Movie Review: "The Grey"

The Grey

Directed by: Joe Carnahan
Starring: Liam Neeson
Rated: PG-13 for violence/disturbing content including bloody images, and for pervasive language

Warning: this review contains major spoilers of this movie. Read at your own risk.

No matter who you are or where you live, everyone is searching for answers to life’s questions. One of the most stark examples of this is Joe Carnahan’s latest film The Grey, which stars Liam Neeson as John Ottway, who leads a band of survivors of a devastating plane crash across the Alaskan desert back to civilization. During their trek, they must survive man-eating wolves, the harsh Alaskan elements, and the effects of their own worldviews. It’s as brutal as it sounds; beauty is an outcast in this movie; besides the bleak and grainy 16mm film stock, there is little style to the film, which was probably a conscious choice of the director, but still makes it very uninteresting visually. More importantly, the battle of worldviews between the characters ends in a way that is contradictory and confusing.

Towards the end of the film, Liam Neeson's character (who earlier claimed to be an atheist) looks to the heavens and screams at God to reveal the purpose of this senseless world around him, and begs for Him to show him something real. When God is silent, Ottway curses and mumbles that he will do it himself. We are then given a climax of the film, devoid of meaning and connection to the earlier events, which devalues the internal and external plot the characters have been going through. It's one thing to say "life is meaningless" but it's an even darker thing to say "even the search for meaning is purposeless." First off, it never deals with the fact that, if the search is purposeless, why are we searching for it? (As C.S. Lewis explained, our search for purpose proves that there is a need for purpose.) Furthermore, this is contradictory because Neeson (and the film) can't escape the search and plot; Ottway claims he doesn't believe in God yet still cries to the heavens. They claim that life is meaningless, yet they still fight for survival and to find meaning. They even fail to see how the plot of the film shows a purpose-driven and sovereign hand, from their survival of plane wreck to Ottway's failed attempt to commit suicide in the back-story of the film. There is a difference to say "I can't see the purpose" and saying "there is no purpose", but The Grey lumps the two together, which is incredibly unfair. Among it's many other faults, The Grey failed to really think through it's own story; the sovereignty and meaning of life is written in every frame, even if the characters failed to realize it.

Movie Review: "The Brothers Bloom"

The Brothers Bloom

Directed by: Rian Johnson
Starring: Adrien Brody, Mark Ruffalo, Rachel Weisz, Rinko Kikuchi
Rated: PG-13 for violence, some sensuality, and brief strong language

Rian Johnson's follow up to the critically acclaimed film BRICK is the film The Brothers Bloom, a quirky comedic action piece that the closest thing to a cross between a Chris Nolan and Wes Anderson film. The movies follows Bloom (Adrien Brody), a con-man who seemingly wants out, despite the consistent planning of his older brother Stephen (Mark Ruffallo) who loves the thrill of the chase as much as their success. Along with team member Bang Bang (a dynamic performance from Rinko Kikuchi), the brothers set out for one last job, to steal millions from a rich and lonely heiress, Penelope (Rachel Weiss). It starts out simple enough, but the job is so rapid and complex that, once Bloom starts questioning who is really playing who, one becomes lost by the endless possibilities of cons that everything (and everyone) becomes jaded. Is Stephen playing Bloom? Is Penelope playing the Brothers? Is Diamond Dog a good or bad guy? For those confused by Inception, stay away from Bloom. However, despite is confusion, an awkward scene of sensuality, some brief harsh language, an existential worldview, Brothers Bloom is still a funny and original film with a crisp, witty script that has the terrific sentiment that there is "no such thing as an unwritten life," so one should live like they're "telling the best story in the whole world." While The Brothers Bloom may not be his best, one can see great things ahead for director Rian Johnson. And there is no con to that.

Movie Review: "The Hunger Games"

The Hunger Games

Directed by: Gary Ross
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth,
Woody Harrelson, Donald Sutherland, Elizabeth Banks, Stanley Tucci
Rated: PG-13 for intense violent thematic material and disturbing images - all involving teens

The odds were definitely in their favor: after much hype and anticipation, the first adaptation of Suzanne Collins’ popular book series The Hunger Games had one of the highest grossing weekends of all-time, setting a record 155 million dollars in just three days. Technically speaking, Gary Ross’ adaptation is one of the purest examples of modern cinematic style: Tom Stern shoots almost the entire film with handheld close-ups, Stephen Mirrione edits the film together with rapid and harsh jump-cuts, and the minimal score by James Newton Howard pushes the film only when necessary. Academy-award nominee Jennifer Lawrence , who is a rising star in my book, is a perfect choice, as is all the casting (perhaps with the exception of a somewhat dull Lenny Kravitz), while the great Stanley Tucci has the most dynamic performance as Cesar Flickerman, the television host of the games.

The film faithfully follows the novel, which depicts an evil dystopian (and post-religious) society that annually forces 24 teenagers to a life or death survival in a wilderness arena where the elements and contestants try to kill the each other off, as a reminder that they are still under the big government’s rule. The match is broadcasted across the country, and the citizens are forced to watch it. Its like 1984 meets Gladiator with The Truman Show. The plot follows Katniss (Jennifer Lawrence), who volunteers in her younger sister’s place to fight in the Hunger Games. Along the way, she meets Peeta (Josh Hutcherson) the boy chosen to represent her district. Peeta is similar to Katniss in many ways: he is likewise a selfless person and holds human life in high regard, yet Katniss has trouble befriending and trusting him, knowing that they will eventually be enemies in the arena. This psychological instability and life-or-death situations is what drives the story.

Most criticism is of the film’s violence, which is disturbing, both from a physical and psychological standpoint, but this is the point of the film. Unlike the movie Gladiator (where we are given a message on the terrible ramifications of violence as entertainment, but are then entertained by the story’s use of violence) Hunger Games actually condemns violence, both in message and in form. The action and deaths in the arena are never glorious or titillating, though it is still graphic. Be warned, this is not a film for children, and perhaps not even young adults.

While surviving the arena is the external plot, the inner struggle of Katniss and Peeta really give Hunger Games it’s depth; how does (or can) one keep their humanity in an inhumane time and place? What is the value of humanity? Is it like Gale says to Katniss, that killing humans is not so different than killing animals? Or, as Peeta suggests, that there is value to humanity? These are the questions that are raised and, without spoiling the film, Katniss and Peeta’s answers to them show that selflessness and holding humanity and others in high regard is far stronger, braver, and more powerful than any accomplishment one can have on the battlefield.

Movie Review: "Hugo"

Hugo

Directed by: Martin Scorsese
Starring: Asa Butterfield, Chloe Grace Moretz, Ben Kingsley,
Sacha Baron Cohen, Ray Winstone
Rated: PG for mild thematic material, some action/peril and smoking.
Traditionally, Martin Scorsese films are about as far as one can get from being family friendly. Yet the great director and film historian restrains himself to a PG rating and adapted the famous children's book by Brian Selznick into the film Hugo. Scorsese fans won't be disappointed: the film still has the visual style and tone of Scorsese, but this one is far tamers, following the story of an orphan boy who lives in the inner workings of a train-station's clock tower, and how his interaction with an older man in the station restores dignity and redemption to life. Featuring some notable actors (and Scorsese favorites) such as Ben Kingsley, Ray Wintstone, Emily Mortimer, Jude Law, Helen McCrory, and Sasha Baron Cohen (who provides the few sexual innuendos that earn the film it's PG rating), Hugo is still more so a film for adults; it's pretty much a kiss up to the history of filmmaking (specifically special effects mastermind George Meiles), and is pretty slow-paced for a children's movie. But, considering the film's emphasis on the importance and purpose that everyone has, Scorsese's Hugo is as magical, wonderful, and breathtaking for adults as for his target audience, and a great reminder that you are never too old for an adventure.

Movie Review: "Like Crazy"

Like Crazy

Directed by: Drake Doremus
Starring: Anton Yelchin, Felicity Jones, Jennifer Lawrence
Rated: PG-13 for sexual content and brief strong language
The docu-style forbidden love story Like Crazy took me for a spin. Going in to the film, I figured it would be a two-hour modern day story of Romeo and Juliet, but where the immigration laws of Britain and the US replaces Capulets and Montagues. And, for most of the two hour film, that seemed to be the case. But the last scene of the movie brilliantly made up for it's seemingly one-dimensional plot, and fleshed out the theme and characters to depths that both surprised and agreed with me. Felicity Jones, Anton Yelchin, and Jennifer Lawrence all have great talent at such a young age, but their characters in the film are frustratingly foolish. In their search for love, they somehow consistently make dumb decisions that the audience is sure to be frustrated by. If you are looking for a love story, Like Crazy is not for you. But, if you are interested in an honest picture of how quickly love can be confused with obsession, than Like Crazy may be the film you are looking for, or possibly need to see.

Movie Review: "Killer Elite"

Killer Elite

Directed by: Gary McKendry
Starring: Jason Statham, Clive Owen, Robert Deniro
Rated: R for strong violence, language, and some sexuality/nudity

While most Jason Statham films feature car chases, hand to hand combat, and bikini clad women, Killer Elite actually falls more into the action-espionage thriller than that of a cheap action movie. The film revolves around Danny, a former assassin who is forced out of retirement to free his mentor, Hunter (played by Robert Deniro) who was captured after refusing to do a complicated hit on three different English agents. Danny, along with his team, must carry out the hit in order to free Hunter, despite the fact that the agents are being protected by Spike (Clive Owen), a former agent with a chip on his shoulder. While the basic plot is easy to follow, complications arise that would require multiple viewings of the movie in order to fully understand. I'm not sure it's worth that; it's still pretty shallow, the violence and language is pretty harsh, and there is some random sexuality not needed in the film. (Though there are some great fight scenes and car chases, as well.) But not all is bad with Killer Elite; it's better than other films of it's genre, such as the Ridley Scott film Body of Lies, which was more confusing and less rewarding. The 1980s is a fun time period for the movie, which depicts espionage and hit men before the internet and cellphones made everything so accessible and boring. But it's hard to recommend something this harsh that's only ending message is that "hit men are bad people." While differentiating itself from his canon of films, Killer Elite still has the depth of a Jason Statham film.

Movie Review: "Courageous"

Couargeous

Directed by: Alex Kendrick
Starring: Alex Kendrick, Ken Bevel, Ben Davies, Kevin Downes
Rated: PG-13 for some violence and drug content

Following their 2008 hit film Fireproof, the Kendrick brothers’ next fare into Christian film is Courageous, a police/family drama (a first in it’s genre) that deals with masculinity and what it means to be a godly man. While certainly a more ambitious film then Fireproof, Courageous seems to get lost in it’s own good-intentions. The film suffers from two major setbacks. The first is that the Kendricks seemingly have a thousand themes to talk about in this one movie; dealing with the death of a child, not being able to provide for your family, fathering a child out of wedlock, and protecting your daughter’s heart (just to name a few) all our jumbled together under the broad theme of “Biblical masculinity”, which leads them to build the story around these themes, and not vice versa. This makes the film feel “preachy”, as the world calls it, and minimizes the story’s (or perhaps I should stories’) impact. All of the sub-plots of the film could have successfully made their own film, but by crashing them all-together, it comes across as rushed, forced, and illogical, with minimal impact on the audience. The story also lacks realism, such as one scene that depicts a cop’s friend riding in the back of a police car with an arrested gang member. This hardly builds the realism that the message demands.

Secondly, the film is in need of professionals to pick up the gauntlet that their earlier films have set. They could have used some professional writers, editors, cinematographers, and actors to take the story to a higher quality. Instead, the Kendricks seemingly try to do everything themselves. And what they can’t do, they ask their fellow pastors and church members to do. The problem is that they are pastors and church members, not actors. People who are portraying husbands and wives have about as much chemistry as, well, fellow church members. This is really a weakness with the Kendricks’ movies, especially when compared to other films that had Courageous’ budget.

Not all is bad with Courageous; unlike some of their films, I actually agreed with most of the theology in this movie, the film has a preachy-yet-powerful ending, and it has some decent action scenes, but even those raise some questions (like how it is okay to show gun fights and hand-to-hand combat in Christian films, but having the gang members cuss is somehow unacceptable?) I have a lot of respect for the Kendricks and Sherwood church, mainly because they’re actually making movies, but I refuse to hold their films to a lower standard. The Kendricks need to learn that they are pastors and church members trying to be filmmakers, and no amount of money, popularity, or good theology can change that. If they want to be the leaders of Christian film, they need to be courageous enough to take the next step towards professionalism.