also get Will Arnett and Michael Shannon, both of whom swoosh through the proceedings in barely noticeable turns.

Jonah Hex is not a great way to spend an afternoon, evening or any time at all. I feel sorry for the fact that so many talented actors were wasted in this mess and that no effort whatsoever was invested into bringing a comic book legend to life with enthusiasm and creativity. Only one question remains -- where, oh where is the Dark Knight when you need him?

3/10
(for Brolin, Malkovich and Fassbender, all of whom have long earned the right to refuse this kind of dreck)

Weekly Review -- After the fire

2010-09-25T19:41:00.000-07:00

The Road (2009) -- A good dramatic piece is hard to find, particularly nowadays, in a sea of cheap, quasi-reality show thrills, CGI-inundated actioners and teen romances. As poetic as it is life-affirming, John Hillcoat's The Road is a uniquely framed narrative, revolving around the purest and most primal of relationships.

After an apocalypse has wiped out nearly all life on Earth, a man (Viggo Mortensen) and his son (Kodi Smit-McPhee) travel across the desolate United States, all the while attempting to survive another day. Encountering the worst side of humanity at every corner, facing desperation with every step, they press on, hoping against hope for life after ruin. The connection between father and son is unbreakable, enduring the hardest of hardships and evolving through small miracles along the dreary journey...

Hillcoat's film is an introspective cinematic tale, differing from many other dramatic works in its representations of communication and conflict. The barely existent dialogue makes The Road play out like an internal monologue, one that gives us heartwrenching insight to a father's ultimate predicament. Had I not known that the film was an adaptation, however, I would have wanted to learn more, since the story structure was tailor-made for a medium that can delve even deeper into the narrator's state of mind and further illustrate the first-person viewpoint. Although Hillcoat has directed a thoroughly riveting saga, I am happy that the piece was based on an undoubtedly lyrical novel by Cormac McCarthy. It also has to be be said that Javier Aguirresarobe's cinematography and Chris Kennedy's production design are perfection. It takes imagination and guts to create a gray, unglamorous world, which nevertheless manages to seduce the viewer into its deteriorating vortex.

The cast is excellent. Mortensen's protagonist is a picture of dogged determination, his inner fighter going beyond limits for his son. Portraying a child without a childhood, Smit-McPhee is a talent to watch, his character's natural curiosity mixing with sadness that can only have come from the loss of innocence. Charlize Theron gives a performance that is both melancholy and disturbing, while Garret Dillahunt constructs an equally unsettling picture of a ruthless scavenger. Lastly, Robert Duvall and Guy Pearce have compelling supporting turns as fellow voyagers on the way to a possible tomorrow.

The Road is a contemplative version of a future that no one would ever wish to live through. It is a testament to resilience, our everlasting commitment to survival and our willingness to guard love with our lives. Above all, it is a philosophical treatise on what makes us human and what makes us retain humanity when a lack of mercy threatens to take it away forever.

9/10

Weekly Review -- The number of the beast

2010-09-04T23:41:00.001-07:00

Burning Bright (2010) -- Creature features have been known to run the gamut from laughably campy -- hello, Earth vs. The Spider! -- to disturbingly effective, like that little shark movie that made everyone afraid of skinny dipping, or any kind of dipping, for that matter. Still, it is the union of inspiration and resourcefulness that produces the best scares, which is exactly what we get with this Carlos Brooks' film. After learning that her bank account was depleted, Kelly (Briana Evigan) returns home to confront her stepfather (Garret Dillahunt), who took out the last cent in order to purchase a tiger for a planned safari park. Having taken care of her autistic brother (Charlie Tahan) since their mother passed away and needing the funds for his tuition, Kelly finds herself in quite the predicament, but her troubles are far from over. In the middle of the night, she wakes up to discover that the aforementioned tiger has somehow entered the hurricane-ready, boarded-up house... The main reason the film works is its simple, unpretentious premise, with just enough twists and turns to surprise the viewer. The setting and issue of the hurricane season also works to the film's advantage, making the story that much more frightening and the stakes higher. Brooks generates a whole lot of suspense by using camera angles and subdued lighting, proving that a filmmaker does not necessarily need a big budget to create a juggernaut of unrelenting dread. Evigan makes for a tough yet sympathetic heroine, reminiscent of classical 1970s and 1980s horror protagonists, providing Kelly with quick wit and sharp senses, all indicative of the obvious struggles that she has gone through during the course of her short life. Tahan excels as her brother and Dillahunt does a great job as the opportunistic stepfather. Burning Bright is a good addition to the horror genre, a thrilling story that never compromises its tension and a hidden gem that might just amaze you with its ingenuity.

8/10

Weekly Review -- Scare tactics

2010-08-26T18:36:00.001-07:00

The Fourth Kind (2009) -- Alien abduction films have rarely been a strong factor in cinema, presumably due to the deeply intimate and skepticism-inducing subject matter. The latest work dealing with the topic is director Olatunde Osunsanmi's chiller. In Nome, Alaska, psychologist Abigail Tyler (Milla Jovovich) has been interviewing patients with very similar stories, all involving creepy nighttime occurrences and uninvited visitors. After reviewing their accounts, Tyler comes to a startling realization that the encounters were most likely alien abductions and, faster than you can utter 'UFO', she runs into mistrust from the town sheriff (Will Patton) and disbelief from a colleague (Elias Koteas). She links the events to the murder of her husband, but puts herself and her family in extreme danger as her research goes on... For some reason, the film reminded me of The Mothman Prophecies, as far as the general ambiance and editing techniques go; heck, the two even have Patton in common. Still, this is where all the similarities end, since the context of Prophecies is much more comprehensible, making the movie more frightening in its depiction of the unknown. The Fourth Kind wanders thematically from one aspect to another, not exactly sure of where it might end up. It certainly does offer scares -- my heart practically stopped during one of the hypnosis sessions -- but its style makes it seem perplexing rather than spooky, the abduction scenes often bordering on bad surrealism and the "real" story interweaving with the "fictionalized" version in a mostly trite and forceful manner. Exactly how many screens can we have competing for our attention at once? The movie also occasionally overdoses on these mockumentary sequences, which should be adding to the narrative and not distracting the viewer. Osunsanmi fares best when veering into Blair Witch territory and creating not-quite-there terror, a quality he should have been drawing upon for the entire piece. The acting is adequate, with Jovovich giving unexpected nuances to Tyler, and Patton and Koteas providing a healthy serving of suspicion as the mystified locals; however, I have to say that, by the end, I became quite annoyed with Patton's character, being that the unexplained had been too glaring to ignore and that he had absolutely no basis for treating Tyler the way he did. Overall, The Fourth Kind is all right for one viewing, if you would like to see a different sort of scary treat, but it is too jumbled and indecisive to be delectable.

6/10

Eden Lake (2008) -- The rawness of silver screen horror has been the subject of fierce debate for at least a decade. It has been said that the genre was diluted by the social and cinematic epoch of post-modern self-reference and political correctness, but it has also been argued that some of the most intense recent horror tales arose from precisely these circumstances. Enter Eden Lake, a film that uses its themes both to test the audience's sensibilities and to hint at issues that hide beneath the volatile surface.

When Jenny (Kelly Reilly) and her boyfriend Steve (Michael Fassbender) set off on a romantic weekend getaway, they only have each other on their minds, with Steve planning to propose in the idyllic lake setting. What they are not counting on is running into a group of teenage thugs, led by the violently impulsive Brett (Jack O'Connell), who proceed to harass the couple until things get out of hand and the shell-shocked visitors have to run for their lives...

While the DVD cover may imply your run-of-the-mill slasher flick, filmmaker James Watkins takes what could have been a bland tale to the next level. Yes, Eden Lake does deliver if you are looking for bloody, sadistic violence, and is definitely not for the faint of heart; yes, it contains plot holes that render the logic of the events impossible, such as the existence of GPS, getting lost in the wilderness during the most technologically advanced decade of all time and one character's actions that defy common sense. However, due to its central conflict between the "locals" and the "intruders", the film could and should also be viewed as a piece on social warfare. Its layers are peeled slowly and surely, from the way it represents the power struggle between the classes at the dawn of the latest recession, to hinting at xenophobia, so prevalent in numerous European countries nowadays, Great Britain being one of the top contenders for the front line. The idea of youth gone wild -- a frequent news topic, as we can see at the beginning -- is one of the main points that the narrative deals with, and exploring the above mentioned questions through this equally explosive issue is both a shocking and novel concept for a genre film. The ending is highly allegorical in the context of the film's politics, particularly the last few seconds, which utilize a strong sense of irony to bring to mind concerns of adaptation versus assimilation.

The performances are excellent, heightening the dread into a human saga. Reilly adds a unique touch to her portrayal of a teacher forced into a life-and-death situation. When we see Jenny in her classroom and with Steve in the first fifteen minutes, it is easy for us to believe that she is as innocent and wide-eyed as her students. Her presence and voice is so delicate and otherworldly, that its contrast with the later brutalities is almost too much to bear. Fassbender is compelling as Steve, whose motives are justified, but whose bullheadedness provokes many of the escalations, and O'Connell shows a lot of promise as Brett, the leader of the delinquent pack.

Eden Lake is one of those works that are sometimes overlooked for their superficial value, but that need to be appreciated for offering a story behind the story. Its significance lies in its impeccable timing, a happenstance that transforms the screenplay into a post-millennial sociological essay. A multi-dimensional, uncompromising piece, Eden Lake taps into contemporary paranoia while delving into controversy and, for that display of ingenuity, it deserves to be seen.

8/10

Summer Review #2 -- Salt

2010-08-14T16:30:00.000-07:00

One of the action/thriller entries in the 2010 summer movie pantheon, Phillip Noyce's Salt is a mixed bag of covert tricks. It delivers in terms of dynamic sequences and leading lady charisma, but its weak story arc and poor character development lead the movie to fall short of expectations.

After interrogating a defector who accuses her of being a Russian spy, CIA operative Evelyn Salt (Angelina Jolie) finds herself on the run. With a skeptical colleague (Liev Schreiber) and a determined counter-intelligence agent (Chiwetel Ejiofor) tracking her every move, she desperately tries to find her husband (August Diehl) and elude capture, while rushing to prevent an assassination that she is supposedly linked to...

I felt shaken, rattled and rolled after seeing Salt, what with the juggernaut stunts and shootouts and chases occurring in quick succession. The story, though filled with twists and turns, does not offer much substance or character evolution. The screenplay suffers from attempting to cram too many genre staples into one yarn without proper justification. Gunfights, assassinations, executions, high jumps, stakeouts -- you name it, Salt has got it. The stunt sequences are impressive, but completely take over the meandering whodunit narrative, which eventually dissolves into violent, conspiratorial chaos. Another problem is the heavy-handed treatment of some scenes; for example, the ending comes very abruptly, and the events explained through a montage could have been dealt with through some innovative exposition. The awkward writing and the slam-bang tendencies of every single situation lend the movie an air of confusion, rather than credibility.

The cast do what they can with the script. As an action hero, Jolie is pretty damn awesome; in fact, she is better than the movie. She has already proved her tough-as-nails bravura in the Lara Croft films and in Mr. & Mrs. Smith; Salt only proves further that she can handle her ordnance and fight, AND look plausibly dangerous while doing it. Her sultry beauty is never a distraction; instead, it is the perfect asset, fatal to any and all opponents. Schreiber gives a somber performance as a fellow CIA agent, and Diehl -- of Inglourious Basterds fame -- has a decidedly more tender turn this time around, playing the husband. And will someone please tell Hollywood already that underusing Chiwetel Ejiofor is a crime?

In its attempts to become the next Bourne Identity, Salt misjudges its logic and leaves the key players in the dust. It is worth seeing if you are looking for an energy rush, but, if you are looking for a deftly constructed spy thriller, you will leave the theatre unfulfilled. Take it with a grain of... well, you know what.

6/10

Weekly Review -- Room to breathe

2010-08-07T21:38:00.001-07:00

Fish Tank (2009) -- Independent films are a rare and beautiful breed. Saying more with one glance than most blown-up blockbuster extravaganzas say in their entirety, often using gritty dialogue and context to explore situations that any mainstream work would run away from in a heartbeat, and generally giving new meaning to raw honesty, these gems are the kind of treasure that one finds when one is not looking, and Andrea Arnold's Fish Tank is no different.

Teenager Mia's (Katie Jarvis) life is at a standstill. Living on a council estate with her negligent mother (Kierston Wareing) and foul-mouthed sister (Rebecca Griffiths), and having been suspended from school, she spends her time dreaming about becoming a hip-hop dancer. Things start looking up when her mother's new boyfriend, charming security guard Connor (Michael Fassbender), enters the picture and starts paying attention to Mia and her ambitions, but the friendship soon begins to crumble through a set of rather unseemly circumstances...

The strength of the film lies in writer and director Arnold's willingness to strip bare all of her characters' attitudes, actions and relationships. Instead of shying away from making these people look... well, human, she gives us their truth, from a half-empty bottle to an unmade bed to a breath gone astray. Not one of the characters is purely black and white, and each of them is a palette of emotions, ready to be splashed out into the world at every juncture. Knowing that life is far from perfect, Arnold is unafraid of showing it in its unmasked glory and exposing the virtues and the flaws that make up the human beings she is portraying, as well as rhapsodizing the harsh tenderness of genuine moments that unfalteringly bring out the essence of every single person.

**HUGE SPOILERS (please highlight to read)**

The one part I disliked was the perilous situation involving Connor's daughter Keira, simply because it seemed completely out of context. Up until that point, Mia had been depicted as impulsive and angry, but never as utterly reckless. Having her kidnap Keira and almost cause her death was too dark of a development, even for a film like this one, or maybe especially for a film like this one, being that there is an underlying note of eventual hope woven into every story aspect. It was impossible to figure out Mia's motivation for taking the child, and I am not buying her volatility as a reason. Gratuitous and brutal, the turn of events did not correspond to the organic frankness of the entire piece.

**END OF SPOILERS**

The performances contribute to much of the film's effectiveness. Jarvis is electrifying as the protagonist, her energy vivacious and undeniable. She is capable of projecting pain, fury and melancholy happiness within a matter of seconds; truly a live wire, her Mia interacts more with others through what is unsaid, rather than through what is clearly stated. Fassbender treads a unique and not-so-fine line between affectionate and contemptible as Connor, a father figure who might not be what he appears to be. Wareing is also excellent as the apathetic mother and Griffiths is a star in the making as Tyler, Mia's ignored younger sister.

Fish Tank is a slice of complicated optimism, the kind that can only be found in times and milieus of desperation. Indeed, it deals with people that many would consider to exist on the fringes of society, those among us whose personal growth is stunted by a lack of opportunities, but also by a lack of will to create any. However, its ultimate message concerns finding a sense of self within hardship, following the flow of life's resilience and always remembering that a change may be just around the corner.

8/10

Summer Review #1 -- Inception

2010-07-31T20:53:00.000-07:00

Inception (2010) -- Having created brainteasers like Memento and The Prestige, as well as re-invented the Batman franchise in the classiest way possible, filmmaker Christopher Nolan returns with a phantasmagorical foray into the human mind, the gorgeously engaging riddle that is Inception.

**THIS REVIEW CONTAINS HUGE SPOILERS**

Dominic Cobb (Leonardo DiCaprio) is a skilled extractor, entering dreams to obtain information that competitive corporations would kill for. After he and his team accidentally botch a job, their target (Ken Watanabe) gives them another chance -- instead of extracting, they are supposed to implant an idea into the mind of his rival's heir (Cillian Murphy). However, things start getting complicated as soon as Cobb and his colleagues enter the new terrain...

When it comes to truly innovative concepts, they can often prove overwhelming for filmmakers that are not yet well versed in the virtual poetry of cinema. To name an example, I wanted to love the 2007 anesthesia awareness tale Awake, but found it frustrating in its lack of logic and forceful with its often unnecessary twists. On the opposite end of the spectrum, Christopher Nolan is fully aware of his idea's potential, exploring its reaches and allowing it to flourish within its gradual evolution, while never letting the human players fade into the background of the visual landscape and never, ever using cheap techniques to buy the audience's emotions. Influences of iconic works such as Metropolis and Blade Runner are present throughout, echoes of their momentum moving like shadows among the chimeras and obsessions possessing our protagonists. The captivating special effects, uniquely beautiful in their anti-gravity choreography, complement the nuanced and original story without overshadowing the narrative or oversaturating the context for even a second.

One of the most interesting aspects of Inception are the principal characters' names, which happen to be just as important to the tale and its symbolism as the protagonists themselves. The usage of the name Dominic -- a variant of the name Dominick, which means "Lord" -- is rather ironic, considering Cobb's inability to create new realms in the only world where he can find solace. In ancient Greek mythology, Ariadne had a pivotal role in killing the evil Minotaur inside the Cretan Labyrinth, while Mal signifies "evil" in French; the genius dream architect that Cobb hires and his deceased wife act out their respective parts to perfection. What starts as predestined interplay among the trio threatens to turn into a dance of death or a dance to the death... we never know. The triangle is central to the film's conflict of soul versus reality and weaves into the rest of the story as such, what with Cobb's inner demons threatening to tear apart the fabric of the illusion that his team has entered and, in doing that, inadvertently destroy their lives.

The subtle performances match the soulful rhythm of the screenplay. DiCaprio delves into fragile mysteries as Cobb, a man without a country or seemingly any other earthly associations; still, it is Marion Cotillard, with expressive eyes and a voice that can barely contain Mal's starved pain, that carries through the main emotional undertones of the piece. Ellen Page shows paradoxically edgy ingenue colors as Ariadne; Murphy is thoroughly engaging as industrialist heir Robert Fischer, a man haunted by his father's demands; and Joseph Gordon-Levitt and Tom Hardy provide occasional cool comic relief as Cobb's team members.

Inception is a feast for the eyes and the brain. It is one of those rare films that never underestimate the audience, those films that rely on story exploration and intellectually charged aesthetics to convey the layered surprises and genuine emotion. Simply put, there is nothing like it. In its darkly eloquent elegance, Inception is the cinematic equivalent of a symphony, a masterpiece that weaves its magic into one's mind and does not let go, much like the idea it revolves around.

10/10

Weekly Review -- The beauty of transcendence

2010-07-25T21:01:00.000-07:00

Remember Me (2010) -- There are not too many films that deal with the subject of life as a mere moment in the infinite universe. In a sea of recent blandly unsuccessful cinematic romances, this Allen Coulter-directed drama is a refreshing entry.

Young Tyler Hawkins (Robert Pattinson) is disconnected -- from his family, his friends, his own existence. Having lived through a family tragedy that has strained relations between him and his father (Pierce Brosnan), Tyler is unable to relate to anyone, until a random incident brings Ally Craig (Emilie de Ravin) into his life. Their relationship grows within their dreams and ambitions, amid their families' woes and misunderstandings, and in the midst of a world that is incapable of just stopping and smelling the roses...

The screenplay by Will Fetters is thoughtful and occasionally playful, with tinges of melancholy along the way. Reflecting the innocence and excitement of a first love exceptionally well, it also outlines in delicate sketch work the various emotional and physical connections that humans share. I would have been interested in seeing more interaction between Tyler and his mother (the always great Lena Olin) and Ally and her father, as well as seeing more depth to Olin's character and more of a context to Ally's father. The ambiance is uniquely inviting. Setting the film in New York City imbues the proceedings with a sense of nostalgia, a sense of rich and unrequited longing, which fits the themes perfectly.

As far as the acting goes, the cast is suitably chosen. Pattinson proves that he is much more than Edward Cullen and Brosnan has an excellent turn as Tyler's detached father, while Chris Cooper gives another stellar performance and relative newcomer Ruby Jerins shines as Tyler's bullied little sister.

**HUGE SPOILERS (please highlight to read)**

As far as the ending goes, my feelings are quite ambiguous. In a way, I could not fully appreciate it, being that I had become so invested in the characters' lives and that the entire film seemed to be leading up to enlightenment in their relations; then again, the story was meant to represent a slice of life, a fragment of a temporal mosaic that we know can be extinguished as suddenly as it was created. Considering that the film dares not to tack on a prosaic happy ending, and that it re-visits an event like 9/11 within its framework of fleeting realities, it deserves kudos.

**END OF SPOILERS**

What I liked about Remember Me was its readiness to accept the highest highs and the lowest lows that each day may bring. The good comes with the bad, the sweet comes with the sour, and sometimes everything ends in sheer, often horrifying, unpredictability, but it is what we do and who we influence during our earthly sojourn that counts. This film was definitely not made to please everyone, its ending being the most debatable point it presents, and it is this independent spirit that turns out to be its main strength.

8/10

Weekly Review -- Amiable hostilities

2010-07-17T23:15:00.000-07:00

The Bounty Hunter (2010) -- Have you ever found yourself willing to swear that somewhere out there existed a literal factory that kept concocting generic and ludicrously dull scripts, shaping them into makeshift movies and throwing in a couple of appealing actors into each piece for good measure, before putting them on the shelves for mass consumption? That is what I felt like after watching The Bounty Hunter, the most tedious and unromantic "romantic comedy" to hit cinemas in quite some time. Milo Boyd (Gerard Butler) is the titular character, currently in hot pursuit of his ex-wife, journalist Nicole Hurley (Jennifer Aniston). Apparently, Nicole had skipped on her bail hearing in order to investigate a story that involves a suicide, police corruption and a tattoo parlor. I kid you not. Plenty of predictability ensues, coupled with feeble attempts at slapstick and even more feeble attempts at laughs and romance. While it starts out innocuously enough, the screenplay stops making sense after about twenty minutes and, about another fifteen later, I doubt that the audience cares anymore, since the director and the writers are unable to decide which direction the movie is taking. The two protagonists are far from repulsive, but they are not exactly people we care about either, being that the movie never gives us a chance to invest in any of its characters. Both Aniston and Butler sleepwalk through their roles, probably all too aware that they have made better choices in the past. Aniston possesses a likeability that can be used in a much more interesting cinematic endeavour, while the same can be said for Butler, whose macho charm is wasted in the thankless role. Why not provide the pair with a fun, innovative screenplay that truly lets them shine? The only sparks here come from Jason Sudeikis as Nicole's obsessive co-worker and Christine Baranski as her diva mother, who make their scenes more fun than the writing allows. Unfortunately, even they are not able to save this film. The Bounty Hunter gets lost in a witless story and tiresome clichés, completely missing its mark in the process.

4/10

Weekly Review -- Relative madness

2010-07-10T00:05:00.001-07:00

The Crazies (2010) -- When it comes to representations of insanity in the horror genre, the portrayals range from intensely disturbing to pure so-bad-it-is-good camp. The Crazies takes a solemn approach to the topic, injecting insanity into the heart of middle America and causing quite a commotion within the American dream... or is it a nightmare?

Ogden Marsh is a rural Iowa town where everybody knows everybody. When some inhabitants start exhibiting paranoid, repetitive, homicidal and all-around frightening tendencies, it is up to the sheriff (Timothy Olyphant) and his doctor wife (Radha Mitchell) to figure out why their neighbors are suddenly bug-eyed and bent on murder. They discover the shocking answer along the way, but is it too late to save their home?

While I am not familiar with the 1973 George Romero original, I really enjoyed this movie, partly due to the candid performances and partly due to the eerie, somber screenplay by Scott Kosar -- of The Machinist fame -- and Ray Wright. The 1973 version was a protest and commentary against the Vietnam war; the 2010 version also happens to be arriving during a period of great political and economic upheavals in the U.S. and the world, though maybe unintentionally so, and makes some great points about mass mentality and political machinations at the cost of human life. From the beginning, it is apparent that there is something truly atrocious happening in Ogden Marsh, a fact which the film enhances through the use of underhanded camerawork and shadowy silences. The once idyllic town quickly dissolves into chaos, the relations between residents crumbling and the entire palette of utopia coming apart. At the time of British Petroleum committing crimes against our planet, the economy still in the process of stabilizing and discrimination still blooming in various forms, the tale of a happy town being tainted by outside forces rings genuinely and disastrously honest.

The cast is well chosen and relatable. Olyphant is quietly authoritative as the sheriff, who does not allow himself to be overwhelmed by the situation, while Mitchell employs and explores nuances in her role as a woman with a lot to lose, and Joe Anderson's deputy sheriff gets a very nice character arc. I also have to mention the gorgeous cinematography by Maxime Alexandre, whose work in High Tension was the stuff of sinister genius. The darkly metallic blues, greens and grays highly complement the theme of ordinary, non-spectacular existence descending into cataclysmic desolation. The film is a joy to behold in terms of effectively outlining its message through both written and visual means, by viewing its characters as everyday people whose routine comes to a crashing halt and by exploring its subject of intrusion in an unflinching, uncompromising manner.

Despite its title, The Crazies is sane in more ways than one. It is a cautionary tale of excess and greed, humans going against their own kind and the everyman being stomped on by nothing less than the loss of all control. Come to think of it, this story sounds very familiar. Seen the news lately? That, my fellow horror fans, is the core of real insanity.

9/10

Weekly Review -- Sweet retribution

2010-07-03T18:32:00.000-07:00

The Last House on the Left (2009) -- Ah, remakes. Like their first cousin, the sequel, these films can also be borne of that fine line between ingenuity and mediocrity. Horror remakes in particular have been gaining in popularity over the past decade. Some of them, like The Ring and Dawn of the Dead, were very popular, due to the successful transposition of their themes; on the other hand, reworkings like The Fog and When a Stranger Calls were majestic flops, due to having successfully shlocked out all the details that had made the originals ominous. Thankfully, director Dennis Iliadis creates a smart and suspenseful thriller in the latest version of the ultimate vengeance story, bringing the right elements together and transforming others to deepen the context further.

While on holiday with her parents (Monica Potter and Tony Goldwyn), Mari (Sara Paxton) meets up with old friend Paige (Martha MacIsaac). Through a set of carelessly random circumstances, the girls are abducted by a trio of hardcore criminals, led by the psychotic Krug (Garret Dillahunt). After viciously assaulting Mari and Paige, the thugs seek shelter at a nearby house, not realizing that it belongs to the aforementioned parents, who then proceed to exact merciless revenge upon the attackers...

Having never seen Ingmar Bergman's The Virgin Spring, itself based on a Swedish ballad, I can only draw comparisons to Wes Craven's controversial 1972 cult piece, which is considered to be a direct ascendant of the Iliadis film in terms of contemporary sensibilities. The 1970s version was frantically bizarre and relentless in its juxtaposition of audio and visual sensations, all of which combined to create a truly frightening, wrong-place-at-the-wrong time cinematic experience, one that treated its acts of savagery with gusto that was already evident in the exploitative tagline. Still, seeing it once was sensory overload. The brutalities that seemed to pop up one after another, as though they were being picked off an assembly line, made me never want to see the remake when I heard that it was being produced. I can now say that I am certainly glad I gave it a chance, because the film deserves it. It does everything right when it comes to tweaking some of the narrative's aspects, fleshing out reluctant heroes we cheer for and villains due for comeuppance, as well as letting viewers become emotionally invested in the situations unfolding. I have not seen a more articulate re-imagining in years.

The changes that Iliadis and screenwriters Adam Alleca and Carl Ellsworth have made are welcome instead of being, as is so often the case, gratuitous and/or unnecessary. Not making the most violent scenes any more graphic than they are is a wise decision, simply because rape and murder is torture enough. Some characters' fates and backgrounds also differ here, which makes for more satisfying viewing; for example, creating a deceased sibling for Mari serves the purpose of raising the stakes for the family and heightening the distance that Mari's parents will go to protect her. Never forgetting the protagonists' motives or the bloodcurdling nature of their predicament, Iliadis refines the tale without ever glossing it over, visually or thematically.

The performances are impressive. Paxton, who I had previously seen in light, teen-geared material, gives an intense, heartbreaking portrayal of a victim who refuses to be one, while Potter and Goldwyn are credible as the shell-shocked parents. Dillahunt is terrific and terrifying as the time bomb that is Krug, while Aaron Paul startles as Krug's sleazily deranged brother and Riki Lindhome finds a well of aggressive, sexed-up insecurities playing Krug's girlfriend Sadie.

The newest incarnation of The Last House on the Left is a shrewdly effective entry into the horror/thriller pantheon. A remake should enhance the main themes of the original while giving it a fresh perspective, and this is exactly what the filmmakers manage to achieve. The film accomplishes its goals through the usage of contextual and stylistic elements, without watering down the terror or sacrificing the violence for the sake of a PG-13 rating. If you are looking for a great genre movie, you just found it where the lake ends.

9/10

Weekly Review -- An explosive je ne sais quoi

2010-06-27T20:00:00.000-07:00

From Paris With Love (2010) -- Harkening back to old-fashioned action films involving no muss or fuss, the new Pierre Morel offering delivers on all of its trailer promises. Unbeknownst to his colleagues, embassy worker James Reese (Jonathan Rhys Meyers) has been doing contract work for the CIA. In order to let him prove his skills, his contact arranges a collaboration with a rule-defying, hard-living American spy, Charlie Wax (John Travolta), who arrives in Paris to prevent a terrorist attack. As the shootouts and explosions begin, the two crisscross Paris to find clues to the target and the brains behind the operation... I am a big fan of Morel's previous film, Taken, and his new entry is equally thrilling. The film works partly because of the snappy, zinger-filled dialogue and partly because of its lack of pretense; most of all, its appeal lies in the amusing contrast between Travolta's zany energy and Meyers' straight-laced, straight-faced decorum. Each actor is terrific in their respective role, bringing enthusiasm and mischief to the events unfolding fast and furious, left and right. Travolta has the good sense to occasionally emphasize the cheeky side of the seriousness, even referring to one of the most popular characters of his career at one point, while Meyers plays Reese methodically, flaunting a hint of lovelorn glee. The action sequences are well choreographed and entertaining; one wonders about the various ways the pair can concoct booms around the city or the myriad places they can jump out of, ending up without a scratch. From Paris With Love is a good old shoot-'em-up bonanza, taking the viewer for a fun ride that hardly employs any brakes, and that swerves and spirals deliciously out of control every ten seconds. Sit down, grab a drink and enjoy... and make sure you do not forget that rocket launcher.

8/10

Weekly Review -- A little bit of everything

2010-06-19T14:42:00.000-07:00

Blueprint (2003) -- The ethics of cloning have long been subject of fierce debate. Not surprisingly, pop culture has drawn upon this topic to create some unique and provocative works, such as Caryl Churchill's A Number; however, more often than not, the entire concept ends up in camp territory, in movies like The 6th Day and The Avengers. Thankfully, Rolf Schübel's Blueprint, based on a novel by Charlotte Kerner, handles the subject with grace and poignancy. After finding out that she is afflicted with multiple sclerosis, world-famous pianist Iris Sellin (Franka Potente) decides to preserve her gift and have herself cloned and reborn, becoming a mother to her replica, Siri. As Siri's childhood progresses, the child demonstrates prodigious talent, while revealing hints of her own personality, layer by layer. However, once the truth about Siri's existence is uncovered, Iris's carefully constructed plan takes a sharp turn for the worse... What makes Blueprint work is the subtlety of its approach, a subtlety evident in all of its aspects, from the acting to the camerawork and to the directorial style. The concepts of science, family and free will are explored in a thoughtful manner, through the clinical prism of Siri's fabricated identity, with the film never becoming preachy or veering off into sappiness. The film relishes its details; I was struck by the short, yet beautifully idiosyncratic, customs scene, as well as the portrayal of Siri's love of nature, the only place where she can feel like a human being. I have been a fan of Franka Potente since her explosive splash in Run Lola Run and, along with that film and The Princess and the Warrior, her performance in Blueprint now counts among my top three. Potente usually chooses unique works, and this one is no exception. The actress is achingly vulnerable in the dual roles of a zealous artist and her daughter, whose rebellion represents the ultimate threat and failure to her mother. Ulrich Thomsen, best known to Western audiences as a villainous executive in The International, treads the fine line between emotion and opportunism as the doctor who had created Siri, while Katja Studt provides much needed stability as Siri's sympathetic nanny. Blueprint is a contemplative, complex piece that promotes its message of humanity loud and clear, reaffirming the notion of individuality as tantamount to freedom.

8/10

The Descent: Part 2 (2009) -- Sequels are a strange beast indeed. Sometimes they are the crown jewel of a trilogy -- think The Godfather II and The Empire Strikes Back -- and sometimes we wish they had never been made to taint their predecessor, as in the case of gems like Psycho II. The Descent: Part 2 belongs in neither category, which is simultaneously a good and bad thing. It builds up on the 2005 chiller, but takes away from logic on many an occasion. Two days after the horrifying events of the first film, as a rescue party searches for survivors, Sarah (Shauna Macdonald) re-surfaces, half psychotic and half alive. Since some of Juno's (Natalie Mendoza) blood was found on her clothes, the local sheriff's department decides to send Sarah and another group of searchers back to the cave. When they get there, they quickly get cornered by the crawlers and, along the way, new surprises about the characters are revealed... One of my favorite elements are some great scenes that pay homage to the original, and there are quite a few of those. Macdonald once again gives a stunning performance; her very last scene sums up Sarah and her journey perfectly. Krysten Cummings is very good as the deputy sheriff, whose arc sees her transform from a gullible officer to unflinching heroine. Mendoza is not given all that much to do, but I liked the new and understandably more ferocious dynamic between Juno and Sarah, that takes us back to The Descent's themes. Certain developments defy explanation, though. It is beyond me that police would take Sarah back to the cave practically a minute after she was rescued AND with her having no memory of what happened. The camera sequence was pretty cheap; finding video evidence was very convenient and merely an attempt to camouflage cheap exposition. Also, could someone please tell me why on earth a character would scream when they saw a rat, if they had survived much worse situations in a rather short time span? Bloodthirsty mutant crawlers versus mostly harmless rodents -- oh, somehow I would not be caring much about the latter if the former had almost chewed my limbs off, but hey, that might just be me. As far as the ending goes, I consider it to be an insult to the audience, appearing as though the filmmaker had tried to tack on an ending from a different movie altogether. The Descent: Part 2 is a solid sequel, one that could have benefited from a more detailed and coherent screenplay, as well as a much more rewarding conclusion.

7/10

Weekly Review -- That ole devil called love

2010-05-30T21:55:00.001-07:00

Valentine's Day (2010) -- "We live in a cynical world", proclaimed Jerry Maguire boldly in 1996. If Mr. Maguire could have hopped through time and landed in 2010, he may have wanted to follow up this statement with a stiff drink. The fourteen years since have hardened the world we inhabit, making it a haven not just for cynicism, but for somber pessimism, the kind that could only have grown out of the very real and, frankly, very depressing changes that we have weathered. Enter Garry Marshall's Valentine's Day, a delectable cinematic treat void of politics, economy and various other stress-exacerbating aspects of everyday life, one that is all about the cozy, cuddly, glowing feeling of -- you guessed it -- luurve.

The story follows a group of loved-up and lovelorn Angelenos on V-Day, including newly engaged florist Reed (Ashton Kutcher), his fiancée Morley (Jessica Alba), Reed's best friend Julia (Jennifer Garner), NFL star Sean Jackson (Eric Dane) and jaded sports reporter Kelvin (Jamie Foxx). As the day progresses, their lives intertwine in a not-so-cutesy and rather charming way, leading to very interesting outcomes in each situation...

Right off the bat, I have to say that I do not understand the amount of criticism being directed toward this film. Yes, some stories are too underdeveloped for the audience to become invested in -- Liz (Anne Hathaway) and Jason's (Topher Grace) tale comes to mind -- and some characters, like Paula (Queen Latifah), seem to be there merely to give momentum, without a real purpose in the context. Yes, you also get a plethora of clichés associated with the title holiday. With all the heart-shaped candy boxes, angelic children, colors and flowers galore, you really have to make sure that your blood sugar does not go through the roof while you are watching this romcom. The thing is, Valentine's Day is the kind of movie whose appeal lies in its lack of pretense and its schmaltz overload. What you see is exactly what you get -- accounts of love in their sappiest, most whimsical form. As far as ensemble romances go, it is not nearly as artfully sophisticated as Paris, je t'aime or as blissfully sentimental as Love Actually, but it offers some good lines and laughs, as well as a few truly poignant stories, with two in particular, which I do not intend to reveal and spoil for you. You will have to see the film for yourself.

The cast does well in their roles and, while the screenplay never really explores uncharted territory, it is the chemistry between the actors that renders the proceedings a joy to watch. Bradley Cooper, Julia Roberts, Shirley MacLaine and Hector Elizondo give the best performances, while Ashton Kutcher and Jennifer Garner share playful sparks, making me wish they would carry their own project sometime in the future. Taylor Swift is also great in her debut as a ditzy high schooler, as is Taylor Lautner, who plays her equally vapid boyfriend.

Valentine's Day is better than many critics would lead you to believe. It is a romance wrapped in an attractive package and a comedy aimed at the most elusive of emotions. You would have to be an extremely fatalistic individual not to like at least one aspect of it, be it the cast, the acting, the jokes or heck, the aforementioned clichés. See it and enjoy.

8/10

EDIT: At the time of editing this review, it has come to my attention that a sequel, New Year's Eve, is set to be released in 2011. Something tells me that Santa will be working overtime...

The Inception of bated breath

2010-05-26T15:46:00.000-07:00

Whenever a film that I am dying to watch is being released, I like to watch the trailer. Occasionally, I will look for clips on the Net and probably take in an interview or two. Usually, though, the trailer is the first thing I go for, savoring the images and dialogue in a deliciously chopped-up, sped-up, hyped-up version of the upcoming cinematic entity.

However, from the moment I saw the Inception teaser, I have been unable to tell myself that watching anything out of context about this film was the right thing to do. The teaser was a mini noir spectacle, exquisitely complex in the choreography of its sequences and special effects. It was one of the most adventurous concepts I had ever seen, made even more brilliant by the fact that I had absolutely NO IDEA as to what the story was about, the fact that made me giddy with delight. I realized then that, based on the disjointedly beautiful ballet I had witnessed, I did not want to know up until the very release date.

So, when the initial full-length trailer came out, I peeked at the first five seconds and would not allow myself to see more. Like a child reaching into a cookie jar, I wanted to indulge; unlike said child, I knew I would be spoiling a scrumptious dinner if I was greedy and yes, I do believe that watching anything about Inception in advance is pure, unadulterated greed. Some movies warrant and deserve to claim the air of mystery, only to gradually reveal their secrets to us in a darkened theatre brimming with fellow enthusiasts.

As is the case with most people, I cannot tolerate teasers and trailers that recount the entire movie within a minute. Selling out what seem to be the best parts is also a big no-no; selling out the best parts when it is known, in retrospect, that those were the singular ones worth watching is just painful, on so many levels. The Inception teaser is in a different league altogether, hinting at a unique and sprawling world, heretofore hidden in the corners of director Christopher Nolan's imagination. There are three directors I trust unequivocally with transporting me to universes unseen -- Tom Tykwer, James Cameron and Christopher Nolan -- and the latter filmmaker, who has managed to create a Gotham City to end all Gotham Cities, is the perfect director to take us into a surrealist innovation, where every building, every shadow and every move appears to be borne of a new dimension. So why should I not wait for the hour when I can finally see and marvel at the entire masterpiece? Choosing to taunt myself would be nothing short of masochistic.

Is it just me (come ON, it cannot just be me!) or is it more alluring for certain films to remain mysteries until the opening day? Do we need to know everything about what we are hotly anticipating? Inception or Intrigue? You be the judge. Here is the teaser: http://www.youtube.com/watch?v=7DwuVKfjctk

EDIT: Yes, it has been almost a month since I started this article, and no, I still have not seen the trailer and stand by my decision not to peek... well, not beyond the first five seconds, that is.

Weekly Review -- A bloody future

2010-05-22T19:07:00.000-07:00

Daybreakers (2009) -- The rush of all things vampyric that has recently taken over pop culture is probably felt in the TV and cinema world the most. From the Twilight series to "True Blood" to the upcoming Fright Night and Dracula remakes, the media are getting, shall we say... revamped? The Spierig brothers' Daybreakers is the latest take on the mythology. In 2019, following an outbreak, the planet has been overrun by vampires. The human population is dwindling, making the food resources scarcer by the minute. Working for the largest pharmaceutical company, researcher Edward Dalton (Ethan Hawke) is attempting to find a blood substitute, while his boss (Sam Neill) is scheming to devise a way for the upper echelons to keep devouring the real deal. When Edward accidentally encounters a rogue group of humans, led by Elvis (Willem Dafoe), they inform him that they are creating their own concoction, one that could change the course of history... The big problem with Daybreakers is that the parts are actually much more intriguing than the execution of their sum. There are numerous interesting sequences and details, including some ingenious twists. I liked the opening scene, the idea of mutant vampires and the subtle hints at corporate machinations. Unfortunately, the story arc and the characters are not established enough for the audience to become truly invested in the characters' plight. I also wish more time and attention had been paid to the background of the plague that turned the world upside down. Hawke is convincing as the conflicted Edward, while Neill spews sleaze at every turn as ruthless CEO Bromley and Dafoe hams it up occasionally as the cheekily-named Elvis. Daybreakers offers a lot of originality, but not a cohesive enough package to present it. Still, its universe is different enough for the viewer to marvel at and its story is new enough for the filmmakers to expand upon.

6/10

Weekly Review -- Constructing damnation

2010-05-15T23:15:00.000-07:00

Law Abiding Citizen (2009) -- Legal thrillers that serve up original stories are rarities; legal thrillers that fill these stories with twists, mix up the heroes and the villains and make the audience debate their themes are a needle in a haystack. These facts render this film a genuine revelation. After his wife and daughter are brutally murdered during a home invasion, engineer Clyde Shelton (Gerard Butler) is horrified to learn that ambitious district attorney Nick Rice (Jamie Foxx) has made a deal that sends the actual killer to prison on a lighter conviction. Ten years later, Shelton decides to teach the justice system a lesson about justice, first killing the two intruders and then setting his sights on everyone involved in the prosecution of the case... Besides never letting up with suspense, the film sets forth a plethora of morality issues. Sure, there are holes in the screenplay, an obvious one being the lack of FBI involvement when a city such as Philadelphia is threatened, but, for its faults, the film is very clever in its plot machinations. As merciless as some of the scenes in Law Abiding Citizen are -- and they are not for the faint of heart -- it is the build-up to and the aftermath of these acts that constitutes the core of the story. Who is the real villain? Are there any heroes at all, or does that question hinge on the degree of our society's humanity? Are Clyde's actions, however violent, justified within any sense of motivation? Butler and Foxx have dynamic chemistry as the two antagonists, who would undoubtedly be on the same side under different circumstances. Butler is intimidating as an everyman who spirals out of control when he loses the people he loves the most. Foxx forces us to rightfully question Rice, who is not exactly a good guy through and through, getting caught up in the system that he is supposed to be fighting and forgetting the "little people" one too many times. Honorable mentions go to Viola Davis as the tough-as-nails mayor and Bruce McGill as Rice's exasperated mentor. Law Abiding Citizen is a welcome detour from remakes, sequels and similar tack-ons overpopulating silver screens. There are not enough films nowadays that sow seeds of discussion or take into account the intelligence of the audience, who certainly appreciate something other than a formulaic genre piece and who need provocative works that make us think.

8/10

The Super 8 riddle

2010-05-13T21:36:00.000-07:00

As famous as J.J. Abrams is for his creative shenanigans on "Alias" and "Lost", and a cleverly witty Star Trek reboot, he is getting just as much of a reputation for ultra secretive, super hush-hush projects that are advertised through enigmas in trailer disguise.

Yes, you read that last part correctly.

It happened with the Cloverfield marketing machine, it happened when Star Trek was merely in its inception, and now we are treated to a teaser trailer for Super 8, a film that Abrams is collaborating on with none other than Steven Spielberg, one of the most imaginative filmmakers that ever existed.

Like many others, I enjoy deciphering the little clues that Abrams gives us; hell, I like figuring out if there are clues to decipher in the first place. Talk about cloak and dagger! While the Cloverfield trailer hinted at a disastrous event through the now iconic shot of the Statue of Liberty's head flying through a somberly fragmented New York night, Super 8 is more vague, though seemingly not more sinister. Yes, there is mention of a conspiracy and a shot of some thing attempting to break free out of a railroad car, which led some fans to believe that this is the long-awaited sequel to the monster film, the rumor which was squashed the very same day. They do share an air of mystery, however, which is exactly what made Cloverfield a much-anticipated novelty in the best sense of the word, and which is the aspect of this coming attraction that I believe will draw the audiences in.

Another thought that comes to mind is that, apart from the epic beauty that was Avatar and that deserves its own category, I have not seen many original and/or entertaining alien sub-genre flicks in the past decade, making the market ripe for one of those suckers to burst out through a proverbial human. Most of the films that came out were extremes -- either underdeveloped or over the top. Both Alien vs. Predator films went largely unnoticed, the first Species film had already started off on a too-high end of the camp spectrum to continue properly and no, we do not discuss Men in Black 2 in this region of Blogland. The mention of Area 51 in the Super 8 trailer makes me think of a possible Cloverfield prequel, but I cannot believe that Abrams would make it that easy. Many fans have noticed an image of a little boy toward the end, which makes me think that the movie might be along the lines of Close Encounters of the Third Kind on acid, a science-fiction piece with a LOT of scream-worthy action sequences and a bit of fantasy thrown in for good measure. Either way, I would think aliens were a safe bet, what with hints at the most mystifying terrain of all, telekinesis and similarly nifty details. Just like he put the juice back into the monster sub-genre, Abrams would be the right filmmaker to lend a new slant to alien lifeforms.

To sum it up, I am really looking forward to Super 8. The only thing better than solving a puzzle is speculating as to what type of puzzle one is about to be solving, and J.J. Abrams is especially adept at giving us the gift of guesswork, before one of his cinematic joyrides hits the big screen near you.

Here is the Super 8 trailer: http://www.youtube.com/watch?v=iPcta5V5dA0 Discuss and enjoy.

Weekly Review -- Love on the rocks, anyone?

2010-05-09T11:19:00.000-07:00

It's Complicated (2009) -- When it comes to the psychology of relationships, life's surprises and human interactions, no filmmaker does it better than Lisa Cholodenko and Nancy Meyers. While the former often emphasizes the present context of a situation within the remnants of the past and the characters' inner conflicts, the latter likes to play with what is habitually known as maturity, putting a slant on comical elements of contemporary existence. In It's Complicated, Jane (the effervescent Meryl Streep) is a successful businesswoman and mother, whose ex-husband Jake (Alec Baldwin) had run off with another woman ten years earlier. Having gotten used to being without him, Jane meets Jake again at their son's graduation and, little by little, the two start their own affair. Enter charming and vulnerable architect Adam (Steve Martin), and suddenly Jane's routine gets rather spicy... Two things make the film -- Meyers' always engaging writing and Meryl Streep. Oh, and Meryl Streep. Did I already say Meryl Streep? Forgive me if I cannot stop myself. Everyone knows that this lady could make even a phone book sound like a bona fide Shakespearean play, so it is no surprise that her comedy skills and timing are off the map. She radiates humor and beauty in every scene and manages to turn every line into a zinger. Baldwin fares very well as the clingy ex with tons of issues, while Martin gives a subdued performance as the new man in Jane's life. And Hollywood, please take note of John Krasinski, who adds a bit of light slapstick to the proceedings and has enough charisma to be cast in more leading roles. As far as the screenplay goes, Meyers once again populates a story with intellectuals at the crossroads, examining their quirks and their personal journeys in her usual warm, yet sharply clever, way. It's Complicated is a film for grown-ups, one that always stays on sophisticated track in relating its laughs and cries, never veering into the territory of simplicity or melodrama. We need more delightful cinematic morsels like it and yes, we would love for them to be as complicated as possible.

10/10

Weekly Review -- Choose your apocalypse

2010-05-01T19:05:00.000-07:00

Babylon A.D. (2008) -- One thing worse than a bloated, effect-laden blockbuster hopeful? A bloated, effect-laden blockbuster hopeful which makes no sense whatsoever. Such is the case with this Mathieu Kassovitz offering, although I should maybe call it a Twentieth Century Fox offering, having read about Kassovitz's complaints regarding his compromised artistic integrity and vision during filming. In a dystopian future (is there any other kind?), mercenary Toorop (Vin Diesel) is ordered to pick up young Aurora (Mélanie Thierry) and her guardian (Michelle Yeoh) from a Russian monastery and bring them to New York City. Along the way, he finds out about the girl's mysterious origins and a danger that her existence may represent... First off, do not bother reading the plot. All the hoopla concerning a "genetically modified Messiah" is never, ever touched upon or explained. There is mishmash about a cult, hodgepodge about a possible new breed of humans, and then there are class acts like Charlotte Rampling and Gérard Depardieu, probably wondering what they are doing in this mess. To be quite honest, everyone who took part deserves much better. I have always considered Diesel an underrated and compelling performer, with charisma to spare. Why he is not getting more dramatic, organic roles is beyond me. Yeoh and Thierry each have a presence to behold, from Yeoh's compassionate authority to Thierry's radiant exoticism, but their roles are far too underdeveloped for the audience to invest in their characters. The same goes for the entire screenplay. Every theme is merely hinted at and never fully explored, while every scene is accompanied by noisy visuals and preposterous rationalizations. One of the many frustrating aspects of the movie is that the story and ambiance definitely have potential, and it is a pity that the talented Kassovitz did not have a chance to utilize his imagination to the fullest. Floating in its own little post-millennial vacuum, Babylon A.D. does possess a certain aura of apocalyptic anti-charm, one that unfortunately falls prey to a screenplay that begs further refinement.

4/10

Weekly Review -- Family matters

2010-04-18T19:59:00.001-07:00

Everybody's Fine (2009) -- Christmas-themed movies share a lot with the inspiration cinema sub-genre. More often than not, they serve the purpose of driving home their overdone moralistic messages, lacking any real meaning. Still, some truly affecting pieces do manage to sneak through during the holiday season and this is the category where Everybody's Fine belongs. Widower Frank Goode (Robert De Niro) plans a reunion with his adult children, all of whom have always been closer to their mother, and invites them for a visit. When his invitation is dismissed, Frank sets off on a cross-country trip to see his two sons and two daughters, learning some surprising truths along the way... The always excellent acting by De Niro, the finely drawn out relationships and the chemistry between the cast prevent Everybody's Fine from becoming yet another schmaltzy weeper. De Niro holds this movie together from beginning to end. His character is an ordinary man who has lost all connections to his family, due to the death of the one person who kept those links from crumbling. Sam Rockwell, Drew Barrymore and Kate Beckinsale fare well in their roles; Rockwell is a standout as the son who has become a victim of disenchantment, and who is convinced that his choices have rendered him a disappointment to his parents, not realizing that it was simply life's twists and turns that came between them. The screenplay makes some imaginative choices, playing with the characters' views of one another; the first dinner reunion scene evokes Buñuel's work, both thematically and stylistically. I also liked the idea of a road trip as symbolic of Frank's learning journey, particularly considering the diverse journeys that his offspring have taken and that have taken them so far away from their family core. The film is a simple, yet complex, tale of an everyday family that needs to find itself again in the whirlwind of life. See it with your loved ones.

8/10