Not to carp on about it, but the new wave of indie arthouse horror, but has really tapped into something primal in our culture. Using formal rigor and a kind of patience that’s the opposite of jump scares, this new movement is bound by its collective desire to use atmospherics to unsettle us emotionally and psychological on a much deeper level. It’s a different kind of fear and one not traditionally scary in the boo! gotcha! sense, but in general, it’s so much more long-lasting and at its, best profoundly disturbing.
Read more“Paddleton" Is a Slight But Loving Ode to Male Friendship [Review]
The fact that Alex Lehmann’s “Paddleton'‘ concerns two friends, one of which has just been told he’s dying of cancer, could make you run scared from the sob-fest that is about to happen, but “Paddleton” isn’t a “Love Story” or a “Terms of Endearment,” rather it’s a film that is incredibly light on its feet with humor and heartbreak and which sidesteps whatever cliches can be found in this kind of gooey territory. Despite some narrative straining, the payoff is beautifully rendered.
Read moreSpielberg's "The Post," a few reactions.
Spoke to a few people that said it was similar to the way he shot and told "Lincoln," and "Bridge of Spies," meaning the story does the talking, there's a lot of patient, held-back filmmaking, a very slow and dry affair. "Slightly square, old-school Hollywood craftsmanship," somebody told me, adding "It's no Spotlight." In other words, a movie that underplays its strengths. I thought "Lincoln" and "Bridges" were both ok, but that seems to be the direction Spielberg has decided to take on the last 5 or so years with his dramas.
“Captain Phillips”
Khat Ban is a herb that has been part of Somalian tradition for hundreds of years. It is a chewed upon Amphetmaine-like substance that causes excitement and euphoria. In Peter Greengrass' riveting "Captain Phillips", the pirates that are about to take over Richard Phillips' ship chew on Khat Ban to overcome the nerves and fears that come with taking on such a mission. The brilliance of Greengrass' film is how we get to know these pirates not as villains but as impoverished third world human beings with not much to lose. We've all heard about Somali pirate takeovers at sea in the news but the topic has never really been given a Hollywood treatment until now. Which makes the film even more interesting. Greengrass touches upon many themes, including the negative effects of globalization and the isolation of such impoverished third world nations. Somali actor Bakhad Abdi is exceptional as Muse, one of four pirates trying to overtake an American cargo ship 145 miles off the Somali coast.
Abdi's scenes with a brilliantly effective Tom Hanks as the Captain are what makes "Captain Phillips" indisputably great. Greengrass smartly decides to cast non-professional actors for the Somali roles, the risk pays off brilliantly. Abdi, looking jaunt and intense, matches Hanks scene for scene. He is exceptional and Oscar-worthy in a role that demands a lot of intense, real emotions. Muse nicknames Hanks "Irish" and calls him that many times throughout the film, their bond is a complicated one. Both men understand each other: Phillips knows Muse is doing what he has to do to survive and Muse knows that the Captain wants his men on-board unharmed and will do whatever it takes to achieve that. These two men share more in common than one might think and both are relying on the American government to get them out of this situation.
We all know how it ends, that's besides the point. What "Captain Phillips" ends up being about is the bond between these two men. They both come from significantly different cultural backgrounds yet they fully understand each other, they know why they are both there. While the other pirates, played by Barkhad Addirahman, Faysal Ahme and Mahat M. Ali, couldn't care less about Phillips, Muse does. Abdi is phenomenal and performs the rare -maybe never before achieved- feat of giving the best performance in a Tom Hanks movie. He and his pirate co-horts chew on Khat Ban religiously throughout the ordeal, trying to manage the situation by getting a simple high. They however find out it'll take much more than just herb to get through their botched hostage-taking attempt. The 135 minute "Captain Phillips" might sometimes feel by-the-books but whenever Abdi and Hanks are onscreen your eyes can't look away. They bring "Captain Phillips" up a notch and make it Greengrass best film since 2006's "United 93".
TIFF day 4
As the festival winds down and my days are counted here at TIFF some movies are starting to stick with me more than others. Today was a quieter day and I had time to finally reflect on some of the stuff I had seen. Two films in particular seem to not be getting out of my head, those films are "12 Years A Slave" and "Prisoners". Both have been getting Oscar buzz over here and I am actually quite surprised the latter hasn't been mentioned as much by Sasha. Every person I talk to here says its chances come awards season are mighty high. Directed by Denis Villenueve "Prisoners" is an ambitious, sprawling, fascinating and -yes- flawed 158 minute movie about a missing children's case. Jake Gyllenhall and Hugh Jackman deserve nomination, so does Villenueve for his impressive direction.
I've already talked about "Prisoners" in a past post, so I won't go any further than that. Instead, I'm going to delve into other new stuff I've seen at the fest. Starting with Jonathan Glazer's much anticipated "Under The Skin" which -much to the delight of her male fans- features a naked Scarlett Johansson as an alien seductress sent to earth to lure guys into her car and kill them. The film is going to be a love it/hate it kind of thing when it comes out. It caused the most walkouts out of any movie I have seen this year at TIFF. Johansson's alien drives her car for most of the movie, luring one male after another - the repetitiveness of the film's narrative might have turned off many but I had a blast watching Glazer's film. Its originality and absurdity is what I liked the most and of course I adored Johansson who seems to be having a deadpan blast here with her role. On a side note - it's refreshing to see actresses such as Johansson in this film and Winslet in "Labor Day" with a bit more weight and roundness to their bodies. They both look much better and healthier now.
"Joe" is yet another movie directed by David Gordon Green, after this year's "Prince Avalanche". Green has had a career of directing stoner comedies (Pineapple Express, The Sitter, Your Highness) and art films (George Washington, All The Real Girls, Snow Angels). "Joe" is clearly an art film and features a beefy Nicolas Cage. Cage's Joe is an ex con that is now a lumber merchant. He frequently visits the local brothel and is addicted to cocaine. An unlikely friendship happens when he meets a young 15 year old boy (Tye Sheridan of "Mud" fame) that is frequently abused by his drunkard of a dad. Even more trouble comes when Joe gets himself into debt with hoodlums visiting his small town. Green's film is quiet and devastating and Cage gives his best performance in a very long time (even though I have secretly admire for his absurd work in "Bad Lieutenant"). The film's small time Americana cliches are sometimes too apparent but the relentless intensity of the screenplay never lets up.
To conclude, a small note on Tsai-Ming Liang's "Stray Dogs" a polarizing film about a homeless Taiwanese family. Filled with long, endurance-worthy takes and not much plot, the film can sometimes be too much to handle but I dug it for all its weird, provoking madness. It's definitely a must see for anyone that is looking for cinema that pushes the boundaries and then some. It does say a lot about the poverty rates in that country and how the distance between rich and poor is enormous. You have been warned - it's not an easy watch. It has been chosen as official selection for next month's New York Film Festival, to not many people's surprise of course.
TIFF day 3
Jason Reitman's "Labor Day" is a film unlike any the director has made before. It stars Kate Winslet as a depressed, single mom that decides to give shelter to a wanted fugitive (Josh Brolin). The scenes WInslet and Brolin share are the heart and soul of this film. Winslet's Adele is a vulnerable mess, who's only reason to live is her 13 year old son. Sometimes we wonder if Brolin's fugitive is taking advantage of her vulnerability or if his love for Adele and her son is for real.Winslet is sheer perfection and as far as I'm concerned she's the second best working actress today (after Meryl Streep). It'd be a real shame if she doesn't get a nomination for this fine, fine performance. Reitman's film doesn't always work, the subplot involving Adele's son and his crush at school is a bit too forced for my liking. However, whenever Winslet and Brolin share the screen this film just works really well. Reitman hasn't yet made a film to match the brilliant textures of "Up In The Air" -I'll be getting haters for this comment- but here he's made a movie that delivers.
If Winslet's Adele gets her vulnerability tested wait until you see Isabelle Huppert in Catherine Breillat's "Abuses of Weakness" a film based on her own experiences. In 2004 Breillat suffered a stroke that paralyzed the left side of her body and then developed a "friendship" with a man that ended up being a con artist. This man made Breillat write him numerous checks that ended up putting the filmmaker on a 900,000$ debt. She ended up writing a book about it and now has made this movie. A brilliant, deceptive movie which explores the nature of vulnerability and tries to find answers as to how or why this could have possibly happened.
Directed by John Ridley "All Is By My Side" or -as people here are calling it- "The Jimi Hendrix Bio-Pic" is a flawed mess of a movie that features a great performance by Outkast's Andre Benjamin as Hendrix. I wouldn't call this a Bio-Pic since it only covers a year in the life of Hendrix. An Important Year nonetheless. 1966, is when Hendrix moved to London and found fame. However, there isn't enough material in this one year to justify such a long, dull film. The only bright spot is Benjamin who's phenomenal as Hendrix and sometimes makes you forget that it's an actor playing the legendary guitarist on screen.
The biggest applause any movie got at the fest was John Curran's "Tracks", which is another film based on true events. In 1975 Robyn Davidson set out on a 1700 mile journey through the Australian outback with 3 camels and her faithful dog. Mia Wasikowska plays Davidson and she's great, so's Adam Driver as the annoying photographer that follows her through this journey. A lot of people are saying this will win the audience award and judging by the long ovation the film garnered i just wouldn't be surprised. This could be another "Whale Rider" type of win.
TIFF day 2
One of the joys of being in Toronto is bumping into people you really admire so much. Seeing Chiwetel Ejiofor sneaking into a quick afternoon screening and of course bumping into Harvey Weinstein, hiding his nerves, right before the first press screening of “August:Osage County”. The critics were in town too, I caught a glimpse of the New York Post’s Lou Lumenick quite a few times, Newsweek’s David Ansen lining up for the new Miyazaki and caught up with Owen Gleiberman of Entertainment Weekly on what’s been the best of the fest so far – we both agreed “12 Years A Slave” and “Gravity” by a landslide.
“Gravity” is eye popping stuff. Alfonso Cuarron has made a movie that is unlike any we’ve ever seen before. It’s almost as groundbreaking as “Avatar” minus the flaws Cameron’s film had. A master is at work here and Cuarron has surely directed Sandra Bullock to her second Oscar Nomination – if not, her second win.
Meryl Streep will be giving Bullock a run for her money with her juicy role in “August: Osage County”. Streep is a ticking time bomb as the dysfunctional mom that heads a large family gathering. Americana caricature after caricature comes with director John Wells’ film, one that is very imperfect and left the press at my screening with a very mixed reaction. Streep is the lone shining light in this otherwise forgettable movie.
In my earlier article I talked about how good Chiwetel Ejiofor was in “12 Years A Slave”, competition has come in the form of Matthew Mcconaughey as Ron Woodruff. Sasha has already chimed in with this film but I will add to her praise and say that this is the Matthew Mcconaughey show. The 43 year old actor has been on a role lately (“Killer Joe”, “The Lincoln Lawyer”, “Bernie”, “Magic Mike”) but nothing tops what he’s done here with “The Dallas Buyer’s Club”. Looking gaunt and sickly, Mcconaughey wowed audiences here.
Doppelganger films have been big at TIFF so far. Director Denis Villeneuve -on a roll already with “Prisoners”- brought us two Jake Gyllenhaal’s with “Enemy”. Gyllenhall plays a Toronto professor that finds out he has an exact look alike living in the same city. It’a film very much inspired by Cronenberg but that also lets Villeneuve bring his own voice to the picture. This is sexy, smart, mysterious filmmaking at its best. The other doppelganger film had Jesse Eisenberg going insane with the appearance of his doppelganger. Directed by Richard Ayaode (Submarine) “The Double” is a dark comedy that fizzled out at its end but has shades of Terry Gilliam’s “Brazil” throughout its running time.
A much anticipated film here was Kelly Reichardt’s “Night Moves”, a film about eco-terrorism that strips down the genre conventions and ends up giving us the bare bones of its topic. Contrary to many here I wasn’t a big fan of Reichardt’s past films (“Wendy And Lucy”, “Meek’s Cutoff”) but this one works because it moves. There are tense, gripping moments in “Night Moves” and its performances -notably those of Jesse Eisenberg and Peter Sarsgaard) move the film along admirably.
Buster Keaton in Sherlock Jr.
(If you want more praise for Buster Keaton, check out my review of The Navigator by clicking right HERE)
You gotta love Buster Keaton,whether you're a film school aficionado or not. He just -quite frankly- was brilliant and so ahead of his time. His films still so damn good more than 90 years later. In fact, I don't see one too many brilliant films like his these days. Think about 1922's Sherlock Jr. which is a Hugo of its time, infiltrating the frame of a movie -making it a movie within a movie! In fact, I don't think there was another movie before it that actually played with its narrative this way- a sort of Adaptation and a beautiful tribute to movies that stands along the best of them. Sheer brilliant set pieces and a Keaton in full form, playing a Sherlock Holmes-esque character in his own day dream of a movie; the hero, the man who saves the day, the person that gets the girl and solves the big mystery. He is a film projectionist that believes in the magic of movies, a man so devoid of harmful traits that he truly wants to be the hero. And oh the editing, so damn good - in fact one of the greatest edited movies of all time (along with other Keaton gems such as The General and The Navigator). We all want to be Sherlock Jr. - At least Keaton thinks so and makes a movie that proves to be entertaining as well as gasp-worthy in its action.
Fantasia Film Festival 2013
The Conjuring 3/4
Opening the Fantasia fest this year was The Conjuring, a film that scared the bejesus out of critics and audiences this summer and became a sleeper hit. Did the film deserve all the buzz it got? You bet it did. Director James Wan, working with cinematographer John Leonetti, crafts a movie that leaves the gore out of the window in favor of psychological thrills. Wise decision. Vera Farmiga and Patrick Wilson play real-life paranormal investigators that get entangled in a case that is more than meets the eye. The last third of the movie sets the stage for an exorcism unlike any you've seen before and director Wan works on the experience he built with past films (Insidious, Saw) to construct his most mature work to date. Job well done.
Magic, Magic 3/4
Director Sebastian Silva's Magic Magic has a fascinating topic to deal with. What if some people just get on your nerves so much that you end up having a complete mental breakdown out of it. That's what happens to Juno Temple's Alicia who must deal with her best friend's family in a country retreat off the coast of Spain. She's stuck, wants out but home is far away. Things get worse when Alicia's best friend has to go out of town for an abortion and leaves Juno alone with her neurotic Cousin Brink (a never better Michael Cera) and her boyfriend Agustin. What ensues is the mental breakdown of all epic mental breakdowns. A transformation that leaves the audience in a state of shock. All credit must go to Juno Temple in what is a remarkably emotional and fearless performance. Her Alicia ends up haunting your dreams.
The Last Tycoon 1/4
I went into The Last Tycoon with the hopes of encountering another great film starring Chow Yun Fat. Instead director Jing Wong's film deals with every known cliche in the gangster epic manual. In telling the story of a man's rise to gangsterdom, from teenage years all the way to a prominent role in the chinese mob 40 years later, Wong brings a confusing and disjointed narrative structure that never lifts off its promising premise. I never once believed a single thing that I was seeing and the love story that comes with the violence only makes the film more unwatchable. This was a rare miss at a fest that had an excellent selection this year.
Mistaken For Strangers 3/4
Here's a documentary that might seem out of place at a film fest that prides itself in gore and graphic violence. However, Tom Berninger's documentary about indie rock band The National's first big tour in Europe and the States has a feeling of uneasiness to it. Director Berninger -an avid horror movie fan- is brother to National lead singer Matt Berninger and a total fuckup. Matt decides to invite his brother to work backstage for what is a very important tour. Big mistake. Tom ends up filming most of the time, that is if he isn't already drunk or high off something. The tension keeps getting upped as the documentary moves along and Tom doesn't realize how irresponsible his behavior is. The footage Tom catches in the process ends up making a solid documentary about life on the road, dysfunctional families and friendship. As an extra plus we get great concert footage of a band that is up there with Arcade Fire in terms of Indie Rock greatness.
Across the River 1/4
Across The River would have made a great short movie. instead what we get is an average 2 hour film about ghostly presences in the woods and a man that is stuck with them. There isn't much to say about Lorenzo Bianchini's slight film, everyone tries their best to make a mediocre -almost dialogue-free- screenplay work but it just doesn't burst out of its promising seams. What we get is a movie with a killer setup and a disappointing execution. I couldn't wait for it to end. Better luck next time.
Complex 2.5/4
We all know director Hideo Nakata as the Japanese horror master that had two of his movies (The Ring and Dark Water) remade as Hollywood films. Don't bet on The Complex to be the third one. It is too original and mind bending for a studio to tackle and features a head scratching finale that will leave much to discuss about afterwards. The plot starts off in a very familiar way as Asaka - a young 18 year old girl- moves into an apartment with her parents and starts to notice strange occurrences happening with the next door neighbor. Just when you think this will be a run of the mill horror flick the neighbor is found dead within a few days and we start to have doubts about what is real in the Asaka's life and what is not. Asaka is a deeply disturbed girl that should not be trusted and who's life is in a state of breakdown. Nakata messes with your head until it is all just too much but there's some fun in trying to solve his mystery riddled tale.
Summer Movie Update; "Now You See Me"
"Django" unchains every convention
Django Unchained (R)
Quentin Tarantino's Django Unchained is a peculiar beast. A film so outrageous yet -at the same time- so dead serious in its themes that you feel confused and exhilarated at the same time. The -by now- well known "Tarant-onian" dialogue is very much present here, just as present as in his last picture the equally outrageous Inglourious Basterds, which was what I described back in 2009, a "Jewish wet dream". Django is an "African American wet dream", loaded with fantasy based scenes that can only be described as full on revenge, especially the finale which rivals the masterful "Jew face" finale of Basterds. Tarantino sets up his "historical" film in very much the same way eh set up his last. This isn't a piece of history, nor should it be. Even with the recent odd airing of Basterds on the History Channel, Tarantino doesn't mean to give us a history lesson, he actually means to reinvent history as a way to feed his own unique twisted little fetishes.
This isn't the Tarantino of Reservoir Dogs, Pulp Fiction or Jackie Brown. Those films had a sort of cinematic subtleness and the violence depicted in them was scarily real. Instead, Django is the violent Tarantino of his latter day films, I'm talking the Cartoonish sword debauchery of Kill Bill, the feminist manifesto mayhem of Death Proof and the Scalping epicness of Basterds. This in a way is a real letdown for this very viewer. I am in no way saying that Django or another Tarantino film of the last 10 years is bad, in fact they're all magnificent in their own twisted little ways, but I for one miss the realism that he brought to his first 3 features. Then again, if he resorted to his old indie formula, people would most likely criticize him for just being unoriginal and repetitive, which of course just makes it a lose-lose situation for the former video store clerk turned director.
Back to Django - it's one hell of an experience. Packed with enough Tarantino to please most of his fans. As with any of the director's films, it's loaded with great performances, QT has always had a gift for bringing out the best in an actor. Just watch Travolta in Pulp Fiction or Kurt Russell in Death Proof. Christophe Waltz is magnificent in Django. In Waltz Tarantino has found his muse, an actor that can spurt out his brilliant dialogue with such poetic admirable elegance. It is then no surprise that Waltz has gotten his second straight Oscar Nomination for a Tarantino picture, don't be surprised if a third one comes up again at some point in time. Jamie Foxx as our titular hero doesn't need to act much but brings out enough emotions in a simple stone faced gesture that you don't care. The always reliable Leonardo Dicaprio shines also, as Monsieur Candie - a slave owner obsessed with the racist sport of Mandingo. Once again Dicaprio was snubbed on the Oscar ballot, this has happened way too many times, when will Oscar finally fess up to its past mistakes and reward this brilliant actor with a nomination?
Want to talk brilliance? Wait until you see Samuel L Jackson as Stephen, a black slave turned white servant to Dicaprio's Candie. Tarantino meant to make Stephen the "most despised negro in cinematic history", job well done QT. Jackson is astonishing, bringing out a ferocious, hellaciously comic performance. Fuck Oscar, Jackson's role here is one for the history books and is a kind of deranged version of Uncle Ben. Every time he's on screen you will be hooked. Tarantino doesn't play it easy and his film does have its flaws but the ambition is contagious. He films every scene with the kind of passion you rarely see in movies today. To say that Tarantino is drunk on cinema would be an understatement. It is his religion. At 167 minutes long, Tarantino stuffs his film with the most peculiar, original characters imaginable. A cast of actors that bring their A game to the forefront because they understand the vision their director is going for. Django Unchained is a film untouched by conventionalism, it is a diamond in the ruff, a pebble in a sea of muck and it gets the job done just like you expect it to. Now, how about that?
"Killing Them Softly"
(R) ★★★
Andrew Dominik's Killing Them Softly has a lot going for it; a hot director, a famous actor, an appearance at Cannes, love it/hate it festival buzz and a killer cast. So exactly what happened for it to hit a major bump? Before going into a monday matinee of the film, I had yet to encounter a person that liked the film and critical buzz has been tame to say the least. Suprising given the fact that Dominik's highly underrated The Assassination Of Jesse James By The Coward Robert Ford was a mesmerizing journey into an American killer's mind. Know what I say? Don't listen to the haters. Sure Killing Them Softly is an imperfect American dream through hell, however if you give it a chance it might just lure you into its sadistic criminal world. With nary a light in sight within its frames the film is heavy on dialogue and gruesome violence. You can tell Dominik's trying to find a groove in the film, he struggles at that, there's very much a European cinema influence in here but there are also shades of 90's Tarantino. It's this confusion in style that limits the potential of the film - yet some of the scenes Dominik creates stick with you.
A heist is done on a poker game, Markie (Ray Liotta) is manager and works under gangsters. He already pulled a heist once before and got away with it but this time around -even with him not involved- he gets eyed upon by his bosses. Not good but exactly what the guys that pulled it off wanted - that is until one of them fucks it up and puts his crew in a lot of heat. That is where Brad Pitt's Jackie comes into the picture, a hit man that is given the task of chasing these heist pullers and killing them (softly as he says). He brings in Mickey - the never better James Gandolfini- a slimy hitman that has turned into a drunk. The action scenes are tensely delivered, with Dominik's handheld camera bringing realism to the surroundings. The flaws come in some of the dialogue driven scenes that get stretched out a bit too long, Dominik is aiming for Tarantino-like slyness but only ends up doing it half well. No worries, his movie pulls you in with its dark humor and even darker violence. He means to tell us that the America these gangsters live in is the same one that inhabits our lives.
The film takes place in 2008 when America's economy was down and out. Dominik -With a soundtrack that includes speeches by then senator Obama and President Bush- hammers on his message that our nation is driven by nothing more than corporate greed. Fair enough and not far from the truth but I could have done without some of these insinuations and more story-based stuff. The actors do deliver, Pitt is a marvel and you believe in his acting (when haven't we) and Gandolfini stretches himself out here and does the best work he's done since the last season of The Sopranos. This isn't a movie that cuddles to its audience or answers all the questions when the credits roll, this is a film that is demanding and can frustrate primitive minded people. That makes it all the better for us. Killing Them Softly is rough around the edges but is a unique piece of work. It takes chances that not many movies these days would, how good is that?
Deniro still got it
Contrary to what we might think, Robert Deniro still has great performances left in him. If you want further proof of this statement watch him in "Silver Linings Playbook". The movie might not have met the expectations we had going for it after its Audience Award at TIFF but there are good things to be said about the film's performances. We all know about Jeniffer Lawrence's great performance but the one that really got to me was Deniro as Pat Solitano Sr. - an Eagles/football obsessed father that has never been diagnosed for what clearly is a major case of OCD. Pat Sr. is a man that has issues yet you root for him and Deniro is nothing but brilliant in the role. THIS is the Deniro we knew, an actor that can give out a million emotions with just one simple gesture of the face. It's the kind of playful, artistic performance that the actor was known to give in almost every movie he made in the 80's. Of course we can't forget all the terrible bombs he's given us the past 15 years, movies I'd rather not mention at this very moment, but Deniro still has the fire in him to make us feel alive at the movies again. This "Silver Linings Playbook" performance is of course not the at the level of intensity that he had in films such as Raging Bull, Taxi Driver or The Godfather but instead resembles more the dark playfulness that he showed in The King Of Comedy, Brazil, Wag The Dog and -even- Analyze This. If you want a darker, more intense Deniro you might be pleased to know that he confirmed last week a new collaboration with Martin Scorsese in a gangster film based on the book I Hear You Paint Houses. Al Pacino and Joe Pesci will co-star with him, now that's the stuff that dreams are made of. For the time being we have him doing his best work in years with "Silver Linings Playbook", a film that might just get him his 7th Oscar Nomination.
Spielberg's "Lincoln"
(PG-13) ★★★★
At first it isn't easy to succumb to Steven Spielberg's Lincoln - its darkly lit, talkative scenes aren't what we are used to getting in a Spielberg movie. The political talk is in every frame, this is a move that is more about dialogue than it is about action. A real shock given that this is a filmmaker known for popcorn entertainments raised to the level of art (Minority Report, Catch Me If You Can, War Of The Worlds). Lincoln is no such beast. It is quietly meditative with no rousing bombast or grand set pieces. The screenplay written by Tony Kushner brings us to 1865 a few weeks before the vote for a 13th amendment - this one would abolish slavery and free African American slaves. President Lincoln tries his damnest to convince Democratic delegates to vote for the amendment. It doesn't help that he is in the middle of a bloody civil war that has taken the lives of close to 600,000 Americans. We only see a glimpse of this war at film's opening, Spielberg is more interested in the war of words than in war itself. If you think this is a biopic of the President think again, this is a film about how the famous 13th amendment got passed.
Abraham Lincoln is slyly played by Daniel Day Lewis in another performance that will be remembered for the ages. His Lincoln is a man of many flaws but with enough heart, soul and drive to push the amendment forward. It has almost come to be a predictable thing to have a great Daniel Day Lewis performance but it is always highly welcome. Day-Lewis uses gestures and physical traits that are astonishing for his performance, the intensity that rages in his eyes is that of a man that is not playing Lincoln but IS Abraham Lincoln. He will surely be eyeing a third Best Actor Oscar come early next year. The film is full of great performances; James Spader, John Hawkes and Tim Blake Nelson play lobbysists aiding the president in trying to turn democrats to their sides, Tommy Lee Jones as Republican Thaddeus Stevens is phenomenal and will likely be an Oscar contender as well. Stevens fought his entire life for an 13th amendment to happen and the sheer look on his eyes when it happens is triumphant stuff. Jones nails the role and brings about verbal fireworks to his juicy role that are too good to reveal - plus wait until you see his one BIG scene that takes place in the senate.
Verbal Fireworks. That is essentially the come-on for Spielberg's Lincoln. Don't expect visual stimulation in this picture, it is all about words and tactics uttered by these famous politicians. Some scenes might be a bit draggy but Spielberg tells the story in such an un-Spielberg kind of way. With an abundance of restraint and silence. Who'd a thunk it possible for the Hollywood director to have this kind of film in him. The first time I saw Lincoln I was taken aback, expecting something else and ultimately leaving the theatre a bit puzzled. The second time I saw the film -knowing exactly what to expect- I was wooed by the great cinematographer Janusz Kaminski's camerawork and by how the film simply told the story in such an intimate and un-bombastic way. That is essentially Lincoln, a quiet beast of a film that is never too showy and never too self-aware of its grandiose story. An important, interesting one in fact, that everyone should know about.
"Marley" gets the legend right
Bob Marley's life is very well known inside and out but Oscar winning Documentary filmmaker Kevin Macdonald's "Marley" thinks otherwise and has enough surprises in it filled with haunting revelations to make it a real stunner. It helps that Macdonald uses breathtaking concert footage, archival treasures and interviews with almost everyone that has had an impact or was a friend to the legend. As far as Marley documentaries go, this is as full fledged a portrait of the man as we are likely to see in our lifetime.
"Marley" is a one beautifully crafted piece of work that can be enjoyed by fans and non-fans alike.
From his upbringing with a single mother in Kingston Jamaica to the identity of his dad, Norval Marley, a white marine that was very much absent in the singer's life. Some of the most fascinating parts of the doc have to do with Marley's dedication to his Rastafarian religion. "White people have Jesus, we have Rhasta Fari" he says in an interview. This belief entitles the Rastafarian to smoke a ridiculous amount of weed each day. Rastas such as Marley used it to get closer to their inner spiritual self and believe in the wisdom that came with smoking it.
The stories found in Macdonald's doc are highly fascinating. How Marley founded reggae through a single, unintentional chord. His roller coaster journey from Jamaica to America in search of a larger fan base. How he begged to revive Jamaica's government torn gang war, bringing a country together through his music and one landmark concert that resulted in two sworn enemies shaking hands on stage in front of of hundreds of thousands of Jamaicans. His fight with cancer and how he continued performing on stage despite his fluctuating health. However, most memorable is Rita Marley, his first and last love, with whom he had 3 children and how she stuck with him until the end despite his well known infidelity. The film states that Marley had 8 more children with several different mistresses, a total of 11 children that all agreed for this film to be made. Yet, despite all these facts, Rita Marley's memories of her partner are surprisingly beautifully remembered with compassion and -yes- a sense of true love.
The doc has a riches of archival footage including some magnificent concert footage of Marley and The Wailers performing in various different cities. We all know how it ends but Macdonald has ambition to burn, his documentary runs for a long 144 minutes yet the running time feels needed for it would have probably been impossible to truly depict a life this grandiose and impressive in a shorter amount of time. Macdonald, a Scottish born filmmaker, who's been mixing it up lately with feature films ("The Last King Of Scotland", "State Of Play") and documentaries ("One Day In September", "Touching The Void") has already won one Oscar, he is almost -at least- guaranteed a nomination for Best Documentary with this one and judging by the contenders, his biggest comptetion will be well received films such as "The Central Park Five" and "The Queen Of Versailles".
"Looper"
(R) ★★★★
One thing you first notice in Rian Johnson's Looper is how it builds up its sense of dread with each successive, tension-filled scene. Nobody is safe here. The plot only builds up as layer after layer is revealed until the film's final shot. It's a hell of a ride and easily one of the best films of the year. Then why no mention of a possible Oscar Nomination for Johnson's visionary picture? You see, Science Fiction isn't something the academy has warmed up to in its 83 year history. Sure it rewarded Peter Jackson's The Return Of The King but what else did it reward before or after that? Looper is the kind of movie that can sometimes trip on its own ambitions but its originality is contagious, creating a new world we've never seen before. Credit must go to writer/director Johnson who after showing capable signs of competence in his first two films (Brick and The Brothers Bloom) finally hits one out of the park.
The film tells the story of Joe (Joseph Gordon-Levitt), a hit-man for an organized crime syndicate tasked with assassinating targets sent from the future. They arrive from the future and bang with one shot they are dead. That is his job. Not complicated at all. That is until Joe's mob boss Abe (slimily played by Jeff Daniels) hints that the Rainmaker, a criminal mastermind from 2074, is closing the loops. That means he's sending Loopers back from the future to be killed by their younger selves. Just to hide evidence of the bloodshed. Joe's good buddy and fellow Looper Seth (an incredibly paranoid Paul Dano) is first in line to encounter his old self. He chokes, let's his future self go and is now being chased by Abe's gang with dire consequences. Joe is next and accidentally lets old Joe (a never better Bruce Willis) slip away. You see, Old Joe has a plan in mind. Find the rainmaker as a kid, kill him and set his future right.
You got that? I hope you do. It's a tremendously thrilling story that leads to Young Joe taking shelter at a family farm with a single mother (a tremendous Emily Blunt) and a kid that -you guessed it- might just be the Rainmaker. Joe is waiting for his future self to show up at this farm so he can shoot him, kill him and continue on with his work as Looper. The imaginative thought that went into the screenplay is a breath of fresh air that puts any other recent Science Fiction film to shame and Joseph Gordon Levitt -as good an actor as any around at the moment- does wonders with his role. Don't expect a mind numbingly hammering experience such a the one experienced in Christopher Nolan's Inception, if you do pay attention to Johnson's linear story it can be followed and make a lot of sense. No review should ruin the film's many surprises but suffice to say Looper's many twists are already being analyzed and debated by film fans. A sure sign that you've made a movie that is here to stay.
Ang Lee's "Life Of Pi"
(PG-13) ★★★½
"Life Of Pi" is a top notch visual achievement because director Ang lee infuses it with enough poetic imagery that even haters of the book will not help but appreciate the artistry at hand. Lee who's already been nominated 3 times and won once for "Brokeback Mountain" will surely get his fourth nomination for "Life Of Pi" which will only enhance his reputation as one of the most gifted filmmakers around. However I wouldn't put "Pi" in the same league as Lee classics such as "Crouching Tiger, Hidden Dragon" or "The Ice Storm" - the story's fairytale like familiarity almost sugar coats the impeccable 3D visuals. It is not just Lee that must be given credit for the visuals but also his cinematographer Cloudio Miranda. Remember that name, he might just get called up to the stage come Oscar time early next year. In fact, I'm predicting right here that Miranda wins it all on February 24th. He already performed visual miracles by making "Tron: Legacy" and "The Curious Case Of Benjamin Button" amazing looking pictures and with Ang Lee's new opus (out November 27th) he outdoes himself in terms of visual miracles. I mean really, this is just a stunning looking movie filled with images that are too good to be true..
The way Lee and Miranda shoot India in the film's setup is nothing short of gorgeous, focusing on every beautiful color and visual that comes their way. In this half hour we are introduced to our main hero Piscine -aka Pi- and the zoo that his parents have built up as a business. The religions that surround Pi confuse him, he sees himself as a believer in everything he sees. His dad -an atheist- is angered in the contradictions that surround his son's beliefs. The setup is slow but nevertheless complimentary for what's to come next. When the family has to leave India because of hard times, the film takes a dramatic turn. They hitch a ride with their zoo animals on a big ship to Canada where they will start a new life. Things -however- don't quite turn out that way. A magnificently horrific shipwreck happens that leaves Pi stranded on a tiny boat with a tiger he calls Richard Parker for 227 days. The way he must adapt to life with this dangerous animal is incredibly interesting to watch and no review should spoil that for you.
"Life Of Pi" flies high because of its amazing visuals and incredible use of 3D. None more apparent than in the film's middle section which lasts close to 75 minutes and involves -for the most part- just Pi and Richard Parker. That is when the film hits its peak and becomes a jaw dropping stunner. Lee and Miranda know that the way to grab an audience is not just by telling a story but by creating ravishing images that stick with you. The book had parts that you knew would translate very well from page to screen and had the potential to be true visual delights. Take for example the frightening scene where a storm of flying fish just suddenly appears out of nowhere and into Pi and Richard Parker's direction, or another scene where a slew of luminous jellyfish set the nighttime sea aglow with incredibly ravishing colors. Lee and Miranda handle Yann Martel's novel with the best possible care imaginable.
Martel's book had its hardcore fans but it sometimes struck me as too full of itself and with one too many ideas on its ambitious plate. Which is why the film's final third didn't necessarily work out the way I wanted it to. This is after all a movie that is a bit too facile in the way it plays with our emotions. I felt that at times it wanted to force tears out of me but alas that didn't work. Instead what I got was a film almost too prestigely wrapped-up for Awards season. No matter this is Lee's show as he brings us another visually sumptuous epic that does his name right. This is a crowd pleaser through and through and Oscar will be calling soon for both his and Miranda's triumph.
"The Sessions" The best and sweetest sex scenes of the year
(R) ★★★★
It doesn't take much to give in and enjoy Ben Lewin's fascinating "The Sessions". Based on the true story of California based poet and writer Mark O'Brien, the film deals with O'Brien's struggle with Polio and being forced to use an iron lung the rest of his life. It's not as grim a subject matter as you may think. O'Brien is played by John Hawkes, a man we will certainly see at next year's Oscar ceremony, in a performance that may recall Daniel Day Lewis' in My Left Foot but with more humor and playfulness. Having learned to twist his body, learn to breathe carefully and use a mouth stick to dial a phone and type, Hawkes gets all the mannerisms right and makes us believe that he truly is in this sort of state. It's no easy feat to act in a lying down position with an iron lung for an entire movie but if done well, this sort of showy performance usually spells awards for you.
O'Brien has been a virgin his entire life and decides to hire a sex surrogate to "de-virginize" him. That surrogate is Cheryl as played by Helen Hunt, in a supporting performance that will also be rewarded with a nomination. Hunt is spectacular bringing a sexy, fierce vibe that has been lacking ever since her "As Good As It Gets" triumph in 1997. The aforementioned sessions involving Hunt's Cheryl and Hawkes' Mark are the heart and soul of the picture. Cheryl has a 6 session limit with every disabled client she visits. The sex scenes are incredibly well handled and -dare I say it- the best and sweetest sex scenes I've seen all year in any picture. This is in fact the first movie I've seen where premature ejaculation is actually dealt with in a sweet, non joking way. Hunt and Hawkes have chemistry to burn in those scenes. Which reveal secrets about both characters that we might not see coming. The screenplay is at its peak in these scenes, where every word counts and every gesture by these characters brings new depth to the story.
Mark is a believer. Visiting church every Sunday and getting the blessing of his priest -playfully played by William H Macy- to go on this journey to lose his virginity. One cannot understand why Mark would still believe in God given his physical state but he jokingly says there must be a god given the fact that someone must have had a sense of humor the day they created him. The playfulness that comes with this movie is a real treat. It's a small indie gem that gets all the details right. It's a testament to the way the movie is handled that the vibe is never menacing and that Mark's situation is never really handled in a way to manipulate your emotions or force you into tears. The film threatens to collapse in "TV movie cliches" and is shot like one too but the performances are just so strong and the story just so good that they elevate the movie into a true contender. "The Sessions" is an undeniably fascinating true story, one that makes you reevaluate your own life in ways you never thought you would. That's the sign of a great movie.
http://www.awardsdaily.com/blog/2012/11/05/the-contenders-the-sessions/
Pixar's newest treat
Sure, it might not be as good as past Pixar fare and sure, it follows a more traditional narrative structure and yes, it just didn't meet critical expectations BUT don't -and I repeat- DON'T discount Pixar's "Brave" as nothing but filler in the same category as "Cars 2" or "A Bug's Life". The film is too good to be shunned off and relegated to that low-leveled category. Let me explain why. Expectations can really kill the way you view a film. Before "Brave" even came out, the thought of another Pixar film coming to theatres gave critics and movie buffs a reason to smile in what would likely be another dull summer loaded with movie escapism and not too much food for thought. I mean, this is the same company that gave us some of the great animated films of the last decade and single handily brought us into -my opinion of course- the golden age of animation. Just look at the treasure trove of brilliant films this company has released since 1999; Toy Story 2", "Monsters Inc.", "Finding Nemo", "The Incredibles", "Ratatouille", "WALL-E", "Up" and "Toy Story 3". An impressive list that is practically impossible to match by anyone else, safe maybe Hayao Miyazaki's brilliant filmography of the past three decades or Disney's brilliant run of films from 1989-1994.
In"Brave" what we have is Pixar's best animation to date. Its eye popping colors bring about dazzling visuals that would make any true film buff water in the mouth. The animation is so well drawn out and compared to earlier Pixar films, "Brave" blows them out of the water in terms of sheer technical achievements -Time's Richard Corliss has echoed my sentiments in saying it is "the most ravishing and complex pixar movie to date". However its narrative is safer, bringing about memories of some of Disney's so called "princess stories" yet infusing it with post 21st century material. This is Pixar's first film featuring a female heroine and not just any heroine; a redhead that has a killer talent for bow and arrow. Merida is her name and she is a headstrong free spirit that wants to "change her fate" (of being betrothed against her will) at nearly any cost. Merida will not be held back. The story comes with twists and turns that I didn't see coming, outstanding visuals and wait until you see Merida's three younger brothers, redheaded baby triplets that just want to cause chaos everytime they're on screen.
This film doesn't have the dark, underlying adult themes of "Up" but it sure is a great time at the movies. Its scenes go from wacky, to dramatic to downright scary. Will it win the Best Animated Feature Oscar? It's too hard to tell but something tells me we shouldn't discount its chances. I mean, after all a "good" rather than "great" Pixar movie is still better than 99% of animated movies released in any given year. This is just a case of high expectations not being met. "Brave" isn't a film that vies for greatness - instead it is a lovely film that is intentionally Pixar's first foray into the "Fairytale" genre. However, It doesn't necessarily follow the rules of the genre; Merida would rather use her bow and arrow than chase boys or find her prince charming. The movie isn't about being in love or living happily ever after. It is more about one girl's quest to find self-fulfillment and identity in a world empowered by men. Don't listen to the naysayers or those who's expectations were too high to reach, let yourself get swept up into "Brave" and its magnificent colors.
When looking at the Best Animated Feature of 2012, one cannot discount Tim Burton's imaginative "Frankenweenie" which has enough critics backing it up and will likely get a well-deserved nomination. Burton's Gothic treat is his animated follow-up to "The Corpse Bride", which still is his ONLY Oscar nomination to date. Yes, it's very hard to believe especially with a filmography that includes "Ed Wood", "Sweeney Todd" and "Edward Scissorhands". "Frankenweenie" is Burton being Burton (You could see that as a good thing or a bad thing). Based on his 1984 short about a young boy named victor that loses his dog, Sparky, and uses the power of science to resurrect it "Frankenweenie" is a labor of love for Burton through and through. Shot in beautiful Black and White and laced with enough dark Gothic humor to satisfy his many legions of fans, the film will likely garner Burton a well deserved second nomination and maybe -just maybe- his first ever win. Other contenders this year include well received fare such as "Paranorman", "Pirates: Bands Of Misfits" and the recently released "Wreck It Ralph".
http://www.awardsdaily.com/
Paul Thomas Anderson, Joaquin Phoenix and "The Master"
(R) ★★★★½
If you're ready to encounter a ticking time bomb on-screen then get ready for Joaquin Phoenix as Freddie Quell in Paul Thomas Anderson's flawed but brilliant The Master. No review can prepare you for what Phoenix does on screen in this movie. It is not only the best acting you will see all year but also a performance that will be talked about for ages. Not to take anything away from Philip Seymour Hoffman as a Ron L Hubbard-like biblical propagandist, Hoffman is brilliant too and will likely get his fourth Oscar nomination as Dodd. Anderson doesn't just direct The Master, he infuses it with so much cinematic juice that your eyes will likely explode in sheer delight of its colors and shots. Sure some critics are already bitching that Anderson (There Will Be Blood, Magnolia, Boogie Nights, Punch-Drunk Love) has made a film with no meaning and no direction but these same people are missing the point. The Master is episodic in nature, a shuffling of numerous, powerfully deliberate sequences -practically all taking place in Freddie Quell's head- that hit you hard when taken in as a whole. I came out of it both confused and affected.
Contrary to what many people are saying, this is not a film about Scientology. Even though Scientology does serve as a background, Anderson has slyly set up for us a character study involving Phoenix's Freddie Quell and his psychotic journey through hell. Every time Freddie is on screen you feel uncomfortable, an unpredictable character, a ticking time bomb waiting to explode at any moment. The anger and frustration that resides inside Quell is not healthy and severe medical attention is what he needs. He thinks he's found it in a man that is preaching a new gospel. Hoffman's Dodd is a well known scientists that has come up with his own religion, one that very much mirrors Scientology founder Ron L Hubbard's vision. Dodd sees in Quell a potential follower, a man knocked out by life and in need of a resurgence. A friendship develops and that is in fact the heart and soul of the film. Dodd and Quell need each other more than we are led to believe. They are first and foremost friends that are blatantly divided by their own beliefs. In one scene after the next we are only given glimpses of the bond that is developed between the two men.
Freddie's quirky mannerisms are memorable - a hunched posture, one eye widely opened more so than the other, a slurred speech from too much drinking and a broken walk. Freddie's alcoholism is severe. He has a drink almost every time we see him. Phoenix has created a character that will resonate with fans of cinema for years to come. The first 20 minutes of The Master focus on Freddie's failed attempts at life. His memorably preposterous stint with the navy is highlighted by a humping session with a sandwoman which leads to a jerk off session next to the beach. His job as family photographer at a retail store, which ends with him attacking a client nonsensically and losing his job. As a runaway in an undisclosed location filled with Asian workers which eventually leads to his own homemade moonshine poisoning a local old man and possibly killing him. Freddie being chased by the Asian workers, somehow getting away from them and eventually sneaking into a boat party that is populated by Dodd and his followers. The way I'm describing these events is the way Anderson presents them to us, in fragments - just like in There Will Be Blood's opening scenes, we are set up for a character study like no other and a man that is truly aggressive in nature.
The episodic nature of the film gives it the feel of a dream and much credit must go to cinematographer Mihai Malaimare Jr., who will likely deserve every award that will come his way at year's end. Anderson loses track of his film once his vision shifts to England but no matter that section still remains a thoughtful, enigmatic piece of his deliberately dreamy puzzle. We are left with enough question sto wet our appetites for a second viewing. The Master's many powerful moments combine to make it a masterful whole. It is a testament to Anderson's brilliance as writer/ director that you forgive the flaws that come with his work. He is truly the best American director working today because there is so much going on in every frame and such carefully planned out thought to his shots. So much happens in the film's 138 minutes that the mind can't grasp everything at once. The relationship formed between Quell and Dodd is one that will be dissected for years to come. They form an unlikely duo that is the heart and soul of the picture. What's truly remarkable about the therapy Dodd uses on Quell -such as questioning, feeling walls/windows, controlling anger- is that it actually works for a glimmering moment, much more than any of the army's tactics.
Phoenix has shown signs of brilliance in past roles -most notably in 2009's underrated Two Lovers- but here he really outdoes himself. If Daniel Day-Lewis' towering performance as Daniel Plainview in There Will Be Blood left a shattering mark on cinema for decades to come, Phoenix's Freddie Quell will likely have the same lasting effect. Before The Master collapses in its final 10 minutes, there hasn't been anything better released in 2012. When it finishes there still hasn't been anything better in 2012. Its resonant images stay with you like a neverending wave at shore, long after the lights have come up and the dust has settled. Here is an example of director and actor both at the peak of their powers making such powerful, relentless, united art that transcends anything that's come before it. Anderson's last 4 films have each been released 5 years apart, here's hoping we don't have to wait another 5 years for the master to release another one.