Without a Press Pass

The Netflix Files: February 6-12

2012-02-13T16:11:00.000-08:00

Mona Lisa (1986) dir. Neil Jordan

Neil Jordan is one of those directors whose films I really want to like, yet something always gets in the way, usually the pacing. Sadly, Mona Lisa is no exception, though it certainly has its strengths. Bob Hoskins gives a strong performance as a man slowly (very slowly) dragged into the seedy underbelly of London, and his chemistry with Cathy Tyson makes the film worth sticking with. It also features some nicely handled tense sequences, and the film's one big blow up of violence is quite effective in its simplicity. Mona Lisa isn't striving to be a crime epic; the nature of its story is small, even though the consequences can be severe. Unfortunately, Jordan's pacing isn't on the same level of consistency as the performances, and as such it's easy for one's mind to wander in the first hour, which becomes repetitive after a while. A noble effort with strong parts that ultimately add up to a whole that isn't quite all there.

Grade: B/B-

Trainspotting (1996) dir. Danny Boyle

Long before Danny Boyle was filling the screen with zombies or taking us through the streets of Mumbai, he made a little movie about drug addiction that catapulted him into the limelight, and for good reason. It's got Boyle's signature all over it, which helps keep the often dour plot from becoming unrepentant misery porn. There are even a few moments of black comedy that work nicely to punctuate the unsettling subject matter. Yet when Boyle wants to make the film hit hard, he does so masterfully. In what is easily the film's best scene, we see Renton (the wonderful Ewan McGregor) going into withdrawal in his childhood bedroom. Boyle pulls out all of the surreal stops here, and the longer the sequence goes on, the more powerful it becomes. Even though smaller characters don't feel as well-rounded as Renton does, Boyle captures the lower middle class druggie lifestyle with such skill that it does little to hamper the film's impact. Pair this with a screening of Requiem for a Dream, and you'll never even think about doing meth or cocaine for quite some time.

Grade: B+/A-

Reboot Central: "The Amazing Spiderman" and "The Bourne Legacy" Trailers

2012-02-09T16:28:00.000-08:00

When Sony first announced that it would scrap Spiderman 4 in favor of a series reboot, I thought it was one of the dumbest big studio decisions in quite some time. Spiderman 3 wasn't exactly, er, good, but it wasn't bad enough to kill the Raimi-helmed franchise. Sony continued with the plan, and after months of on-set photos and a brief teaser (featuring some bizarre first person footage), a proper trailer has arrived, and it's pretty solid all around. I have to admit, I really like this more sarcastic, humorous Peter Parker/Spiderman; not all heroes need to brood and sulk in existential crisis 24/7. And as much as I love this cast and the inclusion of the Lizard (Rhys Ifans) as a villain, there's a certain punch that's missing from the action shots. Part of this is likely due to the fact that the film is still in post-production, where additional sound mixing and VFX work will be done. Even so, what we're given here looks like more of the same, and still brings up that initial question: why do we need to start this story over, despite the different characters? While I'm glad that the trailer doesn't focus on the origin story part of the film, part of the result is that it simply wishes that Raimi had been given the chance to make another good Spidey film, one free of the studio meddling that sank Spiderman 3 (critically/fan-wise, at least).

Trailer Grade: B

Also being given a major make over: the Bourne franchise. No, Jeremy Renner isn't the new Jason Bourne, but his character - Aaron Cross - is part of the same story. In fact, many characters, including those played by Albert Finney, David Strathairn, and Joan Allen, are all back along with new faces like Edward Norton and Rachel Weisz. Though the trailer itself doesn't have as much footage, I like how this one pulls out its reveal gradually, and builds an intriguing set up: Jason Bourne's story was only the beginning. So even though Damon and director Paul Greengrass are gone, the smart and talented Tony Gilroy (who wrote the first three Bourne films along with writing and directing Michael Clayton) is a comforting replacement in the director's chair. Renner is another plus, a strong actor who can be the character actor or the leading man (or both), as well as a convincing thinking man's action hero.

Trailer Grade: A-

Review: "The Woman in Black"

2012-02-05T13:17:00.001-08:00

There may not be any wands in The Woman in Black, James Watkins' take on the classic British ghost story, but there's plenty of supernatural elements to fill that void. So even Daniel Radcliffe's Harry Potter days are finally behind him, and the actor has certainly grown quite a bit. Yet despite Radcliffe's maturation and earnest efforts, Watkins' film fails to generate much in the way of suspense or scares.

Opening with a quietly unsettling set of deaths, followed by hazy close-ups of a husband and wife exchanging their wedding rings, the story proper begins with Arthur Kipps, now a widower, leaving behind his young son to settle the accounts of a old house out on an island. Upon his arrival, he slowly gets to know the various townsfolk, who all seem more than a little chilly towards the great manor on the island. Eventually Kipps finds himself the object of suspicion and hostility, driving him further into his work to discover the mystery behind the titular woman in black.

What follows is a disappointingly amateurish ghost story, filled with both predictable story arcs and predictable scares. You may not what exactly is going to go 'bang' at a specific moment, but you'll see whatever it is coming from a mile away. So even though the production design is quite handsome and there's some nice photography, a consistent atmosphere never develops. It's a series of BOO! moments that sometimes work, and sometimes fall flat. And with such thinly drawn characters, the film's lackluster success rate with its scares only becomes more problematic. After a certain point, you'll likely get tired of the film's build-ups to the next spooky happening, because Watkins makes it so painfully obvious. This is a film designed to get jumps out of people, rather than instill a compelling sense of chilling horror.

Add to this the massive cop-out of an ending, and what you're left with is nothing more than a cheap shell of a ghost story. Radcliffe is trying, and the material suits him quite nicely. The problem is that there simply isn't enough for him to work with. Ciaran Hinds is wasted in a purely functional role, while Janet McTeer has some fun with her character's loony, warped mind. Ultimately, though, all they've been given are scraps. Obviously, the film's purpose isn't to act as a character study, but here the characters really are just audience stand-ins meant to navigate us from one scare to the next. Compare this to say, The Others, which featured its fair share of jumps along with some strong performances, and the whole thing simply pales in comparison. And while that film's ending, which utilized back-to-back twists with hugely effective results, resonated, here the conclusion feels forced, and doesn't feel strongly connected to the main plot. It's just a contrived way to pass off a strange sort of happily ever after scenario, and it comes across as awkward and unconvincing. And those two adjectives, as it turns out, sum up the film as a whole all too well.

Grade: C

The Month in Review: January 2012

2012-02-02T18:04:00.000-08:00

Best Film (Theaters):
Tinker Tailor Soldier Spy

Despite considerable obstacles and a (very) deliberate pace, Tomas Alfredson's adaptation of Le Carre's spy classic is a triumph, through and through. The ensemble is stellar, the production values outstanding (how did AMPAS pass this over for Art Direction?), and the film's slow burn builds to an understated, yet hugely satisfying conclusion.

Best Film (DVD/Streaming): Farewell My Concubine

Its scope is massive, yet this never detracts from what is, ultimately, a very human story. Kaige Chen's film masterfully covers decades of Chinese history in addition to the lives of the three main characters, and makes it all seem easy.

Best Direction:
Tomas Alfredson - Tinker Tailor Soldier Spy

His pacing is steady, yet he knows how to up the story's intrigue with a brilliant sense of timing. The dinginess and darkness of Cold War-era London comes to life thanks to his smart, sticky visuals. In a story with so much information to dispense, he helps it all flow together with expert craftsmanship.

Best Male Performance:Peyman Moadi - A Separation

As the only definitive lead in Farhadi's film, it's up to Moadi to more or less carry the whole film, and he does it impeccably. Whether he's verbally sparring with his wife in one of the many high-voltage dialogue exchanges, or quietly reigning in his frustration and sadness, he delivers in spades.

Best Female Performance:
Laura Linney - You Can Count on Me

The performance that earned Laura Linney her first Oscar nomination is also one of her very best. As Samantha, Linney's mix of confusion, tenderness, and anger all flow together to create a beautiful, authentic character. In a film filled with strong individual parts, Linney still manages to stand out as the highlight.

Best Ensemble Cast:
Tinker Tailor Soldier Spy

It's a film where even the smallest roles have key importance to the narrative, and despite some limited screen time, even the small roles make their marks. Everyone ranging from Kathy Burke's Connie Sachs to more prominent figures like characters played by Gary Oldman and Mark Strong deliver top-flight performances, working beautifully in-sync, whether they're sharing the screen or not.

Best Screenplay:
A Separation by Asghar Farhadi

What's immediately apparent from the opening scene of Farhadi's film is that the man knows how to write a good argument. And given all of the conflicts present in A Separation, that skill gets put to good use over the course of the film's two hours. Though the characters' logic can seem strange or archaic at times, the truth of Farhadi's writing still comes through. The verbal battles keep your eyes glued to the screen, as do the occasional moments of silence.

Best Cinematography:
Changwei Gu - Farewell My Concubine

Gu was faced with a big challenge in DP-ing Chen's sprawling film, yet his efforts paid off beautifully. Six decades of history come together under his fluid, roving camera movements and soft, hazy lighting. It's precisely this photography that allows for the film to achieve its strong mix of narrative broadness and emotional intimacy.

The Netflix Files: January 23-29

2012-01-30T12:11:00.000-08:00

Farewell, My Concubine (1993) dir. Kaige Chen

It may span an butt-numbing 171 minutes, but thankfully Kaige Chen's acclaimed cross-over hit earns every minute. This is a big film that tells a big story, starting in 1924 and ending in 1977, yet no time or period feels short-changed. For a film to cover the life of one character is impressive. Chen's film covers three. Filled with memorable characters, excellent performances (including a very young Gong Li), and stunning production values, Chen's film smartly navigates the expansive timeline, grounding each period of Chinese history just enough to make sure that it all sticks. At times the characters can feel a bit like they're being maneuvered and manipulated to achieve somewhat mechanical dramatic ends, but the overall achievement is more than worth a look, because it works as a character drama, a romance, and a big slice of complicated Chinese history, all while remaining coherent.

Grade: B+/A-

You Can Count on Me (2000) dir. Kenneth Lonergan

It took a distressingly long time for Lonergan's second film, Margaret, to hit theaters, only to be seen by virtually no one. After taking a look at his directorial debut, it really seems like a shame, because if You Can Count on Me is any indication, Lonergan is one of the most promising directors out there. Filled with moments of tenders, anger, cruelty, and joy, the writer/director's exploration of family ties between a divorcee (Laura Linney) and her unreliable brother (Mark Ruffalo) has an undeniably authentic feel to it the whole way through. Linney and Ruffalo have an instant brother-sister chemistry from their first appearance together, and the way the film gives both characters their fair share of examination creates the feeling that you know these people inside and outside. The only element that feels off is Matthew Broderick as Linney's new boss, though this has more to do with the actor's performance than Lonergan's writing. He's the one part of the film that doesn't feel entirely authentic, although ultimately it's easy to ignore, particularly when scenes like Linney and Ruffalo's parting-of-ways comes along and emotionally wrecks you.

Grade: B+

Sherlock: Season 1 (2010) created by Mark Gatiss & Steven Moffat

The setting may be thoroughly modern, but Gatiss and Moffat's (best known as the current show runner of Doctor Who) modern adaptation of Sir Arthur Conan Doyle's Sherlock Holmes novels is a delightfully executed slice of TV that makes you beg for more after each episode (which is a problem, since each season is only 3 episodes). With each episode lasting roughly 90 minutes, Gatiss and Moffat straddle a fine line between serialized TV narrative and TV movie/mini-series, which gives the series a richer, more epic feeling. Case in point, the first episode, "A Study in Pink," which acts as a perfectly self-contained story all while establishing Holmes (Benedict Cumberbatch) and Watson (Martin Freeman) in the show's modern-day London setting. Yet even though Moffat brings a certain amount of appeal to the series, it's watching the spectacularly-voiced Cumberbatch and Freeman play off of each other that's truly a joy to watch. Cumberbatch's Holmes is driven to the point of insensitivity, prone to arrogance in his quest to analyze and get to the bottom of things. Watching the actor recite detailed breakdowns of crime scenes, combined with the flashy close-ups and edits, is as riveting as any number of big setpieces in recent blockbusters. Freeman's more mellow, "every day" nature brings a nice touch to Watson. He's not a doofus, but he's a "normal" smart guy who still has to contend with the seemingly god-like analytical capabilities of his crime-solving partner. So even though episodes 2 and 3 (mostly 2) aren't quite as effective as "A Study in Pink," the actors and general execution make the show worth keeping up with. Now to get onto season 2 so I can see the much-buzzed-about finale...

Grade: B+

State of the Race: The Guild Awards

2012-01-30T11:48:00.001-08:00

With last night's SAG awards out of the way, the Oscar race is finally becoming a little clearer. After months and months of uncertainty, clear frontrunners are emerging, and the race is really taking shape. That said, there's still room for a few surprises on Oscar night, which is always welcome. Which is even more impressive now that Hollywood's three big guilds have handed out their awards for 2011. No matter how many critics prizes a film takes, in the end its industry support that matters. Look no further than The Social Network/The King's Speech for a classic example of a critical favorite eventually trumped by a film that hit it off big time with the industry. And in a year where so much is uncertain, we can at least try to speculate where AMPAS' votes will go, though unlike last year nothing is quite set in stone.

Best Picture

Frontrunner: The Artist

The Help may have picked up the SAG's top prize, but that's for ensemble, not picture (though SAG sometimes votes as if it is). Both the PGA and the DGA have gone to The Artist, which has emerged from the field of 9 contenders as the one with the best chance. The Descendants, Hugo, The Help, and even The Tree of Life all have their ardent supporters, but ultimately, this is The Artist's to lose.

Best Director

Frontrunner: Michel Hazanvicius - The Artist

The film certainly stands out among the crowd as a modern-day silent, and seeing as AMPAS generally tends to lump picture and director together, expect Hazanvicius to be swept along with his film.

Best Actor

Frontrunner: George Clooney - The Descendants

Though his loss last night to Dujardin was a blow to his momentum, Clooney remains the logical pick for the win, even though Dujardin is rapidly closing in on his lead. Clearly the actors love him, and the industry seems to love The Artist, so Dujardin could ultimately prove victorious. At the moment, however, Clooney's golden boy status could still be enough to keep him in first place.

Best Actress

Frontrunner: Viola Davis - The Help

Had Meryl Streep won the SAG award last night, I would have been ready to declare her third Oscar win all sewn up. But SAG went with Davis, whose film is clearly much more popular. Streep may have claimed the Globe, but Davis has the more popular film and the SAG momentum on her side.

Best Supporting Actor

Frontrunner: Christopher Plummer - Beginners

Probably the acting race's only lock, and he's only emerged recently. With back-to-back wins from the Globes and SAG, and the complete drop-out of Albert Brooks' campaign, Plummer is poised for an easy (though still very deserved) victory.

Best Supporting Actress

Frontrunner: Octavia Spencer - The Help

Though she's not quite the lock that Plummer is, she's pretty damn close. There's still room for co-star Jessica Chastain to sneak in and win here, but ultimately her nomination will prove to be her reward for her break-out year. Not a sure thing, but at the end of the day, this is Spencer's to lose.

That's all for now. More to come after the BAFTA awards next month, and then a final round of predictions just before Oscar night. We're almost at the end!

The Best of 2011 - Part 2 [The Favorites]

2012-01-24T18:15:00.001-08:00

Now that those crazy Oscar nominations are out of the way, I've decided that it's time to dole out my favorites from 2011. As such, this is where I get to put out what would have been my Oscar ballot, including my #1's from the year. It hasn't exactly been easy, but here are my picks for the major categories, along with a few fun "special" categories:

The Best of 2011

Best Picture

A Separation

Beginners

Certified Copy

Drive

Shame

Take Shelter

The Artist

The Tree of Life

Tinker Tailor Soldier Spy

Weekend

It says something great about last year when Jeff Nichols' psychological thriller stands among the more "normal" of my favorites. It may not have The Tree of Life's epic, sprawling nature, or Drive's existential-art-house action flair, but at the end of the day, Nichols' sophomore effort took my breath away with its slow-burning narrative, first rate performances, and an ending that still makes me apprehensive when I see dark clouds.

Best Director

Tomas Alfredson, Tinker Tailor Soldier Spy

Terrence Malick, The Tree of Life

Steve McQueen, Shame

Jeff Nichols, Take Shelter

Nicholas Winding-Refn, Drive

Right from the moment "Nightcall" starts playing over the soundtrack and those hot pink credits start rolling, you know you're in good hands. Ryan Gosling may have been this film's selling point, but the true star is the man behind the camera. In a year of truly staggering directorial achievements, it was hard enough to pick a favorite, but I have to go with Refn's work by the slimmest of margins. How often do you see a movie that has marks of existentialism while also oozing sexiness and cool?

Best Actor

Jean Dujardin, The Artist

Michael Fassbender, Shame

Ewan McGregor, Beginners

Peyman Moadi, A Separation

Gary Oldman, Tinker Tailor Soldier Spy

Michael Shannon, Take Shelter

If making a Top 10 was tough for 2011, narrowing down favorite performances was even more painstaking. As such, I've expanded acting categories to 6, to accommodate one more worthy performance. A shame, then, that I still feel like I'm neglecting so many performances. At the end of the day, however, I'd be hard-pressed to give this to someone other than Michael Shannon. The actor's depiction of confusion, despair, and even full-blown madness is a force to be reckoned with, and is a big part of why Nichols' film hits as hard as it does.

Best Actress

Juliette Binoche, Certified Copy

Olivia Colman, Tyrannosaur

Viola Davis, The Help

Elizabeth Olsen, Martha Marcy May Marlene

Tilda Swinton, We Need to Talk About Kevin

Jeong-Hie Yun, Poetry

That I'm neglecting Charlize Theron and the ladies of Melancholia should be a clear enough indicator as to how incredibly strong this year was for leading roles for women. And while all of these performances are excellent, it's Olivia Colman's work in Tyrannosaur that has stuck with me the most (you were close, Juliette). The way Colman captures her character's fragility, making it all look so lived in, is haunting, and damn near unforgettable. The film around her may be somewhat ordinary, but Colman's performance is hard to shake.

Best Supporting Actor

Colin Firth, Tinker Tailor Soldier Spy

Hunter McCracken, The Tree of Life

Brad Pitt, The Tree of Life

Christopher Plummer, Beginners

Mark Strong, Tinker Tailor Soldier Spy

While the boys from The Tree of Life and Tinker Tailor may have plenty of company here, it's Christopher Plummer who ultimately won me over. The actor's lovely, tender portrait of a senior who comes out of the closet has stayed with me for quite a while, and there's a good reason for that: Plummer knocks it out of the park from beginning to end.

Best Supporting Actress

Berenice Bejo, The Artist

Jessica Chastain, Take Shelter

Jessica Chastain, The Help

Leila Hatami, A Separation

Carey Mulligan, Shame

As much as it pains me to ignore the Year of Chastain, at the end of the day Hatami's fiercely articulate portrayal of a woman fighting for her right to leave Iran got to me. Combining Chastain's three big turns from 2011 would have seen her steamroller the competition, but leaving them separated, it's Hatami who comes in first at the finish line, albeit only by a hair's breadth.

Best Original Screenplay

A Separation

Beginners

Certified Copy

Take Shelter

Weekend

It took me a second viewing to fully appreciate, but Abbass Kiarostami's deceptively simple screenplay emerges as an understated work of genius. Playing out like a middle-aged, melancholy Before Sunrise, this story of a man and a woman who may or may not even know each other is dense, layered, and filled with mystifying exchanges. It's a puzzle worth visiting multiple times, just so you can get caught up in the characters' game (or is it?) all over again.

Best Adapted Screenplay

Drive

I Saw the Devil

The Girl with the Dragon Tattoo

The Skin I Live In

Tinker Tailor Soldier Spy

While I can't help but admire Drive's bare-bones approach or Dragon Tattoo's smooth take on a clumsy novel, Bridget O'Connor and Peter Straughan's dense condensation of John Le Carre's novel stands as the most impressive adaptation of the lot. Never caving in to the temptation to explain everything, O'Connor and Straughan distill the novel to the essentials and create a mystery that demands your attention every second, lest you suddenly fall 20 steps behind. It really makes your brain work, which is quite the achievement when you look at some of the junk studios are churning out nowadays.

Best Cinematography

Drive

Hanna

The Girl with the Dragon Tattoo

The Tree of Life

Tinker Tailor Soldier Spy

Without a doubt the easiest decision I had to make, which is saying a lot considering the competition. All of Malick's films are beautifully shot, but none have covered as much as Tree does while making every frame look like a work of art. Film making, or at least cinematography, is sometimes described as painting with light, and the expression couldn't be more appropriate for how Emmanuel Lubezki captures Malick's massive vision.

Best Art Direction

Drive

The Artist

The Girl with the Dragon Tattoo

The Skin I Live In

Tinker Tailor Soldier Spy

Fittingly, the production design of Alfredson's film is as dark and dense as its screenplay. From the dingy apartment rooms to the lifeless office rooms and filing cabinets, the dreariness of Cold War-Era London comes to life thanks to Maria Djurkovic's rich and meticulous work.

Best Costume Design

Hanna

Mysteries of Lisbon

The Artist

The Tree of Life

Tinker Tailor Soldier Spy

All of the above-mentioned films did excellent jobs of capturing their respective time periods (even modern-day Hanna gave its characters identities through their wardrobe choices), but it's tough to top Mark Bridges' work. The end of the Silent Era may have been decades ago, but it all feels fresh and vibrant, as if the styles presented were about to make a comeback on Madison Avenue.

Best Editing

Drive

The Girl with the Dragon Tattoo

Martha Marcy May Marlene

Shame

Tinker Tailor Soldier Spy

I gave Best Editing to Kirk Baxter and Angus Wall last year, and wouldn't you know, they had to go and blow me away again. The film itself may not be as strong as The Social Network, but David Fincher's more fluid story-telling gets its kick from this duo's work. One of the story's biggest problems is that it keeps Mikael and Lisbeth apart for so long, but thanks to Baxter and Wall, the pieces of the labyrinthine plot flow together with confidence and energy.

Best Ensemble Cast

A Separation

Bridesmaids

The Girl with the Dragon Tattoo

The Help

Tinker Tailor Soldier Spy

As much as I hate to snub the ladies of Bridesmaids, Tomas Alfredson's impeccable (and impeccably dressed) array of British talent hit every nail on the head to perfection. It's hard to forget any of the film's faces, because they all have their moments, big or small.

Best Acting Duo

Juliette Binoche and William Shimmell, Certified Copy

Kirsten Dunst and Charlotte Gainsbourg, Melancholia

Daniel Craig and Rooney Mara, The Girl with the Dragon Tattoo

Olivia Colman and Peter Mullan, Tyrannosaur

Tom Cullen and Chris New, Weekend

One of the most important components of Weekend, possibly the ONLY component, is the relationship between its two main characters. There's little time for build up, yet Cullen and New have a palpable chemistry right from the get-go, and it only gets better from there.

Best Original Score

Hanna

Take Shelter

The Artist

The Girl with the Dragon Tattoo

The Skin I Live In

It's a shame that the Academy chose to honor John Williams' sickeningly sweet score for War Horse over some less conventional choices, but hey, that's what posts like these are for, right? And despite any number of great scores from 2011, The Chemical Brothers' work on Joe Wright's delightfully strange Hanna is still stuck in my head, pulsating beats, strange sound effects, and all. It was a bold move, but it paid off in spades.

Best Animated Film

Rango

I only made it to one animated film this year, and thankfully it was a wonderful one. Gore Verbinski's stunningly beautiful film is hilariously eccentric, quirky, and unapologetically reference-heavy. It also features one of the best action sequences in years, one that makes the chaotic bombast of Michael Bay look amateurish.

Best Foreign Language Film

A Separation [Iran]

Certified Copy [Belgium/France/Italy]

I Saw the Devil [South Korea]

The Double Hour [Italy]

The Skin I Live In [Spain]

It was an uncommonly spectacular year for foreign films reaching American theaters (screw AMPAS' system, by the way), and as lovely as Certified Copy is, I have to throw my vote to Asghar Farhadi's riveting, albeit sometimes frustrating, family/legal drama. It can feel a bit academic at times, but this exploration of modern-day Iran is filled with riveting exchanges that tear the veil off of a society that couldn't be any further from our own.

Best Visual Effects

Harry Potter and the Deathly Hallows Pt. 2

Rise of the Planet of the Apes

The Tree of Life

The creation scenes. End of discussion.

Best Make Up

Drive

I Saw the Devil

The Girl with the Dragon Tattoo

Best Sound

Drive

Hanna

Harry Potter and the Deathly Hallows Pt. 2

Super 8

The Girl with the Dragon Tattoo

Performer of the Year

Jessica Chastain, The Help & The Tree of Life & Take Shelter & The Debt

Michael Fassbender and Ryan Gosling weren't far behind, but at the end of the day, it's damn near impossible to ignore what has to be one of the best career kick-offs in cinema history. Chastain was everywhere this year, and yet her on-screen presence never grew repetitive thanks to the variety of her roles, and the different presence she brought to each one.

Best Cameo Performance

Kathy Baker, Take Shelter

It all comes down to one scene for Kathy Baker, yet you won't forget her, even with all of the madness that comes afterwards. Her finely tuned portrait of a formerly (possibly still) paranoid mother achieves in minutes what many performances don't in 2 hours.

Breakthrough Writer/Director

Paddy Considine, Tyrannosaur

His exploration of anger and pain may hit some familiar notes, but the story moves with a surprising swiftness without shortchanging the narrative. Let's hope this is just the start of a promising career behind the camera.

Breakthrough Performer - Female

Elizabeth Olsen, Martha Marcy Mary Marlene

She grabs your attention from the film's opening frames and doesn't let go for long after the credits roll. At last, something worthwhile has come out of the Olsen family.

Breakthrough Performer - Male

Hunter McCracken, The Tree of Life

He conveys a strange mix of introspection, confusion, and wisdom without coming off as phony. A beautiful, honest portrait of childhood and its first brushes with darkness.

Best Poster

Best Trailer

And there you have it! And not one mention of Albert Nobbs or War Horse; isn't that refreshing? With that out of the way, I'm realizing how much I'm going to hate bidding 2011 goodbye. The variety and strength of films was pretty remarkable, and 2012 is going to have its work cut out for it.

2011/12 Oscar Nominee Predictions

2012-01-23T18:31:00.000-08:00

It's that time again. We've been predicting for month, and we've certainly made our fair share of changes, but at last we come to it: Oscar nomination morning. Tomorrow, that is. Starting at 5:30 PST the Academy will unveil its nominees and confirm some front-runners, throw out some surprise nominations and snubs, and even a few left-field choices. Of all of the categories, Best Picture will be the most interesting, seeing as how, due to new rules, we could have 5 Best Picture nominees. Or 6. Or 7. Or 8. Or 9. Or 10. So even though that makes predicting the category a bit of a pain, it also leaves more room for the race to really get interesting. And since the Academy is the last-remaining major body to release its nominees, I figured I'd take a stab, and throw out my guesses for who/what will be called out on January 24th. Picks are in order of likelihood.

Best Picture

The Artist

The Descendants

Hugo

The Help

Midnight in Paris

Moneyball

The Tree of Life

Best Director

Martin Scorcese - Hugo

Michel Hazanvicius - The Artist

Alexander Payne - The Descendants

Woody Allen - Midnight in Paris

David Fincher - The Girl with the Dragon Tattoo

Best Actor

George Clooney - The Descendants

Jean Dujardin - The Artist

Brad Pitt - Moneyball

Leonardo DiCaprio - J. Edgar

Michael Fassbender - Shame

Best Actress

Meryl Streep - The Iron Lady

Viola Davis - The Help

Michelle Williams - My Week with Marilyn

Tilda Swinton - We Need to Talk About Kevin

Glenn Close - Albert Nobbs

Best Supporting Actor

Christopher Plummer - Beginners

Albert Brooks - Drive

Kenneth Branagh - My Week with Marilyn

Jonah Hill - Moneyball

Brad Pitt - The Tree of Life

Best Supporting Actress

Octavia Spencer - The Help

Jessica Chastain - The Help

Berenice Bejo - The Artist

Melissa McCarthy - Bridesmaids

Janet McTeer - Albert Nobbs

Best Adapted Screenplay

The Descendants

Hugo

Moneyball

The Help

The Girl with the Dragon Tattoo

Best Original Screenplay

Midnight in Paris

The Artist

50/50

A Separation

Bridesmaids

Best Editing

The Artist

The Girl with the Dragon Tattoo

The Artist

Hugo

Moneyball

Best Cinematography

The Tree of Life

War Horse

Hugo

The Artist

The Girl with the Dragon Tattoo

Best Art Direction

Hugo

The Artist

Tinker, Tailor, Soldier, Spy

My Week with Marilyn

The Help

Best Costume Design

My Week with Marilyn

The Help

Hugo

The Artist

Tinker, Tailor, Soldier, Spy (?????)

Best Original Score

The Artist

The Girl with the Dragon Tattoo

War Horse

Hugo

The Help

Best Original Song

"The Living Proof" - The Help

"Lay Your Head Down" - Albert Nobbs

"Life's a Happy Song" - The Muppets

"Pictures in My Head" - The Muppets

"Star Spangled Man" - Captain America

Best Visual Effects

Harry Potter and the Deathly Hallows Pt. 2

Transformers: Dark of the Moon

Rise of the Planet of the Apes

Hugo

Captain America

Best Make Up

J. Edgar

The Iron Lady

The Artist

Best Animated Film

The Adventures of Tintin

Rango

Puss in Boots

Arthur Christmas

Kung Fu Panda 2

Best Foreign Language Film

A Separation [Iran]

In Darkness [Poland]

Pina [Germany]

Footnote [Israel]

Bullhead [Belgium]

As for sound, documentary, and the short categories...let's just say I've probably made enough mistakes with what's already here...

[Short] Review: "Pariah" (2011)

2012-01-23T17:49:00.000-08:00

Right off of the bat, what's immediately impressive about Pariah, the narrative debut of writer/director Dee Rees, is its lack of sensationalism or melodrama. Though it opens in a club with primarily lesbian clientele, it's clear that the film's point isn't to be exploitative or shameless in dealing with its subject matter. It may be a little cluttered in terms of subplots, but at its heart, Pariah is a strongly acted character piece that has yet to earn the recognition it deserves.

Rees' subject is Alike (nicknamed 'Lee'), a bright, 17-year old Brooklyn girl who is also deeply in the closet, at least when it comes to her family. And as the film traces Alike's developments, and the way her orientation affects relationships with friends, family members, and schoolmates, Rees resists the urge to pull out any cheap, overwrought tricks. Though there are plenty of scenes that involve heated exchanges and even physical violence, Rees has the ability to ground so much of the movie with its intimate, lived-in feel. Adepero Oduye does lovely, understated work as Alike, creating a character who somehow commands our attention from her first appearance. Other roles, like Alike's 'out' friend Laura (Pernell Walker) or her domineering mother (Kim Wayans) are also expertly filled out, creating an engaging web of characters. Only Aasha Davis' Bina, a forced acquaintance who gradually becomes Alike's friend, comes off as forced, though the impact this has on the film is minimal. Yet while Rees handles each individual scene well as a director, she doesn't quite make the entire story flow together fluidly. The subplot involving Laura, while understandable on a thematic level, doesn't feel necessary, and detracts from the focus on Alike. Similarly, the subplot involving Alike's relationship with her English teacher feels underdeveloped, even though it plays a major role in the film's narrative and thematic conclusion. Small issues like these add up, and they dilute Alike's story, despite its inherent power. In the end, it makes the film sometimes feel a little too academic, despite its obvious categorization as a character piece.

Grade: B

Review: "Carnage" (2011)

2012-01-18T18:59:00.000-08:00

The final shot of Roman Polanski's Carnage, an adaptation of Yasmina Reza's acclaimed play "God of Carnage," doesn't feature anything wrong in and of itself. The composition, framing, lighting, etc... are all perfectly fine, crisply and cleanly captured by cinematographer Pawel Edelman. Yet when one takes into account everything that came before it, along with its supposed meaning, this final shot is a head-banging obvious piece of symbolism that does nothing but add an abrupt end to a fast-moving but ultimately tepid piece of satire and social commentary.

Opening with a shot of a park (one of only two exteriors in the whole film), we witness one boy (Zachary) strike another boy (Ethan) with a large stick. Next thing we know, we're in a Manhattan apartment with the parents of the aggressor (Kate Winslet's Nancy and Christoph Waltz's Alan) and the victim (Jodie Foster's Penelope and John C. Reilly's Michael). What starts as a simple conversation among the four of them to come to terms with the bit of violence between their children quickly devolves into a savage verbal battle.

Yet the problem, which registers fairly early on, is simply that Reza's target - middle class hypocrisy and self-righteousness - feels easy, and as a writer she hasn't said anything truly entertaining, interesting, or insightful. Add to the mix that characters switch sides so frequently that no one feels like they have any structure to them. Though the characters have some distinct traits, they ultimately all feel like limply-constructed mouthpieces for the author. There's no depth to any of the four characters, and it only becomes more apparent the more the script drags out the encounter between the two couples. There are any number of opportunities for Nancy and Alan to leave Penelope and Michael's apartment, but through contrivance after contrivance, they keep going back in the door for more punishment (for themselves, the other couple, and the audience).

It's a shame too, because Polanski's cast is trying their hardest. A pity, then, that they're saddled with such lackluster material. Occasionally their talents overcome the script's deficiencies - Winslet's drunken anger is fun to watch, along with Foster's holier-than-thou attitude and Waltz's general disinterest - but even the film's best lines barely register. Polanski's direction is straightforward and efficient, never getting in the way of his talented cast. Unfortunately, there's not much he, or anyone else can do to overcome the weaknesses of the source material, and therefore the screenplay. Thankfully the actors have plenty of energy, so the film never drags. At the same time, the only reason the pace is a strength is that it makes the film feel like a swift piece of mediocre film making rather than a tortuously drawn-out affair. It's all so surface-oriented, so forced, and so artificial, that even the third act theatrics fail to bring a much-needed spark to the scenes. Throughout the entire ordeal, Waltz's Alan displays a constant attitude of disinterest, remarking at one point that the whole conversation is pointless. As it turns out, he's right, and the result is that the film as a whole feels pointless as well.

Grade: C

The Best of 2011 - Part 1 [Runners-Up]

2012-01-16T18:34:00.000-08:00

It's been quite the year in movies, and with awards season in full-stride, I figured it was time to officially consider my favorites from last year (because I totally wasn't keeping lists this whole time *cough cough*). Inspired by my friend Patrick's list (visit his blog HERE; he's got one hell of a top 10), I've decided the time has come to do my own, albeit more drawn-out and pretentious, set of favorites from the year in film. This will consist of three parts:

1. The Runners-Up (this post): Just outside of the top 5 or 10

2. The Favorites: AKA my "nominees" were I in charge of my own awards show.

3. The Best: The "winners" (speeches will be limited to 1 minute before the exit music starts).

So, with that set aside, here's a look at the close-but-no-cigar entries in some of the major categories. 2011 has proven to be an exceptionally diverse and strong year for movies, and the more I look back, the more I feel like it would be wrong to ignore the following achievements, even if they didn't quite make it.

THE RUNNERS-UP

Best Picture

Martha Marcy May Marlene

An enigmatic and engrossing thriller bolstered by stellar work from Elizabeth Olsen and Sarah Paulson that works on multiple levels. Sean Durkin's debut feature drifts among dream, memory, and reality with an effortless sense of time and place that makes it feel like the work of an old pro. Not only does it stand out in a strong year, but it's also worth a look because it's been so criminally ignored over the course of awards season (really, what was up with that?).

The Girl with the Dragon Tattoo

Though it still bears some of the flaws of Stieg Larrson's lumpy plotting, David Fincher and Steve Zaillian's stab at the icy crime tale is infinitely superior to the Swedish adaptation. Though the movie benefits from better casting and better performances, the real stars are Fincher and his technical collaborators. The director is in his element here, and he brings masterfully meticulous touches to a story that is, ultimately, beneath him. Throw in stellar editing, scoring, and vastly improved writing, and you're left with a film that deserves to become known as the definitive cinematic version of the story.

Hanna

It may not be heavy on substance, and feature an iffy script, but Joe Wright's teen assassin tale rises above its pedestrian origins on the page thanks to rich and eccentric execution. Featuring effective (albeit somewhat one-dimensional) performances, including a scenery-chewing Cate Blanchett and a cold-as-steel Saoirse Ronan, the film is another case of talented people elevating subpar material. Lush visuals from DP Alwin Kuchler and a thumping electronic score from The Chemical Brothers only add to this strange, fairy-tale influenced gem.

Best Director

Michel Hazanvicius - The Artist

He makes a silent film effortlessly engaging from its opening frames, even in a day and age where it's all about the sound(s). One of the liveliest, most joyful films of the year, and it owes more than a little to his direction.

Asghar Farhadi - A Separation

As much as his film is built on its writing and acting, it could have been a mess were it not for his incredible sense of storytelling. An eye-opening and unpleasant story wonderfully told.

David Fincher - The Girl with the Dragon Tattoo

It may not live up to some of his other films, but Fincher's take on Larsson's story reaches new highs thanks to his fluid sense of pacing that helps offset the story's uneven sense of structure.

Best Actor/Supporting Actor

Tom Cullen & Chris New - Weekend

One of the year's best acting duos. The entire film rests on their ability to generate some sense of chemistry out of almost nothing, and from their first spoken words, the spark is there.

George Clooney - The Descendants

Proving that he's still better in front of the camera than behind it, Clooney delivers one of his strongest performances to date as a conflicted father struck by tragedy and stunned by secrets.

Peter Mullan - Tyrannosaur

Along with co-star Olivia Colman, he helped elevate Paddy Considine's solid directorial debut above its somewhat pedestrian script. A fierce and committed turn if ever there was one.

Ryan Gosling - Drive

Stoic and distant, yet also mesmerizing and filled with presence. What could have come across as lazy and empty feels worthwhile thanks to his work.

Christoph Waltz - Water for Elephants

The film around him was less than spectacular, to say the least, but Waltz conveys an excellent sense of charm and menace without ever feeling like he's reprising his Inglorious Basterds role.

Best Actress/Supporting Actress

Charlize Theron - Young Adult

Despite a screenplay that doesn't give her enough to work with early on, Theron makes her mark as THE caustic, volatile bitch of the year.

Kristen Dunst & Charlotte Gainsbourg - Melancholia

A second viewing upped my opinion on von Trier's latest considerably, though it still has some issues. The performances, however, remain first rate. Dunst's portrayal of despair and Gainsbourg's depiction of desperation rank among the year's finest.

Jessica Chastain - The Tree of Life

Just one of many strong turns in a dazzling break-out year, her gazes of hope, love, and hurt register beautifully. To quote one blurb online recently, she "did young Liv Ullmann proud."

Golden Globe Predictions

2012-01-15T12:35:00.000-08:00

There are only a few hours remaining before the start of the Golden Globes, in what should be quite the ceremony. Not only is Ricky Gervais back as host, but unlike last year, there's room for upsets aplenty. I'll miss most (if not all) of the show tonight, so before I head out for dinner and a showing of The Book of Mormon (finally!!), I thought I'd throw out my predictions for the major categories of tonight's show.

For a refresher on the nominees, click HERE.

Best Picture - Drama

Will and Should Win: The Descendants

There were better dramas than this year's crop, but from the HFPA's lineup, this is easily the frontrunner, in addition to being the best. Choppy opening aside, it's a well acted and well written slice of American family life that evokes laughs and tears. There's always room for an upset, but of all of the big categories, this one is the closest to a sure thing.

Best Picture - Musical/Comedy

Will and Should Win: The Artist

Another of the easier-to-call categories of tonight, Michel Hazanavicius' silent film should take the crown. It's the closest thing this year's race has to a frontrunner, and barring a shocker upset from blockbuster hit Bridesmaids, here's another one that shouldn't be in danger of losing. Now, let's get to the interesting parts...

Best Director:

Will Win: Alexander Payne - The Descendants OR Martin Scorcese - Hugo

Should Win: Michel Hazanvicius - The Artist

One is a widely hailed director slowly building an impressive resume, the other is a long-respected master. As to who will emerge victorious? It's something of a coin toss at this point. The Descendants has more buzz than Hugo (not to mention that the HFPA loves Clooney), but they may reward Scorcese for the way he used Hugo to showcase his love for cinema's history.

Best Actor - Drama

Will Win: George Clooney - The Descendants

Should Win: Michael Fassbender - Shame

Though Pitt certainly has a chance to win here, Clooney's riding high, seeing as he also has The Ides of March in contention. When it comes to acting, though, The Descendants is the obvious pick, and HFPA will likely honor Hollywood's golden boy in the role that has earned him some of his best reviews to date. Pitt still has a strong chance, however, as he's also had a solid year between Moneyball and The Tree of Life. And then there's Michael Fassbender, who really should win the damn thing, but really ought to be glad he made it this far.

Best Actress - Drama

Will Win: Meryl Streep - The Iron Lady

Should Win: Viola Davis - The Help OR Tilda Swinton - We Need to Talk About Kevin

It was originally predicted that this year's Best Actress race would come down to Streep (gunning for her third Oscar) versus Close (still trying for her first). Yet Close's buzz has faded, while Streep's has suffered little, even though she's no surefire bet. Mara's nomination is her reward, and one could make the same statement about Swinton. Davis, however, could stand a strong chance, and if Streep wins, I'll bet quite a lot that Davis received the second highest amount of votes.

Best Actor - Musical/Comedy

Will and Should Win: Jean Dujardin - The Artist

Ryan Gosling may have had the banner year, but no one really cares that much about Crazy, Stupid Love at this point anymore. Then again, Gosling could slip in as a reward for his films this year along with the general snubbing his excellent work in Blue Valentine was met with. Still, it'll be tough to take down Dujardin, who has not only earned raves (rightfully so), but also has the benefit of starring in a Best Picture heavyweight.

Best Actress - Musical/Comedy

Will Win: Michelle Williams - My Week with Marilyn

Should Win: Charlize Theron - Young Adult

The performance may not really qualify as comedic, but that shouldn't stop Williams from taking home the trophy. Granted, it's very good work, but compared to Theron or Wiig, it feels like a bit of an unfair advantage. Williams is a mostly dramatic role competing against traditionally comedic performances, and therefore pretty much has this in the bag.

Best Supporting Actor:

Will Win: Albert Brooks - Drive

Should Win: Christopher Plummer - Beginners

I didn't really think that Brooks' momentum would last, but it has, and will likely carry over tonight. That said, all of the men here (except for Jonah Hill) at least have a shot. Tonight will either further cement Brooks' status as the category's frontrunner, or throw a wrench into everything by picking someone else (please, let it be Plummer).

Best Supporting Actress:

Will Win: Octavia Spencer - The Help

Should Win: Jessica Chastain - The Help

In all honesty, this is going to either Spencer or Chastain. The issue is simply deciding which one of the two will receive more votes. Chastain could win for being so good in so many movies, but that could also work against her, seeing as she's only up for the one performance. Spencer's role had people talking about it long before Chastain was even in the conversation, though, which either means that it will hold over, or that the buzz has faded, leaving Chastain the victor. Berenice Bejo still has a shot, and could prove the surprise, but more than likely this is going to one of The Help's ladies.

Best Screenplay:

Will Win: The Descendants

Should Win: The Artist

Best Animated Film:

Will and Should Win: Rango

Best Foreign Language Film:

Will Win: In the Land of Blood and Honey [USA]

Should Win: A Separation [Iran]

[Short] Review: "The Iron Lady" (2011)

2012-01-15T10:56:00.000-08:00

When tackling a figure as divisive as Margaret Thatcher in film, one is bound to run into more than a little bit of controversy. So it's surprising that Phyllida Lloyd's The Iron Lady, though certainly a flawed film, does a halfway decent job of neither lionizing nor demonizing Britain's first (and thus far, only) female Prime Minister. Though the film is generally supportive of Thatcher's goal to rise in the ranks of politics to "do something, not be something," it does at least show the opposition. And in one of the film's best scenes, Thatcher doesn't come off as a tough leader, but rather an icy bully who has become that which she once feared: an out-of-touch politician. At its core, this is Meryl Streep's film, through and through, and even though the material may not be as deep and rich as it could be, Streep is compelling (and that's putting it mildly).

Unfortunately, when Streep isn't playing Thatcher, the film's weaknesses become more apparent. As incarnated by Alexandra Roach, Thatcher (maiden name: Roberts) comes across as grating, despite making some solid points as she takes her first steps into politics. The film also waits an unfortunate amount of time on Thatcher in the present, portraying her as a hunched-over old woman on the border of senility. Sections like these hold the film back, and a more linear approach would have been welcome. Still, as much of Thatcher's life as The Iron Lady covers, Lloyd and crew can at least feel proud that they've made a better life-and-times portrait than Clint Eastwood did with J. Edgar (there's something I never thought I'd ever write). Yet even in its best moments, The Iron Lady can't resist the temptation to get a bit montage-y with Thatcher's political career, which should have been the bulk of the film's 105 minute run time. Instead, what we're left with is an engaging, albeit patchwork-y and uneven, portrait that features a compelling central piece of acting, even if the film as a whole isn't as important as its subject would suggest.

Grade: B-/C+

Review: "We Need to Talk About Kevin" (2011)

2012-01-14T19:22:00.001-08:00

As has previously been pointed out elsewhere, if 2010 was a year in film remembered for its words, then 2011 will be remembered for its lack of words. From The Tree of Life to Melancholia to The Artist, films this year have made their mark while being quite the opposite of verbose. The latest from last year to join the ranks of the above-mentioned is Lynne Ramsay's We Need to Talk About Kevin, a loose adaptation of Lionel Schriver's novel of the same name. Revolving around a mother dealing with the horrific aftermath of tragedy, Ramsay's film is filled to the brim with style, from its red-flooded visuals to its sound design. Yet even though it has some effective stretches and strong acting, Ramsay's film doesn't quite measure up to its ambitions, and could, in all honesty, use a bit more talking (about Kevin).

As it charts the before and after of the tragedy at the core of the story, Ramsay's film plays fast and loose with the timeline of events. The first half hour in particular is jumpy and vague, richly captured by Seamus McGarvey's cinematography. So even though Swinton carries the look of an exhausted, drained woman with great skill, the first portions of the film don't seem to really challenge the actress. It's not simply that Swinton is making the whole affair look easy. The film simply doesn't give her much to work with other than stoic gazes. Things improve for the actress considerably as the film progresses, but because Ramsay and co-writer Rory Kinnear leave the beginning so verbally sparse, it's hard to get to know Swinton's Eva.

Which is more than a shame, because like Young Adult's Charlize Theron, Swinton is clearly giving the role everything she's got. The problem is that Ramsay and Kinnear aren't quite pulling their weight. As fascinating as Swinton is to look at, she's infinitely more compelling when given a role that allows her to do more than stare. And by jumping around so much in time so early on, Kevin feels a little too fractured for its own good. The film's central question revolves around the old nature vs. nurture debate in regards to the titular Kevin (played as a teen by Ezra Miller). And when the film settles into the more linear middle and end stretches, it actually achieves a sense of menace and tension. Ramsay's style, which emphasizes just about every possible sound in a given room, does an effective, if at times over the top job of planting us in Eva's head. The presence of red is effective as well, though it too has moments where it feels overdone. Still, these aspects, in conjunction with Swinton's committed turn, do build to an effective series of conclusions (though the absolute end feels cut short and frustratingly indecisive).

This makes Kevin a film that alternates between stretches of frustration and stretches of eerie, magnetic power. When the big moment (or rather, moments) arrive, it's hard not to be chilled to the core, even if you can guess them long before they occur (a look at the film's IMDB synopsis will tell you the film's most important event). Yet even the effective moments can prove frustrating in hindsight, because it becomes apparent that Ramsay could have made them hit harder and with greater authenticity had she simply toned down the stylistic flourishes. Some of the most interesting parts of the film come from Swinton and Miller's interactions, but they feel too brief, when they should be (of all of the "stages" of Kevin) among the most important.

And it's at this point that I, regrettably, have to draw a comparison to Swinton's last cinematic outing: Luca Guadagnino's I am Love (2010). Like Ramsay's film, Love put Swinton front and center, yet also held the puzzling desire to suffocate her work in execution that oscillated from brilliant to overwrought. Thankfully, Ramsay's style isn't nearly as overbearing, so Swinton does get more room to shine. The flip side of the coin, however, is that those moments for her to shine don't always feel as compelling. I am Love was easily the more flawed of the two films, yet its best moments afforded Swinton with better moments as well.

Grade: B

Review: "A Separation" (2011)

2012-01-13T08:29:00.000-08:00

Certain themes in A Separation, Asghar Farhadi's widely acclaimed Iranian social drama, are, on some level, universal. Legal disputes, marital struggles, relationships between parents and children; these are all things which on some level, connect to us, whether it's on a personal or distant level. Yet what makes A Separation different, and potentially off-putting, is that the film functions as both a social drama and a look at modern Iranian society. This being the case, certain aspects - namely why characters do what they do - can be frustrating to watch, because they wouldn't be major issues in western society.

These are, however, not problems with the film, but simply issues in Iran, and to confuse them with the strength of the acting, story-telling, and writing, would be a mistake. This is an excellent, well-told story about a series of circumstances and attitudes that are so foreign to the western mindset that it's easy to label them as archaic. But in A Separation's specific case, it's not because Farhadi's writing is dumb or contrived; it's simply trying to be accurate in depicting a frustrating society. This may keep the film from being traditionally "enjoyable" in any sense, but as a striking and eye-opening piece of social film-making, its power is undeniable.

Set in contemporary Iran, the film starts off with Simin (Leila Hatami) trying to seek a divorce from her husband Nader (Peyman Moadi). She wants to leave the country with their daughter Termeh, he doesn't because of his old, Alzheimer's-afflicted father. The key problem: Simin can't leave with Termeh unless Nader leaves too, or at least gives his consent. Since he refuses, the divorce request is denied, so Simin decides to live with her parents while she continues to try and convince Nader to allow Termeh to leave. With Simin's absence, Nader hires a very religious (in contrast to the rather secular-seeming Nader and Simin), slightly squirrelly woman named Razieh (Sareh Bayat) to take care of his father while he is at work.

If this seems like enough to fill a single film, it probably is, but Farhadi keeps adding angle after angle to his expansive (yet ultimately intimate) tale. The result is a rich, often tense narrative that gives a piercing look at a world and lifestyle that is hard for anyone not from the region to fathom. In one of the most informative (and, from an objective standpoint, frustrating) scenes comes when Razieh discovers that Nader's father has soiled his pants. Yet before she goes to help him change and clean himself, she paces in thought, and then calls her imam to ask if it will be a sin to touch a man, despite the circumstances. But as strange (and even silly) as some of these actions seem, they are equally compelling and enlightening. Coupled with the rapid, high-strung dialogue exchanges, what could have been a fairly mundane domestic drama elevates itself to become an almost epic tapestry of motivations and goals. Even from the opening scene, a single near-static shot where Nader and Simin argue their cases before a judge, it's difficult not to be gripped by Farhadi's exchanges, which often occur between two diametrically opposed characters. That the dialogue is delivered with such blistering intensity by the cast doesn't hurt. What could have come off as over-written or stagey feels perfectly natural in the hands of the ensemble, especially the clashes between Nader and Simin.

Where A Separation runs into trouble is that it is so intent on using its story to paint a portrait of Iran, that is often comes off feeling academic. Gripping, yes, but still missing just that extra element of heart, the absence of which doesn't become fully apparent until after the credits have started rolling. Farhadi's characters do not lack depth, nor do they feel like puppets. At the same time, each one seems calculated to serve the plot strictly to the point of servicing the message. But the bigger issue, however, is simply that as good as Farhadi usually is at making the points he wants to make, he sometimes makes a point multiple times. The story is draining enough as it is, and the occasional repetition throws off the generally well-executed pacing and story flow.

But in the end, these quibbles to diminish Farhadi's achievements. Though its visceral engagement comes more on an intellectual (rather than emotional) level, its effectiveness is difficult to shake. What starts as a simple desire for a divorce gradually and elegantly evolves into a larger narrative without ever losing its emotional intimacy. It may not be an enjoyable viewing experience, nor a cinematic journey you'll be jumping up and down to take again any time soon, but it is, ultimately, important and must-see viewing.

Grade: A-/B+

From Stage to Screen: "Albert Nobbs" and "War Horse"

2012-01-12T20:03:00.000-08:00

My next two viewings from the still-warm body of 2011 both have origins on the stage, yet in terms of style and focus, they couldn't be any more different. One is a character study, the other a sweeping WWI tale. Both have ridden into theaters as possible Oscar contenders, though having seen both, the only thought I can come up with is that both should have stayed stage-bound.

Albert Nobbs:

For a movie about a woman disguised as a man in 19th century Ireland, Rodrigo Garcia's Albert Nobbs feels remarkably free of tension. In a story where, arguably, one of the major points of anxiety should be the protagonist's struggle to maintain her identity, everything from the writing to the approach to the makeup fails to create any sense of societal oppression when it comes to the gender roles under examination. Part of the problem is that waiter-in-disguise Albert Nobbs (Glenn Close, begging so damn hard for that Oscar) finds her cover blown within the film's first half hour...by another woman disguised as a man (Janet McTeer). Worse, it's rather obvious that McTeer's Hubert is a woman, and so the moment when she (quite literally) reveals herself comes as anything but surprising (it is, oddly, somewhat funny). But because there's no sense of tension, the film's entire premise fails to generate much interest. Garcia keeps the plot moving a solid enough pace, but the whole affair has a vaguely sleepy feel to it. When I saw a scene of Nobbs and his/her co-workers eating together, I was immediately reminded of Downton Abbey, and how I wish I was watching that instead. Close is perfectly fine in the role, but the screenplay (which she co-wrote) doesn't do enough with the premise to create a real arc. By the time it rolls into its conclusion, nothing feels surprising or meaningful, and the last minute attempt to turn Nobbs' employer into a passive villain feels unbearably lazy. McTeer is also solid, the film's highlight, although that's not saying much. Less successful is Mia Wasikowska, who is competent throughout, only to completely crash and burn in what should have been her big moment. Worse than any individual, however, is a ludicrous scene at a beach that is almost worth seeing for the unintentional laughs it provokes. In some ways, though, the scene's massive misfire is almost the best part of Albert Nobbs, because it inspires the strongest emotional reaction. Unfortunately, it's completely the wrong one.

Grade: C

War Horse:

They don't make 'em like they used to, although in the case of War Horse, that's probably a good thing. Spielberg's latest, an adaptation of the Tony-winning play of the same name, feels outdated before it can properly get the story moving, and it never recovers. The driving reason to see the stage version of the show was the incredible puppetry. Here, obviously, no such puppets exist, and the crushing banality of the text only becomes more obvious. There's not a shred of character development in any sense, leaving us with an ensemble of empty shells and clichés. The drunken dad! The evil landlord! The brave soldier! The initially discouraging mother! The sick French girl! The old guy! None of it registers, because it's all so paper thin and so obvious in its attempts and sentimentality. So even though the film opens with sweeping landscape shots and features several WWI battles, it never once earns the overwrought strains of John Williams' score. And by the time it arrives its ending, which I have a hard time describing, War Horse cements itself as a parody of a Spielberg movie, even though it's directed by the man himself.

Grade: C-

2011 DGA Nominations: And the race gets weirder...

2012-01-09T10:09:00.000-08:00

As many critics awards as their are across the nation, at the end of the day it's really the guild awards that act as better indicators of who's winning AMPAS' favor, especially in a year as uncertain as 2011. We certainly saw that last year when The Social Network won just about everything under the sun, until The King's Speech trounced it at the guild awards and on Oscar night. The SAG, PGA, and WGA have all announced their nominees, leaving only the Director's Guild. And with their nominees, they've thrown a wrench into some Oscar campaigns, while giving others a boost.

The Nominees:

Woody Allen - Midnight in Paris
David Fincher - The Girl with the Dragon Tattoo
Michel Hazanvicius - The Artist
Alexander Payne - The Descendants
Martin Scorcese - Hugo

Who got a boost: The biggest winner after today has to be Fincher and Dragon Tattoo as a whole. Ever since the first screenings, the film was being labeled as one that would make little to no contribution to the awards race. In the past few weeks the film has scored with the PGA and WGA, and the DGA nod is just icing on the cake. For the film to miss out on a Best Picture nomination and/or Best Director nomination is becoming increasingly unlikely. Star Rooney Mara may have missed with the SAG, but could still end up as a surprise Best Actress nominee, as one of many nominations the film looks likely to score now. So even though Dragon Tattoo isn't necessarily a threat to win the top prize, at the very least it can consider itself a strong contender, which is quite to comeback considering all of the doubters.

Then there's Woody Allen and Alexander Payne. Payne's film has generally stood a better shot, but there was always the chance that he would get pushed out by contenders with "bigger" films. After today, though, he's become even more of a sure thing, though the actual win is doubtful. The same goes for Allen, who could score his first Best Director nomination since Bullets Over Broadway (1994). If either of these two men takes the DGA prize, however, it will only serve to further upset the Best Director race.

Who took a hit: Unlike Woody Allen, whose film also launched in early summer, Terrence Malick was allowed any love from the DGA, or any major guild for that matter. Considering the divisive nature of Malick's film, however, it's not entirely surprising. Drive's Nicholas Winding-Refn and War Horse's Steven Spielberg, however, should probably not get their hopes up for the remainder of awards season. I'm sure Refn had a fan base within the DGA for Drive, but at the end of the day the voters favored established names (well, aside from Spielberg). Of course, there's always room for surprises come Nomination morning, but knowing the DGA's close alignment with the Academy, I suspect the chances for the above-mentioned trio are at long last dead. Such a shame...at least for the first two. War Horse has, to be honest, felt like nothing but an afterthought and an obligation rather than a legitimate contender.

Review: "Tinker Tailor Soldier Spy" (2011)

2012-01-06T18:22:00.000-08:00

"There is a mole, right at the top of the Circus." So goes one of the more straightforward lines of dialogue in Tinker Tailor Soldier Spy, Tomas Alfredson's chilly telling of the classic John Le Carre novel. Yet despite that seemingly clean cut line, nothing is quite as it seems in this tale of espionage and betrayal. Though previously adapted as an acclaimed miniseries starring Alec Guiness, Le Carre's novel has never made it to the big screen until now. It's quite the dense tale (despite not being terribly long), and to tackle it in 2 hours is quite the challenge. Despite the doubts, Alfredson and company manage to effectively condense the story without resorting to an over-reliance on exposition. The end result is a thinking person's espionage thriller, one more content to focus on the intricate and subtle, rather than the bombastic and sensationalistic.

On paper, the narrative is straightforward. An ex-spy named George Smiley (Gary Oldman) is recruited to help find a mole hidden somewhere in MI6. Yet how the story is told is where Tinker Tailor makes its beautiful, icy mark. Right from the beginning it's clear that Alfredson (whose last film was the excellent vampire film Let the Right One In (2008)) knows how to both build and maintain an atmosphere. Though there are moments that could have been executed to create an overblown sense of tension, Alfredson keeps things rather grounded. Moving with the story's back-and-forth jumps to gradually reveal information, the level of tension is quite low. Yet it's precisely this slow burn that allows the film to work. It is maintained non-stop throughout the 2 hour run time, which makes those more eventful moments create their own sense of suspense naturally.

So even though screenwriters Peter Straughan and Bridget O'Connor have to deal with quite a bit of information, they manage to convey it all through just the right amount of dialogue. So even though this means that there are scenes of telling, they never weigh the film down. And Mr. Alfredson, ever the capable visual stylist that he is, has plenty of room to show, which he and cinematographer Hoyte Van Hoytema do marvelously. Along with production designer Maria Djurkovic, Alfredson and Hoytema have fashioned a dark and dingy world that comes to life, albeit from a distance. This isn't a film that wants to spell things out. It gives you just enough to make the connections, and then moves on. And thanks to Mr. Alfredson's eye and the excellent cast, that's never an issue.

For though Gary Oldman has been marked as the lead of the story, Tinker Tailor is very much an ensemble piece. But even though this means that the wealth of screen time is spread quite far, the performers all get their chance to make an impression, and no one misses. In addition to his eye for atmosphere, Alfredson knows how to maximize his performers' abilities, even when they have precious little screen time. Even Kathy Burke, as a former member of the MI6 staff, who has but one scene to really act as a character, makes a nice impression. And things only get better for the more prominent characters. There are no acting fireworks here, but that's not to say that there isn't impressive work. One of the film's best moments comes very early on. It's nothing more than a shot of Smiley after his name has been mentioned by Control (John Hurt), yet the movement on his face and in his eyes says quite a bit, even though we don't have a full understanding of what that is at this point.

For even though this is a film about finding a traitor, it is also a film about change. Oldman's Smiley is technically retired when he's called back into service, and the film makes subtle references to the group of MI6 members who have been pushed out and left behind. In one scene, Oldman and Burke sit together on a couch sharing a drink and jokingly lamenting the lack of sex in their lives. Meanwhile, an oblivious teenage couple on the other side of the room sits, passionately kissing each other. One pair has their lives and their purpose ahead of them, the other has already expired. It's a significant moment, though its importance doesn't become quite full until after, when those little moments have time to sink in and add to the richness of what could have been just another spy tale.

Let's not forget about the other members of the ensemble, however. Oldman may be first billed among the cast, but it's some of his cast members who are in contention for MVP. First is Colin Firth as the womanizing Bill Haydon, whose full connection to Smiley is only revealed quite late in the game. Rivaling him for best in show are Tom Hardy as a field agent fearing for his safety, and Mark Strong who - no spoilers - gets to deliver some beautiful expressions of haunted pain that reveal the actor to be worth much more than simply the go-to man for stock villain roles. Other roles, like those filled out by Toby Jones, Hurt, Benedict Cumberbatch, and Ciaran Hinds, also have their moments to shine, especially Jones in a scene where he blows up at a co-worker. Ultimately, however, no one is allowed to hog the spotlight, which is good because there are no weak links, and the ensemble as a whole is an understated marvel.

So even though Alfredson's approach may have a bit of Scandinavian chill to it, this is still an effective journey through the dark corridors of Cold War espionage. From the performances to the direction to the meticulous production values (excluding Alberto Iglesias' score, which is fine, but pales in comparison to his work on The Skin I Live In), Tinker Tailor Soldier Spy is a first class, atmospheric tale of intrigue and deception. Before the lights fully dimmed and the film started, my friend and I were treated to a series of previews, each louder and more chaotic than the next. In the aftermath, I now appreciate Tinker Tailor even more, because it may be the last intelligent movie of its kind for quite a while. All the more reason to make the trip to the theater, then.

Grade: A-

Review: "Kill List" (2011)

2012-01-05T20:04:00.000-08:00

There's a potentially fun take on the "one last job" hit man story that concludes Kill List, Ben Wheatley's buzzed about British thriller. Unfortunately, whatever heft Wheatley was aiming for gets lost in a frustratingly vague exercise in plot and character development. For all of the violence and attempts at a menacing atmosphere, Wheatley's film is too empty for its intense final stretch, and Kill List winds up feeling like a failure and a missed opportunity all at once.

Set in rural England, the film opens with Jay (Neil Maskell) and his Swedish wife Shel (MyAnna Buring) hosting a get together with Jay's friend Gal (Michael Smiley) and his new girlfriend Fiona (Emma Fryer). Over the course of the evening the two couples talk, Jay gets upset (I'd say why but understanding the accents is a bit of a pain here), they talk and drink some more. During a brief respite, however, Gal tells Jay (in the latter's garage) that he has word of a job assignment with a big payoff. The two embark on the job, but as they begin going after targets for their unsettling employers, they start to think there may be something more going on.

As stated before, the idea is solid, with tons of a potential. But even though the story intrigues just out of the sheer mystery of what's going on, the writing and execution are so poor that most of the film becomes a chore to sit through that's only intermittently compelling or tense. Though there's some mention of a job Jay and Gal pulled in Kiev, there's nothing to indicate what that job was or what it means to either of the men. It's just used as a plot point and an indicator of something personal that the mysterious employers somehow know about. Wheatley may be trying to play vague, but he ends up shooting himself in the foot. The central duo aren't remotely interesting, and the only interest there is in the plot relates to what's really going on, not either of their fates.

Worse, in place of any sort of substance or character, Wheatley tries to smother every scene with atmosphere, namely with Jim Williams' music. In a few spots the eerie strings and tones work, but it mostly comes off like a bunch of rejected tracks from There Will be Blood. Add to this a lot of ugly photography and the annoying tendency to use a few black frames for transitions, and it all adds up to a rather obnoxious viewing experience. Wheatley seems to want to blend authentic British kitchen sink-style crime with a hint of something wild and fanciful, but for every promising moment, there's so much that annoys. Without any sort of interesting characterization, coupled with the ridiculous vagueness of the whole piece, it's not worth sticking through. Or at least, it wouldn't be, if it weren't for the ending.

That's not to say that the final act is a huge improvement. Some things, like the lighting and editing, become far worse. But the finale is where Kill List seems like it has the most promise. It's brutal and horrifying, but also fascinating. Still, it's mired by all of the flaws present throughout the film as a whole, and no matter how interesting the idea is on paper, the execution simply isn't up to snuff. Its slide into utter madness and horror feels false, and the more I think about everything else, so does nearly everything in Kill List.

Grade: D

Review: "A Dangerous Method" (2011)

2012-01-03T09:35:00.000-08:00

It would be easy to dismiss A Dangerous Method, the latest from director David Cronenberg, as an overly dry, albeit fleet-footed adaptation of Christopher Hampton's play "The Talking Cure." As an examination of Carl Jung (Michael Fassbender) and Sigmund Freud (Viggo Mortensen), there's little that's revelatory or terribly insightful, despite the interesting subject matter. This is Cronenberg at his most calm, free of sensationalism or body trauma. And the film would almost be too calm if it weren't for one element: Keira Knightley's performance.

Tellingly, the film opens not with Jung or Freud (who is very much a supporting character), but with Knightley's Sabina Spielrein, a Russian woman sent for treatment due to "hysteria." And right from the start, Knightley grabs your attention, screaming at the top of her lungs, collapsing into bizarre laughter, and contorting her face in ways I didn't think fully possible without the assistance of CG. It's such a striking performance (I mean that in a neutral sense) that how you feel about the film may ultimately hinge on whether you find the actress' work intensely riveting, or wacky and over the top. That is, unless you're like me, and find that she oscillates wildly between the two non-stop, in which case forming a definitive opinion on Cronenberg's latest becomes somewhat more puzzling.

Covering roughly a decade in time, what's noticeable from early on is that Hampton's play (which he adapted himself for the screen) hasn't made the full transition so that it feels entirely cinematic. Granted, this is a film that revolves around conversation after conversation, and there are plenty of exteriors that help flesh out the locations, but at times it's not enough. In one early scene, Jung sits behind Sabina, with no other decoration in the room. The shot shows only two sides of the square room coming together in a corner, and the angle creates the sensation that we're very much in a set, possibly even on a stage with very convincing lighting. It's odd, because so many of the interior scenes (thankfully) lack this quality, but every now and then the staginess creeps through, whether in the mise-en-scene or the occasional transition that arrives too abruptly. The quickness of the transitions is perhaps the bigger flaw, as it throws off any sense of proper pace, and I counted several times when the film felt like it was ready to conclude, only to see it keep going. Thankfully it's never boring, but it also feels like A Dangerous Method feels content to play out scene after scene and then simply end, rather than reach a proper sort of resolution (which is done through, sigh, title cards detailing various fates).

And while the screenplay has a surprising amount of light humor and some compelling exchanges, it also has moments that are completely dry. These are usually scenes where characters are talking in language so technical, and so devoid of character, that it starts to feel like a lesson. It renders whatever theoretical breakthroughs people have totally unremarkable, when they should be the source of the film's most intriguing exchanges.

It's too bad, because there's really a lot to like, or at least admire, in the film. The production values are quite handsome, and Peter Suschitszky's cinematography is sharp, clean, and bright. Howard Shore's musical contributions, which basically amount to a single theme, are also quite effective. As for the performances, there are moments for everyone to shine, but the script isn't nearly as rich in exploring the conflicts as it ought to be. It all feels too sanitized, to the point where the much talked about spanking scene stirs little emotion. Of Fassbender's many roles this year, this is easily his weakest, by virtue of the academic nature in which Hampton writes the character. Mortensen has fun as Freud, but again, he's treated from an odd distance, and the academic approach hurts his efforts. When it comes to Knightley, I'm at a crossroads. She's either the best or worst of the trio, depending on the scene. Overall, though, it's too uneven of a performance to really exalt, as there are too many moments that feel overwrought that clash with scenes where the actress shines. At the very least, however, it feels like Knightley is really taking a risk, which is more than can be said for just about every other aspect of the film. A little more danger really would have been quite helpful.

Grade: C+

The Month in Review: December 2011

2012-01-02T13:32:00.001-08:00

Best Film (Theaters): Shame

First impressions can be lasting, but that doesn't make them permanent. Such is the case with director Steve McQueen, whose second film managed to floor me despite my general distaste for Hunger, his 2008 debut. McQueen's direction, filled with strong music choices (and Harry Escott's excellent score) is elegant and powerful as he traces a sex addict (Michael Fassbender) whose life predictably but compellingly becomes a hollow vacuum. Boasting stellar performances from Fassbender and Carey Mulligan, Shame's point may seem rather an obvious one, but the overall execution is so unblinking and mature that it's hard to count that as a stroke against it. A slow-building, yet ultimately visceral work that stands as one of 2011's best.

Best Film (DVD/Streaming): Brick

Teenage noir is a concept that could have backfired horribly, yet Rian Johnson's film is actually quite the achievement. From the hard-boiled detective (Joseph Gordon-Levitt) to the femme fatale (Nora Zehetner), Brick transfers the tropes of noir to a California high school setting with such skill that the style rarely, if ever, feels inappropriate. Populated with memorable characters, understated dialogue, and a quiet sense of menace that cuts through the sunny setting, Johnson's film functions perfectly as a tribute to noir, and as a legitimate (albeit modern) incarnation of the genre.

Best Direction: Michel Hazanavicius - The Artist

Making a silent movie in this day an age must have been quite the project to pitch. Let's be grateful then, for two things: that someone had enough faith in it to finance it, and that Mr. Hazanavicius was the man at the helm. Though the film rests on Jean Dujardin and Berenice Bejo's capable shoulders, Hazanavicius is the reason behind The Artist's success. His ability to - with his collaborators - create the look and feel of silent films without feeling detrimentally old-fashioned is a marvel.

Best Male Performance : Michael Fassbender - Shame

Like Jessica Chastain, Michael Fassbender has had one hell of a year. But where Chastain's breakout was out of nowhere, Fassbender's year has simply been a rise to a new level of recognition. And in Shame, he delivers one of the best performances of the year. Brandon doesn't talk too much, but Fassbender is captivating all the same. The looks he gives exude a sheer magnitude, whether he's silently coming onto a woman on the subway or watching his sister sing, transported to memories of pain that the movie never spells out. To put it simply, the man's a force to be reckoned with, and in a year where either Clooney or Pitt seem poised for Oscar gold, it's Fassbender (along with Michael Shannon) who ought to be dominating the category.

Best Female Performance: Jeong-Hie Yun - Poetry

There really aren't enough good roles for older women, which is why we should be thankful that Chang-dong Lee decided to write and direct Poetry, as it affords us a chance to see further evidence that there's plenty to be done with stories centered on older female protagonists. As Mija, an elderly woman who discovers an ugly secret while attending a poetry class, Jeong-Hie Yun delivers a first rate performance. To watch her shyness, her curiosity, her anger, and her sadness at a world that is quickly leaving her behind is a quite marvel that makes Lee's somewhat overlong film worth sticking with.

Best Screenplay: Brick by Rian Johnson

There's more than dialogue in a screenplay, but in a work like Brick, dialogue is one of the keys to establishing the tone. Though it does - only in brief moments - become a bit too hard boiled for its own good, Johnson's translation of detective and noir-style dialogue to a high school setting is quite the success. Cynical, detached, and very fast, Johnson keeps the pieces of his chessboard in constant motion, creating a dark and sinister world just under the California sun. The characters may be in high school, but the consequences couldn't be more adult.

Best Ensemble Cast: The Girl with the Dragon Tattoo

Characters are not necessarily the strong point of Stieg Larrson's crime novels, but thankfully David Fincher's cast (along with Steven Zaillian's script) has made them compelling and convincing. Daniel Craig makes an intriguing and watchable Blomqvist, and Rooney Mara's fierce yet occasionally vulnerable take on Lisbeth Salander is compelling from her first appearance. Other roles, previously not worth a mention in the Swedish films, are also brought to life with great skill. Despite relatively little time (or depth), the roles filled out by Christopher Plummer, Stellan Skarsgaard, Joely Richardson, Robin Wright, and Geraldine James actually feel distinctive and have a sense of life to them, despite the coldness of the story and the even colder Scandinavian setting.

Best Cinematography: Jeff Cronenweth - The Girl with the Dragon Tattoo

If we've come to the point where even Terrence Malick is working with digital cameras, then obviously digital's capabilities have advanced far enough to make a convincing replacement for analog film. The problem is to know how to work with the differences, or else everything ends up looking washed out and robbed of the richness that film (at its height) affords. Some films,Mysteries of Lisbon for example, get it wrong, and certain scenes, as mentioned, feel completely drained of color, leaving nothing but an ugly pale yellow/white tint on the screen. Jeff Cronenweth, on the other hand, seems to know what the hell he's doing, as evidenced by last year's The Social Network, and now by his follow-up collaboration with David Fincher. Cronenweth's lighting is rich, offsetting the tendency of digital to desaturate skin tones. Like many a Fincher film, shades of murky green play a prominent role, and Cronenweth captures them beautifully. One shot in particular, lasting no more than a second, demonstrates the height of the DP's work. It happens in the main flashback, as Henrik Vanger tells Blomqvist of the day his niece Harriet vanished. During a search party scene we look out from within a shed in a field. It's likely not a moment that most will remember on its own, but as image, it's beautifully rendered, and it's just one of many.

The Netflix Files: December 26 - January 1

2012-01-02T11:57:00.000-08:00

Misfits - Season 2 (2010) created by Howard Overman:

Having firmly established its universe in season one, Howard Overman's hugely popular Brit super hero show moved on to bigger (but not too big) things in its superior second season. Though I still find Robert Sheehan's Nathan Young to be one of the most insufferable characters on TV, I have to concede two things. The first being that he did actually make me laugh a few times, the second being that the early episode involving a long-lost brother (from another mother) was exceptionally well done. Lauren Socha's brash Kelly remains my favorite of the cast, although Nathan Stewart-Jarret's Curtis and Antonia Thomas' Alisha seemed like they were given more (and better) material to work with than season 1. The episode involving Curtis (who can rewind time) messing with the incident that landed him in community service was one of the season's best. I go back and forth as to whether I find Iwan Rheon's portrayal of Simon, a shy nerd with the power of invisibility, irritating or not, however. Still, I liked how season two further introduced antagonists with super powers, without doing anything too bizarre (and this includes a villain with control over dairy products). The season's penultimate episode, which involves the main characters (and others affected by the lightning storm) being brought into the limelight, is also a highlight, though part of me wishes the writers had avoided the deus ex machina at the end, even though ignoring it would have created a plot hole. And while the finale wasn't as good as that episode, it did at least deal with an intriguing possibility, and ended on a simple but game-changing decision. As a whole, Misfits continues to feel better made, washed-out look included, though the star remains Vincent Pope's stellar (if at times too epic for its own good) score, one of the most vibrant and memorable I've heard in a TV series in quite some time. I hate to rip him from Misfits, but the man needs to make the transition to scoring films ASAP, as he's the closest the show has to a true hero.

Grade: B+

Happy New Year!!

2011-12-31T22:24:00.000-08:00

Whether 2011 was good, okay, or bad, here's hoping the next 12 months are great for all of you!

Review: "The Artist"

2011-12-30T20:23:00.001-08:00

It wasn't long ago that Martin Scorcese's Hugo, which worked in a bit of film history landed in theaters. Now, just weeks later, Michel Hazanavicius' The Artist has arrived, taking place roughly three decades later in time. Hugo uses modern technology (including 3D) to pay tribute to cinema's earliest films, while The Artist uses mostly old technology and technique. Surprisingly, the old fashioned film winds up as the superior film, and by quite some margin (remember, however, that I'm part of the small contingent who thought Hugo was a mess...).

And when I say that The Artist is old-fashioned, I really mean it. Though I'll assume that it was edited on digital (when was the last time a film was cut by hand...?), Hazanavicius hasn't just made a movie about the silent era, he's made a movie that belongs in that era, and I mean that as a compliment. Even the opening credits are done exactly in the style of the late 20s and early 30s. The director's latest, which picked up the Best Actor prize for its leading man back at Cannes, centers on George Valentin (Jean Dujardin), a silent film superstar whose career is threatened by the dawn of sound.

The best thing about The Arist is that it keeps everything simple. The story is simple (it's basically Singin' in the Rain with a few big changes), the conflict is simple, and the emotions are simple. While this could have been the film's Achilles heel, Hazanavicius and company turn it into its greatest strength. The Artist is a sincere silent film, yet because it has been made just over 80 years since the start of the sound era, it has the ability to work as a standalone film and a tribute to those films. Dujardin perfectly captures Valentin's transition from a man on top of the world to a man faced with obsolescence practically over night. That he looks so much like a movie idol from the silent era only adds to the portrayal's effectiveness. Though he and co-star Berenice Bejo (also a delight to watch) speak many of their lines, only a few are transcribed on title cards, and Hazanavicius is wise in keeping the cards to a minimum. The actors' faces speak the emotions, even if we can't quite lip read everything they say.

But surely, this whole thing can't be silent, can it? Well, not exactly. There are a handful of sound effects in an excellent dream/nightmare sequence, and just a hint of spoken dialogue (where it comes in, I won't say). The only other sound, though, is Ludovic Bource's almost non-stop score. So despite bit parts played by John Goodman, James Cromwell, and Missi Pyle, the other true star of the film is Mr. Bource, whose music instills the whole film with a liveliness it may have completed lacked were the film 100% silent. The music is big, rich, and grand, and it always feels appropriate. In the two brief moments where the score vanishes, you instantly long for its return, and Hazanavicius knows exactly when to bring it back in. Guillaume Schiffman's rich, black and white cinematography is also aces, perfectly capturing the look and feel of old films without feeling creaky or stuffy.

So even though the story feels like it's about to wind down before introducing one last piece of drama, it's hard to go too hard on the film because Hazanavicius has pulled the whole thing off with such skill. Despite its simplicity, The Artist doesn't dumb itself down. The humor may be straightforward, but it feels authentic. Hazanavicius also handles the story's transition from light comedy to melodrama to the point where it feels seamless, rather than two films awkwardly stitched together, which easily could have been the case. Coupled with the score, and Dujardin and Bejo's performances, this result is one of the most delightful films of the year, as well as one of the best, capped off by a fantastic finale that ranks as one of the year's best scenes. So even though it may be silent, The Artist still manages to speak volumes.

Grade: A-

Review: "Weekend"

2011-12-30T19:36:00.000-08:00

Two people meet. They talk, frivolously at first, as if the encounter could dissolve in a matter of minutes under the right circumstances. But something happens. There's a spark between them, and it pulls them both in deeper and deeper, through the good and the bad, all through their words and reactions. This is a set-up that has been used in any number of films, from Richard Linklater's Before Sunrise and Before Sunset to this year's Certified Copy.

These are films that, despite their narrative simplicity, perhaps even narrative non-existence, draw us in time and time again. They allow two people, often with just enough similarities and difference to create an engaging push-pull (without verging into Who's Afraid of Virginia Woolf? territory) dynamic that can be humorous, charming, unsettling, and powerful. But in keeping with the necessity of opposites, all of these films have always centered on male/female pairings. It would seem to be a requirement: it is, after all the biggest dividing line among our species. Surely it would be necessary for such a film to succeed. Enter Andrew Haigh's Weekend, the latest entry in the two-people-talking sub-genre, centered on two British men.

One night at a local gay club, Russell (Tom Cullen) hooks up with Glen (Chris New). The following morning, as the two are getting dressed, Russell goes through on a promise he made the night before: to participate in Glen's audio art project on sex (specifically, gay sex). And even in this first interaction, which merely involves Glen holding a recorder for Russell to speak to, Weekend makes its mark. Russell and Glen have barely been established as characters (especially the latter, who doesn't speak until the morning-after scene), yet Haigh and his actors manage to create a sense of chemistry with incredible immediacy, and it all feels completely natural. And as the pair's interactions - which, in a break from tradition, involve several quick periods of separation - move from the clinical distance of the interview to themselves and their lives, the richness of Weekend only deepens.

Perhaps its greatest asset is that it refuses to box Russell and Glen into types. Yes, the former believes in the possibility of relationships while the latter is hesitant about the idea, but the two have enough about them that's similar to avoid feeling like we're dealing with cartoonish opposites. Haigh has created two very full characters, and he allows them to act like characters. As such, the film's weakest moments come when the pair address social issues directly, instead of ruminating on their more centralized, specific perspectives. It's in those moments that Weekend feels like it might become a "gay movie" instead of just, well, a movie. Cullen and New's performances, thankfully, transcend these little bumps along the way. Reception has tilted in favor of Cullen (the film is oriented around his character), but I'm going to have to cast my vote for New. The actor possesses a quiet fire in him that clashes with Cullen's more mellow, downcast looks, which sometimes (and by "sometimes" I mean once or twice...) come across as unintentionally dopey rather than withdrawn or shy.

The only major issue I have to take with Weekend is that it actually picks one of the two men to fixate on. Russell is the first and last person we see in the film, and despite Glen's near-equal screen time, this aspect leaves him feeling more like a passerby in Russell's life, when the two ought to be equals under the narrative. It's this that perhaps makes Weekend fail to completely instill the level of heartbreak it's aiming for. Glen is an equal for so much of the film, but when the ending comes back around to being all about Russell, he starts to feel more like a device. It makes it feel like Russell is the only one who's truly changed by the encounter, and that he had less to give Glen than Glen had to give him, even though both affect each other equally.

Still, it's hard not to be impressed by the vast majority of Haigh's sophomore effort (regarding full length films; his first three films were shorts). Whatever my qualms with the film's resolution (though the very last scene is lovely), this is an impressive effort from an obviously talented writer/director. Despite the small budget, Haigh makes impressive use of the surroundings, working with DP Urzsula Pontikos to create oddly compelling imagery out of mundane architecture and landscapes. Haigh's sense of pacing is also quite refined, never allowing the story to ramble or drag. Ultimately, though, Weekend's success rests on the shoulders of the screenplay and the actors, and they carry it all as if it were light as air. In a year when frustrating sequels landed at the multiplex week after week, Weekend actually creates a set-up where one longs to see more of the main characters together. Like Jesse and Celine in Sunrise/Sunset, this is one pair that's more than earned a second chance at their relationship, as well as a second film.

Grade: B+