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

Shutter Island

DiCaprio again continues his amazing career with yet another great performance in a role that may be his most emotionally challenging yet. Collaborating for the fourth time with the great Martin Scorsese, Leo plays Teddy Daniels, a FBI agent investigating into a missing patient who disappeared from a criminal mental hospital on Shutter Island. The films tone is set right away with an ominous score blasting as DiCaprio and partner Mark Ruffalo approach the island by boat. Once on land we get the feeling that everything may not be what it appears to be as mysterious and strange behaving people from doctors to orderly's give answers and looks that seem to suggest something beyond the ordain. DiCaorio plays a man obsessed with finding out a truth that goes way beyond locating the missing patient. As the search continues he begins to fear for his safety on the island, that is up until the last 30 minutes of the film when he finally is forced to choose his own fate.
The film is definitely inhabiting a fair number of genres from thriller to murder mystery, to horror and to drama. All the while based off a plot that could and probably has been made as a B movie somewhere. Some people would like a director of Scorsese's talent to stick with better material before adapting a book, which is something that I whole heartedly disagree with. Many great films have been adapted from much less than average books. Here though the sets are lush and atmospheric with spooky visuals and the cinematography is so entrancing and moody that you get the feeling that every camera frame is probably a reference or dedication to some other work Scorsese admired and wanted to pay homage to. The entire production is first rate, with an ensemble cast that rivals anything this year.
Many critics it seems to me are way to harsh on Scorsese. The only reason I can think of is because of the simple fact that... he's Martin Scorsese. The man's had such a critically acclaimed career since the early 1970's that many critics expect him to deliver a masterpiece like Goodfellas, Taxi Driver, or Raging Bull every time he steps behind the camera. When in reality that may not happen again, but still the man has consistently put out some of the best films of the last decade; Gangs of New York, The Aviator, and the Departed. If you want you can add Shutter Island to that list as well be my guest.

A-

2010

Brooklyn's Finest

Antoine Fuqua has been here before, another urban crime drama from the man behind Training Day. Here he's trying to tell three different stories that all intersect in the end. The result is three stories told as one that we've all seen before. Brooklyn's Finest is a cop movie filled with every cop movie clique we've every seen before. Some truly talented actors make up the cast; Don Cheadle, Ethan Hawke, Richard Gere and an out of retirement Wesley Snipes. Sadly though none are able to rise above a screenplay filled with one dimensional characters that is trying so hard to be an emulation of HBO's acclaimed 'The Wire'. The film wants so badly to be raw and intimate that it comes off as being anything but. Fuqua has some serious talent down there somewhere but Im still waiting to see it.

D+

2010

Alice In Wonderland

Tim Burton has quite the career going for him in Hollywood, taking beloved childhood classics and then putting his uniquely odd signature touch on them. He's also got quite the working relationship going with Johnny Depp who always seems more then willing to step up to the plate for. Here Depp tackles the role of The Mad Hatter. A part that I don't remember being that big in the original story but of course the audience wants as much Depp as possible. The usual praise is unnecessary, this is someone who is incapable of giving an uninteresting performance at this stage in his career. He's given ample time for laughs as is Helena Bonham Carter, a.k.a Tim Burton's wife. She plays the wonderfully evil Red Queen, but the story really belongs to Alice played by newcomer Mia Wachowski. She posses the kind of youthful exuberance and quirky intelligence very few beautiful girls her age have. She radiates on screen. The success of the film ultimately comes down to her performance and she carries it perfectly.
Filled with excessive amounts of CGI, Alice doesn't feel as warm as the original. You get the feeling that maybe Burton is trying a bit too hard to cater to the audience's tastes instead of his own. Even so, Alice In Wonderland is an adequate family film that will surely satisfy those looking for light hearted entertainment.

C

2010

Inception

Inception is a big movie. A big movie that I saw on a big screen with a big audience. Filled with big actors, shot on big sets with big stunts that cost big money. Most importantly maybe is that Inception also has some big ideas floating around inside it. Ideas that are melted into a movie disguised for some as fast food entertainment. What's more interesting to me though then what the film actually means is what the film actually means for Hollywood. In a era where remakes and squeals dominate the multiplex, its rare to get a big budget production that is based off of a, get this, ORIGINAL idea.
Writer/director Christopher Nolan spent the better part of ten years penning Inception. He came up with the idea while doing Insomnia, but he put it on the back burner while he worked on rebooting the Batman franchise. Its probably a good thing that he waited. If he had attempted it before The Dark Knight's billion dollar intake he most surely would of gotten a different budget. The fact that an artist in this medium of film is given that kind of money and respect for a film that could easily become a financial flop in our day and age is a rare sight. Its a testament to the skill of the filmmaker more than anything else.
Inception is a film about dreams and dreams within dreams. Leonardo DiCaprio continues his already fantastic career with yet another great performance. He seems to be really coming into his own in these last couple of years. Making his transformation from boy to man with a slue of good career moves. A friend of mine thinks he may already have the most prolific career in the history of cinema. With a track record that includes working with Lasse Hallstrom, Sam Raimi, Baz Lurhman, James Cameron, Woody Allen, Danny Boyle, Steven Spielberg, Edward Zwick, Ridley Scott, Sam Mendes, Chris Nolan, and Martin Scorsese on four different occasions, who can argue. Here in Inception he plays a man dealing with serious regret and some inner turmoil and demons that very few actors can pull off as well. He's supported by surely what has to be the most accomplished and promising group of young actors this year. Joseph Gordon-Levitt, Tom Hardy, Cillian Murphy, Ken Wantanabe, Michael Caine, Tom Berenger, Pete Postilwaite, Ellen Page, and Marion Cottiard all put in solid work. The plot is incredibly intricate so for the sake of the reader and myself I won't get into it. What I will say is that it's an incredibly complex script that involves multiple levels of reality all surrounded by the objective of a heist. James Bond meets The Matrix is a pretty good comparison with the demeanor of Kubrick and the trickery of Hitchcock to boot. Nolan must have had a lot going on in that head of his just to have the audacity to even attempt to pull off a story of this magnitude and complexity.
Detractors have argued that Nolan's work sometimes sacrifice's emotionality for plot development. I actually think he cares a great deal about both. Inception however is first and foremost an action picture above all else. And what a ride it is. Spectacular set pieces with brilliant cinematography by Wally Pifster only add to its appeal. Over the past couple of days I've twisted my brain into a pretzel trying to analyze and obtain an answer to the jigsaw puzzle mystery that the film clearly is or wants to be. I think I began to start getting off track though. If your looking for a highly intellectual film experience wit endless possibilities for debate you'll find it here but if your also looking for a two and half hour experience of none stop adrenaline, then you'll find that too. Its a rush of the senses that forces the viewer to actively participate in the theatre. That is an experience that is getting rarer and rarer these days and it is something to be valued and praised when found. You'll find it in Inception, so try not to give yourself a headache and just enjoy the trip. I sure as hell did.

A-

2010

The Girl with the Dragon Tattoo

Apparently The Girl with the Dragon Tattoo is the most popular book out there right now. It's an acclaimed international bestseller that seems to have come out of nowhere, at least to me. Before being told to read it I discovered the film. Now Im reading about an American version coming soon directed by David Fincher. It all seems quite sudden. Any ways having not read the book but read how well this film was adapted to it, I'll give you my two sense.
It's a pretty taut murder mystery with an interesting but by no means new twist tied inn. The swedish and danish film takes place in those respective countries and makes wonderful use of the cold wintery landscapes there that lend itself perfectly to the story. Director Niels Arden Oplev does a good job at building a strong atmosphere of suspense and tension but there was more than a scene or two that I felt just weren't that necessary to the story. The film could of used an edit.
The title of the film refers to the main female lead played by Noomi Rapace. Her character has a great mystery to her that is never revealed nor explored. She's easily the most interesting aspect of the movie. I only wish they had delved into her character a bit more. Again that may just be a fault of the book.
As a whole though the film is more than adequately engaging. I hear that this film is only the first chapter in what is to become a trilogy. Hears hoping the next installment only lends itself better to this already unique character.

B-

2010

Ben-Hur

William Wyler's Ben-Hur was an epic of monumental proportions. The film won 11 Academy Awards, a record for the most ever that it still holds to this day along with Titanic and The Return of the King. Everything about this production is huge. Clocking in at close to four hours in length it features thousands of extras, three hundred different sets, and over a million props. It was such a daunting film to make that the director initially declined the job. Made in 1959 the film still seems large today, which is definitely a compliment to someone. The question though is, is it still the great epic that at the time everyone thought it was.
Certain films feel timeless. It's the greatest thing that can be said about a film really. If it stands the test of time and if its dramatic or comedic power can still seem fresh through the ages. Ben-Hur sadly does not pass that test. It has the feeling of a 1950's melodrama with men in sandals and swords. The first almost three hours though had me decently engaged and that amazing chariot race that everyone remembers, for good reason, still holds up today. I just felt that the picture was more or less over by that point.
I wasn't aware of Ben-Hur's religious agenda going inn and so when the film's third act sends home its christian message to us I was no longer involved in the story. Religious friends of mine swear by this film, I wonder why. I've got nothing against a religious based story, I just felt that after that amazing race sequence everything left over felt sort of anti-climatic. It all seemed like it belonged in a different movie. Sorry Jesus.

C-

1959

The Eclipse

The Eclipse is a wonderful little movie from Ireland about the supernatural, grief, and love. It tells the story of a man forced to raise his two young kids on his own after the recent death of his wife. At night he hears sounds and sees shapes moving about in his house. He thinks it's ghosts. When a female writer who studies the supernatural visits the small town for a book festival he makes a point to bring up his experiences to her as he drives her around. They enjoy one another's company and a fragile little relationship begins to develop between them. Innocent though it may be, it is nevertheless enjoyable and entirely believable because their courtship seems so true to the events of life. Ciaran Hinds steers a talented cast to a result that is a little bit surprising. The film delves into a few different genres never really embracing one to its fullest which results in a smart little film that is anything but formulaic.

B-

2010

North Face

North Face is the criminally under seen German film about a 1936 climbing expedition in Germany started to help build a stronger sense of nationalism for the Nazi party. The story center's around two young best friends/ Nazi officers who decide to put their entire lives on hold for an attempt to scale the perilous mountain glacier called the North Face. Although somewhat reluctant at first they gradually change their minds after realizing that nothing in their lives will be as memorable as attempting this daring feat.
Released early this year by director Philipp Stolzl, the film is a harrowing adventure tale of the first order, made all the more compelling because its based off of actual real life events. It's refreshing for this American viewer here to watch an adventure film and not feel completely safe for all the characters involved. Its this feeling of uneasiness that gives North Face it's true power. Most viewers like me are going to be totally unaware of the real climb and what occurred and are therefore going to be completely in the dark about the outcome of the events happening up on the screen. It all makes for a much more enjoyable experience in the end. The film also features some first rate cinematography that won some German film awards. This is just yet another example of great foreign filmmaking that unfortunately didn't get the attention it so rightly deserved here in America.

B+

2010

The Warlords

A bore and a waste of time. If you don't speak mandarin that you probably won't be able to stay awake anyway. Throughout the course of this nearly two hour dribble the only recommendable thing I can see in this overly melodramatic mess is a pretty cool battle sequence, something that you can find in plenty of other movies, good movies too. A straight to video that I wish I wasn't made aware of. Your welcome readers, now go watch something else.

D-

2010

The Wolfman

The Wolfman has so many different problems going on at once that I don't even know where to begin. First off I think there is a bunch of CGI crazed idiots in booth somewhere waiting to destroy every film they can get their hands on. This film is suffering from the same problem as I Am Legend, shitty CGI. A component of alot of films nowadays that can make or break its success. Here it's put to use on the wolfman with dismal results. I'd prefer a hairy wolf suited actor any day to be honest. At least that way you may get a decent or interesting performance out of it. I mean you did employ Benicio Del Toro, for god sakes use him.
With or without decent CGI though this film was still bound to fail. The screenplay is completely void of any originality. Something that is sorely needed when tackling a story most audiences around the world are familiar with. If your going to take on old material its essential that you put a new touch on it to not only make it your own but also so the audience is getting something they haven't already seen. Watching this film reminded me or every other wolfman story I'd ever seen.
Lastly I must admit that Benicio was just miscast here. Don't get me wrong, the guy always does an adequate job but I just felt it to be a little silly watching a man who is clearly of spanish descent play an eighteenth century englishmen. Its not Mr. Del Toro's fault, its just bad casting.

D

2010

44 Inch Chest

The basic premise that 44 Inch Chest is relying on is a risky one. The idea that a bunch of great actors can make something great out of a less than average script. The outcome couldn't be further from that assumption. The reality is most great actors have a hard time translating bad writing into good acting, and the results are no different here. What's surprising though is that the writing comes from a proven scribe of Sexy Beast acclaim. Even still with the likes of Ray Winstone, John Hurt, Tom Wilkinson, and Ian McShane leading the cast this story never really gets off the ground, probably because their isn't much of a story here to tell. A man's wife wants to leave him for another man. He responds accordingly by putting this other man in a, you guessed it, 44 Inch Chest until he can figure out just what exactly to do with him. An hour and a half later the end.

D

2010

Winter's Bone

If you don't know the name Jennifer Lawrence then start to get use to it. Here is simply put, a star making performance. She plays the lead in Winter's Bone, an independent film that won both Best Picture and Best Screenplay at this years Sundance Film Festival. Lawrence plays a young 17 year old girl from a from a dead end mid-western town forced to take care of her two younger siblings and sick mother after her father decides to go on the run from the law for cooking meth. Eventually a trial date comes around for a previous arrest of her father's and Lawerence finds out suddenly that he had previously put up the family house to make bail. If he doesn't show to court then they lose the house. What follows is a man hunt by Lawrence to find her father so that her family can continue to just barely get by at below poverty level. The alternative choice to that is really not a choice at all. She starts by coaming through her family relatives most of whom happen to be fellow criminals who are not at all eager to talk to her. An uncle played by the always wonderful John Hawkes is particularly great. As the story unfolds certain details surface that put the whole mission of finding her father into a different context.
At the heart of the story though is the question of what it means to be a family and does being a blood relative to someone really mean anything. Lawrence as the female heroine reminds me of a young Hilary Swank. She plays the role with the utmost confidence and vulnerability that may be the strongest performance so far this year. The film has an on edge quality to it where you never feel completely comfortable for the characters safety. As we follow Lawrence's treacherous journey through the underbelly of american decay we quickly realize that here is a person who will stop at nothing to do good for her family, even if that means putting her own life at risk. The acting all around is excellent, especially John Hawkes . The screenplay is unique in it's setting and characters and the film as whole is something I can't wait to revisit again. This is one of the best films of the year.

A-

2010

Cyrus

Watching the movie Cyrus this summer has been a refreshing change of pace for me. The film is one of those quirky little indie comedies that we don't see enough of these days. The film stars John C. Riley as a single loner looking to make a connection with woman that will hopefully change his life for the better. Early on he meets a beautiful woman played by the always wonderful Marisa Tomei. A sweet relationship begins to blossom and everything in his life starts to fall into place. That is until he unexpectedly meets Jonah Hill's character who just happens to be the son of Tomei. What ensues is a great tennis match of comedic tension between these two funny men. Both vying to be the most important man in Tomei's life. The script is funny, but nothing exceptional. What really makes this movie worth checking out is the subtle comedy between the three co-leads. Cyrus is a sweet little movie that you may find yourself caring about more than you expected.

B-

2010

The Class

The Class is the type of film that we deserve to see here in America but so rarely do we ever get the chance to. The film is an in-depth observational study of an average classroom and all the big and small complexities that come along with it. It shows the everyday battles between teachers and students that can determine the outcome and success of a day. It's an examination of highly realistic classroom life shown through the eyes of a neutral observer. We've all been in these classrooms before and therefore we can all relate to them. Don't let the subtitles scare you, these are all intelligent and complex characters that could easily fill up the time of another movie all on their own. The film is bursting with a life and an energy that will pin you to your seat. It should be required viewing for anyone who wants to enter into the profession of education. The film deals with tough problems and does not always offer easy answers. The heartbreak and genius of The Class though is that it also does not always offer resolutions as well. Something American audiences aren't very use too. The perception that the teacher will always be able to connect with a student is shattered here. But all is not lost. What I loved about The Class the most was that even in defeat the characters do not surrender. Life goes on and soon another group of students will fill the classroom again.

A

2008

Following

Christopher Nolan has turned into something of a pioneer as of late. By not following trends, limiting his involvement in CG in favor of real stunts, telling grand summer blockbuster stories with emphasis on good acting, surrounding his films in veils of secrecy, and telling wholly original stories he's managed to become one of the top 5 biggest directors in Hollywood at the moment.
Following is his directorial debut that like just about every other Nolan film involves a story where the characters are not all they appear to be at first glance. It begins with a man who decides out of curiosity to start following randomly selected people for short periods of time for a chance to get a glimpse into a life that isn't his own. Things go wrong when he ends up following a con artist who quickly discovers him and a twisty plot of schemes and double-crossings ensue.
The movie has a dark film-noir feel to it which works for the script. It was shot in black and white using a small group of actors who I felt weren't really up to the material. The film worked though as far as keeping me invested in the story up until the very end. A decent debut here for Nolan but in no way did it display the hints of greatness for what was to come next, Memento.

C+

1998