Movie Review: "The Girl with the Dragon Tattoo"

The Girl with the Dragon Tattoo
Directed by: David Fincher
Starring: Daniel Craig, Rooney Mara, Robin Wright Penn, Christopher Plummer,
Rated: R for brutal violent content including rape and torture, strong sexuality, graphic nudity, and language
From the incredible title sequence of David Fincher's adaptation of The Girl with the Dragon Tattoo, one immediately gets the tone, harshness, and masterful style of the film. Based on Steig Larsson's book and the Swedish film adaptation, this new version of Dragon Tattoo perfectly depicts the story better than the Swedish version; the script is more poignant, the mystery is much easier to understand, the characters are more interesting, the casting is perfect, and the crisp, digital cinematography is more powerfully used. However, it is also much harsher in it's depiction of post-western (or "post-Christian") view of Europe. While the sexuality bordered on non-titillating pornography and it's violence and gore as unflinchingly grotesque, the aspect that concerned me the most was it's lack of a moral code. Fincher's Se7en is brutal and graphic, but it's a morality tale and doesn't glorify it's grotesqueness. His film Fight Club is as harsh as Dragon Tattoo, but it delves just as deep into it's nihilistic philosophy, so it approves and glorifies the violence. Even the Swedish film of Dragon Tattoo forces Lisabeth and Mikael to discuss the morality of it's story, and define that some people are evil. However, Fincher's version lacks any moral contemplation, even when considering it's villains, which leaves the characters and their various sins rather undefined, forces good and evil to be defined by individual perspective, and rendering true justice unanswerable. In the end, no one is good, only because no one asks what it means to be good. Even gender becomes construed, depicting the masculine-like Lisabeth (a terrific Rooney Mara) as emotionally detached from relationships, morality, and life as her masculine counterpart Mikael (Daniel Craig.) While the film is well-done (minus the thirty minute ending) and the depiction of the hopelessness of 21st century Europe is spot-on, there is nothing good in Dragon Tattoo to celebrate; which is exactly what Fincher wanted.

Movie Review: "We Bought a Zoo"

We Bought a Zoo
Directed by: Cameron Crowe
Starring: Matt Damon, Scarlett Johansson, Thomas Hayden Church
Rated: PG for language and some thematic elements

Cameron Crowe's specialty is deep relational drama's that traditionally take you into his masculine-yet-sentimental characters. His latest film, We Bought a Zoo, is a more so family film than his previous efforts have been, but it still fits within his style. Matt Damon plays Benjamin Mee, a widower, who quits his job and moves his two kids to a new home in an attempt to get away from the life and painful memories of their past. However, the home is connected with a closed and rundown Zoo, and having his family and the few staff still there re-open the Zoo is the external plot of the film. While Matt Damon gels perfectly in the "soccer dad" role, the film can never really figure out exactly what it is trying to be, or perhaps tries to be too many things. This makes for an extremely cluttered climax of the film, where everything seemingly has to find resolution, and you can never tell exactly what storyline is propelling the film. There are also some campy and ridiculous moments that feel more out of place considering the deeply human tone of the film, particularly the cartoonish Zoo inspector, who seems more like a villain from some Disney channel tv show rather than a Cameron Crowe film. Also thought that the "un-socialized homeschooler", played by Elle Fanning, was a little over-the-top, but perhaps that is my homeschool bias coming out. Perhaps the most unsavory element of the movie was the fact that this PG-rated film had 4 uses of the "s-word" and a handful of other profanities, which, I felt, made it inappropriate for some of the young children in attendance. It's certainly not a Pixar-rated PG film, and I would argue not even a family-friendly film. Despite it all, We Bought a Zoo is a heartwarming movie, thanks to the performance of Matt Damon, the adorable character of Rosie (Maggie Elizabeth Jones), music from Sigur Ros frontman Jonsi, and the human element that, surprisingly, puts animals and people in their proper place. As Benjamin's brother wonderfully puts it "I like the animals, but I love the humans."

Movie Review: "The Descendants"

The Descendants
Directed by: Alexander Payne
Starring: George Clooney, Shailene Woodley, Amara Miller
Rated: R for language including some sexual referencesPerhaps the most unassuming of critically acclaimed films this year is Alexander Payne’s The Descendants, a dark comedy that lacks any real flare but is deeply personal and internal. The film is really more of a character study of Matt King (a brilliant George Clooney), who despite living in the paradise of Hawaii is in the midst of a personal hell; his wife, whom he is currently at odds with, is not only in a coma after a brief boating accident, but was also evidently having an affair. The physical, psychological, and emotional toll this turn of events takes on Clooney is actually the plot of the film; he struggles to figure out how to respond to it all, as well as trying to figure out how to raise his daughters, the eldest of whom knows about her mother's infidelity. As cruel as this may sound, it is truly fascinating to see King and his daughter Alexandra (an Oscar-worthy performance from Shailene Woodley) balance this teeter-totter of emotions towards their wife/mother that at one moment demand sympathy for her and then anger and betrayal at the next. It’s not only believable, but something we start to empathize with; we want Matt’s wife to wake up so they can work things out as much as to have her see the grief that her choices have caused. But, it is through this subtle connection with him that Payne works his magic, making the brilliant ending as emotional for us as it is for the King family. The Descendants may not be paradise, but it is as close to perfect as they come.

Movie Review: "Sherlock Holmes: A Game of Shadows"

Sherlock Holmes:
A Game of Shadows
Directed by: Guy Ritchie
Starring: Robert Downey Jr., Jude Law, Noomi Rapace, Rachel McAdams
Rated: PG-13 for intense sequences of action, and some drug material
Following the groundwork set in 2009's Sherlock Holmes film, Guy Ritchie expands his interpretation-turned-reinvention of Arthur Conan Doyle's famous detective with his sequel: Sherlock Holmes: A Game of Shadows. It's yet another fun film from Ritchie, with plenty of crazy visuals and enough action to easily fill it's 2 hour run time. However, the charm of the previous movie is somewhat gone, mainly because the mysterious and quirky character of Sherlock is replaced with the plot of this rapid movie, which hardly has time to explain itself, nevertheless explorer the characters involved. Sherlock has no time to play the violin, nor Watson to be the voice of reason, and we don't even seem to care about Noomi Rapace's character, whom we are evidently supposed to care about despite not giving us time to connect. Because of it, the story, action, and visuals, which are more impressive than the first film, leave less of an impact than it's predecessor. Interestingly enough, Ritchie also abandons the detective motiff almost altogether and, and the film is spent more like a Bond-film, where Sherlock is trying to figure out the master villain's plan rather than solve the perplexing puzzle given at the beginning of the story. Despite the talents of the ever-great Guy Ritchie and Robert Downey Jr., Game of Shadows is a fun and unique movie (with another terrific score by the legendary Hans Zimmer) but a mere shadow of the first film of the franchise.

Movie Review: "Mission Impossible - Ghost Protocol"

Mission: Impossible
- Ghost Protocol
Directed by: Brad Bird
Starring: Tom Cruise, Jeremy Renner, Paula Patton, Simon Pegg
Rated: PG-13 for sequences of intense action and violence

After about 15 years of looking for a formula to differentiate the series from James Bond and Jason Bourne, Tom Cruise's Mission: Impossible finally finds a sense of style and tone that is not only different from other films, but makes it the best in the series. Although the previous movie, M:I 3, was a moderate success that re-ignited the franchise, it is far past by this latest installment, Mission: Impossible - Ghost Protocol. At the helm for the first time with a live-action film is famous Pixar director Brad Bird, who succeeds in keeping the action and story always moving forward. Whether on an internal or external plot, there is never a slow or dull moment in the film. More important, he and DP Robert Elswitt choreograph the shots in a way that add to the adventure of the story, especially when Tom Cruise's character is climbing along the outside of the Burj Khalifa, the tallest building in the world. The sequence was shot in such a way that, even though I have no fear of heights, my palms were sweating and I was experiencing extreme vertigo. But perhaps Ghost Protocol's greatest contribution to the series was expanding Cruise's team to a higher importance. Much like the television show before it, the team of agents William Brandt (Jeremy Renner, the heir-apparent of the series), Jane Carter (Paula Patton) and Benji Dunn (once again, a humorous but not ridiculous Simon Pegg) all share a significant amount of time and development during the movie that gives it a fresh and far more interesting plot than the previous films in the series, simply because we get to explore other agents beside Cruise's Ethan Hunt, who after 4 movies we've gotten to know pretty well. Add that to that mind-bending technological devises, wonderfully action-packed fight scenes, and just enough humor to keep the film lighter than Bourne or the newer Bond's, and you have not only the best, most exciting film of the series, but possibly of the year.

Movie Review: "Our Idiot Brother"

Our Idiot Brother
Directed by: Jesse Peretz
Starring: Paul Rudd, Elizabeth Banks, Emily Mortimer, Zooey Deschanel
Rated: R for sexual content including nudity and language throughout

It is hard to get to the diagnose what exactly went wrong with the film Our Idiot Brother, which had the potential to hit that indie dark-comedy feel that has been the key for several good films. It has a funny and interesting protagonist in Ned (Paul Rudd), a loveable-yet-stupid slacker, almost as if The Dude from Big Lebowski were more like a loveable teddy bear. Because of a recent jail stint, Ned is left crashing at his various sisters’ houses over the course of a few weeks. While helping Ned find a permanent home should have been the external goal and changing his siblings’ lives for the better in the process should have been the internal goal, we are left with a smattering of R-rated subject matter and external plot points that are hard to follow, extremely offensive, and add absolutely nothing to the story. These moments leave the audience confused and wondering if the movie is trying to be moving or funny. It’s neither; it’s just infuriating. Then, in the end, Ned’s love of life somehow fixes everyone’s issues, which is mind-boggling since a lack of love wasn’t what got them in to theirs problems. Worst of all, the cast of fairly popular actors and actresses (Emily Mortimer, Elizabeth Banks, Zooey Deschanel, Rashida Jones, Steve Coogan, and Hugh Dancy) are all terrible, practically playing themselves rather than some other character, which definitely doesn’t add to the believability of the plot or story. With the exception of Paul Rudd’s performance, there is nothing redeemable about this movie. This film isn’t about an idiot brother, but an idiotic cast and crew who somehow thought this movie was going to be worth the 90 minutes audiences spent watching it.

My Favorite Christmas Movies: "The Muppet Christmas Carol"

Zach's Favorite 10 Christmas Movies:
Movie #1

The Muppet Christmas Carol
Directed by: Brian Henson
Starring: Michael Caine
Rated: G

Charles Dickens' masterpiece “A Christmas Carol” has had many adaptations over the years, and major actors and actresses have played it’s famous characters. But to me, the story is synonymous with Jim Henson’s Muppet cast thanks to Brian Henson’s movie The Muppet Christmas Carol. While nostalgia certainly plays a part in this (my family watched this movie in theaters on it’s release back in 1992, and has watched it every year since), I still feel that, objectively, this film stands apart from others. To begin, Michael Caine is the best Scrooge ever on-screen, simply because his transformation is so understandable; he is stoic and cold at the beginning, then pained by his past, cheered by his present, frightened by his future, and is grateful at the end. And to give that great of a performance opposite stuffed puppets is truly remarkable. Plus, the Muppets just seem to capture the enjoyment of the season and the music truly uplifts the soul. Some previous adaptations are so dark, you can understand Scrooge’s coldness. With the Muppets, you are pulled in to this season of frivolity and holiday cheer. And, although missing the connection with Christ (like Dickens' novel also did), it encourages us to see the camaraderie of the Christmas season and recommending that “every night will end and every day will start with a grateful prayer and a thankful heart.”

My Favorite Christmas Movies: "Love Actually"

Zach's Favorite 10 Christmas Movies:
Movie #2

Love Actually
Directed by: Richard Curtis
Starring: Hugh Grant, Bill Nighy, Liam Neeson, Colin Firth, Laura Linney, Emma Thompson, Alan Rickman, Keira Knightley, Martin Freeman
Rated: R for sexuality, nudity and language

Upon it's release, the film Love Actually was heralded as the "ultimate romantic comedy." Little did they know that it would become one of the most beloved and respected romantic comedies, as well as Christmas films, of it's decade. This is certainly not a blanket justification of the movie's content; it’s not suitable for all audiences, and some things for any audiences. However, the film is a splendid take on what we already understand about love, all with a wonderful, enjoyable, heart-warming backdrop of the Christmas season. Through this film (which stars some of my favorite actors and actresses, including Liam Neeson, Colin Firth, Emma Thompson, Alan Rickman, Bill Nighy, Hugh Grant, Keira Knightley, among others) we walk away with a deeper understanding of love and all the warm-fuzzies it brings. Love is beyond political or social status, beyond nationalities, beyond age, beyond friendships, beyond sex, beyond infidelity, beyond selfishness, beyond understanding, and, my favorite storyline, beyond communication. (The Portuguese proposal at the end may be the best proposal ever in a movie.) However, the film doesn't just caught up in romantic love; from friendships to blood relatives, love is explored throughout every frame of this wonderful story. "To love" is a way of life and it affects everyone around us. While this movie will be far too offensive for most, I find that Love Actually touches hearts in ways unlike any other modern rom-com. And, to quote film’s opening scene, it makes us aware of how "love actually is all around."

My Favorite Christmas Movies: "Joyeux Noel"

Zach's Favorite 10 Christmas Movies:
Movie #3

Joyeux Noel

Directed by: Christian Carlon

Starring: Diane Kruger, Guillaume Canet, Daniel Bruhl, Gary Lewis
Rated: PG-13 on appeal for some war violence and a brief scene of sexuality/nudity
When it comes to celebrating the humanity and peace that the Christmas season can bring, nothing quite depicts it as well as the foreign film Joyeux Noel (Merry Christmas), an Oscar-nominated film that brilliantly depicts how a group of Germans, Frenchmen, and Scotsmen laid down their arms to celebrate Christmas together in the midst of World War I. Starring some terrific foreign actors and actresses, such as French star Guillaume Canet (Last Night), and German performers Diane Kruger (National Treasure films) and Daniel Bruhl (Inglourious Basterds), Joyeux Noel successfully avoids the rights and wrongs of war and simply embraces the universal humanity of it’s participants. Themes of forgiveness, selflessness, and the brotherhood of man are always characteristic of Christmas movies, but this film seems to capture it in ways that we, who have never sat in the hopeless trenches of France, may never fully understand. While never specifically addressing that we are made in God’s image, the film certainly depicts the wonder and preciousness of humanity and how that should never be lost, even in the midst of war.

My Favorite Christmas Movies: "Die Hard"

Zach's Favorite 10 Christmas Movies:
Movie #4

Die Hard

Directed by: John McTiernan

Starring: Bruce Willis, Bonnie Bedelia, Alan Rickman
Rated: R for graphic bloody violence and language throughout, and for some sexuality/nudity and brief drug use

Don't let the body count and bullets fool you; Die Hard is an excellent holiday movie. Sure, it has the explosions, violence, and suspense of an action movie, but that is not what this movie is about. Like many great holiday films, it's about a relationship on the rocks; Bruce Willis is John McClaine, a NYPD cop who visits his wife, who moved to LA after a big promotion. The distance and position has put a strain on their relationship, and it takes a crazy Christmas party turned hostage situation to bring them back together. Plus, you get witty one-liners, some great action, Alan Rickman playing a villain, and the famous broken glass scene, all packed in to one holiday thriller. "Now I have a machine gun. Ho-ho-ho!"

My Favorite Christmas Movies: "It's a Wonderful Life"

Zach's Favorite 10 Christmas Movies:
Movie #5

It's a Wonderful Life

Directed by: Frank Capra

Starring: Jimmy Stewart, Donna Reed, Lionel Barrymore
Rated: PG for thematic elements, smoking, and brief violence
Frank Capra's famous film It's A Wonderful Life really isn't as wonderful a people may think; it was a box office disaster when released and is only popular because television stations took advantage of the movie's failure to renew the copyright back in the 1970s. It also takes far too long (half the movie) to set up the plot. Despite it, there is something simple about it that warms our hearts and reminds us of how wonderful and powerful a simple life can be. Jimmy Stewart has had some great roles during his career, but this is my personal favorite; he transcends the story's faults and makes the movie work, just from opening up his character so we can see his many joys and failures. While it may miss the biblical reasoning for valuing life, this typical "Capra Corn" film (the nickname given to Capra's idealistic movies) has withstood the test of time simply because of it's timeless connection with humanity and the holidays.

My Favorite Christmas Movies: "Home Alone"

Zach's Favorite 10 Christmas Movies:
Movie #6

Home Alone

Directed by: Chris Columbus

Starring: Macaulay Culkin, Joe Pesci, Daniel Stern, John Candy
Rated: PG

The comedic family comedy Home Alone really is that, something for the whole family. The slapstick comedy is timeless, the script witty, the characters unique, the traps Kevin sets are brilliantly fun, and its bursting with Christmas nostalgia. Add that to small themes about redemption with one's family, and you have one outrageously fun family comedy for the Christmas season.

My Favorite Christmas Movies: "A Charlie Brown Christmas"

Zach's Favorite 10 Christmas Movies:
Movie #7

A Charlie Brown Christmas

Directed by: Bill Melendez

Starring: Peter Robins, Bill Melendez
Rated: TV-G

One of the most classic of all Christmas films, A Charlie Brown Christmas was not only cutting edge for it's time, but may have the best message of all Christmas films. Like his comic-strip Peanuts, Charles Shultz infuses this animated-movie with children facing adult-like problems. Despite his young age, Charlie Brown goes to a psychiatrist for depression and is sickened by the commercialism of Christmas. These aren't your normal childhood problems, but perhaps Shultz was as concerned with communicating with his adult audience as much as with the kids. And, in the end, he points to the true meaning behind the season; the incarnation of Christ. This is what we celebrate and what defeats the depression of the holidays. And what better way to depict that than a pathetic, unloved tree Charlie Brown chooses that, in the end, is transformed into a beautiful tree that signifies the Christmas season.

My Favorite Christmas Movies: "White Christmas"

Zach's Favorite 10 Christmas Movies:
Movie #8

White Christmas

Directed by: Michael Curtiz

Starring: Bing Crosby, Danny Kaye, Rosemary Clooney
Rated: Approved

Despite the 3-strip technicolor look, the film White Christmas feels more like a broadway musical than a play, having a very theatrical story structure and, of course, musical numbers that seemingly replace important dialogue. While I normally don't care for films like this, White Christmas has a certain nostalgia and romanticism towards Christmas that is hard to dismiss. Reminiscent of his film Casablanca, director Michael Curtiz is terrific at boiling down the grandiose events of the film to relate on an intimately personal scale without straying too far into cliches. The film is far from perfect; the two sisters don't even look like distant cousins and Bing Crosby is about as old and boring of a protagonist as one can find. However, Danny Kaye fills in his comedic side kick-roll well, the music is fun, and the whole military storyline really connects, even if you don't care if the two bachelor's find love with their showbiz partners.

My Favorite Christmas Movies: "The Nightmare Before Christmas"

Zach's Favorite 10 Christmas Movies:
Movie #9

Tim Burton's
The Nightmare Before Christmas

Directed by: Henry Selick

Starring: Danny Elfman, Catherine O'Hara, Chris Sarandon
Rated: PG for some scary images

Although Tim Burton's claymation feature may not always provoke the feelings of merriment and fellowship that traditional Christmas movies evoke, it's hard not to include this movie on the list, even if you only look at the technical aspect of the film. To think Burton made this before a real understanding of digital technology and computer animation, this movie is simply astounding. Plus, you have the musical pieces written (and performed) by Danny Elfman that are almost as good as anything Andrew Lloyd Webber wrote for Broadway; they're truly some of the best songs written for any movie, nevertheless a Christmas film. And if you can get through all of Burton's dark imagery, you can even spot some of the holiday spirit that makes a good Christmas movie. You just have to see it from the eyes of Tim Burton.

My Favorite Christmas Movies: "Will Vinton's Claymation Christmas Special"

In honor of Christmas, over the next month I'll be reviewing my 10 favorite Christmas movies of all time. To kick it off, I'm going to list my favorite Christmas TV special, which technically doesn't qualifiy as a movie.

Zach's Favorite 10 Christmas Movies:
#10 (which isn't really a movie)

A Claymation Christmas
Celebration Special
Directed by: Will Vinton
Release Date: 1987

Growing up, my favorite Christmas video was claymation-extrodinaire Will Vinton’s collection of Christmas Carols sung (or played) by his claymation (or visual effects) creatures and creations. The effects are really fantastic and the characters are just great, especially the hosts Rex and Herb. Plus, it's just a simply little TV special that is fun to watch. It totally reminds me of my childhood, and I still laugh at a few jokes, even as an adult. You can watch the whole thing on youtube, and one of my favorite songs here:

Movie Review: "The Muppets"

The Muppets

Directed by: James Bobin

Starring: Jason Segal, Amy Adams, Chris Cooper, Jack Black
Rated: PG for some mild rude humor
On some level, most of American culture has some connection with the Muppets; whether it’s their television show, their tv specials, their movies, or even their Christmas album, most people have at least one nostalgic memory of the Jim Henson’s iconic puppets. Obviously, producer/actor Jason Segal would agree, because that’s exactly what his new Muppet movie is; one funny and incredibly nostalgic look at the beloved characters, though it thankfully strays away from becoming too sentimental. The terrific style of the film comes from the direction of James Bobin, director of the Ali G Show and the hit HBO series Flight of the Conchords. Bobin also got one of the Conchords’ members, Bret McKenzie (of Lord of the Rings fame) to compose the terrific musical numbers, infusing the Muppets’ slapstick humor with their own quick satirical brand. Because of it, The Muppets doesn’t feel like the Muppet movies we’ve seen in the past, or even the characters from the past films. But, perhaps that’s what makes this new film work so well; it reminds us of those good times rather than trying to recreate them. Thanks to the humor of the story, the parody of the genre (“maniacal laugh”), the outrageous wit of McKenize, the brilliant direction of Bobin, a ton of cameo appearances, and a story that reminds us of the good old days, The Muppets may be the most “sensational, inspirational, celebrational, muppentational” movie of the holidays.

Movie Review: "Margin Call"

Margin Call

Directed by: J.C. Chandor

Starring: Kevin Spacey, Jeremy Irons, Paul Bettany,
Demi Moore, Zachary Quinto, Simon Baker, Stanley Tucci
Rated: R for language

The critically acclaimed, low budget film Margin Call, written and directed by J.C. Chandler, doesn't tell some great narrative or depict a historical character; it simply puts a somewhat fictitious face to the people who began the great mortgage and financial crisis of 2008. The movie follows key players within a financial firm during the 24-hour time frame that they discover that their company is built on a house of cards that is about to topple. As the word is spread through the chain of command, characters reveal, not necessarily why thy got into this mess, but more how they'll get out and how they justified doing so. One of the key moments is when the head of the sales floor, played by Kevin Spacey, asks the company's CEO, played by a brilliant Jeremy Irons, if he understands what he is about to do. Irons retorts back with the same question. "I'm telling, you this is it. This is it," he exclaims, emphasizing how ethics fly out the window when you come to the end of the race. Although we as the bourgeois act as if we don't understand this mentality, we are really no different; when faced with particular problems, human nature resorts to selfish survival tactics that throw ethics to the dogs. Margin Call may have not been much in terms of a story; it's slick editing and quick dialog is sure to lose those whom aren't too familiar with market terminology. It does boast a terrific cast which includes Kevin Spacey, Jeremy Irons, Demi Moore, Zachary Quinto, Stanley Tucci, Paul Bettany, and a bone-chilling Simon Baker. And while it certainly brings to light the beginnings of the financial crisis, it more so depicts the essence of human nature and how, when one elevates oneself over society, ethics become amoral.

Movie Review: "J Edgar"

J Edgar

Directed by: Clint Eastwood

Starring: Leonardo DiCaprio, Armie Hammer, Naomi Watts, Judi Dench
Rated: R for brief strong language

Perhaps the most powerful and controversial figure of the past 100 years, one would expect a biopic on FBI founder J Edgar Hoover to live up to it's potential. Despite it's all-star cast and crew, the new Clint Eastwood film J Edgar is a simple disappointment. Writer Dustin Lance Black, who wrote the biopic Milk, once again wrote a boisterous piece that follows a man's life instead of the overarching story the propelled him to greatness; despite seeing the story unfold before us, we never really know what the story is about. (Also, he allows his protagonist to once again break into poetic narrations that doesn't match his character's dialogue the rest of the film.) Because of it, J Edgar doesn't feel very emotional or interesting because we never know where it's trying to go, and the two-hour plus run time feels like an eternity. Unlike Milk, Black's weak script isn't saved by the directing; Gus Van Sant gave Milk such a strong sense of style and creativity that is completely missing in Eastwood's biopic; this movie lacks nostalgia, feels very dark, bleak, and dreary, yet without reason. DiCaprio tries to elevate the script by delivering a solid performance, but it only serves as a reminder of how he excelled in truly great films like The Aviator, Revolutionary Road, and Blood Diamond. Naomi Watts and Judi Dench give solid performances as well, but the rest of the cast fall prey to Eastwood's inability to truly direct actors. Armie Hammer lacks subtlety and Jeffrey Donovan's Robert Kennedy seems like he is reading the lines straight from cue cards with a cruddy New England accent. Perhaps these nuances could have been solved had Eastwood and Black known exactly where J Edgar was going, but it seems that neither really understood the mysterious Hoover, causing them to this detached and amoral portrayal of his life, which leaves the audience very unemotional and confused. While subtlety can be an effective tool, a theme requires some interpretation of the message, yet J Edgar gives us neither interpretation or message. What are we supposed to think of the great investigator, initiator, self-assured, cross-dressing, timid bully who practically ruled America for over sixty years? It seems that, even with Eastwood and Black simply giving us the "facts" without interpretation, he seems more a mystery now then ever.

Movie Review: "Immortals"

Immortals

Directed by: Tarsem Singh

Starring: Henry Cavill, Frida Pinto, Mickey Rourke, Luke Evans
Rated: R for sequences of bloody violence, and a scene of sexuality

Acclaimed director Tarsem Singh’s new film Immortals will be unjustly compared to Zack Snyder’s 300. Despite the obvious similarities, Immortals is very different; the world he depicts is global, mixing other European, Indian, and Asiatic cultures together rather just setting it in ancient Greece. He also spends more time on the characters and allows the visuals to help tell the story rather than just look cool. He even depicts the spiritual realm and the importance of faith despite a naturalistic world not understanding it, which is the exact opposite theme of Snyder’s 300. In the end, none of this really matters; the faith storyline is contradicted with scenes of violence and sexuality, the story is cliché, the character are not interesting, and whatever themes the story tries to convey are lost in the midst of the massive body count. As visionary as Tarsem may be, Immortals is a pretty lifeless film.

Movie Review: "Hanna"

Hanna

Directed by: Joe Wright

Starring: Saoirse Ronan, Cate Blanchett, Eric Bana, Tom Hollander
Rated: PG-13 for intense sequences of violence and action, some sexual material, and language

Whenever he decided to helm the child-assassin thriller Hanna, most of his loyal fans (myself included) thought it was an odd choice. For a filmmaker who has flourished on artistic human dramas (including The Soloist, Pride and Prejudice, and Atonement), it was a shock to go to a genre that traditionally doesn’t deal with deep human emotions and artistic detail. Despite the genre switch, Wright’s cinematic brilliance comes through again, and the film is one of the most unique action thrillers I’ve seen. The color, settings, characterizations, cinematography, and soundtrack is mesmerizing, almost as if you are watching a CIA fairy tale. Even the actors, from the young and isolated Hanna (Saoirse Ronan), to the sinister-yet-dentally -concerned Merissa Wiegler (Cate Blanchett), to her perverted henchman (Tom Hollander, a regular in Joe Wright films), the acting is extraordinary. And yet, as incredible as it may appear, the quality is wasted on a product that is both unemotional and says very little. For a film as interesting and unique as Joe Wright’s Hanna is, you would expect it to mature into something great. In the end, Hanna’s story remains childish and silly at best.

Movie Review: "Limitless"

Limitless

Directed by: Neil Burger

Starring: Bradley Cooper, Robert DeNiro, Abbie Cornish
Rated: PG-13 for thematic material including a drug, violence including disturbing images, sexuality and language.

Medication can often do some incredible things; heal diseases, alter conditions, and, according to the movie Limitless, evidently make you the perfect man. The Neil Burger directed film has the opportunity to tell a low-budget, B-rated, Faustian-like tale where a black-market medication turns a loser into a perfect man; he becomes smart, likeable, wealth, and ambitious. But the side effects, including paranoia, addiction, health ramifications, and the loss of control of one’s self, comes with a high price tag. Unfortunately, the film not only embraces a happy ending which, thanks to the drug, is free of consequences (such as murdering a woman) but embraces a purely naturalistic view of life. While there is a portion of physical talent needed to succeed in some aspects of life, it downplays if not ignores the roles that will, determination, and providence play. (For instance, look at what handicapped people, such as FDR, were able to accomplish despite their situation.) To think that physical/mental ability somehow plays a role in those factors is a completely limited view of life and what’s valuable. So much for the title.

Archive Analysis: "Good Will Hunting"

Good Will Hunting

Directed by: Gus Van Sant

Starring: Matt Damon, Robin Williams, Ben Affleck, Minnie Driver
Rated:R for some strong language, including sex-related dialogue

Gus Van Sant’s 1997 drama Good Will Hunting (written by actors Matt Damon and Ben Affleck) is a very human film; the plot is no deeper than the character of Will Hunting (Matt Damon), a twenty-something genius who is living the life of a hoodlum in downtown Boston. Once the discovery is made that Will is brilliant, people begin to try to help move beyond his circumstances and live up to his potential, only to discover that Will doesn’t want that. He shoots down his girlfriend’s (Minnie Driver) confession of love, he outsmarts his professor (Stellan Skargard), and even mentally breaks his councilor, Sean McGuire (Robin Willaims). However, through the unconditional love of these characters show him, especially Sean and Will’s hoodlum friend Chuckie (Ben Affleck), we learn that Will’s rejections of these opportunities and relationships are really a defense mechanism to keep him in the world where he is comfortable and safe. Outside of that, he believes the world is a scary and difficult place, and will eventually hurt him. It is and will, but what he discovers at the end is how, through truly living life, the world can also become a mesmerizing and wonderful experience that can lead to something truly profound. What isn’t wonderful or profound is the offensive language and dialogue in the movie, leaving me to suggest caution to anyone interested in the film.

Movie Review: "Paranormal Activity 3"

Paranormal Activity 3

Directed by: Ariel Shulman and Henry Joost

Starring: Christopher Nicolas Smith, Lauren Bittner
Rated: R for some violence, language, brief sexuality and drug use

Horror films are the scariest when the medium works in building the anticipation and dread of the story. Filmmakers Ariel Shulman and Henry Joost (from the brilliant documentary Catfish) understand how to use their medium to build that suspense near perfectly in their new movie Paranormal Activity 3, despite having to adopt the plot points and style of the series. Although this was my first in the Paranormal series, it evidently is the prequel for the first two films, telling about how the main characters of the previous two films were first introduced to their “imaginary friend.” It also succeeds in being a legitimately scary movie, though it does include a ridiculous amount of jump scenes. It doesn’t rely on any gore (though it does have some violent images), too much sexual content (in comparison to other horror films) or even grotesque and disturbing imagery. (The docu-style does lead the characters to use some harsh language, though.) Despite having a mediocre story, there are brilliant and horrifying moments in the film, especially thanks to a camera rig that the main character uses, placing his home video camera on an oscillating fan. We become accustom to the pace of the ever panning camera, and it becomes torturous; we feel safer when we know where the ghost is at all times, but the ever slow and rhythmic pan toward or away from the ghost is just too much for us to handle. We know it or something will be waiting at the end of each pan, but the 5 seconds it takes to get back to it is just terrifying. Add that to the hand-held climatic ending that is pretty horrific, and you have one spooky film for the Halloween season.

Movie Review: "Harry Potter: Deathly Hallows Part 2"

Harry Potter:
And The Deathly Hallows Part 2

Directed by: David Yates

Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, a ton of other famous British Actors and Actresses
Rated: PG-13 for some sequences of intense action violence and frightening images

I've never been attached to the films surrounding Harry Potter and the magical realm of Hogwarts. The previous films were formulaic children's fantasy stories mixed with teenage love drama suited for high schoolers. While the latest films broke the mold some, Harry Potter and the Deathly Hallows: Part 2 was not only an excellent film, but may have elevated the series past mediocrity. For the first time in the series, the film carried some emotional weight and application that was absent in the previous films. Much like the adaptation of Return of the King, Part 2 finds a way to be a non-stop adventure film while also remaining the emotional core of the series. The scene where Harry, surrounded by his past loved ones, sacrifices himself for his friends is emotionally moving, and his resurrection and return to defeat Voldemort is a picture of the Gospel. The series has always boasted a cast of British finest actors and actress (which are too numerous to list here), but two performances specifically shine in the second part ; Ralph Fiennes' depiction of the arch villain Voldemort is a strong and elegant depiction of the Satan-like character, while the always reserved and sly "villain" Serous Snape (Alan Rickman) in a series of flashback scenes fills the gaps in Harry's story which not only allow Rickman to give a fleshed out performance that deserves him an Oscar nomination, but also shows how his character, since the first film, has been following a selfless ploy to help betray and defeat Voldemort. His sacrifice, as well as Harry's and the others, points not personal gain or a sense of greater good, but to follow a demand to do simply what is right. As Neville defiantly tells Voldemort, when all hope seems to be lost, that he and his friends will not die in vain. "But you will," he says, "because you're wrong." Perhaps the books are better and perhaps it isn't worth the 16-plus hours to get to this film. However, the final installment of Harry Potter does capture the importance of self-sacrifice and bravery in the face of reckless evil. For that, it is a magical experience.

Movie Review: "Insidious"

Insidious

Directed by: James Wan

Starring: Patrick Wilson, Rose Byrne
Rated: PG-13 for thematic material, violence, terror and frightening images, and brief strong language

The first half of the suspense-horror film Insidious is brilliantly terrifying; a haunted house tale with a twist. Long shots build the tension with punctuation of sheer terror and suspense. It's chilling and scary. Then, in an odd twist, the film embraces ridiculous "creepy" imagery that breaks with the realism of the film, a demon that resembles Darth Maul, and some comic relief characters almost straight from Ghost Busters. The connection with the audience is broken and Insidious' second half is so disappointing, it's scary.

Movie Review: "Ides of March"

Ides of March

Directed by: George Clooney

Starring: Ryan Gosling, George Clooney, Phillip Seymour Hoffman,
Paul Giamatti, Evan Rachel Wood, Marisa Tomei
Rated: R for pervasive language

Naivety is one of the most damaging traits a human can have, but in politics it’s a sure death. Few films recognize this as George Clooney’s new political drama Ides of March, which features an all-star cast of Ryan Gosling, Phillip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, Marissa Tomei, Jeffrey Wright, and Clooney, himself. While the film, based off of Beau Willimon’s play “Farragut North”, still features Clooney’s ever politically liberal base, this movie focuses more on what goes on behind a campaign rather than in front of it. Probably the best trait of the film is how it destroys the naïve bubble of political integrity without fully settling into the pessimism that grips most blue-collar Americans today. The message is clear: while we need people of integrity and honesty, politics is politics, and no savior figure is ever the exception to that rule. Gosling and Wood’s characters learn this lesson, that there is no saving grace in the political world and, because of it, the game of politics is ruthless to the lives of those involved. Clooney wisely chose the title Ides of March named after the day that Julius Caesar was betrayed by the other Roman politicians. In essence: in order to survive politics, you must be the ruthless politician willing to stab others in the back. While the film boasts terrific performances from it’s cast (with the slight exception of a somewhat stale Evan Rachel Wood), it’s hard to find the film entertaining, exciting, or even enjoyable. The realism of the political world’s fakery is just too frightening.

Archive Analysis: "Meet Joe Black"

Meet Joe Black

Directed by: Martin Brest

Starring: Brad Pitt, Anthony Hopkins, Claire Forlani
Rated: PG-13 for an accident scene, some sexuality, and brief strong language

The Martin Brest film Meet Joe Black is a misleading title. The film certainly centers on Joe Black, the incognito name of Death (Brad Pitt) who spends time with an elderly man, William Parish, during the final days of his life in order to grasp what living is all about, but Joe Black's innocent and clueless character almost single-handly ruins the film. Thankfully, his subject is played by Anthony Hopkins, who connects the story with it’s audience by his sheer grace and understanding of the character. The wealthy and intelligent Parish who is silently preparing for his death is far more interesting. The film is also slow and is overloaded with themes, but it’s still emotionally moving. Perhaps it’s the work of the story, or it’s romanticized naturalistic view of life after death (or lack thereof). Either way, it’s wonderful to see Hopkins’ character reconnecting with his family and friends, righting old wrongs, and freely showing the love he possessed, silently knowing his time is almost up. It may be worth having to watch all the “Joe Black” scenes in between.

Archive Analysis: "Treasure Island"

Treasure Island

Directed by: Fraser Clark Heston

Starring: Charleton Heston, Christian Bale, Oliver Reed, Christopher Lee
Rated: Not Rated (unofficial rating would be PG-13 for adventure violence and some language)

Nothing quite captures the adventure of Robert Louis Stevenson’s book Treasure Island quite like the 1990 Turner Classic adaptation starring Charleton Heston and a teenage Christian Bale. While the movie is far from outstanding, is does capture the sense of adventure that swash-buckling film should. And it’s also fun to see the iconic Heston in such a villainous role, or the young Christian Bale at the dawn of his career. Add that to the fine score by the Celtic band The Chieftains, and you get a fine adventure film that is as exciting as it is fun.

Movie Review: "Moneyball"

Moneyball

Directed by: Bennet Miller

Starring: Brad Pitt, Jonah Hill, Phillip Seymour Hoffman, Scott Pratt
Rated: PG-13 for some strong language.

After years in production hell, Brad Pitt finally got to release his version of Michael Lewis’ book Moneyball. While the film has undergone several different directors, writers, stars, and distributors, Brad Pitt has been in it the long-hall, even calling possible investors when the film lost it’s funding several years back. His work paid off: Moneyball is an engaging film, one of Pitt’s finest yet most subtle performances, and kick-starts the 2011 Oscar season. The story follows Billy Beane (Pitt), a former baseball bust, who is now the general manager of a low-market team, the Oakland Athletics. After some success, Beane seems to always lose his players to larger market teams. To counter, Beane turns from traditional baseball theory to the statistical analysis of Peter Brand (Jonah Hill), much to the dismay of his team’s manager Art Howe (Philip Seymour Hoffman). Much in the way Fincher’s The Social Network wasn’t about Facebook, Moneyball isn’t really about baseball. Sure there’s numerous players and jargon that the diehard baseball fans (like myself) will enjoy, but the story is more about how obsession can lead you to greatness even if you’re too blind to see it (yet there is more resolution in the end.) While Beane’s determination to not fail is certainly the flagship of the film, others are fighting similar demons; the catcher who can no longer throw, the veteran who is losing his talent, the pitcher who no one believes in, even Peter Brand’s theories that everyone rejects. Like the game of baseball, failure in life is inevitable. It’s how we handle or see the light through that failure that the film wants to deal with. Behind the brilliant direction of Bennet Miller and writing of Steven Zaillian and Aaron Sorkin, Moneyball is a solid film that captures the beauty of baseball, the inner workings of organized sports, the fight against traditionalism, and more than just an accurate picture of a sport; it’s an accurate picture of life.