Transformers: Dark of the Moon

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

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

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

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

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

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

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

Grade: 2/5

Reel Time: Episode 10

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

The Tree of Life

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

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

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

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

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

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

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

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

Grade: 5/5

The films of Claire Denis

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

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

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

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

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

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

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

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

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

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

Reel Time: Episode 9

Back to business as usual, I'm joined by Chris Misch from NextProjection.com, as well as past guests Mark Mullicane and Deepayan Sengupta. Discussion centers on The Tree of Life and Super 8. Here is a non-iTunes link, enjoy!

X-Men: First Class

"X-Men: First Class"
Starring: James McAvoy, Michael Fassbender, Jennifer Lawrence, Kevin Bacon, January Jones, Rose Byrne, Oliver Platt
Directed by: Matthew Vaughn
132 minutes
2011/USA

The heart of the X-Men series, five films now, has always been the opposing rift and dynamic between Charles Xavier and Erik Lensherr, both better know as Professor X and Magneto respectively. First Class goes back to the beginning to show us how these two men of similar background and makeup chose different paths which ultimately led to their future opposition. This film has a light aura to it, which unfortunately makes it feel less inspired than the first two installments in the series, X-Men and X-2: X-Men United. 


This film was directed by Matthew Vaughn, who has dabbled in the world of comic book films already with last year's Kick-Ass, a film which I found to be pretty forgettable. Vaughn isn't on the level of a J.J. Abrams, but is okay in making an entertaining, but hardly thought provoking Summer blockbuster. Without the likes of James McAvoy and Michael Fassbender to portray Xavier and Lensherr, I'm not quite sure this film would have a leg to stand on. Yes, it's an origin story, but one that moves at such a rapid, thoughtless pace, as to sidestep any real characterization and get straight to the action.

And this is all fine for what kind of film it is, but First Class doesn't come anywhere close to the best comic-book film adaptations of the last 10 years. It's nowhere near as tight or intriguing as its predecessor X-2, and is probably third in the pecking order of all the X-Men films. The film adds up to a less than cohesive jumble of multiple plot strands that somehow end up as fun and uninspired all at once. The film juxtaposes the origins of several mutants with The Cold War, something that could've been intriguing in other hands, but it feels clunky and watered down here. Kevin Bacon plays Sebastian Shaw, a sinister German with plans for world domination, he's got several mutant sidekicks, most notably Emma Frost, a telepath played by January Jones. Bacon feels out of place here, hardly menacing, but with the tidy haircut and line delivery that must seem villainous to someone

There is at least some fun to be had here. Anytime McAvoy and Fassbender are on screen, we're more in tune with the film. Both are game for this, and each fits their role perfectly. McAvoy's studious and clever portrayal of Charles Xavier contrasts Fassbender's unforgiving Erik Lensherr very well, but whenever the two aren't on screen, the film is like a leaking boat in the middle of the ocean. Jennifer Lawrence, who was great in last year's Winter's Bone, is not bad here as Raven/Mystique, a shape-shifter who feels alienated like the rest of her mutant friends. The notion of being alone and different is something the film tackles, but in such an adolescent and rushed manner.

First Class's doesn't have high enough stakes, and this is why it's consistently silly. Rose Byrne who plays a CIA agent is thrown into this plan along with mutants to thwart "World War III," her character literally does nothing. This is what First Class represents, all talk and no delivery. In fact, the whole Cold War plot device is a detriment to the film, and this is sadly where Xavier and Lensherr's paths diverge. There isn't any hint of subtlety throughout the film, director Matthew Vaughn is competent, but seems like he'd be content with pumping out the same film year after year. His style and vision is consistently polished (in a bad way), as the film hardly contains any interesting shots or compositions. It all amounts to the same feeling that was passed off by Thor, forgettable Summer fun. I sat still in my seat for the most part, but re-positioned myself at times for when I thought exciting stuff was ahead, the film delivered on less than half of those occasions. I'm making this sound like an abomination, but First Class is fine by all accounts, turn your brain off and enjoy the absurdity, but savor the moments when Fassbender is on screen, he's truly something else. But remember this, when a 10 second cameo is the best part of a Summer blockbuster, you know you've done something wrong along the way.

Grade: 3/5

5 best films seen in May

Films seen: 19

Syndromes and a Century (Weerasethakul, 2006)

3 Women (Altman, 1977) 

Marie Antoinette (Coppola, 2006)

Blow Out (De Palma, 1981)

No Fear, No Die (Denis, 1990)

Reel Time: Episode 8

We somehow made it work with five total guests this week. Joining us were Deepayan Sengupta and Christopher Misch from NextProjection.com in what was ultimately one of the best show's we've had. Other than our usual offerings, we spoke at length about the teaser for David Fincher's "The Girl with the Dragon Tattoo," as well as Pirates 4 and Kung-Fu Panda 2. Lastly, we reviewed this weekend's box-office champ "The Hangover Part II." Here is a non-iTunes link, enjoy!

The Hangover Part II

"The Hangover Part II"
Starring: Bradley Coopey, Ed Helms, Zach Galifianakis, Justin Bartha, Ken Jeong, Paul Giamatti, Mason Lee
Directed by: Todd Phillips
102 minutes
2011/USA

Someone wiser than me once said that the best brand of humor is the kind a person or a collective group can look at, and find some identifiable truth to. It's been several hours since I've left a packed theater, to have found myself cheated for a meager $10 that I spent to view Todd Phillips' disastrously bad sequel to The Hangover. Is it the worst thing I've ever seen? certainly not. Is it the worst thing playing at your nearest theater, probably so.

Sole blame falls directly on director Todd Phillips' shoulders. This will make obscene amounts of money for the studio and perhaps pave the way for one last film to round out a trilogy, but the laziness on display here is nothing to shrug off. One can understand not deviating too far from the original film, but this film is literally the same damn thing we saw two years ago, but only worse.

Ten minutes into this and you're already itching to get the hell out of the cineplex. I'll be honest, the first film had a semi-interesting, mildly cliche way about itself, one that seems partially tolerable after viewing this stinker. As with most comedies, once you've seen the trailer, you've seen the entire movie. Except the audience I saw this with acted like they'd never seen the trailer, laughing at the most tasteless and obvious jokes that a screenwriter could muster. It gets worse, the film relies on penis jokes to garner its laughs, ho-hum. This is basically how it plays out for the film's 100 minute runtime, which feels much longer than it is. They've once again managed to save the raunchiest and wildest laughs for the end credits, why does anyone think this is still a good idea?

The film doesn't even try to throw a different scenario at its audience. One can almost see the producers and actors of the film grinning ear to ear when they heard it would take place in Bangkok, a nice paycheck and beautiful weather for everyone involved, they apparently forgot to make an entertaining movie as well.  I wasn't smiling, or was even slightly amused at how vanilla this all seems, once again. Everyone is going through the motions here. Cooper, Helms, and Galifianakis are again the main attractions, with their buddy played Doug by Justin Bartha pushed to the side. Why not include him more in this sequel? Apparently there's no room for a level-headed guy in the midst of all the shenanigans. Bartha should feel honored to not be subjected to such low-level gags.

In terms of extra faces and characters, Ken Jeong is featured more here as Chang, a seedy Chinamen with a pension for referring to people as "bitches" and "niggers," yawn. Paul Giamatti shows up as Kingsley, a mysterious businessman with an agenda, strictly a throwaway role for him. There is also the character of Teddy, Stu's soon to be brother in law who goes missing and serves as a pawn to move the story along. He's a straight-laced Stanford student who Galafianakis' Alan immediately dislikes. The first third of the film is dedicated to Alan's so called "brand of humor," his man-child frame and mindset immediately comes across as stale and uninspired. In certain areas it's obvious that the actors aren't having much fun here. Can't imagine this is the most ambitious comedy that they've ever done, look and act bewildered for 100 minutes, go home and do it all again the next day.

The Hangover Part II represents a giant middle finger to anyone who expected honest laughs and escapism for a few hours. It's tiring and forgettable, and I'm just relieved that I can now get it out of my system. I have a feeling that smart, mainstream movie-goers will see right through the film and hold it in the same contempt that I do, but I've been wrong before.

Grade: 1.5/5

Reel Time: Episode 7

We each managed to dodge the new Pirates of the Caribbean: On Stranger Tides, and ended up talking about more about the Cannes film festival, and what we've been watching outside of the theater. Mark Mullicane and I also reviewed Kelly Reichardt's new film, "Meek's Cutoff." Here is a non-iTunes link, enjoy!

Meek's Cutoff

"Meek's Cutoff"

Starring: Michelle Williams, Bruce Greenwood, Will Patton, Paul Dano, Zoe Kazan, Shirley Henderson

Directed by: Kelly Reichardt

104 minutes

2010/USA

Director Kelly Reichardt is a filmmaker that is well known for executing her vision with a certain amount of palpable fervor and conviction. However minimal her films are, Reichardt's best efforts examine the underbelly of a fractured Americana. Reichardt's latest effort is a revisionist Western that follows a group of settlers through the Oregon desert in 1845 while they're frequently pit against harsh conditions. 

For all of its stunning photography, and the willingness of the cast, I found myself having a tough time grappling with this film. To be fair, the aspect ratio of the screen in my cinema was oddly condensed, I even marched up to the concession stand during the trailers to see if this could be corrected, but no such luck. It should be noted that Meek's probably shouldn't have been screened in such a candy ass format that the theater is obviously content with. While the film is sparse in dialogue, Reichardt's latest is a gorgeous film to look at, one that includes countless wide-shots of the dry and unforgiving terrain that the characters are set against. It's in this restrained approach that the film either works for you or doesn't. I generally find myself on-board with Reichardt's vision, but Meek's played itself out on a level that wasn't particularly agreeable with me. 

It's way more claustrophobic in tone than Old Joy and Wendy and Lucy, which I prefer to this. This is Reichardt's first stab at genre, a term which has to be handled loosely here, since this is not a traditional Western. While there in no conventional narrative at work here, Reichardt has a vice-grip hold on the proceedings throughout. She is both a traditional storyteller and one of the most influential female directors working today. Meek's seems to be labeled as a small little vehicle for Michelle Williams to show off her talents, but the rest of the cast, mostly well known character actors, are showcased in the film as well. Williams' strong-willed Emily Tetherow is the catalyst for most of the social proceedings and the embedded commentary that the film contains. Also joining her are husband Soloman, played by Will Patton, the delusional Stephen Meek, played by a densely bearded Bruce Greenwood, and also the likes of Paul Dano, Zoe Kazan, and Shirley Henderson. 

We first meet the travelers at a point where all hasn't been lost yet. Their search for water and land is becoming more desirable and increasingly disheartening as the film slogs along. The journey plays as grueling and tiresome to the characters and the audience, and this is just the point, Reichardt places us in that specific perspective which feels draining, but not entirely realized. Stephen Meek is the contracted escort of the group,  a man that tries to portray a sense of bravado that never quite seems genuine in the eyes of the settlers. Throughout the journey, his efforts and guidance are often thwarted by the evident truth that he isn't very good at what he does. The foreboding score adds to the notion that bad things lie ahead. Reichardt concentrates more on the smaller activities and lifelike characteristics that these characters would invoke in that certain period. 

Meek's Cutoff has already been singled out as a successful gem, and another notch on Reichardt's career belt, but despite the unique vision and the cinematography by Chris Blauvelt, this feels to me at least like a minor effort from Reichardt. I'd be tempted to re-visit this on blu-ray where the aspect ration would be completely intact, but for now Meek's represents a nice little departure for its filmmaker, and nothing more. 

Grade: 3/5

Reel Time: Episode 6

We cover the standard bases once again, but Derin, Andrew, myself, and new guest Deepayan Sengupta get into some Cannes film festival talk, as well as an update on Paul Thomas Anderson's film The Master. Andrew and Derin compared notes on Hesher, and lastly, we reviewed Bridesmaids, this week's new release. Here's a non-iTunes link, enjoy!

Bridesmaids

"Bridesmaids"
Starring: Kristen Wiig, Maya Rudolph, Rose Byrne, Melissa McCarthy, Wendi McLendon-Covey, Ellie Kemper, Jon Hamm, Chris O'Dowd
Directed by: Paul Feig
125 minutes
2011/USA

The truth about Bridesmaids, another raunchy comedy plucked from the Judd Apatow assembly line, is that it generally works solely based on its humor, and female targeted Hangoverish appeal. What makes this a better film than The Hangover, is that it's at least grounded and based in some sort of identifiable reality. If you've seen the trailer, you know what you're in for. The film mostly follows a group of rag-tag females as they prepare to send their best friend Lillian (Rudolph) off into matrimony. The film presents a laundry list of comedic situations, some less juvenile and profane than others, but for the most part they hit their mark.

The real star here is Kristen Wiig as Annie, whose life is stuck in some sort of catastrophic limbo due to her past bakery business going under, and the failure of her current suitor played by Jon Hamm, to recognize her as anything more than a sex-buddy. Wiig has made her name on SNL as probably the most consistent comic  on the show in the last five years or so. Now, it appears as though Wiig can probably ditch SNL, and make the transition into doing more films. She's plenty good here, equipped with her usual awkward and deadpan shtick, she manages to propel this into an above average film.

Along for the ride are the other four bridesmaids. Most notable is the obnoxious and rather blunt Megan, played by Melissa McCarthy. She fills the Zach Galifianakis hangover role, but her character isn't as crass or severely off the radar as Allan from The Hangover. McCarthy's character actually has a brain, and functions as something more than a female "man-child." I suppose Rose Byrne would have to be placed in the villainous role, although she's hardly menacing. The central aspect of the film is the tug-of-war between Annie and Byrne's character Helen to win over Lillian. Yeah, what do we care right? The film actually takes some time to humanize Helen, quite possibly too late into the film, but at least it's there for us.

Bridesmaids carries on way too long, clocking in at a little over two hours. I'd venture to say that 65-70 % of the gags work, while the others feel out of place and tacked on. There are many things that I'd cut out, possibly Annie's interactions with her mother, and some of the roommate stuff. Other than Jon Hamm, there's another love interest throw in. Chris O'Dowd plays Rhodes, a semi-charming and overall decent guy who weaves in and out of the film, mainly to show Annie how she could have a good man and an respectable lifestyle if she would just smarten up.

For a film like this to work, you have to have a likable cast, and an appealing lead character. Wiig, Rudolph, Byrne, Hamm, etc all fit the bill here, and judging from my screening of about 25 people, Bridesmaids should play very well for young and old audiences. While the raunchiness is toned down toward the final segments of the film, the script does start to focus more on "life kicking the shit out of you" if you let it mentality. This idea of personal struggle, maturity, and friendship may not seem authentic to others, but I appreciate Bridesmaids for at least incorporating it in an above average, yet slightly watered down manner.

Grade: 3.5/5

Reel Time: Episode 5

The usual trio is joined by Mark Mullicane in our fifth episode. We discuss Nicolas Winding Refn’s film Drive, the casting of Will Smith in Django Unchained, more Tree of Life, and the trailer for Martha Marcy May Marlene. Lastly, we discussed Blue Valentine before it hits the streets on Tuesday, and we reviewed Kenneth Branagh's Thor. Here is a non-iTunes link

Reel Time: Episode 4

As we near closer and closer to the Summer film season, Derin, Andrew, and myself ramble on about Deathly Hallows pt. 2, 3-D, and the curious case of The Tree of Life. Finally, we reviewed James Gunn's latest film Super. It was a laid back show, but there was plenty to talk about. Here is a non-iTunes link.

5 best films seen in April

Films seen: 13

Red Desert (Antonioni, 1964)

Talk to Her (Almodovar, 2002)

8 1/2 (Fellini, 1963)

Mildred Pierce (Haynes, 2011)

Hanna (Wright, 2011)

Water for Elephants

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

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

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

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

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

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

Grade: 1.5/5

Reel Time: Episode 3

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

Reel Time: Episode 2

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

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Hanna

"Hanna"
Starring: Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander

Directed by: Joe Wright

111 minutes

2011/USA

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

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

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

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

Grade: 3.5/5