Worth Staying Awake For

The first five minutes of Christopher Nolan’s Inception were, in my humble opinion, some of the most painful moments in cinematic history. It was at that point that I realized I was in for an exceptionally good movie. When I decided to stop trying to figure things out, realized that this film would probably require more than one viewing, I opened my mind (get it?) for a terrifically enjoyable movie experience.

Where to begin? To try and review this movie without going into deep detail about the plot is going to be difficult, but I am not in the business of ruining twists and endings, so I will do my best. Inception explores the exploits of a team of, for lack of a better word, thieves who are able to enter a subject’s subconscious when they are dreaming and extract, and in very rare cases implant, information. It sounds cool, until one factors in the easy blurring between subconscious and reality, leading to a series of dangerous and compromising situations.

I knew none of this upon entering the cinema. In hindsight, it probably would have helped me to shuffle through the first few scenes—if I had had any idea what the movie was about, I most likely wouldn’t have felt like my mind was melting. This being said, there are dozens of layers to the plot; IMDB boards are buzzing with speculations regarding the tense and utterly maddening last scene (not that I read IMDB boards).

I was impressed with the acting, for the most part. I think that Nolan did a good job of highlighting each of the characters in the ensemble cast. It was interesting to see Leonardo DiCaprio, Joseph Gordon-Levitt, and Ellen Page all sharing the same screen, but each carried their role in a mature and thorough manner. I was glad that DiCaprio was able to shake off the rigidity and stiltedness that I believe he brought to Shutter Island. I don’t buy that Inception was the highlight of his career, but it proved that he’s earned the chops that make him a household name.

While the plot and the acting were the two most integral components of this film, there is much to be said for both the writing and directing. Yes, there were a few standard “action movie” lines, but the dialogue, for the most part, flowed naturally and seemed realistic, if not a little bit repetitive. In a similar vein, Nolan’s directing was not clumsy, throwing me back to his earlier film, Memento. His integration of mind-blowing special effects (slow motion, zero-gravity fight scene, an entire city folding into itself, etc.) with touching and realistic moments was tasteful and refreshing in light of recent steps backward made by others in his field.

Inception was definitely worth seeing, and I believe it is the type of movie that will stand up upon further viewings. A good movie is one that stays with me, that my brain has to systematically work through, even in the final moments before I drift off to sleep. Inception did just that. Sweet dreams.  

"What's the most resilient parasite? An Idea. A single idea from the human mind can build cities. An idea can transform the world and rewrite all the rules. Which is why I have to steal it." 

Watch the trailer here: http://www.youtube.com/watch?v=66TuSJo4dZM

Spoiler Alert: It's Awful.

                During long car rides or nighttime walks on the beach, my friends and I usually find ourselves involved in a game of choice, where players are expected to pick the less awful of two horrendous options. For example, I may have to decide whether I would rather freeze to death or drown. After my recent viewing of M. Night Shyamalan’s The Last Airbender,  I am a strong believer in the fact that no option my friends provide could be worse than the potential of ever having to see that movie again. If I had one opportunity to go back in time, complete with the ability to erase one event from my life, I would prevent myself from shelling out $11.50 to view what is, bar none, the worst movie I have ever seen.

                

             I will preface this scathing, and at very least strongly-worded, review by saying that I think the show is great. I recognize that it’s silly and kind of pointless/predictable, but at least it is entertaining, which is certainly more than I can say about the movie adaptation. I was not expecting a “good” movie. I knew that the script would probably be awful, and that the acting most likely would not win any awards, but no amount of cynicism could prepare me for the utter catastrophe that played out before me.

                

                   When I watch a movie, even if I don’t like it I try to find something positive it has to offer. At first, I thought that the action scenes would be interesting and visually pleasing. They were neither. For a movie about people who can physically control the elements in any which way they please, there was not very much “bending” going on. For every half-hearted blast of fire or water, there was a several minute precursor which I can only describe as a ballet routine. Maybe it was martial arts, and maybe I’m a jerk for not being able to see the art in it, but the long exercise made the already-kind-of-boring element bending even less exciting.

                

                   Similarly, I was ready to give the acting a chance. I was hoping that at least Dev Patel would be good, but I quickly realized that his film career went from Slumdog Millionaire to The Last Airbender. I almost don’t blame him for not even trying to act. The other characters, funny and vibrant in the show, were monotone excuses for their cartoon counterparts and made the 103 minute runtime almost unbearable. The plot was also non-existent, skipping from storyline to storyline with utter disregard for any sense of lucidity or tempo. Every comic bit from the series was left out, and the characters, even if they hadn’t been played like robots, were written to be shells of their developed selves (at least, developed for a children’s show on Nickelodeon).

                 

                I was actually excited for this movie. In my heart of hearts I knew it was going to be terrible, but even the twisted depths of my imagination could not predict how terrible. It’s almost like Shyamalan was playing a joke on the world. It would have been funny if it wasn’t so sad, didn’t take itself so seriously or make me so angry. It is safe to say that I have never been so disappointed with a cinematic experience in my long movie-viewing career, and I hope that I can recover from the shocking failure before I give up watching movies all together. If The Last Airbender is representative of where the American film industry is headed, consider me an expat. Seriously? Save yourselves.

It would hurt me too much to post either a trailer or a quote on this blog...

Childhood, Revisited

                Toy Story was, without a doubt, one of the most beloved and unrivaled classics of my upbringing. In my family, it was somewhat of a rite of passage. No one would ever explain the jokes, and with each new discovery came a better understanding of what may just be one of the sweetest stories ever told. When I first saw the preview for Toy Story 3, I could feel my heart breaking. I was no great fan of the second installment (although I really should watch it again), and I was worried that this third chapter would soil the great name of the trilogy.

                                                             I could not have been more wrong.

                

               Toy Story 3 is Pixar's magnum opus. It is the epitome of a charming send off to a treasured and adored piece of so many children's lives. While I was one of the oldest viewers in the theater today, it didn't matter. This movie was able to bring me right back to the time when I (theoretically of course-- I was much more of a books girl) played with toys, myself. It is a bittersweet, hilarious, and ultimately heartwarming exploration of the consequences of growing up and the small ways in which our childhoods stay with us for life. 

              To me, this is the perfect summer movie. While there were no new or shocking innovations in animation, it was classic, familiar, and welcome Pixar (at it's finest). The comfortable animation was complimented by a fantastic and clever script, one which had me laughing hysterically, and making an utter fool of myself, from the very first scene. 

  

              And the story! I am not going to go into detail about the plot because I wanted to know as little as possible before I got to witness it for myself. However, I was more involved in this movie than I have been in any other for quite some time. I loved the attention to detail, and the homages to films like Cool Hand Luke, which is a personal favorite. And even though I had my doubts, Andy grew up to be a pretty sweet kid. Asking for a more perfect ending would be like asking John Irving to change the fate of Homer Wells. It was just that good. 

            Here's my dirty little secret: I cried, like a baby, throughout the entire movie. I don't know if it was because the idea of college scares me more than any horror film, or because the thought of my childhood favorites being neglected tugged a little too harshly on my heartstrings. But I will say that, for the first time in my entire movie-watching career, I didn't mind that the waterworks weren't dammed. I do not regret crying one single bit. It is movies like this that make me the happiest--simple, honest, heartfelt. Hats off to Pixar for reminding me that devotion and patience are the best qualities I could ask for, and that moving on doesn't have to be that scary.

"And this... well, this is where I live. It's got a disco, it's got a dune buggy, and a whole room just for trying on clothes!"

Click here to view the trailer: http://www.youtube.com/watch?v=v_FfHA5whXc

Enfin!

The 400 Blows has been on my interminable list of movies for almost a year. In my mind, it was the epitome of Film, with a capital “f”. It was one of those movies that I could casually name-drop in a room full of my peers, and I would instantly be labeled as a movie elitist, a snob, someone who probably knows the name of costume designers and why, exactly, Clark Gable was so difficult to work with. But mention it in a room of film students, and they would scoff at my immature understanding of French Nouvelle Vague cinema. In the end, I watched this movie just to see what all the commotion was about. And to be honest, I am almost entirely devoid of opinion (imagine that!).

I’ll keep it brief because a long-winded review stating my near-apathy towards a cherished film wouldn’t bode well for my credibility, and probably wouldn’t be very interesting, either.

There were several aspects of this film that I really enjoyed. First, the lack of meaningless dialogue was something I greatly appreciated. I am a words girl through and through, but I think there is something to be said for the art of body language, too. Fifteen-year old actor Jean-Pierre Léaud beautifully embodied the heartbreak and anguish of Antoine, a boy who just can’t seem to succeed, and he did so with a stunning range of facial expressions and mournful stares that gave nonverbal depth to his troubled character.

I also enjoyed the camerawork. This movie does not look professional. It’s what could easily be categorized as “artsy”.  The camera played its role exceedingly well, allowing for the audience to focus on Antoine or the object of his desire, whatever that may be in the current scene. The movie almost seemed like a documentary, but not in a motion sickness-inducing, Blair Witch kind of way. The way that The 400 Blows was filmed lends an element of realism to a movie that has ascended to mythical status.

Unfortunately, I didn’t find the plot to be anything spectacular. While there were moments I did enjoy, like when Antoine’s friend snuck him into the room with the gigantic, taxidermy horse, or when our hero turns in a plagiarized essay which he really didn’t mean to copy (it reminded me of Old School by Tobias Wolff), the majority of the plot is rather mundane. Now, I don’t really know anything about Nouvelle Vague cinema, so maybe the celebrated director Truffaut was making some kind of statement on urban life in the late 50s, but I never really felt anything for Antoine. I had a difficult time following the story with a heightened level of interest because the boy, although clever, seemed like a shell of a fully-developed person.

The score also left me cold. Yes, I will admit to thinking it was cute, but it was also painfully repetitive and, in my opinion, inappropriate for the majority of the film. Usually, I am in favor of recurring themes in an overall score, but the same piece of music appeared, unchanged, on several occasions.

Even though The 400 Blows will probably never make it onto my list of favorites, one of the movies I watch over and over until I know it by heart, I found myself grinning ear to ear when the credits rolled (I won’t spoil the ending). Who am I to criticize what is lauded as one of the greatest films of all time? Maybe I missed the point, and I’ll probably have to watch it again a couple of years down the road. For now, I’m content to be able to offhandedly mention this film and willingly accept the title of film snob.   


 "Every time I cried, my father would imitate me on his fiddle, just to drive me nuts. One day I got fed up and I knocked him out."


Click here to watch the trailer: http://www.youtube.com/watch?v=i89oN8v7RdY

I Forgot!

When I was in 5th and 6th grade, I was beyond obsessed with everything Lord of the Rings. It’s embarrassing, and I am not going to get into the details, but I was “that” kid. Because of this black mark on my social history (one of many, I’m afraid) I stuck all of my Lord of the Rings movies in a drawer, never again to grace my VHS player. This past weekend, however, in an attempt to put off my AP History homework, I decided that a back-to back-to back viewing was necessary. I know a little bit more about movies now than I did then, and I was amazed at how good these actually are.

First of all, the score is enough to almost make me cry (but not quite). Composed by Howard Shore and featuring performances by Annie Lennox, Enya, and Renee Flemming, as well as members of the cast, among others, there is not one scene where the music fails to capture the mood. My favorite might be a piece called “The Return of the King” from the third installment of the same name. It is 10:14 and is featured close to the emotional end of the third movie. It is a greatest hits piece of all the iconic themes throughout the three movies, and the emotions of the scene are mirrored perfectly in this composition.

When I was younger, my favorite character was naturally Frodo, the hero who must take the One Ring to be destroyed in the fires of Mount Doom lest it fall into the hands of the Dark Lord Sauron. When I watched again over the weekend, the Frodo-Sam-Smeagol plotline was my least favorite. Three and a half hours of angst is a little much. I much preferred the more understated plotline of Merry and Pippin, the two best friends separated from their ring-bearing companions and made to fight in two different armies. I found Dominic Monaghan’s Merry to be very convincing; he brought an element of realism to this fantasia. Billy Boyd’s characterization of Pippin really pulled on the heartstrings and kept me involved in the story.

The cinematography was beautiful. There is one shot in The Return of the King where there is a large enemy army attacking a city. Just as all hope is lost, the reinforcements arrive. It’s as if angels descended from the heavens, all to the tune of Handel’s “Messiah”. The shot is stunning. At first, only the front line of soldiers are visible, but as the sun rises, the camera pulls back to reveal thousands of riders on horseback. It continually takes my breath away. And it is only one of many.

Even though I will be playing catch up for the rest of my life because of my constant weekend shirking, I’m glad that I made time to revisit these films. There’s a reason that they won so many Academy Awards. I was lucky enough to be able to watch through different eyes, and I think it really improved the experience. If you’ve never seen these movies, or haven’t in a long time, I suggest carving out a good chunk of time, grabbing a blanket and some hot chocolate, and letting yourself get wrapped up in the story. “Suspension of disbelief” is what these movies work on, so let yourself go, relax and enjoy. You will not be disappointed.

"Ride now!...Ride now!...Ride! Ride to ruin and the world's ending!"

http://www.imdb.com/video/screenplay/vi787874073/
Click here to watch the trailer

Oscar Nod

I hate that I love Quentin Tarantino. I really want to dislike his movies because it makes me feel like a creep when I’m not disturbed by all the violence and gore. I’m not a Tarantino loyalist, though. I will probably never see Grindhouse and I thought Reservoir Dogs was a bit excessive, so when I saw the trailers for Inglourious Basterds, I was hoping to be impressed. After shelling out nine bucks for a movie ticket, I am happy to report that this film exceeded my expectations.

First of all, I am a sucker for subtitles. I think they’re a great way to expose oneself to the beauty of another language. While Basterds is an American film, it utilized not only English, but French, German, and a little bit of Italian, as well. Because of the diversity of idioms, a wide variety of actors took part in this film. There was, of course, Brad Pitt, with whom I was pleasantly surprised. I will make this very clear: I am a member of Team Aniston and like to praise Pitt as sparingly as possible. However, I also know to give credit where credit is due, and he deserves it for this role. Sporting a ridiculous Southern accent, he plays the All-American Lt. Aldo Raine, leader of the Basterds. He oozed a kind of cool nonchalance which was reminiscent of his larger than life Tyler Durden of Fight Club fame. Then there was Christoph Waltz, who was perfect in the role of Colonel Hans Landa, the “Jew Hunter” and clear villain of the film. He terrified me with his calm portrayal of the sociopathic SS leader. This year’s Academy Awards will probably feature either Waltz or Pitt (or maybe both!) among the nominees. The rest of the film was peppered with outstanding performances. BJ Novak as Smithton Utivich and Eli Roth as Donny Donowitz provided much needed moments of comic relief, while Diane Kruger as Bridget von Hammersmark and Mélanie Laurent as Shosanna brought to life a poised movie star/ spy and a tough but tragic antihero, respectively. One final notable performance was that of Daniel Brühl playing war hero Fredrick Zoller. He made me forget that he was a Nazi, until he made it abundantly clear.

In typical Tarantino fashion, and this film was pure (well done) Tarantino, the plot was familiar but not overly predictable. It was broken up into chapters and made use of many freeze frames, arrows, and floating text. There were two main storylines. The first followed Jewish escapee Shosanna in her exploits as a cinema owner and her unwanted courtship with a Nazi war hero (Brühl). The second tells the story of the Basterds, an American special unit sent to Germany with one mission: kill as many Nazis as possible, and maybe even end the war. The two plots never cross and are connected only by the Colonel Hans Landa. I wish I could give away the exciting parts, but I would hate myself forever for spoiling the fun. While this is probably the most historically inaccurate movie I have ever seen, it wasn’t trying to be anything that it wasn’t. I found myself laughing at the sick humor and smiling widely when something shocked me, which was quite often. When I go to the cinema, it’s because I want to be wrapped up in a movie. This movie took me through a wide range of emotions, from giddy to grossed out, and it certainly did its job as a summer blockbuster. Also, it involved the audience in the fun. It made frequent references to itself which, at least to me, made me feel sharp as a tack and included in the action.

My advice: If you don’t like reading, can’t sit still, or get bored easily, don’t go see this movie. There was definitely a bit of false advertising which made this movie seem like pure action and thrills, and while it certainly delivered, there is more to it than that. The writing is dark and clever, but there is a lot of dialogue to pay attention to. Personally, that’s my favorite kind of movie. If it doesn’t make you pay attention, why bother watching? That being said, the people I saw this movie with all seemed to agree that some scenes could have been cut shorter. I respectfully disagree, but they have a valid point. If you’re a fidgeter, skip this one.

I’ll be very glad if, in February, Inglourious Basterds gets some sort of Oscar Nod. What’s more, I think a film that includes great camera work, superb writing, exceptional acting, and a blend of shadowy comedy and shocking action deserves a little golden statuette. I bet the Academy will take this suggestion into consideration.

"You know, fightin' in a basement offers a lot of difficulties. Number one being, you're fightin' in a basement! "

Watch the trailer here: http://www.imdb.com/video/imdb/vi3738173977/

I Cried?

I have said it before and I will say it again: movies do not make me cry. I can count on one hand the films which have succeeded in finding what little piece of heart I have and tearing it up, specifically It’s a Wonderful Life, The Perfect Storm, Saving Private Ryan, and Milk. I recently had to add one more to The Short List after watching Martin Scorsese’s Gangs of New York. My advice to you: do not watch this movie after a very long day, especially if you have a reputation to uphold as someone without a soul. While I’m willing to bet that the circumstances under which I watched this film can be held accountable for the one or two tears I shed, the movie would not have gotten to me had it not been so brilliant.

My absolute favorite characteristic of a film is its ability to simply begin. No long, drawn out title sequences during which each and every member of the cast and production team (Thank you so much, Jimmy Johnson the gaffer!) is credited, no explaining, just a beginning. Gangs of New York certainly delivers in that department. Within the first ten minutes of the film, there was absolutely no turning it off. By that time, the major characters were introduced, a battle was fought, and a history lesson had clearly begun.

Based on the true story of the evolution of New York from a ragtag group of gangs to a bustling city, Gangs of New York focuses on a young man named Amsterdam Vallon (Leonardo DiCaprio) seeking to avenge the death of his father. His killer, Bill “The Butcher” Cutting (Daniel Day-Lewis) was based on a real gang leader from the late 1800s, when the movie is set. There are many aspects of this movie which deserve commendation, and the acting is definitely one of them. Daniel Day-Lewis was fascinating to watch. He took a role which easily could have been made into a caricature of a bad guy and added complexity. Whether it was his add-libbed contributions which provided The Butcher with a sense of humor, or his cold, terrifying portrayal of someone with boundless power, Day-Lewis unquestionably gave the performance of the film. Leonardo DiCaprio did not stand out so vividly, if only because Day-Lewis was so fantastic. The only role I thought was terribly miscast was that of Jenny, a pickpocket and love interest, played by Cameron Diaz. This could be a personal issue because I don’t think she’s an amazing actress in the first place, but I would loved to have seen someone with more pizzazz playing the part.

The score, composed of Irish folk songs and classical pieces (mainly “Brooklyn Heights” written by Howard Shore), was chilling. It was a little repetitive, but in a familiar, welcome way. The set, especially for the opening scene, was almost surreal in its simplicity and accuracy. The depiction of what I can only call tenements in wooden scaffolding form was unnerving, to say the least, and in direct contrast with the upscale mansions belonging to the wealthy characters.

My favorite thing about this movie is that a lot of it really happened. The secondary historical plots about the Emancipation Proclamation, the Civil War, and the influx of Irish immigrants were a welcome backdrop to the primary story line (which, by the way, is still based on a true story) and helped to keep the time period in perspective. We are taught political correctness in this era, so we shudder to think about some moments of our past. This is a spectacular and shameful moment for us to remember. The scene which made the movie for me is when the Irish immigrants fresh off the boat are issued a passport and a Union Army uniform and loaded onto the ships for the south. As they are walking up the gangway, the camera pans to the right and the audience is shown a coffin being lowered onto the docks next to hundreds of others. It’s poignant, distressing, and wonderfully subtle. Also, watch for the “timeline” scene. You’ll know it when you see it, trust me.

Realistically, I don’t know what got to me. It could have been my long day, and that is probably the story that I am standing by, but even more likely is the possibility that this film was just so good, in both the production and story departments, that I couldn’t help but let loose a few tears. Don’t get used to this.

“But for those of us what lived and died in them furious days, it was like everything we knew was mildly swept away. And no matter what they did to build this city up again... for the rest of time... it would be like no one even knew we was ever here.”

Watch the trailer here: http://www.imdb.com/video/screenplay/vi518717721/