The Dark Knight: Review

When Batman Begins was released a few years ago, it was met with considerable acclaim. While most had written off the Batman franchise after the disastrous Batman and Robin, Christopher Nolan's Begins caused many to stand up and take notice. Still, nothing could have prepared viewers for the next leap that Nolan would take to craft The Dark Knight. In doing so, he has not only crafted the finest Comic Book film of all time by a long measure, he has created one of the years very best films, a dark, morally complex thriller that is flat out gripping from it's opening sequence to the final credit. The Dark Knight is a masterpiece, a crime picture on par with the best the genre has to offer. Led by a stellar final full performance by Heath Ledger, confident direction from Nolan and a wonderfully rich and compelling script, The Dark Knight is tremendous.

As anyone who sees the film will undoubtedly agree, Heath Ledger's performance is nothing short of astonishing and if all is fair in the world, should a shoo-in for a Best Supporting Actor Oscar. Ledger, who plays the iconic Joker, is pure evil here, as sadistic as anything seen from Anton Chigurh in last year's No Country for Old Men. Often times, the film finds itself at a crossroads with the ability to follow the more traditional comic book film path but bravely, it veers right when it should go left, venturing further and further into darker territory. Just when the viewer thinks the film won't go where it looks like it might, it does and the results are truly discomforting. From beginning to end, Ledger adds a palpable tension with his performance and almost every moment he is on screen, the film is nearly unbearable in its suspense, a stunning achievement given its PG-13 label. How exactly this film was able to receive that rating given its dark, violent nature that pervades every moment of the film is beyond this writer and given the chance, would not bring younger children to the film. The Joker is positively unnerving in the best way possible and it all owes itself to Ledger's work. He obviously throws his entire soul into this performance and one has to wonder how much of himself he lost during shooting and whether it had any impact on his mental state this past February. He deserves every accolade he receives for a daring, all consuming performance that has already cemented itself as one of the greatest villains in history, occupying a list with the likes of Hannibal Lecter.

The story picks up from the end of Batman Begins with the Joker on the loose, escaped from Arkham Asylum following the breakouts from the first film's finale. Batman (Christian Bale) has continued in his quest to reclaim the streets of Gotham from the criminals of the city and we first see him in stunning fashion. However, it quickly becomes clear that the Joker is unlike anything that Batman has encountered before. Simultaneously, the film tracks the ascent of Harvey Dent (Aaron Eckhart), Gotham's DA, as he attempts to put the better half of the city's mob behind bars. To complicate the situation, Dent is dating Rachael Dawes (Maggie Gyllenhaal, replacing Katie Holmes from the first film), a childhood friend and love interest of Bruce Wayne (Batman's Alter Ego for those of you who have live in caves). It may sound like the typical set up for a comic book film and in all honesty, it probably is but where TDK differs is in its willingness to go down avenues that other films of its type of unwilling to attempt. Batman is not a hero like Superman, who believes in and always acts in ethical, moral ways. As the film progresses, Wayne is forced to realize that his actions must quickly begin to match the Jokers in their extreme ways. It presents an interesting and absorbing moral dilemma that the film examines with the subtlety and nuance of a refined drama. In this package, the results are even more effective as the action of the film deftly blends with its more introspective moments. Its masterful combination of the two grips the viewer and holds their mind and guts for the entirety of its 2 and a half hour run time. This is the longest of the more recent crop of comic book films and is all the better for it. The story it has to tell demands the time and pacing it receives, allowing the film's narrative and themes to breathe, enriching everything in the process.

Ledger is hardly the only performance worth mentioning as the entire cast, from bit players to stars all contribute some of their best work. Eckhart, as the city's DA Dent is wonderful, using the wonderful character arc his role receives to maximum effect. Dent is a fully human creation with Eckhart realizing every bit of promise in the Nolan's script (Director Christopher co-wrote the screenplay with his brother Jonathan). Bale, one of the best actors working today, is as good as he was in Begins and in many ways, gives a richer performance here. Wayne is given a much greater range of emotions in The Dark Knight and Bale nails each with equal amounts grace and power. Rarely do we have a single performance worth mentioning in a comic book film but here there are a trio of talented actors putting forth their best. The rest of the supporting cast, which includes Gyllenhaal, Morgan Freeman and Michael Caine, are all in fine form as well. The overall level of acting is tremendous from start to finish.

Christopher Nolan, who has become one of the two or three finest young directors of the day, controls the show here, wonderfully filming smaller, interior sequences with the same panache as the huge glimpse of Gotham. He has continued of a streak of one masterful film after another since 2001 when the world saw the release of his first masterpiece, Memento. His films are consistently engaging and inventive, brimming with energy and wonder. With TDK, he proves that is as comfortable behind the reins of a 200 million dollar blockbuster as he is with a small indie project. He's a visionary director who will hopefully continue to produce work at the same level he is. Nolan also deserves considerable praise for the script, which is dark, complex and inventive. TDK succeeds largely because it zigs where you expect it to zag and is one of the few summer blockbusters that one can call genuinely surprising. The dialogue is sharp and probing and the overall structure of the film, while straightforward is tight and fast moving. The film never drags in its 150 minutes, a feat in and of itself, pushing itself forward at a faster and faster rate until the dizzying climax that features a number of wonderful payoffs. It finally ends with a satisfying conclusion that leaves it open for another installment but it doesn't feel cheap. Its an ending that is earned with blood, sweat and tears, both for the audience and the filmmakers.

The film's score must be mentioned as well. The Hans Zimmer and James Newton Howard collaboration here is tremendous, providing the film with a perfect soundtrack that soars when it needs to and slinks whenever else. The theme for the Joker is filled with dread and tension and is perfectly realized for the character. Combined with Ledger's performance, it creates a pitch perfect mood for the evil ways of Gotham's mastermind criminal. Its solid tone, almost dissonant as moments, is eerie and grating, an on point match for Ledger. The rest of the score displays equal moments of subtlety and grandeur, rising to fit the mood or staying in the background whenever necessary.

The Dark Knight, even with all the hype, is worth every penny one would pay for admission. It’s a triumph of pop art filmmaking, a brilliant mixture of blockbuster thrills with real moments of drama and intelligence. Far from a strict comic book film, TDK transcends that tag with ease, becoming something so much more, something undeniably effective and chilling. Its a dark look into the lives of these characters that doesn't flinch at all. It’s brave and bracing with a tremendous performance from Heath Ledger that deserves an Oscar. While its current rating of #1 film of all time on IMDB user voting may be over praise, the fact that after nearly 180,000 votes, it has the highest rating of all time is striking. It’s certainly the live action film of the summer and perhaps the year.

Review: Wall-E

A new Pixar film is a now, almost yearly cause for celebration and with the release of Wall-E, the studio’s most recent offering, its time to break out the party hats again. Just when you think that the folks at the most creative studio in the industry couldn’t do anything to top their last offering, they always seem to come through. Although, with Wall-E, they may have finally met their match as I can’t possibly imagine how they could top this sublimely entertaining and profoundly moving tale with anything else. Inside of the confines of Wall-E’s masterful 97 minute run time lies the vast expanse of human emotion. Sadness, humor, horror and overwhelming joy are all touched on in equal measure and with similar effectiveness.

Directed by Andrew Stanton (you may have heard of his previous film, a small box office success entitled Finding Nemo) with a skill that most live action filmmakers couldn’t fathom, Wall-E tells the story of its title character, a robot employed in the clean up of Earth. Ravaged by consumerism and pollution, our world was vacated long ago, leaving an army of Wall-Es (Waste Allocation Load Lifted – Earth Class) to do their work. However, after nearly 700 years of attempted clean up, everything has shut down/expired with the exception of our hero and his lone companion, a cockroach. Wall-E’s world is turned upside down when all of a sudden, a massive spacecraft lands on Earth, leaving a small device in its wake, code named EVE. EVE’s role is to search the planet for forms of life, anything to show that the environment has once again become compatible with human existence.

Upon seeing this new visitor, Wall-E immediately takes a liking to the stranger and for the, nearly dialogue free, opening 30 minutes, begins to help acclimate his new companion to the surroundings. The results are as a sublime a half hour as one will find in film this year, a mix of Chaplin-esque comedic pathos and mind-bending animation. For a children’s film to open with a dialogue free first third is unheard of, but Stanton, in all his ingenuity, obviously knows what he is doing, crafting a masterfully realized opening that beautifully sets the stage for the more action oriented second act. The opening moments are so magnificently constructed that I was sorry to see them end. That is, until the brilliant second half reassured me that Wall-E was in good hands.

Pixar has always pushed the envelope with their films, steadfastly refusing to fit into any mold. Wall-E may be their most ambitious project to date in every imaginable aspect. From the opening, soaring shots of the battered shell of the Earth to the inner workings of a massive star cruiser, Pixar have outdone themselves once again by crafting the most mind blowing animated sequences I have ever seen. Each shot is so lovingly crafted, down to each specific detail that the care and preparation leaps off the screen. There is literally not a single shot that doesn’t demand the viewers most careful attention to fully appreciate the grandeur of it all.

While the larger elements of the animation may put asses in the seats, it’s the smaller pieces that allow them to leave happy and thankfully, the animators at Pixar have performed nothing less than a miracle with Wall-E and EVE, two characters that are so instantly likable that one must frequently remind themselves that these two robots are exactly that. The emotion displayed by two seemingly mechanical beings is absolutely tremendous. Stanton and his crew have created what may stand as the most endearing character in the Pixar pantheon, all without the benefit of facial expressions and the like. Wall-E’s movements are humanistic without ever feeling unrealistic. The displays of emotion, of pain, of love are believable throughout. Stop and think about that for a second. The men and women of Pixar have created an animated robot, a mechanical device that emotes with more believability than most mainstream Hollywood stars. It’s a stunning achievement that should not be overlooked or underestimated.

Much has been made in the blogosphere about the ecological bent of Wall-E, and while there is a determined eco-friendliness to it, I see nothing wrong with it. It laments the destruction of our planet to a consumerist nature that values profit over environment. Whether one believes in the theory of global warming or not is irrelevant to the argument here. No matter one’s opinion about that subject, the care of our environment should be an important matter for anyone inhabiting this Earth, a point Wall-E drives home with grace and feeling. If we continue to live our lives as we do, the damage to the environment will increase with each passing year. There is a need for a drastic reevaluation of beliefs and practices and Wall-E recognizes the importance of this issue. I applaude the courage of Stanton and his team to include such a potent and timely message into a film that will be seen by youths the world around. If the youngest generations can be shown the dangers of our ways, perhaps they will be smart enough to find acceptable alternative ways of living. Perhaps they can succeed where past generations have failed.

Wall-E is an unparalleled success and to date, is the best film released this year. While the second half certainly feels different than the first, largely due to the inclusion of dialogue, both sections work equally well. The first is a mind blowing 30 minutes of silent filmmaking that features moment after moment that would make Chaplin and Keaton blush with joy. The second is the emotional payoff to the first half’s careful setup and it packs more of a wallop than almost any film in recent memory. Amazingly, none of it feels manipulative or phony as Stanton earns every last emotion with one moment of spectacular filmmaking after another. Wall-E stands as a film that works as well for adults as it will for children, an impressive achievement no doubt. What may be more impressive is that at year’s end, for the first time, in a long time, an animated film may truly, honestly and thankfully be the best a year has to offer. It is certainly the best film Pixar has released since The Incredibles, joining the upper echelon of indisputable masterpieces released by this consistently impressive studio.

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.

*****

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.

*****

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.

*****

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.

*****

Eastern Promises: Review

David Cronenberg's films are something of an acquired taste and in most aspects, Eastern Promises fits what it means to be a Cronenberg work to a T. Excessive violence and sexuality fill out the film's narrative and his unflinching gaze forces the audience to bask in the more lewd moments. However, also like the rest of Cronenberg's work, the film is steeped with dense thematic concerns that force the film onto another plane, one in which the audience is forced to examine human nature in a profound and moving way. Eastern Promises is a film that will not soon be forgotten: a riveting crime drama with a heart and a brain, a perfect genre picture that simultaneously entertains while making us think. Built on the mesmerizing performances of its leads, Cronenberg's follow up to 2005's superb A History of Violence, is a sure fire contender for year's best.

For most mainstream moviegoers, Viggo Mortensen will forever be remembered as Strider/Aragorn, his now iconic roles in Peter Jackson's epic Lord of the Rings trilogy. Unfortunately, many will be missing out on his truly classic performances that, unsurprisingly, have both come under the steady direction of Cronenberg. Soon after the climatic chapter of LotR was released, so was A History of Violence, a picture that largely crept up on people, surprising many who had no clue as to Cronenberg's work. Gone were the days of Scanners or The Fly, in their place was the work of a seasoned cinematic master who followed David Lynch's lead in Blue Velvet and crafted a suburban thriller that begins as a small town drama until layer upon layer are stripped away to reveal the town's violent and seedy core. At that core was the wonderful Mortensen, who led with a quiet confidence that perfectly suited his character. Amazingly, his work in Eastern Promises easily trumps the performance from History.


Here, Mortensen plays Nikolai Luzhin, a low level member of the London Vori v Zakone, the Russian Mob. He begins the film as one of his family's drivers/clean up men. Basically, he's doing the dirty jobs of Mafia life, jobs that Cronenberg depicts gleefully. What may seem like a simple performance is deceptively deep, as his Luzhin's steely, tattooed exterior contradicts his relatively good nature. He is nowhere near as vicious as the gang's boss, Semyon (Armin Mueller-Stahl) or his increasingly unstable son, Kirill (Vincent Cassel) and often times, his compassion clashes with their more hardened mindset. Mortensen is truly stunning, giving an emotionally (and physically, but we'll get to that later) naked performance that is quite simply one of the bravest acting jobs that I have ever seen.

Luckily, Mortensen's counterpart Naomi Watts, who plays Anna Khitrova, a midwife at Trafalgar Hospital, is completely up to the task. As the story begins, we find Anna working the ER, attempting to save a young pregnant teenage girl who has come in with bleeding from her abdomen. The girl, who we later know only as Tatiana, gives birth but dies in the process, leaving Anna with a newborn and Tatiana's diary as the only remaining clues as to this girls life. As Anna sets out to translate the diary and discover a location to bring the baby to, she finds herself being drawn deeper and deeper into the London criminal underworld, involving prostitution and the sex trade. Watts imbues Anna with a strength and determination that makes her an utterly likable character, an important part of the puzzle here. Without Anna's moral purity, the film's harsh tones could quickly have overwhelmed the narrative. However, with Anna as the center, the film takes on a humanistic slant, and despite the violence, there are glimpses of hope scattered sparingly throughout.

The dark alleys and gray, raining skies of London add to the film's grim tone that truly gets under the skin of the viewer. While its difficult to discern what exactly is so lingering about this film, the lasting impact is definite and unquestionable. People left my theater shaken and quiet, as if they had just seen something troubling and unforgettable. Often times the gore is a bit much, causing audience members to shield their eyes and cover their gaping mouths as if to stifle a yell. The audience's shock came to a climax in the film's main set piece, a knife fight in a steam bath. Throughout the nearly five minute sequence, Mortensen is completely exposed, losing his towel covering seconds in and the scene is quite frankly stunning. As an acting performance, it is a brave sacrifice to lend the film realism. Many actors would refuse to do this, but Mortensen gives it his all. Not only does he handle the emotional aspects of the performance with subtlety and grace, he gives his body to this important scene. While it is unlikely due to the graphic nature of his work, Mortensen deserves serious consideration for end of the year accolades.

Eastern Promises is a completely involving masterpiece, Cronenberg's second in a row. The cast is superb throughout (I've only mentioned Cassel and Mueller-Stahl in passing but their performances are amazing as well), Steven Knight's script is intelligent and suspenseful, Howard Shore's score complements the film perfectly and Cronenberg's assured direction brings every piece together. The results of it all are breathtaking, leaving Eastern Promises in a small group with The Departed and Miami Vice as the pinnacles of recent crime dramas. As I mentioned earlier, Cronenberg is an acquired taste and there will be those that will be put off by the violence and subject matter. However, for those who sit through this film will be amply rewarded with a modern examination of life in immigrant London, filled with death and suffering but never lacking life and vitality.


*****

This is England: Review

Usually films dealing explicitly with themes of coming of age are tired, clichéd experiences that endlessly re-hash the conventions of the genre over and over. This is why This is England, the newest feature by Shane Meadows is as refreshing as it is, a moving exploration of the effects hatred and racism can have on a young boy. Featuring spectacular performances throughout, this is the feature where Meadows fully graduates into the upper echelon of modern British filmmakers. His steady direction and highly intelligent script is the base of a devastatingly effective drama that works on every level it intends.

The film tells the story of Shaun, played by Thomas Turgoose, a small boy growing up in small town England in the mid 1980’s. His father has been killed in the Falklands War and while his mother (played by Jo Hartley) is a capable, loving woman, Shaun is a lonely outsider at school, frequently being picked on by his classmates. However, as he’s walking home one day, he meets Woody (Joseph Gilgun) and his band of friends, all skinheads, who take Shaun under his wing. After a few days of acceptance and harmless fun, Woody introduces our protagonist to Combo, who has been recently paroled. However, where Woody and friends are a relatively harmless, accepting group, Combo is a firm believer in the National Front, an ultra right wing political group, and his talks drive a wedge in the group.

Led by Turgoose is his debut performance, the cast shines from top to bottom, giving Meadows’ characters a lived in realism. Never once do they seem like caricatures of people; every performer imbues their already richly drawn characters with humanity and grace. Even the more dislikeable characters, such as Stephen Graham’s Combo are oddly vulnerable at times despite his violent, hateful exterior. The actual story is not a tremendously complicated narrative, but the characters are so thoroughly thought out that they jump off the screen and as a result, the basic storyline is greatly aided. Turgoose is tremendous and deserves to be recognized for his spectacular performance. Shaun is one of the more memorable child characters in recent times; without him, the film would suffer.

Now before everyone gets up in arms about the idea of likable skinhead characters, one has to realize that initially, the skinhead culture was not based on the same ideals that tend to characterize it today. For most Americans, skinhead is somewhat of an interchangeable term with Neo-Nazism. However, at their start, skinheads were an offshoot of the Mods and as a result, tended to be based around music culture. It really wasn’t until the National Front appropriated the culture that it became what many people associate it with now.

This is England is vibrantly alive, featuring a spectacular soundtrack and cinematography. Both the audio and visual aspects of the film allow it to jump off the screen. In fact, some of the film’s best scenes are really extended musical sequences, brilliantly shot and executed. These sequences are funny, sad but most of all involving. They welcome the viewer farther into the story and the characters lives, painting a better picture of what life was like for these people. Unlike so many other musical sequences today, which feel tired and bloated, Meadows utilizes these sequence’s screen time to maximum effect.

If Dead Man’s Shoes, the predecessor to This is England in Meadows’ filmography, was a startling show of talent, This is England is a magnificent realization of all those talents, a film where everything comes together at the right time. This is a film that defiantly British but can speak to people of all countries. It is a brutal indictment of hatred and racism and the detrimental effects those can have, not only on those who possess them but for those who surround those people as well. This is England is a film that deserves, nay, demands to be seen. It is an important and vital work, a feather that will stand for a long time as one of, hopefully, many in the cap of Shane Meadows.


*****

The Bourne Ultimatum: Review

The Bourne Ultimatum, for the lack of a better term, is an espionage masterpiece, a fierce piece of filmmaking that, as a feat of storytelling, is never short of staggering. From the gut punch start to the face slap finish, Paul Greengrass has crafted an amazing piece of summer entertainment, a thriller that easily eclipses everything (excerpt for a certain third trimester comedy) on screen so far this year. To borrow a trite and overused phrase, the concluding chapter of the Bourne trilogy is a thinking man's actioner, a fiendishly clever thrill ride that is more or less one extended and exhilarating chase.

Greengrass has quickly shot up the ranks in the minds of the critics and if opening weekend returns say anything at all, this may be the film to solidify him in the minds of the general public. As a director of action, he has few equals (Michael Mann is really the only person who comes to mind that can match him), with each sequence heightening the tension further. However, Greengrass understands the relief and joy that comes with the release of that aforementioned tension and he ably demonstrates that throughout Ultimatum. Every chase ends in a satisfying manner, never leaving the viewer wishing it was still going on or never ruining the first two thirds of a sequence by finishing it weakly.

What most immediately comes to mind is the almost 20 minute sequence taking place in Tangier which begins as a Moped chase, morphs into a rooftop escape and finishes with one of the most memorable hand to hand fights this side of The Matrix. The entirety of it is stunning, a white knuckle, breathless race through the tight streets of Morocco that finishes precisely at the right time. In fact, the film is paced almost perfectly from beginning to end, moving quickly from scene to scene, never staying too long on a single moment. Greengrass never lets up and by the end, the audience is pleasurably invigorated and exhausted, wanting more while also begging for a break.

For those who haven't been following the trilogy, which with this final chapter must start to be considered one of the best of all time, the Ultimatum picks up where The Bourne Supremacy left off, with Jason Bourne (played by Matt Damon) still on the run from his CIA handlers as he desperately attempts to discover his true identity. See, Bourne was a part of a super secret government spy program (are they any other kinds?) that left him with no idea as to who he was, what he was doing, etc. The trilogy tracks his journey to discover his past and by the time the Ultimatum begins, his search is rapidly coming to an end.

Here's a disclaimer: if you haven't seen the first two, don't start here. Go back and watch The Bourne Identity and The Bourne Supremacy, they are well worth your time. That being said, The Bourne Ultimatum is head and shoulders above those first two films, equaling their cumulative thrill in individual sequences. Much like 2006's Miami Vice, which took genre filmmaking to artistic heights not seen since John Ford was reinventing American ideas of the West, The Bourne Ultimatum is as artistic and refined as an actioner gets.

Greengrass' camera work hums along briskly, never stopping and always engaged in a quick, kinetic manner. Many critics have unfairly dubbed his style as "Shaky-Cam" and for those who can't see the genius in his cinematographic style, its their loss. It perfectly fits the controlled chaos that fills the screen, lending each scene an increased energy that enriches every frame. This style, which is quickly becoming Greengrass' staple (he used it convincingly and intelligently in Bloody Sunday, United 93 and The Bourne Supremacy), molds itself to the film like a well-tailored suit to the point where one could logically find it impossible to imagine The Bourne Ultimatum shot in any other way.

The cast here is star studded and up to the task, with each link proving to be as strong as the next with the exception of Damon who, quite simply, transcends action hero trappings as only the largest stars can and makes Bourne into a character we can sincerely care about. As a star, Damon is much like his director here, rarely equaled, if only by a select few. His consistently excellent performances, range of characters and projects has become a staple for him and the young man who captured Hollywood's heart with 1997's Good Will Hunting, has become one of the most creative assured workers in the industry. The rest of the cast, as mentioned previously, are all up to task with the reliable David Strathairn, Paddy Considine, Julia Stiles and Joan Allen all doing excellent work. Albert Finny is even featured in a small role that he makes the most of, keeping the climactic moments of the film tense and engrossing.

The Bourne Ultimatum is a roaring success and should be considered a must see for any one who enjoys a entertaining, intelligent film. If you don't fall in that category, I'm sorry to say that you might be in the wrong place. With Ultimatum, Greengrass continues to solidify his standing as one of the great modern directors, adding this thriller to his other masterpieces Bloody Sunday and United 93. What differentiates Bourne from its competitors is its organic, never overly flashy storytelling. Take, for example, Live Free or Die Hard, which I thoroughly enjoyed, a film that lives and dies (no pun intended) with its spectacularly outrageous stunts and explosions. For the large part, The Bourne Ultimatum largely eschews those trappings, instead relying on good old filmmaking technique to tell its riveting and exciting story allowing it, in the process, to become a bona fide action classic, one that will be watched for generations to come.

*****

Mr. Smith Goes to Washington: Review

There are a select few directors whom have impeccable resumes, a group of master craftsman who spent a career fashioning a body of work that stands the test of time. Frank Capra is one of those men, a director who left in his wake a number of classics of Hollywood cinema, films that speak to who we are as Americans, embracing the contradictions that seemingly go with this nationality. Capra's work is deceptively smart, masquerading themselves as easy going, small town stories when in reality, they are subversive works of the highest order, questioning the morals and ethics of a time that many view as classical Americana. As a result, Capra's film were often times not well received, attacked by critics and audiences as being pieces that criticized the American way of life. It has only been with time that his works have been given the space to breathe, allowing their overwhelming brilliance to shine through. Just such a film was Mr. Smith Goes To Washington, now considered one of Capra's finest works but once despised by the people it portrays and decried by audiences as Communist propaganda.

Released in 1939, it tells the story of Jefferson Smith, brilliantly portrayed by legendary Jimmy Stewart, a local man who is thrusted into the halls of Congress after one of his state's senators dies unexpectedly. Initially a wide eyed newcomer, Smith gradually matures throughout the film until the final, stunning climax in which he truly earns his stripes. Initially, the film comes off as hokey and dated until one realizes that its naivety has been completely planned out. It is not a matter of the film being almost 70 years old that results in its most "Aw Shucks" moments but rather a subtle calculation by Capra that beautifully sets up the second half of the film. Much like another Capra classic It's a Wonderful Life, Mr. Smith Goes to Washington is really a film of two distinct halves, the first furiously working to set up the second. The timing couldn't be better, as just when the audience has grown comfortable with Smith's small town charms, Capra pulls the rug out from under us, leaving us as shocked as Smith when he is betrayed by a fellow senator and close family friend, Joe Paine, who is brought to life by a spectacular performance by Claude Rains.


Up until the final 45 minutes, the film works well as a studio era dramedy but it is during the final act of the film in which it truly takes off to dizzying heights. It works as a gripping suspense film, a political drama and sly comedy or in other words, a signature Capra feature, one that transcends genre into something special. The effortless blend of humor and drama is sublime thanks to Sidney Buchman's Oscar nominated screenplay, a sharp view at the inner workings of pre-World War II Washington. Now, this isn't necessarily the most realistic of stories, taking on a fable like feel to get its point across but Capra was never concerned with a gritty realism. Even at the darkest points of It's a Wonderful Life, moments before George Bailey's suicidal thoughts (arguably Capra's most cynical point), the feel is that of a stylized drama, snow pelting our hero as he contemplates his life. Rather, Capra (an undying optimist) and Buchman choose to abandon any sense of Washington insider feel in favor of a populist message that to be honest, is rather convincing.

Even the most hardened critics of democracy will find themselves rooting for Smith during his show stopping filibuster and what a show stopper it is. This is the moment where Jimmy Stewart, the actor, became Jimmy Stewart, the legend, blasting through the climactic stand off with Paine possessing a ferocious emotion that still resonates as one of the great performances of all time. Stewart fearlessly gives it his all, leaving nothing to chance, resulting in a moving and emotionally exhausting 20 minute sequence that rightfully deserves any praise audiences feel the need to award it. Stewart's monumental performance is supported by wonderful cast such as the aforementioned Rains, a sublime Jean Arthur, Harry Carry, Edward Arnold and Thomas Mitchell, who for my money, was one of the four or five greatest character actors in the studio system. All wholeheartedly give themselves to the material, providing the film with a fantastic ensemble performance. Without each of these actors considerable talents, Mr. Smith would undoubtedly suffer but thankfully, Capra had easily made the A-List by '39 and was given the opportunity to work with the best Hollywood had to offer.


Mr. Smith Goes to Washington is as essential viewing as it gets. It works as a brilliant primer to the inner workings of democracy, as a entry point to the complexities of populism or just a straight Capra drama. Regardless of how one wants to look at it, the film will almost certainly force one to think about the government so many American blindly defend, unwilling to recognize that it is as susceptible to corruption and manipulation as any other. This is by no means an anti-American film but rather a glowing endorsement of what Democracy offers the people of this country. It provides a glimpse of what is possible when there is enough emotion and passion behind an idea. Above all, it is a rousing tale of the little guy winning out over the man, a film that would politically not be out of place in the 60's. Its ideas, which may seem tame, are stunning in their impassioned strength and thoughtfulness, dangerous enough to have been banned throughout most of Facist Europe in the 1940's. Perhaps the most glowing endorsement of the film came in 1942, when the Nazi's outlawed American film in occupied France and a number of theatres chose Capra's masterpiece as their last showing. In fact, one theatre in Paris screened Mr. Smith Goes to Washington nonstop in the 30 days before the ban took effect. For those living under the harsh realities of Hitler's Germany, it was Capra's vision that provided them with hope and strength. If that doesn't speak volumes, then I'm not sure what does.

*****

Knocked Up: Review

Judd Apatow is something of an enigma in modern Hollywood, a man who creates popular films that are readily accessible yet endlessly thoughtful and heartfelt. In fact, through his first two films (excluding his TV work), he has produced two more films of social significance and moral boundaries than pretty much any other director working in straight comedy today. But to be fair, with Knocked Up, his latest bona fide masterpiece, he isn’t working strictly in comedy, deftly blending heartbreaking melancholy with gut busting laughs that when put together on the screen form a bittersweet and humane picture that will be long remembered as one of the year’s pinnacles. Before you go running for the closest art house theatre to cleanse yourself of the mainstream ickyness, hear me out. Mark my words, there will be no film released this year that so wonderfully explores sex, love and marriage, three cornerstones of life, distilling the topics into a digestible 2 hour package that will (and should, if you have any heart whatsoever) deeply resonate with anyone lucky enough to experience it.

Apatow, who cut his teeth on the sets of “The Larry Sanders Show”, “Freaks and Geeks” and “Undeclared”, has been blessed with a undeniable talent for mixing pathos and comedy in way that brings to mind the names of Chaplin, Keaton, Sturges and Hughes. For today’s audiences, he is creating our modern day City Lights or Sullivan’s Travels, that is, cinema that speaks to the human condition in a universal language. Knocked Up strikes me as the type of film that the writers of Cahiers Du Cinema would adore, a cinematic achievement imbued with a pop conscious and self awareness that are hidden behind the guise of a stoner flick. The film’s trailers, which make it out to be a slight comedy, don’t do Apatow’s masterpiece justice, cutting the film’s most heartfelt moments for instances of straight laughs. Don’t worry folks, there are plenty of gut-busting laughs but there is so much more here that demands a viewing. The best part of it is that it doesn’t even require careful viewing but just a small dose of patience and the ability to laugh.

Despite being supported by a knockout ensemble cast that has literally no weak points, Knocked Up puts all its eggs in the basket of its four leads, who if they weren’t up to the task, the film would fall flat on its face. Luckily for the general public, Seth Rogen, Katherine Heigl, Paul Rudd and Leslie Mann absolutely shine in their roles, propping the admittedly heavy emotional weight of the film on their shoulders and carrying it from start to finish. Rogen and Heigl, play a couple, Ben and Allison, that after a drunken one night stand find themselves with a new member of their non-existent family on the way, and are particularly stunning, taking their characters and crafting them into likeable humans, not cookie cutter creations played for laughs. Thanks to their work, the gravity of the situation at hand is given real weight, the audience is desperately pulling for their struggle to work out, not necessarily for the two to wind up together but merely to have their find a common ground onto which their newborn can grow. Ben is almost effortlessly loveable, a doofus forced into a fight to find himself while Allison and the baby’s biological clock slowly ticks onward. Both are up to the task, matching each other’s performance note for note and if these two don’t become stars from this movie, it will only be a matter of time before their delicious charisma finds another way to show itself.

Rudd and Mann (Apatow’s real life wife) play Allison’s sister, Debbie, and brother-in-law, Pete, who exist to provide the audience with a glimpse into what exactly Ben and Allison are venturing into. Debbie and Pete have been married for nearly ten years and the time has created a number of rifts in their relationship, ranging from Pete’s desire for the male friendships he once had and is now missing to Debbie’s frustrations with Pete’s inability to communicate his emotions with her. Their relationship provides the film with its most dramatic moments and feels painfully real. It will act as a mirror to any couple that sees the film, revealing their own inadequacies and annoyances in the process. One scene, in particular, is especially heartfelt: Debbie, who fears that Pete is cheating on her, follows him to a house only to walk in on something she would never expect. What happens afterwords is a brilliant exchange, punctuated by Debbie’s tearful cry in which she tells Pete that he doesn’t have to yell to be mean, that he is plenty cruel as he is. This comes as a shock to Pete but reveals a great deal about relationships in general: one doesn’t need to be outwardly and obviously cruel to deny their partner with the care that they need. Too often do we walk mindlessly through life, ignoring the others feelings without even thinking about it.

Apatow, by giving equal weight to both the male and female sides of the subject, ends up as more of a moderator than lecturer. He allows his characters to explore these conflicts, giving the audience the necessary tools to sort out the issues themselves. Rogen, Heigl, Rudd and Mann are brilliant, taking a wonderful script and creating a transcendent bliss that emanates from the screen whenever they are present. By the film’s conclusion, which features some graphic images of the birthing process, any non-believer should be converted. Apatow is unflinching in his presentation, exposing raw emotions that have been hidden behind some sophomoric humor. By including those lasting images of a child’s head crowning, Apatow shows that his camera is here merely to document life, to capture these magical moments for posterity, whether they were produced naturally or artificially. In fact, in those fleeting shots, all of which drew audible gasps from the audience, Apatow creates a manifesto of sorts that envelopes the larger film. Even when it may seem to be at its grossest moments, it reveals emotions and experiences that are often times startling but are never meant for merely shock value. While this may not hold true for all of 40 Year Old Virgin, it does for Knocked Up. Each scene pulls back another layer until the entire picture comes into view, one of family embracing each other. At its core Knocked Up is a thoroughly wholesome film in unwholesome trappings, a work of art that is based on a set of morals that value maturity, family and love. By including the shots of birth, Apatow forces the audience to understand the importance of the situation at hand, that this moment in the most life changing event in both Ben and Allison’s life. He wants his viewers to feel the pain and joy of the moment. I would be lying if I didn’t admit that I found the exact instant of when we first see Ben and Allison’s child to be life affirming, a moment in which all the pain and struggle feel completely worth it.

In brief, Knocked Up is easily not only the best comedy of the year but the best of recent memory. It affirms the importance of life and more interestingly, the importance of cinema. Few works of art, of literature, of music has touched me in such a unique and wonderful way and while this may seem like hyperbole to some, Knocked Up is one of the year’s finest films, not for its over abundance of laughs, but for its stunning honesty. By so revealingly putting on display both the inner workings of relationships, marriage and childbirth, it shows how powerful a medium film can be. It can allow us to laugh, cry and think all in a brief few frames. Knocked Up is a splendid film, highlighted by a wonderful view of humanity that should be experienced by young and old alike. It may just make you look at the way you treat your significant other, your children or your friends. It may just make you look at the way you live your life.

*****