Take Shelter

"Take Shelter"
Starring: Michael Shannon, Jessica Chastain, Tova Stewart
Directed by: Jeff Nichols
120 minutes
USA/2011

It's rather appropriate to call Take Shelter a zeitgeist film, something that encapsulates the current state of society today. Using film a medium, Jeff Nichols has taken that idea and crafted it into a disturbing domestic drama about the fracturing and reconciliation of the family unit. Nichols's last film Shotgun Stories was a realistic portrait of violence among families in a small southern town; Take Shelter gives you way more to chew on, as its take on our national anxiety disorder is frightening and concise.

Click here to read the rest of this review

Reel Time: Episode 26

We're back again, this time reviewing two films from Joel and Ethan Coen, the best directing duo in all of Hollwood. Derin also offers some insight from the Philly Film Festival. Joined by Deepayan Sengupta, Tom Stoup, and Derin Spector. Here's a stand-alone link.

Reel Time: Episode 24

What's better than a Lars von Trier/Ryan Gosling duo? Well, nothing really. We're back this week reviewing the Danish auteur's latest work "Melancholia," as well as the new political thriller "The Ides of March." Joined by Deepayan Sengupta, Derin Spector, and Tom Stoup. Listen to Episode # 24.

Reel Time: Episode 23

So many Altman films to choose from, but we settled on "The Long Goodbye," and "Gosford Park," for our Altman special. After the Altman discussion, Tom and I shared our utter disdain for Jonathan Levine's new film "50/50." Joined by Tom Stoup and Deepayan Sengupta. Here's a non-iTunes link.

Reel Time: Episode 22

We're back this week with a review of Bennett Miller's "Moneyball," and our top 5 most anticipated films for the rest of the year. Joined by the usual guests. Here's a non-iTunes link, enjoy.

Drive

"Drive"
Starring: Ryan Gosling, Carey Mulligan, Albert Brooks, Ron Perlman, Bryan Cranston, Oscar Issac, Christina Hendricks
Directed by: Nicolas Winding Refn
100 minutes
USA/2011

The underlying crux of what makes Drive so appealing is the film's synergistic and swooning texture that sets in during the first few minutes and never lets up. What is Drive? Yes, on the surface it's a crime picture about a man with a code. The driver, played by the chameleon like Ryan Gosling, perhaps Hollywood's prettiest face, is launched into a vortex of violence after his stoic nature is invaded upon by outside forces. Leave it to Danish born filmmaker Nicolas Winding Refn to infringe upon the genre's most familiar tropes and expand upon them with his own artistic and assured touch. There is this penetrating sense of calmness that surrounds the film, a wave of beauty and muted romance that lets us know this is the EXACT film that Refn wanted to make.

For me, the film represents some sort of pop song that lingers in the mind, its beats and rhythms so catchy and affluent, as to envelop the viewer into the best cinematic high. Refn is clearly influenced by the likes of Michael Mann and others, portraying an urban landscape in the most fitting sense. The juxtaposition of this loner played by Gosling and Refn's doom and gloom aesthetic is so skillfully mastered that audience members not familiar with Refn will be able to pinpoint the director's Euro sensibilities that are littered throughout the film.

After a smooth and extremely telling opening bit, we learn all we need to know about our protagonist. When not operating as a Hollywood stunt performer, Driver moonlights as a wheelman for various criminals in town, offering his services for 5 minutes before he leaves the scene in the blink of an eye. The rest of the first act is about the breezy possibility of romance between Driver and his neighbor Irene, played by Carey Mulligan. The dynamic between Gosling and Mulligan works so well because they're both portraying so much through body language, the film is purposefully short on expository dialogue for this very reason, Refn has no problem letting Gosling and Mulligan do their thing. Gosling brings a sort of pathos to this role, something much different from some of his prior roles. Things get complicated when Irene's ex-con husband played by Oscar Isaac returns home. Driver endangers his own code after he willingly involves himself in Oscar's dilemma.

This is when Drive kicks itself into another gear, unflinchingly delving headfirst into multiple outbursts of violence. Adding to the film's moody quality is the intoxicating score from Cliff Martinez. Blending 80's tunes to the already transfixing narrative is one of the film's best aspects. The supporting cast is having a ton of fun here. Albert Brooks and Ron Perlman as two menacing and seedy gangsters might feel trite and familiar, but both are expanding on their usual shtick and gleefully hamming it up. Unlike most mainstream action films, Drive's pension for bloodshed is earned in that it displays a change in Driver's psyche and cause. Refn's uber-stylized approach may be too over-the-top for some, but in the world of Drive, it all fits like a glove.

Grade: 4.5/5

5 best films seen in August

Films seen: 16

Silent Light (Reygadas, 07)

Millennium Mambo (Hou, 01)

Road to Nowhere (Hellman, 10)

Code Unknown (Haneke, 00)

Vivre Sa Vie (Godard, 62)

Warrior

"Warrior"
Starring: Tom Hardy, Joel Edgerton, Nick Nolte, Jennifer Morrison, Frank Grillo
Directed by: Gavin O'Connor
140 minutes
2011/USA

Gavin O'Connor's Warrior is a paint-by-numbers family/sports drama that has no problem cycling through the laundry list of cliches usually associated with the genre. It's tough to be original, I'll give Warrior that much, but to vacate all emotional resonance throughout such a long film is something that doesn't fly with me. O'Connor is no stranger to true life sports dramas, his 2004 film Miracle mostly hit all of the right notes and left you with some takeaway value, however pedestrian and familiar its story was. Everyone who saw that film knew the outcome, and although we can essentially pinpoint the final outcome of Warrior, it struggles to leave you with any lasting emotional connection to its Shakespearean-esque story.

At its core, it's about a fractured family, a father and his two sons coming to grips with the past on their own terms. Tom Hardy and Joel Edgerton's portrayal of brothers is convincing enough, but leaves much more to be desired. All of the family's past betrayals and estrangements are introduced to us in the first act, but are glossed over in an unsatisfying manner. Some will be content with how quickly this is all predicated upon, but the screenplay relies less on showing us than it does telling us.

Hardy's Tommy Conlon is an ex-marine hero who has returned home to drop in on his reformed alcoholic father played Nick Nolte. Conlon's motivations are eventually made clear, but Hardy's performance is rather standoffish, making us constantly question if we actually care about him. He's playing this sad-sack guy who lets it be known that he wants nothing to do with his father, save for the fact that he's a damn good trainer and would like nobody else prepping him for an upcoming MMA tournament. On the flip side, there's Edgerton's Brendan Conlon, a school teacher failing to make ends meet. He's less bitter, but still has issues with old man Conlon as well. Edgerton is actually pretty good here, and is believable as a husband and father desperate to make fast cash. To no surprise, both brothers end up entering the same tournament, this much we've already gathered from the trailer.

There are hints of real emotion in the first act of Warrior, but everything is prematurely glossed over to the point of no return. Once the actual fighting begins, there really isn't a whole lot to care about. When we finally take a break from the training montages and the tournament, we're exposed to more of Hardy's character having the same harsh resentment towards his brother and father. The film let's us know this much, Hardy's Tommy saved a life during his military stint and is a supreme physical specimen in the ring, that's about as far as his character goes in terms of development. Nolte is doing his usual thing here, as his character is quietly crumbling on the inside given the circumstances.

Given how under-cooked the film feels, it's entirely watchable and doesn't actually feel long given the near two and a half hour run time. Most of, if not all of the fights in the film are effortlessly blocked and convincing. If you're an MMA junkie, I imagine there's a lot for you to like here. For how melodramatic and inspiring the film intends to be, it really has no juice, and nearly leaves you feeling entirely hollow instead of being emotionally spent. O'Connor is playing it safe for good reason, taking no extreme risks in style or storytelling, but relying on performances and delivery. The former is in tact for the most part, but the latter's attempts at forcing and budging us to care simply falls short.

Grade: 2.5/5

Reel Time-Episode 20

We circle back to a mainstream release this week as our director spotlight centers on Steven Soderbergh. We reviewed his latest film Contagion, and 1998's Out of Sight. Joined by Andrew Cate, Tom Stoup, Deepayan Sengupta, and Derin Spector. Here's a stand-alone link, enjoy!

Contagion

"Contagion"
Starring: Matt Damon, Kate Winslet, Gwyneth Paltrow, Marion Cotillard, Jude Law, Laurence Fishburne, Bryan Cranston, Elliott Gould, Sanaa Lathan,
Directed by: Steven Soderbergh
105 minutes
2011/USA

The latest from Steven Soderbergh is a tightly wound thriller that should easily get under the skin of audience members. We've seen this kind of exercise before, a thrilling global epidemic cautionary tale that pits doctors and government higher-ups in office buildings and meeting rooms constantly exchanging ideas and solutions on how to contain and defeat the threat at hand. This is essentially the gist of Contagion, but perhaps more macro and frantic. It's about a dangerous airborne virus that quickly affects one person, then another, quickly manifesting itself into a global threat. The film dives headfirst into the on-goings of a more than a handful of characters and their hands-on battle with the virus.

There really is a startling addiction and "lean forward in your seat" quality to the first 30 minutes of the film, which are easily its best. After that, the screenplay starts to diverge from its best bits, growing smaller in scale through each scene. True to its nature, there is little to no fat on the film. Aside from the argument that the film boasts way too many characters, Contagion generally moves at a break-neck pace, which is highly welcome given the kind of mood and state of mind that Soderbergh is trying to convey here.

Capturing a portrait of a society overtaken by fear and paranoia is the film's best attribute. Soderbergh is no stranger to this certain kind of sprawling tale, for most, Traffic will come to mind, but Contagion is more subtle in the ways the characters are connected. It's not really a story of interconnected relationships, as it is a cinematic flip-book of normal people trying to wade through the unknown while struggling to keep their cool. The film succeeds mostly from the realism portrayed throughout, as the screenplay sidesteps any herrings in falsity.

Contagion boasts an extremely large cast of familiar faces, which surprisingly didn't dissuade me from buying into the film from the onset. The script gives us a few catalysts to guide us through the film, most notably Matt Damon's character, who in the first act loses his wife played by Gwyneth Paltrow and his son to the unknown disease. Other than Damon, there's the intriguing arcs of both Laurence Fishburne and Kate Winslet's character's. The film also features Jude Law as a gap-toothed, opportunist blogger who brings some freshness to the film. No where near an earth shattering performance, it's refreshing to see Law having fun on screen again. Those complaining that the film lacks a central emotional attachment are clearly missing the point of the film. It's a depiction of losing someone you love in the blink of an eye to something without a face, cause, or motivation. The uncertainty of life in such a small window of time is predicated upon throughout, as lives are lost at an alarming rate.

Contagion however, is far from perfect. Scott Z. Burns's script loses a ton of its effortless "ickyness" as it gently settles in and begins to slow down during the second hour. For having only a 105 minute run time, Contagion could've benefited more from the same go-go pacing of its first third. Once the scenes of social anxiety and widespread panic rear their head, Contagion starts to feel a whole lot like we've seen this same act before. Soderbergh's photography is once again the standout here, comfortably towering over the film's story and approach. The director's persona as both mainstream money maker and artistic auteur semi blends in here, but one can't help wonder why Soderbergh would choose this project at this certain time in his career. This is exactly the type of mainstream fare that Soderbergh likes to put out, but my guess is that audiences would rather discuss their favorite anti-bacterial soap with one another than discuss the film.

Grade: 3/5

Reel Time: Episode 17 (the films of Claire Denis)

We're finally back, and we've decided to change the theme of the show. From here on out, we'll be dedicating each episode to a specific director and reviewing a couple of their films. We will not be neglecting wide releases, but only reviewing the ones we deem significant. We started off by focusing on French filmmaker Claire Denis, and two of her latest works, 35 Shots of Rum and White Material. Joined by Tom Stoup and Deepayan Sengupta. Here's a stand alone link.

Road to Nowhere

"Road to Nowhere"
Directed by: Monte Hellman
Starring: Shannon Sossamon, Tygh Runyan, Cliff De Young, Waylon Payne, Dominique Swain
121 minutes
2010/USA

Monte Hellman's Road to Nowhere is the director's first film in 21 years. The design of this film is convoluted to the point of no return. The actual story and layout is simple on the surface, but once the layers start unraveling, the viewer will find themselves sucked into the film's dizzying vortex. Such a film welcomes audience participation in getting in on the mystery, much like a great noir would do. This film operates on similar rules to an extent, but will alienate those looking for clean cut answers.

The film centers on an odd real life story involving an insurance fraud/murder/suicide that took place in North Carolina. The actors are based on the perpetrators/deceased: Velma Duran and Rafe Tachen. Young director Mitchell Haven is attempting to bring this story to screen by shooting in the small town where the events took place, Haven's film is also titled Road to Nowhere. We're then introduced into the film within a film concept, where fact and fiction effortlessly blend into one another, resulting in one intoxicating narrative.

Actress Shannon Sossamon delivers the best performance of her career as Laurel, a stunning young "non-actress," who fits effortlessly in the role of Velma. Sossamon's natural beauty goes unmatched, as she exudes the persona of a classic femme fatale. Oddly enough, Laurel's uncanny resemblance to Velma Duran is what gets her the role. During the filming of Haven's Road to Nowhere, Haven and Laurel begin falling for each other, much to the dismay of the rest of the crew, most notably Bruno, an insurance fraud agent who believes Laurel isn't who she says she is. There is also Cliff De Young playing Cary Stewart, a veteran actor hired to play Rafe Tachen in Haven's film. Stewart's involvement further complicates matters as we occasionally see him making phone calls from overseas, are these scenes apart of Haven's film, or are they something entirely different? Is the real Velma Duran actually dead?

The timeline of the film is severely fractured, prompting speculation on the actual identities of the characters and their true motives. For all of the head scratching and the squinting of the eyes that took place while I watched the film, it's oddly exciting to see what will occur next. The transition from scene to scene plays out gloriously, as the script has no shortage of cryptic offerings and gestures. It's all an act, a show, a tragic play.

Steven Gaydos' script is effortlessly nuanced. If we play close attention, we can mildly guess at which scenes are being played out in real life and which scenes are apart of Haven's film. Hellman's motives, however dense they are, are routinely hidden from us. Hellman is obviously implicating that there's a strong correlation between art and life, performer and performance. The film goes for broke at times in trying to cover the vast territory of this oddly constructed world that Hellman has created. There is however, no shortage of mood throughout, the film within a film concept has been done to death, but Hellman's approach comes off as fresh and original. If you find that you're not getting much out of the film, just recognize that it's all about the journey and not the destination.

Grade: 4/5

5 best films seen in July

Films seen: 26

Three Times (Hou, 2005)

Straw Dogs (Peckinpah, 1971)

Husbands and Wives (Allen, 1992)

Naked (Leigh, 1993)

Harry Potter and the Deathly Hallows: Part 2 (Yates, 2011)

Hesher

"Hesher"
Starring: Joseph Gordon-Levitt, Natalie Portman, Devin Brochu, Rainn Wilson, Piper Laurie
Directed by: Spencer Susser
106 minutes
2010/USA

Joseph Gordon-Levitt goes full grunge as the titular character in Hesher, playing a chain-smoking pyromaniac  with no past and no apparent future. He's a cartoon character, or some product of MTV who happens to step in on the life of young T.J and his family during the grieving process for T.J's mother. Hesher serves as the not so subtle, harshly designed "role model" for young T.J. (Brochu) in the film. Gordon-Levitt has had a string of recent success, but plays completely against type here. It's mostly a one note performance, but Gordon-Levitt has this unpredictable sensibility that keeps his character interesting, even when the film isn't.

The film itself is kind of a mess, but oddly intriguing throughout. Written and directed by Spencer Susser, Hesher represents nothing less than an indie Sundance product, an "in your face" film that wears its heart way too heavily on its sleeve. I lost track of how many times a car windshield or house window was broken, I've already designed a drinking game around this repeated action. While Hesher's motivations aren't outright stated, we pick up on the fact that he's teaching T.J. how to survive and deal with struggle months after his mother's death. He eventually moves in, which is not even frowned upon by T.J's dad played by Rainn Wilson, and his grandmother played by Piper Laurie. For once, Wilson is given a role that is void of any comedic sensibility, playing a straight-faced father with no real idea of what his son is up to. His arc, while not supremely essential, is just as predictable as we'd expect, thus summing up the film's myriad of problems. Natalie Portman also shows up as a geeky grocery clerk, while still stunning, Portman's relationship with T.J. is one of the best aspects of the film. The film's best asset is indeed the young Devin Brouchu, mostly directed to deliver the same reactionary response, but is resilient throughout while being put through the emotional and physical wringer.

While it takes place in Los Angeles, the world of Hesher is just as ridiculous as it looks. We learn through exposition that Hesher was once in juvenile prison, but we're fascinated to hear that he hasn't had any other run ins with the law. Gordon-Levitt's "out of nowhere" antihero lacks any subtlety or insight that would otherwise make the viewer care about the film's central relationship. Most of the film revolves around the same recycled scenes, as Susser's attempts at emotional catharsis are mostly drowned out due to overkill. Even the climax is awkwardly staged, but appropriately fits in with the film's outrageous tone. It's a minor and slightly forgettable work, but there's something admirable about Susser's willingness to go full circle with an idea like this, not completely original, but oddly liberating.

Grade: 3/5

Reel Time: Episode 15

My fellow pod-casters saved my ass this week by viewing Crazy, Stupid, Love and Cowboys & Aliens, I hadn't seen either. Joined by Andrew Cate, Derin Spector, Tom Stoup, and Deepayan Sengupta. Non-iTunes link here, enjoy!

Reel Time: Episode 14

The endless cycle of comic-book films ends this summer with Captain America, we reviewed that, as well as the Mike Mills film Beginners. Other than a couple trailers and recent film news, new guest Tom Stoup chimed in on Friends with Benefits. Here is a stand alone link, enjoy. 

Reel Time: Episode 13

In this episode we discussed Deathly Hallows Part 2, and spoke at length about recent trailers that have been released, including The Dark Knight Rises. After the show, my mic seemed to malfunction, so my apologies for there being no outro. Joined by Deepayan Sengupta, Derin Spector, and Mark Mullicane. Non-iTunes link, enjoy!

Beginners

"Beginners"
Starring: Ewan McGregor, Christopher Plummer, Melanie Laurent, Goran Visnjic, Mary Page Keller
Directed by: Mike Mills
105 minutes
2010/USA

Beginners represents pure escapism for audiences that are tired of the usual booms and bangs that seem to shroud film-goers during the summer film season. It's a small little film, autobiographical to an extent; director Mike Mills learned of his own father's homosexuality when he came out of the closet after his wife's death. Mills has framed his own experiences into a film that he's also written himself. It's a textured and endlessly appealing work that may or may not be remembered by many at the end of the year, but for the most part, Beginners is something that many can identify with, and it's worth noting that these type of films are harder and harder to come by.

Ewan McGreogor is standing in for Mills as Oliver, a lonely man whose recently been rocked by the news that his father Hal, played by Christopher Plummer, is not only gay, but has terminal cancer. The film jumps between past and present, more or less charting Oliver's consciousness and attitude toward the situation. Oliver is no picnic himself, as we come to learn that he's never been able to hold a stable relationship with a female. Oliver ends up developing a relationship with an actress named Anna, played by the stunning Melanie Laurent. They're essentially a perfect fit, and it's tremendously charming watching their romance gradually blossom throughout the film. Laurent, who burst onto the scene in 2008's Inglorious Basterds, is an actress who can do so much with her eyes and her killer smile. She's one cog in the trio of actors that make this film highly insightful and enjoyable.

Mills gives the film its own little unique spin that separates itself from other so-called dramas of this sort. Since Oliver is the catalyst for the audience, we're presented with a point of reference through Oliver's subjective experiences. Not much happens in the film, but Mills' allows us to get to know these characters and their flaws. Ultimately, Beginners strives to show us the imperfections of life, and the tireless ebb and flow of our journey, warts and all. It's also very revealing in how it exposes the fragility of our existence. One can tell that Mills is holding nothing back from his own experiences. The film is told through portraits, as it effortlessly weaves a handful of characters and their arcs together gracefully.

If anything, the film is too calculated, and while I rather enjoyed the pacing, the third act, particularly the last 20-25 minutes are way too scattered. I sat there thinking it could've wrapped up at multiple spots, but the film continued on. Plummer is his reliable self here, turning in a nuanced, yet un-showy performance. Mills easily could've written Hal differently, perhaps forcing Plummer's performance down Oscar voters throats, but the script and Plummer thankfully go a different route. This is perhaps the truest performance that McGregor has ever given, hardly brilliant, but tuned into the type of aimlessness and numbness that Mills might've felt.

Beginners has a melancholic tone throughout, but in no way is it a film void of hope. The two central relationships are what work the best. Just as Hal is liberated and able to explore his desired sexuality, Oliver's almost muted existence has taken a hold of him. It's not so much a film about Oliver learning to live his life in the way Hal has come to with his boyfriend Andy (Visnjic), but a "live in the moment" commentary on how life isn't always waiting on us. Beginners has a big heart, and at times gives off a tingly feeling of how life can surprise us if we take advantage of it.

Grade: 3.5/5

Reel Time: Episode 12

This was one of the more laid back episodes thus far, if not the most laid back. Joining me once again were regulars Andrew Cate and Deepayan Sengupta, we talked less about Horrible Bosses, and more about our expectations for Deathly Hallows part II, and many other off-topic tangents. Here's a non-iTunes link, enjoy!

Reel Time: Episode 11

Holiday hub-bub now over, we were able to record episode 11 late tonight. I was joined by NextProjection.com's Christopher Misch, and regulars Andrew Cate and Deepayan Sengupta. We've hit the dull patch of the summer film season, but we still had plenty to talk about. Discussion centers around Transformers: Dark of the Moon and Larry Crowne, as well as much more. Here is a non-iTunes link, enjoy!

Larry Crowne

"Larry Crowne"
Starring: Tom Hanks, Julia Roberts, Bryan Cranston, Cedric the Entertainer, Taraji P. Henson, Mbatha-Raw, Wilmer Valderrama
Directed by: Tom Hanks
99 minutes
2011/USA

Tom Hanks, the lovable and charming guy that he is, has a hand in almost every aspect of this film, and that's the film's biggest problem. Hanks, playing the titular character, is also the co-writer and director here. It's a familiar little premise, and if you've seen the trailer you've essentially seen the entire film. Larry Crowne is a middle-aged man whose been recently let go from his retail job due to corporate downsizing. His superiors inform him that his lack of schooling is the reason for him being let go.

Larry, who served in the Navy for 20 years, and is now separated, must fend for himself in the harsh world of unemployment. Fortunately for him, it isn't very hard, as the film plays out in a continuous cycle of winning moments for Larry. It's a romantic/comedy without the slightest hint of commentary on the recession and how it truly impacts lives. Not that it's crucial, but we get little info on what Larry intends to do with the degree he's seeking. He's instructed to take communications, composition, and econ, and then he'll be on his way!

Hanks and co-writer Nia Vardolos (the star of My Big Fat Greek Wedding) place too much stalk on the names of Hanks and co-star Julia Roberts, who plays Larry's snippy college professor, turned love interest. This time to no surprise, their chemistry and charisma as actors does little to get the audience through this fraud of a story. Right after Larry gets let go, he's immediately in makeover mode, as a fellow student named Talia (Mbatha-Raw) suddenly takes interest in him as she invites Larry into her scooter gang. It's hard not to roll your eyes at the notion of a younger, stunning female wanting anything to do with Larry. This is unfortunately how the entire film plays out, as the screenplay interjects few, if any internal/external struggle in Larry's world.

Roberts' character Mercedes is however a tad more complicated, but more or less has zero character arc like Larry. She's in the middle of a failing marriage with Dean, played by Bryan Cranston. Even he can't add any flavor to this vanilla film, serving as the half-written "male-pig" archetype. She drinks because of her apparent disdain for teaching, and we're almost shocked to learn that a character in this film has flaws. Everyone outside of Roberts doesn't swear, smoke, drink, and pretty much all of the above.

By now you get the point, Hanks' sunny, no-worries lifestyle has obviously bled right onto the screen here, and while some of it is agreeable and tolerable, the film would have you believe that life is as easy as the one Hanks leads. The classroom stuff is all lightweight fodder, the film even throws in the token "class clown" character. Not really sure what Hanks was out to prove with this one. That he's competent behind the camera? Or that he's still got the so-called charm that made him who he is? I don't really care enough to answer my own question, it's nowhere near the worst film of the year, and should do well in the 50 and over demographic, but a film this lifeless will be forgotten the minute after you leave the theater.

Grade: 2.5/5

Top 10 performances from the films of Terrence Malick

10. Linda Manz, "Days of Heaven" (1978) 
We're guided through Malick's second feature by a young narrator named Linda, sister to an opportunist named Bill, played by Richard Gere. Manz comes in as the first entry on this list because she is the beacon of innocence throughout Days of Heaven. Her narration, often unreliable, is insightful, playful, and at times puzzling. As her brother and his lover make advances toward thwarting a rich farmer, Manz' laid-back observations ring honest and true throughout the film.

9. Jessica Chastain, "The Tree of Life" (2011)
Chastain is someone who I'd previously thought wouldn't make the list, but given the more I think about the film and her angelic performance, she deserves a spot here. An actress who is about to breakout, Chastain's Mrs.O'Brien is the perfect contrast to her authoritative husband played by Brad Pitt. Completely inhabiting the role of "grace" as a loving and forgiving force, Chastain leaves a quiet, yet impacting mark on the viewer.

8. Elias Koteas, "The Thin Red Line" (1998)
Always reliable in any role, Koteas' performance as Staros, a Captain facing inner turmoil over leading men to their death, is one of the standouts in Malick's third feature. Staros is probably the most identifiable character in the film, as his doubts and fears creep up and get the best of him. His rift with a particular supervisor serves as the crux of Staros' frailty. Koteas delivers mostly on body language, as he suffocates under the weight of his own duty.

7. Martin Sheen, "Badlands" (1973) 
Sheen's Kit Carruthers is a James Dean esque rebel molded in the makeup of a typical Malick character. Sheen was able to blend bold charisma with disillusionment and recklessness, proving that he would be a huge talent in the years following Badlands. Ultimately, what makes Sheen great is his natural portrayal of a sociopath with a hunger for grisly violence, while also blindly leading an innocent youth down his own path to hell.

6. Hunter McCracken, "The Tree of Life" (2011)
Like Linda Manz before him, the young Hunter McCracken is further proof that Malick is dynamite when it comes to dealing with young non-actors. While the film often shifts viewpoints, it's mainly seen through the eyes of young Jack O' Brien, the oldest of three boys. McCracken hits all the right notes, as his awkward adolescence causes him to question the mysteries in life.

5. Colin Farrell, "The New World" (2005) 
Farrell's portrayal of John Smith relies less on bravado, and more on the quiet, meditative quality that Farrell brings to the role. Perhaps an unlikely fit for the role, Farrell proves that when in good hands, he is a wonderfully potent actor. All of Smith's ponderings, heartbreak, and disappointments are fully realized as the actor turns in his most natural performance. Farrell is able to ditch the perceived image of a Hollywood leading man, and wholly disappear in Malick's vision.

4. Brad Pitt, "The Tree of Life" (2011)
Continuing on with the theme of Malick transforming "leading men" into something completely subtle and different, comes Brad Pitt's portrayal of Mr. O'Brien. A "Job" like figure serving as the embodiment of "nature." Pitt's stern father is at once cold, but ever-loving, as his "fierce will" way of upbringing is frowned upon by his wife, and loathed by his children. We come to understand the plight of this broken man, as Pitt delivers a performance completely out of left field. Proof that good actors only get better with age.

3. Nick Nolte, "The Thin Red Line" (1998)

There's nothing subtle about Nolte's portrayal of Lt. Col. Gordon Tall, a grizzled career military man who finally gets "his own war" in The Thin Red Line. Easily the most boisterous of performances in Malick's filmography, Nolte's rift with the aforementioned Staros, played by Elias Koteas, is one of the many highlights in the film. Nolte's performance may comes across as scenery chewing to some, but we're still able to identify with this man whose been passed over, and now seeks his moment in the sun.

2. Jim Caviezel, "The Thin Red Line" (1998) 
Of the plethora of characters featured in this film, I find myself relating most to Pvt. Witt, who as the film opens, is AWOL from his unit and living with Melanesian natives in the South Pacific. Witt meets his match in Welsh, played by Sean Penn, as each share contrasting views on the meaning and nature of life. It's another quiet Malick performance, but Witt's awareness of "another world" rid of violence makes Caviezel's tranquil turn in this film tragic and hopeful.

1. Q'orianka Kilcher, "The New World" (2005)
This really wasn't a hard decision to make, as Kilcher's portrayal in the crucial role of Pocahontas is second to none throughout Malick's five features. Another unknown at the time the film came out, Kilcher devastates us with her quiet, wide-eyed and complex take on such a large figure. Kilcher's offering is the quintessential Malick performance, gently running the gauntlet of human emotion, without much dialogue. I've yet to see the extended cut of the film, but I hear her character and the film is giving more room to breathe.

5 best films seen in June

Films seen: 16

The Tree of Life (Malick, 2011)

Midnight in Paris (Allen, 2011)

The Mirror (Tarkovsky, 1975)

Hannah and Her Sisters (Allen, 1986)

The King of Comedy (Scorsese, 1982)

Transformers: Dark of the Moon

"Transformers: Dark of the Moon"
Starring: Shia LaBeouf, Frances McDormand, Patrick Dempsey, John Malkovich, Alan Tudyk, Rosie Huntington-Whiteley, Ken Jeong, Josh Duhamel, John Turturro, Tyrese Gibson
Directed by: Michael Bay
157 minutes
2011/USA

The most unnerving and perpetually nagging thing about this franchise is that it continually fails to clean up its mistakes from film to film. There's no question that the previous entry Revenge of the Fallen, owns some kind of award for being the most incomprehensible mainstream cinematic mess in recent years. One would think that Michael Bay, the arrogant and stingy personality that he is, would at least recognize some of the previous films faults, and improve upon them in Dark of the Moon. No such luck here, as what started out as shaky, but agreeable, would once again quickly turn into a loud bludgeoning disaster.

I'll give this film one thing, it's not quite the overall disaster that Revenge of the Fallen was, but right after I snapped my 3D glasses into 10 pieces before the film ended, I immediately felt bad for every person lined up outside for the midnight show as my friend and I bolted out of the theater and the parking lot. Someone will find the glasses I broke, either a Regal employee or some random person, I can only hope that they too would be just as outraged after spending nearly $15 to watch jokes fall flat, zero semblance of a cohesive narrative, and every other thing that could possibly go wrong with a film.

The truth is, this film has way too many mouths to feed, and it becomes increasingly tiresome. This film only adds to the laundry list of minor actors and their throwaway roles throughout this trilogy. I suppose the studio is to blame for this recurring theme of stuffing actors like John Malkovich and Alan Tudyk into these films. It's all laughable and beefs up the filler to an overwhelming extent. But, what do we care, we're here for the action right? Yeah, I was too, and I'd recommend walking into your screening with 45 minutes or roughly an hour left. Everything prior to the "Chicago getting obliterated" set piece is assembly line Bay horseshit without the slightest hint of turning to a friend and saying "that was pretty cool."

There's really no point in trying to explain the film's plot. It's the Autobots vs the Decepticons once again, except the stakes are ramped up a notch or two, cool right? What is it with these Summer blockbusters trying to interject the narrative into past historical events? X-Men: First Class did it with the Cuban Missile Crisis, and Dark of the Moon touches upon it with the U.S. Space Race in the 60s. It's really not something to get too worked up over, but it makes me wonder how lazy these screenwriters actually are. Lame ideas like the ones just mentioned are what serve as a detriment to most of these bottom feeding Summer films, especially Dark of the Moon. Bay's pension for musical cues, slow motion, and close ups are all intact here, I think he even uses a song from one of his earlier action films here, the mind wanders.

I do not go into something like this wanting so badly to dislike it. I had heard from people that I trust that it was mindless fun, good, fine, I'll take that most days. The problem with Dark of the Moon is that it's a watered down version of Revenge of the Fallen, repeating all of its mistakes, but not on a colossally bad level. For those wondering, Bay treats the Meghan Fox stand-in Rosie Huntington-Whiteley in the same regard that Fox eventually grew to be fed up with. This new girl, positively stunning (no surprise) carries the same presence as Fox I suppose, serving mostly as eye-candy and nothing more.

I'm not a huge admirer of LaBeouf, but he certainly has some talent. Now that he's gathered his plentiful paychecks, it'll be interesting to see where his career goes from here. One could envision him doing smaller passion projects, or it would come as no surprise if he continues down the path of a marketable young lead that just wants to do action/thrillers for the rest of his life. I wish him luck, as for Bay, well, he'll continue to spew out the same forgettable garbage, representing some sort of James Cameron underling without the slightest hint of visual storytelling. If you enjoy cheap jokes, bloated thrills, and every other countless element that makes a film awful, then you'll enjoy Dark of the Moon. If you find other broken glasses on the floor, at least pick them up and dispose of them, for you are truly classier than I am.

Grade: 2/5

Reel Time: Episode 10

Our last podcast before a little hiatus. We discussed the new Oscar rules, the trailer for Moneyball, and finally Midnight in Paris. Andrew was able to catch Green Lantern right before the recording, so we chatted about that briefly. Joined by Andrew Cate, Mark Mullicane, and Deepayan Sengupta. Stand-alone link, enjoy!

The Tree of Life

"The Tree of Life"
Starring: Brad Pitt, Jessica Chastain, Sean Penn, Hunter McCracken, Laramie Eppler, Tye Sheridan
Directed by: Terrence Malick
138 minutes
2011/USA

After two viewings, I can now confidently analyze what I've seen from Terrence Malick's fifth, and most abstract film to date. Those familiar with the director and his reputation for being both reclusive and secretive know that each film of his is not so much a movie, as it is an event. After three years of editing the film, and after it received the top prize at the Cannes film festival, The Tree of Life has served as a lighting rod among critics, bloggers, and movie-goers. It's only June, and I believe this will be the most divisive film of not only this year, but possibly next year as well.

The film is both grandiose and intimate, as it juxtaposes the evolution of Earth and our species with a conservative family living in 1950s Texas. Malick himself grew up in Texas, and it's evident that what we'll come to see throughout the film is more than likely a rumination on his own childhood. Brad Pitt and Jessica Chastain play Mr. and Mrs. O'Brien, the film starts with them being informed of the death of one of their three sons. Chastain brings a painful presence to these early scenes as she woefully grieves and pleads to the heavens for answers. We cut to the present where one of the boys, now middle-aged and played by Sean Penn recalls memories of the brother that he lost. Penn's character Jack is now a successful architect living in Houston, a city framed in steel and glass, totally void of any warmth and compassion. In a whisper, Jack proclaims that "the world has gone to the dogs," it's everyone man for himself. Penn's early appearance teases us into thinking he'll be an integral part of the film, but most of his character's screen-time, and the film, is devoted to when Jack was a young boy living under the harsh roof of his father.

One of the film's central themes tells us that there are two paths in life in which we may follow. The way of nature, and the way of grace. Nature is exuded by the patriarch Mr. O'Brien and his "survival of the fittest" mentality. His character portrayed by Pitt was an ex-Naval officer, turned failed musician who had plans to succeed in life, but never made it out ahead. His near-dictatorship style of parenting is looked down upon by his loving and almost angelic wife. Her views are molded in the notion that man should love all things equally. The three sons, Jack, R.L., and Steve all find themselves conflicted as to which is the correct path to follow.

Even though the film contains the slightest semblance of traditional narrative, it's rooted in such eye-opening and jaw-dropping beauty. Major props go out to lenser Emmanuel Lubezki and production designer Jack Fisk for their once again stunning efforts. Malick's original way of telling a story may not be the most compelling to those who aren't familiar with his work, but one cannot deny the stunning sensibility and imagination put forth by Malick and his crew. It's easily the best looking film of the year, one that captures the essence of visual confidence and intuition. Audiences may find themselves being tested early on, as an 18 minute Kubrick-esque depiction of the origins of space, time, and life on planet-Earth invade the picture.

The film portrays childhood and growing up in a painfully realistic nature. The boys live on a street where front doors are kept unlocked and days have endless possibilities. No one has portrayed the mysterious plight and perspective of children this well since David Gordon Green did in George Washington. We mostly follow Jack's point of view, and his resentment towards his strict father, whose own morals and actions are deemed forgivable by the person that Jack's dad turns out to be by the end of the film. Also, it's Pitt's layered and conflicted performance that works here as well, playing a man that has offered everything of himself, and has received nothing in return. I didn't experience the same childhood as the boys in the film, but there is so much here to identify with as Malick interjects even the shortest scenes in which the boys experience or are exposed to something that is foreign to them.

The Tree of Life is much more dense and cryptic than I'm making it out to be, the beauty of the film resides in what the viewer makes of it. Malick is subjecting us to his own views on creation, family, life, and death with such a strong conviction that one could make the mistake in thinking that this film was delivered straight from the heavens and into the cinema, truly a religious experience. Tonally, it's different than any other Malick work because it's shrouded in a sort of non-decipherable code. We're supposed to make our own connections with the material, and answer life's grandest mysteries on our own. In comparison with the rest of Malick's filmography, Tree of Life contains the director's most mysterious imagery. Take for instance a shot of Chastain literally floating in midair outside of the house, or a scene in an attic of a giant thin man watching over a toddler on a bicycle.

It's ultimately an ode to memory and a celebration of life. Are man and woman significant entities in the grand scheme of things, is there a certain path in life that will bring us peace? Only by the end of the film does Malick release the vice-grip of sadness and loss that was so palpable during the 1950s segment. The coda and much discussed finale of the film takes place on a beach where Penn's character is surrounded by numerous enlightened wanderers, including his own family and his younger self. I think Malick is saying that life is a collective experience and that all journeys and destinations are communal, much like the cinema, a place where strangers gather in the dark to experience greatness, something that this film aspires to be, and something that it easily surpasses.

Grade: 5/5

The films of Claire Denis

10. I Can't Sleep (1994)
Minor Denis is better than most, but I Can't Sleep feels like an incomplete film. It tackles the real-life "Granny Killer," a serial killer who terrorized Paris during the late 1980s. Small segments of the film can be interesting, but most of it comes off as repressed and un-involving. It's not a bad film by any means, but in my opinion resembles Denis' weakest effort in terms of employing palpable feeling, which she does rather well with her later films.

9. Nenette et Boni (1996)
Claire Denis likes to recycle the same actors in her films, and this is the first film that she uses actor Gregoire Colin. He plays Boni, a late teen who dreams of romanticism. The film traces his fractured relationship with his now pregnant sister Nenette, played by Alice Houri. Like most of Denis' films, this one is very sensual, especially a scene involving Boni and pizza dough. Some would classify this film as a coming of age story, but it's almost as if we meet these siblings past their point of enlightenment. We can relate to these characters and their circumstances, which makes the film feel honest and authentic. Denis is great at inserting familiar songs into her films, and few are greater than the one right here.

8. Trouble Every Day (2001)
Denis' first stab at genre blends audacious and grisly horror with numerous quiet scenes. Trouble Every Day ends up being more tedious than anything, as it occasionally haunts, but more than anything leaves the viewer scratching their head. It includes a great score from Tindersticks, and a creepy performance from Beatric Dalle, but what we see on screen fails to resonate in the end. More often than not, the ambiguity in a Denis film is what makes it great, but this isn't the case with Trouble Every Day. It's worth noting that this isn't a horror film in the traditional sense, but more of a post-modern study of sexuality and violence coaxed in Denis' own aesthetic.

7. Friday Night (2002)
I would say this is the one film in the Claire Denis filmography that stays with you the most after viewing it. While I've only seen it once, it's made me second guess my initial reaction to it upon my first viewing. There is virtually no plot here, as Denis focuses more on the surroundings of the main character Laure, played by Valerie Lemercier. The film is frustrating at times, especially as I found it difficult to initially settle into the film and decipher what it was trying to do. A friend had previously described it as the most romantic end of the world film ever made, this statement is both accurate and absurd. As the film goes on, it's at once charming and ultimately liberating. The final shot alone makes me want to re-visit this film more than any other Denis film simply because of how honest and heartfelt it is.

6. Chocolat (1988)
Chocolat was Denis' debut film, one of three in her oeuvre that take place in Africa. Denis was born in France, but raised in colonial Africa as her father was a French civil servant. This is undoubtedly her most personal film, and definitely autobiographical to an extent. The film starts with a beautiful wide shot of a father and son in the ocean, we cut to a white woman with headphones on recalling some past memory. The film flashes back to the woman as a very young girl, ironically the girl's name is France and she lives with her parents in a colonial outpost in Cameroon. The film tackles relationships and race with such an assured hand, especially impressive given this is Denis' first film. The standout here is Isaach De Bankole as Protee, the family's African servant who develops a strong relationship with France. It's not only a coming of age story, but also an accurate depiction of repressed emotions between races and family members.

5. No Fear, No Die (1990)
Man and animal, paired together as one, but separate entities in Clare Denis' No Fear, No Die. Denis takes a look at underground cock-fighting, as two desperate men look to make internal and external human connections within their own secluded world. Denis regular Alex Descas plays Jocelyn, a subdued rooster trainer quietly boiling on the inside. It's a claustrophobic film in the way Denis seems to have the two main protagonists, the other played by Isaach De Bankole, trapped in their environment, both maintaining lifestyles barely above the poverty line. No Fear, No Die is another example of how Denis portrays sensuality so beautifully, and in this case, so violently. The underlying theme of masculine aggression in everyday business is the heart of the film, as the two men equivocally struggle to keep their sanity and friendship in the most dire situations.

4. The Intruder (2004)
What is easily Denis' most impenetrable and enigmatic film, The Intruder is able to hold one's attention for its methodical and uniquely rhthymic 130 minute run-time. I would deter anyone who isn't familiar with Denis to not watch this first when getting into her work. For most of the film, we follow Louis, a man nearing 70, who has heart problems and is seeking a transplant. This is all that Denis gives us, as the rest of the film plays like a puzzle where Denis gives us a piece here and there, letting the viewer decipher and make of it what they choose. It is however a beautiful film, filled with countless shots ranging from tropical and wintry landscapes. Above all else, Denis seems to have crafted a film about acceptance, this arrives in multiple forms, most notably Louis' attempts to reconcile with his son, himself, and his surroundings. It's a puzzling film, but mildly awarding if you're willing to give it time. It's best to not get wrapped up in the non-linear narrative, and just let the film take you to places you haven't seen before.

3. White Material (2009)
White Material represents another personal work from Denis, as the director revisits Africa in all its beauty and civil turmoil. The female protagonist is Maria, a near oblivious coffee-plantation owner played by Isabelle Huppert, who's looking to salvage her land and humanity among the violent turmoil around her. As the film opens, we don't know if we're at the begging or the end, as Denis often shuffles scenes out of place to keep us on our toes, but it's not for show, the editing in White Material makes sense and serves a purpose. Denis gives us some, but little back story on what has brought Maria to such an isolated and diluted state of mind. She listens to no one in her quest to do what she feels is just, even among all the violence and bloodshed closing in on her and her family. The film's mise-en-scene is vivid and palpable, resulting in a depiction of chaos so far away, yet so close to the viewer.

2. 35 Shots of Rum (2008)
Looks, glances, movement, body language, all of the previous forms of expression encapsulate the characters in 35 Shots of Rum. It's a quiet film, one that tells of the relations between a father and daughter, the young man living upstairs from them, and a female cabbie, each living in France. All four people blend together in some form of extended family that feels distant, yet so familiar to us. 35 Shots is vintage Denis for many reasons, it contains the most humane depictions of loved ones moving closeer and further away from each other through the most subtle and non-telling ways. By now it's no secret that Denis is not big on plot, 35 Shots represents another departure from traditional storytelling. The film isn't fractured or non-linear, but there is little dialogue and no signs of Denis spoon-feeding her audience here. The film contains a loving warmth that is present in so many scenes, most notable is this one, another signature moment where Denis uses music and dance perfectly. The film captures city life, transit, and personal independence in such an accurate manner, by the time the end rolls around, Denis provides us with a subtle last shot, both sad and life-affirming.

1. Beau Travail (1999)
A lot of Beau Travail is murky for me, since I've only seen it once, about a year ago. But it only took one viewing for the film to leave me with a lasting impression of not only the film, but for Denis as an auteur. The film tells of an ex-Foreign Legion officer recalling his once glorious life, leading troops in Africa. One of the troops, played by Denis regular Gregoire Colin attempts to add some humanity to the rigorous and sometimes monotonous life of these soldiers. It's all routine for these men, void of any real human interaction, the military routines dominate every aspect of their lives. The film is about losing, and maintaining the substance in our lives. It also plays as a certain competitive and sensual triangle between some of the men. Denis isn't concentrated on one particular view or theme here, molding the film into a rhythmic, yet harsh dance between these soldiers and their superiors, the most notable one played by Denis Lavant. I have never served in any type of Military outfit, but Denis frames and tells this story in such an admirably draining manner that feels supremely familiar. The film offers multiple viewpoints, each from the soldier's and officer's point of view. Each force is desperate to survive alongside each other's company, this dynamic comes full circle in the hauntingly beautiful final scene where movement, color, and rhythm all serve as clues to the fate of a certain character.