All films have a U.S. release date of 2011 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.
13 Assassins [Jusan-nin No Shikaku]: 7/10 - With a plot-structure essentially the same as Kurosawa's influential "Seven Samurai" (1954), director Takashi Miike has created an engaging and constantly entertaining men-on-a-mission film.
50/50: 8/10 - A comedy that works is a rare occurrence these days, so when one comes along, it should be admired. Joseph Gordon-Levitt delivers a very good performance in the lead, Seth Rogen works perfectly as comedic relief, and best of all, Will Reiser manages to craft a strong script that doesn't fall apart and let us down in the third act like so many recent comedies.
The Adjustment Bureau: 4/10 - The movie is a mess from top to bottom, but director George Nolfi's decision to allow the boom mic to slip in and out of nearly every scene left me feeling irate through the entire experience. Supposedly it was an artistic decision, one I hope will never be duplicated again.
Another Earth: 5/10 - Screenwriters Mike Cahill and Brit Marling (he directs and she stars) have crafted a thought-provoking premise, but neither one has any idea of what they should do with it.
The Artist: 8/10 - The film's first 30 minutes or so are astoundingly beautiful and brilliant, with scene after scene of memorable moments. Unfortunately, it does lose some steam during the middle and it could have benefited from some tighter editing. Make no mistake though, I was thrilled to see a film this far outside the box (a silent film) done with such mastery at this point in time, and I applaud the efforts of director Michel Hazanavicius and star Jean Dujardin.
Bad Teacher: 6/10 - I went into the film expecting an abomination, but was pleasantly surprised by a mostly funny comedy. It's a hybrid of films we've all seen before -- especially "Bad Santa" (2003) -- but the laughs hit more than they miss, which I consider a success today.
The Beaver: 5/10 - Mel Gibson gives a strong performance and Jodie Foster does very well behind the camera, but this is a really bad script -- all-time bad. In the end, regardless of the talent involved, it's a story about a depressed man walking around with a Beaver puppet on his hand. It felt more like an exercise stripped from a college acting class than it did a feature film.
Beginners: 3/10 - A very dry, existential movie-viewing experience. While there are moments to remember -- and Christopher Plummer is always a pleasure to watch -- the mostly sloppy filmmaking of Mike Mills keeps the viewer at a distance.
A Better Life: 6/10 - This is a good film with solid-storytelling and a strong performance from Demian Bichir. It's nearly impossible not to draw the obvious comparison with De Sica's "Bicycle Thieves" (1948), which also unites a man and his son in search of the only piece of tangible hope within their grasp.
Bridesmaids: 5/10 - Director Paul Feig moves his overblown, two-dimensional characters from set-piece to set-piece, giving them free-reign to try and get laughs through any means possible. While there are some moments of humor, the result, for the most part, is an awkward, overlong bore.
Captain America: The First Avenger: 4/10 - Easily one of the worst films that Marvel has produced -- it's extremely corny and disengaging. The bright-side of course is that it has laid the final piece of groundwork for "The Avengers" (2012), which has been building up to release for a few years now.
Cars 2: 3/10 - Pixar apparently can screw up after all. This is their worst film since "A Bug's Life" (1998).
Certified Copy [Copie Conforme]: 8/10 - Writer/Director Abbas Kiarostami has crafted a brilliant exploration of the affects perception and emotion can have on the reality of a relationship. There are several possibilities still rattling around in my head for what actually happened during the film, but with each one, Kiarostami's theme is triumphant, only making the point that perhaps the exact details of the plot aren't relevant at all. Just as impressive as the filmmaking is a genuinely astounding performance from Juliette Bionche, who has to carry a truth with her throughout the entire film without the audience ever fully understanding the parameters of her character.
The Change-Up: 7/10 - I really can't ask for anything more from an elicit, raunchy R-rated comedy. The film's premise involves two (very different) friends swapping bodies, so the suspension of disbelief bar is placed extremely low to start with. There are also two great performances from Jason Bateman and Ryan Reynolds that keep the laughs constant.
Conan O'Brien Can't Stop: 5/10 - Filmmaker Rodman Flender follows comedian Conan O'Brien around on his 32-city comedy tour that followed his departure from the NBC Tonight Show in 2010. I find Conan mildly entertaining, but all this documentary revealed to me is how hollow of a man he really is -- his drive for success far outweighs his talent and the footage of him during his touring downtime only magnified his flawed, selfish -- and often cruel -- character.
Conan the Barbarian: 5/10 - A mindless action film with a plot as silly as one should expect from viewing the trailers.
The Conspirator: 7/10 - The film centers on the trial of Mary Surratt, the first woman sentenced to death in American history, for her involvement in the assassination of President Lincoln. From context alone, the film is interesting and engaging; however, Robert Redford falls somewhat short in his direction, failing to deliver the finer details needed for a period piece like this one to become greater than the sum of its parts.
Contagion: 4/10 - Superficial and scattered; it's really baffling to think Soderbergh didn't see where this train-wreck was going during the filming. For a film that centers around massive loss of life, it's somewhat of an accomplishment for a director to never create an emotional connection between his audience and any of the characters on screen.
Crazy, Stupid, Love: 7/10 - While the script often struggles from the same ailments most modern comedies do, I'll forgive the forced twist for the simple reason that it creates the funniest scene in the film. As a whole, the film works due to strong performances from the entire cast and a tremendously enjoyable effort from Ryan Gosling, who you can clearly tell was having more fun than anyone with his chance at such an atypical role.
A Dangerous Method: 5/10 - It was incredible to watch writer Christopher Hampton and director David Cronenberg transform some of the most brilliant minds in history into two-dimensional talking heads. The ideals of Freud, Jung and Spielrein are certainly offered up to be discerned, but the flesh and blood that created them is nowhere to be found -- as viewers, we're left to see the creation of psychoanalysis from the perspective of a history book rather than a reimagining of what actually may have transpired.
The Debt: 7/10 - The film's strength is in exploring the plot-line of the younger characters as they exercise their mission to extract a Nazi war criminal from East Berlin in 1965 -- director John Madden does well with those scenes, crafting suspense at every turn. It's unfortunate to see the film take such silly turns in the narrative that runs parallel, 30 years later.
The Descendants: 4/10 - Director Alexander Payne's ("About Schmidt," 2002, and "Sideways," 2004) latest film is off-tune from start to finish, and in turn, none of the acting is very strong since none of the characters are ever believable constructs of any reality I've ever known. Payne is so concerned with style that the film gradually slips into irrelevance -- there's never really a reason to care about anyone on the screen, nor is there ever a moment to think of the characters as anything more than actors collecting a paycheck.
The Dilemma: 4/10 - Silly, over-the-top, and rarely deserving of your attention. In a more positive light, Vince Vaughn turns in another strong comedic performance, so it's frustrating to see him waste his talents on such a week script.
Drive: 9/10 - I often make the mistake of not reserving judgment on a film until it concludes; making resolutions in my mind as the film unfolds. At first, the movie felt to me like a lesser "Taxi Driver" (1976), with a somewhat contrived script. In retrospect, it's meant to be a superficial fairytale, not an introspective social statement -- maybe the better comparison to make would have been to Malick's "Badlands" (1973). While Ryan Gosling is very good in his lead role, make no mistake, the film is driven by director Nicolas Winding Refn.
The Girl with the Dragon Tattoo: 9/10 - It was impossible for me to go into the film without carrying the memories of the Swedish version from 2009 (a movie that I greatly enjoyed). Amazingly, even knowing every detail of the mysterious plotline, I was gripped the entire way through. Director David Fincher has crafted a near masterpiece with his latest work -- something that certainly stands on its own merit and should be heavily considered come award season.
The Guard: 5/10 - Endearing performances from Brendan Gleeson and Don Cheadle squeeze all they can out of this quirky Irish comedy.
Hall Pass: 4/10 - There's really one major difference between "Hall Pass" and "Wedding Crashers" (2005): Vince Vaughn. If you took his semi-brilliant performance out of the now-comedy-classic, you'd be left with exactly what we're given in Owen Wilson's latest film: lukewarm comedy mixed with a few over-the-top characters to remind us all that we're watching a movie intended for teenagers.
The Hangover Part II: 3/10 - Just about as terrible as the first one, so I suppose if you liked that, you'll like this. My major issue is that I find Zach Galifianakis inherently unfunny.
Hanna: 6/10 - While the script is paper thin, director Joe Wright infuses enough cinematographic style and creative supporting characters to keep the film enjoyable. It'd be interesting to see him tackle an action film with more substance.
Hell and Back Again: 3/10 - A documentary about an injured marine's return home, juxtaposed with footage taken from his time in Iraq. Considering the material, the finished project is shockingly stale and non-engaging.
The Help: 6/10 - A great ensemble cast keeps the film engaging, but the harsh subject material is watered-down too far for it to be taken very seriously. The overlong runtime doesn't do it any favors either.
Hesher: 5/10 - It would be easy to excessively pan this movie for being so ridiculously implausible that only anger and resentment to its existence could result from viewing it, but I can't bring myself to do that. After all, I kept watching it. I'm not exactly sure why though: maybe it was the strong performances -- especially by the title character Hesher, portrayed by Joseph Gordon-Levitt -- or maybe it was due to the continual use of Metallica songs that guide the film from point A to point B; in either case, I kept watching...and I don't imagine forgetting the film anytime soon.
Horrible Bosses: 7/10 - When a script premise is as ridiculous as this one, the ceiling on the film begins to lower before the opening title; however, director Seth Gordon and the pitch-perfect cast squeeze every ounce of potential out of the project. Kevin Spacey and Jennifer Aniston especially are able to elevate roles that in most other hands would have been cringe-inducing disasters.
Hugo: 9/10 - The first half of the film is a very well-made family movie with great use of 3D technology (though I'm still not sold on the medium as it stands currently); the second half of the film is Martin Scorsese's love letter to cinema, which is a movie-going experience I'll never forget. It's a profound experience to see what a gifted filmmaker can do behind the camera, regardless of the subject material -- and I think it's fair to state that "Hugo" marks Scorsese's furthest departure from his typical comfort zone.
The Ides of March: 9/10 - George Clooney has created a brilliant political drama that depicts the cause and effect of corruption more effectively than any film of its kind that I can think of. The movie, while easily predictable, manages to be gripping from the opening scene -- aided enormously from yet another strong performance from Ryan Gosling and great supporting roles for Paul Giamatti and Philip Seymour Hoffman.
If a Tree Falls: A Story of the Earth Liberation Front: 5/10 - The issue with the documentary is its vantage point, following a protagonist who no one should have sympathy for unless their moral compass is irretrievably broken. In itself, that is not a fault, but filmmaker Marshall Curry clearly allowed himself to be swayed by the man's story, in turn losing site of what should be the pinnacle of common sense.
The Iron Lady: 6/10 - With each performance, Meryl Streep's talents seem more and more uncanny. It's only unfortunate that her brilliant portrayal of Margaret Thatcher is mostly wasted in a film that chooses to devote a majority of its time on her slide into dementia instead of her rule over Great Britain as one of the most influential leaders of the 20th century.
J. Edgar: 8/10 - Clint Eastwood has created a biopic that starts off cold and unfeeling, but gradually transforms into something more. I can't be certain when the moment occurs, but by the end I was genuinely drawn into the fascinating life of a man who was perhaps America's most fascinating historic figure. As has become expected, DiCaprio is pitch-perfect in the role; it's to a point where I feel that I'm starting to take his talents for granted, which isn't fair to man who has still not been awarded a Best Actor Oscar. At the least, a nomination is certainly coming.
Killer Elite: 5/10 - It's a really weak script, but Jason Statham and Clive Owen have some fun with it; Deniro -- who is enormously miscast -- struggles with it the whole way through unfortunately.
Kung Fu Panda 2: 2/10 - This is a very harsh rating, but it truly was a struggle not to turn it off.
Larry Crowne: 6/10 - While the characters are certainly endearing, Tom Hanks behind the camera -- as a writer/director -- is missing the genuineness that makes him so special as an actor.
Limitless: 6/10 - I love the concept -- the idea of allowing a human to efficiently maximize his/her potential; drawing from all memory at a moment's notice and calculating complex, real-world algorithms in seconds -- unfortunately, the formulaic plot-structure really drags the film's potential into the gutter.
The Lincoln Lawyer: 6/10 - The movie is just about exactly what I expected it to be: mindless entertainment with a forced twist at the end. McConaughey and his ensemble cast deliver relatively strong performances though, keeping the film rolling and preventing numerous pitfall dragging points.
Margin Call: 6/10 - With "Too Big to Fail," we were able to see a re-enactment of the economic crash in 2008 from a macro perspective; with "Margin Call," we see a fictionalized recount of the 24-hours leading up to the historic Lehman Brothers collapse. While it's essentially just more of the same thing, it's a topic that I find infinitely interesting.
The Mechanic: 6/10 - The plot is about as simple as it gets, but Statham and Foster keep the material engaging. It's a straight-forward and often enjoyable action film.
Meek's Cutoff: 6/10 - Director Kelly Reichardt has crafted a throwback western, giving significant focus to the women included in a caravan traveling the Oregon Trail in 1845. The narrative feels stoic and we get a sense early on that we're meant to feel the experience of the journey more than we are meant to project ahead to the destination.
Midnight in Paris: 8/10 - Woody Allen's latest film is about as flawed as a masterpiece could ever be, putting me in the difficult position of trying to evaluate it in spite of his glaring mistakes -- specifically, the two-dimensional caricatures he wrote for the protagonist's fiancee (Rachel McAdams), her friends, and her family. If one's able to lobotomize them from the film, even if only for a moment, the result is one of the more wonderful experiences I'd expect to have this year in theaters.
Mission Impossible - Ghost Protocol: 7/10 - One of the stronger entries into the series and a worthy action film in its own right. The narrative weaves us from one set-piece to the next, but never leaves us bored -- though, I will note that the cast chemistry is about as cold as I've ever seen for a "men on a mission" film.
Melancholia: 6/10 - Lars Von Trier's success typically comes when he creates a perfect thematic allegory on screen and then plays with the variables as only he can. With his latest film -- using the impending apocalypse as a metaphor for depression -- he doesn't fit it all together quite so tightly, and as a result, the film's internal logic doesn't always add-up and his characters never breathe life on their own.
Moneyball: 7/10 - The film certainly maintains an agenda to favor Billy Beane's legacy, but I'm ok with that. The man revolutionized the game of baseball by allowing a new approach in baseball player-evaluation to find its way into mainstream acceptance. Brad Pitt does well in the lead role, but like most Aron Sorkin screenplays, he's the star.
The Myth of the American Sleepover: 3/10 - The film is a reoccurring nightmare of bad acting and sloppy filmmaking all the way through.
My Week with Marilyn: 8/10 - This is a great film in sole part because of Michelle Williams' brilliant performance, which elevates everything else in the movie above what it should be. Her encapsulation of Monroe allows all of director Simon Curtis' themes to work despite his often mediocre executions. The rest of the cast does well to move aside, especially Branagh (portraying Lawrence Olivier), who effortlessly pulls back exactly when he should.
Nostalgia for the Light [Nostalgia de la Luz]: 1/10 - While I admired filmmaker Patricio Guzman's vision of connecting the past with the future through astronomy and archeology, his film really misses the mark and lacks any form of focus.
No Strings Attached: 5/10 - The film feels like what would happen if HBO or Showtime decided to air a sitcom and then stretch one episode out to nearly two hours. In film form, it fails more than it works -- we see two-dimensional characters find themselves in marginally funny scenarios while waiting (and waiting) for them to reach the inevitable conclusion. On a more positive note, the talented Natalie Portman does all she can to be funny and sexy in a mostly dull film -- it'd be interesting to see what she could do in a comedy with better material.
Page One: Inside the New York Times: 6/10 - The revolution away from print media is an endlessly interesting topic, but the footage filmmaker Andrew Rossi compiled feels very scattered at times. Also, ironically enough, even though the film's contents were only a year old, it managed to feel dated. I suppose, if nothing else, that's a sign of how imperative it will be for print media to adapt at unprecedented rates to stay alive.
Point Blank [À Bout Portant]: 7/10 - A paper-thin plot that carries along enough adrenaline to allow the viewer to get lost in the action. Director Fred Cavaye follows the model for what an action film should be -- and it works -- which is more than can be said for most Hollywood action films, with inflated runtimes and failed character development.
Rampart: 3/10 - An egaging performance from Woody Harrelson doesn't save Oren Moverman from the muddled mess he's created.
Rango: 5/10 - I'm very torn with "Rango" because it's a movie I should have enjoyed more than I did. The film was seemingly made for movie-lovers; it's an innocent, animated, satirical homage to every Western I've ever seen, yet I sadly found myself wishing it had a little more meat on its bones.
Real Steel: 6/10 - It's a contrived and often agonizingly unoriginal script, but the film has heart and Hugh Jackman has some fun with the role.
Rise of the Planet of the Apes: 6/10 - It's exactly the film I expected it to be -- nothing more; nothing less. It requires a tremendous amount of suspension of disbelief and James Franco is really terrible in the lead...still, it's certainly never boring.
A Separation [Jodaeiye Nader az Simin]: 7/10 - Director Asghar Farhadi allows his viewers to act as voyeurs, observing a group of generally good people in a morally complex situation. I kept waiting for the other shoe to drop -- expecting a Hollywood-like twist -- but it never came; instead it remained a very bare-bones character study, where the idea of right and wrong never quite seemed to fit.
Shame: 8/10 - A strong film with a great performance from Michael Fassbender, who bravely tackles the subject of sex addiction without limitation. Director Steve McQueen was wise in his choices, letting each scene drag on just a little longer than one would expect, allowing the viewer to follow the narrative as an intimate voyeur incapable of intervention.
The Skin I Live In: 8/10 - Pedro Almodovar is on a very short list of the most talented directors working today, but he always seems to tackle absolutely bizarre material. His latest film is no exception -- in fact, it's perhaps the strangest film I've ever seen -- but his beautiful style is able to overcome any quandaries one might have about the content.
Source Code: 7/10 - I love the idea of exploring brain activity after death, largely because as an atheist, it's my only insight into an afterlife. "Source Code" takes the thought-provoking concept and squeezes it into a highly entertaining action film.
Sucker Punch: 3/10 - Expertly filmed, beautifully photographed garbage -- wasting so much talent on such worthless and misguided content is bewildering. I can only hope that Zack Snyder looks to better material in all of his future endeavors.
Super 8: 5/10 - J.J. Abrams film is all style over substance. It's the idea of great filmmaking stuck in a plot that isn't designed to support greatness. The best I can offer to Abrams is the compliment of that in lesser hands, the film would have likely been entirely unwatchable.
Tabloid: 9/10 - "She’s not an evil person. I mean, she’s...just a bit crazy, eccentric...self-obsessed and self-involved, manipulative...and barking mad! Probably. Basically." Documentary filmmaker Errol Morris has crafted his finest film yet, allowing viewers to examine the life of Joyce McKinney, a former Miss Wyoming who was charged with abducting and raping a young Mormon man she loved. The film plays out like a real life "Rashomon" (1950), as we eagerly listen to the various versions of the bizarre tale unfold before us.
Take Shelter: 9/10 - Writer/Director Jeff Nichols has crafted a brilliant film, delving into the the life of a man spiraling deep into mental illness. Michael Shannon is a tour de force in the lead, delivering one of the year's great performances, and Jessica Chastain -- in one of her four strong performances of the year -- does very well as Shannon's wife.
Thor: 7/10 - A largely entertaining film that suffers from a very difficult script. Long before Thor makes his way to earth, the viewers are fed the complicated events that lead up to his journey, which at the time (and in retrospect) felt more like an overlong prologue. Director Branagh (well known for his work with Shakespeare adaptations to the screen), did an admirable job in piecing the sections together, but the cost of such a plot-line led to an inevitable time-crunch in generating any kind of on-screen chemistry between the two leads (Hemsworth and Portman).
Tinker Tailor Soldier Spy: 7/10 - A very tightly woven espionage mystery with a perfect cast that gradually builds momentum toward the conclusion. Its fault comes only in how neatly pieced together everything is -- sometimes at the cost of viewer understanding -- but I'd always prefer a film be more challenging than less.
Too Big to Fail: 7/10 - Director Curtis Hanson's newest film is a re-enactment of events rather than a non-fiction film, the difference being two-fold: every character is two-dimensional and every line spoken by one is done to further the plot. The result is a very entertaining and fascinating film with virtually no depth.
Transformers: Dark of the Moon: 3/10 - There's a very cool, well-shot 20-30 minute sequence where a Chicago skyscraper is sawed in half, but it's surrounded by two-hours of pure nonsense.
Tree of Life: 10/10 - Despite my initial temptation, it would be foolish to call this a flawed film as it is so personal; I suspect every frame is exactly as director Terrance Malick wanted. The best comparison that can be given would be to Tarkovsky's "The Mirror" (1975), though instead of traveling inward, Malick decides to expand his scope outward -- an immeasurably more difficult task. The result is a film that tells the story of our universe, using a small Texas town in the 1950s as the focal point. I applaud Pitt's performance, but this is Malick's film and his camera is the star -- we follow his vision as the imagery weaves us through one of the more unforgettable journeys one could have in a theater.
Trust: 8/10 - Director David Schwimmer's success with "Trust" comes from the creation of a fully realized, perfectly written character, portrayed poignantly by Liana Liberato. It's rare to see such complex subject matter (child sexual abuse) handled so well, so I can only applaud Schwimmer for his brutal, yet elegant approach. My only gripe would be in the frequent narrative shifts to the father's (Clive Owen) search for vengeance.
Unknown: 4/10 - The issue with twists today is that the audience is now trained to look for them. In the 1990s, films like "Usual Suspects" (1995) and "The Sixth Sense" (1999) were genuinely able to shock the audience, but I wonder if they'd work at all if released in 2011. The resolution to that issue for many screenwriters is to simply make the twists more and more ridiculous. I can genuinely state that the twist in "Unknown" caught me by surprise, but in reflection I feel more cheated than exhilarated because the twist was completely ridiculous in the context of the film I was shown. Worth adding, I also find it astounding that January Jones has a career as an actress.
War Horse: 1/10 - I made it through most of the movie, but each second was increasingly more difficult. The film is embarrassingly bad, to such an extent that I actually feel it hurts Spielberg's legacy.
Warrior: 7/10 - Easily the most contrived film I've ever seen, but it's amazing what good acting and solid storytelling can make you forget during a film experience. Tom Hardy is exceptional and I really hope he isn't forgotten come award season.
Water for Elephants: 8/10 - The viewing experience for "Water for Elephants" was both highly enjoyable and frustrating: director Francis Lawrence does well in creating a throw-back to old-fashion film-making, but he doesn't take any risks throughout -- it's as if he was content to follow the color-by-numbers, directing-101 manual. However, it's difficult to blame someone for not creating a masterpiece, when the finished result was as good as this film is. Christopher Waltz steals every scene he's in (much like his work in Tarantino's Inglourious Basterds) and Robert Pattinson does well as the brooding lead character, Jacob; sadly Reese Witherspoon fails in every conceivable way in what is one of the worst performances of her career.
We Need to Talk About Kevin: 6/10 - I didn't buy into any of the characters' internal logic or in how the plot progressed, which had me feeling uncomfortable and frustrated throughout the entire film. Still, just as I would never re-watch it, I never would have turned it off before seeing how it concluded. If nothing else, it demands that the viewer think, which I appreciate.
Win Win: 6/10 - A little too formulaic for a quirky drama and not quite enough laughs for a quirky comedy, but the film's performances all have enough heart to really bring the characters to life. This is the type of role that Paul Giamatti was born to play, so in a matter of moments, he brings you into his little world and you actually care about his well-being.
Winnie the Pooh: 6/10 - It's difficult to objectively critique a film whose cast of characters is closer to my heart than any other and a film whose target audience is under the age of five. For nostalgic purposes alone, the film is worth the viewing, but if you have no such connection, it's likely something that you should leave to the little ones.
X-Men: First Class: 6/10 - The film is just about what you expect it to be, which is fine, but don't go in with hopes of something that elevates itself beyond the baseline for the genre. The one bright-spot is Michael Fassbender's performance as Magneto, which shows some flashes of a future star.
Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)
Monday, May 09, 2011
Thursday, February 17, 2011
Looking Back at 2010 - Top 10 and More
Like last year, I've delayed writing this post as long as I felt feasible so I could allow myself to see as many films 2010 had to offer as possible. While there are still a few movies that I haven't been able to see, with the Academy Awards quickly approaching, I think I've procrastinated as long as I can. At the time of this posting, I've seen 67 films with a US release date from 2010.
The Top 10 Films Released in 2010
1. Biutiful
2. Inception
3. Blue Valentine
4. Solitary Man
5. The Secret in Their Eyes
6. Black Swan
7. The Social Network
8. The King's Speech
9. The Girl with the Dragon Tattoo
10. True Grit
Individual Accolades
Best Director:
1. Christopher Nolan - "Inception"
2. Alejandro González Iñárritu - "Biutiful"
3. Juan José Campanella - "The Secret in Their Eyes"
4. Darren Aronofsky - "Black Swan"
5. Tom Hooper - "King's Speech"
Best Performance by an Actor:
1. Javier Bardem - "Biutiful"
2. Michael Douglas - "Solitary Man"
3. Ryan Gosling - "Blue Valentine"
4. Colin Firth - "The King's Speech"
5. Al Pacino - "You Don't Know Jack"
Best Performance by an Actress:
1. Natalie Portman - "Black Swan"
2. Noomi Rapace - "The Girl with the Dragon Tattoo"
3. Michelle Williams - "Blue Valentine"
4. Hailee Steinfeld - "True Grit"
5. Milla Jovovich - "Stone"
Best Screenplay:
1. Christopher Nolan - "Inception"
2. Aaron Sorkin - "Social Network"
3. Mark Heyman, Andres Heinz and John J. McLaughlin - "Black Swan"
4. Alejandro González Iñárritu, Armando Bo and Nicolás Giacobone - "Biutiful"
5. David Seidler - "King's Speech"
The Top 10 Films Released in 2010
1. Biutiful
2. Inception
3. Blue Valentine
4. Solitary Man
5. The Secret in Their Eyes
6. Black Swan
7. The Social Network
8. The King's Speech
9. The Girl with the Dragon Tattoo
10. True Grit
Individual Accolades
Best Director:
1. Christopher Nolan - "Inception"
2. Alejandro González Iñárritu - "Biutiful"
3. Juan José Campanella - "The Secret in Their Eyes"
4. Darren Aronofsky - "Black Swan"
5. Tom Hooper - "King's Speech"
Best Performance by an Actor:
1. Javier Bardem - "Biutiful"
2. Michael Douglas - "Solitary Man"
3. Ryan Gosling - "Blue Valentine"
4. Colin Firth - "The King's Speech"
5. Al Pacino - "You Don't Know Jack"
Best Performance by an Actress:
1. Natalie Portman - "Black Swan"
2. Noomi Rapace - "The Girl with the Dragon Tattoo"
3. Michelle Williams - "Blue Valentine"
4. Hailee Steinfeld - "True Grit"
5. Milla Jovovich - "Stone"
Best Screenplay:
1. Christopher Nolan - "Inception"
2. Aaron Sorkin - "Social Network"
3. Mark Heyman, Andres Heinz and John J. McLaughlin - "Black Swan"
4. Alejandro González Iñárritu, Armando Bo and Nicolás Giacobone - "Biutiful"
5. David Seidler - "King's Speech"
Sunday, March 28, 2010
2010 Movie Reviews
All films have a U.S. release date of 2010 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.
127 Hours: 4/10 - All I could think about during most of this film was how much better it would have been in the hand's Kevin McDonald, the director of the great 2003 documentary, "Touching the Void." The issue with filming a story like this without a documentary style is that there's no action, conflict or interest through most of the run-time. As a viewer, I wanted to hear from Aaron Ralston, the real-life hiker who was pinned by the boulder; I didn't care about James Franco's mediocre interpretation or Danny Boyle's meaningless re-imagining.
The A-Team: 5/10 - Much like 'G.I. Joe' last year,"The A-Team" is over-the-top action that really can't be taken seriously. While all the characters are two-dimensional, the performances are mostly fun to watch.
All Good Things: 6/10 - The film is based on true events and the content is there to make an engaging film, unfortunately, nothing about the filmmaking is half as clever as director Jarecki seems to think it is. The film revolves around clumsy narrative structures, gaps in logic, and an underlying bias that always seems misplaced. However, I will add, regardless of the filmmaking, the story is fascinating and the cast is strong, making it a marginally intriguing experience.
The American: 5/10 - I admire what director Anton Corbijn was attempting to do in this film, however, in all the ways Jim Jarmusch succeeded with last year's great "The Limits of Control," Corbijn falls short. I make the comparison because both films are slow-paced, often surreal and involve hit-men; the distinction is that "The American" has a protagonist who strives for a human connection -- he seeks out love -- and it takes the screenplay in a direction that is not maintainable. The film slowly drifts into the purposeless examination of a character, instead of an idea. It's only made worse by a very odd performance from George Clooney, who is never quite sure of how he should be portraying the role.
Animal Kingdom: 6/10 - Ben Mendelsohn and Jacki Weaver create two of the most terrifying and creepy characters I've seen on screen in awhile and their performances keep an otherwise uneven film very engaging. Director David Michod wants this film to be very raw, which is obvious throughout the first half, but as the plot picks up, Michod becomes decidedly more fancy with how he chooses to capture the narrative -- the overall feeling I left with is that the filmmaking could have been much tighter, and in turn, the film could have been much better.
Biutiful: 9/10 - Inarritu's 4th film is uniquely brilliant and profoundly sad. It focuses on a a very flawed man dying from terminal cancer, trying to set his affairs in order before his time ends -- most notable on his list of things that need to be tended to, the welfare of his children after he's gone. Javier Bardem is pitch-perfect (as has come to be expected from him) and posses an innate sadness in his eyes that conveys Innaritu's message in every frame: we are all powerless.
Black Swan: 8/10 - Have you ever wondered what the outcome would be if David Lynch directed "Red Shoes" (1948)? Me neither...yet here it is. Darren Aronofsky has helmed a fascinating and horrific film; a deep, introspective look into the mind of a very damaged New York city ballet performer (Natalie Portman). Portman is impressive in her roll -- never misreading a scene or skipping a note -- it's her best work since "Closer" (2004) and I can only hope she continues to challenge herself moving forward.
Blue Valentine: 9/10 - I once read a great anonymous quote: "Men marry women in hopes that they will never change, and they do; women marry men in hopes that they will change, and they don't." I feel as though writer/director Derek Cianfrance could have used that line as his elevator pitch very successfully. The film is an examination of the birth and death of a relationship, and by the time we're half way through, we realize it has a life of it's own -- almost as though Cianfrance is sitting beside us, wondering along with us where the story is going. Of course, such an approach can only work with the right cast and Ryan Gosling and Michelle Williams are superb in their portrayals.
The Book of Eli: 4/10 - A short-sighted concept and a painfully illogical plot are partially saved by an engaging performance from Denzel Washington. I'm in no way recommending the film to anyone, but hell, I guess it could have been worse.
The Bounty Hunter: 2/10 - Laughably terrible. The plot is so random and ridiculous that it may even temporarily distract you from the awful acting. I really wish there was a way to better emphasize how bad this movie is, but I'm out of adjectives.
Brooklyn's Finest: 5/10 - Director Antoine Fuqua pulls us into the lives of three police officers using elegant tracking shots, almost stalking his characters through each scene. Fuqua is unable to prolong the charade for more than about thirty minutes though since the script really has no story to tell. None of the actors deliver believable performances and none of the characters have a story arc worth viewing.
Catfish: 7/10 - The filmmakers of this modern parable leave a lot on the table, but the message viewers are left with is an extremely important one; in turn, making the film important. It's somewhat amazing to consider how young the widespread use of the internet is -- so much so, that I don't feel most people are even capable of recognizing the repercussions of human interactions that are now made possible by it. The line to avoid crossing, as I can see it, is the emotional investment so many are willing to give to a virtual world.
Centurion: 2/10- Filmmaking at its worst.
City Island: 3/10 - There's nothing worse than a film that does nothing to mask that it's a film. Every character -- every line of dialogue -- is never anything more than words from a piece of paper. Creating a reality for viewers is the most basic and important thing for a filmmaker to do; writer/director DeFelitta falls woefully short in the task.
Cop Out: 3/10 - Incomprehensibly bad. It felt as though Director Kevin Smith and several of the actors were at times aware of how awful the script was, and in turn, hamming it up and winking at the audience -- unfortunately, that approach remained as inconsistent and sloppy as the plot.
Date Night: 3/10 - Roger Ebert, a film critic I greatly admire, gave this train wreck three-and-a-half stars; and after reading his review, I couldn't help but realize that I understood and agreed with every core point he made about comedy, yet blatantly disagreed with his application of these points on "Date Night." It's no different than the dozens of other comedies Hollywood churns out each year: cheap laughs, illogical plot structures and unbelievable characters jammed together by a director who has no concept of his own profession. It's not just unfunny, it's depressing.
Daybreakers: 3/10 - It's difficult to imagine such a promising premise reduced to such a worthless and illogical pile of crap -- by the end, the film had more conceptual holes than I could count. What could have been a breakthrough for the genre, was instead a decade regression.
Edge of Darkness: 4/10 - I'm not sure what the exact percentage is, but the translation of stupid scripts into stupid movies is probably very high. Combine that with deplorably poor and uninspired direction from Martin Campbell and you're left with what was generally a very tedious moviegoing experience. Despite Mel Gibson's acting strengths and enjoyable charisma, this film was setup to fail from start.
Expendables: 6/10 - While there's a lot in this film that could have been much better (and I can't stress that enough...), the characters work and the movie is conceptually a ton of fun to watch. See it for the nostalgia of an old-fashioned (1980s) action film and you won't be disappointed.
The Fighter: 5/10 - The film is a big mess on the whole -- extremely uneven and filled out with a cast of characters I simply disdained. The only aspect really worth noting is Christian Bale's role as the former boxer turned unreliable crack addict. It's a great performance--albeit often too flashy for the content--however, it's fascinating to just see how Bale literally transforms himself from one movie to the next. He's a remarkable actor, it's just unfortunate that the film offers nothing more than an outlet to showcase his chameleon-like abilities.
Fish Tank: 5/10 - As a character study, it's vapid; as an examination of a decaying culture, it's too narrow. The film keeps us engaged, largely due to a very strong debut performance from Katie Jarvis, but there's little else for filmmaker Andrea Arnold to hang her hat on.
From Paris with Love: 4/10 - The film is fun for a little while, but you soon realize that the entire plot revolves around a series of contrivances leading you from one set piece to the next. And while John Travolta is always enjoyable to watch in his over-the-top bad-ass schtick, his talents can't save the cringe-worthy and lifeless performance from Jonathan Rhys Meyers.
GasLand: 7/10 - The documentary is an important examination of the harm caused by natural gas drilling in the environment around it and to the Americans who live in close proximity. As necessary as I feel the message is, I left the film feeling disappointed in how short-sighted director Josh Fox is. His view is very direct and simplistic: Dick Cheney is the devil and natural gas drilling needs to stop immediately, yet both those thoughts aren't explored nearly enough to account for how prominently they're showcased. Maybe the responsibility doesn't land on Fox, but I have hope that someone can pick up where Fox left off and think bigger -- really dig into the issue and gut it down to the core; as is, I feel as if I'm left with an open, festering wound, with no understanding of why it's there or how to heal it.
Get Him to the Greek: 7/10 - Easily the hardest I've laughed during a movie in a very long time; if not for the awkward and disappointing last act -- an affliction many modern comedies suffer from -- this would have ranked very highly among the best films I've seen this year.
The Ghost Writer: 7/10 - Those willing to absorb the slow start will be rewarded by a tight, engaging political mystery. Roman Polanski is a master at creating suspense and his latest film proves that he still has some gas left in the tank.
The Girl with the Dragon Tattoo [Män som hatar kvinnor]: 8/10 - This rating is probably more a reflection of how bad everything else is this year, as the film does have many faults. Nonetheless, it's among the better movie experiences I've had in recent memory and was thoroughly enjoyable all the way through. It's an intriguing and genuinely engaging mystery thriller that should satisfy all viewers.
The Girl Who Played with Fire [Flickan som lekte med elden]: 4/10 - The sequel to "The Girl with the Dragon Tattoo" is about as underwhelming as a film can be -- the plot is overwhelmingly uninteresting and rarely makes any sense. It's really unfortunate to see such a drastic falloff from the original, especially considering the trilogy was filmed all at once; it's not as if the sequel was forced by the studio.
The Girl Who Kicked the Hornet's Nest [Luftslottet som sprängdes]: 5/10 - The problems that this last chapter in the trilogy suffer from are not at all unlike the issues the second film, "The Girl Who Played with Fire," were afflicted with. It's blatantly clear that the final product of both films was callously ripped from something far more grand -- they were simply translated from novel to movie in a ridiculously sloppy fashion. Looking back at all three films, I will remember the first very fondly and do my best to forget the jumbled messes that followed it.
Going the Distance: 3/10 - Boy meets girl...they fall in love...but they live in separate cities...bickering ensues...they end up together and live happily ever after. There's virtually no conflict in the film, so it's not a drama, and there's not enough laughs for it to be a comedy -- its existence defies both genre and purpose.
Green Zone: 4/10 - "Green Zone" suffers from a very familiar pitfall: trying to make a film around an idea, forcing in everything else...you know, like believable characters and a rational plot. The "idea" that I reference is the common conception that the U.S. acted hastily (and possibly foolishly) in disbanding and disenfranchising the Iraqi military once Bagdad was occupied in 2003. Unfortunately, that idea isn't enough to support a Hollywood thriller; instead we're led on a ridiculous journey through the thought process of a very biased mind.
Grown Ups: 2/10 - It felt as through I was watching 100 minutes of outtakes of all the bad jokes and poorly written scenes that would typically not make it into a big budget Hollywood movie -- sadly, the scenes weren't taken from anything more grand -- the film was nothing more than an opportunely for Adam Sandler to give some of his old buddies a hand out.
Hot Tub Time Machine: 3/10 - The characters are unbelievable stereotypes and the plot is understandably ridiculous, yet it gets worse than that. Much worse. The film's major pitfalls actually come in the inexplicable editing and child-like plot structure. It's almost as if the world's worst writer, who wanted to jam into one movie every concept he had ever known, teamed up with the world's worst editor, who thought he could simply remove every other scene in an effort to reduce the run-time.
How Do You Know: 4/10 - Off the top of my head, I feel comfortable saying that these are the most poorly written characters I've ever seen on screen. None of them work on any level, which in turn doesn't allow them to work together. It's shocking to see such a mess come from the pen of James L. Brooks.
How to Train Your Dragon: 6/10 - Dreamworks just can't seem to escape the shadow of Pixar. The film is good -- it's enjoyable all the way through -- but it lacks the humanity that I've come to expect from an animation film because of Pixar's efforts. The bar has been raised for years and I'm not handing out anymore free passes to those unable to keep up.
Inception: 9/10 - Christopher Nolan, borrowing greatly from Andrei Tarkovsky, has created a brilliant film and a wholly original screenplay (which is not a common occurrence in Hollywood these days) -- I give high compliments to Nolan for his bravery. I think the film's only flaw lands in Nolan not pushing the emotional depth far enough; he brings the audience to the brink of nostalgia and then backs off, which at times made the film feel like it could have offered up even more. There's really not much else I can add without spoiling key plot points, but that's probably for the best -- Nolan has created a great film that should be discussed and debated, not reviewed.
Iron Man 2: 4/10 - While my rating is slightly higher for this than its predessesor, that's in no means an endorsement, but rather a product of significantly lower expecations going into the sequel. As I mentioned in my critisiscm of Director John Favreau's first installment of the comic book hero, when a superhero film is based in the real world, the leesh on suspension of disbelief is shortened, thus making the illogical characters, ridiculous plot and awful acting (by most involved) more troublesome to accept. What I cannot argue is the fact that it is a perfectly mindless way to spend two hours of your time.
Jackass 3D: 6/10 - The truth is, I have absolutely no idea how to review this film. There are no actors or plot and the cameraman spends half the film puking at what he's forced to witness. On the other-hand, to give it an unfavorable review would be dishonest since I spent a good deal of time (relative to the many other comedies released) laughing hysterically.
The Karate Kid: 2/10 - A deplorable abomination of all that made the original an entertaining film. In addition, the decision to lower the ages of the children involved from late-high school to 11-12 year-olds made nearly all of the action sequences uncomfortably awkward or laughable.
Kick-Ass: 3/10 - As I sat and watched the movie, I couldn't help but be completely bored by the predictable plot and utterly terrified by the reprehensible content. My displeasure was so apparent, that I was often reminded by those around me that "it's just a Superhero movie." Alright, that's fine, I'll review it as such...and as such, it's among the worst superhero movies I've ever seen.
The Kid's Are All Right: 6/10 - This is an extremely contrived film -- it is laughably neat and tidy throughout -- and director Lisa Cholodenko makes some poor judgments in her initial character and plot introductions and then concludes the film in a very uneven way. Even so, the film constantly remains very watchable because of the strong performances from Annette Bening, Julianne Moore and Mark Ruffalo.
The King's Speech: 8/10 - Wonderful performances by Colin Firth and Geoffrey Rush allow director Tom Hooper the room he needs to make the movie he wants. It's no simple task to fit such a complicated relationship -- between a king and his slightly eccentric speech therapist -- in the context of a demanding historical narrative. Hooper lets all his chips ride into the final scene (the big pre-war speech) and he manages to pull it off flawlessly.
Knight and Day: 5/10 - So insanely over-the-top and ridiculous that it becomes difficult to review with proper perspective. Essentailly, the movie acts as a cartoon, moving two-dimentional characters directly from one set piece to the next (often times literally). Still, it is mindlessly entertaining and does fulfill its obvious main-purpose: the completion of Tom Cruise's image recovery plan.
The Last Song: 2/10 - One of the worst films I've seen in a long time. Nothing in the film has any redeeming value and Miley Cyrus has no future as an actress.
Oceans: 6/10 - There are some amazing shots in this film, so at only 85 minutes in length, the cinematography alone should hold you captive. My only qualm would be the lack of depth in the narration -- this is the ideal documentary where a filmmaker can overload his/her audience with information, so it feels hallow to walk away having learned so little.
The Other Guys: 4/10 - The plot is idiotic; the writing is sophomoric; the acting is uneven; and the direction is unfathomably sloppy. Fine. It's a summer comedy staring Will Ferrell, so I can accept those shortcomings. The film's true undoing, however, are the characters and how unbearably unbelievable they all are. It's great to cast a comedy with eccentrics filling out the roster, but when they're pushed this far over the top, everything they do becomes inherently unfunny -- it's a movie that actually would have worked remarkably better as a cartoon.
Prince of Persia: The Sands of Time: 5/10 - The script is weak throughout and often painfully predictable, but the film as a whole is entertaining enough to merit a viewing for those bored enough to take the plunge.
A Prophet [Un Prophete]: 6/10 - An engaging performance from Tahar Rahim and a strong script make this film a worthy time-investment, but director Jacques Audiard's tedius pacing and painful stumbling through every step left me feeling robbed of what could have been a truly great film.
Red: 6/10 - Make no mistake, with any other cast, this film would be borderline unwatchable. Fortunately, Willis, Malkovich, Freeman and Mirren keep the film engaging and entertaining all the way through.
Repo Men: 1/10 - The film takes place in the future, when people purchase organs on credit. When one fails to make a payment for three months, "Repo Men" are sent to the person's home to retrieve the organ, usually killing the person in the process. Everyone seems to be alright with how the process works. I suppose if you're able to suspend your disbelief enough to accept that reality, you might enjoy the movie...but that may even be a foolish assumption.
Robin Hood: 4/10 - Ridley Scott's latest film is an absolutely bizarre experience. The production values are top-notch, but the script suffers all the way through. There is literally no character development of any kind, so we're just thrust into this big-budget bastardization of famous English folklore, unable to see Russell Crowe as anything other than Russell Crowe...and if you lose focus for a moment, you might even think he's Maximus Decimus Meridius.
Salt: 5/10 - I'm alright with an action triller having a weak plot in exchange for solid entertainment, but when screenwriters jeopardize the internal logic of their own character creations, it's very difficult to get absorbed in a film. While it's a relatively enjoyable experience, none of the script's pieces add up.
The Secret in Their Eyes [El Secreto de Sus Ojos]: 8/10 - "Memories are all we end up with; at least choose the nice ones." This is a very powerful film that goes to great lengths in exploring the concept of human passion. Director Campanella chooses to make his stand with a clever detective story, but it's a film that could have been told through a thousand different lenses. I admit some liberties are taken with the plot and I was forced to suspend my disbelief on a few occasions, but gratefully those aren't the memories I'll take from the film. I'd find it difficult to imagine anyone not connecting with this film on a very intimate level, in one way or another.
She's Out of My League: 7/10 - Me enjoying this movie is about as ridiculous as the premise of the film: a guy who is a "5" having a relationship with a girl who is a "10." While director Jim Field Smith doesn't always hit his marks, he hits more than most comedy directors do these days; and with help from a mostly funny supporting cast, it was one of the more pleasant surprises thus far this year.
Shutter Island: 7/10 - Scorsese's new film is possibly the perfect prototype for a flawless movie with an unforgivably stupid gimmick -- which then in turn makes you wonder: what would be left if the gimmick were removed? It's simply impossible to suspend one's disbelief during the viewing; at no point does the material ever elevate beyond a writer putting fantasy onto paper. Still, I can't help but recommend the film on the merit of its masterful acting and direction, but I also can't help but to warn you of the unavoidable disappointment that you'll likely feel during the credits.
The Social Network: 8/10 - Strong performances from the young cast and tight direction from David Fincher keep the film rolling, but the real star is screenwriter Aaron Sorkin, who churns out two hours of non-stop, snapping dialogue, engaging the audience in a story that shouldn't have been so easy to tell.
Solitary Man: 8/10 - This is a very smart film. It looks at the same broad, sweeping motifs that hundreds of other films examine -- specifically life relationships and the charade they often transpire to become -- however, it does it from the vantage point of a very flawed character. Not flawed in a traditional sense, like a stereotypical hero with a weakness, but rather from the perspective of a villain with some scattered positive qualities. It's not a role many actors could pull off so seamlessly, but Michael Douglas does wonders with it -- easily one of the great performances of his career.
Stone: 7/10 - As a film-lover, this was an infuriating film experience. Robert DeNiro, Ed Norton and Milla Jovovich are great -- they deliver award worthy pieces of brilliance -- but director John Curran screws this film up so badly it made me nauseous. Curran's vision is so muddled and confused that I doubt he could even convey what he was trying to accomplish with the disastrous narrative. Regardless, I still strongly recommend the film on the sole merits of the actors involved.
The Tourist: 5/10 - The script had the feel of a throwback to an old Cary Grant/Grace Kelly adventure, unfortunately only Angelina Jolie seemed to get the memo. Director Donnersmarck and Johnny Depp went ahead as if the project was a straight thriller, which simply didn't work.
The Town: 5/10 - While it might not be saying much, Ben Affleck is certainly a better director than he is an actor; but even so, "The Town" is a step down from his first film, "Gone Baby Gone" (2007). With the exception of the lead character (played by Affleck), all the other characters are two-dimensional, wandering through an extremely contrived and linear storyline. The one shinning bright spot in the film is the performance by Jeremy Renner, in large part because he's able to show off his range following up "The Hurt Locker" (2008) -- I eagerly anticipate seeing what he does in future projects.
Toy Story 3: 7/10 - Interestingly, I've always found the Toy Story franchise to be the weakest member of Pixar's collection, yet something about this sequel seemed to rise above its predecessors. While the film can't be compared to some of Pixar's best work, it is certainly a worthy addition to the Pixar Library, and likely will be in contention for the best animated film released in 2010.
True Grit: 8/10 - This is a unique remake; it's equal or superior in every measurable way to the 1969 original...every way but one. When you have a film character defined by an iconic performance, such as John Wayne's Rooster Cogburn, it's simply impossible to remove that image from a viewer's memory -- it'd be the exaggerated equivalent of casting a great actor like Daniel Day-Lewis in a remake of "Rocky" (1976) and then trying to debate and contrast his performance against Sylvester Stallone's. Make no mistake, this is a very good film, but I suspect I'll find myself reflecting back on Wayne's version more often.
Unstoppable: 5/10 - It's a film with not much going for it -- even pulled off flawlessly, the ceiling wouldn't be very high. The only way the movie could even remotely work would be with a leading actor who the audience can undoubtedly believe is always the smartest man on screen -- Denzel Washington is that man.
Wall Street: Money Never Sleeps: 5/10 - It's a forgettable film, headlined by an even more forgettable performance from Shia LaBeouff. However, I do admit to having a soft spot for a reoccurring iconic performance -- Gordon Gecko is one of the greatest characters created for the screen, so any chance to see Michael Douglas have another chance to portray him is enjoyable from the perspective of a cinephile.
When in Rome: 3/10 - A painfully bad script with some of the worst dialogue I've seen in a main stream film. On an even more basic level, it was a "comedy" without the laughs, making me wonder what exactly director Mark Johnson was striving to accomplish.
Winter's Bone: 3/10 - It's a harsh rating I suppose, but it's tough to have sympathy when the thought that crossed my mind most during the viewing was: "Why was this film made?" Seriously, I have no idea why the script was written and I have no idea why anyone thought the script was interesting enough to make a film from it.
"You Don't Know Jack:" 7/10 - An absorbing look into the life of Dr. Jack Kevorkian. While the film has powerful moments, it mostly drifts along, walking between the raindrops; never really delving into the moral complexity of assisted suicide as much as I would have liked (the opposition to it in the film almost entirely revolved around the views of religious fundamentalists). Nonetheless, it was a joy to watch Al Pacino dig into a substantial role and it's thrilling to see that he still has gas in the tank.
Youth in Revolt: 5/10 - The concept is directly stolen from "Me, Myself and Irene" (2000) and falls well short of it in laughs...and even plot, if that's believable. However, it does have good heart, held together almost solely by Michael Cera's strong performance.
Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)
127 Hours: 4/10 - All I could think about during most of this film was how much better it would have been in the hand's Kevin McDonald, the director of the great 2003 documentary, "Touching the Void." The issue with filming a story like this without a documentary style is that there's no action, conflict or interest through most of the run-time. As a viewer, I wanted to hear from Aaron Ralston, the real-life hiker who was pinned by the boulder; I didn't care about James Franco's mediocre interpretation or Danny Boyle's meaningless re-imagining.
The A-Team: 5/10 - Much like 'G.I. Joe' last year,"The A-Team" is over-the-top action that really can't be taken seriously. While all the characters are two-dimensional, the performances are mostly fun to watch.
All Good Things: 6/10 - The film is based on true events and the content is there to make an engaging film, unfortunately, nothing about the filmmaking is half as clever as director Jarecki seems to think it is. The film revolves around clumsy narrative structures, gaps in logic, and an underlying bias that always seems misplaced. However, I will add, regardless of the filmmaking, the story is fascinating and the cast is strong, making it a marginally intriguing experience.
The American: 5/10 - I admire what director Anton Corbijn was attempting to do in this film, however, in all the ways Jim Jarmusch succeeded with last year's great "The Limits of Control," Corbijn falls short. I make the comparison because both films are slow-paced, often surreal and involve hit-men; the distinction is that "The American" has a protagonist who strives for a human connection -- he seeks out love -- and it takes the screenplay in a direction that is not maintainable. The film slowly drifts into the purposeless examination of a character, instead of an idea. It's only made worse by a very odd performance from George Clooney, who is never quite sure of how he should be portraying the role.
Animal Kingdom: 6/10 - Ben Mendelsohn and Jacki Weaver create two of the most terrifying and creepy characters I've seen on screen in awhile and their performances keep an otherwise uneven film very engaging. Director David Michod wants this film to be very raw, which is obvious throughout the first half, but as the plot picks up, Michod becomes decidedly more fancy with how he chooses to capture the narrative -- the overall feeling I left with is that the filmmaking could have been much tighter, and in turn, the film could have been much better.
Biutiful: 9/10 - Inarritu's 4th film is uniquely brilliant and profoundly sad. It focuses on a a very flawed man dying from terminal cancer, trying to set his affairs in order before his time ends -- most notable on his list of things that need to be tended to, the welfare of his children after he's gone. Javier Bardem is pitch-perfect (as has come to be expected from him) and posses an innate sadness in his eyes that conveys Innaritu's message in every frame: we are all powerless.
Black Swan: 8/10 - Have you ever wondered what the outcome would be if David Lynch directed "Red Shoes" (1948)? Me neither...yet here it is. Darren Aronofsky has helmed a fascinating and horrific film; a deep, introspective look into the mind of a very damaged New York city ballet performer (Natalie Portman). Portman is impressive in her roll -- never misreading a scene or skipping a note -- it's her best work since "Closer" (2004) and I can only hope she continues to challenge herself moving forward.
Blue Valentine: 9/10 - I once read a great anonymous quote: "Men marry women in hopes that they will never change, and they do; women marry men in hopes that they will change, and they don't." I feel as though writer/director Derek Cianfrance could have used that line as his elevator pitch very successfully. The film is an examination of the birth and death of a relationship, and by the time we're half way through, we realize it has a life of it's own -- almost as though Cianfrance is sitting beside us, wondering along with us where the story is going. Of course, such an approach can only work with the right cast and Ryan Gosling and Michelle Williams are superb in their portrayals.
The Book of Eli: 4/10 - A short-sighted concept and a painfully illogical plot are partially saved by an engaging performance from Denzel Washington. I'm in no way recommending the film to anyone, but hell, I guess it could have been worse.
The Bounty Hunter: 2/10 - Laughably terrible. The plot is so random and ridiculous that it may even temporarily distract you from the awful acting. I really wish there was a way to better emphasize how bad this movie is, but I'm out of adjectives.
Brooklyn's Finest: 5/10 - Director Antoine Fuqua pulls us into the lives of three police officers using elegant tracking shots, almost stalking his characters through each scene. Fuqua is unable to prolong the charade for more than about thirty minutes though since the script really has no story to tell. None of the actors deliver believable performances and none of the characters have a story arc worth viewing.
Catfish: 7/10 - The filmmakers of this modern parable leave a lot on the table, but the message viewers are left with is an extremely important one; in turn, making the film important. It's somewhat amazing to consider how young the widespread use of the internet is -- so much so, that I don't feel most people are even capable of recognizing the repercussions of human interactions that are now made possible by it. The line to avoid crossing, as I can see it, is the emotional investment so many are willing to give to a virtual world.
Centurion: 2/10- Filmmaking at its worst.
City Island: 3/10 - There's nothing worse than a film that does nothing to mask that it's a film. Every character -- every line of dialogue -- is never anything more than words from a piece of paper. Creating a reality for viewers is the most basic and important thing for a filmmaker to do; writer/director DeFelitta falls woefully short in the task.
Cop Out: 3/10 - Incomprehensibly bad. It felt as though Director Kevin Smith and several of the actors were at times aware of how awful the script was, and in turn, hamming it up and winking at the audience -- unfortunately, that approach remained as inconsistent and sloppy as the plot.
Date Night: 3/10 - Roger Ebert, a film critic I greatly admire, gave this train wreck three-and-a-half stars; and after reading his review, I couldn't help but realize that I understood and agreed with every core point he made about comedy, yet blatantly disagreed with his application of these points on "Date Night." It's no different than the dozens of other comedies Hollywood churns out each year: cheap laughs, illogical plot structures and unbelievable characters jammed together by a director who has no concept of his own profession. It's not just unfunny, it's depressing.
Daybreakers: 3/10 - It's difficult to imagine such a promising premise reduced to such a worthless and illogical pile of crap -- by the end, the film had more conceptual holes than I could count. What could have been a breakthrough for the genre, was instead a decade regression.
Edge of Darkness: 4/10 - I'm not sure what the exact percentage is, but the translation of stupid scripts into stupid movies is probably very high. Combine that with deplorably poor and uninspired direction from Martin Campbell and you're left with what was generally a very tedious moviegoing experience. Despite Mel Gibson's acting strengths and enjoyable charisma, this film was setup to fail from start.
Expendables: 6/10 - While there's a lot in this film that could have been much better (and I can't stress that enough...), the characters work and the movie is conceptually a ton of fun to watch. See it for the nostalgia of an old-fashioned (1980s) action film and you won't be disappointed.
The Fighter: 5/10 - The film is a big mess on the whole -- extremely uneven and filled out with a cast of characters I simply disdained. The only aspect really worth noting is Christian Bale's role as the former boxer turned unreliable crack addict. It's a great performance--albeit often too flashy for the content--however, it's fascinating to just see how Bale literally transforms himself from one movie to the next. He's a remarkable actor, it's just unfortunate that the film offers nothing more than an outlet to showcase his chameleon-like abilities.
Fish Tank: 5/10 - As a character study, it's vapid; as an examination of a decaying culture, it's too narrow. The film keeps us engaged, largely due to a very strong debut performance from Katie Jarvis, but there's little else for filmmaker Andrea Arnold to hang her hat on.
From Paris with Love: 4/10 - The film is fun for a little while, but you soon realize that the entire plot revolves around a series of contrivances leading you from one set piece to the next. And while John Travolta is always enjoyable to watch in his over-the-top bad-ass schtick, his talents can't save the cringe-worthy and lifeless performance from Jonathan Rhys Meyers.
GasLand: 7/10 - The documentary is an important examination of the harm caused by natural gas drilling in the environment around it and to the Americans who live in close proximity. As necessary as I feel the message is, I left the film feeling disappointed in how short-sighted director Josh Fox is. His view is very direct and simplistic: Dick Cheney is the devil and natural gas drilling needs to stop immediately, yet both those thoughts aren't explored nearly enough to account for how prominently they're showcased. Maybe the responsibility doesn't land on Fox, but I have hope that someone can pick up where Fox left off and think bigger -- really dig into the issue and gut it down to the core; as is, I feel as if I'm left with an open, festering wound, with no understanding of why it's there or how to heal it.
Get Him to the Greek: 7/10 - Easily the hardest I've laughed during a movie in a very long time; if not for the awkward and disappointing last act -- an affliction many modern comedies suffer from -- this would have ranked very highly among the best films I've seen this year.
The Ghost Writer: 7/10 - Those willing to absorb the slow start will be rewarded by a tight, engaging political mystery. Roman Polanski is a master at creating suspense and his latest film proves that he still has some gas left in the tank.
The Girl with the Dragon Tattoo [Män som hatar kvinnor]: 8/10 - This rating is probably more a reflection of how bad everything else is this year, as the film does have many faults. Nonetheless, it's among the better movie experiences I've had in recent memory and was thoroughly enjoyable all the way through. It's an intriguing and genuinely engaging mystery thriller that should satisfy all viewers.
The Girl Who Played with Fire [Flickan som lekte med elden]: 4/10 - The sequel to "The Girl with the Dragon Tattoo" is about as underwhelming as a film can be -- the plot is overwhelmingly uninteresting and rarely makes any sense. It's really unfortunate to see such a drastic falloff from the original, especially considering the trilogy was filmed all at once; it's not as if the sequel was forced by the studio.
The Girl Who Kicked the Hornet's Nest [Luftslottet som sprängdes]: 5/10 - The problems that this last chapter in the trilogy suffer from are not at all unlike the issues the second film, "The Girl Who Played with Fire," were afflicted with. It's blatantly clear that the final product of both films was callously ripped from something far more grand -- they were simply translated from novel to movie in a ridiculously sloppy fashion. Looking back at all three films, I will remember the first very fondly and do my best to forget the jumbled messes that followed it.
Going the Distance: 3/10 - Boy meets girl...they fall in love...but they live in separate cities...bickering ensues...they end up together and live happily ever after. There's virtually no conflict in the film, so it's not a drama, and there's not enough laughs for it to be a comedy -- its existence defies both genre and purpose.
Green Zone: 4/10 - "Green Zone" suffers from a very familiar pitfall: trying to make a film around an idea, forcing in everything else...you know, like believable characters and a rational plot. The "idea" that I reference is the common conception that the U.S. acted hastily (and possibly foolishly) in disbanding and disenfranchising the Iraqi military once Bagdad was occupied in 2003. Unfortunately, that idea isn't enough to support a Hollywood thriller; instead we're led on a ridiculous journey through the thought process of a very biased mind.
Grown Ups: 2/10 - It felt as through I was watching 100 minutes of outtakes of all the bad jokes and poorly written scenes that would typically not make it into a big budget Hollywood movie -- sadly, the scenes weren't taken from anything more grand -- the film was nothing more than an opportunely for Adam Sandler to give some of his old buddies a hand out.
Hot Tub Time Machine: 3/10 - The characters are unbelievable stereotypes and the plot is understandably ridiculous, yet it gets worse than that. Much worse. The film's major pitfalls actually come in the inexplicable editing and child-like plot structure. It's almost as if the world's worst writer, who wanted to jam into one movie every concept he had ever known, teamed up with the world's worst editor, who thought he could simply remove every other scene in an effort to reduce the run-time.
How Do You Know: 4/10 - Off the top of my head, I feel comfortable saying that these are the most poorly written characters I've ever seen on screen. None of them work on any level, which in turn doesn't allow them to work together. It's shocking to see such a mess come from the pen of James L. Brooks.
How to Train Your Dragon: 6/10 - Dreamworks just can't seem to escape the shadow of Pixar. The film is good -- it's enjoyable all the way through -- but it lacks the humanity that I've come to expect from an animation film because of Pixar's efforts. The bar has been raised for years and I'm not handing out anymore free passes to those unable to keep up.
Inception: 9/10 - Christopher Nolan, borrowing greatly from Andrei Tarkovsky, has created a brilliant film and a wholly original screenplay (which is not a common occurrence in Hollywood these days) -- I give high compliments to Nolan for his bravery. I think the film's only flaw lands in Nolan not pushing the emotional depth far enough; he brings the audience to the brink of nostalgia and then backs off, which at times made the film feel like it could have offered up even more. There's really not much else I can add without spoiling key plot points, but that's probably for the best -- Nolan has created a great film that should be discussed and debated, not reviewed.
Iron Man 2: 4/10 - While my rating is slightly higher for this than its predessesor, that's in no means an endorsement, but rather a product of significantly lower expecations going into the sequel. As I mentioned in my critisiscm of Director John Favreau's first installment of the comic book hero, when a superhero film is based in the real world, the leesh on suspension of disbelief is shortened, thus making the illogical characters, ridiculous plot and awful acting (by most involved) more troublesome to accept. What I cannot argue is the fact that it is a perfectly mindless way to spend two hours of your time.
Jackass 3D: 6/10 - The truth is, I have absolutely no idea how to review this film. There are no actors or plot and the cameraman spends half the film puking at what he's forced to witness. On the other-hand, to give it an unfavorable review would be dishonest since I spent a good deal of time (relative to the many other comedies released) laughing hysterically.
The Karate Kid: 2/10 - A deplorable abomination of all that made the original an entertaining film. In addition, the decision to lower the ages of the children involved from late-high school to 11-12 year-olds made nearly all of the action sequences uncomfortably awkward or laughable.
Kick-Ass: 3/10 - As I sat and watched the movie, I couldn't help but be completely bored by the predictable plot and utterly terrified by the reprehensible content. My displeasure was so apparent, that I was often reminded by those around me that "it's just a Superhero movie." Alright, that's fine, I'll review it as such...and as such, it's among the worst superhero movies I've ever seen.
The Kid's Are All Right: 6/10 - This is an extremely contrived film -- it is laughably neat and tidy throughout -- and director Lisa Cholodenko makes some poor judgments in her initial character and plot introductions and then concludes the film in a very uneven way. Even so, the film constantly remains very watchable because of the strong performances from Annette Bening, Julianne Moore and Mark Ruffalo.
The King's Speech: 8/10 - Wonderful performances by Colin Firth and Geoffrey Rush allow director Tom Hooper the room he needs to make the movie he wants. It's no simple task to fit such a complicated relationship -- between a king and his slightly eccentric speech therapist -- in the context of a demanding historical narrative. Hooper lets all his chips ride into the final scene (the big pre-war speech) and he manages to pull it off flawlessly.
Knight and Day: 5/10 - So insanely over-the-top and ridiculous that it becomes difficult to review with proper perspective. Essentailly, the movie acts as a cartoon, moving two-dimentional characters directly from one set piece to the next (often times literally). Still, it is mindlessly entertaining and does fulfill its obvious main-purpose: the completion of Tom Cruise's image recovery plan.
The Last Song: 2/10 - One of the worst films I've seen in a long time. Nothing in the film has any redeeming value and Miley Cyrus has no future as an actress.
Oceans: 6/10 - There are some amazing shots in this film, so at only 85 minutes in length, the cinematography alone should hold you captive. My only qualm would be the lack of depth in the narration -- this is the ideal documentary where a filmmaker can overload his/her audience with information, so it feels hallow to walk away having learned so little.
The Other Guys: 4/10 - The plot is idiotic; the writing is sophomoric; the acting is uneven; and the direction is unfathomably sloppy. Fine. It's a summer comedy staring Will Ferrell, so I can accept those shortcomings. The film's true undoing, however, are the characters and how unbearably unbelievable they all are. It's great to cast a comedy with eccentrics filling out the roster, but when they're pushed this far over the top, everything they do becomes inherently unfunny -- it's a movie that actually would have worked remarkably better as a cartoon.
Prince of Persia: The Sands of Time: 5/10 - The script is weak throughout and often painfully predictable, but the film as a whole is entertaining enough to merit a viewing for those bored enough to take the plunge.
A Prophet [Un Prophete]: 6/10 - An engaging performance from Tahar Rahim and a strong script make this film a worthy time-investment, but director Jacques Audiard's tedius pacing and painful stumbling through every step left me feeling robbed of what could have been a truly great film.
Red: 6/10 - Make no mistake, with any other cast, this film would be borderline unwatchable. Fortunately, Willis, Malkovich, Freeman and Mirren keep the film engaging and entertaining all the way through.
Repo Men: 1/10 - The film takes place in the future, when people purchase organs on credit. When one fails to make a payment for three months, "Repo Men" are sent to the person's home to retrieve the organ, usually killing the person in the process. Everyone seems to be alright with how the process works. I suppose if you're able to suspend your disbelief enough to accept that reality, you might enjoy the movie...but that may even be a foolish assumption.
Robin Hood: 4/10 - Ridley Scott's latest film is an absolutely bizarre experience. The production values are top-notch, but the script suffers all the way through. There is literally no character development of any kind, so we're just thrust into this big-budget bastardization of famous English folklore, unable to see Russell Crowe as anything other than Russell Crowe...and if you lose focus for a moment, you might even think he's Maximus Decimus Meridius.
Salt: 5/10 - I'm alright with an action triller having a weak plot in exchange for solid entertainment, but when screenwriters jeopardize the internal logic of their own character creations, it's very difficult to get absorbed in a film. While it's a relatively enjoyable experience, none of the script's pieces add up.
The Secret in Their Eyes [El Secreto de Sus Ojos]: 8/10 - "Memories are all we end up with; at least choose the nice ones." This is a very powerful film that goes to great lengths in exploring the concept of human passion. Director Campanella chooses to make his stand with a clever detective story, but it's a film that could have been told through a thousand different lenses. I admit some liberties are taken with the plot and I was forced to suspend my disbelief on a few occasions, but gratefully those aren't the memories I'll take from the film. I'd find it difficult to imagine anyone not connecting with this film on a very intimate level, in one way or another.
She's Out of My League: 7/10 - Me enjoying this movie is about as ridiculous as the premise of the film: a guy who is a "5" having a relationship with a girl who is a "10." While director Jim Field Smith doesn't always hit his marks, he hits more than most comedy directors do these days; and with help from a mostly funny supporting cast, it was one of the more pleasant surprises thus far this year.
Shutter Island: 7/10 - Scorsese's new film is possibly the perfect prototype for a flawless movie with an unforgivably stupid gimmick -- which then in turn makes you wonder: what would be left if the gimmick were removed? It's simply impossible to suspend one's disbelief during the viewing; at no point does the material ever elevate beyond a writer putting fantasy onto paper. Still, I can't help but recommend the film on the merit of its masterful acting and direction, but I also can't help but to warn you of the unavoidable disappointment that you'll likely feel during the credits.
The Social Network: 8/10 - Strong performances from the young cast and tight direction from David Fincher keep the film rolling, but the real star is screenwriter Aaron Sorkin, who churns out two hours of non-stop, snapping dialogue, engaging the audience in a story that shouldn't have been so easy to tell.
Solitary Man: 8/10 - This is a very smart film. It looks at the same broad, sweeping motifs that hundreds of other films examine -- specifically life relationships and the charade they often transpire to become -- however, it does it from the vantage point of a very flawed character. Not flawed in a traditional sense, like a stereotypical hero with a weakness, but rather from the perspective of a villain with some scattered positive qualities. It's not a role many actors could pull off so seamlessly, but Michael Douglas does wonders with it -- easily one of the great performances of his career.
Stone: 7/10 - As a film-lover, this was an infuriating film experience. Robert DeNiro, Ed Norton and Milla Jovovich are great -- they deliver award worthy pieces of brilliance -- but director John Curran screws this film up so badly it made me nauseous. Curran's vision is so muddled and confused that I doubt he could even convey what he was trying to accomplish with the disastrous narrative. Regardless, I still strongly recommend the film on the sole merits of the actors involved.
The Tourist: 5/10 - The script had the feel of a throwback to an old Cary Grant/Grace Kelly adventure, unfortunately only Angelina Jolie seemed to get the memo. Director Donnersmarck and Johnny Depp went ahead as if the project was a straight thriller, which simply didn't work.
The Town: 5/10 - While it might not be saying much, Ben Affleck is certainly a better director than he is an actor; but even so, "The Town" is a step down from his first film, "Gone Baby Gone" (2007). With the exception of the lead character (played by Affleck), all the other characters are two-dimensional, wandering through an extremely contrived and linear storyline. The one shinning bright spot in the film is the performance by Jeremy Renner, in large part because he's able to show off his range following up "The Hurt Locker" (2008) -- I eagerly anticipate seeing what he does in future projects.
Toy Story 3: 7/10 - Interestingly, I've always found the Toy Story franchise to be the weakest member of Pixar's collection, yet something about this sequel seemed to rise above its predecessors. While the film can't be compared to some of Pixar's best work, it is certainly a worthy addition to the Pixar Library, and likely will be in contention for the best animated film released in 2010.
True Grit: 8/10 - This is a unique remake; it's equal or superior in every measurable way to the 1969 original...every way but one. When you have a film character defined by an iconic performance, such as John Wayne's Rooster Cogburn, it's simply impossible to remove that image from a viewer's memory -- it'd be the exaggerated equivalent of casting a great actor like Daniel Day-Lewis in a remake of "Rocky" (1976) and then trying to debate and contrast his performance against Sylvester Stallone's. Make no mistake, this is a very good film, but I suspect I'll find myself reflecting back on Wayne's version more often.
Unstoppable: 5/10 - It's a film with not much going for it -- even pulled off flawlessly, the ceiling wouldn't be very high. The only way the movie could even remotely work would be with a leading actor who the audience can undoubtedly believe is always the smartest man on screen -- Denzel Washington is that man.
Wall Street: Money Never Sleeps: 5/10 - It's a forgettable film, headlined by an even more forgettable performance from Shia LaBeouff. However, I do admit to having a soft spot for a reoccurring iconic performance -- Gordon Gecko is one of the greatest characters created for the screen, so any chance to see Michael Douglas have another chance to portray him is enjoyable from the perspective of a cinephile.
When in Rome: 3/10 - A painfully bad script with some of the worst dialogue I've seen in a main stream film. On an even more basic level, it was a "comedy" without the laughs, making me wonder what exactly director Mark Johnson was striving to accomplish.
Winter's Bone: 3/10 - It's a harsh rating I suppose, but it's tough to have sympathy when the thought that crossed my mind most during the viewing was: "Why was this film made?" Seriously, I have no idea why the script was written and I have no idea why anyone thought the script was interesting enough to make a film from it.
"You Don't Know Jack:" 7/10 - An absorbing look into the life of Dr. Jack Kevorkian. While the film has powerful moments, it mostly drifts along, walking between the raindrops; never really delving into the moral complexity of assisted suicide as much as I would have liked (the opposition to it in the film almost entirely revolved around the views of religious fundamentalists). Nonetheless, it was a joy to watch Al Pacino dig into a substantial role and it's thrilling to see that he still has gas in the tank.
Youth in Revolt: 5/10 - The concept is directly stolen from "Me, Myself and Irene" (2000) and falls well short of it in laughs...and even plot, if that's believable. However, it does have good heart, held together almost solely by Michael Cera's strong performance.
Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)
Thursday, January 21, 2010
A Decade in Review (2000-2009)
I sat down to create my “top ten films of the decade list” and realized that there were 11 films that I consider to be masterpieces that have been made since 2000. Logically, I decided to expand the list to 11 to accommodate them all. All of the films also appear on my top 100 greatest film list, so no film’s presence here should be surprising.
The Masterpieces
11. Brokeback Mountain (2005): Among the most well directed films I’ve ever seen, Ang Lee’s tale of impossible love is pitch perfect and rightfully deserves to be in the company of similarly themed classics, such as William Wyler’s “Wuthering Heights” (1939). Lee brilliantly captures the internal agony of love just out of reach and contrasts it with the societal hurdles of being a gay man in the 1960s. He’s also able to elicit beautifully brave performances from Heath Ledger and Jake Gyllenhaal, creating the level of depth needed for this film to succeed.
10. The Reader (2008): Stephen Daldry created a film that encompasses Nazi guilt and the pains of adolescence in a way that I had never seen before, and perhaps superior to any film that has ever tried on either topic (an enormous accomplishment considering the two subject matters). The merger of themes plays out like a requiem; each note carried by one of the great female performances of the decade. Kate Winslet bears her sole as a former Nazi guard, forcing the audience to sympathize with a representative of one of the most sadistic symbols in the history of mankind.
9. Jarhead (2005): While many consider this film to be a weakness on Sam Mendes’ resume, I feel it to be his greatest accomplishment, which is heavy praise considering my admiration for his other work. “Jarhead,” for mostly superficial reasons, is deemed a war film, but it’s done in the same view that “Apocalypse Now” (1979) is considered a war film. Both films exist in the setting of war, but neither is about a war; in both cases, the war is an afterthought. Many films have tried to duplicate the success of “Apocalypse Now,” making a film about what war does to a person, but “Jarhead” is by far the closest I’ve seen a filmmaker come. In the hands of a different director, the film could have easily fallen into the numerous pitfalls that challenge such a concept.
8. Away From Her (2006): This film lands on my list largely because of the emotional reaction it elicited from me. Sarah Polley walks a tightrope on this film, always managing to prevent the material from slipping into a melodramatic mess—the film is always very real and honest. I maintain the viewpoint that there is no disease worse than Alzheimer’s for the simple reason that there is nothing more vital to the human existence than one’s mind. The very idea of witnessing a life partner losing his or her mind, and in turn losing the bond that connects you, is heart wrenching, and Polley tackles the script with masterful skill.
7. Donnie Darko (2001): It feels like so long ago that this film came out. I remember watching it, thinking how unbelievably talented Richard Kelly was, and how he was the next great filmmaker in Hollywood. Since his debut film, he has hit some bumps in the road, but I find that nothing has been taken away from his masterpiece. Kelly navigates his script’s brilliantly woven plot to perfection, creating arguably the biggest cult classic of the decade. The film also marks a breakthrough performance for Jake Gyllenhaal.
6. The Good Shepherd (2006): As year’s have past, I find that I’m standing mostly alone in admiration of DeNiro’s directorial monument. Three years have gone by since I sat in the theater, transfixed on this biographical tale of CIA’s foundation (like the word: “god,” there’s no “the” preceding CIA), and I have lost no love for it. It’s a shame how little accolade Matt Damon received for his quiet portrayal of protagonist Edward Wilson; the non-flashy performance was unfairly glanced over by most viewers.
5. Closer (2004): Mike Nichols elevated Patrick Marber’s play; the venom-spitting dialog, performed wonderfully by Clive Owen, Jude Law, Natalie Portman and Julia Roberts, never could sound better. Whenever I sit down to view the film, I spend the entire runtime grinning ear to ear because of the endless buffet of deliciously wicked exchanges. “Closer” is the pinnacle of the anti-romance genre—it bears the soul of love and all the awfulness that can accompany it.
4. Before Sunset (2004): Richard Linklater’s “Before Sunrise” (1995) is among the greatest romances ever filmed—it perfectly encapsulated the beginning of love—his sequel, “Before Sunset,” is even better. It works so well because it looks at love through a lens of real human interaction, from the vantage point of people who do not exist solely to exercise a script. Viewing this film feels like catching up with old friends—Jesse and Celine—and checking in on them years after the open-ended, yet somewhat fairytale-like conclusion in “Before Sunrise.” It also must be added that the film’s final scene, in my view, is the greatest ending any film has ever been given.
3. 21 Grams (2003): Quiet desperation has never played out more profoundly than it does in Alejandro Gonzalez Inarritu’s gripping masterwork. The film’s story of loss, guilt and redemption uses a unique narrative, revealing the plot’s timeline out of sync and forcing viewers to piece together the harrowing tale at Inarritu’s designed pace. The real stars of the film, however, are the cast: Sean Penn, Benicio Del Toro and Naomi Watts are brilliant; they deliver devastatingly powerful portrayals of people in pain, coping with the worst life has to offer them.
2. Mulholland Dr. (2001): The great David Lynch created his magnum opus in 2001. The narrative intertwines real life, nightmarish dream, and fantasy into a wonderful blend of pure genius. Nothing in this film is out of place; it travels the well-worn path of surreal filmmaking and does it better than anyone before or after it. In addition, Naomi Watts delivers what is arguably the greatest female performance of the decade, perhaps only surpassed by Charlize Theron in “Monster” (2003). There are few experiences even comparable to viewing this film and there is no one that shouldn’t experience the magic Lynch created at least once in their lifetime.
1. There Will Be Blood (2007): Paul Thomas Anderson created the best film made in my lifetime, let alone the decade. It’s the film that I have been waiting for as long as I can remember—I always wondered what it would have been like to see one of my favorite classics for the first time in a theater and I can’t thank Anderson enough for making that dream come true. He didn’t do it alone though; Daniel Day-Lewis’ portrayal of Daniel Plainview is one of the greatest performances in the history of cinema—it’s a powerful, visceral embodiment of a man consumed by greed. I’m almost at a loss even discussing the film because I don’t know where to start or how to avoid being too brief. My words would be wasted anyway; it’s something that must be seen by anyone who loves film.
In addition to listing the above 11 masterpieces, I thought I’d compose a list of every other four star film released this decade (37). I strongly recommend all of the below films.
The Great Movies (listed alphabetically):
American Gangster (2007)
Antichrist (2009)
Apocalypto (2006)
The Aristocrats (2005)
The Assassination of Jesse James by the Coward Robert Ford (2007)
The Aviator (2004)
Batman Begins (2005)
Brothers [Brodre] (2004)
City of God [Cidade de Deus] (2002)
Crash (2005)
Dear Zachary: A Letter to a Son About His Father (2008)
The Departed (2006)
Gangs of New York (2002)
Grindhouse (2007)
A History of Violence (2005)
Hotel Rwanda (2004)
One Hundred Steps [I Cento Passi] (2000)
In the Loop (2009)
Inglourious Basterds (2009)
Inland Empire (2006)
Into the Wild (2007)
Kill Bill (2003/2004)
The Last Samurai (2003)
The Limits of Control (2009)
Little Miss Sunshine (2006)
Murderball (2005)
The Passion of the Christ (2004)
Revolutionary Road (2008)
Road to Perdition (2002)
Sin City (2005)
Summer Hours [L'heure D'été] (2008)
Thirteen (2003)
Touching the Void (2003)
Up (2009)
Vanilla Sky (2001)
Watchmen (2009)
The Wrestler (2008)
The Masterpieces
11. Brokeback Mountain (2005): Among the most well directed films I’ve ever seen, Ang Lee’s tale of impossible love is pitch perfect and rightfully deserves to be in the company of similarly themed classics, such as William Wyler’s “Wuthering Heights” (1939). Lee brilliantly captures the internal agony of love just out of reach and contrasts it with the societal hurdles of being a gay man in the 1960s. He’s also able to elicit beautifully brave performances from Heath Ledger and Jake Gyllenhaal, creating the level of depth needed for this film to succeed.
10. The Reader (2008): Stephen Daldry created a film that encompasses Nazi guilt and the pains of adolescence in a way that I had never seen before, and perhaps superior to any film that has ever tried on either topic (an enormous accomplishment considering the two subject matters). The merger of themes plays out like a requiem; each note carried by one of the great female performances of the decade. Kate Winslet bears her sole as a former Nazi guard, forcing the audience to sympathize with a representative of one of the most sadistic symbols in the history of mankind.
9. Jarhead (2005): While many consider this film to be a weakness on Sam Mendes’ resume, I feel it to be his greatest accomplishment, which is heavy praise considering my admiration for his other work. “Jarhead,” for mostly superficial reasons, is deemed a war film, but it’s done in the same view that “Apocalypse Now” (1979) is considered a war film. Both films exist in the setting of war, but neither is about a war; in both cases, the war is an afterthought. Many films have tried to duplicate the success of “Apocalypse Now,” making a film about what war does to a person, but “Jarhead” is by far the closest I’ve seen a filmmaker come. In the hands of a different director, the film could have easily fallen into the numerous pitfalls that challenge such a concept.
8. Away From Her (2006): This film lands on my list largely because of the emotional reaction it elicited from me. Sarah Polley walks a tightrope on this film, always managing to prevent the material from slipping into a melodramatic mess—the film is always very real and honest. I maintain the viewpoint that there is no disease worse than Alzheimer’s for the simple reason that there is nothing more vital to the human existence than one’s mind. The very idea of witnessing a life partner losing his or her mind, and in turn losing the bond that connects you, is heart wrenching, and Polley tackles the script with masterful skill.
7. Donnie Darko (2001): It feels like so long ago that this film came out. I remember watching it, thinking how unbelievably talented Richard Kelly was, and how he was the next great filmmaker in Hollywood. Since his debut film, he has hit some bumps in the road, but I find that nothing has been taken away from his masterpiece. Kelly navigates his script’s brilliantly woven plot to perfection, creating arguably the biggest cult classic of the decade. The film also marks a breakthrough performance for Jake Gyllenhaal.
6. The Good Shepherd (2006): As year’s have past, I find that I’m standing mostly alone in admiration of DeNiro’s directorial monument. Three years have gone by since I sat in the theater, transfixed on this biographical tale of CIA’s foundation (like the word: “god,” there’s no “the” preceding CIA), and I have lost no love for it. It’s a shame how little accolade Matt Damon received for his quiet portrayal of protagonist Edward Wilson; the non-flashy performance was unfairly glanced over by most viewers.
5. Closer (2004): Mike Nichols elevated Patrick Marber’s play; the venom-spitting dialog, performed wonderfully by Clive Owen, Jude Law, Natalie Portman and Julia Roberts, never could sound better. Whenever I sit down to view the film, I spend the entire runtime grinning ear to ear because of the endless buffet of deliciously wicked exchanges. “Closer” is the pinnacle of the anti-romance genre—it bears the soul of love and all the awfulness that can accompany it.
4. Before Sunset (2004): Richard Linklater’s “Before Sunrise” (1995) is among the greatest romances ever filmed—it perfectly encapsulated the beginning of love—his sequel, “Before Sunset,” is even better. It works so well because it looks at love through a lens of real human interaction, from the vantage point of people who do not exist solely to exercise a script. Viewing this film feels like catching up with old friends—Jesse and Celine—and checking in on them years after the open-ended, yet somewhat fairytale-like conclusion in “Before Sunrise.” It also must be added that the film’s final scene, in my view, is the greatest ending any film has ever been given.
3. 21 Grams (2003): Quiet desperation has never played out more profoundly than it does in Alejandro Gonzalez Inarritu’s gripping masterwork. The film’s story of loss, guilt and redemption uses a unique narrative, revealing the plot’s timeline out of sync and forcing viewers to piece together the harrowing tale at Inarritu’s designed pace. The real stars of the film, however, are the cast: Sean Penn, Benicio Del Toro and Naomi Watts are brilliant; they deliver devastatingly powerful portrayals of people in pain, coping with the worst life has to offer them.
2. Mulholland Dr. (2001): The great David Lynch created his magnum opus in 2001. The narrative intertwines real life, nightmarish dream, and fantasy into a wonderful blend of pure genius. Nothing in this film is out of place; it travels the well-worn path of surreal filmmaking and does it better than anyone before or after it. In addition, Naomi Watts delivers what is arguably the greatest female performance of the decade, perhaps only surpassed by Charlize Theron in “Monster” (2003). There are few experiences even comparable to viewing this film and there is no one that shouldn’t experience the magic Lynch created at least once in their lifetime.
1. There Will Be Blood (2007): Paul Thomas Anderson created the best film made in my lifetime, let alone the decade. It’s the film that I have been waiting for as long as I can remember—I always wondered what it would have been like to see one of my favorite classics for the first time in a theater and I can’t thank Anderson enough for making that dream come true. He didn’t do it alone though; Daniel Day-Lewis’ portrayal of Daniel Plainview is one of the greatest performances in the history of cinema—it’s a powerful, visceral embodiment of a man consumed by greed. I’m almost at a loss even discussing the film because I don’t know where to start or how to avoid being too brief. My words would be wasted anyway; it’s something that must be seen by anyone who loves film.
In addition to listing the above 11 masterpieces, I thought I’d compose a list of every other four star film released this decade (37). I strongly recommend all of the below films.
The Great Movies (listed alphabetically):
American Gangster (2007)
Antichrist (2009)
Apocalypto (2006)
The Aristocrats (2005)
The Assassination of Jesse James by the Coward Robert Ford (2007)
The Aviator (2004)
Batman Begins (2005)
Brothers [Brodre] (2004)
City of God [Cidade de Deus] (2002)
Crash (2005)
Dear Zachary: A Letter to a Son About His Father (2008)
The Departed (2006)
Gangs of New York (2002)
Grindhouse (2007)
A History of Violence (2005)
Hotel Rwanda (2004)
One Hundred Steps [I Cento Passi] (2000)
In the Loop (2009)
Inglourious Basterds (2009)
Inland Empire (2006)
Into the Wild (2007)
Kill Bill (2003/2004)
The Last Samurai (2003)
The Limits of Control (2009)
Little Miss Sunshine (2006)
Murderball (2005)
The Passion of the Christ (2004)
Revolutionary Road (2008)
Road to Perdition (2002)
Sin City (2005)
Summer Hours [L'heure D'été] (2008)
Thirteen (2003)
Touching the Void (2003)
Up (2009)
Vanilla Sky (2001)
Watchmen (2009)
The Wrestler (2008)
Monday, January 18, 2010
Looking Back at 2009 - Top 10 and More
(Edited on 1.30.10: "Crazy Heart" was viewed after the time of the initial posting.)
I delayed writing this post slightly this year to allow further time to view the films released in 2009. While there are still several movies that I haven't been able to see, I felt that Golden Globe weekend was about as far as I could push the date back. At the time of this posting, I've seen 99 films with a US release date from 2009.
The Top 10 Films Released in 2009
1. Watchmen
2. Inglourious Basterds
3. The Limits of Control
4. Antichrist
5. Dear Zachary: A Letter to a Son About His Father
6. Up
7. Summer Hours [L'heure D'été]
8. In the Loop
9. Up in the Air
10. The White Ribbon [Das Weisse Band - Eine Deutsche Kindergeschichte]
Individual Accolades
Best Director:
1. Jim Jarmusch – "The Limits of Control"
2. Zach Snyder – "Watchmen"
3. Pedro Amodovar – "Broken Embraces" ["Los Abrazos Rotos"]
4. Quentin Tarantino – "Inglourious Basterds"
5. Olivier Assayas – "Summer Hours" ["L'heure D'été"]
Best Performance by an Actor:
1. Jeff Bridges - "Crazy Heart"
2. George Clooney – "Up in the Air"
3. Joaquin Phoenix – "Two Lovers"
4. Christopher Waltz – "Inglourious Basterds"
5. Peter Capaldi – "In the Loop"
Honorable Mention (bumped for Jeff Bridges): Souleymane Sy Savane – "Goodbye Solo"
Best Performance by an Actress:
1. Julianne Moore – "A Single Man"
2. Meryl Streep – "It’s Complicated"
3. Tilda Swinton – "Julia"
4. Meryl Streep – "Julie & Julia"
5. Vera Farmiga – "Up in the Air"
Best Screenplay:
1. Quentin Tarantino – "Inglourious Basterds"
2. Nick Hornby – "An Education"
3. Lars Van Trier – "Antichrist"
4. Jesse Armstrong – "In the Loop"
5. Michael Hanke – "White Ribbon" ["Das Weisse Band - Eine Deutsche Kindergeschichte"]
I delayed writing this post slightly this year to allow further time to view the films released in 2009. While there are still several movies that I haven't been able to see, I felt that Golden Globe weekend was about as far as I could push the date back. At the time of this posting, I've seen 99 films with a US release date from 2009.
The Top 10 Films Released in 2009
1. Watchmen
2. Inglourious Basterds
3. The Limits of Control
4. Antichrist
5. Dear Zachary: A Letter to a Son About His Father
6. Up
7. Summer Hours [L'heure D'été]
8. In the Loop
9. Up in the Air
10. The White Ribbon [Das Weisse Band - Eine Deutsche Kindergeschichte]
Individual Accolades
Best Director:
1. Jim Jarmusch – "The Limits of Control"
2. Zach Snyder – "Watchmen"
3. Pedro Amodovar – "Broken Embraces" ["Los Abrazos Rotos"]
4. Quentin Tarantino – "Inglourious Basterds"
5. Olivier Assayas – "Summer Hours" ["L'heure D'été"]
Best Performance by an Actor:
1. Jeff Bridges - "Crazy Heart"
2. George Clooney – "Up in the Air"
3. Joaquin Phoenix – "Two Lovers"
4. Christopher Waltz – "Inglourious Basterds"
5. Peter Capaldi – "In the Loop"
Honorable Mention (bumped for Jeff Bridges): Souleymane Sy Savane – "Goodbye Solo"
Best Performance by an Actress:
1. Julianne Moore – "A Single Man"
2. Meryl Streep – "It’s Complicated"
3. Tilda Swinton – "Julia"
4. Meryl Streep – "Julie & Julia"
5. Vera Farmiga – "Up in the Air"
Best Screenplay:
1. Quentin Tarantino – "Inglourious Basterds"
2. Nick Hornby – "An Education"
3. Lars Van Trier – "Antichrist"
4. Jesse Armstrong – "In the Loop"
5. Michael Hanke – "White Ribbon" ["Das Weisse Band - Eine Deutsche Kindergeschichte"]
Saturday, March 21, 2009
2009 Movie Reviews
All films have a U.S. release date of 2009 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.
12: 5/10 - An updated and expanded version of Lumet's classic, "12 Angry Men" (1957). While some of the additions added depth to the characters and a further examination of the thematic points at the core of the narrative, the majority of additions simply muddled the remake, bloating the two hour and forty minute runtime. I will admit though, seeing the concept brought to life in modern-day Russia (as opposed to 1950s America) really amplifies the strength of the story -- there will never be a setting where the film won't work.
(500) Days of Summer: 8/10 - Director Marc Webb displays masterful control of the content and really pieces the film together with great insight to the material. Equally impressive are the two leading performances: Zooey Deschanel gives what is probably the best performance of her career and Joseph Gordon-Levitt takes yet another step toward inevitable greatness; I think he's the most promising young actor since Heath Ledger.
Adventureland: 8/10 - The first thing worth mentioning is how awful the marketing for this film was -- they attempted to ride the coattails of terrible films like "Superbad" (2007) and sold-out a great film in the process. Director Greg Mottola absolutely nails adolescent love and the awkwardness that accompanies it and Jesse Eisenberg turns in a spot-on performance as the protagonist.
Angels and Demons: 3/10 - I remember reading the book and thinking that it would make a terrible movie. The reasoning is mostly the disastrous contrivances and ridiculousness of the last act. Beyond that though, the film represents Tom Hanks and Ewan McGregor's worst performances of their careers.
Antichrist: 9/10 - "A crying woman is a scheming woman." Humanity was ejected from Eden because of woman's weakness -- what if at the end of days, humanity returns to Eden for the same reason? Only this time, Eden isn't represented with happiness, love and hope, but instead grief, pain and despair? Director Lars Van Trier, using stylized horror filmmaking, has created a film with such depth that I'm not sure I've even begun to scratch the surface of its meaning, though it certainly affected me in ways I never before imagined. I found myself often forcing myself to ignore specific character actions and remind myself of the overall scope, which is far more grand than the simplistic plot suggests.
Anvil! The Story of Anvil: 6/10 - I suppose it's always interesting to see how twists of fate can lead similar people in entirely different directions. Still, this documentary on the failed metal band, Anvil, plays more like an examination of pity than anything else.
Avatar: 8/10 - The story and characters have been done a hundred times before, but never this beautiful or engaging. In retrospect, I'm confident that it didn't have the emotional impact James Cameron intended; however, he did accomplish something equally important: he created the most visually impressive film I've ever seen. Granted, that's a title that won't last forever, and upon relinquishing it, the film will lose much of its current appeal.
Away We Go: 1/10 - The film is contrived and unwatchable. I'm having a very difficult time knowing that Sam Mendes was behind the camera, considering he is among the best directors working today. I will be patiently awaiting his penance.
The Bad Lieutenant: Port of Call - New Orleans: 6/10 - "Shoot him again...His soul is still dancing!" I think it's fair to state Cage and Herzog are the two most insane individuals making films today -- this movie being the result of them teaming up is not surprising. Cage is so far off the reservation with his performance and Herzog's vision is so far past madness that I'm not even sure how to evaluate the film; what I can state (admittedly with some hesitation) is that I strangely enjoyed watching it.
The Blind Side: 7/10 - A fun, light-hearted, inspirational film that will keep everyone entertained. None of the characters are given much room -- the film's major strength is the story -- but Sandra Bullock is able to go above and beyond the material and deliver a very solid performance.
The Box: 5/10 - The more time that passes since the film ended, the less fondly I'm remembering it. Writer/Director Richard Kelly ("Donnie Darko") has taken an old morality tale and attempted to elaborate on it. The original material was a short story, but Kelly needs it to last nearly two hours, stretching the premise out far longer than it's capable of withstanding -- the final product is muddled and convoluted.
Broken Embraces [Los Abrazos Rotos]: 8/10 - Almodovar's pen strokes brilliance very often with his latest screenplay, but it also hits a few bumps along the way -- the direction, on the other-hand, is impeccably masterful from start to finish. He crafts a film that binds life with film in a unique way, telling a story with his characters and his camera.
Brothers: 8/10 - Director Jim Sheridan was able to create enough of a contrast from Susanne Bier's original, "Brodre" (2005), that his remake was able to exist well separately. The tone of quiet desperation in the original was replaced with a tone of volatile simmering -- everything about the film's setup acts as a boiling underneath the surface, making the conclusion a necessary act of destruction. While I prefer the original, I do admit that the performance of Jake Gyllenhaal is noteworthy enough to stand apart as an improvement; oppositely, Tobey Maguire's flashy portrayal of the distraught brother seemed off-tone and over-the-top, which unfortunately disrupted the restraint in Natalie Portman's approach.
The Brothers Bloom: 4/10 - Much like Rian Johnson's first film, "Brick" (2005), this movie isn't half as clever as it wants to be. Johnson, while talented behind a camera, must spend the rest of his life in another world, because his writing is incoherent and misplaced. Fortunately, the film does have the saving grace of Rachel Weisz's wonderful performance as an eccentric rich women looking for adventure.
Bruno: 5/10 - The film falls somewhere between unprecedented idiocy and groundbreaking genius -- I just can't seem to lean one way or the other yet. At the very least, I can state that it is something you could save for the rental.
Cloudy with a Chance of Meatballs: 5/10 - The film is harmless fun with some humorous moments, but there's not much to take with you after the credits roll.
Coco Before Chanel [Coco Avant Chanel]: 5/10 - A very bland biopic depicting the life of Gabrielle "Coco" Chanel before her rise to fame as one of the most prominent fashion designers in history. Director Anne Fontaine, who also adapted the book into a screenplay, was too content in her filmmaking, sitting back and asking the story to carry the piece -- unfortunately, there's not enough there for such an approach.
Coraline: 3/10 - While sometimes visually interesting, the plot is boring and the writing is witless. The film is hollow, which has me questioning its critical appeal; I'm honestly not sure who this film was intended for.
Couples Retreat: 5/10 - While the laughs are all hit and miss through most of the movie, it does remain entertaining until the last act -- at which point the script completely collapses.
The Cove: 5/10 - This is a very thought-provoking documentary with three very distinct layers: the first, and the one monopolizing most of the film's running time, is a relentless pounding of manipulative methods to humanize dolphins in an effort to create sympathy; the second layer is a fascinating examination of the many victims fooled into eating purposely mislabeled dolphin meat, which is highly toxic for human consumption due to the mercury levels; and the final layer is the depths that the filmmakers went to reveal the slaughter of the dolphins (an act that while unbelievable to witness, seems largely pointless -- we know about the dolphin deaths regardless of the footage). The film's major flaw is the misguided direction and burying of the most important point, which is not the death of cute animals, but the trickery used to feed their toxic meat to unsuspecting humans -- a film solely focused on that, would have been a great documentary.
Crank: High Voltage: 3/10 - As over-the-top as the first one was, I found it tolerable; the sequel, however, is unbearable. I understand that it shouldn't be criticized simply for being unordinary, but if you strip that away, it's absolutely worthless. It is sloppy, rushed, and completely pointless.
Crazy Heart: 8/10 - A powerful, career-best acting performance from Jeff Bridges encapsulates the film experience. Director Scott Cooper acts as a passive observer, documenting Bridges portrayal of a man debilitated by alcohol. It's worth adding, the film's music doesn't fall into the typical category of Hollywood fluff -- the songs feel genuine, even though Bad Blake is fictional.
Dear Zachary: A Letter to a Son About His Father: 9/10 - I find this documentary impossible to review through the typical criteria of filmmaking -- because the truth is, it's not especially well made -- beyond the few well crafted narrative shifts, all director Kurt Kuenne needed to do was put his camera in front of a group of people involved with one of the most harrowing situations one could ever imagine. The film is essentially about the family and friends of a man who is murdered and the unborn child he left behind. That's all I'll write though, because the less you know about the film, the better your film experience will be -- and to be absolutely clear, there's really no excuse for anyone not to watch it.
District 9: 3/10 - I'm giving the film a three, but it's based solely on the cool premise and the unique narrative. As a whole, however, it ranks among the worst films ever made. I hated the film so much, that I'm legitimately angry at the people who enjoyed it. The movie was so bad, and so incomprehensibly stupid, that I find it impossible to respect anyone with a different viewpoint. Director Neill Blomkamp takes what would be the most significant moment in human history and defecates all over it; he removes all logic -- to both the storyline and the environment the story is being told -- and asks audiences to embrace his idiocy. I guess I was awarding humanity too much credit to expect them not to.
Duplicity: 4/10 - Clive Owen is great as usual and he has great chemistry with Julia Roberts (who he worked with on "Closer" as well). Unfortunately, the film doesn't make any sense. I really wanted to like it, but the convoluted plot completely unravels in the third act.
Drag Me to Hell: 2/10 - I'm not certain what this film wanted to be, but I have to believe that director Sam Raimi fell well short of whatever predetermined goal he had.
An Education: 5/10 - The film has a certain magic that keeps it always engaging (due mostly to a very good script); unfortunately, it's terribly miscast and director Lone Scherfig completely butchers the tone, transforming the film from a potentially brilliant coming of age tale into a very creepy, cringe-inducing examination on pedophilia.
Fantastic Mr. Fox: 3/10 - I'm at a loss for words on this one, though I'm willing to simply concede that I did not share Wes Anderson's vision.
Five Minutes of Heaven: 7/10 - Strong performances from James Nesbitt and Liam Neeson, combined with director Oliver Hirschbeigel's talent for tension, create an engrossing tale of redemption for two men. The filmmaking is tight and very well crafted until the end, when screenwriter Guy Hibbert seemingly runs out of room to maneuver the characters. The ending, while forced, does not spoil the time spent getting to it.
Food, Inc: 8/10 - There's a lot to take away from this film, but I find that its best quality is transcendent beyond the food industry: the way in which decisions and practices are all interconnected. Using an example from the film, the US government's decision to subsidize corn indirectly led to illegal immigration and healthcare issues. On the surface, that seems nonsensical, yet, it's only when you dig past an appearance that the entire portrait becomes visible, which is exactly what Robert Kenner has done in his attempt at unmasking the food industry.
Funny People: 7/10 - There was a great movie somewhere inside the final product, but Apatow seemed to lose sight of the film's direction a little more than halfway through. The first 70-90 minutes were on-target and covered a spectrum of thematic points, but then the film takes an unfortunate turn, ignores most of what was established, and rides a singular note to the conclusion. The approach may have worked if the last act was trimmed down in the editing room, but the final product feels so uneven that the goodwill established early on becomes an afterthought.
G.I. Joe: The Rise of Cobra: 6/10 - When I was eight, G.I. Joe was probably my favorite TV show. If I was still eight, this probably would be my favorite movie. It would be unfair of me to claim that the film is founded in any semblance of logic, but I'm all right with that. As long as you keep the source material in mind when you view it you'll be entertained.
The Girlfriend Experience: 8/10 - A cold and unflinching examination of sex, love, and the endless landscape that lies between. Director Steven Soderbergh takes a documentary-style approach to a fictional story -- he points his camera at a high-end escort, and even though meticulously in control of the narrative, creates a voyeur-like atmosphere, allowing viewers to dissect her life from a seemingly safe distance.
Goodbye Solo: 6/10 - Souleymane Sy Savane delivers a harrowing performance as a Senegalese cab driver who befriends an old man plotting to commit suicide. The friendship seems forced though, making the film somewhat implausible; still, Savane brings a level of humanity to the film that makes it engrossing from start to finish.
The Hangover: 4/10 - The cringe-inducing moments double the humorous ones. It's an alarming state of affairs when the public rallies behind garbage like this as one of the funniest films of the year.
The Headless Woman [La Mujer Sin Cabeza]: 3/10 - Lucrecia Martel pieces the film together much like David Lynch would -- as an examination of reality -- the problem though is that she leaves out all the other vital things that Lynch is so good at...things like character development and conflict. The result is a movie experience that is painfully boring and uninspiring.
He's Just Not That Into You: 4/10 - Every character is an exaggerated stereotype of the mass misconceptions involved with the dating world. I was willing to suspend my disbelief for the filmmakers to make their point, but they went too far. Not one character in the film was even remotely believable.
The Hurt Locker: 7/10 - The direction and acting (specifically, Jeremy Renner) was very good and the set design was as close to perfect as I've ever seen in a war film. The major negative to the film was its lack of depth -- I don't think the script dug deep enough and the result was like eating a masterfully made hamburger.
I Love You, Beth Cooper: 1/10 - Intolerably bad. As hot as Hayden Panettiere is, she's not nearly hot enough to make the film watchable; hell, if she was doing a striptease in the same room the movie was playing, it wouldn't even be watchable.
I Love You, Man: 4/10 - I'm a fan of Paul Rudd, but the movie is neither funny or entertaining -- the worst kind of comedy. It's a significant commentary on the state of Hollywood big budget comedies when a 20 minute episode of Entourage provides ten-times the amount of laughs in one-fifth the amount of time.
The Informant!: 5/10 - To be completely truthful, I don't really have much of an opinion on this film. Nothing about it is particularly bad and I thought Matt Damon did a good job with the character, but I walked away feeling entirely apathetic toward the film. I'm writing this less than 24 hours after having seen it and I've all ready forgotten most of it.
Inglourious Basterds: 9/10 - Quentin Tarantino is a master of the little things -- the tiny intricacies that all film-lovers crave. He's the best writer in Hollywood and continues to prove he's worthy of the title. It's tough to imagine that a better action film -- or funnier comedy -- will be released this year.
The International: 6/10 - The rapid globalization of the world over the last few decades is a fascinating topic -- the power of international corporations in place of nations. I imagine that is precisely what screenwriter Tom Tykwer was thinking when he sat down to write the script. Unfortunately, at some point between his first sentence and the theater release, the message was jumbled. The film that resulted was mostly entertaining and intriguing, but too often ridiculous and unbelievable. To steal a line from Mr. Tykwer, "There is a difference between truth and fiction: fiction has to make sense."
In the Loop: 9/10 - "Unofficially, we can call anything whatever we want. I mean, unofficially, *this* is a shoe; but it's not, Karen, it is a glass of water!" A brilliant script with great performances from the entire cast, highlighted by Peter Capaldi's absolutely hilarious portrayal of a British political insider. This is not only the funniest film I've seen all year, but one of the best political satires I've seen in my lifetime.
Invictus: 6/10 - Clint Eastwood, while displaying moments of brilliance, was left with a film that didn't know what it wanted to be. It was two films in one and there wasn't enough time to give the necessary attention to everything that needed it. The screenplay was written from the perspective of someone looking back at the events, rather than someone who understood what it would have been like to experience them, so the unfortunate result were two incomplete characters. Morgan Freeman and Matt Damon were trapped into portraying iconic members of a historic global moment, rather than fully realized, three-dimensional characters.
It Might Get Loud: 7/10 - Director Davis Guggenheim creates a mesmerizing documentary focused on three guitarists from different generations brought together. While most of the film revolves around each man's background, the unification of their creative minds binds them in a very unique way. I'm not sure if Guggenheim found the answers he was searching for when he set out to make the film -- maybe he had no intentions -- but in letting the three guitarists keep center stage, he created an engaging experience.
It's Complicated: 8/10 - I'm not going to lie, this isn't typically the type of film I would enjoy; however, Meryl Streep is able to elevate the film above it's built in ceiling, delivering one of the best female performances of the year. In addition to her standout work, the film is consistently funny, often very smart, and has some very enjoyable performances from Baldwin and Martin, who compliment Streep very well.
Julia: 6/10 - A career-best performance from Tilda Swinton keeps this film engaging, which is no easy task considering the bloated runtime and sloppy pacing. Director Erick Zonca never seemed to have control of his project's structure or characters and the result was a very unpolished film.
Julie & Julia: 6/10 - It's amazing how good of an actress Meryl Streep is -- everything she does is brilliant, so it gets to the point that her work starts to feel commonplace. She was among the best performances by an actress last year with "Doubt" and I suspect she'll be among the best this year as well. Unfortunately, the film isn't nearly as perfect as she is: it often struggles with pacing and concludes in a manner that doesn't seem to fit the long setup.
The Killing Room: 4/10 - The film's plot revolves around a secret government organization that recruits unsuspecting Americans to unknowingly participate in a deadly experiment in an effort to identify citizens willing to die for their country. While it is a mildly intriguing premise, the film drifted aimlessly, and in retrospect, it was altogether pointless.
Knowing: 5/10 - I don't really know what to make of this one -- Nicholas Cage has made some of the most ridiculous film choices of any famous actor in history. While the film was mostly entertaining, I walked away with more negatives than positives.
The Last House on the Left: 6/10 - If Director Dennis Iliadas had treated the last act with as much care as the first two, he would have had a fully realized thriller. Instead, the film felt a little uneven, which was unfortunate, considering how well done it was in every other area of the filmmaking.
Law Abiding Citizen: 6/10 - The film is very heavy-handed and is certainly not without flaws (especially in some dialogue)...even worse, if one knew the ending beforehand, there would be nothing redeemable about the viewing experience. Of course, we don't go in knowing the ending, which makes the journey a worthy time investment. Gerard Butler is great as the likable antagonist and the film does keep you involved for the majority of the runtime by forcing you to question the morality of American justice, rather than focus on the method by which you're being manipulated.
Let the Right One In [Lat den Ratte Komma In]: 3/10 - I'm not sure why I keep watching foreign vampire movies since I think the subject matter is so idiotic (the only exception being "An Interview with a Vampire"). The screenplay for this film has all sorts of issues and there's no performance that rises even remotely above mediocre. The one bright spot comes from the great direction of Thomas Alfredson -- he creates a perfect atmosphere, keeping what could have been an unwatchable film engrossing.
The Limits of Control: 9/10 - “He who thinks he’s bigger than the rest should go to the cemetery. There he’ll find what life really is: it’s a handful of dirt.” Director Jim Jarmusch has created something I've never seen before -- a perfect metaphor for the complex society of today's world. He has taken everything -- everything that surrounds us; traps us in the world we've come to understand and comprehend -- and places it before us on a brilliantly filmed platter of simplicity. The film has no plot to discuss, it's simply a statement to all those willing to listen: everything can be controlled, except the collective imagination of mankind.
Lorna's Silence [Le silence de Lorna]: 4/10 - The Dardenne brothers tackle guilt in a very subtle and profound way. The issue, however, is that the screenplay they wrote demands a very powerful performance from the lead actress, which is something they did not receive from Arta Dobroschi. She turns the character of Lorna into an empty vessel, with which to be moved from point to point in accordance with the script.
The Lovely Bones: 4/10 - The first act is brilliant -- I was prepared to credit Peter Jackson, who I typically feel is one of the most overrated directors working in Hollywood, for his tight control, suspense, and brilliant imagery. Unfortunately, the film's concept begins to slowly wear thin, eventually dissolving into a ridiculous thriller, in which the audience knows who the killer is in the prologue. Combine the flimsy plot to the endless parade of crosscut scenes displaying the victim purposelessly dancing in pretty afterlife fields and one's left wondering how much worse Peter Jackson could have screwed up this film.
The Men Who Stare at Goats: 6/10 - A completely ridiculous satire that disconnects itself from any realm of logic very early on. Fortunately, the entire cast delivers top-notch performances and the film is often very funny, making it a worthwhile time investment.
The Messenger: 8/10 - The film chronicles a few months in the lives of two officers, portrayed brilliantly by Ben Foster and Woody Harrelson, who are responsible for informing the next of kin to soldiers killed in combat. Director Oren Moveman really nails the tone for the movie and doesn't allow the film to take any unnecessary turns. There is no time wasted on politics and hidden opinions, which usually act as major pitfalls in the genre.
Moon: 5/10 - As much as I loved director Duncan Jones' vision and as much as I wanted to love this film, I can't give it my full recommendation. Sam Rockwell gives a very brave performance and the film certainly won't be lost among the countless color-by-number films released each month, but unfortunately, the final script simply wasn't realized enough to string together a great film.
Nine: 6/10 - "8 1/2" (1963) is a great film; in all of its qualities though, nothing suggests it would be a great musical. I understand that director Rob Marshall is adapting the stage version (which is a musical), entitled "Nine," and not Fellini's film, but it's difficult to not compare the two. Marshall's finished product is simply a diluted version of Fellini's film stuffed with mediocre music. Interestingly enough though, it seems nearly impossible to make a bad version of "8 1/2," especially when you've cast Daniel Day-Lewis in the lead.
Observe and Report: 3/10 - I'm all right with a film being agonizingly idiotic, but it needs to make me laugh more than twice in an hour and a half.
Of Time and the City: 1/10 - While the footage is interesting, everything else about the documentary is empty. It's painfully boring and listless.
Precious: Based on the Novel Push by Sapphire: 2/10 - It's somewhat remarkable to create a film about child abuse that doesn't contain one character that you like or dislike. Films don't get much worse than this.
The Princess and the Frog: 7/10 - While the film isn't quite the return to the magic of the 1990s (mostly due to sub-par musical pieces), it is certainly a bold statement that Disney cartoon animation is far from dead. The film is a lot of fun and it really nails down the tone of the New Orleans culture.
The Proposal: 6/10 - The film is all together ridiculous and I'm not sure Sandra Bullock fit very well into the character, but Ryan Reynolds is excellent and has perfect comic timing in the role, making the film largely enjoyable.
Public Enemies: 4/10 - An embarrassingly weak screenplay considering all the talent involved. Add in the miscasting of Johnny Depp and the irrelevant two-dimensional character Christian Bale was left to play and I'm prepared to forgive Michael Mann -- I'm truthfully just not certain what he saw in the script.
Red Cliff [Chi Bi]: 4/10 - John Woo's over-the-top historic epic of China's Three Kingdoms period spends an astonishing amount of time on character development without accomplishing anything. At 2 1/2 hours, the film still manages to conclude with a "To Be Continued" note. Needless to state, but it's doubtful that I'll be investing any further time to see the story play out in Red Cliff: Part II [Chi Bi Xia: Jue Zhan Tian Xia].
The Road: 7/10 - I believe that without law, there is no morality; and I suspect that author Cormac McCarthy agrees with me. The issue then becomes how to film the depravity of mankind without searching for hope, which is exactly the task director John Hillcoat struggled with. It's odd that in a film so hopeless, I felt as though Hillcoat was trying to fabricate hope in every frame. Reading between the lines, I think Hillcoat missed the point: it's not a love story between a father and son, it's the painful veracity of what a post-apocalyptic world would be...even if that's a reality most of us would prefer not acknowledge.
A Serious Man: 6/10 - The Coen brothers' latest film is a black comedy with deceiving depth. It hits some slow parts, but you can feel Ethan and Joel's intimacy with the material.
Sherlock Holmes: 3/10 - Robert Downey Jr. does an admirable job as the Sherlock Holmes that Guy Ritchie has envisioned, but the film's plot is beyond idiotic.
Silent Light [Stellet licht]: 1/10 - Guilt concerning an affair is not a new concept, so when a filmmaker decides to approach the topic, adding nothing new and enlisting first time actors, it makes me question his intent. Even worse, every scene is at least three times longer than it needs to be to convey the story, creating one of the most frustrating viewing experiences I've had all year.
A Single Man: 7/10 - A great performance from Colin Firth in the lead and an arguably even better performance from Julianne Moore in a supporting role help to elevate the film above the various pitfalls laid out in the manipulative script. First-time director Tom Ford deserves a lot of credit as well for creating some moments of brilliance and allowing his actors room to maneuver.
Star Trek: 5/10 - The inherent problem with a film that reboots a famous serious is the amount of time that must be dedicated to reintroducing the audience to the characters. Few films are able to triumph over that obstacle -- Star Trek is no exception. Combine that disadvantage with an absolutely ridiculous plot and it's tough to chalk the film up as a success. However, I do recommend the film on account of my feeling that its sequels have great promise. Think of viewing it as an investment in the future.
State of Play: 6/10 - I never realized how bad of an actor Ben Affleck was until I saw him make Russell Crowe look bad in the scenes they share -- that's a frightening caliber of terribleness. As for the film, while it wasn't bad by any means, it wasn't particularly memorable either. Regardless, it's a well-constructed political thriller that will entertain you enough to keep watching.
Sugar: 6/10 - An intriguing story about a Dominican Republican pitcher on track to come to America to try and make it big in the MLB. There's nothing especially good or bad about the film -- it's color-by-numbers entertainment.
Summer Hours [L'heure D'été]: 9/10 - Writer/Director Olivier Assayas casts a perfect tone on a film about the cycle of life. The melancholy he is able to capture in his scenes is extraordinary, and it stands above the efforts of many filmmakers who have tackled the same subject matter. There is nothing meant to be easy about children dealing with their inheritance and Assayas keeps the film very real, never allowing it to decay into sappy melodrama.
Sunshine Cleaning: 5/10 - Great performances from the cast, especially Amy Adams, but the film is only superficially entertaining and filled with contrivances. Even though crime scene cleanup is an interesting and unique topic, there's really not enough meat in the script for a full length feature.
Surrogates: 6/10 - The film's premise is ridiculous and the plot-holes are immense, but director Jonathan Mostow does a great job of keeping the film entertaining and balancing the need to reiterate the moral message without ever becoming too preachy.
Taken: 7/10 - Liam Neeson is great as the vigilante dad trying to save his daughter from the European sex slave trade. The greatest movie premise in existence is the *former government trained killer unleashed on bad guys plot structure* and "Taken" does perfectly fine with the material. It's worth the viewing for all action film fans.
The Taking of Pelham 1 2 3: 4/10 - The remake of the 1974 classic just doesn't work. Screenwriter Brain Helgeland isn't nearly as witty as he thinks he is; director Tony Scott seems as though he's grasping at straws -- using every second to slip in a superfluous stylized camera movement -- and Denzel Washington, despite his uncanny ability to always elevate material, is attempting to play a character that is ridiculously incomplete and inconsistent. Though, I will add, Washington was still one step ahead of the two-dimensional character John Travolta was attempting to deal with.
Terminator Salvation: 7/10 - Yes, it was often completely illogical and yes, the ending was laughably stupid, but who cares? It was still a fun action film, with built in nostalgia, and a great performance by Sam Worthington. I'll take this over another entry into the Transformers franchise any day.
Tetro: 6/10 - The film feels more like a journey into the mind of a great director than it feels like one is watching a great film. Coppola is masterful behind the camera (as expected), but the performances are uneven and the script's setup, while leading to a strong payoff, is somewhat weak.
Thirst [Bakjwi]: 1/10 - A Korean vampire movie with heavy-handed religious symbolism and a painfully boring pace. I hate to turn a film off midway, but I was on the verge of falling asleep several times.
Transformers: Revenge of the Fallen: 4/10 - I don't think a story being unbelievable is enough to make a film bad (and believe me, I can't think of many more ridiculous plotlines); however, when the actions characters take within the context of a narrative don't make sense, it's very difficult to suspend one's disbelief. The one saving grace is the relentless action sequences and the brilliant CGI -- though I must add, with a runtime over two and a half hours, even they become tedious.
Two Lovers: 7/10 - This is a very complicated film with terrific performances from Joaquin Phoenix (in what could be his last role...) and Gwyneth Paltrow. The screenplay probably tries to address too many concepts, and it progresses at what is sometimes a painfully slow pace, but the last act makes it worth the wait. Director James Gray is able to conclude the film in a way that really forces the themes of love, infatuation, and the reality that separates them, to the forefront.
Tyson: 6/10 - While I would consider Mike Tyson to be on of the most fascinating individuals on the planet, 90 minutes of listening to his life's confession does feel burdensome at times. Filmmaker James Toback didn't do enough with the material to elevate it beyond a curiosity.
The Ugly Truth: 4/10 - Color-by-numbers crap with two-dimensional characters and terrible situational writing. Still, I find Gerard Butler always watchable and even the endlessly-annoying Katherine Heigl found a few moments, allowing for some sparse entertainment in the tight 90 minute runtime.
Up: 9/10 - The saddest and funniest movie Pixar has ever made. It was odd to spend the first 20 minutes in a theater full of crying adults at a Pixar film, but it only went to show how powerful they are as filmmakers -- they've hit a new high watermark. Even though I seem to be saying this every year, I can't wait to see what they do next.
Up in the Air: 8/10 - George Clooney is finally starting to build an acting portfolio -- for all practical purposes, this and "Michael Clayton" (2007) are the only films where he's been able to show great depth in a fully realized, three-dimensional character. While he's the best part of the film, he's not alone; Vera Farminga turns in a great supporting role as Clooney's romantic interest, matching him toe to toe in every witty exchange. The film also represents Jason Reitman's second writer/director effort and it is no less impressive than his first, "Thank You for Smoking" (2005). I sense that this is a movie I'll need to watch again to fully absorb, and while I'm confident that it has its flaws, it is still one of the best experiences I've had in a theater this year.
Watchmen: 9/10 - It is not a stereotypical superhero film -- it is a parody of one; it is a dissection of the human race; it is a perfect capture of a moment in world history, yet the image revealed is of a reality that does not exist. The film is a beautiful paradox. Despite the amount of people who I know will not enjoy the film -- or even understand it -- there is no one I would not recommend it to.
The Window [La Ventana]: 7/10 - An often beautiful film that's wonderfully acted by the entire cast. The story is a day in the life of an 80 year-old man waiting for his 40 year-old son to visit him -- it has virtually no action or conflict, simply a slow buildup without any form of tangible payoff. I suppose the film acts as a subtle representation of a human lifetime.
Without Name [Sin Nombre]: 7/10 - With the exception of one somewhat contrived plot point, the script is very well written by writer/director Cary Fukunaga. The film is as much a story of hope -- in hopeless times -- as it is a study on Mexican and Central American gangs. It's difficult to imagine undertaking a journey like the one represented, but nonetheless, a fascinating experience to behold.
Where the Wild Things Are: 1/10 - What a disaster. Spike Jonze's vision of this classic children's story is an abomination.
The White Ribbon [Das weisse Band - Eine deutsche Kindergeschichte]: 8/10 - The film's slow pace can get tiresome; not for lack of interest, but for lack of revelation. Director Michael Hanke paints us a portrait of the atmosphere in Germany just before the start of World War I -- he offers no opinion though, he simply lays the picture before us to decipher. The town depicted in the film acts as a microcosm for all of Germany, and the heartless fascism and fundamentalist religious roots are the history guide to the Nazi regime that would soon seize the country. I'm certain that I didn't enjoy the film, but I did find it to be endlessly fascinating.
World's Greatest Dad: 6/10 - A very black comedy with a satirical commentary on perspective and mankind's collective shallow nature. The movie certainly won't be for everyone, but it goes without question that director Bobcat Goldthwait pulls no punches, helping him overcome the myriad of issues with the film's tone.
X-Men Origins: Wolverine: 3/10 - What a pile of crap. Marvel took one of it's best premises and one of its best actors (Hugh Jackman) and produced arguably it's worst film (all right, that's a lie -- Ang Lee's "Hulk" was actually much worse). It felt as though the writer was playing a game of connect the dots, without knowing what the final image should resemble...or even the order with which he should move from dot to dot.
Young Victoria: 7/10 - A very well done period piece, chronicling the early years of Queen Victoria and her relationship with Price Albert. The film is tightly made with strong performances from the ensemble cast. I found myself hoping it would dig a little deeper than a straight-forward biography though.
Zombieland: 6/10 - Funny and entertaining with enjoyable performances from the entire cast. Director Ruben Fleishcher keeps his distance from any character building or thematic depth -- the film is exactly what it appears to be on the surface: escapist fun for 90 minutes.
Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)
12: 5/10 - An updated and expanded version of Lumet's classic, "12 Angry Men" (1957). While some of the additions added depth to the characters and a further examination of the thematic points at the core of the narrative, the majority of additions simply muddled the remake, bloating the two hour and forty minute runtime. I will admit though, seeing the concept brought to life in modern-day Russia (as opposed to 1950s America) really amplifies the strength of the story -- there will never be a setting where the film won't work.
(500) Days of Summer: 8/10 - Director Marc Webb displays masterful control of the content and really pieces the film together with great insight to the material. Equally impressive are the two leading performances: Zooey Deschanel gives what is probably the best performance of her career and Joseph Gordon-Levitt takes yet another step toward inevitable greatness; I think he's the most promising young actor since Heath Ledger.
Adventureland: 8/10 - The first thing worth mentioning is how awful the marketing for this film was -- they attempted to ride the coattails of terrible films like "Superbad" (2007) and sold-out a great film in the process. Director Greg Mottola absolutely nails adolescent love and the awkwardness that accompanies it and Jesse Eisenberg turns in a spot-on performance as the protagonist.
Angels and Demons: 3/10 - I remember reading the book and thinking that it would make a terrible movie. The reasoning is mostly the disastrous contrivances and ridiculousness of the last act. Beyond that though, the film represents Tom Hanks and Ewan McGregor's worst performances of their careers.
Antichrist: 9/10 - "A crying woman is a scheming woman." Humanity was ejected from Eden because of woman's weakness -- what if at the end of days, humanity returns to Eden for the same reason? Only this time, Eden isn't represented with happiness, love and hope, but instead grief, pain and despair? Director Lars Van Trier, using stylized horror filmmaking, has created a film with such depth that I'm not sure I've even begun to scratch the surface of its meaning, though it certainly affected me in ways I never before imagined. I found myself often forcing myself to ignore specific character actions and remind myself of the overall scope, which is far more grand than the simplistic plot suggests.
Anvil! The Story of Anvil: 6/10 - I suppose it's always interesting to see how twists of fate can lead similar people in entirely different directions. Still, this documentary on the failed metal band, Anvil, plays more like an examination of pity than anything else.
Avatar: 8/10 - The story and characters have been done a hundred times before, but never this beautiful or engaging. In retrospect, I'm confident that it didn't have the emotional impact James Cameron intended; however, he did accomplish something equally important: he created the most visually impressive film I've ever seen. Granted, that's a title that won't last forever, and upon relinquishing it, the film will lose much of its current appeal.
Away We Go: 1/10 - The film is contrived and unwatchable. I'm having a very difficult time knowing that Sam Mendes was behind the camera, considering he is among the best directors working today. I will be patiently awaiting his penance.
The Bad Lieutenant: Port of Call - New Orleans: 6/10 - "Shoot him again...His soul is still dancing!" I think it's fair to state Cage and Herzog are the two most insane individuals making films today -- this movie being the result of them teaming up is not surprising. Cage is so far off the reservation with his performance and Herzog's vision is so far past madness that I'm not even sure how to evaluate the film; what I can state (admittedly with some hesitation) is that I strangely enjoyed watching it.
The Blind Side: 7/10 - A fun, light-hearted, inspirational film that will keep everyone entertained. None of the characters are given much room -- the film's major strength is the story -- but Sandra Bullock is able to go above and beyond the material and deliver a very solid performance.
The Box: 5/10 - The more time that passes since the film ended, the less fondly I'm remembering it. Writer/Director Richard Kelly ("Donnie Darko") has taken an old morality tale and attempted to elaborate on it. The original material was a short story, but Kelly needs it to last nearly two hours, stretching the premise out far longer than it's capable of withstanding -- the final product is muddled and convoluted.
Broken Embraces [Los Abrazos Rotos]: 8/10 - Almodovar's pen strokes brilliance very often with his latest screenplay, but it also hits a few bumps along the way -- the direction, on the other-hand, is impeccably masterful from start to finish. He crafts a film that binds life with film in a unique way, telling a story with his characters and his camera.
Brothers: 8/10 - Director Jim Sheridan was able to create enough of a contrast from Susanne Bier's original, "Brodre" (2005), that his remake was able to exist well separately. The tone of quiet desperation in the original was replaced with a tone of volatile simmering -- everything about the film's setup acts as a boiling underneath the surface, making the conclusion a necessary act of destruction. While I prefer the original, I do admit that the performance of Jake Gyllenhaal is noteworthy enough to stand apart as an improvement; oppositely, Tobey Maguire's flashy portrayal of the distraught brother seemed off-tone and over-the-top, which unfortunately disrupted the restraint in Natalie Portman's approach.
The Brothers Bloom: 4/10 - Much like Rian Johnson's first film, "Brick" (2005), this movie isn't half as clever as it wants to be. Johnson, while talented behind a camera, must spend the rest of his life in another world, because his writing is incoherent and misplaced. Fortunately, the film does have the saving grace of Rachel Weisz's wonderful performance as an eccentric rich women looking for adventure.
Bruno: 5/10 - The film falls somewhere between unprecedented idiocy and groundbreaking genius -- I just can't seem to lean one way or the other yet. At the very least, I can state that it is something you could save for the rental.
Cloudy with a Chance of Meatballs: 5/10 - The film is harmless fun with some humorous moments, but there's not much to take with you after the credits roll.
Coco Before Chanel [Coco Avant Chanel]: 5/10 - A very bland biopic depicting the life of Gabrielle "Coco" Chanel before her rise to fame as one of the most prominent fashion designers in history. Director Anne Fontaine, who also adapted the book into a screenplay, was too content in her filmmaking, sitting back and asking the story to carry the piece -- unfortunately, there's not enough there for such an approach.
Coraline: 3/10 - While sometimes visually interesting, the plot is boring and the writing is witless. The film is hollow, which has me questioning its critical appeal; I'm honestly not sure who this film was intended for.
Couples Retreat: 5/10 - While the laughs are all hit and miss through most of the movie, it does remain entertaining until the last act -- at which point the script completely collapses.
The Cove: 5/10 - This is a very thought-provoking documentary with three very distinct layers: the first, and the one monopolizing most of the film's running time, is a relentless pounding of manipulative methods to humanize dolphins in an effort to create sympathy; the second layer is a fascinating examination of the many victims fooled into eating purposely mislabeled dolphin meat, which is highly toxic for human consumption due to the mercury levels; and the final layer is the depths that the filmmakers went to reveal the slaughter of the dolphins (an act that while unbelievable to witness, seems largely pointless -- we know about the dolphin deaths regardless of the footage). The film's major flaw is the misguided direction and burying of the most important point, which is not the death of cute animals, but the trickery used to feed their toxic meat to unsuspecting humans -- a film solely focused on that, would have been a great documentary.
Crank: High Voltage: 3/10 - As over-the-top as the first one was, I found it tolerable; the sequel, however, is unbearable. I understand that it shouldn't be criticized simply for being unordinary, but if you strip that away, it's absolutely worthless. It is sloppy, rushed, and completely pointless.
Crazy Heart: 8/10 - A powerful, career-best acting performance from Jeff Bridges encapsulates the film experience. Director Scott Cooper acts as a passive observer, documenting Bridges portrayal of a man debilitated by alcohol. It's worth adding, the film's music doesn't fall into the typical category of Hollywood fluff -- the songs feel genuine, even though Bad Blake is fictional.
Dear Zachary: A Letter to a Son About His Father: 9/10 - I find this documentary impossible to review through the typical criteria of filmmaking -- because the truth is, it's not especially well made -- beyond the few well crafted narrative shifts, all director Kurt Kuenne needed to do was put his camera in front of a group of people involved with one of the most harrowing situations one could ever imagine. The film is essentially about the family and friends of a man who is murdered and the unborn child he left behind. That's all I'll write though, because the less you know about the film, the better your film experience will be -- and to be absolutely clear, there's really no excuse for anyone not to watch it.
District 9: 3/10 - I'm giving the film a three, but it's based solely on the cool premise and the unique narrative. As a whole, however, it ranks among the worst films ever made. I hated the film so much, that I'm legitimately angry at the people who enjoyed it. The movie was so bad, and so incomprehensibly stupid, that I find it impossible to respect anyone with a different viewpoint. Director Neill Blomkamp takes what would be the most significant moment in human history and defecates all over it; he removes all logic -- to both the storyline and the environment the story is being told -- and asks audiences to embrace his idiocy. I guess I was awarding humanity too much credit to expect them not to.
Duplicity: 4/10 - Clive Owen is great as usual and he has great chemistry with Julia Roberts (who he worked with on "Closer" as well). Unfortunately, the film doesn't make any sense. I really wanted to like it, but the convoluted plot completely unravels in the third act.
Drag Me to Hell: 2/10 - I'm not certain what this film wanted to be, but I have to believe that director Sam Raimi fell well short of whatever predetermined goal he had.
An Education: 5/10 - The film has a certain magic that keeps it always engaging (due mostly to a very good script); unfortunately, it's terribly miscast and director Lone Scherfig completely butchers the tone, transforming the film from a potentially brilliant coming of age tale into a very creepy, cringe-inducing examination on pedophilia.
Fantastic Mr. Fox: 3/10 - I'm at a loss for words on this one, though I'm willing to simply concede that I did not share Wes Anderson's vision.
Five Minutes of Heaven: 7/10 - Strong performances from James Nesbitt and Liam Neeson, combined with director Oliver Hirschbeigel's talent for tension, create an engrossing tale of redemption for two men. The filmmaking is tight and very well crafted until the end, when screenwriter Guy Hibbert seemingly runs out of room to maneuver the characters. The ending, while forced, does not spoil the time spent getting to it.
Food, Inc: 8/10 - There's a lot to take away from this film, but I find that its best quality is transcendent beyond the food industry: the way in which decisions and practices are all interconnected. Using an example from the film, the US government's decision to subsidize corn indirectly led to illegal immigration and healthcare issues. On the surface, that seems nonsensical, yet, it's only when you dig past an appearance that the entire portrait becomes visible, which is exactly what Robert Kenner has done in his attempt at unmasking the food industry.
Funny People: 7/10 - There was a great movie somewhere inside the final product, but Apatow seemed to lose sight of the film's direction a little more than halfway through. The first 70-90 minutes were on-target and covered a spectrum of thematic points, but then the film takes an unfortunate turn, ignores most of what was established, and rides a singular note to the conclusion. The approach may have worked if the last act was trimmed down in the editing room, but the final product feels so uneven that the goodwill established early on becomes an afterthought.
G.I. Joe: The Rise of Cobra: 6/10 - When I was eight, G.I. Joe was probably my favorite TV show. If I was still eight, this probably would be my favorite movie. It would be unfair of me to claim that the film is founded in any semblance of logic, but I'm all right with that. As long as you keep the source material in mind when you view it you'll be entertained.
The Girlfriend Experience: 8/10 - A cold and unflinching examination of sex, love, and the endless landscape that lies between. Director Steven Soderbergh takes a documentary-style approach to a fictional story -- he points his camera at a high-end escort, and even though meticulously in control of the narrative, creates a voyeur-like atmosphere, allowing viewers to dissect her life from a seemingly safe distance.
Goodbye Solo: 6/10 - Souleymane Sy Savane delivers a harrowing performance as a Senegalese cab driver who befriends an old man plotting to commit suicide. The friendship seems forced though, making the film somewhat implausible; still, Savane brings a level of humanity to the film that makes it engrossing from start to finish.
The Hangover: 4/10 - The cringe-inducing moments double the humorous ones. It's an alarming state of affairs when the public rallies behind garbage like this as one of the funniest films of the year.
The Headless Woman [La Mujer Sin Cabeza]: 3/10 - Lucrecia Martel pieces the film together much like David Lynch would -- as an examination of reality -- the problem though is that she leaves out all the other vital things that Lynch is so good at...things like character development and conflict. The result is a movie experience that is painfully boring and uninspiring.
He's Just Not That Into You: 4/10 - Every character is an exaggerated stereotype of the mass misconceptions involved with the dating world. I was willing to suspend my disbelief for the filmmakers to make their point, but they went too far. Not one character in the film was even remotely believable.
The Hurt Locker: 7/10 - The direction and acting (specifically, Jeremy Renner) was very good and the set design was as close to perfect as I've ever seen in a war film. The major negative to the film was its lack of depth -- I don't think the script dug deep enough and the result was like eating a masterfully made hamburger.
I Love You, Beth Cooper: 1/10 - Intolerably bad. As hot as Hayden Panettiere is, she's not nearly hot enough to make the film watchable; hell, if she was doing a striptease in the same room the movie was playing, it wouldn't even be watchable.
I Love You, Man: 4/10 - I'm a fan of Paul Rudd, but the movie is neither funny or entertaining -- the worst kind of comedy. It's a significant commentary on the state of Hollywood big budget comedies when a 20 minute episode of Entourage provides ten-times the amount of laughs in one-fifth the amount of time.
The Informant!: 5/10 - To be completely truthful, I don't really have much of an opinion on this film. Nothing about it is particularly bad and I thought Matt Damon did a good job with the character, but I walked away feeling entirely apathetic toward the film. I'm writing this less than 24 hours after having seen it and I've all ready forgotten most of it.
Inglourious Basterds: 9/10 - Quentin Tarantino is a master of the little things -- the tiny intricacies that all film-lovers crave. He's the best writer in Hollywood and continues to prove he's worthy of the title. It's tough to imagine that a better action film -- or funnier comedy -- will be released this year.
The International: 6/10 - The rapid globalization of the world over the last few decades is a fascinating topic -- the power of international corporations in place of nations. I imagine that is precisely what screenwriter Tom Tykwer was thinking when he sat down to write the script. Unfortunately, at some point between his first sentence and the theater release, the message was jumbled. The film that resulted was mostly entertaining and intriguing, but too often ridiculous and unbelievable. To steal a line from Mr. Tykwer, "There is a difference between truth and fiction: fiction has to make sense."
In the Loop: 9/10 - "Unofficially, we can call anything whatever we want. I mean, unofficially, *this* is a shoe; but it's not, Karen, it is a glass of water!" A brilliant script with great performances from the entire cast, highlighted by Peter Capaldi's absolutely hilarious portrayal of a British political insider. This is not only the funniest film I've seen all year, but one of the best political satires I've seen in my lifetime.
Invictus: 6/10 - Clint Eastwood, while displaying moments of brilliance, was left with a film that didn't know what it wanted to be. It was two films in one and there wasn't enough time to give the necessary attention to everything that needed it. The screenplay was written from the perspective of someone looking back at the events, rather than someone who understood what it would have been like to experience them, so the unfortunate result were two incomplete characters. Morgan Freeman and Matt Damon were trapped into portraying iconic members of a historic global moment, rather than fully realized, three-dimensional characters.
It Might Get Loud: 7/10 - Director Davis Guggenheim creates a mesmerizing documentary focused on three guitarists from different generations brought together. While most of the film revolves around each man's background, the unification of their creative minds binds them in a very unique way. I'm not sure if Guggenheim found the answers he was searching for when he set out to make the film -- maybe he had no intentions -- but in letting the three guitarists keep center stage, he created an engaging experience.
It's Complicated: 8/10 - I'm not going to lie, this isn't typically the type of film I would enjoy; however, Meryl Streep is able to elevate the film above it's built in ceiling, delivering one of the best female performances of the year. In addition to her standout work, the film is consistently funny, often very smart, and has some very enjoyable performances from Baldwin and Martin, who compliment Streep very well.
Julia: 6/10 - A career-best performance from Tilda Swinton keeps this film engaging, which is no easy task considering the bloated runtime and sloppy pacing. Director Erick Zonca never seemed to have control of his project's structure or characters and the result was a very unpolished film.
Julie & Julia: 6/10 - It's amazing how good of an actress Meryl Streep is -- everything she does is brilliant, so it gets to the point that her work starts to feel commonplace. She was among the best performances by an actress last year with "Doubt" and I suspect she'll be among the best this year as well. Unfortunately, the film isn't nearly as perfect as she is: it often struggles with pacing and concludes in a manner that doesn't seem to fit the long setup.
The Killing Room: 4/10 - The film's plot revolves around a secret government organization that recruits unsuspecting Americans to unknowingly participate in a deadly experiment in an effort to identify citizens willing to die for their country. While it is a mildly intriguing premise, the film drifted aimlessly, and in retrospect, it was altogether pointless.
Knowing: 5/10 - I don't really know what to make of this one -- Nicholas Cage has made some of the most ridiculous film choices of any famous actor in history. While the film was mostly entertaining, I walked away with more negatives than positives.
The Last House on the Left: 6/10 - If Director Dennis Iliadas had treated the last act with as much care as the first two, he would have had a fully realized thriller. Instead, the film felt a little uneven, which was unfortunate, considering how well done it was in every other area of the filmmaking.
Law Abiding Citizen: 6/10 - The film is very heavy-handed and is certainly not without flaws (especially in some dialogue)...even worse, if one knew the ending beforehand, there would be nothing redeemable about the viewing experience. Of course, we don't go in knowing the ending, which makes the journey a worthy time investment. Gerard Butler is great as the likable antagonist and the film does keep you involved for the majority of the runtime by forcing you to question the morality of American justice, rather than focus on the method by which you're being manipulated.
Let the Right One In [Lat den Ratte Komma In]: 3/10 - I'm not sure why I keep watching foreign vampire movies since I think the subject matter is so idiotic (the only exception being "An Interview with a Vampire"). The screenplay for this film has all sorts of issues and there's no performance that rises even remotely above mediocre. The one bright spot comes from the great direction of Thomas Alfredson -- he creates a perfect atmosphere, keeping what could have been an unwatchable film engrossing.
The Limits of Control: 9/10 - “He who thinks he’s bigger than the rest should go to the cemetery. There he’ll find what life really is: it’s a handful of dirt.” Director Jim Jarmusch has created something I've never seen before -- a perfect metaphor for the complex society of today's world. He has taken everything -- everything that surrounds us; traps us in the world we've come to understand and comprehend -- and places it before us on a brilliantly filmed platter of simplicity. The film has no plot to discuss, it's simply a statement to all those willing to listen: everything can be controlled, except the collective imagination of mankind.
Lorna's Silence [Le silence de Lorna]: 4/10 - The Dardenne brothers tackle guilt in a very subtle and profound way. The issue, however, is that the screenplay they wrote demands a very powerful performance from the lead actress, which is something they did not receive from Arta Dobroschi. She turns the character of Lorna into an empty vessel, with which to be moved from point to point in accordance with the script.
The Lovely Bones: 4/10 - The first act is brilliant -- I was prepared to credit Peter Jackson, who I typically feel is one of the most overrated directors working in Hollywood, for his tight control, suspense, and brilliant imagery. Unfortunately, the film's concept begins to slowly wear thin, eventually dissolving into a ridiculous thriller, in which the audience knows who the killer is in the prologue. Combine the flimsy plot to the endless parade of crosscut scenes displaying the victim purposelessly dancing in pretty afterlife fields and one's left wondering how much worse Peter Jackson could have screwed up this film.
The Men Who Stare at Goats: 6/10 - A completely ridiculous satire that disconnects itself from any realm of logic very early on. Fortunately, the entire cast delivers top-notch performances and the film is often very funny, making it a worthwhile time investment.
The Messenger: 8/10 - The film chronicles a few months in the lives of two officers, portrayed brilliantly by Ben Foster and Woody Harrelson, who are responsible for informing the next of kin to soldiers killed in combat. Director Oren Moveman really nails the tone for the movie and doesn't allow the film to take any unnecessary turns. There is no time wasted on politics and hidden opinions, which usually act as major pitfalls in the genre.
Moon: 5/10 - As much as I loved director Duncan Jones' vision and as much as I wanted to love this film, I can't give it my full recommendation. Sam Rockwell gives a very brave performance and the film certainly won't be lost among the countless color-by-number films released each month, but unfortunately, the final script simply wasn't realized enough to string together a great film.
Nine: 6/10 - "8 1/2" (1963) is a great film; in all of its qualities though, nothing suggests it would be a great musical. I understand that director Rob Marshall is adapting the stage version (which is a musical), entitled "Nine," and not Fellini's film, but it's difficult to not compare the two. Marshall's finished product is simply a diluted version of Fellini's film stuffed with mediocre music. Interestingly enough though, it seems nearly impossible to make a bad version of "8 1/2," especially when you've cast Daniel Day-Lewis in the lead.
Observe and Report: 3/10 - I'm all right with a film being agonizingly idiotic, but it needs to make me laugh more than twice in an hour and a half.
Of Time and the City: 1/10 - While the footage is interesting, everything else about the documentary is empty. It's painfully boring and listless.
Precious: Based on the Novel Push by Sapphire: 2/10 - It's somewhat remarkable to create a film about child abuse that doesn't contain one character that you like or dislike. Films don't get much worse than this.
The Princess and the Frog: 7/10 - While the film isn't quite the return to the magic of the 1990s (mostly due to sub-par musical pieces), it is certainly a bold statement that Disney cartoon animation is far from dead. The film is a lot of fun and it really nails down the tone of the New Orleans culture.
The Proposal: 6/10 - The film is all together ridiculous and I'm not sure Sandra Bullock fit very well into the character, but Ryan Reynolds is excellent and has perfect comic timing in the role, making the film largely enjoyable.
Public Enemies: 4/10 - An embarrassingly weak screenplay considering all the talent involved. Add in the miscasting of Johnny Depp and the irrelevant two-dimensional character Christian Bale was left to play and I'm prepared to forgive Michael Mann -- I'm truthfully just not certain what he saw in the script.
Red Cliff [Chi Bi]: 4/10 - John Woo's over-the-top historic epic of China's Three Kingdoms period spends an astonishing amount of time on character development without accomplishing anything. At 2 1/2 hours, the film still manages to conclude with a "To Be Continued" note. Needless to state, but it's doubtful that I'll be investing any further time to see the story play out in Red Cliff: Part II [Chi Bi Xia: Jue Zhan Tian Xia].
The Road: 7/10 - I believe that without law, there is no morality; and I suspect that author Cormac McCarthy agrees with me. The issue then becomes how to film the depravity of mankind without searching for hope, which is exactly the task director John Hillcoat struggled with. It's odd that in a film so hopeless, I felt as though Hillcoat was trying to fabricate hope in every frame. Reading between the lines, I think Hillcoat missed the point: it's not a love story between a father and son, it's the painful veracity of what a post-apocalyptic world would be...even if that's a reality most of us would prefer not acknowledge.
A Serious Man: 6/10 - The Coen brothers' latest film is a black comedy with deceiving depth. It hits some slow parts, but you can feel Ethan and Joel's intimacy with the material.
Sherlock Holmes: 3/10 - Robert Downey Jr. does an admirable job as the Sherlock Holmes that Guy Ritchie has envisioned, but the film's plot is beyond idiotic.
Silent Light [Stellet licht]: 1/10 - Guilt concerning an affair is not a new concept, so when a filmmaker decides to approach the topic, adding nothing new and enlisting first time actors, it makes me question his intent. Even worse, every scene is at least three times longer than it needs to be to convey the story, creating one of the most frustrating viewing experiences I've had all year.
A Single Man: 7/10 - A great performance from Colin Firth in the lead and an arguably even better performance from Julianne Moore in a supporting role help to elevate the film above the various pitfalls laid out in the manipulative script. First-time director Tom Ford deserves a lot of credit as well for creating some moments of brilliance and allowing his actors room to maneuver.
Star Trek: 5/10 - The inherent problem with a film that reboots a famous serious is the amount of time that must be dedicated to reintroducing the audience to the characters. Few films are able to triumph over that obstacle -- Star Trek is no exception. Combine that disadvantage with an absolutely ridiculous plot and it's tough to chalk the film up as a success. However, I do recommend the film on account of my feeling that its sequels have great promise. Think of viewing it as an investment in the future.
State of Play: 6/10 - I never realized how bad of an actor Ben Affleck was until I saw him make Russell Crowe look bad in the scenes they share -- that's a frightening caliber of terribleness. As for the film, while it wasn't bad by any means, it wasn't particularly memorable either. Regardless, it's a well-constructed political thriller that will entertain you enough to keep watching.
Sugar: 6/10 - An intriguing story about a Dominican Republican pitcher on track to come to America to try and make it big in the MLB. There's nothing especially good or bad about the film -- it's color-by-numbers entertainment.
Summer Hours [L'heure D'été]: 9/10 - Writer/Director Olivier Assayas casts a perfect tone on a film about the cycle of life. The melancholy he is able to capture in his scenes is extraordinary, and it stands above the efforts of many filmmakers who have tackled the same subject matter. There is nothing meant to be easy about children dealing with their inheritance and Assayas keeps the film very real, never allowing it to decay into sappy melodrama.
Sunshine Cleaning: 5/10 - Great performances from the cast, especially Amy Adams, but the film is only superficially entertaining and filled with contrivances. Even though crime scene cleanup is an interesting and unique topic, there's really not enough meat in the script for a full length feature.
Surrogates: 6/10 - The film's premise is ridiculous and the plot-holes are immense, but director Jonathan Mostow does a great job of keeping the film entertaining and balancing the need to reiterate the moral message without ever becoming too preachy.
Taken: 7/10 - Liam Neeson is great as the vigilante dad trying to save his daughter from the European sex slave trade. The greatest movie premise in existence is the *former government trained killer unleashed on bad guys plot structure* and "Taken" does perfectly fine with the material. It's worth the viewing for all action film fans.
The Taking of Pelham 1 2 3: 4/10 - The remake of the 1974 classic just doesn't work. Screenwriter Brain Helgeland isn't nearly as witty as he thinks he is; director Tony Scott seems as though he's grasping at straws -- using every second to slip in a superfluous stylized camera movement -- and Denzel Washington, despite his uncanny ability to always elevate material, is attempting to play a character that is ridiculously incomplete and inconsistent. Though, I will add, Washington was still one step ahead of the two-dimensional character John Travolta was attempting to deal with.
Terminator Salvation: 7/10 - Yes, it was often completely illogical and yes, the ending was laughably stupid, but who cares? It was still a fun action film, with built in nostalgia, and a great performance by Sam Worthington. I'll take this over another entry into the Transformers franchise any day.
Tetro: 6/10 - The film feels more like a journey into the mind of a great director than it feels like one is watching a great film. Coppola is masterful behind the camera (as expected), but the performances are uneven and the script's setup, while leading to a strong payoff, is somewhat weak.
Thirst [Bakjwi]: 1/10 - A Korean vampire movie with heavy-handed religious symbolism and a painfully boring pace. I hate to turn a film off midway, but I was on the verge of falling asleep several times.
Transformers: Revenge of the Fallen: 4/10 - I don't think a story being unbelievable is enough to make a film bad (and believe me, I can't think of many more ridiculous plotlines); however, when the actions characters take within the context of a narrative don't make sense, it's very difficult to suspend one's disbelief. The one saving grace is the relentless action sequences and the brilliant CGI -- though I must add, with a runtime over two and a half hours, even they become tedious.
Two Lovers: 7/10 - This is a very complicated film with terrific performances from Joaquin Phoenix (in what could be his last role...) and Gwyneth Paltrow. The screenplay probably tries to address too many concepts, and it progresses at what is sometimes a painfully slow pace, but the last act makes it worth the wait. Director James Gray is able to conclude the film in a way that really forces the themes of love, infatuation, and the reality that separates them, to the forefront.
Tyson: 6/10 - While I would consider Mike Tyson to be on of the most fascinating individuals on the planet, 90 minutes of listening to his life's confession does feel burdensome at times. Filmmaker James Toback didn't do enough with the material to elevate it beyond a curiosity.
The Ugly Truth: 4/10 - Color-by-numbers crap with two-dimensional characters and terrible situational writing. Still, I find Gerard Butler always watchable and even the endlessly-annoying Katherine Heigl found a few moments, allowing for some sparse entertainment in the tight 90 minute runtime.
Up: 9/10 - The saddest and funniest movie Pixar has ever made. It was odd to spend the first 20 minutes in a theater full of crying adults at a Pixar film, but it only went to show how powerful they are as filmmakers -- they've hit a new high watermark. Even though I seem to be saying this every year, I can't wait to see what they do next.
Up in the Air: 8/10 - George Clooney is finally starting to build an acting portfolio -- for all practical purposes, this and "Michael Clayton" (2007) are the only films where he's been able to show great depth in a fully realized, three-dimensional character. While he's the best part of the film, he's not alone; Vera Farminga turns in a great supporting role as Clooney's romantic interest, matching him toe to toe in every witty exchange. The film also represents Jason Reitman's second writer/director effort and it is no less impressive than his first, "Thank You for Smoking" (2005). I sense that this is a movie I'll need to watch again to fully absorb, and while I'm confident that it has its flaws, it is still one of the best experiences I've had in a theater this year.
Watchmen: 9/10 - It is not a stereotypical superhero film -- it is a parody of one; it is a dissection of the human race; it is a perfect capture of a moment in world history, yet the image revealed is of a reality that does not exist. The film is a beautiful paradox. Despite the amount of people who I know will not enjoy the film -- or even understand it -- there is no one I would not recommend it to.
The Window [La Ventana]: 7/10 - An often beautiful film that's wonderfully acted by the entire cast. The story is a day in the life of an 80 year-old man waiting for his 40 year-old son to visit him -- it has virtually no action or conflict, simply a slow buildup without any form of tangible payoff. I suppose the film acts as a subtle representation of a human lifetime.
Without Name [Sin Nombre]: 7/10 - With the exception of one somewhat contrived plot point, the script is very well written by writer/director Cary Fukunaga. The film is as much a story of hope -- in hopeless times -- as it is a study on Mexican and Central American gangs. It's difficult to imagine undertaking a journey like the one represented, but nonetheless, a fascinating experience to behold.
Where the Wild Things Are: 1/10 - What a disaster. Spike Jonze's vision of this classic children's story is an abomination.
The White Ribbon [Das weisse Band - Eine deutsche Kindergeschichte]: 8/10 - The film's slow pace can get tiresome; not for lack of interest, but for lack of revelation. Director Michael Hanke paints us a portrait of the atmosphere in Germany just before the start of World War I -- he offers no opinion though, he simply lays the picture before us to decipher. The town depicted in the film acts as a microcosm for all of Germany, and the heartless fascism and fundamentalist religious roots are the history guide to the Nazi regime that would soon seize the country. I'm certain that I didn't enjoy the film, but I did find it to be endlessly fascinating.
World's Greatest Dad: 6/10 - A very black comedy with a satirical commentary on perspective and mankind's collective shallow nature. The movie certainly won't be for everyone, but it goes without question that director Bobcat Goldthwait pulls no punches, helping him overcome the myriad of issues with the film's tone.
X-Men Origins: Wolverine: 3/10 - What a pile of crap. Marvel took one of it's best premises and one of its best actors (Hugh Jackman) and produced arguably it's worst film (all right, that's a lie -- Ang Lee's "Hulk" was actually much worse). It felt as though the writer was playing a game of connect the dots, without knowing what the final image should resemble...or even the order with which he should move from dot to dot.
Young Victoria: 7/10 - A very well done period piece, chronicling the early years of Queen Victoria and her relationship with Price Albert. The film is tightly made with strong performances from the ensemble cast. I found myself hoping it would dig a little deeper than a straight-forward biography though.
Zombieland: 6/10 - Funny and entertaining with enjoyable performances from the entire cast. Director Ruben Fleishcher keeps his distance from any character building or thematic depth -- the film is exactly what it appears to be on the surface: escapist fun for 90 minutes.
Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)
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