Tuesday, April 26, 2011

Water for Elephants


"Water for Elephants"
Starring: Robert Pattinson, Reese Witherspoon, Christoph Waltz, Hal Holbrook, Paul Schneider
Directed by: Francis Lawrence
122 minutes
USA/2011

Pay little attention to the advertisements and marketing strategies that suggest Water for Elephants is a nice little prestige film to end the spring film season on. Here is a film with with no imagination, save for the outrageous notion of casting Robert Pattinson as the lead protagonist. Now, judging by where this is headed, one could guess that Elephants is a complete waste of time, and for the most part it is. But, for those who throughly enjoyed the novel, is this a complete waste of time?

In my estimation, Water for Elephants probably plays better on the page than on the screen. While watching the film, it's easy to identity the parts that would play out well in the novel. The film starts in present day as an old, but cognizant man stands in front of a circus entrance as it's closing for the night. This is Jacob, played by veteran actor Hal Holbrook. He's wandered from a elderly home and finds himself reminiscing with a circus aficionado, played by Paul Schneider. As they get to talking, Jacob notices pictures on the wall reminding him of his youth, his eyes start to water and soon enough Jacob is telling this man his life story. Sure enough, Robert Pattinson plays the younger version of this man. Pattinson's Jacob is a clean cut veterinary student days away from receiving his degree when tragedy strikes. He eventually stumbles onto a train containing a third-rate traveling circus, run by the sadistically charming ringmaster August, played by Christoph Waltz. August's wife Marlena, decked out with platinum blonde hair and a slim build is played by Reese Witherspoon.

It's all very familiar, and familiar is fine as long as the film has some interesting perspective or nature about itself. No such luck here, Elephants is perfectly content with presenting the most watered down and sappy narrative, coupled with the tragic flaw of its main characters having zero chemistry. It's the young Pattinson, who lacks serious depth. In this film, Pattinson's bread and butter acting move is a reactionary smile, or a telling laugh that is repeated way too often. He holds the film back, not from being great or even good, but from being tolerable. The love triangle between Jacob, Marlena, and August is hardly convincing, each actor seems to be acting in a different movie. Witherspoon is neither awful or memorable, just caught up in sub-par work that must've seemed intriguing at the start. Waltz, who delivered the best acting performance in 2009, is going through the motions here, but he at least carries a presence with him when he's on screen.

After the first third, the film slogs along at a snails pace, and there are no pit-stops throughout that provide an ounce of comedy or excitement. You would think a film revolving around a traveling circus would possess a few secondhand quirky characters that could get a chuckle out of the audience, not a chance. We're being tortured as much as the elephant in the film, who is repeatedly abused by August for not performing the right tricks. But don't worry, there is a remedy to the elephant's problems, just speak Polish to it and all will be fine.

Water for Elephants was directed by Francis Lawrence, who made the semi-bearable sci-fi films Constantine, and the more recent I Am Legend. Lawrence has no strangle hold on this film, as many scenes wander astray without providing the hint of who these characters are and what they want. The look of the film is shrouded in a depression era sets, all having little creativity or sense of wonder, like the elephant, we're trapped in this glorious mess.

Grade: 1.5/5

Sunday, April 24, 2011

Reel Time: Episode 3



In our third episode, Derin Spector, Andrew Cate, and myself discuss the weekend box-office, talk briefly about recent DVD releases of Rabbit Hole and Somewhere, and lastly, delve into this weekend's new release, Water for Elephants. Here is a non-iTunes link, enjoy!

Sunday, April 17, 2011

Reel Time: Episode 2


I'm joined in our second episode by Derin Spector, Andrew Cate, and new guest Matt Vicens. We do a quick box-office recap and get into discussing some Summer releases. Also, we talk about Scream 4 and get into heavy spoilers as well. Spoilers start at the 31 minute mark, and end at the 51 minute mark. The show lasted about 15 minutes longer than last week, but includes its fair share of insight, as well as over the top profaneness. Since there were 4 of us, it might come across as a tad confusing as to who is speaking, but please bare with it.

Monday, April 11, 2011

Hanna



"Hanna"
Starring: Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander
Directed by: Joe Wright
111 minutes
2011/USA

We're introduced to the titular character Hanna while she's hunting in a wintry locale. She stalks her prey with the keenness of a trained solider. As she looks over a dear that she has struck with an arrow, she says to it" I just missed your heart." We quickly learn that Hanna and her father Erik, played by Eric Bana are living a secluded life out in the wild. Hanna, as it seems, has been training all her life for something, a goal and mission that is at once offered up and hidden from the audience. 

Few recent globe-trotting thrillers have had the pulse and artistic exuberance that Hanna possesses. The film consistently defies expectations, as demonstrated by the rapidly paced first act. It's never easy to get your bearings with this one, an off-balance and deftly fresh take on the genre. Director Joe Wright, most known for his skillful precision on films like Pride and Prejudice and Atonement, shows resilience working out of his normal comfort zone. Here, Wright is forcing his newly acquired visually assaulting style of filmmaking onto the audience, and it mostly works. 

The film graciously balances the aspects of a thriller against Wright's artistic flourishes. This combination serves up a different style and a frenzied juxtaposition of action/adventure with a coming of age fairy tale. The motivations of Erik passed forth to Hanna are what drives the otherwise passive narrative. Their sights are set on Marissa, played by Cate Blanchett, who is clearly having fun as a cold intelligence agent. Blanchett is somehow never on autopilot here, portraying Marissa as an icy bitch with a big secret. She weaves in and out of the story, but dispatches a few less than menacing assassins to track down Hanna. The most notable is Issacs, played by Tom Hollander, mysteriously flamboyant in nature. 

At times, we conclude that we've been on this journey before, but with the young Ronan as our catalyst, we're reminded of how dynamic she can be. The film's exotic background, coupled with the confident direction from Wright, makes Hanna one of the most worthwhile things that have been released this year. There's also that catchy score by the Chemical Brothers, that'll have you tapping your feet to throughout the film. The coupling of the young Saoirse Ronan with Joe Wright is a formula that works. After two efforts together, this could become a collaboration that lasts for a while. 

Grade: 3.5/5

Sunday, April 10, 2011

Reel Time: Episode 1


In this weekly podcast, which we're calling "Reel Time," Derin Spector, Andrew Cate, and I talk about some earlier 2011 releases, including Limitless, Source Code, and the upcoming film Hesher. We also talk about the trailer for Lars von Trier's Melancholia. Lastly, we reviewed the new Joe Wright film Hanna. Despite some minor technical flaws, it ran pretty well for a first show. Please, have a listen.


Sunday, April 3, 2011

Source Code




"Source Code"
Starring: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright
Directed by: Duncan Jones
93 minutes
USA/2011

Duncan Jones' sophomore effort Source Code, has the familiar texture of recent and past sci-fi films that deal with time travel, alternate realities, and fate. It's Jones, son of David Bowie, whose first feature was the tightly crafted Moon, which was recognized and appreciated by critics for its tight knit story of alienation in space. Sam Rockwell received raves for his performance in that film, but this film is perhaps more accessible, and should provide the spring film season with a nice little jolt. With Source Code, Jones proves once again he has the chops as a visual storyteller, no matter how recognizable the narrative of Source Code may be.

Source Code wastes no time thrusting the viewer into its discombobulating world. Jake Gyllenhaal plays Colter Stevens, an Army pilot who mysteriously wakes up on a Chicago bound train with no recollection of how he got there. Sitting across from him is Christina Warren, played by Michelle Monaghan. She recognizes him as a teacher named Sean, but Stevens' can't put the pieces together. A few minutes later, the train explodes killing everyone on board. Stevens then awakes in a darkly lit module where he's being monitored on a screen by Collen Goodwin, a government agent played by Vera Farmiga. Goodwin is asking for the identity of the bomber of the train. Pacing around her in the background is Dr. Rutledge played Jeffrey Wright. Both play their part in keeping Stevens in the dark, while continuing to thrust him back onto the train in the eight minute span before it blows up. Speaking anymore about the plot, would be a disservice to the viewer.

If this all sounds like a rift on Groundhog Day, or even the underrated Tony Scott film Deja Vu, that's because it basically is, except Source Code has its own little niche of originality which separates it from the previous films mentioned. One of the best components of the film is its brisk pacing, and the proper sense of urgency that is appropriately executed throughout the film. Screenwriter Ben Ripley does a good job of placing us in the shoes of Stevens, as we the audience are playing detective along with the protagonist.

The film doesn't delve as far into the rules of its own universe as we might think. Stevens is quickly briefed on what source code is by those monitoring him, and we're basically just supposed to go with it and accept how far fetched it is. It all worked for me, but audiences may find themselves thinking "been there, done that" many times throughout.

Gyllenhaal, who has appeared in recent duds such as Love and Other Drugs and Prince of Persia, is instantly likable and believable in his role. For my money, he's just as reliable as many other A-listers out there when utilized properly. While this isn't his best performance, we totally buy his character and its fun watching him weave his way in and out of dismay. Michelle Monaghan is always lovely, but isn't really given much to do here, she's an underwritten love interest at best, but for whatever its worth, her presence is always felt. Farmiga and Wright as the seedy, and mysterious "higher ups" aren't bad in their roles, but Wright is hamming it up here, while Farmiga's character may or may not be sympathetic to Stevens' plight.

As Source Code moves along, the film briefly touches on other ideas and themes, but they never feel forced or out of touch with the overall tone of the film. Jones has managed to make a nice little sci-fi film that has a slight "Hitchcockian" touch, and a heart at its core. The director is now two for two, and should get a little more artistic freedom for his next film if this one pays off.

Grade: 3.5/5

Friday, April 1, 2011

Insidious



"Insidious"
Starring: Patrick Wilson, Rose Byrne, Ty Simpkins, Lin Shaye, Barbara Hershey
Directed by: James Wan
102 minutes
2010/USA

James Wan's Insidious is an easily identifiable hybrid between the Paranormal Activity films and The Amityville Horror. There's nothing subtle about its approach, save for its highly effective first half. The overwhelming title cards drenched in blood are almost used as warning signs, informing us that this won't be anything new, special, or memorable.

For the most part, the lead actors are up and ready to take on this material. Patrick Wilson and Rose Byrne play Josh and Renai,  a married couple with three young kids. The poster for the film makes you think that one of the boys, Dalton, represents some sort of Omen-esque child that will serve as the main scare and attraction. He's perfectly normal when the film starts, as are the parents, who have just moved into a new house. The usual occurs as Renai finds things out of place and hears weird voices over the baby monitor.  Soon, Dalton goes into an unexplained coma after falling and hitting his head after "exploring" the attic. The doctors haven't seen anything like this before, a child with nothing wrong mentally, but one who is unable to wake up. Dalton is then shipped back home where something is wrong.

Leigh Whannell's unbalanced script is what forces the film into utter dismay. After the tight pacing of the first half, which contains some serious scares, the film goes overboard by interjecting special effects, an awful seance scene, and some goofy "ghostbuster" archetype characters. Whannell sacrifices chilling jolts for over the top nonsense. He's not going for honest characters and true psychological horror, few can pull that off, but he and director James Wan are striving for a more flamboyant style that throws the film off-base.

Not all of Insidious is bad, as I mentioned earlier, Wilson and Byrne are game here, and there are some truly horrific images, but it's not enough in the end. One can get through Insidious and its overbearing nature by realizing that this material is actually better than the previously mentioned Paranormal Activity films and ANY of the Saw films. The best horror derives from the notion that less is more, and Insidious is at its ultimate worst when explanations and answers are given out.

Grade: 2.5/5

5 best films seen in March

Films seen: 17

Chinatown (Polanski, 1974)

Close Up (Kiarostami, 1990)


Le Samourai (Melville, 1965)


Claire's Knee (Rohmer, 1970)


Inside Job (Ferguson, 2010)