patrickwigington Reviews

Django Unchained (2012)

The Decent Gun

[6/10 · 1 January 2013]

Quentin Tarantino's latest film is neither as stylized as his previous work or as interesting. Instead, the filmmaker has made what very well may be his most normal film, creating a Western that is as traditionalist and American as the Coen Brothers' True Grit. Now, this is by no means a bad thing; however, Tarantino is capable of making something that is much more entertaining and off the wall than this film. At its best, the movie is an exhilarating and well acted western, and at its worst it is a disappointingly middle of the road film by a well respected director.

The plot concerns the plight of Django the slave. Through a lucky turn of events he comes across the bounty hunter Dr. Schultz, who is looking for the Brittle brothers, and he believes Django can help him. After Schultz kills the slave trader that are holding Django in chains, the two set out to find and kill the Brittle brothers. After this feat is accomplished, Schultz learns that Django wants to save his wife Broomhilda. Schultz offer his assistance in exchange for Django to continue working with him. Eventually they make their way to Mississippi where Broomhilda is a slave on the massive plantation of Candyland, owned by the ruthless and insane Calvin Candie. From there the movie is a revenge flick, just like the last four movies by Tarantino.

The highlight of the movie is certainly the acting. Jamie Foxx plays Django with an honesty and passion that has gone unmatched in his previous work. He gives the role a true hero quality and does a great job of getting the audience to really root for him. Not that his opposition is particularly likable in anyway. Cristoph Waltz plays Dr. Schultz, which is essentially a much nicer version of his character from Tarantino's previous effort Inglorious Basterds. Here, he takes on the role of the wise old wizard who helps the hero gain his full potential. The performances by Samuel L. Jackson as a mean and bitter house slave and Don Johnson as a womanizing plantation owner are also great. But the best performance would have to be from Leonardo DiCaprio as Calvin Candie. Here he plays a deranged and flamboyant plantation owner who is very easy to hate. DiCaprio, Foxx, and Waltz are phenomenal, and the rest of the cast bring a lot to the table, creating some of Tarantino's most interesting characters yet.

The acting is great, and for the most part this is what saves the movie. However even this has its slight flaws, including a scene involving Australian slave traders (one of them played by Tarantino) who have maybe the worst Australian accents ever.

As for Tarantino's writing and directing, this almost seems like the antithesis of Kill Bill, his two part film that encompassed nearly all genres and was so ridiculous that it is probably his greatest work. Here, however, Tarantino goes for a much more subdued approach. It has been said that Django Unchained would be a spaghetti western, much like the classic films by Sergio Leone and the original Django. However, Tarantino's style is much more in line with traditionalist American westerns, which is fine in and of itself, but he isn't very good at making that kind of movie. This is by far Tarantino's most conventional film, and as a result his most boring. Even Basterds, which this reviewer found underwhelming, had a lot of interesting aspects to it. But Django is so normal in its plot and its style that the other aspects that are quintessential Tarantino become a drag. Even the music choices seem less inspired than any other movie he has made.

As for the film's commentary on slavery, it brings to the forefront some serious and complicated ideas that every Hollywood movie has avoided or dumbed down. For this alone the film deserves a vast amount of credit. Tarantino doesn't shy away from the cruelty and the malice of the racism that dominated the south in the mid 1800s. The film is unsentimental and unheroic in its depiction of the treatment of slaves, and the film is more damning of the institution than any other movie that has been made on the subject, perhaps because Tarantino is not interested in forgiving the government for allowing such a horrible affront to human rights to occur for such a bitterly long time. However, some of the humor Tarantino puts into the film undermines the seriousness of it all, much in the same way a Broadway showtune undermines the misery of being imprisoned for 19 years for stealing a loaf of bread.

The movie isn't all bad. In fact, far from it. Tarantino's classic dialogue is exquisitely done, especially at the tense and intentionally overlong dinner scene. The final set of shootouts are exhilarating and bloodier than anything that has come out in a long while. However, there seems to be something missing from this film that is present in almost every other Tarantino flick. Perhaps that something is originality; because, lets face it, this movie is a revenge movie, Basterds was a revenge movie, 2007's Death Proof was a revenge movie, and Kill Bill was a revenge movie. It seems strange to say this, but Tarantino could benefit greatly from branching out.

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The Hobbit: An Unexpected Journey (2012)

A Promising Start

[6/10 · 15 December 2012]

Fortunately, the first installment of the adaptation of JRR Tolkien's The Hobbit works. Peter Jackson, who directed the Lord of the Rings trilogy a decade ago, comes back to try and tell the more whimsical tale of Bilbo Baggins, dwarfs, and a dragon. Unfortunately, This first in a new trilogy has at least several flaws that it must overcome before things get good.

This movie only covers the first third of Tolkien's book, so we see no dragon—except glimpses in flashbacks. The movie begins with Ian Holm, portraying the old Bilbo, talking about his adventure, and setting it up nicely with a tale of how Smaug the dragon came to take over the Lonely Mountain from the dwarfs. However, this dual cameo from Holm and Elijah Wood (back as Frodo) is completely unnecessary, and really not interesting. However, once we get to the real story, things start to perk up. Gandalf asks the young Bilbo if he would share in an adventure, and later on the grumpy stay at home hobbit has his home overrun with dwarfs. This dinner party drags on a little too long in its attempt to introduce all 13 dwarfs, of which only 4 or 5 stand out as fully formed characters. However, the unexpected party does provide a good deal of interesting exposition, and the introductions of the characters really help to bring an emotional depth to the movie. They eventually set out on their journey, and things get much more fast paced.

Martin Freeman is fantastic as the young Bilbo, and carries the movie through its good and bad parts. Freeman captures the essence of the titular character, giving him a grumpy and perpetually annoyed feeling that works quite well. Ian McKellen returns as the wizard Gandalf, and his presence welcome and reassuring. Other returning actors, such as Hugo Weaving as Elrond and Cate Blanchett as Galadriel are very unnecessary but quite good. The movie also features the wizard Radagast the Brown, played by Sylvester McCoy. Radagast is a welcome portion of the film, giving it the lightheartedness the movie needs more of.

Andy Serkis also returns, in motion capture form, as the creature Gollum. The scene between Bilbo and Gollum is certainly the highlight of the movie, and Serkis gives a fantastic performance. The game of riddles that the two engage in is done with equal measure of grace and suspense.

The faults of the film lay mostly with the script. Director Peter Jackson's decision to split the two part film into a trilogy created a lot of room for what seems to be things that really don't matter. As a result, the movie lacks the urgency and quick pace that the book has. However, Jackson seems to be making a trilogy that is much more a prequel to The Lord of the Rings than it is an adaptation of the whimsical and less-all-encompassing children's book.

Jackson's directing is much less maximal than it was in his previous venture to Middle-Earth. Instead, Jackson focuses on the magical elements of the world; using expressive backdrops, and having the forests and mountain caves glisten with wonder and danger. Even Gandalf is more magical than he ever was in Rings. The colors are bolder and more on the forefront. As a result, the juxtaposition between light and dark becomes an intricate part of the movie. Even the Ring glistens with ridiculous shininess. Jackson has come out of his slump of bad movie making (2005's King Kong and the miserable Lovely Bones), and now comes almost to the heights he reached when making the Rings trilogy. Unfortunately, he doesn't quite make it. At least not in this installment.

This reviewer didn't see it in 3D, or in the new 48 frames per second, and that more than likely works in this movie's favor. Jackson may think these things are the wave of the future, but certainly the nuisance of 3D outweighs the slight benefit of watching a movie turn into a pop up book.

The movie is certainly flawed, but it is also very promising. Once all the bullcrap is cleared out of the way, the movie really soars in its fantastical way. The sequels should (hopefully) be even better. Throughout the movie, we get a taste of the places to come; the forest of Mirkwood, the town of Dale, the Lonely Mountain in the distance, and even a glimpse of Smaug. All of these things look very promising, and An Unexpected Journey delivers a decent amount of goods itself. The movie may not be a great success, but it is, after all, only the first act. So, if you can forgive the filmmakers for splitting the story up into three movies, the first installment of The Hobbit is really damn good.

Life of Pi (2012)

The Beautiful Beast

[10/10 · 26 November 2012]

Too bad more movies aren't like this. From the very beginning, Life of Pi thrusts its viewers into a world of wonder, and onward to the realm of the fantastic. Ang Lee delivers a heartfelt and miraculous adaptation of the book by Yann Martel.

The story is of a young boy named Pi, who lives with his family in India. His father is a zookeeper, and Pi is close to the animals. Pi lives out his childhood by exploring the marvelous world around him, and as he gets older he tries to become more connected to God. He does this by exploring practically every religion at once, much to the disapproval of his father. When Pi is 16 the family decides to make a new life for themselves in Canada, so they get on a ship along with all the animals they intend to sell once they get to the New World. However, on the way the ship crashes and sinks. Pi is the lone survivor and is stuck in the middle of the ocean on a life boat with a rather large Bengal Tiger.

What follows is a fantastic tale of survival on the open sea. Ang Lee directs the film with stunning clarity and beauty. He creates a world that is marvelous to behold, and sequences that are absolutely breathtaking. The shipwreck sequence is particularly astounding to take in. Lee also creates a wonderful dynamic between Pi and the Tiger, as the boy struggles to survive and not be eaten by the beast. Lee's style is magical, and the world he shows us is full of mystery, beauty, and danger.

The Tiger is computer animated, and maybe mixed in with some real tiger or puppetry. At any rate, the face is all computer, but that is barely noticeable. The Tiger gives a great amount of emotion and depth to the movie. The Tiger may be artificial, but he is so real within the story that it doesn't matter. Whether this relates to the entirety of the movie, you'll have to see for yourself.

The acting is, needless to say, as amazing as the rest of the movie. Suraj Sharma plays Pi for the majority of the film as a 16 year old. Sharma gives a brutal and honest performance as the young man fighting for his life. Pi's family is wonderfully portrayed, especially by Adil Hussain, who plays the boys harsh but loving father.

The music by Michael Danna is quintessential to the movie. Danna brings to life the adventure and fantastical elements of the movie. The score really highlights the beauty of the movie; and along with cinematography by Claudio Miranda, it helps to create an overwhelmingly marvelous movie.

Life of Pi is an exceptional movie. Ang Lee and company bring the art of filmmaking to its highest potential, and create a true masterpiece of art. The movie explores themes of survival, God, and humanity all at once to make the singe best movie of the year so far.

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Skyfall (2012)

The Modern Spy

[8/10 · 23 November 2012]

The new James Bond movie is a fantastic movie. While maintaining the allure and stylish action of the Bond franchise, it adds a significant amount of depth to both its plot and its characters. Perhaps this 23rd (or 24th depending) installment in the James Bond series might not be as visceral and archetypal as the Sean Connery movies, Skyfall is a triumphant attempt to bring 007 into the modern era.

The plot of this Bond movie is much more personal than any one before it. After faking his own death (once again), Bond lives out his time on some unspecified beach. However, he learns that MI6, the agency he works for, has been bombed by a terrorist. So Bond heads back to England to make sure M, his mother figure, is safe and unharmed. She has him come back to the force and try and track down the man responsible. All of this happens during a barrage of politics and somewhat heavy handed dialogue about how the world doesn't need top secret agents anymore. Of course this movie then goes about making the case for why we still do, at least in the 007 universe.

Daniel Craig really delves into his role as Bond in this outing. He gives the character added depth and complexities that were previously never even considered. Although Craig seems like a strange choice for 007, he has been doing it for 3 movies now, and he seems to fit the role really nicely. Along with Casino Royale and especially this new one, Craig has helped shape the series into relevancy in the 21st century. Judi Dench plays M, the leader of MI6. Her role is greatly expanded in this movie, and Dench really delivers a knockout performance. Javier Bardem plays the villain, a evil mastermind (of course) who is hellbent on killing M, for his own mysterious reasons. Bardem is maybe the best Bond villain of them all, giving a fascinating performance that is highlighted by his character's disturbing back story.

The only character who seems flat and uninteresting is the new Q, head of gadgets. Played by Ben Wishaw, he seems to be more of a "lets try and appeal to the indie crowd" move than an actual character. Also, the gadgets are a little disappointing. Bond only gets a handgun that only he can shoot, and a radio device for them to track his signal. No fancy stuff, but this Bond movie is doing that on purpose. It seems to be a minimalist Bond film, trying to purge itself of all the overblown and needless aspects of previous installments, and reinvent itself in a way that is both exciting and necessary. Bond is barely the suave, debonair Cary Grant type figure. Classic lines and motifs from other movies are only hinted at here; and even the Bond girl is little more than a plot point. How you feel about all of that really depends on your taste, but it is certainly a very interesting take on the franchise.

Sam Mendes, who has directed such classics as American Beauty and Road to Perdition helms this spy movie with stunning visuals. Mendes creates a dangerous and attractive world that marked by assassins, dangerous women, and modern architecture. The action scenes are tight and fun to watch; Mendes never tries to be too flashy with the camera work, letting the fights and chases and shootouts speak for themselves. And the dramatic scenes are emotionally engrossing—especially when Bond cries at the end. Yeah, that's right.

Skyfall is a great James Bond movie, and an even better action film. Adele's title song is the best since Live and Let Die. The movie is a phenomenal experience, and seeing it on the big screen is well worth the time and money.

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Cloud Atlas (2012)

I Know I Know the True True

[8/10 · 7 November 2012]

Movies like this don't come around very often. In the same vein as such movies as The Fountain and Tree of Life, Cloud Atlas explores themes of death, life, and the universe. This is pretty heavy stuff that a lot of people may feel iffy about seeing. However, if you were on the fence, or planning to see it, or planning not to see it, you should go see this movie.

The basic plot is this: There are six different stories the movie follows, each taking place in different points in history (two in the future). The multitude of characters are played only by a handful of actors, in order to portray how we are following the same set of souls through many different lifetimes. The film cuts back and forth between the stories as they make their way to an emotional climax. All of the segments are connected in one way or another, be it through ideas that characters have, music, or the belief in something more.

Some of the segments are a little dull, most notably the one that takes place in the earliest time period about a slave trader who ends up befriending a slave on the ship ride back to the States. For some reason this one just doesn't seem to have the emotional connectedness as the rest of them do. The great stories are the tale of two gay lovers in the 1930s, the story of a Chosen One in the future, and the story of a villager in a post apocalyptic distant future. The other two stories are one of a woman reporter in the 70s and a washed up publisher in the year 2012.

The film is directed by three people, the Wachowskis who directed the Okay Matrix Trilogy and Tom Tykwer who directed Run Lola Run. The Wachowskis directed the story about the slave trader and the two set in the future, while Tykwer directed the stories of the lovers, the reporter, and the publisher. They all come together quite nicely and each time the film cuts back and forth the parallel stories compliment and heighten the meaning of the others.

The acting is fantastic from the main cast. Tom Hanks is best as the role of the tribesman in the far distant future, but also shines as an extremely angry writer in the 2012 storyline and as the sketchy doctor in the slave trader's story. Halle Barry's main role comes as Luisa Rey in the 70s story about a cover-up involving alternate energy. She is also great as one of the last remnants of a highly advanced society in the post apocalyptic story. Jim Broadbent plays the down and out publisher in the 2012 story, but he really shines as the old and cruel composer in the 1930s story who forces his amanuensis to either publish the Cloud Atlas suite under the old composer's name or risk being found out as a homosexual.

Which brings me to the music, composed by director Tykwer, John Klimek, and Reinhold Heil. Instead of trying to come up with something that is catchy and simplistic for the Cloud Atlas music that links the stories together, the piece is a grandiose classical movement, and the rest of the score is as interesting and beautiful.

Despite what you may have heard Cloud Atlas is quite clear cut, assuming that you pay attention. In fact sometimes it becomes a little too heavy handed, and the dialogue is sometimes extremely clunky, but that doesn't distract from the beauty and majesty of the movie too much. My only wish is that they would have spent more time on the two stories set in the future, as these proved to be the most fantastical, exciting, and important. This is a movie that needs to be seen by anyone who enjoys intelligent, heartfelt and mesmerizing art.

thatguythatlikesmovies.blogspot.com

Argo (2012)

The Great Caper

[6/10 · 14 October 2012]

Ben Affleck's latest movie has been getting a lot of buzz. And while it is not nearly as triumphant as his previous directing jobs (Gone Baby Gone, The Town), The finished product is both fun and smart entertainment that makes for an intense experience.

The story of Argo is based on the rescue of 6 hostages from Iran during the 1979 hostage crisis. Affleck's character works for the CIA, and comes up with the idea to pretend to be a Canadian film crew going to Iran to scout out locations. Since the other ideas are absolutely awful, this is the one they go with. Affleck flies out to Hollywood to meet with people that are on board to make a fake movie. John Chambers, a makeup artist, and Lester Siegal, a producer, decide to try and make it work. Affleck then flies over to Iran to try and get the 6 escapees out of the Canadian ambassador's house and on an airplane.

Since the story is historical, it takes away from the movie at times. The scene where Affleck finally finds the right script is tedious, and the suspense of them trying to sneak around and eventually trying to escape also at times is a bit annoying. However, as Affleck has proved in his previous films, he is a genius at creating suspense. The scene in the airport is entertaining and impressively original in its execution. Affleck also gets the feel of the late 70's down exquisitely well, and the Hollywood aspect allows for a multitude of self referential humor that is very well done.

The acting is all great, especially by Affleck, and John Goodman as the makeup artist. The six hostages are all interesting characters and finely portrayed. The real problem with the movie comes from the script, written by Chris Terrio. His depiction of historical events is almost absurdly derivative and predictable, which limits the movie quite a lot. The characters, too, seem to be a little too basic, but perhaps that is the fact that this is a Hollywood movie about a high concept Hollywood movie that actually happened in real life.

For all of its shortcomings, Argo is a thrilling suspense movie. Affleck is certainly no Hitchcock, but he gets the job done nicely. The movie is American all around, and that gives it both its greatest strengths and biggest weaknesses.

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Bringing Out the Dead (1999)

Riding With Death

[9/10 · 6 October 2012]

Martin Scorsese's last film of the 20th century takes place "back in the early 90's" and it serves as an accurate and engrossing portrayal of what that decade was all about. Scorsese created an eclectic, hyperactive, and pulsating movie that is absolutely mesmerizing to watch.

The film stars Nicolas Cage, who gives a phenomenal performance as the alcoholic paramedic Frank who's psychological stability long ago slipped away. He drives an ambulance through the streets of a desperate, gritty New York City practically from dusk till dawn. The entirety of the movie happens over the course of a few nights. Frank drives the ambulance like a maniac, but it seems to be the only way to keep the ghosts of the people that have died in his arms away. Frank's partner is Larry, a middle aged family an who serves as a sort of rock for Frank, keeping his psychosis in check. But Larry is only there the first night, and Frank's descent is fast. He meets a girl who's father has had a heart attack, and he falls for her. But it is not as if she can save him; in fact she is probably worse off than he is.

Nicolas Cage is excellent as Frank. His performance is certainly over the top, but that is by no means a bad thing. Cage absorbs himself into the character, creating a man who is visibly on the brink of a nervous break down, and who we can easily identify with and understand. John Goodman plays Larry with a subdued and calming aspect that acts as a nice foil for Cage early on. Patricia Arquette gives a subdued and excellent performance as the wounded girl Frank tries to save.

The script was written by Paul Schrader, who wrote several other films for Scorsese, including Taxi Driver and The Last Temptation of Christ. Schrader delves deep into the character of Frank, but never reveals too much. We are left with questions that cannot be answered about all of these characters, but we see many of them in their most revealing moments.

Scorsese directs this movie with a eccentric fever that he has never replicated. The entire movie is from the point of view of Frank, and so we get a dazed, delirious look at the City and its inhabitants. Scorsese deals with themes of alienation, death, and the crack epidemic all together in one huge lump of insanity, all while maintaining the clearest of storytelling. While a simple description of the plot may make it seem like a subdued and lengthy character study, it is in essence quite different. Scorsese's directing turns the film into a drug induced meditation on life and death.

Complete with a soundtrack that includes The Clash, The Who, and The Rolling Stones, Bringing Out the Dead is a forgotten masterpiece of Martin Scorsese. The movie is hypnotic to watch and hard to pull away from once it sucks you into its insane world.

thatguythatlikesmovies.blogspot.com/ridingwithdeath

Looper (2012)

All The Time in the World

[8/10 · 30 September 2012]

Looper is an exciting and mentally stimulating science fiction movie that goes above and beyond in the realm of creativity. Original and thought provoking in its execution, this is a movie about time travel with a future that is gritty, plausible, and fantastic to absorb.

Taking its cues from hard hitting gangster movies, the story follows Joe, a young man living in 2044 America that is crippled with economic collapse. He works for the mafia as a "looper". This is a job that requires some explanation. You see, 30 years from 2044, time travel will be invented. It is highly illegal, but is used by the mob to dump bodies, because it is impossible to do so in the future-future. Loopers get set times and places where they wait for their victims to appear, bound, gagged, and with a mask over their head. Sometimes a looper ends up killing himself from the future. This begins happening quite often, and rumor has it that a man named the Rain Maker is ordering the killings of all loopers. Joe does not seem to think much of this until his future self arrives, without a mask on. His future self escapes, looking for the child who will one day become the Rain Maker. Young Joe finds a woman and her young, troubled boy who are one of the people on Old Joe's map. He decides to wait there to confront his older self, to try and make things right with the mob.

The movie twists and turns in unexpected ways that create a true feeling of suspense. Rian Johnson takes major influences from the likes of Martin Scorsese to craft a cold and calculating crime film. However, Johnson makes a movie that is so original and eclectic that it is obvious this is the work of a man who knows how to tell a story. There is plenty of action, but it never becomes more important than the story or the characters. Johnson also wrote the script, and he brings humanity to all of the players involved. The introduction of alternate timelines is only the beginning of the insane subplots that pop up, and all fit nicely together. The gritty and subdued style invokes a noir aspect that only serves to enhance the movie.

Joseph Gordon-Levitt plays young Joe. He is fantastic as the cool, calm, and collected gunman. His face is altered with makeup to make him look more like old Joe, played by Bruce Willis. Levitt even speaks like the action star. Willis is really great in a subdued and complicated performance, although it would have been nice for his character to have had a more expanded role; he seems to fall into the role of the antagonist too quickly. Emily Blunt plays the hardened and self reliant mother of the boy old Joe is hunting. Blunt's character is used well and she gives an excellent performance.

Looper is a bizarre movie, and that is a very good thing. Exciting, thoughtful, and at times disturbing, this film is mesmerizing to watch. It's not often that an action film is even half as good as this one, and rarely are movies so much fun to watch.

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The Master (2012)

King of His Domain

[8/10 · 22 September 2012]

Paul Thomas Anderson's last film was 2007's There Will Be Blood. Now, he returns with a dark, intriguing, and disturbing look at the creation of a cult. The movie is a work of fiction, but its inspiration clearly comes from L. Ron Hubbard, the founder of Scientology.

Anderson's story focuses on Freddie, a WWII vet who is a shell shocked and emotionally unhinged drunk who returns to the states and leads a life of misery. He makes nearly toxic alcoholic concoctions using such ingredients as paint thinner. Eventually he meets Lancaster Dodd, a Doctor and egotistical megalomaniac that begins his own church, known as the Cause. Freddie becomes involved with their little group, mostly because Dodd likes his drinks and thinks he can save the poor bastard. Freddie has a hard time fitting in; he wants to be a part, and he is loyal to The Master and his Cause. Dodd faces continued criticisms from the outside world, being called a cult leader, and having ongoing financial difficulties.

The relationship between Freddie and Dodd is fantastic to watch. Joaquin Phoenix plays the raging Freddie with an animalistic and nuanced performance that is extremely realistic. His body is ravaged by the poison he drinks daily, and his mind is dull from years of wandering. Phoenix delves into the character, and brings forth a man that is practically an ape. His psychotic outbursts and sexual obsession are constant reminders to the other members of the Cause that he is unpredictable and perhaps beyond saving. Phillip Seymour Hoffman plays Dodd with such passion and complexity that it becomes nearly impossible to see what the man is really all about. He is a commanding presence, who can give a heartfelt speech, be a comedian to his followers, and can snap into bursts of rage. Hoffman creates a man who is truly so bizarre and delusional that it his hard to look away. Despite his self obsession, he is easy to be drawn into.

Amy Adams plays Peggy Dodd, wife of the Master. Her performance is haunting and disturbing. Although her role is mostly hinted at and only once ever explicitly shown in the movie, she is a force of a character. She takes on the role of the dutiful wife for appearances sake, but underneath there is at the very least a power struggle between her and The Master. Adams gives the role a surprising amount of depth for a character that lurks on the sidelines for most of the film.

Anderson's script is a knockout. He delves deep into the emotions and psychology of his characters, bringing forth deep and psychology complicated individuals that live in a world of their own codes. The character of Dodd is very reminiscent of the titular tycoon from Orson Welles' Citizen Kane. In fact, much of the film seems to be in the same vein as Kane, with a demanding and ego driven man that serves as the centerpiece. Like Welles' film, The Master suffers in one key area; that is, it doesn't have a single truly sympathetic character. Perhaps Freddie is the one we can identify with the most, but he is so troubled and self destructive that it is hard to relate.

Anderson directs the film with a cold and raw style, bringing these people with all of their troubles and ambitions and hidden, unknown desires to the forefront of the story. The parallels with Scientology are certainly prevalent and important to the film, but the real interesting stuff is the relationship between Freddie and Dodd and his wife.

A film that is bizarre, disturbing, and thought provoking, The Master is a great piece of art. The film is most certainly not for everyone, and many people may be frustrated by the lack of handouts the movie gives to the audience. Instead, Anderson invites us to watch Dodd and his methods of bringing people to their "true" selves, and make our own decisions about what was really going on.

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The Matrix (1999)

Trip Through the Wires

[6/10 · 1 September 2012]

Looking back at the cyberpunk blockbuster, The Matrix is like a time capsule and culmination of the science fiction movies of the 90's. It's scenes and ideas have become iconic, and that makes it a classic, although more because of its importance rather than it being a great film in and of itself.

The Matrix certainly has a technical brilliance that had a huge effect on the way action movies were filmed. And unlike the deplorable shaky cam aspects of the Bourne movies, the style of The Matrix at least made the action movies that stole from it a little more visually pleasing. The Wachowski brothers certainly created a world that was fascinating to think about and entertaining to watch. While their movie ends up not going quite as far as it could and should have, they made a visually groundbreaking movie that incorporates a lot of interesting and complex philosophical ideas, although the movie doesn't quite live up to the ambitions it sets up for itself.

Other movies from the 90's had similar plots to this one, most notably Dark City, The Truman Show and Strange Days in the fact that the world that we live in is far different that what it seems. The Matrix is, of course, a computer generated world simulating the world as it was in 1999, when in reality the year is closer to 2199, with all humans plugged into the Matrix, and used as batteries for sentient robots that have taken over the world. That premise alone is enough to create a good and interesting movie. The main character Neo, however, also happens to be the Chosen one; the human that will end the war between those humans that have woken up from the Matrix and the machines that want them dead. The interesting thing about the characters that have woken up, is that they can plug back into the Matrix when they need to. And since they know they are in a virtual reality, they can manipulate it to be great fighters and defy gravity and all that good stuff. Neo, being the chosen one, is thought to be able to manipulate the Matrix even more than the other enlightened ones.

Keaunu Reeves plays Neo, in the same vein as Harrison Ford or Bruce Willis, in that his acting is going out of his way to do not much at all. This is fine enough, but since Reeves lacks the charisma that Ford and Willis posses, it makes it hard to really care about him as a character. However, Lawrence Fishborne as Morpheus, the wise and powerful guru figure, is an excellent and enjoyable character. He gives off the air of calmness and ease in a world that is controlled by fear and chaos. Carrie-Anne Moss is also excellent as Trinity, the kick ass chick that Neo inevitably falls in love with. And there is also Hugo Weaving, who plays Agent Smith, a program designed to look like a human inside the Matrix that is sent to kill all those humans that keep trying to wake people up. He and the other agents have significant abilities when it comes to altering the Matrix. They can dodge bullets with ease, and can easily fight any human. Weaving is a highlight of the movie, giving a memorable and vicious performance.

One of the most interesting aspects of this movie is the idea of making a choice. This is most notably shown in the scene where Neo has the choice to take the blue pill, which will send him back to his bed and he will never have to worry about what the Matrix is, or the red pill, which is akin to some form of psychedelic. Neo takes the latter, and becomes enlightened, waking up in a tub surrounded by other humans plugged into the Matrix. The direct effect of taking the red pill is ambiguous, and creates a layer to the movie that makes it both more interesting and more fun. Choice shows up throughout the course of the movie, especially with the Oracle, a wise old lady who lives in the Matrix and predicted the coming of the Chosen one to end the war between man and machine.

Neo then meets the characters on the flying ship the Nebuchadnezzar, including Morpheus and Trinity, as well as other characters that end up being completely inconsequential considering they all die. The character Cypher, played by Joe Pantoliano is probably the worst of these characters. He ultimately betrays the crew of the ship to Agent Smith because he wants to be plugged back into the Matrix. Pantoliano plays the character as a total scumbag that is considerably unlikable. This may be what the Wachowski brothers intended, but it doesn't make for an interesting character. There is simply nothing to like about the man; he is like a neighbor you avoid because he does too much cocaine.

The Matrix has its faults, but it is an entertaining and important movie. The fight scenes are a huge part of the experience, based on those old school, gravity defying Kung Fu movies. The choreography of the fights is exquisitely done by Yuen Woo-ping, who would later go on to choreograph the fights in Crouching Tiger, Hidden Dragon and Quentin Tarantino's Kill Bill. The use of slow motion and it's "bullet time" effect, which allowed the characters to freeze mid air and look exceedingly bad ass is another very cool trademark of the movie.

This science fiction movie created an intriguing world and an exciting story. Visually stunning and action packed, The Matrix is a fun movie to watch, even though it doesn't live up to its own ambitions, and the end becomes tangled in a web of convoluted silliness. It is none the less an important and entertaining achievement.

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The Matrix Reloaded (2003)

The 21st Century Failure

[2/10 · 1 September 2012]

The overblown and forgettable sequel to The Matrix is an excruciating disappointment. Released four long years after the original, Reloaded seemed to be some sort of cruel joke played on the public, as if the world that inhabited the creators of an original and exceedingly well crafted Hollywood movie was nothing but a dream. There is very little to like about the second installment of the Matrix franchise, and what merit it does have is buried under layers and layers of garbage.

Although the movie was four years after the original, which meant that every action movie had ripped it off and every TV show had spoofed it, it takes place only 6 months later. With only four main characters left surviving from the first movie, we get introduced to a whole knew group of people, namely the inhabitants of Zion, a massive underground city and the last holdout of mankind. Here we are introduced to Niobe, a sassy ship captain and former love of Morpheus; Link, the new guide for the crew when they plug into the Matrix, and other assorted characters. Neo and Trinity are in love, and boy do the Wachowskis get that point across. As if the ten minute sex scene inter spliced with the citizens of Zion dancing wasn't enough, every time they see each other it's as if they've been separated for ages. That happens sometimes when people are in love, but it doesn't make for a convincing or interesting screen dynamic. The plot itself isn't very convoluted: The oracle tells Neo he must find the Keymaker so he can take him to the Architect, a program that created the Matrix. Meanwhile, Agent Smith is replicating himself throughout the Matrix like a virus, and hellbent on killing Neo. It seems simple enough, however the way it is executed creates a confusing and distancing effect that makes the movie boring and often dull.

The fights are among the biggest disappointments in this movie. While in the first film they were energetic and engrossing to watch, they now seem tired and overdone. The fight between Neo and the multitude of Agent Smiths is a major point of discontent. The fight drags on far too long of course, and there are also moments that are either entirely computer animated, or too much of it is used for it to be convincing. Neo at times moves too smoothly and and the detail of his clothes and face disappear, which moves the scene into the uncanny valley.

But Reloaded has parts that are decent enough. The oracle and the Keymaker are interesting aspects, and the scene between Neo and the Architect is interesting. The scene with the Merovingian and Persephone is also very good. The Merovingian is a lusty and a moral Frenchman that is holding the Keymaker captive for some reason or another. His wife, Persephone, has grown tired of him and offers to help out the heroes, if Neo gives her a kiss to remind her what love feels like. The muddled themes of the movie are not better expressed than in this scene. True love, and being in control of one's own destiny, are major players throughout the series. Another interesting aspect brought up near the end of the film is that Neo discovers he has powers against the machines even in the real world, although this never really amounts to much.

But where the movie falls apart completely and beyond repair is the car chase that happens towards the end of the film. At the excruciatingly long length of nearly fifteen minutes, the chase exhausts the small amount of faith one has left in the film. The chase is not even exciting or particularly different from any other car chase, other than the fact that it lasts longer than any other one before or since. As a result, it becomes a boring, headache inducing mess of a sequence, that does absolutely nothing to further the movie along. In fact, it brings the entire film to a grinding standstill as we are forced to watch fights on top of trucks, cars being destroyed, and unexplained ghost characters chasing around the good guys. There is nothing to look at other than the characters, unless you find yourself marveling at the hideous architecture of a highway. And as if the uninspired and crappy car chase wasn't enough, the movie drags on for another half hour before the "To be Concluded" sign pops up, in an apparent homage to Back to the Future Part II, maybe as a nod and a wink to say that it's all a big joke.

The Matrix Reloaded is a failure of a movie, and it is only with the benefit of time to separate it from the immense disappointment it was when it first came out that this reviewer could find anything worth while in it. Instead of going back to the creativity and originality that spawned the first film, the Wachowski brothers created the biggest let down of the 21st century. They must have sold their souls to the Hollywood machine, because they made a movie that is cold, dull, and without a heart.

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The Matrix Revolutions (2003)

Reloading the Series

[6/10 · 1 September 2012]

Released only 6 months after Reloaded, the last film in the Matrix series is actually a pleasant surprise, especially considering the middle installment being exactly the opposite. While the movie leaves a lot of questions open, it serves as a satisfactory and exciting conclusion to the series.

While the second film was bogged down in a convoluted and draining script, Revolutions seems to have stripped the story down to its basic elements. Now, far removed from the bitterness of the disappointment of the Matrix sequels—which seemed to be on par with the general sentiment for the Star Wars prequels—Revolutions actually ends up being a much more emotional and spiritual climax than any of us probably remember. Although this movie picks up right where the last one left off—that is to say, in the middle of an embarrassing mess—The final film is way more entertaining and refreshing than Reloaded ever could have dreamed of being.

The reason, I think, that Revolutions was so ill received when it came out was for a number of reasons. First of all, the majority of the movie takes place in the real world, completely outside of the Matrix. The only time we are in the Matrix is when Trinity and Morpheus meet with the oracle to try and find out how to get Neo out of the in-between world he thrust himself into after realizing his powers work in the real world, and then one more time for the final battle. Also, the story goes in a very unexpected direction which left many people, myself included, feeling like it was the biggest anticlimax of any story. Neo is stricken blind by a man that has been possessed by Agent Smith, Trinity serves as only a dramatic character, and the film ends with peace between man, the machines, and the Matrix, rather than the annihilation of the last two. However, looking at it now, all of these things work in favor of the movie.

While Reloaded exploited the iconic nature of the first film with such stunts as having Neo fly, having Neo fight fifty Agent Smiths at once, having Neo manipulate the Matrix in every way imaginable, having Morpheus fight bad guys for fifteen minutes straight, and having the machines attack the Nebuchadnezzar again, Revolutions seems to throw off all of the iconic nature of the trilogy, and instead find a conclusion that is interesting and, surprisingly, in tune with all the mounds of philosophical ideas they built into the first one.

Zion is preparing for an all out machine attack, and deep down they know they will be making their last stand. Meanwhile, Neo and Trinity have taken a ship and are trying to make their way to the machine city. The battle takes up a majority of the movie, and the characters that were introduced in the second film serve as the focus of this part. The battle is certainly too long, but considering it has an emotional center, it is not nearly as draining and pointless as all of the fights in Reloaded. If the supporting characters had been more interesting, then the battle would probably have been more fun to watch, but what can you do.

One thing that is a striking blow to the movie is that Neo gets a little shortchanged in this. During most of the battle, and a long battle it is, we don't even cut to see where Neo and Trinity are. When we do, Neo fights the man that has been possessed by Agent Smith, but he is blinded in the process. No matter, because he can now see the world, or at least machines, as golden light. When they arrive at the machine city, their ship crashes, and Trinity dies. Neo then walks to a certain point, and meets the head honcho of the machine city. It turns out, Agent Smith has turned every single person in the Matrix into himself, and both Neo and the machine leader know only the Chosen one can stop him. Neo then goes into the Matrix, fights the Agent Smith that used to be the powerful oracle, and is then defeated. Neo's defeat then brings an end to the perceived glitch that was the Chosen one, and then the Matrix reboots. In the real world, Neo dies, and the war between humans and machines ends. We don't see what happens in the near future, or the rebuilding of society. We do know that now anyone who wants to unplug from the Matrix will be allowed to do so.

This story is obviously heavily influenced by religious texts and stories. Neo as a martyr for the freedom of humanity as opposed to the leader of a revolution completes his arch as a Christ-like figure. And the film leaves us by telling us that people plugged into the Matrix have a choice if they want to leave or not. That theme runs throughout the entire series, so it is fitting that is how it should end.

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Lawless (2012)

Men of the Mountains

[10/10 · 30 August 2012]

Outlaw movies always have some merit to them. Many achieve greatness, such as Bonnie and Clyde and The Wild One among others. Now, Lawless, a true story about bootleggers in the mountains of Virginia during the prohibition, joins that list of movies.

The film follows the lives of the 3 Bondurant brothers, who are the kings of moonshining in their county. However, one day a man called Charlie Rakes from Chicago comes to town, and forces the county to pay $20 commission on each barrel for their "protection". Of course it's a scam, and the Bondurant boys refuse to cooperate. Under regular circumstances that would have been enough to have them killed. However, these brothers are different. Forrest, the leader of the brothers, is a beast of a man. His older brother Horace is equally as violent and much more ill tempered. Not to mention there is a legend surrounding them that they are all immortal. Then there is Jack Bondurant, who is the youngest, and the one that just doesn't have the will for killing people. Which is what these guys have to do in this business.

The acting alone makes the movie quite an experience. Tom Hardy, who played Bane in this years' The Dark Knight Rises, plays Forrest. He speaks with a slow southern drawl that sounds like if Andy Griffith was born on the very wrong side of the tracks. Like his character in Batman, he plays a monster that can seemingly not be stopped, no matter what the opposition does. The only difference is that we're on his side, and he has a nice heart deep down. Shia LaBeouf is quite surprising as Jack, who is the main character in the movie. He loses his innocence as the movie goes on, since things always get worse and worse in these types of movies. Guy Pearce plays Rakes, the mobster from Chicago. He creates a character that is merciless, evil, and actually quite terrifying. There is no hint of kindness in his eyes, and he gives layers to the character that make him seem like a man twisted beyond recognition by hate and cruelty.

The script, written by musician Nick Cave, is a powerhouse. The story is based on true events, detailed in the book The Wettest County in the World written by one of the grandsons of the Bondurant brothers. Cave creates a world that is dominated by either poverty, criminal activities, or in many cases, both. The men who make the moonshine live in wooden houses and drive beat up old cars, while the men from Chicago live and dress like kings. The violence is brutal and intense, with each passing fight or murder more bloody and gruesome than the last.

Director John Hillcoat does not shy away from the brutality and violence of this story. And that is what makes this film so compelling. People are beaten, stabbed, gunned down, and have their throats slit open. All of this is shown explicitly and without flinching. But Hillcoat does more than just create a bloodbath of a world; he makes the county of Prohibition era Virginia come alive. Jack Bondurant falls in love with the preacher's daughter, a girl from Chicago comes to live with the brothers, and there are many interesting supporting characters that help make this movie into a stunning masterpiece.

The music, a mixture of old time folk music, and original music composed by Nick Cave and Warren Ellis, is another fantastic element of this movie. The scene between Jack and the preacher's daughter in Church is a stunning example of this, as well as many other moments in the film.

Lawless is a violent and brutal movie that captures the essence and danger of living in that time. This movie is a classic that is beautiful to watch and take in.

Premium Rush (2012)

Life in the Bike Lane

[8/10 · 25 August 2012]

An action movie about biking through the streets of Manhattan is certainly an interesting idea, and may seem a bit silly, but writer and director David Koepp manages to create a fun and exhilarating film around this premise. Premium Rush is the type of movie that gets better as it goes on, expanding on its characters and creating riveting and never tiresome chase scenes.

The story is a little over the top, but that hardly matters. Joseph Gordon-Levitt plays Wilee, a bike messenger who loves to ride through the streets of New York like a maniac, with no gears and no brakes. He has a girlfriend who also works for the same company, although on this particular day she is mad at him for not showing up to her college graduation. Near the end of the day, Wilee gets a package from his girl's roommate. This package is of some special importance because a dirty cop, played with exquisite menace and insanity by Michael Shannon, wants the package in order to pay off his immense gambling debt. So of course a chase across the city ensues throughout the remainder of the day.

One of the major benefits of this movie is that it is not told in strict chronological order. The first scene shows Wilee crashing and flying through the air, only for us to travel back in time to earlier that day. Once we meet Michael Shannon's character and have a nice chase, the movie again backs up for a bit, revealing what the dirty cop was doing earlier that day. This helps the movie to avoid being simple and tired. In fact, the movie has an energy that is on par with its bike riding characters, who seem to hardly ever tire of pedaling.

Koepp directs the movie with a flare for Manhattan, where the entire movie was shot. The film makes a big deal about life in the city, while minimizing the gaudier aspects of filming in the big apple. There is no sweeping shots of Time Square or the Empire State Building, and we don't even get a wide shot of the city until the very end. Instead, Koepp immerses us in the town, and by extension the characters that know it so well. At times the script falls into the realm of cheesiness, especially when it comes to some of the one liners, and the all encompassing pride that Wilee has in his work.

Premium Rush is an exiting action movie, and the best one out about bike riding. Michael Shannon's fantastic performance and the on location shooting make this movie an energetic and awesome ride.

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ParaNorman (2012)

Brand New Classic

[8/10 · 20 August 2012]

Although it is strange for a Zombie themed kids movie to come out so far away from Halloween, this stop-motion film is funny, entertaining, and surprisingly stylistic. This film is filled with humor and action that references many classic horror movies, and as a result, almost seems ready made for a cult-following.

Norman is a strange kid. He can see ghosts, and as a result he is made fun of by his classmates, disowned by his teenage sister, and misunderstood by his parents. However he makes friends with Neil, who gets made of equally because he is fat. The town is celebrating it's 300th anniversary; however, the town has a dark past where an evil witch killed the men that put her to death. Norman's eccentric uncle tells the child that he must put the witch's ghost back to sleep or all hell will break loose. Of course Norman can't do it in time, and of course all hell breaks loose. The seven men that the witch killed come back from the dead in Zombie form, and Norman, along Neil, their older siblings, and the school bully, run through town trying to stop it all before anyone gets hurt.

The film has a stylized feel, much like the movie Gremlins did. The town looks like a Hollywood backlot, and the characters are all archetypes of the genre. The humor is often mature for children, and probably a little to 21st century for a lot of parents. However, this makes the movie even better, and there is still plenty to enjoy for everyone that sees it. Norman is very likable, and so are all the other characters, especially Norman's uncle, and the punk bully. Not to mention the zombies are actually hilarious and fun characters too, and they really flavor up the movie.

The character designs are all pretty grotesque. Norman is the most normal looking character in the movie. His face resembles the little kid from those old Kleenex commercials. The other characters, however, have either enormous bellys, lopsided faces, or reverse triangle shape bodies. The zombies too have elongated faces and body parts that repeatedly fall off. Many scenes from the movie pay homage to classic horror and monster flicks, which are all done in ways that are funny, enjoyable, and subtle.

ParaNorman may not end up being a financial success, but it is a funny, different, and very cool movie. The ending involving a final battle with the witch stretches on way too long, but the movie has merits that this reviewer was certainly not expecting, and the end of the movie makes up for the tiresome battle. Also, the 3D is good, but certainly not worth the price. This movie is a real unexpected treat to watch, and it almost creates a new genre with the horror film for kids. Some kids might not get it, and of course some may be too young, but the movie is, in the opinion of this reviewer, damn good.

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Safety Not Guaranteed (2012)

Time and Space

[8/10 · 14 August 2012]

The indie comedy is an interesting subgenre. Sometimes they can be entertaining, deep, and funny pieces of cinema, such as Little Miss Sunshine or Jeff Who Lives at Home. Other times they can be depressing, wandery garbage with a few laughs if you're lucky, like all the Sunshine knock offs that have come out in the past few years. Safety Not Guaranteed is, thankfully, much more comedy than it is indie. Cleverly written, and entertainingly executed, this movie is a fun and sweet romance about a man who wants to travel back in time.

The story is of a lonely girl named Darius, who works as an intern at a vain magazine. Her mom died when she was little, and she has been anti- social as long as she can remember. One day, her boss decides to take her and another intern on a trip to write a story about a man who placed an add in the paper: Wanted: Somebody to go back in time with me. This is not a joke. You'll get paid after we get back. Must bring your own weapons. I have only done this once before. Safety not guaranteed. So Jeff, the shallow, self absorbed writer, takes Darius and the other intern to the small seaside town to find out about this guy. The man's name is Kenneth, and when Darius talks to him, she finds herself falling for him, and even believes he may be able to go back in time.

Aubrey Plaza, of Parks and Recreation fame, plays Darius, which is essentially a more dramatic version of her TV show character. She is dark, brooding, and also very funny. Mark Duplass, who directed Jeff, Who Lives at Home earlier this year, plays the role of Kenneth. He is a strange character, that seems to really believe he can travel through time. After all, the add did say he's done it once before. Jake Johnson gives the role of Jeff, the sleazy boss, a funny and enjoyable quality, and he brings the unmiraculous subplot involving him and an old love to a higher level.

The script by Derek Connolly is pretty good. The main plot is always funny, deep, and wildly entertaining. The subplot with Jeff and his old flame is really quite predictable and a bit silly, although it is fun to watch with Johnson's character really shining through. The relationship that develops between Kenneth and Darius is sweet and very funny to watch.

Colin Trevorrow directs the film to give it a grainy, 1970s look. This really works for the movie, especially in the moments when it is clearly inspired by those independent films from that era. Trevorrow convincingly creates well rounded characters that we really grow to like and root for.

Safety Not Guaranteed is a funny, meaningful, and fun movie. The humor is abundant, and even the boring subplot is funny. This film is one of the funniest movies of the year, and there have been a lot of them in 2012.

Diary of a Wimpy Kid: Dog Days (2012)

Long Summer Days

[8/10 · 7 August 2012]

The third installment in this family comedy about life in middle school is just as good as the others. This time, instead of tracing over the events of a lame school year, Dog Days shows us the main character's lackluster and awkward summer.

Greg is an average, middle class, self involved 12 year old, and decides that the perfect way to spend his summer is playing as many video games as possible, and also somehow to get the girl of his dreams to fall madly in love with his skills. However, things go haywire when his father decides to ban video games and TV all summer, trying to convince his 21st century kids to to be more physically active, like the republicans across the street. So, out of boredom, Greg ends up doing many dumb and ill thought out things that result in awkward and pretty hilarious situations.

The regular cast of characters take more of a reduced roll in this movie, which makes their appearances funnier and more welcome than in the previous movies. Even Greg's older brother, the lazy, conniving teenager who is the drummer for a crappy metal band, is not as prevalent as he used to be. But Devon Bostick does wonders with the Rodrick character, especially at the end during an ill fated performance. Zachary Gordon plays the main character, and he does a good job of essentially being every trouble making pre teen that is completely annoyed at his comfortable existence. Steve Zahn has an expanded role as the dopey, eccentric father who tries in vain to have his adolescent sons not act like adolescent sons.

The movie is of course geared to a younger audience, and there are some jokes that seem contrived and lazy. The Diary of a Wimpy Kid trilogy is certainly far from ambitious, but that's part of the appeal. The series, this film included, get a lot right about being a suburban middle class kid in the 21st century, and not to mention the fact that the movie is just funny, plain and simple.

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Beasts of the Southern Wild (2012)

Magnificent Beasts

[10/10 · 5 August 2012]

Beasts of the Southern Wild is a fantastic movie. An artistic and deeply emotional drama from first time director Benh Zeitlin, this film is a beautiful look on life, childhood, and a bleak future for our planet.

The film takes place in a world where the polar ice caps have melted much more than they already have, and as a result, many areas around the world have fallen into the sea. Others have turned into islands, such as the area outside of New Orleans where this movie takes place. A young girl named Hushpuppy lives in one of these ragtag, poor societies. Her mother left when she was very young, and her father is a drunk, incapable man who is unwilling to take care of her. Hushpuppy does the best she can with her situation, but fears that as her life unravels, the fabled auroch beasts will unfreeze from the ice and come for her.

Zeitlin directs the movie with a piercing eye for beauty. The sets, the boats, and the wilderness are all marvelous to look at. The story is told in such an engrossing way that it becomes nearly impossible to turn away from the screen. Zeitlin seamlessly creates a world that is both stylized and frighteningly realistic. Adapted from a script co-written by Lucy Alibar, the director creates a sense of wonder that never stops throughout the entire movie.

Quvenzhané Wallis is a powerhouse as the young girl Hushpuppy. She is a quiet, introspective character, and Wallis plays the role with such sincerity and understanding that it is almost heartbreaking. Dwight Henry plays the father, who portrays the character like a wounded animal. Henry gives the film a strong grounding in realism, with the parallels to the real world being deeply felt through his character.

Beasts of the Southern Wild is a magical and gorgeous movie that is over all too quickly. This is a movie which has that spark of originality only seen once in a blue moon. Zeitlin is a great director, and he has made a film that is inspired and marvelous to watch. Beasts is a gem that really knows how to create an encompassing cinematic experience.

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The Dark Knight Rises (2012)

Gotham's Reckoning

[10/10 · 20 July 2012]

The conclusion to Christopher Nolan's Batman trilogy is a fantastic and monstrous film that brings about a fitting and surprising conclusion to the series. The Dark Knight Rises takes an original turn, and as a result, is a completely satisfactory ending to the most meaning superhero trilogies.

The film takes place 8 years after the events of The Dark Knight, where Batman took the blame for Harvey Dent's murders. Bruce Wayne has become a recluse, believing the world has nothing to offer him after Rachel died. Now, however, a mercenary named Bane has arrived in Gotham. A hulking beast of a man, Bane brings about even more destruction and panic to the city than the Joker did. So, Batman comes out of retirement to try and fight the Goliath-like mastermind.

Giving away many more plot details would ruin the experience. Like the film before it, Rises is very political. But, the politics in this film are much different from it's predecessor. While the previous film dealt heavily with organizations like the police, corporations, and the mob, this installment is clearly inspired by the Occupy protests and the ongoing recession. The issues that are faced in this film seems much more personal, and as a result, more important. Filled with populist sentiment and references to real world issues, this film is exceedingly relevant and meaningful.

The film introduces three new characters; Bane, Catwoman, and a cop named Blake. Tom Hardy is magnificent as Bane, a man who must wear a mask to live. The parallels between him and Darth Vader are many, and that just makes it better. Hardy creates a terrifying embodiment of evil, a man who lacks any sort of morals or mercy. Since most of Hardy's face is covered in the mask, his eyes and voice become the most important parts of his character. The voice is menacing, commanding, and by far the loudest thing in the picture. His eyes are both enticing and dead cold—Hardy rarely blinks during the entire film. Anne Hathaway is sexy and elegant as Selina Kyle, the Catwoman. Hathaway brings the lighthearted spirit to the film, supplying the majority of what little jokes there are. But she is also a fun and thoroughly enjoyable character. Joseph Gordon-Levitt plays the police officer. His role is a dramatic one, and many of his scenes play out like an old school detective movie.

The returning stars are also fantastic. Christian Bale is marvelous as the Batman and the psychologically deteriorated Bruce Wayne. Gary Oldman gets a lot of well deserved screen time as commissioner Gordon, and Michael Caine gives a touching and emotional performance as Alfred.

Christopher Nolan directs the movie with a heated passion, and creates a deep sense of realism that blends almost perfectly with the comic book elements. There are many moments that are extremely powerful, and some that are even horrifying. The fight scenes are exceptionally great because they really have force behind them. The punches thrown between Batman and Bane can actually be felt. Bane's backstory is interesting, and brings the film into a realm of mythic legends. The politics are blended seamlessly into the storyline, and the themes of chaos and distorted morality that have been prevalent in the previous films come to a foreboding climax in this film. Nolan gives the movie an apocalyptic feel, and when things are at their lowest, the condition of Gotham is reminiscent of the Warsaw Ghetto.

The Dark Knight Rises is certainly somber and bleak, but it is also a phenomenal cinematic experience. The film engulfs the viewer into its world, and doesn't let go until it's all over. If there is anything that was wrong with this film, it was part of the ending that seemed grossly unnecessary and franchise-building, as opposed to proper closure. However, the rest of the film is maybe the best superhero movie ever made. Certainly the most relevant. Christopher Nolan's conclusion to the Batman series is his masterpiece.

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Savages (I) (2012)

Monstrous Beasts

[8/10 · 8 July 2012]

Oliver Stone's recent films have been criticized for being heavy handed and lacking the edge that his earlier films like JFK and Natural Born Killers possessed. This reviewer, however, has liked Stone's movies of the past decade, which include World Trade Center, W., and Wall Street 2. Stone seems to have taken the criticism in stride and humor, because now he delivers a brutal, ridiculous, and ironic film that delivers the director's interpretation of the 21st century mindset of materialism, hypocrisy, and glorification of amoral violence.

The narrator, and the character all the action revolves around, is Ophelia, nicknamed O by her two boyfriends, who are partners together in the weed industry. Ben, a college graduate and pseudo hippie, spends his spare time in charities and trying to make the world a better place. Chon, an ex-marine, seems to do little more than f*ck O and suffer from tremendous shell shock. Not that these characters are unlikable, in fact they are very easy to root for, considering all three of them are the lesser forms of evil in this film. Ben and Chon are trying to retire from the weed industry, but everything goes wrong when a Mexican drug cartel want to forcibly do business with them. Ben and Chon refuse, which results in O being kidnapped. The two business partners and lovers of O decide to do anything they can to get her back. This leads to a continually complex plot, which never stops building on itself until the very end.

The acting is fantastic on all fronts. Blake Lively plays O, and she is a socially injured and self involved creature under the guise of a free spirit. Taylor Kitch, who played the eponymous John Carter, portrays Chon as practically a monster; he is a ravage beast that only cares for his small pack. And Aaron Johnson plays Ben, a man who thinks he has much to offer the world. But it is the supporting cast that really steal the show. Salma Hayek plays the head of the Mexican drug cartel that kidnaps O, and she is fantastic. Hayek's charisma dominates any scene she is in. She seems terrifying, honest, and approachable all at once. Benicio Del Toro as Hayek's minion is fantastic. He is the other monster of the film; a creature unable to show compassion or morals, and who kills without a second glance. Then there is John Travolta as the corrupt DEA agent who keeps Ben and Chon in business. Travolta is great fun to watch as he lies and schemes his way out of every corner his character is put in.

Oliver Stone directs the film with a hyperactive style that seems both reminiscent of his work in the 90's, while simultaneously mocking it. His characters are all sociopaths, colliding together to create one enormous cluster-f*ck of a movie. Stone portrays Laguena Beach life as an ugly, hazy, and soulless existence, and Mexico as a hell hole of bloodshed. The action is intense, chaotic, and over the top. The cinematography by Dan Mindel is grainy and at times intentionally ugly. The locations are either barren deserts, ugly suburbia, or grimy, cold rooms with florescent lights. Stone captures a world of materialism and narcissism with this movie. Every character is a savage, every character is only trying to survive in a cruel, unattractive, and confusing world.

It is important to keep in mind that Savages is a love it or hate it film, and that has very little to do with whether you "get" it or not. The film's plot can be infuriating, and the characters can all seem so shallow to the point of annoyance. There is also the matter of the ending, which is at the very least problematic.

Oliver Stone's new film is a far cry from his recent civilized and more dramatic forays. His return to the chaotic ADD type filmmaking is certainly not a return to form, but more a criticism of it. Stone crams the movie with everything he is "supposed" to have in his movies, and makes a huge two hour vat of irony. If any of that sounds intriguing, you'll probably like it. If not, well, maybe you should play it safe and go see Katy Perry: Part of Me instead.

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Brave (2012)

Into the Woods

[8/10 · 7 July 2012]

The latest Pixar film is surprisingly original and fun to watch. Unlike last year's sort of dud of Cars 2, this film has an interesting, fun, and mystical story that keeps the viewers entertained. Not only is Brave a lot of fun to watch, but it is also deep, meaningful, and touching.

Young Merida is the princess of a kingdom in medieval Scotland, and a complete tomboy. She is the older sister of a set of mischievous, triplet brothers, she uses a bow and arrow better than most warriors, and she doesn't get along with her mother. The queen wants her daughter to act like a lady, and eventually decides to bring the other three kingdoms over, with the intention of marrying Merida off. However, the spunky red-haired daughter decides to visit a witch and change her fate. Of course this causes problems, and Merida must go on a journey of sorts to save her family.

The plot structure is at times predictable, but that doesn't mean the film isn't original. The characters are all likable, funny, and complex. And the old fashioned fairy tale aspect is more than welcome. Many movies that have come out recently rely too much on the "re-imagining" of fairy tales and stories, but this one plays it straight, and benefits enormously from it. The woods outside the castle are filled with bears, witches, ancient structures, and spirits.

The computer animated world is beautiful to look at, with rolling hills and a dark, ominous forest. The world is completely immersive; there is never a visual that seems out of place or unbelievable. Even the characters seem more detailed than in any previous Pixar film, most notably Merida's long, curly red hair, which is wonderful to look at.

The film has some problems, including a few songs that play over montages, which are unnecessary and unwanted, and the third act almost becomes too predictable and tired, but by the end, the story picks itself back up again. Perhaps the sometimes awkward moments are a result of Brenda Chapman being fired from directing the film, and it being finished by Mark Andrews. Also, the film could have benefited from delving deeper into the mythology of creatures that live in the forest. The will-o-whisps are fine, but it would have been nice to have something a little more. Still, the film is a fun blockbuster that knows how to tell a good story, which is all I ask.

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Moonrise Kingdom (2012)

Kingdom of Cinema

[10/10 · 7 July 2012]

Wes Anderson movies are always fun to watch. Films like Rushmore, The Royal Tenenbaums, and Fantastic Mr. Fox are all indie comedy gold that never failed to stir meaningful emotions as well as keeping one entertained and laughing. Now, Anderson delivers his crowning achievement with the sentimental and beautiful Moonrise Kingdom.

The film follows the young couple of Sam and Suzy as they decide to run away together. They both have lives that are reminiscent of childhood— trying to fit in, being an outsider, and being continually frustrated by the seemingly idiotic world of adulthood. The adults, which include Suzy's parents, the local sheriff, and Sam's boy scout leader, all seem to occupy an absurd and cartoon world that seems shallow and lacking in the joys that the two main characters remain in touch with. The action takes place on an island community in 1965, which helps to create a majestic and beautiful world that the characters inhabit.

The two stars are both newcomers. Jared Gilman is great as the awkward outsider Sam, and plays his role as if he were a 1960s movie star. Kara Hayward is phenomenal as Suzy, the troubled girl that runs off with Sam. Together they have marvelous chemistry that make their scenes almost spellbinding to watch. The grownups are just are all great to watch. Bill Murray and Frances McDormand play Suzy's parents. They are both hilarious, and also slightly tragic in their sour marriage. Bruce Willis plays the slightly dimwitted cop who takes control of the rescue party to find the two kids. Edward Norton highlights the movie as the overzealous and dopey boy scout master. There are other cameos in the film, all of which are delightful and welcome.

Anderson has created a beautiful world that blends realism with surrealism. Many shots are classic Anderson, creating a scene that feels like a highly stylized stage play, while simultaneously taking full advantage of the art of the camera. Every single shot is beautiful, and helps to immerse the viewer in the world, the story, and the characters. Anderson also walks the thin line of indie comedies, and succeeds in not making any part of the film too depressing. Not that it isn't serious. The film's themes are as deep and meaningful as any drama about childhood—if not more so—and Anderson keeps the humor going throughout the entire adventure.

Moonrise Kingdom is without a doubt Wes Anderson's best movie yet. The sentimental and romantic story is perfect, and the performances are all mesmerizing. Anderson makes references to many films from the 60's, an era that has obviously had huge influence over him. As a result, this magnum opus of a film is the best one this year.

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The Muppets (2011)

The Rainbow Connection

[10/10 · 27 November 2011]

It's been quite a while since the Muppets have been in a movie. The last was 1999's Muppets from Space which, for some inexplicable reason all the critics hated. That movie was just as good as any Muppet film, but perhaps the world had grown too cynical for the felt characters.

In this new installment, cynicism is a strong theme running throughout. Can a group of Muppets who have never made a joke at the expense of another make a come back in a world that spends so much time scoffing at idealism and good-heartedness? The answer, of course, is yes. In the hands of star and co-writer Jason Segal, The Muppets is everything that made the characters so beloved in the first place. Frank Oz may have said that the film doesn't stay true to the characters, but he's dead wrong. The Muppet gang is as good natured as ever, and is always optimistic in the face of despair.

The story follows Gary (Segal) and his girlfriend going to Los Angeles to celebrate their 10th anniversary. Gary brings along his brother, Walter, who is not only a Muppet creature, but a huge fan of the Muppets. When they arrive in LA, Walter discovers that an evil oil tycoon is planning to tear down the Muppet Theater. The only way to save it is for the gang to get back together and put on a show to raise 10 million dollars.

Everyone is wonderful in the film. Jason Segal is funny and sweet as the main character, and Amy Adams does a superb job at playing the often out-of-the-loop girlfriend. But the real stars are the Muppets, who are all wonderfully handled and, as always, have remarkable depth. Kermit is always a leader, yet we see he has trouble showing his emotions, which results in him and Miss Piggy having relationship problems throughout the film. Piggy's "I am woman" persona is a front for her many insecurities.

The "lets do one last show" plot allows for a lot of nostalgia to come into the film. But not for one moment does it seem unwanted or overly cheesy. The film is really about the Muppets finding themselves again. In the uber-commercialism of the 21st century, the seemed to have lost their place (Scooter has been working for Google). With the help of long time fan Jason Segal, the Muppets have re-established themselves as characters unmoved by modern bleakness.

If there is anything to complain about in The Muppets, it's that it takes a little too long for Walter and co. to finally meet the Muppets, and there is not nearly enough Gonzo. But hey, that's what Muppets from Space is for.

This new installment in the Muppets series is as good, funny, and heartwarming as anyone could have hoped. For older audience members it will also be a wonderful nostalgia trip, filled with references to classic Muppet moments. And this film adds plenty of brand new moments that are sweet, delightful, and very funny.

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Hugo (2011)

One of the Best

[10/10 · 27 November 2011]

Martin Scorsese's most recent film is touching, exciting, and remarkably beautiful. Although the famed director is known for such gangster movies as Goodfellas and The Departed, he may have achieved his greatest moment with this family film.

Based on Brian Selznick's book The Invention of Hugo Cabret, the film follows the life of the title character: an orphan living in the walls of a Paris train station. Hugo's father was a clock maker, and one day found an old, rusted mechanical man in the attic of a museum. The father and son decide to repair this automaton together, trying to discover what message it will write when cranked. But before they can finish, Hugo's father dies, and the boy must live with his drunken Uncle at the train station—at least until he disappears, too. Now Hugo spends his time stealing parts from a toy maker to fix the automaton, and constantly avoiding the station inspector.

The film, however, is about much more than just this young boy. The subject of the birth of film is a major theme, focusing on the marvelous and dream-like work of George Melies, who practically invented the way modern movies are made. Scorsese is right at home in discussing and paying tribute to these classic and bizarre films.

The dream quality of Melies' work spills over into Hugo. The film is so involving and engrossing that this reviewer became completely entranced, forgetting the outside world in favor of Scorsese's take on a majestic 1930's Paris. Scorsese does a particularly good job of making every shot absolutely breathtaking. The snowy Paris nights and the reproductions of old films are nothing short of enchanting.

Asa Butterfield plays Hugo, giving sincerity in his performance, something that is rarely seen in actors. Chloe Grace Moretz is great as the girl that enters Hugo's life, filled with worldly knowledge beyond her years. Ben Kingsley is fantastic as the bitter old toy maker, and Sacha Baron Cohen gives a surprising amount of big laughs as the station inspector.

While the 3D is nice, it certainly isn't necessary. In fact, the 3D was so good because for the most part it remained unobtrusive. There are some very nice moments inside the walls of the train station and with the clockwork, but nothing really worth the extra cash.

Hugo is a masterpiece, and one of Scorsese's all time best. Filled with allegory and fable, the film is enjoyable on a multitude of levels, and is a fun, glorious adventure for people of all ages.

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The Thing (I) (2011)

No Match for Carpenter's Original

[4/10 · 17 November 2011]

There is something fundamentally disturbing about a predator alien that can copy exactly anything it devours. John Carpenter's 1982 version of The Thing was all at once scary, disturbing, and psychological. The hysteria of cabin fever mixed with the slimy, grotesque mechanics of the alien created one of the greatest horror movies of all time. This prequel, however, takes everything that was great from its predecessor and throws it out the window.

Carpenter's film hinted at a Norwegian outpost in Antarctica that had first discovered the alien. This film gives a disappointing and predictable account of what may have happened there. The first of many flaws in the script comes when Americans travel several thousand miles to help dig up the alien space ship. Now we know they aren't cut off from the rest of the world, so what's the big deal? Much of the "suspence" seems to take place in broad daylight, which makes being scared more of a hassle than something the audience would enjoy. And as the film goes on, it becomes clear that Carpenter's building of suspense among the characters is now gone in favor of a stupid slasher plot.

The acting is dull and uninteresting—far from the bad ass, bearded Kurt Russell. Instead we get Mary Winstead, who seemingly only got the part because she acts like Jodie Foster. Heijningen's direction is so boring and dry that it becomes nearly impossible to focus on the screen. So, with a poor script, bad acting, and worse direction, what is to be liked about this film? Perhaps the Thing itself is still gruesome and disturbing?

But, of course, its not. The original version was helped tremendously by the fact that the Thing was actually there for the actors to look at. It made the alien feel more real—seeing the slime and blood covered monster as it sucked up its victim. But in the prequel all we get is a computer animated blob of grossness that is too far mobile to be frightening. Not to mention, the most boring parts of the film are when the Thing is attacking.

The Thing prequel suffers from one fundamental flaw—it seeks to answer questions from the original that were far better being left to the viewers' imagination. As a result, the movie shows us too much, and one can only leave the theater disappointed, and imagining far scarier ways this prequel could have happened.

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