Change Your Image
ncoviell
Ratings
Most Recently Rated
Reviews
Contagion (2011)
Contagion captures human side of catastrophe
It really is stunning how quickly the stale, end of summer cinema can blossom into the quality-driven beginning of fall. After weeks of box office flops, the fall movie season could not have come quick enough. Much like how its story tracks the start of a virus and how it branches rapidly, "Contagion" marks just the beginning of the fall movie season. And what a beginning it was. "Contagion," from director Steven Soderbergh, isn't satisfied with the trite and normal idea of setting a world catastrophe around a core group of people who somehow manage to save the day before anyone important is hurt or killed. In reality, no one is special or important enough in these situations. In layman's terms, everyone is in the same boat. Still, "Contagion" presents a dangerous environment that each and everyone one of us has to live in, but it's the variety of perspective in which the film really impresses.
Jumping right into things, "Contagion" centers around several distinct characters and the overall reaction of the world when an unknown virus breaks out, starts killing in numbers and rapidly spreads around the world.
The story of "Contagion" is carefully crafted around an array of perspectives, the most notable being the average citizen, the members of the medical world and the media with the middle of course representing a high power. In general, the key figures of the average is Mitch Emhoff (Matt Damon) and his teenage daughter as he, being immune to the virus himself and having had his wife and stepson already fall victim to the virus, struggles to keep his daughter out of harm's way. Yet, "Contagion's" most powerful images occur beyond his character, instead focusing on the average population as a whole. Capturing an astounding amount of emotion, Soderbergh highlights the feeling of helplessness that comes with the inability to control what's happened or what's going to happen. Whether it is physical images such as the near impossible feat of receiving help in overflowing, overwhelmed hospitals or the mental mind state of having to cope with the panic that stems not just from the possibility of death, but from the lack of knowledge around cause or cure, "Contagion" portrays the average human as trapped with no way out.
At the same time, a state of paranoia is steadily built. Gradually, people start questioning who they may have come in contact with as well as becoming more aware to previously harmless actions like what people touch as well as coughing and sneezing. As panic grows, so does fear, which breeds blame and eventually anger, especially targeting those to whom people look to for information, but can provide them with none.
In a wonderfully constructed tie-in, "Contagion" fuses average people's concerns with those in higher power (represented mainly by Laurence Fishburne) and the media (Jude Law as an Internet blogger/journalist). Trust plays an important role in "Contagion." The CDC is giving the public no answers as well as making no physical effort to show people that they are truly looking out for them. In the meantime, Alan Krumwiede (Law) claims to have discovered a cure and is attempting to reveal the CDC as frauds and money grubbers. It is this scenario in which Soderbergh perfectly compares the issues that come with being in the spotlight: either being a scapegoat like the CDC or not being deemed credible like Krumwiede's supposed "cure."
All the while there is the forgotten fact that these members of power are people too and must face the challenge of balancing the act of taking care of the world with the act of caring for those dearest to them. Ultimately, underneath the panic and chaos not only lay tough choices, but also sad truths such as not being able to grieve properly for the death a la the funeral homes refusing to take in infected bodies as showcased by one particular scene.
The style in which the subject material is presented gives the film its impact. Simply, it makes it frightening how things can come together. "Contagion" lacks central characters for a specific reason. The viewer's job isn't to form connections with the characters on-screen, it's to connect with the human race in general. The lack of background or screen time for the characters on-screen desensitizes the viewer from caring about specific, lead characters and instead focuses on the state of being as a whole.
In effective use of cinematic techniques, "Contagion" also makes the outbreak that much scarier by distinctly showing how little it takes to spread via rapidly edited images and reinforcing subtitles that mark the day number of the outbreak or the population of a city soon to be infected. The spread may start gradual, but becomes lightning quick. The film further represents the inability to understand the virus by way of an eerie score that almost seems out of place.
"Contagion" is scary both in subject matter and in how well it's put together. The film is an experience, one that depends heavily on the magnitude of its material and the fragility with which it's pieced together instead of relying on acting or writing. In the end, it's amazing how quickly society can become unraveled in a state of panic. Likewise, finding an equal balance of chaos and looking out for those you love is difficult to capture. "Contagion" does just that.
The Killer Inside Me (2010)
Almost seeing it from Ford's POV...
"The Killer Inside Me," one of the most talked about and controversial movies of the 2010 Sundance Film Festival certainly proved one thing to me upon its viewing: setting aside its beauties and its flaws, the film deserved the chatter, talk and debate it received. Facing criticism, "The Killer Inside Me" remains fearless throughout and never tries to makes it easy for its audience. It's challenging, thought-provoking, disturbing and, at times, its beauty is almost surreal given the plots current state of affairs. Yet, "The Killer inside Me" isn't perfect.
In "The Killer Inside of Me" sheriff Lou Ford (Casey Affleck) is sent to rid the town of a prostitute (Jessica Alba), but has a wrench thrown in his plans when he ends up forming an interesting relationship with her. From there starts a line of murders, stacking up one upon another, when things get out of hand.
With so much possibility at the nucleus of its lead, "The Killer Inside Me" stumbled with its co-stars. For one, Lou Ford is a deranged serial killer; however, due to the audience's ability to connect with him through his excess screen time and the creation of the character to make it seem as though he were mentally unstable, it's almost easier to sympathize with Ford than it is his victims. While it is true that this connection between viewer and Ford strengths the foundation of the story laid by Ford, one in which the town believes they know everything they need to know about him, it points out a glaring flaw: the rest of the cast is underdeveloped. For the females of the story, there is no connection. They are simply the prostitute and soon-to-be-wife (Kate Hudson), both making the unfortunate mistake of falling for Ford, and nothing else is truly divulged of them. These characters are so shady and vague that one must wonder whether in fact the intent was for the audience to see the situation from Ford's perspective. One in which nothing else mattered, from love to motive; it all ended the same way. It could go either way depending on how you look at it, but for the most part a series of brutal murders did not strike a nerve; a nerve in which the moral humanity usual prevails, a nerve in which emotion for and connection to characters did not exist.
As for Ford, it's difficult to wrap one's head around just what he is. Again, the details of his past and such are hazy, but in this case it adds to the story; to his overall attributes as a character. On the outside it seems as though Ford is nothing more than a serial killer, but it's his chillingly cool persona that makes one want to dig deeper. Appearing as sane as the average person, Ford is horrifying character and it is things, like his past, which make him intriguing. Without the full details, the audience is treated to task of trying to dissect what makes Ford tick and what makes him act as he does. It is obvious throughout (via flashbacks) that he's been "up to no good" since his youth, but could spousal abuse truly have as large of an impact on Ford as it seems to have had? In the end, Lou Ford becomes one of the most interesting characters to breakdown whether it be present day Ford or the younger Ford who picked up the habit of spanking from his father and/or mother.
The casting of "The Killer Inside Me" is surprisingly powerful. While Kate Hudson and Jessica Alba certainly aren't poor actresses, their respective roles seemed like a reach for each. However, both handled their task with flying colors. Alba is especially moving given the fact that she sees a much smaller portion of time on the screen. Playing the rough, tough and sexy role spot on, she also has the benefit of being one of the prettiest faces on the big screen; thus, there still is some sympathy when she meets her fate, even if her written character didn't seem to warrant much. The remaining of the co-stars, from Ned Beatty to Elias Koteas to Tom Bower, stand their ground and make the most of their smaller roles. Unsurprisingly, it is Affleck who is deserving of most praise. His calmness, poise and overall mind state through are un-phased and he always gives off a radiant, yet daunting feeling to the point of constant foreboding. Though creepy isn't the right word, Affleck's acting job as Lou Ford can certainly be described as haunting, chilling and persistently eerie.
Sadly, "The Killer Inside Me" won't be seen by a great amount of eyes nor will it draw large audiences; however, that almost adds to the films impact. Ford, a serial killing sheriff in a small town who thinks they have him figured out will now move on to another small audience just waiting to try and figure him out for themselves. Almost built like a character study, "The Killer Inside Me" is a beautifully shot film that reflects how ordinary the story may just be while at the same time capturing the horror and suspense of it all. Though it may struggle with developing some of its characters, "The Killer Inside Me" boasts a wonderful cast, striking cinematography, a worthy script and a story that keeps ones attention from start to finish.
Toy Story 3 (2010)
To be a kid for one more day
Everyone who is a member of Facebook knows about fan pages. Most fan pages are bullshit. Yet, there is one page that holds truths on so many different levels: "move out of the way children, I've been waiting 11 years to see Toy Story 3." Seriously, kids, we're not joking. Move. And if you don't move then at least do the impossible and shut up for an hour and 45 minutes. Honestly, that's how good Toy Story 3 is. You don't want to miss a single second.
Toy Story 3, coming 11 years after its predecessor Toy Story 2, picks up the story of Woody, Buzz, Jessie and co. around 5-7 years later. Times have changed for the toys as their beloved owner, Andy, has grown up and is soon going off to college. The toys believe their two options are either being thrown out or placed in the attic, but receive what at first seems to be a pleasant surprise when they're brought to a local daycare center and donated. Soon enough, the toys find out that the daycare center, Sunnyside, isn't as happy and peaceful as a place as it's made up to be. In a nutshell, the toys face vast uncertainties and struggle to find where their place now lies.
Anyone who even slightly knows about film can appreciate how difficult it is to create a masterpiece, never mind two. Yet, the staff over at Pixar seems to put them out left and right. Back in 1995, Toy Story became Pixar's first masterpiece. In 1999, Toy Story 2 became another and also one of the most well-received sequels of all-time. Fast forward to 2010, Pixar completes their trilogy masterpiece with the highly intelligent, sophisticated, energetic, emotional and fun Toy Story 3.
On the foundation of the most recent masterpiece are the earthly themes which give the story its life. Toy Story 3's plot may be simplistic, but its subject matter challenges the viewer to connect with the characters. The toy characters (and the human characters) are given complex problems that the audience cannot help but get sucked right into. Built on themes such as togetherness and learning when to let go, Toy Story 3 is properly rated, but at the same time offers a ridiculous amount of maturity that's injected right into the heart and minds of its characters.
The most impressive aspect of Toy Story 3, without a doubt, is its ability to pick up where it left off in terms of its plastic characters. Although each character is handled with delicacy, it's Woody who takes center stage with his near-human connection that he has with Andy. It is astounding how a simple animated film can produce such feeling of sheer love between a child (or young adult) and his toys. While Woody handles the brunt of the emotional load, Woody's supporting cast brings an enormous amount of life to the film and while it's obvious they've grown, they haven't changed. Audiences will also be treated to the introduction of several new characters, but none steal the show quite like Lotso, whose story is so complex and unnerving that it's hard to hold much resentment towards him and Ken, who, opposite of Barbie, more than fills the movie with humor.
Ultimately, those who have grown up and stuck with Toy Story throughout are bound to love it. Toy Story 3 keeps its base characters the same and more than pays homage to its original. The film is rich in human emotion and those who are around the same age as Andy will have a hard time not relating to his feelings. The movie is an emotional roller-coaster and its final 20 minutes alone could be another to give this masterpiece its fresh rating. The ending of childhood is a bittersweet experience, but it's a movie like Toy Story 3 that understands. It's a movie like Toy Story 3 that gives people like me, 20 years old and in college, an excuse to toss aside any troubles and feel like a kid again, even if it's for less than two hours.
Crazy on the Outside (2010)
Nothing crazy about "Crazy on the Outside"
This past January, Tim Allen reemerged from his two year hiatus to direct his first full length feature, "Crazy on the Outside," a movie in which he was also the lead. Tim Allen is a good guy and his work will a bona fide guilty pleasure (looking at you Santa Clause), but there is nothing remotely crazy about "Crazy on the Outside." At one point in the film, Allen's character, Tommy, probably wishes he were back in prison. Presently, Allen probably wishes he hadn't gone through with this mellow, clichéd film that can most positively be described as "watchable."
In "Crazy on the Outside," Tommy (Allen) is released from prison after serving a three year sentence. Looking to bounce back and avoid the mistakes he made previously, and under the watch of his deceiving sister Vicky (Sigourney Weaver) and his probation officer Angela (Jeanne Tripplehorn), Tommy starts to rebuild his life. Holding down a job at a local burger joint, Tommy originally attempts to win his old flame (Julie Bowen) back while trying to restart his father's painting business; however, as things move forward Tommy seems to be gaining interest in Angela and vice versa.
It's difficult to find any elements of this film that aren't negative. If anything, "Crazy on the Outside" is an enjoyable movie to watch if you want to kill time or maybe if you still have parents that are awkward to watch smut movies with and love Tim Allen; if so, perfect match. Every part of "Crazy on the Outside" is artificial and recycled. Its craziness is limited; in fact, as the story unfolds you'll find yourself wondering: "when will something entertaining happen?" Allen's type of humor certainly isn't unanimously praised; however, he has his moments; sadly, none of which appeared in this movie. The gags and jokes aren't even close to being humorous and the silly moments that are tossed in, such as a pirate statue winking; only hurt the film's name.
"Crazy on the Outside," like many movies before, appeared to give a glimmer of hope from the trailer, but managed to fall into the safe, cliché mold that's come to be expected. The story is about as predictable as any other; from the very beginning it is obvious that Tommy will eventually end up with Angela. To make matters worse, there wasn't even question how the two would end up together. "Crazy on the Outside" follows the typical romantic plot structure of build up, connection, disaster that rips lover's apart, rock bottom, motivation to not lose each other and reconnection. The worst part of the story is by far Angela's son Ethan who acts as the spark plug of Tommy and Angela's relationship. Ethan knows that he wants Tommy as a father figure in his life after only their second meeting and it comes off as relatively creepy and extremely unrealistic.
Certainly, Allen will be used as a scapegoat, but there wasn't a lot to work with as far as the script goes. The only way to describe Allen's directorial debut is that he took the safe route. On an acting stand point, Allen is Allen and nothing more. The trailer made "Crazy on the Outside" appear that it'd feature a more vulgar performance from Allen, which would be a welcome sight; however, that didn't end up being the case as he was blocked by a PG-13 rating, which will undoubtedly be the downfall and killer of "Crazy on the Outside" as not only is it normal, it isn't crude.
Aside from Allen, "Crazy on the Outside" features a lack of J.K. Simmons and Ray Liotta, two praiseworthy actors caught in roles that didn't need to be in. In fact, Liotta isn't even utilized correctly in his scenes as his angry, aggressive persona is completely absent. Weaver may just be one of the film's few bright spots as she plays Allen's fibbing sister quite well and offers a good deal of care and spunk for the film. Weaver's Vicky could possibly have been the only crazy aspect of "Crazy on the Outside" as her lies only become more monumental as they come and are the closest thing to entertainment.
In "Crazy on the Outside," it all returns to the fact that it is false displayed. There is nothing out of the ordinary in the movie and it follows a familiar path. For the most part, its characters, actions, jokes, gags, storyline and romanticism are empty, recycled and lifeless. Sadly, this is a step backwards for Tim Allen, both from an acting and directing standpoint, especially since he probably viewed it as a safe film. At the end of the day, Allen didn't deserve to be connected with this project; though he must have been crazy on the inside to have gone through with it.
Alice in Wonderland (2010)
Alice in Heartlessland
As one of the first Blockbuster's and a 3-D stunner, "Alice in Wonderland" once again saw the joining of an odd, remarkable story with oddball director Tim Burton. With few mishaps in his directorial career, early signs had to be positive concerning the Burton directed "Wonderland;" however, something somewhere along the lines went wrong; very wrong. As is come to be expected from a Burton film, "Alice in Wonderland" featured a story that one could only believe in their dreams mixed together with nutty humor and overbearingly bleak and dark themes, yet at the same time Burton's films have come to realize a strong sense of heart and togetherness, which is something that "Alice in Wonderland" lacks.
In the revamped "Wonderland," Alice (Mia Wasikowska) is concerned by a recurring dream that she had previously experienced when she was nine. Upon attending a party, she finds out that it is an engagement party for her and she is expected to be wed. Alice, under the uncertainty of the entire matter, runs off to follow a rabbit that she had spotted earlier into the woods and ends up falling down a hole at the base of an old tree. Alice soon finds herself back in Wonderland (although she doesn't seem to recognize or remember it at first) and surrounded by extraordinary figures such as The Mad Hatter (Johnny Depp). Alice is informed that the Red Queen (Helena Bonham Carter) has taken control of Wonderland and has done terrible injustices. She is then dropped with the bombshell that she is in fact the Alice that is destined to slay the Jabberwocky, which will put an end to the Red Queen's horrible reign.
Ultimately, Alice "finds herself" in Wonderland and brings about numerous self-revelations. Her relationship with the Mad Hatter is a well made parallel to her father and their scenes together are among the best written, shot and directed in the films. Sadly, the emotion, heart and connection really end there. Whereas Burton has excelled in the past, he simply cannot make up for the poorly written story, characters and script. For a Burton film, the exotic characters of Wonderland actually come out to be quite dulled down, almost lifeless and, dare I say it, underutilized. "Alice in Wonderland" simply lacks the heart needed to pull the audience in. After a familiar Disney ending, Alice is left with a decision whether to stay in Wonderland or return to her home. While it appears to be a rather difficult decision for Alice, the story does not support it. There should be a special connection between Alice, Wonderland and its characters, yet that connection is unmistakably missing. Aside from the Hatter and the White Queen (Anne Hathaway), Alice did not seem to form any special connection with Wonderland at all.
The writer of "Alice in Wonderland," Linda Woolverton, appeared to be in over her head. Her previous work such as Beauty and the Beast and The Lion King contain their instances of peril and shades of darkness, but cannot match the level that is usually represented in a Burton directed film. In fact, Woolverton's screenplay lacked the essentials to make "Alice in Wonderland" work: the script was lackluster, dreary, uneventful, drawn out and downright boring and the wackiness that is brought with the title "Alice in Wonderland" was limited. Eventually, the story does pick up, but it ends with a rather brief, anticlimactic battle between good and evil and its final scenes are completely unnecessary. The end result is an empty feeling left in the viewer's heart as its visuals exceeded expectations and fulfilled the magical Wonderland, but its story and characters seem almost cold and distant. The distance is like a barrier that disallows the characters to connect and win the hearts of the audience.
"Alice in Wonderland" does contain its brighter areas as it features yet another amazing example of cinematic visual euphoria and several strong performances from its dedicated cast. Opening in 3-D, "Alice in Wonderland" was a smashing success and brought Wonderland to life. (Such a shame the writing could not mirror that.) Burton regular Johnny Depp once again portrays his wacky side, although it seemed the Hatter was written less mad than need be. Another Burton regular, Helena Bonham Carter, stole each and every scene she was in playing the dastardly, yet unintentionally funny Red Queen; by far the highlight of the film. Lastly, as Alice, Mia Wasikowska more than holds her ground and does the best job that she can as the overwhelmed and confused nineteen year old girl.
Whether it be that Burton's dark tone didn't match with the thought-to- be colorful Wonderland or that it was simply the inadequate writing that did it in, "Alice in Wonderland" leaves the audience wanting more, but not in a good way. Its characters do their best to bring some life to the otherwise lifeless Wonderland, but sadly the heart just is not there when it needs to be and is a fatal fracture to a story that relies so heavily on exactly that. Its story and interactions are boring and make the rather short movie seem twice as long as it really is. It is almost depressing to see a story such as this fall to such a low, but for the viewer's sake, especially those enchanted by the majesty of the 1950's classic, everyone should avoid falling in that hole by the base of the old tree because there is no magic in this Wonderland.
Up in the Air (2009)
Brilliant in all aspects
A movie that completely avoids the clichés and is forcefully anchored by its three lead performances. Clooney is at the top of his game (although I don't think his performance outdoes his role as Michael Clayton), Vera Farmiga also gives a very valiant performance; however, I think the shining star was Anna Kendrick. Often, the physical form of acting is overlooked and that's where Kendrick truly hangs with her co-stars. When her character is finally put one-on-one via web cam with the 57-year old man...her body acting/expressions/overall visage is simply flawless and she was just a joy to watch on-screen. Clooney also masters the physical aspect of acting as his dance scenes are hilarious, his emotional scenes are perfect (i.e. his verge of tears look before the wedding and on the subway), and added together with his typical witty, rather sarcastic charm and he easily wins over the audience. Jason Reitman is top 10, probably Top 5 director. Thank You For Smoking is great, Juno was fantastic and Up in the Air is close to a masterpiece. The writing is very strong and the storyline is perfectly put together. I don't know if Reitman has his own personal casting director...but his casts are always selected beautifully. Who knew Danny McBride would be right for that role? Speaking of sort appearances...my favorite scene is by far the one with J.K. Simmons. Perfectly written, perfectly put-together, perfectly acted. Loved the movie.
Imitation of Life (1959)
Criticism of the melodrama
Douglas Sirk's remake of Imitation of Life certainly has melodramatic elements; there is simply no denying that; however, the criticisms of melodrama that Sirk includes throughout the film set the foundation for the story, which is one of certain realism.
The story centers on Lora (a white woman) and Annie (an African American woman) who are both widows with a young daughter. Lora temporarily gives Annie and her daughter Sarah Jane a place to stay, but eventually gets Annie to agree to stay permanently and help take care of Lora's daughter, Suzie, while Lora chases after her dream of becoming an actor. As the story unfolds it focuses on several story lines such as Lora's career and its affect on her social life and most notably the relationship between Annie and Sarah Jane.
Every aspect of Lora's story is relatable to a melodrama; from the way she's stereotyped into believing she shouldn't have a career, to her daughter's exaggerated enthusiasm and stereotypical white, teenage girl characteristics. The problems that Lora and Suzie have to deal with are blown out of proportion. It's obvious that Lora simply needs to spend more time with her daughter and less time acting. As for Suzie's crush on Lora's love interest Steve...it all bubbles down to the fact that she'll still have him around even if she ends up with Lora.
On the other hand, the relationship and story between Annie and Sarah Jane may seem melodramatic at first glance; however, their turmoil's, while presented in a melodramatic form, take a realistic form when compared to the times. What is their problem exactly? From a young age, Sarah Jane is disgraced by her African American race. This revulsion persists as she grows older and eventually the tension between her mother and reach a breaking point. While emotions run to a melodrama- like high, Sarah Jane's situation doesn't support other melodramatic ideals. The fact that she hates her own race is far from a simplistic and exaggerated problem; in fact, it's a strong dash of realism. For Sarah Jane, she is a child dealing with the fact that she is rather light-skinned (possibly the product of an interracial relationship?) African American with a dark-skinned, African American mother during the pre-Civil Rights time period in which being an African American wasn't yet being embraced. Sarah Jane's rejection of her race is the product of a complex, confusing situation which completely defies the melodramatic feeling that is expelled by Lora and Suzie.
So why the split between melodrama and criticism of melodrama? Simple. It acts as a tool of comparing Lora and Suzie's situation to Annie and Sarah Jane's. Lora and Suzie's issues are made out to be more problematic than they really are while Annie and Sarah Jane's issues aren't italicized to the point of seeming as big as Lora and Suzie's. Imitation of Life does a perfect job of classifying middle/upper class white life in the 50's as emotionally exaggerated while represents the life, problems and issues of the lower/middle class African American very well.
As a side note, Juanita Moore stole the show as Annie. Grade A performance.
Edge of Darkness (2010)
Gibson's return to acting is a cloudy thrill ride
An enjoyable, but muddled and confusing revenge thriller thanks mainly in part to the tricky dialogue and the jump back and forth between Craven, Jedburgh and the enemies at Northmoor. Gibson doesn't miss at beat, which shouldn't be under-looked considering his long break from acting; however, even his performance is plagued by fluff. The connection between him and his daughter seems sincere at times, but for the most part it comes off as artificial and sappy. Edge of Darkness will definitely keep the viewer entertained and (for the most part) on the edge of their seat, but it's narrative, dialogue and elements of the writing are too clouded for its own good.
Everybody's Fine (2009)
Far from what one considers a "dramedy"...
A dramedy? You mean to tell me that this movie is classified as a dramedy? That is simply unbelievable. Every single movie ever made has lines that are comical, but you don't see labels such as horredy pop up. Everybody's Fine is a full-fledged drama. There is NOTHING funny about this movie; in fact, it is one of the most depressing movies I have ever seen.
Robert De Niro plays the main character, Frank Goode who's just had all four of his kids cancel on him. Against the word of his doctor, Frank travels around the country to visit his kids one by one, from David in New York to Rosie in Las Vegas. With each trip, the story gets more and more depressing as Frank starts to come to terms with the fact that not only did his children lie to avoid getting together with him, but they've lied about their lives from their occupations to their homes. After he's done with his visits comes the whirlwind of horrible events that top off the sheer bleakness of the film and that includes an ending that doesn't quite fit.
And yet, I wouldn't call it a bad movie, nor would I call it stereotypical. Of all the Christmas dramedies I've seen, they've all involved relatively wacky, yet happy people with small-to-medium problems that seem bigger than they really are, yet are always resolved in the end. Sure, the ending of Everybody's Fine might seem a little stale; however, the five Goode's are a very realistic family that go through turbulence's that are far from small problems. Frank's feeling of distance between himself and his kids is as down-to-Earth a problem that I have seen in movies and truly hits close to home. Are some elements recycle? Sure, but that comes with damn near every movie you watch these days.
All in all, Everybody's Fine is a good, yet extremely depressing look at the story of a father who is just trying to reconnect and become closer to his kids. Robert De Niro gives an outstanding performance, so much in fact that it takes away from the work of Barrymore, Rockwell and Beckinsale who all gave worthwhile performances.
Sherlock Holmes (2009)
I never expected to like a Sherlock Holmes movie this much...
Much like Fantastic Mr. Fox bears its traits of Wes Anderson, Sherlock Holmes has its fair share of Guy Ritchie characteristics. Ritchie, who is known for British films such as Snatch and Lock, Stock and Two Smoking Barrels, boldly constructs this film in a much more action-way than the readers of Sherlock Holmes books are probably familiar with. Ritchie feels right at home as he crafts out the story, which features top-notch performances from Robert Downey Jr as Sherlock Holmes and Jude Law as Watson. The film has the right ingredients as it is the perfect blend of action, mystery and comedy. Nearly every aspect of Sherlock Holmes was put together properly and matched the feeling of the story. The dialogue, especially the back-and-fourths between Holmes and Watson are intelligent, witty, and well-written. The editing and style in which it was shot completely emphasize the action of the film, which draw in the audiences full attention. The film moves rather quickly, which can be attributed to many different things such as rapid dialogue, stealthy movements of the actors to the scene length. The movie also captures the England, mid-1860's feeling perfectly. As a final note, Rachel McAdams was most definitely out of place. Her sex appeal can only carry the role so far and while her physical acting is a plus (speaking of styles of acting...Downey reigns supreme in this film as his acting, from his quick retorts to his body language to the look on his face right after Watson saves him from being crushed by a mill-type object is flawless) she simply doesn't have the right voice for the role. By no means is it McAdams' fault, nor do I think she was miscast...I simply believe her voice just didn't do the character justice. All in all, Sherlock Holmes is a gritty, action-packed, wild ride that features some very strong performances and great directing from Ritchie.
The Book of Eli (2010)
Beautifully shot, acted, but somewhat unclear
Denzel's latest film is an entertaining, although flawed is several different ways. The story centers on Eli (Washington); who has been traveling West with the last copy of The Bible for thirty years. On his voyage, Eli runs into the villainous Carnegie (Oldman), his wife and her daughter Solara (Kunis). Carnegie has been searching for a copy of The Bible for a long time and when word reaches him that Eli is carrying a copy, the chase is on. However, as the film progresses the relation of religion and religious beliefs become skewed. For example, Eli lives by God's rules, yet he passes up the chance to help a girl avoid getting raped. Carnegie's main interest in procuring The Bible is that "its power will bring people here;" however, the story is set around older characters like Carnegie and Eli who experienced the world before its destruction and those who weren't. One of the biggest differences between the two is that those from a post-apocalyptic world don't know how to read nor do they know what The Bible is. That brings up the question of how The Bible's power would draw anyone aside of older people in? But The Book of Eli doesn't stop there with there religion- based content. In fact, the final shot of Eli might be borderline offensive to some religious people. As far as the performances go, Washington, Oldman and Kunis all give it their best; however, the writing of their characters isn't the strongest, especially Oldman's Carnegie. Many film buffs were excited to see Gary Oldman return to a villainous role, but Carnegie wasn't exactly the world's most antagonizing villain. In fact, Carnegie's evil acts include abusing his wife and shooting an unarmed man in the stomach, which don't exactly scream "bad ass." For Washington, playing Eli was both new and familiar territory. Certainly playing the hero who kicks ass and saves the day is nothing new to Denzel; however, Eli was very soft spoken, which is deviant from Washington's usually loud, aggressive and in-control characters. On a final note, The Book of Eli was definitely visually stunning as it offered a beautiful, sepia-filled sky version of a post- apocalyptic world. On the other hand, the slow motion scenes only worked on some levels and the wardrobe of the characters was a little ridiculous. Somehow, Kunis' Solara managed to look fashionable in her sunglasses and scarf, which gave off a pleasurable feeling compared to the well chosen, bleak wardrobe of earlier post-apocalyptic movie, The Road. Overall, The Book of Eli was an entertaining watch, but had its share of problems and controversies in the writing and plot.
It's Complicated (2009)
It really IS complicated
Never has a title spoken such truths about a movie. I, like many viewers, was on the fence throughout the entire movie. For one, the characters aren't sure how they feel about anything and the audience, going off the characters actions and decisions, has a hard time deciding whether they like the characters or now. The best example is Alec Baldwin's character, Jack. Over ten years ago, he destroyed his marriage with his wife Jane (Meryl Streep) by cheating on her. Strike number one. Not only does he cheat, but he ends up marrying the woman he had the affair with, who is much younger than him and has a five year old son. Strike number two. Then, over ten years later, Jake hooks back up with Jane while they're up in New York for her son's graduation and wants to rekindle the relationship. Strike number three. Yes, judging off that one can assume that Jake is a real asshole; however, it is made apparent that he truly does still love Jane and the connection he has with his kids (at times) makes it hard to dislike the guy. Then there's Jane who is just being dragged alone on this roller coaster as she isn't sure whether she still has feelings for her ex-husband or if she wants to give her architect (Steve Martin) a shot. What the viewer gets out of all this is basically a teen comedy of today, only lacking the teens and involving middle-age adults. Unfortunately for It's Complicated, it can't decide whether it's going to be a shallow film, or a film ending in good taste. While some scene definitely produce laughs (Such as any scene with John Krasinski), others fall face first (such as the nude Alec Baldwin scene). Overall, It's Complicated is simply a Rom-com with a twist of characters, who, aside from the three leads and Krasinski, are almost artificial and several of their lines are obviously scripted. Steve Martin is underutilized and the final fourth of the film is just sappy.
Shutter Island (2010)
DiCaprio shines in a perfect adaptation
Shutter Island: 9.1/10 - As should be obvious by now, Martin Scorsese is all about creativity; painting a picture through film and completely absorbing the viewer in the world of the movie. His undeniable ingenuity of the process of film-making and truly creating a work of art makes Shutter Island that much more impressive. Scorsese does what he does best, creating a vivid and surreal world and sets one underlying mood that is present constantly throughout the movie; however, he didn't stray far from the story that Dennis Lehane created. In fact, he captured every element piece by piece, presented the atmosphere with delicacy so as to bring the island, the characters and the story to life.
The narrative time-line of Shutter Island isn't that of your normal film. Some scene cuts seem awkward and make the viewer feel as though they may have missed something. However, Scorsese does a beautiful job of displaying this type of feeling. While reading Lehane's book, one cannot help but feel like they are missing something as they go page to page; that is not by accident. Lehane structured his book to give off a level of uncertainty, to give off a feeling of something missing just like how Teddy Daniels seems to always be missing something. Through Lehane's writing and Scorsese's directing the audience is brought into Daniels' world; full of fill-in-the-blanks and confusion.
However, Scorsese didn't stop at simply confusing the audience and pulling them into the mystery; we also brought Daniels' innermost struggles and tortures to life. The nightmare sequences are by far the highlight of Shutter Island, at least from a filmmaker's perspective. In these shots the viewer is introduced to haunting images such as Daniels' memories from war and mesmerizing sequences between Daniels and his dead wife. The connection between all of it, much like the film, is a bit hazy, but for specific reasons: just as Daniels struggles to put everything together, so does the audience. Likewise, Scorsese uses a great deal of foreshadowing, especially earlier on in the film that might not be so easy to pick up on, thus adding to the puzzle.
Outside of the techniques and elements used to successfully capture the atmosphere, tone, and mood of the setting, the cast does some of the best work thus far in 2010. Lead by an almost superhuman performance by Leonardo DiCaprio, which may very be his best work to date; each actor portrays their character exactly as described and made out to be in the novel. Aside from DiCaprio, Ben Kingsley (Dr. Cawley), Michelle Williams (Dolores) and Jackie Earle Haley (George Noyce) are especially effective in their roles as is Mark Ruffalo (Chuck Aule) to a lesser extent.
Though it may not seem so, Shutter Island is the best movie to have been released in 2010 so far. Because although its structure and design may seem nothing more than a nightmare to some viewers, even nightmares contain a touch of beauty and a great deal of art if you can dig deep enough.
Where the Wild Things Are (2009)
Jonze strikes gold
Where the Wild Things Are is about as flawless of a children's book to big screen movie you can make. What a bold, yet in the end excellent decision by Spike Jonze to reach out towards all audiences. He could have made it more for the kids with sissy dialogue, cheap laughs and happiness throughout, but instead he aims it at everyone. This is for everyone who has ever read to book, everyone who has ever felt neglected, everyone who has ever had to deal with the turmoils that arise during childhood. I love how he paralleled the Wild Things with Max. It really gave the story a nice touch and while the ending was tweaked (and he obviously was going to tweak it) I think it works out for the better. I gotta admit I got choked up near the end so I can go ahead and add this to my list of "man cry" movies. Anyways, hats off to Jonze...he really hit a home run with this one. Beautiful, touching, imaginative, and in the sense of children emotions (feeling neglected, isolation, sadness, fear, togetherness, anger, etc.) realistic. Oh, and the kid who played Max...watch out for him in the future...I have a feeling we haven't seen the last of him.