Oscar Movie with Abe: If a Tree Falls

If a Tree Falls: A Story of the Earth Liberation Front
Directed by Marshall Curry & Sam Cullman
Released September 23, 2011



This Oscar nominee for Best Documentary, now available on DVD, spotlights members of the Earth Liberation Front, an ecological action group that has been branded as a domestic terrorist group. It presents an intriguing ethical date about the implications of arsons that create immense property damage but take no human lives, regardless leading its instigators to be aggressively charged and subject to life sentences. Its interviews are perhaps its strongest asset, allowing each of the members to give their side of the story and stand true to their beliefs, as much as they still might after being caught and forced to face up to the consequences of their acts. It’s an unconventional subject that deserves to be spotlighted, particularly because it showcases complicated and uncertain issues.

B+

Oscar Movie with Abe: Hell and Back Again

Hell and Back Again
Directed by Danfung Dennis
Released October 5, 2011



This Oscar nominee for Best Documentary, now available on DVD, is a harrowing, depressing exploration of one man’s life following his injured return from service in Afghanistan. This is one case where the camera seems omnipresent abroad as the soldiers talk to the local people, tell them not to worry and apologize to them for the security procedures they are enforcing. It’s one of a number of films, along with last year’s Oscar-nominated short doc “Poster Girl” and last week’s new narrative feature “Return,” that makes the case for this recent war being a transformative, traumatizing experience. The film has an important point, but by letting its subjects speak so freely for themselves, it doesn’t offer as much of a perspective as could have been helpful and interesting.

B-

Oscar Movie with Abe: The Adventures of Tintin

The Adventures of Tintin: The Secret of the Unicorn
Directed by Steven Spielberg
Released December 21, 2011



It’s difficult to make a movie about any classic character from literature. Bold reporter Tintin, from the Belgian comic books by Hergé, offers a particularly fun challenge, bringing to life this hand-drawn character with computer animation. Steven Spielberg, proven to be a filmmaking pioneer over the past few decades, does a magnificent job of adapting Tintin for the big screen, creating an animated film fitting for both children and adults. Most importantly, it serves equally as a motion capture animation achievement, bringing Tintin’s wild adventures to life with grace and wonder, and a vehicle for a fantastic story, filled with intrigue and humor. Tintin’s energy and enthusiasm is part of what makes him such a superb character, and Jamie Bell’s spot-on voicing works spectacularly. Andy Serkis is entertaining as drunkard Captain Haddock, and the rest of the voice cast, including Daniel Craig, Nick Frost, Simon Pegg, Toby Jones, and Daniel Mays, is utilized to great effect. This is probably the most enjoyable animated entertainment produced in 2011, and could easily spawn a series of sequels. Its snub for Best Animated Feature is truly lamentable, and its inclusion in Best Original Score for its bubbly soundtrack is but a half-decent consolation prize.

B+

(Almost) Oscar Movie with Abe: We Need to Talk About Kevin

We Need to Talk About Kevin
Directed by Lynne Ramsay
Released January 13, 2012



This film scored Tilda Swinton Golden Globe and SAG nods for Best Actress, but couldn’t make it all the way to Oscar. It’s understandable, since this film is about as dark as it gets, following the run-up to and aftermath of a horrible mass murder committed by one woman’s teenage son and how it affects her life. “We Need to Talk About Kevin” digs deeper than having a child snap because of his unpopularity at school, instead focusing on how, even from a young age, Kevin (Ezra Miller) seemed to have it out for his mother Eva (Swinton). It’s a deeply upsetting, disturbing chronicle presented in such unchronological fashion that it’s hard to believe that Eva was ever happy. Swinton, as always, is excellent, and Miller’s terrifying performance, as well as that of Kevin’s two younger portrayers, Jasper Newell and Rock Duer, are equally strong. The film is less focused, examining tragedy with a lens perhaps too narrow and bleak for its own sake. It’s nonetheless a compelling film, and worth a see for those not prone to nightmares.

B

Oscar Movie with Abe: A Separation

A Separation
Directed by Asghar Farhadi
Released December 30, 2011

This Oscar nominee for Best Foreign Film and Best Original Screenplay very much earned its mentions. Its fascinating first scene features a woman, Simin (Leila Hatami) pleading with an uninterested judge for a divorce from her husband Nader (Peyman Moadi). As the film progresses, however, it becomes much more than that, following the aftermath of Simin’s departure and the arrival of a caretaker, Razieh (Sareh Bayat) to watch over Nader’s father, who has Alzheimer’s, and his young daughter Termeh (Sarina Farhadi). This is easily one of the most gripping non-thriller dramas produced by any country in recent years, investing in each one of its characters without offering a clear opinion on whether their actions and motivations are good or bad, pure or evil. The performances are magnificent all-around, particularly from the unhappy couple but also from Bayat and Shahab Hosseini, who plays her jobless husband Hodjat. In addition to telling an intriguing story, “A Separation” offers a bleak picture of the Iranian justice system, presented literally in the form of one impatient judge sitting at a desk. “A Separation” is genuine, honest, and utterly captivating.

A-

Home Video with Abe: Dirty Girl

Dirty Girl
Directed by Abe Sylvia
Released October 7, 2011



I missed this comedy when it was in theatres this fall, but LBI was kind enough to send me a copy of the DVD, which was released last Tuesday, and I’m very glad I saw it. This saga of a bad girl in the 1980s, Danielle (Juno Temple), whose search for her father takes her on a wild cross-country trip with Clarke (Jeremy Dozier), an unpopular boy whose father disapproves strongly of his homosexuality. At first, Danielle and Clarke seem like ordinary stereotypes, but as the film goes on, they become endearing and entertaining characters. Temple is fantastic, delivering sarcastic and mean-spirited dialogue with a fervor that matches Charlize Theron in “Young Adult,” and Clarke reveals a surprising energy that makes him one of the movie’s funniest personalities. Milla Jovovich, Mary Steenburgen, Dwight Yoakam, and Gary Grubbs fill out a strong supporting cast without any weak links. This is a road movie and a high school movie wrapped into one, and it manages to be original and highly enjoyable.

B+

Movie with Abe: In the Land of Blood and Honey

In the Land of Blood and Honey
Directed by Angelina Jolie
Released December 23, 2011



Angelina Jolie’s directorial debut is not what one might expect. “In the Land of Blood and Honey” is a stark, sober portrait of a doomed love story set during the Bosnian War in the mid-1990s. It’s hardly a film for everyone, given its extensive disturbing thematic and visual content. Its depiction of heinous war crimes is reminiscent of two other affecting 2011 films, “5 Days of War” and “The Whistleblower.” Its specific plot centers on one strong-willed Muslim woman, Ajla, who had a romance before the war with a Serbian policeman, Danijel, that continues and evolves in a peculiar way as they end up on opposite sides. The complicated relationship is similar to that presented in Ang Lee’s “Lust, Caution” and Paul Verhoeven’s “Black Book,” though hardly as trivial as either of those. Jolie utilizes an impressive cast of actors from the former Yugoslavia, speaking in their native languages, with one only remotely recognizable face, Rade Serbedzija, who played essentially the same part in “5 Days of War” as a tyrannical general eager to move forward with ethnic cleansing. The film might be far more unsettling and upsetting than inspirational, but it does serve as an important tribute to those that lost their lives in a senseless conflict, and as a film with a greater message about the banality of war.

B+

Movie with Abe: The Iron Lady (Capsule Review)

The Iron Lady
Directed by Phyllida Lloyd
Released December 30, 2011



Biopics are, first and foremost, about one person. Films about a historical figure, real or fictional, sometimes rely so heavily on the story of their protagonist that they forget the rest of the story and the world, resulting in a fantastic lead performance and an unextraordinary surrounding universe. In the case of “The Iron Lady,” from “Mamma Mia” director Phyllida Lloyd, there’s no debating that Meryl Streep’s turn as former British Prime Minister Margaret Thatcher is anything but spectacular, as she embodies the character through both her political career and subsequent debilitating condition. Fortunately, however, the film is also strong, showcasing her ascent to power and her term by having an elderly Thatcher reflect back on her choices and her life. Alexandra Roach delivers a compelling portrayal of a much younger Thatcher, and Harry Lloyd and Jim Broadbent deliver able support as her husband Denis, who is deceased for much of his appearance in the film. “The Iron Lady” is as comprehensive a biography as can be expected in under two hours, and does a mesmerizing job of telling Thatcher’s story. It’s sure to be remembered for the performance that will earn Streep her seventeenth Oscar nomination, but, positively, there’s more to this film than just her.

B+

Home Video with Abe: Margin Call (Capsule Review)

Margin Call
Directed by J.C. Chandor
Released October 21, 2011



First-time feature filmmaker J.C. Chandor hit it big with his debut movie. This Wall Street drama takes place over the course of one fateful evening, when, in the aftermath of a wave of layoffs, one lowly analyst discovers information that could lead to the unraveling of the firm. A cast of heavy-hitters of various degrees are enlisted for the various levels of responsibility, starting with young TV actors Zachary Quinto (“Heroes”) and Penn Badgley (“Gossip Girl”), moving up to Stanley Tucci, Paul Bettany, Kevin Spacey, Simon Baker, and Demi Moore, and all the way up to Jeremy Irons as the firm’s formidable CEO. Tucci, Spacey, and Irons are particularly excellent in this strong ensemble, and the film is reminiscent of another Spacey feature, “The Big Kahuna,” using a set time frame and physical location to keep its story moving and focused. Its themes are highly relevant, probing financial ethics and the impact of job loss. It’s even a quiet, calm, unsuspecting thriller of sorts that has its share of pertinent outbursts from different characters, and overall, it’s a captivating, enthralling film, and whatever Chandor does next is likely to get quite a bit of attention.

B+

Home Video with Abe: A Better Life (Capsule Review)

A Better Life
Directed by Chris Weitz
Released June 24, 2011



Chris Weitz has an eclectic directorial resume, starting with “American Pie” and the Chris Rock comedy “Down to Earth,” highlighted by the Hugh Grant dramedy “About a Boy,” and then leading into the disappointing “The Golden Compass,” the Twilight film “New Moon,” and then this father-son immigration drama. What “A Better Life” has to offer is nothing exceptionally creative, presenting the story of a hard-working gardener, Carlos Galindo, trying to give his fourteen-year-old son Luis something to look forward to in his future. Luis’ interactions with local gangs and his father’s loss of his truck – which many have surely compared to the events of the classic Italian film “The Bicycle Thief” – make Carlos’ dream seem like an impossibility. Demian Bichir, most familiar to American audiences as high-powered and complicated villains Esteban Reyes from “Weeds” and Fidel Castro” in Steven Soderbergh’s saga “Che,” plays completely against type as the kind and honorable Carlos. He earned a Screen Actors Guild nomination for his performance, but, truth be told, he’s much more engaging and impressive in his less angelic roles. His onscreen son Luis is more irritating and ungrateful than anything else, and the main takeaway is that the film takes plenty of familiar and predictable turns, telling a story that might be powerful if it hadn’t been told so many times before in a similar and more effective manner.

B-

Movie with Abe: Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close
Directed by Stephen Daldry
Released December 25, 2011

There are many, especially those living in New York City, who will never feel that enough time has passed to make a film about the terrorist attacks on September 11th, 2011. Two 2006 films, “United 93” and “World Trade Center,” dealt with the events on that particular day, while the adaptation of Jonathan Safran Foer’s 2005 novel follows a child whose father was killed in the World Trade Center throughout the year after his loss. For those willing to endure tears, “Extremely Loud and Incredibly Close” is an immensely engaging and profoundly meaningful experience about a search for closure by one particularly precocious child.

“Extremely Loud and Incredibly Close” is anchored entirely by the relationship between nine-year-old Oskar Schell (Thomas Horn) and his father Thomas (Tom Hanks). During Thomas’ life, he energizes his socially awkward, marvelously adult-like son with lavish scavenger hunts and other projects utilizing New York City. After his death, Oskar finds what he is sure is his father’s final challenge for him, prompting a lengthy inter-borough adventure full of both dramatic and comic moments. The specific details of Oskar’s realization of his father’s fate are scattered throughout the film, brought to light only when Oskar begins thinking of them.

Thomas Horn delivers an astonishing debut performance, chosen for the role after winning over $30,000 on Teen Jeopardy in 2010. Horn has unbounded energy and an impossibly mature attitude, making Oskar a believable child and a fantastic protagonist for this story. Alexandre Desplat’s beautiful score is magnificent because it alters its tone and beat to match Oskar’s emotions, ebbing and flowing as he encounters obstacles and success along his journey. He is guided at times by the film’s other standout performer, Max Von Sydow, who plays the mysterious man renting a room from Oskar’s grandmother, who does not speak and communicates via written notes.

Stephen Daldry has made only four feature films, and his first three earned him well-deserved Oscar nominations for Best Director. His follow-up to “Billy Elliot,” “The Hours,” and “The Reader” is fully worthy of classification with its predecessors, demonstrating strong cinematic techniques in bringing the excellent script by Eric Roth to the screen. “Extremely Loud and Incredibly Close” succeeds mainly because it presents a story from a child’s point of view without seeming either too young or old. The approach to the delicate material is sensitive and respectful, and the film is inspirational, powerful, and entertaining with few lulls along the way.

B+

Movie with Abe: Albert Nobbs

Albert Nobbs
Directed by Rodrigo Garcia
Released December 21, 2011

It’s always intriguing when an actor or actress plays a character of a different gender, or, in this case, a character masquerading as someone of a different gender. An enticing premise, like the story of Albert Nobbs, a woman posing as a quiet, unassuming male waiter and butler in Ireland in the 1800s, doesn’t necessarily mean that the ensuing film will be interesting. The notion of Albert’s false existence is far more appealing than the story of his portrayer, which fails to be lively or dynamic, with mostly unenergetic supporting players and a surprisingly generic and uncreative plot.

Most of “Albert Nobbs” takes place within the confines of a hotel, where the insufferable Mrs. Baker (Pauline Collins) directs a staff of employees to cater to the luxurious tastes of her establishment’s clientele. Albert has managed to fly under the radar for years, barely speaking but always doing exactly as he is told, never arousing any suspicion until the arrival of another man with the same secret, revealed shortly after his first appearance, throws him for a loop. Albert begins to unravel, murmuring to himself about the possibilities of finding himself a wife and opening a tobacco shop, dreaming about finally being free to live the live he has been suppressing for so long.

The presentation of Albert’s story leaves much to be desired, as Albert, fascinating a character as he could be, isn’t nearly as enthralling as might be expected. Glenn Close delivers a careful, calculated performance, which is impressive if not terribly engaging. The film is most watchable when Janet McTeer appears on screen, as painter Hubert Page, who, like Albert, is not who he purports to be. McTeer adds considerable comedy to a film that is often lighter than it initially appears to be, thanks to the comic hijinks of Mrs. Baker’s management style and some of her less suave employees. Mia Wasikowska is left with little to do as the young and attractive Helen, who catches Albert’s eye as a potential wife but ignores him to be with deadbeat bad boy Joe Macken, a throwaway role played by Aaron Johnson. That particular subplot is dull and hopelessly trite, and it diminishes the impact of Albert’s search for companionship. Like its title character, the film rarely gives in to emotion or lets its characters lose control, turning an original concept into a dense and inaccessible run-of-the-mill doomed love story.

C+

Movie with Abe: War Horse

War Horse
Directed by Steven Spielberg
Released December 25, 2011

For epic films, there are few better choices than Steven Spielberg. “Schindler’s List,” “Amistad,” “Saving Private Ryan,” and “Munich” are among his more serious productions, but the Indiana Jones series, “Jurassic Park,” and “War of the Worlds” demonstrate that Spielberg is capable of tackling diverse genres with complexity and masterful visuals. Spielberg therefore seems a perfect fit to adapt the extremely successful stage play “War Horse” into a 146-minute saga chronicling the mesmerizing life of one horse and the many people he comes into contact with in the run-up to and throughout World War I.

“War Horse” is a film that seeks to establish its status as a sweeping, important movie before any of its characters even appear, featuring gorgeous cinematography by Janusz Kaminski and a triumphant score by none other than John Williams. After that introduction, the film has set high hopes for itself, which it achieves slowly but surely as it navigates past a somewhat sluggish first plotline which involves the discovery of the magnificent abilities of Joey the horse as he helps to save the Narracott family farm, encouraged by starry-eyed doting trainer Albert (Jeremy Irvine). The outbreak of the war takes him through a spectacular journey, highlighted by his interactions with the noble Captain Nicholls (Tom Hiddleston) and the kindly German soldier Gunther (David Kross).

“War Horse,” in its narrative that constantly removes and introduces new characters, manages its most profound and meaningful moments when characters find their humanity in the midst of war thanks to the beauty and bravery of this horse. The film’s most affecting scene finds Joey caught and tangled in barbed wire, prompting two soldiers, one British and one German, to risk their lives to approach from their infantries’ safe cover to collaborate to free Joey. “War Horse” succeeds by infusing an occasionally slow, hokey, and overly dramatic plot with tender moments that are truly emotional and powerful. It’s a spectacular technical achievement, and the film is enhanced by its settings, choosing only the most visually stunning backdrops. It’s a film much more about aesthetics than about people or dialogue, and in that sense, it’s a glorious achievement. Like the initially unimpressive Joey, “War Horse” grows on its detractors, establishing a sense of wonder and turning its non-human protagonist into a true main character, endearing, lovable, and rather capable of carrying a film in which he is most certainly the primary star.

B

Movie with Abe: The Girl with the Dragon Tattoo

The Girl with the Dragon Tattoo
Directed by David Fincher
Released December 21, 2011

When a movie is a remake of another film, not to mention one released within the past two years, it’s hard not to make comparisons. Additionally, it’s usually the first cinematic version of a story that makes a more lasting impression, and the remake, more often than not, is less impressive than the original. In the case of “The Girl with the Dragon Tattoo,” all three Swedish installments made their way to the United States in 2010, and now David Fincher’s reimagined version makes its debut. The Swedish and American productions are similar in many ways, with several notable and distinct differences.

The standout of this film is the girl with the dragon tattoo herself, Rooney Mara. After stealing her two scenes away from Jesse Eisenberg in “The Social Network,” Mara burrows herself deep beneath the surface of disturbed hacker Lisbeth Salander, imbuing her with a personality and sense of humor that her Swedish counterpart didn’t quite possess. She shines especially in some of the film’s toughest scenes, and out-acts an otherwise flat cast, with the exception of the dependable Stellan Skarsgard, who appears as Vanger Group head Martin Vanger. Daniel Craig, who has always been able to effortlessly enhance action movies, doesn’t do much here in a quiet and unengaging role as co-protagonist Mikael Blomkvist.

Due to the nature of its subject matter, “The Girl with the Dragon Tattoo” has to be an edgy film. The furiously-scored, graphic, strange opening credits establish a tone of grunginess and grotesqueness not entirely befitting of the film that ensues. Some story elements less emphasized in the Swedish film, pertaining mainly to Mikael’s personal life and the varied Vanger family members, while other details, particularly from the case of the Vanger case being investigated by Mikael, are less embellished. The story as a whole feels tamer and less disquieting, which makes its more gravely unsettling moments feel out of place. Yet there is still value in its style, and the energetic score by Trent Reznor and Atticus Ross, Oscar winners last year for their music from “The Social Network,” helps to create a certain mood. As its own film, this adaptation is a decent, if not entirely fast-paced thriller, but knowing just how fantastic the Swedish version was diminishes its impact, as does putting the two side by side for analysis. There is definitely value in Fincher’s interpretation, and its events and visualizations aren’t easy to forget.

B

Home Video with Abe: Rise of the Planet of the Apes (Capsule Review)

Rise of the Planet of the Apes
Directed by Rupert Wyatt
Released August 5, 2011



Unexplained, unanticipated prequels to movie series aren’t necessarily bad. This reviewer’s first cinematic experience with highly intelligent apes was actually rather enjoyable, turning what could have been a highly silly and laughable story into an engaging and energizing one. It’s the kind of film where, appropriately enough, the humans aren’t entirely significant, and the story of the ascent of Caesar, the child of a genetically-modified ape, is what’s much more interesting. Andy Serkis continues his domination of motion capture by embodying the rather human role of Caesar, raised by the kindly Will (James Franco) before being incarcerated due to his animal instincts. The setup of this particular plot is similar to that of “I Am Legend” in its non-sci-fi sense, explaining the drug testing on apes as a way to cure Alzheimer’s disease, and tying that into Will’s storyline. The film’s most memorable moments come in its latter half when Caesar, and his legion of apes, finally do take control, as inevitably would be the case, and the effects are quite impressive. This film is entertaining while it lasts, and a good summer action flick to catch on DVD in the winter.

B

Movie with Abe: Carnage

Carnage
Directed by Roman Polanski
Released December 16, 2011

Film and theatre are different art forms, both with their strengths and weaknesses. Film allows for infinite visual possibilities and is not limited to a stage, while theater makes use of the imagination and features live, unpredictable performances. Most crucially, however, they are separate media, equally valid but not interchangeable. When a film reads, looks, and sounds like a play, it still has value but begs the question of why no filmic techniques were utilized to transplant a story from one art form to another. “Carnage” is certainly interesting, but is held back by the uncreative nature of its chosen format.

Since “Carnage” feels like a play, it’s all about the writing and the actors. The story is relatively simple, uniting two sets of parents whose children have had a rather violent schoolyard confrontation. On one side, there is Penelope (Jodie Foster) and Michael (John C. Reilly) as the parents of the injured child, and Nancy (Kate Winslet) and Christoph Waltz (Alan) as the parents of his attacker. Both parties feel that their child deserves little blame for the incident, and Penelope is especially strong-willed in her insistence that Nancy and Alan should apologize for their son’s actions. Predictably, this leads to confrontation and to a circular conversation that never permits Nancy and Alan to leave Penelope and Michael’s apartment, no matter how many times they might try.

Each character is imbued with a definitive quality that makes them distinct and particularly stubborn, which starts out as a mildly noticed trait and reaches a tipping point in all cases as the film goes on. Foster’s Penelope is obsessive and concerned with doing the right thing, while Reilly’s Michael is laidback and uneager to create conflict. Winslet’s Nancy wants to resolve the situation without creating more hostility, and Waltz’s Alan is uninterested and constantly answering work calls on his cell phone. Sticking those people in a New York city apartment for eighty minutes leads to both dramatic and comic entertainment, and fiercely energetic and funny performances from this Oscar-heavy cast. The writing is repetitive but sharp, and the score by Alexandre Desplat, which plays only before and after the plot plays out in the apartment, is whimsical and amusing, providing some context for this entirely indoor staging. Limiting its cinematic self to the confines of the stage doesn’t necessarily mean much is lost, but something feels incomplete in this otherwise enthralling story.

B

Movie with Abe: Sherlock Holmes: A Game of Shadows

Sherlock Holmes: A Game of Shadows
Directed by Guy Ritchie
Released December 16, 2011

Sequels can be tricky, since it’s hard to revisit an already popular concept and do it right the second time. In this case, however, the first film was well-designed in terms of its characters and setup, but was lacking in terms of the specific case selected. That means that the sequel is in fact much better than the original, preserving what worked well – acting and aesthetics – about the first movie and delving into a much more enticing and thrilling plot. “Sherlock Holmes: A Game of Shadows” is packed full of action and humor, marvelously enthralling for the whole of its 129-minute runtime.

Robert Downey Jr. is on fire again as Holmes, imbuing him with a sense of ridiculousness and flair only partially made up for by his brilliant detective skills. In the cleverly-titled “A Game of Shadows,” Holmes takes particular delight in blending into his surroundings, donning camouflaged clothing for the purposes of his own amusement several times, not to mention a handful of disguises to outwit his enemies. The wedding of his dear friend Watson (Jude Law) doesn’t ultimately disrupt their bickering-filled partnership, and they do need to keep their wits about them as they take on the highly evil Professor Moriarty. As played by Jared Harris of “Mad Men,” Moriarty is a fascinating, cunning, careful villain who never loses his temper or his composure. Noomi Rapace from “The Girl with the Dragon Tattoo” also finds herself a decent English-speaking role as a gypsy whose life is in danger, and Stephen Fry earns laughs as Holmes’ diplomat brother. The cast is hilarious and highly capable of working together to create a very fun – and funny – film.

The style established in this film’s predecessor, in which Holmes stops motion and details the specifics of the methods he’ll use to take down his enemy of the moment, which are then shown in slow-motion before the film speeds back up to actually utilize them, are on full display here and as effective as ever. The costumes and set design are terrific, and this film packs considerably more action than might be expected, and it never lets up for a moment, always ready to produce another gunman or prepare another disaster to be averted by Holmes and company. The film even starts in the middle of the action with Holmes tailing Rachel McAdams’ Irene in the midst of some dangerous business. With a third film already on the way, this could well become a series, and if this installment is any indication, the next film should be superb.

B+

Movie with Abe: Young Adult

Young Adult
Directed by Jason Reitman
Released December 9, 2011

Jason Reitman has an excellent track record. Two of his first three feature films were nominated for Best Picture at the Oscars – as well as Best Director – and the first, “Thank You For Smoking,” is perhaps even better than his other two. His latest film, “Young Adult,” is less laced with parody than “Thank You For Smoking,” less offbeat than “Juno,” and less serious than “Up in the Air.” Reteaming with “Juno” scribe Diablo Cody provides the opportunity for a return to uncontrollable cleverness, imbuing its title character with a hefty dose of personality and a taste for cruelty, making her one of cinema’s most unlikeable and entertaining protagonists.

Charlize Theron, who has earned Oscar nominations for her dramatic performances in “Monster” and “North Country,” is not the most conventional choice to headline a comedy. Her recurring role on “Arrested Development” might recommend her to the educated viewer, but otherwise her ability to be consistently funny comes as somewhat of a surprise. Theron puts up an icy wall around herself as she takes on the role of Mavis Gary, a young adult author whose cleanliness and courtesy leave much to be desired. In an attempt to avoid her deadline and perhaps even gain some inspiration, Mavis returns to her hometown of Mercury, Minnesota to win back her high school boyfriend, who is now married with a newborn baby.

What’s great about Mavis is that she doesn’t care what anyone thinks, doing the opposite of what might be considered acceptable at nearly every turn. She has no filter and dresses exactly how she wants to despite presumable societal objections. Theron plays her with such a passionate disregard for anyone else’s opinion that she really becomes someone that audiences can love to hate. Her former beau, Buddy Slade (Patrick Wilson) is nice enough, but his obliviousness to her energetic designs to steal him away make him somewhat pitiable, as is also the case for his sweet wife Beth (Elizabeth Reaser). The film’s only truly compassionate character is Matt Freehauf (Patton Oswalt), a former classmate of Mavis’ who was the victim of a brutal beating in high school that left him somewhat crippled. A chance encounter with Mavis at a bar makes him her unfortunate confidante and punching bag, providing many of the film’s best scenes. The words that spew from Mavis’ mouth can easily be traced back to Cody’s pen, and the dialogue is what makes the movie so entertaining. It’s hardly a kind film, but sometimes it’s worthwhile to shine a light on the more despicable people out there, and this is a compelling and enthralling argument for that.

B+

Movie with Abe: Tinker, Tailor, Soldier, Spy

Tinker, Tailor, Soldier, Spy
Directed by Tomas Alfredson
Released December 9, 2011

There’s nothing like a good spy thriller. Espionage in general is exciting, and the hunt for a double agent within the ranks of the United Kingdom’s central intelligence agency makes the plot even more enticing. Some films struggle with emphasizing either characters or story, and that’s not a problem that plagues “Tinker, Tailor, Soldier, Spy,” a contemplative, layered film featuring a healthy sampling of the best British and European actors working today. While the plot does drag occasionally as the film wallows in its moodiness, there’s no denying the stylized allure of this adaptation of the classic spy novel.

“Tinker, Tailor, Soldier, Spy” is best embodied by its protagonist, the ironically-named George Smiley, played with immense dedication by Gary Oldman. Smiley chooses his words carefully and never says anything or makes a movement without cause. His attention to detail and precision makes him the perfect man to root out a mole in his unit. Oldman is surrounded by a truly astounding cast that includes Benedict Cumberbatch, Colin Firth, Mark Strong, Toby Jones, Ciarin Hinds, Tom Hardy, Simon McBurney, and in a particularly fabulous role, John Hurt as operations director Control. There is not a weak link in this incredibly capable and commendable ensemble.

The cast is not the only exceptional part of “Tinker, Tailor, Soldier, Spy.” Each aspect and element of the film is fine-tuned for the utmost accuracy and dramatic potential, and the film is structured much like the way that its main character George Smiley lives, including only what is absolutely necessary and of most value. The dialogue, flooded with codenames and covert allusions, is crisp and superb, turning mundane occurrences into clues and red herrings. The film jumps through time regularly as a way of assembling a coherent picture of events, establishing a timeless and almost endless feel to Smiley’s search. The costumes and hairstyles are especially notable, as the film stands true to its 1970s setting. In its commitment to building suspense through care and emphasis on accuracy, the film wavers a bit as its web of deception becomes ever more complex. There’s no one specific moment that lags, but rather a sense of unproductiveness midway through the film that pales in comparison to the rest of the film’s focus on precision. Regardless, “Tinker, Tailor, Soldier, Spy” is an expertly crafted, deeply interesting thriller that excels in storytelling, aesthetics, and rich performances from its talented male cast.

B+

Movie with Abe: Coriolanus (Capsule Review)

Coriolanus
Directed by Ralph Fiennes
Released December 2, 2011



Shakespeare films are usually made for a certain kind of audience. This adaptation of one of Shakespeare’s least-known works, about a Roman general full of hubris, puts a modern-day spin on the story, outfitting its characters with suits and ties, cell phones and televisions, and cars but keeping in the Shakespearean dialogue. What results is an intriguing visual experiment, presenting an archaic tale as envisioned in an imagined city called Rome that could easily exist in the present day. For the Shakespeare aficionado, it’s likely to be a marvelous delight to see television newscasters speaking Elizabethan English, whereas those less inclined to salivate over the Bard will find it to be a less satisfying experience. The film rarely utilizes any special cinematic techniques, focusing instead on bringing its plot to life, and only occasionally does the camerawork lens its events in a truly invigorating fashion. Ralph Fiennes, behind the camera for the first time, has just the right impatient energy for the title role, and he’s well-matched by Gerard Butler in what can be seen as a rare solid movie choice for him as his sworn enemy. Vanessa Redgrave is sure to be lavished with praise for her passionate performance as the main character’s mother, a lively if not entirely fulfilling turn. Ultimately, “Coriolanus” is an interesting character piece and little more, notable merely for a decent attempt at a modern update.

C+