There Will Be Blood (2007)

* * * * *

The acting, direction, and score of There Will Be Blood may add up to the darkest film of 2007, but it is also one of those films in which everyone involved just may have been at the top of their game. Paul Thomas Anderson, who is well-known for his film gems Boogie Nights and Magnolia, has crafted his epic, masterpiece with There Will Be Blood. Anderson loosely adapted Upton Sinclair's novel Oil from 1927 for the film which chronicles three decades of the life of oil prospector Daniel Plainview. The story explores many themes including family, capitalism, and religion and each of these is presented in the countless memorable scenes and events. From the opening sequence, Plainview is branded as a symbol of the desire, passion, cunning, and greed that is as much a part of the American dream as of the nature of man. Together Anderson and Day-Lewis, who plays Plainview, have created one of the most memorable, haunting, and disturbing characters in film history. Day-Lewis' portrayal of the oilman is astonishing and obscene and is easily the best performance of the year. If there was an award for best performance duo, Day-Lewis and Paul Dano would win hands down. The fact that Dano, who plays Reverend Eli Sunday, is even noticed alongside Day-Lewis speaks multitudes to his performance. He is the perfect counterpart to the overt menace of Daniel Plainview; Dano portrays Sunday as a man of God with the conflict of service and power running deep in his soul. His performance will surely elevate him from the unknown actor in Little Miss Sunshine to one of the most talented young actors in the business. The film pulls no punches; there is no Hollywood fluff and no rewarding plot circles. Anderson employs everything one would expect of a director of his stature; long scenes, brutally emotional dialogue, beautiful cinematography, and more than enough symbolism and allegory to keep the audience talking for days after. The biblical and historical references add layers upon layers of depth to a film which already brings so much to the table. Anderson recruited Jonny Greenwood of Radiohead to record the score, which is spot-on and adds resonance to many of the scenes. The film runs a little long at over two and a half hours, and the weight of the film will start to feel heavy on some viewers shoulders about two hours in. Like most great directors, there are a select few scenes which likely could have been more tightly edited, but remain to appease the director's vision/ego. It isn't often, though, that a combo of such powerful performances and masterful directing are brought together, and this is where the audience finds their reward. As bleak as it is brilliant, There Will Be Blood is a modern classic that is as powerful as its title alludes.

Good for: PTA fans, film fans in general, fans of epics, people who like symbolism/allegory

Bad for: people bothered by violence, people who dislike dark, long films

The Gallery
The Economist: * * * * *
The Surfer: * * * *
The Film Maker: * * * * *
The Writer * * * * *

Cloverfield (2008)

* *

Although Cloverfield has been marketed and acclaimed for being something different from the typical movie experience, in terms of horror films, its mostly more of the same. Borrowing from (inspired by?) a multitude of previous films such as the Blair Witch Project, Godzilla, Independence Day, and even I Am Legend, Cloverfield comes across as an over-extended, ninety minute Universal Studios ride with all of the requisite wall-shakes, sound effects, and in-your-face visuals. The premise, a disastrous attack on New York City filmed from a hand-held, first person point-of-view, is interesting enough to draw in the horror audience and other movie-goers looking for a scare, but anyone looking for anything more will be disappointed. The cast of unknown actors perform average at best as a group of friends trying to stick together under the bizarre circumstances. Director Matt Reeves makes some gutsy calls in his feature-film debut, but is moving a hand-held camera around in disarray and blasting sound effects and blinking lights art or just a thrill ride? The screenplay, written by Drew Goddard who also writes episodes for the critically acclaimed Lost TV series, has a few bright spots of wit but sucks away the realism the hand-held camera was intended to create. There are some laugh-out-loud lines, which actually give Cloverfield some more depth than most generic horror films, but they appear at entirely inappropriate times. The tone of the film is so inconsistent that it is almost impossible to be emotionally invested in the "drama" of what are supposed to be dire circumstances. The special effects are reminiscent of other CGI-laden disaster flicks, but for those who go to the movies to see the unreal, watching Lady Liberty's head come rolling down a Manhattan street like a bowling ball will be worth the price of admission. Its unfortunate that Paramount owns Cloverfield and not Universal, because it would fit perfectly in the theme park; just add some water sprays, vibrating seats and some 3D goggles to the film as it is now. Most of the audience will need Dramamine just to get through to the credits already.

Good for: horror movie fans, CGI fans, people who liked the Blair Witch Project

Bad for: people who get motion sick

The Gallery
The Surfer: *
The Film Maker: * *

The Orphanage (2007)

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The Orphanage may be the most truly horrifying film released this decade. Produced by Guillermo del Toro, who directed last year's masterpiece Pan's Labyrinth, The Orphanage is another touching story that maintains a constant sense of mystery. The story is focused on Laura, played by Belen Rueda, who purchases the orphanage she was raised in and intends to return it to a house to raise orphaned children. After moving in, her son Simon begins to act strangely and then disappears. Laura's search for her son leads to countless scares involving supernatural and psychological events. Reuda portrays a frantic mother in a desperate struggle to find Simon with a strong performance. Although it is at times over the top, Laura is a sympathetic and very likable character, which is important to the advancing plot. Other notable performances include a creepy turn by the young Roger Princep as Simon and a chilling, memorable performance by Montserrat Carulla as Benigna, a mysterious figure that shows up at Laura's house one afternoon before Simon disappears. The star of the film, however, is the director Juan Antonio Bayona, who has created a template for how to make a film loaded with scares without using blood, gore, or typical Hollywood horror cliche. There are many real, jump-out-of-your-seat scares, and even more scenes when a scare is expected but doesn't come. The pacing is perfect, as simple scenes are shot so that every viewer will be sitting on edge waiting for something terrible to happen. With the exception of one short, nightmarish scene that includes gore, the cinematography, pacing, and sound create the spooky atmosphere. The plot unfolds beautifully, and the conclusion may be somewhat ambiguous but is near perfect. The audience will be greatly satisfied as each viewer is rewarded for having survived the horror with a plot that completes the circle of many aspects of the plot. There are some scenes which are debatable for what exactly happened, but make no mistake, the topic of conversation about The Orphanage will be the nightmares it induces. Many will be sleeping with the lights on, waiting to see what Juan Antonio Bayona comes up with next.

Good for: horror fans, mystery fans, people who like foreign films, a date

Bad for: easily frightened people, those afraid of the Boogeyman, people disturbed by scary movies, people who do not like to read subtitles

The Writer * * *

Sweeney Todd: The Demon Barber of Fleet Street (2007)

* * * *

Tim Burton and Johnny Depp are a match made in heaven; two legends of the cinema that have teamed up to make the films they want to make, not those that will appease the Academy or major studios. Once again Burton has used Depp as a muse for his dark, gothic, fantastically over-the-top storytelling and anyone who enjoys either the director or actor will enjoy the ride that is Sweeney Todd. Based on the Broadway musical, the film version tells the same story of a barber who lost his family to a corrupt judge and the revenge he seeks after a long exile, but is framed in Burton's demonic vision. Depp will surprise many, not with his spot-on eccentric performance as Todd, but with his more than adept singing ability. He is in top form and has created yet another epic character that will surely be a pop culture phenomenon alongside Captain Jack Sparrow and Edward Scissorhands. Helena Bonham Carter, Burton's wife and another of his longtime film collaborators, is frightening and strangely attractive as Mrs. Lovett, who owns the building in which Todd's dangerous barber shop is housed. The supporting cast was well chosen including a hilarious but short-lived performance by Sacha Baron Cohen as Adolpho Pirelli, Harry Potter film veterans Alan Rickman as the deliciously evil Judge Turpin and Timothy Spall as the disturbing Beadle Bamford, and a strong performance by Ed Sanders in his first feature film role as the young boy Toby. The visuals are typical of Burton films; amazingly imagined and even more amazingly constructed. The bleak environment sets the perfect atmosphere for the buckets of blood that are to spill later in the film. Although the film succeeds as a musical, the songs are a bit long at times. Not all of the tracks are entirely unique, and some viewers will grow anxious for songs to end and for the dialogue to return. What makes Sweeney Todd a successful adaptation, though, are the great acting, frightening visuals, and appropriate recipe of horror and humor.

Good for: Depp and Burton fans, fans of musicals and plays

Bad for: squeamish people, people who don't like musicals

The Gallery
The Economist: * * * * *
The Surfer: * * *
The Writer * * * *

Juno (2007)

* * * * *

With Juno, former stripper turned writer Diablo Cody has crafted one of the most original, appealing scripts in years. The near-flawless script is what shines brightest, but the spot-on acting, genius casting, stylish and quirky direction, and fitting score make Juno a classic film about teenage angst, family, love, and adversity. Ellen Page was born to play Juno MacGuff, a career-making role that portrays a sixteen year-old girl that becomes unexpectedly pregnant. Her controversial decision to go through with the pregnancy and find adoptive parents present a story full of odd decisions, bizarre circumstances, and strange and hilarious moments. Page is brilliant as a cynical, sarcastic teenager with a strong sense of individuality but no sense of purpose. Michael Cera co-stars as Paulie Bleeker, the cross-country star and father of Juno's child. Like his Superbad character, Bleeker is confused and awkward, but unlike the former character Paulie is far less perverted and far more mature. Like Page, Cera seems perfectly casted for the script and has countless memorable lines. The supporting cast is phenomenal and includes Jason Bateman and Jennifer Garner as the adoptive parents the Loring's, and Allison Janney and J.K. Simmons as Juno's parents the MacGuffs. All four roles were perfectly casted and performed precisely as the script intended. Jason Reitman, who also directed the satire Thank You For Smoking, presents the multi-faceted story beautifully capturing all the touching moments and laugh-out-loud scenes in a easy to watch, fast paced manner. The score is largely songs by Kimya Dawson but also includes a few classic rock gems that are key to certain scenes. There is no film this year or any recent years that can match the dialogue of Juno. The conversations are enthralling and each character has a blatantly distinct personality, each of which different people will identify with. Some may say that the script is so eccentric that it is over the top, particularly the character of Juno. But the constant sarcasm and wit, even to the point that it may be questioned, is what makes Juno so real. She says awkward things in inappropriate situations, taking it too far just like a teenager in her situation would in reality. The humor in Juno shouldn't offend most viewers, and the plot will charm those who may not get the jokes. Every character no matter how small or how large is memorable, each line is necessary, and all of the scenes lead to a great conclusion. Juno is both well-crafted and well-executed, the culmination of hitting a homerun with every element of the film.

Good for: families, a date, the young at heart

Bad for: those who feel uncomfortable often, mean people, conservative viewers

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * *
The Writer * * * *

The Illusionist (2006)

* * *

Like the magic tricks depicted in the film, The Illusionist is great fun to watch, especially if you allow yourself to be entranced within it, but the more it is analyzed the less special it seems. The Illusionist tells the story of a peasant magician who uses his magic to win the heart of an aristocrat girl. Its hard to go wrong with a cast headlined by co-stars Edward Norton and Paul Giamatti. Watching the story of Eisenheim the illusionist, played by Norton, is worth the time of anyone who enjoys movies simply for his performance. Norton is disturbing, mysterious, affectionate, at all times captivating and although this isn't a relatively important or award-winning film, he brings everything to the table, showing why he is one of today's best actors. He and Giamatti shine in the scenes they are in together, which are thoroughly enjoyable. Rufus Sewell is perfectly despicable as Crown Prince Leopold, rival to Eisenheim and tyrannical ruler of Austria. The three actors are involved in almost all of the scenes, which is good, because the cast outside of them is below average. The most notable example of poor casting was Jessica Biel as Sophie, Eisenheim's love interest. She is unbelievable as a high class nobility in a time piece set in a foreign country and cannot remotely compare to any of the actors, particularly Norton. The film is written and directed by Neil Burger, and as a mystery-romance holds its own against anything else released recently. The script is attention-grabbing, fast-moving, and entertaining, and the score, direction, and cinematography create a dark, mystic atmosphere and the tension is high throughout. The conclusion, like the rest of the film, is quite satisfying on the surface but breaks down a bit upon further inspection. The story of Eisenheim the Illusionist will appeal to anyone who likes David Blaine or Criss Angel and anyone else looking for a fun diversion.

Good for: a date, someone looking for a 90 minute distraction, fans of romance films, Norton fans, people who like mysteries

Bad for: people who figure out conclusions before the conclusion

The Gallery
The Economist: * * *
The Film Maker: * * * *

Syriana (2005)

* * *

In just over two hours Syriana may say more about the oil industry than all other films about "big oil" combined. The film succeeds as an expose of the greed and corruption surrounding the industry, but if the inner-workings of oil and the spider web of political involvement are as confusing as Syriana, its no wonder it hasn't been stopped. No one can figure it out. Written and directed by Stephen Gaghan, the writer-director the multiple storyline Academy Award winner Traffic, Syriana weaves five or more stories together. George Clooney stars as Bob Barnes, a US government employee who finds himself caught up in the dealings of the oil business. Clooney gained over thirty pounds for the role, and is engaging and sympathetic in the role. Other narratives include characters played Matt Damon, Chris Cooper, and Jeffrey Wright, and the acting throughout is above average. The script is well written, illustrating the behind-the-scenes decision making, and is as educational as it is entertaining. Few films have as many meaningful things to say about a single topic and do so while maintaining the interest of the audience. Unfortunately, the tension that builds as the plots build and begin to entwine will never fully climax for most viewers. Although there is an emotional, possibly unforeseen conclusion, the revelatory epiphany will leave many viewers dissatisfied. The intricate script constructs a story that will leave no doubt as to the problems the entire planet faces concerning oil, but more time will be spent attempting to decipher the plot than debating the ethics and issues surrounding the oil industry.

Good for: fans of conspiracy films, Clooney fans, very smart people

Bad for: those who are confused or frustrated easily, people bothered by violence, people who ask too many questions

The Gallery
The Economist: * *
The Film Maker: * * *