Review: Side Effects (2013)

Dr. Banks (Law) and Emily (Mara) address her depression.

Directed by Steven Soderbergh
Produced by Scott Z. Burns, Lorenzo di Bonaventura, and Gregory Jacobs
Written by Scott Z. Burns
Starring Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum, Vinessa Shaw, and Ann Dowd

***1/2

Taking medication can do wonders, but it can also create problems. In this case, complications start when Emily Taylor (Mara) brings her husband Martin (Tatum) home from prison and finds her depression unbearable. This introduces us to Dr. Jonathan Banks (Law), who becomes her new psychiatrist. As their appointments progress, he decides to prescribe a new medication called Ablixa. Emily gets better, but not without some strange side effects. Her actions become impaired by the medication, resulting in severe court proceedings against her. But Dr. Banks is dragged into the mess as well, and he must get to the bottom of this odd case. With his career and the life of his patient on the line, he struggles to find the truth, dredging up the past and discovering a huge secret in the process. (Note: There's a lot I left out, for the sake of not spoiling the film.)

If this is Soderbergh's last film, it's an intriguing one with which to close. While it's cold (much like Contagion), it's also very entertaining and features superb, nuanced work from its cast. Soderbergh continues to get the best out of Channing Tatum; and Catherine Zeta-Jones, Vinessa Shaw, and Ann Dowd deliver effective supporting performances. However, full praise must go to Jude Law, who gives his best performance in years, and Rooney Mara, who erases any doubt that she is a force to be reckoned with. The craft work of the film is equally good. Thomas Newman's score is a major contribution (more than his Skyfall work), and the editing keeps things moving at a nice pace. While some of the lighting techniques feel recycled from better Soderbergh efforts, his style does work to the film's advantage on the whole. This isn't the best entry in the director's catalog, but I thoroughly enjoyed it and look forward to watching it again.

Oscar Potential: Best Original Score

Review: The Set-Up (1949)

"Stoker" (Ryan) has his hands full.

Directed by Robert Wise
Produced by Richard Goldstone
Written by Art Cohn (screenplay); Joseph Moncure March (poem)
Starring Robert Ryan, Audrey Totter, George Tobias, Alan Baxter, and Wallace Ford

****

Told in real-time, Wise's ingenious little film noir is set during the events of a night at the boxing arena. The last fight of the night features "Stoker" Thompson (Ryan), an aging boxer who's lost a step or two and can't compete with the young competition. As the film begins, it's clear that things aren't going well for "Stoker", and he needs to win this fight. His wife (Totter) doesn't approve, but he's convinced he'll win this time. When the fight is about the start, his manager (Tobias) and trainer enter the ring, ready for the expected loss. But they're not only thinking he'll lose - they're counting on it. They've been paid by a gangster called Little Boy (Baxter) to ensure that "Stoker" will take a fall, and they expect him to just that. Unknowingly, "Stoker" might be in for more than he bargained for, whether he wins the fight or not.

When it was originally released, the film won two awards at the Cannes Film Festival and was nominated for Best Film at the BAFTAs. However, it underperformed at the box office, and the film is still not popular with movie audiences today. According to the director's DVD commentary, filmmakers like Billy Wilder praised it, expressing their admiration and regret that the film wasn't met with widespread acclaim. It really is a shame too. At 72 minutes, the film hits the ground running, and it never slows down. Following the set-up, a large portion of the film is the fight itself, which is a brutal and thrilling four rounds. The boxing scenes are very well executed, and the performances breathe life into the bare bones of the narrative. Topping it off is Milton R. Krasner's award-winning cinematography that uses light and shadow in the way that only the great noirs of the '40s and '50s could. For fans of classic movies or film noirs, this is an overlooked gem that begs to be rediscovered.

Oscar Tally: None

To Walk With Lions

A true story about love; love for nature and for the wildlife. A story of a man who discovered his home in the most unlikely of places and his struggle to keep what is closest to him safe. Richard Harris gives an outstanding performance playing noted animal conservationist George Adamson, of the Born Free fame, during his last years at a Kenyan reserve in the film To Walk With Lions.

Some films shine for the stories they tell. This is one such film. It is a story about a man who gave up everything and devoted his life tendering for lions. He fought for the rights of animals claiming they are no different from humans and have an equal right to live freely on this very land we all call home. The film showcases his undying love for the beasts of the jungle and the extent he went to in order to give them a safe sanctuary which eventually led to his tragic end.

To Walk With Lions follows a British backpacker Tony Fitzjohn (John Michie) as he stumbles upon George Adamson's reserve where domesticated lions are taken in and prepared for a life in the wild. The film is also a story about Tony's journey of self discovery as he learns about nature and grows to love it and admire its inner beauty which only a few people truly appreciate. Besides the dangerous task of working with the most ferocious animal of all, it is the constant struggle against the government, rebels, poachers, and the changing face of a nation that eventually takes a toll on the lives of both George and Tony and eventually leads them to making life altering decisions.

A film about passion, obsession, devotion, and about the courage to stand ones ground, To Walk With Lions is a legacy to the extraordinary life of a man who gave voice to the creatures of the wild and in doing so fought for their survival without worrying about his own wellbeing. 

Rating 4/5

DVD Information:

Release Date: 28th January 2013

Cert: TBC

Running Time: 106 minutes

Language: English

Review: Broken City (2013)

Russell Crowe hires Marky Mark.

Directed by Allen Hughes
Produced by Remington Chase, Randall Emmett, George Furla, Allen Hughes, Stephen Levinson, Arnon Milchan, Teddy Schwarzman, and Mark Wahlberg
Written by Brian Tucker
Starring Mark Wahlberg, Russell Crowe, Catherine Zeta-Jones, Barry Pepper, Kyle Chandler, Natalie Martinez, and Jeffrey Wright

**1/2

In Allen Hughes' first solo attempt at directing a theatrical feature, Mark Wahlberg stars as Billy Taggart, a retired New York cop turned private investigator. As fate would have it, he is given a big assignment by Mayor Nicholas Hostetler (Crowe) to investigate his wife Cathleen (Zeta-Jones) - specifically, her extramarital affair with an unknown lover (Chandler). Billy jumps at the opportunity (and the $50,000 paycheck), and he follows the woman to learn her secret. After completing his work, he gives the mayor evidence proving the affair, and walks away. That, of course, is not the end, as many new details emerge about the mayor, his wife, the man, and larger conspiracies. Now, the trailer tells you as much as I have, but on the slight chance you do see this, I don't want to spoil any of the plot twists. Suffice it to say there are loads of them.

Though the plot is your standard conspiracy setup, the performances are actually very good. Wahlberg has played this type of role before, but he excels at it (again). Crowe, meanwhile, is my favorite working actor, and he never disappoints. He gives a solid performance as a deeply rooted but underwritten character. As is the sad, overused formula, Zeta-Jones is relegated to a few scenes, in which she barely has time to do anything memorable. However, the scenes between her and Crowe are some of the highlights of the film. Also, Wahlberg and Crowe have an interesting chemistry, which could've been better utilized. The lack of contact between their characters left me wanting more, and their conversations and ongoing battle are never boring. Still, it all feels too familiar, too calculated, too by-the-book. It's a decent crime thriller, but there's a reason it was released this early: because it will be forgotten before the summer blockbusters arrive in a few months.

Oscar Potential: None

Review: The Impossible (2012)

Maria (Watts) and Lucas (Holland).

Directed by J.A. Bayona
Produced by Belén Atienza, Álvaro Augustín, Ghislain Barrois, and Enrique López Lavigne
Written by Sergio G. Sánchez (screenplay); María Belón (story)
Starring Naomi Watts, Ewan McGregor, Tom Holland, Samuel Joslin, Oaklee Pendergast, Marta Etura, Sönke Möhring, and Geraldine Chaplin

****

In 2004, a tsunami in the Indian Ocean struck Southeast Asia, destroying miles of buildings, countless possessions, and hundreds of thousands of lives. This is the true story of the Bacon family - Henry (McGregor), Maria (Watts), and their three sons. When the films begins, the family arrives in Thailand for what should be a nice Christmas vacation. However, the day after Christmas brings a massive tsunami that wipes out most of the area and separates them from each other. Maria and Lucas (Holland) are left to find a hospital after the water levels drop, while Henry and the other two boys must discover what became of their lost loved ones. As "true story" movies go, it's a spectacular effort, and one of the genre's most moving ones.

I must confess I don't often cry at movies. Granted, I tear up when something moves me, but I don't actually shed tears. This film is one of the only ones to make me do just that: cry my eyes out. Within the first ten minutes, it had me, and I couldn't turn away from the screen. For the next hour and a half I watched as this family tried to find their way back each other. The film is, of course, very manipulative - and I suppose very accurate - in its depiction of the tsunami's devastating effects, but I didn't care. Led by three great performances from Watts, McGregor, and newcomer Tom Holland (in one of the finest child performances I've ever seen), this touching story is definitely worth a look. The film also features terrific production design, sound design, and visual effects, while boasting a rousing score as well. It never overstays its welcome, relying on a simple, powerful story of family's fight for survival and reunion. If you're at all interested in seeing it, I strongly suggest you do.

Oscar Potential: Best Actress (Watts), Best Supporting Actor (McGregor), Best Original Score

The Casebook of Eddie Brewer

The best kind of horror is always the unseen, the mystery of the unknown, and to top it all, a sense of feeling that a foreign presence is somewhere near you. The Casebook of Eddie Brewer does exactly that as its protagonist Eddie Brewer, a paranormal expert, goes out and about attending to calls all the while being followed by a camera crew.

Ian Brooker as Eddie Brewer gives an outstanding performance as a man who not only has the task of figuring out whether the supernatural incidents he is called for are hoaxes or not, but also simultaneously has to continuously fight to explain his stand on the entire phenomenon as accusations are made on how genuine is the paranormal field.

The Casebook of Eddie Brewer places the audience in a much more knowing situation. They are able to see things that the character aren't, still the feeling of dread, suspense, and the slowly rising tension is good enough to give a few jumps and scares even to the ardent horror fan.

The filming is done primarily through handheld cameras, that of the camera crew, with instances when the view point changes to either stable cameras installed by the paranormal research teams or at times the scenes run just like a normal film. Although different techniques are used throughout the film be it in the editing, the cuts, the camera work, it all comes together smoothly with continuous transitions.

While the acting by almost the entire cast is the strongest aspect of the film, the story manages to remain complex enough to keep the audience interested. Unfortunately, the climax proves to be a huge let down as it comes rather close to imitating the Blair Witch Project's ending scenes, albeit in a somewhat modern setting.

The film is a wonderful approach to the horror genre with a complex character at the very core of the story that brings about a humane aspect to the entire paranormal proceedings. The Casebook of Eddie Brewer is especially recommended if you like your scares but want to avoid the blood and gore. It emphasizes more on the story and the sounds rather than the visuals when it comes to the frights, and that is where is succeeds.            

Rating 3.5/5

The Girl

Alfred Hitchcock has long been my favourite director, so it goes without saying that The Girl is a much anticipated BBC film. Aired recently on BBC, and available on DVD from 7th January, the film looks at the turbulent relationship between one of the most admired directors of cinema, Alfred Hitchcock, and his blonde muse, Tippi Hedren.

Starring Sienna Miller in the pivotal role and Toby Jones as Hitchcock, The Girl follows the relationship between the two characters during the production of The Birds and Marnie, and is an in-depth study into the psyche of Hitchcock. While Toby Jones is spot on in capturing the slow and deep vocal trademark of Hitchcock, it is Sienna Miller who shines as the tormented actress stuck in a dilemma of either giving herself to the director's sexual fantasies or leaving a career defining role in the most talked about films of the time.       

As much as The Girl is about the two films that Hitchcock made with Tippi Hedren, the film in reality presents a much more sinister side of Hitchcock, one that may or may not be known to the audience. It is the possessive and obsessive nature of the director towards the actress that transforms him into a psychotic, sadistic, sexual deviant that truly shocks. The film also explores the insecurities that Hitchcock had about his looks and weight and that how even though he was the most sort-after director, he still had issues that were eating him away from the inside.

More than anything else, The Girl is about the strength of a woman to defy an industry and its norms and to stand up for herself; as Tippi did by first completing the two movies she was in, even though Hitchcock continued to coax her into letting him have his way with her, and then by refusing to work with Hitchcock after Marnie. 

The Girl takes the audience behind the scenes of two of the greatest movies ever made by one of cinemas most eccentric director. In doing so, it presents the dark side of movie making and a relationship that tests the boundaries of not only the two people involved, but everyone who is connected to them.

Rating 3.5/5

DVD Information:

Release Date:       7 January 2013

Running Time:       87 Minutes

Language:             English

Certificate:          15 

Review: Django Unchained (2012)

Directed by Quentin Tarantino
Produced by Stacey Sher, Reginald Hudlin, and Pilar Savone
Written by Quentin Tarantino
Starring Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington, Samuel L Jackson, Walter Goggins, Dennis Christopher, James Remar, Michael Parks, and Don Johnson

****

Quentin Tarantino's western epic is a triumph in style, storytelling, and ballsiness. Set two years before the Civl War, it chronicles the journey of a slave named Django (Foxx) and a former dentist turned bounty hunter called Schultz (Waltz) to find Django's wife Broomhilda (Washington). When Schultz tracks Django down at the beginning of the film, the two men strike a bargain: in exchange for Django helping him kill three wanted men (who Django knows from the past), Schultz will help Django will find his wife. This quest leads them to Candieland, a Southern plantation run by the smarmy, sadistic Francophile named Calvin Candie (DiCaprio). Candie, backed by his house slave Stephen (Jackson), has a hold on Broomhilda, and Django and Schultz have their hands full trying to get her back. Of course, there's a lot more that happens, but I won't spoil it.

Now, a film thus described doesn't sound that audacious. Of course, Tarantino really goes for it, which will no doubt put some viewers off. This is a gorgeously shot, bloody affair set to blaring outbursts of (partially original) hip hop music, with Tarantino's wicked sense of humor shining through in his impeccable dialogue. If you liked Inglourious Basterds, you'll probably like this. It's very heavy on dialogue, exceedingly brutal at times, and quite hilarious in others. On top of that, it has a terrific ensemble. Foxx gives one of his best performances as the freed slave who becomes empowered, and Waltz turns in another delightful performance as the charismatic bounty hunter. In addition, DiCaprio does some of his bravest work here, and Washington is tremendously effective in a thankless role. And I haven't even mentioned the always great Samuel L. Jackson or the fantastic Don Johnson. As always with Tarantino, there is controversy over the content of this film, which I hope won't dissuade anyone from watching it. Some scenes are hard to watch, but the mounting tension and the payoff that comes from it are worth the struggle. Easily his best film since Jackie Brown, Tarantino is back with one of the best (and bravest) films of 2012.

Oscar Potential: Best Picture, Best Director, Best Supporting Actor (DiCaprio), Best Supporting Actor (Waltz), Best Original Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing, Best Original Song, Best Sound Mixing, Best Sound Editing

Review: Les Misérables (2012)

Hugh Jackman as Jean Valjean.

Directed by Tom Hooper
Produced by Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh
Written by William Nicholson, Claude-Michel Schönberg, Alain Boublil, and Herbert Kretzmer (screenplay); Victor Hugo (novel)
Starring Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Helena Bonham Carter, and Sacha Baron Cohen

**** 

Academy Award winner Tom Hooper delivers another Oscar-caliber film with his adaptation of the revered stage musical. Hugh Jackman is the protagonist Jean Valjean, a man who spends five years of his life in a French prison for stealing a loaf of bread. Upon securing a release from his rival Inspector Javert (Crowe), he achieves great success and meets the destitute Fantine (Hathaway), whose daughter Cosette needs a home. Valjean takes her daughter in, but Javert has learned of his parole violation and is determined to make him pay for his crimes. Partially set against the backdrop of a bloody revolution, this is an epic musical if there ever was one.

I'm not sure if any film can be perfect, and this film certainly is not. However, I am overjoyed at how much I loved it. The driving forces are the performances of the ensemble and, of course, the music. These save the film from being ruined by the problems I had with it, such as the distracting visual style and the (noticeably) overpowering running time. Being a musical, this relies heavily on the voices of its cast, which performs admirably in both singing and acting. Some of the actors (like Jackman, Hathaway, and Redmayne) make better usage of their voices than others (like Crowe, Baron Cohen, and Bonham Carter), but the cast as a whole is very effective. I love the grim world this film creates, which isn't unlike the worlds of Tim Burton's Sweeney Todd and Carol Reed's Oliver! - both of which I love. Both devastatingly grim and sometimes humorous, this is a very entertaining spectacle, and one of my favorites of the year. It might not be a masterpiece, but it is one of the best times I've had at the cinema all year. In spite of its flaws, I laughed, cried, and was mesmerized. I can't give it anything less than a perfect score.

Oscar Potential: Best Picture, Best Director, Best Actor, Best Supporting Actor (Crowe), Best Supporting Actress (Hathaway), Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing, Best Original Song ("Suddenly"), Best Makeup and Hairstyling, Best Sound Mixing, Best Sound Editing

Review: The Hobbit: An Unexpected Journey (2012)

Martin Freeman as young Bilbo Baggins.

Directed by Peter Jackson
Produced by Carolynne Cunningham, Zane Weiner, Peter Jackson, & Fran Walsh
Written by Philippa Boyens, Guillermo del Toro, Peter Jackson, & Fran Walsh
Starring Ian McKellen, Martin Freeman, Richard Armitage, James Nesbitt, Ken Stott, Cate Blanchett, Ian Holm, Christopher Lee, Hugo Weaving, Elijah Wood, & Andy Serkis

***

Peter Jackson's latest foray into Middle-earth is a thrilling, overindulgent adventure. This beloved prequel to Tolkien's Lord of the Rings trilogy follows the young hobbit Bilbo Baggins (Freeman), who is thrown into a perilous quest by Gandalf (McKellen) the wizard. Accompanied by a group of 13 dwarfs, Bilbo must help his party regain the Lonely Mountain, which was taken by a fierce dragon called Smaug. Inside their former home, the dwarfs' gold is being guarded by the creature, and they finally have a way into the mountain, after years of living elsewhere. Life in The Shire has been easy for Bilbo, and he will be tested, as their group faces numerous attacks from fearsome beasts, quarrels amongst themselves and with others, and, of course, two lengthy sequels still to come.

I'm not a massive fan of The Lord of the Rings, but I do like the films. Fortunately, this film is a lot of fun, even if it is much too long and very heavy on expositional dialogue. No doubt fans of Tolkien's saga will appreciate the pandering of the narrative, with three musical numbers and various subplots being introduced that ensure a nine-hour adventure for young Bilbo and his dwarf companions. Given Jackson's return and his expansion of The Hobbit films, it seems evident that this trilogy will be one strictly for the hardcore fans. The film is, honestly, quite boring at times, as evidenced by the two twentysomething couples who walked out during the first hour in my screening. Despite its good performances, technical prowess, and numerous compelling sequences, an overall lack of cohesiveness really hurts this film. Who knows? If it had a more concise, on point cut, the film might've been one of the year's best. Instead, it is some parts riveting, some parts amusing, and some parts dull and unnecessary.

Oscar Potential: Best Production Design, Best Costume Design, Best Original Song ("Song of the Lonely Mountain"), Best Makeup and Hairstyling, Best Visual Effects

Premium Rush

Let's get one thing straight right off the bat; Premium Rush is not a premium film and nor did it fill me up with a feeling of rush. At best it's a mediocre film that pretty much drags, and thus henceforth shall be referred to as Mediocre Dragfor the remainder of this review.

Yes! I am a huge fan of Joseph Gordon-Levitt. He's done some good stuff and is grooming himself well to step into the shoes of present day cinema nobility to the likes of George Clooney and Brad Pitt. Unfortunately, Mediocre Drag (and you thought I was joking about using a different title) just doesn't do much justice to his career or acting skills. All we get out of the whole hour and half is that JGL knows how to ride a bike and the special effects team did a good job of keeping him from hitting cars while he delivered messages in the rough and tough streets of New York. However, doing research on the film, which is basically reading IMDB, I did come across the fact that he actually had an accident on the sets, so all the more power to him for doing the stunts.  

The story of Mediocre Drag is pretty simple wherein Wilee (as in Cayote, Joseph Gordon-Levitt) , who is NY's best messenger for three years running, ends up delivering a document that is being hunted down by a dead-beat, deep in gambling loans, cop Bobby Monday (Michael Shannon). And yes, that's the best they could come up with in terms of cop names. There are a few flashbacks, and a slight romantic angle, which are just inclusions that take away from the main aspect of the film, which should be about riding the bike. 

Mediocre Drag would have been a great film had it not had too many loopholes in its plot, something I will avoid discussing because I do not want to giveaway anything, although there is nothing much to giveaway in the first place. What annoys me is that JGL's character doesn't really come across as a real hero. Well, he is one, no doubt, but take for example his continuous bragging about the fact that he rides a gear-less and break-less bike, to the extent that he tells others that having breaks will get them killed. So when he finally does have an accident on his gear-less and break-less bike, woooooo I know, I felt like shouting "Who's your Daddy now, Punk!".   

The other problem with Mediocre Drag is that it doesn't excite the audience. Events take place at a rather leisurely pace; even through there is a clock ticking every few minutes onscreen. A film like Premium Rush (since I am talking about what the film should be like, I figured I’d use the real title) should be high on cycling tricks, should make me want to leave my job and take up bike messaging or something on those lines. But is does nothing like that. I'd rather watch BMX Bandits wherein kids half the age of JGL did better bike tricks, and at least for a brief moment made me want to go and buy a BMX bike.  

So, if your idea of a movie is watching a bunch of people in spandex ride bicycles without too much excitement, then Premium Rush might be the right choice, but if you prefer some edge of the seat entertainment, good acting, death defying action sequences that seem real, then give Mediocre Drag a miss.

Rating 2/5  

By the Bluest of Seas (Russian)

By the Bluest of Seas packs in so many wonderful emotions into a mere 70 minutes running time, that I am in complete awe of director Boris Barnet. The story of two friends working, living, and falling in love on an island is just so charming that it makes for a perfect romantic-comedy.

Yusuf (Lev Sverdlin) and Alyosha (Nikolai Kruychkov) are both quick to fall in love with Masha (Yelena Kuzmina) when they arrive at a "collective farm" to work after being shipwrecked in a storm on the Caspian Sea.  What follows is a series of mini-adventures, slapstick comedy, musical interludes, and romantic moments as the love triangle moves towards an unpredictable end.  

Similar to his film Outskirts, Boris Barnet has a way to make the audience uneasy by merging tragedy with comedy in the most unexpected of times and places. While By the Bluest of Seas is not as politically driven or serious a film as Outskirts, the trademark tragicomedy is ever-present from the very beginning when Yusuf, being rescued after the shipwreck, is more concerned about feeling ticklish than getting to safety. Such emotional highs and lows run throughout the film keeping the viewer engrossed along with being fascinated by the wonderful film making techniques used by the director during the early sound period.

By the Bluest of Seas manages to romanticize the beauty of the sea by depicting it in its many forms; from high thunderous waves to the calm serene waters reflecting the suns rays, the sea follows the moods of the characters. Once again, as in his other films, Boris Barnet also manages to capture the most basic of human emotions such as jealousy, excitement, disgust, and betrayal in his portrayal of love found and lost. 

By the Bluest of Seas is a charming little early sound period film that stays away from the state of the nation at the time and focuses more on the human aspects of love, friendship, and the joy of enjoying life for what it is. 

For being one of the earliest perfect date movies I've ever seen, By the Bluest of Seas gets a 5/5 star rating and a spot in my list of films that are essential viewings.

DVD Information:

DVD:                     Mr. Bongo Films

Title:                    By the Bluest of Seas

Release Date:       12^th November 2012

Certificate:          12

Running Time:       69 minutes

Review: Life of Pi (2012)

Pi and Richard lost at sea.

Directed by Ang Lee
Produced by Gil Netter, Ang Lee, and David Womark
Written by David Magee (screenplay); Yann Martel (novel)
Starring Suraj Sharma, Irfan Khan, Rafe Spall, and Gerard Depardieu

***1/2

Ang Lee's new film is a tale for all audiences - young and old, cinephile or casual filmgoer. Piscine Molitor Patel (Kahn), known as Pi, is a man who has traveled a long spiritual journey, embracing Hinduism, Catholicism, and Islam. What is even more interesting is that he survived a shipwreck when he was a boy (Sharma), being lost at sea for over 200 days. As the adult Pi recounts to a writer (Spall), he dealt with the death of his family, struggled to accept his maker's will, and faced numerous physical dangers, such as starvation, dehydration, and being eaten alive by sharks. But that isn't all Pi went through. During these months at sea, he was confined to a raft that was attached to a lifeboat…with a tiger named Richard Parker onboard. Facing the elements, Pi learned to live with the animal, only to grow old and be able to tell his story years later. It's a heartwarming story that makes for a wonderful cinematic experience.

This might sound like a daunting adventure, but it is a pleasant one, to be sure. Ang Lee has made several beautiful films, and this is one of them. However, the film does have its ups and downs. Not surprisingly, the film is at its best when Pi and Richard are lost at sea. The rest of the film is not as powerful, though the end does provide the necessary closure for Pi and the writer. A big budget film usually relies on casting famous stars, but this one, thankfully, does not. With the possible exceptions of Khan and Depardieu, the cast is full of unknown actors. Refreshingly, the cast pulls it off, with Suraj Sharma delivering a touching performance as the young Pi. Given that this is a blockbuster, the technical crafts are also exemplary. Claudio Miranda's cinematography is gorgeous, but the dazzling visual effects contribute a tremendous amount to the look of the film. And it looks spectacular. Many shots are lush paintings, yet the F/X work on the Bengal tiger is worth noting as well. Lee's film is finely crafted, and it is an uplifting story that Oscar is sure to notice. In this case, that's a very good thing.

Oscar Potential: Best Picture, Best Director, Best Adapted Screenplay, Best Production Design, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Mixing, Best Sound Editing, Best Visual Effects

Review: The Sessions (2012)

Hunt and Hawkes give two of 2012's best performances.

Directed by Ben Lewin
Produced by Judi Levine, Ben Lewin, and Stephen Nemeth
Written by Ben Lewin (screenplay); Mark O'Brien (article)
Starring John Hawkes, Helen Hunt, Moon Bloodgood, Annika Marks, Rhea Pearlman, Adam Arkin, and William H. Macy

***

Inspired by a true story, this film follows a writer named Mark O'Brien (Hawkes), who is condemned to an iron lung for most of his days. Mark contracted polio and is only able to be out of the chamber for a few hours, so he is heavily dependent on a caregiver. What really weighs on him, though, is the fact that he is a virgin. He longs for physical contact and, despite the failure of his muscles, he can still become aroused on his own. So, he gets the approval of a priest (Macy) to see a sex therapist named Cheryl (Hunt) for six sessions. Through her, he learns about his body and develops his sexual knowledge, as it were. It's actually quite humorous, and the film shies away from being too serious, allowing only a few touching dramatic moments. 

This is an interesting little film. It's probably too light in its approach to this situation, but the performances make this a must-see. John Hawkes is nothing short of amazing in a role that will likely land him his second Oscar nomination. The same can be said of Helen Hunt, who hasn't been around much lately. Both of these performances are transformative, with the actors never hitting a false note. Not once did I see Hawkes or Hunt in the film. Instead, I saw the characters. The actors are that good. Of course, Macy does what he can with a supporting comedic role, but Bloodgood deserves more attention as Mark's new caregiver. Really, the performances are quite good all round. Despite the superb acting, the film's light tone can at times feel exploitative or too insensitive to Mark's suffering. However, the film remains a bittersweet performance vehicle that merits a look, particularly for the excellent work from Hawkes and Hunt. 

Oscar Potential: Best Actor, Best Supporting Actress (Hunt), Best Adapted Screenplay

Review: Lincoln (2012)

Daniel Day-Lewis goes for a third Oscar.

Directed by Steven Spielberg
Produced by Kathleen Kennedy and Steven Spielberg
Written by Tony Kushner (screenplay); Doris Kearns Goodwin (book)
Starring Daniel Day-Lewis, Sally Field, David Strathairn, Joseph Gordon-Levitt, James Spader, Hal Holbrook, and Tommy Lee Jones

***

Lincoln is yet another Oscar grab attempt with yet another biopic. Films like this will always be made, but many of them are forgettable. This is somewhere in between. With the Civil War dwindling, President Abraham Lincoln (Day-Lewis) attempts to push the Thirteenth Amendment to the U.S. Constitution through Congress, thus ending slavery. He receives the help of Thaddeus Stevens (Jones) and other political allies as he tries to bring the nation together in a step towards racial equality and, of course, the end of the war. To do this, he must get enough Democrats to vote for the amendment, which takes some dealings behind the scenes to accomplish. With his wife Mary (Field) by his side, he talks and talks and talks, inspiring those who surround him until the job is done. But Lincoln remains a mystery, even after the last shot fades to black. 

Spielberg's latest film is one of words and deeds, with some flashy cinematography and solid performances thrown in for good measure. There are speeches galore, and Lincoln always has a rousing anecdote or a ready metaphor for his weary fellows. As you've no doubt heard, Daniel Day-Lewis gives a great performance, as the virtuous, kind, heavily burdened father of the American nation during the Civil War. Jones and Field are appropriately praised, but the large supporting cast, consisting of numerous character actors, deliver fine work with minimal screen time. Given the period aspect of the film, the production design and costumes are eye-catching, and John Williams' score is his typical sentimental undercurrent. (More War Horse than Schindler's List.) The film keeps the words flowing until a sudden and rather anticlimactic ending. While it is far from bad, it stays more along the lines of decent to mediocre. Admirable performances and good production values abound, but the film never feels as important as its subject matter. 

Oscar Potential: Best Picture, Best Director, Best Actor, Best Supporting Actor (Jones), Best Supporting Actress (Field), Best Adapted Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing, Best Original Score, Best Makeup and Hairstyling, Best Sound Mixing

Outskirts (Russian)

A Russian classic by Boris Barnet, Outskirtsis a technically impressive film, from around the time sound in films just started, that tells the story of a small village town on the Russian-German border during World War I.

The film starts with normal everyday life of the town going into turmoil starting with a strike in the local shoe factory. Soon enough the war breaks out with a German attack and it is at this point that relationships between friends, factory workers, brothers, and family begin to strain. The film from then on follows the life of men from the town at the frontline and the life of the people they have left behind along with the German POWs who end up in the town after the war starts.

Outskirts is a film that has stark emotional highs and lows. There are moments of extreme comedy and just as in life these moments make the audience uneasy as they are almost always followed by tragic events that break the heart. These moments are heightened when news about men dying in war reaches the town just as German POWs are being given permission to move around amongst the residents to work and earn a living. A sense of despair is felt by the audience because of an expected tragedy on the onset of unexpected love between a German POW and a local girl; a love between two individuals who speak in languages that the other doesn't understand, and yet their attraction has the innocence of a first crush.

One of the scenes that depicts the emotional complexities of the period takes place inside the POW camp as the camera moves from one side of a room starting with two men playing cards, smiling, followed by a group of men gravely looking at a dying man in the next bed, followed by a man shaving his beard in an everyday fashion. The camera then moves back as the now dead man is removed, the men playing cards shift their game to a nearby bed as a mark of respect, and soon enough the empty space left by the dead man is taken by a new inmate. All this takes place in a rather subtle manner as if it is the normal way of life.

These dilemmas of emotions faced by the locals, the German POWs, and the men returning from the frontline are beautifully presented in the film and show a side of war that is often ignored.

Technically, the film presents numerous instances of marvel. From the moment in the beginning where a man looks at the audience and winks after just having picked-up a girl successfully to a later time in the film when the war has been going on for a few years and machines have taken over most of the work in factories, the camera work is simply spectacular as the film cuts from the shoe-making machines to soldiers dying in the trenches by machine guns. The sound effects of the film might seem sketchy at times, but the film proves to be a great comparison piece to see how sound has progressed over the years and also is a study into the intricacies of various sounds.        

Outskirts doesn't hide away from making a social commentary as a soldier at one point comments at the absurdity of war by saying, "We don't want to fight, they don't want to fight, but we're in the fourth year of war".

Outskirts is a film that signifies the power of people; the power to go on a strike and demand a better way of life, the power to fight for the country, the power to love the enemy, the power to defy your own father, the power to stand up against your own nation for what is right, and eventually the power of revolution.

Outskirts is classic cinema at its best.

Rating 5/5

DVD Information:

Release Date:       12 November 2012

Certificate: 12

Running Time:       99 minutes

  

Review: Skyfall (2012)

This one's a keeper.

Directed by Sam Mendes
Produced by Michael G. Wilson and Barbara Broccoli
Written by Neil Purvis, Robert Wade, and John Logan (screenplay); Ian Fleming (characters)
Starring Daniel Craig, Javier Bardem, Ralph Fiennes, Naomi Harris, Berenice Marlohe, Albert Finney, Ben Whishaw, and Judi Dench

****

When we last saw James Bond (Craig), he was dealing with the loss of Vesper Lynd, whilst tracking down her killer and taking down Quantum. Now, he's back fighting for Queen and country against a cyber terrorist named Silva (Bardem). Armed with a slowly-leaking list of NATO agents, the villain has targeted M (Dench), determined to take her down for her past sins. Bond is faced with the possibility of losing his boss and everything they stand for. If Silva isn't stopped, MI6 as they know it will be gone, and agents everywhere will be compromised. What should be a walk in the park is anything but, as Bond has lost some of his speed and efficiency. Bond must face these challenges while he tries to put the pieces together, and stop Silva before it's too late. 

The recipe for the 23rd Bond film is simple: take some of the old and combine it with the new. And does it ever work. It's tough to describe the tone of the film, because it's partly done in the vein of Casino Royale and Quantum of Solace, while also incorporating classic elements of the franchise. (I won't say more, for those who haven't seen it.) As much gritty as it is slick, this is a Bond to rank with the best of them. The narrative of a Bond film has never been so on point. While the film is noticeably lengthy, it's absolutely necessary, and the payoff is worth it. Craig continues to embody the iconic MI6 agent, bringing the dramatic chops with the wit and recklessness to the character. Bardem is a fine villain, chilling and unpredictable in a slightly underused role. Dench is solid as usual, and the rest of the cast is also on their game. Of course, the action is thrilling, Roger Deakins' lensing inspired, and the other technical elements are great across the board. Still, the story succeeds over everything else. Bond is back in one of the best 007 films yet, and, for that matter, one of the year's best films, period. 

Oscar Potential: Best Cinematography, Best Film Editing, Best Original Song, Best Sound Mixing, Best Sound Editing

Note: This is my 200th post, but I'm happy to celebrate it by reviewing a film I loved.

Short Circuit

Number 5 is alive!

If you've seen Short Circuit, there is a good chance you already have a smile on your face. If you saw it as a child, there is an even better chance you are thinking about the time you watched it with friends or maybe played it out in the park. That's the power of cinema.

Struck by lightening, No. 5 (voiced by Tim Blaney), a robot constructed at Nova Technologies, a defense firm, starts behaving like a human. Its hunger for "input" (information) leads it to Stephanie Speck (Ally Sheedy) who initially thinks of it as an alien but eventually takes on the task of protecting it from Nova Technologies who now wants to destroy No.5. Helping her along the way is the creator of Number 5, Newton Crosby (Steve Gutenberg).

Short Circuit is a great film is you want to learn word synonyms for No.5, after going through a dictionary, has a tendency to speak them out every chance he gets.

Stephanie Speck: I thought you were alive, Number 5. I let you tear my house to shreds and you're a ROBOT! You're a machine from that dumb war lab place. God, I'm so stupid!

Number 5: Stupid - foolish, gullible, doltish, dumbell...

Short Circuit is a great film if you want to laugh-out-loud as the team of military men and scientists try their best to catch Number 5 who seems to always be one step ahead of them.  

Skroeder: Maybe it's pissed off.

Newton Crosby: It's a machine, Schroeder. It doesn't get pissed off, it doesn't get happy, it doesn't get sad, it doesn't laugh at your jokes...

Newton Crosby/Ben Jabituya: ...IT JUST RUNS PROGRAMS!

Short Circuit is an essential watch if you want to wipe tears off your eyes from laughing hard at the dialogues of Ben Jabituya (Fisher Stevens), who in all probability is Apu (Simpsons) reincarnated as a scientist helping Newton find Number 5.  

Ben Jabituya: With excitement like this, who is needing enemas?

Howard Marner: Don't tell me its laser is still armed.

Ben Jabituya: Bimbo.

Ben Jabituya: Newton, we are wasting valueless time here.

Ben Jabituya: Bye-bye, goofy woman. I enjoyed repeatedly throwing you to the ground.

Stephanie Speck: ...Where're you taking him?

Ben Jabituya: This is not being a HIM. It's only being wires and several mechanisms and other such machine-type apparatus, for the Pete of sake - the sate of Peeckle...

Short Circuit is a wonderful 1980s comedy that manages to still amuse audiences after almost three decades of its release. It provides a sense of adventure of the most unlikely kind as a robot goes out in the big bad world and learns the importance of life, that of its own and others.

The magic of Short Circuit is that it works on many levels. It's a look at society and its eagerness to destroy anything that is not the norm. The film is great entertainment full of numerous fun filled chase sequences. Most importantly, it is a film for the entire family, especially the kids who are sure to be charmed by Number 5. As for the ladies, one look at Number 5 copying Travolta's moves from Saturday Night Fever, and you are bound to be floored. 

Short Circuit is amongst a group of great children's comedy classics from the 1980s (The Breakfast Club, Flight of the Navigator, Goonies, Herbie Goes Bananas, A Christmas Story, BMX Bandits, ...) that have become essential viewing for the newer generation because even with the passing of time, these films have remained as refreshing and crisp as any new film being released today.

Rating 4.5/5

DVD Information:

Special Features: Original Trailer, The Creation of Number 5, Cast & Crew Interviews, Behind the scenes featurette, Commentary.

UK Release Date - 19 November 2012

Running Time - 95 Minutes

Region Code - Region Free

Certificate - PG

Review: Heartbeats (2011)

Left to right: Francis (Dolan), Nicolas (Schneider) & Marie (Chokri)

Directed by Xavier Dolan
Produced by Xavier Dolan, Carole Mondello, and Daniel Morin
Written by Xavier Dolan
Starring Monia Chokri, Niels Schneider, and Xavier Dolan

****

Francis (Dolan) is best friends with Marie (Chokri). In fact, their relationship is more like a brother-sister one, but they want something more. After they meet Nicolas (Schneider) at a party, their relationship develops into an interesting love triangle, unbeknownst to Nicolas. The threesome, however, are a tight group, even sleeping in the same cramped bed together. Francis and Marie both fall in love with Nicolas, who appears friendly and somewhat receptive to their advances. Each pursues him, but to no avail. They even distance themselves from each other, in order to win the affections of Nicolas. Upon confronting Nicolas, Francis and Marie are jilted, and must mend their friendship as they try to heal their broken hearts. But life goes on, and they're soon back at a party, on the prowl for their next love.

Xavier Dolan's film takes an interesting look at this complicated relationship. The three performances feel like genuine, lived-in characters, even if they are hipsters. They live and experience great pain in these unusual circumstances, without straying from an authentic portrayal of a touching story. Aside from the talent on screen, the film would not be as good as it is without the solid screenplay and the stylish direction by Xavier Dolan, who also turns in a devastating lead performance. The film's technical strengths are also worth mentioning. In several scenes, steadicam shots are slowed down, and we get to float through the scenes with these characters. The film also uses vibrant colors and an electic soundtrack as effective storytelling devices. Overall, it's a technically brilliant little film with great performances and an intriguingly stripped-down story of the relationship between Francis, Marie, and Nicolas. I highly recommend this film, if you haven't seen it. It's one of the best - and most overlooked - movies that 2011 had to offer.

Oscar Tally: None

Skyfall

Could high expectations be the reason for Skyfall's downfall? Maybe, but then the film does stand tall on its feet even though it isn't as great as the initial reviews suggested. Mind you, it's a solid film and one of the best Bond films we have had, just not the best. Personally, I still hold Casino Royale as the film that took Bond to an entirely new level and made it grittier and darker than its predecessors and Skyfall continues on the same theme with only minor changes thrown in to stir up the audience, which in all honesty is a good thing.

Talking about Skyfall in detail would be giving away too much. Just like any good spy thriller, it is laden with enough twists and turns that even disclosing one would result in the breakdown of the entire film. So, I’ll simply say that the story gets personal this time, as did Quantum of Solace, but with adjustments that make Skyfall a lot more enjoyable. The typical Bond-British humor is there, the Bond girls are there, the usual characters are almost all there, but what we do have in addition is a Bond villain after a long time that will stand the test of time and remain memorable. The credit for that goes to Javier Bardem who portrays the villainous Silva with such panache that by the last act even Craig's Bond ends up with a major complex as he comments on Silva's ability to make a somewhat grand entrance.

Where Skyfall succeeds is in cunningly holding a few Aces up its sleeves. What is does beautifully is make the audience nostalgic about the entire franchise highlighted even more with the classic theme song by Adele which is reminiscent of the earlier Bond films. There is enough exploration of the past, both in the films story and in the execution of the film by director Sam Medes, that any ardent fan of the series could not help but fall for this new Bond that is all business and much less talk than his earlier avatars. There is also a certain progressiveness to the entire character development of Bond to the extent the three films starring Daniel Craig come very close to being termed as a trilogy, and maybe that is why my personal favourite remains Casino Royale because it was responsible for kick-starting this new age of Bond.

Skyfall makes for recommended viewing even if you are not a Bond fan. The story, while it has its inside jokes, can be understood and enjoyed by a first timer. I have always believed that having a memorable villain means half the battle is won for any action film, and Skyfall ticks that box with a certain pride and a willingness to explore the boundaries of what the audience expects. With the promise that Bond will returnthings look promising for the future, and I have a slight inkling that the next Bond film will be even more back to the basics when it comes to those three Gs; Guns, Girls, and Gadgets.

Rating 4/5