OF GODS AND MEN (des hommes et des dieux, FR)

March 26, 2011

 Greetings again from the darkness. This film may be tough for much of the American audience. There are long stretches with minimal dialogue and more filmed prayer than I ever recall seeing. This is based on the true story of eight Trappist Monks who are caught in the middle between some 1996 fundamentalist terrorists and the Algerian-Muslim village that the monastery serves.

The driving theme is the dilemma facing the dedicated monks … should they remain in the monastery and support the village or should they retreat and live to serve another community? The film does a terrific job of examining the strength of faith among this group who are still just human beings … men who don’t wish to die.

 The government has ordered them to leave and the military has offered to protect them. The group, led by Christian (Lambert Wilson), declines the military offer and continually discuss the idea of leaving. The wisest of the monks, Luc (Michael Lonsdale), is in failing health. He is also the doctor and can’t imagine leaving the villagers with no medical care.  Their is a tremendous exchange as one of the monks states they are like birds on a branch.  A humble villager replies that the monks are the branch and the villagers are the birds.  Good stuff.

Director Xavier Beauvois (Le petit Lieutenant) creates a fantastic scene where the Monks make their final decision to stay. Their dinner and wine event is set to the tune of the Black Swan symphony. Really something to behold as smiles and relief make their way around the table. Of course, as with most of the foreboding hymns sung throughout, we understand that their fate is decided.

 The sparseness and serenity of the monastery is offset by the inner turmoil each of the monks face. This is presented very effectively but I do think the film misses an opportunity to shed more light on the overall political struggles of the time. We are really left in the dark on these issues and it becomes a very intimate, narrow focus on these 8 men.

SEE THIS MOVIE IF: you can appreciate the delicate balance between faith and a human desire to live

SKIP THIS MOVIE IF: watching 8 monks pray and sing hymns is a bit dry for your tastes, even if they end up taken hostage

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Posted by David Ferguson

JANE EYRE (2011)

March 21, 2011

 Greetings again from the darkness. For a film to rate highly with me, mass appeal is not necessary. The requirements are an interesting story that is well cast, well acted and well directed. Though it is often required reading in high school, the novel by Charlotte Bronte is a timeless classic and among the most popular of all time. The key roles in this latest film version are played well by Dame Judi Dench (Mrs. Fairfax), Michael Fassbender (Rochester) and Mia Wasikowska (Jane). Cary Fukunaga directs. He was also responsible for the powerful 2009 film Sin Nombre (highly recommended).

There have been numerous film and TV versions of this classic over the years, with the 1943 version being the most famous. Orson Welles starred as Rochester and Joan Fontaine was Jane. While that version still works, this year’s model is the first that I believe surpasses that one in quality. The two keys are the performance of Mia Wasikowska and the direction of Mr. Fukunaga.

 The film surprises a bit with it’s flashback approach, but it works well in linking the older Jane with her early struggles. This version really rests heavy on Wasikowska’s shoulders and she does not disappoint. You will recognize her from her recent turns in Alice in Wonderland, and The Kids Are All Right. She quickly jumps to the head of the Jane Eyre class. Very impressive.

Fukunaga’s direction relies on art direction and spectacular lighting. He draws in the viewer to this dark and mysterious world where much goes unstated, yet so much is communicated. The good girl/bad boy battle is always fun and moreso when the good girl is a remarkably independent and brassy girl, while the bad boy is very dark and dangerous. Of course, this is Hollywood so the novel’s unattractive Rochester is played by the strapping Fassbender (Inglourious Basterds).  I even thought the “reveal” was well-handled and the fall-out simple enough to follow.

 What always attracted me to this story was the strength and perseverance of Jane herself. To find a girl with such fortitude and moral stamina despite her upbringing and longings means the central character is both fascinating and easy to pull for. She is what we would wish of our own daughters … self confident, full of character and observant of what is fair and just.

If you aren’t the literary type, don’t expect to enjoy this film. Watching it is truly like the visualization that occurs when reading a top novel. I was completely drawn into life at Thornfield Hall and the life of Jane Eyre.

SEE THIS MOVIE IF: you read the classic novel OR enjoy strong female characters OR appreciate an atmospheric approach to literary subject 

SKIP THIS MOVIE IF: the nuanced courtship of two polar opposite characters does not provide enough action, gun play or explosions for your taste

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Posted by David Ferguson

LIMITLESS

March 21, 2011

 Greetings again from the darkness. I absolutely love this premise. The idea that, by taking a pill, we can simultaneously access all parts of our brain and process information at hyper-speed is fascinating, and a terrific idea for a movie. As it turns out, that terrific premise loses much luster when the center of action is a egomaniacal, smirking doofus played by a strutting Bradley Cooper and the story lines fall miles short of accessing a portion of the possibilities.

The set-up portion of the film is fairly interesting. Cooper plays a stone-walled loser  of a writer whose career-minded girlfriend (Abbie Cornish) wisely dumps him as he offers up very little in self-defense. A seemingly random street meet of his ex-brother-in-law leads Cooper to a whole new world brought on by the magic of NZT. He quickly realizes he can recall every detail he has ever seen or read and he process information quickly and clearly. He finishes his book in a flash and learns multiple languages, plays the piano, etc etc.

The film takes a wrong turn when he realizes his ability comes in handy in the stock market, as well as blackjack. But obviously if YOU were in this situation, the first thing you would do is contact a Russian loan shark and take out a giant loan … and then forget to pay it back. What? You wouldn’t? Well then, don’t expect to have a movie made about your life.

Director Neil Burger (The Illusionist) brings a wonderful visual touch to Cooper’s mind and an awesome telescoping zoom rush through the streets of NYC. That was actually my favorite part of the film (once over the opening credits and again during the film).

 The film misses quite a few opportunities to be as smart as Cooper’s character is supposed to be. Either the Russian loan shark or the ultra-rich businessman played by Robert DeNiro could have led to Faustian themes that would have provided endless opportunities. Instead, we don’t even get a satisfying battle of wits between the parties. Quite a disappointment.

Overall, the film is entertaining enough, but a letdown over what should have been. Watching Cooper strut and DeNiro sleepwalk are not enough for me as a movie goer.

SEE THIS MOVIE IF: you enjoy mentally re-writing a film as you watch it (there are plenty of opportunities here)

SKIP THIS MOVIE IF: you believe a move about the infinite possibilites of the brain should be somewhat mentally stimulating

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Posted by David Ferguson

THE LINCOLN LAWYER

March 20, 2011

 Greetings again from the darkness. Major dilemma: sucker for courtroom dramas vs. no fan of Matthew McConaughey. I decided to give it a shot, and given my low expectations, found the movie to be quite entertaining – despite its numerous flaws. If you are a fan of the endless stream of John Grisham book-turned-movie, then I expect you will find this one to your taste.

Based on the Michael Connelly series of novels built around Mick Haller, this one has the look and feel of part one (and also of a TV series). Haller is the Lincoln Lawyer, so named because of his propensity to handle much of his work from the backseat of a classic Lincoln Town Car. The choice of McConaughey as Haller seemed all together wrong given his annual appearance in some lame ass Rom-Com, where he spends most of each movie shirtless and smirking. Luckily for us, Mr. McConaughey manages to re-capture some of the acting skills he flashed in A Time to Kill, so many years ago.

 In addition to his close to the vest portrayal of Haller, the movie works because of an incredibly deep cast that includes Marisa Tomei as his ex-wife and frequent courtroom adversary (she is an ADA), Ryan Phillippe as the accused rich boy, William H Macy as the long-time and streetwise private investigator, Josh Lucas as the ADA in the main case, Bryan Cranston as the detective in charge, plus Michael Pena, Bob Gunton (warden from Shawshank Redemption), John Leguizamo, Frances Fisher, Laurence Mason (Earl the driver), Shea Willingham (Boardwalk Empire), Trace Adkins (the country star as the leader of a biker gang) and Michael Pare (Eddie and the Cruisers). Seriously, this cast allows every scene to have something worth watching.

 The two things that prevent the movie from being top notch are the beyond-belief exaggerated moments (including about 3 too many endings) and the absolutely distracting camera work courtesy of director Brad Furman. In the hands of a more experienced director, many of the flaws could have been corrected.

This is not presented as an ultra serious courtroom drama in the vein of 12 Angry Men or Judgment at Nuremberg. Rather it is a character driven story with a multitude of twists … some of which work and some of which don’t. I found it to be  enjoyable despite the script issues and the hey-look-at-me direction.

SEE THIS MOVIE IF: you too are a sucker for courtroom dramas OR you doubt my claim that McConaughey can avoid going shirtless for 2 hours.

SKIP THIS MOVIE IF: you demand perfection in your crime thriller scripts OR you believe the only reason to see a McConaughey movie is because he does go shirtless

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Posted by David Ferguson

HAPPYTHANKYOUMOREPLEASE

March 14, 2011

 Greetings again from the darkness. Yes, that really is the title of the film.  If such a thing existed in Hollywood, I wouldn’t be surprised if Woody Allen brought a Trademark Infringement suit against writer/director Josh Radnor. There is even a clear reference to Mr. Allen, who must be one of Radnor’s idols. Of course, similar ideas and approaches happen frequently in movies, so really what we have is a snapshot in time of what it’s like to be a young (late 20’s to early 30’s) New Yorker trying to figure out life.

Radnor is one of the stars of “How I Met Your Mother” and this is his filmmaking debut. He does show some promise, despite some weakness in the script and too dang many close-ups – talking heads, as I call them. His goal was to take an intimate look at relationships and the road to maturity, which is often filled with potholes. This seems especially true for these artistic types who are convinced New York is the only land of opportunity in existence.

There are 4 stories going on: Sam (Josh Radnor) is a struggling writer who meets Mississippi (Kate Mara), a cabaret singer/waitress; Mary Catherine (Zoe Kazan) and Charlie (Pablo Schreiber) have their relationship tested by a proposed move to L.A.; Annie (Malin Akerman) suffers from a self-image problem and faces off against a true romantic in Sam #2 (Tony Hale); and an on-going interwoven story line involves Sam’s character making an asinine decision when a young boy gets separated from his family on the subway.

 The best of the stories is Annie’s. Suffering from an auto-immune disease which leaves her hairless, she has a real self-image problem in thinking that she is not worthy of love. On the ironic other hand, she is put off by the advances of nice guy Sam #2 because he isn’t the physical specimen she had dreamed of. Akerman and Hale make these characters believable and we actually pull for them to figure it out.

Kazan’s Mary Catherine just had me hoping Charlie would slap her and take off to LA on his own. Kazan (granddaughter of the great director Elia Kazan) actually does a nice job capturing the suffering that so many females put themselves through. Kate Mara’s Mississippi is the perky on the outside, defensive on the inside type who should probably never get mixed up with the self-centered mess that is Sam (Radnor). Still, Mara’s talent is on full display (she first leaped off the screen in Brokeback Mountain as Heath Ledger‘s 19 yr old daughter).

 One thing the script reminds us is that this generation still believes the world revolves around their every decision. They have been a bit slow on the uptake here, but it makes for easy pickings in script writing. My favorite line in the film is when Mara tells Radnor that he likes living his life like the short stories he writes, but she is ready for the novel.  There are some terrific individual scenes, but some of the larger plot lines are not treated fairly or completely. Maybe Radnor tackled a bit too much for his first outing. Still, a decent effort and I look forward to more from him

SEE THIS MOVIE IF: you enjoy “little” films that focus on life intricacies

SKIP THIS MOVIE IF: narcissistic, young New Yorkers make you want to run screaming from the theater

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Posted by David Ferguson

THE ADJUSTMENT BUREAU

March 6, 2011

 Greetings again from the darkness. Philip K Dick was one of the more prolific sci-fi writers and his works include Blade Runner, Minority Report and Total Recall. He also wrote The Adjustment Team, the short story upon which this film is based. The premise is fascinating: the “bureau” is a team who influence/adjust the timing of simple events so as to lead mankind toward a predetermined future.

Matt Damon plays David Norris, the rising young star in New York politics … that is until a college prank is exposed and scandal ensues. On election night, prior to his concession speech, he meets Elise (Emily Blunt), the girl of his dreams.  It struck me how rare the occasion that one meet’s the girl of their dreams in a men’s restroom. Their charming banter and immediate connection lead Norris to make a heartfelt speech that thrusts him right back into the hearts of the voters.  Turns out this meeting was a planned adjustment.

 When David and Elise meet again, this time by chance on a bus, a mysterious force begins to reveal itself. David is exposed to The Adjustment Bureau and told to stay away from Elise, lest he ruin both his dreams and hers. Of course, this isn’t really a sci-fi thriller in the traditional sense. It’s much more a love story … a love story for two people who seem pre-destined to be together. And therein is the conflict.

The story is really a debate between fate and free will. Does destiny lead us down the path or do we make our own way? Can we have it all … the life we want, with the partner we want? The Chairman of the Bureau is clearly a reference to a God-like power, but his “angels” have powers limited to shortcut door portals, slight adjustments to thinking patterns, and looking good in hats.

 While writer/director George Nolfi creates an interesting-to-look-at cityscape and an usually smart romantic film, it actually falls a bit short on overall effectiveness when it devotes so much running time to the explanation of how the bureau works. I would have much preferred more debate and examples of how adjustments affect free will and maintain the path to destiny. Instead we get a crash course on the inner-workings of this odd team. That said, there aren’t very many better faces and voices than that of Terence Stamp, who plays The Hammer for the bureau. He is a fixer who uses less than forthright tactics in his moments of influencing David.

I am probably being a bit harsh on this one considering that it is quite a bit more clever than the average studio release, but I can’t help but believe it was capable of so much more.  And I so wish the clash of sci-fi and love story had not spun off on such a silly and cringe-worthy path.  It doesn’t ruin the good parts of the movie, but it certainly prevented the film from reaching its potential.

SEE THIS MOVIE IF: you long for that rare film genre – a Romantic Thriller

SKIP THIS MOVIE IF: you are looking for the cool shortcuts through NYC – sorry, but the whole hat and door knob thing doesn’t really work.

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Posted by David Ferguson

BARNEY’S VERSION

February 26, 2011

 Greetings again from the darkness. Ordinarily, a film with Rosamund Pike and Bruce Greenwood in key roles would be sufficient for me to stay home and watch The Weather Channel. However, Paul Giamatti and Dustin Hoffman, as son and father, in a story based on Mordecai Richler’s novel was motivation enough for me to buck up and give this one a shot. And what a pleasant surprise this film is.

Giamatti has mastered the role of cynical, self-absorbed, frumpy schlub and his Barney is every bit that. The story is told through extended flashbacks after we learn a detective has written a book accusing Barney of killing his best friend (Scott Speedman). No charges were brought and it’s not until the end, in an extremely creative reveal, that we understand what really happened that day at the lake. Unfortunately, we aren’t sure if Barney ever understands, but that’s a whole different topic.

Barney’s first marriage comes about because his girlfriend gets pregnant. This one ends in tragedy and betrayal and drives Barney to spend much of his life on the path of cynicism, alcoholism and cigar-chain-smoking. He is no pretty sight – from inside or out. He stumbles into his second marriage, this one to Minnie Driver. Ms. Driver is wonderful as the Jewish princess with a Master’s Degree. How do we know? She continually reminds us of both facts. Ever known anyone that just constantly reminds you of how smart they are? How this marriage ends leads to the whole suspicion of murder and loss of best friend for Barney.

The real key to the story occurs at his wedding. Instead of worshiping his new bride, Barney watches hockey, does shots with his Dad (Dustin Hoffman) and experiences love at first sight … not with his bride, but with a guest played by Rosamund Pike. This encounter puts Barney on a singular mission of winning over Ms. Pike, despite his marriage to Driver. Can’t really give anything away here other than the story is very clever in how it handles the pursuit, failed marriage and subsequent true love story.

 The only thing is, Barney never really “gets” what true love is. Pike has a wonderful scene where she explains that life and love are in “the seconds, the minutes, the routines”. Barney nods but is clearly in over his head in so many ways. Part of the genius in the script is that we somehow find ourselves pulling for Barney, despite his long list of faults and none-too-impressive quirks.

The other thing I really appreciate about this story is how there are so many relationships that seem to spring from reality … people we know in situations we’ve been in. The title, of course, refers to Barney’s version of reality. How he sees things. We could each replace his name with ours for a movie on our life. Do we see reality, or is reality how we interpret these seconds, minutes, routines? The answer seems pretty clear.

 The film is directed by Richard J. Lewis (not the comedian) but is really a product of the amazing story and talented cast led by the extraordinary performance of Giamatti. Dustin Hoffman’s scenes are all excellent, and his real life son Jake, plays his grandson in the film. Don’t miss the quick scenes featuring standout directors Atom Egoyan, David Cronenberg and Ted Kotcheff. It’s also character actor extraordinare Maury Chaykin‘s final film. And I certainly can’t omit mention of the fabulous, spot on soundtrack featuring T-Rex, JJ Cale, Donovan and others. Leonard Cohen‘s “I’m Your Man” plays over the closing credits so don’t leave early!

SEE THIS MOVIE IF: you thrill to well told stories that are extremely well acted OR you just want to admire Giamatti’s god-awful posture.

SKIP THIS MOVIE IF: you need a “good guy” lead character OR you are concerned that the sight of Paul Giamatti in boxers could lead to nightmares.

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Posted by David Ferguson

OUTSIDE THE LAW (Algeria)

February 26, 2011

 Greetings again from the darkness. I am certainly not qualified to offer an expert opinion as to the historical accuracy of the film, but I can say that it provides a seemingly realistic view of the horrible situation and struggles endured by the Algerians during their fight for independence from France during WWII.

The story is a sequential sequel to director Rachid Bouchareb‘s film Paths of Glory and centers around 3 brothers who are separated during the horrible massacre at Setif. Messaoud (Roschdy Zem, who was the best thing about The Girl from Monaco) goes off to fight as a soldier for France; Said (Jamel Debbouze) takes his mother and moves to Shantytown in France and becomes quite the street hustler; while Abdelkadar (Sami Bouajila) is imprisoned and absorbs all that he sees.

 Each of the brothers endures much hardship until circumstances serve to reunite them in Shantytown.  That’s when the real mission begins. Abdelkadar becomes the driving force behind the Algerian’s FLN movement. He is the local figurehead and brains, while his brother Messaoud acts as the muscle and bodyguard. Brother Said continues his pursuit of money through shady night clubs and as a boxing promoter, but he is never far from his brothers’ sides – even if he isn’t quite as politically motivated.

I found all three brothers interesting in their own right, but the film is just so downbeat as it tells this story, that I just never felt engaged. That’s not to say the mission of the Algerian people during this two decade period isn’t amazing, because it certainly is. It’s just this film doesn’t really offer much in the form of telling the story. This one is nominated by the Academy for Best Foreign Film, so obviously many thought better of it than I.

SEE THIS MOVIE IF:  you want to keep your streak intact of seeing ALL Oscar nominated movies (yes, that’s me)

SKIP THIS MOVIE IF:  a downbeat movie about the Algerian struggle during WWII is not the pick-me-up you are seeking right now.

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Posted by David Ferguson

ANOTHER YEAR

January 30, 2011

 Greetings again from the darkness. How DARE he? Mike Leigh is such a non-compliant filmmaker. He just refuses to follow the rules … and film goers are the benefactors of his daring. Mind you, his daring is not in the regards of special effects, stunt work or trick photography. No sir. His daring is with the subject, theme, tone and characters. He is … GASP … unafraid of real people! If you have seen Mr. Leigh’s work in Happy-Go-Lucky or Vera Drake, you understand that his films can be simplistic on the surface, while carrying multiple layers of commentary and observations. He also has the classic British sense of humor in that very few “punchlines” exist. Instead the humor comes in allowing the viewer to recognize the characters as someone they know, or God forbid, even their own self!

Mr. Leigh has a history of making films without a script … only broad based outlines for the characters. The actors then work to fill in the details of the individuals, which in turn, forms a story. This explains why the story does not follow the traditional arc. In fact, the story has no real beginning or ending. What we see are the interactions of people who are friends, relatives, co-workers, acquaintances and strangers.

The foundation of the film, as well as the foundation for most of the other characters in the film, is the happily married couple of Tom and Gerri, played by the terrific Jim Broadbent and Ruth Sheen. This is a couple who not only love and respect each other, but also enjoy being together. Their friends and family come in and out of their lives, but their bond is strong.

 Key amongst this group is their friend, and Gerri’s co-worker, Mary (Lesley Manville). Mary is someone we all recognize. She is single, not getting any younger, desperately trying to avoid loneliness (too often with a bottle), masking her fear through fake excitement, and latched onto the security blanket offered by Tom and Gerri’s friendship. Many felt Ms. Manville deserved an Oscar nom for this role, and I will say she is outstanding.

When family friend Ken (Peter Wight) makes a move on Mary, she shuns him because of his lack of perfection. She always thinks she can do better. When she begins fixating on Tom and Gerri’s son Joe (Oliver Maltman), we really feel her pain but just want to slap some sense into her. The relationships all take a hit when Mary shows up for dinner and is introduced to Joe’s new girlfriend … a wonderfully charming and talented Katie (Karina Fernandez). Mary acts the selfish fool and it drives a wedge between she and Gerri. There is even a line of dialogue earlier on … “never come between a mother and her son“! Another character we are witness to includes the great Imelda Staunton as a depressed middle-aged woman who comes to Gerri for professional guidance. We also meet David Bradley as Tom’s older brother, Ronnie, whose wife has recently passed. Mr. Bradley will be recognized as Argus Filch from the Harry Potter movies.

All of these situations and personalities are balanced by Tom and Gerri as they provide a stable environment … it’s as if they are a fountain of sanity from which everyone wishes to drink. As an added touch, none of the characters are Hollywood beauties. Broadbent and Ms. Sheen would never be mistaken for Brad and Angelina. Rather they are more likely to look like someone you know … and better yet, their characters live like people you WANT to know. So again I ask … How dare he?

SEE THIS MOVIE IF: you don’t mind a quick glance at characters who probably mirror you and your friends OR you can appreciate the British way of squeezing some humor out of someone’s pain

SKIP THIS MOVIE IF: you prefer fantastical stories and “big” Hollywood films to the intimacy of characters who could actually exist.

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Posted by David Ferguson

BIUTIFUL

January 30, 2011

 Greetings again from the darkness. If anyone tells you this film is a bit of a downer, never trust them again. It may be the bleakest, most dismal film I have ever seen (and that’s saying a lot!). A bit of downer does not do it justice. Still, I couldn’t take my eyes off the screen. Javier Bardem is captivating and truly encompasses the character of Uxbal – a father of two, who has a connection to the dead, and is headed there himself (quickly).

Already I am sure many are turned off by the subject matter and the fact that it’s not an inspirational, feel-good movie. I would make the point that despite the despair, it does show the journey of a man seeking redemption and trying, with everything he has, to do right by his kids.

Director Alejandro Gonzalez Inarritu is a master filmmaker as evidenced by his work in 21 Grams and Babel. He gives us a real feel for the grungy and claustrophobic world that these people inhabit. We absolutely feel their pain and resolve and desperation and panic. We feel it for the entire 2 and a half hours running time.  I should also mention that the film has what may be the most unusual score/soundtrack of any film in recent memory.  There is no real continuity, it’s as if music was written for individual scenes, rather than for the entire film.  Very effective, but very non-traditional.

 If you can take the filmed depression, the pay off is watching Bardem work. I have often recommended his fascinating work in The Sea Inside, but as much as it pains me to agree with Julia Roberts, his performance here is somehow better. It’s no wonder why he felt the need to escape with Eat Pray Love after filming this one. It should be noted that Bardem is the first ever Lead Actor nominee for a full Spanish speaking role.

SEE THIS MOVIE IF: you want to see a masterful performance by Javier Bardem OR you thought 21 Grams and Babel were just a bit too funny and light-hearted.

SKIP THIS MOVIE IF: you couldn’t care less about acting proficiency and just want your movies to be feel good and uplifting

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Posted by David Ferguson

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