The Ghost Writer

"The Ghost Writer"
Starring: Ewan McGregor, Pierce Brosnan, Olivia Williams, Kim Cattrall
Directed by: Roman Polanski
128 minutes

There is something admirable and perhaps elegant about Polanski's latest film, "The Ghost Writer." Having missed out on it during its early 2010 release, I'm now starting to catch up on some of the titles I missed during the first quarter of the year, "The Ghost Writer," is indeed one of the hidden gems of early 2010. The screenwriter of the film, Richard Harris, is in fact the person who wrote the book the film is adapted from. I imagine much wasn't lost in translation.

The story is stuff we've seen before, a ghost writer, played by McGregor finds himself way in over his head once he starts to re-write the memoirs for a former British Prime Minister played by Brosnan. The film plays best as a political thriller, but has the feel of a 70's film plagued with government and social paranoia. McGregor, who fits perfectly into these kinds of roles, rather than a miscast action star, turns in respectable work alongside his supporting cast. Before the ghost was assigned the job,  an old and loyal friend of Lang's was assigned with writing the memoirs, his fate, which we learn early, provides the ghost with the job.

The film takes place on the Prime Minister Stephen Lang's isolated and remote estate in the US. This is where the ghost writer will draw out crucial information from Lang and try to put together a coherent memoir that Lang and his wife Ruth (Williams) will be proud of. Back in London, there is a watchful and focused eye on the assignment, as the ghost's editors are pushing for a 2 week deadline. Lang isn't exactly the beacon of honesty and integrity as he might think, he's currently under investigation for war crimes during his past stint in office. This act is one of the many that propel the story, and turn an ordinary narrative into something more.

As the film progresses, the ghost starts to uncover little secrets and tidbits about Lang's past that cause him to question what he's actually caught up in. The best thing about "The Ghost Writer," and its tiny little world of mystery and deceit is how Polanski manages to make a very adult film, one where guns aren't fired, but one where adults talk, and conversation, albeit some exposition serves as the groundwork for the film. Polanski's direction is tight and assured, and the cast are always reliable. Olivia Williams as Lang's mysterious wife is especially good, and has been singled out my some other critics as well for her performance. Kim Cattrall also shows up, while her accent may not be top notch, she actually holds her own with these veterans. Tom Wilkinson has a couple scenes, but he always delivers.

"The Ghost Writer," is nothing great, but simply a welcoming entry into Polanski's filmography. It has the right whit, dark humor, and angst about itself which keeps it chugging along when not much is happening. The last shot of the film fits perfectly into everything that we've seen prior to it, and is a fitting coda to a film Hitchcock would have been proud of.

Grade: 3.5/5

The Runaways

"The Runaways"
Starring: Kristen Stewart, Dakota Fanning, Michael Shannon
Directed by: Floria Sigismondi
106 minutes

Raw in its appeal and style as a coming of age story of two lost rockers searching for identity is "The Runaways." A miscalculated effort that relies on a mediocre script and two less than stellar performances from Kristen Stewart and her counterpart Dakota Fanning.

Stewart as Joan Jett and Fanning as Cherie Currie don't quite fit into their respective roles. Stewart's performance  feels more natural, and unlike Fanning, is believable with her line delivery and signature ticks. Fanning may still be caught up in the films she grew up making, rather than running with this material, her performance stalls the film. The film, written and directed by Floria Sigismondi has an MTV approach which lacks any resonance or most importantly, any nostalgic take away which should this type of film should strive for. It would have been interesting to see a more minimal approach, much like Anton Corbijn's film "Control," which chronicled the doomed rocker Ian Curtis.

We start in 1975 where rock is dominated by the likes of Bowie and others, a time where a female rock band can be exploited by any ambitious brain in the business. Enter Kim Fowley, played by the genius Michael Shannon, who literally holds this film together. Fowley is an eccentric record producer who knows all the angels and is the one who pairs Jett and Currie together. Shannon's presence alone steals scenes, he brings what every role calls for, and while his character's arc is overly repetitive, Shannon has no problem stealing this film from his female counterparts.

The script inevitably plays it safe, there are no surprises to be had. We watch the rise, the downfall, and the happy moment of semi-redemption at the end. There are times in the film where Fowley barks orders to the band to be more nasty, unforgiving, and manly while performing. If only Sigismondi got these pep talks, "The Runaways," could have become more than its final result, something that the real life Jett and Currie would probably shrug off and move on with their day.

Grade: 2.5/5

Inception

"Inception"
Starring: Leonardo Dicaprio, Joseph Gordon Levitt, Ellen Page, Cillian Murphy, Tom Hardy, Ken Watanabe, Marion Cotilliard, Tom Berenger, Dileep Rao
Directed by: Christopher Nolan
146 minutes

After two proper viewings of this Summer's already most talked about film, which as I'm writing this, has only been out for four days, I'm ready to relay images and ideas into words.  Most of the critics and bloggers who have already written and posted their reviews have taken a great liking to the film. Some, believe it's a mishmash of ideas gone completely astray. There seems to be no middle ground in terms of the general reactions of viewers, you're either really involved in what the film as to offer, or you can't invest yourself into the world Christopher Nolan has created.

At its heart, "Inception" is a heist film, some detractors have reacted negatively to the film following some of the tropes and themes of that specific genre, Peter Travers from Rolling Stone proclaimed the film as "James Bond meets The Matrix." It has some scenes reminiscent of a Bond film, and some of the same cinematic laws  as "The Matrix," but "Inception" is its own beast, and Nolan's own original and daring creation.

At the beginning of the film, we are quickly introduced to Dom Cobb (Dicaprio) and his work. By the looks and  feel, the film takes place sometime in the near future where Corporate espionage is at the forefront of global business market. Key players are looking to gain a leg up on competition and will do anything to come out successful.

Cobb is a master extractor, the best in the business at entering into people's subconscious and learning their secrets, he trades this information to the assumed highest bidder seeking the information. For reasons the film goes on to explain later, Cobb has been extradited from the states where his two young children yearn for him. An ambitious businessman named Saito (Watanabe) comes to Cobb with an offer that will wipe his records clean if the proposed job is executed. Saito proposes inception to Cobb, which entails breaking into someones mind and planting an idea that the subject will think they developed themselves. The subject is Robert Fischer, heir to a powerful company that Saito wants diminished. Revealing anymore about the job would be a disservice.

The first act of the film is where detractors are picking at to find flaws. Many complain of excessive exposition  that spoon feeds the audience. Sure, there is a way to tell the audience less, but the screenplay doesn't go completely out of the way to guide audiences. As the film moves along, its layers rapidly reveal themselves. The exposition gently introduces the viewer to the laws and rules of the films universe.

Cobb develops a team that will perform this mission. Some of the young faces include Ariadne (Page), a brilliant architect, Arthur (Gordon Levitt), the stone faced point man to Cobb, Eames, (Hardy) a master forger, and Yusef, (Rao) a master chemist. The team must infiltrate Fischer's mind and plant the idea in a limited time frame for the mission to work.

The execution of the films many scenes is what makes "Inception" a better than average heist film mixed with some heavy sci-fi themes. Nolan is able to bend back the top of a skyline as the architect Ariadne would imagine it. Trains running through busy streets, a zero gravity fight in a hotel hallway that steals the show. But, Nolan has much to learn in regards to shooting action. Taking a look back at other action scenes that Nolan has constructed, even in "The Dark Knight," their is no clear cohesion or unity within the shot, it's hard to process who is where, and what is going on. This rears its head again in this film, some shootout scenes are hard to decipher, but there are only one or two that stick out.

Not only does the film plays with dreams, but also with memory. There is a key subplot involving Cobb and his wife Mal (Cotilliard) that gives the film its emotional identity. Some critics have called the film cold, but this particular relationship and the arc that it provides is always interesting and works well. Cotilliard's unstable Mal is given little screen time, but is a true presence in the film.

Their are some other key actors cast in the film, with little screentime they're used properly to round out the cast. Michael Caine plays Cobb's understanding father in law, Tom Berenger shows up as a counselor to Robert Fischer, and Pete Postlethwaite plays Robert's father Maurice. Mostly all of the cast are on their game here, each has little back story, but with the films aggressive pacing it would have slowed the adrenaline shot the film provides. There is much more to say, but the film is all about going in fresh and adapting to its tone and nature. Many secrets await the unknowing viewers and their eager curiosity. With a film like this, many are seeing it just to keep up with the conversation.

"Inception" is nowhere near a perfect film, but its positives outweigh its obvious, but well intentioned flaws in a strong way. Christopher Nolan has always crafted stories where the main players are obsessives looking to find redemption, with "Inception," Dom Cobb is no different, and its an extreme pleasure following his team and their mission inside of this maze filled frenzy where anything and everything are possible, the true essence of cinema.

Grade: 4/5

The Girl with the Dragon Tattoo

"The Girl with the Dragon Tattoo"
Starring: Michael Nyqvist, Noomi Rapace
Directed by: Niels Arden Oplev
152 minutes

While "The Girl with the Dragon Tattoo," is the first film in the "Millennium Trilogy," I couldn't possibly imagine viewing the next two installments with any sort of excitement or curiosity. This first installment, based off the best selling book of the same name introduces its viewer into a cold, wintry setting, where Gothic hackers, tainted journalists, and powerful families all face off in a dull and hollow procedural. The tone and style of the film is appropriately dark, but the gratuitous violence and rape don't propel the story forward or serve any purpose, it's just there to shock.  While the good acting is the last line of defense from the film becoming totally forgettable , none of the key characters have interesting back stories, arcs, or traits worth caring about. "The Girl with the Dragon Tattoo," tries to be shocking, powerful, and surprising, but it can get out of its own way. With two more sequels slated to round out the trilogy, one can only imagine if the dragon girl and her plight will somehow seem relevant or even a little bit involving, I'm guessing not.

Grade: 2/5

Exit Through the Gift Shop

"Exit Through the Gift Shop"
Starring: Banksy, Thierry Guetta
Narrated by: Rhys Ifans
Directed by: Banksy
87 minutes

The beauty of the film "Exit Through the Gift Shop" is how no one knows who the films joke is on, or even if there is a joke.  The documentary starts by examining an eccentric French shopkeeper named Thierry Guetta. Obsessed with videotaping everything, Guetta gets involved with the lesser known counter culture of graffiti artists. Fascinated by their work, Guetta follows around several well known underground artists as they perform their work.

Becoming more and more involved in the scene, Guetta decides he'll make a documentary with the hundreds and hundreds of hours he has saved. His ultimate goal is to track down the infamous artist known as "Banksy." The film grows rather intriguing as Bansky happens to contact Guetta, after this interaction and subsequent friendship, the film grows from examining one man's obsession with the underground art world to an outrageous comedy, where the tables are turned on Guetta, as Banksy himself makes a documentary on Guetta.

That is the basic outline for the film, going any further and revealing the certain surprises and nuances would be a disservice to viewers who know little of the film. Thierry Guetta is the vessel who immediately gets the audience interested in the world of these underground artists. As the film opens, Guetta is a normal, identifiable guy with a family and an unusual passion, his journey over the years is an odd and hilarious head-shaker. One who doesn't have particular interest or knowledge on the culture will be intrigued in no time as the film informs, entertains, and ultimately makes us ponder the value and meaning of art, and whether beauty is truly in the eye of the beholder

The film grows even more fascinating after it concludes, the viewer is left wondering whether whey they just saw is real, or an elaborate hoax by the filmmaker and others involved. "Exit Through the Gift Shop," can't be missed for its perplexing nature and satirical tone.

Grade: 4.5/5

A Single Man

"A Single Man"
Starring: Colin Firth, Julianne Moore, Matthew Goode, Nicholas Hoult
Directed by: Tom Ford
99 minutes

Tom Ford's "A Single Man" is a polished character study of a grieving college professors attempt to get through a single day with the death of his gay partner lingering in his mind. The professor is played by the likable Colin Firth, a 1950's model for education, with his scholarly look, and English accent, George feels useless to the world without Jim, played by Matthew Goode.

 As the film opens, Firth's character George explains how waking up was never his thing, now, waking up with the past memories of his former lover is wearing on him. He packs a handgun in his briefcase and plans on offing himself before the days end. His senses are heightened as he notices things he never did before, like the distinct scent of perfume on a woman, or the glistening body of a shirtless male in gym class, well, he probably has noticed that before.

Ford's eye for the bold and the beautiful is laid on thick in most of the scenes, but this isn't a burden. "A Single Man," contains beautiful photography which elevates the film past its somewhat pedestrian narrative. It isn't nearly as engaging as it ought to be, and its third act slows when it should already have its viewer invested. It's not that I don't like the film, I admire Firth's brave and forthcoming performance, but it isn't something I would re-visit anytime soon.

The film does do a good job of showing the pressures of a gay man in the 1950's, this, along with small hints of Cold War hysteria, add to the particular time period of the film. As I mentioned before, Firth is quite good, and his Oscar nomination was rightly deserved. Firth maintains the balance of the film, without him, or even with another lead actor, the film could have gone astray . Julianne Moore plays George's past love and long time friend Charly, a chain smoking and glamorous Brit who lives next door to George. Moore's character has little to do but drink and smoke, she's involved in only a couple of scenes, and brings little to the narrative.

"A Single Man" is not a great film, or even a very good one, it's Tom Ford's vision through and through and that is something to admire. Ford's willingness to make films that define him won't go unnoticed, but hopefully upon his next attempt, he tries a little harder to engage his audience past a foreseeable character arc, and a clunky narrative.

Grade: 3/5

Dogtooth

"Dogtooth"
Starring: Christos Stergioglou, Michele Valley, Aggeliki Papoulia, Mary Tsoni, Hristos Passalis

"Dogtooth" has the slight hint of Michael Haneke film, but its own identity and weirdness. It tells the shockingly bizarre, yet bleakly funny story of three teenagers living under the strict rule of their parents in an isolated country estate. The kids, who don't have names, live in the most guarded, and protected manner, you would think the film was taking place on another planet. For all we know, it is. Each day they're taught vocabulary by a voice recording. The words that they're taught are words that extended past the family construct, for instance, sea means armchair, zombie means flower, etc.

The father is the only one that is allowed to leave the house, he works or perhaps owns some manufacturing plant that pays for his modern day house and accompanying pool. His wife isn't treated with the same tyrannical disservice as the kids, she's just as guilty as her husband, but plays dumb in front of the children.

The film develops and moves with danger and horror on its horizon, most of it very profane and vulgar, but it's certainly called for and not abused. Once a female security guard enters the household to provide sexual favors for the son, all hell breaks loose, and the family's balance is heavily thrown off course.

Many will be turned off by the films nature and tone. This is foreign art-house cinema at its best, and most jaw-dropping, a true stunner, with guts and laughs to spare.

Grade: 4/5