The Fighter (2010) Directed by David O. Russell Length: 115 minutes Rated R for language throughout, drug content, some violence, and sexuality
Academy awards and boxing films seem to go hand-in-hand, a cinematic peanut butter and jelly combo. Much like its pugilistic predecessors - Raging Bull, Million Dollar Baby, Rocky, Cinderella Man - The Fighter is sure to be nominated for several awards and rightfully so. This modern biopic takes the typical underdog story and adds layer after layer of obstacles in the form of the protagonist's own "support" system. A drug addicted brother, a meddlesome and greedy family, and a case of self-depreciation all make for a powerful yet fun film.
Mark Walhberg (The Other Guys, Ted) plays "Irish" Mickey Ward, a soft-spoken up-and-coming boxer known for his brawling style in the ring. Though Ward has the talent and the ability to win a title, several obstacles have led to repeated defeats in the ring. Ward's half-brother and trainer Dicky Eklund, played by the amazing Christian Bale (The 13 Women of Nanjing, The Dark Knight Rises), knows what Ward needs to win it all, but his crack addiction and obsession with his past glory threaten to destroy any chance his brother may have at a title. Coupled with an over-bearing and greedy mother/manager, played by Melissa Leo (Treme, Red State), Ward faces several obstacles that threaten to derail his promising career.
Walhberg, as the star and protagonist of the film, does a good job, but his performance is vastly overshadowed by the manic, hilarious, tragic, and brilliant performance delivered by Christian Bale. Bale has been mentioned as an Oscar nominee potential, but it would be next to impossible to fathom anyone denying Bale his first Oscar award. Additionally, Leo's turn as the manager/mother of Ward is equally impressive. Catty, greedy, and downright despicable, Leo's selfish mother is the perfect foil to Ward's dedication and gentle nature. The redemptive message of the film is most evident during a touching scene between Bale and Leo in which he subdues her anger by sharing a song even though she has just caught him leaving a crack den. Additionally, Amy Adams (On the Road, Leap Year) as Mickey's girlfriend and supporter Charlene Fleming shows she can do more than play the pretty and innocent girl. The heavy drinking, hard hitting Charlene acts as the voice for Mickey when he most needs to stand-up for himself, providing some of most humorous scenes as Charlene gets into a massive cat-fight with Mickey's gaggle of Bostonian sisters.
While the focus is less on the boxing and more on the drama, the level of dedication evident by each of the actors is immediately apparent. Without a doubt, The Fighter is one of the year's best films and will be a strong contender come Oscar time. Christian Bale alone makes the film worth seeing even if you hate boxing. Be sure to see this film and enjoy the masterful performances from this amazing cast. It's a wicked piss-ah!
Final Rating: 4 out of 5 stars
Favorite Quote: Not really a quote, but the scene between Christian Bale and Melissa Leo when they both sing a Bee Gees song.
Oscar Winners Best Supporting Actor - Christian Bale Best Supporting Actress - Melissa Leo Oscar Nominations: Best Achievement in Directing - David O. Russell Best Achievement in Editing Best Motion Picture Best Supporting Actress - Amy Adams Best Original Screenplay
TRON: Legacy (2010) Directed by Joseph Kosinski Length: 127 minutes Rated PG for sequences of sci-fi action violence and brief mild language
In 1982, Disney released TRON - a film that became a cult classic for its futuristic graphics and concepts. Though the film has been loved by geeks and fanboys alike for many years, the film largely remained a relatively unknown member of Disney's extensive vault. With the popularity of 3D films and the amazing capabilities of graphic designers and programs, the highly anticipated sequel has finally arrived to capture a new generation of TRON fanatics.
TRON: Legacy centers on Sam Flynn, played by Garrett Hedlund (Country Strong, On the Road), son of the original film's protagonist Kevin Flynn. After receiving a mysterious page from his father's old arcade, Sam discovers his father's secret lab that transports him to The Grid, a digital city where programs and users can interact and anything is possible. Though Sam's father shared tales of the majestic beauty of The Grid, Sam soon discovers his father identical clone Clu has assumed control and seeks to escape to the real world.
The film relies heavily on nostalgia and impressive graphics to make up for a lackluster and incredibly predictable plot. Hedlund does a serviceable job as the protagonist; though his character lacks any real depth, this good looking newcomer has a bright future ahead of him. Jeff Bridges (True Grit, Pablo) once again resumes his role as Sam's father Kevin Flynn, the creator of The Grid. Additionally, Bridges pulls double-duty as the tyrannical renegade program Clu a la a digitally rendered version of a younger Bridges. Bridges is one of the best actors in Hollywood today; however, it often felt as if his character was simply The Dude from The Big Lebowski with a glowing robe.
Beyond the main actors, the film boasts an impressive support cast, namely the beautiful Olivia Wilde (HouseM.D., Cowboys & Aliens) as Quorra and Michael Sheen (Alice in Wonderland, The Twilight Saga: Breaking Dawn - Parts I & II) as Castor/Zeus. Quorra is Kevin Flynn's new protegee, equally deadly as she is sexy. My favorite character of the film is Sheen's Castor/Zeus, an eccentric night club owner known for his ability to procure things. Though Sheen is essentially the digital version of the Mad Hatter from Alice in Wonderland, his zany hi-jinks and mannerisms provide several humorous moments.
Perhaps the most important aspect of TRON: Legacy is the graphics. Though the original may not hold up to the test of time, it is often cited as a film ahead of its time if not solely for its concepts. Needless to say, Disney spared no expense in creating the magnificent digital landscape of The Grid. From the towering sky scrapers, to fan-favorites like the light cycles, the graphics alone make the film worth seeing in the theater. Though the film uses a relatively muted color scheme throughout, the amount of detail and imagination required to develop the sprawling landscape of this film is breathtaking. While it is hard to tell how much the 3D experience assisted with the graphics, this is one film worth the extra few dollars, as opposed to the epic failure that was Clash of the Titans.
Additionally, what would a futuristic movie set in a digital world be without an impressive electronica soundtrack? Thankfully, Disney made a great call selecting the legendary and mysterious French electronica duo Daft Punk to develop the score of the film. While Daft Punk fans may lament the soundtrack as very un-Daft Punk like, for a movie soundtrack it is one of the years best. One could still argue both The Social Network and Inception boast more impressive compositions, but from a music lover's perspective, this has been one of Hollywood's best for film scores in several years. Additionally, be sure to note the cameo by the band during the night club scene as the pair DJ an impromptu battle.
Ultimately, several non-TRON fans may not appreciate the ingenuity found in this long awaited sequel as the story is a bit convoluted yet predictable and the action a bit hokie. There is no denying the impressiveness of this digital wonderland. Boasting incredible graphics, a killer soundtrack, and some fun action sequences, TRON: Legacy is a successful sequel that lives up to both fan and newcomer's expectations. Definitely be sure to check this out in the theater while you still can!
Final Rating: 4 out of 5 stars
Favorite Quote: Kevin Flynn: "You're messing up my zen-thing...man."
Oscar Nominations: Best Achievement in Sound Editing
127 Hours (2010) Directed by Danny Boyle Length: 94 minutes Rated R for language and some disturbing violent content/bloody images
Okay, let's get this out of the way. The arm scene is pretty gruesome and difficult to watch. For those of you who happen to be living under a rock (insert tongue in cheek), 127 Hours is based on the true story of Aron Ralston, an adventurous outdoors enthusiast with a panache for escaping both people and society. In 2003, Ralston was canyoneering alone near Moab, Utah, when a large boulder fell and lodged Ralston's arm between a literal rock and a hard place, trapping him alone in the desert with little food and water. After several days attempting to move the boulder, Ralston was forced to take dramatic efforts in order to survive - breaking and severing his own arm with nothing more than a dull knife. Once free, Ralston found his way to safety and survived the dramatic event.
Portraying Ralston onscreen is heartthrob James Franco (Eat Pray Love, Your Highness). Delivering a performance that will surely net Franco the distinct honor of not only co-hosting the 2011 Academy Awards but also a Best Actor nomination, Franco perfectly captures the essence of a man attempting to maintain his sanity in the face of death while accepting the inevitable fate that awaits. Making a film that essentially stars one character can be a difficult prospect, but Franco nails the role perfectly. Several scenes involving Ralston and his camcorder cement the brilliance of this young actor, particularly a scene in which Ralston "hosts" a morning talk show featuring several different Ralstons reflecting on his predicament. In an almost "Gollum-like" fashion Franco portrays several different personalities/characters at one time before ending with a tear-jerker lament to Ralston's mother and father.
Director Danny Boyle has built a reputation as one of the most unique and stylized directors in Hollywood. No matter the genre or content, you can always tell when you are watching a Boyle film as he melds frantic camerawork with resplendent scenery. Boyle's beautiful camerawork illustrates the reasons Ralston desires to escape the troubles of family and society with shots of majestic mountains, sunlight running down a canyon, and clear blue skies. Additionally, few directors could handle the amputation, a graphic yet important scene, with the right balance of gore and tastefulness like Boyle does. Make no mistake, watching someone break and then sever their own arm is difficult, no matter how "strong" of a stomach you have. Several cases have reported people fainting or vomiting during the key scene.
While 127 Hours will not surpass films such as Inception or The Social Network for the distinction of best picture of 2010, Danny Boyle once again delivers. 127 Hours is a beautiful yet horrifying take on a triumphant true story. Combined with the best performance of James Franco's young career, do not be surprised to see 127 Hours represented in several Oscar categories this February. Be sure not to miss this amazing film; just don't forget to bring your doggy-bag if you get queasy!
Final Rating: 4 out of 5 stars
Favorite Quote: Don't really have a quote, but I'll go with the lesson I learned from the movie. Never buy the cheap multi-tool. Always splurge on the high quality Swiss Army Knife.
Oscar Nominations: Best Achievement in Editing Best Original Score Best Original Song - "If I Rise" by A.R. Rahman, Dido, and Rollo Armstrong Best Motion Picture Best Actor in a Leading Role - James Franco Best Adapted Screenplay
Love and Other Drugs (2010) Directed by Edward Zwick Length: 112 minutes Rated R for strong sexual content, nudity, pervasive language, and some drug material
Beautiful actors in a torrid romantic comedy that does a nice job of mixing laughs, sentiment, tears, and sex? Sounds like a nice date movie (for the couples capable of handling LOTS of said sex and sultry scenes). The latest rom-com to hit the theaters stars hunky blue eyed Jake Gyllenhaal (Source Code, Prince of Persia: The Sands of Time) as Jamie Randall, a smooth-talking pharmaceutical sales rep capable of wooing any woman. The girl who soon becomes the object of his affection? Maggie Murdock, played by the charming Anne Hathaway (One Day, Alice in Wonderland), a free-spirited artist who has been diagnosed with stage-one Parkinson's disease. Maggie tries to stay detached from others because of her disease, but romance ensues along with all the other traditional elements of the romantic comedy genre.
While the film doesn't really do anything new, it is a fun film overall. Hathaway is quickly challenging Kate Winslet for the actress most often seen naked. Nudity aside, the romantic scenes between the two actors feel quite intense and passionate. There are several moments where you'll wonder if the performance is really faked or a much deeper connection beyond the characters. Both Gyllenhaal and Hathaway perform their roles well and seem like a good onscreen pair.
The comedic elements found in Love and Other Drugs are quite humorous, although they rely heavily on one trick. Being a movie about a pharmaceutical rep that sales Viagra, you can imagine there are several dick jokes. While funny, after a while you know what's coming (no pun intended). If you needed a basis for comparison, the film is reminiscent of Jerry Maguire for its ability to mix comedy and romance with a modern flair. However, Love and Other Drugs fails to really nail the iconic "You complete me" moment. The big, romantic monologue that you know is coming falls a bit short of expectations.
Additionally, the film seems unsure of just what direction it wants to go. At times it seems destined for more grandiose themes like problems with the health care industry, pharmaceutical sales, or societal views on debilitating diseases. However, the film never really scratches beyond the surface. Minus this mishmash of too many ideas into one story, the film proves to be a fun experience for both guy and girl. With great eye candy, laugh-out-loud moments, and several steamy romance scenes, Love and Other Drugs is a great date night idea for those couples looking to compromise on a film.
Final Rating: 3 out of 5 stars
Favorite Quote: Josh Randall: "Do you think dad is that big?"
Frozen (2010) Directed by Adam Green Length: 93 minutes Rated for some disturbing images and language
The state of horror movies is in shambles. Where are the modern classics? It seems the genre reached its peak back in the 1970s with The Exorcist and Jaws, etc. A genre reduced to shitty reboots (Nightmare on Elm Street, Friday the 13th), the latest PG-13 crapfest, or outlandish movies aiming for the gross-out factor (Saw, The Human Centipede, Rubber). Thankfully, Frozen is a fresh idea that is well executed. Though not a horror film in the traditional sense, the type of scary found here is the most frightening of all, because it could really happen.
Emma Bell (The Walking Dead, Final Destination 5), Shawn Ashmore (Mother's Day, The Mariachi Gringo), and Kevin Zegers (Gossip Girl, The Entitled) play a group of college students looking to escape the troubles of school by spending the day skiing at a local resort. When the group finds itself short on cash for lift tickets, they bribe the lift operator into letting them ride. As the sun begins to set, the group sets out for one last ride. That's when the fun begins - the lift is shut down with the group trapped midway up the mountain with no lights, an incoming storm, and no expected help for at least a week. Will help arrive to save the trapped group, or will they have to find a way out on their own?
Though the film does a good job of walking the line between believable and non, several scenes are still quite gruesome. Let's just say compound fractures are not a fun thing to witness. The actors do a good job of avoiding the pitfall of overacting, as so often happens in horror. While not scary, the tension created in several key scenes is amazing. You will find yourself cheering on the group as they fight impending death.
While not the instant classic we all clamor for, Frozen is the breath of fresh air Hollywood needs, not just the horror genre. Too often, both film and television rely on past ideas for the latest offerings. That is why it is so important for you, the viewer, to support the new and original. Frozen may not be your cup of tea; I'll admit I initially found the trailer to be quite ludicrous - something I had to see, if not just to make fun of it. But, instead, I found a solid film that is well executed. Don't be afraid to give it a try: unless you plan on skiing anytime soon.
Final Rating: 3 out 5 stars
Favorite Quote: [Parker lights a cigarette and begins smoking. Joe sniffing the air, exaggerated.] Joe Lynch: "Hmmm, smell that mountain air. You know what it smells like? ...Cancer."
Morning Glory(2010) Directed by Roger Michell Length: 102 minutes Rated PG-13 for some sexual content including dialogue, language, and brief drug references
Before you say it, allow me a chance to defend myself. Rushmore Movies did not sell out. My core movie principles and expectations were not compromised by seeing a "chick flick." In fact, even though it may appear to be a chick flick, Morning Glory is actually light on the romance and heavy on the laughs in this fun comedy. Instant classic? Not even close. But this is the kind of "fluffy" film you have to appreciate; I mean they can't all be Citizen Kane.
Rachel McAdams (Midnight in Paris, The Vow) plays Becky Fuller, the spunky, ambitious, yet klutzy producer for a local New Jersey morning show. After being fired, Becky finds herself a new job in the big city as the producer for New York's worst rated morning program. Charged with raising viewership, Becky begins her seemingly insurmountable climb towards redeeming the morning show, Daybreak. Initially, I felt McAdam's character was over-the-top until she finds her stride towards the middle. Though McAdams is touted as the protagonist of the film, I found the film to be a stronger group effort and more centrally focused on the character of Mike Pomeroy, the surly new co-host of Daybreak. I consider myself a fan of McAdams, possibly more for her good looks and girl-next-door charm, but this isn't my favorite performance from her.
Diane Keaton (Tilda, Darling Companion) as Colleen Peck and Harrison Ford (Cowboys & Aliens, Extraordinary Measures) as Mike Pomeroy play the unlikely hosts of Daybreak - unlikely in the sense that they could not be more opposite. Colleen represents the morning television natural, more at home talking about cooking recipes and kissing frogs than reporting on the latest in Afghanistan, while Mike is the award winning reporter forced to honor his contract and co-host Daybreak. Though the duo work well together on screen, Keaton's Colleen is forgettable in comparison to Ford's Pomeroy. Ford has long enjoyed a great career, and it is refreshing to see him in a lighter role. His snarling demeanor and prima donna mentality provide some of the best laughs throughout the movie.
Yes, the film is ultimately more of the same saccharin that typically plagues America's movie theaters. But it is refreshing to find a film that avoids the typical pitfalls of a film heavily geared towards a female audience. Not only is the film very funny, it feels accessible to all. Every good "bromance" deserves a "chickedy" (I'm coining the term to mean chick comedy) that can overcome the promos to reach a wider audience. Definitely be sure to check out this fun film!
Final Rating: 3 out of 5 stars
Favorite Quote: Mike Pomeroy: "Where are my God damn eggs!"
Predators (2010) Directed by Nimród Antal Length: 107 minutes Rated R for strong creature violence and gore, and pervasive language
Another science-fiction film, another disappointment. Understandably, the sci-fi/horror genre has long been known for the campy B-movies, Saturday night Syfy special, adolescent scripts, bad acting, etc. But for every Inception, it seems we get twenty films like Predators - a snoozer of a story, type-cast acting, and a sorry ending that leaves you feeling used and unfulfilled.
Featuring the alien hunters made famous in the Arnold Schwarzenegger 1987 classic Predator, Predators is an attempt to return to what made the original so popular - focusing on a highly skilled group of soldiers being hunted in the jungle by an advanced and efficient killing machine. The film begins with eight strangers awakening to find themselves stranded on a mysterious planet. But something is hunting them, threatening to kill them if they don't work together.
However, instead of featuring an endearing group to root for, we are left with the United Nations squad of type-casting: a Mexican drug enforcer, a Japanese Yakuza, a Russian soldier, an African death squad member, etc. Leading our merry band of misfits? The guy who peaked on his first movie (The Pianist), Adrien Brody (The Experiment, Splice) as Royce, the rugged mercenary who speaks in the Batman voice. Make no mistake, Brody is a talented actor; he just needs a new agent who doesn't pick every shitty sci-fi/horror film in production. Regardless of who the actors are, it ultimately makes no difference. The dialogue consist of the general action movie bravado and low-brow testosterone fodder that plagues so many action films today.
While I found the concept intriguing, the delivery falls flat. How can you have a movie called Predators and not show a single alien until thirty minutes have passed? Additionally, the death scenes are relatively anti-climatic, and the final showdown is predictable and underwhelming. As a fan of the Alien/Predator saga, I was quite excited when I heard Robert Rodriguez, the genius behind Planet Terror (of Grindhouse) and Sin City, was developing a script for a new Predator movie. Unfortunately, any fanboy sentiment was quickly eradicated upon pressing play on my DVD player.
The film is not very good, and honestly I never expected it to be. But it would have been nice to have a decent return to a cherished sci-fi franchise. Unfortunately, it seems that would be asking too much. Cool concepts alone cannot save a film when the more important elements like a decent ending, engaging dialogue, decent acting, etc. are all lacking. Hopefully Ridley Scott's Alien prequel will redeem the franchises. If you are in the mood for a mindless action flick, you could do worse. Just expect to be a stoic zombie for an hour and a half.
Due Date(2010) Directed by Todd Phillips Length: 100 minutes Rated R for language, drug use, and sexual content
Due Date will and has been compared to the John Hughes comedy classic Planes, Trains, and Automobiles; but of course, this being a Todd Phillips comedy, you should expect the intensity to be about 100 times higher. High-strung architect and expecting father Peter Highman, the great Robert Downey, Jr. (Sherlock Holmes 2, The Avengers), is forced to travel across country with aspiring actor and walking disaster Ethan Tremblay, Zach Galifianakis (Bored to Death, The Hangover 2), after being placed on the no-fly list. Gunshots, Mexican federales, crippled Iraq war veterans, and a masturbating dog all lead to some insane hi-jinks in this modern travel comedy.
Both RDJ and Galifianakis are at their best in their respective roles. Downey, Jr. as the on-edge and determined traveler works well with the oblivious and borderline insane character of Galifianakis. Both actors have expressed a desire to work together in the future, and I for one would love to see this pair together again. Though it could be argued Galifianakis is simply rehashing his character from The Hangover (and there is some validity to this point), Ethan is a much more vulnerable and wounded character that makes the audience love him in spite of his idiocy. Additionally, seeing an edgier side of Downey, Jr. is a refreshing change of pace from his Mr. Cool roles as of late (i.e. Iron Man and Sherlock Holmes).
Concerning the various scenarios both Peter and Ethan find themselves in, let's just say it gets to be a bit much. By the time you get to Peter being shot (a scene from the trailer), you will be wondering what else these two could possibly endure. But what makes the film fun also begins to edge towards detrimental after a while. Thankfully, Phillips ends the movie at the right moment, perfectly maxing out the audience's tolerance and patience.
To get the comparison out of the way, The Hangover is better; but Due Date exceeded my expectations brought on by the negative ratings from the likes of Rotten Tomatoes and various others. I left the theater entertained and satisfied, having enjoyed several good laughs. The film squarely focuses on the unlikely partnership of RDJ and Galifianakis, and I celebrate the pairing by highly recommending this movie. Not to mention, the film boasts a great soundtrack heavy on some of my favorite indie bands. Be sure to see this one sooner than later!
Final Rating: 4 out of 5 stars
Favorite Quote: Ethan Tremblay: "Dad...you were like a father to me."
Get Him to the Greek (2010) Directed by Nicholas Stoller Length: 109 minutes Rated R for strong sexual content and drug use throughout, and pervasive language
*Writer's note: The following review is an open letter addressed to any member of the Judd Apatow crew.* Dear Mr. Apatow and your crew of actors, writers, etc.:
Let me start by saying I am a huge fan of your work. From your canceled-too-soon television programs Freaks and Geeks and Undeclared, to your more recent mainstream successes such as The 40-year Old Virgin and Knocked Up, I eagerly anticipate and support any film by you or any of your crew (i.e. Seth Rogen, Jason Segel, Paul Rudd, etc.). Unfortunately, it seems that as of late, the quality of the films deemed "Apatow comedies" has fallen dramatically. I understand the pressures of Hollywood to release one after the other in order to capitalize on the brand name, but I feel you may be jeopardizing your future films if you continue down this path.
Consider one of the latest efforts, Get Him to the Greek. Is the film funny? Certainly! I found myself laughing hysterically on several occasions. But I also feel the film does not come close to capturing the immortal status some of your past gems did. Every film may not be the best comedy ever, but over-reliance on dick and fart jokes can lower the quality quickly.
Get Him to the Greek continues the story of the great Aldous Snow, as played by Russell Brand (Arthur, Despicable Me). The British rock god continues on his quest of lust for smack and snatch as lowly record intern Aaron Green, my man crush Jonah Hill (Megamind, Moneyball), is charged with getting Snow back to Los Angeles for a ten-year anniversary concert. Yes, I love Jonah Hill, and Aldous Snow was one of the best characters from the great Forgetting Sarah Marshall. However, this film falls a bit flat. Both the first third and last third of the film seem forced and just strange. Let's just say the three-way and anything involving P. Diddy are simply bizarre.
There isn't much to same about the film. Is it funny? Sure. Is it memorable? Unfortunately, no. I have come to expect more than mediocre comedies and lame jokes from you and your crew. I will recommend this film to anyone looking for a solid rental, but Get Him to the Greek falls well short of some of your more classic films. Here's to hoping you and your boys regain the glory of past days.
Always your adoring fan, Devon
Final Rating: 3 out of 5 stars
Favorite Quote: Sergio Roma: "This is what all pussy looked like in the 70s [in reference to the furry wall]."
Robin Hood(2010) Directed by Ridley Scott Length:140 minutes Rated PG-13 for violence including intense sequences of warfare, and some sexual content
I have voiced my frustrations with director Ridley Scott's films in past blogs (see Body of Lies), mainly over his lack of consistency. For every great film Scott directs, he delivers one to two terrible films. I will admit, my initial perception of Robin Hood was DOA, especially considering the tremendous amount of turmoil and turnover encountered during production. But I wanted to give one of Hollywood's legends the benefit of the doubt. While the film certainly does not reach the heights of success reached by classics like Alien or Gladiator, Scott's latest effort is a decent medieval war epic with a fresh perspective on a classic tale.
If you aren't familiar with your 13th century English history as well as the basic Robin Hood tale, you may be a bit lost. Scott's rendition of the noble thief takes a much different turn than any previous attempt. Russell Crowe (The Next Three Days, State of Play) plays the titular hero, an English archer named Robin Longstride. Longstride? I thought Robin was usually Robin of Loxley from Nottingham? And this is where the differences begin. Without going into too much backstory, Robin assumes the identity of Robert Loxley of Nottingham, a noble, in order to gain passage back home from the Crusades. Soon Robin is pretending to be Sir Robert amongst the people of Nottingham, even taking Robert's widowed wife Maid Marion, played by the always talented Cate Blanchett (The Last Time I Saw Michael Gregg, Hanna). You may be wondering how someone could simply assume another's identity, but the movie will do a better job of explaining this detail than I can. Soon Robin is caught up in the potential battle between the French and newly crowned King John who faces potential civil war at the hands of his barons.
The film covers a lot of ground and can admittedly be a bit hard to follow at times. Understanding the political power plays between King John of England and King Phillip of France can be a bit confusing; but if you have some semblance of a working knowledge of European history, you should be okay. Additionally, the Robin Hood tale may be tweaked, but the traditionally important characters are still present - Little John, Friar Tuck, etc. The film does add a few too many layers to the mix by adding a group of orphan boys (a la Peter Pan) that raid Nottingham. The inconsistent stories or confusing plot could be attributed to the fact the screenplay was changed mid-filming on several occasions.
The battle scenes are the true strength of the film. Scott's talent as a director is on full display as epic battles between the English and French consisting of archers, horse fighting, and swordplay all capture the carnage of the battlefield. The fights feel well rehearsed and flow smoothly, truly creating the perfect vibe needed for a film of this type. The actors also do a solid job of supplementing the action with their performances, blending dialects and mannerisms appropriate to the times.
If not for the twisting attempt at a history lesson, Robin Hood may have outperformed expectations. Ultimately, however, the film falls a bit flat. The action is solid and the acting decent, but a confusing story dooms the film to mediocrity. While I can't say I hate the film, I certainly don't love it. Robin Hood is worthy of a rental, but anything beyond a single viewing is simply a waste.
Final Rating: 3 out of 5 stars
Favorite Quote: Friar Tuck: "So why do they call you Little John?" Little John: "What are you tryin' to get at? I'm proportionate (in reference to his penis)!"
The Social Network (2010) Directed by David Fincher Length: 121 minutes Rated PG-13 for sexual content, drug and alcohol use, and language
Anyone who tries to argue against the impact the social networking site Facebook has had on society is full of it. Almost everyone - from the national news, bands, your mailman, even granny - has a Facebook account. The ability to connect with friends and keep tabs on their every activity defines our very existence in today's connected and digitized society. The Social Network is the historically fictionalized story of Mark Zuckerberg and his creation of the massively popular website Facebook. I say fictionalized because, like most movies based on history, the characters may be real but the events depicted are usually loosely based on actual events. Truth aside, David Fincher - one of my favorite directors and member of the Rushmore Movies mountain of directors - has directed the movie of the year, perfectly depicting one of the most historically significant events in modern history.
Mark Zuckerberg, perfectly embodied by Jesse Eisenberg (Holy Rollers, Camp Hope), is the youngest billionaire in the world. The Social Network is the story of how the genius 19-year old Harvard student created a website the defines every aspect of society. Whether a true reflection of Zuckerberg's personality or not, Eisenberg perfectly portrays the abrasive genius constantly shifting from one thought to another. Equally impressive is Andrew Garfield (Never Let Me Go, Spider-man) as former Facebook CFO and co-founder Eduardo Saverin, the emotional anchor to Eisenberg's pure intellect. Where Zuckerberg represents the cold, calculating developer of the website, Saverin is the face and charm attempting to turn Facebook into a profitable corporation. Several scenes involving the lawsuit later brought against Zuckerberg by Saverin perfectly capture Zuckerberg's desire to be a friend or loved by many; yet, he pushes everyone away in his failed attempt at "being an asshole." The ultimate theme and perfection of Fincher's latest effort is how the one man who develop the biggest social instrument in history failed to maintain his own friendships and relationships.
The cinematography of The Social Network is spectacular. Keeping with the gritty and dark filming typical of a Fincher film, the beautiful and historical scenery of Cambridge, MA (location of the illustrious Harvard University) is prominently on display creating the perfect aura of history and superiority. The film cements the idea that an event like the creation of Facebook could only occur at Harvard, where the wealthy elite and future leaders and geniuses come to study. One scene in particular is breath-taking purely for its cinematography: a regatta on the Thames River. If I had to pick the most beautiful scene from a film in the last decade, I would have to choose this particular one - my jaw literally dropped at the masterful technique on display. Another strong scene occurs later during a dinner scene where Zuckerberg meets Napster co-founder and film villain Sean Parker, played by the multi-talented Justin Timberlake (Yogi Bear, Bad Teacher). Timberlake shows he has grown beyond simply being the frontman of a boy band; he exudes charm with a hint of sinister intentions. I would not be surprised to see Timberlake nominated for his performance.
As if amazing performances and cinematography were not enough, the film boasts an incredible soundtrack written by Nine Inch Nails frontman Trent Reznor. The film's score perfectly complements the scenes and creates the perfect mood - an almost futuristic, dark and brooding mix of industrial rock and electronica. The film may be about geeks and their programming, but the film keeps the pace steady. Reznor's score sets the tone of the dark story of the rise of Facebook.
Come Oscar season, The Social Network will be the film to beat. I would not be surprised to see David Fincher's masterpiece capture most if not all of the major awards including best film, director, actor, supporting actor, score, cinematography, and more. The powerful emotions, dry wit, intellectual plot, amazing score, beautiful filming, and more all make The Social Network one of the most impressive films of the decade. It seems one film perfectly captures the essence of a generation every decade: films such as 1976s Network or 1987s Wall Street come to mind as examples. The new millennium, a generation of users constantly connected to their friends through the internet via their smart phones or computers, is perfectly captured by The Social Network. This is one of the best films of the last decade, fictionalized or not.
Final Rating: 5 out of 5 stars
Favorite Quote: Tyler Winklevoss: [Talking about the physical stature of he and his twin] "I'm 6'5", 220 pounds, and there are two of me."
Oscar Winners Best Achievement in Editing Best Original Score Best Adapted Screenplay Oscar Nominations: Best Achievement in Cinematography Best Achievement in Directing - David Fincher Best Achievement in Sound Mixing Best Motion Picture Best Actor in a Leading Role - Jesse Eisenberg
The Town (2010) Directed by Ben Affleck Length: 123 minutes Rated R for strong violence, pervasive language, some sexuality and drug use
Ben Affleck continues to build a reputation as an acclaimed director with his sophomore effort The Town. Much like his previous effort 2007's Gone Baby Gone, The Town is a gritty crime drama that takes place amongst Boston's Irish neighborhoods, where crime, violence, and an unspoken code of silence are the norms. Not only does he direct, but Affleck also stars and co-writes the screenplay for a trifecta sure to garner Oscar attention. But the real question is does The Town mix the same emotional intensity as Gone Baby Gone with the heist-drama of classics such as Heat?
The film takes place in Charlestown, Massachusetts - a small community located in Boston where more bank robberies and armored car heist occur than in any other area in the United States. Ben Affleck (The Company Men, Extract) stars as remorseful criminal Doug MacRay, the brains behind the heists who dreams of escaping to a different life. Joined by his trigger-happy best friend James Coughlin, as played by Jeremy Renner (The Avengers, The Hurt Locker), Doug and his crew soon become an efficient and lethal crew capable of eluding the cops and minimizing exposure. That is until James decides to take a hostage - Claire Keesy played by newcomer Rebecca Hall (A Bag of Hammers, Please Give) - during a heist, who the crew fears will make them. Tasked with keeping an eye on Claire, Doug soon meets and falls for the former hostage, accelerating his desire to leave his life of crime behind. Unfortunately, Doug and his crew's latest actions have drawn the attention of the FBI, lead by Don Draper himself Jon Hamm (Sucker Punch, Mad Men) as Special Agent Adam Frawley.
The performances from the cast are solid; however, they all lack the emotional connection that made Gone Baby Gone so powerful. Renner excels as the tightly-wound James, ready to explode on anyone who stands in his way. Equally impressive is Hamm, still the epitome of Mr. Cool with his laid-back swagger and dry wit. While Affleck's performance is not at all bad, I had trouble sympathizing with the character of Doug. It is not that his actions are so reprehensible, simply Affleck's character lacks emotional depth - what you see is what you get. Additionally, without revealing much, the ending feels forced and not organic to its genre.
Where the movie may fall short in terms of emotions, the action is indeed top-notch. Several car chases and heist scenes avoid the plague of so many action scenes today, a.k.a shaky camera work with queasy camera pans. The action flows fluidly and feels realistic while avoiding being too over-the-top. Particularly, the shoot-out set at Boston's historic Fenway Park will soon be recognized as one of Hollywood's finest.
Though The Town has once again earned Affleck positive acclaim as a director, his sophomore effort does not quite reach the standard set by his debut. The action may be of a high quality, but the connection between the audience and the characters feels more of a surface variety as they lack true depth and conviction. While some of the initial hype surrounding the film and potential Oscar buzz may be an overstatement, The Town is a solid film that certainly warrants a viewing. I found myself thoroughly entertained; just be prepared to leave the film wishing for just a little more.
Final Rating: 3 out of 5 stars
Favorite Quote: Doug MacRay: "We gotta do somethin'. I can't tell you what it is, you can never ask me about it after we're done, and we're gonna hurt some people." James Coughlin: "...Whose care we takin'?"
Oscar Nominations: Best Supporting Actor - Jeremy Renner
Easy A (2010) Directed by Will Gluck Length: 92 minutes Rated PG-13 for mature thematic elements involving teen sexuality, language, and some drug material
Hollywood mourned the untimely passing of 80s iconic director John Hughes last year. Since that time, the sense of nostalgia surrounding his films has seemingly grown as new generations of viewers surface. While his films were never considered classics in the most literal and traditional sense of the word (a la The Godfather or Citizen Kane), Hughes's filmography included such gems as Pretty in Pink and The Breakfast Club as well as several others that overcome their 1980s cultural references and appeal to mass audiences. Boasting troubled protagonists with witty humor and sex appeal, the audience often cheered on the renegades as they combined serious social concerns with big laughs.
Much in this fashion, Easy A is a modern take on the Nathaniel Hawthorne classic The Scarlet Letter with all the elements of a John Hughes classic. Set in the dangerous jungle known as high school, modern girl Olive, played by the sexy and quirky up-and-comer Emma Stone (Crazy, Stupid, Love; Zombieland) , struggles to be noticed until a rumor surfaces concerning her recent deflowering: except Olive is still a virgin. Fact or fiction, Olive's sudden social status allows her to assist the social outcast of her high school by starting rumors of their "hooking up" for payment in the form of a gift card. While the male outcast see their reputation boosted, Olive becomes known as the school whore, earning the ire of the fundamentalist Christians, led by the perfectly casted Amanda Bynes (Canned, Living Proof) as Marianne. Soon Olive struggles with balancing her school persona with her true nature as she loses her friends and self-respect.
Emma Stone really shines in Easy A and certainly will be a force in the coming years. Capable of being sexy, funny, or even one of the guys, Stone is the type of actress that appeals to a mass audience. Beyond Stone's personal success, both Stanley Tucci (Burlesque, Margin Call) and Patricia Clarkson (Legendary, Shutter Island) are outstanding as the progressive parents of Olive. On several occasions, their playful banter and modern parent-rearing techniques steal the scene. Also impressive is the monotonic, "cool teacher" bit by Thomas Haden Church (Don McKay, Zombie Roadkill) as Mr. Griffith.
Easy A is an instant classic and a proper homage to the late John Hughes. The laughs are constant and big and appeal to a wide audience. Though the film may be hoping to target the Mean Girls audience, both sexes can enjoy the jokes. Equally impressive the fact the film is able to stay steady throughout with little to no wasted scenes. Definitely be sure to check out Easy A, the closest thing to a John Hughes classic in years.
Final Rating: 4 out 5 stars
Favorite Quote: Principal Gibbons: "This is public school. If I can keep the girls off the pole and boys off the pipe, I get a bonus."
Youth in Revolt (2009) Directed by Miguel Arteta Length: 90 minutes Rated R for sexual content, language, and drug use
Another Michael Cera movie already? In my defense, Netflix took their sweet time sending me the film, but the wait is finally over. In the end was it worth getting worked-up over? No, but Youth in Revolt is a quirky indie comedy that allows Cera to explore a darker, more sinister side of the snarky dork he usually plays. My love for Michael Cera aside, the film is a fun and witty and enjoyable experience.
Michael Cera (Scott Pilgrim vs. the World, Arrested Development) plays aspiring writer and resident virginal geek Nick Twisp. While away with his mother and her deadbeat boyfriend Jerry, played by Zach Galifianakis (Due Date, The Hangover 2), Nick meets the girl of his dreams, Sheeni Saunders played by Portia Doubleday (In Between Days, The Wheeler Boys). Though Sheeni is the daughter of pious zealots, she dreams of exotic French men and other rebellious things - aka not Nick. Determined to win her affection and lose his virginity, Nick creates an alter-ego named Francois Dillinger that allows him to act in a very un-Nick like manner, such as destroying a town square and wrecking multiple cars.
When it comes to geeky-yet-charming, quiet but sarcastic leading men, Michael Cera is the go-to-guy in Hollywood; however, Youth in Revolt allows Cera to add a new dimension to his repertoire. While Nick/Francois could hardly be considered a bad guy, the sinister actions and manipulative plotting he carries out in his attempts to win Sheeni's heart all show a side of Cera not yet seen. This new side of Cera certainly elevates the witty dialogue and humor of his actions as he literally creates a manifestation of the "voice inside your head."
While Youth in Revolt is not the most memorable film in Cera's short career, there are several laugh-worthy scenes and enough witty dialogue to garner a rental. Though the film may be geared towards a younger audience, the theme of a good-guy geek being bad for a girl is universal and should translate well to all audiences. Cera will continue to be better known for his other works such as Superbad and Juno, but I personally enjoyed seeing a new side to his usual character. Hopefully in his future films, he will continue to grow and evolve into a complete actor, becoming a true leading man in the process.
Final Rating: 3 out of 5 stars
Favorite Quote: Nick Twisp: "Sheeni, hi, nice to see you. I was just going for a walk, and I thought I'd drop by. I remembered that you live here. I'm sorry I got upset about Trent. It was very immature of me. I'm not normally like that. He sounds like a great guy. I'd love to hear more of his neat poetry. Say, do you want to go to the beach or get breakfast?"
Sheeni Saunders: "Actually, I'm going on a hike. I'd ask you to come along, but you haven't got any hiking boots, provisions, survey maps, or a compass."
Nick Twisp: "Fine. I do all my hiking free form. Like John Muir, I enter the wilderness with nothing more than my journal and a child-like sense of wonder."
Scott Pilgrim vs. the World (2010) Directed by Edgar Wright Length: 112 minutes Rated PG-13 for stylized violence, sexual content, language, and drug references
Before going through the usual dialogue of why I love or dislike a movie, let me just begin to list the ways in which I love Scott Pilgrim: Michael Cera, Jason Schwartzman, Edgar Wright, "Under My Thumb" by The Rolling Stones (my all-time favorite Stones song), the soundtrack, the idea, the awesome blend of Japanese anime style manga with American humor, Ramona Flowers, gay roommate Wallace, vegan police, and the list goes on and on...
Now for the more traditional approach. Edgar Wright has built a huge cult following after his instant classics Spaced: The Series, Shaun of the Dead, and Hot Fuzz. In his latest efforts, Wright decides to adapt the Bryan Lee O'Malley graphic novel series Scott Pilgrim vs. the World, in which the titular character must defeat the seven evil exes of Ramona Flowers, the girl of his dreams. This mash-up of Japanese anime style action and storytelling from the perspective of the hipster social scene is pure genius and translates well to the screen. And let us not forget the incredible casting job.
Perhaps the poster child of an actor capable of balancing mainstream success with indie cred, Michael Cera (Youth in Revolt, Arrested Development) as Scott Pilgrim is the perfect choice. Not only a native of the film's locale in Toronto, Cera posses that effeminate yet "cute" quality that makes you want to cheer for him. Equally awesome are Mary Elizabeth Winstead (The Thing, Live Free or Die Hard),as my future wife and Scott's love interest Ramona Flowers, and Ellen Wong (Unnatural History) as Knives Chau, Scott's scorned ex-girlfriend. Both capture the essence of their characters and really add an extra dimension to the film. Of course, I would be a terrible fanboy if I didn't mention Jason Schwartzman (Bored to Death, The Fantastic Mr. Fox) in his role as Gideon, the leader of the League of Seven Evil Exes. One of my favorite actors, Schwartzman continues his reign as the ultimate "funny even when I'm not being funny" actor - just see his incredible work in Rushmore, The Darjeeling Limited, and even here - he's that perfect arrogant yet mysteriously appealing cool guy. While I would love to talk about each of the seven evil exes, I'll leave it to these parting thoughts: Anne Hog and vegan police = pure gold. Bonus points for those who get the Anne Hog reference.
The over-the-top style of Scott Pilgrim vs. the World is well done, successfully mixing the gaming community and their nostalgic cliches with the noisy fury of the hipster indie scene and the over-exaggerated style of anime manga. Coupled with a raucous sonic boom of a soundtrack as well as enjoyable kung-fu esq battles, the film contains most every element needed for a geek to feel right at home.
While this review is a complete and total mess, it's simply because, like the film, one cannot help but constantly jump from thought to thought in attempt to retrace the spectacle just witnessed. By commercial measures, Scott Pilgrim vs. the World will be deemed a complete failure due to its poor box office performance; but it would be unfortunate if the bottom line dictates the fate of similar films. A gust of fresh air breathed into the stale movie scene, Edgar Wright's latest film is a complete fun-fest and certainly should be enjoyed. While most people will not care for this highly stylized and frantically paced film, it is a shame that most people will pass on seeing Scott Pilgrim vs. the World. I certainly feel the film deserves a trip to the theater, but I acknowledge the film isn't for everyone. So at least send the film industry a message and rent this original and refreshing film so we fans can see more good movies.
Final Rating: 4 out of 5 stars
Favorite Quote: I had a lot of favorite quotes, but I'll just say anything involving the vegan police rocked my world.
Greenberg (2010) Directed by Noah Baumbach Length: 107 minutes Rated R for some strong sexuality, drug use, and language
Director Noah Baumbach became a favorite amongst film critics with his 2005 indie darling The Squid and the Whale. But in a industry full of big name directors, he remains a relative unknown. Baumbach previously worked with more popular indie director Wes Anderson, co-writing several screenplays. In his latest effort, Baumbach nabs one of Hollywood's biggest comedians in the ever lovable Ben Stiller; but are the results any different this time around?
In a role MUCH different than his usual dense yet lovable goof, Ben Stiller (Little Fockers, Help Me Spread Goodness) is Roger Greenberg - a neurotic Gen-X'er hoping to do absolutely nothing while house sitting in Los Angeles for his brother. Roger is a difficult character: at times charming and compassionate before transforming into a moody, brooding asshole. As Roger passes the days house sitting, he reconnects with old band mates and becomes friends with the family's assistant Florence Marr, played by Greta Gerwig (Art House, Northern Comfort).
This is one of Stiller's most complex and difficult characters portrayed to date, yet also one of the most difficult to like. Stiller really captures the difficulty people have in connecting with Roger, even those who want to be a part of his life. Old friends and Florence struggle with his manic mood swings and borderline tropophobic behavior. Where Baumbach's contemporary Wes Anderson has succeeded several times in creating damaged and difficult characters that are still likable, Baumbach continues to deny the viewer any chance of really liking the protagonist.
Much like his previous works, Baumbach does not care if you get the "warm, fuzzy feeling" after his films. You could think of his work as an analysis of the aging of Generation-X and their interaction with modern society. Infidelity, drug use, an elitist sense of intelligence, snarky humor - the traits of a Baumbach film are becoming as recognizable as some of Hollywood's elite. However, this does not make his films any more enjoyable for the popular masses. Greenberg and Baumbach's previous works are a polarizing experience that will leave you firmly planted in the love it or ho-hum side. I, much to my chagrin, fall into the latter. Make sure you rent if only to see Stiller at a new level, but be prepared for 100% indie dramedy.
Final Rating: 2 out of 5 stars
Favorite Quote: Roger Greenberg: "Dear Starbucks, in your attempt to manufacture culture out of fast food coffee you've been surprisingly successful for the most part. The part that isn't covered by the 'most part' sucks."
The Kids Are All Right (2010) Directed by Lisa Cholodenko Length: 106 minutes Rated R for strong sexual content, nudity, language, and some teen alcohol and drug use
As 2010 continues onward, we are quickly approaching Oscar season - aka the time of the year movies get vastly better. Generating intense buzz amongst the critics for its modern take on the family, The Kids Are All Right is the story of a middle age couple struggling to maintain the romance while raising two teenage kids. The twist? The couple are lesbians with sperm donor children who want to meet their donor daddy.
Annette Bening (State of the Union, Hemingway & Fuentes) as the perfectionist wino Nic and Julianne Moore (Elektra Luxx; Crazy, Stupid, Love) as the free-spirit Jules are amazing in their roles as a struggling couple. Both really convey the different natures of their characters while still allowing you to sympathize with their flaws. And I think both actresses and screenplay writer should be commended for making this a movie about a family and its struggles and not focusing on the gay couple pitfall. Sure there are plenty of tongue-in-cheek jokes about the two, but the film really does an incredible job of showing how relationships and families with gay couples are no different than straight couples except for anatomically.
Equally impressive are the performances of the children, next best thing Mia Wasikowska (Alice in Wonderland, Jane Eyre) as Joni and her brother Laser played by Josh Hutcherson (Red Dawn, Carmel). Earlier this year, Wasikowska epically failed as Alice in Tim Burton's rendition of Alice in Wonderland, but she has certainly redeemed herself this time. As a teenager preparing for college and struggling with becoming an adult, Wasikowska nails the emotional range needed for the role. One scene in particular sums up her performance as her lip quivers as she realizes she is finally on her on...good stuff. As the 100% straight and male-thinking member of the family, Hutcherson's Laser shines. Searching for a male influence and an understanding of who he is, Hutcherson has some of the best dead-pan deliveries in the movie as well as portraying the pure teenage male moodiness.
Perhaps the most conflicting part of the movie arises from Mark Ruffalo (Date Night, The Avengers) as sperm donating, biological father Paul. Ruffalo is the restaurant owning, organic vegetable raising, motorcycle riding cool guy, who really wants a family more than anything. While Paul is certainly charming, the film seems conflicted over whether we should hate Paul for his actions or compassionate for his endeavors. Without revealing too much, this is probably the weakest component of the film. Ruffalo certainly delivers on his part, but the screenplay seems confused over how we should react to Paul and his desire to be part of the family.
Without a doubt, The Kids Are All Right masterfully blend the more dramatic elements with several great laughs. The performances are amazing and really shift the focus on the family and away from the type of parents that may deter some viewers. This may not be Brokeback Mountain in terms of making the more conservative squirm; but like Ang Lee's "gay movie standard," the audience sees beyond the couple for their sexual preferences and embraces the story. I found myself on the verge of tears near the end of the movie, as my own fears of failure in relationships manifested itself onscreen. Truly, this is a solid film accessible to even the most average film watcher that should generate some serious buzz come Oscar time.
Final Rating: 4 out of 5 stars
Favorite Quote: Nic: "I need your input like I need a dick in my ass!"
Oscar Nominations: Best Motion Picture Best Supporting Actor - Mark Ruffalo Best Actress in a Leading Role - Annette Bening Best Original Screenplay
Dinner for Schmucks(2010) Directed by Jay Roach Length: 114 minutes Rated PG-13 for sequences of crude and sexual content, some partial nudity and language
Steve Carell, Paul Rudd, and a strong supporting cast in a comedy? Sign me up! Unfortunately what looked like a strong comedic effort on paper didn't quite live up to its billing. Certainly there are plenty of laughs to be had, but for a movie that centers around the infamous dinner for idiots, the movie starts slowly and relies too heavily on the performance of Carell in particular.
Resident smart-ass Paul Rudd (How Do You Know, Wanderlust) is Tim, a financial analyst seeking a promotion by bringing an unsuspecting idiot to a dinner for his bosses to ridicule. Like a sign from God, Tim literally runs into an idiot - with his Porsche, mind you. As an IRS agent by trade and a taxidermist who recreates popular paintings and scenes with dead mice, Barry played by Steve Carell (Despicable Me; Crazy, Stupid, Love) is the perfect schmuck for the dinner. And the perfect person for this movie.
As the destructive tornado that threatens to wreck Tim's life due to his absolute oblivion, Steve Carell as Barry is the pulse of the movie and frankly the saving grace. The first ten minutes of the film feels listless and pointless, but the second Carell enters the screen the movie truly begins to flourish a he balances the right amount of stupidity with heart. I have been a big fan of Rudd's over his last few films, but this is one of his worst performances to date. Whether the result of bad writing, bad character, or simply bad acting, Rudd's character is dull and disconnected, while Carell is charming in a strange way.
Helping Carell along the way is Jemaine Clement (Predicament, Men in Black III) as Kieran, a narcissistic artist that seeks to embrace the animal side of life. While Carell is certainly the star of the show, Clement's character only adds to the laughs, especially when the two are employed together. Additionally strong in a supporting role is Zach Galifianakis (Due Date, It's Kind of a Funny Story) as Therman, Barry's psychic co-worker. Galifianakis's role in The Hangover may be more memorable, but the faux-turtleneck wearing Therman has his moments.
Amazingly, for a movie centered around the titular dinner, the scene is relatively short and one of the weaker moments. The bottom-line is no one will consider this a modern classic, like Tropic Thunder or The 40 Year Old Virgin. But there are plenty of laughs. What may have been a disappointment of a movie still features memorable roles by the likes of Carell and Clement. Ultimately, save your money and way for the DVD release or cable debut. The laughs will still be there and a lot cheaper. And cheaper things are certainly easier to appreciate even if they lack in certain areas.
Final Rating: 3 out of 5 stars
Favorite Quote: Kieran: "Do you have any idea what it's like Tim, to be up to your elbow in a zebra's vagina?" Tim: "No." Kieran: "You should try it Tim, it's magical!"
The Road (2009) Directed by John Hillcoat Length: 111 minutes Rated R for some violence, disturbing images, and language
Unless you are like a majority of Americans, you have probably heard of Cormac McCarthy's critically acclaimed and commercially successful novel The Road. This dreary journey tale set in an apocalyptic future focuses on the bond between a father and a son in their struggles to survive; while the novel may be short on standard literary fare, its simple prose and heavy themes have made it a success amongst the literary community, even earning the praise of one Oprah Winfrey. As a fellow University of Tennessee alumni (even though McCarthy did not graduate), I have eagerly awaited the film adaptation since first reading the novel. While its sparse conversations and ashen settings may deter most movie goers, this film adaptation does a good job of capturing the themes and ideas of the novel.
Though the cause of the "apocalypse" is never explicitly stated, it's hardly the point. Faced with lack of food, shelter, water, heat, or hope, a father - played by the always reliable and seemingly naked Viggo Mortensen (A Dangerous Mind, Good) - struggles to keep his son safe while teaching him how to stay a good guy in a bad world. Newcomer Kodi Smit-McPhee (Matching Jack, Let Me In) plays the son and delivers a balanced performance: not too whiny but just enough to sell the age of the kid (approximately 8-10). With the ever present threat of thieves and cannibals, father and son press onward to the coast in search of a new life.
The film stays accurate in keeping a focus on the relationship of the father and son, avoiding the temptation to turn the film into the next The Book of Eli or Mad Max. Though I doubt McCarthy would have allowed such a thing, it's refreshing to see a screenplay stay true to a novel. It truly is heart-wrenching seeing how protective and loving the father is of his son - willing to take his child's life in order to protect him from the hell another may intend to inflict upon him. Imagine teaching your child how to kill himself in case he was ever in danger of falling prey to a cannibal.
I was also pleased with the film's depiction of the setting. When I say dark and dreary, it doesn't even begin to describe the level of destitute seen here. No sunlight, no trees, just ash and destruction lining the very road the man and boy take. Cormac McCarthy's works are not known for their ease, instead challenging the reader with hard-to-follow dialogue and heavy metaphors/themes. The Road is a very literary based adaptation, and as such captures the feel of the novel well. While fans of the book will appreciate this, it does not necessarily translate into a successful and mass-appealing movie. So if you enjoyed the book, like Viggo Mortensen, or like successful book-to-film translations, there is something here for you to absorb; otherwise, you may not like this dark translation that may feel too much like reading for some.
Final Rating: 3 out of 5 stars
Favorite Quote: The Man: "Do you ever wish you would die?" Old Man: "No, it's foolish to ask for luxuries in times like these."
