"Sin Nombre" is a violent, redemptive look on escapism (4.75/5)

There have been a lot of films that have come and gone in 2009 that I have simply loved and will truly never forget. From "Where the Wild Things Are" to "Up", these are films that will fight to earn their right on my top ten films of the year. Yet, there are a few films that have gone beyond the aforementioned films and have seemingly sewn up a spot in my top ten. Such a distinction (regardless of how prestigious it may or may not be) belongs to two films: "The Hurt Locker" and "(500) Days of Summer." But, I'm happy to report that the elite group has recently changed after my viewing of "Sin Nombre," a Mexican film from the talented director/writer Cary Fukunaga.

As slightly eluded to in the title of this review, "Sin Nombre" is a film based on the notion of escaping to a better life, or at least a perceived better life. In the first half hour or so of the film, we follow two separate lives. In one strand, we follow the life of Casper, a gang member who is starting to have doubts about his place in the world. On one side, Casper has his ultra violent gang who depict a tight brother hood, but are willing to kill a member at the slightest misstep. On the other side, Casper is trying to develop a relationship with a young woman, but instead of building his prowess through his thug persona, Casper is desperately trying to conceal it, full well knowing budding romance and the gang life don't mix. Eventually these two aspects, independent of another with much effort by Casper, come to a head and deliver what is a violent epiphany for Casper.

Accompanying Casper's story is the tale of Sayra, a Honduran teen who is hoping to immigrate to the United States with the help of her father. Sayra is a conflicted young woman who sees opportunity in the United States, but doesn't know if the risk she's taking (trying to circumvent border patrol) is worth the potential of a dream. And to make things even harder for Sayra, her relationship with her father is practically non-existent since he has been living most of her life in America, raising another family. As you have probably guessed, the stories of Casper and Sayra eventually intersect, and when they do, it is one of the most powerful scenes in the film. In this one scene alone you get to see the taste of redemption Casper yearns for, all the while you know he has put a bounty on his own head. Yet, with nothing to lose and really nothing to live for, Casper finds his road to perdition through assisting Sayra across the border despite the many pitfalls that lie ahead of them.

Yes, because of its subject matter, Fukunaga mixes in splashes of violence and some thrilling "chase" moments, but the real drama comes from Fukunaga's characters as they continually develop throughout the film. With each trial and tribulation, both characters recognize a fear in one another and in many respects a form of trust that propels them to an ending that is at best bittersweet. Yet, no matter how one looks at the ending, it will be awfully hard for any viewer to not respect the determination and courage Sayra and Casper show. After all, they're risking everything just to have the slightest chance of escaping their previous lives. From this, comes the most rewarding part of the film: a much needed perspective on the trials and desires immigrants face coming into America. As seen in "Sin Nombre", the path is troublesome and paved with blood, sweat, and tears, but more importantly, it's built on this notion of achieving a form of freedom and opportunity not seen in any other country in the world. Even though some pundits say they steal "our" jobs or some even say they don't belong, but how can we deny people the very same goals and aspirations we too are reaching for, especially when they lay it all on the line?

"Where the Wild Things Are" is a film children will appreciate years down the road (4.5/5)

I won't lie; "Where the Wild Things Are" isn't the type of film that can be shown to all children. Certainly there will be an assortment of children who will love the film and enjoy it immensely, despite its lack of action and confectionary visuals, but the majority may not be amused. Yet, this doesn't speak for the quality of the film. As I have said numerous times and will continue to say, "Where the Wild Things Are" isn't a film for children anymore than it’s a film about childhood. By saying that, I'm willing to say that most adults or teens who have fallen in love with the book will get swept up in not only the nostalgia the film presents, but can also relate to the many ups and downs of childhood Jonze and company present on screen. After all, the adults and teens that see the film have successfully experienced the tumultuous time known as childhood. It’s a time where we all slowly become versed in the ways of the world, as well as understand how we personally work on an emotional level.

Aside from the "experience" factor, the film itself may also go over the head of younger viewers. It is rather abstract (although not nearly as subtle as I expected). The film opens up with Max running through a variety of emotions, which ultimately establishes his encounters with the 'Wild Things.' In one scene he is viciously chasing his dog with a fork, in another; to gain the attention of his teenage sister (who is drifting away) he starts a snowball fight with her friends that ends with him being buried in a pile of snow, which brings on a set of emotions that range from resentment to loneliness. And finally, in a set of separate scenes, Max's connection with his mother is tested as her attention for Max is redirected to her job and her boyfriend. All of this makes Max lash out and from this, Max escapes reality (more specifically runs away from home) to a place that he thinks he understands and will bring him happiness.

Through his imagination Max comes across the 'Wild Things', a motley crew of beasts with a hodge podge set of physical attributes. Yet what’s most pertinent to realize is that each one of the 'Wild Things' is a fragment of Max's psyche. And through his interactions with the "Wild Things," Max is able to not only understand the impact of his actions and emotional outbursts, but also the potential causes of said outbursts. Most importantly though, as Max interacts with each 'Wild Thing' and becomes more and more connected to them, his love and admiration for them sustains, despite how badly they may have treated one another in the past. This relationship with the 'Wild Things' creates a big payoff in the end, where in a poignant scene with his mother, Max learns that no matter what he does, or how sad he feels, he will always have an infinite amount of unconditional love to fall back on.

Now, the narrative side of the film is rather thin, which consists of dirt fights and fort building, but when considering the layers writers Spike Jonze and Dave Eggers put into the development of Max and the 'Wild Things', the film adequately captures the turmoil, the love, and the imagination that can develop within a child. In addition to the writing, Spike Jonze's direction (and complete vision) is beautiful and unrestrained, creating a very organic feel. From the gorgeous locations to the 'Wild Things' themselves, everything feels like it’s within reaching distance of reality. Much of this can be chalked up to the cinematography and the creation of suits, but a lot of credit should be given to Jonze who understands that when children imagine themselves in different locations or with different beings, it can feel and be just as real or organic as reality itself.

So, in the very least, many will find the film to be a welcoming piece aesthetically. Yet, the visuals and the overall feeling the film generates are enhanced with a terrific score that underscores the many emotions Max feels throughout the film (here is an ample sample http://www.youtube.com/watch?v=i9YrUqqSmaY). Arranged by Karen O and assisted by Carter Burwell, the film boasts a score that ventures from other fantasy films. Sure it may sound "indie", but its lack of traditional orchestra instruments and 'on key' children's choir give the film a raw, youthful, and unhinged sound that reverberates past the closing the credits.

All in all, "Where the Wild Things Are" is a triumphant piece of work that will ultimately please the adults more than it will the kids. Yet, I can't help, but think that down the road, as the children grow into adults, they'll appreciate Spike Jonze's ode to childhood a whole lot more.

"Goodbye Solo" is a quiet gem (4/5)

Written and directed by Ramin Bahrani, "Goodbye Solo" details the relationship that develops between a taxi driver named Solo and a random passenger named William. The relationship begins with William asking Solo to be his driver in a few weeks. Solo is apprehensive when he finds out that William only wants to be dropped off and not picked up at a unique location.

Through this interaction, Solo and William strike up what is almost an odd couple relationship. William is an old, white southern gentleman while Solo is a Senegalese 30 year old male with a budding family. William is played with reserved anguish by Red West, while Solo is played with great charm by Souleymane Sy Savane. Both are opposites of one another, but both eventually need each other as they fill a void in each other's lives.

William represents the discipline that Solo desperately needs, while Solo represents the love for life that William has come to loss. With a lesser writer and director, this relationship would sink into sentimentality, and a we would all learn a valuable lesson in the vain of "Full House." But, Bahrani is above that as he creates a relationship between two men that is sincere and full of understanding. Both know where the other wants to go and both understand what it takes to get there, its just a matter of whether or not they want to reach one another. And where a more sentimental film boasts big emotional scenes and acts of endearment, Bahrani and his actors are more in tune with the smaller, quiet moments that may not hit you at the time, but come on strong once the credits roll.

And thats the beauty of "Goodbye Solo", its built on those quiet, small moments we have with people. Sure, its much more memorable to go for broke on one scene and deliver an Oscar worthy crying scene, but we have to remember our lives are strung together by small little threads. If anything "Goodbye Solo" is representative of real life, where the small moments should be appreciated just as much as those big, life altering turns.

"Julie and Julia" is a sweet confection (3.75/5)

"Julia and Julia"

"Julie and Julia", a film detailing the life of Julie Powell (Amy Adams) as she tries to cook her way through Julia Child's first cookbook. As Julie Powell cooks her way to a self fulfilling state of triumph, we get a parrallel story focusing on Julia Child herself as she too is working her way to some sense of self worth.

With the film being broken into two, similar stories, one detailing Julie Powell post 9/11 and one detailing Julia Child in Europe post World War II, I was fearful one story would overpower the other. For the most part my fears were qualmed, but I must admit my interest was far more invested in the Julia Child half of the story. Much of this can be attributed to the drama that came through, more specifically Julia's battle to gain recognition in the kitchen, but also because of Meryl Streep's brilliant and vibrant performance. Although not the perfect imitation, Streep is able to adequately capture the many ticks of Julia Child from her high pitch, nasaly voice to her simple zest for love and cooking. She is simply the life of the film. Of course, additional credit must be given to Stanley Tucci who plays Julia's supportive husband Paul. Tucci is excellent in his role, as he and Streep create an authentic and endearing relationship on screen that is hard to resist.

On the other end of the time spectrum, the one concerning Julie Powell, things aren't nearly as interesting or moving, but Amy Adams does a fine enough job for the audience to have some sympathy for her character's plight. Her relationship with her boyfriend (played by Chris Messina) isn't nearly as involving as the one between Julia and Paul Child, but its serviceable enough to feel the highs and lows in their relationship as Julie frantically cooks her way through Julia Child's cookbook. Of course, the chemistry between Amy Adams and Chris Messina isn't nearly as good as Tucci and Streep, but there's an honesty in their portrayals that is sweet and tender. So, with peformances aside, one of the bigger faults of Julie Powell's story is that the drama itself is non-existant or if there is any, its solved relatively quick and easy. When placed against the trials of Julia Child, Julie Powell's problems just don't really seem that big of a deal.

This is not to say the film should be over dramatic, but when a film has two seperate stories that don't weigh equally in the dramatic department, the film itself can become stilted thus creating an uneven interest. Yet, despite all of this and the rather hum-drum story of Julie Powell, "Julie and Julia" is still a fun, lightweight film that can inspire some, even if much of it rests on the shoulder of the magnificent team of Tucci and Streep.