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

Toy Story 3

"Toy Story 3"
Starring: Tom Hanks, Tim Allen, Joan Cusack, Ned Beatty, Don Rickels, Michael Keaton

The magic and allure of Pixar films have never been at a more palpable high. Coming off a best picture nomination with "Up," the studio is widely known to produce the best, most consistent films, that can appeal to every demographic. In quite possibly the worst Summer for popcorn flicks in over 5 years, "Toy Story 3," arrives and manages to produce true escapism, Pixar has saved the day once again.

The last installment of the series was way back in 1999, we last left our characters as they were thrown into the misfortunes of a toy collector and his obsession with Woody. Now, the lifetime owner of the toys, Andy, is grown up and ready for college. As the film opens, Woody and company hatch a last ditch effort to attempt to make themselves not so forgettable in the eyes of Andy. Their best bet and lonely future may reside in the attic, a fitting place for the past remains of a growing boy.

Tom Hanks and Tim Allen reprise their roles as the voices of Woody and Buzz Lightyear, whom fought for most popular toy supremacy in the first installment. Now, along with the rest of the gang, they're shipped off to Sunny Side Daycare Center, which seems like the afterlife for once popular toys. Upon arrival, it seems like not such a bad place after all, in fact, Andy's toys will  always have a place where they're noticed and played with. Of course, Woody has other plans after their first go around with the kids doesn't go so well.

The genius of the film is that it takes its time to remind us why we loved the first two installments. It doesn't dwell on past jokes, but re-introduces us to the dynamic identities and humor of each of Andy's toys. We all know Woody is heroic, Buzz is a half-witted but lovable goof, Rex is eager, Slink is loyal, Mr. and Mrs. Potato Head are cynics, Hamm is sarcastic, etc.  The beauty is in the writing and the implementation of new jokes and scenarios for these characters.

Once the toys move to Sunny Side, some new and interesting toys are introduced. The main ones include Lotso, the overstuffed pink bear and patriarch of Sunny Side who has a tortured past. Ken, the lanky dreamboat doll voiced by Michael Keaton, whose character the writers must have had the most pleasure writing, and Big Baby, a large doll who does Lotso's dirty work.  Lotso appears friendly at first glance , but has other plans for the new toys, placing them second in the pecking order of Sunny Side.

The film turns into a prison break thriller, pitting Andy's toys against the tyrant Lotso and his toys. Can Woody get all of his friends home safely before Andy leaves for college? The film is a nicely paced nostalgic journey spanning 15 years and ending on a breathtaking high note. Only Pixar could have done it, the charm and overall success of the film could earn itself a Best Picture nomination in what is already a fairly weak year for film.

Tetro

"Tetro"
Starring: Vincent Gallo, Alden Enrenreich, Maribel Verdu,

Francis Ford Coppola's "Tetro" is a nice return to form for the 71 year old director, whose last film, "Youth Without Youth" was dismissed by most critics. "Tetro" combines melodrama, family secrets, confessions, sibling rivalry, sins of the father, and many other themes into it's 127 run-time. Coppola, has gone back to his UCLA roots to write this original work which indicates more than a personal account for him.

The film centers on two brothers,  Bennie, played by the charismatic and boyish Alden Enrenreich, a near twin to Leonardo Dicaprio, and Tetro played by Vincent Gallo. The film starts as Bennie flees to Buenos Aires to seek out his long lost brother who he hasn't seen in years. Bennie arrives at Tetro's door seeking answers to his brothers present and past. Tetro lives with his wife Miranda (Verdu) whom takes an immediate innocent liking to Bennie; Tetro disapproves of Bennie's visit altogether as Bennie starts asking questions.

"Tetro" is shot in beautiful black and white, which adds to the mystery and puzzle of the film. It's a straightforward narrative, with revealing flashbacks sprinkled throughout to shed light on Tetro's past. The brothers don't have much in common, except they like unnerving each other, especially Bennie, whom turns Tetro's life upside down with his arrival in Buenos Aires. Coppola gets to the bare roots of family betrayal, tragedy, and melodrama, but takes his time telling this familiar yet textured story.

The story of the two brother derives from a fractured lineage, much of which is unknown to the innocent Bennie. Gallo portrays Tetro with tortured eyes and a broken soul, but it's hard for the viewer to sometimes sympathize with his cold nature. But, it's Enrenreich who is the stand out here. His natural looks combined with his acting talent mark him as an actor to look out for. His Bennie would not exist without Tetro, and vise versa. They're two souls marked by past digressions, can they escape and land on higher ground? This is what Coppola asks throughout.

Coppola also enjoys the idea of life imitating art, this is perhaps the underlying theme of "Tetro," which feels like Coppola's most autobiographical work. It's a true return for him, and we're happy to have him back making honest and heartfelt material.

Mad Men 1.4

New Amsterdam

Pete and his wife go apartment shopping, but come across something that they'll need a little help paying for. Pete's father declines, but his in-laws are more than happy to help. Don and Pete come into conflict when Pete tries to lure in a customer at a bar with his own ideas. He ends up fired, but asked back due to the reputation of his family. Betty watches Glen, as he becomes strangled infatuated with her, he asks for a lock of her hair. 

Grade: 8/10

The Road

"The Road"
Starring: Viggo Mortenson, Robert Duvall, Guy Pearce, Kodi Smit-McPhee

John Hillcoat's "The Road" is so steeped in dread, yet it's all a little hard to take serious. The film adapted from the successful novel by Cormac McCarthy, tells the post apocalyptic tale of a  father and son's journey across many barren and gray landscapes. The sky is forever dark, not many humans exist, except for the father and son, numerous other survivors, and packs of cannibals that roam the streets on trucks.

Viggo Mortenson plays the father, a loving and protecting man who once had a wife as we're shown through flashbacks. The wife is played by Charlize Theron, whom gets around 10 minutes of screen time. The young boy is played by Kodi Smit-McPhee, he lacks the natural talent of a youngster to elevate his important scenes with Mortenson, but is mostly serviceable.

The production design is fantastic in depicting the harsh and unforgiving terrain that the father and son must get through . We never learn exactly what caused the global  catastrophe, but it's really of no relevance to the plot. Hillcoat's attempts to create a haunting and treacherous journey for the father and son are taken away by moments that simply don't pay off. It's hard to buy most of the material here, perhaps this was a book that contained an unattainable vision on the big screen.

"The Road" suffered from production delays before it's initial release last November, it opened to middling to good reviews, but failed in its attempt to grab the Academy. The film will have no lasting impact and might as well stand alone with other post apocalyptic blunders.

An Education

"An Education"
Starring: Carey Mulligan, Peter Sarsgaard, Alfred Molina, Olivia Williams, Emma Thompson

Carey Mulligan plays Jenny, a smart as a whip 16 year old living with her parents in 60's London. She does well for herself in school, well enough that she aspires to attend Oxford in her near future. One day, she meets a polite man named David who charms her home from school one day during a down pour.

David seems to good to be true, he's a an older fellow played by Peter Sarsgaard. Her parents disapprove at first, but let their guard down once David charms them over as well. It's a familiar story with not much depth or subtlety, the screenplay written by Nick Hornsby is proper, well groomed, but lacks since it virtually has nothing to say.

We follow young Jenny and David along as he shows her Paris, fine dining, nice clothes, cigarettes, etc. We learn more about him and who he is, but we see it coming from a mile away. When the last act comes around, we are stranded wishing for more. 

There are some redeeming qualities, for instance, Mulligan is terrific. She goes for broke and makes Jenny not some forgettable young teen, but we feel as if she is the woman her Jenny aspires to be. Sarsgaard is serviceable, his accent is terrific, but that may be it. Molina's fiery father is good also, as he provides an occasional spark to the film.

The film was nominated for Best Picture and I can see why. There wasn't a lot to pick from and it probably charmed many academy members, just like the David character. 

Mad Men 1.3

Marriage of Figaro

Rachel Menken accompanies Don around her store and they develop a mutual attraction for one another. Pete returns from his honeymoon and informs Peggy that their one night together was just that, a one night stand. Don is caught off guard when a man on a train calls him by the name of Dick Whitman. Most of the episode centers around Don's daughter's birthday party at the Draper home. Some friends gather, and it's apparent that Don isn't satisfied with his comfortable little life. A nice episode with some long scenes. Not much happens, but this episode develops the Draper family and the hellish existence of Don's perfect little world.

Grade: 8/10

Mad Men 1.2

Ladies Room

Betty Draper is feeling anxious and visits a doctor at Don's request. The boys take Peggy and Joan to lunch, Peggy learns of a bet between them. Pete is on his honeymoon, with Peggy anxiously waiting his return. Don's latest problem lies with crafting a proper ad for Right Guard. Don continues to see Midge. Pressure is put on Roger and Don to start advertising for Nixon. 

Grade: 7/10

Mad Men 1.1

Smoke Gets in Your Eyes

The very first episode introduces us into the world of successful ad master Don Draper. Times are changing, and if Draper doesn't keep up with the youngsters at his firm, they'll take his spot. Peggy, a nervous and brand new assistant is hired and takes an immediate liking to the powerful and at times intimidating Draper. A meeting is held with the higher ups of a tobacco company to mull over future ad's. Draper has nothing planned for the meeting and considers himself finished. He returns to his wife and young daughter at the end of another long, but prosperous day. Peggy has a late night visitor.

Grade: 8/10

Iron Man 2

"Iron Man 2"

Starring: Robert Downey Jr, Gwyneth Paltrow, Mickey Rourke, Scarlett Johansson, Sam Rockwell, Don Cheadle, Samuel L. Jackson

Iron Man 2 looks solid on paper, but the film is anything but. Director John Favreau returns as director, and this second installment has lost most of the charm and wit that made that its predecessor successful. Robert Downey Jr. returns as Tony Stark, the billionaire playboy turned superhero. Stark has basically solidified world peace with his Iron Man suit, but the government wants the suit handed over to them. His girlfriend Pepper Potts (Paltrow) is now CEO of Stark Industries, she has less tolerance for his wild antics than the government. 

Mickey Rourke takes the reigns as the key villain of this film. He plays Ivan Vanko, a Russian with a family vendetta against the Starks. Rourke works well in the role as his sparse dialogue and presence is just enough to create a formidable villain for Stark. There is also Justin Hammer (Rockwell) an industrialist who has his own plans to take down Stark. Rockwell is perfect for this role, he’s an arrogant, and easy to dislike “higher up” that seems to be having fun with his role. 


The motivations of the villains remain the same as in the first film. Hammer and Vanko trying to produce replicas of the Iron Man suit. Vanko for himself, Hammer trying to make dozens of replicas to for his own personal gain. 

Oh, there’s more. Scarlett Johansson plays a sexy superspy that has correlations to S.H.I.E.L.D, which is hinting at the future Avengers film. Samuel L. Jackson plays Nick Fury; he doesn’t do much, but arrives just in time to give Stark the appropriate knowledge of how to save the day. There’s also Don Cheadle, who has taken over for Terence Howard in the role of Colonel Jim Rhodes, a friend of Stark, and a militant straight shooter. 

The script is bloated with characters and plot strands, but no actual plot. Screenwriter/Actor Justin Theroux’s script doesn’t include the bare bones wit between Pepper and Tony from the first film. Sure, it’s there, but it’s not as funny. The film has a few action sequences, few are fun or impressive. The middle part of the film lacks, it’s a flabby 2nd act that bores its audience. 


There is some fun to be had, Downey Jr. is always reliable, and it’s fun to watch Rourke and Rockwell in there respective roles, but the purpose of the characters is somewhat buried in spite of this franchise trying to be funny instead of exciting. The first Iron Man worked well because it blended its origin story perfectly with the necessary action scenes. Iron Man 2 has its mood swings, and the film ends up as a letdown in the end.

Undoubtedly there will be one more film to round out the trilogy and possibly an Avengers film which Stark’s character would appear in. Director Favreau and his cast are no doubt having fun, but something is wrong here, the wonder and excitement of the first Iron Man are gone.

35 Shots of Rum

"35 Shots of Rum"
Starring: Alex Descas, Mati Diop, Nicole Dogue, Gregoire Colin

 Claire Denis is widely unknown amongst American movie-goers, but remains an important figure in modern film making today. Her 2008 film 35 Shots of Rum is a minimalist look at 4 people all living in the same apartment complex in a French suburb.  At first, we don't know the relations or proximity of these people, and by the end, we're still unsure, but we've learned much more about their being, and social placement.

Alex Descas plays Lionel, a train conductor who doesn't say much, but conveys feeling and emotion with his facial expressions. He has an extremely close relationship with his daughter Josephine played by Mati Diop. Josephine is a student, and works at a local Virgin record shop. Denis provides simple opening scenes of Lionel and Josephine eating and preparing dinner for one another, we know they're close based upon their body language and rather sparse, but revealing dialogue. 

The film gives insight into complicated relationships, Lionel is a widower, but has relations with a past flame named Garbrielle, played by Nicole Dogue. She drives a cab, and on most nights smokes on her balcony waiting up for Lionel to come home from work. Then there is Noe, a friend and love interest, in no apparent order to Josephine. Noe is a confused male, maybe a few years older than Josephine who travels consistently and tells Josephine he's considering a job in Gabon.

The mood of the film is pitch perfect, we look in on fleeting moments that shape our characters, some of the most powerful moments shown are expressed through looks, gestures, or silence. 35 Shots of Rum hasn't the hint of narrative, exposition, or predictability,  it's a sensual, slice of life portrait of four people looking for what's coming next. Even the audience is unsure of these characters motivations, but Denis' craft lies in her storytelling, and the craft molds this beautiful, seductive film.

Wings of Desire

“Wings of Desire”
Starring: Bruno Ganz, Solveig Dommartin, Otto Sander, Peter Falk

Wim Wenders’ 1987 film touches upon virtually every human emotion with truth and heavenly nuance; Wings of Desire is the story of angels, memory, and love. The film is also a visual love letter to Berlin, and all of its past transgressions. It’s a loose story that takes its time following two angels, Damiel (Ganz) and Cassiel (Sander). We view their daily routine of watching citizens of Berlin live daily. They absorb the thoughts and actions of these people; looking in from time to time and gathering notes or stories about human life that they share with each other.

Damiel, whom is already longing for more complex emotions, rather than those of his own kind, begins to fall for a female trapeze artist whom is lost within. The woman is Marion, natural in beauty, and empty with the hopes of connection and purpose. Wings of Desire maintains its identity throughout. It’s a love letter to cinema, and possesses a patient buildup of perspective, identity, and longing.

Greenberg

 “Greenberg"

Starring: Ben Stiller, Greta Gerwig, Rhys Ifans, Jennifer Jason Leigh

           Noah Baumbach’s Greenberg has the slight hints of a new direction for the talented writer/director. Instead, Greenberg is a familiar take on an anxiety filled 40 something played by Ben Stiller. Stiller at the age of 45, rarely gets the chance to shine in a dramatic role. Here he plays Roger Greenberg, an unstable carpenter from New York who is called to LA to housesit for his wealthy and disapproving brother.

            The film takes place in and around the Hollywood Hills as we spend two weeks with Greenberg, whom recently had a mental breakdown and doesn’t have many friends. He’s happy with doing nothing for now and likes to drink. He takes a liking to the family assistant that helps his brother’s family out. Her name is Florence, and she’s played by newcomer Greta Gerwig, who has made her name after appearing in a few Mumblecore films. Gerwig has a natural presence and beauty that make her an actress to watch in the future. Her small tics and line deliveries may not be viewed well by others, but I think Gerwig is far more interesting than what meets the eye.

            Roger and Greta are hardly the best match for each other, his cynical and unsettled psyche don’t mix well with her good hearted, yet ultimately un-sure nature. But, they’re slightly fun to hang around with. They develop an awkward little relationship that stretches the film outside the audience’s expected comfort level. Baumbach likes to take risks, but Greenberg feels safe in comparison with the director’s previous works. This lack of risk works in a negative way for the film. The director had made his best film based off of dozens of cringe worthy moments; Greenberg may have one or two of those moments in all of its 100 minute runtime

            As I mentioned earlier, Stiller fits nicely into this role that Baumbach could have fully processed for him. Greenberg is alienated from all but a few past friends band mates, one is his closet friends Ivan, played by Rhys Ifans. The others resent Greenberg’s wish to shun away a past record deal. His lack of connection has driven him towards a life of uncertainty and criticism towards almost everyone. He writes small complaint letters to companies like Starbucks and American Airlines enforcing his blunt opinion in one paragraph.

            Baumbach’s film is interesting and insightful at times, but it folds under its own wishes and pretenses. Character studies have always been Baumbach’s niche, but the main protagonist comes off as more dull than dynamic. Stiller isn’t at fault here; he clearly understands the character and brings his A-game. Baumbach appears to have had the idea of a strong character, but didn’t write him all the way through.

            Baumbach is stunk in a funk; he may have peaked with The Squid and the Whale back in 2005. He has collaborated with his current wife Jennifer Jason Leigh on his last two films; she also has roles in both. His talents are noted, and each film is stamped by his signature style, but something needs to change.

            Something is to be said about the look of the film. Harris Savides, who shot Baumbach’s last film, captures the glow and essence of LA. Space is given to the actors, as they’re free to roam in their environments; this is much of what the film consists of. Greenberg may never figure himself out, but Florence is drawn to him for reasons I can’t imagine. They may have a future, they may not. Their interactions are far from normal, as both are living a day, and a feeling at a time.

Crazy Heart

"Crazy Heart"
Starring: Jeff Bridges, Maggie Gylenhaal, Colin Farrell, Robert Duvall
Grade: B

61 year old Jeff Bridges is on his way to Oscar gold after his honest portrayal of country legend Bad Blake. The film directed by first time film-maker Scott Cooper is a nostalgic and familiar path traveled by recent films such as 2008's The Wrestler, and just about every other film that tells the tales of a broken down legend on the last leg of their career journey.

It's Bridges whom gives the story juice, as it's no secret that the script alone wouldn't suffice. This is no knock on Cooper who also wrote the film, Crazy Heart has a recognizable tone and mood all of its own. Bridges has had a long, successful career, many may even say that he's gone unnoticed by his peers. Well, not this time around, Bridges delivers what may go down as his best performance, a true through and through ballad of a faded chain-smokin, boozin country legend. It's a shame that it took someone this long to write a layered character for Bridges to plays. He possesses the weathered posture, and broken down, but never too late mindset that makes Bad such a likable guy.

Bad Blake is broke, and has played in to many bars with to many pick up bands over the years. He's been married four times, and has his own close relationship with the bottle. As he travels he's surely recognized, he usually beds the token  female fan who can't help but request a certain song for Bad to play. He's broke, alone, but mostly gets by on his routine gigs in bars and even bowling alleys.

Bad is pressed by his agent to open for his long time protege, turned country god Tommy Sweet, played by Colin Farrell in an effective role. Bad and Tommy apparently have had a rocky history, but are willing to let the past fade since each can make money for another by Bad writing Tommy some songs to record. A female reporter also enters Bad's life. Maggie Gyllenhaal plays Jean, a good hearted Santa Fe mother looking to write a nice story, maybe even shed some light on Bad's faded career and current state. Jean is 20 years younger, but is easily charmed, the two start seeing one another. Bad is playful and humorous enough of a guy to enjoy the company of Jean's young son Buddy, this too must also attract her to him.

Crazy Heart focuses on the most important thing it can, which is Bridges performance. As the film progresses, it's not hard for one to guess what may come next. It's all routine, just like Bad's sad life. He has a son, but hasn't seen him since the boy was four. The great Robert Duvall even shows up halfway through the film as Blake's dad, a bar owner who treasures and understands his son.The two share some good moments in the film, which at times gives us a break from Gyllenhaal's character.

The film was shot in 24 days, it has the appropriate feel and pace that you'd expect . It doesn't linger too long on themes of regret, sentiment, and past mistakes, but the script is certainly dipped into each one of those ideas. Crazy Heart glides along on a wave of admiration and comfortable presence , it's such a joy to observe the in the moment honesty of Bridges' performance. Farrell, Gyllenhaal and Duvall all turn in nice work that rounds out the picture . It's a nice little film that doesn't overstay its welcome, it sails off just as its lead character heads toward another journey.

Cries and Whispers

"Cries and Whispers"
Starring: Harriet Andersson, Kari Sylwan, Ingrid Thulin, Liv Ullmann
Grade: B+

Cries and Whispers is a haunting yet life-affirming entry by Bergman. It tells the story of 3 sisters, one of whom is very ill and is near death. As the picture starts, we aren't sure of their personal proximity and closeness, only that Agnes lay in almost unbearable pain.

The film focuses on the oppressed anxieties, feelings, and regrets of the sisters and their made Anna. Bergman weaves us through past vignettes of each sister as we get some view of their past and how it has shaped them up until the present moment. The present moment is certainly bleak, Agnes shrieks in pain, a doctor visits and informs the sisters she doesn't have much time left.

The beauty of this work by Bergman is how he juggles the themes effortlessly. Cries and Whispers isn't a pleasant watch in the least bit, but every passing minute is treated with grace and intimacy by Bergman. His color palette is ever present, especially the color red which entrenches the fade outs and color scheme of the sisters estate.

Bergman's ability to analyze and bring to the surface the past episodes of these women is what makes the film extra rich. The acting is all extraordinary, each women has her own identifiable way of hiding and revealing themselves, this is what makes Cries and Whispers devastatingly real and palpable.

Shutter Island

"Shutter Island"
Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Michelle Williams, Emily Mortimer, Max von Sydow, Jackie Earle Haley, Elias Costas
Grade: B-

The premise of Shutter Island is simple; a violent female inmate has escaped a prestigious prison located on an inescapable island. The film takes place in 1954, as the film begins, two U.S. Marshalls are on their way to the island to investigate the disappearance. DiCaprio and Ruffalo play the marshalls. They're welcomed to the island but something is definitely wrong. They do their standard questioning and hunt for clues, but even the staff is acting odd, and patients are imploring for Dicaprio's character Teddy to leave.

The novel Shutter Island was written by Dennis Lehane, and now adapted into a film by legendary American filmmaker Martin Scorsese. This is Scorsese's first full length film since The Departed in 2006. The film plods along at its own deliberate pace; it's filled to the brim with exposition and plot twists that try to muddle and distort the big twist from the viewer for as long as possible.

We soon learn that Teddy has his own motives for being on the island, and that there may or not be secret psychological testing going on, under which everyone on the island knows about. Teddy isn't a stable man; Dicaprio plays him with the right amount of jittery brilliance. We see flashbacks of his violent tour in WWII, and of his dead wife played by Michelle Williams. Dicaprio has starred in three Scorsese films before this one. They're trust for each other has to be potent since Dicaprio is the vessel for Teddy's off-balance, guilt-laden protagonist, he does just enough in this role, and is usually good at playing these types of guys.

Shutter Island is successful in all of its atmospheric aspirations, there's a gothic tone and a feeling of muted dread running through the film. Teddy's flashbacks are filled with haunting yet beautiful imagery. The film was shot by Robert Richardson, who also shot 2009’s Inglorious Basterds. The problem that the film has is infusing the balance between good filmmaking and a plot worth caring about. Teddy is the closest character to sympathize with, but even he leaves us cold throughout the picture.

The rest of the cast is quite good; Ben Kingsley and Max von Sydow play seedy higher ups that don't make things easy for Teddy and his partner. Jackie Early Haley, who also played Rorschach in Watchmen plays an eerie inmate who Teddy seems to know. There is no problem with the acting in this film; all of the players are doing a good job of portraying their characters to the fullest. Kingsley is particularly strong as Dr.Cawley, whom we aren't sure of until the last act. Emily Mortimer and Patricia Clarkson pop up as two versions of the same character. They each have their one scene, and do quite well in their allotted screen time.

Shutter Island does its best to keep the audience on a different playing level. It tries to stay one step ahead of its viewers, but the so called "twist" is easily identifiable. It's a well intentioned noir thriller, with a handful of strong scenes, but in the hands of Scorsese the film should have amounted to more. Even the audience that I watched the film with grew restless as the film wore on, as I mentioned earlier, it's a long slog where the journey is supposedly greater than the end place, by the end, I'd stopped caring.

Hunger

"Hunger"
Starring: Michael Fassbender
Rating: A-

One can literally breathe in the stench of fecal matter and human decay present in Steve McQueen's Hunger. The film chronicles the final days of the true life hunger strikes circa 1981 Northern Ireland. Most notably, the film follows one man's internal struggle and hope for future generations through the act. Michael Fassbender plays Bobby Sands, the leader of the strike who eventually died after 66 days of starvation.

The stunning revelation of this project is that it's McQueen's directorial debut. He brings his eye as an artist and fills each frame with cinematic brilliance. Hunger literally brings the viewer into the prison and has them observe the day to day happenings, none are pleasant. It's technically flawless, but contains no such conventional narrative, we don't even meet Sands until a third or more into the picture. It's a short film, just over 90 minutes, but McQueen's vision couldn't have been delivered more strikingly.

As the film opens, we meet a middle aged Maze prison guard, we watch him view his entire being in the mirror before eating breakfast, something is urking at him. Just before he leaves for work, he checks beneath his car for explosives. This first act of following this man and getting to know his world suggests that the film won't be an easy watch. The 2nd act consists of a new prisoner at Maze, his cell has walls covered in the feces of his cellmate, who resembles Charles Manson in stature. We watch these two men's day-day activities. They know how to communicate via small parcels of paper to the outside world, and when one is suspected of something, he is beaten by a dozen or so officers. The third act is about Sands' martyrdom, and that brutal decay of his body that follows.

My admiration for Hunger extends past the idea that film has its own originality and identity that surpasses other "prison" films. I'm not even sure that you would classify this as the latter term; it exists as an in the moment piece of beauty. The images and movements of the picture are based upon minimal dialogue, and long takes, one includes a 20 minute conversation between Sands and a priest. This conversation sets in place the motives of Sands' plan.

The film presents political ideas, but it's not the direction that McQueen chooses to center on. The political messages and beliefs of the strikers are the basis for the film, but the real art is how McQueen presents this material. There is little dialogue, especially in the beginning and end segments, this matters very little considering how entranced we are with the photography and the silent performances.

Top 10 films of 2009

1. A Serious Man (Joel and Ethan Coen)
2. Where the Wild Things Are (Spike Jonze)
3. Inglorious Basterds (Quentin Tarantino)
4. Up (Pete Doctor)
5. District 9 (Neill Blomkamp)
6. Adventureland (Greg Motolla)
7. The Hurt Locker (Katherine Bigelow)
8. Moon (Duncan Jones)
9. Bright Star (Jane Campion)
10. Bad Lieutenant: Port of Call New Orleans (Werner Herzog)

Almost made it:

11. Sugar (Ryan Fleck and Anna Boden)
12. Antichrist (Lars von Trier)
13. Star Trek (J.J. Abrams)
14. Drag Me to Hell (Sam Raimi)
15. Watchmen (Zack Snyder)

Good:

16. Up in the Air (Jason Reitman)
17. Fish Tank (Andrea Arnold)
18. Avatar (James Cameron)
19. (500) Days of Summer (Marc Webb)
20. The Informant! (Stephen Soderbergh)

Best of the Rest:

Invictus
The Girlfriend Experience
Fantastic Mr.Fox
Zombieland
Goodbye Solo
Funny People
Public Enemies
I Love You, Man
The White Ribbon
World's Greatest Dad
The Box
Bruno
Big Fan

Didn't care for:

Paranormal Activity
The Imaginarium of Dr.Parnassus
In the Loop
Brothers
Away We Go
The Men Who Stare at Goats
The Hangover
Terminator: Salvation
Transformers: Revenge of the Fallen

Didn't see:

Bronson
The Cove
The Road
A Single Man
An Education
Summer Hours
A Prophet
Precious
Crazy Heart

The Imaginarium of Dr.Parnassus

"The Imaginarium of Dr.Parnassus"
Starring: Christopher Plummer, Heath Ledger, Verne Troyer, Tom Waits, Colin Farrell, Jude Law, Johhny Depp, Lily Cole, Andrew Garfield
Grade: C+

Terry Gilliam's Dr. Parnassus isn't as weird as it should be. Rather, it's maddening in the ways that it manages to be dull and un-involving. It meanders at it's own pace until it flares up for a few minutes, only to bring you back to it's rather un-interesting level of mediocrity.

The film follows a traveling circus group who perform in the streets of modern day London. The outfit consists of the old and weathered Dr.Parnassus, played by Christopher Plummer. His daughter Valentina, played by Lily Cole. A young man named Anton, around the same age or older than Valentina played by Andrew Garfield, and the midget oddity Percy, played by Verne Troyer. The outfit is struggling for money and meaning until they happen upon a suicidal drifter named Tony played by the late Heath Ledger.

Most will remember The Dark Knight as Ledger's final curtain call, but Parnassus was truly his last role. He's as charismatic and oddly charming in this film as one would expect, though his role isn't fully fledged for it to stand out on his short but accomplished resume. Ledger is what makes the film watchable, when Parnassus' outfit finds him, he's hanging over a lake. He becomes apart of there group, and brings new wrinkles and a fresh presentation to attract customers.

The film plays out on it's own terms, as all films should. With Parnassus, there is no destination, no significance, or even the hint of excitement. It has small moments, but with all of the intrigue seen in the trailer, and with the help of a talented cast, Gilliam's film amounts to very little. Johnny Depp, Jude Law, and Colin Farrell all make appearances, they filled in for Ledger after his death. Farrell is given the most to do, but each of the three are just footnotes to the picture.

There is the character of the devil, played by Tom Waits. His duel or "game" with Parnassus is the basis for the film. It's a twisted morality play, played out in modern London. As soon as humans enter the mirror in Parnassus' sideshow, there imagination is played out, or controlled, and they must choose between The Devil's temptation or to be spit back out of the Imaginarium. It's all very interesting, wink wink. While I didn't despise the film, one must wonder where the script and direction went wrong? Gilliam's visual's are mildly inspired, but they aren't as fun or intriguing as they should be.

The film wraps up nice and neat, and while I'm not even sure how everything happened, I didn't really care to know. Parnassus isn't dangerous enough, weird enough, or strange enough to make it's audience feel entranced by its surreal elements. When you're dealing with a film like this, it would have been wise for Gilliam to go all out, instead, the director teeters on fairy tale and mild danger, and the film suffers for it.

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.

Fantasic Mr.Fox

"Fantastic Mr.Fox"
Starring: George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Willem Dafoe, Owen Wilson.
Grade: B

Wes Anderson has stuck to his vision and created another entertaining, if not thoroughly engaging film. While his better films reside in the first half of his career, Mr. Fox is certainly an upgrade over the emotionally tepid, "The Darjeeling Limited." This is Anderson's first go around with animation, and it results in a nice, and delightful fit.

George Clooney, who is appearing in almost everything these days, voices Mr.Fox, the cunning and witty husband to Mrs.Fox, who is voiced fittingly by Meryl Streep. Their angst ridden young son Ash, is voiced by Jason Schwartzman, an Anderson regular. As we are first introduced, these three are living in a pleasant and suitable tree that is in close proximity to three nasty and intolerable farmers who all own different goods that interests Mr.Fox. Fox looks to formulate heist plans to infiltrate the farmers land.

Mr. Fox's goal is to outsmart and outmaneuver his 3 neighbors, while trying not to put his family and friends in danger. Anderson creates maps and title cards to show the proximity of Fox and his neighbors. The cat and mouse game gets remains witty, but slowly stalls out as the film goes on. The dialogue is laugh to yourself throughout, but that's obviously what Anderson is going for. The biggest strength the film possesses is it's detailed and lush visuals.

Without going further, Mr. Fox is George Clooney, they're the same person. Anderson did a great job with the casting. Clooney brings his quick witted snappy comments, and his charm to the role, as Streep plays his disapproving, yet loving wife. The family are angst ridden, and striving for more, especially the un-coordinated Ash who can't live up to the hype of his athletic cousin Kristofferson who Mr. Fox admires. Anderson presents the family, plot, and all of the episodic events in his usual storytelling manor, this is clever, yet repetitive.

The animation is what makes the film appealing. Anderson litters each frame with minute and impressive detail to enhance his vision. While the film is PG, it certainly appeals to all audiences, much in the same vein as many other animated films this year. It appears that Anderson has sacrificed very little, as the film is trademark Anderson.

Many other Anderson usual's appear, including Bill Murray voicing a badger, Willem Dafoe as a villainous rat, and Owen Wilson as a gym-teacher. While Anderson certainly does his best to cross his style of film-making with animation, the film stalls at certain points and loses it's sudden charm which is laid on thick and convincingly in the first half.

I'm not sure whether Anderson is growing as a film-maker, but this different approach can't hurt his career, which needed an immediate boost. While Mr.Fox isn't as good as it's title says, it possesses enough wit, charm, and surprises for any age to admire. While the material is harmlessly adapted, it feels more light than forgettable by the time the film ends.

George Washington

"George Washington"
Starring: Donald Holden, Curtis Cotton III, Paul Schneider, Candace Evanofski
Grade: B+

David Gordon Green's debut film evokes much of the same stylistic choices as legendary auteur Terence Malick. While Green is certainly influenced by Malick, Green brings his own aesthetic choices to the table. The film centers around young adolescents in a run down Southern town. It's Summer, and a young boy named Buddy has just had his heart broken by Nasia, who's a year younger than Buddy, but is looking for a more mature man. Nasia narrates the film, admiring her friends and the way they live, express, and remain mysterious. This particular Summer will change all of them.

George is the hero of the film, he has a disorder in which his head is very delicate, much like a baby's. He can't go into water, but saves a young kid one day from drowning. While this occurs about halfway through the film, it could have taken place at any other moment and felt just as true. The narrative weaves in and out of the daily occurrences of these kids. Most of the time they're doing nothing, but that's sort of the point. Green looks to capture the everyday nothingness of this Summer, but as these characters grow they'll realize how memorable this Summer was.

One day, something happens, it doesn't take place as a plot twist, but as something natural and inevitable. The film goes on in the same manner, but the loss of innocence and the realization of guilt rings true with the viewer. These types of films are my favorite, there is no trace of plot, but many ideas and plentiful scenes. Green has such a keen eye for the beauty among the broken. The film is littered with gorgeous, elegiac images that speak the most to the influence of Malick. What also stands out is the how Green's narrative switches gears on a dime, dropping in on minor characters to the most important at any time.

This film reminds me of a more recent film I watched called "Ballast." Both films were debut's for there directors that convey poor youths experiencing life's mysterious and hardships through run down social climates. I don't know what attracts me to these type of films, but both were excellent in there attempts to make it's viewer feel as if they lived among these kids, and felt what they felt.

The Ice Storm

"The Ice Storm"
Starring: Kevin Kline, Joan Allen, Tobey Maguire, Christina Ricci, Sigourney Weaver, Elijah Wood
Grade: B+

Ang Lee's "The Ice Storm" is a prime example of an American film. The film chronicles the Thanksgiving festivities of two upper middle class families in Connecticut during the Watergate scandal, which is ever present on TV's in the background of more than a few scenes.

Ben played by Kevin Kline is married to Elena played by Joan Allen. They've recently dropped out of marriage counseling, and both are on the edge of infidelity. They're two kids played by Tobey Maguire and Christina Ricci are young, curious, and are experimenting with drugs, and the opposite sex. The other family is the Carvers, the parents played by Sigourney Weaver and Henry Czerny. They have two boys, both of whom are interested in Ricci's character.

The film takes place over a long Thanksgiving weekend. The weather is nasty, and as the sins of the parents and kids gets worse, the weather worsens. There is no general plot, but an insight into the infidelities of parents, and struggles of growing up on kids. There are no main characters, but every character has there own dynamic scene where they're spotlighted. This isn't an ensemble drama as it might read like one. "The Ice Storm" exists on many levels. It has a dreary and morbid undercurrent as it goes along, but it's also funny. Consider the scene in which awkward sexual advances are being made by two kids of each the families. A parents walks in, and one of the kids is wearing a Nixon mask.

Ang Lee gets the best out of his actors, Kline and Allen are particularly strong. The kids all hold there own, they're feelings and character developments are just as important as the adults. "The Ice Storm" is a fluid drama at 120 minutes, but there is a late plot development that is maybe too dark for the stories own good. All in all, this is a very good film.

Zombieland

"Zombieland"
Starring: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigail Breslin
Grade: B

Zombieland exists in the sub-genre of Zombie films, with other films like Shaun of The Dead and Fido coming before this one, Zombieland adds it's own twist and originality to the genre. It plays as a Zombie film survival guide as the lead character stresses many rules as they pop up as text throughout the film. Never go in bathrooms, the importance of cardio when fleeing from Zombies, never being a hero, etc.

Jesse Eisenberg plays Columbus, an anxiety fueled teen who models the actions and expressions of every role Michael Cera has ever played. Eisenburg is a good actor, but his roles can be classified as poor man Michael Cera roles. Columbus tells the audience that most of country has been destroyed in a comic book type Apocalypse manner. While the film certainly isn't bleak, there's humor in the decay of the country.

Columbus soon teams up with an eccentric redneck who has a pension for Twinkies, this man is Tallahassee, played by Woody Harrerlson. They're complete opposites, but mutual survivors of this zombie plague. Tallahassee demonstrates his despise of zombies throughout the film, much to Columbus' disgust. The duo run into a couple of female con-artist sisters played by Abigail Breslin and Emma Stone. The duo becomes a foursome after some small plot twists and don't get along all of a sudden.

The characters each have separate destinations, as Columbus looks to get home, Tallahassee seeks out fresh Twinkies, which serves as a re-occurring and awkward subplot, and the sisters look to find safety in California. The film is fun, scary at times, and breezy at 85 minutes, but the last act suffers from lazy writing and plot conventions. Throughout the film we learn small tidbits about the characters through flashbacks, some of which succeed in being funny, some of which are filler.

There's a great cameo about halfway through that shouldn't be spoiled. Some may guess who it will be at a certain point, but the build up and the outcome of the situation may be the funniest scene of the whole year. More than half of the film is predictable, and while the humor isn't always there, it's fun being in the company of the characters for most of the run-time. Zombieland doesn't represent the best of it's own genre, but there's enough blood, laughs, and gags to serve it's purpose.