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."
Inception(2010) Directed by Christopher Nolan Length: 148 minutes Rated PG-13 for sequences of violence and action throughout
I'm breathing heavy. There are butterflies in my stomach and chills on my arms. My heart is racing as I sit on the literal edge of my seat. I dare not blink or risk missing some awesome detail or important stitch in the fabric of the story. Am I in love? Well...in love with a movie, yes. I say this with absolute confidence, Christopher Nolan has directed, written, created a flawless film of epic mastery. I still cannot believe the sight I have just witnesses: imagine seeing Jesus and Muhammad playing chess with the Ark of the Covenant as the table. It's that damn good.
Inception is a classic film noir style, sci-fi criminal heist, dramatic film that centers on the dream world and the impact our subconscious has on our real lives. Leonardo DiCaprio (Hoover, Shutter Island) plays Dom Cobb, a thief who creates a dream in which to steal valuable information from a mark. When former mark Saito, Nolan's go-to Japanese guy Ken Watanabe (Shanghai, The Unbroken), offers Cobb the chance to return home after one final job, he and his team prepare for the challenge of inception - planting an idea within a mark that will result in a desired action.
There is no way I can truly convey the idea behind Inception and the concepts involved without you witnessing. But take my word, Nolan has covered every essential detail in his modern masterpiece. For every action a character takes, there is an explanation to expand upon the necessity of said action. The attention to detail is one of the most amazing aspects of the film. With such a complex and layered story, it can be quite difficult juggling multiple aspects at one time; but Nolan has proven his mastery once again by skillfully balancing every moment perfectly. Though most people may watch the film and leave slightly confused or perplexed, I promise you there is an answer for every question you may have (assuming it was an important detail and not something frivolous).
On top of the wonderful and layered story, the cast Nolan has assembled is once again amazing. Aside from the always reliable DiCaprio, Inception boast the likes of Ellen Page (Whip It, Super) as Ariadne the young architect, talented up-and-comer Joseph Gordon-Levitt (Hesher, Live With It) as Cobb's partner Arthur, scene stealing Tom Hardy (Warrior, Mad Max: Fury Road) as the forger Eames, and former Oscar winner Marion Cotillard (Second Coming, Nine) as Cobb's deceased wife Mal who interferes with Cobb's team during their heists. All beautifully execute their roles to perfection and showcase and impressive amount of talent that will grace the silverscreen for years to come.
The fight sequences are splendidly executed as well. Avoiding the overly-jerky camera that plagues the likes of The Bourne Trilogy and recent James Bond flicks, the fights almost seem like elegant ballets danced in zero-G. The car chase sequences seem believable and fresh, showing the centripetal force of a car around a corner and its effects on the passengers in both the real world and the dream world. One of the coolest scenes involves the team dreaming on multiple levels and the steps taken to kick them awake - it's just cool. Even the impressive scenery and backgrounds that compose the dream worlds are breathtaking.
While my description and probably those of several other reviewers may be cryptic, it's only because words cannot do justice to this masterpiece. The only way to truly grasp and absorb the brilliance of Nolan's latest is to witness and allow the film to sink deep within you. Put simply, this is the James Bond film Stanley Kubrick would have created. I know many may disagree with me, claiming the film is too weird or complicated, but it really isn't. Nolan truly has created a masterpiece that leaves no stone unturned and quite possibly is the greatest film of all time. Now all I have to ask myself is, "Am I still dreaming? Or is this really real?"
Final Rating: 5 out of 5 stars
Favorite Quote: Arthur [Projections starting to notice their presence]: "Quick, kiss me." [Ariadne and Arthur kiss] Ariadne: "Did it work?" Arthur: "No, but it was worth a shot."
Oscar Winners Best Achievement in Cinematography Best Achievement in Sound Editing Best Achievement in Sound Mixing Best Achievement in Visual Effects Oscar Nominations: Best Achievement in Art Direction Best Original Score Best Motion Picture Best Original Screenplay
Every year it seems Hollywood releases more and more apocalyptic-themed films about dystopian society. In the past few years we have seen the big-screen release of Cormac McCarthy's modern masterpiece The Road, craptastic Legion, the amazing videogame Fallout 3, and many more. While all usually feature a bleak future brought about through some terribly destructive means, each has its own specific theme or concept that makes it unique (no duh, I know). The Book of Eli unfortunately chooses a surprising theme and misses out on a golden opportunity to usher in the future of apocalyptic westerns.
Set some time in a future where the earth has been burned and destroyed, society struggles to survive, fighting over every day blessings like water and music and books. Eli, played by the always reliable and charming Denzel Washington (Unstoppable, The Taking of Pelham 1 2 3), wanders westward bearing a mysterious book he believes will save humanity. Armed with his weapons and faith, Eli defends the book against murderous raiders and over zealous tyrants, specifically Carnegie, talented Gary Oldman (Harry Potter and the Deathly Hallows; Guns, Girls, and Gambling), who hopes to use the book to control the remaining population.
Many of you can probably figure out what the "mysterious" book is based simply on the title; but without revealing too much, the Hughes Brothers really missed a golden opportunity. Making the focus of the film religion, they have essentially created a film Kirk Cameron wishes he could. I kept thinking the Baptist should be showing this to people when trying to convert the masses. While the apocalyptic western is not a new concept, it is still relatively new. If the film had chosen to mimic the Japanese classic Yojimbo, I feel as if the Hughes Brothers may have had something refreshing and engaging. The idea of a stranger passing through the local saloon, only to then save the town would have been a much more enjoyable film.
Considering the drab backgrounds, it's hard to comment on the aesthetics of the movie, but they certainly succeeded in creating a dreary backdrop for the film. I also enjoyed having a character from the "old times" armed with one-liners about pop culture and an iPod trading barbs with his female "sidekick" Solara, sex appeal booster Mila Kunis (Black Swan, Family Guy). While Kunis does not really add anything to the film beyond looking good, I liked the hapless sidekick concept but wish it had been managed a bit better - perhaps some actual training or knowledge transfer between Denzel and Kunis instead of just going to the next scene where she's automatically a bad ass.
The Book of Eli is not a great movie, nor is it terrible. Featuring an interesting twist, the film is worth a view just for that "Aha!" moment. However, I still argue the Hughes Brothers dropped the ball by making this a religious movie. If your target audience was the extremely conservative, fundamentalist Christian audience, then you nailed it. But considering the last movie these two directed centered on Jack the Ripper, I find that hard to believe. Check it out and see for yourself the power of reading.
Final Rating: 3 out of 5 stars
Favorite Quote: Solara: "They're in the middle of a gunfight with Carnegie's men. You know that voice you heard; did it say anything about this?" Eli: "We'll get out, both of us." George: "What about us?" Eli: "Didn't say anything about you."
Cyrus (2010) Directed by Jay Duplass & Mark Duplass Length: 91 minutes Rated R for language and some sexual material
Well hello once again! With today's review, we're going to do something a little different to start things off. It's called, How to Make a Movie with Chef Rushmore. This is a really easy recipe folks, but it's going to be great when you are done. First, get your blender/food processor. Next, we're going to toss in our ingredients: some Stepbrothers, the 2008 comedy staring Will Ferrell and John C. Reilly; a handful of Prozac; and last some essence of "mumblecore" - a new popular indie genre featuring offbeat humor, sense of improvisation, and low budget production. Blend it all together and you get Cyrus, a quirky indie comedy that, while not full of zany comedic moments, has plenty of chuckle-worthy scenes that will surely entertain.
Divorced, depressed, and lonely, John C. Reilly (The Extra Man, We Need to Talk About Kevin) plays John, a freelance editor desperate for love. Enter Marisa Tomei (Salvation Boulevard, The Lincoln Lawyer) as Molly, the beautiful yet equally lonely soul John has sought. Both click and a beautiful relationship begins to blossom; that is until John finds out about Cyrus, Molly's overly attached son that will do whatever it takes to keep his mother to himself.
As the titular character, my man crush Jonah Hill (Get Him to the Greek, Megamind) is perfectly cast. His seemingly genuine compliments mixed with deadpan stares, subtle jokes, and later outright threats are comedic gold. The best scenes throughout the movie involve Cyrus and his trench warfare campaign to separate John and his mother Molly. While the previews may leave you thinking this is another outright comedy full of laughs, this is actually a little misleading. Certainly there are laughs to be had, but the film is more about two flawed people finding love, while Cyrus serves as the comedic commas.
Admittedly, the strongest scenes involve John C. Reilly and Jonah Hill shuffling for position over Molly's attention. However, an outright battle between the two a la Stepbrothers does not happen till the film is almost over. I can appreciate a film opting out of rehashing the same old low-brow/physical comedy bits, but it would have been nice to have more moments between Reilly and Hill. Particularly, one strong scene involves Cyrus showing John his work as a aspiring DJ - quite hilarious!
If your favorite comedies are typically films like Hot Tub Time Machine or Talladega Nights, then you probably won't enjoy Cyrus. But if you enjoy indie comedies like Wes Anderson films (Fantastic Mr. Fox, Rushmore), then you may have found a new gem for your viewing pleasure. I really enjoyed this film, even though it certainly is flawed. I may not buy the DVD and watch it several times, but I would definitely recommend a viewing. If you can abate your expectations to laugh out loud throughout, I think you will find an enjoyable experience that will at least make you chuckle.
A Single Man(2009) Directed by Tom Ford Length: 99 minutes Rated R for some disturbing images and nudity/sexual content
Since 2005 s Brokeback Mountain, most a-typical Americans can't help but giggle and ridicule a movie helmed as the latest gay drama. This is unfortunate, especially considering the wealth of quality films released in the last few years that have dealt with powerful and gut-wrenching topics applicable to both gay and heterosexual communities alike. A Single Man is a fine example of a film that touches on the powerful connections we have with those we love, and the miserable consequences their untimely deaths can have on us. Though the protagonist may be a gay man, this is a rare example of a film that allows you to supplant the character and imagine yourself mourning the loss of a lover, no matter what your personal beliefs or ideology.
Set in early 1960s Los Angeles, A Single Man is the tragic tale of George, a sophisticated, mature, and educated professor of English who mourns the recent tragic loss of his lover. Played by Oscar nominated Colin Firth (Main Street, A Christmas Carol), George is so distraught by the loss he is prepared to end his life. The film follows the mourning lover as he makes his peace with those in his life and prepares to take his own life. Every interaction and moment of the film is a different chance for George to see the beauty in life, the reasons to continue to live; though the pain of his lover's loss will always be a part of him, the chance to live allows him to cherish his memory and keep his spirit alive.
The film is directed by fashion guru Tom Ford. For those of you unfamiliar, Ford is a renown designer responsible for some of the most exquisite and luxurious styles enjoyed to date. For his first attempt, Ford has created a beautiful piece of living art filled with emotion. The subtle shifts of color throughout the film act as a living character, allowing you to see the reaction in George. Mostly shot with a drab, monochromatic look, precise moments that our protagonist sees beauty in life or remembers his lover is filled with color and light, creating absolutely beautiful scenes.
Additionally, Firth is well deserving of his nomination. While it would be easy to simply portray an emotional wreck and call it a wrap, Firth brings a lover who has moved beyond the physical distress but who has instead internalized his pain. Literal heart aches and vivid memories all haunt George throughout the day. The level of sophistication and consideration George has for other people is especially exhibited during his first suicide attempt. Struggling to find comfort, George soon worries about the mess created by his selfish action, leading to practice runs in the shower and later in a sleeping bag. While tragic, these humorous scenes help further define the depth and nature of Firth's character.
While I would hope you can look beyond the sexual orientation of a character, for those of you concerned, this is not Brokeback Mountain. There is no explicit sex scene or even heavy kissing. Instead each scene between George and his lover is a tender moment the couple shares with the audience, allowing you to truly understand just how in love the characters are. But you should get use to seeing Firth's ass...a lot.
Brokeback Mountain is more infamously known as the "gay cowboy" movie. While it is unfortunate that is all people see the film as, A Single Man is a movie that transcends sexual orientation and aims squarely at the heart of every lover. Though few of us have experienced the untimely death of a lover, many of us can imagine the pain we would feel. Even if your personal beliefs disagree with the characters, you would be wise to give Ford's freshman effort a view. As an artsy, indie drama, A Single Man is a powerful and emotional film that will leave a mark on not just your heart but your soul.
Final Rating: 4 out of 5 stars
Favorite Quote: George (quoting Aldous Huxley's Texts & Pretexts): "Experience is not what happens to a man; it is what a man does with what happens to him."
Oscar Nominations: Best Actor in a Leading Role - Colin Firth
An Education (2009) Directed by Lone Scherfig Length: 100 minutes Rated PG-13 for mature thematic material involving sexual content, and for smoking
Dramatic films set in the past generally tend to be...shall we say a bit boring, especially if said motion picture is generating hefty Oscar buzz. Prior to seeing the latest "boring" drama piece, I had some reservations - specifically I expected good acting but an otherwise listless story. Fortunately, while An Education won't make my top movies list, the film proves to be a relatively enjoyable experience.
Set in the 1960s, An Education is the story of a young English Girl, Jenny as played by Oscar nominated Carey Mulligan (Wall Street: Money Never Sleeps, Brothers). Jenny is a smart, pretty, and precocious 16-year old destined for Oxford University, a fate deemed destiny by her father Jack, as portrayed by the underrated Alfred Molina (The Sorcerer's Apprentice, Prince of Persia: The Sands of Time). As smart and dedicated as Jenny may be, she dreams of art, music, culture, and Paris: the exotic lifestyle she has never known and likely will not. This soon changes upon meeting David, a successful and suave playboy nearly twice her age. David, played by the exceptional Peter Sarsgaard (The Green Lantern, Knight and Day), soon wins over Jenny's heart by showing her the extravagant lifestyle she desires, promising a future as a housewife spent traveling to Paris and abroad. Though David may seem like the perfect gentleman and ideal husband, his secrets threaten to change Jenny's life for the worse.
As stated before, acting performances are an important component to any dramatic piece, specifically since the movie depends on the strength and depth of the characters more so than any other genre. Carey Mulligan is exceptional and well deserving of her nomination for her role as Jenny. Playing a 16-year old girl can be tricky business for any actress, but Mulligan is able to capture the essence of a young, intelligent woman still naive to the real ways of the world. Equally important and impressive is Peter Sarsgaard as David. Generally speaking, Sarsgaard is not the actor you think of when using the description suave, attractive playboy, yet he is able to create this "smooth operator" that has a hint of sliminess to him. Though the audience is unaware of David's secrets for a majority of the film, there is always a subtle aura of danger and wrong surrounding David - a predator threatening to destroy the future of the young and talented Jenny.
Beyond the performances, the question posed should be, "Will I be entertained?" While certainly not the most entertaining movie ever, An Education is a surprisingly charming film, with the right mix of emotions that come together for a relatively enjoyable experience. I will not promise you will love the movie; you may not even like it. But this is a fine example of a film that overcomes the fate of so many Oscar nominated dramas: it is not boring. The performances of Mulligan and Sarsgaard alone make the film worth seeing. I recommend a rental if only to see an actress that will be gracing us with her performances for years to come.
Final Rating: 3 out of 5 stars
Favorite Quote: Jenny: "I don't want to lose my virginity to a piece of fruit."
Oscar Nominations: Best Motion Picture Best Actress in a Leading Role - Carey Mulligan Best Adapted Screenplay
