Chicago 10, Paranoid Park, 21: Review

Chicago 10

Brett Morgen's insightful and inciting documentary is a scathing look at the 1968 Democratic National Convention, the riots in Chicago and the ensuing trial/circus. Blending some of today's angriest, yet motivating music, with archival footage and a number of animated sequences may seem like a road to disaster but Morgen seems constantly in control. In doing so, he has crafted the first must see documentary of the year that should resonate with both Boomers and their kids alike. The animated sequences, which depict the trial of the Chicago 8 (+2 [their lawyers] to make the 10), a group of Yippies, Hippies and political extremists, are initially jarring but as the film rolls along, they become second nature and before one knows it, they work to provide a palpable excitement to the ridiculousness of the trial. While it is a bit short sighted in its one-dimensional view of the demonstrations, it is undeniably fiery and at a time where many sit around in complacency, which just may be enough.


Paranoid Park

Gus Van Sant has crafted yet another mesmerizing minimalist drama that grips the viewer from the start and never lets go. Despite almost nothing happening from the start of the film to the end, Van Sant's assured direction lures one in. Combined with the spectacular cinematography by Christopher Doyle, Paranoid Park is a great little indie film that will have a long resonating impact on its audiences. At its core is a story of grief and, you guessed it, paranoia as a mid-teenage Alex deals with the accidental death of a security guard he is running from. Gabe Nevins, who plays Alex, is excellent, providing what may be the most realistic portrayal of a teenager in recent memory. Fans of Van Sant should find a great deal to like here, but for those who have never experienced one of his films, this may actually be a good place to start. It’s slow but short (less than 80 minutes) and is an interesting introduction to his themes and characters. Come year-end, this may be the best small film of the year, despite having been released almost 10 months earlier.


21

If it wasn't for the lead performances, all of which are likeable, 21 would have almost nothing to stand on, which is saying something given the fascinating source material. However, instead of a thrilling and decadent time, 21 feels more like an overwhelming generic bore. Telling the story of 5 MIT students who learn to count cards and make millions may seem easy but here is the way one shouldn't do it. While the leads are good (Spacey is always welcome, given his increasingly rare work and Jim Sturgess is a talent to watch), the look of the film is so dull that one can't help but wish for more zing. This is, after all, not the most reserved story in the world. Why can't they kick up the visual style a little more instead of making it a cautionary tale for the use of digital video? Where luminaries such as Mann/Soderbergh can make a stirring argument for digital's advantages, Robert Luketic, of Monster-in-Law infamy, pulls the whole movement back a couple of years with the dull, lifeless look here. It's not a complete loss as it may give Sturgess a jumping off point to other projects but 21 feels like a house win to me.