Juno: Review

What is with 2007 and films about pregnancy? First, we has the sublime Knocked Up, as fine an American comedy that has recently come along, and now, here is Juno, Jason Reitman's follow up to 2006's Thank You for Smoking, a clever, if slightly over praised satire about a lobbyist and the cigarette industry. Well, whatever lesson's Mr. Reitman learned through his previous film are on display here as Juno is one of the most pleasantly surprising films of 2007, one that came from way out of left field to wow 'em at the Telluride and Toronto Film Festivals. While Thank You for Smoking certainly had its merits, it was a little too smirky for its own good and too often overtly revealed its satiric nature. In other words, for a film trying to be so subversive, it's pretty obvious as to what it’s attempting to do, a big no-no for the best of satires. What was welcome was its ruthless honesty and Juno continues that in spades. At its core is a whip smart script (maybe a bit too smart) by Diablo Cody, a slew of great performances and Reitman's steady direction, all of which add up to one of the best films of the year.

Unlike Knocked Up, which tried to touch on every aspect of a modern pregnancy (and wildly succeeds through most of it), Juno ambitions are, well, less ambitious. See, the title character Juno MacGuff (Ellen Page) accidentally gets pregnant after, what she describes as, a boring night with her kind of boyfriend Paulie Bleeker (Michael Cera). After attempting to get an abortion without telling her parents and opting out when she finds that she isn't quite ready to go through with taking care of the situation, Juno and her best friend Leah (Olivia Thirby) seek out the Alt-Weekly's to find a set of suitable parents to adopt her ever growing child. They come across an ad placed by Mark and Vanessa Loring (Jason Bateman and Jennifer Garner) and after telling Juno's parents (J.K. Simmons and Allison Janney), they set out to meet the potential family. When she finds them suitable, the story continues on to go through the tribulations of the process, all handled with a sly sense of humor that leads to any number of wonderful scenes.

Page continues to be a revelation and while some are expecting big things from her after seeing her in 2006's searing Hard Candy, I don't think anyone figured it would come so soon. As Juno, Page is razor smart, a collection of real world instincts and pop culture savvy. In bringing Diablo Cody's character to life, Page may have created the character of the year, an independent and intelligent teenager who single-handedly carries the weight of the movie: not out of necessity (all the other characters and actors seem up to task as well) but out of sheer charisma. Juno is the type of eminently likeable creation that people will find themselves cheering for as the film goes on and fondly remembering long after they've left the theatre.

As mentioned above, the rest of the characters are universally strong. From Paulie's quiet charms (magnified by Cera's otherworldly delivery) to Mac MacGuff's tough love (Juno's father, wonderfully brought to life by J.K. Simmons) are all eminently likeable yet lifelike characters. With one minor (and disappointing) exception, the people who inhabit Juno's world bring vitality to the story that seems like a perfect melding of actor and script. Bateman and Garner, who have been shaky in the feature length performances, are both up to the task here with Bateman getting some screen time and making the most of it. So much of a comedy's success relies on the cast's ability to deliver the material in not only a believable but also funny manner; Juno's cast knocks one of the park here.

With the exception of the first 10 minutes or so, the script by Diablo Cody is remarkably assured for a debut. Those first 10 minutes are too jammed with over stylized dialogue that just feels way too out of place but wisely, as the narrative takes over, Cody tones it down a bit. That’s not to say that the dialogue suffers for the rest of the way, it is merely more bearable; it is still wildly clever and hip and while it may not be the most realistic bit of dialogue for teens, neither was the tough guy banter from the 1940's noirs but no one seemed to mind them. The film is a stylized comedy, any way you cut it and it works well. As a collection of lines, there a number of memorable ones that I could see easily being adopted by the teens of today as their lines du jour. However, single lines do not a screenplay make. Thankfully, Juno has a generous heart to go along with its razor sharp dialogue. The film radiates warmth and humanity, a sense of magical realism that feels real and palpable while simultaneously taking on a light, airy quality. It will win over even the most cynical audience members.

Jason Reitman is a talented director, now putting out what I would venture to call a potential classic in just his second feature. The film has a distinct visual theme to it, one that is unique and interesting while not as overt as a Wes Anderson film or say, Napolean Dynamite, a film that Juno has questionably been compared to. As to what exactly people find in common between that horrific piece of garbage and this hysterically funny comedy is beyond me. Wisely, Reitman doesn't rely on the visuals for gags, rather choosing to compliment Cody's wonderfully amusing script. When pared with Page's incredible performance at the film's heart, Reitman has crafted one for the ages, a complete charmer that I imagine will be remembered for years to come as one of the crowning comedic achievements of 2007.

*****

Paris Je'Taime, Rescue Dawn, A Mighty Heart, Hairspray: Reviews

Another bunch of quick hits to save some time:


Paris Je'Taime

A charming collection of shorts (18 to be exact), each centered around love and Paris, Paris Je'Taime is up and down at times but leaves you on such a high note that its difficult to leave upset. Not all the shorts work (I found Vincenzo Natali's "Quartier de la Madeleine" to be one of the more disappointing portions) but if they don't, they're only on screen for 5 short minutes or so before they are swept away for the next entry. The ones that do work (the Coen Brothers, Alfonso Cuaron, Alexander Payne, Wes Craven (!), Tom Twyker and Walter Salles all contribute great moments) are splendid, quick meditations on the nature of love in the City of Lights. By the end of the film, a portrait of the city has been formed subtlety before your eyes, leaving one not only with a strong feeling in their heart but a desire to get to France as quickly as possible.

****

Rescue Dawn

Werner Herzog's re-telling of his documentary Little Dieter Needs to Fly is a war epic that lacks a war, but thankfully has Christian Bale. Based on the true story of Dieter Dengler (played by Bale), Herzog tells the story of an American Pilot shot down and captured in Vietnam. What follows is an epic journey of escape and survival but, oddly, the film never felt truly gripping. As always, Bale is electric, carrying Rescue Dawn, but the true surprise comes from Steve Zahn, who contributes a moving and measured performance. Unfortunately, Bale's performance is wasted on a character that quite frankly doesn't come to life, instead feels too contrived. For such an optimist, whom Dengler supposedly is, I had trouble finding much reason to care about the characters involved. While the story is impressive, all the more so for
being true, its flaws are too much to keep this from going into Herzog's catalog of classics.

***

A Mighty Heart

Angelina Jolie turns in surprisingly effective work in Michael Winterbottom's examination of the Daniel Pearl kidnapping and execution. The film works best as a seat of its pants thriller, smartly eschewing the larger politics of the situation and focusing on the human element involved. Through its use of digital cameras, A Mighty Heart jumps off the screen with a you-are-there realism that pops. *SPOILERS* The performances are strong all around but Jolie's work is especially worth noting, never overacting except for the scene following her discovery of Daniel's death. Up until that point, Jolie keeps everything in check but her explosion here feels too over the top and planned, which breaks the realistic feel of the film. Winterbottom's direction is excellent, pushing the film forward with quick pacing and tightly constructed narrative. At times, the film is reminiscent of some of Paul Greengrass' best work in Bloody Sunday and United 93 and while it never quite peaks like those do, there is a complete absence of valleys that make it all worthwhile.

****


Hairspray

The critical surprise of the summer is an overrated musical send up of race integration in
1960's Baltimore. An adaptation the stage musical which was adapted from the 1988 John Water's film, Hairspray never feels like a fully formed cinematic musical. Where as the classic musicals of the past (even up to 2002's Chicago and last year's Dreamgirls) have utilized the space allotted to them by the medium of film, Hairspray too often feels like a stage show being filmed. On top of it, there is no real show stopping number until the finale, which feels too late to salvage the rest. There are some good performances in here (first timer Nikki Blonsky and Christopher Walken are great) but there is nothing to distinguish itself from the rest of the Hollywood musicals of the past. Had this been released 50 years ago, it would be nothing more than a B rate production but with the minimal number of musicals being released nowadays, this is what passes. A disappointing entry into the genre.

**

It's a Wonderful Life

As December rolls in, so does the holiday season and with the holidays, so comes It's a Wonderful Life, Frank Capra's 1946 meditation on the little things in life, that has become less a part of American cinema as it has become a part of the American consciousness. Few films come to mind that are so instantly recognizable by so many, it's images seared into the minds of multiple generations, touching the hearts and minds of most everyone who is lucky enough to experience it. However, with its overwhelming holiday presence, too many people have begun to overlook the film's true accomplishments and view it strictly as a schmaltzy Christmas favorite. In reality, it is a tremendously dark view on the harsh realities of life, a work of art that masks itself as pop entertainment. While its conclusion, with all the singing and bells ringing, is undeniably optimistic, its first two hours are undeniably not. It is truly magical that Capra can so quickly and effectively switch the film's mood in a way that quite frankly, very few directors were/are capable of.

It's not difficult to see the intentions of the film. By setting up every memorable and positive event with a direct negative foil, Capra carefully engineers a life that one could look back on and see a minus for every plus. For example, George wants to travel the world yet his father dies unexpectedly, leaving him stuck in Bedford Falls while his brother is able to go off and live George's dream. He receives the news of his father's untimely demise during a romantic interlude between him and (unbeknownst to him) his future wife. His wedding day is offset by a financial crisis, leaving his honeymoon in jeopardy after he has to use his own money to keep his father's building and loan in business. Even events like his Uncle's forgetfulness and loss of a great sum of money, offset the optimism and promise of a new year on the horizon, of Christmas Eve. When it comes time for George's monumental decision of whether or not to take his own life, it is not difficult to place yourself in the poor man's shoes. His life has crumbled before his eyes and on top of a terrible day, he's having a worse night. Suicide and debt doesn’t exactly strike me as holiday season material.

The skill in which Capra pulls all of this utterly depressing material together, yet keeps the film compulsively watchable is never short of astounding. One is never turned off from the struggles of George Bailey (a great deal of acclaim must be given to Jimmy Stewart here, as he contributes one of the great everyman performances of all time). Instead, you desperately pull for this completely likable character to pull through, to recognize that his life is not as hopeless as it looks. Capra, utilizing a bleak, film noir-ish look for the night of George's great decision, brings everything to an almost unbearable peak, and with everything crashing down, one is left to ponder the worth of life in that brief moment on the bridge.

It is the redemption filled final 30 minutes that gives It's a Wonderful Life it's reputation as the holiday favorite it is. With a unabashed enthusiasm, Capra flies through an alternate reality that truly feels noir-ish, the small town charms of Bedford Falls replaced by the near urban decadence and decay of Pottersville. This sequence is oddly what feels most in step with the cinema of the day, a postwar view of the world that is cynical, dark and difficult. Seemingly borrowing from the noir masters of the time, Capra's sequence in Pottersville is also the most un-Capra like moment in the entire ordeal (maybe in his entire filmography) and it is what makes the film the classic it is. Had Capra not delved so deeply into the misery that dominates Pottersville, the entire film would have come to a grinding halt at its conclusion, its final moments feeling unearned and trite. They still may feel sappy and overwrought but certainly not unearned. Bailey has gone through hell and back to arrive at this point of jubilation. He has seen the world without his life, he has experienced the suffering and hardships and the moment with friends and family is earnest and moving. Its an ultimate triumph of the everyman over the evil Potter and in many ways, it is a celebration of community wealth, a near Marxist victory over the capitalistic Potter. In many ways, it seems almost anti-American in an economical sense, yet oddly American in its embrace of community.

To say that Capra was un-American is quite frankly absurd: his work in WWII and even Mr. Smith Goes to Washington negate any claims. However, it is curious that such a sentiment is able to creep into the ending of It's a Wonderful Life. In fact, despite the sudden influx of money into the Bailey household, the lasting line in the film is from Clarence, Bailey's guardian angel, and its message is undeniable: "Remember that no man is a failure who has friends." No where is their a mention of money or wealth. Instead, the film celebrates the community helping each other, not the money the community help provides. Its anti-capitalistic sentiments can be overlooked upon first viewing but with each subsequent, it becomes more difficult. For an American Christmas classic, the film tends to go against the stereotypical American ideologies in its conclusions. Yet it perseveres still. Perhaps it is the American's public willingness to overlook the politics in the weeks leading up to a day spent celebrating all that is worthwhile in life. It is a throwback to the real celebration of Christmas, an anti-commercialist, anti-capitalist fable about the true power of friends. Perhaps that is why the American public keeps on bringing back this wonderfully deceptive, yet completely entertaining and life affirming film.

Point is, to call It's a Wonderful Life just a holiday film is short sighted and lazy. While it undeniably fits the time of the season, there is a great deal more to Capra's work. Sure, it may be corny at times (it is, after all referred to as "Capracorn") but if there is ever a time of year to allow for nostalgia and good-natured celebration, now is it. I don't mean to say that It's a Wondeful Life is not a holiday film, too much says that it is, but one must look further. At its heart, there is a dark, postwar view of life, filled with desperation, heartbreak and hate. It hits notes as bleak as anything being made at the time and often times, is slyly and masterfully subversive. Most Christmas films don't touch those feelings, relying on good nature alone to exist. That is why It's a Wonderful Life is so much more, and that is why it is not only the finest of the Christmas films but one of the finest of American cinema, as well.

*Note here the almost Film Noir composition of this shot. The extreme close up of a face, just off center. A look of woe, a shadow being cast of part of the hero's face. Or here:

Doesn't exactly shout Ho Ho Ho, does it? Excuse the poor quality but the anger and grief in Stewart's face here is amazing, a man who has hit the end of his rope.

No Country for Old Men: Review

The Coen Brothers have always been a duo that I have respected and enjoyed but would never claim them as bona fide favorites. Sure, Blood Simple and Fargo are wonderful films that I have thoroughly enjoyed and while I enjoyed The Big Lebowski, I've never quite found the complete and utter genius that I must be missing, given the film's rabid following. However, when I heard that the brother's newest film in development happened to be an adaptation of a Cormac McCarthy novel, my interest was raised. When No Country for Old Men was wildly praised at Cannes, I was skeptical as to whether it could live up to both McCarthy's magnificent prose and the massive hype. Thankfully, it does that and more. The hype is more than warranted. For No Country is a full on masterpiece, a brooding thriller that is part noir, part western and all classic.

It should come as no surprise that given my appreciation of their like-minded previous works, that No Country, for me (ending and all, but I'll get to that later) is a masterpiece. From frame one to the last roll of the credits, the film is a nail biting, thoughtful modern western, filled with a palpable grittiness and three characters that are so well crafted and acted, one can't help but think that this may end up on the top of many year end lists as the Best American Film of 2007. Led by a positively fearsome performance by Javier Bardem, who immediately vaults to the top of the Best Actor category, and supported by tremendous work from Tommy Lee Jones and Josh Brolin, No Country never sags, a picture perfect representation of what a thriller can and should be. It'll make you think while simultaneously bringing you to a quivering heap of jelly through its masterful set pieces.

At the film's heart is the story of a simple man, Llewelyn Moss (Josh Brolin) who, while out on a hunting excursion, stumbles upon a drug deal gone wrong. In place of the dust and tire marks that should represent a successful transaction, are a few trucks, a load of bodies, a bunch of drugs and finally, a satchel case full of money. As he stumbles around the area, Llewelyn finds a sole survivor who asks for water, a minute detail that later becomes the cause for the rest of the film. Unfortunately, Llewelyn is clean out so he leaves the scene with the bag of money and returns home. However, as the night drags on, Llewelyn can't cope with the fact that he left the man there to die, so he ventures back out to the site, leaving his wife Carla Jean (Kelly MacDonald) to wait for him.

Brolin, who truly came out of nowhere to have a wonderful acting year, is, once again, great here. While I feel like I continue to say that, the facts don't change. Here he contributes a gruff performance as a prototypical Texan, light on the talk, heavy on action. Upon arriving back at the trucks, he is noticed by a group of men in a pickup truck and, like that, the film takes off into one bone-jarring chase after another. Throw into the mix a bounty hunter, Anton Chigurh (Bardem), hired to track down Brolin and one has all the trappings of a great chase film. What elevates No Country is that Chigurh, brought to terrifying life by Bardem, is the most memorable psychotic to hit the screen in years. The character is so terrific, so scary, so ferocious that one can't shake the images and sounds that will be seared into the brain. Bardem completely inhabits Chigurh, taking a good McCarthy character and making him into something otherworldly, a type of role and performance that comes along once in a decade. In a year with a number of great performances, Bardem stands at the top of the heap. This may be one role that'll follow him the rest of his life as the obvious highlight of an otherwise sterling career.

On the outskirts of it all is the local, aging Sheriff, Ed Tom Bell (Tommy Lee Jones), who is merely trying to keep up with it all. As the film progresses, the body count continues to rise, leaving Bell with nothing to do but shake his head at the carnage and it isn't out of a feeble inability to get things done, but rather, the complete destruction that seems to follow Chigurh around becomes all enveloping. Jones, in the autumn of his career, has been revitalized recently, in a way that is reminiscent of Clint Eastwood, men who seem to get better with age. As the chase nears its end, Bell desperately tries to stop the killing despite his age and tired soul.

Guiding everything here are the Coens as they mix virtuoso sequences with moments of quiet dread. While their cinematic eye has never been in question, it is with No Country that they should forever prove themselves. At the helm are true masters, veterans who have honed their craft to a fine science. Their ability to handle action and theme equally is astonishing, never leaning too heavily on one or the other. Instead, the two settle into a comfortable mix that only a cinematic genius could concoct. The themes never feel heavy, almost John Ford-ish in their subtle nature, and the suspense sequences are stretches of filmmaking that even the most jaded critic will find gripping and enjoyable. This is easily the brother's best work since Fargo, maybe the best of their career.

Much has been made about the film's final third, and while I won't spoil anything here, I found the conclusion to be fitting and satisfying. It injects the film with the type of mythical, almost biblical food for thought that McCarthy wields with grace and ends the narrative on a high note. I can certainly see why some audience members will walk out feeling slighted by the general lack of a tidy conclusion, but that type of disappointment strikes me as short sighted. No Country for Old Men is so much more than just a simple thriller and the film's finale cements that fact. One isn't meant to leave the proceedings feeling comfortable and satisfied. Instead, with a film as violent and dark as this is, one should leave feeling unsettled, wanting to question the actions of the characters in order to understand the themes in a better light. The Coens' wisely leave the ending as it is, refusing to settle for a Hollywood conclusion: it works wonderfully and in the process, solidifies this as one of the best American films of the year.

*****

American Gangster: Review

Ridley Scott, already an accomplished director by any measure, can confidently mark another notch in his belt with the recent release of the brilliant American Gangster. Featuring ferocious performances from Denzel Washington and Russell Crowe, American Gangster fires on all cylinders, working almost impeccably for its full 2 hour and 40 minute runtime. In doing so, it can rightfully claim a place alongside the other classics of gangster cinema, no mere feat given the abundance of films released in the genre. While it may not reach the levels of the first two parts of The Godfather trilogy, it is a worthy heir to their legacy, a gritty, blood soaked epic that's as entertaining as can be.

Based on the true story of Frank Lucas, who more or less controlled the Harlem heroin trade in the late 60's/early 70's, the film spans about a decade but never feels too big for its own grasp. Rather, the screenplay, by Steve Zaillian, is a model of narrative efficiency, telling the expansive story while keeping the focus intimately on the characters at hand. Instead of allowing the film to spiral out of control, it sticks tightly to Washington and Crowe, moving the film quickly, without unnecessary diversions and tangents.

Washington, as Lucas, is tremendous, contributing a charismatic yet terrifying portrait of a man with almost infinite power. Its not like Washington's talent has ever been questioned, but here, he is particularly exciting, inhabiting the role with a reckless abandon. While Lucas may be an larger than life figure known equally for his quiet cunning as his violent outbursts, Washington never oversells the part, resisting the urge to overact his scenes. Rather, the pitch and energy of his performance is perfect, reminiscent of his best work in Spike Lee's vastly underrated Malcolm X. He envelopes the screen, stealing every scene he is in.

That claim is truly saying something, given the pedigree of the supporting cast here. Lucas' opposite on John Law's side of the drug conflict is Det. Richie Roberts, who is brought to life by Russell Crowe. Easily one of the most consistent and reliable actors/stars in film today, Crowe nearly matches Washington's work, only falling short due to the fact that his character is given less to work with. Compared to Lucas' conflicted life, Roberts is given the role of a noble cop caught in a corrupt system. To say that this type of character has been done before is obvious. It is a testament to Crowe that the character feels as fresh and new as it does.

It could be said for the rest of the cast here. No character is an eye popping original, all have been covered before in the extensive history of the American gangster film. However, the cast gives themselves entirely to the material, molding the parts into something worth watching for another two and a half hours, despite the fact that they may seem familiar. Legendary Ruby Dee, as Lucas' mother, is splendid, pushing the doubts out of her mind despite knowing her son is providing her with the riches through illegal means. She is a strong woman who has raised a family full of independent, ambitious boys that are strongly devoted to her. The film also continues Josh Brolin's massive year, with a strong performance from the son of James. He has turned into a able character actor that brings a certain vitality to each of his roles.

As most gangster films do, American Gangster has a tendency to over empathize with its criminal heart but its use of dueling protagonists in Washington and Crowe move the heart of the film closer to a moral center. As a result, it is never as over the top in its criminal depictions as, say, Scarface, nor as notably reserved as The Godfather trilogy. Instead it splits it in the middle, a gleaming terrifically entertaining piece of pop filmmaking, something that has become a Ridley Scott signature. As professional of a commercial director as one can get, Scott has also become of the most reliable workers in Hollywood today. Even his underrated (see the Director's Cut instead) Kingdom of Heaven has moments of spectacular filmmaking. His resume continues to grow and with American Gangster, he can add another hit to his work.

American Gangster is probably not for everyone. Many will find it too violent, claiming that it glorifies the lifestyle that Lucas took part in and to an extent, those critics would be correct. However, that type of shortsighted vision completely looks over the obvious talent and skill on display here, making the 2 and a half hours fly by. Sometimes, a film only needs to offer an escape to another world, and in this case, maybe escape isn't the best case; descent may ring closer to the truth. Either way, American Gangster gives a glimpse into a life that none of us will live, bringing a vibrant and entertaining look at 1970's Harlem to the big screen with a vicious, daunting and unforgiving energy that is, quite frankly, impossible to deny or overlook. Mark this as a must see if you live for the seedier side of life.

****

The Hoax, The TV Set, Longford, Reign Over Me: Reviews

Hi everybody, sorry for not keeping up with posting! I've been busy with life recently but haven't stopped watching. In the interest of saving my and your time, I'm going to compile my recently viewed into a quick hit series of reviews. Enjoy!

The Hoax

Clifford Irving's life has been nothing short of amazing and it is with a sense of frustration that audiences are left with The Hoax as the cinematic representation of this existence. The Hoax isn't necessarily bad, just disappointing in its sometimes outrageous alteration of the facts of the case at hand. Despite two wonderful lead performances by Richard Gere (as Irving) and the vastly under appreciated Alfred Molina (as his assistant/steadfast friend) and capable direction from Lasse Hallstrom, the story's flaws end up diminishing what could have been an otherwise exemplary work. While still entertaining, the utter fabrications of some plot points are too difficult to completely shake for someone who has done even the slightest research into the subject at hand. One might be better viewing Orson Welles experimental film essay on forgery F for Fake, which is not only a much better summation of the spirit of Irving but also a mesmerizing, messy yet brilliantly innovative documentary from one of cinema's true masters. It requires a great deal more of the audience but also is infinitely more rewarding.

***

The TV Set


One of 2007's quiet surprises, The TV Set is Jake Kasdan's (Lawrence's son and director of Orange County and the upcoming Walk Hard: The Dewey Cox Story) assault on the television industry's pilot season. Anchored by a wonderful performance from David Duchovny, who has been experiencing a much needed career revival, the film starts brilliantly, slicing through the inner workings of Hollywood. However, as the film rolls on, it becomes less and less interesting, bringing in too many side plots and losing focus. The final scenes are particularly lackluster, an unfortunate end to a promising film. However, Duchovny is a must watch here (as he is in Showtime's Californication) adding an extra kick to a film that runs out of laughs surprisingly quickly given its minimal 88 minute runtime. Still, there is enough here to interest people involved in/fascinated by the Hollywood machine but those who only care about what shows up on the silver screen's smaller cousin, not what happens behind it, will most likely find little to grip onto.

***

Longford

HBO's drama is a stark yet slow examination of Lord Longford, a British politician who fought for prisoner rights, most famously for Myra Hindley, one half of the duo who committed the atrocities that became known as the Moor Murders (http://en.wikipedia.org/wiki/Moors_Murderers). Jim Broadbent masterfully inhabits the lead role, nailing both the physical and emotional tribulations that his character is put through. Equally as impressive is Samantha Morton, who plays Hindley, and in doing so, creates a manipulative character that is equally likable and frightening. While the film poses a series of interesting moral questions and dilemmas, it never quite reaches the emotional heights that seem possible given the involving source materials. Peter Morgan's screenplay is sharp witted and intelligent, equaling his great work from 2006 (The Last King of Scotland, The Queen) and signaling that it wasn't just a great year for the scribe who may be coming into his best years. A intelligent, though not particularly involving, look at an otherwise fascinating subject.

***

Reign Over Me

Mike Binder's ode to those suffering from the loss of loved ones on 9/11 is a sometimes moving, too often not, look at one man's inability to cope with the death of his wife and three daughters. The sole bright spot here is the work of the ever-memorable Don Cheadle, the rest of the film is overly heavy handed and wandering to really work. Adam Sandler, who plays the aforementioned widower, begins the film as a shut in, unable or unwilling to cope with the struggles of everyday life after the death of his family. Sandler is adequate but too often toes the line between a heartfelt performance and overacting, creating a frustrating performance that really hampers the film. Binder's nods to the events of the day are overt despite rarely even mentioning the day by name. Rather, he recognizes that is so deeply engrained in the American psyche that one needs to know the name to know the event. That being said, this strikes me as the worst of the high profile 9/11 films and if it wasn't for Cheadle's moving work, this film would be dead in the water, sunk by a wandering narrative and a general inability to create believable and moving characters.

**

Michael Clayton: Review

Michael Clayton is a slow burning legal thriller, A Civil Action with a pulse that surges throughout the entirety. As the film moves along, it slowly builds in tension and effectiveness until the appropriate finale which solidifies the George Clooney vehicle as one of the better thinking man films of the year. Anchored by an intelligent and efficient script, able direction and some great performances, Michael Clayton is the type of work that will long be remembered as one of the minor memorable films of 2007. Led by Clooney, as the title character, Tom Wilkinson, Tilda Swinton and Syndey Pollack, the film maneuvers along with grace and intelligence, asking interesting and important questions throughout but never disrespecting the audience enough to give clear, sure fire answers. In other words, it requires its audience to meet it halfway, an action that most will gladly undertake.

Written and directed by Tony Gilroy (best known for the Bourne screenplays), Michael Clayton starts with a bang and then slowly retreats to four days earlier where we find our protagonist being forced into an obviously difficult situation. Clayton, who can best be described as a fixer for a major Manhattan law firm, has been called out to Minnesota to bring back one of the firm's partners, Arthur Edens (Wilkinson), who has had a mental breakdown due to his stopping of his self-medication. Edens has been working on a major case for the firm, a class action lawsuit against the created corporation U/North. While it is initially unclear as to the cause for Edens breakdown, Clayton soon finds that there may be more than initially thought. It seems that Edens has had enough of defending corrupt corporations and has decided to sabotage the case, much to the chagrin of U/North's lead counsel, Karen Crowder (Swinton).

As the film progresses and the facts roll out, the case becomes more morally complicated, not only for Clayton and Crowder but the audience as well. Michael Clayton is at its best due to its steadfast refusal to condemn anyone for their actions, passing judgments in only the subtlest means. As with most legal proceedings, there is a fair amount of moral ambiguity and grey areas. Unlike some other legal dramas, which too cleanly and clearly take sides, Michael Clayton stays level headed and thoughtful, never riding one side too heavily. Rather, it asks some fascinating questions that are not easily answered. In doing so, the film is able to create a dramatic tension, not just from the narrative twists and turns but also from its thematic complications. As the film increases in intensity, its thematic concerns become more apparent, providing the audience with the valuable facts and dilemmas but never clear-cut answers.

The film ultimately is as successful as it is largely due to Mr. Clooney's performance, which balances honor and an ambiguous moral code into something painfully human. The narrative here isn't focused exclusively on the legal case at hand, but also on Clayton's personal struggles, particularly those with his son and family. Without Clooney's charismatic yet never flashy performance, many of the films subtleties may have been lost to overacting. However, Clooney's performance is reserved and understated, much like his work in Syriana and Good Night and Good Luck, the other two recent classics he's been involved in. Slowly but surely, Clooney has become one of Hollywood's great actors, not to mention stars. Its always been obvious that the man has been blessed with tremendous looks and personality but with interesting and adventurous project he chooses, his seemingly natural acting ability becomes more readily apparent.

Clooney is matched here by a wonderful supporting cast, particularly those I have mentioned above, all of which who are as reliable as Clooney has become. Wilkinson is one of the great character actors of modern cinema, creating a bold and brave body of work, filled with both memorable performances and films. Here, as a man on the edge of a complete breakdown, Wilkinson gives a brave and edgy performance, creating a character that may be crazy like a fox, a man who knows too much but has had enough of the deception.

Gilroy's script shines, an intelligent examination of the subject at hand. The dialogue is sharp and incisive, cutting lines spewing from each characters mouths with a zestful abandon. Equally as impressive is Gilroy's directorial skills, which despite Michael Clayton being his debut, are refined and steady. Too many debuts are ruined by an overzealous director throwing every trick at the screen hoping something sticks. Michael Clayton does not suffer from that ailment with Gilroy's work providing nuance and depth to his screenplay while remaining largely invisible. He has crafted a steady thriller that will satisfy most everyone who has the pleasure of seeing it. While younger audiences may find the films general lack of action to be dull, those willing to take the film at its own pace will be amply rewarded with a thematically ambitious thriller that will, hopefully, ignite its viewers into a fruitful and worthwhile discussion of the film's topics.

****

Control: Review

Joy Division resides in place somewhere between fan admiration and cultish devotion. For a band that released only two proper albums (and a handful of singles), the Manchester quartet have become known as the purveyors of post punk doom and gloom, a band both before its time yet also oddly, an integral part of it. However, what Control , a biopic of JD lead singer Ian Curtis (Sam Riley) so efficiently and effectively delivers through a stark realism is a potent reminder that while their legend may have grown into something larger than their music, at their core, they were four regular guys just trying to make it through the music business as well as their everyday lives. Curtis may now be looked at as a prophet, of urban alienation and decay, but in reality, he was a greatly conflicted young man who was desperately searching for his place in life and unfortunately, was never able to find it. Based on the memoir Touching from a Distance of Deborah Curtis, Ian's wife, Control is the best biopic to come along in a long while, an invigorating and enlightening look at the struggles of a pioneering band and artist.

Directed by Anton Corbijn, who is better known for his photography and music videos, Control is assured and evocative, mysterious yet humane. It takes place in northern England (Manchester and the like) over the course of ten or so years, a decade of music that would become arguably the most important span of music in British (and world) history. At its heart is Ian Curtis, who begins the film as an everyday teenager who spends his afternoons in his bedroom, smoking and listening to Bowie. Before long, he meets Debbie (Samantha Morton) and as the two quickly embark on a whirlwind romance that ends with their marriage prior to them hitting 20 years of age.

It must be noted that Riley and Morton are nothing short of astounding. For those lucky enough to have seen footage of Curtis will quickly recognize the clarity and precision of Riley's performance. He seemingly mimics Curtis' every step without missing a beat. The nuance and subtlety of Riley's work is tremendous as he captures Curtis' persona perfectly. Considering this is Riley's feature length debut in a starring role, his performance is an announcement of a new talent that electrifies the screen. In fact, Riley's intensity and screen presence reminds me of another export from the British Isles, Cillian Murphy. Like Murphy, who has the star power to match his acting chops, Riley fully embodies his role with a breathtaking effectiveness.

Meanwhile, Morton, who has been consistently excellent in her roles, is every bit his match as his wife, Debbie. As the film continues on and their marriage begins to disintegrate, both performers bring a depth of emotional pain and suffering that jumps off the screen, enriching the overall film in ways that cannot be quantified. If these performances had been any less than spectacular, the film would have had trouble escaping a cult audience. However, with Riley and Morton providing wonderful leads, there is potential for this to reach a wider group of people. You can't take your eyes off their riveting and explosive performances, no matter how pained they might be.

The rest of the cast is wonderful as well. Alexandra Maria Lara and Toby Kebbell particularly stand out as Belgian journalist Annik Honore, with whom Ian embarks on an affair with and Joy Division manager, Rob Gretton, respectively. Kebbell often acts as the film's comedic relief, a necessary addition given the darker nature of the material. His performance is a combination of business smarts and real concern for the band members. Never once does it dip into parody, instead relying on a quick wit and biting sarcasm to provide some laughs while the world seems to be crumbling around. Lara, who can also be seen in Francis Ford Coppola's upcoming Youth Without Youth) is perfect as Curtis' foil and outlet. She allows him entrance into a world that Debbie doesn't and his inability to choose between the two quickly becomes one of the film's main conflicts. Lara brilliantly portrays the pain and concern of Honore, who must deal with a man who she loves, crumbling before her eyes.

Curtis' life takes a dramatic turn (for the better or worse is entirely up to the audience's own perceptions) when he joins the small band Warsaw, which would quickly become known as Joy Division. As the band experiences a quick rise from obscurity to cult following, Curtis is thrown through a variety of emotions. As his marriage crumbles, he embarks on an affair with a Belgian journalist (Alexandra Maria Lara) and battles an epileptic condition that continues to worsen with the increasing stress of his life. The film never once passes judgment on Curtis, allowing its audiences to make their own decisions on his struggles. Without this, the film would feel manipulative. However, Corbijn keeps his subjects at arm's length, allowing the story to play out to its inevitable end (which is fairly common knowledge to those who are familiar with JD, for those who aren't I won't spoil it). Even the final act of the film is left unresolved and unexplained, leaving the audience with the same questions as the characters. What happens is often inexplicable; a painful conclusion that leaves issues open.

Corbijn's direction in his feature film debut is incredible. The black and white cinematography by Martin Ruhe gives the film a realistic look, a natural feel that allows the characters and settings to feel lived in. Corbijn obviously has considerable experience in framing pictures and shots but as a culmination of all his skills, Control is a massive success. The clarity of his vision is striking in its assured completeness. Never once does the film feel like work of someone trying to piece together their first feature. Admittedly, I was worried that a first time director would mishandle a story that needs a delicate touch but Corbijn proves all my doubts wrong. He was completely up to the task, creating a biopic that is enthralling and emotionally devastating. From the opening shots to the heartbreaking conclusion, Corbijn is in complete control (no pun intended) of what is on the screen.

A biopic revolving around a musical figure plain doesn't work without good music, which completely unsurprisingly, Control has in droves. Joy Division was unequivocally one of the most innovative and important bands of the 20th century, taking the raw energy of punk and harnessing it into a carefully measured emotional shell. Joy Division was a band that pushed the envelope constantly, through Curtis' lyrics and the bands pulsing, hypnotic yet abrasive grooves. At the time, no one else quite sounded like them and the film captures that initial excitement, both of the band and audience, perfectly. The soundtrack features many of the band's best songs, perfectly utilized throughout the narrative. Rounding off the music of the film are JD's key contemporaries and influences: Bowie, Iggy Pop, the Sex Pistols and the Buzzcocks. This all adds up to a perfect way to enter the decidedly difficult sounds of post-punk's origins. For those interested in bands such as The Killers, Bloc Party and the like, this music will sound fresh and otherworldly, tunes crafted by men that were working on a different plane than those around them. Now, my opinion may be slightly skewed, due to my familiarity with the bands work but I have no qualms in saying that this film is a complete triumph, regardless of your views on the band. As a cinematic work, it is nearly flawless in its depiction of Curtis and his struggles. As a supplement to the band's work, it exists as a document for all of us who were never lucky enough to see this tremendous band in person. It doesn't offer answers, only questions. It doesn't offer Curtis salvation or martyrdom. It doesn't even offer him forgiveness. What it does offer is a chance for his story to be told, no matter how otherworldly it might be. Thankfully for Anton Corbijn and the rest of his collaborators, Curtis' otherworldly story and work get an otherworldly film to match, a moving portrait of a man who could not escape his demons, which took him before he could fully show the world what he was capable of.

*****

Gone Baby Gone: Review

Few people, if any, expected much from writer/director Ben Affleck in his directorial debut but with Gone Baby Gone, Affleck seemed to pull a rabbit out of his hat, charming critics during its initial screening and building a steady buzz prior to its release. Perhaps thats why the film's middling success is a disappointment, since how can someone truly be disappointed by a film directed by Affleck that has moments that are dazzling. Starring the director's younger (and more talented) brother, Casey, Gone Baby Gone suffers from a story that feels uneven, fractured and finally, unbelievable. However, this is no fault of the Afflecks, who give it their all and come out on the other side in much better standing than they could have imagined.

Gone Baby Gone concerns a private investigator Patrick Kenzie (Casey Affleck) and his partner Angie Gennaro (Michelle Monaghan) who is hired by a family of a missing young girl to help with the police investigation. Kenzie is a guy from the block, who knows the ins and outs of the dialect and way of life, allowing him access into a world that the cops aren't priveleged to. He is attached to two detectives, Remy Bressant and Nick Poole (Ed Harris and John Ashton), who, at first, reluctantly accept his help, until it becomes clear that Kanzie has something to bring to the investigation, which quickly turns sour. Turns out that the missing girl's mother Helene McCready (Amy Ryan) isn't the best mom, dabbling in booze and drugs and may have even been involved with some shady dealings with a local drug dealer. As the narrative progresses, twist upon twist upon twist is heaped on, which ultimately leads to the film's downfall.

Ultimately, a film with too many surprising narrative turns is going to test a viewer's patience, perhaps even negating the effect of the final, gut punch twist and unfortunately, such is the problem that befalls Gone Baby Gone. While I can't comment on Dennis Lehane's source novel since I have not read it, the screenplay could have probably simplified the film a little and had more of an effectively paced and told story. There a few jarring shifts in time and story that Affleck and his fellow writer Aaron Stockard attempt to camoflauge with voiceover narration but it comes up short and the audience is left trying to piece together the story. There are a few sidetracks, most notably a shootout in a house, that while wonderfully directed, is an unnecessary narrative device. What is determined and told in that sequence could easily have been discovered in a few lines of dialogue. Instead, it feels like Affleck wanted to get some kicks in, including an unnecessary tangent that damages the flow of the film. What the script lacks in narrative prowess, it almost makes up for with its spot on dialogue, which perfectly captures the dialect of the Boston metro area. The conversations between characters zip back and forth with intelligent and realistic speak that greatly enhances the realism of the film.

In fact, as a film that captures the look and feel of a particular city, there are few works in recent memory that even rival Gone Baby Gone, in terms of authenticity. While it may be nothing more than a near miss as a thriller or morality play, it is a slam dunk as a film about the lives of people in a particular city. Unfortunately, setting does not guarantee a good film. It is obvious that Affleck knows the city that he grew up in and is able to recoginze its quirks and failings. His direction brings the city and characters to life, allowing them to feel life like and formed. Choosing to shoot the film in a sort of stark realism, Affleck's gaze is unflinching and admirable. If this is just the beginning for Affleck, one can only hope that he is able to follow in the footsteps of other actors-turned-director and take a floundering career, reviving it on the other side of the camera.


The acting here ranges from adequate to great, with the other Affleck more than holding up his end of the bargain. It strikes me that, after seeing Casey in featured roles in The Assassination of Jesse James by the Coward Robert Ford and now this, he is a star on the rise. His performances are gracefully understated, possessing a gift for dramatic acting that Ben has only flashed before (see: Hollywoodland). While he may have gained some minor attention in the Ocean Eleven franchise, these two films seem like the films that announce his presence as someone to take serious note of. Ed Harris and Amy Ryan both stand out as well. Harris' performance is unsurprising, given his ability and track record while Ryan, on the other hand, sneaks up on the viewer alittle more. Some may recognize her from the smattering of television she has done but her work here is spot on and noteworthy.

Gone Baby Gone is not a great film, I'm not even sure if its a good film but it certainly a film of promise for the Affleck family. With it, Ben has given notice that he may be more talented than the general public gives him credit for, delivering a film that misses in spots due to its narrative but never feels like a complete failure, largely due to his direction. It is steady and assured, looking more like the work of a veteran than a debut feature. On the other side of the camera, Casey Affleck is really emerging from his big brother's shadow and making a name for himself. He now has two wonderful performances in 2007 and don't be surprised if you hear his name come more and more come year's end. Gone Baby Gone may appeal to some but for me, something was lost on the way to the screen. Regardless, it signals the arrival of a potentially talented director and that, is never, ever, truly a bad thing.

**

The Assassination of Jesse James by the Coward Robert Ford

Westerns regarding Jesse James are not a rarity. Like Wyatt Earp and Doc Holiday, the legend of James has been revisited often, with countless cinematic adaptations resulting from its rich legacy. It is then a cause for celebration when one comes along that is so innovative and interesting and The Assassination of Jesse James by the Coward Robert Ford is just one of those occasions. Andrew Dominik's riveting adaptation is a startling display of skill and ingenuity, a film that immediately brings to mind many of the masters who have visited the great legends of the west. While not for everyone, TAOJJBTCRF is a tremendous achievement that simultaneously dispels and rewrites the myths of James.

At the film's core is a story that has been told over and over again in just about every medium imaginable. For those who have missed it up to this point, Jesse James (Brad Pitt) was arguably the most notorious and infamous outlaw in the American West, a man known for his high wire robberies and ruthless nature. Jesse and his brother Frank (Sam Shepard) terrorized the railroads and banks during the last half of the 19th century with reckless glee. The film opens with what Frank thinks will be their last robbery and as their new gang waits in the woods for the targeted train to arrive. What immediately becomes clear is the odd obsession that Robert Ford (Casey Affleck) has with Jesse, eagerly trying to please the outlaw. He is initially ignored but after the robbery (the most breathtaking scene of the film), he is able to get into the good graces of James and with that, the film is off and running (well more like walking).
As the film continues and members of the gang begin to crack under the increasing pressure from the law's search to locate them, James begins to methodically track the men down, in order to get an impression of their mindset. In doing so, it becomes clear that James is suffering from the same pressures as the rest of the men and like them, his grip on sanity (already dangerously slim) is beginning to slip. He concocts a plan for another robbery and enlists the Fords, Robert and Charley (Sam Rockwell) to help. As the group moves along the frontier, tensions increase and by the time the title action takes place, the tension is almost unbearable. It slowly builds and builds, however, when the act occurs, it doesn't release. Dominik magnificently keeps it at a high level, right until the final frame.

The tensions exist largely due to the wonderful characterizations and performances. Unlike many of the studio-era westerns about James, Dominik's film centers on the drama between the characters, largely eschewing the set piece gun fights that characterized the westerns of yore. In fact, TAOJJBTCRF is really a western by setting only, rather choosing to be an in-depth character study and drama. With this choice, Dominik is able to distance himself from the previous incarnations of the legend far enough that the film is able to succeed. Throughout TAOJJBTCRF , the film works to subvert the well known versions of the legend by depicting James as a father and family man, albeit one with an interesting profession. In doing so, the film seems less concerned with Jesse James, the outlaw, than Jesse James, the man.

However, in the way that Dominik (and his cinematographer Roger Deakins) chooses to shoot the film, in a realistic style that is interspersed with breathtaking surrealistic moments, he ends up not destroying the legend of James but merely re-working it back into a new myth. In that sense, TAOJJBTCRF is unlike the great revisionist westerns of the 1970's, with their elimination of the stereotypical western heroes in place of a realistic look at what the West really was. Instead, the film takes the myth, destroys it and quickly rebuilds it back up in the final post-assassination 30 minutes, which may be the best stretch of the film, thanks to Affleck's tremendous performance. Between this and Gone Baby Gone, it strikes me that there is a legitimate star on the rise, an actor with enough chops, intelligence and charisma to become a true legend. Affleck's work here is nuanced and subtle, making Ford's emotions evident not through painful overacting but through the great texture he brings to it. It is a great understated performance that deserves viewing and consideration as one of the year's best.

The rest of the star-studded cast is more than up to the task, with Pitt and Rockwell bother delivering great work. Both take a hold of their characters and imbue them with more than enough vitality to warrant the film's length. With Dominik's choice to make a long, methodical brooder, it was pretty much a requirement that the performances are able to sustain the length and they definitely do. Like Affleck, Pitt is more than capable of taking James and crafting him into a character that is difficult to get a hold on. James is equally charismatic and dislikable, a man who is an enigma to the audience, his family and in many ways, himself. It is unclear as to how James feels about his own character, as Pitt portrays a man who is greatly conflicted by his actions. There are moments when he shows no remorse, others when he breaks down into tears following an act of violence. This muddy ground lends itself to Dominik's ability to re-craft the myth in his own way. The audience, despite their look into the life of James, is left much like the people of the day, without a firm grasp of who James was. It is a brilliant stroke by Dominik that adds an air of mystique to the film.

TAOJJBTCRF is not for everyone, I'll admit that. It is a intentional slow, 2 hour and 40 minute epic that focuses more on character and mood than action and narrative. As a result, I would not be surprised for some to call it boring and overlong. But to say that is to miss the point. By using the length that is does, the film feels epic and mythical, a story that is so great it can't be told in any other way. It is filled with larger than life legends that demand a larger than life film. It is amazing that it can feel so epic, yet be so focused on character. Almost every scene takes place between two characters and the film is mostly dialogue. Yet it just feels huge and important. Its masterful exploration of the themes of celebrity and the classic western dichotomy of good/bad or hero/outlaw are done with subtle, graceful movements. It’s a small film in large trappings and it works wonderfully. It is filled with great performances and a great story; it features great cinematography and great direction; it is, quite simply, a great film, surely one of the year's most interesting, different, difficult works and also surely, one of its best.

*****

The Darjeeling Limited and Hotel Chevalier: Review

Few filmmakers have as devoted a cult following as Wes Anderson, best known for films such as Rushmore, The Royal Tennebaums and The Life Aquatic with Steve Zissou, and in a sense, I may be included in that group. I adored each of the aforementioned films and I suppose it is with a sense of disappointment that Anderson's latest effort, The Darjeeling Limited feels like something of a step back, or rather a step to the side when one keeps hoping for a giant leap forward. The Darjeeling Limited looks and feels like a Wes Anderson movie and that is precisely why it isn't as successful as his previous works (Yes, even the divisive The Life Aquatic which is criminally underrated). It seems that Anderson, who is an undeniably talented filmmaker, is either unable or unwilling (here's hoping it is the latter) at this point to make that step. As a result, The Darjeeling Limited, while still an entertaining excursion, feels incomplete and rehashed.

That’s not to say the film is not worth your time or money; I would say it still is, for a disappointing Wes Anderson film is still as good as most everyday releases. The Darjeeling Limited possesses a homemade feel to it, a lovingly crafted story about a journey three brothers, Francis, Peter and Jack (Owen Wilson, Adrien Brody and Jason Schwartzman respectively) take across India. This plan, hatched by Francis as a way to reunited the brothers, who have not seen each other since their father's funeral over a year ago, is for a spiritual journey; a way for the brothers to come back together and be a family again. However, when the brothers board their train (which shares the name of the film) for their trip, the group is met with hostility and hesitation. None of brothers want to fully open up to each other, strategically telling each other their true plans for the trip. Of course, since the negative feelings run throughout the group, everyone else's secrets are quickly known to everyone else and the trip degrades into a brawl, a shot of pepper spray to the face and the train (humorously) getting lost. Before they know it, the brothers have been thrown off the train, forced to experience a true journey, not one safely undertook with modern transportation.

The cast here is stellar with each of the leads nailing their roles with equal parts comedic gusto and reserved melancholy. Brody is particularly good here, reminding the audience what a unique talent he is, able to easily morph to fit whichever role he takes. Despite being often times forgotten, he continues to contribute some of the best cinematic acting of the times and deserves any praise he receives. Wilson is is fine form here as well, giving a strong performance that one would expect from the Anderson veteran. Wilson has been intricately involved in every film Anderson has made and the two work together particularly well, with each of Wilson's best performances coming in Anderson's work. The rest of the cast is stellar as well, with highlights from Angelica Huston as the guys' mother and Bill Murray, in a short cameo, of a businessman trying to catch a train. Anderson fans will recognize most of the faces here, as Anderson continues to use a stable of actors that work well with his style.

However, it is that style that could use a kick in the pants. With Rushmore, Anderson built on his debut Bottle Rocket, by adding a hefty dose of melancholy into the proceedings. He expanded his emotional pallet in The Royal Tennebaums, deliciously skewering family dynamics. Finally, The Life Aquatic has enough frenzied chaos to pull itself along. None of his films are perfect (Rushmore comes closest) but each possess a certain quality that allow the audiences to overlook the films flaws and enjoy themselves. However, with The Darjeeling Limited, Anderson returns to themes he has previously covered without much to add. Never does Darjeeling reach the heights of Tennebaums examinations of family, nor the inspired creativity of Life Aquatic. It strikes me closest to Rushmore, only with less heart and more existential ponderings. While its geography is a bold step away from anything he has done before and it certainly adds to Darjeeling, it is not enough to pull it away from the rest of his work.

I really don't mean to say that this is a bad film, far from it. For Anderson devotees, they will enjoy it (I did) but may find themselves wanting a little more. Anderson is obviously a unique and interesting talent, an individual who makes films that stand out from the pack with their narratives and style. This may be a misstep for Anderson, but its a small one at best, one that feels like he is treading water when he could be moving forward. There is no reason to think that it is anything else than that and judging by his track record, I eagerly await Anderson's next film as a full out return to form. For those who felt like Darjeeling was incomplete, The Darjeeling Limited is thankfully accompanied in tone and narrative (but not in theatres) by Hotel Chevalier, a short that acts as the prologue to Darjeeling. Chevalier, starring Schwartzman and Natalie Portman is Anderson at his best, a master stylist with an exquisite eye for color and composition. The dialogue is sharp and quick and the short's plot of the tail end of a relationship is a must for viewers who want the full Darjeeling Limited experience. Chevalier is available as a free download on the iTunes Music Store (and probably, at this point, on YouTube as well). Check it out.

*** (The Darjeeling Limited)
**** (Hotel Chevalier)

EDIT: Apparently, for its wider release, the two films will be shown together so for all you lucky bastards who have not seen it yet, you'll get the full experience for the $10.25 you're paying.