HAPPY NEW YEAR! A year-end thanks to all of you wise folks who are loyal followers and/or contributors to Movie Reviews From the Dark. And an especially big thank you to those who have referred others to the site.
There are a couple of announcements I would like to make:
1. The annual “Best of” list will be posted in a couple of weeks. New York and L.A. have a distinct advantage since all Oscar-eligible movies get a year-end release in those cities. We aren’t quite as fortunate in Dallas.
2. Beginning January 1, 2012 the site will have a new feature: TMI(Today’s Movie Info). Each day I will post a (hopefully) interesting movie-related tidbit. My self-imposed guidelines are very flexible, so expect just about anything.
Please continue to pass along your comments … and as always, I certainly appreciate you “enriching” the lives of others by recommending the site!
Greetings again from the darkness. In the opening sequence of Saving Private Ryan, director Steven Spielberg provided us with one of the most horrific and terrifyingly realistic and violent examples of war ever shown on screen. Here, he takes a much different approach. Though the bulk of the movie takes place during World War I, Spielberg manages to withhold the brutal atrocities, while never once losing the impact and fear experienced by the soldiers. And while it’s uncertain whether this approach makes for a better film, it is obviously a more accessible and uplifting story because of it.
Based on the children’s book by Michael Morpurgo, and of course on the hugely successful stage runs in both London and New York, this movie is really the story of an unbreakable bond between a sincere farm boy named Albert (newcomer Jeremy Irvine) and a majestic horse named Joey. We witness the early bonding and training sessions between the two, which allows us to swallow some of the more improbable coincidences that occur later in the story. When the war breaks out, Albert’s dad (Peter Mullan) sells the horse to the cavalry so that he can save the farm by paying the landlord (David Thewlis). Fortunately, Captain Nicholls (Tom Hiddleston) agrees to keep Joey as his personal horse and return him to Albert after the war.
War is unpredictable, and Joey gets passed from the British to the Germans to a French farmer’s daughter, back to the Germans and back to the British. Along the way, we witness what a remarkable creature the horse is. Were he a man, he would be a most decorated officer. Instead, we witness how little value the military places on animals … even the beautiful ones. There are numerous scenes that make will make you uncomfortable with the cruelty shown, but just as many that will make you smile with joy. The already famous scene that features Joey’s unfortunate conflict with barbed wire and fence posts will have you squirming in your seat, while also scratching your head in wonderment.
Though many of the events and sequences are a bit of a stretch to believe (the time-out in No Man’s Land), the one thing you will never doubt is the beauty of the film. It’s epic nature recalls Doctor Zhivago or Lawrence of Arabia (though not at the overall level of either of those films), and the photography reminds me of John Ford‘s best work. Off the top of my head, I would say it is the most beautifully photographed movie since Terrence Malick‘s Days of Heaven in 1978. Spielberg’s long time DP Janusz Kaminski is at his best here and will surely be recognized by the Academy for his cinematography.
Many of the British actors are recognizable (Emily Watson, Benedict Cumberbatch, Toby Kebbell, Eddie Marsan, David Kross), but it’s key that Spielberg cast no “movie stars”, only quality actors. The stars of the film and the story are the horse and the visuals. It should also be noted that the great John Williams delivers another perfect score … one that would run away with the Oscar in many years.
No need to be frightened off because the story is based during World War I. It’s not for the youngest of kids, but this is an uplifting, sentimental and emotional movie for most everyone. It is peak Spielberg working with sentiments and subject matter with which he so excels.
SEE THIS MOVIE IF: you enjoy being swept away by the emotions and grand scale of an epic film OR you would like a primer to war films that goes a bit easy on the gore.
SKIP THIS MOVIE IF: you are expecting similar war reality to Saving Private Ryan OR you have a hard time suspending disbelief for some rather remarkable coincidences
Greetings again from the darkness. Remember the last silent film that received this much adoration, acclaim and publicity? Of course you don’t. It was 1927 and Clara Bow starred in Wings, the most recent silent film to be nominated for Best Picture (it won). My guess is, that streak is about to end thanks to French writer/director Michel Hazanavicius.
No doubt many will avoid this one since it is a Black & White silent film. What a mistake that would be. It offers a wonderfully entertaining and captivating story, and two outstanding and expressive lead performances. Jean Dujardin is remarkable as George Valentin, one of the biggest movie stars in 1927 (when this story begins). It’s around this time when the “talkies” begin taking over. Valentin is a very likable character, but foolishly believes talking movies are a fad and his fans will remain loyal to him and his traditional silent films. Not only do talkies take off, but the Great Depression also hits. Valentin finds himself out of work and broke.
The most fun in the film occurs when Valentin and Peppy Miller (Berenice Bejo) are on screen together. Their characters have a chance meeting and there is an instant spark. Valentin gets her the first break of her career and before long, she is on the rise as fast as he free falls. Only Valentin’s dog and driver (James Cromwell) remain loyal to him during the tough times, but Peppy works behind the scenes to ensure their bond doesn’t die.
It’s impossible to watch this film and not notice the influence of Singin’ in the Rain and Sunset Blvd. Also, Dujardin’s Valentin looks to be a cross between Douglas Fairbanks and Gene Kelly, replete with the electric matinee idol smile. Both Dujrardin and Ms. Bejo (who is the director’s real life girlfriend) have the elastic face and bright eyes necessary for silent film stardom. They really allow us as viewers to forget the silence and enjoy the characters.
Unless you are a film historian or a real movie buff, your only exposure to silent films may be from short clips or Mel Brooks‘ Silent Movie. This one will change that and offer you glimpse at just how powerful film images can be. Another thing that will jump out is how crucial complimentary music is. It will guide you through the scene. Ludovic Bource is responsible for the terrific original score, and other pieces of music are also used … particularly Bernard Herrmann‘s piece from Vertigo.
This is a fully realized story with excellent character development. You might wonder how this is possible with no dialogue, but that’s why this is a must see film garnering an abundance of critical acclaim. It’s very easy to access and is purely entertaining … with moments of both happiness and sadness. It has everything a really good movie should have … just with fewer lines of dialogue and a really smart dog!
SEE THIS MOVIE IF: you want to see one of the best movies of the year OR you don’t believe a silent movie can hold your attention (this one will prove you wrong)
SKIP THIS MOVIE IF: you just don’t like movies … sorry, I can’t think of another reason.
Greetings again from the darkness. This film and story is yet more confirmation for my life-long belief that, in general, psychiatrists and psychologists tend to be the most unstable and consistently loony people in society. Whether in the medical profession, business world or scientific realm, over-blown ego affects judgment and clarity; and sometimes leads to the mis-guided notion that proving one’s theory is more vital than finding real truth.
Sigmund Freud (Viggo Mortensen) and Carl Jung (Michael Fassbender) are considered the founding fathers of what we accept today as psychoanalysis. In this film, we see how the two men came to know each other and the subsequent prideful battle of egos that drove them apart. Just as importantly, we see how Sabina Spielrein (Keira Knightley) evolved from clinical hysteria sufferer in 1904 (as the film opens), to Jung’s patient, to Jung’s lover, and finally to the level of respected colleague of Freud and Jung within the field. Her growth and change as a patient provided clinical proof to “the talking cure” method, which took the place of electro-shock therapy (except in extreme cases).
The film is directed by David Cronenberg, although you might not believe it if you didn’t know it to be so. Mr. Cronenberg is known for such work as The Fly, Eastern Promises and A History of Violence. This is easiest his most dialogue-intensive work to date. Of course, that makes sense given that it’s based on Christopher Hampton‘s play “The Talking Cure” and John Kerr‘s book “A Most Dangerous Method”. The two main subjects love to hear their own words, though here Freud spends much of his screen time puffing a cigar and tossing in a few well-timed grunts. This goes to his belief that silence often leads others to conclude that his theories are so solid, debate becomes unnecessary.
It is very interesting to see the personality differences between the subdued Freud and the more open-minded Jung. When mystical and supernatural subjects are brought up by Jung, Freud quickly dismisses them as hooey. Freud was almost a master marketer is his attempts to get psychoanalysis accepted into mainstream. He fought Jung’s more exploratory ideas. At the heart of the film is the evolution of Sabina and it’s impact on the three leads. There is also a bit of Otto Gross (Vincent Cassel) thrown in to show just how open and vulnerable Jung could be.
Learning about these pioneers is crucial to understanding the topic of today’s psychiatry and psychology. There is no question that the foundation of their work led to the salvation of many suffering people over the years. Of course, it’s clear that many patients have also suffered at the hands of those in the field who are less scrupulous.
The look of the film is beautiful, as are the costumes and sets. An added bonus is the terrific score from Howard Shore. It’s difficult to see this one attracting a wide audience, but the performances and subject matter should please those who are drawn to it.
SEE THIS MOVIE IF: you fancy yourself an amateur psychiatist OR you would like a primer in the beginnings of psychoanalysis
SKIP THIS MOVIE IF: you aren’t up for frequent tie-ins to sex … after all, it is Freud!
Greetings again from the darkness. This one delivers everything we have come to expect from a Jason Statham movie … plenty of action, fight scenes, gun play, and a man wronged by the system and on a mission for vengeance. It is a remake of the 1972 film starring Charles Bronson and Jan Michael Vincent, and written by Lewis John Carlino.
As in the original, a master hit-man (Statham) takes an apprentice under his wing. Here, it’s played by Ben Foster, who was so good in 3:10 to Yuma. Foster brings energy and intensity to his role, and a playfulness that Statham’s character doesn’t always appreciate. The two have pretty good chemistry, but face it, the only real reason to watch this movie is for action scenes and violence.
Donald Sutherland has a fairly brief role as Statham’s mentor and the film definitely misses him once he’s gone. The bad guy is played by Tony Goldwyn, who just doesn’t have the screen presence to play a big time baddie. Goldwyn is an excellent TV director and seems much better suited behind the camera. He has been typecast as the bad guy ever since Ghost and his presence often evokes groans from the audience.
The director is Simon West. His best film is from 1997 … Con Air. No surprises in this one, which is fine. With Statham movies … we want what we expect. Nothing more, and certainly nothing less.
Greetings again from the darkness. Not that I am hoping for marital strife, but I like it when Steven Spielberg wants to get out of the house, especially when he joins forces with Peter Jackson (serving here as Producer). This year he has delivered awards contender War Horse and this crowd pleasing motion-capture animation film (also) for the whole family. If you are unfamiliar with Tintin, it is a long-running, extremely popular European comic series by Herge’, who passed away in 1983. This is Planes, Trains and Automobiles … plus Ships, Rowboats, Motorcycles, Zip lines and just about every other form of transportation that comes to mind.
Tintin (voiced by Jamie Bell) is an investigative newspaper reporter who looks 14, but clearly isn’t. He lives on his own, travels the world and is treated as an adult by those with whom he crosses paths. There is an early scene where Tintin is sitting for a local artist and the resulting portrait is an exact replica of his simple look in the comic series. Tintin has a trusty sidekick … his genius little dog, Snowy. Together they go on adventures that Indiana Jones can only dream about! This particular story focuses on the hunt for the lost Haddock family treasure. Tintin literally stumbles into the drunken sea Captain Haddock (Andy Serkis) who is more concerned with his next swig of whiskey than the the fact that he has been kidnapped by the bad guy Rackham/Sakharine (Daniel Craig). This bad guy has unlocked the mystery location of all the clues to the lost treasure and needs Captain Haddock for the final step. Unfortunately for him, Tintin and Snowy get in the way and try their darndest to stop him.
The action sequences are amongst the most exciting and thrill-packed that you will ever see. They look like “Jonny Quest” on steroids. The story is quite convoluted and complicated, and small kids will be totally lost on exactly WHY the characters do what they do. But it won’t much matter, because the visuals of each scene are captivating. There are even a couple of Interpol agents on the trail … Thompson and Thomson (voiced by Simon Pegg and Nick Frost, respectively). Expect many site gags tossed in to offset the breakneck pace of the globe-trotting adventures.
Spielberg has always done nice work when he can go after a kid’s imagination – even big kids like me. The look of this movie is pretty amazing, especially when compared to 2004’s The Polar Express. If you doubt how far technology has come, look at these two side by side. Many of the characters here are as close to lifelike as we have seen – check out the skin and facial contours of Captain Haddock and Sackharine. Wow. Herge’ creation is given script work here by Steven Moffatt, Edgar Wright and Joe Cornish. The great John Williams provides the score. This is one you can bring the kids to and all will enjoy.
SEE THIS MOVIE IF: you are fan of animated family fun with loads of action OR you just want to see how far motion-capture technology has come
SKIP THIS MOVIE IF: to you, Indiana Jones is the be all and end all of action heroes in the movies OR you refuse to get props to anything with French origins
Greetings again from the darkness. The character of Lisbeth Salander absolutely fascinates me. That’s true whether we are discussing Stieg Larsson‘s Millennium trilogy novels, the Swedish film versions, or this latest film version from director David Fincher (The Social Network) and a screenplay from Steve Zaillian. It’s also true whether Lisbeth is played on screen by Noomi Rapace (Swedish films) or Rooney Mara. She is a brilliant character hiding in plain sight from a world that has fiercely mistreated her, and now misjudges and underestimates her. She is the oddest heroine I can recall … and I can’t get enough of her.
Let’s start with the source material. Stieg Larsson’s books are far from perfect, but addictive just the same. The first book (on which this film is based) is, at its core, a traditional who-dunnit presented in a manner that is claustrophobic, paranoid and eerie. Moving on to this particular film, we find the director and screenplay holding the basic tone of the book and original films, while making a few changes … some minor, others more substantial. These changes may irk those fervent fans who are quite loyal to the books, but Fincher surely wanted to offer more than a simple re-telling of the story.
Daniel Craig plays Mikael Blomkvist, the journalist hired to solve the 40 year old mystery of the disappearance/murder of Harriet Vanger, niece to Swedish millionaire Henrik Vanger (Christopher Plummer). To research, Blomkvist must dig into the Vanger’s rotten family tree of Nazis, anti-Semites, sexual predators, anti-social fanatics, and a few just plain loony birds. You can imagine how excited this rich and once powerful family is to have someone uncovering long buried secrets. Circumstances allow for Lisbeth to assist Blomkvist in researching this.
Unlike many mysteries where assembling the clues is the most fun, the real heart of this story is the odd, somewhat uncomfortable developing relationship between Blomkvist and Lisbeth. This latest version allows this to develop relatively smoothly, but it nonetheless rattles our senses. We see the subtle changes in Lisbeth as she slowly opens up to the idea of a real friendship based on trust. Fear not mystery fans, the Vanger clan still provides more than enough juice to keep any film sleuth happy.
COMPARISON: It’s truly impossible to avoid comparisons between the two movie versions and the respective casts. It’s quite obvious Mr. Fincher was working with a substantially greater budget than Niels Arden Opler had for the first Swedish film. While they are both enthralling, I actually lean a bit towards the rawer original. That takes nothing away from this latest version. Same with Noomi Rapace vs. Rooney Mara. Ms. Mara is excellent in her performance and I was fully satisfied, though Ms. Rapace brought a rougher edge to the role … one that made it even tougher to crack that shell. The biggest difference in the casts is Daniel Craig against Michael Nyqvist. Mr. Craig is just a bit too cool for the role, while Nyqvist captured the insecurity and vulnerability that Larsson wrote about. To have two such strong film versions of the same story released so close together speaks to the strength of Fincher and Larsson.
All of that is nit-picking. Both film versions are thrilling and sterling entertainment, and clearly the Fincher version will bring the story to a much wider audience. He even brought back Trent Reznor and Atticus Ross to deliver another note-perfect score. I would encourage those that are interested to check out the Swedish version, as well as the Larsson books. Maybe you will join me in my fascination with this creature known as Lisbeth Salander.
note: this is an extremely harsh, dark film. It includes brutal sex crimes, Nazism, animal cruelty and quite a few unlikeable, unsavory folks. Heck, even the Swedish winter is jarring!
note 2: get there in time for the opening scene and credits. Reznor and Karen O (from the Yeah Yeah Yeah’s) deliver a searing remake of Led Zeppelin’s classic “The Immigrant Song” … over some mesmerizing visuals.
SEE THIS MOVIE IF: you are a fan of the Larsson books and/or the original Swedish films OR you want to see one of the most original characters on film OR you are just looking for another reason to hate rich people
SKIP THIS MOVIE IF: you are looking for upbeat, light-hearted holiday entertainment OR you avoid movies featuring any, much less all, of the subjects in my note above
Greetings again from the darkness. Based on the best-selling 1974 John LeCarre’ spy novel, opinions on this movie will cover the full spectrum. Many will find it painfully slow and frustrating, if not impossible to follow. Others will be thrilled with the subtle clues and reality-based exchanges between British spies in the early 70’s. This is no James Bond thriller with exploding yachts, world class fist fights and bikini-clad women. Rather, it’s a peek at what real life spies do … huddle in soundproof rooms and exchange information through stunted conversation where just shy of enough is said.
John LeCarre’ actually worked for the British Secret Service prior to becoming an author (also wrote The Constant Gardener and The Russia House). He based this novel around the discovery of a traitor, which remains the biggest scandal in the history of British intelligence. This story covers some of that and even more. We see how trust and loyalty are so crucial, yet none of these men ever fully trusts the fellow agent sitting next to him. Very little is spoken, but much is communicated through a nod, raised eye brow, a slight cock of the head, or even the adjustment of one’s spectacles. Cigarettes and scotch are the common ground from which discussions spring.
Swedish Director Tomas Alfredson delivered the exceptional vampire drama Let the Right One In a couple of years ago. Mr. Alfredson has a distinctive feel for the look of a film, and atmospheric is a word that fits this movie, as well as his earlier one. The tone, color and texture is key to this world, and we are immersed in blues and grays. His camera work is unique and wondrous as he massages the small, confined spaces and allow us to pick up the gestures of all involved.
The cast is a group of wonderfully talented (mostly) men: Mark Strong, John Hurt (Control), Toby Jones (Tinker), Colin Firth (Tailor), Ciaran Hinds (Soldier), David Dencik (Poor Man)and Stephen Graham. Especially enjoyable are Tom Hardy as a rogue agent who breaks the “mole” theory wide open, Benedict Cumberbatch as the youngest agent, and of course, Gary Oldman as George Smiley. Oldman’s performance will awe many and bore a few. This is a man trained to say only what must be said. You can see the resolve in his eyes. These still waters run VERY deep. Some will compare him to the performance of Sir Alec Guiness in the BBC production, and both are terrific and strong (though different).
While a rousing recommendation would be nice, it’s just not in the cards. This movie will have a very specific audience … those who thrive on mental jigsaw puzzles and are inspired by juggling an endless stream of characters and possible plots. If that describes you, then get in line on opening day.
note: John LeCarre’ has a quick cameo during the Christmas party flashback
SEE THIS MOVIE IF: you are the type who likes to play six chess matches at a time OR your addiction to spy novels leans towards the most realistic of the genre, rather than the most action-packed
SKIP THIS MOVIE IF: the Bond movies are your preference in spy thrillers OR needing a scorecard to keep track of the players ruins a game for you
Greetings again from the darkness. Normally if a sequel shows up a mere two years after the original, we would have good reason for low expectations (ie, The Hangover). However, director Guy Ritchie is back and just as importantly, Robert Downey Jr and Jude Law reprise their roles as Sherlock Holmes and Dr. Watson. Adding a few twists to the successful template provided by the original, the team delivers one that is sure to keep fans happy.
The reason so many Sir Arthur Conan Doyle loyalists dismissed the first film is that the frenetic pace and towering action sequences seem to go against what made the original stories so great. So what does Mr. Ritchie do? He goes BIGGER and FASTER! There are three extended action sequences that are mind-boggling to watch. They work because the plot is so elementary, my dear. Professor Moriarty (Jared Harris) is out to cause a war from which he can personally profit. His plan involves guns, bombs and assassinations. Only our heroes can possibly stop him.
Much of the odd-ball bromance from the first movie has been toned down here, and we get not only the return of Irene Adler (Rachel McAdams) and Watson’s new wife (Kelly Reilly), but also the introduction of a third female character – a gypsy fortune teller, Madame Simza (the original The Girl with the Dragon Tattoo, Noomi Rapace). Of course, McAdams character doesn’t last long, Reilly gets tossed from a moving train, and Rapace is given a few lines and a couple of sprinting scenes. There may be more women, but this is still a man’s world.
The vision for this franchise is an updated version that encourages discovery of Holmes by a new generation. And while Downey is excellent, it’s difficult not to notice the similarities to Captain Jack Sparrow. Also, Professor Moriarty is very much a Bond-type villain. None of that matters too much as the rapid-fire dialogue between Holmes and Watson, and the crackling chemistry between Downey and Law, make this a fun time at a huge holiday movie. An added plus this time is a brilliantly written and executed chess match between Moriarty and Holmes. That scene fed my need for the more brainiac Holmes that I so adore.
It seems odd that the release date for this one is so close to that of the new Mission:Impossible, but they both deliver what the fans want and hopefully find their audience. Even if you aren’t a fan, the fabulous sets and various world filming locations will keep you interested, even as you dodge giant explosions.
note: this is the first English-speaking role for Noomi Rapace
SEE THIS MOVIE IF: while watching the first one, you thought to yourself “too bad there aren’t more explosions and fight scenes” OR you enjoy the test-pilot speed at which Guy Ritchie and Robert Downey Jr so excel
SKIP THIS MOVIE IF: you prefer the traditional, methodical pace of the Doyle books OR watching a wife get thrown out of a moving train might motivate you to action
Greetings again from the darkness. You should know that as serious as I am about movies, I am perfectly comfortable accepting the Mission Impossible franchise for what it is … a thrilling roller coaster ride of breathtaking stunts, outlandish missions, stunning visuals, bone-jarring fights, and above all else, Tom Cruise. Mr. Cruise is back in his element as Agent Ethan Hunt … equal parts sleuth, cage fighter and super hero.
This is the fourth installment of the re-boot which began in 1996. Cruise was in his mid-30’s then, and is pushing 50 now. In remarkable physical condition, he seems to take great pride in his ability to pull off these fantastic stunts. However, he tops them all here as he hangs from the world’s tallest building – Burj Khalifa in Dubai. This is one of the most impressive action stunt sequences ever seen, with multiple camera angles that will definitely jar your senses if you are the least bit sensitive to heights. This alone is worth the price of admission.
No need to go into much detail as the plot/mission is as preposterous as the others in the franchise. Ethan’s team is made up of computer geek and walking one-liner Simon Pegg as Benji; Paula Patton (Precious) as Jane (we must always have a pretty woman); and Jeremy Renner (The Hurt Locker) as Brandt, the world’s most dangerous “analyst”. This team is chasing after Michael Nyqvist (Swedish version of The Girl with the Dragon Tattoo), who plays Hendricks … a European loony trying to nuke the world for no apparent reason. To get to Hendricks, the team must go through a filthy rich playboy played by Amil Kapoor (Slumdog Millionaire) and a trained assassin played by Lea Seydoux (the shopkeeper in Midnight in Paris).
This latest installment is directed by Brad Bird, straight from Pixar via Ratatouille and The Incredibles, both of which prepared him for this first live-action thriller. With an eye for action sequences and a feel for lapses in dialogue, Mr. Bird’s first live action outing is quite impressive. Plus, he included an endless stream of gadgets, technology, fight scenes and crazy stunts. The sandstorm and futuristic parking garage scenes are especially effective … not to mention the prototype BMW that Cruise zips through the streets of India. My only real complaint is that the iconic Lalo Schifrin theme song never really cuts loose like it should. Still, if you liked the first three, you will like this one.
note: the rumor is that Jeremy Renner will be taking over the MI franchise when Cruise steps down. He is also the guy to take over for Matt Damon in the Bourne series … and is Hawkeye in The Avengers. Don’t look for Mr. Renner to get soft around the middle for awhile.
SEE THIS MOVIE IF: you are a fan of the Mission Impossible franchise OR you enjoy stunning stunts and bone-crunching fights OR you want to see the role that Tom Cruise was seemingly born to play
SKIP THIS MOVIE IF: fights, stunts, nuclear threats, and Tom Cruise do nothing for you.
HAPPY NEW YEAR! A year-end thanks to all of you wise folks who are loyal followers and/or contributors to Movie Reviews From the Dark. And an especially big thank you to those who have referred others to the site.
Posted by David Ferguson 
Movie Reviews from the Dark 