New Home

I'd like everyone to know that I've moved to a new blogging site. So check out my new posts at:

Reel Voice

"The Tree of Life" is an absorbing piece of filmmaking (4.75/5)

I’m not too sure where to begin in describing The Tree of Life. It’s undeniably an unorthodox film that puts all of its money on crafting impressionistic scenes over a plot driven narrative. It may feature two of film’s most mainstream stars (Penn and Pitt) but by no means is it a mainstream film. It sits comfortably in a world of its own, hoping an open minded filmgoer will come along and give it a chance. With a film like The Tree of Life and the visionary puzzle it develops into, all you can hope is that someone can give it a chance before they label it as senseless and pretentious. Actually, I wouldn’t be too disappointed if someone labeled it pretentious because in many ways it is. But then again, what film isn’t seen as pretentious when it boldly attempts to capture the essence and questions of life within the time frame of two or so hours? It’s equivalent to trying to stuff a whale into a sardine can, and Malick makes one hell of an effort. Notorious for being a mad scientist behind the camera and in the editing process, Malick once again obliterates any chance of a conventional narrative by focusing The Tree of Life on four, maybe five, periods of time.

"Dark of the Moon" is a step up, but that's not saying much (3/5)

I often get annoyed by film watchers who try and defend a film they covet (and that critics hate) with the simple phrase of “Geez, it’s a movie about an over-the-top fictional subject. It wasn’t meant for the Oscars!” With how much hate Transformers: Dark of the Moon is getting, expect to hear that phrase quite a bit for the next few months. Let me start off with saying that Michael Bay is a director who has a keen eye for filling a frame with visual panache. It’s just that Bay gets distracted by a shiny object off in the distance to the point that he loses focus on the story and characters that emanate from within.  Naturally, I expect those who love this film to offer me a rebuttal along the lines of, “It’s not about some amazing story! It’s about the robot on robot action!” No, everything is undeniably about the story. The action means absolutely nothing unless a story is present and logical within the film’s framework.  Hell, if story wasn’t significant, Bay and his team wouldn’t have even bothered with trying to craft one. Instead they would’ve released an hour long action fest to satiate those who like to watch big, combustible objects go up in flames.

"Midnight in Paris" is a whimsical delight (4.5/5)

There are times where I wonder what it’d be like to live in another time period. Sometimes it’s not just a general interest in the past, but more of a concrete period like the 40’s or 50’s.It’s no surprise that I’d feel this way because as humans we often see the past as being simpler than the time we currently reside in. I must say it’s easy to see how this happens considering that as time goes by, we often lose the context (or never gain at all) that is associated with a certain string of years or decades. Not to mention, history is almost always romanticized and fondly remembered outside the walls of a History lecture. This interest in returning to a simpler time, one that faces no uncertainties, is invariably running rampant through the mind of Gil Pender (Owen Wilson), the protagonist found in Woody Allen’s Midnight in Paris. Gil is a Hollywood screenwriter who has made his money writing big studio drivel, but at the moment he’s working on his first novel. It’s through novels that he hopes he can achieve writing legitimacy. Facing a bit of writer’s block and looking for something to reinvigorate his spirit, Gil and his fiancée, Inez (Rachel McAdams), tag along with their in-laws to Paris.

"The Hangover Part II" lacks originality (3.25/5)

The beauty of The Hangover was that its lewd and outrageous premise, one that had characters discovering their drunken follies along with the audience at an embarrassing clip, featured a level of joyous revelation that made punch lines unpredictable and memorable. The surprising directions that The Hangover took were inevitably the reason why the film became a hit back in the Summer of 2009. To no one’s surprise, the sequel was nearly a guarantee in a film landscape that spits out second installments at an impressive rate.  Was a sequel necessary? Not really, but then again the film was fresh and hilarious enough that a sequel wouldn’t be objected by the masses, and certainly not from me. Unfortunately, the creative team behind The Hangover felt that the film’s original premise was good enough to be recycled. They were wrong.

"Super 8" is tender, exhilarating, and perfect (5/5)

Tenderness is what makes Steven Spielberg’s earlier films so venerable. Whether it’s the films he’s directed (i.e. E.T.) or films he’s produced (The Goonies), Spielberg has undeniably been attached to terrific stories that are able to earn their emotional vouchers from filmgoers.  By having a keen sense of emotion and childhood nostalgia, it’s easy to see why many people hold Spielberg in such a high regard. If there was ever a prime example of a filmmaker emulating the master known as Spielberg, it would be JJ Abrams. Not counting Mission Impossible III, Abrams has slowly built up a filmography (and even his foray into television) that deftly blends summer action with a heart that resonates with critics and audiences alike. Whether it’s his watchful eye as producer over the likes of Lost and Cloverfield, or his sharp directorial vision behind Star Trek, Abrams is a man who understands how to tell a story. And what a story he tells with his latest endeavor Super 8.

"On Stranger Tides" is better than its predecessors (3.5/5)

What is there to say about the Pirates of the Caribbean film franchise? Well, the first film is a terrific pop-corn flick that combines technical achievements with an infectious Johnny Depp performance. The sequels are commercially overrated. The second film is merely a bridge to developing a money hungry franchise bigger than the Kraken, and the third film is an overstuffed adventure that has a plot that becomes too convoluted with its own pirate lore. Needless to say, the Pirate sequels were studio excess gone awry.  Certainly the Pirates franchise had a pulse in regards to special effects mastery, but it had been drifting off to sea after the first film, with no sense of land or an editor within reach. 

"Bridesmaids" is a terrific comedy (4.5/5)

For the last few months, I’ve held the idea that Kristin Wiig was an over exposed talent on the fledgling Saturday Night Live. I have always proclaimed my love for Wiig and her abilities, but with clueless writing and characters being driven into the ground, Wiig seemed like a caged bird more than a woman on the cusp of stardom. Thankfully Wiig’s abilities were given room to breathe with her own comedic vehicle, Bridesmaids. Co-written by Wiig and directed by TV stalwart Paul Feig, Bridemaids is the female answer to the likes of The Hangover and Knocked Up. Even though the film has a concrete female perspective, something that has been drastically missing from not only comedies, but also the film world, it still maintains a level of raunch and hilarity that surpasses its male driven comedic counterparts.

"Thor" is fun, but nothing truly memorable (3.75/5)

In the pantheon of comic book heroes, Thor is likely the one hero that the mainstream populous fails to recognize. With no distinguishable story line or villain that has penetrated pop-culture, the chances of Thor succeeding as its own film, and not merely excelling as Marvel’s attempt at setting up the Avenger’s movie, seemed slim.  Surprisingly, through the charming performance of Chris Hemsworth and the direction of the Shakespeare loving Kenneth Branagh, Thor is a film that stands on its own merits, albeit on a shaky ground.

"Jane Eyre" is beautifully shot and acted (5/5)

I usually feel inadequate when I openly admit that the literary world continuously passes me by. This issue is exacerbated further when a decent amount of people around me are devout readers. But I’ve always been a visual person and picking up a book and reading isn’t nearly rewarding as taking in the visual feasts the film world has to offer. Despite my lack of interest in reading, I feel it also favors me when it comes to judging book to film adaptations. Often when it comes to adaptations, people take the film’s source material verbatim and feel a sting of disappointment when the film fails to capture every aspect of their beloved book. With these preconceived notions, a film is overlooked in favor of what it could’ve been or what should’ve been as dictated by the viewer. Not that this is always case, but my lack of literary prowess allows me to enter into a film like Jane Eyre with no expectations.

"Win Win" is duh, winning (4.5/5)

Thomas McCarthy’s latest film will most likely be categorized as a sports film simply because part of its plot revolves around high school wrestling. High school wrestling certainly serves a purpose in this film, especially when looked at from a thematic point, but it is merely a backdrop to a humanistic drama that is hilariously uplifting. McCarthy’s previous film, The Visitor, touchingly covered an array of topics such as human generosity, loneliness, and the burden of being an immigrant in a time where immigrants are seen as a threat to the American way. Handling such dramatic issues with a deft comedic hand, McCarthy demonstrated his value to the world of film. That value is further cemented in Win Win, another humanistic tale that veers onto a path we’ve been down before, but there’s a dense amount of emotion and humor that makes the flora surrounding this familiar road feel fresh and new.

"The Green Hornet" is a disappointment (3/5)

I admire Seth Rogen’s attempt to hand the superhero genre a face lift. Through The Green Hornet, Rogen was given free rein to breathe new life into a project that had been gestating in the stomach of Hollywood for well over a decade. One could certainly see Rogen’s ambition on display. He not only took on the lead role of Britt Reid (aka The Green Hornet), a raucous party boy who is in line to receive his father’s massive newspaper fortune, but he also wrote the screenplay with his writing partner Evan Goldberg. Goldberg and Rogen were able to construct a screenplay that alters comic-book conventions to a degree. The alterations are not overwhelming by any stretch of the imagination, but the seeds of change are planted and recognized. Yet, what the screenplay fails to do is give the film’s characters proper motivation to propel themselves into the seedy underbelly of Los Angeles.

"Your Highness" is a weak, muddled effort (3/5)

Concept comedy has been faltering as of late. With the likes of Year One and Land of the Lost assaulting the comedy genre with a poopy stench, it feels like spending money on an expensive comedy is a foolish gamble for most studios. Obviously a great concept can come along and light the box office on fire, but most of these comedic concepts don’t have the power or wit to be anything beyond a last minute Saturday Night Live sketch.  Unfortunately, the recently released Your Highness, despite its attempts, would’ve been better off if it was five minutes and not one hundred.

Must See Films for 2011- Part Two

10. The Girl with the Dragon Tattoo

Dat Ass

I haven’t read any of Stieg Larsson’ Millenium books. That’s not likely to change, but David Fincher is directing this surefire trilogy. After falling in love with nearly every one of Fincher’s films, I can’t help but get excited for anything he does. He could craft a film about monkeys eating their own shit and I’d be pissing my pants with anticipation. In Fincher’s hands, the film’s lead Rooney Mara is sure to become one of Hollywood’s must watch actresses. Oh… Did I mention that Trent Reznor and Atticus Ross are doing the score? That's music to my ears.

Must See Films for 2011- Part One

A new film year is in motion and I figured I'd put a finger on the films that have caught my eye...Obviously aside from the first three months...

21. Alps

A visual taste of Dogtooth.

Director Yorgos Lanthimos made a splash last year with his Academy Award nominated film Dogtooth. Featuring bizarre family mechanics and unflinching use of taboos, Dogtooth is the type of film that could alienate reserved film fans. Expect more of the same for Lanthimos’ next film Alps. Although details are scant, it’s said Alps tells the tale of people who agree to “stand in for the lost loved ones of others, replicating their behavior and gestures, ostensibly to help with the grieving.” I can’t wait to go in the deep end with this one and embrace the macabre.

"Source Code" is a deft blend of concept and character (4.25/5)

Wouldn't it be nice to take a cherished memory and regenerate it to the point that it becomes tangible? How about resurrecting a mistake or failure in order to rewrite history in your favor? Unfortunately time travel has yet to be mastered, but in the world of Source Code, a machine has been invented that allows a person to relive eight minutes of a buried moment. There are limitations to this seismic contraption, but when a person is utilizing Source Code, they’re actively participating in a moment lost in time. Enter in Captain Colter Stevens (Jake Gyllenhaal) who awakes on a train with no recollection as to how he even got there. Sitting across from Stevens is the beautiful Christina Warren (Michelle Monaghan), a woman who adoringly stares at him. Through awkwardly interacting with Christina and exploring the train he’s on, Stevens comes to realize that he isn’t actually himself. He’s trapped in the body of another man. Upon this discovery a bomb blows up the train and kills everyone on board. That is everyone except Stevens who wakes up in a metallic chamber, locked in an inescapable harness. Discombobulated and confused as to why he’s no longer in the burning train, Stevens frantically tries to shake himself loose from his chains. 

"Paul" is an admirable homage (3.75/5)

It seems to me that it was only a matter of time before the majestic ability of Simon Pegg and Nick Frost was sought for domestic import. If you have been watching movies over the last eight years, it’s likely you’ve heard of Pegg and Frost’s film efforts. You may have not seen them, but surely you have heard of the cult status belonging to Shaun of the Dead and Hot Fuzz. With both films being homages to genre based filmmaking, Pegg and Frost garnered critical acclaim and were unofficially labeled cult-comedy heroes.  Despite their relative success, it seems it was only a matter of time before Pegg and Frost tried their hand at a major vehicle in the Hollywood system. Enter in this year’s comedy Paul, a road trip film with an intergalactic twist. Written by Pegg and Frost, Paul is another exercise in genre filmmaking. With the excellent Greg Mottola in the director’s chair, Pegg and Frost set their sights on the sci-fi genre while attempting to breathe new life into the road trip film. I’d say they do enough to deliver an enjoyable experience, but they fail to capture the magic of their previous endeavors.

The Best in Film from 2010...Part Two

Best Supporting Actress: Melissa Leo (The Fighter)- With a cavalcade of terrific actors found in The Fighter, Melissa Leo nearly rises above them all as she plays an emotionally unstable mother who doubles as a boxing manager to her son. The problem with Leo's character is that she simultaneously bolsters and derails her son's boxing career. Despite the character's fallacies, Leo is able to emanate a sense of tough love without transforming her character into an unsympathetic person. It's a true sign of someone who has perfected their craft.

The Best in Film from 2010...Part One

After much deliberation, I have finally decided to cut my viewing of 2010 films short and assemble my Top Ten list for the year. There are plenty of films that I wish I could see, but alas there isn't enough time for me to capture the vast amount of films that have invaded the multiplexes. With that being said, I feel comfortable in saying that I've seen enough films to craft what I deem to be a respectable list. My list and selections for the Best of 2010 are not only based on how well a film was crafted, but also the emotional impact it had on me. So, this is my attempt at blending my subjective opinion with an objective eye. Without further ado, part one:

"Dogtooth" is a shocking satire (3.75/5)

I haven’t fully understood the idea of protecting a child from the ways of the world. From censorship to home schooling, protecting children from the bowels of society seems prudent. This is especially true when you consider that the good influences typically outweigh the bad. Yet, some parents restrict children in a way that stunts their mental and emotional growth. Once released to the world at large, the sheltered don’t have the tools to survive. This is symbolically evident when a wild animal is domesticated and released back into the bosom of mother nature. Through the domestication process, the animal is stripped of its natural sensibilities to survive in what can be a chaotic world. Once out on their own, the animal falls victim to sheltered tendencies. Of course, this doesn’t mean that those who are home schooled or restricted from seeing certain kind of content are always unadjusted, but there is certainly the chance that a wholesome upbringing may in fact be counter productive. Taking this notion to an extreme level is the Greek film Dogtooth, which was just recently nominated for the Best Foreign Film Oscar.