As a warm-up to Oscar night, the wife and I went out to the theater to see the heavily acting nominated film, "Doubt" (Meryl Streep - Best Actress, Philip Seymour Hoffman - Best Actor in a Supporting Role, and Amy Adams and Viola Davis - Best Actress in a Supporting Role). Surprisingly, we were the only ones in the audience for the showing, and as I began watching the film, I began to wonder why.
The film revolves around a solid, yet too tightly wound plot in which Father Flynn (Hoffman), a Catholic priest is accused of showing too much attention to a young, African- American student. Sister Aloysius (Streep) is a stern and old-fashioned disciplinarian who is quick to become suspicious of Flynn's motives and presses him to confess without sufficient proof. The film teeter-totters on Flynn's pleas of innocence and Aloysius' constant pressure to seek out the truth. Sister James (Adams), whose assuredness is tested by both parties, acts as the film's fulcrum and it is her innocence and inexperience, which ultimately preys upon the audience's own indecisiveness.
Though the plot of the film is a little thin, "Doubt" is very well acted and unsuspectingly deceitful. The nominated actresses capture the true essence of each of their characters and bring out the very best in this film. Streep's extremely stern, yet loving nature, Adams' innocence and worldly ignorance, and Davis' reluctance and unconditional love, all act as catalysts, which first draw in the viewer and keep the film interesting throughout. Though nominated for an Oscar, I felt that Hoffman's performance was a bit lackluster; a nomination for "Synecdoche, New York" would have seemed much more appropriate. In all, "Doubt" was a fairly entertaining "actors film" -- worth a rent, but not the price of admission.
2.5 out of 4
Monday, February 23, 2009
Wednesday, February 18, 2009
The Dead Zone (1983)
After my recent enjoyment of "Dead Ringers," I decided to keep trucking through the Cronenberg filmography and pick up a copy of "The Dead Zone." Though I think Stephen King is probably one of the best storytellers of our generation, I have often been unimpressed (except for "Stand By Me," based on his novella "The Body") with the film adaptations of his novels (i.e. "Sleepwalkers," "Cujo," "Carrie," "It," etc.) and have always felt that they never quite translate well onto the big screen. After reading a short summary of the film, and more importantly, discovering that Christopher Walken was the lead, I decided to give the movie a try. I have to say that I was thoroughly impressed with the film and, though Cronenberg did not write or adapt the script, it stands out as one of his best efforts.
Like most of King's stories, "The Dead Zone" takes place in upper New England around the town of Castle Rock. Christopher Walken plays the Everyman, Johnny Smith, a schoolteacher who after an unfortunate car accident, goes into a 5-year coma and discovers that he has developed psychic abilities. Able to predict the future and avert tragedy, Smith reluctantly offers to use his newfound ability for the good of others though his body negatively suffers the effects of each prediction. When he learns that a local politician will eventually have a damaging impact upon the fate of Mankind, Smith knows that he must stop him at all costs.
"The Dead Zone" is a film that not only benefits from being a successful novel and great adapted screenplay, but also tremendous acting. Christopher Walken is brilliantly cast in the film and successfully combines the strange with the everyday. Even before his accident, Johnny Smith is portrayed as an eccentric individual who seems to enjoy the strange (Poe's "The Raven") and has a preponderant attitude toward adolescence (i.e. a love of theme parks and a great connection with children). Though the accident does little to change his nature, the 5-year coma forces him to grow up and face the reality that a great portion of his life and intended livelihood has passed. Christopher Walken's flair for the strange helps to breathe Johnny Smith to life in a way that no other actor could have. Along with Walken, the supporting cast, including Brooke Adams, Herbert Lom, Tom Skerritt, and the wily Martin Sheen, help to reinforce King's claim as the master of modern suspense and make "The Dead Zone" among one of the top films of the early 1980's.
3.5 out of 4
Like most of King's stories, "The Dead Zone" takes place in upper New England around the town of Castle Rock. Christopher Walken plays the Everyman, Johnny Smith, a schoolteacher who after an unfortunate car accident, goes into a 5-year coma and discovers that he has developed psychic abilities. Able to predict the future and avert tragedy, Smith reluctantly offers to use his newfound ability for the good of others though his body negatively suffers the effects of each prediction. When he learns that a local politician will eventually have a damaging impact upon the fate of Mankind, Smith knows that he must stop him at all costs.
"The Dead Zone" is a film that not only benefits from being a successful novel and great adapted screenplay, but also tremendous acting. Christopher Walken is brilliantly cast in the film and successfully combines the strange with the everyday. Even before his accident, Johnny Smith is portrayed as an eccentric individual who seems to enjoy the strange (Poe's "The Raven") and has a preponderant attitude toward adolescence (i.e. a love of theme parks and a great connection with children). Though the accident does little to change his nature, the 5-year coma forces him to grow up and face the reality that a great portion of his life and intended livelihood has passed. Christopher Walken's flair for the strange helps to breathe Johnny Smith to life in a way that no other actor could have. Along with Walken, the supporting cast, including Brooke Adams, Herbert Lom, Tom Skerritt, and the wily Martin Sheen, help to reinforce King's claim as the master of modern suspense and make "The Dead Zone" among one of the top films of the early 1980's.
3.5 out of 4
Tuesday, February 17, 2009
Be Kind Rewind (2008)
I was initially a little reluctant to see "Be Kind Rewind" after Gondry's 2006 disappointment, "The Science of Sleep." Having been a fan of Michel Gondry's work for years, "Eternal Sunshine," and several of his early music videos, I finally decided that the artistry of Gondry films typically outweighs anything negative about them. Though I felt the plot of "Science" was heavily flawed, there were moments in the film of sheer beauty and exquisite design.
Upon entering the theater, I had little idea of what to expect out of this film. I was a bit unsure about the casting of Jack Black, Mos Def, and Danny Glover, and thought that Gondry had maybe given in to a pop culture comedy as a means of "bouncing back." The trailers all seemed to genuinely creative and funny, so I decided to give the film a try.
"Be Kind Rewind" follows Jack Black and Mos Def, two young guys who work in a VHS rental store for the aging Danny Glover. When Black's character accidentally erases all of the tapes, they have to recreate the movies themselves to help the store and their aging friend survive.
I was amazed not only by the plot of "Rewind," but also the way Gondry wielded his own influence over the film. By tactically putting well-known actors in his film, Gondry was able to draw in a diverse crowd of viewers into the box office--those who enjoyed the comical antics of Jack Black and those who followed Gondry's often thought-provoking work. I think that the film worked well on both levels, while there were moments of comedy between the leads Black and Mos Def, other scenes, especially the "Sweded films" (you'll just have to see it understand this term) were funny, yet full of artistic integrity, as Gondry used urban junk to help recreate costumes and settings for the films.
The ending, which I will not give away, was very thought provoking and really had a heavy impact on me when I left the theater. It was the kind of feeling that stuck around with me for days and something inside of me would not let it go. I can't say that I have never been emotionally impacted by a film, but "Rewind" touched me in a way that no other film has to date; it's a definite must see.
3.75 out of 4
Upon entering the theater, I had little idea of what to expect out of this film. I was a bit unsure about the casting of Jack Black, Mos Def, and Danny Glover, and thought that Gondry had maybe given in to a pop culture comedy as a means of "bouncing back." The trailers all seemed to genuinely creative and funny, so I decided to give the film a try.
"Be Kind Rewind" follows Jack Black and Mos Def, two young guys who work in a VHS rental store for the aging Danny Glover. When Black's character accidentally erases all of the tapes, they have to recreate the movies themselves to help the store and their aging friend survive.
I was amazed not only by the plot of "Rewind," but also the way Gondry wielded his own influence over the film. By tactically putting well-known actors in his film, Gondry was able to draw in a diverse crowd of viewers into the box office--those who enjoyed the comical antics of Jack Black and those who followed Gondry's often thought-provoking work. I think that the film worked well on both levels, while there were moments of comedy between the leads Black and Mos Def, other scenes, especially the "Sweded films" (you'll just have to see it understand this term) were funny, yet full of artistic integrity, as Gondry used urban junk to help recreate costumes and settings for the films.
The ending, which I will not give away, was very thought provoking and really had a heavy impact on me when I left the theater. It was the kind of feeling that stuck around with me for days and something inside of me would not let it go. I can't say that I have never been emotionally impacted by a film, but "Rewind" touched me in a way that no other film has to date; it's a definite must see.
3.75 out of 4
Saturday, February 14, 2009
Friday the 13th (2009)
On Friday night, I went to a screening of the new "Friday the 13th" film on opening night. As I expected, the theater was packed with a mix of teenagers and older fans of the earlier series. When the cleaning crew came out, we jockeyed our way into position to assure that we would have adequate seats and waited several minutes for the feature to begin.
The best way to describe "Friday the 13th" and many of the horror remakes for that matter, is that it is an "it is what it is" film. With a film like this, you already know what you are getting into: your typical 80's slasher film, complete with copious amounts of gore, poor dialogue, and superfluous female nudity. If these are the things that entertain you, then yes, you'll probably agree that the new version stands true to its predecessors.
Other than the plot, I did find the camera work the most enjoyable part of the film. Though many of the scenes with the teenagers were typical conversational shots, some of the establishing shots on the lake, several underwater scenes, and the interior shots of the cabins were well done. I can only imagine the difficulty in remaking a popular cult series: being able to reproduce something satisfactory to followers, as well as making something fresh that displays your artistic design and interpretation. I think these two distinct ideologies are most notably present in the teaser and the trailer for "Friday the 13th." You'll notice that the former is better put together and has an aesthetic appeal that the trailer lacks. The trailer (which was released later) focuses more on the group of teenagers and gives the film a more popular appeal; it assures the potential viewer that the new version will follow the same plot line and archetypes of the old series.
While I thought director Marcus Dispel did a nice job of overhauling the series (after disastrous films set in New York and space...yes, space) by bringing it back to Crystal Lake, I was a bit annoyed by the lack of his producer's candor. Not only did Criterion Collection golden boy, Micheal Bay have the audacity to run his trailer for the new "Transformers" movie before the feature, but also "Friday the 13th" continued his previously gratuitous exploitation of product placement (*see "Transformers"). Though I never expected that this film would be Oscar material, I was definitely put off by certain not-so subtle attempts at subliminal advertising. Overall, there were some very "creative" slasher death sequences, but more so, the film never breaks away from convention--it ultimately is what it is.
1.5 of 4 stars
The best way to describe "Friday the 13th" and many of the horror remakes for that matter, is that it is an "it is what it is" film. With a film like this, you already know what you are getting into: your typical 80's slasher film, complete with copious amounts of gore, poor dialogue, and superfluous female nudity. If these are the things that entertain you, then yes, you'll probably agree that the new version stands true to its predecessors.
Other than the plot, I did find the camera work the most enjoyable part of the film. Though many of the scenes with the teenagers were typical conversational shots, some of the establishing shots on the lake, several underwater scenes, and the interior shots of the cabins were well done. I can only imagine the difficulty in remaking a popular cult series: being able to reproduce something satisfactory to followers, as well as making something fresh that displays your artistic design and interpretation. I think these two distinct ideologies are most notably present in the teaser and the trailer for "Friday the 13th." You'll notice that the former is better put together and has an aesthetic appeal that the trailer lacks. The trailer (which was released later) focuses more on the group of teenagers and gives the film a more popular appeal; it assures the potential viewer that the new version will follow the same plot line and archetypes of the old series.
While I thought director Marcus Dispel did a nice job of overhauling the series (after disastrous films set in New York and space...yes, space) by bringing it back to Crystal Lake, I was a bit annoyed by the lack of his producer's candor. Not only did Criterion Collection golden boy, Micheal Bay have the audacity to run his trailer for the new "Transformers" movie before the feature, but also "Friday the 13th" continued his previously gratuitous exploitation of product placement (*see "Transformers"). Though I never expected that this film would be Oscar material, I was definitely put off by certain not-so subtle attempts at subliminal advertising. Overall, there were some very "creative" slasher death sequences, but more so, the film never breaks away from convention--it ultimately is what it is.
1.5 of 4 stars
Tuesday, February 10, 2009
Estranged (1993)
Released on September 17, 1991, Guns & Roses albums "Use Your Illusion I & II," were follow-ups to their highly acclaimed debut, "Appetite For Destruction." Between these two musical masterpieces, three tracks ("Don't Cry," "November Rain," and "Estranged") were selected as a part of a trilogy of videos to be directed by Andy Morahan. Though the first two songs were commercial successes, "Estranged," though still mildly successful, failed to attain prominent status among critics and fans. However, in the realm of video and short film efforts, "Estranged" is a tour de force of melancholy, allegory, and allusion. The video is cut into 3 basic parts (Axl's home, the streets of L.A., & in the middle of the ocean), all culminating in an intense Slash guitar solo. I will attempt to sort out these parts and hopefully bring about a better understanding of the whole.
The video begins on an empty children's playground, a reflection of a past carefree and beautiful. The scene then cuts to a SWAT team infiltrating the home of Axl Rose in an attempt to bring him out of hiding. Ironically, Axl is hiding in an overhead compartment of a child's room--a possible allusion to the "Diary of Anne Frank," a biography about a child forced too quickly into adulthood by uncontrollable circumstances. The scene then cuts to a less abstract Guns & Roses performance, where Axl and his band mates are voyerized and idolized by millions. During the performance, there is a cut sequence where we see Axl lie down on a couch to rest and have what appears to be an out-of-body/dream sequence, which involves him going into the shower with his clothes on. This scene parallels the wedding scene in "November Rain" (the second installment of the trilogy) in which the event is rained out, a harkening back to his now dissolved marriage. We next see Axl being led out of the house quietly by what appears to be a large authoritative figure. The clothes of all of the police officers, participants in Axl's removal, and even Axl, are all white and the decor of his home casts a stark, clean paleness early in the video. The scene is dreamlike, but we are to assume that his ejection is a reality and that his marriage has bitterly ended.
In the second third of the video, the mood drastically changes and we see that Axl has returned to the streets of L.A.--a place where he once struggled to survive (the theme of much of G&R's "Appetite for Destruction"), but now finds comfort. At this point, the almost surreal dolphin imagery begins to appear in the backdrop of televisions, storefronts, cargo planes, and in the streets. The dolphins appear to symbolize a memory of his past life, possibly childhood, in which Axl lived worry free and happy. These "memories" will later rescue him and keep him from drowning in a sea of heartache and self-estrangement. During the sequence on the streets of L.A. we get a Slash guitar solo in which he floats along the crowded sidewalk in and out of people, but is not even noticed. This scene speaks to the band's past as "no names" that left their homes and sought to make their way as musicians. Axl's return to the streets marks his frustration with the new idolization of the band and his longing for a life more ordinary.
The third installment of the video begins on a large cargo ship in the middle of the ocean. Frustrated with his broken marriage, the band's idolization and his inability to return to the life he once knew, Axl attempts to take his life by jumping off the barge and into the ocean. He refuses help from drowning/support from his band mates (life buoy, row boat) and ultimately sinks toward the bottom of the abyss. On the verge of drowning, Axl is saved by the one thing he holds onto that makes him happy, his memories ("dolphinified"). As the dolphins lead him toward the surface, the background illuminates with the color of sunrise, symbolic of Axl's new beginning. In a very Arthurian Excalibur moment, Slash rises out of the ocean for a final guitar solo to play his friend home. A helicopter of Axl's band mates descends on the ocean for his rescue; they have never stopped looking for him or offering their support. However, despite his band mate’s efforts, the notion is that to find tranquility, Axl had to reach into himself and discover it on his own. One of the final images in the video is of one of Axl's sneakers drifting to the bottom of the ocean floor. This Cinderella-esque moment suggests that a part of him has actually fallen to the bottom of the ocean and will remain there and also implies that he may return there again someday. We are left with a postscript of Axl sitting on the couch where the dream sequence began, he is wrapped in a robe alongside of the memory (dolphin) that saved him.
"Estranged" has a running time of 9:40 seconds and is truly a masterpiece, which documents the struggle and self-resurrection of one of pop culture's most well-known vocalists. In today's world of pop music reduced to 2-3 minutes for the sole purpose of air play, "Estranged" is beacon of stability and high art.
4 out of 4
The video begins on an empty children's playground, a reflection of a past carefree and beautiful. The scene then cuts to a SWAT team infiltrating the home of Axl Rose in an attempt to bring him out of hiding. Ironically, Axl is hiding in an overhead compartment of a child's room--a possible allusion to the "Diary of Anne Frank," a biography about a child forced too quickly into adulthood by uncontrollable circumstances. The scene then cuts to a less abstract Guns & Roses performance, where Axl and his band mates are voyerized and idolized by millions. During the performance, there is a cut sequence where we see Axl lie down on a couch to rest and have what appears to be an out-of-body/dream sequence, which involves him going into the shower with his clothes on. This scene parallels the wedding scene in "November Rain" (the second installment of the trilogy) in which the event is rained out, a harkening back to his now dissolved marriage. We next see Axl being led out of the house quietly by what appears to be a large authoritative figure. The clothes of all of the police officers, participants in Axl's removal, and even Axl, are all white and the decor of his home casts a stark, clean paleness early in the video. The scene is dreamlike, but we are to assume that his ejection is a reality and that his marriage has bitterly ended.
In the second third of the video, the mood drastically changes and we see that Axl has returned to the streets of L.A.--a place where he once struggled to survive (the theme of much of G&R's "Appetite for Destruction"), but now finds comfort. At this point, the almost surreal dolphin imagery begins to appear in the backdrop of televisions, storefronts, cargo planes, and in the streets. The dolphins appear to symbolize a memory of his past life, possibly childhood, in which Axl lived worry free and happy. These "memories" will later rescue him and keep him from drowning in a sea of heartache and self-estrangement. During the sequence on the streets of L.A. we get a Slash guitar solo in which he floats along the crowded sidewalk in and out of people, but is not even noticed. This scene speaks to the band's past as "no names" that left their homes and sought to make their way as musicians. Axl's return to the streets marks his frustration with the new idolization of the band and his longing for a life more ordinary.
The third installment of the video begins on a large cargo ship in the middle of the ocean. Frustrated with his broken marriage, the band's idolization and his inability to return to the life he once knew, Axl attempts to take his life by jumping off the barge and into the ocean. He refuses help from drowning/support from his band mates (life buoy, row boat) and ultimately sinks toward the bottom of the abyss. On the verge of drowning, Axl is saved by the one thing he holds onto that makes him happy, his memories ("dolphinified"). As the dolphins lead him toward the surface, the background illuminates with the color of sunrise, symbolic of Axl's new beginning. In a very Arthurian Excalibur moment, Slash rises out of the ocean for a final guitar solo to play his friend home. A helicopter of Axl's band mates descends on the ocean for his rescue; they have never stopped looking for him or offering their support. However, despite his band mate’s efforts, the notion is that to find tranquility, Axl had to reach into himself and discover it on his own. One of the final images in the video is of one of Axl's sneakers drifting to the bottom of the ocean floor. This Cinderella-esque moment suggests that a part of him has actually fallen to the bottom of the ocean and will remain there and also implies that he may return there again someday. We are left with a postscript of Axl sitting on the couch where the dream sequence began, he is wrapped in a robe alongside of the memory (dolphin) that saved him.
"Estranged" has a running time of 9:40 seconds and is truly a masterpiece, which documents the struggle and self-resurrection of one of pop culture's most well-known vocalists. In today's world of pop music reduced to 2-3 minutes for the sole purpose of air play, "Estranged" is beacon of stability and high art.
4 out of 4
Wednesday, February 4, 2009
Dead Ringers (1988)
"Dead Ringers" is David Cronenberg's psychological thriller about identical twin gynecologists (both roles played by Jeremy Irons) who are renowned and accomplished physicians in their field. Always together and never "separated" since birth, the brothers live a symbiotic life in which each sibling, though physically alike, feeds off of the other's talents. When the more confident brother seduces an actress and shares her with the shyer sibling, their lives begin to unravel as the latter seeks independence--separation.
"Dead Ringers" is similar to Cronenberg's earlier efforts, "Videodrome," "Scanners," and "Dead Zone" in that the protagonist(s) share a sort of supernatural ability that exceeds normal human capacity; however, it's this ability/dissimilarity from much of the rest of humanity that ultimately leads to their undoing. If there is any film that Cronenberg draws much of his influence from, it has to be De Palma's "Sisters" (1973). The title sequence is eerily similar and also implements odd combinations of early sketches, which foreshadow the events and psychology of the film. "Ringers" alternates between what appears to be early, medieval looking surgical instruments and early depictions of the female anatomy, while "Sisters" begins with a series of early depictions of conjoined twins. Though Cronenberg's brothers are not, or never were, conjoined physically (although they are in a dream sequence), it appears that their connection, and what ultimately prevents their assimilation into humanity, is their mental symbiosis.
Although I'm not the biggest fan of the Jeremy Irons' acting gamut, I have to applaude him for his work in this film. Not only would playing two characters in the same film be difficult, but also portraying two characters that are identical in appearance makes his performance doubly challenging. What astonishes me most about Irons' effort is that the audience is able to distinguish between the two characters although they are similar. Though Cronenberg's use of wardrobe aids in distinguishing the identity the brothers, it is Irons who ultimately constructs the emotion and psychological separation.
"Ringers," like most of Cronenberg's work, is odd, supernatural, and bold, but is one of the more accessible of his efforts. It is certainly not a film for everyone, but in its own right deserves its place among other great psychological thrillers.
3 out of 4
"Dead Ringers" is similar to Cronenberg's earlier efforts, "Videodrome," "Scanners," and "Dead Zone" in that the protagonist(s) share a sort of supernatural ability that exceeds normal human capacity; however, it's this ability/dissimilarity from much of the rest of humanity that ultimately leads to their undoing. If there is any film that Cronenberg draws much of his influence from, it has to be De Palma's "Sisters" (1973). The title sequence is eerily similar and also implements odd combinations of early sketches, which foreshadow the events and psychology of the film. "Ringers" alternates between what appears to be early, medieval looking surgical instruments and early depictions of the female anatomy, while "Sisters" begins with a series of early depictions of conjoined twins. Though Cronenberg's brothers are not, or never were, conjoined physically (although they are in a dream sequence), it appears that their connection, and what ultimately prevents their assimilation into humanity, is their mental symbiosis.
Although I'm not the biggest fan of the Jeremy Irons' acting gamut, I have to applaude him for his work in this film. Not only would playing two characters in the same film be difficult, but also portraying two characters that are identical in appearance makes his performance doubly challenging. What astonishes me most about Irons' effort is that the audience is able to distinguish between the two characters although they are similar. Though Cronenberg's use of wardrobe aids in distinguishing the identity the brothers, it is Irons who ultimately constructs the emotion and psychological separation.
"Ringers," like most of Cronenberg's work, is odd, supernatural, and bold, but is one of the more accessible of his efforts. It is certainly not a film for everyone, but in its own right deserves its place among other great psychological thrillers.
3 out of 4
Tuesday, February 3, 2009
Man on Wire (2008)
After three days of separate 30 minute viewings, I finally finished the documentary, "Man on Wire." I was really impressed with the story and found it an inspiring piece in a post-9/11 world. Though the tragedy of events of 9/11 are never mentioned in the documentary (and I thought this was a good choice), one can't help but to have an overwhelming feeling of emotion upon seeing these colossal structures.
"Man on Wire" documents the conquest of Frenchman, Philippe Petit to perform a tight rope walk across the Twin Towers during their construction in the early 1970's. The film intertwines personal footage of the preparation and actual feat, reenactments of the operation to secure the wire, and interviews of the individuals involved in the planning and execution. Director James Marsh does a nice job of keeping the film interesting by splicing the reenactment and personal accounts of getting and securing the wire to the tops of the Towers. This process keeps the film fluid by giving it a more exciting, illicit quality. Thought the "caper" conducted in this film is essentially illegal (but not to the extent of physically of financially damaging others), Phillipe and his cohorts, and possibly Marsh, compel the viewer to question the delicate balance between human expression and legality. One of the best pieces of footage to capture this tangling of emotion is the interview with one of the New York City police officers that is sent to the top of the Towers to bring down the Petit. You can tell in his interview that the officer struggles with his obligation to fulfill lawful duty and that at the same time, he appreciates that he has witnessed first-hand something so beautiful and immense. I think this realization is the crux of the film and is what truly makes it interesting and thought-provoking.
Though I can't speak as to the acting in this film, I will say that Marsh's character development (of Petit and his accomplices) is astonishing. By the end of the film, you feel that you have a better sense of these individuals and their motives--some self-serving, some for the sake of adventure, and some for the sake of art. Marsh does a fantastic job in "Man on Wire" of challenging his audience to evaluate Man's place in this world and the human condition.
3.25 out of 4
"Man on Wire" documents the conquest of Frenchman, Philippe Petit to perform a tight rope walk across the Twin Towers during their construction in the early 1970's. The film intertwines personal footage of the preparation and actual feat, reenactments of the operation to secure the wire, and interviews of the individuals involved in the planning and execution. Director James Marsh does a nice job of keeping the film interesting by splicing the reenactment and personal accounts of getting and securing the wire to the tops of the Towers. This process keeps the film fluid by giving it a more exciting, illicit quality. Thought the "caper" conducted in this film is essentially illegal (but not to the extent of physically of financially damaging others), Phillipe and his cohorts, and possibly Marsh, compel the viewer to question the delicate balance between human expression and legality. One of the best pieces of footage to capture this tangling of emotion is the interview with one of the New York City police officers that is sent to the top of the Towers to bring down the Petit. You can tell in his interview that the officer struggles with his obligation to fulfill lawful duty and that at the same time, he appreciates that he has witnessed first-hand something so beautiful and immense. I think this realization is the crux of the film and is what truly makes it interesting and thought-provoking.
Though I can't speak as to the acting in this film, I will say that Marsh's character development (of Petit and his accomplices) is astonishing. By the end of the film, you feel that you have a better sense of these individuals and their motives--some self-serving, some for the sake of adventure, and some for the sake of art. Marsh does a fantastic job in "Man on Wire" of challenging his audience to evaluate Man's place in this world and the human condition.
3.25 out of 4
Monday, February 2, 2009
Slumdog Millionare (2008)
I had a chance to view "Slumdog Millionare" this weekend as it arrived in town amongst the other Oscar hoopla films. The theatre was packed and the attendees ranged from teenagers to several individuals well into their 60s and 70s. I mention this because I felt that the subject matter of the film had great appeal to all age groups and the film itself was a very enjoyable experience overall. Though I am initially hesitant about films where there is an overabundance of Oscar buzz, I decided to try and go into the film with an open mind and sense of positivity.
What I found most enjoyable about the film was the direction and editing. "Slumdog" is a very beautiful film and vibrant with color. Though the subject matter of the film was very bleak and depressing, I found it nice that Boyle chose to use color as a means of portraying Indian culture in all of its alluring majesty. Even the scenes filmed in the poorer parts of town, stood out in contrast to depictions employed by other directors, who often overuse darker colors as a means to symbolize the inner and outer struggles of the lower class. Boyle's India, while similarly sad and emotionally binding, offers a glimmer of hope and prosperity in a world foreign to many of its viewers.
The camera work and editing in "Slumdog" are equally impressive and I my expectations (after viewing such films as "Millions," "28 Days Later," and "Trainspotting") were again exceeded. Boyle has a great eye for direction and captures some very impressive shots from various perspectives. The scenes, which are especially noteworthy, are the numerous chase sequences throughout the film. These scenes are cutting and quick and transition from characters running through multiple still frames to an assortment of high action tracking shots. I was also particularly impressed with Boyle's choice of film. In an age of digital clarity, Boyle chose to create a more subtle and grainier film. I thought that this was a very nice touch and have to applaud him for taking a chance on a very well done artistic decision.
The acting in "Slumdog" was very good and I thought that all three incarnations of the main actors did a very nice job of portraying their characters. I was most impressed with the characterization of the older brother, Salim. Though may the most complex of the three leads, the younger and older actors did a nice job of bringing this character to life.
Though much of my experience with "Slumdog" was very positive, I found that the plot of the film lacked in creativity. In a culture obsessed with reality television and game shows, drawing on a specific pop cultural icon (i.e. "Who Wants to Be a Millionare") is a bit too easy and trite. For such a serious film, I often found myself in disbelief that something so mechanical had been worked into a plot. During the scene where the children were in the storm pipe (approx. 15-30 minutes in), I turned to my wife and told her what the final "Millionare" question was going to be. Though I heard a few gasps when the question was revealed at the end of the film, I couldn't help but to look at my wife and sneer in disbelief. Before going to the theatre, I had seen an article, which professed "Slumdog" as the "feel good movie of the year" and I couldn't disagree more. If we are to take some sort of solace from this film, I feel that it has to be at the expense of another culture. The film is conclusively wrapped in a pretty pink bow and it's a shame that much of the struggle and plight of the characters is lost in translation on the audience. I feel that the film unintentionally mimics our culture in that it asserts that the end-all means to financial independence and removal from a bleak socioeconomic environment is through attaining fame (i.e. reality shows, game shows, sports, etc.).
Though I had some issues with the plot and message, I felt that "Slumdog Millionare" was a very enjoyable film. While I think that the Academy will ultimately choose it for "Best Motion Picture," for its accessability and wide audience appreciation. I would certainly put a few others above it.
3 out of 4
What I found most enjoyable about the film was the direction and editing. "Slumdog" is a very beautiful film and vibrant with color. Though the subject matter of the film was very bleak and depressing, I found it nice that Boyle chose to use color as a means of portraying Indian culture in all of its alluring majesty. Even the scenes filmed in the poorer parts of town, stood out in contrast to depictions employed by other directors, who often overuse darker colors as a means to symbolize the inner and outer struggles of the lower class. Boyle's India, while similarly sad and emotionally binding, offers a glimmer of hope and prosperity in a world foreign to many of its viewers.
The camera work and editing in "Slumdog" are equally impressive and I my expectations (after viewing such films as "Millions," "28 Days Later," and "Trainspotting") were again exceeded. Boyle has a great eye for direction and captures some very impressive shots from various perspectives. The scenes, which are especially noteworthy, are the numerous chase sequences throughout the film. These scenes are cutting and quick and transition from characters running through multiple still frames to an assortment of high action tracking shots. I was also particularly impressed with Boyle's choice of film. In an age of digital clarity, Boyle chose to create a more subtle and grainier film. I thought that this was a very nice touch and have to applaud him for taking a chance on a very well done artistic decision.
The acting in "Slumdog" was very good and I thought that all three incarnations of the main actors did a very nice job of portraying their characters. I was most impressed with the characterization of the older brother, Salim. Though may the most complex of the three leads, the younger and older actors did a nice job of bringing this character to life.
Though much of my experience with "Slumdog" was very positive, I found that the plot of the film lacked in creativity. In a culture obsessed with reality television and game shows, drawing on a specific pop cultural icon (i.e. "Who Wants to Be a Millionare") is a bit too easy and trite. For such a serious film, I often found myself in disbelief that something so mechanical had been worked into a plot. During the scene where the children were in the storm pipe (approx. 15-30 minutes in), I turned to my wife and told her what the final "Millionare" question was going to be. Though I heard a few gasps when the question was revealed at the end of the film, I couldn't help but to look at my wife and sneer in disbelief. Before going to the theatre, I had seen an article, which professed "Slumdog" as the "feel good movie of the year" and I couldn't disagree more. If we are to take some sort of solace from this film, I feel that it has to be at the expense of another culture. The film is conclusively wrapped in a pretty pink bow and it's a shame that much of the struggle and plight of the characters is lost in translation on the audience. I feel that the film unintentionally mimics our culture in that it asserts that the end-all means to financial independence and removal from a bleak socioeconomic environment is through attaining fame (i.e. reality shows, game shows, sports, etc.).
Though I had some issues with the plot and message, I felt that "Slumdog Millionare" was a very enjoyable film. While I think that the Academy will ultimately choose it for "Best Motion Picture," for its accessability and wide audience appreciation. I would certainly put a few others above it.
3 out of 4
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