Archive Analysis: "Lars and the Real Girl" and "Hellboy"

Zach's Favorite Film #11

Lars and the Real Girl

Directed by: Craig Gillespie
Starring: Ryan Gosling, Paul Schneider, Emily Mortimer, Patricia Clarkson
Rated:PG-13 for some sex-related content
Filled with a dry, quirky sense of humor, Lars and the Real Girl is a simple-yet-wonderful tale about compassion, maturity, integrity, and self-sacrificing love. The story follows Lars, an extremely quiet and awkward individual, who breaks out of his mold by pretending a mannequin is his real-life girlfriend, much to the dismay of his brother and sister-in-law. Lars, in his simplicity, is a truly complex character, channeling his fear of the unknown and of true human interaction with the desire to be known and loved by others. Fueled by the fantastic Ryan Gosling as Lars, the movie gets equally great roles from Paul Schneider and Emily Mortimer. Hands down this is the most realistic performances I've seen, and I enjoy every second of them.

And, even though the ending becomes more idealistic than true to life, you can't fault a movie that pictures what a society and church would look like if it had true compassion for others. Even if it's a giant female doll.

Hellboy

Directed by: Guillermo Del Toro
Starring: Ron Perlman, Selma Blair, John Hurt
Rated:PG-13 for Sci-fi action violence and frightening images (I would say border-line R)
There is nothing superhero-like in Guillermo Del Toro's movie Hellboy. While most superhero flicks try to stay in the real world, giving naturalistic powers to individuals striving to be heroic (and almost savior-like), Hellboy gives us a supernatural realm (which, signature of Del Torro, is vividly beautiful and disgusting), spiritual and occultic powers and plots, incredibly disgusting and frightening monsters (especially for it's tame rating), and a "hero" whom seems to have no real loveable qualities, except his incredible revolver. Hellboy strives close enough to spirituality to deepen the plot, but not enough to refine any redeemable spiritual thoughts: God is silent in the movie, requiring Hellboy to determine his own fate. (SPOILER: Though, in the end, he does reject his own potential power and fate in order to save the world; that's good, I guess.) In the end, Hellboy is mostly a forgettable film that has beautiful style contrasted with grisly, frightening characters and confusion towards spirituality.

Archive Analysis: "The Soloist"

Zach's Favorite Film #12

The Soloist

Directed by: Joe Wright
Starring: Jamie Foxx, Robert Downey Jr., Catherine Keener
Rated:PG-13 for thematic elements, some drug use and language
(This review originally appeared on my personal website as well as on facebook.)

Joe Wright’s film adaptation of The Soloist, the true story of how Steve Lopez befriended Nathaniel Ayers Jr., a former Julliard student who became homeless, is nothing less than a triumph of filmmaking. Typical with his other films, Wright seems to capture the themes and emotions of the story more so than the details and specifics of the story. With The Soloist, Wright’s material is rather limited; it is a true story, and doesn’t boast the cinematic qualities that other stories seem to posses. However, Wright plays this issue as a strength, running with the authentically real and subtle power the story can conjure.

Unlike the true story, Lopez (played by Robert Downey Jr., who is back in his true indy form) is a tight-fisted writer, constantly looking for his next story. While his professional life seemingly is successful, Lopez is a train wreck personally, an embittered, divorced man, who seemingly spends his time away from the office in his lonely home. Upon meeting Mr. Ayers, and initially treating him simply as the subject of his next story, Lopez is surprised to by how Ayer’s music seems to free him from his troubles, problems and even living conditions. Music, to Ayers, is the only stability in his crazy and twisted life. This is what draws Lopez to help and befriend Ayers: a desire to make these fleeting seconds a reality. Along the way, Lopez realizes that by embracing humanity as people with value not only betters the lives of others, but his own, as well.

This is the true strength of The Soloist; like Lopez, we are seemingly unaware of our connection and involvement in the story until, again like Lopez, we find ourselves moved and connected with Ayer’s journey. This comes, not only from the powerful script and direction, but from the fine performance of Downey Jr., and the Oscar-worthy performance of Jamie Foxx, who is back in Ray-like form. Foxx transcends Ayers, a man of many quirks, to still being someone we want to emotionally invest in. The artistic brilliance of Joe Wright also added a lot to the story; his bird flythrough LA and musical light show both completely captured the feelings and emotions that he was trying to capture, and the cinematography (especially the final shot of the movie) is as splendid as they come, and the sound work (especially with music and absence of music) is nearly flawless.

Despite it’s many strengths, The Soloist is plagued by a few flaws; the flashback scenes didn’t seem to work for me because, no offense to Mr. Ayers’ life, but I felt it wasn’t necessary and slowed down the film. (Every time it cut to his past, I felt myself thinking “No, go back!”) Another issue was the not-so subtle jab at Christianity by the slightly buffoonish Cello instructor who tells Ayers to simply “pray” in order to overcome his nervousness. I myself cringed at insensitivity of the instructor, and I believe that I heard some audible groans from members of the audience. Not the way I wanted Christianity portrayed.

But maybe Wright’s issue wasn’t as much focused on Christianity’s supposed inabilities as it was on Nathaniel’s need. Sure, I have issues with depicting Christianity as something unable to deal with ones problems, but like medication, psychiatric doctors, and even Steve Lopez, himself, it is made clear that Nathaniel doesn’t need a cure, but a relationship. And, those who see Christianity as some medicine you take during the tough times rather than a relationship do have a wrong and ignorant of Christianity’s true message. Also, The Soloist is littered with interesting spiritual content, like the conversation (and misinterpretation) of grace, as well as the neon sign that glows the first line of Romans 6:23 over Skid Row, the filthiest street of LA. Wright even takes an more potent (and random) jab at Atheism, where Lopez seemingly mocks an Atheist to his face… Perhaps unloving, but rather funny.

Overall, The Soloist is a beautiful work that captures the difficulties of the homeless, the emptiness of loneliness, the power of music, and the redemptive qualities of relationships. Despite its existential world view, The Soloist seems to connect with proper values. And, its subtle realism and power leave you, not with a sense of happiness or fulfillment, but definite sense of hope and compassion.

Movie Review: "Toy Story 3"

Toy Story 3

Directed by: Lee Unkrich
Starring: Tom Hanks, Tim Allen, Joan Cusack
Rated: G (although border-line PG in my opinion)

When watching the original Toy Story movie for the first time, my brother paused the VHS tape half way through the first few minutes and asked “who does Andy and Woody remind you of?” My family, in unison, responded “Zach and Dick Tracy.”

You see, like Andy, I, too, had a beloved toy doll. (Though mine was the Warren Beatty-style Dick Tracy character.) To me, he was every hero, sports figure, and video game character my wild imagination could dream of. And, like Andy, I grew up and Dick Tracy was placed in a (sacred) box in the basement.

Toy Story 3, the final chapter of Pixar’s great trilogy that began with their first feature film back in 1995, now draws to a close fifteen years later. The film’s protagonists, all of which are Andy’s beloved toys, are dealing with Andy moving on to college and leaving his toys behind or, worse, thrown away. Because of it, they, too are trying to move on: this time to Sunside Day Care. Unfortunately for them, it’s not all it’s cracked up to be, and soon our heroes are hatching yet another plan to make it back home, even if it isn’t their home for much longer. Like all great Pixar films, there are twists, turns, laughs, and adventure for the whole family. (Although, at times, even the adults are unsure that the toys will make it.) The addition of Ken to the toy lineup is key, providing plenty of great laughs along the way.

But beyond the plot, Toy Story 3 brings us closure in the best of ways. They recognize that this isn’t a movie about toys, but about relationships. We’ve had fifteen years to fall in love with Woody, Buzz, and the gang, and yet their time and duty with Andy (as with us) is done. It’s a touching reminder that, while relationships may end, it never diminishes their impact or importance. Or, as Randy Newman said, “And as the years go by our friendship will never die... You’ve got a friend in me.”

Movie Review: "The Book of Eli"

The Book of Eli

Directed by: the Hughes Brothers
Starring: Denzel Washington, Gary Oldman, Mila Kunis
Rated: R for brutal violence and language

Out of all the films I’ve seen over the years, none has been quite like The Book of Eli. Not since The Passion of the Christ has a Hollywood film been as explicitly Christian as Eli, yet even The Passion can’t match it for violence and gore. An interesting film, for sure. Eli puts some of the most deeply religious materials in the past ten years in the hands of the Hughes Brothers, directors of the graphic novel From Hell. However, Eli’s plot (although science fiction) is an interesting and entertaining one. After a nuclear holocaust destroys most of the world, a lone traveler named Eli (Denzel Washington) is carrying a book that can transform lives, give people meaning and purpose, and is worth dying for: that’s right, he’s carrying a Bible. The last one in the world, no less. Throughout the movie, Christianity is seen as more than a religion: it’s displayed as truth. (God’s truth, actually.) Only the villain of the story (Gary Oldman) wants to misuse scripture to become a more powerful lord. (Interesting that unbelievers recognize that Scripture can be misused.) The Christianity in Eli is hardly perfect: there isn’t a lot of talk on why or how Scripture brings hope or truth, Eli confesses to God that he is “sorry for the bad things” he’s done without mentioning Christ, and the film also raises up other religions to Christianity’s level at the end, but it’s still pretty impressive, especially in showing the power of God’s protection over Eli, and Eli's desire to know God's word.

For his part, Washington (a professing believer) supposedly added a lot of the Biblical material, himself. Beyond that, his performance is what we expect from him: solid. Gary Oldman is likewise good, even if he’s resembles a grungy-looking John Piper. Mila Kunis is the weak-link in the ensemble, totally outperformed by the others. Unlike her other recent films, she really does try here, but her attempt only makes it more obvious that she is acting, and not living the parts like the other two. She sticks out in most scenes, and it’s honestly hard to move past.

But it isn’t the acting, the Hughes’ comic-book style, or even the ending sequence that puts Return of the King to shame that raises problems for Eli. Ultimately, the failure is it’s violence and gore. Eli is not only in charge of presenting hope to the helpless, but he’s also in charge of slaying those who get in his way. Gore and violence isn’t always wrong or bad, but Eli’s “protection” of the book is reminiscent of graphic novel violence, glorifying the most brutal ways to kill and dismember people. We are supposed to laugh and cheer when heads, hands, and guts are spilled by Eli. For a film to promote Christianity as well as have a testosterone view of violence and gore is more than confusing: it’s slightly hypocritical, and no amount of justification will quite make up for it. While the movie is quick to point out Psalm 59:1 and show Eli’s protection from his enemies, do we really need to see an arrow fly through a rapist’s crotch?

Archive Analysis: "Frost/Nixon" and "Days of Heaven"

Zach's Favorite Film #13
Frost/Nixon

Directed by: Ron Howard
Starring: Frank Langella, Martin Sheen, Sam Rockwell, Kevin Bacon
Rated: R for some language

One would never believe that you could make an entertaining and exciting movie about someone being interviewed, but that is exactly what Peter Morgan’s screenplay for Frost/Nixon is: a boxing match of words. While the contenders (Frank Langella and Martin Sheen) soar on the screen, they are equally complemented by a fine supporting cast (Sam Rockwell, Mathew Macfadyen, and the lovely Rebbecca Hall to list a few). Yet, at its core, Frost/Nixon brings two different people in two different fields, with two distinct styles that, seemingly, share the same objective (or obsession): to return to their former glory. While only one can win, you can’t help but pity both. One of the greatest scripts I’ve ever read, and one of the best movies I’ve ever seen.

Days of Heaven

Directed by: Terrence Malick
Starring: Richard Gere, Sam Shepard, Brooke Adams
Rated: PG (my unofficial reasoning would be: for thematic elements and a scene of violence)

Great poetry is when form becomes as important as the message and emotion conveyed. When details are unveiled by interacting with the material, and not on the nose description. This actually describes Terrence Malick’s style of filmmaking, especially his 1978 classic Days of Heaven. Unlike most films, Days of Heaven gives you imagery and beauty instead of plot details. With breathtaking cinematography (and very little dialogue) we are given a story about how far people will go in order to escape their sorrow and difficulties. And, as Malick warns, spending a few days in heaven don’t make up for a life of tragedy and loss. When considering my favorite poets, I may have to add Terrence Malick to my list.

Movie Review: "The Red Baron"

The Red Baron

Directed by: Nikolai Mullerschon
Starring: Matthias Schweighofer, Lena Headey, Joseph Fiennes
Rated: PG-13 for war violence, some disturbing images, and brief suggestive material

It’s exactly like Flyboys, except with bad accents and an even worse script. Even for a B-film, it’s bad. It strays a lot from history, which is surprising considering how boring of a film it is. Will we ever get a good World War I fighter-pilot movie?

Movie Review: "Wolfman"

Wolfman

Directed by: Joe Johnston
Starring: Benicio Del Torro, Anthony Hopkins, Emily Blunt, Hugo Weaving
Rated: R for bloody horror violence and gore

In the 1940s, the appearnce of Lon Chaney in wolf makeup scared the living day lights out of people. In attempt to remake the film Wolfman, director Joe Johnston turns to a different tactic to startle his audience: gore. The wolfman’s dismemberment of everyone in his sight is grotesque and over the top, but hardly scary. Johnston is so convinced that his tactic will work, however, that he ignores the stale script (“Lawrence, you know me! It’s Gwen!”) and the sad performances by the great cast. Del Torro, who plays the man cursed with turning into a werewolf, is simply the worst. Trying to pass his Latino look and American accent as British is as bad as Charleton Heston playing a Mexican in Touch of Evil. (Why was Del Torro cast? Maybe because he also produced the movie.) One can tell that Del Torro is more comfortable in wolf makeup than in human form, and one can understand why; his human character is a shell, something that fills pages between monster attacks. You feel sorry for him, as well as Emily Blunt, Hugo Weaving (the best in this sorry film) and Anthony Hopkins, who all must have known that their characters and performances will be overshadowed by an enormous amount of blood and guts. In fact, the gore in the film is so over the top, one becomes completely numb to it, which is actually more frightening than the film, itself. At one point during this awful movie, Anthony Hopkins says “you’ve done terrible things, Lawrence.” One could say the same about director Joe Johnston.

Archive Analysis: "The Godfather" films and "Jurassic Park"

Zach's Favorite Film #14

The Godfather (Parts 1-3)

Directed by: Francis Ford Coppola
Starring: Al Pacino, Marlon Brando (Part 1), Robert DeNiro (Part 2), Diane Keaton, Robert Duvall (Parts 1-2)
Rated: R (my unofficial reasoning would be: for violence and language, and also for nudity in Part I)Unlike most people, I view Coppola's Godfather films as a complete trilogy; they all tell one story. While known for its slow pace and heavy violence, few comment on the sheer tragedy of Michael Corleone's rise to power (Part I), the loss of control over his family (Part II) and his demise (Part III) that strips everything away from him. The beauty and sadness of this tale makes it a classic trilogy that you can't refuse.



Jurassic Park
Directed by: Steven Speilberg
Starring: Sam Neil, Jeff Goldblum, Samuel L. Jackson
Rated: PG-13 for intense science fiction terror

As a kid, I dreamed of encountering dinosaurs in my day-to-day life. Perhaps it was because, as a child, I wanted (and wasn't allowed) to watch Jurassic Park. (Probably a good thing, since I used to get pretty terrified by animatronic dinosaurs at museums.) However, at the age of twenty four, I finally got around to watching Speilberg's film that I been waiting a good seventeen years to see. And, let me tell you, it didn't disappoint. Sure, it was ridiculous, from it's shameless promotion of evolution as fact (not surprising) to a kid barely being hurt by 1000-volt electrical shock (which was totally unbelievable). However, for the two hours of dinosaurs chasing people, I threw my film-making standards aside, and became a seven year old again. And I enjoyed it.

Movie Review: "Leap Year"

Leap Year

Directed by: Anand Tucker
Starring: Amy Adams, Matthew Goode
Rated: PG for sensuality and language

It has the makings of your typical romantic comedy, and (unfortunately) the quality of typical romantic comedy. Yet, Leap Year separates itself from the field with three simple strengths. First, it's a relatively clean film. Secondly, we are given Amy Adams and Matthew Goode, who shine through the mediocre script, hinting that, once given solid material, they could truly do some extraordinary work. Yet, it’s the Irish culture and landscape that truly make Leap Year enjoyable; the quaintness and beauty are quite unique, and make you wish the script would have focused more on that then on the typical drab love triangle and jokes that the trailer so violently gave away. (And weren't funny even then.) While certainly not a spectacular film, Leap Year will make you fall in love; either with a significant other or with the country of Ireland.

Archive Analysis: "The Village" and "Lawrence of Arabia"

The Village

Directed by: M. Night Shyamalan
Starring: Jaquin Phoenix, Bryce Dallas Howard, Adrien Brody, William Hurt
Rated: PG-13 for a scene of violence and frightening situations

This review may contain minor spoilers. Read the following at your own risk.

A great misunderstanding is that M. Night Shyamalan makes “scary movies.” While there are certain startling elements in his stories, Shyamalan is more so like Hitchcock then Wes Craven; the jump scenes and spooky twists are just tools in telling his story. So, while most were complaining that they weren’t scared or surprised by The Village, they were missing how great the film truly was: Deakins breath-taking cinematography, Newton Howard’s eerily beautiful score, great performances from Bryce Howard and Adrien Brody, Shyamalan’s creative storytelling (such as not revealing who the main character is until half way through the movie), and the wonderful themes about how sin and suffering doesn’t stem from culture, money or technology, but from humanity. I can’t help but wonder if those who were “so wise” in predicting the twists ever noticed that the bad color in the village ran through the veins of man, or that “those we don’t speak of” were directly linked to sinful actions, mirroring the village's attempt at not discussing sin. Both metaphors of man’s rejection of his own sinfulness are combated by our heroes' selfless love and bravery that is so beautiful, it’s scary.

Lawrence of Arabia

Directed by: David Lean
Starring: Peter O'Toole, Alec Guinness, Anthony Quinn
Rated: PG

While not my favorite of epics, one can’t deny the beauty and intrigue of the classic film Lawrence of Arabia. While it breaks modern conventions of what a movie should be (4 hours long, little action, no love story, or women), Lawrence is a political and adventure story about one of the most controversial and mysterious men in Brittish history. A mysterious-yet-terrific performance by Peter O'Toole seals the greatness of this monumentally successful and wonderful movie.