St. Vincent (2014, dir. Theodore Melfi)

"St. Vincent" tells the story of a guy named Vincent (Bill Murray).  He is a Viet Nam war vet, down-on-his-luck, in constant debt, and a heavy drinking, miserable dude.  He sees a prostitute named Daka (Naomi Watts) on a frequent basis and his wife is despondent and living in a nursing home nearby.

Enter newly-divorced Maggie (Melissa McCarthy) and her endearing son, Oliver (Jaeden Lieberher).  They move next door to Vincent.  Maggie has a demanding job at the hospital and her extra hours there put her in a quandary that forces her to ask Vincent if he'll become a babysitter for young Oliver after school.  Reluctantly, Vincent takes on the role and becomes Oliver's mentor as well.  Soon, Oliver is getting life lessons from Vincent.  But, Vincent learns a lot from the youngster too.  Especially things about himself that he had forgotten or repressed.

There is nothing earth-shattering, extremely revealing or original about "St. Vincent".  It has good performances but it doesn't add up to anything that thoroughly satisfies in the end.

This is considered a comedy but there aren't many laughs.  I was disappointed by the film although I enjoyed Murray and the rest of the cast.

Gone Girl (2014, dir. David Fincher)

There has been a lot of hype about David Fincher's new film, "Gone Girl" which it definitely lives up to.  It is a riveting film from start to finish and it will surprise and entertain you.

It is hard to give a review of this film without spoiling some of the movie because there are several shocking surprises and twists.  Ben Affleck and Rosamund Pike star as husband and wife who's marriage, though blissful at the start, turns rocky and troubled.  Pike's character, Amy, mysteriously disappears at the start of the film and Affleck's Nick is suspected by the police for what appears to be her murder.  We learn about their past relationship troubles through voice-over diary readings by Amy.  Nick is made to look more and more sinister, suspicious and volatile as the readings progress.  To reveal any more of the film's plot would certainly give away too much to someone who hasn't seen the film or read the Gillian Flynn novel upon which the movie is based (Flynn also wrote the screenplay).

Fincher proves to be a modern-day master auteur.  His previous films like "Se7en", "Fight Club", "The Social Network" and "The Girl With The Dragon Tattoo", dealt with consistent thematic concerns such as the darkness lurking within the soul's of humanity and modern man's duality and moral depravity.  Here in "Gone Girl" he explores the extremes that his characters will go to to maintain there own sanity and reputation in the face of society's and the media's ever-present gaze and scrutiny.

It combines many genres:  I detected elements of mystery, suspense, thriller and even neo noir in its stylistic leanings, cinematography and narrative.  The performances, even from Affleck, who has been criticized in the past for his lack of technical sophistication, are stellar and raise the picture to the level of an Oscar-worthy film.  This is a great film and one of the best of 2014.

Blue Is The Warmest Color (2013, dir. Abdellatif Kechiche)

There is something about "Blue Is the Warmest Color" that makes me think that I am watching the Truth.  It is a very Truthful film.

Yes, the sex scenes are somewhat drawn-out, excessive, and intense for most North Americans.  But aside from these scenes, which have been the main focus of most criticism and press-coverage surrounding Kechiche's feature, what we see is a film full of compelling conversations, realistic happenings, and truly life-like encounters.  There is something about the rhythm and tone of the screenplay (although I was reading subtitles) which heighten its realism and makes you think you are witnessing life instead of fiction.

It is the story of Adele (Adele Exarchopolous) who as a young high school student is struggling to locate her own identity and place in the world.  Then she meets Emma (Lea Seydoux) who is the missing piece in the puzzle of her life.  They become lovers and soul-mates for a fleeting moment in each other's lives and they grow and learn as a result.

I loved the scenes at Adele's school.  There are classroom scene (she is a literature major) that demonstrate an expertise in direction by Kechiche that is peerless and soulful.  The romance that blossoms between the two leads and takes place outside the bedroom is tender and meaningful as well.

As for the sex scenes in question, they are graphic and intense.  But perhaps if we look at them as a part of the culture in which it takes place and a reflection of what many people experience then perhaps more people can accept them.  It is a great film and I look forward to more from this director.

Under the Skin (2013, dir. Jonathan Glazer)

What a mysterious, foreboding and riveting film this is.  Scarlett Johansson stars as a nameless alien in the disguise of a seriously attractive woman who preys on unsuspecting men in a Scottish town.  She drives around at night asking, seducing and compelling men to get into her car and come back to her place.  Once back, they are trapped like flies in a spider's web, in a perplexing method that can only be attributed to an otherworldly being's diabolical desire.

Several things happen throughout this film that are given no causal explanation or leave the viewer reeling with questions that go unanswered.  This is not a complaint about the film but is in fact, one of its charms:  there are scenes and appearances by certain characters that defy narrative cuing or straightforward story-telling logic.  I won't go into detail, but the baffling film has to be seen to be believed, (mis)understood, and enjoyed.

There are men who are able to escape the lure of the unconventional, complex alien character played marvelously by Johnansson.  One individual has a severe facial disfigurement.  Perhaps his loneliness or his alien-like existence persuade her to let him go in the end.  We'll never know for sure.  There's another man who offers assistance to her and provides her with a place to stay when she is in apparent distress.  They become intimate in a surprising series of scenes and he ends up surviving.

There are compelling visual stylizations and motifs throughout this film.  Director Glazer, inventively creates a dreary, overcast Scotland with certain hypnotic sequences that add to the effectiveness of the overall film and pushes the film into even more mysterious territory.  Some will say that the film is too slow or weird for their taste.  But, I was won over by this haunting story of what an alien being does to get by.

The Immigrant (2013, dir. James Gray)

I would like to offer 5 reasons that this film should be enjoyed by all. (It is a great film):

1.  The Performances.

Marion Cotillard is one of the most beautiful actresses around and in "The Immigrant" she is astounding as a young Polish immigrant who struggles for survival in a cruel, and unforgiving New York City in 1921.  Cotillard's performance is nuanced and poignant.  She brings a richly-layered, full-bodied character to life in a way that no other actress can accomplish.  She plays Ewa Cybulska, a woman who is forced into prostitution to provide medical care for her ailing sister, Magda, who is quarantined in a hospital on Ellis Island.  Cotillard brings dignity and transcendence to Ewa, making her totally sympathetic but, at the same time, not turning her into a cliched character.

Equally amazing are Joaquin Phoenix and Jeremy Renner.  Phoenix's Bruno is a multilayered, conflicted boss/pimp who's love for Ewa is as doomed as it is impossibly tragic.  Renner's Emil, Bruno's cousin, is a magician who also finds himself in love with Ewa.  Renner's character is a brilliant foil to Phoenix's and there scenes together are charged with tension and palpable electricity.

2.  The Period Detail.

The New York City of 1921 that is depicted in "The Immigrant" is an amazing achievement in technical virtuosity.  There is a cohesive contrast between totally accurate period detail and a stylized, exaggerated, fictional universe that is reminiscent of painting and photographs of the period that gives the film its own unique visual character.

3.  The Allusions to Past Films.

The most striking and obvious reference of "The Immigrant" is to Francis Ford Coppola's "The Godfather Part II", specifically the scenes with a young Vito Corleone in New York City.  The outdoor scenes on the streets of Gray's film obviously had Coppola's film as a reference.  It is not however, theft but a celebration and loving tribute to that 1974 film.  There are other references and allusions:  "Once Upon a Time in America" comes to mind as well as "McCabe and Mrs. Miller".

4.  The Story.

This is a captivating narrative of despair and redemption.  It forces you to look at the dirty, gritty, sinful side of life without averting your eyes.  It is often uncomfortable to look but it is riveting.  The trajectory of the characters takes the viewer on a thrilling ride through the ups and downs of the lives of people struggling to live life with whatever dignity they can muster. 

5.  The Cinematography.

DP Darius Khondji is a master and he turns the film into a visually breathtaking event.  The camera work is versatile and efficient.  There is a certain resolution reached between what almost seems almost like black and white photography with a colorization that is appropriate to the time and place in which the film is set.  There seems to be an ever-present overcast in the outdoor scenes which sheds light on the mind-set of the characters and the mood of the film overall.

The November Man (2014, dir. Roger Donaldson)

Pierce Brosnan is getting older.  As evidence from his latest caper "The November Man", he's no spring chicken.  According to the Internet Movie Database, he was born in 1953 so that makes him just over 60 years old.  Thankfully, he doesn't make the mistake of trying to play a young man in "The November Man": he is world-weary, but his stellar world-experience is what makes him into an impeccable spy-action-thriller star and character.

In Roger Donaldson's film, Brosnan plays Devereaux, a slick, former CIA operative who is forced back into action as a result of a conspiracy that involves a Russian presidential candidate and Devereaux's own wife and daughter.

This film is action-packed, and the adrenaline level is at a high point from start to finish.  As stated, Brosnan is great in this role as an old dog with several new tricks up his sleeve.  It takes place in Russia and surrounding locales.  It can be confusing at times, but the plot is clarified at certain points throughout the film that allows the viewer to gain grounding within the arc of the story.

It is basically fairly conventional: it doesn't contain any flashy stylistic motifs or character.  It is mostly a run of the mill spy thriller with few surprises.  But, the story and action sequences are compelling and exciting.  It leaves the viewer at the edge of his or her seat.  There are better films from the genre but "The November Man" is a welcome addition to this type of film.

Sin City: A Dame to Kill For (2014, dir. Frank Miller, Robert Rodriguez)

Comic book movies are all the rage these days in Hollywood and superheroes are omnipresent.  The Sin City graphic novels are a little different: they don't contain heroes but anti-heroes.

The dark world of Sin City borrows heavily from the world of Film Noir.  This cinematic style was codified in the 40's and 50's in films with femme fatales, shadowy cinematography, and men who's souls were on the precipice, forced to gaze into the depths of their darkest desires and dreams.  "Sin City:  A Dame to Kill For" is no exception to these conventions and codes of the film noir world.  But it also adds its own alluring twist on the established norms by making a highly stylized and comic-book-like texture to the already heavily stylized landscape.  "Dick Tracy" comes to mind as a predecessor.  But the world of this Sin City installment, like its previous one, is sultry, seedy and seductive in ways that almost push it over the top.

There are a few different, sometimes intersecting story-lines.  The most riveting for me starred Joseph Gordon-Levitt as a card-shark who never loses a game.  But, his inability to lose puts him in a dangerous position with the local crime-boss who will do anything to establish his power game in this God-forsaken town.

This is not as good as the original in the series and a lot of the story will have you scratching your head in puzzlement.  I liked the acting:  there are charismatic turns from Mickey Rourke, Jessica Alba, and Dennis Haysbert.  This is definitely not the best film of the summer and will probably be forgotten in a couple of weeks.  But it has its rewarding moments and has the potential to keep you slightly spell-bound for a couple hours with its visual splendor and dark artistry.

Labour Day (2013, dir. Jason Reitman)

This past weekend, I was browsing through my local video rental store.  A young woman and her boyfriend were browsing as well and when they came to Jason Reitman's "Labour Day" on the shelf, I overheard the woman say that she had seen it on a flight and that it was an extremely "sad" movie.  Having already viewed the film the previous weekend, I went over my impressions of the film in preparation to write this review.  I would have to disagree with the statement that it is sad overall.  It is at times tense, yes, bittersweet even.  But in the end, it can be described as a positive, life-affirming motion picture.

Kate Winslet stars as a single mother raising her pre-teen son (Gattlin Griffith) in a Massachusetts town in the 1980's.  She has social anxiety issues and seldom ventures out in public places.  On an occasion where she is out grocery shopping with her son, a man (Josh Brolin) who has recently escaped from a local prison demands that she bring him back to her house so he can hide out.  He takes them hostage for a while but the two become fond of one another.  Soon the man is cooking and fixing things around the house.  There is constant tension around what will happen to the mother and child and whether the man will be discovered by the police.

It is really simple but it works.  We get to like these characters as we watch them interact.  They are unique and complex.  Some moments will make the viewer question the realism of the situation and whether the characters' reactions are appropriate and life-like.  Because we are emotionally invested in these characters and like them, we are on the edge of our seats as to what will happen next. 

There are unexpected moments and the performances are strong.  I liked Brolin and Winslet's onscreen chemistry and I felt I was watching something that really happened.  This film will not be everyone's taste but I was partially won-over by "Labour Day".

Lucy (2014, dir. Luc Besson)

Apparently, we only use a small percentage of our brain power, maybe 10%.  Luc Besson's new film, "Lucy" imagines what it would be like if a human being had the ability to use increasingly larger amounts of his or her total brain all the way up to 100% capacity.

The film stars Scarlett Johansson as the title character who initially gets caught up in the wrong place at the wrong time.  Her boyfriend is involved in a deal with organized crime and Lucy gets whisked into the boiling pot of treachery.  Eventually, she finds herself implanted with a mysterious powder substance in a plastic baggie which, when broken open inside of her body, starts to leak the powder into her circulation.  This substance is what gives her the power to use ever-increasing totalities of her brain power.  It gives her super-human abilities:  she can win any fight now and also develops mind-over-matter abilities including certain psychic and telekinetic powers.

The film also stars Morgan Freeman in a role as a university professor who asks the question that is the main idea behind the film:  what if we could use more of our brain?  Eventually, Freeman and Johansson's characters meet up and are able to help each other in certain ways.

The film is imaginative and unique with interesting special effects and philosophical ideas.  The most alluring moment happens at the end when Lucy reaches full brain power capacity.  I won't give away anything that happens but it is an imaginative cinematic experience which will force the viewer to question preconceived notions of the nature of reality and the breaking down of the mental barriers we put up between space and time.

At 1 hour and 30 minutes, it is a short mind-trip of a movie.  But it will excite you, thrill you, and challenge your brain in unconventional ways with its interesting ideas and themes.

Life Itself (2014, dir. Steve James)

As an amateur film critic, I can safely say that I wouldn't be attempting to do what I do had it not been for Roger Ebert.  He was a guiding light in my early days of movie watching - his reviews on his syndicated review show on television with Gene Siskel and later Richard Roeper, would kindle my desire to delve into the depths of movie lore and expand my imagination in regard to film watching in countless ways.  His print reviews I would pour over in various book collections and his online review site and blog.

Steve James' new documentary digs into the legendary film critics life and explores his early years in Illinois, his rise to prominence as a film critic for the Chicago Sun-Times, to his last days as an ailing man in his 70's trying to recover from jaw surgery and the onslaught of cancer.

Ebert as portrayed in this film, was larger than life.  He did more for film criticism than any other man in history and his legacy will live on for years after his death.  I loved him like a close friend.  His reviews were engaging.  When he loved a film you could feel his passion.  When he loathed a film his incendiary reviews could often make you laugh out loud at their audacity and scorn.

The film borrows the title from Ebert's memoirs published a few years ago and contains narration taken from that source material.  There are many memorable scenes in this film and they are all entertaining.  I loved the scenes about Ebert's volatile partnership with Gene Siskel.  There are outtakes from their show that are hilarious.

It is painful to see Roger in his post-surgery days but you can still see the enthusiasm and joy for life that has been present from his birth.  The film does a good job of bringing his monumental presence in the world of film criticism to light.  I will continue to read his reviews and if I can write anything that comes close to 1/100th of the insight and intelligence that his writing demonstrated I would feel like I'm getting closer to some kind of success.

Dawn of the Planet of the Apes (2014, dir. Matt Reeves)

There has been a recent revamp of the 60's movie "Planet of the Apes" with a new series of films.  One was a remake, the other two, including this one provides back-story leading up to the story-line in the original.  This happened to be the first of those films that I had the privilege of seeing.  I don't regret my choice but I do regret not investing my time in the other films in this series because of the success I perceived in this one.

I believe the reason for this film's success is in its fascinating presentation of a non-human species (apes) which has evolved to the point of overcoming the human species in its degree of emotional and spiritual advancement.  These apes are organized and able to co-exist with their own species in cohesion and harmony.  They don't require guns or electricity but they are content to just be and in that existence they are more successful than their human counterparts.

This especially applies to the humans as presented in this film.  They are in chaos as a result of being stripped of their sources of electrical power and it is their search for this source that is at the heart of this film's plot.  The band of humans who we meet early on are encroaching on the apes peaceful territory in search of the dam that could potentially provide them with the power they need to regain some of their lost glory and sustenance.  

A montage at the beginning of the film sets us up with the information that their has been a colossal contagion that has nearly wiped out the entire human population on earth.  Originally, experiments were done on apes with a new serum that was being tested to fight Alzheimer's.  This gave the apes increased intelligence and evolutionary characteristics.  The apes broke free from captivity and chaos loomed.  After this informational montage we are shown the apes in their new existence, more evolved and functioning at a high level on their own within their own population. 

Caesar is the apes' leader and in a discussion near the beginning he and another ape discuss the fact that it is unlikely there are any more humans around because they haven't come across one in nearly a decade.  Soon we are shown they are wrong when a human comes across two young apes in the forest and in a panic, shoots one of them.  This causes great anger and consternation among the other apes and the humans responsible for the trespass are told to never return to their territory.  

But, because the apes' territory contains the needed power source, the humans return and a series of events transpire that will result in the outbreak of total warfare between the two species.  This provides the action pieces that are at the centre of the film's storyline and these action scenes are exciting and moving.  

The film makes the viewer identify with the apes but at the same time we feel for the human characters as well.  This offers the complicated dynamic at the heart of the film, adds suspense and heightens the dramatic impact.  I was thoroughly impressed by the CGI in this film.  The apes are computer images but are very realistic and their every emotion is visible in their gestures and facial expressions.

Overall, questions are raised about humanity, the natural and animal world and the future of the entire planet.  The film offers hope in all these areas and offers a unique view of our precarious place within the Great Chain of Being.

The Invisible Woman (2013, dir. Ralph Fiennes)

Ralph Fiennes directs and stars in this truth-based, period piece about Charles Dickens.  In it, a woman comes into his life and has a profound influence on his creativity and psychological mindset.  This is familiar cinematic territory: a man is already married to an unattractive wife, a relationship that fails to stimulate him physically, emotionally and spiritually.  Along comes a younger, beautiful woman and the man falls in love.

"The Invisible Woman" takes this trope and offers unique ways of telling it.  It is a true story too but a lot of the historical fact is embellished and expanded for cinematic and story-telling purposes.  The end result is a slow-moving but, in the end, rewarding movie experience with great performances and fascinating characters.

Charles Dickens is probably one of the most famous and widely-read authors of history.  He revolutionized the novel and would influence story-tellers and even filmmakers until the present day and will continue to into the future.  Fiennes portrays him as a kind, playful, and complex figure with a great sense of humor and the troubled psyche that characterizes most of the creatively-gifted population.   His lover in this film, Nelly (Felicity Jones) is in awe of the author at first.  There relationship slowly develops and we get a keen sense of the reasons that such an affair would kindle and continue to ignite for the rest of Dickens' life.

The film takes place in the 1850's, a time when extra-marital affairs and divorce of any kind was much more taboo than it would be a century later.  There is a scene when Dickens' wife receives a letter informing her of the impending end of their marriage.  It is a heartfelt, tragic scene and we feel the heightened implication that such an event would have on the family's social reputation.

This is definitely not one of the better or memorable films of 2013.  Many viewers will be bored but it can also be seen as a fascinating glimpse into the life of a famous 19th century genius and the lives he effected.

Umberto D: De Sica's Neo-Realist Masterpiece

"Umberto D" was considered by critics and audiences at the time of its release in 1952 to be a disappointment in comparison to Vittorio De Sica's previous releases, "Shoeshine" and "Bicycle Thieves".  With the passing of time, it now stands as a masterpiece in the director's canon and a beautiful portrait of a troubled Italy in the aftermath of World War II.

The title character is played by Carlo Battisti, a non-professional actor (typical of Italian Neo-Realist films).  It is an understated, engaging performance and lends sympathy to the character's plight.  He is an elderly pensioner who is struggling to make ends meet on his pitiful earnings.  He owes money to his landlord on previous month's rent and his best friend is his constant canine companion, Flike.

As is common in Neo-Realist films there is a very basic plot and not much happens over the course of the story in terms of exciting action.  Modern day viewers used to the spectacles of today will most likely be bored by the slow, meandering storyline.  But, lovers of cinema will savor the lingering beauty of each passing moment of this film.   We see Umberto in soup kitchens, wandering city streets and passing his fleeting moments in his run-down apartment.

Like life itself, not every moment is jam-packed with adventure and flashy dialogue.  This is what makes the film look and feel so authentic and mystifyingly alive.  We get a sense that we are experiencing real life in one moment in history and witnessing the miracle of a life lived to the best of one troubled man's ability.

It is a sad tale, but in the film's last moments we get a glimpse of hope.  Umberto, struggling to maintain his dignity and self-respect comes close to attempting suicide.  But, he chooses life and with the viewer, the courage and hope necessary to continue in this great struggle called Life.

This is a beautiful, life-affirming motion picture and a quintessential entry in the Italian Neo-Realist oeuvre.

Edge of Tomorrow (2014, dir. Doug Liman)

"Edge of Tomorrow" is an explosive, exciting, new sci-fi film under the direction of Doug Liman.  It will stir memories of previous films:  there are elements of "Groundhog Day" and "Memento" woven into the ideas behind the story's fabric.  It will resonate deeply with viewers who hunger for a thoughtful, engrossing plot and believable, complex characters. 

Tom Cruise plays a man by the name of Cage who finds himself caught in a mysterious time loop in which he wakes up with the exact same scenario and obstacles ahead of him every time he dies.  It turns out he has inherited this ability to constantly relive the same thing over and over by being infused with the chemicals of an alien being he has killed in combat.  This alien is part of a deadly race of beings who are threatening the livelihood of the entire planet.

At first Cage is inexperienced in combat and in his dealings with this fearsome foe.  But as he constantly is reborn in the exact same moment and is able to remember his previous incarnations, he gains experience, knowledge, and training that will serve him well as he goes on.  He meets a legendary warrior named Rita (Emily Blunt) who he must convince of his strange predicament.  Together they can figure out from his constant reincarnations, what the appropriate actions will be to destroy the enemy.

The film is damned exciting and never lets up from the get-go.  It is extremely intelligent, but never alienates the viewer by delving into too much complexity and mischievous plot devices.  It paints a glorious picture of a future dystopian planet where the very survival of humanity is in question.  Tom Cruise is perfectly cast and Emily Blunt is great playing a tough-as-nails female soldier.

The constant reincarnation of Cage in the exact same moment is never stretched to a boring level.  It is done very appropriately and the editing is skilled in what it leaves out:  we don't have to go through everything each time he is reborn and the essential story-line fragments are kept so that the viewer never loses his or her bearings.

This is one of the best films I've seen in 2014.  It may be slightly derivative but it makes use of these familiar story-telling devices in unique and imaginative ways.  You will have a great time.

Anchorman 2: The Legend Continues (2013, dir. Adam McKay)

I liked "Anchorman 2".  It has a lot of laughs and I think it is even better than its predecessor.  Mind you, it is stupid.  But we can all use some stupid humour every now and then and Anchorman 2 is chock full of it.

The film starts with Ron Burgundy (Will Ferrell) having relocated to New York City since the first film's locale of San Diego.  Suddenly, he finds himself fired (while his wife is given a promotion) and goes into a downward spiral.  He gets a lucky break when a man offers him a spot on GNN a new global news network that runs news 24 hours a day.  He reassembles his old news team and the legend continues.

But, the plot is irrelevant in a movie like this.  What matters and delivers is the constant barrage of episodic comedy where new situations provide increasingly funny moments.  This films takes place in 1980 and there are constant riffs and allusions to the popular culture of that moment.  The supporting players are amusing but Will Ferrell is the cornerstone of this film and the main source of all the humour.  Unlike some former SNL cast members who's comedic energy has seemed to taper off in recent years, Ferrell shows no sign of slowing down.

This film proves that sequels can outdo the original in the series.  There is also a part near the end where a large number of celebrities have cameos in a huge fight scene.  The film is not weighted to be stronger at the beginning, middle, or end but is consistently funny all throughout.  This is one of the best comedies of 2013.

Bringing Up Baby (1938, dir. Howard Hawks)

Its difficult watching these old, supposedly "classic" comedies from the 30's through 21st century eyes.  Often they don't hold up to the evolution that cinema has undergone over the past 75 years.  "Bringing Up Baby" is no exception.  It may be considered one of the greatest screwball comedies of all time.  It was in the AFI Top 100 list, I recall.  But, to me it so often just seems stupid.

The film stars Carey Grant as David Huxley, a paleontologist at a museum who has spent the last 3 years assembling the bones of a brontosaurus.  The last piece is coming in the mail and he is to be married the following day.  At a golf game with the lawyer of a probable donor, he meets Katharine Hepburn's Susan.  Things start to go downhill after that (Susan causes all kinds of trouble for Huxley) and you can guess that they'll probably end up together in the end.  Throw in a leopard that they have to look after (named, Baby) and you get the gist of the comedic situations of this film.

I would like to go into why films such as this that were so funny and enjoyable in their day seem silly and unfunny today.  Although there are undoubtedly some who would still find pleasure and amusement in "Bringing Up Baby" today, young, modern-day viewers are more accustomed to the lightening-fast editing and popular culture references that are relevant to today's culture.  Film has changed drastically since 1938 and the MTV generation has new demands and viewing habits.  Acting styles have changed too with the advent of method acting in 1950's and the style today is much more naturalistic and realistic. 

That said, "Bringing Up Baby" has its moments.  If one can suspend their cultural prejudices and try to watch the film as one from the time it came out, he or she may actually get a fair amount of enjoyment out of it.  To this reviewer though, the comedy isn't often funny and the plot is almost non-existent.

Heaven Is For Real (2014, dir. Randall Wallace)

In Randall Wallace’s “Heaven Is For Real” a young boy, after a near-death experience, claims to have witnessed Heaven and had contact with Jesus Christ.  When his father, Todd Burpo (Greg Kinnear) a preacher at a church announces to his congregation the experiences of his son Colton (Connor Corum) there is an uproar and negative reaction.  The film is a story of the Burpo family’s journey through near-tragedy, social scorn, to the community’s love and admiration.

Part of the viewer’s investment in this film will be whether he or she does believe that heaven is, in fact, for real.  I suppose not many atheists would go to a film with such a title as this, so the majority of audience members will be in the category of “believer”.  There is a strong Christian message behind this film and it will appeal to that sort of viewer.

The success of this film is dependent on the performance of its principle cast members, mainly Colton (Corum) the young boy who as the vision of the afterlife.  I think it is a success in this regard.  The young actor is cute but not in a way that detracts from the enjoyment level of the movie.  He is believable and sympathetic and is well cast.  Greg Kinnear does a fine job as well as the man who has doubts about his son’s experience but gradually grows to believe and accept his story.

There is not a lot of depth to this film, however.  It is a relatively straightforward retelling of a real-life experience.  It is short on style and flash but it will appeal to viewers who are looking for a heart-warming, family story of a world that is scientifically unexplainable but is believed in by a large majority of North Americans.  It won’t garner any nominations and will probably be forgotten in a few months but will appeal to a lot of people. 

A Million Ways To Die In The West (2014, dir. Seth MacFarlane)

In Seth MacFarlane’s new, comedic Western “A Million Ways To Die In The West”, the director stars as Albert Stark, a pessimistic, poor sheep farmer.  Albert doesn’t have much going for him:  his girlfriend, Louise (Amanda Seyfried) leaves him near the beginning and the West, where he lives, basically sucks.  He rambles on to his friend Edward (Giovanni Ribisi) about his plight and the fact that death, here in the West, is constantly waiting in the wings in a variety of potential circumstances.

Enter Anna (Charlize Theron), the wife of the fearsome bandit Clinch (Liam Neeson) who comes to Albert’s town to wait for her husband arrival.  She strikes up a friendship with Albert and teaches him to have more courage and self-esteem and to shoot a little more accurately.

This movie has some hilarious moments and situations thanks mostly to a device used previously in “Shanghai Noon”.  In that movie, Owen Wilson’s cowboy had a dry, ironic outlook that didn’t seem at home in the setting and time but was more a contemporary, twenty-first century outlook.  This strategy is used, effectively again in “A Million Ways To Die In The West” where Albert’s condescendingly bleak outlook and manner of speaking is more of a product of modern day vernacular than what you would expect from the late 19th century.

At one point Albert and Edward are walking down a street in town and see a young boy running down the street with a hoop and stick.  The comment which Albert makes is something to the effect that today’s children are losing the power of concentration and attention because of their preoccupation with this new toy.  This, obviously an allusion to present-day children’s love of video games and other electronic devices, is an ironic, hilarious example of this film’s sense of humour in looking at the old, wild West through contemporary eyes.

There is a lot of really crass, juvenile, bodily-function jokes having to do with farting, shitting, and sex.  This is what you would expect from the creator of Family Guy and Ted but is also relevant to the time and setting of the film.  Sarah Silverman has a funny role as Ruth, a prostitute who is in a relationship with Edward, a bible-thumping Christian.  Despite having close to twenty customers a day, Ruth and Edward haven’t consummated their relationship yet and are waiting to be married.

Also be on the lookout for brief cameos by big Hollywood names.  Ewan MacGregor turns up at one point so briefly and unexpectedly that you would miss him if you blinked.

This film has a fun time playing with the conventions of a genre that has become one the most familiar in all of cinema.  The genre has surpassed the revisionist model and the only thing left to do is a send-up in the style of this film.  There are hilarious and gross-out moments that will entertain you.  Unfortunately, it’s all pretty predictable and you know from the start who’s going to end up in the arms of who in the end.  But, its funny and a good time.

The Grandmaster (2013, dir. Wong Kar-Wai)

"The Grandmaster" is the story of Ip Man (Tony Leung), a legendary Kung Fu master who would go on the train Bruce Lee as a youth.  The Bruce Lee story is not the focus of this picture.  Instead we are shown the early days of Ip Man's life and how he came to be.

Visually, this film is truly stunning.  The use of slow-motion and beautiful art direction and cinematography contribute to the overall visual splendour of this action-packed martial arts spectacle.  The way that the camera captures every intricate detail of the various battle sequences makes the viewer really appreciate the immaculate detail and hard-work that went into the choreography of the film.  The fights are almost like a grand ballet in which the actors seem to dance together in a radiant display of martial art virtuosity.

If you want to see a film in the vein of "Crouching Tiger, Hidden Dragon", "Hero" or "House of Flying Daggers" you will definitely find enjoyment in "The Grandmaster".  It contains equal doses of action, romance, and great performances.  The period detail from early 20th century China are also a highlight.  This is truly an extremely entertaining film.

Godzilla (2014, dir. Gareth Edwards)

Gareth Edwards' new take on the Godzilla film-legend will appeal to fans of disaster epics and monster-horror films.  Its power lies, mostly, in the power of suggestion because we don't get too many really good glimpses of the title beast until about two thirds of the way through it.  Most of the shock, awe and horror comes in the reactions we get from average, everyday citizens of the cities where Godzilla and MUTOs wreak their havoc.  This is the key to what makes the movie effective on a visceral, emotional level.

When we do get to see the great beast, it is truly a thrill.  The CGI makes the monster a sight to behold and we immediately recognize the advances that have been made since the days of a Japanese guy in a rubber suit.  The roar that Godzilla emits is breathtaking and powerful.  The scenes where we actually get to see the destruction of the monsters are the highlights of the film.

The problems with the film are the human protagonists themselves who are never really developed into anything full-blooded or multidimensional.  Brain Cranston spends a lot of time looking forlorn and worried and his character's son isn't very charismatic to be the lead character in the film.  Furthermore, the whole backstory of nuclear radiation, the radiation-eating monsters (MUTOs), and the multiple locales makes the story confusing and less clear-cut than it should be.

Overall, we are left with a film that has some great thrills and special effects but falls short on the character development angle.  It is probably worth seeing in theatres for its epic FX and the sheer magnitude of the spectacle.  It just won't be the same on the small screen.

August: Osage County (2013, dir. John Wells)

What we have here is an engaging character study, full of surprises and enlightening moments. It is from a screenplay by Tracy Letts based on her own play.  It is a film in which all differences are not resolved, some people are not left happy, and where endings aren't always clear-cut and solidly defined.  This is not being critical though.  It is a film which reflects truth and reality very well, in fact.  This is the real world where things can be complicated.


Meryl Streep stars as an aging woman with cancer who's husband (Sam Shepard) disappears one night.  He turns up dead a few days later and this brings Streep's family to the household in Osage County for the funeral.  The family consists of three daughters, a sister and their respective families.  The film examines their relationships, interactions, and differences over the course of a week when this somewhat dysfunctional family comes together.


The daughters of Streep's character are played by Julia Roberts, Juliette Lewis, and Julianne Nicholson.  Their husbands and lovers are played by Ewan MacGregor, Dermot Mulroney, and Benedict Cumberbatch.  All the performances in this movie are top-notch and heighten the overall realistic nature of the story.  Both Roberts and Streep were nominated for acting Oscars and the film was nominated for Best Picture at the 2014 Oscars.  All nominations were deserving.


This film speaks about family dysfunction and how dysfunctional relationships are passed on from generation to generation.  Some members of the family are able to deal with it better than others depending on their wills and personalities.  There are buried family secrets that are brought to light over the course of the film that are refreshing in their candor and narrative originality.


Mixed with the high drama are moments of humor that dispel the serious nature of the screenplay.  The characters are realistic and natural.  The hot days of summer are palpable.  This is one of the best films of 2013.

Saving Mr. Banks (2013, dir. John Lee Hancock)

"Mary Poppins" the whimsical 1964 live-action Disney musical almost wasn't made on several occasions.  P.L. Travers the author behind the well-known fictional nanny was hesitant to bring her creation to the big screen especially in musical form.  This is the picture that is painted by John Lee Hancock's "Saving Mr. Banks" in which the making of "Mary Poppins" is brought to life, interspersed with flashbacks to moments of Travers' childhood that in many ways shaped her future creation and her own life outlook and personality.


Travers (Emma Thompson) is not exactly the most warm-hearted, friendly individual.  She is easily offended, short-tempered, and impatient with the ineptitude of her surroundings and others.  She is a hard one to convince when ideas pop up about the film version of her stories.  For one, she doesn't like the idea of it being a musical.  But, it is Walt Disney (Tom Hanks)'s job to win her over.  He does this it seems, by inviting her to ride on a merry-go-round at Disneyland.  After that event, she seems to be more positive and friendly, as hard as that may be to believe.


So, there are some moments which betray the believability of the story.  But, overall this is a compelling movie with some commanding performances.  It also gives an in-depth glimpse into the coming-to-fruition of a musical that every child is delighted by. 


The scenes from Travers' childhood are bittersweet and sometimes melancholy.  Travers' father (Colin Farrell) slowly descends into alcoholism and disease.  It is tragic to witness, through the young P.L.'s eyes the downfall of the most important and loved person in her life.  We get snapshots of little instances of what will influence the ideas in Mary Poppins along the way.


This is a brilliant character-study and offers a portrait of not-all-that-likable character.  As we see the flashbacks and watch Travers in her adulthood, we gradually but surely come to like and respect her character despite her faults.  She grows and develops all throughout the film and is changed, as the viewer is, by the whole experience.

City Lights (1931, dir. Charles Chaplin)

With the coming of sound to cinema, Charlie Chaplin's 1931 masterpiece, "City Lights" was one last chance for the world-famous actor/director to bring forth a cinematic experience that would exploit the dying art of silent comedy.  What we have here is a genuine, classic work of art:  a buoyant, effervescent, comedic tour-de-force that would be the culmination of all of Chaplin's previous output plus a little extra magic to catapult this film into the realms of cinematic splendor.  It contains unforgettable scenes and brilliant performances from Chaplin as the iconic Little Tramp and Virginia Cherrill as The Blind Girl. 


I watched "City Lights" on the Criterion Blu-ray edition and the restoration and clarity of the print promotes its timeless quality even more.  The extras, including the engaging commentary by a film historian, behind-the-scenes footage and interviews with film critics somewhat dispel the mysterious aura surrounding the film's painstaking production.


The most talked about scene of the film and perhaps one of the most famous in cinematic history is the end when the now-seeing former blind girl realizes that the man who had helped her so much and given her the money for the sight-restoring operation is, in fact, the tramp.  We get the famous close-up of Charlie's face, filled with euphoric happiness as he realizes that he may actually be accepted for what he is and true love might prevail.


My favorite scene is the boxing match where intricate footwork and brilliant choreography result in one of the funniest moments in the film when Charlie, his opponent and referee seemingly waltz around the boxing ring in perfect coordination.


"City Lights" was released in the early days of the depression and offered down-on-their-luck movie-goers a chance to escape from their humdrum existences.  Not only was the film an escape but it portrayed a scathing critique and commentary on the contemporary times:  Chaplin's tramp represented and encapsulated the viewer's outlook in many ways.  His poverty was the poverty of civilization.  The fact that he could remain positive, ever-hopeful and (like his love interest in the film) blind to his own dour circumstances served as a model for average citizens to emulate.  The Tramp was a hero and in comparison to today's films where super-hero's are nothing more than stereotype personalities, Chaplin's character, even today, remains a breath of fresh air.

The Amazing Spider-Man 2 (2014, dir. Marc Webb)

    Few would argue that the superhero movie is one of the most popular and commercially-viable genres in recent years.  It hadn't been all that long since the Tobey Maguire-starring Spiderman series when a new version appeared a couple of years ago with "The Amazing" now preceding the title and new cast of youthful talent.  It was a success, hence the demand for a sequel and here we find "The Amazing Spider-Man 2" featuring Andrew Garfield and Emma Stone in an action-packed successor to the original in this series.






The film also stars Jamie Foxx, who conjures up a fearsome foe in Electro.  He became this superhuman after the mortal being he originally was ("Max Dillon") falls into a large vat of electric eels in the genetic engineering firm (Oscorp) where he works.  Dane DeHaan is Harry Osborn the heir to the Oscorp corporation, who turns into The Green Goblin thanks to another misguided genetics mishap.  One of these enemies would have been enough for one movie, but this film packs two or three dangerous villains into the story which thrusts the film into overlong territory once it surpasses the two hour mark.


I saw this film in UltraAVX 3D but wasn't too impressed with the special effects.  The 3D doesn't stand out all that much and doesn't break new ground.  I wasn't overtly blown away by the 3D and wouldn't have missed anything had I seen this film in the regular mode.
Garfield and Stone have chemistry and are pleasant in their demanding roles.  Unfortunately, the characters aren't too psychologically complex as we have become accustomed to with characters from "The Dark Knight" series of films.


Furthermore, there is too much baffling, scientific, back-story jargon which thwarts any attempt by regular movie-goers to fully immerse themselves in the story:  the whole backstory and flashback sequences to Peter's father, Richard Parker and his death is confusing and not clearly or impeccably written.


The choices made at the end of the film by the screenwriters are disappointing and will leave many viewers cold.  It is not that we have to expect all story threads to be tied-together and happy endings to result, but it has almost become a cliché for such super-hero stories to refuse to leave the viewer totally satisfied without the inevitability of another sequel or some valuable character to meet their demise.


Although I liked a lot of the action sequences and the story was wholesome and enough to keep me interested throughout, it doesn't hold  up in comparison the best of the genre and is altogether forgettable.  It is time to focus on more psychologically complex heroes and movies that aren't bogged-down by their own self-importance and confused technological jargon.

Noah (2014, dir. Darren Aronofsky) ***/****

In Darren Aronofsky’s new film “Noah”, certain liberties are taken from its source material.  There are giant beings made of stone, “The Watchers”, who are put to use in a variety of ways, to make the story more exciting and to explain certain things, such as how Noah was actually able to construct the huge ark itself.  After all, this is Hollywood, where a mere retelling of the story of Noah and his ark wouldn’t be enough to entertain the average movie-goer.  Liberties are taken and new things are added to the Old Testament story that will both heighten the entertainment level and piss off a lot of devout Bible-thumpers. 

Other things are added to the old story as well.  Noah’s Grandfather is added, played beatifically by Anthony Hopkins.  He is a wise old man who lives in a mountain cave and imparts valuable advice to Noah (Russell Crowe), his wife (Jennifer Connelly) and children as well as possessing the gift of healing.  Emma Watson plays a girl who they discover, partially alive in an area strewn with the dead who Noah takes in and raise as one of his own.  Eventually she will become the wife of one of Noah’s sons, though she is barren as the result of her injuries from the aforementioned discovery site. 

In a prelude at the beginning of the film we are shown the lineage that has descended from the original humans, Adam and Eve.  Of their children, Cain murders Abel, as we know.  Their third son, Seth is just and good as are all his descendants.  Cain’s descendants are evil and treacherous.  These two lines populate the earth, Noah being a descendant of the good Seth.  The inevitable flood comes to rid the earth of all the nasty inhabits who have spawned from Cain.

There are scenes which are enjoyable and fun to watch.  The raising of the ark, the coming of the various species of animals, and the flood itself are handled masterfully by director Aronofsky. 

Although there are amped-up special effects and unnecessary character and story additions, I found this film entertaining and highly watchable.

Only God Forgives (2013, dir. Nicolas Winding Refn) ****/****

“Only God Forgives” comes from the imagination of Nicolas Winding Refn, the mastermind of 2011’s “Drive” a violent, stylistic film that delves into the dark side of mankind’s consciousness and his violent tendencies.  “Only God Forgives” has similar themes and preoccupations in its telling of a man (Ryan Gosling) set on avenging the murder of his brother.  It takes place in Bangkok.  The brother who is murdered happens to have murdered a prostitute.  When the police show up to the scene of the crime, the viewers expectations are thwarted as it will be many times throughout this world of crime and revenge.  The head cop is a disturbed man whose actions throughout this film are questionable given his occupation and unpredictable.  

Gosling’s character’s mother (Kristin Scott Thomas) enters the picture and right from her entrance we are shown the explosive rage and sociopathic criminality that characterizes this family.  She wants revenge for the murder of her first-born son and she will stop at nothing to see it through.

This film is stylistically brilliant.  Everything from the music, the lighting, the cinematography, and the acting contribute to its transcendent nature.  It is as violent as “Drive” and there is an element of an Oedipus complex underpinning Gosling’s character, his relationship to his mother, the family’s history, and actions in this film.

The Grand Budapest Hotel (2014, dir. Wes Anderson) ****/****

Wes Anderson has long been known to possess an imaginative vision.  His visual motifs, intricate mise-en-scene and inventive use of inter-titles recall a number of French New Wave films to which he is obviously indebted.  The Grand Budapest Hotel, his latest opus, is no exception to this rule.  From the get-go, the viewer is bathed in rich compositions, visually alluring shots and camera set-ups that have been his trademark since his debut with Bottle Rocket.

The film stars Ralph Fiennes as M. Gustave, a concierge of the title hotel who gets into a series of adventures accompanied by his newly hired lobby boy named Zero.  There is an old heiress (Tilda Swinton), one of Gustave’s many elderly lovers, whose death under mysterious circumstances results in Gustave being accused of involvement in her murder.  There is a priceless painting that the heiress has bequeathed to Gustave.  The descendants of Swinton’s character are enraged by the last minute changes in the will of the recently deceased and wage war and vengeance against Gustave.  There are some chase scenes throughout this film which vaults the picture into levels of excitement that are unparalleled in recent Anderson films, and films in general.

The majority of the film takes place in the past, in a pre-World War II, fictitious setting that seems a hodge-podge of various European locales.  In the present-day portion of the film, a now much older Zero played by F. Murray Abraham recounts his adventures in the past to a writer (Jude Law).  This is a deftly told story by director Anderson and is one of his most accomplished films.  It’s a visual delight that requires repeated viewings to absorb all of the compelling eye-candy.

 

Dallas Buyers Club (2013, dir. Jean-Marc Vallee) ****/****

“Dallas Buyers Club” is a gritty, performance-driven film from director Jean-Marc Vallee.  It features Matthew McConaughey and Jared Leto in their Oscar-winning performances that are the real reason for seeing this film.  They are truly awesome in their roles and were well-deserving of the awards. 

McConaughey plays Ron Woodruff, a man diagnosed with HIV who after a brief period of denial, resorts to trafficking in medications that help prolong his life and the lives of hundreds of others afflicted with the disease.  Leto plays Rayon, a transexual who befriends Woodruff despite their differences. 

We do learn that though they are polar opposites in character, their HIV diagnosis is not the only thing that separates the two men at the heart of this story.  They both share a fierce disregard for authority and the status quo.  They are deeply passionate about life and continuing to live it and they both go through a character trajectory and arc that reveals more of their personalities to themselves and the viewers of the film.

Their relationship is complex because Ron starts off as a homophobic individual and Rayon threatens this disposition.  Gradually, Ron begins to see that, despite his “queerness”, Rayon is a sympathetic human being, sharing a lot of traits with himself.  Ron, as a result, becomes more open-minded and compassionate towards all of humanity.

The performances are so raw and realistic that you may question the nature of the film’s reality.  Both leads lost a ton of weight to bring their characters to life and lend more credence to their circumstances.  

This is truly one of the best films of 2013.  It might have been a different story, however, with different leads.  It tells the story of time in history when AIDs was a new thing and is  about the individuals who did what they could to cope with it.

The Monuments Men (2014, dir. George Clooney) ***/****

George Clooney’s “The Monuments Men” tells the story of seven individuals who, during World War Two, are given the task of retrieving important works of art that were stolen by the Germans and returning them to their rightful owners.  The film has an all-star cast:  Clooney, Matt Damon, Bill Murray, John Goodman, Cate Blanchett, Bob Balaban, and Jean Dujardin round out the impressive list of people who populate the screen throughout the two-hour romp.  

Clooney has done well in the past at directing and he has done it again:  he turns out an engaging and eye-opening film that draws attention to an aspect of history that has been untold or perhaps forgotten.  There are light-hearted moments that are humourous and others that are deadly serious.  This contrast in tone lends to the overall charm of the picture which keeps the viewer entertained and also draws him or her into the world of the film and the characterizations.

Part of the humour is garnered from the fact that the Monuments Men are men who do not fit into the typical notion of a war soldier.  These are middle-aged men who are out-of-shape and are not all that prepared for the duty before them.  Still, this adds a bit of suspense to the film and there are moments of suspense in it that will have you on the edge of your seat.

The performances are strong and memorable.  Jean Dujardin is a welcome presence after his Oscar win for “The Artist”.  Cate Blanchett proves to be extremely capable of embodying people with accents foreign to her own and creating sympathetic characters.  Bill Murray and John Goodman demonstrate a great blend of their typical comedic persona with a more serious air.  Damon and Clooney are believable as always.  I enjoyed the ensemble cast and the way that they interacted on-screen.

There is no doubt that the accomplishments of the Monuments Men were of huge importance in the protection of some of our civilization’s most treasured works of art.  This film is a testament to their work and bravery.

Son of God (2014, dir. Christopher Spencer) ***/****

"Son of God" is a retelling of the Gospels from the New Testament.  This obviously, is not a new thing to do for a Hollywood film.  It has been done countless times before, most recently in Mel Gibson's "The Passion" which was criticized for it blood-soaked depiction of the crucifixion and it anti-Semitism and also, controversially in Martin Scorsese's "The Last Temptation of Christ".  So, given the lack of necessity for a new retelling, how does "Son of God" stand up?  and how does it compare to its predecessors?  and thirdly, how will this film appeal to both the religious community and the non-religious viewers who may attend?

First of all, it should be noted that this film was previously a mini-series on television and that some scenes are the same and some have been added to the feature-film version.  Gone is a depiction of an encounter between Jesus and Satan which was eliminated because of the uproar over the similarity in appearance between Satan and Barack Obama.  With this information, it is quite apparent that this "feels" a lot like a made-for-television spectacle.

Overall, it is quite conventional and doesn't risk any diversion from a straightforward retelling of the Gospels.  Still, it can be quite compelling at times and revealing in its depiction of the various miracles that Jesus performed in his brief ministry.

Diogo Morgado plays Jesus as a charismatic, spiritually-embodied Son of God in a manner that doesn't pander to your emotions but leads the viewer to believe in the reason for his popularity among his followers.  Still, there isn't the same emotional fragility and self-doubt displayed in "The Last Temptation"'s Willem Defoe that seemed to be more human-oriented and realistic despite all its controversy.

I think religious viewers will like this film a lot because it doesn't take many risks and is an literal rehash.  Other viewers may be turned off if they aren't spiritually inclined or at least agnostic.  But, why would an atheist see this film anyway?  This film has appeal in its story of the Spirit and will inspire many.  It is an honest, straightforward account of the last few weeks of probably the most popular and closely-followed person in history.  It may not have been necessary but it is an uplifting experience despite its lack of risk and originality.

The Lego Movie (2014, dir. Phil Lord, Christopher Miller) ***/****

Every kid of almost every generation is familiar with Lego toys.   Many a fine, future architect has honed his childhood ambitions and skills through the use of these versatile and creativity-inducing building blocks.  Over the past few years there's been an influx of video games that incorporate the toy into their story-lines and gaming environments.  There's been Lego Indiana Jones and Lego Star Wars to name a few.  But could such a culture as that created by Lego be translated into a full length animated feature film?  The answer is a resounding and simplistic "yes".

There is, in fact, a lot that can be done with this toy in the creation of vast, beautiful worlds that transcend anything that can be achieved with live action.  The environments and worlds depicted in "The Lego Movie" are a thing to behold and as this film demonstrates, can be the object of scathing cultural and sociological critique.

The nature of conformism and maintaining the status quo are fiercely explored in "The Lego Movie" with its depiction of a world where, as a popular tune in this land iterates, "Everything is Awesome" and people go about their daily tasks without questioning what they do or why they're doing it.  Emmet Brickowski is one such person (or Lego figure), and as he goes about his daily habits of waking up, getting an over-priced cup of joe, and going to work each day, the viewer is ingrained with the expectation that something will happen to shake up this oh-so-perfect and straightforward existence.

As it turns out, he comes across a trespasser at his construction site job, who has ventured on-site after working hours.  This intruder is a female Lego figure named Wyldstyle and she's searching for something called "The Piece of Resistance".  The story has also previously revealed that it is this piece that can counter the powers of the evil Lord Business (voiced by Will Ferrell) who wants to destroy this Lego land by gluing everything together so that all is set in stone with his "Kragle".

Vitruvius (voiced by Morgan Freeman) is a wizard who reveals to Emmet and Wyldstyle that they are "Master Builders" capable of building anything without the use of instructions.  It is only they that can save the planet from the evil Lord Business.

This film will entertain adults and children alike.  There is something for everyone.  The blending of different universes (Batman, Star Wars, etc) with that of the everyday one is ingenious and adds layers of complexity and hilarity to the story.

Underneath it all there are important messages for kids about the importance of creativity, individualism, originality and non-conformism.   The visuals are astounding and are absolute eye-candy.  This is a fantastic animated feature.

Inside Llewyn Davis (2013, dir. Ethan & Joel Coen) ***.5/****

“Inside Llewyn Davis” is as hard to watch as it is to pry your eyes from.  It is this contradiction that is at the heart of this film and what makes it so great.  

The setting is Greenwich Village in 1961 during the time of folk music in coffee houses where artists such as Bob Dylan and Dave Von Ronk (who, I read, is the inspiration for this story) cut their teeth and developed their talent.  We all know what happened to Dylan but Von Ronk was lesser known and his elusive search for credibility and success are similar to Oscar Isaac’s Llewyn in this film from the Coen Brothers.

The period detail is quite nice invoking a cold, desolate Greenwich Village in the early 60’s that is as unforgiving and unfriendly as it is frigid.  The folk music numbers throughout the film are interesting and lovely.  Oscar Isaac is a great performer and is totally convincing with his finger-picking guitar-playing as a fully, living and breathing folk singer right out of that era.  But, as his knocked-up friend’s wife (Carey Mulligan) iterates, he is “an asshole” and he doesn’t provide much to like in his performance nor as the character is written.

This is part road movie too with a journey to Chicago that includes meeting some interesting characters (John Goodman) along the way and an audition that despite an engaging, worthy performance is deemed unprofitable by F. Murray Abraham’s Bud Grossman, a club-owner/producer.

This is not an easy film to like because it doesn’t have a central character that you can really cheer for.  Its cold climate is almost inhospitable and you can almost feel the howling wind seeping through Llewyn’s inadequate jacket.  Its not a very enjoyable film to watch but you have to admire it and savour it like a cold, cold beverage as it rolls along.  

A Second Look at "American Hustle"

I saw “American Hustle” for a second time and realized how wrong I was the first time around.  This is a truly enjoyable, virtuosic and compelling drama from the mind of the great David O. Russell.  I must have been in a bad, impatient mood the first time I saw this movie.  If you just sit back and let the film wash over you, you are in for a great cinematic experience.

Film Comment magazine mentioned in a recent issue that this is a feminist film because of the fact that, despite all the cleavage, the story is driven by its female protagonists.  I think this is an interesting and accurate point.  Amy Adams as Sydney Prosser, is at her best in this film.  She looks damn good at all times and apart from an unconvincing British accent, she truly brings the film to life and her decisions are what drive the narrative forward.   Jennifer Lawrence too is a show-stopper and scene-stealer.  Playing Rosalyn, the wife of Irving Rosenfeld (Christian Bale) she is funny, lively and an aggressive foil to Adams’ character.  

The men in this film are also demonstrating top-notch performances and characterizations.  Bale’s Irving is not your typical con-man.  He is an over-weight, toupee-wearing smooth-talker and Bale is perfect in this role for making him charismatic.  Bradley Cooper is excellent and so is Jeremy Renner.   Bradley Cooper’s Richie DiMaso is a hot-headed, glory-seeking FBI agent who will do anything, including bending the law, to get what he desires.  Renner’s Mayor Carmine Polito is a man who is truly sympathetic, and in the end, heart-breaking despite his flirtations with corruption. 

There are scenes in this film that deeply thwart you expectations and are very exciting to watch.  The chemistry that develops between Cooper and Adams is riveting and will lead you on to expect a physical consummation.  But this film doesn’t resort to cinematic cliches and the relationships that the film explores will surprise you.  

The camera-work is masterful and is reminiscent of “Goodfellas” and “Casino”, two Scorses films that are obvious influences on Russell in this film.  Also, the costumes are terrific:  they are almost a parody of the time-period and are always appropriate at the same time giving a period-detail that is addictive eye-candy.

My experience with this film will demonstrate the importance of repeated viewings and being in the right frame of mind when viewing a film.  I almost dismissed one of the best films of 2013 simply because I wasn’t patient enough and in the right mood.  I love “American Hustle” and its many subtleties, nuances, and eccentricities.

Enough Said (2013, dir. Nicole Holofcener) ***/****

Nicole Holofcener’s “Enough Said” has characters in their 50’s who are divorced and interested in rekindling their romantic lives.  Eva (Julia Louis-Dreyfus) is a masseuse who meets Albert (James Gandolfini) at a party.  They start dating and have a lot in common.  Everything seems to be going well but Eva starts to focus on all of Albert’s shortcomings.  This is probably caused by her listening to one of her new massage clients, Marianne (Catherine Keener) constantly complain about her ex-husband.  This prattling seems to rub off on Eva who now only seems to notice the little things that annoy her about Albert as they continue to date.   In the meantime, Eva and Marianne become friends and we are soon given the surprise realization (Spoiler warning) that Marianne’s ex is actually Albert.

This is a movie about second chances, looking past our shortcomings, and finding happiness.  It contains characters approaching middle age but its appeal will extend to anyone of any age because it contains universal truths.  It is somewhat lightweight and its intentions are often beyond its own reach.  It is however, an enjoyable romantic comedy with good acting and tender moments.  

This is James Gandolfini’s last role and it is a big change from his previous work, especially Tony Soprano.  Gandolfini’s character is eccentric, kind, and funny.  Louis-Dreyfus is the main star and she does an excellent job of bringing Eva to life in a sympathetic manner.  There are supporting performances from Toni Colette and Ben Falcone that are strong and likable.   Some of the comedic material falls flat and it is not an overall consistent film though it is quite enjoyable.

Nebraska (2013, dir. Alexander Payne) ****/****

Alexander Payne’s Nebraska is a comical, endearing, and engaging film which is shot in beautiful, stark black and white.  It is the story of Woody Grant (Bruce Dern) who naively believes he has won a million dollars because he received a advertising notification in the mail that all of us have seen before but never fall for.  His son, David (Will Forte) after trying to convince him of the falsity of his belief, finally agrees to drive Woody to Lincoln, Nebraska all the way from Montana.  Along the way, they stop off at various locations including Woody’s childhood town where there are old scores to settle and friends and relatives to visit.

Nebraska offers a vast array of funny, eccentric characters and great acting performances.  The scenes in the home of the Grant family is packed with droll, quirky moments, memorable dialogue and odd occurrences.  This movie has real heart and soul and will leave a lasting impression on you.  It is a road movie with many interesting stops along the way.

The characters are all searching for more meaning in their lives and there is rich character development, albeit slowly.  This has been nominated for several Oscars and deservedly so.  It is one of the best pictures of the year. 

Philomena (2013, dir. Stephen Frears) ***.5/****

In Stephen Frears’ Philomena, an aging woman (Judi Dench) attempts to locate the whereabouts of her son, who she was forced to give up for adoption while living in a convent in her teens.  A political journalist (Steve Coogan) plays the man who is given the task of helping her track the long-lost son down.

First of all, the picture that is painted of Catholic nuns is not a pretty one.  It is through her forced confinement in a convent that Philomena (Dench) is forced to let go of the toddler son who she adores.  This part of the film is told in flashbacks to around sixty years prior to the current events of the movie.  The nuns in this film are seen as unwavering, uncompromising, old biddies who inflict a sense of guilt on their helpless victims.  Philomena, who has had her child out of wedlock and at a tender age is made to believe she is a sinner and evil for her procreation.  Their is a scathing critique of Catholicism in this film and its ultra-conservative views especially in the present day setting, through the eyes of journalist Martin Sixsmith (Coogan).

Coogan comes along and decides after some hesitation to agree to investigate the location of Philomena’s son.  His investigation takes them to America where there are various surprising twists, turns and new discoveries made.  I won’t give away what they are but there are heart-warming and bittersweet elements to the story.

The scene in which Philomena’s son is seen being driven away from the convent while she helplessly looks on is filmed in a powerful way that evokes heart-wrenching empathy and despair.  In the present day part of the story, the characterization of the two principal leads, Dench and Coogan, are undeniably visceral and powerful.  This is a performance-based movie and an interesting character study.  It is also one of the most finely-acted films of the year.

The Hobbit: The Desolation of Smaug (2013, dir. Peter Jackson) ***.5/****

Peter Jackson’s The Hobbit:  The Desolation of Smaug is a thrilling joy-ride of a movie.  It’s been a long time since I’ve read J.R. Tolkien’s book.  Many are complaining that this movie deviates from that source material too much and that there is a lot of embellishment and added story.  I don’t remember too much about the original book: maybe that’s a good thing.  I really was thoroughly entertained by this blockbuster.

In this film, we continue from where the first installment left off.  Bilbo Baggins (Martin Freeman) is traveling with a band of dwarves to their homeland Erebor, to reclaim it from the clutches of the evil dragon Smaug.  They are accompanied at various points by Gandalf (Ian McKellen).  Bilbo is now in possession of a mysterious golden ring.

This is pure entertainment at its finest.  You just have to sit back and enjoy the ride.  The visual effects are truly stunning and the characters are interesting and well-drawn.  Even if this is a far-cry from the novel it’s based on, it is still a fine movie and the most fun you will have at a theater in a long time.

Her (2013, dir. Spike Jonze) ****/****

Spike Jonze’s “Her” is a radical glimpse of near-future world where the technological advances are ever-so believable and effortlessly appropriate.  In it, Joaquin Phoenix plays Theodore Twombly, a emotionally crippled 40-something who resorts to making use of a wickedly sophisticated, voice-embodied operating system which acts as a surrogate relationship partner.  This OS, named Samantha, is voiced by Scarlet Johansson in one of the best voice-only performances you will hear this year.  Samantha is in fact, so advanced compared to what we are used to in our present day society that it can solve all kinds of emotional problems such as loneliness, depression and anxiety.  It can give sound advice about financial matters, organizational issues, and relationship problems. 

But, Spike Jonze’s story and direction never leaves us hesitant or reluctant to accept the technological advances in this future world:  everything seems more advanced but never far-fetched or unbelievable.

There are human beings in Theodore’s life too:  there’s Amy (Amy Adams) a friend who provides some degree of support and solace.  There’s potential love in a date with Olivia Wilde.  And there are allusions to a past marriage in various flashbacks with Rooney Mara.  All of these female characters give hints and clues as to the psychological impairments of Theodore and how he has been built up and torn down over the course of his past.  All the exchanges and interactions in this film ring true and are extremely well-written.

But it is Theodore’s relationship with Samantha that is the heart and centre-piece of the film.  It raises thematic issues such as the difference between Artificial intelligence and real life and the breakdown of true human relationships in society plus the tendency to resort to technology as a substitute for real humanity and getting lost or escaping to this world of artifice.

The future world which Jonze creates is a beautiful thing to behold.  The glimpses of technological advances (video games, scanning technology, computers) architecture, even in the simplicity of clothing styles is truly fascinating.

This is a fantastic visionary blend of sci-fi, rom-com, and drama and one of the best films of 2013.