Scott Pilgrim vs. the World (2010) Directed by Edgar Wright Length: 112 minutes Rated PG-13 for stylized violence, sexual content, language, and drug references
Before going through the usual dialogue of why I love or dislike a movie, let me just begin to list the ways in which I love Scott Pilgrim: Michael Cera, Jason Schwartzman, Edgar Wright, "Under My Thumb" by The Rolling Stones (my all-time favorite Stones song), the soundtrack, the idea, the awesome blend of Japanese anime style manga with American humor, Ramona Flowers, gay roommate Wallace, vegan police, and the list goes on and on...
Now for the more traditional approach. Edgar Wright has built a huge cult following after his instant classics Spaced: The Series, Shaun of the Dead, and Hot Fuzz. In his latest efforts, Wright decides to adapt the Bryan Lee O'Malley graphic novel series Scott Pilgrim vs. the World, in which the titular character must defeat the seven evil exes of Ramona Flowers, the girl of his dreams. This mash-up of Japanese anime style action and storytelling from the perspective of the hipster social scene is pure genius and translates well to the screen. And let us not forget the incredible casting job.
Perhaps the poster child of an actor capable of balancing mainstream success with indie cred, Michael Cera (Youth in Revolt, Arrested Development) as Scott Pilgrim is the perfect choice. Not only a native of the film's locale in Toronto, Cera posses that effeminate yet "cute" quality that makes you want to cheer for him. Equally awesome are Mary Elizabeth Winstead (The Thing, Live Free or Die Hard),as my future wife and Scott's love interest Ramona Flowers, and Ellen Wong (Unnatural History) as Knives Chau, Scott's scorned ex-girlfriend. Both capture the essence of their characters and really add an extra dimension to the film. Of course, I would be a terrible fanboy if I didn't mention Jason Schwartzman (Bored to Death, The Fantastic Mr. Fox) in his role as Gideon, the leader of the League of Seven Evil Exes. One of my favorite actors, Schwartzman continues his reign as the ultimate "funny even when I'm not being funny" actor - just see his incredible work in Rushmore, The Darjeeling Limited, and even here - he's that perfect arrogant yet mysteriously appealing cool guy. While I would love to talk about each of the seven evil exes, I'll leave it to these parting thoughts: Anne Hog and vegan police = pure gold. Bonus points for those who get the Anne Hog reference.
The over-the-top style of Scott Pilgrim vs. the World is well done, successfully mixing the gaming community and their nostalgic cliches with the noisy fury of the hipster indie scene and the over-exaggerated style of anime manga. Coupled with a raucous sonic boom of a soundtrack as well as enjoyable kung-fu esq battles, the film contains most every element needed for a geek to feel right at home.
While this review is a complete and total mess, it's simply because, like the film, one cannot help but constantly jump from thought to thought in attempt to retrace the spectacle just witnessed. By commercial measures, Scott Pilgrim vs. the World will be deemed a complete failure due to its poor box office performance; but it would be unfortunate if the bottom line dictates the fate of similar films. A gust of fresh air breathed into the stale movie scene, Edgar Wright's latest film is a complete fun-fest and certainly should be enjoyed. While most people will not care for this highly stylized and frantically paced film, it is a shame that most people will pass on seeing Scott Pilgrim vs. the World. I certainly feel the film deserves a trip to the theater, but I acknowledge the film isn't for everyone. So at least send the film industry a message and rent this original and refreshing film so we fans can see more good movies.
Final Rating: 4 out of 5 stars
Favorite Quote: I had a lot of favorite quotes, but I'll just say anything involving the vegan police rocked my world.
Greenberg (2010) Directed by Noah Baumbach Length: 107 minutes Rated R for some strong sexuality, drug use, and language
Director Noah Baumbach became a favorite amongst film critics with his 2005 indie darling The Squid and the Whale. But in a industry full of big name directors, he remains a relative unknown. Baumbach previously worked with more popular indie director Wes Anderson, co-writing several screenplays. In his latest effort, Baumbach nabs one of Hollywood's biggest comedians in the ever lovable Ben Stiller; but are the results any different this time around?
In a role MUCH different than his usual dense yet lovable goof, Ben Stiller (Little Fockers, Help Me Spread Goodness) is Roger Greenberg - a neurotic Gen-X'er hoping to do absolutely nothing while house sitting in Los Angeles for his brother. Roger is a difficult character: at times charming and compassionate before transforming into a moody, brooding asshole. As Roger passes the days house sitting, he reconnects with old band mates and becomes friends with the family's assistant Florence Marr, played by Greta Gerwig (Art House, Northern Comfort).
This is one of Stiller's most complex and difficult characters portrayed to date, yet also one of the most difficult to like. Stiller really captures the difficulty people have in connecting with Roger, even those who want to be a part of his life. Old friends and Florence struggle with his manic mood swings and borderline tropophobic behavior. Where Baumbach's contemporary Wes Anderson has succeeded several times in creating damaged and difficult characters that are still likable, Baumbach continues to deny the viewer any chance of really liking the protagonist.
Much like his previous works, Baumbach does not care if you get the "warm, fuzzy feeling" after his films. You could think of his work as an analysis of the aging of Generation-X and their interaction with modern society. Infidelity, drug use, an elitist sense of intelligence, snarky humor - the traits of a Baumbach film are becoming as recognizable as some of Hollywood's elite. However, this does not make his films any more enjoyable for the popular masses. Greenberg and Baumbach's previous works are a polarizing experience that will leave you firmly planted in the love it or ho-hum side. I, much to my chagrin, fall into the latter. Make sure you rent if only to see Stiller at a new level, but be prepared for 100% indie dramedy.
Final Rating: 2 out of 5 stars
Favorite Quote: Roger Greenberg: "Dear Starbucks, in your attempt to manufacture culture out of fast food coffee you've been surprisingly successful for the most part. The part that isn't covered by the 'most part' sucks."
The Kids Are All Right (2010) Directed by Lisa Cholodenko Length: 106 minutes Rated R for strong sexual content, nudity, language, and some teen alcohol and drug use
As 2010 continues onward, we are quickly approaching Oscar season - aka the time of the year movies get vastly better. Generating intense buzz amongst the critics for its modern take on the family, The Kids Are All Right is the story of a middle age couple struggling to maintain the romance while raising two teenage kids. The twist? The couple are lesbians with sperm donor children who want to meet their donor daddy.
Annette Bening (State of the Union, Hemingway & Fuentes) as the perfectionist wino Nic and Julianne Moore (Elektra Luxx; Crazy, Stupid, Love) as the free-spirit Jules are amazing in their roles as a struggling couple. Both really convey the different natures of their characters while still allowing you to sympathize with their flaws. And I think both actresses and screenplay writer should be commended for making this a movie about a family and its struggles and not focusing on the gay couple pitfall. Sure there are plenty of tongue-in-cheek jokes about the two, but the film really does an incredible job of showing how relationships and families with gay couples are no different than straight couples except for anatomically.
Equally impressive are the performances of the children, next best thing Mia Wasikowska (Alice in Wonderland, Jane Eyre) as Joni and her brother Laser played by Josh Hutcherson (Red Dawn, Carmel). Earlier this year, Wasikowska epically failed as Alice in Tim Burton's rendition of Alice in Wonderland, but she has certainly redeemed herself this time. As a teenager preparing for college and struggling with becoming an adult, Wasikowska nails the emotional range needed for the role. One scene in particular sums up her performance as her lip quivers as she realizes she is finally on her on...good stuff. As the 100% straight and male-thinking member of the family, Hutcherson's Laser shines. Searching for a male influence and an understanding of who he is, Hutcherson has some of the best dead-pan deliveries in the movie as well as portraying the pure teenage male moodiness.
Perhaps the most conflicting part of the movie arises from Mark Ruffalo (Date Night, The Avengers) as sperm donating, biological father Paul. Ruffalo is the restaurant owning, organic vegetable raising, motorcycle riding cool guy, who really wants a family more than anything. While Paul is certainly charming, the film seems conflicted over whether we should hate Paul for his actions or compassionate for his endeavors. Without revealing too much, this is probably the weakest component of the film. Ruffalo certainly delivers on his part, but the screenplay seems confused over how we should react to Paul and his desire to be part of the family.
Without a doubt, The Kids Are All Right masterfully blend the more dramatic elements with several great laughs. The performances are amazing and really shift the focus on the family and away from the type of parents that may deter some viewers. This may not be Brokeback Mountain in terms of making the more conservative squirm; but like Ang Lee's "gay movie standard," the audience sees beyond the couple for their sexual preferences and embraces the story. I found myself on the verge of tears near the end of the movie, as my own fears of failure in relationships manifested itself onscreen. Truly, this is a solid film accessible to even the most average film watcher that should generate some serious buzz come Oscar time.
Final Rating: 4 out of 5 stars
Favorite Quote: Nic: "I need your input like I need a dick in my ass!"
Oscar Nominations: Best Motion Picture Best Supporting Actor - Mark Ruffalo Best Actress in a Leading Role - Annette Bening Best Original Screenplay
Dinner for Schmucks(2010) Directed by Jay Roach Length: 114 minutes Rated PG-13 for sequences of crude and sexual content, some partial nudity and language
Steve Carell, Paul Rudd, and a strong supporting cast in a comedy? Sign me up! Unfortunately what looked like a strong comedic effort on paper didn't quite live up to its billing. Certainly there are plenty of laughs to be had, but for a movie that centers around the infamous dinner for idiots, the movie starts slowly and relies too heavily on the performance of Carell in particular.
Resident smart-ass Paul Rudd (How Do You Know, Wanderlust) is Tim, a financial analyst seeking a promotion by bringing an unsuspecting idiot to a dinner for his bosses to ridicule. Like a sign from God, Tim literally runs into an idiot - with his Porsche, mind you. As an IRS agent by trade and a taxidermist who recreates popular paintings and scenes with dead mice, Barry played by Steve Carell (Despicable Me; Crazy, Stupid, Love) is the perfect schmuck for the dinner. And the perfect person for this movie.
As the destructive tornado that threatens to wreck Tim's life due to his absolute oblivion, Steve Carell as Barry is the pulse of the movie and frankly the saving grace. The first ten minutes of the film feels listless and pointless, but the second Carell enters the screen the movie truly begins to flourish a he balances the right amount of stupidity with heart. I have been a big fan of Rudd's over his last few films, but this is one of his worst performances to date. Whether the result of bad writing, bad character, or simply bad acting, Rudd's character is dull and disconnected, while Carell is charming in a strange way.
Helping Carell along the way is Jemaine Clement (Predicament, Men in Black III) as Kieran, a narcissistic artist that seeks to embrace the animal side of life. While Carell is certainly the star of the show, Clement's character only adds to the laughs, especially when the two are employed together. Additionally strong in a supporting role is Zach Galifianakis (Due Date, It's Kind of a Funny Story) as Therman, Barry's psychic co-worker. Galifianakis's role in The Hangover may be more memorable, but the faux-turtleneck wearing Therman has his moments.
Amazingly, for a movie centered around the titular dinner, the scene is relatively short and one of the weaker moments. The bottom-line is no one will consider this a modern classic, like Tropic Thunder or The 40 Year Old Virgin. But there are plenty of laughs. What may have been a disappointment of a movie still features memorable roles by the likes of Carell and Clement. Ultimately, save your money and way for the DVD release or cable debut. The laughs will still be there and a lot cheaper. And cheaper things are certainly easier to appreciate even if they lack in certain areas.
Final Rating: 3 out of 5 stars
Favorite Quote: Kieran: "Do you have any idea what it's like Tim, to be up to your elbow in a zebra's vagina?" Tim: "No." Kieran: "You should try it Tim, it's magical!"
The Road (2009) Directed by John Hillcoat Length: 111 minutes Rated R for some violence, disturbing images, and language
Unless you are like a majority of Americans, you have probably heard of Cormac McCarthy's critically acclaimed and commercially successful novel The Road. This dreary journey tale set in an apocalyptic future focuses on the bond between a father and a son in their struggles to survive; while the novel may be short on standard literary fare, its simple prose and heavy themes have made it a success amongst the literary community, even earning the praise of one Oprah Winfrey. As a fellow University of Tennessee alumni (even though McCarthy did not graduate), I have eagerly awaited the film adaptation since first reading the novel. While its sparse conversations and ashen settings may deter most movie goers, this film adaptation does a good job of capturing the themes and ideas of the novel.
Though the cause of the "apocalypse" is never explicitly stated, it's hardly the point. Faced with lack of food, shelter, water, heat, or hope, a father - played by the always reliable and seemingly naked Viggo Mortensen (A Dangerous Mind, Good) - struggles to keep his son safe while teaching him how to stay a good guy in a bad world. Newcomer Kodi Smit-McPhee (Matching Jack, Let Me In) plays the son and delivers a balanced performance: not too whiny but just enough to sell the age of the kid (approximately 8-10). With the ever present threat of thieves and cannibals, father and son press onward to the coast in search of a new life.
The film stays accurate in keeping a focus on the relationship of the father and son, avoiding the temptation to turn the film into the next The Book of Eli or Mad Max. Though I doubt McCarthy would have allowed such a thing, it's refreshing to see a screenplay stay true to a novel. It truly is heart-wrenching seeing how protective and loving the father is of his son - willing to take his child's life in order to protect him from the hell another may intend to inflict upon him. Imagine teaching your child how to kill himself in case he was ever in danger of falling prey to a cannibal.
I was also pleased with the film's depiction of the setting. When I say dark and dreary, it doesn't even begin to describe the level of destitute seen here. No sunlight, no trees, just ash and destruction lining the very road the man and boy take. Cormac McCarthy's works are not known for their ease, instead challenging the reader with hard-to-follow dialogue and heavy metaphors/themes. The Road is a very literary based adaptation, and as such captures the feel of the novel well. While fans of the book will appreciate this, it does not necessarily translate into a successful and mass-appealing movie. So if you enjoyed the book, like Viggo Mortensen, or like successful book-to-film translations, there is something here for you to absorb; otherwise, you may not like this dark translation that may feel too much like reading for some.
Final Rating: 3 out of 5 stars
Favorite Quote: The Man: "Do you ever wish you would die?" Old Man: "No, it's foolish to ask for luxuries in times like these."
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."
