Trailers: Burn After Reading

Trailers: The Curious Case of Benjamin Button

Review: Indiana Jones and the Kingdom of the Crystal Skull

Unless you've been living under a rock for the past 6 months, I'd hope you're fairly aware that there is a new Indiana Jones film. Premiered to great fanfare this past week at Cannes, Indiana Jones and the Kingdom of the Crystal Skull may not be the masterful return to Raiders of the Lost Ark (or even Indiana Jones and the Last Crusade) that some fans may have been hoping for but when viewed with an open mind, there is more than enough to enjoy here to warrant a viewing. Packed with superb action sequences, a tight script, the typical Spielberg-ian direction and a handful of good performances, the Indiana Jones franchise has another winner on its hands.

Back in the fedora for the fourth time is Harrison Ford, who, despite his age, absolutely nails his performance, comfortably stepping back into the shoes of the title adventurer. In this installment, set in 1957, his focus shifts from Nazis to Communists as the Cold War rages on and that change is somewhat jarring at the film's start. In the post World War II environment, Indy is a decorated vet rather than vigilante fighter for democracy. When the Russians, led by Irina Spalko (Cate Blanchett) arrive at Area 51 (which we have actually seen before in the series, you just didn't know it) in Nevada with a captive Indy in tow, they are looking for a particular artifact with some otherworldly abilities. This may sound like a typical start to an Indy film but the political climate change that inevitably followed the end of WWII permeates the film. All things considered, like the lack of the definitively evil Nazis hurt Temple of Doom, it hurts Kingdom of the Crystal Skull as well. For whatever reason, Indy always seems more at home socking it to some eight foot German.

Anyway you slice it, Indy escapes, without the artifact (C'mon, the bad guys have to start with the upper hand, its Indiana Jones!), but with his life, which is slightly unbelievable given the situation that ensues. Regardless, he winds up back in a classroom until an unexpected visitor, Mutt Williams (Shia LeBouf), arrives with chaos quickly on his heels. He asks Indy to come and help him look for an old friend of Jones', Professor "Ox" Oxley (John Hurt), who had been a father figure to Mutt, but has seemingly lost his mind in pursuit of the legendary city of Akator and the associated crystal skulls said to possess magical powers. Indy being Indy, he's off and ready to go. Without spoiling too much, he is reunited with his old friend Marion Ravenwood (Karen Allen), who carries some interesting news, as he clashes with and races against the dasteredly Commies. In other words, its an Indiana Jones film.

Spielberg hyped the film by claiming that CGI would be kept to a minimum, which makes the mutiple appearances of CGI prarie dogs in the opening twenty minutes so questionable. In what is the most obvious moment of George Lucas meddling, the shots, albeit brief, seem to be out of the traditional spirit of the series, which has always relied more on gross out animal sightings than loveable cuddly ones. At least in Raiders, the monkey was real. It is a disappointing start to the film and in all honesty, the shots immediately took me out of the flow of the sequence. Thankfully, Spielberg retains the reins and locks in, leaving the rest of the film satisfying and exciting. Its obvious that a true master is behind the camera here as the direction is assured, flashy when necessary but never distracting. Spielberg can craft an action sequence with the best of them, knowing exactly when to peak and step back, pacing each moment to near perfection. While Kingdom of the Crystal Skull doesn't have the same seat of your pants moments that made Raiders so spectacular, it tries its hardest to make it all look effortless and for the most part, it works.

Shot by Janusz Kaminski, Spielbergs DP of choice, this is definitely the most visually extravagant installment of the series. Kaminski is one of the best cinematographers working today and his skills are on display here in spades. Its definitely more artistically shot than the previous three, the changes that comes with nearly 20 years of lag time doesn't feel as jarring as, say, the difference between the first three Star Wars and the subsequent prequels. Unlike Episodes I, II, III of Lucas' epic story, Kingdom of the Crystal Skull doesn't try to rewrite the books on everything previous. It wisely chose a later moment in time to set the narrative and while it eliminates the classic villains of the series best installments, to try and take a nearly 20 years old Ford and install him into another part set in the 1940's would have been a cataclysmic disaster, a bona fide film destroyer.

As I mentioned above, Ford is wonderful as he turns in his best performance in at least 10 years (since 1997's Air Force One). Equally as impressive is Cate Blanchett, who adds another stellar performance to her impeccable canon. If she isn't the most consistently talented actress working today, I'd be hard pressed to find her equal. While there may be some performances in a year that are better than hers, when all things are considered, the woman is a force of nature, undertaking a variety of roles and knocking everything out of the park. She may be the closest thing to Katherine Hepburn that the film world has seen since Hepburn herself. Its ironic that one of Blanchett's absolutely best performances was her portrayal of Hepburn in The Aviator, which she rightfully won an Oscar for. With The Curious Case of Benjamin Button, another Blanchett pic in the pipeline for a late 2008 release and an almost guaranteed run at the Oscars, it looks like 2008 may be another year of Cate Blanchett.

LeBouf is charming here as well. He continues to solidify his position as one of the better up and coming stars of his generation. He may not always have the best technical acting performances but his charisma and screen presence is pretty undeniable. If he wasn't a massive star from last summer's Transformers, he will almost certainly be one by the time it's sequel finds the multiplexes in the near future. Ray Winstone, who was absolutely stunning in 2005's The Proposition and 2006's The Departed, contributes another good performance here as Mac, Jones' wartime buddy and adventurer. John Hurt is excellent as well as a mentally lost archaeologist. His performance is over the top and provides some moments of inspired facial work. What is perhaps most surprising and welcoming is that no sidekick grates upon the audience like some of Indy's prior acquaintances did (Willie Scott, I'm looking at you). Each contributes worthwhile moments that help enrich the overall experience.

In the grand scheme of things, look at Kingdom as somewhere between Last Crusade and Temple of Doom, in the 3 out of 4 spot in the series and you won't be disappointed. It is by no means a bad film, not at all, and more often than not, features inspired filmmaking, the type summer blockbusters too often miss. Spielberg is obvious having fun here and while it certainly doesn't provide the intellectual depth of some of his other blockbusters (read: Minority Report), it is a stellar recreation of the serials of yore. For those who complain about the ludicrous stunts or sequences, one must remember that nothing in this film would be out of place in the previously mentioned serials, Flash Gordon or The Phantom, for example. These are not films that rely on reality, the supernatural and the absurd have always factored into the Jones' films. Is a thousand year old knight sitting in a cave, drinking water from a magical, sacred cup all that much more believable? Or does the fact that if you drink from the wrong cup, you age years in seconds, your skin shrivels and your skeleton explodes, strike one as plausible? I'd like to think not. Those who will be upset with Indiana Jones and the Kingdom of the Crystal Skull are viewers, guided by nostalgia and selective memory, who have their minds made up about what an Indy film should be. This newest installment may not fit into that mold, but then again, it doesn't have to. See it with an open mind and bring a seatbelt. Its a wonderful ride.

Review: Forgetting Sarah Marshall, Shine a Light, Son of Rambow, OSS 117: Cairo, Nest of Spies

Forgetting Sarah Marshall

Another film from the Judd Apatow factory (he produces here) features the same formula, hefty doses of raunch and heart played by the same guys. What separates the Apatow written and directed from his produced is a sense of down home realism. Forgetting Sarah Marshall, while touching and funny at turns, never reaches the heights of Apatow's and Knocked Up and falls considerably short of the inspired antics of last summer's The 40 Year VirginSuperbad. Written and starring Jason Segal, some of the jokes here feel too staged, something that never afflicts the Apatow helmed entries. The biggest surprise of Marshall comes from Mila Kunis, who sheds off her That 70's Show garb and does a comedic 180, bravely moving from the safe and restrictive confines of network sitcoms into the more risqué R-rated comedy. A bust by no means, it is somewhat of a disappointment given the previous output from this crew but this is undoubtedly better than 90% of the comedies that will be released this year.


Shine a Light

Martin Scorsese is one of the few directors around the world that can do almost no wrong with critics and audiences alike and with Shine a Light, his collaborative concert film with The Rolling Stones, he succeeds again. The Stones are on top of their game here, a stunning revelation that a nearly 50-year-old band can still bring the heat and at times, could easily outplay any band in the world. The performance is loose and fun but never messy. In fact, on the contrary, as the band is tight and propulsive, moving from hit to fan favorite with ease and precision. Seen on IMAX, the film is a visual and aural rocker, expertly edited and shot. Prior to the concert, Scorsese enlisted some of the industry's finest DPs to act as cameraman and the results are entirely evident on the screen. Featuring the work of such luminaries as Robert Elswit (There Will Be Blood, Good Night and Good Luck, Syriana), Ellen Kuras (Eternal Sunshine of the Spotless Mind, He Got Game, Bamboozled), Andrew Lesnie (The Lord of the Rings Trilogy, King Kong), Emmanuel Lubezki (Children of Men, The New World, Y Tu Mama Tambien) and John Toll (The Thin Red Line, Braveheart, The Last Samurai), Shine a Light spins, swirls and soars around. It may be the best shot concert film of all time. Combined with a searing performance from the band, Shine a Light is another Scorsese hit, if not another a classic.


Son of Rambow

At its best moments, Garth Jenning's second film seems to match the best of Gondry. Where it differentiates itself is in its inability to retain the sense of wonder and whimsy that Gondry so effortlessly presents. Son of Rambow, which tells the story of two boys, who after viewing a bootleg copy of First Blood, set off to make their own Rambo film, is an enjoyable yet ultimately slight film. It never quite reaches the heights of The Science of Sleep or even this year's Be Kind Rewind, two films that immediately come to mind while watching Rambow but still manages to keep its audiences entertained for its hour and forty minute run time. Bill Millner, in his debut performance, plays Will Proudfoot, one half of the filmmaking duo, and Millner is nothing short of spectacular. Without his heartfelt, humorous and intelligent performance, Rambow would greatly suffer. With it, the film is never dull or an outright disappointment. The film's finale is as uplifting and warm as one would imagine and hope for, leaving the audience with a pleasant taste in their mouths. While it may never inspire someone like First Blood does to the young boys, it certainly helps to bring back its audiences to the point where they recognized their own love of film, which for many of us, is a memory well worth reliving.


OSS 117: Cairo, Nest of Spies

France's answer to James Bond is Hubert Bonisseur de La Bath a.k.a OSS 117, a bumbling mix of Inspector Closseau and Jason Bourne. In OSS 117: Cairo, Nest of Spies, OSS 117 is used to mixed results and while there are some moments of inspired satire and comedy, too often the film's jokes fall well short of their goal to fully succeed. OSS 117 is sent to Cairo to investigate the death of another OSS agent and from the get go, its obvious that while he may try, 007 is a world away. Wonderfully played by Jean Dujardin in a performance that single handedly saves the film, OSS 117 spends the next hour and forty minutes racing around the streets trying to determine the culprit behind the death of his friend. The comedic moments that work are tremendous, displaying a sharp understanding of the East/West dynamic as well as a keen sense of the genre in which it works. For fans of spy films, there is enough here to entertain. However, for the unconverted/newcomers to the genre, much of the film's sly comedy will be lost, leaving only a few sparkling moments of physical insanity to do the heavy lifting. Thankfully the film moves quickly and is never boring so there is certainly worse ways to spend the two hours but one can't help but be disappointed by the promise of certain scenes that never fully materializes, leaving an empty feeling at film's end.

Leatherheads: Review

When one looks back on the classic screwball comedies of Hollywood's past, all share the highest quality of screenplays. My Girl Friday, Bringing Up Baby and the such, all feature whip smart writing first and any sort of visual prowess second. Unfortunately, Leatherheads, George Clooney's latest directorial effort, seems to have missed that lesson resulting in a beautifully shot comedy that lacks much in the life or laughs category. In fact, even the normally reliable Clooney, who usually seems to effortlessly effuse the type of natural charisma that few others have possessed, never quite hits his stride, leaving a performance that can't help but feel lackluster. As a result, Leatherheads is nothing less than a complete disappointment, a novel idea that falls on its face.

The story should be simple enough yet Leatherheads seems to complicate even the smallest moments. Instead of having the classic boy meets girl narrative at its core, Leatherhead attempts to blend commentary on the necessity of heroes with slapstick laughs and a dull romance into a script that never finds its voice. It tells of Dodge Connelly (Clooney) who plays football, in the post WWI 1920's, for the Duluth Bulldogs, a professional football team at a time where professional football was nothing more than a complete laughingstock to the American public. On the other side of the equation is Carter "The Bullet" Rutherford (John Krasinski), a war hero and Princeton football star. Throw into the mix bombshell newspaper reporter Lexie Littleton (Renee Zellweger), whose assignment is to reveal Rutherford's wartime exaggerations and you seem to have the makings of a throwback to the classic screwball comedies of the past. However, after a promising opening act, the film spirals quickly downward until the audience is left looking at their watches, hoping it all ends soon.

The heart of the blame lies in the film's dialogue, a stilted attempt at recapturing the sound and feel of the 1930's classics. Written by Rick Reilly and Duncan Brantley, two sportswriters, Leatherheads feels much less like a modern reinvention of the film's obvious influences than a botched attempt at a direct replication. The dialogue never comes close to the quick-witted repartee that folks like Sturges and Capra fed off of. Its much heavier than its influences and where classic screwball comedies floated along on a feather light dialogue of quick barbs, Leatherheads' conversations feel dull and tired, leaving the cliché storyline bare. As a result, the entire film moves slowly towards an unsatisfying finish. If one feels anything at the end of the Sturges film, the viewer knows that the romantic relationship at the film's core was earned through blood, sweat and tears, yet Leatherheads' finale never feels like anything other than a welcome relief from the film.

Clooney's direction here is capable and assured. He certainly has the cinematic eye of an industry veteran and much of the film's pleasure comes from the work of Clooney and Newton Thomas Sigel, the film's cinematographer. It really nails the look of the 20's and the visual feel of an old Hollywood film, right down to the opening Universal logo. There are some inspired visual gags, many of which are the best have the film to offer and those are well set up by Clooney's direction. While it may be the worst of his three directorial efforts, much of the film's faults are not due to his direction so Leatherheads continues to show that Clooney has continued to develop into a powerful director with an eye for brave, interesting projects.

As mentioned earlier, Clooney is surprisingly bland in his role. However, Zellweger seems to jump into the character and run with it, taking Lexie's sass and adding some edge to it. The real star here is Krasinski who, up to this point, is most well known from his work in NBC's The Office. Leatherheads may signal a start of a solid film career for him as he has a great deal of charisma and creates the most memorable character in the film. His performance is vital and is a major highlight of a film desperately looking for more. With the pedigree behind this project, it can't help but feel like a massive disappointment that the end results are so lackluster. Its too fixed on the its influences yet it lacks almost everything that made those films such classics. It serves as an example of a film doomed from its script, something no amount of star power or directorial prowess can recover from.

Stop-Loss: Review

In 1999, Kimberly Peirce burst onto the scene with Boys Don't Cry, an impressive debut feature anchored by the stellar, Oscar winning work by Hilary Swank. It wasn't until almost 10 years later when she returned to the film spotlight with her second feature, Stop-Loss, a moving and focused examination of the effects of the current conflict in Iraq. With its release, Stop-Loss jumps into the upper echelon of films dealing with the war, joining In the Valley of Elah as the two pinnacles of the current crop Hollywood has to offer. Featuring stellar performances from the rapidly improving Ryan Phillippe, the now, always spectacular Joseph Gordon Levitt and a solid supporting cast of talented, young actors, Stop-Loss is a flawed but heartfelt look at the unfair practice of the back door draft that currently plagues the US Military.

Peirce's film explores the lives of Brandon King (Phillipe) and Steve Shriver (Channing Tatum), two high school friends from Texas who enlist in the Army. Upon returning from a tour of duty in Iraq, both are scheduled to get out of the Army but after a night of celebration, both are stop-lossed and involuntarily re-enlisted. King, who is ready to be done with fighting, goes AWOL and hits the road with Steve's fiancée (Abbie Cornish) to try and speak with his senator, in order to save himself from another tour. Much to Steve's chagrin, who believes that another tour is something that they could easily do, Brandon contemplates abandoning his life and moving to Canada but is brought back by the tragic death of one of their squad mates.

The film works so effectively thanks to Peirce's obvious' passion about the subject and her cast's ability to buy into and match that enthusiasm. From top to bottom, the young group of actors takes to the material and imbues the film with heart and soul. Phillippe, who has begun to blossom into a solid leading man, much less of a pretty boy star and more of someone who one can count on to take on challenging, yet rewarding roles. Equally as impressive is Joseph Gordon Levitt, who appears to be one of the leading talents of his generations. Shedding more and more of the baggage of his teenage role in 3rd Rock from the Sun with each successive performance, Gordon Levitt is a supremely talented young actor who displays considerable range here. Tommy, one of Brandon and Steve's squad mate, is confused and angry, yet compassionate and caring and Gordon Levitt brings it all to life.

Peirce's direction is assured yet not overpowering. Instead, it appears that she'd rather allow the film to speak for itself than force her opinions on the audience. Unlike In the Valley of Elah's, which featured a shot in the closing moments that was positively over the top, Stop-Loss never feels outrageous or heavy-handed and is all the better for it. While it is clear that Peirce is upset over the process of Stop-Loss, she is never condemning of the war itself and certainly not of the soldiers. While these men have committed terrible acts, none did so of free will. Rather, the situation they were in warranted their responses and Peirce understands that. She shows a great deal of compassion to the men who have fought for their country.

While it never feels like a perfect film, something I'm beginning to doubt will be made about this conflict, the strength of its emotions cannot be ignored. There are some flaws and the film works better when it stays closer to the personal feelings of the characters than try to take on larger themes but those individual encounters are often too moving to be ignored. With Stop- Loss, Peirce has constructed a brave and worthwhile work that stands as one of the first universal must sees of the year. One can't help but feel like the mark has been missed just slightly here and that Peirce could have crafted an even more powerful film had she abandoned the road trip to the senator and kept it close to home but when each part is viewed, they are greater than the sum of their parts. For a second film, no matter the length of time it took to make, sometimes that’s enough to signal the continued emergence of a filmmaker worth paying attention to.

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.

City of Men: Review

In City of Men, the sequel of sorts to Fernando Meirelles' 2003 City of God but actually a continuation of the Brazillian television series of the same name, Paulo Morelli abandons much of the delirious energy of Meirelles' masterpiece in favor of a more straightforward story of two young men struggling to live their day to day lives. In the end, the results are compelling viewing, and while not as successful as its predecessor, it is a welcome relief that it stands up to the toughest criticism as a valuable continuation of the series. Based in the slums of scenic Rio de Janeiro, Morelli's film is a moving look into the lives of the poorest areas of life that warrants at least one viewing.

Where Meirelles' film told the story of the rise and fall of one crime syndicate over the course of thirty some odd years, Morelli's ambitions are more reigned in. City of Men focuses on two 18 year olds, Acerola (Douglas Silva) and Laranjinha (Darlan Cunha) and their longtime friendship. Careful viewers will recognize both actors from their small but moving roles in City of God. While there are a number of side plots, the primary storyline here revolves around the duo's struggles to retain their friendship while a violent drug war erupts around them, pitting opposing factions against one another. During the film's 110 minute run time, they try to keep each other safe while coming into their own manhoods. Ace has a young son he is forced to care for while his wife leaves Rio in order to find work. Laranjinha attempts to find his real father and upon his discovery, tries to forge a relationship with him, one that suddenly faces serious odds with a reveal about half way through the film. Ultimately, Morelli is interested in presenting these two teenagers journey into adulthood, with all its fears and dangers.

Those familiar with City of God will feel right at home here as City of Men shares a similar look and feel. It may not feature the frantic camera moves and chaotic mise-en-scene of God, but the coloring and overall look is pretty similar. However, what Morelli borrows visually, he moves apart in his storytelling, as I mentioned above. Where Meirelles' film is constantly jumping from character to character, from storyline to storyline until it paints a larger picture of a city in decline, Morelli's film is much more personal, concentrating on the human elements involved here. Ace and Laranjinha get the type of strict, in depth characterization that City of God's more expansive ambitions wouldn't allow. Whether it works better or not is up to the audience to decide. For this writer, it plays more of a generic coming of age tale, granted one with a great deal of heart. Ace and Laranjinha are both believable and three dimensional. As both strive to find what it means to be a real father, something neither had growing up, their lives and friendship become increasingly complicated. While its unclear at the film's end if either have discovered the true meaning of fatherhood, it appears that they have at least determined its importance.

Both Silva and Cunha are wonderful here, continuing their underrated work from the television series, which tracks the same characters through their teenage years. Silva is more memorable from City of God as the young Lil' Dice, a character that would be difficult for any actor to outlive. However, Silva is tremendous and where Lil' Dice was a murderous psychopath, Ace is a loving and kind young man that harbors a certain level of naivety that was completely absent in his work in City of God. When compared, the two performances are as different as Warhol to Michelangelo but both showcase a young actor who displays a tremendous range for someone his age. Cunha is every bit his equal and if he wasn't given the full time to showcase himself as Steak and Fries in City of God, here he is able to stretch out and show his true prowess. His performance is truly exceptional and when combined with Silva's work, the two provide the film with warm heart and soul that keeps the audience interested and invested in the narrative's twists and turns. Given Morelli's decision to focus on a single, smaller scale relationship than City of God allowed, it is imperative that Silva and Cunha are up to task. Thankfully, they are.

City of God was a kaleidoscopic view of life in Rio but one that was sharply focused and consistently moved forward. Very few moments of the film felt wasted or unneeded, almost as if Meirelles recognized that if he wanted to fully tell his expansive story, he needed to focus as much as possible on avoiding stagnant segments. City of Men, on the other hand, seems much less intent on the constant forward momentum and takes a little bit of time to get moving forward, which ultimately hurts the film. For those unfamiliar with the television series, the first third will feel meandering and unfocused at times, leaving the audience waiting for the emotional connection to kick in. However, for those who have followed these boys over the course of the show's 20 episode run, the connection has already been made and the lack of a defined story is much less distracting. To alienate a portion of the audience though is a brave choice, one that hurts the film is you're not caught up with the story. It is by no means a killer, the film still works very well despite it but it does warrant noting.

City of Men may not be for all. Much like City of God, it displays an unattractive aspect of life, one filled with poverty and daily struggle. However, unlike City of God, which displays a nearly hopeless situation, Men is not nearly as dark, suggesting that survival and escape is not as impossible as its predecessor suggested. While City of God was never nihilistic or inhumane, far from it as it overflows with an undeniable vibrancy, City of Men allows itself to invests itself with a sense of hope. For all its darkness, there are rays of light that shine through, illuminating the paths out for those willing to walk them. In that sense, City of Men brings to mind John Singleton's seminal Boyz N The Hood more so than anything else. It shares optimism in that, regardless of how hopeless a place or life may be, its never too late to turn it around and escape whatever troubles may be happening. In fact, it is not much of a stretch to view BoyzCity of Men as a sort of Brazilian Boyz N The Hood, even down to the theme of the importance of a strong father figure. It seems like the highest praise to compare this to Singleton's masterpiece, surely one of the best films of the 90's and it is. While it may not be entirely its cinematic equal, it is certainly a contender for its throne, and that will please all but the most jaded moviegoer.

Be Kind Rewind: Review

In a way that brings to mind such works as Cinema Paradiso, Michel Gondry’s latest offering is a joyous celebration of what film can do and ultimately what it can’t. Be Kind Rewind, the newest creation from the most inventive filmmaker working today, may not be his best work and in some respects, it may be his worst. However, this speaks not so much to the quality of Rewind as it does to the greatness of his previous works (Eternal Sunshine of the Spotless Mind, The Science of Sleep and Dave Chappelle’s Block Party) and what Gondry has here is another seemingly effortless mixture of sentimentality and whimsy that is consistently entertaining and heartfelt. Buoyed by a charismatic cast and wonderful visuals, Be Kind Rewind hit the hearts of all those who ever took the family video camera and made a “movie”.

Jerry (Jack Black) and Mike (Mos Def) live in Passaic, NJ where Mike works at a small thrift/video store, owned by Mr. Fletcher (Danny Glover), called Be Kind Rewind. Jerry is something of a destructive personality, who deeply believes that the power plant located next to his camper is somehow manipulating the minds of the good people of the neighborhood. After an ill advised attempt to sabotage the power plant in which he is exposed to a massive magnetic field, thus magnetizing Jerry (which includes one of the many memorable visual gags in the film), he arrives at the store the next day, only to demagnetize every VHS tape in the store.

Unfortunately for Mr. Fletcher, who is out of town at what he tells Mike is a Fats Waller convention, his store only carries VHS. To try and hide the fact that every tape is destroyed, Mike and Jerry set off on remaking every movie in the store, via good old fashioned do-it-yourself filmmaking. They explain the process as “Sweding”, that is the importing of tapes from Sweden, hence the slight differences that one may see when watching it. Luckily for them, the neighborhood takes a liking to their work and off we go. If this seems far-fetched, it is but one must enter a Gondry film with a suspension of disbelief or else nothing will be gained. Gondry’s aim is not to create realistic depictions of life but rather, using outlandish setups, create in depth explorations of real human emotion. It is here that he succeeds wildly. With Eternal Sunshine and The Science of Sleep, he explored the nature of romantic love with a bittersweet melancholy that was equally heartfelt and inventive. With Dave Chappelle’s Block Party, he focused his lens on the meaning of community and he continues with that theme in Be Kind Rewind. Where he looked at the power of music in the former, in the latter, he looks at the power of film and in many respects, he displays an understanding of the power of cinema not seen since the late 80’s with Tornatore’s Cinema Paradiso.

As someone who frequently spent his free time in middle and high schools making movies on an old Sony camcorder, the sweding sequences were wonderful glimpses back to what it felt like to be making those short movies. What they lacked in subtlety and skill, they made up for in raw energy and a genuine love for the process. It isn’t much different in Mike and Jerry’s creations and when their versions of Boyz ‘N the Hood or 2001: A Space Odyssey are shown, I couldn’t help but reminisce of watching our own creations. They were our labors of love and whether my friends and I realized it at the time, the creation of a film was forcing us to collaborate to get something on that magnetic strip. For Mike and Jerry, they are the same emotions, until the process is complicated with news that the shop is going to close and be demolished to make way for luxury condominiums. Then, it doesn’t become just Mike and Jerry’s interest but the larger communities and it is here that the film truly takes off.

Mos Def, as Mike, is wonderful. He possesses an effortless charisma that is affable and charming. He serves as a perfect foil for Black’s manic, at times grating, performance, balancing out the film wonderfully. Equally as charming is Melonie Diaz, as Alma, the duo’s sidekick. Together, the three form the core of the film and without their work, much of Gondry’s intentions would have been lost somewhere in the journey from script to screen.

Gondry’s direction is a mixture of slapstick, melancholy and visual originality that all come together in a style that’s really all his own. Few directors in recent memory has been as consistently inventive and distinctive in their initial efforts but it seems like Gondry is truly one of a kind, an artist with an avant-guard eye but a mainstream heart. Even at its strangest moments, The Science of Sleep, easily his least accessible work, is emotionally grounded in moments that most will be able to identify with. Be Kind Rewind doesn’t come close to the bizarre sequences in its predecessor but it doesn’t lose a bit of its heart. It may be sentimental, but when its executed so joyfully, who can complain? I supposed that Miss Falewicz (Mia Farrow), one of the neighborhood elder states(wo)men, puts it best: “Here’s to movies with heart!”. I couldn’t agree more.

In Bruges: Review

In Bruges, the film which opened 2008’s Sundance Film Festival is a mixed bag, a deceivingly morally complex thriller that is gleefully offensive and awfully violent, particularly in its last 25 minutes or so when it all comes flying off the rails. Up to that point, Martin McDonagh’s feature debut is an enjoyable thriller with a sharp script and a number of great performances. It is because the first two thirds are as enjoyable as they are that one is left confused and disappointed by the final act.

In Bruges tells the story of two hit men, Ray and Ken (Colin Farrell and Brendan Gleeson), who are told by their boss, Harry (Ralph Finnes) to hide out in the title city following a hit gone wrong. For Ray, as he quickly informs the viewer, the idea of hiding in Bruges is less than ideal. Ken, on the other hand, relishes the time off and the ability to explore the most well preserved medieval city in Europe. As the film progresses, Ray, continuing to ignore the advice of his boss, goes out for a couple nights out on the town, drawing the ire of both Ken and Harry.

Led by Colin Farrell, in his best performance in ages, and Brendan Gleeson, In Bruges is held up by the cast, who take McDonagh’s quick wit script and create a profane tapestry of Tarantino-esque dialogue. However, where Tarantino displays a tremendous knack for popular culture knowledge, McDonagh concentrates on his thematic constructions, a sure sign of his theatre background. Unlike Tarantino’s postmodern deconstructions of genre, McDonagh is more at home in traditional threads, relying on a fairly straightforward narrative.

The approach benefits In Bruges, which is surprising in its complexity. It is by no means a simple thriller, but rather one that poses a series of conflicted characters that will force the audience to consider its alliances. Farrell’s character, a first time hit man who accidentally kills an innocent bystander, is initially a dislikable killer but as In Bruges moves through its story, it becomes increasingly difficult to come to simple decisions about the characters. Much like Pulp Fiction’s iconic Vincent Vega and Jules Winfield, Ray and Ken are hit men with morals and feelings. While they are able to do their job, they aren’t always the happiest about having to do it. Writing it here seems ridiculous, but during the course of the film, McDonagh creates a difficult situation upon which to choose sides.

With all this comparison to Tarantino and his work, it is important to note one key distinction. While he may be an able, even downright talented writer and creator of characters, McDonagh doesn’t possess the same cinematic language and technique as Tarantino. Without his feverish referencing of other films, genres and even other mediums of pop culture, all wrapped in a neat cinematic bow, Tarantino’s films would feel much less fun and that is what we have here with In Bruges. McDonagh seems to be a capable director but when the action gets hot and heavy at the end of the film, In Bruges is at its worst, relying on a few shootouts and some out of place gore to carry it to the end.

Farrell, Gleeson and Finnes should all be applauded, as each put in memorable performances. Farrell, who seems to mix awful career decisions with brilliant ones, gives the film his all, taking McDonagh’s Ray and making him into a fully formed human being. Combine that with the reliable Gleeson and Finnes, who routinely turn in wonderful work and the cast is solely responsible from keeping this film out of the outright failure category. While the film’s finale is not enough to ruin the entire experience, it certainly puts a damper on the proceedings. In Bruges could have been something special, but instead, it joins the line of films since the mid 90’s who desperately want to match the brilliance of Pulp Fiction but come up short, time and time again.

Cloverfield: Review

By the time of it's release, Cloverfield had become something more than a movie. Through brilliant marketing campaigns, viral and otherwise, producer JJ Abrams has crafted a monster movie that quite frankly, can't be ignored. However, with all the hype comes higher expectations yet, as Abrams has continued to do time and time again in recent years, he and his team have crafted a monster thriller that, while not entirely successful, is one of the first major reasons in 2008 to get out to your nearest multiplex. With a ferocious visceral intensity that feels pleasantly out of place for a wide January release, Cloverfield is a triumph of genre moviemaking that should please audiences looking for relief from the seriousness of Oscar season.

Directed by Matt Reeves, Cloverfield is not unlike its monster predecessors in its narrative but in its means of storytelling, it refreshing in its 21st century technique. Shot using handheld digital cameras designed to give the feel of a digital camcorder, Cloverfield tells that story of a group of mid-twenties who have their going away party for a friend interrupted by the arrival of a giant beast. At the group's core is Rob (Michael Stahl-David, who is supposed to leave for a new job in Japan the next day, yet thanks to the marauding fiend currently wrecking New York City, it appears as if those plans may be waylaid. In their place is a new mission, to rescue his semi-girlfriend Beth (Odette Yustman), who leaves the downtown party early and is caught in a building about 40 blocks away. Coming along with Rob are his brother Jason and his fiancée Lily (Mike Vogel and Jessica Lucas), his best friend Hud (T.J. Miller) and finally, a fellow partygoer Marlena (Lizzy Caplan, of Mean Girls fame).

If the premise sounds simple, it is. No one is going to accuse Cloverfield of being the most intellectual movie currently gracing movie screens across the country but what it lacks in narrative smarts, it more than makes up for in its thrilling set pieces. As mentioned earlier, these moments are glimpsed through the handheld camera work of Hud (really shot by cinematographer Michael Bonvillain), which gives the events a you-are-there intensity. However, this should come with a warning to those with a weak stomach or easily susceptible to motion sickness: Cloverfield makes The Blair Witch Project look positively stationary. Often times, there are moments where the camera is nothing but blurry motion as the characters sprint ahead, trying to stay out of danger. It will undoubtedly annoy some viewers but for those accustomed to watching videos on YouTube, the camerawork of Cloverfield will become practically invisible as the story heats up.

Throughout, the film takes on an impromptu, on the spot style that feels largely improvised and spontaneous. The strength of this film was never going to be and never will be its script or acting. In fact, the script is a combination of drab, predictable dialogue saved by a brilliant premise. The amazing part comes in that the audience didn't seem to mind the general lack of decent dialogue. The film, quite frankly, doesn't seem to mind either. It's focus is on putting as many thrills as possible on the screen in its short 85 minute runtime. This will, once again, cause some to complain but given the technical restraints of a camcorder tape, it is a brilliant move to keep the film at its length. As it is, it grabs the viewer after a meandering initial 10 minutes and doesn't let go for the 75 minutes. Its economical storytelling keeps the audience moving forward from scene to scene, from thrill to thrill. Even if the nihilistic ending doesn't fully satisfy everyone (but honestly, when has a JJ Abrams associated project had an ending that does?), its scene by scene intensity makes up for it.

While it isn't the monster masterpiece it may have been made out to be, Cloverfield is an undeniable thrill ride from beginning to end. It may have felt more at home in an air conditioned July theatre but for a January release, it is a welcome change from the Rambo's and Untraceable's of the world. It will most likely annoy older viewers who will find its camerawork incomprehensible but quite frankly, that’s not the film's target audience. It knows what it wants to be and for that, it is all the more successful. Some critics have pointed out the obvious visual ties to 9/11 that are undeniable but they never hold the film down. This is a pure and simple, visceral genre film at its core and it works as that. But for those looking for something more, they best look at the abundance of thoughtful, intelligent films currently in art houses around the country because it isn't here. What is, however, is well worth the price of admission: a nail biting, fearless Godzilla for the 21st century.

Best of 2007

For cinephiles the world over, 2007 was a very good year, certainly one of the better in recent memory. One need not look further than a collection of critic's top ten lists to see the vast variety and diversity of the year's releases. In fact, with the exception of No Country for Old Men, no one film has been universally adored but countless have large and passionate backings. More often than not, the films that end of lasting in the lexicon of classic cinema are those the most talked about/argued over. Surprisingly, the latter may have been Knocked Up, a fairly straightforward comedy with loads of heart, a smart eye and ear for popular culture and a male/female dichotomy that was positively stunning. Still, it was not without it's detractors (all of which seemed to be middle aged women), and they have been outspoken over their dislike of Judd Apatow's comedy. It will be the continued discussion that the film provokes (it hasn't seemed to die down since its June release) that will assure its place in the developing canon of the 21st century. If a film can stay in the public eye and discourse as Knocked Up has, it must be doing something right. In Knocked Up's case, it's doing almost everything right.

There seemed to be something for everyone at the multiplexes and arthouses alike this year and with a few exceptions, even the big budget blockbusters seemed to please. Even an avowed hater of Michael Bay, I found Transformers enjoyable and exciting, if not rigid and un-original. Still, it hit more than it missed. I loved the goofier tone that Spider-Man 3 adopted, even if the disco strut of Tobey Maguire irritated some to no end. It was a glimmer of the source comic's playfulness that I found lacking in the second installment. For the film geeks in all of us, Grindhouse allowed us back into the seedy second run theatres of the 70's with schlock galore, only this time, we could enjoy it with our $15 worth of food and not having to wonder what lewd acts were performed in your very seat, just a few screenings prior.

Most of all, 2007 seemed like a year where filmmakers felt able to take risks and in general, when that happens, the output tends to be exciting and rewarding. One has to feel grateful that even when a shelved film like The Assassination of Jesse James by the Coward Robert Ford ends up being one of the year's best, one is enjoying a rare cinematic year. Directors and writers seemed to leave their inhibitions at the door and allow themselves the room to stretch out and really test themselves. For that, I thank them for a year full of entertainment.

While 2007 may have been overly inundated with Iraq pictures, there were enough worthwhile offerings that one could skip those films and still be able to find something to see. If one did choose that though, they would have missed out on Paul Haggis surprisingly level headed and even handed In the Valley of Elah or Charles Ferguson's stunning No End in Sight. While even I skipped Redacted, it has achieved its fair share of discussion and in a time like this, where the future looks increasingly bleak, talking about an issue can never be a bad thing.

All in all, it was a year in which each of us were hopefully able to see something that entertained or touched us. That taught us something or made us want to jump to action. Hopefully it made us alittle more human, with a greater understanding of what it means to be who we are. If 2007 did even a fraction of that, then a good year it was indeed. Without further ado, here are my top 20 films of 2007. So take a look, let me know what you think and try to see a couple of the films listed below. Many are still in theatres and the rest should be fairly easy to find on DVD. Enjoy, and here's to an equally good 2008!

20. Ratatouille- The best animated film of the year, Ratatouille is another smash for Pixar who churns them out at an unprecedented rate. A much stronger film than Cars, Ratatouille displayed the now expected innovative animation that Pixar frequently displays as well as their trademark heart and warmth.


19. American Gangster- Another Ridley Scott classic, American Gangster features a couple of tremendous leads in Denzel Washington and Russell Crowe and a strong sense of time and place, bringing Vietnam War era Harlem to vibrant life. Big budget award bait that didn't disappoint.


18. The Wind That Shakes the Barley- Ken Loach's Palme D'Or winning stunner packs an emotional wallop matched by few other films. While the finale rings slightly hollow, the rest of the film is so well conceived and executed, only the most hardened cynic would have trouble not being moved by the film's events.


17. Away from Her- A warm and humane look at the terrible affliction that is Alzheimer's, Away from Her works due to Julie Christie's masterful performance, which is sure to be in contention come Oscar nomination time in late January.


16. Grindhouse- It may have been a commercial failure but this Quentin Tarantino/Robert Rodriguez double feature was an artistic triumph, a film that worked to legitimize a genre of cinema that has been long overlooked. It may not be for everyone, but for those willing to go with it, there is an abundance of movie going joy to be found in the three hour runtime (not to mention the best chase scene since Bullitt).


15. Zwartboek- A return to form for Paul Verhoeven, Zwartboek (Black Book) is the type of war film that they just don't make anymore. In other words, filled with twists, turns and full out entertainment, but not without the type of subversion that one has come to expect from a Verhoeven feature.

14. Michael Clayton-A legal thriller that actually thrills both the mind and body, Michael Clayton is the type of morally complex discussion starter that will stick with its audiences well after the credits. Anchored by tremendous work from George Clooney and Tom Wilkinson, a must see for adults looking for an intelligent change of pace.


13. Hot Fuzz- Edgar Wright and Simon Pegg's follow up to Shaun of the Dead is even more spot on in its satire, to a point where if the audience is not overly aware of the subject matter they are spoofing, much of the film's comedy will be completely lost. A gleefully anarchic finale launches Fuzz into the comedic stratosphere and onto this list.


12. No End in Sight- A tremendous look at the folly that has become the Bush Administrations handling of the war in Iraq, Charles Ferguson's directorial debut is a stunning and welcome documentary in substance, not style. Unlike Michael Moore, who's recent work has fallen victim to his overblown public image and snarky narration, Ferguson's film is a quietly angry film that relies on first hand accounts and primary documents to make a decisive and completely believable argument that should be required viewing for every American of voting age. The best documentary of the year


11. The Bourne Ultimatum- If there is a better director of edge of your seat, you-are-there action than Paul Greengrass, I don't think I've found him. Easily the best installment of the superior Bourne trilogy, this is not only the action film of the year, but maybe the best since John Woo was working in Hong Kong.


9A/9B. Juno/Knocked Up- A two way tie from a pair of films that dealt with an unexpected pregnancy from different sides of the gender divide (and my oh my, what a divide this is), both illuminate their themes in ways that speak volumes about our society. At first glance, neither strike you as anything profound but both treat their subjects and characters with such humility and heart, its difficult not to fall for the one/two punch. Watch them in close vicinity to another and they reveal much about the nature of love and maturity, two things that may be closer at their cores than many want to admit. With fine work from each ensemble cast and wonderful scripts by Diablo Cody and Judd Apatow, these are the comedies of 2007.


8. Control-In a time where biopics desperately work to glamorize or mystify our musical heroes, Control harks back to the Kitchen Sink British dramas to tell the story of Ian Curtis in stark black and white. Rather than adding to Curtis' already staggering legend, it works to deconstruct it, painting the leader of post punk pioneers Joy Division as a man who desperately wants to retain a sense of normalcy in his life. The conclusion is as heartbreaking as one would expect, thanks to powerful performances from Sam Reily and Samantha Morton as well as magnificent direction from Anton Corbijn.


7. The Assassination of Jesse James by the Coward Robert Ford- One knows they are in a great cinematic year when even the films studios are hesitant of releasing end up being bona fide masterpieces. Despite sitting on the shelves for almost two years, Andrew Dominik finally was able to get his film released and the results are the best true western since Unforgiven. Breathtaking from its opening frame, TAOJJBTCRF is a magnificently shot stunner, with one sequence that drew audible murmurings of awe from audiences. At its center are Brad Pitt, Casey Affleck and Sam Rockwell, all of which carry the heavy philosophical and emotional weight of a two hour, forty minute film with ease and poise. Slow, meditative and unquestionably brilliant, this is a west that cinephiles can be proud of.


6. Atonement- When a romantic melodrama can legitimately moving, its reason to take notice. When the aforementioned moving romantic melodrama can be exciting, potent and profound, its a cause of unbridled celebration. Joe Wright imbues this adaptation of Ian McEwan's novel with a sense of danger that is too often missing from period pieces and in doing so, masterfully creates a film for the ages. The two stars, James McAvoy and Keira Knightly are wonderful together, as is Saoirse Ronan, who contributes the child performance of the year. Watch for a single stunning shot at the Battle of Dunkirk which last minutes and weaves through the mass confusion at the evacuation point. Add the emotional ending and one has a work of art that compliments the originally novel brilliantly.


5. No Country for Old Men- A potent meditation on mortality masquerading as a white knuckle thriller, few films this year glow with such uninterrupted intensity from start to finish as No Country for Old Men. A front-runner for a Best Picture Oscar, the Coens have a bona fide masterpiece on their hands here and in it, some of the best performances they have ever directed. Javier Bardem is terrifying as an ice cold killer and Tommy Lee Jones makes the absolute most of his limited screen time, giving his character a lived in gruffness that is equally defiant and resigned. Much has been made of the film's ending, some think it’s out of place and brings no closure. Those who say so are quite frankly wrong, the film's conclusion is haunting and perceptive. Come for the chase, leave with the message.


4. Eastern Promises- Just when I thought David Cronenberg couldn't match his last work (A History of Violence), he goes and does just that with this portrayal of the Russian Mob in London. At the film's core is a splendidly brave performance from Viggo Mortensen, who continues to surprise just about everyone. Not one to ride his role of Aragorn into the history books, Mortensen is compiling a challenging and rewarding filmography. Naomi Watts is his equal her, grabbing onto the involving material and running with it. Helming it all is Cronenberg, who is provocative yet humane. He knows how to push his audience's buttons but never to the point of alienation. Eastern Promises may be his greatest success yet, a moving and exciting thriller that is thematically rich, leaving the audience longing for more as soon as the final credits hit the screen.


3. Zodiac- On first viewing, David Fincher's look at the epic investigation around the Zodiac killer was too long, meandered too much and felt too mellow. On second viewing, the pacing was perfect, the story was tightly wound and the bed sheets needed changing. I stood up from that second time astounded that I had just watched the same film that had so bored me in the theatre. If there is ever a film that shows the power of multiple viewings, this is it. The acting is all around superb with Jake Gyllenhaal and Robert Downey Jr. standing out in particular. Zodiac displays the traditional visual flair of other David Fincher projects but with a more restrained realistic quality that positively warps the viewer back to 1960's/70's San Fran without feeling overwhelming in 70's nostalgic camp. Zodiac is a landmark police procedural that I suspect will gain prominence with each passing year, as people go back to watch it a second and third time.

2. This is England- Shane Meadows' examination of Thatcher-era skinhead culture is a emotionally wrenching masterpiece, a small film that greatly exceeds its aims in every way possible. What could have been no more than a British American History X is instead a unique work, filled with spot on period details, a killer soundtrack and a series of performances that are nothing short of astonishing. Add on a powerful anti-racism message and the results are devastatingly successful, a film that was widely (and unfairly) ignored by American audiences but has the smarts, heart and attitude to stick around until it finally receives its just due. With the semi-autobiographical This is England, Meadows vaults to the upper echelon of working British directors and signals an emerging talent on the world scene that can't be ignored.



1. There Will Be Blood -I'll be the first to admit that There Will Be Blood snuck up on me. Last year, I compiled a list of the best working American directors and PT Anderson was a name that I toyed with but couldn't bring myself to put on there. While Boogie Nights is an undeniable classic, Magnolia seemed overly ambitious and Punch Drunk Love (while underrated) seemed too reserved. How wrong was I. With There Will Be Blood, Anderson storms back onto the scene with a magnificent look at turn of the 20th century oilmen. Greatly aided by Daniel Day Lewis' best of year performance, There Will Be Blood is discomforting and strange, yet compulsively watchable. Its difficult to find a character worth liking but even more so to find one that is not utterly fascinating.

From the groundbreaking score by Jonny Greenwood (of Radiohead fame) to the splendid cinematography, this is an ambitious work that feels like one of the better American films in a long while. While it may undoubtedly rub some audience members the wrong way (it is unashamedly bizarre at moments), those willing to allow themselves entry into its twisted psyche will find a film that is a period piece with a thoroughly modern feel. At the heart of its thematic clash of oil and religion are a number of questions that are not only relevant today but largely dominate political discussion. While watching it, I couldn't help but feel that this will be remembered as not only the film of 2007 but possibly the film of this, still young, 21st century.