The Wolfman (2010) Directed by Joe Johnston Length: 103 minutes Rated R for bloody horror violence and gore
Someone toss werewolves a bone! With all the attention paid to vampires and their romantic escapades, a true werewolf movie has been long overdue. Certainly there have been attempts to depict the dreaded lycanthrope in recent films and television series; but let's be honest, those can hardly be considered werewolves. Writer's Note: In Twilight, those are not werewolves, those are shape-shifters. While this modern-day re-imagining of the 1940s classic may be the closest thing to a true werewolf story, The Wolfman is still a silver-riddled failure.
Upon receiving news of his brother's mysterious disappearance, our protagonist Lawrence Talbot, played by Benicio del Toro (Che, The Three Stooges), returns home to the 19th century English countryside. His brother's body is soon found - mutilated and gutted as if mauled by an animal. As Lawrence seeks an answer to his brother's death, whispers of a dangerous monster began to surface - a werewolf. When Lawrence is attacked by the creature, he miraculously survives with only a nasty bite, a bite that soon changes everything for our protagonist. Staying true to the old lore, with the full moon, Lawrence transforms into a deadly werewolf, capable of maiming and killing anything in his path. Soon, Lawrence is forced to seek answers to not only the death of his brother but also for his dark and dangerous new persona that threatens to kill those he loves.
I'll be honest, the first half of the movie is a total snooze-fest, as we are stuck following Lawrence and his investigation into his brother's death. While the lack of action is fine, the black and grays of the scenery coupled with bland characters and storytelling are enough to make you see the back of your eyelids. This all changes when the character of the werewolf is actually introduced. Initially I expected the film to take a tame approach to the victims, but let me assure all you gore hounds, there are loads of dismembered arms, severed heads, and a disembowelment or two. While not for the faint of heart, the rampages of the beast proved to be the best parts in an otherwise forgetful movie.
I really enjoyed the transformation of Lawrence into the creature: the special effects are able to hug the line between over-the-top and believable while illustrating the cracking, popping, and shifting as Lawrence's body changes into the werewolf. Unfortunately, while the transformation is certainly cool, the final product certainly is not. Looking more like a gorilla in suit, the visual presentation of the werewolf falls well short of what I was hoping for. Visually, the film is extremely monochromatic - dark, dreary, gray...England must have been a fun place to live a hundred years ago. While it may not be much for looking at, the dark atmosphere certainly creates the right tone for the film as you wonder where the monster is hiding in the shadows.
Concerning the acting, I am a little disappointed with the film. Boasting a qualified cast of del Toro, Anthony Hopkins (Thor, Bare Knuckles) as Lawrence's father Sir John Talbot, Emily Blunt (The Adjustment Bureau, The Young Victoria) as the love interest Gwen Conliffe, and Hugo Weaving (Captain America: The First Avenger, Transformers: Revenge of the Fallen) as the Scotland Yard inspector Abberline, all fail to add any depth to their characters or the movie. All of these actors have demonstrated in past roles they are capable of impressive performances; unfortunately, you find yourself unconcerned with the character's fate as well as slightly confused by their actions.
If this was the movie to launch the werewolf craze, we can already deem the movement a failure. A weak first half, dry acting, and a questionable monster design all lead to this miscue. While the action certainly picks up in the second half and ultimately redeems the film, I would have liked a movie less like 2004's disaster Van Helsing and more akin to 1992's Bram Stoker's Dracula- a film that achieves the perfect semblance of drama, romance, horror, gore, and violence. Instead, someone should take this film out to pasture and put it out of its misery...just make sure to use a silver bullet so we can avoid a sequel.
Crazy Heart (2009) Directed by Scott Cooper Length: 112 minutes Rated R for language and brief sexuality
Anyone who knows me will tell you country music is my least favorite genre; I usually use the hyperbole that I will begin hemorrhaging from my ears if I hear those twangy guitars. Thankfully, the country music often focused on in movies is the much more bearable traditional kind, a la Johnny Cash in Walk the Line or this 2009 indie release. My distaste for country music aside, Crazy Heart is a solid film filled with great performances worthy of their critical acclaim.
Bad Blake is the alcoholic, broken, and aging country musician at the focus of the film. Played to perfection by 2009's Oscar winning Jeff Bridges (TRON: Legacy, The Men Who Stare at Goats), Bad Blake is a likable guy who just seems to always self-destruct as evidenced by his four failed marriages, estranged son, and floundering career. Upon meeting and falling for Jane Craddock, Oscar nominated Maggie Gyllenhaal (Nanny McPhee Returns, Away We Go) as a small town reporter and mother, Bad Blake attempts to change from his namesake, only to once again fail those he loves.
Jeff Bridges is great in his performance: you will truly understand just how low Bad Blake has fallen. Reduced to playing in bowling alleys for little to no money, you begin to understand and sympathize with Blake's boozy habits. On that same note, when Blake reveals to Jane that he is inspired to write his great songs by his experiences in life, you begin to wonder if his self-destructive ways are in fact simply a means to achieve his artistic endeavors. Though Bad Blake certainly does enough to live up to his name, Bridges does a great job of keeping the audience sympathetic to the tragic hero. Additionally, Bridges does a great job actually singing (as opposed to lip syncing like his counter part Colin Farrell). Equally impressive is Maggie Gyllenhaal as the single mother struggling to find a decent man to take care of her and her son. Gyllenhaal does a great job conveying just how much she cares for Blake, even at her breaking point when he fails to be the man she deserves and needs.
While Bridges and Gyllenhaal are deservingly recognized for their performances, I found Colin Farrell (Ondine, London Boulevard) as Tommy Sweet, Blake's successful protegee, to be a humorous turn. While Farrell is not particularly bad in his role, every time he came on screen I kept picturing Billy Ray Cyrus. If they ever decide to make a biopic about the country "legend" and father of the year, Colin Farrell better be chosen for the role. And if Farrell ever decides to lip-sync in a movie again, let's hope he practices singing with the words next time.
Make no mistake, Crazy Heart is hardly an instant classic, instead depending on two powerful performances to carry an otherwise solid flick. The music, while not my usual cup of tea, definitely proves to be catchy and enjoyable; in a year with little competition, I can see why the film captured the Oscar for Best Original Song. Though Crazy Heart likely won't crack your top films of all-time list, it is an enjoyable film blessed with a great performance from one of Hollywood's finest actors. Definitely make sure you check out if only to marvel at both Bridges and Gyllenhaal's performances.
Final Rating: 3 out of 5 stars
Favorite Quote: Bad Blake: "I wanna talk about how bad you make this room look. I never knew what dump it was until you came in here."
Oscar Winners: Best Actor in a Leading Role - Jeff Bridges Best Original Song - "The Weary Kind" by Ryan Bingham and T-Bone Burnett
Oscar Nominations: Best Supporting Actress - Maggie Gyllenhaal
Invictus (2009) Directed by Clint Eastwood Length: 134 minutes Rated PG-13 for brief strong violence
Throughout his career, Clint Eastwood has been recognized for his performances in some of the greatest movies of all time. In the twilight of his career, Eastwood has become better known for his directing prowess, specifically in regard to some of the instant classics like Unforgiven, Million Dollar Baby, Gran Torino, and Letters from Iwo Jima. With the seemingly immortal Morgan Freeman and Hollywood hunk Matt Damon, Eastwood's latest project meshes the worlds of politics and rugby in a historic biopic set in post-apartheid South Africa. The results? Half a good movie mixed with several emotionless and dull rugby highlights.
As Nelson Mandela, one of the most respected and revered leaders of the modern era, Morgan Freeman (Red, The Last Full Measure) delivers a memorable performance well deserving of his Oscar nomination. During Mandela's initial presidency, he faced a country divided by racial tension and a failing economy. Seeking a means to unite his people, both black and white, Mandela calls upon the South African rugby captain Francois Pienaar, played by the relatively dull and listless Matt Damon (The Adjustment Bureau, Green Zone), to lead the country's team to victory in the 1995 rugby World Cup. On their way to victory, the team helped unite the country and bridge the divide between the people.
Invictus truly is the tale of two films. As a serious drama focusing on Freeman as Mandela, we are able to see the quiet force that ended apartheid in South Africa. The tension between the different races is thick and powerful; the words of Mandela are inspiring, warming, and encouraging. If Eastwood had chosen to focus more on Mandela and keep rugby as a background piece, the film may have been more of a success. Alas, it is the core of the film that proves to be the weakest. Essentially, any scene involving the rugby team is forgettable, emotionless, and totally detached from the rest of the movie. Though Damon is a great actor, his performance here is weak and completely undeserving of his Oscar nomination. If they ever release a "Cliff Notes" version of Invictus, essentially rugby game scenes free, this movie would improve tenfold.
If you are unfamiliar with Nelson Mandela, Freeman's turn as the quiet leader is a poignant performance that truly captures the aura of the legend. Beyond Freeman's performance, the film offers little else. After delivering such great films over the past decade, Eastwood has finally given his audience a forgettable and rather dull film. Watch solely for Freeman, but don't feel bad if you fall asleep during the last thirty minutes.
Final Rating: 3 out of 5 stars
Oscar Nominations: Best Actor in a Leading Role - Morgan Freeman Best Supporting Actor - Matt Damon
A Serious Man (2009) Directed by Ethan Coen & Joel Coen Length: 106 minutes Rated R for language, some sexuality/nudity, and brief violence
The Coen brothers have made a career out of odd movies that seem to be appreciated by only the most elite of the movie snobs. With their signature black humor and often "open to interpretation" endings, it isn't hard to spot Ethan & Joel Coen's latest. Occasionally they will produce a film that can be considered more accessible (Raising Arizona, Burn After Reading), but you can always count on these two staying true to their roots. With A Serious Man, I'd be lying if I said most people would enjoy it.
Considered the Coen brothers' nod to their Jewish heritage, the film centers on Larry Gopnik, played by Michael Stuhlbarg (Goldstar, Ohio; Cold Souls), a physics professor whose seems to have run into a streak of bad luck that would make Job look like a lottery winner - a wife that wants a divorce, whining kids, car accidents, trouble at work, mounting debts, etc. Though Larry appears to be a good guy with a good heart, the problems just continue mounting in an almost comical downpour. The old adage, "When it rains, it pours," doesn't even begin to convey the burden on Larry.
Watching this movie requires a bit of research, especially for those not familiar with the Jewish culture or not fluent in Yiddish. If the language/culture barrier wasn't enough for you, add physics concepts dealing with duality to the mix. Put simply, this isn't a film you can simply watch - be sure to have Wikipedia pulled up as you pause every so often. While you may be able to stomach through concepts like "for every action their is an equal and opposite reaction," be prepared to debate the film at its conclusion.
Ultimately, A Serious Man is a reminder of just how unique the Coen brothers are. Few directors are brazen enough to blend Jewish culture with advance physics and attempt to market it to the popular masses. That being said, many of you will not enjoy this film, deeming it too artistic and "weird." I'll admit, even I had trouble processing the film. If you welcome the challenge and have someone to discuss the film with, you may find a challenging film that lives up to the Coen name. Otherwise, you may just be more puzzled and put off by their latest effort.
Final Rating: 3 out of 5 stars
Oscar Nominations: Best Motion Picture Best Original Screenplay
Pirate Radio(2009) Directed by Richard Curtis Length: 116 minutes Rated R for language, and some sexual content including brief nudity
The 1960s have long been recognized as the fertile time period that produced some of the most immortal bands of all time - bands like The Beatles, Rolling Stones, The Who, The Kinks, etc. These bands that have inspired multiple generations are still enjoyed to this day over the airwaves. Shifting focus away form the artist, Pirate Radio focuses on the birth of modern radio and the rise of rock and roll. Though boasting a killer soundtrack, cool topic, and talented cast, Pirate Radio fails to capitalize on the passion of the music at the heart of the film.
During the 1960s, the airwaves typically consisted of news broadcasts and traditional styles of music. Up until this time, rock and roll and other forms of popular music could hardly be found on the radio. This quickly changed when groups of "pirate DJs" began broadcasting the decade's greatest artists via offshore boats. Though not illegal, these broadcasts quickly drew the attention of the British government (the area of focus for this particular film). It is through the efforts of these pirate DJs that modern radio grew to become the stations we now know and love. Pirate Radio follows the broadcasts of one particular boat and its crew of misfit disc jockeys and their over-sized personalities.
While the concept and music may be cool, the film ultimately falls flat on its face. There is little semblance of a grand plot; instead, we find multiple little mini-plots that would probably have worked better on a sitcom or soap opera. Additionally, the casts truly fails to deliver the caliber of performance that is expected with such respected names. Philip Seymour Hoffman (Jack Goes Boating, The Invention of Lying) as The Count and Bill Nighy (Harry Potter and the Deathly Hallows, G-Force) as the boat's captain Quentin fail to deliver the memorable and great performances typically expected from such qualified actors. While this isn't meant to say their performances are bad, rather they are simple and forgettable characters that are predictable and shallow. While the film's overall shallowness certainly contributes to this, none of the cast is able to salvage this shipwreck.
The main draw to the movie is its rocking soundtrack, and Pirate Radio certainly delivers on that front. But beyond the tunes, all you find here are weak performances, little plot or character development, little enjoyment, and an overall feeling that you just wasted two hours of your life. I could maybe see why some people might enjoy this film, but this is a prime example of a movie with little-to-no substance or depth. If you just must watch this film, don't say I didn't warn you. Instead, I recommend dusting off the vinyl collection and listening to the bands that comprise the soundtrack and ignore this one.
Final Rating: 2 out of 5 stars
Favorite Quote: Dave: "So tell us Mark, now at the very end - what was your secret? How did you get all them girls?" Mark: "Simple. Don't say anything at all." 'Young' Carl: "Nothing at all?" Mark: "Nothing. Then, when the tension becomes too much to bear, you finally, finally, just say 'how about it, then?'"
