Batman: Superheroes, Sidekicks and Their Friends

Batman, Iron Man, Superman, The Punisher, The Fantastic Four, Spiderman and Buffy The Vampire Slayer all share the same thing: they fight evil, either alone or in a group. Sky High's Coach Boomer divides his freshman class of super-people into two groups, heroes or side-kicks. Of course, each hero has his choice of who he tells about his hero identity and the private war fought against the seedy underbelly of their city. Some superheroes fight with a tight knit group of "non-super" people who know their secret, keep it, and put their own touch on the hero's operation. I'm going to divide them into five separate groups: superhero, sidekick, secret-keeper, oblivious accomplice and weapons-master. The first group is the easy one: The Superhero. This person is a benevolent fictional character with superhuman abilities. This is the leader of our team, it's his persona that "the bad guy" fears. He sets the tone for the style of the operation and chooses who to fight and how to live outside his superhero personae. It's his choice to include others in the fight and which level his private and public worlds are made aware of the man behind the mask. Some choose to be publicly known, such as Iron Man and The Fantastic Four, while others choose to hide themselves from the public and their family and friends. Most choose the latter to safeguard those who they love, while others keep their public face secret and let a small group know. For instance, initially only one person knows that sixteen-year-old Buffy is The Slayer, her watcher, Giles. Batman is initially this model, too. Alfred is the only one who knows initially knows that Batman's public face is Bruce Wayne, but he eventually lets others into his confidence, building a network of people who are hip to his real mask. Working alongside the superhero is his close associate, but sometimes equally skilled friend and partner, or, as Coach Boomer would call him: "SIDEKICK!!!" This person has different skills to the superhero, but is dedicated to the same goal. His origins have an initially dark past linked with the superhero. Most often, it's someone who's younger and inexperienced, suffering a loss that is caused by a chosen inaction by the hero which devastates their world. They discover, on their own, the public identity of the hero and demand to join the team. Sometimes, however, as is the case with Willow Rosenberg from Buffy the Vampire Slayer, it's one of the hero's friends who's gained a skill, leveling the risk taken fighting "the bad guy." Or sometimes, the hero is just incapable of taking on his opposition by himself, such as is the case with War Machine in Iron Man 2. Robin comes from the dark past angle, as his parents and brother are killed by Two Face Harvey Dent because they are trying to stop a terrorist attack by Two Face who's trying to call out Batman. Batgirl, on the other hand, is a skilled fighter and daredevil, who discovers the Batcave on her own and chooses to help Batman and Robin fight Poison Ivy, Bane and Mr. Freeze. She later proposes joining them, to which Batman agrees. Borrowing the term from the Harry Potter Series, The Secret-Keeper is self-defined. These are people who are aware of both sides of a Super-Hero's schizoid personality and choose, sometimes to their peril, to seriously keep the public identity confidential. Whereas sidekicks and weapons-masters can also be secret-keepers, secret-keepers are not always on the front lines. Pepper Potts, Mary-Jane, Lois Lane and Xander Harris are prime examples of those who sometimes are on the front lines but sometimes are made to stay behind while the battle rages. Alfred Pennyworth, Vicki Vale, Chase Meridian and Rachel Dawes are Batman's Secret Keepers who don't fight on the front lines. Richard Grayson, Barbara and Lucius Fox are secret-keepers who are either sidekicks or weapons masters. Although it can also be said that Alfred is a weapons-master also, due to the fact that he is responsible for the kit that Batman, Robin and Batgirl use for four of the six films. Speaking of weapons-masters: this is the person responsible for the weapons, armor and vehicles that the superhero and his sidekick use. JARVIS, with instructions from Tony Stark, is Iron Man's weapons-master. Rupert Giles is Buffy's. Reed Richards does the kit for the Fantastic Four, which mostly consists of their uniforms, but there is a vehicle involved. For the Burton and Schumacher eras, Alfred is Batman's weapons-master, as he fixes, designs and suggests possible armor, vehicles and weapons for Batman, Robin and Batgirl to use. The position is shared in the Nolan Era by Alfred and Lucius Fox, who in The Dark Knight, helps out with Batman's fight against the Joker in the final showdown. Leaving the last one, the oblivious accomplice. This is someone who is aware of, and helps, the superhero but doesn't know his public face as the one behind the mask. This is best exemplified by Jim Gordon of Gotham's Police Force during the Nolan Era. Gordon, during the Nolan Era, is the only clean cop on the force and Batman assists him in bringing in the mob boss of the city. However, he's not aware of who Bruce Wayne plays during his off hours. This is clearly portrayed during the Joker's hospital hostage situation when Bruce saves the Joker's intended target and plays dumb when Gordon checks on him. Superman's Lois Lane personifies this character in Superman, although she eventually figures out that Clark Kent is Superman. As I've said, I like a diverse cast; but, in order for a great cast to happen, good characters must be present. And I'm not just attracted to the bad side of the story, I like seeing well-done "good guys," too. And the Batman series is full of wonderfully fleshed out "good guys." **** Coming Soon: Batman: A Series Analysis

Batman: The Opposition Part II

Cliched, he may be; flat, he is not: Arnold Schwarzenegger's Mr. Freeze has the beginnings of a sympathetic terrorist, someone Fox's 24 might feature; that is, if he hadn't fallen in a vat of subzero chemicals. His backstory is well documented, and his emotional reasons are well covered and he is, actually, well-portrayed by the former Govenator. Schwarzenegger's inflections and delivery of the campy lines fed to him by the writers were spot on. However, it's hard to emotionally connect in most of the face-offs with law enforcement and our superhero team when all of the lines come off lame. But in between, there are tender moments that any husband might have for his dying wife, and in the end the good man he was resurfaces for a moment when Batman finally gets through to him. In addition, despite having two women throw themselves at him, he's fiercely devoted to his wife. Everything about him, including his motives, are pure human, so it's easy to engage in his story. As a foil to Batman, however, he brings little to the table, as he's just the "creature of the week." Everyone seems to pass up on Antonio Diego, aka Bane, mostly because he is a beast in the end. But his backstory is covered: a death row convict, he's the subject of dangerous human testing and turned into something less than human. He's adopted by Poison Ivy and serves as her sidekick and enforcer. We can't relate to him because he's a robot and has no emotions. His strength is the only thing he has, and there's no reasons behind his poundings. Despite Uma Thurman's brilliant, sexy, and unforgettable portrayal of Poison Ivy and her highly nerdy alter-ego, Dr. Pamela Isley, her character comes off "over-the-top" like Mr. Freeze, The Penguin and Tim Burton's Joker. Poison Ivy's Gotham City entrance is one of my favorites in the series as it displays everything she is: seductive, theatrical and irresistible. The character is little else, except perhaps homicidal, leaving everything up to her "charms." But there's nothing truly human about her, so can we relate to her? Maybe not. To her credit, she is a proper threat to Batman & Robin: she incites discord between the partners, nearly separating them, driving a hole in the armor of Gotham's protective shield, giving room for the city to fall. Liam Neeson's Ra's al Ghul, however, is a perfect foil. As head of a cult of extreme vigilantes, he is an uncompromising zealot whose ideals are his life. His past is fleshed out when Bruce Wayne believes he's recruiter Henri Ducard: his path was decided when his wife was murdered. He's without compassion; without emotional sway, doing anything to ensure his goal. He's not without morals: having a choice to choose the principles of right and wrong. He chooses to only see his ideals, as if brainwashed; except that he's the brainwasher. And when Bruce chooses compassion and honor, Ra's is blind to all other explanations and beliefs. His League of Shadows is a blind jihad alone with no charity or mercy. And justice, mercy, compassion and honor is what makes Batman and Bruce Wayne heroes. Ra's al Ghul is the picture of what Batman could have been, had the honorability of his alter-ego, Bruce Wayne, failed to intervene. Another brilliantly portrayed, over-dramatic, inappropriate foil is Dr Crane's Scarecrow (Cilian Murphy). Clearly an attempt to homage a part of the comic book's overly bizarre attributes, Dr Crane is a scientist whose only interest is pleasing his client, Ra's al Ghul. He does his work and creates the weaponized form of the toxin spread through the city, but there's little humanity in him and his reasons for complicity are unclear. As a threat, he's only physically and chemically capable of stopping Batman, and, by proxy, Wayne himself. Nolan's Two-Face is contrastingly polar to Schumacher's. Aaron Eckhart's Harvey Dent is created by Lieutenant (and later Commissioner) Gordon, Batman and Bruce Wayne to be Gotham's White Knight, placing him on such a high pedestal that he becomes vulnerable. And the Joker exploits his celebrity status, arranging a no-win situation in which Batman must save Dent instead of Rachel, creating the monster that is Two-Face. Her death destroys his faith in justice; he becomes a believer in absolutes, in black and white morality, with no mercy. And his motives are human, unlike Schumacher's: he's grieving and has lost his faith, something that happens to real people all the time. His story is emotionally strong; we grieve that he loses her, but his downfall is inevitable because brightness is impossible in Gotham City. And he's operating under the radar, just like Batman; so, when Batman finally does fight him, he's reluctant to finish him. This one's a worthy adversary for Batman in all respects. And onto my favorite: Nolan's Joker. Perhaps the most iconic comic book villain in recent cinematic history. His backstory is purposely inconsistent, always beginning with "do you want to know how I got these scars?" and changing with each iteration. His devotion to chaos is beyond radical; he's a zealot for chaos and will do anything to practice his faith. He says himself that he's not a planner, he just rolls with it. The madness that is our social climate after the 9/11 attacks makes us Americans understand The Joker's extremism better than if this film was made before then. The late Heath Ledger comprehensively develops this with such power, swagger and complexity that it is crystal clear what Nolan's Joker is all about. And because he's someone so devoted to chaos, and Batman with Bruce Wayne is so organized and careful and devoted to justice and honor, he's the perfect foil; better than the rest, all the rest. For me; a film doesn't work unless the development of the villain is done with care, thought, and is worthy of the hero's efforts. Nolan's The Dark Knight has done that comprehensively and Aaron Eckart and Heath Ledger put the fullness of their craft behind Two-Face Harvey Dent and The Joker. Which is why the film works so well and why I'm caught up in the story and emotionally connected with all the characters and I get goosebumps every time I see it. **** Coming Soon: Superheroes, Sidekicks and their Friends

Batman: The Opposition

When I’m watching a movie, I like to look at more than just the fair looks of the faces on the screen. Nor do I consider much the explosions, car chases or the hot romances between the lead man and gal. In fact, I look for the writing, the emotion and the character development. And for the work involved in bringing the humanity of the character to screen. In fact, I have a list of actors, and actresses, I follow: I call them my “boys” and I usually love anything they do. And some are on the cast list for Batman: Christopher Walken (Max Schrek), Michelle Pfiffer (Catwoman), Val Kilmer (BF: Batman), Tommy Lee Jones (Schumacher’s Two-Face), George Clooney (B&R: Batman), Uma Thurman (Poison Ivy), Christian Bale (Nolan’s Batman), Michael Caine (Nolan’s Alfred), Morgan Freeman (Lucius Fox), Liam Neeson (Ras Al Guhl), Cilian Murphy (Scarecrow), Gary Oldman (Nolan’s Jim Gordon), Maggie Gyllenhal (The Dark Knight’s Rachel Dawes), the late Heath Ledger (Nolan’s Joker) and Aaron Eckhart (Nolan’s Two Face). As far as characters go for Superhero movies, I look not to the hero, but to his opposition to measure the believability of the characters. Tim Burton’s Batman features the first incarnation of the iconic character, The Joker. With the trademark purple suit, insane smile, green hair and pale face, Jack Nicholson’s menacing performance puts a ballistic foil to Michael Keatons cerebral Batman and Bruce Wayne, but the balance is a bit over the top and leans in The Joker’s favor. In fact, little development for Batman actually occurs, as the focus seems to be in arching in the development of The Joker from his alter-ego Jack Napier to his downfall at the hands of Batman. When this lack of development for both sides of the good and evil line tips the balance for the one side, the villain becomes less developed and loses his connection with the audience, creating a sort of “creature-of-the-week” feel which dehumanizes both the hero and the villain, tearing us out of the emotional connection we’re supposed to have with both sides. Oh yes; we’re supposed to be empathetic to the villain’s side. We’re supposed to feel for them; and because we should, the writers need to make something about them redeemable. However, for Burton’s Joker, and his alter-ego Jack Napier, there’s nothing to redeem him, so he’s 100% evil and not human, so we cannot connect and the realism is lost because the character strength leans toward the character less human. The Bestial characters don’t stop with Burton’s Joker; in fact, it continues during the Burton Era with The Penguin, portrayed with power by Danny DeVito. His alter-ego, Oswald Cobblepotts, was born deformed and was abandoned by his blue blood parents before the end of his childhood. Thus, his appearance is grotesque and his development even less human than his predecessor and in stark contrast to his co-villains, Max Shreck and Catwoman. Because of this grotesqueness of character, personality and design, there bears little for Batman to win overall. He simply has no redeeming features, nothing for Batman to compare to really. On the other hand, Catwoman seems to have it all, sympathy for her alter-ego Selina Kyle from the beginning of the film. She’s a hard-working assistant who’s boss thinks very little of her. In fact, he’s borderline abusive to her. However, when she figures out he’s hiding a terrible secret about his proposed project, he simply kills her, allowing her to be fed upon by Gotham City’s feral cat population, transforming her into Catwoman, destroying the mousy woman she was and empowering her to a more confidant woman: somebody I, as a woman, can relate to somewhat. Her introduction to both sides of the fence is absolutely delicious, Michelle Pfieffer And she might not fit into the “villain” category at all, at it seems that she switches sides and fights alongside Batman for a while, giving her eighth of nine lives to end the corruption that is brought to Gotham City by Max Shreck. And Christopher Walken’s Max Shreck, the first of two opponents to Batman’s alter ego Bruce Wayne, is human with nothing super about him. He’s just a man. However, he’s what Bruce might have turned into, had he refrained from becoming Batman. Whereas he is cold, cruel and homicidal, He has something the Burton’s Joker and the Penguin don’t, empathetic characteristics. It really only the one thing: he loves his son and would do anything to keep him safe, including surrendering to The Penguin toward the end. He’s well written, well performed and well done. And to the colorful characters of the Schumacher era, beginning with Tommy Lee Jones’ Two-Face Harvey Dent, Gotham’s former District Attorney, portrayed briefly in Tim Burton’s Batman by Billy Dee Williams (of Star Wars fame). In Batman Forever, Dent is deformed during a trial when someone threw boiling acid in his face. His mercurial moods as he fluctuates between his two sides leaves little room to connect emotionally because he’s either menacingly calm or insanely ballistic. His only goal is to kill Batman, with no human cause to back up his criminal enterprises and nothing to make him love-able, besides his portrayer, Tommy Lee Jones. Val Kilmer’s Batman is haunted and developed, a credit to Kilmer’s preparations, but Two-Face is just that: two zones. Not an appropriate foil at all. The second opponent to Bruce Wayne comes in the form of Jim Carrey’s The Riddler. His alter-ego, Edward Nygma, is a hard-working, but strange man who’s not-so-subtle attraction to Wayne causes him to obsess over pleasing him. And when Wayne shuts him down, he cracks. This leads to him stalking Wayne, leaving riddles wherever Wayne can be found; finally teaming up with Two Face in order to gain the capital to outshine him. Eventually, he does and becomes an intellectual powerhouse, calling himself The Riddler. And they become a deadly pair, with Two Face’s soullessness and The Riddler’s intellect, becoming nearly impossible to beat; which is why Batman needs Robin, in the end. His initial intellect is rivaled only by Bruce Wayne, but grows beyond the starting point. So that, in the end, it’s the Riddler that adds the last push in a unit capable of stopping both Bruce Wayne and Batman, due to the fact his fight is personal. **** Coming Soon: The Opposition Part II

Batman: Three Eras

How is an era defined in a movie series? Is it defined by actor, such as the case for James Bond? Or is it by director, as fits with Harry Potter? Or does it gain definition by character set, as is the case with the Star Trek and Star Wars serials? Possibly, can it be story-defined, as is the case with Die Hard or Indiana Jones? Or does the tenor, or the general meaning, sense, or content of the film or films define an era? The vague answer is it is defined by all of these and in order to study how to define an era, we’ll turn to the cape-crusader, Batman, and his alter-ego, Bruce Wayne, who will both teach us the way. For the Batman series there are three eras and we’ll call them Burton, Shumacher and Nolan, after their directors. There are six films in all: Batman, Batman Returns, Batman Forever, Batman and Robin, Batman Begins, and The Dark Knight. Each tell of the adventures of the Superhero Batman and the personal exploits of his alter-ego, Bruce Wayne. The two personas are portrayed by four separate actors: Michael Keaton, Val Kilmer, George Clooney and Christian Bale. There are two incarnations of villains The Joker (Jack Nicholson and Heath Ledger) and Two-Face Harvey Dent (Tommy Lee Jones and Aaron Eckhart). There are two incarnations of Alfred the Butler (Michael Gough and Michael Caine.) With twelve different opponents, five different romantic interests and two (possibly three) hero accomplices, the series is full of colorful characters to paint the canvas that makes up the tenor of the series and define the distinctions of each era. The Tim Burton Era includes Batman and Batman Returns. For Burton’s Batman, portrayed by Michael Keaton, the portrayal is somber, brooding and focused, as a film noir hero is supposed to embody. Defined, film noir is a style or genre of cinematographic film marked by the mood of pessimism, fatalism and menace. The term was originally applied to American thriller or detective films made in the period 1944-54. As a result for the tenor of pessimism, fatalism and menace the photography is starkly contrasted by hard edges, cold colors and neutral sets. A general feel of bleakness, emotionally and physically, saturates the package, dragging the audience down with it. Usually the conclusion, in a film noir, ends without hope. But here, that’s not the case; our man is a Superhero, after all. The costume for Burton’s Batman is hard edged and fierce and his Bat-Mobile compliments its driver completely. The Joker, Penguin and Cat-Woman all are portrayed in the vein of Gloria Swanson from Sunset Boulevard, over-dramatic to the max. Even the music has all the drama, darkness, and contrast of a noir film, the brilliance of the power and majestic sadness that fills in Danny Elfman’s score which is the soul for the film’s emotions. This mysterious and haunted sound that fills Wayne’s dark past and expresses the sorrow left by his parent’s death, underscores the battle for right in Gotham City. Batman Returns features, in spades, another staple of film noir: corrupt business and politics and the extremes used to win, including killing off the competition. It also contains a final staple, the femme fatale, an attractive and seductive woman who can bring disaster to a man who becomes involved with her. In Batman Returns’ case Selena Kyle aka Catwoman, portrayed by Michelle Pfiffer with absolute finesse. But there’s also time the face the strangeness that embodies a Tim Burton Film: his use of vibrant color against the dark backdrop reminds us we’re involved in a superhero film based on a comic book. Also, Burton’s grotesqueness and dark humor, is ever present. This is especially notable in the designs surrounding everything to do with the Joker (from his costume to the parade floats and balloons) and The Penguin (notably his penguin underground and the Duck Boat/Car.) It’s these things which distinguish the Burton Era against the other two others. And so, to the Schumacher era when the noir, old detective story feel and harsh lighting give way to a more stage theatrical feel with brilliant colors, rock-concert lighting, animated costumes, fog machines and incidental music reminding us in a not-so-sublte way that, yes we are watching a comic book movie. Also, with the grandeur of the presentation of Gotham with its statuesque architecture and vast scope of setting. And I’m reminded of the film version of Repo! The Genetic Opera now that I’ve been reminded of the cartoon nature of this era of the Batman Series and sometimes I expect a musical number to pop up and somebody start singing about something. This era includes Batman Forever and Batman and Robin, directed both by Joel Schumacher. The performances, too, are extremely theatrical, from Jim Carrey’s Balistic Riddler and Tommy Lee Jones’ moody Two Face to Val Kilmer’s brooding Bruce Wayne, Nicole Kidman’s Smoky Chase Meridan and Chris O’Donnell’s Arrogant, Hot Headed Richard Grayson aka Robin. The costumes are color specific, as if to remind us who we’re looking at, regardless of what stage of development their character’s are at. This continues more so in Batman and Robin with the color schemes for Uma Thurman’s Poison Ivy and Arnold Schwarzenegger’s Mr. Freeze. The two stories are even written theatrically, one with the birth of a partnership and the other love rivalry over a dangerous woman, feels like The Scarlet Pimpernel or Phantom of the Opera. And of course, with a new era, a new face…or two. Val Kilmer brings a new performace energy; but he doesn’t stay long. Taking up residence in the Bat Cave for the second installment is George Clooney who brings another. So, while the production design matches between the two, the head of the cast adds a schizoid performance as one is better at one aspect of the Batman/Bruce Wayne dynamic and the other takes the cake on the opposing dynamic. But, Kilmer and Clooney do have similar acting styles, they both display a confidence and a wisdom that Batman and his alter ego need, so they do fit in this era very well and add to the theatrical nature that characterizes it. From the opening strains of Hans Zimmer and James Newton Howard’s dualistic score to the locations, costumes, effects and performances, Christopher Nolan commands a beautiful, deep and thought-provoking version of the backstory and continuing saga of Batman and Bruce Wayne and their rise as the protectors of Gotham City. The single word, to which I’d describe the Nolan Era, is polished. These two films are brimming with acclaimed performers and film craftsman who each put the full measure of feeling, preparation, tension and character into their work. The late Heath Ledger engaged his portrayal of The Joker with such fullness into the depravity of the character, I can only describe the experience as chilling. It always brings a swarm of goosebumps to my arms and neck every time I see it. The realism the Nolan films offer, with the Bat Mobile being less fantastical and more practical; as well, the operation of Batman’s lair being underground in all ways possible, akin to the clandestine units in ABC’s Alias, especially the rail-yard location in The Dark Knight. Even the realistic hallucinations projected by Cillian Murphy’s Scarecrow are more visceral and realistic than fantastic, extending their projections off of what the person affected is looking at. The coloring has nothing at all to remind us we’re watching a film based on DC’s comic series; well, almost nothing. The Scarecrow’s Hood is a burlap sack, like the comic, and The Joker’s purple suit, hairstyle and makeup job is something akin to what is seen in the comics, but more visceral, subtle and very much not cartoony, a contrast to the stark color design of Burton’s Joker. And Nolan’s Two-Face Harvey Dent is a surgical creation, not a theatrical one. The only clearly comic book homage is Batman’s suit, but even Nolans is less flashy than Schumacher’s, but smoother than Burton’s cardboard design; utilitarian, but stylish. Nolan’s Batman Begins and The Dark Knight are well-researched and comprehensively studied. The cast is well balanced with a well-coordinated combination of performers who are each distinctive and acclaimed individually; their presence fills the screen and each scene with class, helping define these two pictures above most superhero films making The Nolan Era magnificent. So in all, how does a critical viewer define an era? Is it by the cast, the score, the photography or the mechanics? Or perhaps it’s by who’s at the helm? Well, I’d say no to all of that. Those things are tools which help define it. A critical viewer will define the era by the package: the complete picture, story and performance and the way it makes an audience feel. **** Coming Soon: Batman: The Opposition

Sleuth

In a classic cat and mouse, two men meet for the first time. Milo (Jude Law) is having an open affair with his host's wife, Maggie. Andrew (Michael Caine), her husband, has invited Milo to his home in order to engage him in a psychological game designed to make him give up his wife, or else. This was the first time I'd seen this film, and I must say the initial striking thing about the film is the mise en scene. And the mise en scene is the arrangement of scenery and stage properties. Also, the way that the angles are set. The whole presentation feels strikingly voyeuristic, as if we're a fly on the wall or if were simply one of the house's security cameras. And because it's a story based on a play, some angles feel like we're sitting in the second-level mezzanine. The editing affords every angle of the theater, equalizing the audience in a very cheeky manner. The performance strength between Michael Caine and Jude Law makes the necessity of any further performers really quite unnecessary. Their fluctuation between humor and menace and desperation. And the fact that the casting has been done with two very dry actors adds a balance between them. The two performances heighten the tension of the piece. The tension continues in the interview with the detective character Law's Milo portrays was perfectly wonderful, I thought, as Caine's character thinks at the time, that he's a new character. Fantastic performance!!! An interesting tennis match, musically robust. Like a dance, a tango, in fact. The tension builds as each side fights to take control of the game with everything, mentally and physically, that they've brought to the table. It's a brilliant thing to write for two characters alone. The only problem with that is, in a story about a contest, there's only one winner and there is no way for the story to go. It's like a T-Maze where a mouse is sent down the corridor toward one choice: to the right or the left, and only so. Or so, it seems. The mouse can go back, too, or stay put. In our case, this story chose the typical route: right or left. And the ending turned out a bit predictable, in the end, after reflection. And I'm reminded, as a result, of the opening teaser to the seventh installment of the Saw series where the opening trap involves two men fighting to the death over a woman, whose life is also on the line. They are offered a choice, kill the other man or agree to leave the woman to her fate. They choose, in the end, that this woman's played them, and they each walk away. How interesting it would have been if this one chose that, too, because it could have thrown us all of a loop and allowed both to win the game. But, the ending's execution did throw me for a bit, still well done. Overall, Sleuth is an interesting study in tension, both in chemistry and in writing. I'm inspired to see the play it comes from, if I get the chance. Also, it's a fantastic study in cinematography in the way that the camera shoots and captures the entire event. Job well done, all around!! *** IN: Jude Law OUT: Michael Caine Coming Soon: Batman: A Study in Four Parts

Sky Captain and the World of Tomorrow

Giant Robots take an alternate 1940's Manhattan, siphoning off both science and technology, and a string of missing scientists by a dark and mysterious force. New York's greatest hope lies in Sky Captain (Jude Law) and his mercenary flying squad. When his best friend and inventor-mechanic, Dex (Giovanni Ribisi) is kidnapped, he takes it upon himself to track down Dex and save him. Already on the trail of the missing scientists, Polly Perkins (Gwynth Paltrow), a reporter for the New York Chronicle, hitches a ride, hoping to get the story of her career. Teaming up with Francesca "Franky" Cooke (Angelina Jolie), an aircraft carrier commander, the unlikely duo gets to the bottom of the mystery and find answers of a bizarre nature.

There is a sub-genre of science fiction known as Steam Punk, where technology is based on metal, hydraulics and gears. Very few films and television shows use Steam Punk because it requires setting and precision for each unit of technology, plus it nearly always is a bit on the side of ludicrous side of appearance. So, the choice for the writers is whether or not to explain the workings of the tech or just to use it and spare the explanations. Sky Captain and the World of Tomorrow uses the second approach and does so with distinction, leaving the narrative to do what makes the film great: its cheeky humor and film noir cinematography with a production design that is jaw-dropping and simply beautiful.

As I understand it, this film began as a student project, but ended up beginning the popularity of a film style used by Zach Snyder in 300 and the upcoming action film Sucker Punch. Shot purely against a green-screen and sparsely utilized props and set pieces, it's a great exercise in acting for our cast, and they do it wonderfully. Especially done well is the Giant Robot attack, as Polly runs from the wake of the crushing metal feet: Paltrow's Polly feeling the quakes (that were never there physically) and reacting to tremors that don't physically exist. Green-screen is useful in the film for the many places Sky Captain and Polly travel to, from Manhattan to Shangri-La, Also in the creation of new settings such as Franky's aircraft carrier, which is quite literally an aircraft carrier flying around the world's airspace.

Now the story. Hmmm? Well it reads slightly like an Indiana Jones-caliber adventure film, complete with the red line on the map as our hero pair fly all over the world looking for Dr. Totenkopf (Laurence Olivier) and his assassin accomplice. Each turn has some fantastical setting and the action is campy, smooth and cheeky. The humorous exchanges between Polly and Sky Captain in their romantic tension as they work out their backstory brilliantly layers out the bizarreness that surrounds the rest of the plot making it a human drama with human emotion allowing us to relate to our main cast effortlessly. The overall plot is fun and humorous with great action, witty dialogue and an over-the-top concept that is "fun for the whole family."

****

In: Giovanni Ribisi

Out: Jude Law

Coming Soon: Sleuth

The Mod Squad

Julie Barnes (Claire Danes), Pete Cochran (Giovanni Ribisi), Lincoln Hayes (Omar Epps) are three infamous teenage criminals who were set to serve serious prison time until Detective Adam Greer (Denis Farina) recruited them to work as an undercover unit in order to infiltrate the club scene. When Greer is murdered during a drug sting, they take it upon themselves to solve the murder and clear his name, they end up uncovering something deeper.

Being that it's a remake of the vintage TV show, unfortunately never seen by me, so there's no comparison; this one feels just like a cop show from around that time evidenced by cinematography which clearly is an homage to Dirty Harry and The French Connection eras. With a rough combination of urban locations and depressed colors with urban fashion and grungy set designs, The Mod Squad offers a deep homage to classic police dramas. And the music selections fill out the rest, with a fabulous assortment of disco ballads and cool chill tracks.

As far as the story goes, it plays like a classic police drama: teaser (including setting and character intro), inciting crime, investigation, derailment, sting and arrest. It's a simple formula and this one follows faithfully. The writers went simple and kept everything clean, the film is honest and keeps the pacing tight. The mechanics are simple, non-stylized and hail from a time where the suspense ruled the screen. It feels like classic James Bond: muscle and plot.

The only thing with a film that follows formula so faithfully is that sometimes the performances fall emotionally flat. And such is the case with this film, unfortunately; however, it helps the film's honesty alive because this is not some deep existential film. What this film is, however, is comical; in the best way. The timing at each joke is perfect keeping the film light, as it's supposed to be, creating an effortless watching experience.

****

In: Steve Harris

Out: Giovanni Ribisi

Coming Soon: Sky Captain and the World of Tomorrow

Minority Report

In the near future, crime is not paid for after the fact; it is prevented. An elite division of police officers for The Pre-Crime Division, led by Chief John Anderton (Tom Cruise) and his team, solve crimes before they happen using three genetically altered people known as the Precogs: Art, Dash and Agatha (Smantha Morton). And they're never wrong, until one day during a federal inspection, the murder is premeditated and perp is one of their own, Chief Anderton himself. Only problem is, he's never met his victim.

With a style both borrowed from and enhanced from Ridley Scott's Blade Runner, Minority Report is a well designed film. The jargon spewed by the Pre-Crime Division personnel fits very comfortably in each performer's delivery, rolling off with clarity and educated expertise; a credit to quality preparation. The photography, including all the extra effects, is perfectly detailed, but not overdone, and beautiful. I'm comfortable in this world and it's completely believable.

The wit of the film is manifested in its action sequences, and they're clearly designed out of the 80's and are reminiscent of Indiana Jones and Star Wars. The first fight after Anderton is discovered both in the streets with his own men and in the car factory is a classic western train fight. It's brilliant and innovative.

The story premise is also innovative and paradoxical in a thought-provoking way. It questions the metaphysics of how someone prevents the inevitable destiny awaiting a person's future, especially if they are aware of the end event. And it's a great thinking film in that it never answers the question, allowing the audience to answer on their own and that's the sign of a good writer.

The personality of a film is partially defined by the performers of the piece. And the lead performer is enhanced by those who surround him or her. Tom Cruise is a powerhouse who requires a supporting cast with enough strength to balance the personality into a round presence that fills the screen and allows us to relate to the writer through each of the characters. This film has some powerful actors in the supporting roles. Samantha Morton, publicly unknown at this point, counters Cruise with subtlety and meekness and adds a beautiful presence to the screen both in conscience and horror. Her final monologue to Anderton and his ex-wife is heartbreaking and beautiful as she tells Anderton's son's probable future before the tactical team sweeps in. Steve Harris, Neal McDonough and Colin Farrell each add power to the scenes they share with Cruise. Harris, as the capable technician whose timely information is relayed to the tactical team, adds a calm smoothness to Cruise's ballistic performance. McDonough adds an almost loving touch, a brother's touch, as he has to put his friend and commander down. And Farrell adds an educated and cocky spin to the Red Herring "bad guy" in his fight and pursuit of Cruise's Anderton. These four provide a great springboard for the power that is in Tom Cruise's high-velocity emotional roller coaster. And Tim Blake Nelson, Max Von Syndow and Peter Stormare make the best of their time on screen with memorable performances each.

Overall the film is a great ride. It never slows down in speed, tension, musicality, pacing, action or performance: a brilliant package and a great story. Such a beautiful emotional piece.

****

IN: Colin Farrell

OUT: Steve Harris

Coming Soon: The Mod Squad

Miami Vice

Based on the vintage television show, Miami Vice, our story tells of undercover Miami-Dade Police Detectives Sonny Crockett (Colin Farrell) and Ricardo Tubbs (Jamie Fox) and their operations in the seedy underground in Miami. With their support unit, Crockett and Tubbs investigate a drug smuggling ring, whose ruthless connections include a sadistic cadre of skinheads whose MO is a brutal death to those who cross them. Things go sideways when Crockett falls for the cartel banker (Gong Li) and their mark finds out they're cops.

Sleek and sexy with hot and exotic locations: gotta be Michael Mann. The details are all in: Crockett's hair, mustache, racing boat and Tubbs' ultra-slick coolness. And the different story locations are fleshed out with local flair, especially notable is the trash-heap that is the middle of the night in the down-town Haitian village. Mr. Mann knows how to find a beautiful locale for shooting and enhancing realism. Also beautiful, brilliant and well-done is the photography for each location, distinguishing each locale from each other allowing the audience an easy recall as to where the story's sitting for each leg of the story.

The minimalist tenor, including the score and music selections, pulls at the nerves in a slow methodical manner. And the realistic action scenes are conducted in a raw, efficient fashion; true to Mann's preparation and study into his subject. Also the performances by Farrell and Fox are, on the whole, comprehensive and real and well-prepared, including Farrell's hairstyle. These assists bring an audience to fully engage and are, as always, well done in a Mann film.

While love connections between characters complicate and layer the plot. The one between the banker and Crockett seems a bit borderline. Part of me likes its presence because of the conflict between Crockett's sense of duty and his growing feelings for her, something Colin Farrell portrays very well here; but a larger bit of me feels this love connection isn't necessary as we already have one with Tubbs' Trudy, it’s a strong one which leaves our team desperate, shooting our plot into the climax of the film with clinical precision. It's the only thing that's unsettling during this time around. But, then again, it's a sleek and sexy premise and the setting is fast and hot; love connections nearly always follow these things, so Crockett's connection is practically inevitable.

As an overall picture, this film is elegantly penned, performed, shot and edited. It's a film I can watch over and over several times. I'm very comfortable engaging emotionally and physically, as this film’s very easy on the senses. Very masterfully done.

****

IN: Gong Li

OUT: Colin Farrell

Coming Soon: Minority Report

Hannibal Lecter: Series Analysis

The man, the character, is a cult icon; AFI's number one villain and star of a series saturated with wit, charm and violence with a supporting cast eclipsed by the master thriller. The four-part novel series by Thomas Harris displays a snapshot of four stages in the life of prolific serial killer Hannibal Lecter. Hannibal Rising shows his childhood, youth and young adulthood as he revenges his family in a brutal and merciless revenge drama. Red Dragon features the story of Special Agent Will Graham and his collaborations with Lecter, both which nearly cost him his life but the first which facilitates Lecter's capture and imprisonment. Silence of the Lambs brings forward FBI Cadet Clarice Starling as she interviews Dr. Lecter, who helps in her profiling serial killer Buffalo Bill. In the end, Lecter manipulates his way outside of his cell and disappears for over a decade. Disgraced Agent Starling returns to the hunt for a man who continues to haunt her, determined to bring him in and save him from Sadistic Lecter-Victim, Mason Verger, initiating an international manhunt in Hannibal.

In the only movie installment written by author Thomas Harris, Hannibal Rising is a bit out of place with the rest of the series, due mostly because of its origin-story status. As an origin story it thrives in a beautiful narrative way as it unfolds while de-humanizing a young and impressionable boy. As well, it is a coming of age story as it informs all of what the character will be: ruthless, manipulative, violent, vigilant, scientific, stylish and sophisticated. We see each person, from Grutas the Cannibal (Rhys Infans) to Lady Murisaki (Gong Li,) has a hand in his craft and his modus operandi. And this installment is elegant in performance and production. The writing, despite all his knowledge and the fact that he's the father of the series, is a bit disjointed and has a bit of a rocky start. However, to his credit, Harris does stabilize the plot from the discovery of the first of the soldiers, who kidnap Hannibal (Gaspard Ulial) and cannibalize his sister, toward the end. The performances are each elegant and full, despite the uneasy story-line. Ulial's Hannibal is seductive and vicious and graceful. Li's Murisaki is soulful and heartbreakingly sorrowful as well as capable, independent, and instructive. Infans' Grutas is acidic in every way, but he is in full control of his character's essence, inhabiting his character with a fullness of malice, greed and evil. And my favorite, Dominic West's Inspector Popil, feeling responsible for keeping Hannibal on his side of the law issuing heart-felt warnings, but unwittingly educating his charge on evading the law. West fills Popil with horror at what Hannibal is capable of and how much his young life has changed him, once saying that Hannibal is "monstrous." The finesse in the film belongs to its production design. The photography, set pieces, costumes and locations are married with such precision and detail that we are transported back fifty years allowing for a comfortable and effortless viewing experience.

The unease of it's series predecessor highlights the operatic beauty which the next installment holds. Red Dragon eclipses Hannibal Rising in every way. The color, performance, writing, music and overall development is excellent. Of course the presence of Hannibal's iconic performer, Sir Anthony Hopkins, helps; but as Hannibal's been relegated to the sidelines, Hopkins makes due with his little precious time, with great effect. Every performer gives a full performance and breathes a lifelike and equally brilliant performance into each character introduced. The presence I appreciate much is Ralph Fiennes' Francis Dollarhyde. He is imposing physically and emotionally, but shy, tender, confused and split. I enjoy the plot-line involving Reba McClane (Emily Watson) and Dollarhyde's romance. He is shy, while she is confidant, passionate and open. Watson and Fiennes' chemistry is so believable that it's heartbreaking when he chooses to spare her life, but embrace his killer nature. The later exchange between Special Agent Will Graham (Edward Norton) and Reba after Dollarhyde abandons her is warm and very pleasant. As far as filmmaking craft is concerned, I'm impressed and inspired with Danny Elfman's score as he brings soul, sorrow, passion and horror, to equally enhance and edging the suspense of the plot as it unfolds. This installment fits very well into the myth-arc for the series as it plugs into the next installment with poise and smoothness, presenting a comfortable ride through a very full and beautiful film.

Then, there's the magnum opus, the first and best: Silence of the Lambs!! Every actor and filmmaker should see this staggeringly spine-tingling and stingingly sensual experience. I remember being so captivated ten years ago when I first met Hannibal Lecter (Anthony Hopkins) and Clarice Starling (Jodie Foster) and felt my nerve endings quiver during their tense game of quid pro quo. Hopkins' iconic performance, seducing everyone as our soul sighs in agony as we give in and fall helpless to give him what he wants, just as Starling does, as Lecter--a caged bird--sings his song and that song was so beautiful. And, as a woman, I am inspired by Starling's empowerment courtesy of their conversations. Buffalo Bill, however, is a weak character, not scary to me at all: as a fan of CBS' Criminal Minds, entering the mind of this type of killer is nothing new to my sensibilities. Of course, Bill's not the one that is destined to make my heart race: he's the prize for winning the game. The framing, staging and blocking involved was brilliant. The casting of the extras in the funeral home scene alone was fantastic: Clarice is surrounded, nearly in a neat circle, by local law enforcement officers and they all tower over her by at least six inches, all wearing green uniforms against her baby blue jacket making her drown in sea of green masculinity...stunning!! Also the photography surrounding Lecter's cell during his escape, creating a beautiful picture. I've always loved this one over all the others, and of course it sits well in the series as the four jump off from its base.

The fourth, chronologically, is also the most bizarre. It seems to be rather unfocused, as it deals with several themes: love, corruption, revenge, survival, freedom and the classic criminal fugitive hunt. Whereas the technical aspects and design details are stunning, the story stumbles. However, it stumbles rather smoothly. The package is blunt, but passionate, as Hannibal lures Clarice (Julianne Moore) into confessing her affection for him, which she never does and can never do because she's a hero and cannot cross that line. The makeup is the most stunning aspect of the film, besides the entirety that is the package. Especially the job done on Mason Verger (Gary Oldman) who's facial makeup hides his face so well, I was unable to recognize one of my favorite actors beneath the first time I saw it. Ridley Scott, the director, is famous for going the full distance, whether creating a futuristic wasteland or recreating the 1960's or The Colosseum of Ancient Rome. And here, he takes no exception: when his pawn dies, Rinaldo Pazzi (Giancarlo Gianni) has blood all over his own hands and must wash it off, so he does in a fountain featuring a large boar foreshadowing the death intended by Verger for Hannibal Lecter. Until this time, I failed to notice this; one of the perks of the practice of multiple viewings. The package is brilliant, passionate and sensual; so beautiful, but so bizarre.

The films in this series are related, but they're related only by the character of Lecter, with the exception of Hannibal's Starling (and even that differs because of the performance change between Foster and Moore) and the mention of her in Red Dragon. The relationship is not drawn by style, as there are four distinct production designs and four very differing directors. The scores don't sound similar, the photography is not similar, so the series doesn't flow smoothly. Unlike the original three Star Wars films or the original six Star Trek films, the style does not match. It makes our journey a bit unsettled and unbalanced. And, just because the directors differ, doesn't mean the style cannot match; after all the Harry Potter film series has four separate directors and they flow pretty smoothly. However, this diversity doesn't mean that the series is less interesting, because each film represents a very different stage in the life of our chief character, Hannibal Lecter. The series is interesting to me; I can watch each over and over again because they each have excellence within.

****

IN: Anthony Hopkins

OUT: Gong Li

Coming Soon: Miami Vice

Hannibal Lecter and Character Archetypes

In his screenwriting manual, Story, Robert McKee says, "The function of Character is to bring to the story the qualities of characterization necessary to convincingly act out choices. Put simply, a character must be credible: young enough or old enough, strong or weak, worldly or naive, educated or ignorant, generous or selfish, witty or dull, in the right proportions, Each must bring to the story the combination of qualities that allows an audience to believe that the character could and would do what he does." The character is not only the conduit from which we learn the message and meaning of a well-written story, but he also forces a relationship with the audience and the writer. And there are many types, archetypes, which define the morality of their side of the plot and inform our love or hatred toward them. And, like all literary tools, there are some misconceptions of how to apply the different labels. So, I've chosen to have the horrible saga of Hannibal Lecter teach us the proper classifications of Character Archetypes.

His is a famous story, spanning four volumes: Hannibal Rising, Red Dragon, The SIlence of the Lambs and Hannibal. After a harsh winter during World War II, Lithuanian aristocrat, young Hannibal Lecter has repressed his time in his family cabin as a hostage of mercenary soldiers. As he discovers those who are responsible for his sister's death, he begins to remember and embarks on a road of revenge; the building blocks of his rise toward infamy. Many more years later, he is a forensic psychologist assisting in the investigation of a series of murders pursued by FBI Agent Will Graham. When Graham deduces that his quarry is eating his victims, he proposes his theory to Lecter and while observing, realizes too late that Lecter is the man he's looking for. Gravely wounding each other, Lecter is caught and incarcerated at a mental hospital for the criminally insane. Years later Graham returns to ask for Lecter's help in solving another serial murder. And, soon after, helps FBI Cadet Clarice Starling on another, and facilitates his escape from custody after pointing Starling in the right direction. After having an old friend for dinner, Lecter disappears for nearly a decade. He later surfaces, having packed away the curator of a museum, in Rome after drawing the attention of the FBI and a disgraced Agent Starling. Chased by law enforcement and an old enemy, Hannibal is cornered, and narrowly escapes with his own life.

And so, in this saga, who do we relate to? To whom is granted our pity; our sympathy? Who do we favor? Most would favor law enforcement: the heroic hunters who stalk our notorious serial killer, because they represent truth and justice and give so much for the sake of stopping him; but I don't. My favor rests with this charming, polite, and proper sociopath due to his character's construction. Also because, regardless of it sounding twisted, we're meant to favor him. And why is this? Because the series is about him. And so we'll study four basic archetypes in our examination of the saga of Hannibal Lecter: The Protagonist, The Antagonist, The Hero and The Villain.

The protagonist is the leading character or one of the major characters in a drama, movie, novel or other fictional text. From the greek word protagonistes meaning "first in importance," the protagonist has the will and capacity to pursue the object of his conscious and/or unconscious desire to the end of the line. The protagonist must be empathetic, we must be able to relate to him on the most basic and human level as he is portrayed realistically; however, he may or may not be sympathetic: we may not share his feelings or proclivities. For all intents and purposes, I believe Hannibal Lecter (Anthony Hopkins and Gaspard Ulliel) is the protagonist of the series we study this week. The four films, on their own, each have their own protagonist, as well and we'll see how they differ from the fact that Lecter is the series' protagonist. For two of the four films, he is clearly the protagonist, but is he for the other two? Hannibal Rising is a fictional biopic and, as the title suggests, the birth of the character we love to fear. After the death of his sister, he drives the plot as he hunts his five targets and systematically eliminates each according to his pleasure. He is central to the plot and it is for him and through him we travel the length of the story. Red Dragon, however, focuses on someone else. It seems that Will Graham (Edward Norton) is the protagonist. We focus our thoughts and feelings toward him, and Lecter takes a more supporting role as he is incarcerated for the entire plot, save for the teaser which tells us of Graham's capture of Lecter and their strange relationship. We feel for him, his family, his suffering and his feelings. But in the series, he is not a protagonist, in fact he's the opposite. Similarly, Clarice Starling (Jodie Foster and Julianne Moore) is the protagonist in Silence of the Lambs, but in the last film, Hannibal, she is the opposing force for the series' protagonist as well as in the film.

Contrary to popular belief, the protagonist is not necessarily The Hero. The Hero is a person who is admired or idealized for courage, outstanding achievements, or noble qualities. This individual, in the face of danger and adversity, displays courage and the will for self sacrifice. Hannibal Lecter, regardless of his command of presence in the series and polite intentions, boasts none of these things; thus, he cannot be a hero no matter how helpful he is. We must turn to some of his opposition for this, from those who pursue him: Hannibal Rising's Inspector Popli (Dominic West) and Lady Murisaki (Gong Li); Red Dragon's Will Graham and Jack Crawford (Harvey Keitel); Silence of the Lambs' and Hannibal's Clarice Starling (Jodie Foster and Julianne Moore). Usually coming from law enforcement, chosen to follow him, sometimes to their destruction; Graham, for instance. The series exception being, Lady Murisaki, who is an emotional opponent offering the conscience and soul Lecter does not have and cannot cultivate. A hero, our protagonist is not; he's something else.

Villains are evil characters. An effective villain is not just pure evil: he has what Aristotle called "goodness" in him, a sense of morality, appropriate to the needs of the plot. The word comes from the 15th century, defining a person of less than knightly status, eventually coming to mean a person who was not chivalrous. A villain represents the opposing values of a hero. Because of this, a convincing villain must be given a characterization making his or her motive for doing wrong convincing, as well a being a worthy adversary. Conversely to most plots, our protagonist is also our primary villain. But there are other villains in the series, too. Hannibal Rising is populated by those he hunts, the men who kidnapped Lecter and his sister, Misha, and also ate her in the harsh winter. At some point, they cease being the hunted and start hunting him and intend on killing him. Rhys Infans' Grutas is a perfect example of someone who is not an effective villain, but is an effective antagonist. He's pure evil, nothing is endearing and his motives are not portrayed. However, Red Dragon's Francis Dollarhyde (Ralph Fiennes) is the perfect example of an effective villain. He's loving toward his love interest and could easily forsake the evil path, but in the end choses his alter-ego's persona and tries to kill Graham's family. Therefore the moral choice is in him, but he choses the evil path. Our series' protagonist, unconventionally, is a villain. When offered the choice to sacrifice his vengeance and begin a life with Lady Murisaki, Lecter chooses the evil path and says, "Never."

What villains tend to be is the antagonist. From the Greek word antagonistes meaning "opponent, competitor or rival," an antagonist overtly clashes with the protagonist and, in equal will, strives against the conscious or unconscious desire of his counterpart. Around the mid-point of any season of Fox Television's series 24, the heroes of the United States Government agencies become the antagonists and protagonist and hero, Jack Bauer, is forced to go the distance of the rest of the season alone. These agents aren't evil, per se, they just actively oppose the protagonist. The antagonists for this series include Grutas and his crew, Fredrick Chilton (Anthony Heald,) Inspector Popli, Clarice Starling, Paul Krendler (Ray Liotta), Inspector Pazzi (Giancarlo Gianni) and Mason Verger (Gary Oldman.) An antagonist seems to be the simplest to classify, due to the simplicity of being an opponent to the protagonist.

Character archetypes help a viewer choose to be a fan of, or be a "hater" of, any certain character. Archetypes assist writers in defining who each member of their story is and where they fit in the moral tone, and action inside the plot. I love unconventional applications of anything, whether it be a story paradigm or plot formula or a new way to prepare and serve macaroni and cheese. Whomever said, "Variety is the spice of life," was absolutely spot on. This series is brilliant in its unconventional application of these four major character types nailing each with clarity and finesse.

***

Coming Soon: Hannibal Lecter: Series Analysis

Bobby

In the Spring of 1968, Robert Kennedy ran for President. After his brother's death in 1963 and the following murder of Dr. Martin Luther King Jr, the climate of the nation was sustained by chaos. Kennedy's life ended at the Ambassador Hotel in Los Angeles on June 4, 1968 by an assassin's gun while awaiting the results of the California primary. Bobby is the multi-layered chain of events chronicling the lives of the people inhabiting The Ambassador Hotel that infamous day.

From a woman (Lindsay Lohan) marrying a soldier (Elijah Wood) in order to be able to send him to Germany instead of Vietnam and save his life, to the Kitchen Staff, headed by a racist (Christian Slater,) being able to vote to a pair of socialites (Helen Hunt and Martin Sheen) looking for the perfect pair of black shoes to wear to the gala, Bobby is a brilliantly woven yarn. It's loaded with perfect pacing, a great music selection and top acting (yes, even Ms. Lohan) featuring both award-winniners and newbies. And the editing is stunning: with selections from footage of interviews and speeches given by the real Robert Kennedy and news footage from the coverage of the vietnam war and its accompanying protests intercut with the action of the cast. The atmosphere of hope surrounding the anticipated victory is built by degrees as the emotion rises and crashes hard as the bullets fly. It woos this jaded film-watcher, stirring my emotions, pulling my heartstrings and I weep, inspired by the care, love and soul this story holds profoundly.

And the theme of duty, honor, love and brotherhood, compounded by tragedy of failure in hope lost: it's painfully beautiful. The remorse felt by two young campaign workers who choose to engage in a drug-induced haze rather than work the campaign is felt keenly as they realize the waste of the day: the tragedy being real because we know it wouldn't have made a difference. And the special gift of a radio by one of the kitchen staff to his co-worker, so that he could listen to the baseball game he's missing, adds a glimmer of hope following such a crushed dream. Wood and Lohan's wedding couple is my favorite story alongside Hunt and Sheen's socialite couple, as they offer hope, love and they way we all wish life could be. But all is shattered by the killer's gunfire, not only ending the hope of the nation, but shattering the lives of five others who were injured that night. But there is hope still for us, even if the past wasn't healed by the rise of the hope of the people inside The Ambassador, the chorus which becomes a motif says, "never gonna break my faith," adding a defiant prayer of sheer will. This film is truly inspiring, inviting us to take a stand and put all divisions between us and our brother human beings aside to heal our surroundings.

When I purchased this film several years ago, it was an pure impulse buy: but I'm grateful that the moment was not passed over, because I love this film. I learn so much about filmmaking from the elegant package and the brilliant story told, every time I watch it; whether it be the inspirational personal stories or the stunning use and staging in the juxtaposition between the stock footage of the event and the performances by the cast and crew. The final montage, underscored by one of Kennedy's speeches, shows the aftermath for each of our cast as they mourn, seek help and reconnect, stealing my tears and inspiring duty, honor, brotherhood and love and the hope to carry on in any situation as the film comes to a close.

*****

IN: Shia LaBeouf

Out: Anthony Hopkins

Coming Soon: Hannibal Lecter and a Study on Character Archetypes: The Villainous Protagonist

Transformers: Revenge of the Fallen

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

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

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

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

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

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

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

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

The Ninth Gate

Dean Corso (Johnny Depp,) an unscrupulous rare book hunter, is hired by a wealthy occultist (Frank Langella) to authenticate a book reputably written by the Devil having the power to open the gates of hell, raising the Prince of Darkness himself. And he's not the only one chasing the myth, a dark order is seeking to use the book and will stop at nothing to obtain it. Corso soon finds that he's out of his depth when the mystery surrounding the book manifests and he both fears for his life and considers damning his soul.

Dry, dusty and slow is how I would initially describe the tenor of The Ninth Gate. The film's setup and introduction lacks a hook to draw in the audience, relying on its musical score, photography and main star to draw attention rather than a compelling story: it's blase, simply. The action, meant to thrill and heighten interest, fails to do so, coming off campy. And the characters, with whom we're to connect, are strangely "cardboardy," failing to have the real depth that allows for the emotional release needed at the climax.

And granted he's fantastic in every role he's played (it's really a puzzlement why he keeps being passed over for the Oscar Podium) and here is no different: Mr Depp's work fails to stir me as he usually does . It's really not his fault, the sufficient material to work from is lacking. The photography and framing is exquisite; a frozen frame from any part of this film might be printed for any photo collection or created into a fabulous coffee table book. The production designer is the best part of the whole picture. The film score, is above average--not inspiring, nor boring--simply filling in the necessary silence in dialogue with a delicate efficiency. The mechanics of the package aren't to blame.

And while I haven't read the book upon which this film is based, I'm guessing something was lost transmogrifying the story to screen; not all stories belong on celluloid, perhaps this one should have remained in the pages where inspiration breathed.

***

In: Johnny Depp

Out: James Russo

Coming Soon: Public Enemies

Nightmare on Elm Street

A killer stalks the neighborhood children in the quiet suburbs of a sleepy town. He tortures before he kills, playing with his prey before finally savoring his kill; nobody can stop him and nobody is looking, because he's hunting on his turf. His prey come to him every night in their dreams while they sleep fast in the silence on Elm Street.

This film, and its subsequent series, fought the box office turf war in the '80's and has a few distinctions. First, it saved New Line Cinema from bankruptcy, leaving us to wonder where Lord of the Rings would have turned to had Freddy not saved New Line. The second being that it gave rise to the career of last decades People's Choice winner for Actor of the Decade, a little known performer named Johnny Depp, who's death called for a geyser of stage blood to rise from his bed in a very memorable scene after it has swallowed him whole. Also, Robert Englund, who portrays Freddy Kruger, held the longest-running slasher villain for two decades, regardless of the Friday the 13th series having more films because Jason is played by several actors.

Wes Craven, our director, is the master of drawing tension with long cuts and employing a contemplative and minimalist score. The dreamscape sets are brilliant with their metallic, industrial, sewage-caked and dilapidated states against idyllic suburbia, so bright, clean and and innocent. The film's jump-cuts and ballistic action scenes create the ideal adrenaline rush for the time period. Today, however, it's ludicrous in its hysterical unintentional comedy. I actually have trouble not laughing at most points.

The recent remake, starring Jackie Earle Haley, who coincidentally lost out on a role in this film, has a bit smoother and darker run. And whose madness is felt a bit more keenly. In the remake, Freddy's attacks and revenge are personal and perverse and we don't want to connect, not really, because our skin, and our soul, crawls to think of his reasons and we turn away. The tension mastery is still ever present, with quality performances unlike the original (even young Johnny Depp, despite him being one of my boyz: now and forever) and presents a better package.

So you may wonder: why oh why did I watch this film before bed last night? Well, it was next, for one, and because it's pretty hysterical, with its overacting and comical performances all around, so it's easy to detach my thoughts from the subject, regardless of the quality had for its time. Also because I engaged in something else between the viewing and sleeping: something I recommend when seeing something that is outside your usual comfort zone.

****

In: Fail-safe choice

Out: Johnny Depp

Coming Soon: The Ninth Gate

The Nightmare Before Christmas

Bored by the lull of the same thing every year, Jack Skellington (Chris Sarandon, sung by Danny Elfman) tires of his job as The Pumpkin King, ruler and leader of Halloween Town in the land of Holidays. He dreams of doing something more, and by chance he finds what he's looking for when he stumbles across Christmas Town. Seeing it as a sign, he decides to take over the preparations for Christmas. And while it makes him feel better, he remains ignorant of the true meaning of Christmas and the great responsibility on Santa's shoulders; and of a prophecy which foretells a disaster if he persists.

The Nightmare Before Christmas presents as a cross-genre masterpiece having all the components of horror, musicals, dark comedy and family films. It flaunts all the conventions of Halloween and equally all those of Christmas presenting a brilliant irony that works so cohesively, it's difficult to locate anything in its tightly wound plot and brilliant mechanics that can derail and destroy the performance. In its era, this film debuted on the cusp of the genesis of our current animation king, Pixar. However, this one's technique (stop-motion) is so antiquated, it's pure genius; a classic.

The central conflict is so well plotted: Jack is uncomfortable with who he is and is unwilling to find satisfaction in himself, that disaster is sure to strike if he fails to realize that being the Pumpkin King is who he is and what he's meant to be. And causing us to think about who we are and examine our destiny while we watch him find his, all wrapped in a fun package. The songs, with their wit and wisdom invite us to sing along and entertains while we learn the lessons this film is teaching us. Danny Elfman, our composer and the singing voice for Jack, completes a shining performance that can be simply described as brilliant.

My father and I watched this film when I was home recently for Christmas: he said that he'd wanted to see it for years. And, while he said it wasn't his type afterwards, he did acknowledge that the film was done well, understanding why I, my sister-in-law and my brother like it so much. Not for everyone, sure; but a great film nonetheless.

****

In: Danny Elfman

Out: This is the first time I'm unable to connect this film to another through performers. Therefore, the fail-safe (alphabetical selection) is needed...and I'm sure we'll use it again very soon.

Coming Soon: Nightmare on Elm Street

Battlefield Conditions

It's been a while!! Christmas really zapped my willingness to continue this project, but I'm a fighter and I'm prepared to continue the journey and fight filmwatching fatigue. I received and purchased several new films for my collection which I'm looking forward to seeing what they can teach filmmakers and filmwatchers (especially this watcher) and storytellers when they pass through the queue.

I'm tired: physically, intellecually and emotionally due to the events of the past two months and it reflected in my last entry. As a result, I'm going to share some tips on preparing the best conditions for the art of watching films. These will be brief, I'll cover the details in future essays.

Be Prepared (great song from the Lion King, by the way!!) -- whenever you engage a film, prepare you mind, body and soul for what the film will do to you. I can't count how many times I've tried to engage with a film while tired, vulnerable or ill prepared to take the spiritual (the damage done from lacking discernment) consequences. Last entry, for instance, I wrote from home at 1:30 in the morning at the beginning of my trip there. My usual theater rests at an elevation of 500ft above sea level and my hometown rests at 3000ft. So I was oxygen deprived and not accustomed to the fatigue it would give me. Plus it was 1:30 in the morning and I was tired anyways. Therefore I failed to be at my best and the response suffered the consequences.

Pay attention. Nothing should distract you. If you are planning to engage critically, it's best that you are alone, fed, and physically well when you do so. However, if you are going to share the experience, talking with your companions will ruin your concentration and also distract them from their journey through the story. In my experience, thus far, I've found it difficult to critique while talking on the phone, as the hearing is impaired and attention elsewhere. Illness also will impare your concentration as you are distracted by the disease of your body. Be sure you eat, either before you begin or during in a non distracting manner. If your filmwatching lab, like mine is, is located at your home, and hunger finds you, getting up to fix yourself something disengages you from your object of study and destroys any concentration you've had up to this point, so remember to eat. If anything does distract you, go back a few chapters on your DVD until you are past the point of the distraction, then reengage.

These "battlefield conditions" will give you the best watching experience. Happy watching and I'll see you sometime this week with Tim Burton's The Nightmare Before Christmas!!