Jean-Michel Basquiat ; The Radiant Child

B-

2010

I Am Love

As a film goer raised on american cinema I must confess Im not the most well adjusted person to the pleasures of melodrama in the cinema. That being said however I found myself a little surprised by how much I actually got roped into the story. Filled with delicious food, beautiful architecture in beautiful locations, gorgeous clothes, and a strong central performance by the always wonderful Tilda Swinton, I simply surrender myself to the overflow of emotions and for the first time in a long while didn't feel at all guilty about it.

B-

2010

Harry Potter and the Deathly Hallows: Part 1

Here we are at number 7, the last in the long line of Harry Potter films. Except the journey isn't yet over since the seventh book has been split into two films for the sake of the fans, accuracy, or money? Who can say. One thing is for sure though, the story definitely isn't over yet. Which is really the only problem with part 1 of the Deathly Hallows, in that it never really finds it's stride. It gives great detail to trivial aspects of the book while glazing over monumental ones. Of course that almost always seems to happen when adapting books into films, except with this one given the fact that its broken into two films the excuse doesn't seem to hold up. Still, I can't say I wasn't entertained and am still eagerly awaiting volume 2.

B

2010

Fair Game

Fair Game is a political thriller and educator on the history of the Valarie Plame scandal from a few years back about when an undercover CIA agent was outed by senior officials within the Bush administration for political reasons. Two of Hollywood's best actors share co-lead, Naomi Watts and Sean Penn. Under the sure handed direction of Doug Liman Fair Game turns out to be one of the better adult minded films of the fall season, with a nice little morality lesson to boot.

B

2010

Leaves Of Grass

A fine showcase for the many talents of Edward Norton but all and all the film was a complete waste of time. I was on board until about the midway point when the plot spiral's out of control and into the absurd.

D-

2010

127 Hours

Danny Boyle is the perfect man for a film about the will to live. His movies are filled with bursting images of life that always manage to keep viewers actively engaged no matter what the subject matter, even when that subject matter happens to be a man trapped next to a rock for 127 hours. Of course the star of the film need's to be praised as well, and James Franco does a great job of portraying a man who while choosing to survive by putting himself through an unimaginable horror also must make the choice of shedding some pride in order to see himself for who he really is. Looking back on their career's in thirty or so years, 127 Hours may end up to be one of the clearest examples of both men's exceeding talents at making something one dimensional into something multifaceted. A testament to the extraordinary gifts of both.

A

2010

The Karate Kid

The Karate Kid is the 2010 remake of the 80's classic by the same name. This one stars Jaden Smith in the title role. Being the son of Will Smith I was a little weary going into this that the young lad wasn't going to be able to pull it off. Surprisingly though he's quite good. Being able to pull off a range of emotions as well as a gift for comedic timing that he must of gotten from his father. The karate teacher is played by Jackie Chan, an actor I seem to have forgotten about in the last five or six years. Here he plays the mentoring old man a little dry though, still its a joy to see him kick ass again, if only for a little while.

The Karate Kid is decent old fashioned family entertainment and yet when it was all over I was left with not much feeling at all. A sequel is sure to follow, here's hoping a bit for heart is put into the next one.

C-

2010

Inside Job

Acclaimed filmmaker and political scientist Craig Ferguson has decided next, after his brilliant examination of the Iraq War in the 2007 documentary ' No End In Sight ' to tackle a completely different issue, the 2008 financial crisis. His new documentary titled ' Inside Job ' is crafted much in the same way as his previous film; with a calm, cool, collected, and critical analysis of what really happened to our financial system within the last decade. Ferguson doesn't seem to be interested in making politically charged films filled with provocative language and wild accusations. Instead, he simply gathers and lays out the facts as they are, which is something most experts in almost ever medium rarely seem to do. He also seems to be able to get access to people of incredible power, reach, and knowledge, most of which themselves played crucial and sometimes damaging roles in our current economic crisis. Its through these interviews and the directors persistent desire to expose what really happened that makes Inside Job not only the most frightening film of the year but one of the best as well. 

A

2010

Conviction

Conviction tells the true life story of a woman who ended up putting herself through law school in order to become an attorney so she could prove her brother's innocence. The woman, played a bit over the top by Hillary Swank spends almost two decades on this journey all the while her brother, played by one of my favorite contemporary actors, Sam Rockwell sits in a cell. Swank juggles work, school, kids, her brother, and marriage. It's an incredible example of will power to be sure. Most of the acting come off just fine, particularly Rockwell who manages to play a man who seems totally capable of horrific acts of violence and jovial childishness all with in the space of a minute. It's the work of two time Academy Award winner Swank though who seems to be trying just a bit too hard for sentiment. The script for the most part is decently written besides few little scene's in the beginning that prove to be a little too melodramatic.

Conviction is by no means a bad movie and by no means a good movie. It's the kind of light handed entertainment you'd expect to find on a day time television movie, only with Oscar nominated actors instead of soap stars.

C+

2010

Temple Grandin

Temple Grandin is another film in a long line of quality television movies by HBO films. With no more restrictions than that of the MPAA it's little wonder that the little channel has been able to put out such a strong body of work over the last decade. Some may even argue that premium cable channels like HBO and Showtime are on the edge of a new frontier that is rivaling feature films for quality. Miniseries and long running shows like The Soprano's and The Wire have the distinct benefit of being afforded the opportunity to really give their stories and the characters within them more time and thus depth than a two hour feature would normally allow. But HBO hasn't been content with just those venues of entertainment, feature films seem to be on their minds as well and so here we have Temple Grandin.

Grandin tells the story of a young autistic girl struggling to find her own voice within a society she has trouble identifying with. Temple, played brilliantly here by Claire Danes starts with a remote interest in cattle, an interest that once cared for quickly turns into a life's work of passion. Temple see's the world through photographic images in her mind which thus gives her certain ability's average people don't posses. She decides to harness this power on livestock in a way so that the herding of cattle to slaughter houses will be much less stressful on the cattle themselves which then saves costs in all kinds of places.

Their isn't anything real special here. Just your average tale of a person over coming great adversity only to be shown as an example for those of us willing to watch. A good little film with a career best performance out of Danes.

Casino Jack and the United States of Money

Casino Jack is the new documentary by Academy Award winning filmmaker Alex Gibney (Taxi to the Dark Side). Using the wide scope of American corruption as his continuing subject, Gibney puts his focus on Washington and the recent conviction of super lobbyist Jack Abramoff. Through a thorough examination of research Gibney is able to clearly show all the little money schemes and tricks Abramoff and his cohorts were able to pull off through the help of their pals in the legislative and executive branches. That is of course up until they were caught and arrested. For anyone interested in the many problems that face our democracy, Casino Jack and the United States of Money should be well worth your time.

B

2010

Stone

A bit of return to form for the great Robert De Niro, as well as another another showcase for the always riveting Edward Norton. The film dabbles at times a bit too close to absurd melodrama but it also poses questions about existential life that few popular movies these days are willing to ask. A daring a somewhat curious piece of work.

B+

2010

The Secret In Their Eyes

The Secret In Their Eyes is a surprisingly suspenseful and emotional murder mystery that doesn't do anything new for the genre but is still a wonderful exercise of rehashed themes that if done correctly never really gets old.

B

2010

The Social Network

Where to begin with The Social Network. The film features an assortment of young and upcoming talented actors and numerous behind the lens collaborators all doing some of their finest work. The film centers around a truly great enigmatic character and one that will be talked and debated about for decades to come. I could literally write countless positive things to say about picture, from its fantastic ensemble and amazing direction from Davis Fincher, to its brilliant displays of editing, haunting score by Trent Reznor, and its beautifully captured crisp photography. Beyond all of those elements though is film with a message, not one telling you answers but merely just suggesting you ask the questions. Simply put The Social Network is a masterpiece and one that will remain one of the great films of the new decade.

A+

2010

Ondine

Ondine is an Irish story told by native filmmaker Neil Jordan (The Crying Game) about a poor fisherman (Colin Farrell) who on one typical day ends up catching a beautiful woman in his net. To his and our surprise the woman is still alive and so he takes her back to his house to help nurse her back to health. Once there mysterious things begin to happen as he slowly is convinced that this woman Ondine is nothing but good luck to him as his catch begins to increase drastically. Of course a romance ensues and Farrell's sick little daughter begins to look at Ondine as a motherly figure in her life even though all the while she is convinced that she is something not all entirely human, like a mermaid. Violent drama enters into the picture when the appearence of sinister men come looking for Ondine. Farrell has at this point gone back and forth with the notion of including her in his life and with the confrontation of dangerous men is forced to choose if she is something worth fighting for.
The film is filled with gorgeous looking images of the cold Irish coastline that help give all the characters a real lived inn feeling and Neil Jordan seems to know his way around a camera. He seems to favor dark shadows over bursts of light, at least for this film. The end result is moderately engaging story thanks to an honest performance by Colin Farrell who at this stage in his life seems to be making fascinating career choices. 

C+

2010

Solitary Man

Solitary Man is one of those little indie gems that is released in a time when no one seems to be paying any attention. Here however though the film happens to feature a great performance by its star Michael Douglas in a performance that stands among the best work he has ever done. The film boasts a slew of great supporting turns but its Douglas who manages to steal the entire show in a performance that is as pathetic and worn out as it is brave and surprisingly refreshing. His name should be mentioned on anyone's list when seriously considering best actor nominations at years end.

B

2010

Date Night

What to say about Date Night. The film came highly recommended to me by a somewhat reliable source, but such things are to be quickly disregarded when entering the realm of comedy, as we all have very different tastes. The films two stars (Tina Fey and Steve Carrell) are both incredibly funny people with a good amount of work behind them to back it up. But here in Date Night none of that talent ever really seems to shine through for either of them as their forced to deal with a screenplay that is as formulaic as it is boring.

D-


2010

The Book Of Eli

Im gonna get some shit for this one but what the hell. Just because a bloody action movie has a plot revolving around the bible and the goal of continuing the traditions of the christian faith, it's no reason to recommend it. Did I have a problem with the films clear biased nature of christianity? No. What I had a problem with was the films apparent lack of even remotely trying to create a story involving real people. These people are all card board cutouts without any real sense of individual identity. Why am I suppose to care whether or not the beautiful Mila Kunis survives to the next scene? Maybe she might get naked is my only thought. What is the sinister Gary Oldman's intentions and why? Cause the script needed a bad guy is my best guess. And as for Mr. Washington, in the last few minutes of the film a secret is revealed about his character that is so implausible it made me laugh out loud.
But then again when dealing subject matter of religious origins maybe it is appropriate that the film be so ridiculous.

D

2010

12 Angry Men

12 Angry Men is one of those films I wish I was shown in history class. It's a great civics lesson on top of being a great piece of entertainment. Spouting lessons on morality, justice, and honesty. The film takes place almost entirely within the closed off space of a jury room. Essentially its the deliberation process of a jury with 12 men assess the guilt or innocence of a young kid on trial for murder.
The film stars Henry Fonda in a great performance of vulnerable sympathy. He's the only man on the jury who isn't convinced of the defendants guilt but by the end he isn't the only one. The other 11 jurors make up an incredible ensemble cast that includes a magnificent Lee J. Cobb. 12 Angry Men was the first film by now legendary director Sidney Lumet who made a name for himself over the decades by making films about controversial issues. Lumet was interested in tackling complex human subjects and giving them motives and reasons for their actions. They weren't always justifiable but nevertheless not always easy to condemn either. His films don't come off as preachy but rather as an open minded view into the life of someone you may not always agree with and 12 Angry Men was the starting point for a director who wasn't afraid to illuminate some of the darker aspects of American society.

B+

1957

Red Rock West

I'd rather not even get into it. This film is a piece of shit. The only decent thing about it are its more than capable actors who somehow managed to keep me from falling asleep even with a screenplay that a 4th grader could of wrote. Actually I apologize to all 4th graders.

D-

1993

Red Riding Trilogy

Red Riding is the critically acclaimed British movie trilogy based off the true events of a murder mystery spanning almost a decade. Each film was made by a recognized international director, with different casts most of whom are accomplished movie stars in their own right. All three films even though filmed by different directors have the same cold look to them. Each is shot with dark lenses that gives the films a foreboding sense of doom. Make no mistake, these are dark films detailing the lives of grim people doing terrible things. For those interested in a good story though, Red Riding is a considerable accomplishment and treat for film fans desiring well crafted suspense story.

1974: B
1980: B
1983: B

2010

City Island

City Island is a quirky little american indie that sets its feet firmly in the family dramedy corner. Anchored by fairly humorous lead performance by Andy Garcia, Island tells the story of his is ever evolving dysfunctional family and how one learns to accept who he is and what he has. Its everything a quirky little american dramedy need's to be, but only just enough.

B-

2010

Machete

Machete seems to be following a bad trend as of late. The idea that if you intentionally go out knowingly to make a piece of shit movie somehow it won't end of being a complete piece of shit. Sorry guys, but it's the same thing. Let's hope the fad passes soon. 

D-

2010

I'm Still Here

I'm Still Here is the experimental Joaquin Phoenix mockumentary that has been two years in the making. It started back in late 2008 when Phoenix announced his retirement fromm acting, but that wasn't all. Now he would be pursuing a music career as a hip hop artist. His now infamous interview on the David Letterman Show only intrigued the public's interest that this was a man clearly losing his sanity or the culprit of an elaborate hoax. It turns out the former was true. The film was directed by Casey Affleck, Phoenix's brother in-law who is given intimate access to the actor and all his, shall we say hobbies. Lost underneath the excess of this man's meltdown or whatever is going on though is a truly brave and committed performance by Phoenix who Im sure will almost inevitable get no acclaim and accolades. Apparently I'm Still Here is supposed to be some sort of commentary on America's obsession with celebrity as portrayed by the media but it comes off as nothing more than a self indulgent waste of time. Here's hoping Phoenix's next project is one worthy of his many talents.

D-

2010

The Town

The Town is the type of movie most people who don't watch a lot of movies will enjoy. It's receiving an expense Christmas present as a kid, if your young the idea of the price and how they managed to get it doesn't enter into your thought process. But when you gradually get older you may start to wonder how Dad afforded you that brand new Convertible outside. Such is the case with The Town, a movie filled good scenes, shot by a competent director, and acted by pros. The problem is the scene's that are pretty good are followed by silly ludicrous ones that leave the audience asking questions like "did that really just happen" or comments like "you gotta be kidding me". Take the downtown Boston car chase for example; it's shot well and and on a pure adrenaline level fun to watch. But Affleck (the director) ruins what could have been a great scene by packing inn cheesy, formulaic dialogue before and after the event, something that hopefully most people who go to movies have heard a thousand times before. To put it simply the problem here is with the screenplay. The Town is average, sub-par entertainment to be sure. 

C

2010

The American

Watching The American was a transporting experience for me. I felt like I was a film from the 1970's. A time in cinema when directors, particularly European directors were busy crafting stories about human subjects with great focus and detail. Every little event in that person's life was given time on screen in order to present a character fully fleshed out. Which is exactly what happens here with Clooney. He plays a gun for hire who is constantly paranoid and rightfully so. He's also a man with a code and a strict daily routine that he constantly follows in order to stay sharp and probably alive. It's inn director Anton Corbjin focused attention to this daily routine that allows the film to achieve moments of such heightened tension that the most mundane act of sipping a cup of coffee over breakfast can be transformed into a moment of life and death. Its another fine performance from George Clooney and a film that should establish Corbjin as a director to watch out for. One of the best films of the year and the work of a true craftsman. 

A

2010

Bonnie and Clyde

Bonnie and Clyde is a true American classic in every sense of the word. It tells the simple story of a band of outlaws who make a run at the high life through a string of bank robberies in the deep south in the early 1900's. The film stars a slew of screen legends from Warren Beatty to Faye Dunaway to Gene Hackman, all before massive fame and acclaim was thrown their way. The movie's opening scene is a buckshot of pure adrenaline that sets the tempo for the rest of the film. Here is a picture that never lets up or allows the audience a moment of relaxation. Even in the few down time scenes between the two leads their is a curious aura of sexual tension. The film was nominated for several academy awards and marked a swing culturally for American cinema. Here was a movie with characters doing bad things and not apologizing for their actions. Bonnie and Clyde lived a life all the way on the edge and only became legends when they eventually fell over it.

A+

1967

Bringing Up Baby

My first foray into the Howard Hawks catalogue did not disappoint. Bringing Up Baby is a classic example of a screwball romantic comedy in every sense starring two of cinemas biggest stars; Cary Grant and Katerine Hepburn. The plot is pretty thin, two polar opposites who can't stand each other are forced to interact in order for both of them to get want they want. Of course from the beginning we know that by the end of the story their going to be in love and its our luck as an audience of getting to watch that transition slowly unfold up on the screen. For a film of the 1930's the dialogue is unusually fast paced bringing to mind some of Hitchcock's early work like The Lady Vanishes and The 39 Steps. Hawks however here isn't interested in the genre of the thriller and thus creates a place where his actors are truly allowed to run wild and indulged in the scripts overtly comic aspects. The chemistry between Hepburn and Grant is unbeatable and after watching them its hard to imagine any other actors taking on their roles. When reviewing films of the past it usually is the comedies that seem to hold up the best over the years. Bringing Up Baby only strengthens that argument.

B+

1938

Clash of the Titans

Let's all hope that Sam Worthington doesn't getting into a trend here. As a bankable star now with the mega success of Avatar this good looking leading man with some acting chops to boot has the world at his finger tips. After being the only decent thing worth watching in Terminator Salvation he gave Christian Bale a serious ass kicking in more ways than one and with Avatar he proved that he can handle the pressure of holding a 400 million dollar film together. So his next career choice is another action picture set in a fantasy land? Im hoping for a little more range here Worthington on the next go around and to be honest I wouldn't be so bummed about this choice if The Clash of the Titans wasn't a complete piece of shit. Yeah the effects look pretty good, their is a pretty smoking hot chick vying for our hero's affection, and yes there are actors on screen with considerable presence. Not to sound like a broken record here but once again it all comes down to story or in the case here the screenplay. If it doesn't work on the page then it's probably not gonna work up on the screen.

D

2010

Terribly Happy

Ever see the Simon Pegg comedy Hot Fuzz. Cause Terribly Happy is the exact version of that only with out all the laughs. Its a danish crime drama about a lone cop getting sent to a small farmland town for a shady past. Once in this town it becomes quickly apparent that not all is what it seems to be. Everything is a little bit to quiet and the locals are extremely unfriendly. Of this type of scenario we've seen a hundreds times before, its part of what Hot Fuzz was making fun of. The problem with Terribly Happy is that while it is competently made in almost every respect, it brings nothing new to this age old formula. Without a fresh take on old material I almost always find myself asking, what's the point.

C-

2010

Killer's Kiss

Killer's Kiss is the first feature film ever directed by the great Stanley Kubrick. With a running time of just over an hour Kubrick is able to create a story that is both engaging and entertaining at almost every turn. Kiss tells the simple and much accustomed story of a man falling for girl who has a mad ex-boyfriend. Their romance jump starts a series of events that leave more than one person dead.
Even on his debut it is apparent that Kubrick is a master of editing and lighting. His shooting of characters faces in dimly lit alleys is masterful, as is his sense of spacing by the use of long lense camera's. Killer's Kiss is a good little film and worth anyones time who is interested in the career of Stanley Kubrick.

1955

B-

The Other Guys

The Other Guys is a peculiar type of picture that has a bit of an identity crisis going on. The film stars Will Ferrell and Mark Wahlberg as "the other guys", two cops on the beat who never get the attention and credit they think they so rightly deserve. The film is meant to be a bit of a spoof on Hollywood buddy action movies. But that's essential what the film ends up being anyway, only with a bit more humor thanks to the help of a straight faced Ferrell. Wahlberg here seems to be doing a spoof of himself with his own deadly serious demeanor, a joke that grows old after the first ten minutes. Overall though the film is mildly entertaining enough to sit through with a few hilarious one liners.

C+

2010

Hot Tub Time Machine

Hot Tub Time Machine is a raunchy teen sex minus the teenagers. The film stars quintessential everyman John Cusack, Daily Show funny man Rob Corddry, and the always interestingly fresh Craig Robinson. The plot if you want to call it that revolves around three friends and a nephew going to the mountains for a vacation and spending the night partying in a hotel hot tub. In the morning all three men and the nephew have traveled back in time to the 1980's where they all are in their late teens. Typical time machine jokes follow from the three leads fused with surprisingly funny sex gags about getting a second chance to do things a little differently this time around. For a film with so little actual plot to tell I found myself laughing more often than I expected.

C+

2010

Death at a Funeral

Death at a Funeral is a remake of the popular british film of the same name. Here though its filled a cast of mostly african americans, a refreshing treat for audiences who aren't usually given the opportunity to watch so many talented people in one film. The film aims to be a more or less straight up comedy about death, life , family, and a large amount of ridiculous over the top situations. Each individual in the cast is strong but collectively the film never finds its feet and most of the jokes fall flat as a result. To be half engaged while under the influence of anything would hopefully make this film a much more enjoyable experience.

D+

2010

Vincere

Vincere is an Italian film about rise to power of Benito Mussolini. At least that's what one would believe at the outset. What the film is more interested in telling though is the largely unknown true story of Mussolini's mistress Ida Dalser, played with great effect by Giovanna Mezzogiorno. Early on in the film the couple falls in love (at least it appears), and has a child. Ida even sells everything she owns in order to fund her lovers aspiring political paper. For her he is the only thing in life worth living for. It quickly becomes apparent however, that Mussolini feelings are quite different. Once in power though he banishes her from ever seeing him again and basically denies the existence of them as a couple ever being involved. This type of behavior would be a bit unusual but, oh, did I mention he already has a family. Thus the real story begins when Ida is sent to live with her sister all the while constantly spouting her mouth off claiming to be Mrs. Mussolini and bearing the first born son of the dictator. Things don't go well from there as the powers to be realize her as a threat to the empire and thus take actions to deal with it.
Vincere is lit with dark light that gives the picture a moody texture. Single scenes throughout are played out to perfection. The problem with Vincere though is that it doesn't do a good job of getting you invested enough in the characters to really make you care about what happens to them. The things that Ida goes through are horrible but you can't help feeling all the while why she would allow herself to go through such grief in the first place. Vincere shows great promise for director Marco Bellocchio, I just think that he needs to find a story with characters written with a bit more humanity.

C+

2010

A Room With A View

A Room With A View is a film from the critically praised duo, producer Ishmail Merchant and and director James Ivory. The pair specialized in creating costume period drama's on cheap independent budgets. With good writing, excellent scouting locations, and impressive wardrobes the pair were consistently able to acquire amazing actors for relatively little cost. The result being a string of films starting in India and ending over to England. A Room With A View came somewhere in the middle and is the film that many consider to have put the 'Merchant Ivory' name on the internationally map.
The film stars Helena Bonham Carter as a young privileged englishwoman on holiday in Florence. There she meets a strangely straight forward gentlemen who quickly pursues her heart. She is told that they're behavior isn't proper. She leaves back home only to eventually become engaged. Of course that isn't the last time they will see each other again.
Room is the type of film that I can sometimes struggle with. Large amounts of longing and uptight behavior with only a hint of passion on the surface. The story here for most men will probably feel dull and uneventful and it largely is. Thanks to a wonderful cast of characters though the film kept me engaged just enough to be worth watching. And who knows, on second viewing I may like it much more having already spent time with these people. Regardless though it only makes me more curious to check out the other films in the 'Merchant Ivory' catalogue.

C

1985

A Prophet

Wow. It's not very often that I'm afforded the opportunity of witnessing a masterpiece up on the big screen. On the rare occasion that I do it usually is in the comfort of my own home mining an already adored classic that until that point had somehow escaped me. Here with A Prophet though I've been afforded that all too uncommon privilege of seeing it firsthand, realizing in the moment that I am watching a film that will be talked about for the ages as one of the greatest stories of a man rising through the ranks of the criminal underworld. The film won the second highest prize at the Canne Film Festival in 2009, losing only to the incredible overrated White Ribbon by Michael Haneke. A Prophet is a film that unlike the White Ribbon is thoroughly engrossing and engaging. It grabs you from the very first frame and never lets go. It subtly and and steadily keeps you locked inn to the story of a nobody criminal for over two and half hours.
A Prophet tells the story of Malik El Djebena played with a star making performance by Tahar Rahim. The movie begins with Malik going away to prison for six years. Inside he knows nobody, just like on the outside. He's is a poor french immigrant with little to no education who at nineteen seems destined to remain in the underclass of society forever. Once inside he keeps to himself until a special favor is asked of him by the frighteningly menacing Cesar Luciani played with commanding authority by Niels Arestrup. Inside the prison walls no one has more power and control of the detention system then Cesar, a position of authority that he constantly exercises and reminds other cellmates of. Just like in the United States prison system, France's system is also made of various ethnic groups who all band together inside for protection and vie for power. What's interesting here though is that instead of whites vs. blacks like in the U.S. system its muslims vs. corsicans in France. Malik is a light colored looking muslim who quickly because of favors done for Cesar falls under the protection of the corsicans, something that doesn't sit well with the muslims or the corsicans in Cesar's crew. For the first three years Malik spends most of his time learning to read and write and secretly learning corsican, a skill that becomes incredibly invaluable to him as he continually finds himself in extremely dangerous situations. What's so amazing about Malik is that we seem to forgive him for all of his bad deeds. We feel like this isn't just his journey but ours as well. Were right there from the beginning. We see his accomplishments and his failures. His good decisions and his bad. We empathize with him despite all his faults.
A prophet is the kind of film that only gets better with repeated viewings. Having seen the film twice now I can say that my appreciation for it has only deepened. It's easily one of the best gangster films of the last twenty years. I strongly urge anyone who has just read this review to go watch it as soon as possible.

A+

2010

Touch Of Evil

Orson Well's seems to have one extra character for the audience in Touch Of Evil, his camera. Well's camera swoops in and out with the fluidity of a painter across a canvas. To some it may appear flashy. I think its brilliant. The other cast of characters include a mexican moustache touting Charlton Heston, his american wife (Janet Leigh), and Well's himself nearly unrecognizable and the obese police detective, giving one of the best performances of the decade. The plot of Evil is somewhat hard to explain, so here are the bare essentials. The story opens with a murder on the U.S./Mexico border. In trying to uncover the case certain characters compromise their values for things they perceive to be justice. A web of backstreet dealings and partnerships follow as motives become more clear. Then just as the film reaches its climax, new details are given that cause you to question your feelings about all the people involved.
Touch is a picture that was shot in black and white and takes up that familiar genre known as film noir. In the wrong hands this film could of ended up as a confusing melodrama but, thanks to Well's it's elevated to the status of a classic soaked deep with the blood of those who made it. Touch Of Evil is nothing less than one of the best films of the 1950's.

A+

1958

Fright Night

Fright Night is a classic B movie horror film from the 1980's. Try and recall a film that fits this profile. Most childhoods are brought up on films of this very nature. They seem to hold a soft spot in peoples hearts that conjure up memories of a time long gone but still desired. Sometimes looking back on movies that you held in high regard when you were a kid can be incredibly disappointing when viewed as in adult.
An overdramatic score, a sexy virgin girl, an every day boy hero, an annoying best friend, a clueless mom, a terrifying evil neighbor, an old man looking for courage, cheesy lines delivered by cheesy at best actors, gross special effects, a plot that just seems to be riddled with ridiculous and obvious developments and what do you get. In this case a highly entertaining guilt free time at the movies.


B-

1985

Suspiria

Suspiria is a great example of a talented director valuing style over substance. The film is a critical darling among horror fans, ranking within the top twenty five on most lists of the hundred greatest horror films ever made. Released in the 70's by European visionary Dario Argento, it tells the relatively simple tale of a young aspiring american student who travels to Europe to attend a prestigious dance academy. Once she arrives on the rainy dark continent creepy things ensue. With a wonderfully creepy score and amazing set decoration the movie immediately pulls you inn. Sadly though story doesn't exactly seem to be the biggest priority for Mr. Argento. With little to no character development the film essentially wastes the films many good quality's. Its filled with great cinematography and great costumes but that isn't enough to keep this viewer engaged for a good amount of time. The films also feels like it loses its momentum in the last act when the heroine is confronted by a supreme evil. Overall I was impressed by Argento's style as a filmmaker, I guess he just needs better material to work from then this.

C

1977

The Lady Vanishes

The Lady Vanishes is a sly little comedic Hitchcock thriller made just before the famous director left his native England for Hollywood. The film is somewhat of a variety from what I've read. It seems to be one of the few Hitchcock films that deals almost entirely with quick witted humor that puts his more sensational suspense aspects (his trademark) in the backseat. The film is a suspenseful one no doubt, but it's the way it goes about it by displaying a fun, childlike, vastly entertaining quality that makes it so unique for a director that was and will always be known for telling less than somber stories.
The film stars Margaret Lockwood, who is traveling across Europe by train to marry a man she doesn't really care for. On her journey she meets an older woman who unexplainably goes missing while on board. As Lockwood frantically tries to figure out what could of happened to her she realizes that not everyone on board takes her story as fact. Hysterically she searches until she gets the enlisted help of a smiling Michael Redgrave, revealing in a joyous performance and a fellow Brit who thinks their may be something to her story but at times he too has his doubts. It all unfolds in a delightfully funny fashion with a slew of scene steel supporting characters, all of whom are integral to the overall plot. None are more fun two watch though than Caldicott and Charters played by Naunton Wayne and Basil Radford, who are the most sexually unnerving englishmen you are ever likely to meet. Still it's the central performance of Lockwood though that has to carry all the films weight, a task she seems to manage effortlessly.
On top of a great script with a wonderful cast you also have some amazing train angled camera shots that even today still look pretty damn good. I've seen better Hitchcock films out there, but I don't know if I've ever had this much fun while watching one.

B+

1938

Swing Time

Swing Time is a 1930's picture by George Stevens. It's the acting duo in the picture though that people remember it for. The films a musical romantic comedy starring the great Fred Astaire and Ginger Rogers who play the love interests. For a movie made in the 1930's I was surprised by how much it won me over, especially being a musical. Astaire is known as one of the greatest movie dancers of all time but it was his comedic acting chops that I was most impressed by. He felt like a precursor to your 70's male movie star. One who doesn't look like perfect sculpture but more as someone who was just pulled off the street. GInger Rogers on the other hand is easily one of the most beautiful screen presences I have yet to see come out of the 30's. She simply radiates on the screen. Shot in black and white the film was recently added to AFI's list of the 100 greatest movies.
For a musical the plot usually isn't really the selling point and it's no different here. Just two great performers allowing us to have a good time with them.

C+

1936

Mother

Mother is an interesting little Korean thriller from internationally acclaimed director Joon-ho Bong, the man behind the freshly conceived monster movie 'The Host'. Here he tones down themes from the outlandish monster to something strictly human, the act of murder. Early on in the film a woman is walking home alone at night only to be discovered the following morning in a small Korean town. The suspects are quickly rounded up and the man all the evidence points to is semi-retarded played with a wonderful sense of childlike vulnerability by Bin Won. He is eventual put into prison much to the dismay of his mother (Hye-ja Kim), who is convinced of her only sons innocence. What begins to unfold is the story of a mother doing everything in her power to save her son from a life of imprisonment. How far is too far when it comes to matters of righting a matter of injustice. With Bong's unique visual style, simple shots of weeds and walls are turned into images of startling originality and beauty. Only to be made all the more fascinating when dealing with the cold topics of murder, guilt, and innocence.

B

2010

The Runaways

Kirsten Stewart and Dakota Fanning decide to be a rock stars instead of movie stars in the new film, The Runaways about the formation of a 1970's girl rock group going by the same name. It's one of those quick rises to fame only to watch it all come crashing down type of stories. As far as movie music biography's go, the film isn't terribly stereotypical. With a sense of style that feels appropriate given the era and the somewhat surprising casting of most involved, it's definitely a teen oriented film that isn't pandering to hard for it's audiences approval.
Stewart is an actress hot off the heels of Twilight mania who I still feel is more than capable of turning in a great performance. She was hypnotizing in Into the WIld and was so incredibly underrated in Adventureland. Im not one who ever cared to watch the Twilight soap opera's so I wouldn't be expecting much from her there. It seems though that she's an actress who's gotten quite a bit of flak as of late and Im not sure its all entirely justified or deserved. Here she plays famous rocker Joan Jett in a performance that she seems to be just phoning inn. She's by no means bad, but also by no means memorable. Dakota Fanning on the other hand is the teen sex pot of the group who more often then once made me feel a little ashamed of myself for watching her so closely. It feels like just yesterday she was Tom Cruise's little girl in War of the Worlds. Well, sorry dad. Looks like your baby's grown up now. Here she plays Cherie Currie a fifteen year old girl who is asked to join Jett in the group because of her school girl sex appeal. Fanning is a child star who has consistently put down great performances but here she is clearly not playing the little girl anymore and she does a pretty decent job of pulling it off. However it's the always surprisingly crazy Michael Shannon who steals the show as The Runaways manager and producer Kim Fowley.
The Runaways is decent attempt by Hollywood at taking a stab at trying to make an edgy, teen, punk rock movie. If your a fan of the music you may find it worth your time.

C

2010

The Most Dangerous Man In America: Daniel Ellsberg and the Pentagon Papers

This is a documentary about moral courage. It's the story of a man named Daniel Ellsberg who secretly released classified documents about the war in Vietnam to dozens of newspapers around the country in an attempt to end the bloodshed of fighting that he himself helped create overseas. Ellsberg began his career working for the government after he finished several years being a marine. He was an exceptionally intelligent, talented, and ambitious analyst who quickly moved up the ranks and eventually began working directly under Secretary of State Robert McNamara. After witnessing the events of the war first hand, his view began to shift dramatically. He eventually reached a point where he felt morally obligated to release top secret pentagon papers he himself helped work on that outlined the last ten years of U.S. intelligence in Vietnam. Explaining in blunt language the United States expectations and intentions of the entire conflict, beginning with the French in the 1950's. It also clearly detailed specific examples of direct lies that the last two previous presidents had engaged inn in order to help sell the war to the American people. It was a scathing and scandalous document to say the least, but what followed was one of the most important legal cases regarding the First Amendment rights in the nations history. The film works as a history lesson and as an engaging piece of entertainment that will make you wish more people nowadays were as brave and willing to sacrifice themselves for a just cause as Daniel Ellsberg.

B

2010

Barry Lyndon

  After spending over half a year at home on my desk, I finally made time to sit down and watch Stanley Kubrick's Barry Lyndon. The film, an 18th century English period drama tells the relativley simple story of one's man's rise and demise up the social latter of life. Ryan O'Neal stars as Barry, a man not born into wealth but has an unstoppable appetite to obtain it. After his time in the army he decides to marry into wealth. Once inn this family a rivalry quickly starts up between him and his new step-son. A rivalry that's played out all the way to the very end. 

  Now, Stanley Kubrick is widely considered to be one of the greatest men ever to set foot behind a camera. His attention to even the smallest detail is legendary as is his infamous tracking shots, cold characters, beautiful cinematography, lavish set pieces, and his curious desire to always tackle provocative material. Here with Lyndon we see Kubrick at his most tame. He makes Barry into a real flesh and blood person who just by coincidence we feel happens to have a three hour movie about them. Barry is not a very complex individual and not a very likeable one as well, but it's precisely for this very reason the Barry Lyndon is so remarkable. It's the kind of film was has to completely surrender to in order for it to have any impact. This to some may sound like a perfect recipe for boredom, but to more daring filmgoers a clear example of a bold artistic vision made by a man most would cinephiles only envy.  

B

1975

Yankee Doodle Dandy

The simple truth is that some films hold up over time and some don't. Yankee Doodle Dandy ends off the list of AFI's 100 greatest movies and yet the film feels incredibly outdated. Of course I should mention the fact that it's a musical, my least favorite genre right next to period pieces. So going inn I wasn't expecting myself to have a warm reaction to the material. Trying to be objective though I fought my hardest to stay with the film. not long into it though I quickly began to lose interest after the first dance number. Not to make things any easier the drama and comedy in between the music felt very very cheesy. Not 40's melodrama cheesy but bad 40's melodrama cheesy.
Happily the one good thing I can say about the film though was James Cagney. A legendary actor whose work I am not YET familiar with. Cagney rose to fame playing malicious gangsters in films of the 1930's and 40's. Here he sheds that image to become a song and dance man. The film won Cagney his first and only Oscar. His performance would probably seem like a remarkable turn for me if I had seen any of his previous work. Having now seen Yankee Doodle Dandy though I can say honestly that it did create enough of a curiosity within for me to seek out his other work. Which is something that I look forward to doing in the near future.
If your a fan of old school musicals, don't mind black and white cinematography, and enjoy the innocent feel of old Hollywood pictures, then this may be a film for you. But for the rest of us, I say there's plenty of other better films on that AFI list to search out first.

D+

1943

The Kids Are All Right

I haven't had the chance to say this a lot as of late but I just saw a great film. The Kids Are All Right is a marvelously sneaky little picture about the inner dynamics of what makes a family run and function. Of course this isn't your conventional family but a family nonetheless. The film stars Nic (Annette Bening) and Jules (Julianne Moore) as a gay couple with a two kids. Each woman was artificially insemanated with the sperm of a man, the same man. The film begins with the daughter of the family Joni (played to innocent perfection by newcomer Mia Wasikowska) turning 18. Her younger brother Laser (Josh Hutcherson), only fifteen wants to meet this secret donor but because he is not yet an adult asks his sister to look into it for him. The two quickly arrange a meeting with this man. The man is named Paul played by the always underrated Mark Ruffalo. What follows is a typical family drama of the highest order. Only this is a film that cares greatly for all five of its main characters, each one is allowed space and time to grow. As an avid filmgoer it was a delight to watch a movie that for a change actually cared for its characters and gave them enough dimensions to become fully fleshed out characters. This is a credit to two things; great writing and great acting. The cast is so good that I could conceive of any of the five characters getting Oscar nominations. Its Bening and Ruffalo though who seem to be doing the best work of their career's.
The film was directed by Lisa Cholodenko who co-wrote the screenplay with Stuart Blumberg as well. She's done two other Los Angeles based films already; Laurel Canyon and High Art, so her sense of the city's landscapes and vibe really comes out. Here with Kids she seems to have made a film devoid of any and all controversy. Which is such an astounding accomplishment given the more than polarizing subject matter. I wish that I could say this next quote was my own because it so perfectly sums up the films best quality. As Lisa Schwarzbaum of Entertainment Weekly wrote, "It charms audiences into a state of enlightenment". With that you owe it to yourself to see this film and then show it to your conservative redneck uncle.

A

2010

Sophie's Choice

Another film from my foray into the AFI's Top 100 Films, Sophie's Choice came highly recommended to me by my mother. The film also won Meryl Streep her second Oscar for Best Actress. So going inn I had some pretty high expectations. The best thing about the picture far and away is the acting by Streep and Kevin Kline. The two have remarkable chemistry together. Its on the strength of their performances that the film gets its emotional power. Streep plays a polish immigrant who migrates to America after escaping Nazi persecution at a concentration camp. In several flashback sequences she speaks unbelievable amounts of dialogue in German. Her accent is perfect and rarely do I get to watch a recognizable actor sink so convincingly into a role that I forget its them. This is her accomplishment. Her praise has been sung by many, consider myself on the bandwagon. Kline is also superb as a man suffering from terrible mood swings that leave him charming one moment and psychotic the next. The weakest link was the films narrator played by Peter MacNicol. He just seemed out of place or over matched between these two live wires.
The film was directed by Alan J. Pakula who also adapted the screenplay. His two previous hits being Klute with Jane Fonda and All The President's Men. In Sophie's Choice he lets some scenes of conversation go on to long leaving me to feel a bit restless. At times too you cant help but feel that the whole thing is all a bit melodramatic, leaving me to care less and less about the characters. Even still its well worth watching just for the two lead performances alone. If your a fan of great acting, this one should be required viewing.

B-

1983

Youth In Revolt

Michael Cera tries to act his way out of his geeky, shy adolescent persona by creating an alter ego in Youth In Revolt to get the girl of his dreams. In order for them to continue their blossoming romance Cera needs to be thrown out of his house and sent to live with his father who lives next to the girl of his infatuations. In other words, he needs to be bad. Of course the typical Cera persona is anything but, therefore he develops a split personality disorder to accomplish this. Ultimately the movies depends on Cera being able to pull off this task. His french resembling Breathless bad boy isn't the worst alter ego I've ever seen but I never felt that the character was ever fully able to go wild.
The movie's got a great supporting cast that really is much better than the material. The film sometimes reverts to childlike animation that just feels out of place or trying way to hard to be trendy and artistic. The entire screenplay is filled with witty banter that more than once feels to cute for the movies own good. It displays an indie sensibility that feels at times too Junoesque. We've seen this story plenty of times. This time its just not told as well.

C

2010