Movie Review: "Winter's Bone"

Winter's Bone

Directed by: Debra Granik
Starring: Jennifer Lawrence, John Hawkes
Rated: R for drug material, language, and violent content

With unforgiving honesty, the film Winter's Bone gives the typical missing-persons thriller a unique twist, placing it in the back-woods south, a setting as devoid of goodness, beauty, and color as any inner city. The film follows 17 year old Ree (Jennifer Lawrence) who is tracking her father to ensure the family home, which he had placed as his bond money, is not lost by him not showing for court. A web of drug trails and corrupt families turns the film into as tense and dramatic of thriller as one can find. Jennifer Lawrence plays the role of Ree with conviction well beyond her years, giving us a sympathetic hero who is motivated by raising her two younger siblings to undergo this incredibly dangerous journey. The film, which delves into a world of sin without showing it in detail, is a cross between No Country For Old Men and That Evening Sun. It's also as good as either.

Movie Review: "The Fighter"

The Fighter

Directed by: David O. Russell
Starring: Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo
Rated: R for language throughout, drug content, some violence and sexuality.
Originally published on the website Cinexcellence

David O. Russell’s new boxing film The Fighter opens with the character of Dicky Ecklund (Christian Bale), a shrunken, twitchy boxer who seems to talk excessively about his past accomplishments and preeminent return to greatness. He’s the pride of his hometown, and they all seem to show up whenever Dicky is out and about. Dicky’s mother (Melissa Leo), who also acts as his manager, has nothing but praise for her son, and HBO has chosen to document his remarkable comeback. Dicky is even training his younger brother, Micky (Mark Wahlberg) to follow in his footsteps as a boxer. The story seems to be set around an interesting character that would follow the typical boxing plot line, charting Dicky’s comeback and ending it with a climactic championship fight. But that’s where The Fighter breaks ranks from its genre.

The film is hardly about boxing, and it sure isn’t about Dicky. He’s plagued by abusive drug use, and is often too high to train Micky properly or form any chance at a comeback. His mother is too selfish and proud to realize Dicky’s problems, her apathy toward Micky’s career, and her unfounded disapproval of Micky’s equally brash girlfriend (Amy Adams). Even the HBO crew isn’t exactly what they seem; they’re certainly not interested in Dicky’s comeback. The beautiful backdrop suddenly becomes a harsh and unkind reality. Yet, in that setting, we find solace in the story’s real hero, Dicky’s younger brother, Micky Ward. In a film where everyone is vocal and brash, Walhberg’s Micky is a relief; he’s tough as nails, yet a shy and quiet person. He’s a talented fighter, yet has a history of being a disappointment. He will fight any man, yet is intimidated by his family. The contrast is not only interesting, it’s quite endearing; we love Micky for it. We pull for him to win his fights. We cheer for him to stand up to his family. And, while Micky learns how to take a stand and fight against the life problems he is facing, he becomes the catalyst of redemption for his family, pushing them to look beyond themselves and fight against their own issues. The title is not referencing his boxing, it’s referencing his life.

The movie, which is based on a true story, has been a project Mark Wahlberg has been personally pushing for years. As a friend of the real Micky Ward, he was the one who got the story rolling, and even got David O. Russell involved. Wahlberg even said he’s been preparing for the role for four years. Most would find this surprising; since Micky is so low-key, many will forget Wahlberg’s performance all together. After all, The Fighter is a solid movie under David O. Russell’s direction, Amy Adams and Melissa Leo are contending against each other in the best supporting actress category, and Christian Bale may wind up with an Oscar thanks to his incredible performance as the strung-out Dicky Ecklund. However, in the end, it’s Wahlberg’s quiet and likeable Micky that connects with the audience, and ultimately makes The Fighter one of the biggest successes of the year.

Archive Analysis: "There Will Be Blood"

There Will Be Blood

Directed by: P.T. Anderson
Starring: Daniel Day Lewis , Paul Dano, Cirian Hinds
Rated: R for some violence

"I have a competition in me. I want no one to succeed," Daniel Plainview confesses in There Will Be Blood, the film from artist P.T. Anderson, and nothing would sum up the film any better. Plainview's character is the film, his rational behavior overcome by his greed and hatred for humanity. The role, played by the magnificent Daniel Day-Lewis, is without exageration, the best performance I have ever seen. Many scenes in the film focus on Plainview's face even when another character is talking, because it is telling the story far better than the character speaking. Add that to the brilliant direction of P.T. Anderson and wonderful cinematography of Robert Elswitt, and There Will Be Blood becomes one of the finest films of it's decade. It's also a chilling reminder that, if your life is built on existential goals, whether a successful oil business or religious power, your life will end in loneliness and dissatisfaction.

Movie Review: "Amish Grace"

Amish Grace
Directed by: Gregg Champion
Starring: Kimberly Williams-Paisley, Tammy Blanchard, Matt Letsher,
Rated: TV-PG

Amish Grace is heralded as a great depiction of faith and forgiveness. It's decent in its depiction of the Amish community’s forgiveness of the man who shot killed innocent school children in 2006. While the film obviously has great potential to be a deep and profound discussion on true forgiveness, what is faith, and can the Amish community keep out the sinfulness of this world, the film is slightly wasted on Kimberly Williams-Paisley’s character simply refusing to forgive. Again, when crafted well, it can be interesting, but her character stomping around for two hours shouting “I’m not going to forgive him” is hardly interesting. The film, which glorifies Amish life, painting it in bright, happy colors, also fails to realize that, by depicting the grunginess and evilness of this world as harshly as it does, Williams-Paisley’s failure to forgive is not acceptable to the audience; we can’t sympathize with her character, and find her frustrating, not sympathetic. The film would have been more interesting had simply stuck with the storyline following actress Tammy Blanchard, who is far superior as an actress and whose plot line is far more intriguing. Amish Grace may not much more than an interesting premise for a film, but Ms. Blanchard simply makes it worth watching once, and she’s not even an Amish character.

Archive Analysis: "Synecdoche New York"

Synecdoche New York

Directed by: Charlie Kauffman
Starring: Phillip Seymour Hoffman, Catherine Keener, Michelle Williams,
Samantha Morton, Hope Davis
Rated: R for language and some sexual content/nudity
(The following review contains minor spoilers: discretion is advised.)

Charlie Kauffman's imagination is truly remarkable, and his directoral debut Synecdoche New York is as technically stunning as a film comes. The performances are incredible, especially the splendid Philip Seymour Hoffman, Samantha Morton, and Hope Davis. The film is funny at moments, riveting at others, but it is always depressing. The film follows a man, focused on dying, depressed about life, unable to understand himself, and ultimately alone. He loses touch with reality, with himself, and wastes what little life he has trying to understand the world around him and himself through his forty year rehearsal of his epic-scale play. The most sickening aspect of the film is it's depiction of a world void of redemption; his play is never performed, his past lovers never bring love, his failed relationships never mend, his daughter never forgives, his illness never brings death, and he ultimately understands himself and life too late. With pure Nietzschean flare, life has absolutely no meaning or value. Praise God life isn't like that.

Movie Review: "Unstoppable"

Unstoppable

Directed by: Tony Scott
Starring: Denzel Washington, Chris Pine, Rosario Dawson
Rated: PG-13 for sequences of action and peril, and some language

Tony Scott has always had a fascination with speed. from his short film Agent Orange, to Top Gun, to Days of Thunder, to Taking Pelham 123, Tony Scott has always loved fast-moving transportation. His latest film, Unstoppable, is a different twist of his speedy-fare: a runaway train is bounding out of control through suburban areas, leading a dynamic duo of Denzel Washington and Chris Pine to race to avoid (and then stop) the un-manned train. It's as simple as that. No character development, meaningful themes, or interesting plot twists. If you try digging deeper in the film, you only get frustrated by the shallowness of the characters, or get weirded out by the chemistry and reactions of Washington's on-screen daughters. If you keep it simple, it's a a sure-fire adrenaline pumper that captures industrial Americana and, like most Tony Scott films, makes for a fun pop-corn muncher.

Movie Review: "Please Give"

Please Give

Directed by: Nicole Holofcener
Starring: Catherine Keener, Rebecca Hall, Amanda Peet, Oliver Platt
Rated: R for language, some sexual content, and nudity

Guilt does funny things to people. That sentence sums up the dark comedy Please Give by Nicole Holofcener. The film follows a group of people who live in a New York City apartment complex, all of whom are motivated by their deep feelings, mostly of guilt. From the bargain furniture seller (the wonderful Catherine Keener) who feels guilty for pawning furniture from the children of the deceased, to her husband (Oliver Platt), who begins an affair because he can't be the man he once was. From the young nurse (the lovely Rebecca Hall) who feels guilty for wanting a life of her own beyond just taking care of her ailing grandmother, to her sister (Amanda Peet) who is so hurt from her recent break up that she is bitter to the world with an air of self-sufficiency. Through laughs and tears, we learn from these characters, making this a truly enjoyable film (besides the opening credit sequence, which depicts doctor's examinations in the most uncomfortable of ways.) And, through it all, we learn that the way to rid yourself of guilt is by doing what is right from the start. (Although the film fails to recognize that honesty and asking for forgiveness is an essential part of the process.) This quirky, enjoyable movie depicts the best reason for giving to others: because doing what is right always makes us feel good.

Archive Analysis: "John Q"

John Q

Directed by: Nick Cassavetes
Starring: Denzel Washington, Robert Duval, Ray Liotta, Eddie Griffin
Rated: PG-13 violence, language, and intense thematic elements

It's the story of a man doing whatever it takes to save his son. Scratch that. It's a movie about why we need universal health care. That's right, there is nothing in the subtext of Nixk Cassavetes' movie which follows John Q Public (I mean Archibald) who takes over a hospital wing by force to save his son's life. The great Denzel Washington plays the troubled father brilliantly, bringing a serious tone to the film. However, when the rest of the motley crew of hostages enter the film, the movie becomes silly and dismal. (What the heck is Eddie Griffin doing in this film?) Even Robert Duvall is out of sync, and the film starts to feel like a bad TV show rather than a blockbuster film. Considering the movie attempts to tackle a social issue by pure pathos, this is a fatal flaw to the movie that no doctor can save.

Archive Analysis: "Vertigo", "Barton Fink", and "Last of the Mohicans"

Vertigo

Directed by: Alfred Hitchcock
Starring: Jimmy Stewart, Kim Novak, Barbara Bel Geddes
Rated: PG for sensuality, mild violence, and thematic elements

Hitchcock's classic film has all the rigjht moves; interesting premise, great camera work, wonderful performances, and a mind-bending twist. However, a lack of drive to the film, along with a seriously creepy and disturbing Jimmy Stewart as the protagonist made me unsympathetic and disconnect from the story. When looking at the AFI Top 100 list, I have to wonder why Veritgo hasn't fallen yet.

Barton Fink

Directed by: Joel Coen
Starring: John Turturro, John Goodman, Judy Davis
Rated: R for language and some scenes of violence
Watching the Coens' first films is truly an eye-opening experience. By all accounts, the film is great; it boasts wonderful set design, accenting by Roger Deakins' wonderful cinematography. It's original, taking a look at the golden age of Hollywood in a surreal yet enjoyable way. And, it boasts the fantastic dialogue that makes the Coens so incredibly entertaining (such as the cameo of Steve Buscemi.)
However, Barton Fink is missing something, and it seems that, after the big twist, the film loses its momentum. I feel it was because, unlike most Coen films, I simply didn't get the theme. Like Barton, I didn't understand the picture. Perhaps I will return to it one day and praise it as another classic Coen film. Until then, we'll simply call it a entertaining.

The Last of the Mohicans

Directed by: Michael Mann
Starring: Daniel Day-Lewis, Madeline Stowe
Rated: R for violence
Perhaps it's Daniel Day-Lewis, perhaps its the heart-pounding musical theme, perhaps it's the fights, Hawkeye's emotional "I will find you" speech, or the beauty of the Colonial american scenery. Whatever it is, I enjoy Last of the Mohicans, despite it's campiness and lack of drive. Set around the French and Indian war, the film follows an American-raised-Indian trapper, his native american father and brother, and their involvment in the war because of whom and what they love. The film is Day-Lewis' worst performance (it's still decent) and Michael Mann really can't figure out what he wants the story to be. However, I feel the emotional pulls of the it's highly romanticized perspective, and it makes me want to run through the woods as fast as I can. I understand that Last of the Mohicans is not a great film, but I love it, nonetheless.

Movie Review: "Hereafter"

Hereafter

Directed by: Clint Eastwood
Starring: Matt Damon, Bryce Dallas-Howard, Cecile De France
Rated: Pg-13 for thematic elements including disturbing disaster and accident images, and for brief strong language.

There is life after death. God said so. But, more importantly, Clint Eastwood and Peter Morgan said so, as well. And it has nothing to do with Christianity, Islam, or anything other new age religion out there (their response to each is an eye roll.) They know because people have been there and experienced it.

Okay, well, actually they haven’t. I say that because, for starters, it’s just a movie, written by a guy and directed by another guy, with no real basis or sense of truth. But, to prove the point, even those who have been (or are) there in the story can’t describe it or explain it. With as strong of a belief of the supernatural as the movie Hereafter has, one would think it would try to explain things. At last, this movie doesn’t have much to say, on any level, really.

It doesn’t help that writer Peter Morgan is off with his trio of character plots that seems to cut away right when you actually start caring about a particular story. Or, Eastwood’s horrible miss direction, which displays the tsunami of 2004 more so as a Roland Emmerich thrill ride than an actual natural disaster. 230,000 people died in that, and yet we walk away from it’s depiction saying “that looked fun.” This is just the beginning. The performances, including Matt Damon’s, aren’t bad, but simply have nothing to work with. The only life in the movie was Bryce Dallas-Howard, whose performance is cut ever too short. The movie is bland and blunt, with a subtext so shallow a toddler could guess the clichés. Eastwood and Morgan believe in life after death, I just wish they would have added some life to their movie. Or some depth.

Movie Review: "The Social Network"

The Social Network

Directed by: David Fincher
Starring: Jesse Eisenberg, Andrew Garfield, Justin Timberlake,
Armie Hammer, Rooney Mara
Rated: Pg-13 for crude and sexual content, drug and alcohol use, and language

It’s hard to believe that less than ten years ago there was no facebook. Communication was vastly different, and personal connections were, well, a lot more personal. David Fincher reminds us of that time, when people actually had to talk, and friends actually had to interact in his new film The Social Network, which is loosely based on facebook’s creator Mark Zuckerberg. The film paints Zuckerberg as the outside kid, one who wants to be in the group, but wants to do it his way. His own pride and selfishness blind him, and make it even more difficult to connect with people. Then, he is asked to work on a project with some other students in creating an exclusive website to connect Harvard friends. Zuckerberg, who initially agrees, ditches the project, and begins working on his own invention: “the facebook.” Jesse Eisenberg, who is best known for playing quirky, teen-angst roles similar to Michael Cera, completely breaks the mold, and gives one of the best performances I’ve seen in a while as the quick-witted yet socially confused Zuckerberg. However, his co-star, Andrew Garfield, who plays Zuckerberg’s best friend, Eduardo, is the emotional center of the film. He’s the one we connect with, the one friend who anchors Zuckerberg. Garfield is splendid, and deserves an Oscar nomination, as well. No matter his recognition for the role, he has a bright acting future ahead of him. The film even boasts a good performance from Justin Timberlake as Napster founder Sean Parker, the party boy who only enhances Zuckerberg’s problems, even if Mark is too blind to see it.

While I have seen nearly all of Fincher’s films, this is by far my favorite. He’s in top form, especially with the techno-yet-isolated score of Trevor Reznor (of Nine Inch Nails fame) which could be the best score since Dario Marianelli's Atonement soundtrack. Fincher also understands every line of Aaron Sorkin’s wonderfully witty yet powerfully poignant script. Don’t think this film is “just another bio.” It’s more of a critique of our culture than anything else. It nails Generation X, our desire to fit in, to be cool, and to connect with others, no matter our surrounding. However, in the internet age, we’ve let computers do the talking for us, making us incapable of doing it ourselves. Despite their ever growing friends list, everyone in the film feels alone. Zuckerberg wants to fit in, from Harvard to Silicon Valley, but his selfish attitude and the backstabbing of his friends only repel them. Eduardo, whom seemingly doesn’t have to try in order to fit in is surrounded by crazies like Zuckerberg and his girlfriend Christy. Parker tries to connect as a social celebrity and mentor to Mark, but only seems to bring more chaos and headaches wherever he goes. Even the trio whom Zuckerberg betrays can’t get anyone to believe that Zuckerberg stole their idea. Generation X is no different. We want to fit in, yet we so we find delusional ways of telling ourselves that we have, none of which are satisfying. Like Zuckerberg, we think friendship is when you stare at your computer screen, hitting the refresh button, wondering if the people we truly care about will accept our friendship. What The Social Network understands is that life is more than a profile and friendship is more than exclusivity to information.

Movie Review: "The Other Guys"

The Other Guys

Directed by: Adam McKay
Starring: Will Ferrell, Mark Wahlberg, Eva Mendes,
Samuel L. Jackson, Dwayne Johnson
Rated: Pg-13 for crude and sexual content, language, violence, and some drug content


Perhaps Adam McKay is wising up. After a trio of joke-infested comedies with zero-substance that have perpetually gotten more offensive and less funny (Especially Stepbrothers, which I decided to skip), McKay turns his latest film, The Other Guys, into a more so interesting and exciting film, tackling the Buddy Cop genre. It has a lot more action, a lot more thought, and some actual "intelligence" to the story. (Although his attempt makes his lack of storytelling experience even more evident.) However, it still has the typical McKay flaws, as well: too many jokes are ran into the ground, moments seem stale and forced, a few too many jokes cross the line, and Will Ferrell is becoming less and less funny. Fortunately, for the movie, there is the other guy, Mark Wahlberg. With plenty of charm, machismo, and a blend of humor, Wahlberg's Terry Hoitz transforms this would-be-boring film into something slightly funny. He's the tough man we all know, who bashes computers to pieces and yells at everyone for no real reason. Yet he knows ballet, refers to himself as "the peacock" who needs to fly, and can't get noticed by the beautiful women who are naturally enthralled by the less manly Ferrell, which provides plenty of laughs. While it certainly doesn't propel the comedy anywhere near a "great film", The Other Guys may be a sign that McKay, like the rest of us, is growing tired of his typical raunchy Ferrell flicks. Time to move on to some other films.

Zach's Favorite Film: "Braveheart"

Zach's Favorite Film

Braveheart

Directed by: Mel Gibson
Starring: Mel Gibson, Patrick McGoohan,
Sophie Marceau, Brendan Gleeson
Rated: R for brutal medieval warfare

One of the most iconic films of the 1990s, Mel Gibson’s Braveheart is, in my opinion, the greatest epic ever made, a film on a spectacular scale with a personal drive. The absence of computer effects and digital grading gives the film a very real feel, unlike the other digital equivalents in later years. The Scottish landscapes set the beautiful-yet-rugged tone, and John Boll’s cinematography and James Horner’s score only compliment it. Gibson, who is a fine director, is still a rather strange actor, making the most difficult scenes breathtaking, yet the easiest scenes almost goofy. Thankfully, he never shares a scene with the terrific Patrick McGoohan, who steals the show every time he’s on screen.

Whatever your thoughts are on Gibson’s acting, he certainly understands the emotions and themes in Braveheart as a director. While some complain about the many inaccuracies of the film, I believe it is more symbolic than a historical retelling; it’s about how far would one go to discover freedom. All the characters in the story are oppressed, from Wallace, who is under British authority, to Robert the Bruce, who is controlled by his rank, to the Princess of Wales, who is controlled by her marriage and diplomatic standing. Through these characters, we are shown how the rights of humanity go far beyond politics and allegiances. How to fight for what is good, even when you are the only one who believes it. How to find courage, even when you are alone. How to forgive, because you believe in what is good. This is Braveheart, and from the first frame to the last, I am entertained, transformed, and inspired. Every man dies, but not every man truly lives. After watching Braveheart, you have truly lived.

Archive Analysis: "The Lord of the Rings"

Zach's Favorite Film #2

The Lord of the Rings Trilogy

Directed by: Peter Jackson
Starring: Elijah Wood, Ian McKellan, Viggo Mortenson, Cate Blanchette
Rated: PG-13 for epic battles sequences and some scary images

I remember sitting in the theater, watching the first Lord of the Rings movie. I had finished the books a few months before, and was eagerly anticipating the first movie. However, much like the protagonists of the film, I had no idea how incredible of an experience I was setting myself up for. The storytelling was so vivid, the imagination so incredible, the cinematography and effects were stunning, and the story so compelling. Tolkien had written a splendid and fantastic story to begin with, but to see it all come to life was truly unlike anything I've ever experienced.
Many people talk of the incredible effects: the battle scenes in their splendor, the locations in their creativity, and the digital character of Gollum in his reality. Don't down play it; it is quite a huge achievement. But few recognize that the movies, in the end, are about the characters. Small and insignificant Frodo Baggins, destroying the evil that will consume him and the entire world if he is not careful. Of Gandalf, the wise wizard who will not let death stop him from saving middle earth. Aragorn, the king of Gondor who must accept his own fate in order to lead his people to victory. And Sam Gamgee, who will fight to the bitter end to save his friend. With it's strong Biblical parallels, compelling story, and themes strong enough to inspire anyone, The Lord of the Rings (particularly the first film, the Fellowship of the Ring) is truly an achievement in film that will never be matched. And, no matter how many times I see the film, I still get a sense of wonder every time I watch it and let my imagination soar.

Movie Review: "The Town"

The Town

Directed by: Ben Affleck
Starring: Ben Affleck, Rebecca Hall, Jeremy Renner,
John Hamm, Blake Lively, and Chris Cooper
Rated: R for strong violence, pervasive language, some sexuality and drug use

Ben Affleck is a better director than actor. In his latest film, The Town, he does both, answering the question of can his good direction turn him into a good actor. (Answer: good enough.) While his sleeper hit Gone Baby Gone was a fantastic morality tale and pretty harsh-yet-good movie overall, his new film seems to lack that quality, although not due to his acting. He's fine enough, and much better than the stale Blake Lively or comical John Hamm. His film simply can't decide what it wants to be. It begins to feel much like Gone Baby Gone, then suddenly turns into a popcorn blockbuster, then splices it between imagery straight from a Boston tourism video. Because of this, The Town comes across quite hypocritically. No matter how much Affleck's character or vision may try to cover it up, he warns and un-romanticizes a life of crime then turns and gives us high-octane action, where innocent police officers are shot and we cheer when robbers get away. It's much like the parent who says to their kid "don't smoke" with a Marlboro hanging from their mouth. Unlike Johnny Depp's Public Enemy film, The Town tries to show Affleck's character's goodness by having him feel bad and fight robbers worse than he, which simply doesn't cut it. It's an entertaining movie, but it could have been better and more emotionally connecting, especially if it would have followed the much more interesting (and superbly performed) character played by Jeremy Renner, or stuck with the whole storyline of trying to cover up their crime while dating the only known witness (now there's a morality tale.) Or, by actually giving a higher view of justice rather than a lower view of integrity. Ben Affleck understands Boston, he just doesn't understand what is good.

Zach's Favorite Film #3

The Prestige

Directed by: Christopher Nolan
Starring: Hugh Jackman, Christian Bale, Scarlett Johansson,
Michael Caine, Rebecca Hall
Rated: PG-13 for violence and disturbing images


This dark, mind-boggling story exemplifies the power of pure storytelling and human connection more than any other film I've seen. After all, this is not the best film Chris Nolan has directed: the competitor film The Illusionist has much better cinematography, art direction, soundtrack and, dare I say it, performances than The Prestige. However, The Illuisionist falters in story, while The Prestige simply steals the show with creativity, suspense, and depth that requires the audience to watch and savor it multiple times. It follows two competing magicians (played by Jackman and Bale), whom carry vendetas and obsessions to not only be the best but, more importantly, to best the other. It's a story riddled with twists and turns, loops and riddles, all mixed together in the non-linear brilliance of Chris and John Nolan's storytelling.
But, at it's core, The Prestige is a film about man. Much like Memento, it asks the question "what is life" and comes to a startling-yet-honest conclusion: life is about our existential goals. However, Nolan questions Sarte's theory, and asks at what price must we pay for them? How far will Angier and Borden go in order to hear the crowd roar and confound the other? Would it cost their wealth? Their relationships? Their lives? As always, Nolan parallels society without us ever noticing: is the American businessman who gives 60 hours a week to his job any different than Angier or Borden? Isn't he, too, going to be dissatisfied with his "success" when he compares it to the others around him? Isn't he, too, going to sacrifice his shots at true happiness to simply gain his existential goal? While The Prestige is still a typical dark Nolan film, you can't help but wonder if Borden's question of "are you paying attention" is more so referring to the themes rather than the clues of the story. Either way, it's a magical film and wonderful experience.

Movie Review: "That Evening Sun"

That Evening Sun

Directed by: Scott Teems
Starring: Hal Holbrook, Ray McKinnon, Barry Corbin
Rated: PG-13 for brief strong language, some violence, sexual content, and thematic elements

An indie hit from 2009, That Evening Sun is a perfect caricature of east Tennessee and one of legendary actor Hal Holbrook’s finest performances. Based on a short story by William Gay, That Evening Sun follows Abner Meecham, an old famer who runs away from his old folks home to find his house being rented to the family of Lonzo Choat, a trashy-drunk. When Choat refuses to move out and Meecham refuses to return to the home, a battle of wills begins over the Tennessee farm. First time director Scott Teems (a professing Christian) gives the film a beautiful, literary pace. He also saturates the film with eastern Tennessee culture. Shot in Knoxville, the dialogue, accents, landscape, sets, props, costuming, and even cinematography all capture the culture so well, you can almost feel the Tennessee heat, hear the chatter of the insects, and smell the cheap beer on Choat’s breath.

The acting enforces this: Holbrook’s Meecham is a career performance, but Ray McKinnon’s Choat is also great. Perhaps it was the depth that Teems gives to the characters that allowed them to excel. Although on opposing sides, Meecham and Choat are similar characters, both are fighting others’ expectations, their own inadequacies, and the personal bitterness of their lives. In essence, their looking for redemption. And, without giving anything away, I can tell you this: That Evening Sun is simply that; a redemptive film.

Archive Analysis: "Master and Commander"

Zach's Favorite Film #4

Master and Commander:
The Far Side of the World

Directed by: Peter Weir
Starring: Russel Crowe, Paul Bettany, James D'Arcy
Rated: PG-13 for intense battle sequences, related images, and brief language

The best films are the one’s you can watch multiple times and, each time, walk away appreciating and enjoying different aspects of the film. Peter Weir’s classic Master and Commander certainly fits that description. The story, which follows a British Man-O-War’s attempt to capture a mightier French frigate, is fine enough, but Weir gives us more than just the plot. We’re given an entire cast of deep and interesting characters, most of all Captain Jack Aubrey (Russell Crowe) and Dr. Stephen Maturin (Paul Bettany.) Weir also spends plenty of time simply building the environment and lifestyle of an 1800s Man-O-War. Whether it’s a scene or a simple shot, there is time and effort in the details that capture the culture, dialogue, work, technology, and music of it’s time period. This is enhanced by Russell Boyd’s cinematography, as well as Lee Smith’s Academy Award-winning editing. There is little wonder why the film was nominated for ten Academy Awards; it’s simply that masterful of a film.

Just look at this frame: you could hang it on your wall.

Archive Analysis: "Gladiator" and "Magnolia"

Zach's Favorite Film #5

Gladiator

Directed by: Ridley Scott
Starring: Russel Crowe, Joaquin Phoenix, Djimon Hounsou, Connie Nielsen
Rated: R for intense, graphic combat
When watching Gladiator for the first time, I remember my jaw hanging open practically the entire two-and-a-half hour run time. I never experienced anything like it before: the high-octane fight scenes, the visual recreation of the Roman empire, the rapid montages of Pietro Scalia, the wonderful performances of Russel Crowe, Djimon Hounsou and the late Oliver Reed, and, especially, the musical score of Hans Zimmer. Although some of these aspects don't hold the same draw as they once did, there is still the boy in me that loves Gladiator, a very simple, formulaic story, filled with glitz, excitement, and action that makes it original and enjoyable. While the messages of honor over revenge and being selfless in life are rather minor, at the least one can walk away from Gladiator with a re-ignited imagination toward the Roman Empire. For me, Gladiator reminds me of why I love the epic genre and allows me to watch a film with eyes sparkling and imagination soaring.

Magnolia

Directed by: Paul Thomas Anderson
Starring: Tom Cruise, Julianne Moore, Philip Seymour Hoffman,
William H. Macy, John C. Reilly,
Rated: R for strong language, drug use, sexuality and some violence

When considering the greatest theistic (almost Christian) films, one probably wouldn't expect to find P.T. Anderson's Magnolia on the list. After all, it has some of the most offensive content in ANY film I've seen, littered with profanities, gross sexual dialogue, and continual drug use. However, no film parallels the gospel more than Magnolia, including most Christian films I've seen. What separates it from other films is it's honest depiction of man's depravity: it's simply nauseating. Each character, while understandable, has specific flaws and, by the end, we've seen the full spectrum. Anderson depicts mankind as lost, confused, disgusting, and wicked, ruining not only their lives, but the lives of others, as well. All the while, Anderson has compassion and pity on them; the characters need saving, from the chauvinistic, sexually driven Frank T.J. Mackey (an fantastic Tom Cruise), to the dying absent father, to his unfaithful and ashamed wife (Julianne Moore), to the just cop (John C. Reilly) who can't live up to his own standards, all are fallen.
While many films depict humanity as such, Anderson actually deals with this; he doesn't have the individuals fix their problems, help each other out, or even find some ulterior meaning or stability in life. It takes a divine, supernatural act to redeem mankind, to turn the stone heart of Frank T.J. Mackey, to save the life of a confused man, to teach the just cop about forgiveness. And that's what Anderson gives us, something so unbelievable, it's supernatural. It's not coincidence, Anderson says; it's something more. Redemption from the heavens, that saves mankind from themselves. Magnolia is not a film for everyone, but does point people toward the right direction, to the only hope we as humanity have.

Archive Analysis: "Memento" and "Mission: Impossible 3"

Zach's Favorite Film #6

Memento

Directed by: Chris Nolan
Starring: Guy Pearce, Carrie-Anne Moss, Joe Pantoliano
Rated: R for violence, language, and some drug content

How would one live if he couldn’t remember what happened five minutes before? This is what the Chris Nolan (Dark Knight, Prestige, Inception) film Memento deals with; how does your memory shape the meaning and perception of your life. The film (which has some incredibly foul language - beware) follows Leonard (a fabulous Guy Pearce), a man who suffers from extreme short-term memory loss. In order to remember daily details (people, places, things), Leonard take photos, write notes, and tattoo facts of anything he should remember. However, Leonard isn’t only interested in just living life, he is tracking down the person who not only caused his injury, but who also murdered his wife. It’s like a Sherlock Holmes mystery, only the protagonist can’t remember the clues he’s already discovered. In order to simulate this and make us feel what Leonard is going through, Nolan cuts the chronology of the events, moving the story backwards and forwards simultaneously until the climax of the movie connects the two stories together in the end (or middle chronologically) of the movie. Confusing? Absolutely, but more so genius. Nolan defines creativity, giving us an interesting story, interesting storytelling, and interesting themes, as well. Without spoiling the ending, Leonard is a man motivated, not by revenge, justice, or any other virtue, but by meaning. At the end, he says that he has to believe that his actions “still have meaning, even if I can’t remember them.” What keeps Leonard (and most of existential America) going is the notion that we must have meaning for our actions, even if it’s self-determined meaning. Nolan wisely, however, depicts that meaning as falling short for all it’s characters, including Leonard. While not necessarily giving us the biblical alternative, at least the discussion is raised; memory, as important as it is, is something we can do without. Meaning isn’t, and Leonard doesn’t need photos or tattoos to understand that. It’s what makes him human.

And, for fun, here's one of my favorite lines from Memento:

Mission: Impossible 3

Directed by: J.J. Abrams
Starring: Tom Cruise, Phillip Seymour Hoffman, Michelle Monaghan
Rated: PG-13 for intense sequences of frenetic violence and menace, disturbing images, and some sensuality.

J.J. Abrams (creator of Lost and the new Star Trek film) has a way of pointing old franchises in the right direction. The third Mission: Impossible film is a great example. While the first film was hardly anything close to being great, the second one (directed by action-junkie John Woo) was just plain ridiculous, giving us more explosions than a Michael Bay film and more impossibilities than we have time to note. Abrams returns the action to some form of reality, without losing the action and excitement that Woo tried to add. He gives us emotional ties to the story (such as the heart-stopping opening scene), a vivid range of colors, some great heist-like scenes, and even one of the best villains I’ve seen in an action movie in a long time, played by Phillip Seymour Hoffman. While certainly far from being a perfect film (or even completely believable) M:I3 is a fun movie, relatively clean, and you don’t have to lose your sense of reality or your film reputation to say it.

Movie Review: "The Girl with the Dragon Tattoo" (Swedish Film)

The Girl with the Dragon Tattoo
(Swedish Film)

Directed by: Niels Arden Oplev
Starring: Michael Nyqvist, Noomi Rapace
Rated: R for disturbing violent content including rape, grisly images, sexual material, nudity and language

An old proverb says “two wrongs never make a right.” Obviously Stieg Larsson never read that proverb, or else his novel (and the subsequent movie adaptation) The Girl with the Dragon Tattoo would have been drastically different. This book, the first in his posthumous series, has taken the world by storm, already been converted into a Swedish film, and has led to an American adaptation, which is to be directed by David Fincher. The Swedish film (which was recently released on DVD here) is a brutally harsh and grim look at the world and how depraved mankind can fall. It follows Mikael Blomkvist (Michael Nyqvist) a reporter who has fallen from grace, who is hired to investigate a murder, even though it took place more than forty years earlier. To do this, Mikael teams up with the pierced and tattooed punk Lisbeth Salander (an excellent performance by Noomi Rapace) a fascinating female character, who is one of the best researchers and hackers in the world, and harbors no love for rapists and murderers. The movie is an exciting, heart-pounding mystery film, filled with plenty of twists and turns. However, it’s so blatantly heavy and harsh, one becomes familiar with their fast-forward button. It’s a heavy rated R film (like Gone Baby Gone or Last King of Scotland) and you can’t push that aside. This isn’t always bad, since (without spoiling anything) the film deals with people who have become enslaved to grotesque and monstrous sins, some of which are problems in today’s world that, I believe, need to be addressed in films and art. However, that doesn’t mean we have to see everything, either.

The film also fails in its response to this evil. Lisbeth has a key moment where, in a discussion with Mikael, says that not everyone is a victim; some people are just evil. A wise sentiment, especially in today’s society where no one is responsible for their actions. However, Lisbeth’s response to that is to make these evil men suffer, outside the law, channeling her own wickedness to hurt, mutilate, and kill them. While one can understand her actions, it’s incredibly hypocritical; she is not a victim, either; she’s a rapist and murderer, too. And, although her victims are individuals who are far more evil than her, it can’t be separated from the fact that what she is doing is wrong. In a movie that depicts such profound, disgusting wickedness, one is left dissatisfied at calling those who are less-evil as heroes; I would rather have someone good.