The Autobots have claimed Earth as their new home and have forged an unstable alliance with the members of a multinational military unit called NEST, led by Optimus Prime (Peter Cullen) and Major Lennox (Josh Duhmel) in order to curb the increasing Decepticon presence on the planet. And in the shadow of this intergalactic war, Starscream, Megatron's (Hugo Weaving) second in command, plans to raise his former commander in order to unleash the silent menace behind the rise of the Decepticons: The Fallen. Meanwhile, Sam Witwicky (Shia LaBeouf) wanting to live a normal life, leaves for college and hopes to leave the robotic war behind.
Sequels nearly always fall short of their parent films and this one's no exception. This one's full of juvenile sexual humor, flashy action sequences and tired story-lines which populate the two-hours. Gone is the tension that makes each scene anticipated in order to drive and fuel the story. Frank Capra (of It's a Wonderful Life fame) says this of spectacle: "You can only involve an audience with people. You can't involve them with gimmicks, with sunsets, with hand-held cameras, zoom shots or anything else. They couldn't care less about those things. But you give them something to worry about, some person they can worry about, and care about, you've got them." This film's main concern is the story's dressing, it's embellishments, rather than the compelling human drama of the previous installment. Even the peril to our robotic heroes fails to be worth watching due to the lack of goodness, appropriateness, like-ability and consistency in character. And without the human element, regardless of the fact they are non-human in essence, the Cybertronians mostly exist as screen space only. Granted, slick and sexy screen space, but not enough for an emotional connection.
As exceptions go, however, the presence of one of my favorite story motifs is probably why I don't chuck this one on the pile of discs (some which I plan to shed from Click's Flix after this project) affectionately named "The Stack." This is the motif where the hero, or heroes in this case, is sacrificed for the greater good making all the difference for the plot. In this film's case, Optimus Prime (regardless of the fact he's the only one that can kill The Fallen) sacrifices himself to save Sam, whose purpose is to find the Matrix of Leadership in order to keep it from the Decepticons and save the world. Seemingly, all is lost at that point. But in order to obtain The Matrix, capable of starting any form of Cybertronian Tech, Sam himself must die for his mission. Because of this, it inspires in the audience a full measure of devotion as well as the will to fight for what is righteous and good with the will to sacrifice all for the greater good. This film executes this motif flawlessly and does what the majority of its package should have: puts the needs of the plot forward and uses the mechanics of filmmaking to enhance it instead of showcasing the spectacle.
So it's not the best film of all time; I must be honest, though, it's not the worst. Perfect to iron to, work out to, read to, study to or anything else that requires less concentration because there's little profundity. So, Chill-ax, and take it for what it is: spectacle only; a good story it is not.
****
In: Tyreese Gibson
Out: Shia LeBeouf
Coming Soon: Bobby
Thursday, February 24, 2011
Wednesday, February 23, 2011
Transformers
When Sam Witwicky (Shia LeBeouf) buys his first car, he inadvertently is recruited into an ancient extraterrestrial civil war from a dead planet. His car, a classic Chevy Camaro, is not your typical clunker. In fact, he's been around for a while, and his name is Bumble Bee, an Cyborobotic organism from the planet Cybertron. Along with Mikaela (Megan Fox,) a girl from his class, he agrees to help search for the Allspark, the building block of all life on Cybertron. Along with Optimus Prime (Peter Cullen) and his team, the Autobots, Sam, a special forces squad, a secret government division and a pair of computer hackers work together with the Secretary of Defense (Jon Voight) to hide the Allspark from Megatron (Hugo Weaving) and his band of Decepticons.
When I first saw the trailer for this one, fifteen months before its release date, I was thrilled to the point of goosebumps because I loved the cartoon as a child. I remember sneaking Transformers, X-Men, Spiderman, GI Joe and Batman on Saturday mornings when my parents were not home and loving the action and the simple idea that simple items like cars and trucks and tanks that change into robots. This film met all of my expectations for what the Transformers looked like, their vehicle choices, the action and the hybrid nature of a human-based story with computer generated characters. The pacing is upbeat, lively and inspiring. The fight between the Scorpion Decepticon and the US Forces is especially memorable with its hybrid special effects (physical and CGI,) music, authenticity and editing. Gives me goosebumps every time, inspiring me to love our military and making me so incredibly patriotic. A beautiful sequence!!
I am amazed with the realism portrayed in the effects of this film. And I am impressed by the art department's work on each of the Cybertronians. Barricade, the police car, is my favorite. He has everything from the 911 Emergency Response decal to the Decepticon police badge symbol, including sinister embellishments such as the motto "To Punish and Enslave" on the body of the police car. And the subtle irony that one of the bad guys is a police car. As I understand from the special features, the animation required a special algorithm the decide where each part of the automobile would be stored and displayed in the body of the robot when in "Transformed" mode. For instance, Barricade's tires become fists and shoulders and Bumble Bee's are elbow joints and shoulders. Also, due to Bumble Bee's muteness, he talks through the car's stereo using a digital radio. And Optimus Prime's cab becomes his chest and pectoral muscles. The results are stunning and add to the realism of the piece, authenticating it, drawing us in engaging us completely.
Not only does the technology draw its audience to engage, but the performances inspire loyalty, friendship, honor, duty and sacrifice. The cast was perfectly picked from newcomer (at the time) Shia LaBeouf to veteran Voight and the brilliant comedic cadence of John Turturro. The chemistry between the audio cast, as with the live actors adds to the smoothness and personality of the piece. The geek in me, of course, is tickled to hear the tones of Peter Cullen, the original performer for Optimus Prime. I enjoy LaBeouf's performance especially, he has the balance of the cute boy with the emotional depth of an up and coming power-actor including some comedy to balance.
A beautiful package; absolutely brilliant!!
*****
Coming Soon: Transformers: Revenge of the Fallen
When I first saw the trailer for this one, fifteen months before its release date, I was thrilled to the point of goosebumps because I loved the cartoon as a child. I remember sneaking Transformers, X-Men, Spiderman, GI Joe and Batman on Saturday mornings when my parents were not home and loving the action and the simple idea that simple items like cars and trucks and tanks that change into robots. This film met all of my expectations for what the Transformers looked like, their vehicle choices, the action and the hybrid nature of a human-based story with computer generated characters. The pacing is upbeat, lively and inspiring. The fight between the Scorpion Decepticon and the US Forces is especially memorable with its hybrid special effects (physical and CGI,) music, authenticity and editing. Gives me goosebumps every time, inspiring me to love our military and making me so incredibly patriotic. A beautiful sequence!!
I am amazed with the realism portrayed in the effects of this film. And I am impressed by the art department's work on each of the Cybertronians. Barricade, the police car, is my favorite. He has everything from the 911 Emergency Response decal to the Decepticon police badge symbol, including sinister embellishments such as the motto "To Punish and Enslave" on the body of the police car. And the subtle irony that one of the bad guys is a police car. As I understand from the special features, the animation required a special algorithm the decide where each part of the automobile would be stored and displayed in the body of the robot when in "Transformed" mode. For instance, Barricade's tires become fists and shoulders and Bumble Bee's are elbow joints and shoulders. Also, due to Bumble Bee's muteness, he talks through the car's stereo using a digital radio. And Optimus Prime's cab becomes his chest and pectoral muscles. The results are stunning and add to the realism of the piece, authenticating it, drawing us in engaging us completely.
Not only does the technology draw its audience to engage, but the performances inspire loyalty, friendship, honor, duty and sacrifice. The cast was perfectly picked from newcomer (at the time) Shia LaBeouf to veteran Voight and the brilliant comedic cadence of John Turturro. The chemistry between the audio cast, as with the live actors adds to the smoothness and personality of the piece. The geek in me, of course, is tickled to hear the tones of Peter Cullen, the original performer for Optimus Prime. I enjoy LaBeouf's performance especially, he has the balance of the cute boy with the emotional depth of an up and coming power-actor including some comedy to balance.
A beautiful package; absolutely brilliant!!
*****
Coming Soon: Transformers: Revenge of the Fallen
Friday, February 18, 2011
Legion
Again grieved by mankind, God has willed that the world's population be wiped out wholesale so that Earth might begin anew. One child could change all that, the problem is, he's not been born yet. And so, the Heavenly Host is dispatched to Earth to destroy his mother, a waitress named Charlie (Adrienne Palicki) who tends a diner called Paradise Falls along with Jeep (Lucas Black) and his father, Bob (Dennis Quaid). The situation is dire and hope is nowhere, and the diner is besieged. Reluctant to carry out his Master's plan, Michael (Paul Bettany) rebels and stands with the band of misfits for one last stand. As time comes down and the baby is born, God sends a replacement, Gabriel (Kevin Durand,) the only one who can destroy the child.
Apocalyptic stories come in all forms. And my collection has a fair share of those: Resident Evil, The Happening, The Day the Earth Stood Still, 28 Days Later, Terminator, Cloverfield, Planet Terror and Daybreakers. And Legion is one of those. The typical formula for an Apocalyptic film is that there is a pestilence that comes to wipe out mankind, sometimes supernatural (as in this case and in The Happening) and sometimes viral (Resident Evil, 28 Days Later, Daybreakers, Planet Terror.) And rarely, it's a creature (such as is the case with Cloverfield.) This pestilence is fought by a small group of humans, such as our diner patrons. Someone usually shows up, like Resident Evil's Alice, who knows everything about what's coming and has a short time to recruit, train and fight with the small band against the onslaught. The film usually spans the time of a day or a night and the small band overcomes the creatures attacking with the help of a secret weapon of sorts. In this case the baby is the secret weapon: when he's born, the lesser Host cannot come near. But there's a last "Big Bad" who's got all the advantages and none of the weaknesses of the horde, in this case Kevin Durand's Gabriel. In one last battle with the believer (the one who equips our heroes to fight,) the most experienced warrior is usually killed fighting The Big Bad, leaving the real hero to prove himself.
This film follows the formula to the letter; however, the story itself is weak. Its main concern is a slam and slander upon the Christian Christmas story and a perversion of the Christian God where He is the villain and his Host is as well. So concerned were the writers to be overly preachy, that they failed to construct a tightly woven plot. The action is routine, the mechanics capably executed, but the story lags and, as my Dad would say, is "flopping around like a dead fish" whereupon one of my college roommates would remind me that "dead fish don't flop." However, a dying fish does, and so does this plot.
So where is the excellence? Every film has a redeeming point, and this one is in the performances brought by Kevin Durand and Paul Bettany and their chemistry as reluctant enemies. After his stunning stint on ABC's Lost, Kevin Durand has become someone I am inclined to follow. His physicality hides a soulful creature, passionate in performance. Here, with one of my favorite method actors, his Gabriel doesn't want to kill his brother; in fact he's grieved that he must. But he must; thus pushing his will to achieve his Master's purpose. And Bettany, always brilliant from ship's doctor to intelligent mainframe, brings a wisdom to Michael who accepts he's not to survive; as long as the baby does. And is willing to let his brother, Gabriel, kill him to prove his faith as righteous. And this brilliance between our two angels comes from pristine preparation by our two performers, whose work boosts the overall performance of the piece to a tolerable level, despite the material provided. This film is a fantastic example of great acting, despite bad writing.
****
In: Paul Bettany
Out: Tyreese Gibson
Coming Soon: Transformers and Transformers: Revenge of the Fallen
Apocalyptic stories come in all forms. And my collection has a fair share of those: Resident Evil, The Happening, The Day the Earth Stood Still, 28 Days Later, Terminator, Cloverfield, Planet Terror and Daybreakers. And Legion is one of those. The typical formula for an Apocalyptic film is that there is a pestilence that comes to wipe out mankind, sometimes supernatural (as in this case and in The Happening) and sometimes viral (Resident Evil, 28 Days Later, Daybreakers, Planet Terror.) And rarely, it's a creature (such as is the case with Cloverfield.) This pestilence is fought by a small group of humans, such as our diner patrons. Someone usually shows up, like Resident Evil's Alice, who knows everything about what's coming and has a short time to recruit, train and fight with the small band against the onslaught. The film usually spans the time of a day or a night and the small band overcomes the creatures attacking with the help of a secret weapon of sorts. In this case the baby is the secret weapon: when he's born, the lesser Host cannot come near. But there's a last "Big Bad" who's got all the advantages and none of the weaknesses of the horde, in this case Kevin Durand's Gabriel. In one last battle with the believer (the one who equips our heroes to fight,) the most experienced warrior is usually killed fighting The Big Bad, leaving the real hero to prove himself.
This film follows the formula to the letter; however, the story itself is weak. Its main concern is a slam and slander upon the Christian Christmas story and a perversion of the Christian God where He is the villain and his Host is as well. So concerned were the writers to be overly preachy, that they failed to construct a tightly woven plot. The action is routine, the mechanics capably executed, but the story lags and, as my Dad would say, is "flopping around like a dead fish" whereupon one of my college roommates would remind me that "dead fish don't flop." However, a dying fish does, and so does this plot.
So where is the excellence? Every film has a redeeming point, and this one is in the performances brought by Kevin Durand and Paul Bettany and their chemistry as reluctant enemies. After his stunning stint on ABC's Lost, Kevin Durand has become someone I am inclined to follow. His physicality hides a soulful creature, passionate in performance. Here, with one of my favorite method actors, his Gabriel doesn't want to kill his brother; in fact he's grieved that he must. But he must; thus pushing his will to achieve his Master's purpose. And Bettany, always brilliant from ship's doctor to intelligent mainframe, brings a wisdom to Michael who accepts he's not to survive; as long as the baby does. And is willing to let his brother, Gabriel, kill him to prove his faith as righteous. And this brilliance between our two angels comes from pristine preparation by our two performers, whose work boosts the overall performance of the piece to a tolerable level, despite the material provided. This film is a fantastic example of great acting, despite bad writing.
****
In: Paul Bettany
Out: Tyreese Gibson
Coming Soon: Transformers and Transformers: Revenge of the Fallen
Wednesday, February 16, 2011
The Young Victoria
From Alexandre Dumas' The Count of Monte Cristo to the horrors of the opera house in Phantom of the Opera to ABC Television's Alias and the WB's Buffy the Vampire Slayer and within the pages Shakespeare and JK Rowling's Harry Potter, the love triangle has been one of the most effective tools for drama utilizing manipulation, politics and seduction. Of course, the most controversial and fought over love triangles of our time comes from the pages of Stephanie Meyer's Twilight Saga. Defined, it is a situation involving three people in an emotional relationship involving a couple and a third person with whom one of them is involved. For instance, in Alias' season two finale, Michael Vartan's Vaughn goes to retrieve Jennifer Garner's Sidney from a yet unknown location after a vicious fight that knocked her unconscious for an as of yet unrevealed period of time. She wakes and calls in, meeting him at a safe house. And, in one of the series' most shocking points, he reveals his left hand and on the ring finger clearly sits a wedding ring. And so, for season three, she finds her world rocked to her discontent and the drama is so brilliantly stretched that their love triangle is one of the most memorable on television in the last decade.
And for Victoria, young queen of England, an unconventional love triangle brews for the novice queen. After the death of her uncle, the King of England, Victoria (Emily Blunt) is crowned queen with little to no experience. Seduced by the sitting Prime Minister, Melbourne (Paul Bettany), into trusting him alone, her choices seem all controlled. However, she is being advised by Prince Albert (Rupert Friend), a poor prince of Saxe-Coburg and Gotha who must wait for her to decide whom she will choose.
Granted Melbourne is not in love with her, nor does he compete with Albert in the same way that Albert competes with Melbourne. Nor is Victoria aware of this behind-the-scenes competition, waiting to wisely make the choice of her lifetime, which history tells us lasted only 20 years of her 64 year reign, the longest in British history. And they were so in love. And for this film, Albert does not seduce; he serves and provides a balance to her work that supports her in every way. He is exactly the counter to Melbourne and makes for a smart match for her, providing wisdom and confidence that makes him the clear choice for her trust, winning her over completely.
And for this piece, this story, the love triangle serves its purpose well, creating a beautiful love story against a very turbulent and dark time in the historical landscape of England. The rich colors speak the passion of the story as the perfect counter to the times. The music is emotional, as are the performances. And the calculating coolness that is the British style of cinema sculpts the emotional landscape with richness and depth, recalling the exact reason why I love British Films. The creative way that the writers utilized the Love Triangle paints a beautiful way to balance personal and political choices, making for a wonderful and stunning love story. And, as you may recall, I am very picky whenever I engage a love story; The Young Victoria is one of the best I've encountered in the last five to ten years.
****
IN: Mark Strong
OUT: Paul Bettany
Coming Soon: Legion
And for Victoria, young queen of England, an unconventional love triangle brews for the novice queen. After the death of her uncle, the King of England, Victoria (Emily Blunt) is crowned queen with little to no experience. Seduced by the sitting Prime Minister, Melbourne (Paul Bettany), into trusting him alone, her choices seem all controlled. However, she is being advised by Prince Albert (Rupert Friend), a poor prince of Saxe-Coburg and Gotha who must wait for her to decide whom she will choose.
Granted Melbourne is not in love with her, nor does he compete with Albert in the same way that Albert competes with Melbourne. Nor is Victoria aware of this behind-the-scenes competition, waiting to wisely make the choice of her lifetime, which history tells us lasted only 20 years of her 64 year reign, the longest in British history. And they were so in love. And for this film, Albert does not seduce; he serves and provides a balance to her work that supports her in every way. He is exactly the counter to Melbourne and makes for a smart match for her, providing wisdom and confidence that makes him the clear choice for her trust, winning her over completely.
And for this piece, this story, the love triangle serves its purpose well, creating a beautiful love story against a very turbulent and dark time in the historical landscape of England. The rich colors speak the passion of the story as the perfect counter to the times. The music is emotional, as are the performances. And the calculating coolness that is the British style of cinema sculpts the emotional landscape with richness and depth, recalling the exact reason why I love British Films. The creative way that the writers utilized the Love Triangle paints a beautiful way to balance personal and political choices, making for a wonderful and stunning love story. And, as you may recall, I am very picky whenever I engage a love story; The Young Victoria is one of the best I've encountered in the last five to ten years.
****
IN: Mark Strong
OUT: Paul Bettany
Coming Soon: Legion
Friday, February 11, 2011
Stardust
In the sleepy town of Wall, so named for the mysterious wall that separates the world of fact and the world of fantasy, a land called Stormhold, a boy named Dunstan Thorne (Ben Barnes) crosses the forbidden border and has a one-night stand with a salve princess: his son, Tristen, is delivered to him by the keeper of the wall shortly after his birth. Futilely trying to woo the object of his affection, Victoria (Sienna Miller), he promises to catch the falling star they see fall and bring it back before her birthday in order to ask for her hand. He journeys into Stormhold in search for the star; little does he know that the star is a beautiful girl, Yvane (Claire Danes,) and not just a rock. And he's not the only one looking for it, Prince Septimus of Stormhold (Mark Strong) and a witch, Lamia (Michelle Pfiffer,) are also hunting for her, intending to kill her and remove her heart to consume it. Befriending a queerish pirate called Shakespeare (Robert Di Niro,) Tristen discovers what love is all about, having the adventure of a lifetime and becomes a man along the way.
Seasoned with rock-solid performances and a wickedly hilarious cast (including a sidesplitting performance by Mark Williams (of Harry Potter fame) as a literal man-goat), Stardust is truly a fantastic story, in every way. Fairy tales are tricky stories as they require a formula, adhere to genre rules, have a great cast of characters, as well as coming up with something unique with a clever twist. This one has it all, including blue blood for our royal family. This one has sword fights, lightning pirates, witches, magic and murder most foul. And it's brilliant, captivating from the beginning 'til the flourish of the plot twist.
The storytelling is done so well in this film, with brilliant filmmaking trade-craft. Especially good is the pirate ship montage at the midpoint, confidently shot, cropped and scored to keep the pacing of the story, relieving the boredom that happens in the midpoint of most movies. Also helpful is the ballistic nature of Mark Strong's Septimus, creating a percussive force that rocks the boat in a violent and dramatic pulse. I'm also tickled by the humor afforded Robert Di Niro's Captain Shakespeare. This character development deepens the plot and adds depth to the setting and credibility to the land created; like Tolkein's MIddle Earth, it's a place believable and attractive to visit and making all the characters real. Fantasy worlds must be carefully created and each inch and surface must be planned out and calculated; Stardust is constructed with the greatest care in development, creating a timeless story which delights and moves its audience.
Stardust is beautiful, stunning, fabulous and performs with finesse. It ranks high on the my list of the greatest fairy tales in film. In the top ten alongside Beauty and the Beast and Sleeping Beauty. It's the kind of tale that could come out of The Arabian Nights or Grimm's Fairy Tales. I'm impressed every time I pop it in the DVD player. And I highly recommend it to anyone who borrows movies from my library, it's just so much fun!!
****
IN: Claire Danes
OUT: Mark Strong
Coming Soon: The Young Victoria
Seasoned with rock-solid performances and a wickedly hilarious cast (including a sidesplitting performance by Mark Williams (of Harry Potter fame) as a literal man-goat), Stardust is truly a fantastic story, in every way. Fairy tales are tricky stories as they require a formula, adhere to genre rules, have a great cast of characters, as well as coming up with something unique with a clever twist. This one has it all, including blue blood for our royal family. This one has sword fights, lightning pirates, witches, magic and murder most foul. And it's brilliant, captivating from the beginning 'til the flourish of the plot twist.
The storytelling is done so well in this film, with brilliant filmmaking trade-craft. Especially good is the pirate ship montage at the midpoint, confidently shot, cropped and scored to keep the pacing of the story, relieving the boredom that happens in the midpoint of most movies. Also helpful is the ballistic nature of Mark Strong's Septimus, creating a percussive force that rocks the boat in a violent and dramatic pulse. I'm also tickled by the humor afforded Robert Di Niro's Captain Shakespeare. This character development deepens the plot and adds depth to the setting and credibility to the land created; like Tolkein's MIddle Earth, it's a place believable and attractive to visit and making all the characters real. Fantasy worlds must be carefully created and each inch and surface must be planned out and calculated; Stardust is constructed with the greatest care in development, creating a timeless story which delights and moves its audience.
Stardust is beautiful, stunning, fabulous and performs with finesse. It ranks high on the my list of the greatest fairy tales in film. In the top ten alongside Beauty and the Beast and Sleeping Beauty. It's the kind of tale that could come out of The Arabian Nights or Grimm's Fairy Tales. I'm impressed every time I pop it in the DVD player. And I highly recommend it to anyone who borrows movies from my library, it's just so much fun!!
****
IN: Claire Danes
OUT: Mark Strong
Coming Soon: The Young Victoria
Thursday, February 10, 2011
Romeo + Juliet
In perhaps the best known romantic tragedy of all time, passion flows as the heat rises in love and war while weapons flash and blood pools; two erstwhile enemies put their parents feelings aside to romance each other. And while the enmity rises, and lives fall on both sides, their love affair is cut short and no side passes through unscathed.
This film's cousin, we've already seen and we've studied its seduction and sorrow. And while Moulin Rouge is Baz Luhrman's magnum opus, this one's charm is no less beautiful; its direction to cause the sigh within my soul for deep feeling to move and heave is effective and so brilliant. Regardless that the package's soul lies in better form than its counterpart from the 1960's, the emotion is drawn out and given a younger feel complete with modern costumes and upgraded weaponry and transport: I'm forced to compare the opera that is Moulin Rouge to Romeo and Juliet's rock-epic and say that I'm not as deeply affected by the passage of this film as I am of its cousin. But the package is deeply beautiful on its own, still giving me goosebumps at the pinnacle of each plot point, remaining in my sentiment one of the best adaptations of the story.
As far as the story goes, the presentation is beautifully done. The language fits well with the setting and the actors are very comfortable, all of them, with its complexity and meaning. I enjoy the banter between the Capulet and Montague boys, Romeo (Leonardo DiCaprio) and Mercutio, and Tybalt (John Leguizamo) and Mercutio (Harold Perrineau). The casting is very well done, each are very comfortable with their characters, pouring the full measure of themselves. Leguizamo's Tybalt posesses everything needed for a hot-headed, arrogant master duelist, including stance and swagger and poise. DiCaprio's Romeo has the perfect balance of passions in love and in rage and in sorrow; his energy equally spent with each, proving even at this point his dedication to the art. And Perrineau's Mercutio has a bright flourish of righteous madness, my favorite scene being the fight that leads to Mercutio's end.
The only fault lies with the position of the strongest emotional release. It's found in the circumstances that separate Juliet (Claire Danes) and Romeo when it should fall to the suspense in the passing and near miss of their ending, and with the missing vicious duel and brutal death of Paris the Rival (Paul Rudd) which, if it weren't so hasty, might have saved our lovers. While the desperation remains, the personal touch is lacking; we do not fear for him as much. His only peril lies in the lawful manhunt by the prince's men and of course arriving too early to poison himself. All of the personal emotion is therefore transferred to Pete Postlethwaite's Friar Lawrence and his failed message delivery. As well, the final monologues are missing or truncated, failing to assist the suspense of the finale. As is the choice to have Juliet's suicide be with a gun, for it buries the pain of her despair; the climax is too quick, robbing us of the explosion of catharsis.
My affection still remains for this film, regardless: because of its comprehensive understanding of the dialogue, the performance and the cinematography, production design and the musical choices. The package itself is still beautiful, despite the story development and transmogrification from the play proved to be the least cared for. The story itself is still one of the most beautiful, suspenseful and tragic love stories of all time.
****
IN: Leonardo DiCaprio
OUT: Claire Danes
Coming Soon: Stardust
This film's cousin, we've already seen and we've studied its seduction and sorrow. And while Moulin Rouge is Baz Luhrman's magnum opus, this one's charm is no less beautiful; its direction to cause the sigh within my soul for deep feeling to move and heave is effective and so brilliant. Regardless that the package's soul lies in better form than its counterpart from the 1960's, the emotion is drawn out and given a younger feel complete with modern costumes and upgraded weaponry and transport: I'm forced to compare the opera that is Moulin Rouge to Romeo and Juliet's rock-epic and say that I'm not as deeply affected by the passage of this film as I am of its cousin. But the package is deeply beautiful on its own, still giving me goosebumps at the pinnacle of each plot point, remaining in my sentiment one of the best adaptations of the story.
As far as the story goes, the presentation is beautifully done. The language fits well with the setting and the actors are very comfortable, all of them, with its complexity and meaning. I enjoy the banter between the Capulet and Montague boys, Romeo (Leonardo DiCaprio) and Mercutio, and Tybalt (John Leguizamo) and Mercutio (Harold Perrineau). The casting is very well done, each are very comfortable with their characters, pouring the full measure of themselves. Leguizamo's Tybalt posesses everything needed for a hot-headed, arrogant master duelist, including stance and swagger and poise. DiCaprio's Romeo has the perfect balance of passions in love and in rage and in sorrow; his energy equally spent with each, proving even at this point his dedication to the art. And Perrineau's Mercutio has a bright flourish of righteous madness, my favorite scene being the fight that leads to Mercutio's end.
The only fault lies with the position of the strongest emotional release. It's found in the circumstances that separate Juliet (Claire Danes) and Romeo when it should fall to the suspense in the passing and near miss of their ending, and with the missing vicious duel and brutal death of Paris the Rival (Paul Rudd) which, if it weren't so hasty, might have saved our lovers. While the desperation remains, the personal touch is lacking; we do not fear for him as much. His only peril lies in the lawful manhunt by the prince's men and of course arriving too early to poison himself. All of the personal emotion is therefore transferred to Pete Postlethwaite's Friar Lawrence and his failed message delivery. As well, the final monologues are missing or truncated, failing to assist the suspense of the finale. As is the choice to have Juliet's suicide be with a gun, for it buries the pain of her despair; the climax is too quick, robbing us of the explosion of catharsis.
My affection still remains for this film, regardless: because of its comprehensive understanding of the dialogue, the performance and the cinematography, production design and the musical choices. The package itself is still beautiful, despite the story development and transmogrification from the play proved to be the least cared for. The story itself is still one of the most beautiful, suspenseful and tragic love stories of all time.
****
IN: Leonardo DiCaprio
OUT: Claire Danes
Coming Soon: Stardust
Wednesday, February 02, 2011
Inception
When subconscious thief Dominick Cobb (Leonardo DiCaprio) fails his recent assignment, his mark offers one last job to square things. Initially refusing, Saito (Ken Wantanabe) sweetens the pot by fixing the charges against Cobb, allowing him to return home to his family. Along with Arthur (Joseph Gordon-Levitt,) Ariadne (Ellen Paige,) and Eames (Tom Hardy) the team sets out to plant and idea inside their mark, Robert Fischer (Cillian Murphy,) a concept, Cobb explains, is called Inception. Cobb harbors a dark secret, however, that threatens the job and everyone involved.
While this film is deeper than the typical heist film, it shares the basic elements: employment, intelligence, construction, execution and resolution. The key to creating a great heist movie is chemistry, conflict, casting and execution. These components, when properly utilized, fill the piece with meaning and make it memorable. And a memorable movie always lasts.
Inception has great chemistry between the cast and the mechanical elements, as well as the characters with each other. For instance, Dicaprio's voice and performance coupled with the sound editing, the feeling and the emotion inside the dream world emotes the sensation felt when waking suddenly from a deep sleep: hearing is enhanced sound louder, the atmosphere is drier and surroundings are disorienting. The characters and their actors are perfectly comfortable with each other, leading the audience to relax and engage easier. Even the relationship between the Villain of the piece, Moll (Marion Cotillard) and Cobb, our protagonist and hero. She offers, not evil deeds or practices, but shirking responsibility and giving into the freedom of the dream, driving the pain within to manifest within her husband which threatens the security of the mission.
The conflict, construction and execution is done with finesse, with well-planned development and care. Most memorable is the kick sequence, including the fight scene which Entertainment Weekly called "Zero Gravity Fisticuffs." Also the tension in the pacing and editing draws out the desperation as each level is completed, entered and exited. Part of the execution is in the performance, including the humor most of which comes from Hardy and Gordon-Levitt and some from Paige, each who turn in flawless, real and emotional performances. Also the execution, whether in a comic or tragic story, emotional release is necessary connecting the audience to the action and the characters. Especially potent is the emotional resolution played between Maurice Fischer (Pete Postlewaite) and his son, that scene is incredibly lovely; gives me goosebumps every time.
This package is deserving of the credit it earned. It brilliantly helps the audience in its escapism, allowing us to live different lives for a while. The colors and atmosphere are rich and emotional and deep. The casting is pristine and attractive...and I love a great cast. This film is wonderful in all its components; it's gonna be an ageless film.
***
In: Marion Cotillard
Out: Leonardo Dicaprio
Coming Soon: Romeo and Juliet
While this film is deeper than the typical heist film, it shares the basic elements: employment, intelligence, construction, execution and resolution. The key to creating a great heist movie is chemistry, conflict, casting and execution. These components, when properly utilized, fill the piece with meaning and make it memorable. And a memorable movie always lasts.
Inception has great chemistry between the cast and the mechanical elements, as well as the characters with each other. For instance, Dicaprio's voice and performance coupled with the sound editing, the feeling and the emotion inside the dream world emotes the sensation felt when waking suddenly from a deep sleep: hearing is enhanced sound louder, the atmosphere is drier and surroundings are disorienting. The characters and their actors are perfectly comfortable with each other, leading the audience to relax and engage easier. Even the relationship between the Villain of the piece, Moll (Marion Cotillard) and Cobb, our protagonist and hero. She offers, not evil deeds or practices, but shirking responsibility and giving into the freedom of the dream, driving the pain within to manifest within her husband which threatens the security of the mission.
The conflict, construction and execution is done with finesse, with well-planned development and care. Most memorable is the kick sequence, including the fight scene which Entertainment Weekly called "Zero Gravity Fisticuffs." Also the tension in the pacing and editing draws out the desperation as each level is completed, entered and exited. Part of the execution is in the performance, including the humor most of which comes from Hardy and Gordon-Levitt and some from Paige, each who turn in flawless, real and emotional performances. Also the execution, whether in a comic or tragic story, emotional release is necessary connecting the audience to the action and the characters. Especially potent is the emotional resolution played between Maurice Fischer (Pete Postlewaite) and his son, that scene is incredibly lovely; gives me goosebumps every time.
This package is deserving of the credit it earned. It brilliantly helps the audience in its escapism, allowing us to live different lives for a while. The colors and atmosphere are rich and emotional and deep. The casting is pristine and attractive...and I love a great cast. This film is wonderful in all its components; it's gonna be an ageless film.
***
In: Marion Cotillard
Out: Leonardo Dicaprio
Coming Soon: Romeo and Juliet
Tuesday, February 01, 2011
Public Enemies
In the golden era of bank robberies, a crack batch of gangsters gave birth to the Federal Bureau of Investigation under the controversial leadership of J. Edgar Hoover (Billy Crudup.) The planner and kingpin of the group, a man of charisma, fashion, and prowess, confounds law enforcement until Hoover appoints Melvin Purvis (Christian Bale) an expert lawman and visionary investigator. Purvis' team hunts down and captures or kills every one of their targets' friends and associates while climbing their way to the top of the organization. It's the time of Tommy Guns and fedoras, a time where money was tight and crime was high. It is the time of the Public Enemies, and John Dillinger (Johnny Depp) is Number One.
Warm is how I'd describe this film. The photography, coloring, costumes and film score are beautiful; the acting, fluid; the action smart and savvy creating a comfortable and full tone granting the audience a savory and hearty emotional experience. Even the famous 1930's gray suits offer a warmth in their authenticity, fit and color coordination matching each character's portrayer perfectly. The lighting offers a classic feel as do the acting styles of our lead six actors. The package is seductive, charismatic, comfortable and real, everything John Dillinger personifies.
Mr's Depp, Bale, Crudup and Ms. Cotillard all perform with exceeding finesse, providing the film with great emotional content, making you wish the chase never ended. And the romance between Marion Cotillard's Billie Frechette and Depp's Dillinger is heartbreaking, a tribute to their immersion into the characters and their work into the brilliant chemistry between Frechette and Dillinger. Mr. Depp's sadness as he must leave her and escape speaks edges of sorrow and is quite wonderfully done. As is the horror of Billie's interrogation. And there's the obsessive hunter, Purvis, who history says took his own life after the end of his famous pursuit, is soulfully but coldly embodied by Mr. Bale to perfection. And Mr Crudup's Hoover is perfectly slimy, only wishing for the political gain the rise of the FBI brings him.
However, it's Dillinger and Purvis' seconds which caught my eye. The tactical and duty-bound Special Agent Winstead (Stephen Lang) is ironclad and comprehensively rock-solid. He's hardened, the perfect soldier and he's a soul-filled, making him human especially the scene where he tells Billie that Dillinger is dead, passing on the last thoughts. Red Hamilton (Jason Clarke) seems to be Dillinger's conscience, balancing out the clinical and efficiency that is his friend. He's soft, soulful and wise, everything Dillinger is not.
As I understand, at least three of the locations used are the actual locations where the events of the film took place and each feels different from each other. The prison at the beginning is bright and open and free: no pressure, no one hunting. The inn in the woods is a maze, where the chase could lead anywhere. And the alley, where Dillinger is tracked down to and eventually shot, offers no way out.
Overall, Public Enemies is brilliant, beautiful and cinematically stunning. The tension expands fantastically, keeping the audience appropriately on edge. Each shootout is performed with little to no music accompanying the furious gunfire, presenting an edge to the action removing the silliness of stylistic gun-fighting, giving off an air of authenticity and enhancing the experience of the piece.
****
In: James Russo
Out: Marion Cotillard
Coming Soon: Inception
Warm is how I'd describe this film. The photography, coloring, costumes and film score are beautiful; the acting, fluid; the action smart and savvy creating a comfortable and full tone granting the audience a savory and hearty emotional experience. Even the famous 1930's gray suits offer a warmth in their authenticity, fit and color coordination matching each character's portrayer perfectly. The lighting offers a classic feel as do the acting styles of our lead six actors. The package is seductive, charismatic, comfortable and real, everything John Dillinger personifies.
Mr's Depp, Bale, Crudup and Ms. Cotillard all perform with exceeding finesse, providing the film with great emotional content, making you wish the chase never ended. And the romance between Marion Cotillard's Billie Frechette and Depp's Dillinger is heartbreaking, a tribute to their immersion into the characters and their work into the brilliant chemistry between Frechette and Dillinger. Mr. Depp's sadness as he must leave her and escape speaks edges of sorrow and is quite wonderfully done. As is the horror of Billie's interrogation. And there's the obsessive hunter, Purvis, who history says took his own life after the end of his famous pursuit, is soulfully but coldly embodied by Mr. Bale to perfection. And Mr Crudup's Hoover is perfectly slimy, only wishing for the political gain the rise of the FBI brings him.
However, it's Dillinger and Purvis' seconds which caught my eye. The tactical and duty-bound Special Agent Winstead (Stephen Lang) is ironclad and comprehensively rock-solid. He's hardened, the perfect soldier and he's a soul-filled, making him human especially the scene where he tells Billie that Dillinger is dead, passing on the last thoughts. Red Hamilton (Jason Clarke) seems to be Dillinger's conscience, balancing out the clinical and efficiency that is his friend. He's soft, soulful and wise, everything Dillinger is not.
As I understand, at least three of the locations used are the actual locations where the events of the film took place and each feels different from each other. The prison at the beginning is bright and open and free: no pressure, no one hunting. The inn in the woods is a maze, where the chase could lead anywhere. And the alley, where Dillinger is tracked down to and eventually shot, offers no way out.
Overall, Public Enemies is brilliant, beautiful and cinematically stunning. The tension expands fantastically, keeping the audience appropriately on edge. Each shootout is performed with little to no music accompanying the furious gunfire, presenting an edge to the action removing the silliness of stylistic gun-fighting, giving off an air of authenticity and enhancing the experience of the piece.
****
In: James Russo
Out: Marion Cotillard
Coming Soon: Inception
Subscribe to:
Posts (Atom)