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