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.

Movie Review: "Drive"

Drive
Directed by: Nicolas Winding Refn

Starring: Ryan Gosling, Carey Mulligan, Albert Brooks, Bryan Cranston
Rated: R for strong brutal bloody violence, language and some nudity

Emerging with strong accolades from the Cannes Film Festival was the underground thriller Drive, directed by Nicolas Winding Refn, whom has directed some strong international films the past several years before venturing into American made films. Drive is smart thriller, not wasting away on pointless car-chases or action. It’s the type of crime film (and pseudo love story) that sneaks up and surprises you. Gosling’s unnamed character is the pure definition of the new macho movement, while Albert Brooks is a terrifying as they come. The other performances, from Carey Mulligan, Bryan Cranston, and Oscar Issacs are strong, as well. A behind the direction of Winding Refn, the film transcends it’s genre to truly something incredible. Unfortunately, the style of Winding Refn, performance of Gosling, car chase sequences, and brutal, brutal, brutal violence can’t bring any meaning to this story. It’s a good story, one that depicts unconditional love and how it sometimes isn’t even personally rewarding, but this isn’t naturally drawn from the ending. Despite it’s success and quality, Drive flies by without much of a theme or message, leaving you with a great experience but feeling rather empty.