The Wrestler (2008)

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The Jist
The Wrestler chronicles Randy "The Ram" Robinson, a former champion wrestler, as he struggles with the reality of his career coming to a close. The battles he faces outside the ring weigh heavier than those in the squared-circle as he tries to mend broken relationships and make ends meet.

What's Good
It seems that redemption stories come and go in Hollywood week after week, but with his debut screenplay, Robert D. Siegel makes the unlikely choice of framing the redemption theme around the world of professional wrestling in the most creative screenplay of the year. Simply put, The Wrestler is a great story; great characters working through difficult situations that are unique but always understandable, and most importantly, real. The script contains so much attention to detail, both in terms of recreating the world of wrestling and the image of a flawed man. Siegel's creation of Randy "The Ram" will surely go down as his best character. The Ram is perfectly rounded, a flawed man and father, but a good friend, worker, and mentor. We see his nearly countless failures, but also just enough of his sense of humor and passion to make him an incredibly sympathetic character. With a story like this its nearly impossible to avoid cliche, but The Wrestler goes through them so honestly and brutally without over-dramatizing events that even when the audience sees something coming, it still reverberates with true intensity. Characters like Randy's daughter Stephanie, played by Evan Rachel Wood, seem destined to fall into mediocrity, but the script allows Wood to deliver a believable performance as a neglected child with a grudge without going over the top. Todd Barry's character Wayne, Randy's non-wrestling employer, personifies the indifference of the outside world, and his un-sentimental and restrained performance fuels Mickey Rourke's tour de force. The cast of bit parts played both by actors and real amateur wrestlers create a window into the wrestling community, and shows that the characters on screen and in the ring are real people with real problems.

What's Bad
Despite the Wrestler's strong plot, the dialogue, at times, is a bit dull. Some will find the writing to be honest without trying to glamorize the characters and situations, but others may get bored with the trudging conversations. A few of the situations begin to get repetitive, such as Randy's continual trips to the strip club, but none of the film's flaws take away from its brilliant direction and acting.

What's Memorable
Mickey Rourke's performance has been sensationalized beyond belief, and the idea of his life intersecting with art in the form of the title character will forever be associated with the film. But when true genius is exhibited, due praise is deserved, and there are few performances more deserving than the devastating, soul-bearing portrayal of Randy "The Ram" by Rourke. Rourke has created one of the most enduring characters in film history, a modern day Terry Malloy, inspired by all of the great down-and-out characters that have come before him. Watching Randy, the once great superstar of the ring, lower himself to community center events in small towns just to scrape together enough money to pay his trailer rent, all while trying to rekindle the relationship he never had with his daughter, reeks of pain and suffering, but we can't take our eyes off the screen because of Rourke. Randy "The Ram" is real, someone we've watched on Pay-Per-View, read about in the papers, and seen behind the deli counter, and Rourke totally becomes him. The performance is flawless; beyond intimate and inspiring, both beautiful in its subtlety and crushing in its honesty. The Wrestler is Mickey Rourke, but don't forget about Marisa Tomei. The role of Cassidy, a stripper and friend of Randy, was demanding physically and mentally, and Tomei brings a delicacy that softens the blow of Randy's failures. She complements Rourke's amazing performance without ever overshadowing it, half because of Rourke's overriding greatness and half because of Tomei's calculated acting. Lost in the Rourke hysteria, however, has been Darren Aronofsky. Known for his powerful, boundary-pushing films like Requiem for a Dream and the Fountain, The Wrestler is his most traditional and focused work to date. Whereas in the past Aronofsky's ambitions may have outweighed his decision making, The Wrestler shows him at his most constrained, which happens to coincide with his creative pinnacle. The film is great in its efficiency, not wasting one of the 110 minutes and not needing a single frame more to deliver the punch. The plot moves slowly, but at an appropriate pace for the sequence of events, and despite its dark overtones, the film has just enough style. The sound editing and handheld camera work give the situations authenticity, and the editing is spot-on, particularly the phenomenal conclusion. The Wrestler is the fusion of stunning acting and great directing, and a triumphant document of human failure and redemption from the opening sequence illustrating "The Ram's" zenith, to the heart-wrenching final scene.

Good for: all movie-goers, fans of drama, wrestling fans, actors

Bad for: overly emotional movie-watchers, the easily bored

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

Doubt (2008)

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The Jist
Doubt is set in the 1960s, and centers around a nun (Meryl Streep) who suspects a priest (Philip Seymour Hoffman) of having a questionable relationship with a young male student at the Catholic school she oversees. A younger nun, played by Amy Adams, tries to maintain good will at the school while regarding the integrity of all parties involved in the questionable affairs.

What's Good
John Patrick Shanley has already received a Pulitzer Prize and Tony Award for the theatrical version of Doubt, and who better to enlist to ensure a strong big-screen adaptation than Streep and Hoffman in the lead roles. A great script draws great actors, and the casting was excellent. Streep is one of the best actresses of all-time, Hoffman may be the greatest character actor of his generation, and Amy Adams is a legitimate up and coming actress about to become a major figure. Not all plays work as films, but Shanley's efficient direction shows that he has a wide variety of talents beyond just writing. There are limited settings, as one would expect from a theatrical adaptation, but the dark cathedrals, ancient Catholic school classrooms, and quiet rectories work well on the big screen, providing just the right atmosphere for the characters to thrive in. The story moves at just the right pace, slow but steady, and from the opening frame to the credits the tension builds to a thought-provoking climax.

What's Bad
The script drives Doubt, and while most will be mesmerized by the dialogue, some may be bored by the lack of action. Along the same lines, Doubt feels like a play; so those bored with the dialogue will also grow tired of the repetitive scenery and long scenes. There are signs that Shanley is a first time director, but some of the questionable decisions in terms of plot and subtext were risks most first time directors wouldn't take. Overall, there isn't much wrong with this film.

What You'll Remember
As one would expect, the acting is phenomenal. Hoffman and Streep steal the show, and their scenes together are electric. Streep is a lightning rod and plays Sister Aloysius with a fervent intensity that will call to mind childhood memories for anyone who grew up in a Catholic school. Hoffman plays Father Flynn so sharply that no one knows whether he is a good-intentioned progressive priest or a deceiving fake, but just like the kids in his class, the audience will want him to come back for time and again. Amy Adams, a subordinate both in character and in practice to Hoffman and Streep, is great as Sister James. The part demanded both tender passivity and stark veracity, and although Streep and Hoffman's characters draw most of the attention, Adam's Sister Flynn is who the audience will relate to. The only other character with a significant role is Viola Davis as Ms. Miller, the mother of the boy in question with Father Flynn. Davis is only on-screen for nearly ten minutes, but she is unforgettable as a mother at a crossroads. A look at the awards this script has already won tells you all you need to know about it, but Shanley's writing propels the great performances, presents a thrilling plot, and is one of the most thought-proving films of the year. Amidst the mystery surrounding Father Flynn are overarching themes of faith, religion, and morality, and there are many questions left unanswered. The ambiguous nature of these fickle issues mirrors the way they are addressed in reality, and Doubt will likely tell the viewer just as much about him/herself as it does about the characters on the screen. In the end, Doubt brings so much to the table; it's a cautionary tale, a fable, and an ethical dilemma, all with driving intensity both in plot and in performance. It is the rare suspense film that asks hard questions, leaving the viewer to ponder them after the brilliant conclusion.

Good for: theater fans, actors, fans of sharp dialogue, suspense fans, philosphers

Bad for: the easily bored, someone not looking to think in the theater

Tropic Thunder (2008)

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Ben Stiller is one of the funniest, most talented people in Hollywood, but his resume has played out like Ryan Howard's career; a few homeruns and a whole lot of strikeouts. Tropic Thunder, however, is the funniest movie this year among some strong competition, and is a classic that puts Stiller at the top of the comedy scene with the likes of Ferrell and Apatow. Stiller steps behind the camera in Tropic Thunder for the first time since Zoolander, directing an ensemble cast of Robert Downey Jr., Jack Black, Steve Coogan, Danny McBride, and newcomer Brandon T. Jackson. Stiller penned the script with Etan Cohen (not to be confused with Ethan Coen of Coen Bros. fame) about a group of actors who are sent to film a war movie. When the director (Coogan) feels that the project is suffering due to lack of motivation, he strands the troupe in the Vietnamese jungle and the line between acting and reality starts to blur. The film is an amalgam of satire and original storyline, and Stiller mixes in gag humor, witty punchlines, and countless references to past war films. Tropic Thunder is way smarter than Hot Shots but not as topical as Dr. Strangelove, and the result is a movie that is loaded with laughs of all varieties. The cast is incredible, as Stiller, Black, and Downey Jr. form an amazing squad, playing stereotypical actors far from their real-life identity. Stiller is hilarious, as usual, and plays a hothead, doofus action-star somewhat similar to some of his past roles such as White Goodman in Dodgeball (and looks surprisingly jacked). Jack Black turns in one of his best performances as a drug-dependent comedian/actor, and newcomer Brandon T. Jackson manages to hold his own among the stars as Alpa Chino. Its hard to quantify Robert Downey Jr.'s performance, who plays Kirk Lazarus, the only "real actor" of the bunch. Lazarus is so committed to his role that he "becomes" a black man, and like Lazarus who he plays, Downey Jr. is so entrenched in the role it is easy to forget the man is actually white. The performance is instant comedy legend; Downey Jr. is so good that literally every one of his lines is funny, everything he says becomes a joke. Tropic Thunder packs a surprise attack, however, that is outright brilliance; cameos. There are many guest appearances, but there are two major stars playing large roles (unmentioned in the credits and promotion of the movie) that are both lights-out, laugh-out-loud performances. Overall, the film relies much more heavily on strong, intricately detailed comedic performances than profanity and vulgarity, and Tropic Thunder is more of a "film" than most of the funniest comedies from the past few years. There is plenty of profanity and obscene violence to elicit an R rating, but the dirtiness simply complements great acting and writing, instead of replacing it. The film has a cohesive feel that shows that everyone involved embraced the project, and features such as three fake commercials/previews that precede the film are clever and add to the depth of the characters. Stiller's script is the funniest he has ever written, and the story that goes along ties together all of the character's flaws and strengths for a well-rounded, surprisingly compelling plot. The laughs hit hard and often, as Tropic Thunder is a classic war comedy that has more to say about the state of Hollywood than war.

Good for: Stiller fans, war movie fans, anyone with a sense of humor

Bad for: some Will Ferrell fans, the easily offended

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

The Dark Knight (2008)

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An unprecedented amount of hype surrounded the Dark Knight, and the aggressive marketing campaign, viral internet buildup, and mythic nature of Heath Ledger's final performance put the film in prime position to disappoint. The expectations were unheard of, yet, riding on Ledger's remarkable performance, Christopher Nolan's epic vision, and an inspired cast and crew, the Dark Knight beat the odds to meet and perhaps even exceed the cinematic and box office anticipation. The Dark Knight is to superhero films what the Godfather is to mob films, Apocalypse Now to war films, Scarface to mob films and Star Wars to science fiction. There are other great films in this genre, but the Dark Knight is the best, and the bar has clearly been raised. The story picks up where Batman Begins left off, with Gotham City in turmoil and Batman doing his part to restore justice to the city. Word comes along of a new powerful player in the crime scene who is getting under the skin of both the law enforcement and rival mobs, and goes by the name of the Joker. The ensuing battle between Batman, the Joker, and district attorney Harvey Dent involve sly backhanded negotiations, gripping fight and chase scenes, heists, twists, turns and more. Nolan deserves tremendous credit for writing an engaging plot that is sharp and fast despite running at two and a half hours, for capturing all of the performers at the best of their ability, and for framing the story within the beautiful Gothic imagery of Gotham City. The film was shot largely with cameras suited for IMAX, and although any big screen will do the film justice, the IMAX experience is one in itself. Christian Bale once again delivers a standout performance as Batman and Bruce Wayne, with the Wayne persona becoming a bit darker and more sadistic, channeling aspects of Bale's performance as Patrick Bateman in American Psycho. Aaron Eckhart, the wild card of the film, is excellent as Dent, embodying the public servant's noble and devious sides very believably. The supporting cast remains largely the same, except for a moderate improvement with Maggie Gyllenhaal replacing Katie Holmes as Rachel, and once again Freeman, Caine, and Oldman are spot-on. The film, of course, belongs to the late Heath Ledger. The maniacal and eccentric, yet painstakingly nuanced performance will go down as one of the best villains ever captured on film, haunting, and chill-inducing at times. The Joker has never been more entertaining, demented, but most of all, realistic. The Joker (or any of the characters) is no longer a cartoon character or a silly bad-guy with a big grin, but a twisted individual with a history and a reason for his insanity. The Dark Knight follows Batman Begins in that the tradition of hero versus bad-guy for its own sake is thrown out the window, and the reasons behind each character's motivations is explained to bring depth to the roles and circumstances. The performances and script aren't meant to be a thrill-ride; these characters and stories, like Batman Begins, pay homage to the original comic book writers intent of using fantasy as an allegory for the issues and circumstances the modern world faces. The film is loaded with symbolic imagery, and religious, governmental, and moral motifs. The attention to detail is remarkable, and the depth to which the Dark Knight can be dissected will thrill diehard comic book fans while drawing in many casual fans as well. There are times where the Dark Knight loses some of the ultra-realistic sense that dominated Batman Begins, leaning more toward traditional super hero movie action, but the powerful and unique performances and story seem to overshadow the film's flaws. The Dark Knight will have its place in history and pop culture for its box office successes and the media hype machine that surrounded it, but movie fans will remember it as the best of its kind, a film loaded with actors at their strongest, a writer/director capable of bringing an unforgettable vision to the screen, and a highly entertaining, yet entirely thought provoking film.

Good for: movie fans of all kinds, Batman fans, Ledger fans, Bale fans

Bad for: those who don't like long movies, people who automatically dislike popular films

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

Wall-E (2008)

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Part of the magic of movies is the feeling you get when the credits roll and you know you've just participated in artistic brilliance. Pixar has become accustomed to providing movie-goers with this experience, but never more so than with their latest creation, Wall-E. The story of a robot on an Earth displaced from human habitation for 700 years and his space-journey to find love stands head and shoulders above Pixar's recent successes and everything else released this year. In fact, Wall-E isn't to be compared with this years films, but stands tall among the film classics of all-time. Wall-E is like a five-tool baseball player, strong in every possible aspect and nearly flawless in some. The combination of impeccable visuals and sound transplants the viewer into a futuristic world from the very first minute. The attention to detail by the creators, including writer/director Andrew Stanton (Finding Nemo), is astounding. Film references, deep symbolism, and clever observations abound throughout the entire 98 minutes, and, like usual, the Pixar visual team has created stunning animation to accompany a rock-solid script. The first 45 minutes of the film is the most phenomenal and unique sequence to appear on the big screen in years. Nearly dialogue-free, the lens follows Wall-E as we come to understand his existence on a barren, trash-filled Earth and his programmed, artificial-intelligence version of a personality. The creative minds behind Wall-E took unbelievable chances, and their fearless vision pays off time and again. The film begins to become more conventional, but no less stunning, when humans are first introduced to the story. The story that follows leaves the viewer rooting for not only Wall-E, but the entire human race. Stanton loaded Wall-E with metaphor and allusions concerning mankind and the future, but nothing is forced and every jab of wit, sarcasm, and innuendo fit perfectly into place. Ultimately, Wall-E is a film about love and companionship, and using robots as a vehicle to portray this drives home the universal nature of the subject matter. And that is what Wall-E truly is, universal. Some of the references may go over the head of the kids, but Wall-E has something for everyone to relate to. Wall-E will make you laugh, and think, but more than anything, smile. The climactic scene between Wall-E and Eve is instant film lore, and Wall-E, the robot with more personality than most humans, will be no doubt be mentioned in the same conversations as Forrest Gump, ET, Vito Corleone, Darth Vader, and Hannibal Lecter. Wall-E is the culmination of excellent film making from every imaginable angle and unthinkable creativity.

Good for: everyone, Pixar fans, children, a date, film buffs

Bad for: mean people, uptight people

The Gallery
The Film Maker: * * * *

Mulholland Dr. (2001)

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Too often filmmakers tie together complicated plot structures in the last 5 minutes of a film, explaining how the pieces of an intricately woven narrative fit, leaving the viewer with little to do but sigh. Some find this mesmerizing or even a required duty of the director, while others feel cheated out of their own interpretation. In Mulholland Dr., director David Lynch leaves the viewer with absolutely nothing at the end of a brutal two and a half hours, and in doing so has created a masterpiece. At first glance, the entire film feels like a punch to the face for no reason, but less than ten minutes after the film, the events that preceded the punch start to come back into memory and the more that you recall the happier you are you got punched in the first place. There have been few films in the past decade that leave more up to the viewer's judgment than Lynch's classic, and this works because in the 144 minutes before the credits roll he gives the viewer everything the visual and auditory senses can handle. The story is so convoluted that it is difficult to summarize, but the plot essentially involves an amnesic actress and friend trying to sort out how she arrived at a random apartment in LA after a car accident. The two lead roles are played by Naomi Watts, in her first starring role, and Laura Harring. Both actresses are beautiful, horrifying, sexy, and repulsive as they portray emotions across the spectrum in scenes most actresses would melt in and in situations most could not lose themselves within. The star of the film, however, is the writer/director, who has invented and captured some of the most creative scenes in modern cinema. Jealousy, lust, passion, greed, and countless other sins and virtues are painted on the screen in haunting detail. Scenes involving a particularly intense acting audition and a dream-like opera sequence stick with the viewer for days after, and bizarre side-plots and recurring characters tickle the imagination. Putting this Lynch film into words is difficult, which is strange because, as it becomes apparent after a first, second, or tenth viewing, there is so much to say. The imagery, symbolism, allegory, metaphor, and rhythm are nearly overwhelming, and to try to see the film through Lynch's eyes may induce nausea or insanity. Repeated viewings are a must and become more enjoyable as they become more inexplicable. Mulholland Dr. could have failed on so many levels, and it almost seems as if this massive, unthinkable assembly of thought was just the right fit, one stray piece from an explosion forming a cinematic black hole. But the glorious, otherworldly vision of David Lynch proves that film can be both entertaining and art. No film in the past decade better illustrates this.

Good for: fans of art films, smart people, people who like psychological mysteries

Bad for: the easily confused, people who give up fast, uptight people, someone not in the mood to think

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

Annie Hall (1977)

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For those who have never seen a Woody Allen movie, the door to his unique-brand of cinema should be Annie Hall, his 1977 romantic comedy and Best Picture winner. Annie Hall may be best viewed as a virgin to Allen's work, so that all of his idiosyncrasies and quirks as an actor, writer, and director can be experienced in a raw, to-the-point, finely crafted film. Allen is not a great actor, but the character he created for himself, Alvy Singer, is a great character, and only Allen could play him. Neurotic, witty, pessimistic, and bitingly sarcastic, Singer is a stand-up comedian that meets and falls in love with the young Annie Hall played by Diane Keaton. Hall is a simple yet talented girl that sharply contrasts with Singer who is beyond complicated. Keaton won the Best Actress award for Hall in 1977, and her performance is subtle and elegant, but not phenomenal. Despite the lack of mesmerizing performances to draw the audience to the characters, the perfect script and timeless dialogue produce effortlessly real characters. To add to the feeling that the audience is sitting in on real life, Allen adds abrupt asides where Singer speaks directly to the camera and absurd situations the scene breaks and Singer approaches extras to ask them a question or the topic of a random conversation happens to appear in the room. Singer's cynicism and references will seem over-the-top and over-the-head of some viewers, and some of the lines and scenes are a bit indulgent, but Allen clearly understands the beauty and pain of the human relationship, and explores it in a way that is clearly distinct in film history. The opening and closing passages, spoken to the camera and in voice-over by Singer, are perfect book-ends to the perfect romantic comedy. The romantic comedy has been beaten to death in the 30+ years since 1977, leaving little relevance behind. But with Annie Hall, Woody Allen delivered an enduring blend of intelligent, sharp humor and thoughtful meditations on how essential and absurd relationships are.

Good for: Allen fans, fans of romantic comedies, a date

Bad for: those bored with art-films

Persepolis (2007)

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Persepolis is one of the most original, fresh movies of the year; a film that makes you feel like you have seen something unlike anything you have previously watched or thought of. The animated film, presented in French and with subtitles, is based on an autobiographical graphic novel by Marjane Satrapi and was adapted for the screen and directed by Satrapi and Vincent Paronnaud. Satrapi's self-narrated story begins as a little girl being raised by progressive parents in Iran during the Islamic Revolution of the late 1970s and the fallout that occurred afterwards in the 1980s. Her account of the events involving both her family and country reveals that a girl raised in an overtly tyrannical country isn't that different from an American or anyone else growing up in the same time period. The film's best character, Marji's grandmother, provides the story's funniest humor and most lasting relevance as she lends advice to Marji and tells stories and parables. The independent spirit imparted on her by her grandmother lead to some of the films greatest scenes, such as teenage Marji negotiating a deal to buy a new Iron Maiden album on the streets of Iran and subsequently rocking out to it. Due to the increasing conflict and violence, Marji's parents send her to France for high school, and these years illuminate even more of the world's harsh realities such as prejudice and isolation. As Marji becomes a woman we see her cope with issues such as finding an identity in society and starting and ending relationships. The film is fast-moving while covering many years and many events and is proportionally amusing and moving. What makes Persepolis so brilliant, however, is the style of animation used to present the story. The black and white, nontraditional, sometimes abstract illustrations and over-the-top flashes and and cut-ins create an environment that is not only entertaining but universal in that no preconceived notions will influence the audience in any of the scenes. Whereas real actors and film may have isolated particular audiences, the drawings provide a means to portray very specific situations very few have experienced in a way that everyone can relate to. The voice-over work is nothing extraordinary and the soundtrack is fairly generic, but the story in this case is so incredibly strong that it carries the entire film on its shoulders into film history. The script and presentation of the script is legendary, so imaginative, refreshing, and thoroughly enjoyable that it is one of the best coming-of-age stories in some time. Equal parts a reflection on history and the lessons learned by fire in life, Persepolis unites the audience and drives home the point that in such a large world, the differences between us aren't that vast, and everyone has the same common pursuit of love, freedom, and happiness.

Good For: all movie fans, people interested in history, fans of foreign films

Bad For: people who cannot read subtitles, mean people

The Gallery
The Film Maker: * * * * *

There Will Be Blood (2007)

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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 * * * * *

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 * * * *

Ratatouille (2007)

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Ratatouille is a success because like its main character, it never gives in. Disney Pixar comes through again with its story about a rat who wants to be a cook, and this may be its greatest achievement. Written and directed by Brad Bird, the story stars Remy (voiced by Patton Oswalt), a rat who aspires to be a chef despite family and peer pressures to stay with the clan and do what is safe. Ratatouille is loaded with allegory, fable, and life lessons but presents them in a fresh and funny way that never follows the beaten path. Another Pixar film enjoyable for both kids and adults, a viewer of any age can relate to the characters and situations in this film and can learn about themselves and others. There is equal doses of touching scenes involving decisions to be made and lives to be affected, and hilarious jokes, one-liners, and uncomfortable situations. Ratatouille never succumbs to gag jokes and never plays down to its intended young audience. The script and animation combine to yield some truly laugh-out-loud scenes and all of the voice-over work is spot-on. Somehow, beyond explanation, Pixar has yet again managed to make this film even more visually stunning than their previous efforts. The animation is remarkable and bring the viewer into a stunningly unique environment that is both engaging and entertaining. What makes this film important is the guts Bird, Pixar, and Disney had to stick to their instincts and make a movie that tackles issues ranging from leaving the family, pursuing goals, going against the grain, resisting peer pressure, and leaving a mark on the world without falling victim to cliche or using a preachy tone. The score sets the scene perfectly and the editing provides a fast-moving, appropriate length film that dashes fable, humor, and art like salt, pepper, and oregano. Ratoutouille approaches real-life issues facing children and adults through the eyes of an animated rat chasing his dream, and results in one of the best animated features of all time.

Good for: kids and adults of all ages, fans of Pixar's previous movies

Bad for: mean people, those afraid to go against the establishment

The Gallery
The Film Maker: * * * *
The Writer * * * * *

No Country For Old Men (2007)

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The Coen brothers have done something truly remarkable with No Country for Old Men; they have made a film that is equally funny, original, and groundbreaking as Fargo, and topped it with a more suspenseful, artistic, and bizarre work of cinema. It's not often that great casting, iconic performances, masterful camera work, ingenious editing, and sound-work beyond description come together once in a career, let alone twice as the Coens have now achieved. Adapted from a novel of the same name, No Country tracks a hunter who stumbles across a treasure in the desert and his fugitive-like flee from the senseless murderer to whom it belongs. Josh Brolin, who has had an amazing 2007 with stand-out performances in Planet Terror and American Gangster, turns in the performance of his career as Llewelyn Moss. Brolin's portrayal reveals a man trying to take advantage of what he believes is a once-in-a-lifetime event to change his life, and the personal conflict of morals and values associated with making decisions about his own life and others'. We see Moss as brave, scared, confused, certain, clever, and dumbfounded, as Brolin and the Coens mix the spectrum of emotions through a sequence of unlikely events. Tommy Lee Jones, who has played numerous gritty characters, plays Sheriff Ed Tom Bell, a cop near retirement who is unsure of his place in history and the value of his life to this point. The character is utterly human in relying on habit and past experience to solve problems all while feeling the uncertainty of having done the right thing. Almost anyone who watches the movie will relate to either Moss or Bell, or both. The most memorable character, however, is Anton Chigurh, as played by Javier Bardem. The combination of style, appearance, use of weapons, and delivery of dialogue are fantastic and sinister, and Chigurh is instantly a classic film villain. The Coens, who personally crafted the screenplay and film, pay attention to every minuscule detail, and in doing so create an atmosphere unlike any other. The suspense is so heavy you can feel it forcing you into your chair, and the emotions run so high the sound of a pin-drop could be heard in the theater. This is partly due to the superb sound-work done by the Coens, which is one of the best in that aspect of all time. There is no swelling music; actually, no music at all. No Country is one of those films that leaves the audience talking for days. The Coens leave something left on the table, respecting the audience's judgment and the viewer's role in cinema. The camera work, regular, everyday sound, and performances bring forth all that is needed from this, or any film. Script-writing, direction, and acting unite to create a beautifully twisted piece of art that is likely to be the film of the year.

Good For: all movie fans, fans of the Coens previous films, suspense fans, people who like art

Bad For: people who do not like violent movies, those who like to be told a film rather than presented a film

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

3:10 to Yuma (2007)

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Remakes aren't often successful, and typically fail at trying to bring a modern twist to a previous work. 3:10 to Yuma doesn't try anything that groundbreaking or currently fashionable, but sticks solely to what made the film work the first time. The addition of Christian Bale and Russell Crowe, two of the best actors avaiable today, was enough of an update. Add in James Mangold as director, fresh off Walk the Line, a stellar supporting cast including Peter Fonda, and some surprising cameo appearances, and 3:10 to Yuma is one of the most enjoyable film experiences of the year. Mangold makes a remake original by employing every cliche of classic westerns until the viewer feels completely immersed in the dangerous, cutthroat atmosphere of the wild west. Christian Bale, who would be cast perfectly in any role, plays Dan Evans, a struggling Civil War veteran family-man trying desperately to make ends meet. When a huge bounty is offered to finally put an end to ruthless outlaw Ben Wade, Evans joins forces to bring Wade to Yuma. Russell Crowe is in full bad-ass mode as Wade and transforms him into a memorable villain both loved and hated. Ben Foster, who may be recognized from HBO's Six Feet Under, steals every scene as Wade's despicable, lunatic sidekick Charlie Prince. These powerful performances, an authentic western score, and the desolate landscapes combine to provide a trip back in time not just to the turn-of-the-century west, but to the fifties when films like this were made. Most directors would throw in a modern soundtrack, excessive violence or choreographed action scenes, but Mangold provides an overload of over-the-top machismo, perfectly timed subtle humor, and classic western shots and angles. The script is genius with amazingly well-crafted dialogue, and intriguing fast-paced plot, and a perfect resolution. Elmore Leonard would be proud of Mangold's Yuma, a respectful, perhaps even better-than-the-original update of a classic film and genre.

Good For: fans of Westerns, any male above age 20, particularly males above age 50, fans of bad-ass villains, people who liked Grindhouse

Bad For: guys who never watched Westerns with their dad, close-minded females

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

United 93 (2006)

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United 93 may be the most important film of the 21st century to date. Many will say that, because of how difficult it is to watch, this film is not for everyone, and those people are wrong. United 93 is a thoughtful, painstakingly effective portrayal of the events of September 11, 2001, particularly United flight 93 which crashed into a field in Somerset, Pennsylvania. Directed by Paul Greengrass, known for parts 2 and 3 of the Bourne series, the film employs no well known actors and many engineers, officers, and various personnel playing themselves. The direction is phenomenal as every single scene captures the raw emotion and intensity of the bizarre sequence of events. The casting of little known actors prevents the viewer from being star-struck, and eliminates the feeling of watching an actor in costume. There is no swelling, pulsing, sappy Hollywood score to tell the viewer how to feel because the emotions are right on the screen. The frantic editing and documentary-like cinematography create a window into how different people from all angles felt and acted throughout the events. Aside from the technical and artistic brilliance, United 93 is such vital film because of its presentation. The complete neglect of Hollywood techniques and marketability as a film leave behind truth and reality. This wasn't meant to be enjoyable but a chronicle of a terrible event, life lost, indecisiveness under pressure, and the sheer courageousness of humans fighting evil, grasping for their lives. A film like this could only be made about an event as tragic as 9/11, and no other film about 9/11 should ever be made. It may be too soon after the event for the brilliance of United 93 to sink in, and the fact that it was nominated (without winning) only two Academy Awards is an embarrassment to the Academy. In a country full of media and political bias divided along ideological lines, it is refreshing and necessary to take a step back and understand what happened, why it happened, and honor the life that was lost. This movie is a depiction of fact without any opinion, spin or twist. United 93 is a groundbreaking accomplishment and a landmark achievement in film that must be watched.

Good For: everyone

Bad For: overly emotional people

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

City of God (2003)

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City of God is one of the rare movies that is both entertaining and disturbing. If this film was a baseball player it would be a five-tool player, which means it has something for everyone. An urban drama about drugs and poverty, City of God chronicles a teenager's struggle to survive the slums of Rio de Janiero. The cast is almost entirely composed of amateur actors, and is narrated by Alexandre Rodrigues as Rocket, the main character. Fernando Meirelles directs and with genius combines style and purpose to create a unique film experience. The editing and cinematography are both top notch as multiple story lines and characters are interwoven into a fast-moving but deeply focused film. What makes City of God different from most urban dramas is the honest portrayal of how violence and poverty affect the development of children and young adults. The film is bleak but not without subtle bits of humor. It is this interjection of humor that allows the viewer to know and feel the young character's struggle. There are no Hollywood subplots, sappy plot twists, or exploitations of sex or violence. City of God beautifully shows a life of danger and desolation and how difficult it can be to make it out. But there is no happy ending. The film's veracious perspective of a cyclical pattern of violence and turmoil beg the question of what can be done to make changes.

Good For: genuine film fans

Bad For: those who can't read subtitles, people who liked Rush Hour 3

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

Superbad (2007)

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There is usually one comedy each year that stands out head and shoulders above the rest. 2003: Bad Santa. 2004: Napolean Dynamite. 2005: 40 Year Old Virgin. 2006: Borat. 2007: Superbad. The sick masterminds at Apatow Productions (Anchorman, Virgin, Talladega Nights) have one-upped themselves yet again. After releasing the hilarious Knocked Up earlier this year, they have delivered the comedy of the year; a laugh out loud, endlessly quotable comedy timepiece that is non-stop funny. Superbad, which takes place in one day, is about two high school buddies' quest to party and get lucky one last time (or first time) before graduation. Of course this has been done before (American Pie), but never as funny or honest in depicting normal, everyday kids. Seth Rogen, who starred in Knocked Up and began writing this movie at age 13 in 1995, has brilliantly captured what it felt like to come of age in the late 90s and early 21st century. Jonah Hill and Michael Cera are cast perfect as best friends and deliver vulgar and profane dialogue like the camera just happened to catch one of their real conversations. Rogen, alongside SNL veteran Bill Hader, play two of the most memorable cops in film comedy, but Christopher Mintz-Plasse is the breakthrough star of Superbad. Mintz-Plasse plays Fogell (who has more than one alias), the lovable nerd on a bad streak. These characters encounter some unlikely events that on second-thought aren't that implausible when booze and girls are in demand. Superbad is genius for showcasing average people. There is no Chris Klein, Tara Reid, or Lindsay Lohan, and none of the actors will be modeling between this and their next movie, not even the token hot girls. The dialogue is hysterical but real, and the plot is surprising but mostly feasible. This is a comedy with more wiener jokes than one could even think is possible, but also genuinely delves into insecurity, first time experiences, and the bond between best friends. Anyone can relate to either Evan or Seth, or maybe even Fogell, and most people have experienced some or all of the feelings they portray. The film runs a little long at nearly two hours and could have been ten or fifteen minutes shorter, but the dry spots are only slightly less hilarious than the side-splitting bouts of laughter. Whether you’re in your 20s and watch in rememberance of similar adolescent experiences or in your teens and watch to learn how to be cool yourself, Superbad is the definitive film of what it felt like to grow up in the early 21st century.

Good For: a date, the 16-30 year old demographic, the young at heart

Bad For: those who are easily offended by four letter words and genitalia

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

Easy Rider (1969)

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Easy Rider has all the ingredients needed for a classic; groundbreaking direction, genius editing, thoughtful acting, and a killer soundtrack. Nearly 40 years from its release, the definitive film of the counterculture movement of the 1960s still feels as beautiful and shocking as it did during the summer of Woodstock, Vietnam, and the Manson family killings. The brainchild of writers/co-stars Peter Fonda and Dennis Hopper, the film details two rebels cashing in on a big score, traveling from LA to New Orleans in the search for Mardi Gras and the American Dream. Hopper's direction is phenomenal, especially considering the work he followed Easy Rider with. It is difficult to think of a movie that more artistically presents the natural landscapes of America. Hopper's acid trip sequence is as memorable as it is horrifying and must surely represent the most genuine visual reproduction the sensation. The film is purposefully slow in pace giving the viewer the true feel of a road trip. The acid-flash feel of the editing is so unique that Easy Rider may have been the first and only film since to use it. Hopper and Fonda completely embody their characters, but Jack Nicholson steals the show in his first major performance as the lawyer George Hanson. Nicholson's character is one of the most memorable in film history as he delivers carefully crafted lines with authenticity and distinctiveness. The soundtrack becomes a character itself as Easy Rider was the one of the first movies to take advantage of using previously recorded popular music, rather than a composed score, to color the action. The tracks are not only classics but fit the imagery perfectly. But what makes Easy Rider truly legendary is the layers of artistry it presents. Many films today are nice of the surface or entertaining, but Easy Rider is in the select group of films that are deeply thought out bodies of work, in this case glorifying and critiquing a diverse America. Strong characterizations illustrate the polarized America of the forward thinking hippie movement from the conservative backlash that was provoked. The film is full of visual and verbal allegory, metaphors, and symbolism, and the stunning conclusion questions just how successful the counterculture uprising was in changing America. When Peter Fonda's character says, "You know Billy, we blew it," it is one of the most crushing, thought provoking lines in film. Simply put, Easy Rider is a masterpiece that was and is mandatory viewing.


Good For: everyone, fans of road trip movies, artists, those in an alternate state of mind

Bad For: narrow minded viewers

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

The Simpsons Movie (2007)

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Is the Simpsons Movie any different from the television series? Not really. Is that a bad thing? Not at all. The Simpsons is one of the greatest, most consistent television series of all time and fans have been waiting for the big screen version for years. It’s hard to believe how anyone could be disappointed with the feature film; it was worth the wait. The movie version is essentially a 90 minute episode which means a deeper plot and more laughs. Many notable characters from the series appear briefly, but the most important of all reminds us over and over again why we love him. Homer is a bonafide movie star and steals the show. His errors and triumphs as a father, husband, and man are what allow so many people to relate to the Simpsons. The remaining family members each have their time to shine as well, and provide both laughs and insight into the bizarre nature of the family unit. The story itself isn't shocking or groundbreaking, but the writers deserve high praise for delivering countless jokes full of irreverence, irrelevance, sarcasm, and wit all while keeping the story moving at a fast pace. There is absolutely no filler, and like any classic Simpsons episode, there are a handful of lines that are sure to be quoted time and again. The move from small to big screen and a PG-13 rating afforded the writers a little more creative freedom, but there is nothing any kid who watches the series shouldn't see. The fact that little or no profanity, obscenity, or vulgarity was used to make the funniest movie of 2007 shows the creative team’s brilliance. How else can a nearly 20 year-old franchise still feel so fresh? Those just discovering the Simpsons and die-hard fans who have been there from the beginning will love the Simpsons movie which is more than worthy to be on the big screen.

Good For: Simpsons fans, people who laugh at funny things

Bad For: people that suck

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

On the Waterfront (1954)

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Most people forty or younger will only recognize one thing about On the Waterfront; the line "I coulda been a contender." Movie fans will have seen the film listed on all-time best lists and some know Marlon Brando is considered the Babe Ruth of acting but don't know why. It’s hard to imagine that any film created over a half-century ago can still have impact on young viewers. One watch of On the Waterfront, though, is like a revelation of why acting, directing, and scoring of films is the way it is today. One can see that each shot, line, acting choice, etc., inspired a film that followed it. The film is more than a history lesson, but the coming-of-age, fight against corruption story of Terry Malloy (Brando) and his decision to testify against the mob which controls the waterfront union. Watch any movie from years before On the Waterfront and it becomes clear that the subtle choices Brando brought to the screen had never been conceived by previous generations of actors. Every scene with Brando is magical, but this isn't a classic only because of him. Karl Malden plays Father Barry, the waterfront's local priest, and is almost as crucial to the film as Malloy. Malden plays a priest in a way that is rarely, if ever, seen on film. Father Barry is a regular person, drinking and fighting with society, but has the courage to stand up against injustice, speak out against corruption and initiate movement toward change. Elia Kazan, also known for A Streetcar Named Desire, created an efficient masterpiece with no fluff; every scene is necessary and overflowing with emotion, beauty, and relevance. It seems that many "classics" are overrated films that are more nostalgic than artistic, but On the Waterfront is everything it is hyped to be and more. The movie transcends Hollywood, popcorn, and DVDs, and saturates the viewer with a complete, powerful film experience.

Good For: anyone who watches movies, a date, to watch with mom or dad or even grandpa/grandma, film buffs, future actors

Bad For: people who can't stand black and white films

The Gallery
The Film Maker: * * * * *

Grindhouse (2007)

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Grindhouse can be viewed in two ways; Planet Terror and Death Proof individually, or, as it should be, as a complete double feature with segments before and in between the movies. As a double feature Grindhouse runs right around three hours, but unlike grueling three-hour epics, it is split into two films with plenty to keep you entertained during and in between the films. True film fanatics can't ask for a better pairing of modern writers/directors than Robert Rodriguez and Quentin Tarantino. Regardless of your opinion of the two individually, they are two of the few directors in Hollywood with the balls to make groundbreaking movies each time out. And with Grindhouse, they have done it again. The viewer is entirely transported into the 1970s where double feature B-grade horror movies were showing at drive-ins every weekend. From the first frame, the sounds and pictures are 100% genuine retro-exploitation, and it is clear that meticulous attention was paid to every detail. The scripts are sure to provide countless lines that will be quoted for years to come, along with action scenes that will be talked about for days. To get the real taste of Grindhouse, you have to watch the not funny, but hilarious fake trailers that come before and in between the movies. Directed in part by Rodriguez, Tarantino, and Hostel director Eli Roth, each preview is so funny that you will be wishing one of the directors next work actually somehow turns out to be Machete, Don't, Werewolf Women of the S.S., or Thanksgiving. There is a distinction between being different just for the sake of difference, and bringing something new to the table. Grindhouse is genius in giving its viewers a no-holds barred, over-the-top, thrilling trip in the way-back machine. The films can be discussed at-length both as independent works and as a whole, but few people will watch Grindhouse without having a good time. It won't, and shouldn't, win an Oscar, but it will not be soon forgotten.

Good For: a summer night, a date, with friends, horror-movie fans, fans of the directors, adventurous people

Bad For: tight asses, people against film violence, people who like romantic comedies, squeamish people