Tuesday, December 11, 2007

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.


**

Tuesday, December 4, 2007

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.

****