I'm a sucker for YouTube videos that review the year in film. This one wraps up 2007 set to "Falling Slowly" from Once, and this one reviews 2008 to "Hoppipolla" by Sigur Ros from the "Slumdog Millionaire" trailer. Now, a new video examines cinema in 2009 to Arcade Fire's "Wake Up" from the "Where the Wild Things Are" trailer.
The way these videos review some of cinema's greatest moments from the year in the span of a few minutes, set to such beautiful songs, gives me a swell of pride about film. It reminds me why I love film so much, why I find it so magical. In this case I think the music and images are worth a thousand words, so check out "2009: At the Movies" below.
Though I’ve never seen “Paris, Je T’aime,” an anthology of French short films that focuses on finding love and connection in Paris, I’d heard such good things about it that I was excited to see an American version, “New York, I Love You.” While some of the vignettes were moving and beautiful, others missed the mark.
“New York, I Love You” features 11 short films, each helmed by a different director, about relationships that form among people living the city’s five boroughs. Some are sexual and others are romantic. Some are about parents and children and others are about complete strangers. Some are cute, some are haunting, some are heartwarming and some are a bit depressing.
Any time the names Clint Eastwood and Morgan Freeman are attached to a movie, more often than not some sort of Oscar buzz will emerge from it. "Invictus" is no exception, even if the story is unusually optimistic for an Eastwood film.
"Invictus" tells the story of how in his first term as president of South Africa, Nelson Mandela (Freeman) turned to an unlikely source to unite the country - the Springboks South African national rugby team. After spending 27 years in prison for his anti-apartheid activism, Mandela is elected president in South Africa's first fully representative election. South Africa remains racially divided, and Mandela desperately wants to find some way to reconcile the country following apartheid.
At a Springboks rugby match, Mandela notices that the white South Africans are cheering for the Springboks while the black South Africans are cheering for the opposing team. It dawns on him that if he can get the whole country to unite in supporting the Springboks for the 1995 Rugby World Cup, it may drive the country to be united permanently.
He communicates his plan to Springboks captain Francois Pienaar (Matt Damon), and as the team works harder than ever to reach the World Cup, together Mandela and Pienaar attempt to unite South Africa through the power of sport.
The title refers to a poem by William Ernest Henley that Mandela uses as inspiration and references several times throughout the film.
"Invictus" succeeds on many levels, first and foremost in its directing. Eastwood directs the film beautifully, capturing the initial turmoil and rising spirit of South Africa and the blood, sweat and tears the rugby team endures to unite the country with Mandela's help.
Freeman gives a passionate performance as Mandela, cementing his deserved reputation as one of the best actors around. Damon, who I've always thought is very underrated, also gives a great performance as Francois, conveying his seamless transition from a cynic to a caring and proud South African. Michael Stevens and Eastwood's son Kyle also provide a beautiful score.
My only complaint is that the film tends to drag a little in places, but the remarkable story is more than enough to make up for it. It's riveting enough to bring tears of joy to the eyes of sports fans and non-sports fans alike. Overall, "Invictus" is an inspiring story that everyone should make an effort to see. A-
5. “Almost Famous” (2000): Cameron Crowe’s coming-of-age story about a teenage freelance reporter for Rolling Stone is a brilliant love letter to rock ‘n’ roll of the 1970s, in all its untamed glory. Featuring a killer soundtrack and one of the best movie scenes involving music to date (“Tiny Dancer”), one can feel Crowe’s own love of music reverberating right off the screen.
4. “The Departed” (2006): Martin Scorsese finally won an Oscar for his intricate tale of undercover cops, the Irish mob and the blurred lines between good and evil. Featuring an outstanding ensemble cast led by Leonardo DiCaprio, Matt Damon, Jack Nicholson and Mark Wahlberg, Scorsese’s complicated morality tale never slows down and is always surprising, even after multiple viewings.
3. “Once” (2007): Deeply moving in its subtle storytelling and performances, “Once” is everything a great indie should be. This tiny $160,000 Irish import depicts an unnamed man and woman connecting through their love of music, proving more powerful than any big-budget production number. Glen Hansard and Marketa Irglova’s magnetic screen chemistry and phenomenal Oscar-winning music make “Once” an instant indie classic.
2. “Eternal Sunshine of the Spotless Mind” (2004): Visually and emotionally beautiful, Charlie Kaufman’s best script to date tells the story of love outlasting memory. Set against the sci-fi backdrop of memory erasing procedures, the rocky relationship between Joel (Jim Carrey) and Clementine (Kate Winslet) unfolds in unexpected ways that will resonate with audiences long after the credits stop rolling.
1. “The Dark Knight” (2008): Christopher Nolan’s epic sequel to “Batman Begins” completely changed the face of comic book movies. Rather than just another effects-driven blockbuster, Nolan’s adaptation is haunting, complex and deeply psychological. The flawed heroes of Nolan’s Batman universe make the story feel much more raw than other comic book flicks, and Heath Ledger’s Joker, rooted in anarchic chaos, is perhaps the decade’s most iconic performance.
Honorable mentions: “WALL-E” (2008), “Children of Men” (2006), “Pan’s Labyrinth” (2006), “No Country for Old Men” (2007), “The 40-Year-Old Virgin” (2005), "Lord of the Rings" (2001-2003), "Memento" (2000), "Donnie Darko" (2001), "The Bourne Ultimatum" (2007), "Slumdog Millionaire" (2008)
If you've seen the trailers for the ensemble drama "Brothers," you probably think it's just another tired, melodramatic love triangle story. But this movie is the perfect example of why you shouldn't always judge a film by its trailer.
"Brothers" actually has very little to do with the love triangle aspect that dominates the trailer, but rather explores the tragic effect war can have on families, and how that effect doesn't always go away after the soldier returns home.
Tobey Maguire plays Sam Cahill, a marine who is happily married to his high school sweetheart, Grace (Natalie Portman). Sam has always been a do-gooder and is the favorite son of his father (Sam Shepard), an alcoholic and retired military man. As Sam deploys to Afghanistan, his younger brother Tommy (Jake Gyllenhaal) is released from jail, where he did time for robbing a bank.
Not long after Sam deploys, two soldiers arrive at Grace's house telling her Sam is dead following a helicopter crash. Feeling lost and alone and unsure of how to raise her two young daughters on her own, Grace develops a friendship with Tommy, who has been hit hard by Sam's death. He changes his bad boy ways and takes it upon himself to care for Grace and the girls, fixing up their house and acting as a father figure.
But, as is revealed in the trailer, Sam actually isn't dead. He and another marine made it out of the crash alive but were taken prisoner. As his family copes with his supposed death at home, the audience sees Sam tortured as a prisoner of war. In order to see his family again he is forced to make an impossible choice, one that haunts him long after he returns home.
Suffering from intense post traumatic stress disorder, Sam becomes increasingly paranoid and is convinced his wife and brother's friendship is actually something more. Destroyed by the trauma of war, Sam clearly isn't the man he once was. His family desperately tries to get him to tell them what happened in Afghanistan, hoping to help him heal as the family unravels around him.
Yes, there is an obvious attraction between Grace and Tommy, and as is shown in the trailer, they do kiss once, though the kiss is mostly out of their shared grief about losing Sam. Sam is paranoid their relationship runs deeper, but it's one of many things Sam is paranoid about as a result of the PTSD.
The studio likely felt people wouldn't want to see a deep and harrowing film about the emotional ramifications of war, so it was marketed as being focused almost entirely on the love triangle angle. But "Brothers" is actually a gripping story featuring outstanding performances from its three leads.
I was most surprised by Maguire, who was unimpressive in his last major role in "Spider-Man 3." In "Brothers," he achieves a performance with much more depth than I've seen from him previously. You can see the pure anguish in his eyes when he is being tortured in Afghanistan and you can feel the mental suffering he feels after he returns home and is traumatized by his experiences during the war. When placed in the hands of director Jim Sheridan, Maguire's acting is at its best.
Bailee Madison and Taylor Geare are also fantastic as Sam and Grace's daughters, desperately wanting their father back but afraid of the tormented man he's become.
"Brothers" isn't easy to watch, but I think exploring PTSD in soldiers and its effects on their families is an important issue to capture on film, and Sheridan and his cast achieve it beautifully. Rather than judging "Brothers" by its trailer, I would definitely recommend giving it a chance. B+
I have never seen a pop culture phenomenon as polarizing as "Twilight," and based on the reviews for the second installment in the series, "New Moon" is no exception. Personally, I enjoy the "Twilight" books. Yes, they're poorly written. Yes, they're extremely cheesy. But to me they are fun, escapist entertainment. That's what "New Moon" sets out to be, and director Chris Weitz's adaptation actually succeeds more than the book.
In "New Moon," human high school student Bella Swan (Kristen Stewart) and vampire Edward Cullen (Robert Pattinson) are just as in love as in the first installment. But when Edward's brother Jasper (Jackson Rathbone) almost attacks Bella, a guilt-ridden Edward fears being with him is too dangerous for Bella. Determined to keep her safe, Edward leaves town, where a broken-hearted Bella feels the sting of losing her first love.
Completely numb for months, Bella finally starts to heal when she grows closer to her friend Jacob (Taylor Lautner), who quickly makes it clear he's interested in more than just friendship with her. But just when Bella is getting used to supernatural beings not being in her life, Jacob discovers the legends that his Quileute tribe is descended from wolves are actually true (spoiler alert unless you've been living under a rock for the past few months) - Jacob is a werewolf, sworn to protect the tribe's land from vampires.
The change in Jacob sets in when Victoria (Rachelle Lefevre), one of the nomadic vampires from the first film, returns to Forks, Wash., in search of Bella, who she's determined to kill. Bella has to adjust to her friend's new-found identity, avoid crossing paths with Victoria and try to forget the Cullens, who re-enter her life in a dramatic way.
From a filmmaking standpoint, "New Moon" improves on "Twilight" in every way, largely thanks to Weitz's direction. Catherine Hardwicke's directing in the first film was uneven and the story very disjointed. The script borderlined on over-the-top cheesy even for "Twilight" fans, and the acting was wooden for the most part.
But with Weitz in the director's chair, the story is much more cohesive and the directing is solid. Gone are Hardwicke's unnecessary extra shots and the first film's odd blue tint. The book's trademark teen angst is still present, but screenwriter Melissa Rosenberg inserts enough extra humor to counterbalance it. The story moves at a slow and steady pace, but that's the way the books are set up.
Though the dialogue is still a bit cheesy, the actors seem much more comfortable in their roles this time around. The two standouts in the film are the hilarious Billy Burke, who plays Bella's dad Charlie and also stole the show in the first film, and the always wonderful Michael Sheen, who plays the creepy leader who enforces the vampire laws.
The special effects are also a huge step above those of the first film. While they're nowhere close to the quality of the effects of "Harry Potter and the Half-Blood Prince," for example, they suit the film's needs. I was satisfied with the werewolf transformations, and the other effects look much less fake than in the first film.
Alexandre Desplat's score is a little odd at times but is solid overall, and the rest of the film's soundtrack is strong, featuring bands like Death Cab for Cutie, The Killers, OK Go and Muse.
In a nutshell, "Twilight" fans should find "New Moon" to be a huge improvement from the first film, while people who hate "Twilight" will probably hate this movie too. If you're one of the few people not on either extreme who was indifferent to the first film, I'd suggest giving "New Moon" a shot. Fans will be satisfied while the haters will continue to hate. B
The U.S. release of "Pirate Radio" has been delayed for months, and when it was finally released Nov. 13, it was dumped quietly at the beginning of awards season. So given its release date issues, I was worried the second film from director Richard Curtis (after 2003's "Love Actually") would be a disappointment. But though the film has its flaws, it's actually quite enjoyable.
"Pirate Radio," originally titled "The Boat that Rocked," is a period comedy set against the backdrop of 1960s rock n' roll. Mainstream British radio stations refuse to play rock music, and pirate stations like Radio Rock broadcast 24 hours a day from boats. When young, inquisitive Carl (Tom Sturridge) gets expelled from school, his mother (Emma Thompson) sends him aboard the Radio Rock ship to stay with his godfather Quentin (Bill Nighy).
Aboard the ship, Carl meets the station's popular DJs like flamboyant Gavin (Rhys Ifans), flirtatious Dr. Dave (Nick Frost) and rebellious American broadcaster The Count (Philip Seymour Hoffman). Along with the rest of the station's crew, the men introduce Carl to the rock n' roll lifestyle.
The movie chronicles Carl's coming of age experience on the ship and the eclectic gang's day-to-day misadventures. All the while a conservative government official, Alistair Dormandy (Kenneth Branagh), tries desperately to shut down Radio Rock.
Overall, I really liked this film. The music in fantastic (ranging from The Who to Dusty Springfield), and Curtis captures the rock n' roll atmosphere of the 1960s very well.
Everyone involved gives great comedic performances, but the standout of the bunch is Hoffman, who, since "Capote," has quickly become recognized as one of the best actors around. He could sit in front of a camera for two hours with a paper bag over his head and I would still watch it. But the entire ensemble works well together, each character hilariously unique as individuals and as a group.
One of my biggest complaints actually has little to do with the film itself and more to do with its U.S. marketing campaign. The poster and trailers prominently state "inspired by true events." Elements are loosely based on actual pirate radio stations that existed in 1960s Britain, but other than that, the story is completely fictional. It's a great story, but it shouldn't be marketed as fact when most of it is fiction.
Another complaint is the film's running time, which at 2 hours and 15 minutes is a bit lengthy, especially for a comedy. It's bearable because the characters are all so much fun to watch, but it nevertheless feels too lengthy at times. The story is also a bit incoherent sometimes, but overall it's a fun time at the movies. B
What happens when you open the box? In the case of Richard Kelly's new film, you get a talented cast wasted in an uneven movie.
The latest sci-fi thriller from the writer-director of "Donnie Darko" and "Southland Tales" centers on Norma (Cameron Diaz) and Arthur (James Marsden), a married couple who are experiencing financial difficulties. One day Arlington Steward (Frank Langella), an ominous man who is missing half of his face, stops by their house to deliver a box with a single red button inside.
If Norma and Arthur push the button, two things will happen: They'll receive a cash payment of $1 million and someone who they don't know will die. Arlington tells Norma they have 24 hours to decide before he will retrieve the box, reprogram it and make the offer to someone else.
As Norma and Arthur try to decide if they could live with being responsible for someone's death in order to provide for their family, they begin meeting a number of strange characters who appear to be in a trance-like state, flashing them the peace sign with blood trickling from their noses. They discover nothing with the box is as simple as it seems as they investigate Arlington's mysterious employers.
My biggest problem with "The Box" is that it felt like two different movies. The first half is more what I expected from the trailer. The box is introduced almost immediately, so there is instantly a sense of foreboding and dread. There is a slow yet suspenseful build to the moment when Norma and Arthur decide whether or not to push the button, but that's when the movie takes a turn for the worse.
I expected more of an understated brand of suspense, more reminiscent of Hitchcock or "The Twilight Zone" (the same urban legend that inspired this movie was used in an episode of the series). It started out promising, but halfway through the film the story transforms into over-the-top gimmicks. The story gets progressively weirder and veers further and further from the more subtle tone established earlier in the film. People in the audience at my screening actually laughed out loud at the film's increasing absurdity.
Kelly showed such promise with the cult classic "Donnie Darko," which although it was extremely convoluted was also fresh and creative. Audiences go into that movie knowing it will be bizarre. But "The Box's" out-there second half feels out of place because the story isn't set up for such outrageously excessive twists. Its offbeat tangents come as a complete surprise, and as a result the story feels uneven.
Kelly seems to be turning into the M. Night Shyamalan of sci-fi - he had one brilliant film before heading progressively downhill with his follow-up efforts. Only time will tell if Kelly's next project will be more promising.
There were a few positives to the film in addition to its stronger first half. Marsden and Langella turn in strong performances as usual, while Diaz is decent except for her attempt at a Southern accent. The film also has a wonderfully eerie score courtesy of Win Butler, Regine Chassagne and Owen Pallett of Arcade Fire. And even though the film ends poorly, it does raise some interesting moral questions.
So what do you think about "The Box?" Would you press the button? Sound off in the comments section. C-
Whether you love it or hate it, most people seem to agree that “Where the Wild Things Are,” Spike Jonze’s adaptation of Maurice Sendak’s classic children’s book, isn’t really for kids. Rather than making a cute family film about love and friendship, Jonze’s adaptation is a deeply psychological look at what it feels like to be a 9-year-old, specifically the more tumultuous emotions a 9-year-old experiences rather than the joy of being a kid.
Max, played by newcomer Max Records, feels isolated, different and lonesome, and the performances and script convey these emotions so vividly that the audience feels them right along with him. And once he gets to the land of the Wild Things, life doesn’t get any easier. He has companionship with his cuddly new friends, but the dysfunctional group has just as many problems as he does.
Carol (James Gandolfini) is jealous of KW’s (Lauren Ambrose) new friends and wants desperately to keep their current group together without the intrusion of any newcomers while KW longs to explore something new. Judith (Catherine O’Hara) is constantly skeptical of what’s going on around her, and Alexander (Paul Dano) is frustrated and sad that no one ever listens to him.
Though they all clearly care about the friendship that binds them together, their problems often overpower it. These interactions are so intense and powerful that at times I felt uncomfortable watching it. Rarely is anything in this movie wrapped up neatly in a Disney-esque bow. The Wild Things all look to Max to make their lives better, but sometimes he just doesn’t know how to fix it – a realization that ultimately brings him closer to his mother, as in the land of the Wild Things, he has had to take on a role similar to hers.
This movie is pretty dark for a children’s film, and though the kids in the audience at my screening seemed entertained enough by the fuzzy title creatures, the movie’s complexity went way over their heads. Most of the audience for “Where the Wild Things Are” its opening weekend were adults and, in particular, college students.
This movie wasn’t even really marketed as children’s fare. Jonze’s past films include “Adaptation” and “Being John Malkovich,” intricate R-rated indies, and the offbeat indie vibe of those movies is definitely present in “Where the Wild Things Are.” But Jonze isn’t the only traditionally adult director tackling children’s stories.
Wes Anderson, also known for offbeat R-rated dramedies about dysfunctional people like “Rushmore,” “The Royal Tenenbaums” and “The Life Aquatic,” is tackling Roald Dahl’s “Fantastic Mr. Fox” this Thanksgiving. Like “Where the Wild Things Are,” this is a movie I’m not sure will resonate with kids as much as it will with Anderson’s typical audience.
The trailer for the stop motion animation film about Mr. Fox (George Clooney), his ragtag family and friends and their plan to escape from an evil trio of farmers feels like any other Wes Anderson movie. The dry humor and the interactions between the characters are definitely reminiscent of something like “The Royal Tenenbaums,” if that film were animated and about animals. It seems marketed toward Anderson’s usual target audience, and his fans will likely be curious about this new project, but it’s hard to say whether children will be entertained by his trademark style.
Tim Burton’s adaptation of “Alice in Wonderland” (due in theaters March 5) also looks as dark and fantastical as any other Burton film. Though he’s no stranger to children’s movies, having directed films like “Charlie and the Chocolate Factory” in the past, Burton always puts his own unique spin on the material and his movies always appeal to just as many adults, maybe even to more adults, than children.
So what do you think? Why are directors like Jonze, Anderson and Burton so attracted to children’s stories right now? What other children’s movies can you think of that actually appeal more to adults?
With a cast including funny men Vince Vaughn, Jon Favreau and Jason Bateman, I expected “Couples Retreat” to offer plenty of laughs. But as far as romantic comedies go, this one fell a little flat.
The film focuses on four couples: Dave (Vaughn) and Ronnie (Malin Akerman), a stable and happy couple with excessively busy lives, Jason (Bateman) and Cynthia (Kristen Bell), an anal retentive couple who are having trouble conceiving a child, Joey (Favreau) and Lucy (Kristen Davis), who married after getting pregnant in high school and both have wandering eyes and Shane (Faizon Love) and Trudy (Kali Hawk), whose May-December romance is a product of Shane’s recent divorce.
Jason and Cynthia tell the others they are considering getting a divorce, and they want to travel to a tropical couples resort called Eden to attempt to save their marriage. They can’t afford the cost of the trip themselves, though, so they invite their friends to accompany them and get a discounted group rate. While the other couples are only looking for fun in the sun rather than therapy, the trip forces all of them to reevaluate their relationships.
The film was written by Vaughn and Favreau, both of whom have proven funny in the past in films like “Swingers.” But for the majority of the film, the audience only let out a few half-hearted chuckles and the occasional laugh.
The concept for “Couples Retreat” had potential, but it failed in its execution. The film was cheesy and predictable in all the wrong ways. I love cheesy and predictable romantic comedies as much as the next person, as long as they’re funny. But the jokes in this film were just few and far between, with only a handful of laugh-out-loud scenes.
The movie did have a terrific ensemble cast, which is part of the reason I was so disappointed with it. With the names attached to the project, I just expected more. All of the actors did a great job in their individual roles and as a group, and with a less talented cast, this movie would have completely missed the mark. The actors all seemed to be having fun together, which is part of what made the film bearable.
“Couples Retreat” did have some cute and funny moments, and the actors are all enjoyable to watch. It’s by no means the worst rom-com out there, but the fact that this romantic comedy isn’t all that funny takes away from the experience. “Couples Retreat” ends up being more of a lackluster trip than an enjoyable getaway. C-
After having a successful acting career for almost her entire life, Drew Barrymore takes a stab at directing with "Whip It." Though her direction is nothing groundbreaking, Barrymore does have talent behind the camera and tells a compelling coming of age story.
Ellen Page plays Bliss Cavendar, a high school misfit living in Bodeen, Texas, who participates in beauty pageants to placate her overbearing mother (Marcia Gay Harden). She spends her time listening to indie music, being tormented by her popular peers and working at the Oink Joint, a local barbecue diner. Bliss isn't enthusiastic about much in her life until she and her best friend Pash (Alia Shawkat) attend a roller derby match in Austin.
Enthralled by the roller derby lifestyle and the tough skaters of the Hurl Scouts, Bliss decides to try out for the team, despite the fact that she's 17 and the members must be 21 or older. Shy Bliss' speed makes her a star player, but she has to learn to toughen up if she wants to last in the league. She adopts the nickname Babe Ruthless and comes into her own with the help of her new friends Maggie Mayhem (Kristen Wiig), Smashley Simpson (Barrymore), Rosa Sparks (Eve) and Bloody Holly (Zoe Bell).
Bliss also faces her first love, indie musician Oliver (Landon Pigg), and her first major rival, Iron Maven of the Holy Rollers (Juliette Lewis).
"Whip It" definitely contains some girl power film and sports film cliches, but the roller derby backdrop makes it feel edgy and fresh. Though the story is predictable in some ways, it surprised me in others. It's funny and heartfelt, and the core female cast has great chemistry. The film has strong messages about finding yourself and about female empowerment, but none of it feels too forced or overbearing.
I can see why Barrymore, who I think in many of her roles has embodied tough-chick female empowerment, was drawn to this film as her first directing project. Though nothing about her directing style is revolutionary, Barrymore's clear understanding of the characters and story translates effectively onscreen. She also does a great job staging the physically demanding roller derby sequences, which I imagine were difficult to film.
"Whip It" also features great performances, particularly from Page. From her gritty performance in "Hard Candy" to her sharp-tongued wit in "Juno" to her more soft-spoken role as Bliss, Page has shown the makings of lasting talent. I think she has a great deal of potential, and having an Oscar nomination under her belt at age 22 doesn't hurt either.
Barrymore is also funny in front of the camera as the aggressive Smashley, and Shawkat complements Page nicely as Pash. Though her trademark dry humor is still present, Wiig is refreshingly laid back as Maggie and serves as a mentor and mother figure to Bliss. Andrew Wilson also gives a memorable performance as Razor, the Hurl Scouts' coach, and the always fierce Harden is excellent as Bliss' mother.
So while "Whip It" may not be the most innovative girl power flick out there, it's far more intelligent than most other current teen fare and it's a guaranteed good time at the movies. B+
The latest Paul W.S. Anderson produced thriller certainly isn't without its flaws, but in a time when horror duds like "Sorority Row" and "Jennifer's Body" are gracing the screen, "Pandorum" is a breath of fresh air.
In this sci-fi suspense film, Bower (Ben Foster) and Payton (Dennis Quaid) awaken on a broken-down spacecraft after years of hypersleep with no idea of where they are, who they are or what their mission is. The ship appears to be abandoned, so Bower ventures into the darkness of the spacecraft, searching for anything that might help them while Payton stays behind to guide Bower via radio.
On his journey through the ship, Bower makes several shocking discoveries. As he starts to regain awareness, Bower remembers it was their mission to transport people from an over-populated Earth to the Earth-like planet Tanis, where they hope to sustain life. He remembers their families were traveling with them, but he has no idea where they are.
Bower runs into a few other survivors, who have been fending for themselves for months while he and Payton were in hypersleep. But he also encounters something else that has the remaining survivors fearing for their lives - something that may not be entirely human.
I didn't know much about "Pandorum" before I saw it, but I was pleasantly surprised. It's certainly not an amazing film, but it's very entertaining and suspenseful. The story is captivating, and the atmosphere director Christian Alvart creates is an intriguing backdrop for a sci-fi thriller. Knowing that these people are trapped on a dilapidated ship with no foreseeable means of escape, surrounded by nothing but dark, vast emptiness creates a continuous sense of fear.
Overall, the performances were quite good. Foster is really what makes the movie. His Bower is a strong, relatable lead, and I believed him as a character even in the film's most unbelievable situations. I think Foster is one of the most promising young actors right now and, unfortunately, one of the most underrated. He was underused in "X-Men: The Last Stand," and his supporting roles in "3:10 to Yuma" an "30 Days of Nights" were some of the few things I liked about those films. In "Pandorum," he continues to showcase his potential.
Antje Traue also gives a solid performance as Nadia, one of the survivors Bower meets on the ship. But a few of the other supporting performances left something to be desired. "Twilight's" Cam Gigandet may be nice to look at, but that's about all he has to offer in this film. His character, Gallo, plays a key role in the second half of the film, but Gigandet distracts from the significance of his role by overacting. Quaid's performance is also uneven. At times he does a decent job, while the rest of the time he takes note from Gigandet and overacts as well.
Overall I was very intrigued by the story and it held my attention from beginning to end, but toward the end of the film it felt as though writer Travis Milloy got a little carried away with the direction of the story. But no matter how often I thought I knew what was coming next, I was consistently surprised.
If you want a truly high-quality sci-fi thriller set aboard a spacecraft, I suggest renting "Slumdog Millionaire" director Danny Boyle's superior "Sunshine." But especially in this downtime between summer blockbusters and Oscar hopefuls, "Pandorum" is definitely worth the ticket price. B-
Since I loved "Juno" so much, I had high expectations for "Jennifer's Body," the sophomore film from Oscar-winning writer Diablo Cody. Perhaps I set the bar too high though, because what I expected to be a sharp horror comedy was nothing but a bloody disappointment.
"Jennifer's Body" revolves around the friendship between popular Jennifer (Megan Fox) and nerdy Needy (Amanda Seyfried). When the girls go to the local bar to see the famous band Low Shoulder, tragedy strikes as a fire burns down the bar and kills several high school students. Amid the chaos, the band's lead singer, Nikolai (Adam Brody), pursuades Jennifer to escape with him and the band. When Jennifer shows up at Needy's house later that night covered in blood and vomiting black tar, it's clear that something supernatural is happening.
As the community grieves for those lost in the fire, Jennifer begins satisfying her new-found hunger for flesh by killing and eating the boys in her class. As Needy begins to piece together what happened to Jennifer the night of the fire, she must try to stop her friend from murdering more of their classmates while even Needy's boyfriend Chip (Johnny Simmons) doesn't believe her claims that Jennfer is demonic.
I know "Juno" is a love it or hate it movie for most people, but I found that film refreshingly sharp and witty with a lot of heart and spunk. I get what Cody was trying to do here. Combining the plucky humor of "Juno" with the teen horror genre is an interesting idea, but "Jennifer's Body" fails in its execution.
Cody's trademark quirky style and hipster dialogue worked well for "Juno," but here it seems forced and stale. It's hard to believe this script is a product of the same woman who won an Oscar a couple of years ago. But even after "Jennifer's Body," I don't think Cody is a one-trick pony. I think she has talent, but she should stick to the types of comedies and dramedies that are more conducive to her unique style.
Karyn Kusama's directing is decent but not particularly memorale. Most of the acting is mediocre at best. Though Fox is ever so slightly better in this role than in "Transformers," she really serves as nothing more than a teen boy sexual fantasy in this role. If Fox wants to be taken seriously as an actress, she needs to take a page from the book of Angelina Jolie and push herself beyond her sex symbol status.
J.K. Simmons and Amy Sedaris are funny in their small roles, and Brody does a solid job as Nikolai. But the one real standout of the film is Seyfried. She broke out in last year's "Mamma Mia," and even in a dud like this she still shows a lot of promise. Seyfriend makes Needy the only character in the film that feels believable. While Fox's performance is mostly flat and monotonous, Seyfried manages to bring some emotion and intrigue to her character. Her Needy is a heroine you want to root for.
Despite having a script that doesn't always flow well, lackluster directing and mostly uninspired performances, "Jennifer's Body" isn't the worst horror movie I've seen. There are a few memorable one-line zingers and a handful of suspenseful moments. But overall, "Jennifer's Body" is a bloody mess, and not in the way a horror comedy should be. D+
It seems as though my best movies of the year so far list was pre-mature. Today I saw "District 9," which undoubtedly deserves a spot on that list. But before I move on to my review of "District 9" and my revised list of the top 5 best movies of the year so far, it's worth noting what an incredible year 2009 is for sci-fi and fantasy films. The genre got off to a great start in March with "Watchmen." Although the film certainly had its flaws, Zack Snyder probably gave us the best adaptation of Alan Moore's complex graphic novel anyone could hope for. Things got even better for sci-fi in May with J.J. Abrams' "Star Trek" reboot, which made a killing at the box office and received rave reviews. And July's "Harry Potter and the Half-Blood Prince" is considered by many to be the best of the franchise. I certainly think that cinematically, it stands out above the rest. Now we have "District 9," a fresh take on the genre that is already earning raves from critics and audiences in its opening weekend. And if the early buzz from Comic-Con holds true, "Where the Wild Things Are" and "Avatar" will continue this trend of high-quality sci-fi and fantasy films in 2009. But on to my thoughts about "District 9." I've been looking forward to this movie ever since I was first exposed to its brilliant viral marketing campaign, but I was absolutely astounded by this film. It far surpassed my highest expectations. When the movie ended, a few people at my Saturday afternoon showing clapped, and I was so stunned I couldn't get up until several minutes into the credits. "District 9," an expansion of director Neill Blomkamp's 2005 short "Alive in Joburg," focuses on a group of aliens whose ship mysteriously stopped over Johannesburg, South Africa, more than 20 years earlier. The aliens have since been confined to slums in what has been dubbed District 9. Control of District 9 has been overseen by Multi-National United since the aliens first arrived. But when MNU field worker Wikus Van deMerwe (Sharlto Copley) is exposed to the aliens' biotechnology, his life begins to take a different course, leading to some dramatic changes inside District 9. Newcomer Blomkamp combines more traditional sci-fi storytelling with a faux-documentary style that makes the story seem much more real. His direction is seamless, and he clearly made the most of his $30 million budget, a small figure for a summer action film. The CGI is spectacular, especially for a film with such a small budget. The aliens look so lifelike and are so expressive that they become relatable characters. The story is also rife with commentary about discrimination and apartheid, but it never feels forced or overbearing. It also says a great deal about how people deal with the things they fear or don't understand. Some scenes are downright brutal and hard to watch because they are so plausible, albeit set against a sci-fi backdrop. Setting a sci-fi film in a Johannesburg slum is such an original spin on the genre, and the social commentary it provides integrates beautifully with the movie's intense and suspense-filled action sequences. A summer action film with this much depth is a rare creation. The film features only unknown actors, and I think it benefits from this. Newcomer Copley turns in a phenomenal performance as Wikus, growing flawlessly from a somewhat naive MNU worker who is in over his head to an unlikely hero. Copley and Blomkamp, who had virtually no experience before this movie, certainly have long careers ahead of them now, especially with Peter Jackson behind them. Everything about this film - directing, acting, writing, special effects, marketing - is simply brilliant. Any film lover should not end 2009 without seeing "District 9." A So now that I've seen "District 9," my list of the top 5 best movies of the year so far is as follows: 1. The Hurt Locker 2. District 9 3. Star Trek 4. (500) Days of Summer 5. Up
Most of the likely Oscar contenders haven't even been released yet, but there have already been several amazing films this year that should continue to resonate with audiences and critics alike as the year goes on. Here's a look at five of the best movies of the year so far. (A few honorable mentions are "Adventureland," "The Hangover," "Watchmen" and "I Love You, Man.")
5. Up It comes as no surprise that Pixar has done it again. Part of the reason the Academy decided to honor 10 best picture nominees this year instead of the traditional five is probably because of all the backlash they received last year for not giving "WALL-E" a best picture nomination. While not quite the masterpiece "WALL-E" was, "Up" comes very close to that level of excellence.
Most of the trailers made it look like more of a kids' comedy, but it's so much more. The characters, from distant and heartbroken Carl to wide-eyed Russell to lovable Dug, are all well-developed. Even though "Up" is heavily based in fantasy, every character, even Dug the talking dog, feels real.
The film's opening montage is one of the best I've ever seen, with its ability to tell Carl and Ellie's entire love story in a span of mere minutes with no dialogue. Pixar has always had the ability to weave its storytelling with laughter, tears and an incredible amount of heart, and "Up" is no exception.
4. Harry Potter and the Half-Blood Prince The penultimate installment in this successful franchise has received some backlash from fans who were disappointed that some significant scenes from the book were cut. But what makes a great book does not necessarily make a great movie, something director David Yates clearly knows.
No, the battle from the end of the book is not present, with the scene instead focusing on the connection between Harry and Dumbledore at a critical point in the film. No, Dumbledore's funeral is not included, while in its place is a more intimate scene in which the trio sever their ties as Hogwarts students and face the dangerous task at hand.
The book "Half-Blood Prince" serves mostly as a bridge between Voldemort's return at the end of the fifth book and Harry's battle to defeat him in the seventh. Yates makes a bold choice in downplaying the action in the film, but what results is an intimate character drama in which we get to know these characters who we've watched for six films on a much deeper level at this crucial turning point in their lives.
The acting, the storytelling, the directing and the visual effects are all a step up from the previous films. Cinematographer Bruno Delbonnel, of "Amelie" and "Across the Universe," creates some truly visually stunning shots, particularly the cave sequence toward the end of the film. "Half-Blood Prince" may even best Alfonso Cuaron's masterful "Prisoner of Azkaban." All of the "Potter" movies have been great adaptations. This one is a great film.
3. (500) Days of Summer In a season of stale blockbusters like "Transformers: Revenge of the Fallen" and "GI Joe," what could be more refreshing than this unique Sundance charmer from newcomer director Marc Webb? We are told from the beginning that this is not a love story. Rather than feeling the need to satisfy the Hollywood cliche of the good guy always getting the girl, "(500) Days of Summer" recognizes that even the relationships that don't work out can still be significant relationships that make a lasting impact.
The film takes a number of risks in its storytelling. The story is non-linear, jumping back forth from Tom and Summer's relationship to how Tom deals with their break-up. There are animated sequences and even a musical number that reflect Tom's changing feelings toward Summer, first elation after their first night together and later despair following their break-up. At times a split-screen is even used to show viewers what Tom is fantasizing and what is actually happening. The soundtrack is also expertly crafted, serving as an emotional backdrop to the story.
Indie darlings Joseph Gordon-Levitt and ZooeyDeschanel, two of the most underrated actors in the business, turn in brilliant performances. Each character has their own motivations and desires, and nothing about their relationship is black and white. Neither is the good guy or the bad guy. The film's original and offbeat approach to storytelling has a strong element of fantasy, but "(500) Days of Summer" presents a very realistic portrayal of the relationship between a guy and girl who, though they both have the best intentions, just aren't meant to be.
2. Star Trek Speaking of "Transformers" and "GI Joe," films that are more special effects than plot and care little about anything but action, "Star Trek" does the exact opposite. It takes the action genre and turns it on its head. J.J. Abrams, known mostly as a producer of shows like "Lost" or movies like "Cloverfield," proves his ability as a director with this film.
Rather than making just another action movie, Abrams combines well-rounded characters, a very complex plot, eye-popping visuals and intense action sequences to create a film that serves both as a crowd-pleasing blockbuster and critically acclaimed cinematic wonder.
When the "Star Trek" logo fades onto the screen after the film's action-packed opening sequence, loud, commanding music playing behind it, my heart was pounding. As someone who has never cared for "Star Trek" in the past, I was surprised at how even the opener took my breath away. That's part of what makes "Star Trek" such a great film. It appeals to new fans and hardcore trekkies alike, serving both as an homage to the original while simultaneously creating a new universe full of exciting possibilities.
Abrams also made a good call in casting mostly unknown actors. Rather than going for big names that would guarantee big crowds, Abrams cast actors that best fit the characters and are able to embody their wit, their fear and their bravery. Chris Pine, Zachary Quinto and Zoe Saldana should all have huge career boosts thanks to this film, and I can't wait to see what the team behind this film does with the next installment of what is sure to be a powerhouse franchise.
1. The Hurt Locker If this little movie that could fails to secure a best picture nomination at next year's Oscars, then the Academy's new 10-nominee system clearly doesn't work. This Iraq-war drama started making the film festival circuit last fall and came out of nowhere this summer as a critical juggernaut.
Masterfully directed by Kathryn Bigelow from a script by Mark Boal, "The Hurt Locker's" premise is simple yet intricate at the same time. The film isn't plot driven, simply following the last few weeks of a bomb squad's rotation in Iraq. But the whirlwind of emotions the three squad members experience about being in Iraq, the overwhelming pressure that comes from a job that means life or death and the constant fear that no matter what one is doing, one is never safe prove being an American solider in Iraq is infinitely more complex than the film's one-line description.
Relative unknowns Jeremy Renner and Anthony Mackie absolutely shine as Staff Sergeant James and Sergeant Sanborn, both undoubtedly deserving Oscar nominations for the nuanced performances. And in smaller, almost cameo roles, better-known actors Guy Pearce, Ralph Fiennes, David Morse and Evangeline Lilly commit to their characters without stealing the scene from the leads.
Boal's script works so well because it doesn't have a political agenda. It doesn't tell audiences how to think but shows them the many facets of war. Bigelow's direction is at times more understated and almost documentary-like, focusing on the broader picture. Other times, she slows the action down and hones in on the little details that add to that broader picture. Rather than being uneven, these combined approaches make Bigelow's directing very well-balanced. This story is a lot to take in, but it's one audiences should see, need to see. It will resonate with you long after you've left the theater.
Judd Apatow's latest directorial venture may not be as side-splittingly funny as "The 40-Year-Old Virgin" or "Knocked Up," but it isn't supposed to be. Though the movie is called "Funny People," it's actually much more of a drama, examining the lonely underside of stand-up comedy, the competitiveness of Hollywood and the question of whether or not a person can truly change.
At the center of "Funny People" is George Simmons (Adam Sandler), a veteran stand-up comedian and movie star who learns he is dying of a form of leukemia. At this point in his life, George has a huge house, lots of money and success in his career, but he's lost the love of his life to another man and has no real friends.
After learning he is about to die, George begins performing stand-up again in comedy clubs. After his act is followed by Ira Wright (Seth Rogen), a struggling young comedian, George asks Ira to be his assistant. Ira serves as a surrogate friend for George and encourages him to reconnect with his family and Laura (Leslie Mann), his ex-girlfriend who he continues to pine over.
Anyone who has seen the first trailer for this movie knows that George finds out he is going to live. The movie is not about whether or not George will survive, but about whether or not he can change his self-centered ways after having had such a close call with death and coming out on the other side of it.
George tries to reconnect with Laura, who is now married with children, and while Laura is still in love with George, she's not sure whether he can actually change. George also struggles in his relationship with Ira, who cares about George and wants to be his friend, but George is so unfamiliar with what a real friendship means that he isn't sure how to treat him.
Another subplot involves Ira and his roommates' competing careers. While Ira can't seem to find his niche, crude Leo (Jonah Hill) has regular gigs at comedy clubs and stuck-up Mark (Jason Schwartzman) stars in the NBC sitcom "Yo Teach."
While "Funny People," isn't quite up to par with Apatow's last two projects, overall it's still an excellent film. One thing people should know going in is that "Funny People" is primarily a drama. Fans of Apatow's TV show "Freaks and Geeks" know that he can blend comedy and drama well, but people who go into the movie expecting it to be the next "Knocked Up" may be disappointed.
While the movie certainly does have a lot of humor and Apatow's trademark raunch comedy is present in the stand-up bits, the film is at its heart a character drama about funny people. It portrays well how easy it is to become narcissistic in Hollywood and the harsh toll that can take on one's relationships with others and one's self.
Overall the characters are very well-developed, which is what makes the movie. One issue I had with "Funny People" is that George stays so unlikable throughout the film that he is hard to relate to, but I understand why the character is written this way. Apatow is trying to show that sometimes the funniest people can be completely miserable, and having experienced the stand-up circuit in the past, it is likely Apatow knew people like George. He does give us a few tiny glimmers of hope that maybe deep down there is still something sympathetic within George, though so much of him has been lost to the Hollywood lifestyle. Sandler plays the part very well, having demonstrated his dramatic prowess before in films like "Punch-Drunk Love" and "Reign Over Me."
But the standout of the film, surprisingly, is Rogen, who shows depth here far beyond the crude slacker types he so often plays. I think he shows here that there is more talent in him than audiences have been able to see before. He has played the roles that people expect to see him in and seem to enjoy him in, but given the right material, Rogen does have range just like his veteran co-star.
Ira is more low-key than Rogen's typical parts. He wants so desperately to be a comedian, yet his friends don't seem to believe in him very much and George's refusal to open up to him doesn't help his esteem. He is shy, sensative and incredibly likable, only wanting to prove himself. Rogen gives Ira an innocent, good-guy charm that, in contrast to George, is extremely relatable and lovable.
Mann is quirky and funny like always, doing a solid job as a woman torn between her family and the man she used to love who broke her heart. Eric Bana is also surprisingly funny as Clarke, Laura's husband. Bana has some great comic chops, and I hope to see him in more comedies in the future. Clarke is like George in so many ways, but Bana is able to pull out the one thread that makes him different and get the audience to sympathize with him in a way they cannot sympathize with George.
The film's nearly two-and-a-half-hour runtime is a bit daunting, and the movie drags a little at times. The movie's constant stream of cameos from stand-up comedians also gets to be overwhelming, though a hilarious exchange between Eminem and Ray Romano particuarly stands out.
Overall I think this is a very well-acted and well-written movie. It has a few flaws, but I commend Apatow for not just sticking with the formula that made him famous and trying to branch out into other genres. And for the most part, he succeeds. Apatow definitely has the makings of a great director and storyteller, and while I hope he still brings us his typical raunch comedies with heart from time to time, I hope he continues to take risks like "Funny People" as well. B
Since this past Wednesday night, the night of Comic-Con's four-hour preview before officially starting on Thursday, I have barely been able to tear myself away from my computer. I've been following entertainment sites like Entertainment Weekly and First Showing religiously, both on their actual sites and via Twitter. I've been watching video footage and looking through all the photos. I'm even watching G4's live coverage of the convention as I type this.
Over the years, Comic-Con has evolved from just another comic book convention to the ultimate destination for fans of not only comic books but video games, animation, sci-fi, fantasy, horror, collectibles, film and television.
Particularly in recent years, this convention has exploded in popularity. Entertainment reporters and bloggers cover the event extensively. Some filmmakers are now relying on Comic-Con to give their movies an extra boost by offering exclusive panel discussions and screening early footage.
Jon Favreau has stated he thinks Comic-Con is part of what made the first "Iron Man" film such a success. If a genre film garners strong buzz at Comic-Con, it's almost guaranteed to be a hit.
The first Comic-Con took place in 1970 and drew 300 attendees. This year's convention is expected to attract 125,000. So what caused this convention to evolve into such a juggernaut?
As Comic-Con expanded its offerings, it certainly also expanded its audience. But genre films have flourished since 2000, soaring in popularity and gaining hardcore fan followings. Comic book adaptations have become box office gold. "Harry Potter" and "Lord of the Rings" have generated even more interest in fantasy while the "Star Trek" and "Star Wars" fan bases are just as strong today as they were in the franchises' early days.
Sci-fi-infused programs like "Lost" and "Chuck" have huge cult followings, and "The Twilight Saga" is attracting more young women to the convention. In the age of Youtube, Comic-Con is also getting exposed to a wider audience. Panel discussions are filmed and streamed on Youtube for fans at home to see, and some screenings are even bootlegged and uploaded to the video sharing site.
Whatever the reason, it's clear that this year's Comic-Con is going to be just as explosive as last year's. Fans who made the trek to San Diego had the chance to sink their teeth into sneak peeks from "Lost," "True Blood," "Chuck," "Dollhouse," "The Hobbit," "District 9," "Avatar," "Iron Man 2," Disney/Pixar, "New Moon," "Jennifer's Body," "Alice in Wonderland," "Tron Legacy," Lucasfilm's "Star Wars" spectacular, Kevin Smith and "Where the Wild Things Are," just to name a few.
Check out these awesome photos from the Wednesday night floor show courtesy of SlashFilm, and this photo gallery of fans and panels from the Chicago Tribune.
Though all of the “Harry Potter” movies have been entertaining, “Prisoner of Azkaban” stood out above the rest as a critical favorite. Enter David Yates’ masterful adaptation of “Half-Blood Prince,” which with its strong character development and eye-popping visuals has quickly become the best “Potter” film yet.
In the sixth and penultimate installment in the series, Harry (Daniel Radcliffe) has three mysteries to face. First, after Voldemort’s return at the end of the fifth film, the magical world is on the brink of war. With Voldemort’s death eaters attacking wizards and muggles alike, there is a feeling of impending destruction.
Dumbledore (Michael Gambon) tasks Harry with looking into Voldemort’s past to piece together the tools to destroy him. Part of this exploration includes retrieving a memory from potions professor Horace Slughorn (Jim Broadbent) that may be the key to Voldemort’s defeat. Harry also suspects that Draco Malfoy (Tom Felton) is somehow involved in Voldemort’s plans.
Second, Harry obtains a potions book with the mysterious inscription “property of the Half-Blood Prince.” Filled with notes scribbled in the margins, the Prince’s advice steers Harry to the top of the class. But some of the book’s notes are more than just helpful homework hints, and Harry has no idea about the Prince’s true identity.
Finally Harry and his friends deal with the mysteries of the opposite sex. Now 16 years old, Harry finds himself growing closer to Ginny (Bonnie Wright), who suddenly seems like more than just Ron’s (Rupert Grint) little sister. Meanwhile, Hermione (Emma Watson) comes to terms with her feelings for Ron, but may face competition from the outgoing Lavender Brown (Jessie Cave).
“Half-Blood Prince” serves mainly as a bridge between Voldemort’s return and the final battle. This story is more driven by the characters than action, but Yates still manages to keep things interesting. He creates a dark atmosphere that emphasizes the urgency of impending war but balances it out with some light-hearted romantic humor.
For the most part, the film’s romantic subplot works well. It emphasizes the fact that Harry and his friends are still adolescents and have to continue growing up even with a war coming. Ron and Hermione’s relationship plays a key role in the seventh book and is established well here, though Lavender’s over-the-top romantic gestures prove a bit overwhelming.
This film is by far the most visually stunning of the series with its top-notch special effects and cinematography. The quidditch scenes and the film’s climax are particularly impressive, and a dark look is maintained throughout the film even in its lighter moments.
The performances are also better than they’ve ever been. Radcliffe, Grint and Watson are all very comfortable in their roles now. They have all matured as actors, especially Radcliffe, who shines in both comedic and dramatic ways in this film.
Gambon, whose portrayal of Dumbledore has been divisive in this past, is spot-on here. At times he is warm while other times he is devastating. Felton also gives a particularly nuanced performance. While he was only a bully and a coward in previous films, here he is determined yet genuinely fearful of the task Voldemort has given him.
The film leaves out some parts of the book and adds others, which will likely disappoint some fans, but Yates still creates a cohesive story. What makes a great book doesn’t necessarily make a great film. This is a great film, and fans who want it to be 100 percent faithful to the book should just read the book.
Yates has a clear understanding of the world J.K. Rowling created, and he has made a beautiful film with “Half-Blood Prince.” If this movie is any indication, his “Deathly Hallows” will be the truly epic conclusion this series deserves. A-
I'm a reporter with The Sanford Herald and huge film junkie. This blog serves as a means for me to combine my two primary interests: writing and arts and entertainment.
