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?'"
Daybreakers (2009)Directed by Michael Spierig & Peter Spierig
Length: 98 minutes
Rated R for strong bloody violence, language, and brief nudity
Lately, it has been near impossible to escape the vampire craze created by the awful Twilight saga (let's be for real, those are not vampires). With the success of Edward and Bella's struggle for love, vampires have invaded every facet of our lives, from television series like True Blood and The Vampire Diaries, to musical acts like Vampire Weekend (who have nothing to do with vampires, actually), and movies such as this 2009 horror/sci-fi gem. Forgetting the "romantic" side of vampires and focusing on the primal thirst for blood, Daybreakers is a fresh and original take on one tired genre.
In the not too distant future of 2019, a virus has transformed almost the entire world population into vampires. Save for a few "wild" humans, most are captured and farmed for their blood like cattle. But with the human population dwindling and no suitable blood substitute available, the vampire population has begun to regress into a subspecies that resembles the man-bat form Dracula took in Francis Ford Coppola's 1992 interpretation (click here for a sample). Ethan Hawke (Brooklyn's Finest, Tonight at Noon) plays Edward Dalton, a vampiric blood specialist seeking to develop the blood substitute. Upon meeting some humans, Edward is taken to meet Lionel "Elvis" Cormac, played by Willem Dafoe (Fantastic Mr. Fox, Miral) a former vampire reborn human who holds the key to curing the vampire virus. Now it is up to Edward and Elvis to help stop the vampire population from wiping the humans out for good.
While my description of the story may seem a bit ridiculous, I found it to be a nice alternative to the vampire origin story. Daybreakers does a nice job of introducing the scenario and the impact the virus has had on everyday life for the world's population. In fact, the best aspect of the film is the attention to detail - you won't find vampires that twinkle in the daylight in this film. From cars with daylight driving mode, to no images in the mirror, this truly feels like a real vampire movie. Though the film is definitely more science fiction than horror, there are a few good scare moments to make you jump. As if the plot and details weren't enough to cement the fact this isn't Twilight, than seeing a human being ripped apart by a squad of vampire soldiers will surely change that for you.
The acting isn't anything special, but that is to be expected with most horror/science fiction films. Everyone does a respectable job fulfilling their role and conveying the story. The background and scenery is what truly sets the film apart from most other substandard films. The futuristic setting is the right level of geek without taking away from the story at hand. Daybreakers isn't the best film in its genre much less the best vampire movie ever, but it is a nice take on a stale genre that needed some fresh blood. Give it a taste!
Final Rating: 3 out of 5 stars
Favorite Quote:
Edward Dalton: "Is this place safe?"
Elvis: "Living in a world where vampires are the dominant species is about as safe as bare backing a $5 whore."
Iron Man 2 (2010)
Directed by Jon Favreau
Length: 124 minutes
Rated PG-13 for sequences of intense sci-fi action and violence, and some language
Of all the superheroes in existence, Iron Man is without a doubt my personal favorite. I've never liked Superman, Batman is cool but a little moody, Spider-man has some awesome powers and even cooler villains but again a little emo, etc. Tony Stark aka Iron Man is just a cool guy - a billionaire playboy that boast an MIT education. Yet he also exhibits everyman problems like narcissism, alcoholism, and general disregard for others, creating the perfect blend of hero and antihero. While most traditional comic book heroes struggle to conceal their secret lives, Tony Stark's metallic alias is known to the world, presenting problems concerning fame, notoriety, government intervention, and expectations on not only the hero but the man acting as the hero. While Iron Man 2 can never be considered the cinematic masterpiece that The Dark Knight is, it is a awesome ride with an nontraditional hero that certainly fulfills its obligation to entertain the audience.
Picking up where the 2008 original left off, Iron Man 2 finds Tony Stark, portrayed to perfection by the amazing Robert Downey, Jr. (Sherlock Holmes, Due Date), struggling to balance his multinational corporation, superhero alter-ego, personal life, and friendship. Complicated by the fact that the arc reactor keeping him alive is also slowly killing him, Tony begins to crumble under the pressures of the media and government and sinks deeper into an alcohol induced hazed. As if the personal demons were not enough, the vengeful Ivan Vanko aka Whiplash, Mickey Rourke (13, The Expendables) with a Russian accent, and industry competitor Justin Hammer, the neurotic Sam Rockwell (Moon, Betty Anne Waters), are out to ruin the Stark empire.
Put simply, there is a lot going on in Iron Man 2. Multiple plot threads and movie tie-ins aside, director Jon Favreau does a good job of keeping the pace quick but allowing enough plot development to avoid feeling too much like a cliched action movie. As I stated previously, without Robert Downey, Jr., this film does not work: he brings the character of Tony Stark to life just as Stan Lee imagined so many years ago hitting the right amount of charm, impulsiveness, and self-destruction that make Iron Man such a great character. Additionally, replacing Don Cheadle (Brooklyn's Finest, The Guard) as Lt. Col. James Rhodes aka War Machine for Terrence Howard worked out well. Cheadle, an accomplished actor capable of performing in a plethora of roles, does a good job of matching Downey, Jr.'s strong personality. When Tony is on screen, it is easy for the characters around him to quickly find themselves drowned out due to his impetuous nature, but Cheadle is able to keep his character relevant.
One of the coolest aspect of Iron Man 2, as was the case in the first, is the technology utilized by Tony. Virtual computing, robots with emotions, a talking AI...Jesus I want his tech! While Bruce Wayne may be able to match Tony Stark in terms of bank account and gadgets, Tony wins every time in terms of coolness and wow factor. Speaking of Bruce Wayne, inevitably this film, like all future comic book films, will be compared to The Dark Knight. However, one should remember that Christopher Nolan's 2008 masterpiece is a once-in-a-lifetime type of film, closer in nature to The Godfather and other serious crime dramas than its superhero brethren. So while Batman may win the awards, Iron Man knows what it is and does a damn good job doing it.
Will Iron Man 2 win an Oscar? Unless its for visuals, sound, etc. than the answer is likely no. But Favreau continues to blend enough drama with a lot of kick-ass to create a incredibly fun and enjoyable film. It may be cheesy, but this movie just makes you smile. The charm and witty dialogue capture the essence of a superhero unlike any other. Definitely make sure you check this one out in theaters in order to truly enjoy the great action sequences (even better if in IMAX). So cue the AC/DC and enjoy the thrilling ride.
Final Rating: 4 out of 5 stars
Favorite Quote:
Justin Hammer: "Ms. Everhart is doing a spread on me for her magazine."
Tony Stark: "Ms. Everhart did a spread on me last year...and an article."
Oscar Nominations:
Best Achievement in Visual Effects
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.
Final Rating: 3 out of 5 stars
Favorite Quote: eh...not really any "light" lines
The Imaginarium of Dr. Parnassus (2009)Directed by Terry Gilliam
Length: 123 minutes
Rated PG-13 for violent images, some sensuality, language and smoking
When eating a fine piece of meat, you are often encouraged to slowly chew and savor the experience, letting your pallet absorb and savor the tastes and textures. However, we typically just gobble what is in front of us and move on to the next thing. Movies, like a fine piece of meat, are similar: some can be easily devoured allowing you to instantly form an opinion. Others, such as Terry Gilliam's latest, require a bit of chewing. While the film will more famously be known as Heath Ledger's last, there is an interesting, weird, and almost absurd charm to this marbling.
In my best attempt at summarizing the premise, The Imaginarium of Dr. Parnassus follows a traveling sideshow that allows you to enter the imagination of the film's namesake. However, we soon learn that the real reason Dr. Parnassus, played by Hollywood vet Christopher Plummer (Up, The Last Station), is seeking adventurous patrons has nothing to do with money, but something much more valuable - souls. Over many centuries, the immortal Dr. Parnassus and Mr. Nick aka the Devil, played by none other than Tom Waits (The Book of Eli), have competed on several occasions to see who could collect the most souls. But the traditional carnival sideshow act has lost its luster on today's cynical youth, leading to an ineffectual and ridiculed show. All of this changes when Parnassus and his crew find young Tony, initially played by Heath Ledger (The Dark Knight). With the help of the young and charming Tony, Parnassus is soon able to start collecting souls again; but Tony has a secret that threatens to cost the good doctor the prize at hand in his wager with the devil - his daughter.
Yes, the movie is as ridiculous as the plot; in fact, I cannot even begin to describe the ridiculousness. Inside the imagination of Dr. Parnassus, we find a colorful world of unimaginable possibilities - it's like one giant acid trip mixed with Sergeant Pepper's Lonely Hearts Club Band. Only adding to the madness is the change in appearance of Tony. With the death of Ledger during production, director Terry Gilliam was forced to rework the script in order to finish the movie. This led to the casting of Johnny Depp (Alice in Wonderland, The Rum Diary), Jude Law (Repo Men, Contagion), and Colin Farrell (Ondine, Crazy Heart) as alternate versions of Tony found within the imagination of Dr. Parnassus. While it may sound confusing, it actually comes off quite nicely and flows well.
Let's just be frank about it, Terry Gilliam is one weird dude. Everything he has ever done or been involved in just takes the level of weirdness higher every time. From his background as a member of the Monty Python troop, to his films like Brazil and 12 Monkeys, Gilliam definitely knows how to make you say "huh?". This film certainly isn't for the casual movie fan - I dare say many of you will probably feel slighted if you were to watch this. Though many will be drawn by the prospect of Heath Ledger's last film, you'd be better off savoring his sublime performance in The Dark Knight. But if you are looking for a good film to enjoy, say recreational activities with, than look no further than The Imaginarium of Dr. Parnassus.
Final Rating: 2 out of 5 stars
Favorite Quote:
Dr. Parnassus: "Percy, what would I do without you?"
Percy: "Get a midget."
Oscar Nominations:
Best Achievement in Art Direction
Best Achievement in Costume Design
