Hollywood loves a film about personal triumphs. Just think about films in the past that have won or competed for several Oscars: Forrest Gump, Rain Man, The Elephant Man, My Left Foot, etc. While The King's Speech is less about physical deformities and more about Freudian psychological trauma leading to disabilities, the latest uplifting tale of King George VI's struggles with a terrible stutter promise to contend for several golden statues. But is The King's Speech another example of Oscar love for a stuffy British drama? Unfortunately, it would seem so.
Colin Firth (Main Street; Tinker, Tailor, Soldier, Spy) continues to amaze with another award worthy performance as King George VI. A former British naval officer, "Berty," as his family affectionately calls him, is forced to become king when his older brother vacates the throne for a twice divorced American. However, Berty has a crippling stutter that often incites more snickering and doubting than patriotism. With the imminent threat of war with Germany (WWII) and the responsibilities of being a member of the British royal family, Berty seeks the help of a speech therapist, a former actor Lionel Logue, played by Geoffrey Rush (The Warrior's Way, Pirates of the Caribbean: On Stranger Tides). With an unorthodox methodology consisting of cursing and singing, can Logue help Berty lead the British Empire into war?
Without a doubt, the main focus of the film is the relationship between King George VI and Logue. This humorous and sometimes intense friendship makes up the majority of the film. While watching a member of the British royalty curse for the first time with great zeal is quite funny, The King's Speech definitely feels "British" throughout - stuffy and a bit rigid. Several critics have stated how accessible the film is to the masses but be warned this is still very much a period piece.
So is the film worthy of all the Oscar buzz? Not really. That isn't to say the film is not enjoyable, but best picture it is not. Firth is once again worthy of the critical praise for his portrayal of King George VI; however, his nominated role for last year's A Single Man seemed to be the more award worthy performance. Additionally, Rush fills the "funny sideman" role well with his eccentric turn as the king's speech therapist. Bottom line, the film is certainly enjoyable. But let's pump the brakes when it comes to the Oscar buzz.
Final Rating: 3 out of 5 stars
Favorite Quote: Lionel Logue: "Do you know the 'f' word?" King George VI: "Ffff...fornication?"
Oscar Winners Best Motion Picture Best Actor in a Leading Role - Colin Firth Best Achievement in Directing - Tom Hooper Best Original Screenplay Oscar Nominations: Best Achievement in Art Direction Best Achievement in Cinematography Best Achievement in Costume Design Best Achievement in Editing Best Original Score Best Achievement in Sound Mixing Best Supporting Actor - Geoffrey Rush Best Supporting Actress - Helen Bonham Carter
Black Swan (2010) Directed by Darren Aronofsky Length: 108 minutes Rated R for strong sexual content, disturbing violent images, language, and some drug use
Oh, Darren Aronofsky, how your films continue to excite, terrify, and confuse. Anyone expecting a petite and pretty film about ballet is sorely mistaken as Aronofsky has quickly developed a reputation for his David Lynch-esq films consisting of dark imagery, gritty performances, and manic storytelling. While Black Swan may confuse or deter the average movie goer, film aficionados will appreciate this beautifully executed piece of art.
Natalie Portman (No Strings Attached, Thor) brilliantly portrays Nina Sayers - a sweet, virginal, repressed ballet dancer that strives for perfection and eloquence. Nina's ballet company announces they will perform a new rendition of the classic Swan Lake - with the lead playing both the innocent White Swan and the dangerous and sultry Black Swan. Though Nina displays why she is the perfect choice for the White Swan, can she become her evil alter-ego the Black Swan?
Black Swan serves as a giant metaphor for the lengths artist go to in order to embody their characters - essentially, a look into method acting if you will. Portman's amazing turn as Nina is the stuff Hollywood immortalizes for ages. Living at home with an overbearing and obsessive mother, Nina struggles to find her inner Black Swan stymied by her own innocence and her mother's constant meddling. When you can't even masturbate because your mother is sleeping in your room, you know you have problems. The brilliance of Portman's portrayal is the gradual transformation Nina undergoes from the innocent White Swan to the dangerous and frightening Black Swan. The last ten minutes of the film are spent in a split-persona haze with the audience left grasping for a ledge on which to hang.
Darren Aronofsky may not make films for the average man or woman (an attribute soon to change as he prepares to direct The Wolverine), but passing on Black Swan simply because you may not "get it" would be a travesty. Natalie Portman is amazing, brilliant, and downright scary at times in her best role yet. The level of dedication illustrated by Portman alone should entice you (Portman reportedly trained for over a year for the role). Give Black Swan a try, if only to admire the sure to be nominated performance by Portman. Who knows, you may discover you're a fan of the ballet after all!
Final Rating: 4 out of 5 stars
Favorite Quote: Thomas: "I have a little homework assignment for you. I want you to go home and touch yourself."
Oscar Winners Best Actress in a Leading Role - Natalie Portman Oscar Nominations: Best Achievement in Cinematography Best Achievement in Directing - Darren Aronofsky Best Achievement in Editing Best Motion Picture
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
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
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
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
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
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
Brothers (2009) Directed by Jim Sheridan Length: 105 minutes Rated R for language and some disturbing violent content
War, set in any time period, is always a tricky subject to tackle on the big screen; one could argue that the more modern wars (i.e. Vietnam, Iraq, Afghanistan) are the most difficult to portray due to their "nontraditional" nature. Known more for the psychological trauma suffered by American troops, modern war films often deal with the side-effects of war on a soldier and less on the actual battles. Brothers continues with this trend, depicting the trouble troops can have in re-acclimating to life at home after war.
Toby Maguire (Spider-Man 3, The Details) plays Capt. Sam Cahill, an all-around good family man and soldier preparing to leave for Afghanistan, leaving behind his beautiful wife Grace, played by the always lovely Natalie Portman (Hesher, Thor), and his screw-up brother Tommy, played by Jake Gyllenhaal (Prince of Persia: The Sands of Time, Nailed). When Sam's helicopter is shot down, he is presumed dead, forcing his family to move on with their lives. With the news of Sam's death, Tommy soon takes on the responsibility of helping Sam's family. However, Sam has actually been captured by an Afghani rebel force, who torture him in hopes of getting Sam to renounce the American freedom effort. When Sam is finally rescued and returned home, the struggles of a soldier returning from war becomes the focus of the film.
Initially, Brothers drew heavy Oscar buzz; considering its star cast and subject matter, it isn't hard to understand why. However, the movie falls a bit short of these expectations. While the three main actors all do a respectable job, the movie is essentially confined to one truly dramatic and powerful scene; unfortunately, it is at the end of the movie, leaving the film feeling a little dragged out and long. Of the three, Toby Maguire is certainly best as the tortured soldier haunted by the demons of war. While I would not say his performance is memorable or award-worthy, it certainly adds weight to the more emotionally charged moments.
Though the film deals with a disturbing topic, Brothers remains tasteful yet capable of conveying the gravity of Sam's captivity. Torture is never an enjoyable experience to watch in films, but the scenes in this particular case are a little flat. While they are disturbing, it certainly falls under the "tame" category; I can think of many more cringe-inducing/powerful scenes from films (such as Syriana) that do a better job of conveying the hopelessness and sense of peril of the victim.
Though initially heavily hyped, Brothers falls in that middle category that most movies so often do. It certainly isn't terrible, but I wouldn't call it a winner either. One movie with three truly talented performers is a rare find. You may not wind up putting it on your top movies list, but there are far worse things to spend your time on than Brothers. Ultimately, I recommend a rental if you are looking for a decent drama one evening.
The Blind Side (2009) Directed by John Lee Hancock Length: 129 minutes Rated PG-13 for one scene involving brief violence, drug, and sexual reference
The Blind Side is the story of Michael Oher, a young black man that has never had a stable home or family life, who is taken in by the wealthy (and white) Tuohy family and given a chance to succeed. With the Tuohy's love and support (both literally and monetarily), Oher is able to achieve success in the classroom as well as on the football field, eventually becoming a first-round pick of the Baltimore Ravens.
Alright, let me get my bitch list out the way so I can actually review this movie. First of all, coming from Memphis, as well as from a school that played Michael Oher in sports, the portrayal of the gentle giant is highly fictionalized. Yes, Oher came from a broken home with next-to-nothing, and yes he faced a lot of adversity in achieving the success he has; but the movie leads us to believe Oher is a functioning idiot that couldn't hurt a fly. This is a guy that faced serious racial tension in a predominately white community, often resulting in altercations or scuffles with opposing players or verbal conflicts with people in the stands. This isn't meant to convince you that Michael Oher was a bad kid; in fact, many people I knew in high school spoke highly of him. I assure you my intentions are not to paint Oher as a "thug" but to show that this wasn't some borderline idiot who never fought back.
Second, Sandra Bullock (The Proposal, One of the Guys) in her Oscar winning role as Leigh Anne Tuohy was definitely not deserving of her Oscar award or for that matter nomination. Is she atrocious? Not at all, but there is nothing here that makes her character outstanding or memorable beyond a feisty, southern accent. I have a hard time believing that Sandra Bullock's performance was better than the amazing Meryl Streep in Julie & Julia. Many of the scenes meant to show the demanding nature of Leigh Anne are so far-fetched that you almost cannot take the movie serious, even if they are meant for comedic effect.
With those major gripes aside, the movie isn't that bad. I honestly believe that if the film had been purely a piece of fiction or if it had loosely based its plot off of the Michael Oher story (i.e. changed the names, etc.), than it would have been a much more enjoyable experience. Watching a cheesy, "feel good" sports flick can be fun. What isn't fun is watching a biography that stretches the limits of the truth for the sake of making money. While it is most definitely not best picture material either, the movie does have some good laughs, heartfelt moments, and empowering scenes. The funniest parts of the movie are essentially anything involving the coaches recruiting Oher to play football; let's just say they shouldn't quit their day jobs (although I do find it funny that each of the coaches shown no longer coaches for the school shown in the movie).
Favorite Quote: Phil Fulmer (former coach of the University of Tennessee): In a serious, almost sexual tone " I want him. I want him bad." (in reference to Michael Oher)
Oscar Winners: Best Actress in a Leading Role - Sandra Bullock
The Lovely Bones (2009) Directed by Peter Jackson Length: 136 minutes Rated PG-13 for mature thematic material involving disturbing violent images and content, and some language
Initially hailed as an Oscar sleeper, The Lovely Bones went on to receive tepid reviews from various critics, coupled with a poor performance at the box office. However, Peter Jackson (Lord of the Rings) tastefully and beautifully brings Alice Sebold's 2002 novel to life in a fantastical presentation that truly envelops you in the characters and plot. In what could have quickly turned into a tactless, controversial film, Jackson skillfully conducts the movie so as every scene plays out effectively.
The Lovely Bones is considered one of the most acclaimed novels of the modern era; but due to its graphic content, its transition to the big screen has been considered risky business. Set in the early 1970s, our protagonist is Susie Salmon (like the fish), played by young up-and-comer and future star Saoirse Ronan (Atonement, The Way Back), a precocious teenager who dreams of becoming a photographer. Susie has the perfect family and the perfect life, until she is murdered; now Susie finds herself in the inbetween, on the way to heaven: a fantasy world that bends to Susie's whims. Don't worry, this isn't Robin Williams's 1998 stinker What Dreams May Come all over again. The majority of the movie is spent focusing on the fallout of Susie's death on her family, friends, as well as her murderer. I consider the fantasy world just another example of the excellence and skill Jackson showcases when it comes to cinematography: the visual images, colors, and reality that he successfully translates from the pages of the novel to the screen, all with the hint of childish imagination, are breathtaking.
So far my review probably has you asking, "Why was this controversial?" Beyond just being murdered, in the novel, Susie is brutally raped and beaten before being murdered. While the novel goes to great lengths to emphasis the brutality, Jackson faced the difficult task of presenting the crucial scene. Go all out, a la Hot Dog (aka the "Dakota Fanning" rape movie), or choose not to show it at all. Ultimately, the crux of the film is tastefully yet effectively portrayed without relying on graphic violence or content to make a point. I would even go so far as to say the tension and anticipation created during the scene, thanks in large part to the performances of Tucci and Ronan, is utterly amazing. You will be glued to your TV as you just pray Susie will escape: the sense of knowing what is about to happen but not wanting to acknowledge someone could be capable of such a thing...::shudders:: CREEPY!!!!
While I won't go so far as to say the film is the best of all-time, it is a great experience and fantastic movie. The performances are great, the visuals are amazing, the story is gripping, etc. What more could you ask for from a movie? I highly recommend you checking out Peter Jackson's latest. It is great to see that there is life for Jackson beyond the realms of Mordor, possibly one of the greatest fantasy directors of the modern era.
Final Rating: 4 out of 5 stars
Oscar Nominations Best Supporting Actor - Stanley Tucci
Whew...take a deep breath and try to collect yourself. Witnessing the brutality, the horror, the gravity that is Precious is not an enjoyable experience; it's one that leaves you feeling broken; as if you have just seen every horror imaginable - the things you think could never possibly happen in the "real" world. Movies often allow us to live a fantasy that would normally be impossible; in this case, it leaves you wanting to crawl into the fetal position and cry. Though Precious is a difficult film, it has to be considered required viewing for all, if only to understand the trauma that plagues a community influenced by its impoverished, uneducated, and dilapidated condition.
Focusing on the movie's namesake, Oscar nominated newcomer Gabourey Sidibe (The Big C, Yelling to the Sky) plays Precious Jones, a 16 year-old illiterate, obese, impoverished girl that is abused by her mother and sexually assaulted and twice impregnated by her father. Beaten, belittled, infected, battered, raped...there are not enough words to describe the torture Precious must endure. It truly can be hard to watch at times - I'll admit I found myself tearing up during several scenes. The old expression "when it rains it pours" embodies the life Precious is forced to live. Sidibe truly is magnificent in her first motion picture, conveying not only the physical toll her abuse takes on her but also the psychological effects (not surprising considering she has a degree in psychology) that force Precious to escape to a fantasy world in which every one loves and adores her.
Without a doubt, what makes the film so compelling is the horrific performance of recent Oscar winner Mo'Nique (The Mo'Nique Show, Steppin: The Movie) as Mary, Precious's mother. As the abusive mother, Mary admittedly wishes Precious had never existed, instead using the girl to increase her welfare allocation. The verbal and physical pain that Mary inflicts on her daughter is detestable - you will truly hate her character, even as you learn about the abusive cycle that often accompanies these unfortunate scenarios. Mo'Nique is every bit deserving of her Oscar as she has created the epitome of a jealous, spiteful parent that hates the very thought of her daughter.
Another element of the film that may be lost on some due to the graphic nature of the story is the in-depth analysis of impoverished and urban communities that often prove to be a breeding ground for crime, abuse, drugs, etc. This is not to say that the movie relies on stereotypes or prejudices; on the contrary, the film shows how even intelligent, gifted people can be held back by the limitations they inherent via their living conditions and upbringing. Coming from a city that is highly segregated between private and public schools, it is apparent how, when given scare resources and almost insurmountable limitations, one can begin to fall prey to the image that often plagues the "ghetto".
While Precious may not be the best film of the year, it certainly is one of the most memorable, if only for the traumatic scenes that leave a lasting scar on your soul. A great movie can move you, as you empathize with the characters, share their emotions, etc. While Precious will certainly move you, this is one of the few films I have ever seen that really hits you in the gut, twisting your insides at the level of hate we as humans can achieve. Though it may not prove to be an enjoyable experience, you must watch this film: the story of a precious girl who struggles to overcome the never-ending hardships of her life, but who continues to preserve and vows to break the cycle of abuse for her children and her future.
Final Rating: 4 out of 5 stars
Oscar Winners: Best Supporting Actress - Mo'Nique Best Adapted Screenplay
Oscar Nominations: Best Achievement in Directing - Lee Daniels Best Achievement in Editing Best Motion Picture Best Actress in a Leading Role - Gabourey Sidibe
Shutter Island (2010) Directed by Martin Scorsese Length: 138 minutes Rated R for disturbing violent content, language, and some nudity
Scorsese, DiCaprio, mysterious yet eerie film, huge buzz...what else can you ask for!?!? The long awaited, oft-delayed Shutter Island arrives as perhaps the most anticipated movie so far this year. I remember my initial reaction to the trailer (almost two years ago, it seems) and excitement over the director, cast, plot, etc. Having built huge expectations, reading numerous positive reviews, and consulting with my hard-to-please roommate, I eagerly attended what I anticipated to be a modern masterpiece. Instead, I was left crushed; what was suppose to be a suspenseful mystery turned out to be rather boring and anything but a mystery.
Set in 1954, Shutter Island centers on Scorsese standard Leonard DiCaprio (Inception, Revolutionary Road) as Teddy Daniels, a US Marshall seeking a patient who has escaped from her prison on the isolated island. Based on a novel by Dennis Lehane (Mystic River, Gone Baby Gone), Shutter Island is a departure from the traditional format utilized by Lehane, taking a much darker tone that leaves the audience with a sense of danger and uncertainty. As the mystery begins to unravel, it becomes apparent that there is more to the story then initially perceived.
To start on a positive note, the acting is indeed top notch. I have been a huge DiCaprio fan for quite some time now, and he continues to prove his prowess. The depth of his character cannot be questioned or denied. I even enjoyed the cinematography of the film: the dark, somber tones really cast a foreboding and dismal haze over the film setting the perfect mood for a dark mystery. So, with these positives, what could have caused my expectations to be dashed?
I have always enjoyed a good mystery; the traditional "who done it" that follows a detective searching for clues to the puzzle, occasionally revealing some master conspiracy in the process. Growing up, it was often difficult to watch mysteries with my mother as she would ALWAYS solve the show/movie before the end. I cannot tell you how many times my stepfather and I would scream in frustration as, of course, she would end up being correct. It would seem all of that detective work on my mother's part has rubbed off on me, as I now find myself constantly solving the puzzle before the conclusion. For the most part, this can prove to be a fun element to the mystery genre; however, it can also be a real negative if you are able to solve the mystery fairly easily and quickly. While I may not have had every single detail figured out, I was able to solve the mystery prior to seeing the film. Using contextual clues from the previews, I knew exactly what was going to happen before it even unfolded. In fact, I even told my friend my theory prior to seeing the movie; this theory proved to be correct.
While I do not believe the mystery is implicitly that easy to solve, in this particular case, it can be quite detrimental to the viewing experience when the big reveal at the end isn't that shocking. Equated to The Sixth Sense in terms of shock value, I was sorely disappointed. To boot, I found the movie to be rather slow throughout, dragging for a majority of the film. Though it is hard to pinpoint exact scenes to cut or shorten, the film had me looking at my watch wondering how much longer I had to sit.
While my review may not indicate it, I still feel as if you should see this movie. I feel as if my experience with the movie will prove to be the exception and less of the norm. The acting is good, boasted by beautiful camera work and visual decor. While some may be able to solve the mystery, the story is still enjoyable enough for the average movie goer. The details can bog you down, so be patient in trying to maintain a working encyclopedia for the film. If you can sit back, put down your detective's notepad, and enjoy the film, I believe you will find an enjoyable experience. But if you are able to solve the mystery, be prepared for a rather dull ride.
Final Rating: 2 out of 5 stars
Favorite Quote: "Match in the gas tank...boom boom" (He went full retard)
