Directed by: Michael Hoffman Starring: Helen Mirren, Christopher Plummer, James McAvoy, and Paul Giamatti Rated:R for a scene of sexuality/nudity
According to the movie The Last Station, Leo Tolstoy was even more interesting than I imagined; while considered a great leader in social movements and avoiding pleasures in life, it appears that Tolstoy never (or rarely) practiced what he preached; his idealism never affected his reality.The movie focuses on Valentin (Jame McAvoy), a more devout follower of Tolstoy’s beliefs than Tolstoy, himself.Through his strict obedience, Valentin quickly rises to the position of one of Tolstoy’s (Christopher Plummer) assistants.He suddenly realizes that his position puts him in the middle between the two competing parties in Tolstoy’s life; his friend Vladimir (Paul Giamatti), who is building social change off of Tolstoy’s life and works, and Tolstoy’s wife, Sofya (Helen Mirren), who just wants to live a romantic life with Tolstoy.While the plot takes several twists and turns, putting Valentin in impossible circumstances emotionally, a few things stood out.The first was how confusingly understandable Valentin, Tolstoy, and Sofya were, despite their ever changing positions and characters.They were incredibly relatable in their confusion.They are strong, then suddenly weak.Powerful, then clumsy.Passionate, then tormented.A very real and relatable portrayal of the human experience, we are equally consistent and unreliable.However, the second thing I noticed was how, in the end, they find satisfaction and stability in the love and relationships of others.While there is a certain truth to it, to find satisfaction in the very relationships that caused the problems to begin with seems slight confusing; Sofya is tormented by her relationship with Tolstoy, yet she seems to find peace in turning to him.Perhaps it was alluding to the need of redemption in their relationships, yet it is still confusing to preach a message of how love makes life worth living when it was the center of the problems.Again, there is some truth to it, but I’m afraid the warmth the ending brings may be more so romanticism than reality.The Last Station is good (and a few nudie scenes away from being relatively clean), but one has to wonder if it’s yet another example of Tolstoy’s idealism of love rather than it’s reality.
Directed by: Joel and Ethan Coen Starring: Tommy Lee Jones, Javier Bardem, Josh Brolin, Woody Harrelson Rated: R for strong graphic violence and some language
(This review contains minor spoilers. Discretion is advised.)
The Coen brothers always seem to be wrestling with how we should be living in a world filled with such evil and depravity.Their masterpiece No Country for Old Men is their strongest opinion yet.The movie follows Llewellyn Moss (Josh Brolin) who stumbles across a million dollars in drug money.The original owners hire Anton Chigurh (Javier Bardem) to track down Moss and get the money back, even though Chigurh is currently being hunted by Sheriff Bell (Tommy Lee Jones), an old Texan who is realizing how depraved the world around him is becoming.It becomes a relentless, slow-paced, cat-and-mouse chase that is as frightening as it is thrilling; trust me, it will get your heart racing.Javier Bardem’s chilling performance as the cold-blooded killer earned him an Oscar, which was deserved, as were the other awards for No Country’s screenplay and direction.(And the cinematography could have used a nod, as well.)
Yet, for as good as the movie is, many miss the themes because of the unconventional storytelling.Don’t be fooled: the Coen’s conclusion is what makes the film great.According to them, the world we live in is a difficult, depraved place: both good and evil must suffer in it. (That why neither win or walk away unharmed in the ending.)Where does the Coen's nihilism find it's hope for humanity?In that people have gone through life before us. Not satisfied? Sorry.While this certainly doesn’t bring warm feelings to their audience, at least they have thought through their world, and are being honest.Fortunately, for us, they’re wrong.
Notes on a Scandal
Directed by: Richard Eyre Starring: Judi Dench, Cate Blanchett, Bill Nighy Rated:R for language and some aberrant sexual content
It’s terrifying how far our search for meaning can take us from the truth.It is even more terrifying how our friendships can become a means of obsession and manipulation.This haunting, unrelenting tale of how Barbara (Judi Dench), a lonely teacher, befriends a woman, Sheba (Cate Blanchett), a seemingly happily married woman who harbors a troubling secret.As their relationship grows, it becomes aware that Barbara has no interest in helping Sheba through her sin but, instead, will use it to get what she wants.While the film is spectacular, especially the performances of Dame Judi Dench and Ms. Cate Blanchett, it’s not for everyone; the film has some rather harsh content, and is even more so heavy.Yet, in the end, it made me realize how easy relationships become manipulation in the name of responsibility; do I use my friendships to get something out of them for me, or do I practice a self-sacrificing love in them?A good question to ask, even if it takes a difficult example to get through.
Directed by: Noah Baumbach Starring: Ben Stiller, Greta Gerwig, Rhys Ifans, Jennifer Jason Leigh Rated:R for some strong sexuality, drug use, and language Most indie films are unknown because their style, stars, content, story, and themes are not ones that broad audiences find entertaining. A shame, especially when considering Noah Baumbach's new film Greenberg, which follows deadbeat forty-something Roger Greenberg (a brilliant Ben Stiller) who is house sitting for his brother while "trying to do nothing" with his life. Some will write this movie off because of Stiller's past films, the movie's dry humor, it's the lack of emotions it conjures up, or even it's harsh content (which includes every form of rated R content under the sun - it's mature stuff, here.) However, Greenberg is a film that speaks on themes that many are wrestling with. The main characters, specifically Greenberg, are floating through life, lost by their past failures, high social expectations, the perceptions of others, and misguided by their own broken dreams. Most won't catch why Greenberg stares at the giant inflatable air dancer in the parking lot at the end, missing that, like the dancer (as well as many today), Greenberg is blowing every direction the wind takes him. The question he, as well as Florence (a wonderful Greta Gerwig) and Ivan (Rhys Ifans) must answer is, even when life is difficult, is adulthood just understanding life, or is it taking responsibility for it? A wise distinction that a broad spectrum of people should take to heart.
Directed by: Steve Zaillian Starring: Joe Mantegna, Joan Allen, Ben Kingsley, Laurence Fishburne Rated:PG for thematic elements Out of all the films I love, I don't think any of them has consistently grown on me as much Searching for Bobby Fischer. As a kid, I loved the witty script and inspiring story of chess prodigy Josh Waitzkin, who showed those around him how to love people as much as success. As an adult, I continue to love the story, but I've also come to enjoy the performances by the incredible cast of (now) big name actors and actresses who worked on the project, like Ben Kingsley, Joan Allen, Laura Linney, Laurence Fishburne, and William H. Macy. I also love James Horner's score and Conrad Hall's lovely composition and lighting. But, most of all, I love the innocence and beauty of the story, one that teaches us adults about the wonderful nature of childhood. Though probably considered a kid's movie, Bobby Fischer is one of my favorites, even (or especially) as an adult.
Directed by: Christopher Nolan Starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Cillian Murphy, Ken Watanabe, Marion Cotillard, Michael Caine Rated:PG-13 for sequences of violence and action throughout
As soon as I woke up this morning, I immediately thought of what I had dreamed, and why my subconscious would imply that, while visiting my friend Eric in Japan, I would run into singer/songwriter Matt Wertz…Thanks, Chris Nolan, for messing up how I look at dreams.Thanks a whole lot.
Inception, the newest movie by director Chris Nolan (of Memento/The Prestige/The Dark Knight fame) is his personal dream project, both figuratively and literally.Nolan has been working on this concept for years and, thanks to the success of The Dark Knight, had the studio backing (and funds) to pursue it.The plot is so complex, it would be hard describe within any reasonable amount of time, so let me just say this: it’s about implanting a dream in someone’s mind.(That’s so vague, it barely scratches the surface.)However, if you’re a popcorn munching blockbuster lover, this movie may not be your type: Nolan’s concept is so original and complex, it’s confusing and borders at times on impossible to follow.Yet, somehow through the visuals, Nolan gets us to not only understand what is happening (even if we don’t get all the details in between), but even believe that breaking into one’s subconscious (within a dream, within a dream, within a dream) is actually doable and understandable.
Nolan does this through his incredible crew, a virtual dream team (no pun intended) of filmmakers.Editor Lee Smith (my favorite editor, whom I try to emulate) is in top form, editing five simultaneous levels of reality at once, and not only it making sense, but making it exciting.Cinematographer Wally Pfister, although not quite up to his Dark Knight level, also provides us with some great visuals and shots, especially in floating and turning hotel hallway.While not giving us any recognizable musical themes (and hardly giving us a second of silence), composer Hans Zimmer (another favorite) gives us layered tracks that continue to build the feel and excitement.Nolan (my favorite director), himself, is also in great shape, giving the film a heavy and complex feel without turning dark.(In fact, this may be his lightest film to date.)The only missing component from the team is screenwriter Jonathan Nolan, Chris’ brother.While Chris is a fine storyteller without John, it’s apparent that the wit, skill, and originality of the communication is missing when compared to the projects that they wrote together.No lines stand out, no memorable dialogue, and at times, I felt that Chris could have communicated some of the details even more clearly had John helped.This even plays into the characters: besides giving Tom Hardy a fun and interesting character to play in Eames, everyone else isn’t very interesting.While the terrific cast (including some of my favorites, like Leo DiCaprio, Cillian Murphy, Joseph Gordon-Levitt, and the lovely Marion Cotillard) plays every role relatively well, there isn’t much to elevate with their characters.So, Chris Nolan is mortal.He’s a genius, but still mortal.
Or, perhaps he was too busy getting to the heart of his story rather than working on characters.Like other Nolan films, he seems to be dealing with an overarching question.(For instance, The Prestige asks “what is the value of humanity?”The Dark Knight asks “what is morality?”)Inception is a movie, not about dreams, but about reality.In a dream world where creativity and control are almost limitless, does reality have value?Is it important?Nolan comes to conclusions on this subject that are important for today’s culture: we, like Cobb, live in a world where our projected reality can be controlled and created, from facebook, to photoshop, to online realities like Second Life, it’s becoming more and more difficult to understand the value of reality.In the movie, Cobb discovers that, while out of control and restricted, reality has value because it points to something bigger than ourselves.Unlike our dream world which leaves us dissatisfied, living in a reality with real pain, beauty, emotion, life and death requires faith.(Yes, I saw spiritual undertones in this movie.)This is an important message for those who are living in “dream worlds” of today (like those who believe that having five hundred facebook friends actually MEANS something.)That is why Nolan is such a successful director: because he is not only original, creative, and entertaining, but he also subtly asks questions that the rest of the world is feeling.His dreams look a lot like reality to me, and I certainly enjoy them.
Directed by: Marc Forster Starring: Will Ferrell, Dustin Hoffman, Maggie Gyllenhaal, Emma Thompson Rated:PG-13 for some disturbing images, sexuality, brief language, and nudity
Don’t let appearances deceive you: Marc Forster’s comedy Stranger Than Fiction is not another Will Farrell comedy.Unlike his other films, Stranger Than Fiction is smart, well-written, quirky, deep, and even profound.Ferrell gets to access his acting skills, and actually does quite well.The terrific supporting cast of Hoffman, Gyllenhaal, Hale, and especially Emma Thompson, are all terrific, as well.
But, Stranger Than Fiction’s strength is in it’s originality.When watching it, even if you’ve seen it before, you realize that it’s something you mostly don’t see in movies.From it’s witty script, to the motion graphics, to the sleek production design, it’s a stunning film.And, although it takes it to existential extremes by claim they are the meaning of life, it also makes you appreciate the little pleasures and intricacies of life, like an uneaten danish.A good truth to learn, even if you learn if from a work of fiction
