Up in the Air

"Up in the Air"
Starring: George Clooney, Vera Farmiga, Anna Kendrick, Danny McBride, Melanie Lynsky, J.K. Simmons
Grade: B

Jason Reitman's third film speaks to the current economic climate of today's workplace. More than anything else, "Up in the Air" examines downsizing through it's main protagonist, Ryan Bingham, played effortlessly by George Clooney. Reitman, the son of famous director Ivan Reitman is maturing, but with maturity comes playing it safe, in this case.

Bingham does the dirty work for companies across the country, "letting go" workers, and proving them with severance packages, and plans for their future. Some people effortlessly accept their departures, some put up a fight. There's many scenes involving Bingham working in his environment, which he is best at due to his lack of human relationships. Bingham lives in the sky, airports, and hotels basically for 270 days a year. He racks up frequent flyer miles in hopes to gain ultimate status as one of the few to earn 10 million miles.

Clooney is an extremely likable guy and actor, we see a lot of himself in his roles, with Bingham, Clooney exudes world weariness and acceptance of his work of laying people off. It's what he does, and he's surely the best. Bingham meets his match in a sexy frequent flyer named Alex, played by the ever consistent Vera Farmiga. The two instantly connect and exchange witty banter that leads to sex. We sense that there could be something real there. There is also another women in Bingham's life. This one is Natalie Keener, a young Cornell grad who presents technology as an easier way to lay off people. Connect two people to a computer, and it's much easier Keener insists. Bingham's boss sends them on their way to many cities for Bingham to show the ambitious Natalie how things really work.

"Up in the Air" isn't challenging, nor forgettable, it exists on its own terms as the movie of the moment. The three leads play off each other effortlessly, their dynamics and views are fresh as they form true and likable characters. As first one would think that Natalie would be the annoying career obsessed women, she's not. Farmiga's Alex isn't just a stopping point for Bingham throughout the film, we see her vulnerable later on.

For all of it's easy going, fast paced nature, "Up in the Air" fails to present the resemblance of a tone or mood throughout. Some may argue that the tone is the on the go, city to city visits that Bingham and Kendrick make. The film is quick, but takes it's time to let the characters breathe. While Reitman's script is quite good at balancing humor and drama, there is the sense of a missing component throughout that I couldn't shrug of.

All three leads have a good chance to gain Oscar nominations, but look for Kendrick to have the best shot at a win. She's a nice young actress who doesn't play the cliche role of the young pupil along for the ride. It could be hard for Clooney to win, he's his charming self, but he doesn't have that crucial scene that Oscar loves. Bingham's motivations and goals are hidden for a while, but he's a relate guy that few could have played.

There is a moment near the end, where the film could have ended. I'm afraid that while Reitman isn't afraid to spread segments of melancholy throughout the film, that the director was afraid to end the film on a darker note. It will be interesting to see what people think. "Up in the Air" has been praised by nationwide critic groups and has a good chance to win the main prize at this year's Oscars. That was the film I wanted to see.

Avatar

"Avatar"
Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Giovanni Ribisi, Michelle Rodriguez
Grade: B+

James Cameron’s Avatar will remind audiences what it is to have fun again at the theaters. Cameron’s dream film, Avatar isn’t the best film of all time, but it’s the best film of it’s kind since the third Lord of the Rings installment. More than anything, Avatar is an event movie, much in the vein as the original Star Wars or Peter Jackson’s recent films. Cameron knows how to push the envelope visually, and has topped not only himself, but every other filmmaker in the craft. Cameron can tell a story fine, but with Avatar, Cameron’s visual palette surpasses any type of the story. The money is on the screen, and it has paid off tremendously.

Avatar is a simple story, it’s about Jake Sully, played by promising Aussie actor Sam Worthington, who Americans got their first glimpse of in the underwhelming “Terminator: Salvation.” Sully lays cryogenically frozen in space in 2154 until he is re-awoken to the news of his brothers death. Now, scientists and the military need Sully to fill his brother shoes on an epic scale. Sully is brought to Pandora, a gorgeous alien planet filled with frivolous detail of every plant, corral, and blade of grass. Sully’s mission is to transport his body into a remote controlled alien body called Avatars, which are made up of human and alien DNA.

The Avatar program is run by Grace, played by Sigourney Weaver, her interests in the natives and their land far supersede the intentions of her Military colleagues. Grace’s counterparts, look to use Jake and his marine skills to infiltrate the natives and convince them to move off of their land so the Military can search for “un-obtanium,” a key natural resource that sells for $25 million a kilo. Giovanni Ribisi plays Parker Selfridge, an arrogant suit that cares little for Grace’s beliefs. The super villain is played by the underused Stephen Lang, a scared colonel who speaks in the worst film clichés, but somehow makes them work. Lang also uses Jake to gain Intel into the Na’Vi land.

The planet Pandora is the star of the whole show. Pandora is home to the native Na’Vi, who are viewed as savage warriors by the U.S. military. Sully is also a paraplegic, and is promised that if he does his due diligence of getting the natives to move off of the their land, he will get his real legs back. Pandora is the highest visual spectacle of the year. The luminescent colors are radiating, as well as the numerous birds and beasts that live on Pandora. Cameron does a great job of writing this culture and species into an identifiable race. The main Na’Vi, or the female lead is Neytiri, a 12-foot gorgeous female garmented in blue skin, she is the love interest of Jake, and gives possibly the best performance in the film. Neytiri played by Zoe Saldana, is another promising young actress who was seen earlier this year in Star Trek. Neytiri and Jake’s relationship is the main component of the film. She introduces Jake to the Na’Vi’s spiritual beliefs and ideals, and makes Jake truly believe in the Na’Vi ways.

Jake soon becomes accustomed to the Na’Vi’s ways and learns there lifestyle and language. Jake has to choose what side to join, his humans and violent military outfit, or the understated wild Na’Vi. Not that any of this matters. Sure the film is predictable, it plays like Dances with Wolves, except with blue aliens and the military. The casting of Worthington and other noticeable, but not big name actors also work in the film’s favor. Worthington's protagonist is clearly identifiable, as first he is a broken man, but comes to realize his destiny. The arcs of the characters, especially Sully and Neytiri are on first impression rushed and not fully developed. Upon second viewing, it works just fine. Worthington and Saldana do strong work here, as well as Weaver, and the over the top Stephen Lang.

The film’s pacing and narrative start to become familiar, but Cameron who also wrote the film, takes the viewer out of seeing a semi-clichéd story about a man being re-born into another society. Cameron’s narrative, while well paced and intriguing, doesn’t hold up to the dazzling effects which make the film. Pandora is simply an amazing place, filled with vivid wildlife and natural surroundings, it represents a getaway for Jake and his past. Sure, Pandora is home to the natives, but Jake finds solace in this safe and dangerous haven. Jake Avatar must adapt to the true nature of the Na’Vi people, Cameron cross-cuts this part of the narrative with the on goings of the humans, as Jake reports back to them with Intel and information. Soon, Jake is one of the Na’Vi and the game changes drastically.

While some may find it distracting to adapt to the look of the Na'Vi, fear not. Cameron has broken the mold with his re-discovery and ambitious use of CGI. Avatar is truly the most beautiful film of the year. The frame is constantly filled with exquisite wildlife, action, and wonder. I said it before, Avatar is not the best film of all time, and probably not the best film of the year, but Cameron has truly delivered here, and it must be noted. The future of film making may surely change because of Cameron and this film.

Invictus

"Invictus"
Starring: Morgan Freeman, Matt Damon
Grade: B

Clint Eastwood's latest knows exactly what it wants to be, and for the most part, does what it set out to do. At the age of 82, Eastwood has proven he can still be an effective filmmaker. Few can rival his diligence behind the camera, and his passion for storytelling. Eastwood who worked with Morgan Freeman previously on "Million Dollar Baby," directs Freeman on the easy road to an Oscar nomination. Freeman plays South African President Nelson Mandela circa early 90's.

Freeman is the kind of actor that can surpass the difficulties to playing such an important world figure. Freeman humanizes Mandela, instead of mimicking him to the point of no return. Freeman transports his being into this character, and it serves the film correctly. AS the film opens, Mandela has been released from prison, and is looked down upon by whites in South Africa. The film chronicles Mandela's strategy to put an end to apartheid in the country.

While half of the film is about Mandela, the other half is devoted to his relationship and strategic partner, the captain of the South African rugby team, Francois Pienaar, played by Matt Damon. Damon is perfectly cast, he doesn't have as many rousing speeches as Mandela, but Damon's Pienaar conveys emotions through his body language and his dedication to his team and to Mandela. This is a nice role for Damon, that supports the fact that he's one of the best actor of his generation.

Eastwood's pacing works well, the first half of the film deals with the inner workings and lead up to Mandela's meeting with Pienaar. We see the inside world that Mandela evokes, his offices, his workers, his closest assistants. The film spends many scenes following Mandela's black and white body guards, who come to respect each other. While Eastwood is certainly following the trajectory of the script and his past efforts behind the camera, one can't help but admire the passion and spirit put into this project.

There is a certain tone about the film that is always admiring, and respectful to it's audience. We do get more than a few inspiring monologues from Mandela, but the script does just enough to support the performances. The apartheid commentary is always present, but that's what the film is about, there is no easy way around political parallels to today's political climate.

Back to the pacing, the 2nd and most effective hour is devoted to Pienaar and his teams World Cup efforts. The team isn't very good, and aren't favored to do very well. Most of the players don't respect Mandela, but it's Pienaar who gives them hope when all seems lost. There are some good scenes involving the team visiting the prison Mandela was in for nearly 30 years. Damon works best in this scenes, with little dialogue, Damon's Pienaar understands what needs done.

While "Invictus," is certainly no masterpiece, it results in a great attempt by it's orchestrators and actors to re-create a time and place most have no knowledge of. It's a dedicated sports film, a light history lesson, and a showcase for the great Morgan Freeman

Brothers

"Brothers"
Starring: Tobey Maguire, Jake Gyllenhaal, Natalie Portman, Sam Shepard
Grade: C

Jim Sheridan's new film "Brothers," based off of a Danish film of the same name is well intentioned and features some good performance, but in the end adds up to very little. It stars 3 of the most talented young actors going. Tobey Maguire, Jake Gyllenhhal, and Natalie Portman. It's up to these 3 to make the story plausible and with meaning, and while they try there best, none of them can make up for the uninspired script by David Benioff, who also wrote "25th Hour," which is one of my favorite films of the decade.

Maguire who gives maybe the most convincing performance plays Sam Cahill, a career military man, husband, and father. Sam is married to Grace played by Portman, in a restrained yet quietly effective role. They have two young daughters, who are written to be cute and funny for the sake of comic relief throughout the film. As the film opens, Sam is about to leave for Afghanistan, but not before he can pick up his screw up brother from prison. Gyllenhaal plays Tommy, a well intentioned guy who is seen as a failure in the eyes of his dad Hank, played by Sam Shepard. Hank openly favors Sam, as they've both served their country. The script hits us way over the top with Tommy and Hank not seeing eye to eye.

The story progresses as Sam and one of his fellow soldiers are taken captive by Afghan troops, they're starved, tired, and running out of options until a bizarre plot development enters the film. Meanwhile back at home, Grace gets false news that Sam has been killed in the line of duty, Tommy steps into the father role to console Grace and the kids, as they all start to become happy again.

The Afghan scenes are uninspired. Sam stresses to his friend not to give out any information to the enemy, but he betrays his beliefs and more in order to get home. This plot device serves as a cliche and improper motivation for his characters transformation once he arrives home.

Sheridan does his best to direct with a sure and inspiring hand, but the material just isn't there. Once Maguire's character arrives back home there are a few decent scenes, but nothing to bring the film together as a coherent and credible whole. The daughters clearly favor Tommy, and they let Sam know in a hurry, causing him to lash out in anger and frustration.

There is a part in the film when Portman and Gyllenhaal are exchanging dialogue over smoking pot, Portman's character describes herself in high school to Tommy. "I was such a cliche." Yes, you and the movie. While I was mildly engaged at times, "Brothers," does little to redeem itself by the final act, which comes around way too quickly.

Director Jim Sheridan has proved that he can make fine films, but "Brothers," will not be remembered as one his achievements, the film is well intentioned, but never decides what it wants to be, and how it wants to be.

Starting Out in the Evening

"Starting Out in the Evening"
Starring: Frank Langella, Lili Taylor, Lauren Ambrose
Grade: B

Frank Langella rarely ever gets his due, sure he was noticed for "Frost Nixon," but he's never been more vulnerable than in this filn. Langella plays aging writer Leonard Schiller. His books are out of print, and he's looking for one accomplished work before he disappears into literary obscurity.

The film is traditional in terms of plot, and character development, but that's what makes it so nuanced. Lauren Ambrose from the series Six Feet Under, plays Heather Wolfe, a young and ambitious woman who is smitten at the thought of writing her graduate thesis on the career and works of Leonard. The two strike up a bond that transcends common cliches. Leonard's daughter Ariel, is played by the underrated Lili Taylor. Ariel has relationship troubles with her father, and can't find a man to commit to her. These three characters are the nucleus of the film, one could argue that without Leonard, there would be no Ariel, without Heather, there would be no Leonard.

The film takes place in the autumn/winter of New York, where the atmosphere caters to the creative minds of writers and their admirers. The film demonstrates a sense of discovery, especially in the way the characters react and talk to each other. Heather and Leonard meet many times to discuss his works, and each time plays like a mild chess match. Leonard at first is guarded and on the defense of Heather's straight to the point questions. A lesser film would have Leonard teaching her life lessons, but this film has it's own tone and structure.

"Staring Out in the Evening" is no masterpiece, but it welcomes its audience with warm and dynamic characters. The film isn't all about Leonard, most of the time Leonard's scenes are followed by scenes of Ariel dealing with her on again off again partner Casey. Ariel and Casey's dynamics are of a different generation, much like Leonard's and Heathers.