nesfilmreviews Reviews

Tempus (2015)

An unique meditation on mortality.

[9/10 · 21 October 2015]

"Tempus" is a contemplation and examination of time's passage, created with visual flair while possessing a poetic soul that produces an uncanny effect. Director Ian Clay displays a sensitive touch, maturity, and a prowess for digital filmmaking. While Clay demonstrates his technical virtuosity, Jason Shulman's striking visual effects and Ben Griffin's cinematography seamlessly blends together setting the stage for this unique meditation on mortality. Additionally, Jose Villalobos's affecting musical score adds a dimension of delicacy and grace to the proceedings. Spellbinding and expertly crafted, a lovely elegy to both youth and age.

Sin City (2005)

Black, white, and red all over.

[8/10 · 29 November 2014]

"Sin City" is pure film noir and crime pulp and one of the best — if not the best — comic book adaptations brought to film ever done. Extreme brutality and full of rampant violence, visually arresting cinematography, and nothing short of pure genius. Robert Rodriguez uses a combination of live action performed by real actors while incorporating a technique of colorization and filming in black in white to transform Frank Miller's graphic novels into moving pictures. There isn't a screenplay written for the film --instead-- it's more like a comic book brought to life and pumped with steroids. While other directors have attempted to remain faithful to the look and "feel" of their source material, Robert Rodriguez has taken things a step further by using Frank Miller's graphic novels as storyboards and immersing the audience neck-deep in the noir currents of Miller's immorality. The end result is a one-of-a-kind film that's both incredibly offensive and undeniably entertaining,

Savages (I) (2012)

Disappointing return for Stone.

[4/10 · 25 November 2014]

Given his past ability to explore complicated issues in compelling fashion, you might expect Oliver Stone to offer up an intriguing look at drug trafficking. Working from the book by Don Winslow — who spent six years researching the DEA and cartels, would give Stone a solid resource from which to draw. A welcomed return to Stone's darker side; "Wall Street: Money Never Sleeps" and "World Trade Center" were almost insultingly faceless, a definite problem for a director whose best films exude righteous anger. Unfortunately, "Savages" generates little momentum from its moments of ruthless savagery with far too much downtime in between.

California dudes Ben and Chon (Aaron Johnson and Taylor Kitsch) are dragged into a turf war with the expansion-minded Mexican cartel run by Salma Hayek's drug-war widow Elena, and her brutally amoral deputy Lado (Benicio del Toro). The Mexicans regularly show their power by creating and disseminating videos documenting torture and a litany of beheadings. Meanwhile, eighty miles over the border in Laguna Beach, Ben and Chon supply their ultra-potent genetically engineered strains to legal medical dispensaries but make their real money illegally shipping out-of- state. The product and its profits fuel the boys' lifestyle of neo-hippie decadence, embodied by the business partners' enthusiastic bedroom sharing of eco-friendly, hippie Ophelia (Blake Lively).

The Mexican Baja Cartel decides to move into their turf and demands that the trio partners with them. The merciless head of the cartel, Elena, and her brutal enforcer, Lado, underestimate the unbreakable bond among these friends. Ben and Chon -- with the reluctant, slippery assistance of a dirty DEA agent (John Travolta), wage a seemingly unwinnable war against the cartel. And so begins a series of increasingly vicious ploys and maneuvers in a high stakes, savage battle of wills.

Soul is something "Savages" sorely lacks and it feels inherently hollow. The screenplay (co-written by Stone) is a bit of mess, sloppily assembling a wide range of characters. One of serious issues with the movie usually occurs when the film's three young leads occupy the screen. Though they're competent, Taylor Kitsch, Blake Lively, and Aaron Johnson are hardly scintillating. Their performances fail in comparison to the completely outrageous performances delivered by Benicio Del Toro, Salma Hayek, and John Travolta. Plus, the young threesome and their love triangle never convincingly seduce the audience. "Savages" is a waste of Stone's time as he falls back on old habits of mayhem and provocation best left in the past.

Elite Squad 2: The Enemy Within (2010)

Vastly superior to the original.

[8/10 · 23 November 2014]

José Padilha's "Elite Squad: The Enemy Within" explores the deep-seated corruption riddling Rio de Janeiro through a visceral, powerful Brazilian drama. Building on the success of 2007's "Elite Squad," Lt. Colonel Nascimento is back to take the fight to the drug cartels as well as the corruption within Rio's law enforcement and political system, exposing the true depths of the city's social problems. Breathless, brutal, and thrilling. It's a gut punch of an action movie with political undertones.

Police Lieutenant Colonel Roberto Nascimento (Wagner Moura) has devoted his entire life to taking down Rio de Janeiro's most notorious criminals. He leads a special ops group (NOPE) known for its uncompromising effectiveness, but his efforts haven't received a lot of support from the corrupt authorities. When Nascimento's attempts to defuse a prison riot, it turns into a blood bath, and the media creates a public frenzy. The government is eager to use the incident as an excuse to fire Nascimento, but the level of public support for the Colonel's actions is overwhelmingly positive. As such, Nascimento is promoted to a high-ranking security position. Initially, it seems that this new power will grant him the ability to fight crime even more effectively. Alas, it doesn't take long before he realizes that the corruption runs even deeper than he could have suspected. The system has no center, Nascimento tells us, and it always wins.

The corruption of the Brazilian political system serves as a backdrop to the unrestrained violence and tension that permeates throughout the film. The action sequences are swift, violent, and sharply crafted. "The Enemy Within" presents the question -- which is worse: the amoral politicians who run the city, or the violent cartels who oversee the slums? Padilha's film offers no easy answers, but the title is a tip-off as to where at least his sympathies lie.

The film, with its slick production and on-point narration by Moura as Nascimento is an edgy, action-drenched thriller dipped in blood and dirty politics. Still, even during its slickest Hollywood-style action sequences, it's hard to ignore the unyielding, socially conscious anger which fuels the movie. While "The Enemy Within" is not as punchy as its trigger-happy predecessor "Elite Squad," is an intriguing slice of drama with the advantage of a much more balanced standpoint. Previous crime dramas such as "City of God" (2002), "Carandiru" (2003) and Padhila's own 2002 debut "Bus 174" have helped make Brazilian cinema an international critically acclaimed medium. Thankfully, "Elite Squad: The Enemy Within" successfully continues with this trajectory.

The Day of the Jackal (1973)

A timeless political thriller.

[9/10 · 18 November 2014]

Director Fred Zinnemann's "The Day of the Jackal" faithfully follows the Frederick Forsyth best-selling novel (The Dogs of War), which presents an unpretentious and precise reconstruction of the story. Zinnemann's low-key approach is a textbook example of how to make an exciting and sophisticated suspense film without relying on overblown action sequences or flashy visual effects. Zinnemann establishes a pace that is deliberate, but never boring.

An underground terrorist group in France, the OAS, decide to hire a professional killer to assassinate French President Charles De Gaulle (Adrien Cayla-Legrand) after their previous attempts have failed. Their next move is to hire a professional assassin, an English hit man responsible for several high-profile assassinations. Charles Calthrop (Edward Fox) accepts the contract to assassinate the President, and takes on the alias of 'Jackal'. The Jackal methodically prepares to put his plan into action: gathering a new identity, collecting forged documents and a French passport, and finally a custom-built rifle. Top French police investigator Lebel (Michel Lonsdale) learns the name 'Jackal' from an informer in the plotter's ranks and cleverly pieces together the identity of the killer-for-hire.

As with all good thrillers, it's the chase leading up to the climactic finale that is the best part of watching the plot unfold. In relating its tense tale of political wrangling, the intricate and meticulous story develops with a parallel structure that details the Jackal's preparations for the assassination, and Lebel's ongoing efforts to stop him. Fox is superb as the coldly impassioned assassin, and Lonsdale is magnificently analytical as the obsessive detective tracking him down. Despite its measured pace, the tension slowly mounts as the Jackal closes in on his high value target, and the authorities pull out all the stops to find him first. A taut, fascinating, and timeless political thriller.

The Arrival (1996)

Sci-fi thriller that overachieves.

[7/10 · 17 November 2014]

While the monumental and most expensive alien invasion picture of 1996 was declaring our independence, a small budget sci-fi thriller overachieves with an intriguing storyline and a well-written script. David Twohy, a screenwriter ("Waterworld," "The Fugitive") makes his feature debut as both a writer and director with "The Arrival." It's a lean piece of writing that moves quickly, and has some unexpected twists along the way. Those who crave conspiracy theories and cover ups, your time will not go to waste.

Radio astronomer Zane Ziminsky (Charlie Sheen) believes he's picked up a cosmic noise that signals extraterrestrial intelligence. But after turning over the tape to his boss, Zane loses his job, his girlfriend gets transferred, and his once partner is found dead. Zane's desperate search for answers leads him to a mysterious power plant in Mexico generating much more than just electricity, and run by people who are not what they appear to be.

The film's main strength arises from Twohy's writing, which manages to maintain decent dialogue, even when the plot mechanics take over. The movie never sinks into the realm of straight-to-video disaster. Sheen isn't ideally cast in the role of a scientist, but he is respectable and maintains a high level of intensity. The responsibility for the movie lies fully on Sheen's shoulders, and he carries the burden admirably. A overachieving low-budget sci-fi film with an interesting premise that is hampered by only a weak ending.

Heat (1995)

Epic.

[9/10 · 14 November 2014]

"Don't let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner."

In Michael Mann's epic crime drama "Heat," the thin blue line grows thinner by the minute. The centerpiece of Mann's film isn't a showdown at high noon, but a conversation over a cup of coffee featuring two expert tradesmen on opposite sides of the law who satisfy identical impulses through opposing means.

Set in contemporary Los Angeles, "Heat" stars Robert De Niro as Neil McCauley, a prolific, cold-as-ice career criminal. Al Pacino is Vincent Hanna, a homicide/robbery detective with the LAPD who recognizes the work of professional criminals and spends the film's three-hour duration tracking down McCauley and his crew. When Hanna and his unit of detectives begin to pick up McCauley's trail, a cat-and-mouse game develops between the two men. Two expert tradesmen on opposite sides of the law, a virtual dance if you will, keeping in step with one another.

Neil McCauley has enough money to get away and becomes deeply attached to his girlfriend Eady (Amy Brenneman). Neil decides to leave his life as a criminal in the past and move to New Zealand with Eady after one last major heist. Lieutenant Hanna is now obsessed with taking down McCauley, and his devotion to the case makes his private life a disaster zone. For both men, their unrelenting commitment to their profession leaves the only other people in their lives in a path of devastation and abandonment.

"Heat" fits the classic definition of a film noir -- the conventions and elements from the hard-boiled detective to the urban setting, the interplay of lights and shadows in the final scene, to the neon lights illuminating the dark corners of Los Angeles. There's a certain uniqueness to the mood of the film achieved by its icy-blue palette which sets the atmospheric tone. Some films are great primarily because of the visuals, others we appreciate for the rich characters, sharp dialogue, or an entertaining story. Rarely do we get a combination of textual and visceral elements fitting the same grand theme of a film, which in this case is loneliness. Both Neil and Vincent are consumed by their work and inherently lonesome, and the same is true for Mann's representation of Los Angeles. It's one we've never laid eyes on before, depicted as a silent milieu of isolation; a car driving along on an empty highway, the flickering city lights on a soundless night, an empty apartment reflecting on a endless ocean, the lights of an airport runway fading into darkness.

When Hanna's incessant pursuit finally catches up with McCauley, the result is one of the most well executed heist scenes in film history. Mann masterfully builds the tension and intensity with the use of montage editing. Above all, the dialogue is complex enough to allow the characters to say what they're thinking: They are eloquent, insightful, fanciful, and even poetic when necessary.

"Heat" is a crime drama masterpiece -- stunning cinematography by Dante Spinotti, a cast of characters that speak for themselves, an engaging storyline, and fantastic action sequences. Disregard Neil's advice, and don't walk if you see the heat coming around the corner.

Jar City (2006)

Wonderful thriller.

[8/10 · 14 November 2014]

An intelligent, engaging, multi-layered storyline that blends strained family relations, unsolved murders, and infuses some Icelandic customs keeping the viewer captivated from beginning to end. Despite the lack of shock value, the film maintains a consistent sense of suspense throughout. "Jar City" is chilly and cerebral, but also morbidly and powerfully alive.

In 1974, a young Icelandic girl dies at the hands of a murderer, and the crime was never solved. In present day, the aged and exhausted detective Erlendur begins to investigate a link between that notorious unsolved crime, and the unrelated homicide of a local criminal years after the fact. Erlendur has a difficult private life, his wife has passed away, and he has a pregnant daughter Eva Lind (Agusta Eva Erlendsdottir) who is a drug addict and roams the streets.

Meanwhile, Örn (Atli Rafn Sigurdarson), an employee at a DNA-mapping lab, struggles with the death of his own daughter, who suffered from a brain tumor. In time, the two men's lives will intersect in a myriad of ways that neither can even begin to foresee -- and the motivation for Holberg's original crime will become resoundingly clear.

Director Baltasar Kormákur elegantly churns out a first-rate mystery by dressing it with organic cinematography and a score reminiscent of eerie Gregorian chants. But his best move is a focus on an unlikely secondary character - Iceland itself. He wisely employs this unique, almost otherworldly qualities of its setting--presented as both beautiful and threatening. The cinematography is simply stunning, truly enhancing the ambiance to an ominous storyline and landscape.

"Jar City" turns out to be intricate, haunting puzzle of motivations. The murder, of an old man named Holberg, opens up a nest of older crimes and brooding secrets. Erlendur finds himself investigating a possible rape from 30 years before and unraveling a tangled history of police corruption and petty brutality. What it all has to do with Holberg is no more clear to the audience than it is to the detective. But Erlendur's combination of bluntness and analytical acumen informs Mr. Kormákur's storytelling technique, making "Jar City" an unusually forceful and thought-provoking thriller. "Jar City" (or Mýrin), is adapted from Icelandic writer Arnaldur Indridason's 2000 best-seller, "Tainted Blood."

Pusher III (2005)

Fantastic final installment of the Pusher trilogy.

[8/10 · 13 November 2014]

Danish filmmaker Nicolas Winding Refn directs and writes the third and final film of his gritty Pusher trilogy that explores the character of Milo played by Zlatko Buric, who hasn't given up his dominance of the Copenhagen underworld. Refn shows how hard this ruthless, feared man can fall over a harrowing twenty-four hour period, in which bad judgment, naiveté, and addiction nearly cost him an empire. He's frustrated, insecure, and tired of being taken for granted. And just like Tonny in "With Blood On My Hands," he can only be pushed so far.

A decade later, we find Milo in a NA meeting on the morning of his daughter's 25th birthday, for which he has promised to cook for 50 guests. A task now seriously derailed by the unexpected appearance of 10,000 hits of Ecstasy. Gripped in a nightmare of multitasking and becoming increasingly strung out on drugs, Milo must maneuver his way through the consequences of a botched drug deal and a new generation of pushers who covet the infamous title of "Kingpin of Copenhagen."

It's striking how dissimilar "Pusher III" is from "Pusher II," given that the two films are made back to back on a very tight timetable. "Pusher II" is full of poetic abstraction as an attempt to express Tonny's inner torments. 'Pusher III" relies on the repetition of frames, locations, and narrative beats. Except in a few key moments, it's not nearly as hectic as the others. You can't argue with hard-hitting, powerful filmmaking, and that is undoubtedly what's on display here. Refn's movie renders a nasty, harsh existence among the world of criminals competing and scheming well below law enforcement radar.

Buric offers a terrific performance as the unraveling drug lord being steamrolled by demands he is not equipped to deal with. The movie digs deep into the angst of a drug kingpin—a junkie himself—nagged by business details while being taunted by younger rivals. Like everybody else in the Pusher films, Milo contemplates what it would take to leave the mob life behind. "Pusher III: I'm the Angel of Death" pulls no punches. Viewers beware: it doesn't get much darker than this.

The Machinist (2004)

A mesmerizing performance by Bale.

[7/10 · 10 November 2014]

"The Machinist" is a bleak, psychological and deeply disturbing piece constructed by director Brad Anderson that examines raw terror which lives inside every man. Bale's physical transformation for the role is unreal--he lost 63 pounds. In addition to his radical physical transformation, he provides a marvelously terrifying performance as well. "The Machinist" is an expertly manipulated exercise in psychological horror, as it reveals itself gradually, allowing us the pleasure of slowly putting the fragmented pieces together.

Trevor Reznik (Christian Bale) hasn't slept in a year. The shocking deterioration of his physical and mental health make his every waking moment as an unrelenting state of confusion and paranoia. He hallucinates and begins to have trouble discerning reality from fiction, and the story begs the question, "what is real, and what is not?" Neither Trevor nor the audience may answer until the final moments of the film. One man's struggle with his very essence -- living in a state of severe physical decline, confusion, uncertainty, and self-doubt -- represents a horror that supersedes all others.

"The Machinist" looks appropriately dreamy and visually detached from reality. The visuals are subtly hypnotic and the movie seems to reflect Trevor's life, which is devoid of certainty. It presents a surreal series of events surrounded by equally surreal imagery, but remaining ever-so-slightly planted in reality that adds a tremendous amount of doubt and confusion as to where the story is going. The film conveys a state of mind, and Bale does that with disturbing effectiveness. Bale offers a spellbinding and haunting performance from a mental and emotional perspective to his physical transformation as a tortured soul on the brink. Not until the very last moment do the pieces snap into a completed puzzle that's as tight as a steel trap.

Pusher II (2004)

Refn and Mikkelsen are in top form.

[8/10 · 9 November 2014]

After Refn made an unsuccessful English-language debut with 2003's "Fear X," he returned to Denmark to shoot parts two and three of "The Pusher Trilogy." But the new films aren't a continuation, and the layoff didn't dull Refn's ability to tell an engaging crime story. In "Pusher 2: With Blood On My Hands," the film explores a drug-dealer's former sidekick as he deals with new challenges in the world of crime, drugs, and becoming a father.

Frank's ex-sidekick from the first film, Tonny, wonderfully played by Mads Mikkelsen is fresh out of prison. Tonny is eager to prove his worth as earner and son to his crime boss father (Leif Sylvester Petersen), known as the Duke. Routinely called a loser by everyone he knows -- he practically invites abuse by sporting a tattooed "respect" on the back of his bald head. Tonny also tries to ingratiate himself with his recalcitrant father (Leif Sylvester Petersen), who can hardly trust him with anything. The back-breaking straw is the appearance of a baby that Tonny's old non-girlfriend (Anne Sorensen) claims is his. The bitterness and betrayal mounts as Tonny begins to wonder if he should rewrite his life, and the fate of the neglected infant.

At its core, the film about is about broken families and serves as a stark reminder of the lasting effects on our actions can have on future generations. Tonny's entire life has been spent on only one thing: trying to gain the approval of his father. And not only that he learns on his release that he is very likely the father of a baby boy, one so neglected by his junkie mother that he hasn't even been given a name yet. Refn is painting a bleak picture of a child without a chance. He is in complete control behind the camera, but this film belongs purely and simply to Mikkelsen. He is absolutely stunning, flawlessly embodying the insecurities and desire that drives Tonny. Against all odds, Tonny becomes a sympathetic hero in an increasingly tragic tale. It's not hard to spot the need that drives his self-destructive behavior: it's practically written all over his face - or at least the back of his head.

Small Town Murder Songs (2010)

"The Lord will fight for you; you have only to be still."

[7/10 · 7 November 2014]

The oddly and evocatively titled "Small Town Murder Songs" is a stark, powerful drama that in brief outline can sound mistakenly as it turns out -- very much like a police procedural. Instead, it's a character study about a man desperately trying to hold onto some sense of himself while squeezed in a psychological, spiritual, and professional vise. Toronto writer/director Gass-Donnelly combines powerful imagery to a thundering score rich in percussion and choral singing, created by Bruce Peninsula. Rarely does cinema and music mesh as boldly as this. It's a fairly straightforward movie told in a very brief 75 minutes -- every scene carries weight, and nothing is wasted.

Set in a tiny Mennonite community in the lovely rural heartlands outside of London, Ontario, where Walter (Peter Stormare) is an aging police officer who is investigating the murder of a young women whose naked body was found dumped in the weeds on the outskirts of town. Walter must do his job, but his current investigation involves something from his past. He is a man haunted with regret, searching for forgiveness and deliverance, which only accentuates the poignancy of his current situation.

Stormare delivers a tremendous performance, completely inhabiting his character. He superbly conveys the interior torment of a violent man attempting to live and work as a peacemaker, but you have to wonder if he couldn't have used a bit more of a back story. The story is so lean, we really don't know enough about Walter to fully appreciate the burden he must bear. The musical score elevates this otherwise bare film, truly enhancing this simple story while adding emotional depth in place of the ambiguity of its characters. Between Stormare's performance, the cinematography, and the forceful atmospheric music, "Small Town Murder Songs" achieves a unique kind of splendor.

Pusher (1996)

"Pusher" digs surprisingly deep.

[7/10 · 6 November 2014]

"Pusher" is the first installment of a gritty crime trilogy from Danish writer-director Nicolas Winding Refn set in the Copenhagen underworld. In each of the three films, the main character (a different one in each) is trapped in the same existential scenario: One incurs a debt from a drug deal gone wrong and must pay it back on a tight deadline. It's not stupidity that puts these pushers in a bind: The drug trade is inherently a risky one, and even the smart players can get beaten by the odds. Relying on hand-held camera-work, a tight budget, and an emphasis on natural lighting, the trilogy's gripping set of stories unfolds with the raw immediacy of a documentary.

In "Pusher," our anti hero is Frank (Kim Bodnia), a mid-level dope dealer who is successful and hardcore enough to live his days in a fast, fun-loving manner. Accompanied by his friend/enforcer Tonny (Mads Mikkelsen), Frank spends the movie's first half-hour roaming from deal to deal, to a couple of bars, and simply living it up with Tonny. Bad news arrives, of course, in the offhand form of a score gone wrong with local kingpin Milo (Zlatko Buric) on credit, despite Frank's looming debt. When the cops chase Frank down, he dives into a lake, taking the drugs with him. Now his debt to Milo is unmanageably huge, and as the thugs come looking for him, he begins a frantic, frustrated search for cash.

The film begins loosely structured, but as Frank's predicament becomes more dire, the narrative tightens. Surprisingly, Frank slowly becomes genuinely compelling despite the fact that he is a low life smack dealer and now an emotional wreck beneath his stoic exterior. Abrasive from start to finish, Refn's debut has a vibrant life apart from its obvious influences (Mean Streets, Trainspotting), and he has the gift for taking familiar material and making it his own. Refn scoffs at Hollywood's third-act redemptions and justice served as simply a pipe dream, while refusing to glamorize criminality or trying to correct it. As botched-drug-deal stories go, "Pusher" digs surprisingly deep.

The Taking of Pelham One Two Three (1974)

An urban thriller with charisma and a vitality all of its own.

[8/10 · 5 November 2014]

"We are going to kill one passenger a minute until New York City pays us $1 Million."

"The Taking of Pelham One Two Three" is a perfect example of a tension filled, wonderfully constructed, and extremely entertaining thriller. It's a testament to "Pelham" that it has been remade twice--once as a made-for-TV movie, and the other as a big-budget action picture. However, the decision to produce these remakes hasn't yielded satisfying results. Peter Stone earned an Oscar nomination in 1974 for his screenplay, which is adapted from John Godey's 1973 novel. You can count among its biggest admirers Quentin Tarantino, who borrowed the color-coded nicknames of the villains in the film for his band of thieves in "Reservoir Dogs."

Four armed men hijack a New York City subway train and demand $1 million dollars which must be delivered in 1 hour for the release of the passengers held hostage. Lt. Zachary Garber (Walter Matthau) of the New York City Transit Police must contend with City Hall, the demands of the hijackers, and the ticking clock in his efforts to save the passengers and bring the hijackers to justice. The initial hijacking plan doesn't seem to make any sense because their options are so limited. At one point Lt. Garber jokingly says: "They're gonna get away by asking every man, woman and child in New York City to close their eyes and count to a hundred." But there is a clever getaway plan coordinated by Mr. Blue (Robert Shaw), who plays a former mercenary soldier. His team members include two professional criminals and a fired motorman (Martin Balsam) with a grudge.

The main strength of the film is the acting. Shaw, Balsam, and Elizondo each get to play to their own specific skill set. Shaw is cool, devious, and calculating. Balsam is a working class, somewhat decent, criminal. On the other side of things, Matthau is at his sardonic best as Garber. Little time is spent on the back story, subplots, or exploration of motives. It's about a subway train, the bad guys, the good guys, hostages, and money. That's it. comparing the original to the 2009 Tony Scott- directed remake, where substantial screen time is devoted to such concerns, the movie falls well short. Do yourself a favor: instead of watching the remake, seek out the original. It's an urban thriller with charisma and a vitality all of its own.

A Most Wanted Man (2014)

An efficient and respectable espionage drama.

[7/10 · 5 November 2014]

A smart, sombre adaptation of John le Carré's 2008 novel about good, evil, and the sins committed in the name of national security. "A Most Wanted Man" is the latest le Carré cinematic adaptation, and it is a perfect example of the kind of spies he has become famous for writing about. It's a professional old-school espionage outing that is well structured and intricate as clockwork, where mind games replace shoot outs and alley-chasing pursuits. This film has also taken on an added importance as it features the very last electrifying lead performance from the late Philip Seymour Hoffman.

After the attacks of 9/11 were revealed to have originated from the German city Hamburg, security forces have scrambled to prevent another event from occurring. Leading a secret anti-terrorist squad, Günther (Philip Seymour Hoffman) is tired and disgusted with the chain of command, yet his interest perks up when Chechen refugee Issa (Grigoriy Dobrygin) arrives in town. A man with a record and motivation to cause trouble, Issa is tracked by Günther's team, which includes Max (Daniel Bruhl) and Erna (Nina Foss), revealing himself to be a broken man in need of a lawyer, calling on human right attorney Annabel (Rachel McAdams) to help him retrieve a fortune left behind by his criminal father. Banker Tommy (Willem Dafoe) is unsure of such a withdrawal, trapped in a difficult situation when Günther forces him into service to catch Issa. Helping to hide the foreigner, Annabel is also targeted for arrest, while Günther's activities trigger interest from the German police and the American government, embodied by C.I.A. Agent Sullivan (Robin Wright).

"A Most Wanted Man" is at times a little hard to follow while being too convoluted for its own good, and the film suffers from a slow start and a pace that is a little slow at times. Additionally and predictably, the movie is largely overshadowed by the haunting presence of Hoffman, and while the curiously nondescript accents used by himself and the rest of the film's American cast prove relatively distracting, the actor's whisky-drinking, chain-smoking portrayal of Günther undoubtedly dominates proceedings. "A Most Wanted Man" is an efficient espionage drama with a great cast and a story that emphasizes facts and mood while leaving character in the background.

Shame (2011)

Fassbender and McQueen make this work.

[8/10 · 4 November 2014]

Teaming up once again after their stunning work on the 2008 Bobby Sands drama, "Hunger," director Steve McQueen and Michael Fassbender share a special chemistry best detailed in bracing films containing little to no dialogue. "Shame" examines the nature of need with how we live our lives and the experiences that shape us. "Shame" powerfully communicates to the audience and leaves us to internalize our own thoughts, asking us to paint our own cinematic details in the gaps.

The film's opening shot shows Brandon awake in the morning, staring immobile into space. He never reveals emotion. He lives like a man compelled to follow an inevitable course, and his life is a living hell. He is cold to everyone he encounters. On the subway, he trades eye contact with a woman his is flirting with. He boldly maintains eye contact, but doesn't smile. His is a dreadful life. His shame masked in privacy.

Brandon (Michael Fassbender) is a good-looking, young man in his early 30's, who lives alone in a sterile condo in Manhattan. He works in a cubicle with a computer. Never mind what his company does. It makes no difference to him. Sometimes in the evening, he and his boss, David (James Badge Dale), go out to drink in singles bars. David is an outgoing and throwing out pick-up lines. Brandon just sits there, his face impassive, knowing he doesn't have to. He shuns intimacy with women but feeds his desires with a compulsive addiction to sex.

The introduction of Sissy (Carey Mulligan), Brandon's sister, injects spontaneity and life into this almost emotionally desolate film. She is as passionate and uninhibited as he is the complete opposite. This encounter resurfaces memories of their shared painful past, and Brandon's insular life and addiction begin to spiral out of control. She needs him desperately and that frightens him most. She works sometimes as a cabaret singer, and in one scene, she performs a fantastic rendition of "New York, New York" in close-up. This close-up also shows pain and grief of both, a truly beautiful moment captured.

McQueen's camera gives us a mix of the highly stylized and the stark, with frequent long takes giving the actors the narrative space to embellish scenes with depth. Fassbender for one, is often captured looking to the ground, almost failing to register the world before him. McQueen gives the audience an opportunity to absorb Brandon's mental process, understanding how the man struggles with his impulses. It's an opening into a foreign world of obsession and shame; an orgasmic thrill-of- the-hunt existence. The movie can get overwhelming and burdensome for some as the movie, as well as Brandon's addiction, progresses with terrifying consequences. However, Fassbender's powerful, gut-wrenching performance and Steve McQueen's direction behind the camera is what makes this film so extraordinary.

Dark City (1998)

A masterpiece of visual design.

[7/10 · 26 October 2014]

A masterpiece of visual design, "Dark City" was ahead of the curve in 1998. The existential themes are explored in a number of comparable films made in the late 90's, most notably the "Matrix." Australian director Alex Proyas passionately infuses elements of science fiction, mystery, and film noir in spectacular fashion. Viewers enter into this disorienting world and relies on us to piece together exactly what is going on in this noir metropolis. It's an effective tool as it puts the audience on a level playing field with the main character. A hypnotic and dark movie that takes you on a visually arresting ride, however the movie fails to go beyond the sci-fi/noir genre elements to truly connect on a visceral and emotional level.

"Dark City" opens by immersing the audience in the midst of a fractured, nightmarish narrative. John Murdoch (Rufus Sewell), has amnesia, and he begins his "awaking" naked in a bathtub, uncertain of how he got there. His only company in his hotel room is the nude body of a dead prostitute. Suddenly, Murdoch receives a phone call from a man named Dr.Schreber (Kiefer Sutherland), who claims to have his best interests at heart. Dr. Schreber warns him to get out of the hotel immediately, and without a clue about his identity, Murdoch is fleeing from phantom-like creatures with supreme mental powers. Soon, his quest to unearth his past brings him to his wife Emma (Jennifer Connelly), who may or may not be an idea planted in his head, and Police Inspector Bumstead (William Hurt), who is tracking him down because he is the prime suspect in a series of murders.

Proyas appears to have been so distracted with his unique vision that the story suffers from a lack of narrative focus. The plot is weak, and judging from the dialogue alone, "Dark City" is a clumsy melodrama. Which is why, while the majority of the performances are serviceable, it's the sheer overwhelming style that gets us through. Proyas, as in his previous film "The Crow," once again delivers a phenomenal spectacle by creating a somber, despairing ambiance in "Dark City." Regardless of its shortcomings, the movie is a worthwhile cinematic experience--a triumph of cinematography, special effects, and visual design.

The Last Waltz (1978)

A celebration for the ages.

[10/10 · 24 October 2014]

"We wanted it to be more than a final concert. We wanted it to be a celebration."

-Robbie Robertson

In the fall of 1976, the band known simply as The Band (Robbie Robertson, Levon Helm, Garth Hudson, Rick Danko and Richard Manuel) had been touring for almost 16 years. They had started out backing Ronnie Hawkins, ended up backing Bob Dylan, and in between had several hit records of their own. Their farewell performance at the Winterland Theatre in San Francisco included a star-studded line up of guest performers, and is filmed in accordance with a 300-page shooting script compiled by director Martin Scorsese, which includes revealing interviews with the members as well. The film is a technical breakthrough; it went far beyond the boundaries Woodstock had set for live-action footage. The film is a legendary benchmark for rock documentaries. Scorsese ensures that the music speaks for itself.

"The Last Waltz" is a passionate, symbolic toast to the glories of American rock & roll. Especially for those artists in the 1960s who took rock from its primitive foundations to a sturdier, more flexible form of music and expression. Although the quintet wrote many songs that helped define the era (e.g., The Weight, The Night They Drove Old Dixie Down), several of the most inspirational songs in "The Last Waltz" are by other artists. The Band wraps itself around the style and talents of each guest artist, but never strays too far from its folk and blues roots. A wide range of musical guests: Muddy Waters, Eric Clapton, Van Morrison, Bob Dylan, Neil Young, Dr. John, Emmylou Harris among many others. Martin Scorsese masterfully captures their interactions on stage, while off stage he interviews each member sharing their experiences from sixteen years on the road. While it certainly helps to be a fan of The Band, it's not essential in order to appreciate the film's eloquent accomplishments. From a technical perspective, it's undoubtedly one of the most impressive and authentic concert films ever made.

Happiness (1998)

"Happiness" is hilariously disturbing.

[9/10 · 22 October 2014]

"Happiness" is a film of sheer audacity, intellect, and brilliance yet one that takes the cinema to depths that the mainstream would never attempt. Director Todd Solondz takes the viewer on an extraordinary journey, and it's incredibly profound, amusing, and most certainly unforgettable. He makes punchlines out of misery and pedophilia while eventually arriving at a touching and tragic vision of humanity. It is distressing and utterly hilarious at the same time, and the performances across the board are simply fantastic.

"Happiness" is an ensemble piece of five different stories, all of which intersect from time to time. The film concerns the lives of several related New Jersey residents--a sexually frustrated professional (Philip Seymour Hoffman), a pedophile psychologist (Dylan Baker), his blissfully delusional wife (Cynthia Stevenson), their 11-year-old son (Rufus Read) who's concerned with his inability to ejaculate, an unhappy older couple (Ben Gazzara, Louise Lasser), and others. Self-centeredness is the chief characteristic of nearly everyone in this film.

At two hours and 20 minutes,"Happiness" rambles a bit, but the strength of these characters is undeniable. The film strongly benefits for thoroughly realized characters and relationships along with Solondz's masterful ability to switch the tone from comic to tragic at the drop of a dime. We experience empathy for the kind of people we would ordinarily feel uncomfortable around. Solondz does not judge his characters, he doesn't excuse them, and he doesn't reduce them to wicked villains or victims. He simply sees them, and he invites us to do the same.

Willow Creek (2013)

A Blair Witch rehash with lackluster results.

[6/10 · 18 October 2014]

Director Bob Goldthwait's "Willow Creek" is minimalist slow-burn thriller in its purest form, creating a lot of buildup without much of a payoff. Sadly, there's no homage, parody, or commentary in this found footage entry, and the movie doesn't score any points for originality. Goldthwait's decision to closely follow in the footsteps of the 1999 indie sensation "The Blair Witch Project" marginalizes an otherwise fairly effective spine-tingler. Certain chilling moments are calibrated to give the film's core audience exactly what it's looking for, but there's simply not enough of it.

Alexie Gilmore and Bryce Johnson play Kelly and Jim, a young couple heading out into the great outdoors to look for the legendary figure of Bigfoot. The plan is to trace the path that Roger Patterson and Bob Gimlin took to Willow Creek in 1967 where they recorded the infamous video providing proof that the myth of Sasquatch is real. Kelly is an aspiring actress and skeptical about the expedition, while Jim is a goofy enthusiast and an aspiring director pursuing a childhood fascination. Although dubious about the adventure, Kelly accompanies and encourages Jim as he visits tourist spots, interviews Sasquatch experts, and a few not-so-welcoming locals.

Similar to the "The Blair Witch Project," Goldthwait relies on the power of sound effects, isolation, and fear of the unknown to ratchet up the tension. There is admirable 20 minute segment with the actors alone in a tent listening to things going bump in the which is unquestionably the highlight of its 77 minute runtime. Unfortunately what follows is a rather predictable third act with an abrupt ending that feels cheap and deflates mounting anxiety. An admirable effort on a shoestring budget, but "Willow Creek" is an hour of retread and a no-frills offering that fails to breath new life into the legend of Sasquatch.

Snowpiercer (2013)

All aboard this highly ambitious sci-fi extravaganza.

[8/10 · 27 June 2014]

A stunning, visionary example of dystopian science-fiction cinema at its best, South Korean director Bong Joon-ho's "Snowpiercer" is based on the French graphic novel - a blockbuster rich in style that successfully breaks through cultural and political boundaries."Snowpiercer" is brought to the big screen and offers a solid narrative, carefully drawn characters and — above all — respect for the audience's intelligence in high-concept genre cinema. While "Snowpiercer" and its world may be implausible, it's most certainly engaging, and further helping matters is Bong's impressive, sprawling international cast anchored by Chris Evan's strong central performance.

"Snowpiercer" is set in a distant future where a man-made ecological disaster has triggered a new ice age that has engulfed the planet and killed off all but a few hundred lucky survivors. Upending the social structure of society and transposing it horizontally, the upper-class has become first-class on the Rattling Ark - a gigantic speed train that contains a literal microcosm of a contemporary neoliberal society. The fortunate in the front of the train rule over the rest, where the rich dictate the rules in order to oppress the poor and underprivileged.

Bong's vivid depictions -- aided by Ondrej Nekvasil's production design and Hong Kyung-pyo's cinematography are beautifully orchestrated and captivating for the most part. That being said, one of the more significant issues with the film is the overuse of CGI in places, which does look sub-par at times, like stylized segments from a 1990's video game.

Joon-ho creates an air of mystery and intrigue - as the passengers progress from the dark, rear tail of the train to the opulent splendour of the front carriages, "Piecer" evolves steadily, slowing providing information and further enriching its story with enough magic and wonder to suspend our disbelief entirely. The film's pacing is measured, but never slacks with adequate time taken out for nuanced, character- building scenes. You may recognize lots of inherent holes and flaws in its journey to salvation, but the movie confidently pushes its premise throughout its 126 minute run time.

By the end, the film reveals itself as a surprisingly thoughtful contemplation projecting the problems of today into a science-fiction tomorrow, while it ties together a compelling story that continuously shifts. We all think we know what will happen here; the downtrodden are pushed to the limit, and as a result, they unite and rebel against their oppressors - exactly as we've seen countless times in a number of other sci-fi movies and it's all a bit predictable. "Snowpiecer" is the exception.

Big Bad Wolves (2013)

"Big Bad Wolves" huffs and it puffs, but it doesn't blow the house down.

[6/10 · 7 June 2014]

Directing duo Aharon Keshales and Navot Papushado's second feature "Big Bad Wolves" is their follow-up to the darkly comic "Rabies" (2011). Once again they attempt to create a genre-savvy thriller that blurs the lines between horror and political satire. Papushado's and Keshales bloody tale does a fine job mounting the tension, however the movie never fully clicks as a gritty revenge thriller or as a dark comedy. In regards to Quentin Tarantino's full-throttled endorsement of "Big Bad Wolves" as the year's best film is an absolutely ridiculous claim that sells his own work short.

There's a serial killer loose, and he's raping, torturing and decapitating girls, whose heads he then hides, mainly, it seems, to give this otherwise generic setup some needed flair. As the police futilely chase clues, a motley triangle emerges: a suspended cop, Micki (Lior Ashkenazi); a religious teacher, Dror (Rotem Keinan); and a mourning father, Gidi (Tzahi Grad). In time, the three converge in an isolated cabin that turns into a chamber of horrors as they play a psychological game to extract the location of the missing head from our killer.

"Big Bad Wolves" begs to be read as a metaphor, and the directors are taking dead aim here: Israel's own ugly history of torture and its ramifications. But their point soon wears itself out, and what remains is merely cheap shocks and an increasingly tiresome sense of black humor that neutralizes its attempt to increasing intensity.The film fails to deliver by suffering from irregular tonal shifts, a paper-thin story line, and a lethargic second act that stumbles into an incredibly underwhelming conclusion.

"Wolves" is a well made film beautifully shot in widescreen and technically impressive. It has its moments of wit with humor, and on occasion, it does get its desired effect. However there is just not nearly enough of it. "Big Bad Wolves" huffs and it puffs, but it doesn't blow the house down.

The Past (2013)

Tale of domestic tension in capable hands.

[8/10 · 12 April 2014]

It's not always fair to judge a film by its director's previous endeavours, but it's almost impossible to watch "The Past" and not think of director Asghar Farhadi's previous masterpiece "A Separation," a study of two families attempting to navigate Iran's repressive domestic laws and the erosion of their relationships. As the title indicates, "The Past" remains idle in a shared history with its characters who bear the weight of guilt and resentment that fuels this slow burn domestic drama. Ultimately, "The Past" explores the emotional damage that can incur when lines of communication inevitably break down.

Marie (Bérénice Bejo) and Ahmad (Ali Mosaffa) are estranged spouses. Ahmad returns from Iran to France, where Marie lives, to finalize their divorce. When he arrives, he learns that Marie is living with Samir (Tahar Rahim), and Samir's young son, as well as with her own two children from a relationship previous to Ahmad. As Ahmad tries to make the best of his sometimes uncomfortable visit, he finds himself in the middle of several tumultuous situations. As the days pass, more about the lives of these people are revealed, and with considerable consequences.

Farhadi's most complex and involving narrative to date provides a natural progression with no real plot twists while providing some unexpected turns. Teetering on the edge of contrived melodrama, the film builds towards a lackluster and formulaic finale that's nowhere nearly as compelling as Farhadi's uncanny ability to powerfully convey human insight and emotional turmoil. That being said, Farhardi's unsentimental and unforgiving approach ensures that this tale of domestic tension is in capable hands.

The Act of Killing (2012)

Demands to be seen.

[9/10 · 12 April 2014]

"The Act of Killing" serves as a powerful medium for a bold historical reckoning - an act of recreation to confront a legacy created by means of genocide. In Indonesia between 1965 and 1966, following a failed coup attempt against the Sukharno government, the military and paramilitary groups killed over a million people in a bloody purge of suspected communists. These executions were not carried out by government officials, but by death squads consisting of local gangsters. No one responsible for these war crimes has ever been made to answer for these atrocities.

Director Joshua Oppenheimer's attempt to tell the full story by interviewing surviving family members and friends is simply not possible, so he craftily turns the table on the repressive dictatorship by actually working with the oppressors. Rather than just interview his subjects about the blood on their hands, Oppenheimer and his co-directors employ an unconventional approach by allowing these men to re-stage their former exploits for the big screen.

"The Act of Killing" picks up in present time and places the camera on several of these gangsters who walk openly among the descendants of their victims, revered as national heroes. It's here where Oppenheimer encounters his central figure Anwar Congo, a man who has killed an estimated one thousand people, and is quite happy to tell you all about it whether the camera is rolling or not.

The film initially appears as a standard documentary focusing on a unique perspective of a past atrocity. However, as it unfolds, it becomes much more than that, and it is hard to say how the individual viewer will react. Oppenheimer and editors skillfully construct sequences of the re-enactment footage and outtakes, magnifying his subjects' blatant immorality for all to see front and center. The end result provides a cinematic experience that allows the criminals to indict themselves in a way that their accusers never could.

As the movie progresses, Anwar begins to question for the first time whether he has sinned, and appears troubled by his victims' suffering with recurring and intensifying moments of regret. For the final sequence, Anwar and Oppenheimer revisit the rooftop where Anwar committed most of his murders, and it is a stunning and unforgettable final scene. What begs the question however is just how genuine is this truly shocking moment captured on film, or is this simply a charismatic performance for the cameras? There is an unexpected arc that occurs within Anwar Congo, which will perhaps help some viewers believe again in the basic decency of human beings. That being said, it's a far cry from softening the films distressingly grim impact.

Oculus (2013)

Some impressive qualities, but ultimately falls short.

[6/10 · 12 April 2014]

Director Mike Flanagan and co-writer Jeff Howard expand on their original 30-minute short film about a lethal piece of furniture "Oculus: Chapter 3" to a feature-length film. While it's a cut above the usual paranormal thriller, its 105 minute runtime doesn't dramatically improve on its mysterious element and it falls short on dread and tension. While "Oculus" slowly develops an unsettling story that cleverly undermines an age-old horror-film cliché, it's never quite as scary or as memorable as one might have hoped.

After shooting his father and spending years in psychiatric care, Tim Russell (Brenton Thwaites), reunites with his sister Kaylie (Karen Gillan), who claims that an antique mirror in their father's study was what destroyed their family, as well as the families of many owners before them. Tim reluctantly agrees to help Kaylie document the mirror's effects, but all goes awry when it begins to play with their perceptions- intermingling past and present, memory and reality, and forcing them to witness again their parents' violent relationship, with devastating results.

What's unique about "Oculus" is its structure, which cuts back and forth between Tim and Kaylie in 2012 and their experiences 10 years earlier. Flanagan daringly cross cuts between flashbacks and the present, and even sometimes unities the two story lines in the same shot. Flanagan uses the back story to inform the audience of the details of how this started, while at the same time using it to terrorize Tim and Kaylie, who aren't quite sure if what they are seeing -- and doing -- is real or not.

Flanagan creates a number of eerie visual parallels between the past and present, but eventually the slow-burn suspense sequences and sudden shocks become increasingly repetitive. Throughout the film's slow build-up, Flanagan effectively incorporates some creepy images and the film convincingly earns its frights the old- fashioned way. However, the third act offers an escalation in action accompanied with a scene of shock that doesn't intensify or enhance its predictable, lackluster finale. To his credit, Flanagan takes a dubious premise further than most could. That being said, next time just smash the damn mirror.