Review: Savages (2012)

Oliver Stone's Savages tells the tale of marijuana dealers Ben (Aaron Johnson) and Chon (Taylor Kitsch). Chon- an Afghanistan/Iraq war vet and a hardened shell of a man- and Ben- a Buddhist graduate of Berkley, a volunteer in third world countries and believer in peace- make quite the partnership. They share the highest esteem in the marijuana distribution business; they share the cars and beach-side mansion; they share the riches that come with the job. Most passionately, they share O (as in Shakespeare's Othello). Though she receives the upmost respect from Ben and Chon, O has acquired the exact opposite from previous men in her life. There's no jealousy between the three; they all three love eachother equally. Chon "f**ks" her, and Ben "makes love". The reality and downside to the fairytale is that it's dangerous for men of their grandeur and wealth to have such a precious thing as O in their life. Unfortunately for this unwavering trio, the Mexican druglords after a cut of their business know of this vulnerability as well as the viewer. When threatened with missing out on the boys' business, drug lord Elena (Salma Hayek) and her right hand men Lado (Benicio Del Toro) and Alex (Damien Bichir) kidnap O with the threat of a slow death to inspire the boys to hand over $13 million. The boys will stop at nothing, eliminating anyone in their path to get her back.




Aaron Johnson's (Kick Ass) great; always is. Nuff said. Taylor Kitsch is the new Keanu Reeves, which is not necessarily a bad thing if he sticks with the right directors like Reeves did. Stone was wise with his use of Kitsch. Neither Reeves nor Kitsch can express emotion well, so a film like Savages is ideal (as his character is a shell of a man after the war; a killing machine) for Kitsch in the same way The Matrix and Point Break were ideal for Keanu. Salma Hayek cast as the drug lord was a perfect fit- if for no other reason- because she's married to a billionaire in real life and her character is fittingly filthy rich (she has people at her manshion who massage her feet, cook her food, etc). Even John Travolta was standable, as he occasionally can be, in this film as a loud mouth DEA agent. These positive choices, thankfully numerous, barely overshadow the worst choice ever- Blake Lively in a lead role. Punch me in the face. Most will claim that Lively was the worst part of the great film that was The Town. Beneficially for that film however, she had a minor role as a snitching, slutty ex-girlfriend of the protagonist (Ben Affleck, also the director). It was easy to dislike her, but it's what the film called for. Oliver Stone wanted us to love Blake Lively's character in Savages and, speaking for myself, I wanted to make Jim Carrey's "most annoying sound in the world" everytime she opened her mouth- which was a lot. Lively narrated the film in an intentionally, over-dramatized, raspy, "sexy" voice that left me wondering what could have been if a more talented, easier-on-the-ears voice over such as Gilbert Godfrey had taken the role. Thankfully for Stone and viewers around the world, the rest of the film was an exciting, smart, and at times funny thrillride. Stone returns to the violence and brutality we all loved in Natural Born Killers. The two leads worked together like a new age Butch Cassidy and The Sundance Kid (which were referenced in the film, surely due to the inspiration it supplied Stone). Benicio Del Toro gives his best performance in years (probably since Che: Part I and II) as a sadistic, murderous cartel leader. His remarkably detestable portrayal is on par with Christoph Waltz's Nazi in Inglorious Basterds- just wow. Between the alluring photography of California and Mexico, the return to aggression from Stone, and the excitement of young, rich, successful lovers chasing fortune and a wild ride, Savages was an enjoyable summer flick.        


I give Savages a B. 


Blake lively would fit in most properly in music videos-- a pretty face with no lines. If you LOVE Blake Lively, Savages will be your Gone With the Wind.




              

Review: Jeff, Who Lives at Home (2012)

Jeff, Who Lives at Home, directed by Jay and Mark Duplass (Cyrus, Nights and Weekends), tells the story of Jeff (believe it or not)- played by Jason Segel (Forgetting Sarah Marshall, The Muppets)- a man in his thirties struggling to understand his “destiny” whilst living in his mother’s (Susan Sarandon) basement. Finding it difficult to persuade Jeff to even simply clean the gutters, his mother calls on brother Pat (Ed Helms) to reach out to Jeff with the hopes of making a breakthrough. Though Jeff may not have a job, a wife, or a Porsche like Pat, he seems to have a connection to the cosmos of the universe- paying attention to signs such as recurring names and numbers and following his heart. On this particular day, these signs have led the brothers to discovering a strange, secret relationship that has formed between Pat’s wife and an unknown man. In order to get to the bottom of this, however, Pat and Jeff will have to act like true brothers: something they haven’t done in a long time. Will the duo solve of this mystery? Will they strangle each other in the meantime? Will Jeff climb out of this ditch of dawdling despair?

The Duplass brothers are known (at least by myself) for creating real comedies. No explosions; no unrealistic, wacky characters; they direct films for us, about us. As a result of this, we find ourselves far more emotionally drawn to the characters of their films than to say, the characters of Anchorman (though a thoroughly enjoyable slapstick comedy). The film begins with an audio journal, spoken by the title character, about his thoughts on the film Signs and how he believes there are signs everywhere if you open your mind to them. Much like the film Signs, Jeff, Who Lives at Home comes full circle, with many laughs and heartfelt moments along the way. Regardless of which character you relate to most, the pathos and wide range of personality in this film will cling to something deep inside you and make investing your time and attention for ninety minutes not only enjoyable, but a necessity. With films such as Alvin and the Chipmunks: The Squeakwal and Bucky Larson: Born to be a Star out there, it’s great when films like Jeff show up and remind me that not every project is solely a paycheck, and some films were written and directed with a love for story-telling. I paid for a movie, and I left the theater- credits rolling behind me- with a new pep in my walk for free. Jeff, Who Lives at Home is an ideal cinematic experience, earning 4 stars in my book.

Review: Limitless (2011)

Based on the novel "The Dark Fields" by Alan Glynn and directed by Neil Burger, Limitless tells the story of Eddie Morra (Bradley Cooper), a dawdling writer who has yet to write a word of his "promising" novel. Upon crossing paths with an old friend and drug dealer, he is introduced to a pill that allows the user to use the eighty percent of their brain that usually remains dormant. Fascinated by this new drug's effects, Eddie returns for more only to discover that his dealer had been murdered. Startled, Morra searches the man's apartment in search of his stash and discovers that his friend's assassins looked over one compartment containing a large supply of the drug and drug money. Within a matter of days he had completed his book and publishers were lining up to assist him. In a matter of weeks he was advising the most financially gifted individual in America- Carl Van Loon (Robert De Niro). Though life now seems flawless, there are both those who have previously known of this drug and those who have discovered this pill through the actions of Eddie, and they all are after it. This film is exceedingly original (which is rare these days) and effectively nerve-racking. From the moment the drug is induced, the viewers themselves seek more, gnawing their fingernails and edging the tips of their seats. Though containing a strong plot and high octane energy, the lead role could have been better cast. Sure, Bradley Cooper is strapping and has had a fairly diverse early career (Wedding Crashers, Midnight Meat Train), however, in a role where we have to believe in early scenes that he isn't talented or attractive (like most 90's Sandra Bullock films) he is strongly unconvincing- much like he doesn't convince us in later scenes that he has a "four digit" I.Q. Don't get me wrong, the film works regardless, with the always assuring performance of De Niro and stout direction of Neil Burger (The Illusionist). Additionally, the film serves as a very fine portrayal of addiction- how it affects the addict and those who love the addict-- I was impressed. Though the film would have benefitted from casting such a performer as Sam Rockwell for instance, Limitless is a non-stop anxious thrill-ride that won't let go until the credits roll, earning it a solid 3 out of 4 stars.

Review: The Adjustment Bureau (2011)

In his directorial debut, screenwriter George Nolfi brings to the screen The Adjustment Bureau, starring Matt Damon as David Norris- a politician who's life will soon be altered indefinitely. Moments before one of the most crucial speeches of his life, David encounters the love of his life- Elise (Emily Blunt). Unsatisfied with the brief moment shared before their separation, Norris pursues his soul mate. Upon reacquainting with his paramour, Norris' world is disorientated as he discovers that their is a bureau of men that oversee, and at times alter, everyday human life. This bureau's need to interfere with and re-aline David's life is due to his intrusion of the big plan. David's fate with Elise is not only against the plan of whom the bureau refers to as "the chairman" (which would of course be known as God to us; and no, the part is not played by Morgan Freeman), but it will allegedly lead to the failure of both David and Elise to accomplish their own individual dreams. David- alone in his knowledge of this authority- must take matters into his own hands to defy the "plan" and live his life with the woman of his dreams. Having written such screenplays as Ocean's Twelve and The Bourne Ultimatum (he must appreciate Damon), it is no surprise that The Adjustment Bureau is such a success, as it is the first opportunity for Nolfi to portray his own tale. Though to the naked eye the story seems original, anyone who has seen Alex Proyas' Dark City (1998) will find the Bureau a bit too familiar. However, the film has a convincing enough chemistry between Blunt and Damon and enough of a Nolfi accent to stand alone. The performances were exceptional across the board, from Damon and Blunt to Anthony Mackie (The Hurt Locker), John Slattery (Mad Men), and Terrance Stamp (Superman). Additionally, there were many philosophically astonishing takes on religion and higher powers. Though containing a partially borrowed plot, The Adjustment Bureau is original enough, and is accompanied by fine filmmaking and remarkable performances- scoring it 31/2 stars in my book.

Review: Drive Angry 3-D (2011)

Director Patrick Lussier's Drive Angry 3-D, starring Nicolas Cage and his hair, tells the implausible tale of a durable shell of a man that escapes from Hell to avenge the death of his daughter. Milton (Cage) has spent the preceeding years of existence viewing the struggles of his loved ones in a cell of the underworld. The most recent and devastating site he has witnessed is his daughter's conversion to the occult. The fuse that detonated Milton's escape from Hell was sparked by the devlish, devious leader of this cult (Billy Burke, Feast of Love, Fracture)- who murdered his daughter abd kidnapped his granddaughter. Alongside Milton on this high-octane hunt is a waitress (Amber Heard, Pineapple Express) who is providing wheels and good looks I suppose. Hot on Milton's trail of firey wreckage is Satan's right-hand man, The Accountant (William Fichtner, Armageddon, Black Hawk Down) and the local Sherrif's Department. Will Milton and his unrealistically attractive waitress have what it takes to save the child? As most are aware of the infamous Nic Cage's recent debt issue, many moviegoers are well prepared for garbage at showings of recent Cagesploitation films. Occasionally however, Cage and/or Cage's agent will have a short stroke of genius (i.e. Werner Herzog's Bad Lieutenant- Port of Call- New Orleans). Drive Angry is not one of those occasions. With such a synopsis and such a leading star, I was not expecting a breath-taking cinematic masterpiece, however I was prepared to turn my brain off and enjoy an exploited non-stop, action flick. The problem with Drive Angry is that it takes the "awesomely" out of awesomely bad. Films such as Machete and Black Dynomite succeed because they know their identity- they are over the top films that have no problem making fun of themselves. The only individuals making fun of Drive Angry, however, are the viewers and critics- and not in the good way. A few saving graces of the film were the money spent on special effects, the atmosphere of a Grindhouse Feature, David Morse (though could have used much more of him), and the always impressive- yet underrated- William Fichtner. Fichtner's charm and on-screen charisma redeemed many scenes from mediocrity. The final twenty minutes of the film were much more enjoyable than the preceeding hour and fourteen, however not enough to completely rescue this film from a state of dullness (which is a state that would seem hard to achieve for a film about a Hell escapee avenging his daughter's death). Drive Angry is a mildly enjoyable Redbox candidate, scoring 2 stars.

Review: Unknown (2011)

Director Jaume Collet-Serra's Unknown stars the usually impressive Liam Neeson as Dr. Martin Harris, a man who awakens from a coma after a car accident on a business trip in Germany with his wife Liz (January Jones). Upon awakening Dr. Harris finds that no one knows who he is, including his colleagues and spouse. Another man seems to have taken the place of Martin, playing the role of Dr. Harris the businessman, and Martin the husband. Harris refuses to believe the allegations that he has lost his sanity, and begins to pursue the retrieval of his life- starting with questioning the driver of the car at the dawn of this disorientating predicament. This film was viewed out of stardom of quality released films, and unlike The Mechanic, I was not pleasantly surprised. Unknown is simply a mess of a film. Aside from the fuzzy, made-for-TV movie look, and the detestable sound effects, the film's plot was schizophrenic, uneven, and unpleasant. Additionally, January Jones is significantly overrated. Due to her role in such a series as AMC's Mad Men, viewers such as myself were under the impression that she had talent. After withstanding the punishment of viewing Unknown, I stand corrected. Jones was by far the most two-dimensional, card board cut-out character in the film, and that's saying a lot. For whatever reason, I failed to do my research prior to purchasing a ticket for the film, but if I had I would have realized that the director of the film- Jaume Collet-Serra- is responsible for such cinematic catastrophes as Orphan and the Paris Hilton 2005 remake of House of Wax. To give credit where credit is due, the ending of the film was far better than the preceding scenes- this is not saying much. The distance from Schindler's List to Unknown is a far drop, however, I'm going to refrain from deducting points from Neeson and assume he just needs to fire his agent. Unknown is disappointingly a rarely enjoyable mess of a film, earning it a whopping 1 star.

Review: The Mechanic (2011)

Director Simon West's The Mechanic is a modern adaptation of the 1972 Michael Winner film of the same name, starring Charles Bronson. The film stars Jason Statham as hit man Arthur Bishop. Bishop has recently been ordered to kill his long time mentor- Harry Mckenna (Donald Sutherland). Being a faithful man to his business he carries out the hit. Living with this decision and having the attachment he shared with Harry, Bishop attends his memorial service, which is where he encounters Harry's son, Steve (Ben Foster). Steve, being the troubled young man he is, takes a liking to Bishop and his profession, pleading that he train him to know the things Arthur knows-- the skills taught to arthur by Harry. The Mechanic follows Arthur and his new apprentice Steve Mckenna as they bond and carry out hits, improving Steve's skills as they progress. Will Steve learn of Arthur's significance to his father's death, and if so, when? My expectations were low upon entering the cinema. This film was released in the midst of a storm of terrible, early in the year movies, and it is a remake of a film, that to my knowledge, needed no remake. The Mechanic exceeded my expectations tremendously. I was prepared for non-stop action, sub-par acting, and a two-dimensional plot, and I would have been fine with turning my brain off (Much like Machete or The Expendables). The action was indeed nearly continuous, however, the performances delivered by both Foster and Statham were exceptional-- Foster's being quite exceptional (as his often are). Additionally, it included a sharp, smart script that was at times compelling, and even a bit intentionally humorous. There were action sequences that were surely a bit over the top, but were saved by the solid chemistry this duo shares. The ending was quite satisfactory, though included one implausible maneuver performed by Statham- but what action film doesn't? The Mechanic was a pleasant surprise and is strongly recommended for action fans, earning it 3 stars.

Reviews from the Vault: The Rock (1996)

This time of year being the time of opportunity for the Academy to dump all of its garbage that was denied release at the end of 2010, I have not felt the need to review films that you no doubt have already guessed suck. That being said I miss reviewing films, so I have decided to dig up the one golden nugget spawned by the infamous human explosion-- Michael Bay. Produced and Directed by Bay, The Rock stars Nicolas Cage, Ed Harris, and the devilishly good looking Sean Connery. Feeling that America is in need of an awakening by a true "patriot", General Francis X. Hummel and his crew of soldiers commandeer Alcatraz (The "Rock") the intension of destroying San Francisco Bay and thousands of American citizens with the aid of biological weapons. Summoned to assist with the demise or apprehension of these anarchic warriors are Dr. Stanley Goodspeed (Cage)- a biological warfare specialist, and John Patrick Mason (Connery)- the only individual to ever escape from Alcatraz. With a pregnant wife currently in San Francisco, Goodspeed wants nothing more than to get the job done and return home to his wife. Will this odd partnership have what it takes to save the day? Explosion! Gunshot! Slow motion! Explosion! Welcome to a Michael Bay film. However, The Rock differs from other Bay projects in that it doesn't take itself too seriously. There is nothing worse than laughing at an action scene that intends to simply rock your socks off. In this instance, the audience tends to share the same sense of humor as the director and cast of The Rock. Aside from the awesomely ridiculous thrills and effects, this film actually contains a few three-dimensional characters, top-notch acting, and Connery! Bay certainly has a fascination with the armed forces, but that is okay considering it adds authenticity to the films military mechanics. These days it takes grand diversity for a film to stand on its own (i.e. the good guy dies, the couple doesn't stay together), but sometimes it's okay to give the audience exactly what they want. I would not recommend buckling up for an oscar-winning drama, but I would recommend having a little fun- because that is what The Rock has to offer-- earning a strong 3 stars.

Review: 127 Hours (2010)

Danny Boyle's 127 Hours depicts the devastating six and a half days spent by Aron Ralston trapped between a rock and a hard place. In this true story of man vs. nature, outdoor enthusiast Aron Ralston (James Franco) departs to the mountains of Moab, Utah for a weekend of canyoneering alone. Initially, things are adventurous as he meets a couple of young ladies climbing nearby. After introducing them to the fun that can be had at his outdoor second home, he parts ways and continues his journey the way he likes it- alone. Here lies the problem, as he has plummeted into an inescapable position with his arm trapped beneath an anchored rock. As the hours turn into days without progress, and the milliliters of water become closer to nonexistent, Aron wishes more and more that he had informed someone of his weekend plans. Bringing us such films as Trainspotting, Slumdog Millionaire, and 28 Days Later, director Danny Boyle has proven himself an effective storyteller- 127 Hours only reassures us of this ability. The film captures its audience with amazing photography, cinematography, casting, and music. The claustrophobia administered to the viewer by day three of Aron's struggle is eased with sporadic flashbacks, daydreams, and hallucinations strategically placed by Boyle. One-man shows such as this are either a disaster of a display or a masterpiece, and Franco delivers the latter with a convincing portrayal of desperation and hope. The first step into the sunlight in the final minutes of the film are as much a breath of fresh air for the audience as it is for the film's protagonist. It's moments like these in cinema that if done right, not only make up for the leading hour and twenty minutes of struggle, but depend on that conflict to make the grass greener on the other side. Thanks to a compelling survival story provided by Ralston, top-notch direction by Boyle, and a stand up performance by Franco, 127 Hours is a success- scoring 3 1/2 stars.

Review: I Love You Philip Morris (2010)

Directors Glenn Ficarra and John Requa's I Love You Philip Morris is an adaptation of the miraculous real life story of Steven Russell. Steven is allegedly your average individual. He goes to work every morning at the Police department, comes home to his wife, eats dinner, makes love, and (*record scratch*) has sex with men. Following a near-death experience in a car accident, Steven decides to live a lie no more- he decides to come out to the world about his life-long secret and start the life that was always intended for him. Not long after leaving his wife and finding a new lover named Jimmy, Steven comes to the realization that being homosexual is very expensive and the easiest way to support his spending habits is by conning his way through life. This eventually leads Steven through the gates of prison. A diamond in the rough- prison acquaints Steven with the true love of his life- Philip Morris. From the moment they lock eyes Steven is determined to treat Philip like a queen. Whether a sports car or designer clothing, Steven graces Philip with whatever he desires. Deceiving his way into corporate jobs and embezzling massive amounts of dough, Steven is not only lying his was into wealth, but through his relationship as well. Will Steven be able to set aside his addiction and compulsive dishonesty for the one he loves, or is he destined to spend the remainder of his days in a distressing six by eight foot cell? I Love You Philip Morris is much like Birdcage intertwined with Catch Me If You Can. If the passion the two leading characters share is not enough to fuel the audience through the film's 102 minute running time, the aberrance of Steven Russell is. Once again in comparison to Catch Me If You Can, the audience will not only be entirely attached to the film's protagonist, but they will surely ponder whether Russell is stealing with aspirations for those he loves, or simply due to an uncontrollable addiction. Either way the journey is hilarious and thrilling. Philip Morris is filled with absurdity (entertaining, though sometimes a bit too absurd) and hilarity, but there is nothing more magnificent about the film than its casting. Ewan McGregor is spot on as an innocent homosexual that is being dragged through the wreckage of his partner, and Jim Carrey displays his best performance by far since Eternal Sunshine of the Spotless Mind. I Love You Philip Morris is an exceptional depiction of an incredible individual, earning it 3 stars.

Review: Catfish (2010)

Much like the trailer claims, documentary filmmakers Henry Joost and Ariel Schulman's Catfish isn't based upon real characters or inspired by true events, it is simply true. In 2007, filmmakers Henry and Ariel noticed an online romance story evolving in the life of Ariel's brother Nev, and decided to document it on camera. Having only met on Facebook, Nev was eager to acquaint this charming young gal in person-- eager until he began to suspect that she was not being entirely honest. Claiming to have an art gallery- that upon investigation- Nev discovers doesn't exist, taking credit for songs allegedly performed in her own home- leading Nev to discover their existence on Youtube by professional musicians- leads Nev into a state of suspicion. Intrigued and confused, Nev and his brother's crew set out to surprise this deceiving online swinger. What is waiting for them can only be revealed by viewing this on-camera adventure. Catfish is a fine example of real stories being stranger than fiction. Anyone can make up a fictitious plot, but to see bizarre events unfold in a real individual's life is much more capturing. After viewing Catfish, one may reflect and assert that the thrill of the hunt was more exciting than what was waiting behind door number three. The excitement of the unknown may not meet up with the realism that awaits these young gentlemen- but it will certainly not disappoint. The first 45 minutes of the film are intense enough to dampen your pants, whereas the final 45 minutes are emotional and real enough to leave you petrified for hours. As the poster suggests: "Don't let anyone tell you what it is". Catfish is an astonishing display of low-budget filmmaking- earning it a very solid 4 stars.

Review: The Fighter (2010)

Director David O. Russell (Three Kings, I Heart Huckabees) does an admirable job telling the true story of former welterweight champion Micky Ward (portrayed by Mark Wahlberg). Ward is known especially for his famous trilogy of title fights with the late Arturo Gatti. The Fighter takes place years before these fights, as Micky is desperately trying to make a name for himself. Torn between depending on his family-that has a tendency to fall short- or training with professionals that will ensure his spot on HBO, Micky continues to exert himself. His brother Dicky Eklund (Christian Bale)- former professional boxer known for bringing Sugar Ray Leonard to the mat- persists to miss training sessions and events for Micky as he spirals deeper into his crack addiction. The Fighter is a magnificent display of a man with a dream, rising from the streets to fame. David O. Russell and Wahlberg continue to prove themselves a great cinematic duo. Wahlberg, showing both emotional and physical determination as he trained with the real Micky Ward and brother Dicky for the film, displays a great depiction of the great fighting Irishman. Additionally, Bale, famous for his astonishing physical dedication to roles (losing 63 pounds for his role in The Machinist, and reaching peak physical status for such films as American Psycho and Nolan's Batman Begins), continues to shock audiences with not only his drastic change of appearance for the role of Dicky, but for his oscar-worthy performance and portrayal of addiction. The setting and time period are precise, from the streets of Boston to the horrific moosed hairdos of the Ward sisters, placing the viewer's seat directly in the atmosphere of Lowell, Boston. The astoundingly talented Amy Adams only adds to the authenticity as Micky's autonomous Boston broud love interest. Much like Rocky, the final fifteen minutes of the film will leave its audience's nerves much like the antagonist's after a long drag of crack. Inspirational, compelling, and at times tragic, The Fighter hits on many levels- scoring it 31/2 stars.

Review: True Grit (2010)

The Coen Brothers' adaptation of Charles Portis' 1968 novel-True Grit- stars Jeff Bridges as the infamous U.S. Marshall Rooster Cogburn. Known for his recklessness, yet also for his grit and consistent persistence, Cogburn seems a worthy candidate to help the young, autonomous Mattie Ross (the new and encouraging Hailee Steinfeld) find and kill her father's murderer, Tom Chaney (Josh Brolin). Chaney, being a wanted man by more than simply the daughter of his most recent victim, attracts a Texas Ranger named LaBoeuf (Matt Damon) to his trail of hunters. Determined to not only pay the man who will avenge her father's death, but ride with him on this dangerous path to redemption, there is no shaking Mattie off the path. Will the heroic drunk and ranger have the guts and grit to eliminate Chaney and protect Ross? True Grit is a fine example of the Coen brothers ability to tell a compelling story. Having a passion for the west, Joel and Ethan had no trouble creating an atmosphere that engulfs it's audience in the 1860's. Reacquainting themselves with Bridges of The Big Labowski and Brolin of No Country for Old Men, and introducing their first collaboration with Damon- the brothers could not have crafted a better, more inspiring cast. It is hard to understand any issue with the film, other than The Dude vs. The Duke. Sure, Jeff Bridges "is no Duke", because the Duke has been gone for years. In comparison, Heath Ledger was no Jack Nicholson in the role of The Joker-- he was better. Additionally, fans of Fargo, Raising Arizona, The Big Labowski, etc. may notice a loss of overall absurdity in the brothers' translation of True Grit. This stronger sense of normalcy can only be described by the fact that they are displaying someone else's story and surely did not want to distort it too severely. Containing all of the original characters and personalities, a few precise horseback duels from the original, and the same plot, climax, and dramatic question- Grit still certainly maintains a Coen Signature. The dark humor is gut busting, and the few scenes of tension are enough to make any audience grind their teeth. It is hard to find a solid child actor, but the new aspiring Hailee Steinfeld proves that diamonds do exist in the rough. A fine display of leading and secondary performances, and film making at its finest, True Grit earns 31/2 stars.

Review: Black Swan (2010)

Director Darren Aronofsky's Black Swan is strongly based on the four act classical ballet: Swan Lake. Swan Lake tells the tale of a princess who has been cursed to appear as a swan, and will remain this way unless a prince confesses his love for her. Upon falling in love, the prince is deceived by an evil sorcerer, and proposes to the wrong lady. Devastated and heart-broken, the "Swan Queen" throws herself into the lake- taking her own life. The Prince witnesses this and cannot bare the despair- leading him to the same fate. Aronofsky is known for his ability to flourishingly depict a variety of downward spirals (i.e. the heroine addiction of Requiem for a Dream, the obsession of a washed up professional wrestler portrayed by Mickey Rourke in The Wrestler). Aronofsky continues this trend in Black Swan, as he introduces his audience to Nina (Natalie Portman)- a ballerina desperately consumed by the role of her lifetime, to the extent that her fate is beginning to match that of the very character she is set to master on stage- the Swan Queen. Challenged by her competition (the other desperate ballerinas), obliged by her mother to give it everything she has, drugged by her most prevalent rival (Mila Kunis), and hounded and seduced by her fierce ballet instructor (the always astonishing Vincent Cassel), Nina is quickly loosing her grasp on reality. She is becoming obsessed with perfection, and until she realizes that she is the largest obstacle in her way (perhaps quite literally), perfection will not be achieved. Will she make it to the show of her life before her hungry alternate dancer? Does she have the dedication it takes-and for that matter-is it worth it? Wow! Black Swan is everything a thriller should be. It's original, tense, charismatic, psychological; it's art. The symbolism achieved in this film between fairy tale and reality is truly hair-raising. As if the screenplay and Aronofsky's clear understanding of it wasn't enough, Natalie Portman shows us all that she was born for this role- which ironically is of a girl who was born for her role (I'm pretty sure we have just been incepted). Not only were her emotions absolute, but her physical abilities and appearance matched that of a professional ballet dancer. The levels that Black Swan clicks on are endless. The correlation between the characters of Swan Lake and the people in her life is something that could only have been captured in this way by Aronofsky and perhaps Kubrick. Much like the music within the ballet, this film is a never ending crescendo that contains a finale worthy of applause. The film achieves what its leading lady seeks the most- perfection. For ranking as the best film viewed all year and containing the best performance by a single actor, Black Swan earns 4 stars for this audience member.

Review: Buried (2010)

Director Rodrigo Cortes' Buried stars Ryan Reynolds as Paul Conroy- a U.S. Contractor who delivers supplies by truck to Iraq. For Paul, this day bears no resemblance to other days on the job. Conroy has awakened to darkness, feet below the surface of an unknown location in Iraq, after he and his crew were attached: killing his fellow truck drivers and leaving him alone in a coffin. Though exasperated, Conroy is filled with a sense of ambition as he discovers that his kidnappers have left him a cell phone, a knife, a Zippo lighter, a glow stick, and a flashlight. As an average joe, Paul desires nothing more than returning home to his family. Unfortunately for Paul, he lacks the position of royalty, therefore struggling to find answers or anyone that feels as desirous about his escape as he does. Will Paul reach his wife and son? Will this day end with vengeance over his Iraqi kidnappers?Will his battery die-or more pressingly- will he? Much similar to Neil Marshall's The Descent, by the end of this film the viewer and the protagonist will be gasping for the same breath of air. Whether or not they both receive I will reserve for the film to portray. From the beginning of Buried, the audience is plunged to the edge of their seat: much like classic Hitchcock. For a movie involving a single six by four foot set, there is enough struggle, action, and stimulation to keep an audience member counting down to closing time. Sure, Buried is at times so heavily claustrophobic, secluded, and uncomfortable that even the viewer feels the need to amplify- but what else should one expect from such a title? The one-man-show performance delivered by Reynolds deters fans of the actor from the belief that films such as The Proposal define his career. Reynolds performs an exceptional work of art in Buried. Such a role has the potential to make or break a film judging by the actor carrying the load- and Reynolds conveys Buried its full length. Never has a dying battery of a cell phone had such an intense effect on me. By the end of this film, you will have formed a liking for its protagonist, a passion for their survival, and a sense of unpredictability of their fate. Buried brings suspenseful film making back to its roots, earning it a strong 3 stars.

Review: Monsters (2010)

Written and Directed by Gareth Edwards, Monsters tells the tale of Andrew Kaulder (Scott McNairy), a struggling photographer and journalist who is having a hard time making a living in an earth that is dealing with alien inhabitants that landed six years ago. These Monsters have implanted fear in the minds of humans- not only making everyday situations much more complicated- but making dangerous journeys significantly more hazardous, for example, crossing the border of Mexico and the United States. In a world that a photo-journalist can only benefit from horrific, appalling photographs and stories, Andrew is open to high paying projects. Conveniently for Andrew and for a fair price, Samantha Wynden (Whitney Able)-daughter of an important American figure- needs guidance and transportation across the Mexican border. Inconveniently enough, the ferry (the safest way to travel in these formidable times) has become unavailable to the duo, forcing them to cross the border on foot with a team of protective authorities. Though Andrew is a bit of a playboy and Samantha is engaged, sharing the same journey and fear of these "creatures" that lurk our land forces Andrew and Samantha to not only become familiar, but perhaps fond of each other as well. Not only will this film please monster film fans or those devoted to science fiction, but a large array of viewers of all tastes due to its appeal to human emotion. For a film who's title and centerpiece is Monsters, this picture has everything to do with human relationships and the magnetic forces of love and fate. Much like early George A. Romero films such as Night of the Living Dead, the beasts are candidly bait to bring the film's characters together- and when this happens in Monsters, the chemistry is coercing. The film has a perfect enough blend of magic realism, drama, action, humor, and tension to earn its spot on the top of this year's independent film list and 3 1/2 stars in my book.

Review: Unstoppable (2010)

Director Tony Scott's Unstoppable tells the tale of an absurd first day on the job for a rookie conductor named Will (Chris Pine). Tutoring Will is an experienced veteran engineer- Frank (Denzel Washington). Will- not looking forward to being hounded as a rookie on his first day by old-timers- and Frank- upset at the fact that the industry continuously brings in new blood to weed out such old-timers as himself- have no idea what kind of high-octane, nerve-racking day is ahead of them. Young, dumb, full of fun engineer Dewey (Ethan Suplee, Remember the Titans, My Name is Earl) lets a twenty-six car locomotive carrying toxic chemicals get away from him going full throttle. At the rate this train of death is traveling, it is likely to run off the tracks in Stanton, PA and has the ability to decimate it from existence. The question is: will the brave/crazy Frank and Will have what it takes to stop it? I'll admit I was skeptical about the second consecutive film by Tony Scott being about issues on a train. However, leaving the theater I was quite pleased to have witnessed Scott returning to his roots by delivering his most exciting, lovable film since Top Gun. It is easy to give an audience non-stop action from start to finish (*cough* Michael Bay *cough*), but to include some exceptional character development and astonishing tension that will keep you in your seat is another thing. A director has something to be proud of when audiences claim that the final fifteen minutes of a film had them on edge, but in Unstoppable's one hour and thirty-eight minute running time the viewer will be on edge for one hour and thirty minutes. The Scott brothers (Tony, and Ridley- Alien, Gladiator), tend to stick with Denzel (i.e. American Gangster, De Ja Vu, Man on Fire), and it works. For the first time together on the big screen, the chemistry between Pine and Washington was that of two long-time friends. This, along with tremendous direction, camera work, and simplistic plot, makes a perfect formula for a marvelous film. Is Unstoppable slightly predictable and been there-done that? Absolutely, but what isn't? This film blasts its way to the top of my list for 2010 faster than the train that carries it, earning it 31/2 stars.

Review: Paranormal Activity 2 (2010)

Director Tod Williams' Paranormal Activity 2 is brought to us just one year after Oren Peli delivered the thrills of the effectively low budget original. 2 is a prequel to the first film, set only sixty days prior to the first day of the original. The film follows the extended family of Katie (Katie Featherson), the protagonist of the initial film. Katie's sister Christie and her husband, step-daughter, baby, and German Shepherd are living in a house that is becoming more and more noticeably occupied by a demon. This film surprisingly pleases on nearly all levels. Being a sequel of a film that achieved its success while remaining extremely simplistic, it was smart not to go overboard. It did however have all of the astonishingly eerie elements of the first film along with some additional ones. The home video-style camera work remained the same, continuing to bring the fear closer to home with its sense of realism. As any great sequel should, 2 contained more victims, more bumps, more chills, and improved on the previous film- making it ultimately scarier for this viewer. Additionally, writers Michael R. Perry and Oren Peli wisely added a few factors to create a tension not achieved in the first- a baby, a dog, and a non-believer. There is nothing quite as tense as evil being clearly present to the audience and the protagonist, but not to their loved one. Going into this film I had my expectations lower than the original, yet the outcome exceeded the original. Paranormal Activity and Paranormal Activity 2 (Much like the spanish shaky-cam film duo Rec and Rec 2) connect and feed off of each other in a way not often achieved, earning this quality sequel 31/2 stars.

Golden Oldies: House on Haunted Hill (1959)

Williams Castle's House on Haunted Hill stars Vincent Price as an aberrant millionaire playboy named Fredrick Loren who has taken the liberty of inviting five individuals to a house known for its strange occurrences and fatalities. Fredrick promises that each guess, if still living by the following morning, will leave with a whopping 1,000 dollars (way bigger deal back then). As the night unfolds strange events continue occur, from sightings of ghouls to appearances of severed heads. This night is not only beginning to seem stranger and stranger, it is beginning to appear hardly survivable. This cult classic is a perfect formula for a horror film- it's eerie, humorous, black and white, and it features the legendary Vincent Price. Haunted Hill not only treats its audience to fine filmmaking, it simulates a halloween fun house in the viewer's living room. The film serves as a great reminder that not all horror shows have to include computer generated monsters and Michael Bay explosions. If nothing else, House accomplishes thrills and laughs through Price alone with his historically charismatic performance. Additionally, the old-fashioned music of the film only improves on the spectral atmosphere. Whether the viewer's intentions are to take a time capsule back to 1959 for some antique chills or rather laugh at the anti-hero black humor of Price, House on Haunted Hill pleases on all levels without flaw- earning it 4 stars.

Review: Red (2010)

Robert Shwentke's Red, a film adaptation of the successful DC graphic novel series, takes its audience on a thrill ride with Frank Moses (Bruce Willis), a retired black-ops agent who's life has recently been threatened by what seems to be a group of highly trained federal agents. Upon defeating these agents and having few individuals closely related to him, Frank grabs the one gal he's interested in (Mary-Louise Parker) to prevent her from getting hurt and reassembles his team of retired assassins. The team includes Victoria (Mirren), the looney Marvin Boggs (Malkovich), and the ill but dangerous Joe Matheson (Freeman). As events unfold it seems the heros have been pinned with an assassination and it is up to them to infiltrate CIA headquarters and get to the bottom of what turns out to be quite the large cluster of conspiracy. Red is a rarity in the sense that it's a graphic novel adaptation that works (without the Frank Miller touch). With A-list actors and a uniquely humorous idea, it was hard to miss the mark with Red. Though at times relying a bit too much on witty phrases from Willis and Malkovich and on explosions, the film is carried by strong performances and character development that is many times lost in translation with comic book movies. It wasn't necessarily the old age of the characters that fueled the most laughs and interest, but perhaps both the characters' and actors' youthful on-screen charisma; had one character been recast, this group of assassin retirees may have lost a sense of chemistry that is seldom achieved such as in Red. Although there were many generic elements of this high octane action comedy, most of them were the good kind. The film's ability to carry the audiences interest, its great additional performances from actors Brian Cox and Karl Urban, its fitting soundtrack, and its creative scene transitions consisting of post cards fading into reality complete Red's solid formula, earning it a solid 3 stars.