Movie with Abe: A Prophet

A Prophet
Directed by Jacques Audiard
Released February 26, 2010

One of this year’s Oscar nominees for Best Foreign Film is a frank portrait of a young man who grows into adulthood while in prison. It’s unflinching in its depiction of the horrors and the violence of prison life, and in that commitment to telling its story without whitewashing or softening the blows its characters experience, it permits the audience to adapt along with the protagonist. “A Prophet” is a brutal and honest film that digs deep into the heart and soul of one 19-year-old whose conviction for a relatively minor crime immerses him in a far more violent and treacherous world where he must rely on only himself to survive.

“A Prophet” is particularly intriguing because of the identity of its protagonist. Malik El Djebana is a man with connections to different worlds. Malik is an Arab, but his first assignment in prison comes from Corsican capo Cesar Luciani, a do-or-die mission where Malik must murder a man in cold blood and then receive protection from the Corsicans or face death at the hands of the Corsicans because of his knowledge of their plot. Mailk can never fully be accepted by the Corsicans, however, because he is an Arab, so he must become their servant of sorts. Early on in the film, the intense nature of Malik’s situation is already present, and it’s fascinating to see the wheels spinning in this young man’s head. It’s impossible to believe that Malik can only be nineteen give the extreme encounters he experiences and the tough decisions he must face in prison.

“A Prophet” is a profile of one man who comes to prison not knowing anything about himself and ultimately amasses a vast network of contacts and friends through sheer dutifulness. What becomes of young Malik is extraordinary and impressive, and it’s amazing how subtle the transformation from lost, solitary loner to respected, connected veteran is. The movie doesn’t allow for any fantasy escapes from the harsh reality of Malik’s life. Two and a half hours is a long time to spend in prison, but the audience is right there with Malik. “A Prophet” doesn’t let the audience out of the experience for one second, creating a fascinating and irresistibly moving narrative.

A major part of what makes “A Prophet” so compelling is the lead performance by breakout star Tahar Rahim as Malik. It’s a remarkably subdued and simultaneously vivid portrayal, and permits the audience the opportunity to experience everything Malik goes through with the same seeming detachment and initial unresponsiveness as he exhibits. The ensemble players are also terrific, especially Niels Arestrup as Luciani, and their gritty performances contribute to the film’s effective realism. The film travels a dark and dreary path, but following it along to its surprising and satisfying conclusion is a truly rewarding effort.

B+

Home Video: Food, Inc.

Food, Inc.
Directed by Robert Kenner
Released June 12, 2009

Making a solid documentary film requires more than just a colorful, flashy PowerPoint presentation. Al Gore clicked his mouse excitedly and awed the world with his global warming movie, “An Inconvenient Truth,” but wasn’t able to construct a movie able to stand on its own as a movie. The facts might, but their assemblage wasn’t nearly as impressive. The latest Big Documentary of the Year doesn’t point cameras in people’s faces and have them turned away violently or ignored like a certain boisterous Flint, Michigan native does, but it still has a sense of being a timely, gravely important exposé.

“Food, Inc” begins its examination of the food industry with an ultra-serious look at just how bad things have become. There are obviously both purposefully and unintentionally funny moments in the documentary, but the theme is one of full and extensive probing, determined to get to the heart of the matter and uncover the truth. It’s a strong and important film because it charges its audience to get up and doing something with their newfound knowledge. In a society where the economy continues to spiral downwards and people keep getting fatter, it’s an utterly relevant and crucial film that doesn’t fail in any of its efforts to educate and motivate its viewers to action.

As a documentary film, “Food, Inc.” is very well assembled and impressively put together. The selection of interview subjects and sound bites is stellar, and the investigation doesn’t falter when it comes up against a brick wall. If someone declines an interview, the film declares it unabashedly and creates an even more biting critique of those who denied the filmmakers access to their operations. By far the most spectacular feature of the film is that it doesn’t fabricate scenarios and utilize cheesy or forced personal stories to muster its strength. Only the most hard-hitting stories that can stand for themselves are chosen, and that makes the film terrific. The haunting and foreboding musical score is also a huge asset for the film. This may not be an appealing film, but it’s certainly an important and impressive film.

B+

Movie with Abe: The Last Station

The Last Station
Directed by Michael Hoffman
Released January 15, 2010

It’s a treat to find to have a number of fine actors assembled together in one film. In the best case, it works out that all of the talent involved delivers equally impressive performances, and not one of them gets overshadowed or downplayed by another. In the next best scenario, one or two performers steal the show and carry the film. And then there’s the possibility that the intense overdose of stardom results in no one turning in a fine performance, and the movie fizzles or outright flunks (like “All the King’s Men” in 2006). This late-opening 2009 awards contender falls under the first category, and it’s a wonderful breath of fresh air.

The diversity of the talent amassed in this film is quite refreshing. Christopher Plummer has been acting since before his signature role in “The Sound of Music,” and after over 150 films, he’s finally found a fantastic part that fits his subdued but booming demeanor as Count Leo Tolstoy. Playing off of him and his spectacular presence is Helen Mirren, a recent Oscar winner for “The Queen,” as the jealous Countess Tolstoy, and the two of them share a magnificent chemistry in the midst of the interference of so many interested parties looking out for the welfare of the estate, the theology, and their own best interests. Paul Giammati twirls an extravagant mustache which matches his manipulative and seedy attitude. James McAvoy sneezes nervously as Tolstoy’s young apprentice baffled by the meddling on all sides regarding the Tolstoy family. The real shining star of the film is the impressive Kerry Condon as a Tolstoyan follower who tangles with McAvoy’s character. The ensemble is uniformly terrific, and all blend in perfectly to the society they are trying to emulate and portray.

The film itself is perhaps a bit fleeting and flighty, but overall it’s a good story that continues to get better as it proceeds along. There’s humor throughout the film, but it doesn’t quite detract from the seriousness and impact of the story. The script is smart and the dialogue is very often fascinating, delivered expertly by the superb cast. It’s a compelling tale that often incorporates elements of Tolstoy and his writing in a fantastic way, and that enhances it from merely a simple biopic to a great movie. Overall, it’s made even better by the casting choices and its unique take on intriguing and inspirational source material.

B+

Home Video: Coraline

Coraline
Directed by Henry Selick
Released February 6, 2009

Animation provides almost limitless possibilities for expanding the imagination. One of the perks of being able to artificially create a scenario is that it doesn’t need to have any boundaries. Getting inside the mind of a child is especially interesting, because a child’s imagination knows no limits. “Coraline” takes that notion a step further, permitting its plucky heroine to escape from the confines of her boring, friendless life into a parallel universe that at first seems wondrous and ideal, but ultimately proves to be a dangerous alternate reality in which Coraline must ensure that she does not get trapped.

There’s certainly an inventiveness and uniqueness to the world Coraline visits, where people have buttons for eyes and tailor their actions to Coraline’s greatest desires. The excitement displayed on Coraline’s face, and its replacement later by horror and fear, is perhaps the most compelling part of the film. She lives a life where she interacts with precious few people, and her parents have no time for her and no interest in giving her something to do to occupy her time. There is much emphasis on gardening, and it becomes clear in the alternate world that all of the garden-themed writing her parents do is meant to beget a more relaxing lifestyle which can replace work with fulfilling activities like actual gardening itself.

Coraline is a child alone in her world who must seek out more fantastical companions than those in her everyday life. The film can be seen as a kind of children’s version of “Pan’s Labyrinth,” where at times it’s just as terrifying but hardly as violent or truly deadly. It’s also not nearly as complex, but the film uses its animated tools to its advantage. The other world visited by Coraline is a magical, visually dazzling place which really seems like a dreamland. It’s made appropriately creepy by Coraline’s mother’s continual references to herself as her “other mother.”

Coraline’s journey is intriguing, and her trips through the tiny door in her wall to a parallel universe are bizarre and fascinating. Yet the movie isn’t completely stellar. At times it’s a bit too weird for its own good, and doesn’t come to any sound of resounding conclusion. Once Coraline realizes the dangers of her situation, the movie becomes increasingly frightening and comes apart considerably, not just for Coraline but also in terms of its presentation. Even though it’s supposed to be malicious, most of the magic of the movie is lost when everything unfurls and shows its true colors.

Despite its flaws, “Coraline” is still a worthwhile film that demonstrates that not all animated movies have to be comedies or musicals. It’s a film that would certainly scare the pants off young kids who might decide to watch it, and one that still manages to enthrall adults despite its considerably tame PG rating. It’s still worth seeing, but it hardly has the resounding power of Pixar’s recent comedic entries or the dramatic impact of a landmark achievement in animation like “Waltz with Bashir.”

B

Movie with Abe: Sherlock Holmes

Sherlock Holmes
Directed by Guy Ritchie
Released December 25, 2009

Robert Downey, Jr. has charisma. There’s no debating that. He’s marvelously able to command movies with his sheer ability to talk and to dismiss the actions and words of those around him as insignificant and uninteresting. That personality serves him well here as he takes on the role of legendary detective Sherlock Holmes. His portrayal is very much half Downey, half Holmes, but in this case it works beautifully. His accent, costumes, and demeanor help complete the transformation from contemporary American actor to period British detective, and like with all of his other recent films, Downey owns the film and makes it his own.

“Sherlock Holmes” isn’t all about Holmes. He’s ably supported by the dutiful Dr. Watson, played by a mustached Jude Law, who displays just the temperament to deal with the often unsavory and obnoxious Holmes. He finds his gimmicks and games grating, but continues to be loyal to the man because he is his friend. It’s a magnificent friendship to behold, and the duo of Downey and Law, both clearly have a great time, is a delightful gift. They anchor the movie’s silliest scenes, and the bewildered yet slightly smug expressions on their faces during the greatest of their shenanigans make them infinitely more entertaining. Eddie Marsan (“Happy-Go-Lucky”) completes the dynamic perfectly as the bumbling Inspector Lestrade.

This adaptation of Sir Arthur Conan Doyle’s famed hero does a good job casting its primary characters, but a tragically poor job picking the story. Villain Lord Blackwood seeks to reunite England and create a monarchy with him and his secret society at the top. It’s a plot that involves supernatural elements and world domination, and posits Holmes as a celebrity as its very beginning. This movie isn’t necessarily an origin story (like “Batman Begins”), but it might have been nice to have been provided with a smoother transition into the way that Holmes works and the majesty with which he solves cases.

Regardless of intention, the breadth and scope of this film isn’t very wide, spanning only one case, even if it is one that involves the fate of a whole nation. The clear intention of this film and its storyline is to create a lasting franchise. The good news on that front is that it should be successful because the main characters work, and it’s more a matter of the case here that doesn’t. Director Guy Ritchie (“RocknRolla”) seems a good choice to helm the franchise, using slow-motion and voiceover narration from Holmes to drive forward the story and flesh out Holmes’ most devious and impressive of tactics. The film does become obsessed with showcasing Holmes’ devilishly clever methods of trickery and deduction, rewinding and showing how Holmes was able to devise his conclusions. The device is hit or miss – sometimes it’s wholly extraneous and tiresome, and at others it’s necessary and helpful. Either way, it’s what Holmes is all about, and the characterization of Holmes and the entertainment he provides is the strongest element of this film.

B

Movie with Abe: Avatar

Avatar
Directed by James Cameron
Released December 18, 2009

James Cameron makes movies very sporadically. Usually he averages at most several movies a decade. His last non-documentary film was the enormously successful epic “Titanic” back in 1997. He’s been hard at work on his latest feature for what feels like ages, and reports of a bursting budget and ungodly runtime seemed to indicate that perhaps this might be a major flop. But this is James Cameron, whose filmography is remarkably impressive, and who hasn’t really gone wrong in his career, with the first two “Terminator” films (and only the first two), “Aliens,” and “True Lies” under his belt. It shouldn’t be a surprise therefore, that “Avatar” is simply astonishing and one of the most exciting science fiction films in recent years.

Cameron likes to explore new worlds. His previous film, “Aliens of the Deep,” examined underwater creatures unknown to most of the population. With “Avatar,” Cameron has taken a magnificent leap, both forward in time to the year 2154 and forward in thought to a whole new world full of extraordinary life. One of the reasons it took Cameron so long to make “Avatar” is that he wanted technology to be as complex as the ideas he had and the visuals he wanted to represent, and that’s clearly showcased in the film. Pandora, a moon with resources the ailing Earth could really use, is a wondrously magical and mesmerizing place. The amount of color and detail used to make it come gloriously alive is staggering and stunning.

It doesn’t just look pretty, though. “Avatar” is a surprisingly coherent and fascinating story of different cultures and the bond that can develop between them if members on both sides are willing to try to get to know them rather than simply assimilate them and bring them around to their way of thinking. The complex construction of the alien culture is just as impressive as the special effects. It’s sort of like a 21st-century, larger-scale update of “Bambi,” where it’s worth contemplating whether man is actually the enemy. It’s not merely a social critique, however, since it’s just as much a terrific action film as it is a science fiction explorative extravaganza.

Two elements of the film that aren’t crucial to its success are its script and its cast, but both are in equally fine form. The dialogue is interesting and meaningful, and the story is completely engaging for the whole of its more than 150 minutes. Sam Worthington is entertaining as the prickly marine who begins to connect with the alien Na’vi people, and he’s supported by a strong cast. Zoe Saldana as the Na’vi woman who takes Worthington’s Jake in, Sigourney Weaver as the dedicated scientist, and Michelle Rodriguez as the loyal pilot are all cast perfectly, but there’s no one more fitting for his role than the incredibly fearsome and humongous Stephen Lang as the colonel intent on seeing his mission through. The cast is but one of the many sterling elements of this film that help make it one of the best of the year, and one of the most exhilarating and visually extraordinary science fictions films to date.

A-

Movie with Abe: The Blind Side

The Blind Side
Directed by John Lee Hancock
Released November 17, 2009

Some movies just want to be inspiring. Being based on a true story certainly helps, because if the real-life events are actually inspiring, it’s a good bet that the film adaptation will be too. Yet simply expecting the story to be life-affirming and rousing doesn’t quite do the trick. Stories have to play themselves out to earn the tears of joy they might produce, and otherwise they just feel manufactured. Trying desperately to be moving by including stirring and motivating lines feels hopelessly forced, and that’s something that “The Blind Side” does over and over again, beating its over-sentimentalized drum to death.

“The Blind Side” is the story of Michael Oher, a homeless teen taken in by a wealthy woman and her family in Tennessee. The film only borrows half of the title of the book on which it’s based, “The Blind Side: Evolution of a Game.” The film opens with voiceover narration by Leigh Anne Tuohy (Sandra Bullock) discussing how offensive tackle Lawrence Taylor changed football in the 1980s, revealing her deep love for and complex knowledge of the game of football. From there, however, the football metaphor dies since it’s never referenced again, and Leigh doesn’t display her intricate understanding of football at any point. Instead, she tries to motivate Michael with corny speeches and her distinctive immutable personality.

Leigh is set up to be the dramatic heart and center of “The Blind Side” rather than the boy she takes in, and she’s more than up to the task of trying to carry it all by herself and inch her way in to dominate every frame. Bullock puts on a heavy accent and blond hair to assume the role, which is a considerable departure from her traditional parts as the bumbling but ultimately charming lead in romantic comedies. She puts far too much effort into shedding her usual personality, and the result is an artificial and entirely invasive presence which completely overpowers every other person. Part of it is the character – Tim McGraw as her overly supportive husband doesn’t stand a chance of getting his two cents heard – but part of it is the unnecessarily loud and obnoxious performance by Bullock.

On top of that, there’s no real dramatic mystery in “The Blind Side.” Michael Oher’s path from living on the streets to a successful career as a football player is hopelessly watered down. Any obstacles that appear in his path are both predictable and preposterous, and it’s rarely truly demonstrated that this is a struggle for him. This feels like the picture-perfect image of despair and underprivileged families put on the front of a brochure compared to the harrowing portrayal of poverty in “Precious.” The twists might have occurred in real life, but the way they play out on screen is hopelessly lacking in style and effectiveness. It all feels very fabricated and deliberate, intent on providing a happy ending without much indication that it’s not inevitable. Its sole aim is to pull at the heartstrings, and there’s not much else in the film besides that overemphasized sentimentality.

C-

Movie with Abe: The Imaginarium of Doctor Parnassus

The Imaginarium of Doctor Parnassus
Directed by Terry Gilliam
Released December 25, 2009

Fantasy is a tough genre. The wilder the created world is, the easier it becomes to get lost within it, and for the story to get swallowed whole by an altogether over-imaginative mind. There’s no question that Monty Python member and director Terry Gilliam can dream up magnificent and fantastical realities, ranging from wacky (“Brazil”) to dreary (“Twelve Monkeys”). His latest film is one bizarre head trip, which has no interest in being grounded in reality and therefore abandons all sense at the door and proceeds along a slippery and just plain strange path that isn’t heading anywhere logical. It’s decently interesting at the start, but gets less absorbing as it becomes more bewildering.

“The Imaginarium of Doctor Parnassus” is significant as the final film of Heath Ledger. While his Oscar-winning vehicle “The Dark Knight” was released after he died, he had already filmed a good portion of his scenes for this film. It’s a fine performance that’s fun and entertaining, but it doesn’t do justice to his complex turns in “The Dark Knight” and “Brokeback Mountain.” To replace the scenes in which he appears that hadn’t yet been filmed, three actors jumped in to fill the role: Johnny Depp, Jude Law, and Colin Farrell. The most interesting thing, which is truly defining in characterizing this film, is that it actually makes sense for three actors to take over his role, since they portray his various alter egos when he steps through a magical mirror. To be able to say that about a movie is quite an intriguing characteristic, but it’s also impressive that the part still works even after Ledger’s untimely passing.

The four performers playing the same part all bring a certain common energy to the part, but the character gets lost in his own complexity. That’s true of the movie itself, which inhabits an altogether uninhibited world, and very quickly gets trapped within it without much hope of getting out. Doctor Parnassus and his circus of assistants put on a show where they give participants the opportunity to enter a portal where their dreams can come true. But even they don’t have control of it, and while that’s in a sense an exciting thing, and certainly allows for reality-bending visual effects, it’s easy to lose track of it and forget about the plot. There’s a century-spanning deal-with-the-devil subplot at work here also, but the film is altogether too confusing and perplexing to deal with all it tries to effectively.

Christopher Plummer goes deep into the ancient and despair-ridden character of Doctor Parnassus, and it’s not a performance nearly as evocative or impressive as his other role as Leo Tolstoy in this year’s “The Last Station.” The real standouts from the cast are Lily Cole (“Rage”) and Andrew Garfield as the Doctor’s daughter and the company’s jester. Overall, however, their captivating performances get lost in the overwhelming swell of magic and fantasy that envelops the film and swallows it whole, making it hard to find a way into its complex and murky mythology.

C

Movie with Abe: The Young Victoria

The Young Victoria
Directed by Jean-Marc Vallée
Released December 18, 2009

It takes a lot of panache to play a queen. It’s also crucial to the success and uniqueness of a motion picture such as this. There are so many cinematic portraits of royalty and nobility that, insulting as it is to the real-life people on whom the projects are based and whose life stories they tell, they all start to blend together if they don’t have enough distinguishing features. “The Young Victoria” narrowly avoids that fate, thanks to the noble efforts of its cast and a genuinely interesting story of one girl fated for greatness whose ascension to the throne occurred at a young age.

Emily Blunt has the incredible ability to steal the spotlight in witty supporting roles and make even the most minute part absolutely magnificent. She held her own against Meryl Streep and completely bested Anne Hathaway in “The Devil Wears Prada” and illuminated several brief scenes in “Dan in Real Life.” Now she finally has a bona fide lead role, and it’s up to other actors to try to make the most of their scenes in her magnificent presence. Blunt is simply regal as the young princess who became a queen while she was still a child. She has a wonderful presence that demonstrates that she is just as able to deliver in a lead role as she is able to amplify a small role.

The supporting cast makes good use of a number of colorful players who make the film engaging, pleasant, fun, and occasionally even thrilling. Paul Bettany (“A Beautiful Mind”, “The Da Vinci Code”) and Mark Strong (“RocknRolla,” “Body of Lies”) are entertaining as dueling advisors each yearning to whisper their wishes into Victoria’s ear. The long-absent Miranda Richardson (“Spider”) and Jim Broadbent (“Iris”) are great as the feuding mother of Victoria and reigning king William IV. The considerably less experienced Rupert Friend (“The Boy in the Striped Pajamas”) makes for a fitting political and romantic match for the lovely Blunt as her cousin and love interest Prince Albert.

The cast is perhaps the strongest element of the film, but it’s still an impressive undertaking in other areas. The costumes and sets are magnificently evocative of the period, and the dialogue is also prim and proper. Beyond that, the story is a typical twisted tale of ascension to the throne complicated by the infighting and efforts of others to take power from the backseat. Victoria’s capacity to maintain her independence and rule despite the influence of so many others makes for a remarkable tale. Victoria comes out stronger as a result of it, and Blunt’s performance is a tour de force only a few fiery speeches short of the same power of Cate Blanchett’s portrayal of Queen Elizabeth in “Elizabeth” and “Elizabeth: The Golden Age.” The film is decently fresh and fun, and the performances, especially the lead one from the charming Blunt, differentiate it from the overstuffed library of recent royal releases like “The Duchess” and make it, like Victoria herself, truly individual.

B+

Movie with Abe: Crazy Heart

Crazy Heart
Directed by Scott Cooper
Released December 16, 2009

There are movies driven by music, and there are movies driven by performances. This is one case where it’s hard to discern which is more moving, though while the songs written for the film are undeniably great, it’s hard to beat Jeff Bridges, who delivers a career-topping performance as country singer Bad Blake. There’s something simply irresistible and enticing about the combination of Bridges, a real-life musician, and the lifestyle-defining country songs he sings at his gigs throughout the film. This is a road movie about a man who has nothing to tie him down anywhere but who begins to realize that maybe the way he lives his life isn’t nearly as fulfilling as he might have hoped.

Bridges really makes the film, putting his all into the character and making the small moments count for so much. Early in the film, Bad goes to pull a cigarette out of the pack and ends up with not one but three cigarettes drooping out of the side of his mouth. He couldn’t care less, and it’s likely not the first time it’s happened. It’s an intimate moment that’s both funny and pathetic, and makes Bad an endearing protagonist whose journey throughout the film becomes intricately interesting and wholly worthwhile.

Bad’s story is one driven by and tied to his music, and therefore the scenes which actually showcase him performing are the ones that are the most touching and rousing. Bridges points to the significance of the lyrics of the songs, like “I used to be somebody; now I’m somebody else,” suggesting the deterioration of the aging, overweight musician and the nostalgic manner in which he looks back at his life. Bridges also describes the film’s tribute to the notion of getting “caught up in the myth that there’s something good about being bad.” It’s a deeply contemplative film, with a lead character who tries his hardest not to dwell on the glory days of his past but who, in the end, just can’t help it.

Bridges is the driving force of the film, but he has ample support from the other lead performer. Maggie Gyllenhaal plays Jean Craddock, a small-town reporter eager for a big story and the chance to interview a living legend. It’s through his conversations with her that Bad really begins to come undone, and the two share a fascinating chemistry which really makes the film work. Robert Duvall and Colin Farrell enhance some smaller scenes in the film that add to the deconstruction of Bad’s character. In many ways, it’s a very familiar story that has been told numerous times before, but the performances elevate it considerably. The music always makes it more infinitely more appealing, particularly the fantastic song “The Weary Kind,” sung by Bad during the film as an ode to his career and a stellar definition of the way his life has panned out. Bridges hasn’t seen his fame go down the toilet, but Bad is certainly the role of his career, and he delivers outstandingly.

B+

Movie with Abe: The Lovely Bones

The Lovely Bones
Directed by Peter Jackson
Released December 11, 2009

It’s necessary for a movie that isn’t an abstract art film to have a coherent premise. A film either starts as a result of some catalytic event or works toward it. In the case of the former, there needs to be something compelling which happens afterwards which makes the whole of the film worthwhile. There must be some mystery to be solved or some closure to be achieved, otherwise the film might as well end almost as soon as it begins. In the case of “The Lovely Bones,” it’s a tragic event which sparks the story, but where it goes after that is altogether foggier and far less fascinating.

Perky, intelligent young Susie Salmon (Saoirse Ronan) is a girl full of life who, within minutes of the film’s opening, reveals that she will soon be murdered. It’s a devastating and frightening road to the event itself, but when it comes time for the awful moment, Susie is whisked away, seemingly by the power of her own mind, to a world in between life and death where she is able to observe what goes on in days to come. Why Susie still remains behind to watch over her former life is unclear to her, and keeping her around seems even more puzzling because it adds an element of fantasy to the story that just confuses and confounds it.

“The Lovely Bones” is filled primarily by narration from the deceased Susie Salmon, commenting on her post-life epiphanies and the events that continue to swirl as she is unable to move on from the “in-between,” as her younger brother explains it. There’s no question that it’s absolutely mesmerizing to hear the versatile and wildly impressive Ronan (an Oscar nominee in 2007 for “Atonement”) spout off her take on her newfound resting place and the actions of her family members and her murder. Her voice is hypnotic and it’s easy to get lost for hours in her bright blue eyes. She makes Susie one of the most mature, dynamic young girls ever to grace cinema screens.

Yet the talent of the lead actress is almost irrelevant – what’s happening on screen isn’t nearly as interesting. Susie might as well not stick around for the denouement. Her father’s hapless search for a way to find out what happened is hopelessly drawn out, as is the meandering post-script of her murderer, whose proximity to the situation makes his ability to continue to go undetected all the more frustrating. Stanley Tucci’s fearsome performance is akin to Ronan’s, a stunning embodiment of a character whose existence in this film feels unnecessary. It’s one of those times where you wish you could just hop into the screen and shout at the characters to tell them that they’re so close and all they need to do is have a little common sense and piece together the clues. They’re certainly not going to get far by themselves. The film might have been more compelling as a twenty-minute build-up to Susie’s murder, since that part of the film is much more compelling and fulfilling. Director Peter Jackson gets caught up in cheesy CGI visuals and attempts to legitimize Susie’s predicament through her new joie de vivre, but it’s hardly convincing, and a particularly unenthusiastic bore.

C-

Movie with Abe: The Princess and the Frog

The Princess and the Frog
Directed by Ron Clements and John Musker
Released November 25, 2009

Disney’s newest film is meant to be a permanent entry in its impressive library of classic fairy tales. It’s a traditionally inspiring story of a character without riches to boast of who dreams of a better life and thinks only of enriching the lives of those around her with her caring and wonderful nature. What’s significant about this story in particular is the identity of its central character and the format in which the film was made. It’s the first of nearly fifty Disney films to feature an African-American protagonist, and all of its characters are brought to life with hand-drawn rather than computer animation.

The style of animation in “The Princess and the Frog” is reminiscent of so many of Disney’s timeless films, and returning to a world where animals talk and magic and true love rule feels familiar and fabulous. Heroine Tiana hangs on to her father’s lifelong dream of running a restaurant with a dedication that parallels that of Cinderella. The setting of the story in the early 1900s in New Orleans creates a whole new dimension, allowing cultural elements like food and music to be incorporated in a truly fun fashion. It’s a unique movie in that sense, but as soon as the people and the animals start wandering around the swamp, it could easily be “The Jungle Book” or “The Lion King,” and it feels just as accessible and endearing.

“The Princess and the Frog,” like many Disney films before it, is not just an animated adventure, but also doubles as a musical. Songs from familiar Disney composer Randy Newman help make Tiana’s journey from rags to riches a soaring, lively rush. It allows minor characters to act as an ensemble, evoking memories of “Beauty and the Beast,” “Aladdin,” and “The Little Mermaid.” It aids in separating Tiana’s transformation into the person she always wanted to be into stages, with songs there to mark her progress and update the audience on her emotions.

It may feel like a familiar story, and the title brings to mind a story whose whole plot could be captured on a dozen short pages in a children’s book. Yet there is much more to discover here. Tiana whips up delicious New Orleans desserts and continually proclaims the unique greatness of her city. Prince Naveen arrives in town to find himself a wealthy heiress to marry, and his careless zeal oozes out of him uncontrollably. Once things go awry and both he and Tiana are turned into frogs, the real fun begins as they continually bicker back and forth and, surprise, surprise, come to learn that they do in fact have something in common. The token supporting animal, Louis, an alligator who aspires to play jazz with the best musicians of New Orleans, adds plenty of humor and hilarity to the dynamic of the already entertaining Naveen and the charming Tiana. The story of the princess and the frog is whimsical, enthralling, and frightening, and altogether a delight in the true Disney tradition.

B+

Movie with Abe: Invictus

Invictus
Directed by Clint Eastwood
Released December 11, 2009

Biopics are a staggering undertaking. Even more daunting is the chronicling of some event recent enough to still be remembered by movie-going audiences, and a scenario in which the major players are still alive and often in power. Stephen Frears did it in 2006 with “The Queen” and succeeded, whereas Oliver Stone tried in 2008 with “W.” and crashed and burned. Esteemed director Clint Eastwood wanted to make a movie about Nelson Mandela, and somehow he managed to knead two stories together, creating both a moving sports film and an inspiring portrait of a unifying leader in one fantastic film.

“Invictus” is a film about South Africa, about a country struggling to reinvent and redefine itself after essentially being two nations for so many years. That monumental journey towards integration and forging one nation is represented through the stories of two very different individuals with similar ideas and the people less willing to move forward around them. The first is Nelson Mandela, the new president of South Africa who served 27 years in prison for anti-apartheid activities and sought to unify the country by abandoning all prejudices and working towards one common goal of creating a nation. The second is Francois Pienaar, the captain of the South African rugby team, who was approached by Mandela to lead his team to victory with his support as a way of facilitating a shared triumph for the entire nation, black and white.

The dynamic between Mandela and Pienaar is fascinating, but it’s those behind the scenes on both ends who experience a more dynamic transformation since they’re at first unwilling to shake hands and even try to work together. Pienaar’s father actively derides Mandela and what his presidency means for South Africa, while their black housekeeper cheers for the president and expresses awe when Pienaar announces that he has been called to meet the celebrated leader. Mandela’s deputies are met by the white presidential detail reporting for duty on Mandela’s first day in office, and watching them go from immature rivals to something much closer to comrades and friends is simply stunning.

The ensemble cast makes the film, but it’s the two main actors who, like the real-live people on whom their characters are based, really drive it forward. Morgan Freeman is astounding as Mandela, and his energy and determination really shine through in a magnificent way. He’s poised and powerful, but there is an extraordinarily personal feel to all of the conversations he has, and the way he connects with all of the people who look up to him. His dedication and leadership is matched by Matt Damon in a marvelously impressive performance as Pienaar, donning a South African accent, blond hair, and athletic physique, but also mimicking Mandela’s incredible drive to succeed. Bringing together a nation torn apart for decades by racial hatred and winning a sports trophy might seem completely unalike goals, but for these two men, they couldn’t be more in sync and dependent upon each other. Eastwood’s film is inspiring and altogether thrilling, and the feeling it produces by its end is one of hope, joy, accomplishment, and above all, unity.

A-

Movie with Abe: The Messenger

The Messenger
Directed by Oren Moverman
Released November 13, 2009

Dealing with tragedy is never an easy thing, and showcasing that is just as difficult. “The Messenger” tackles it head-on by following two soldiers whose lives have already been complicated and affected by their war experiences abroad, and whose daily dose of heartbreak increases exponentially when they are tasked with informing next of kin that their family members have given their lives in the service of their country. That’s never something anyone wants to hear, and this film does of an extraordinary job of showing just how impossible both sides of the situation are.

“The Messenger” is an incredibly intimate film, which spotlights only three main characters, and takes the soldiers right into the homes of unsuspecting family members about to receive devastating, life-changing news from people they’ve never met and who they’ll likely never see again. There’s something about that intimacy which feels invasive and intrusive, and that’s conveyed exceedingly well by the discomfort on the faces of those charged with delivering the news. It’s easy to sympathize with both parties, and there’s a magnificent moment in the film where a killed soldier’s wife sees the men coming and knows what they’re about to say and pre-empts them by shaking their hands and saying, “I know this can’t be easy for you either.” The film is just as much about the messengers as it is about the people whose lives they touch and the messages they must deliver.

The sympathetic and intimate nature of the characters is due to a strong script and deft direction by first-time filmmaker Oren Moverman, but it’s due mostly to the skilled actors in their roles. The steely-eyed Ben Foster branches out from playing creepy villains (“Hostage,” “3:10 to Yuma”), and pulls together a staggering composite of a someone who likes living a life of solitude but stills yearns to make human connections. Playing off of him is Woody Harrelson, who gets serious and nostalgic as an alcoholic soldier who’s been doing this for way too long and become all too jaded and accustomed to it. Foster and Harrelson make for an unexpected and exceptional pair, and their conversations about life, women, and war feel searingly real. The people they meet in their line of work make for fascinating subjects of interaction, and a small role by Steve Buscemi as the father of a deceased soldier is particularly poignant. The always stellar Samantha Morton gives the film a much-needed life-affirming perspective, and her blasé reaction to her husband’s death and her subsequent bonding with Foster’s character is absolutely enthralling and engaging. There’s not very far to physically go in “The Messenger,” but there’s a deeply ingrained notion throughout the whole film that these men have been a lot of places, and that they carry around the weight of what they’ve seen and done with them every day. The film doesn’t take place abroad, but in some moments, it’s just as quietly momentous and moving as “The Hurt Locker.” Invoking that kind of intensity and emotion is an awe-inspiring feat, and that’s something this film does spectacularly.

B+

Movie with Abe: Nine

Nine
Directed by Rob Marshall
Released December 18, 2009

There’s something awfully familiar about “Nine.” Like director Rob Marshall’s 2002 hit “Chicago,” it exists in a world where seemingly powerful men are actually almost invisible and a whole host of women dominate their lives. Like the 1979 film “All That Jazz,” it tells the story of an aging, revered director who watches as he is hopeless to direct the show of his life, which is sung at him by all the people he used to know and who he helped to create. His work is out of his hands, and that’s a fascinating thing to see. The fact that it’s been seen before isn’t a real problem, but the film is hardly as cohesively strong as some of its musical numbers.

There are indisputably several great scenes in “Nine.” Each spotlights one performer, to the point that it feels disjointed since the powerless Guido (Daniel Day-Lewis) is the only one present in almost all of them. It’s the story of Guido’s past and present splintered into the women – his mother, his wife, his mistress, his lead actress, his costume designer – who have defined his life. It’s made implicitly clear that the musical numbers are to be taken as Guido imagining and visualizing the moments in his life, as they are interspersed with scenes of actual events, where only in his head is Guido actually singing away at hounding reporters or serenading one of his beloved ladies in a moment of anguish. The ensemble of dancers is absolutely impressive, but all of the singing actresses seem woefully unaware of each other because they aren’t really given a chance to interact, only to alternate places in the mind of their maestro.

The actresses, however, still bring down the house, each in their own show-stopping numbers representing the many faces of Guido, with the help of a spectacular soundtrack. Penelope Cruz delights and charms as Guido’s over-the-top mistress, and “A Call to The Vatican” is a terrific number that introduces audiences to her life of excess and relationship to the esteemed director. Judi Dench, seen as Guido’s mentor throughout the film, commands the screen in the entertaining “Folies Bergère,” where she reminds Guido of his initial delight at the world of entertainment. Fergie is fierce and fantastic as a seductress who sings “Be Italian” and stresses the unique appeal of Italians. Kate Hudson is the lone American, but still sparkles as a journalist that sings “Cinema Italiano,” a great addition written for the film. And Marion Cotillard ("La Vie en Rose")croons a lovely ode to her loneliness as Guido’s long-suffering wife, “My Husband Makes Movies.” Sophia Loren and Nicole Kidman round out a top-notch cast that shines individually but isn’t given much opportunity to interact.

Among all of the ladies, there is powerhouse actor Daniel Day-Lewis as Guido. While it’s hardly a performance worthy of comparison to his roles in “Gangs of New York” or “There Will Be Blood,” it’s nonetheless an impressive transformation into this Italian director so obsessed with himself that he doesn’t even have any idea what to do next. But, like the rest of the film, the most extraordinary moments for Day-Lewis come when he is singing, particularly the early number “Guido’s Song.” The film certainly contains endearing visuals of Italy, but it’s when everyone breaks out into song that the film really scores, and the rest just can’t quite live up to that.

B

Movie with Abe: A Single Man

A Single Man
Directed by Tom Ford
Released December 11, 2009

It’s always interesting to see a director’s first movie, especially when the director comes from an altogether different field unrelated to the world of film. What’s most intriguing about the crossover is that the new filmmaker often brings something crucial from his previous profession to his new career. In the case of former fashion designer Tom Ford, what he has to showcase for the world of cinema is absolutely astonishing, and that’s a major part of what makes his debut feature a must-see film.

Ford doesn’t waste a single moment in “A Single Man.” Every shot is extended and carefully caressed to show something unexpected, and his ability to dwell on the simplest things to make them seem extraordinary is reminiscent of the film-long charge of “American Beauty.” Ford has made an art film that doesn’t dismiss plot but rather makes every scene stronger by emphasizing the beauty he is able to find in each person and object on screen. The attention to detail only makes the story more intriguing. The 1960s setting utilizes colorful costumes and stunning set pieces that pop off the screen and make the film a visual pleasure.

The camera zooms in following the narrowing or widening eyes of a person’s glance, and there isn’t an instant that isn’t properly embellished to make it all the more fascinating. Accompanying these moments of slowed-down contemplation is the magnificent score by composer Abel Korzeniowski, which makes even the most seemingly mundane sequence of shots essential and heightens the dramatic meaning of every moment. It is certainly one of the best scores of the year, and without a doubt the most unique and original composition.

As if the daring direction and stellar score weren’t enough, the actors are unbelievably terrific. Colin Firth sheds his sheepish, neurotic antics and turns serious for the performance of a lifetime as George, a soft-spoken professor trying to deal with the sudden and unexpected death of his life partner. Firth is unrecognizable and brilliant, and his incredible dramatic turn indicates that the actor should consider breaking out of his shell more often. The lovely Julianne Moore is bold enough to don a British accent, and the result is simply wondrous. Moore’s Charley is excessive and hilarious while at the same time sad, lonely, and desperate. The interactions between Firth and Moore are divine. Matthew Goode (“Match Point,” “Watchmen”) makes Firth’s pain understandable as the charming late love of George’s life, seen in extraordinarily powerful flasbacks . The most surprising and marvelous performance in a film full of such feats is that by Nicholas Hoult, last seen considerably shorter in the world of film as the young kid in “About a Boy.” His turn as one of George’s brightest and most intellectually-stimulated students shows maturity and, above all, talent. This is one of the finest ensembles in recent history, one which makes every scene glisten just as much as the framing and direction do. “A Single Man” displays a staggering amount of creativity and artistic prowess from all involved, and that makes it simply irresistible.

A

Movie with Abe: Up in the Air

Up in the Air
Directed by Jason Reitman
Released December 4, 2009

Every year there are films that impress due to their technical achievements, stylistic choices, and standout performances. Movies with exceptionally weighty or important premises go far because they’re buzz-worthy and elicit conversation. And then there are the movies that unsuspectingly come in under the radar, that take a simple idea, run with it, and excel in every aspect. “Up in the Air” is just that, and it’s an altogether delightful and fantastic portrait of one man, as the tagline says, ready to make a connection.

George Clooney stars as Ryan Bingham, a motivational speaker whose day job involves flying to companies around the country and firing employees for them. He’s an expert traveler whose goal is to reach ten million frequent flyer miles. He doesn’t go everywhere to see the world and visit treasured locales and historical monuments. In fact, there’s little mention of Ryan’s appreciations of the places he goes, and when he’s asked to take pictures of a cardboard cutout in front of famous spots, he spouts off a great deal of knowledge about where he is without seeming to care that he’s actually getting to see and appreciate something significant. He’s a fan of his lifestyle because he thrives on living on the go and enjoys not being tied down.

The film, on the other hand, is remarkably grounded in the very logical and coherent manner in which Ryan’s journey is presented. He’s extraordinarily prepared for his life on the move and revels in being a member of every platinum rewards club for which he’s eligible. Ryan is someone who has learned how to create his own sense of stability in his ever-changing life. He’s unprepared, however, for the attempt a plucky young employee named Natalie at his company makes to keep him in one place by shifting his job to a remote one and grounding him permanently. His continued efforts to maintain the way he operates, and Natalie’s refusal to stop pushing back, are what make this trip worth taking.

George Clooney is great at playing the likeable everyman, and this is easily his best performance to date. He’s extraordinarily sympathetic, and the way he spouts his motivational material and seems to believe it is incredible. Ryan’s kindred spirit Alex is embodied by the lovely and talented Vera Farmiga, who also turns in a stunning performance and has marvelous chemistry with the debonair Clooney. Rising star Anna Kendrick more than holds her own against the far more experienced actors as the game-changing Natalie, whose inability to cut loose is mixed with a bizarre charm and allure. Her interactions with Clooney are absolutely hilarious, and their bickering-prone dynamic provides the heart of the film. As a film, “Up in the Air” is moving, funny, and altogether enjoyable. Like Jason Reitman’s previous films, “Thank You For Smoking” and “Juno,” this one is a cut above the rest, in an elite class that should be distinguished from economy class.

A-

Movie with Abe: Fantastic Mr. Fox

Fantastic Mr. Fox
Directed by Wes Anderson
Released November 13, 2009

“Fantastic Mr. Fox” comes from three very different minds. The source material is the 1970 children’s book by Roald Dahl, treasured author of Charlie and the Chocolate Factory and James and the Giant Peach, among others, whose creative vision produced numerous adored stories that transcend audience demographics. The co-screenwriter is Noah Baumbach, who specializes in harrowing portraits of dysfunctional families (“The Squid and the Whale,” “Margot at the Wedding”). The screenwriter and director is Wes Anderson, whose unbounded imagination has created colorful characters and scenarios in films like “The Darjeeling Limited” and “The Royal Tenenbaums.” The intersection of those three distinctive personalities makes for a wondrously intriguing and wildly imaginative product.

“Fantastic Mr. Fox” exists in a fantasy world where animals speak with words and live in homes furnished just much like human households. Mr. Fox moves his family into a nice tree near the farms of three prominent industry titans, and his first visit to the dwelling is exactly like a realtor’s tour of a house on the market. This kind of humanlike behavior simply happens, and it’s never indicated that this is out of the ordinary, or that the animals are trying to mimic humans. This is simply how things work in this world, and entering this universe secures passage to a marvelous tale of family, friends, and adventure.

Mr. Fox, the title character, seeks first and foremost to protect and take care of his family, but finds himself distracted by his animal impulses to steal and scavenge. When his selfish stealing from the farmers gets the better of him and threatens to endanger the livelihood of his fellow animals, he steps up to try and burrow a way out of his figurative hole. His quest to redeem himself and save his community is filled with plenty of humor, but also a good deal of heart. Mr. Fox waxes philosophic more often than not, and the way he interacts with his dutiful deputy Badger, his son Ash, and his nephew Kristofferson convey much about the kind of father and friend he wants to be.

More importantly than adhering closely to genre in terms of being a comedy or a drama, “Fantastic Mr. Fox” is an adventure movie. It’s remarkably entertaining and compelling the whole way through. There’s much to be explored within the realm of the animals and the humans, and the foxes’ penchant for digging comes in handy for discovering new directions for the story to take. The use of stop-motion animation makes this wonderful world come alive. The visuals are mesmerizing and the animation is magnificent. This film’s storytelling abilities are enhanced by the possibilities of animation, and Mr. Dahl’s classic story can be seen in a whole new stunning light rather than ruined by this big-screen adaptation. The voice cast, led by George Clooney, Meryl Streep, Jason Schwartzman, and Bill Murray, is entirely fantastic. “Fantastic Mr. Fox” is a film for people of all ages, and maybe not just people. Check the local listings for your nearest foxhole – there’s bound to be a showing in the theater at the base of the oak tree in your backyard.

B+

Movie with Abe: Precious

Precious
Directed by Lee Daniels
Released November 6, 2009

When a story with a dark subject matter is adapted for the screen, it often incurs wild praise for bringing something to light. As disturbing as is it to watch physical and sexual abuse occur onscreen and to see how it affects the victim’s way of living, it’s equally difficult to visualize and bring such content and scenes to life. “Precious” deserves credit for traveling down dark paths and fleshing out an inspiring character through the miserable journey, but it’s hardly the film of the year. It’s one of those cases where the story is better than the movie, but those who are wowed and awed by the plot will likely fall in love with the film.

Breakout actress Gabourey Sidibe stars as 16-year-old Clareece Jones, who goes by the moniker of Precious. She is an underachieving student whose lack of effort and academic prowess is due mostly to the horrific abuse she receives from her mother Mary (Mo’Nique), who does nothing but sit around at home all day watching television and trying to collect welfare checks, and the fact that she’s pregnant with her second child by her father who raped her. Precious’ life is an exceedingly dreary one, and her enrollment at an alternative school begins to change her perception on education and enrich her appreciation of the world around her. Yet throughout her journey towards happiness, aided by her classmates and kindly teacher Ms. Rain (Paula Patton), Precious is continually brought down by the uniformly negative criticism and violent nature of her mother and her miserable home life.

It’s easy to forget that Precious is only sixteen years old. Her face displays such a stoic weariness that hides eternal doubt based on the horribly critical parenting practiced by her mother, but sometimes Precious breaks into a childish smile or giggle that reminds the audience that this is a teenage girl who shouldn’t have experienced a tenth of what she has. The young Sidibe is quite talented, and this is very likely her role of a lifetime. Similarly, popular comedian Mo’Nique completely burrows herself in the despicable role of Mary, and she’s utterly terrifying and pitiful at every turn. It’s impossible to perceive the actresses in their scenes together since they’re both so fully in character, and the film is guided mostly by their impressive performances, both of which should herald Oscar attention.

Precious’ story is a harrowing one which stays mostly buried under a gloomy rock. It’s always bleak and never allows Precious the opportunity to enjoy true happiness without coming up against another obstacle. Nothing is sugar-coated, and everything is erred right out in the open, unambiguously. There’s something to be said for that, but as a film, there’s little that distinguishes it, aside from the performances. An attempt is made to flesh out Precious’ imagination and have her flash to pretended scenes of superstar MTV celebrity when she faces her darkest moments. It’s a decent effort, but the film might have been better not to try to create such an artificial escape. “Precious” is a good film certainly worth seeing, but it’s not a grandstanding filmmaking achievement. Strong performances and a compelling story enhance a film that’s merely average.

B

Movie with Abe: An Education

An Education
Directed by Lone Scherfig
Released October 9, 2009

An actor can make a movie. Very often it happens that a performance is all that’s talked about when referring to a film, and that’s because, while the acting is unbelievably incredible, the movie sometimes isn’t. Many praise Marion Cotillard (“La Vie en Rose”), Forest Whitaker (“The Last King of Scotland”), and Peter O’Toole (“Venus”) but don’t give much credit to their films. It’s immensely gratifying, therefore, to a find a film that confidently defies that trend. Carey Mulligan’s lead performance is refreshingly brilliant, and her surrounding film is wonderful and fun.

Twenty-four-year-old Mulligan is effortlessly charming and absolutely marvelous as Jenny, a young girl in 1960s London destined for a bright future at Oxford whose plans get a bit delayed when she meets an older man. Mulligan completely inhabits the role, and it’s a performance reminiscent of Sally Hawkins (who appears in a small role in this film) in last year’s “Happy-Go-Lucky.” Both Brits display an incomparable ability to embrace life and delight in simple pleasures. Mulligan seems years more mature than her age, but also imbues Jenny with appropriate naivety. It’s a simply delightful performance, and a sign that Mulligan should have a bright future ahead of her.

The supporting cast is equally splendid. Alfred Molina and Cara Seymour make a great family unit as Jenny’s parents driven to see her succeed. Peter Sarsgaard dons a British accent and oozes charisma as her older suitor, and seeing the four performers on screen together feels very real. They all fit in nicely against a 1960s backdrop, and the film feels perfectly timeless. It’s a pleasant story that stands out due to its lively attitude and generally positive nature. That and, of course, the incredible, career-making performance by one Carey Mulligan.

B+