Film Review: The Girlfriend Experience

The Girlfriend Experience
Directed by Steven Soderbergh
Released May 22, 2009

There’s a tendency when it comes to independent films to be daringly experimental, and the idea that less is more is terribly enticing. Why bother with an expensive cast and detailed backgrounds when a camera lens and a bare, human performance can heap layers of meaning onto the thinnest of premises? Director Steven Soderbergh lives to have it both ways, alternating between awards (Traffic, Erin Brockovich) and box-office (the Ocean’s Eleven series) successes and smaller, art-house films (The Limey, Full Frontal) where he can really experiment with the form and see where film can take him and his audience. “The Girlfriend Experience” is unabashedly a purely investigational film, probing the possibilities of film without much of a plan for how to really pull it together.

Soderbergh’s first step in attempting to establish an untouched reality is casting porn star Sasha Grey in the lead role as a prostitute who operates her business while still maintaining a long-term relationship with her boyfriend, an ambitious physical trainer. The film meditates on fleeting moments to stress their importance, and the camera lingers on its characters, desperately searching for meaning in their elitist, superficial interactions. Plot is almost non-existent in “The Girlfriend Experience,” and the narrative is far from linear. The film’s brief 78-minute runtime almost ensures that nothing of substance can actually occur, and the purposely choppy editing seals the deal. It’s an incomprehensible experience from the start that only confuses itself more as the film goes on.

Documentaries consist of pieced-together interviews which shed increasing light on the subject of the director’s investigation. The reason for including interviews is because experts and witnesses can provide their relevant thoughts on why it is that something exists or works a certain way, and because further clarification can only be helpful. In the case of a scripted film, the characters should be able to do the storytelling, and viewers shouldn’t be forced to construct their own version of events and perception of relationships because the film refuses to do so on intellectual grounds. A narrative film can be artsy and take an indirect approach to its conclusion like “My Blueberry Nights” or “In The Mood For Love,” but there should be some point or concrete notion in sight.

“The Girlfriend Experience” employs nonprofessional actors in a flagrant attempt at capturing reality at its grittiest. Grey has only pornography experience on her resume, and therefore uttering legitimate sentences seems to take a great deal of effort. The actress’ transformation from sex symbol to legitimate performer doesn’t yield a stunning tour de force performance; instead, she’s maddeningly unimpressive. The same is true for the rest of the cast, who speak casually as if they’re perpetually responding to an off-the-cuff question from a reporter. Reality is great, certainly, and aiming to showcase it in its most unadulterated form is noble, but sometimes people talking is just people talking. Hidden meaning doesn’t suddenly arise simply because actors are trying not to give anything away. Movies are movies for a certain reason, and part of that reason is to dramatize events and craft something out of them. Here, Soderbergh leaves the pieces scattered as they are and expects his audience to pick them up. It’s substantially different from watching George Clooney and Brad Pitt steal from casinos in Las Vegas, but it’s about as interesting as talking to a new neighbor who just doesn’t have any particularly notable qualities to offer.

F

Film Review: Star Trek

Star Trek
Directed by J.J. Abrams
Released May 8, 2009

Updating the “Star Trek” franchise made sense. The show had been off the air for the first time in eighteen years when “Enterprise” got cancelled after its fourth season on UPN. Before that, “Star Trek: The Next Generation,” “Star Trek: Deep Space Nine,” and “Star Trek: Voyager,” had all introduced new crews with different directives, bizarre alien races, and amiable personalities. In between (and during) this string of new shows and the end of the original “Star Trek” series in 1969, no less than feature films were released detailing the continued adventures of our future Starfleet heroes. An eleventh film was due inevitable. What didn’t strike everyone as common sense, however, was opting for a complete reboot. As casting news came out, this new “Star Trek” seemed like a teenage edition with each character seeming more cartoonish than the one before. This grandscale relaunch could have been a massive, all-out disaster.

Fortunately, 2009’s take on “Star Trek” is far from a disaster. With talented action / sci-fi director J.J. Abrams (Alias, Lost, Fringe) behind the wheel, this reboot is a grand reimagining of the origins of the Starship Enterprise and all of its crew. It’s perfect for new viewers, or rather those who would die before being called “Trekkies,” but it still contains reference after reference that can make a diehard fan go wild with joy. Even the plot is generally intact, with one major history-changing shift which is easily explained and even centrally important to the film’s story. The “Star Trek” of 2009 is a fresh look at the final frontier explored in the 1960s series, and it succeeds in crafting a completely new set of characters who aren’t all that different from their historic counterparts.

Casting is a major part of the film’s success. Newcomer Chris Pine is a perfect fit for the loose cannon, cocky Kirk, although unlike the character’s original portrayer, William Shatner, Pine can actually act! Zachary Quinto is a dead ringer for Leonard Nimoy as Spock, and his onscreen work with Pine is absolutely incredible. Neither Shatner nor Leonard Nimoy ever evoked as much emotion or fought quite as well as these two young actors. The rest of the cast includes capable rising stars filling the shoes of the crew, including a feisty Zoe Saldana as Uhura, a hilarious Anton Yelchin as Chekov, a spot-on Simon Pegg as Scotty, and a truly entertaining Karl Urban as Bones. The movie even allows in someone over the age of 35 to guide them, and Bruce Greenwood is a terrific choice as the courageous Captain Pike. An unrecognizable Eric Bana also makes for a good villain as the time-traveling, hell-bent-on-revenge Nero.

The film jumps right into the action in its opening minutes, foregoing what might have seemed like a necessary recap for non-Trek fans. It quickly establishes its own universe where Kirk enters Starfleet always due to pure chance, and the inevitable crew of the Enterprise is forged due to extenuating circumstances which drive the film’s narrative core. It’s an altogether exciting adventure dusted with humor at almost every spot. The spirit of “boldly going where no man has gone before” is still there; this installment in the franchise is just working its way there. Some were beyond concerned when the teaser trailer included shots of the ship itself being constructed on Earth, but this film doesn’t stay tied down to the ground. It launches its young cast into space quickly and easily, and while it’s not as heavy on the aliens as the original show was, it’s still a fascinating and fun exercise in restarting a franchise successfully. There’s little to complain about, as the film doesn’t really do anything wrong, and a sequel is already in the works. Consider this an extremely positive experiment, and an entertaining and enjoyable one at that.

B+

Crazy Change for Oscars 2010

It's out on the web that next year's Oscar ceremony will feature ten nominees for Best Picture instead of five, for the first time since "Casablanca" beat out 9 other movies in 1943. Nathaniel R has interesting thoughts on what this will mean, whether we'll see filler nominees like "Finding Neverland" and "Seabiscuit" or if this will open up the opportunity to honor films like "Eternal Sunshine" and "Wall-E" that were just never going to make the top five but might have had a shot at the top ten. I think this is a sort of cool idea, but then again I do like tradition and think that adding it this particular year is a bit strange and random. It's better than the Emmy decision to nominate 6 instead of 5 actors and shows in each category, but it's still just weird. I have no idea what movies might make it in this year, but last year probably would have seen "The Dark Knight," "Revolutionary Road," "Defiance," "Wall-E," and "Doubt" included as well. But for every organization that always announces a top ten, there's always a surprise in there. That could be cool for the Oscars, but it all just feels too experimental.

Thoughts, anyone? Is this a good change? Are you happy about it? What films could benefit and get recognized? "Up," maybe?

Film Review: Whatever Works

Whatever Works
Directed by Woody Allen
Released June 19, 2009

Any director who establishes himself inevitably starts essentially making the same movie over and over again. In some cases, an attempt to branch out is made, like Martin Scorsese, who moved from gangster pictures like “Mean Streets” and “Goodfellas” to period fare like “Gangs of New York” and “The Aviator.” Some, like Steven Spielberg, shed their fantasy roots of “Close Encounters” and “E.T.” to tackle important subjects in “Schindler’s List” and “Munich.” Those directors eventually come back to what they originally knew and loved – Scorsese with “The Departed” and Spielberg with “War of the Worlds” – but something’s changed, and it’s a positive thing. “The Departed” is hip and quick, and “War of the Worlds” is a thrilling action piece whose effects can at least be defended by most. Woody Allen tried fantasy elements with “Curse of the Jade Scorpion” and “Scoop,” and ventured into dark drama with “Match Point” and “Cassandra’s Dream.” Now he’s back to his original area, and, in his case, not much has changed.

Allen, now 73 years old, has perhaps realized that it’s a bit of a stretch for people to believe that he’s still some dashing, irresistibly handsome intellectual who can make young, pretty woman fall head over heels in love with him (not that he necessarily ever could, but his characters certainly imply that it’s the case). The story is still generally the same: an older man with a pessimistic view of life, who charms a young ingénue (with his lack of charm) into falling for him and his unique outlook. Characters, especially Allen’s lead, banter expectedly. It’s a traditional Woody Allen story, set in New York and following a distinctly Woody Allen character through his various highs and missteps. The trouble is, the slightly appealing Allen isn’t the one leading the charge.

Larry David made a name for himself writing “Seinfeld.” His later show, “Curb Your Enthusiasm,” picked up on the former’s theme of not having any real theme, save for Larry offending someone in some dastardly way at nearly every turn. David isn’t really an actor, simply uttering his humorous quips as he might deliver them at a dinner party or talking to his wife at home. On “Curb Your Enthusiasm,” it’s not a problem. No one is supposed to like Larry. But when David has the starring role in a motion picture where he’s not supposed to be playing Larry David, it gets in the way. Allen has a wonderful way of making the audience forget he’s so thoroughly obnoxious because there’s something inherently unthreatening and likeable about him. With David, that’s not the case. He’s constantly rude, and doesn’t seem to feel the need to impress even himself. Worse still, he’s supposed to be an elitist intellectual, which means that he knows he doesn’t need to work hard in any other area of life because he’s smart enough to get through on his wits alone. People like that may exist, but they don’t make for terribly interesting protagonists, especially when Allen’s screenplay is pretty much already written and polished in audiences’ minds before the token Allen credits roll at the start of the film.

David’s intrusive nature plagues the entire film since he is its critical center, but fortunately, a number of highly skilled actors pop up throughout the film to offer their dramatic abilities. Evan Rachel Wood adopts a Southern accent and dim-witted attitude which would probably be able to tame Allen, though she doesn’t have a shot against David’s perpetual ignorance of her. Patricia Clarkson earns her typical “best in show” award as Wood’s flamboyant mother, whose transplantation from Mississippi to New York transforms her in a radical way. Ed Begley Jr.’s brief role as Clarkson’s former husband is also fun, but Allen should really look back at his older films like “Crimes and Misdemeanors” and “Hannah and Her Sisters” to appreciate how he successfully used so many actors in small parts. Begley has little to do, and Michael McKean, who is capable of being flat-out hilarious, isn’t given a single scene to show off his talents. Allen’s characters have always been self-absorbed, and David’s Boris is so full of himself he takes up the entire movie. The tragic mistake there is that he’s its least interesting character, and he’s unbelievably familiar – a clear takeoff on so many past Allen incarnations. This film is more like last year’s “Vicky Cristina Barcelona” in the way that its premise makes for a fun trailer indicating cleverness, but once the movie gets going, it’s clear that it isn’t headed anywhere interesting. It contains a number of very funny lines, but they’re smushed together in the middle of an unexciting story and crammed into Boris’ rants like items on a checklist. The aimlessness of “Whatever Works” makes it seem like Allen just isn’t trying anymore. He’s content with what he’s produced in the past, and wants to make more. He likely thought, based on his history, whatever works.

C

Film Review: Away We Go

Away We Go
Directed by Sam Mendes
Released June 12, 2009

Sam Mendes has only made four films to date, and they have been heavy-handed dramas (Road to Perdition, Revolutionary Road) often-twinged with a wicked sense of humor (American Beauty, Jarhead). He’s taken a three-year break between each of those, finely honing his very carefully put-together films. His fifth film comes only months after “Revolutionary Road,” and it’s a starkly different movie from the rest of his filmography. “Away We Go” is a simple story about two people who head on the road in search of the perfect family after discovering they’re going to have a baby. Mendes has focused in on couples before in “American Beauty” and “Revolutionary Road,” but never has he so clearly presented the characters they meet through their eyes.

Bart and Verona are quiet, unassuming people who live their lives without much flair but also without really interacting extensively with other people. Bart and Verona’s cross-country exploration is a search for the kind of world the couple would like to live in, since they exist in a very solitary sort of bubble, and they realize they should know what’s out there so that their child can be prepared for the world. Bart and Verona know each other well, but they’re still very prone to discover things about themselves along their journey as they encounter a wide variety of parental and family units. The subtle chemistry between Bart and Verona is the film’s driving heart, but there’s so much the film does right.

A fellow critic remarked that the film contains every independent film cliché as well as every family cliché. I cite that as a major strength for the film, in that it covers so much ground and allows Bart and Verona to see every possible future themselves through the lens of some wonderfully entertaining characters. The flow of actors goes from good to great, featuring Allison Janney as a tireless wacko, Maggie Gyllenhaal as an even crazier alternative-lifestyle mother, Chris Messina and Melanie Lynskey as a functional couple, and Paul Schneider as a desolate father whose wife has left him. Catherine O’Hara and Jeff Daniels ever stop by to play Bart’s off-kilter parents. The cast is so strong, and each of the characters are so richly developed despite appearing on screen for such a limited time.

The supporting cast is stellar, but the stars of the film are equally tremendous. John Kraskinski, who appears weekly as sweet prankmaster Jim Halpert on “The Office,” sheds Jim’s overconfidence and need to cause trouble and embodies an entirely sentimental Bart, who gets exciting in the least apparent of ways and, despite his own hang-ups, does everything he can to support his pregnant girlfriend. Krasinski proves that he’s made of more than just “The Office,” and watching the comedy series after seeing the movie proves that Krasinski has in fact stepped out of his shell, and succeeded gloriously in the process. Maya Rudolph gets a similar opportunity to abandon her comedic upbringing, leaping far away from her “Saturday Night Live” stint and her role in 2006’s “Idiocracy” to play a mild-mannered woman who can crack jokes without stealing attention from showier players. Verona accepts things as they happen, and Rudolph is marvelously gracious in her silent reactions. The chemistry between Krasinski and Rudolph is unspoken, but it feels just right for Bart and Verona.

The film does have a decidedly independent feel, but that takes the pressure off of Mendes, who usually infuses his films with serious music and lavish sets and cinematography. Simple titles and a smart script peppered with fantastic actors in small parts makes for a terrific experience that can leave an unsuspecting viewer extremely surprised and satisfied. “Away We Go” defines its story in its title, and it’s a magnificent adventure that doesn’t try too hard to proclaim itself. Mendes knows how to make a stinging drama, but he’s also capable of a quirky dramedy that doesn’t take itself too seriously and still packs a delightful punch.

A-

Film Review: Up

Up
Directed by Pete Docter
Released May 29, 2009

Pixar’s latest release is being hailed almost unanimously as its best effort to date, and rightly so. It’s hard to believe anything could top the animated offerings of the past two years, “Ratatouille” and “Wall-E,” but it appears that’s happened. What’s truly fantastic is that, even after all the hype, “Up” really is a terrific, wonderful film.

“Up” follows in the tradition of “Wall-E” as a quiet, mature production with just the right tinge of fantasy to drive its story forward. In its first few minutes, it weaves a heartbreaking story about a couple’s entire lives, favoring images and music over words, much like the famed no-dialogue start of “Wall-E” did. It’s a fabulously sentimental beginning, and fifteen minutes in, a wonderful story has already been told, and that’s just the tip of the iceberg for one grumpy old man headed for adventure.

“Up” is very much like a children’s version of Clint Eastwood’s “Gran Torino.” A recently widowed gruff elder cannot stand his daily life and the careless way in which his neighbors treat his once-fabled street. He is pestered by a friendly young kid who just wants to do something nice for him, and he can’t accept the friendly gesture. While Clint stuck around and faced racial tensions and gang violence, Mr. Fredricksen, the protagonist of “Up,” decides to fulfill his lifelong dream of traveling to a legendary locale in South America, and goes out in style. Clint may have had a nice car, but Mr. Fredricksen takes his whole house with him on his journey, courtesy of a whole bunch of balloons.

There’s just the right amount of fantastical elements driving “Up” to make it heartwarming and endearing without becoming overbearing or senseless. Kids will be amused by the dogs with collars that enable them to talk and get distracted by the frequent sight of a squirrel. Adults will watch in awe as Mr. Fredericksen pulls his house by the balloons to place it in the exact spot he and his late wife always dreamed of living. The story is reminiscent of so many things at once – this is the best flying house since “The Wizard of Oz,” except this time the hero is in control of where he’s headed. The film’s title is also very appropriate, and Mr. Fredericksen’s lost childhood aviation hero has a story that recalls Amelia Earhart. The balance of youthful humor and adult themes of adventure and exploration is extremely impressive, though it should come as no surprise to anyone who’s seen Pixar’s previous films.

It’s hard to find much to complain about regarding “Up.” The film is entirely engaging and bounces along to a wonderfully inspiring score. The 3-D version doesn’t appear to add much, but the illusion of flying in the clouds is wholly worthwhile. Additionally, recent 3-D releases have too much emphasized the effects and made the movie seem trivial and empty (see: “Beowulf”). That’s not a problem here, and the already wondrous ride is likely all the more enchanting seen bursting out of the screen. “Up” is a very simple film, and its story can easily be summed up in a few sentences, but it’s a heartwarming journey that won’t disappoint.

B+

Lost Minute with Abe: The International

I'm delighted to share an exclusive item I thought lost forever. This is the only Minute with Abe filmed during my time in Italy. It was shot sideways and it was feared that it wouldn't upload correctly. Luckily, someone was able to rotate it, and I'd like to thank both Laura and Andrew for their help! Now, travel back in time a few months and enjoy this "international" experience!

Film Review: Angels & Demons

Angels & Demons
Directed by Ron Howard
Released May 15, 2009

Tom Hanks returns as Harvard’s Professor Robert Langdon in Ron Howard’s sequel to his 2006 film “The Da Vinci Code.” This time around, Langdon isn’t just gallivanting around France with Audrey Tautou, but he’s surrounded by a whole entourage of bickering police officers and security guards struggling to uncover the mystery of the Illuminati, an ancient Christian brotherhood determined to lash out against the Catholic Church and prevent the Vatican from choosing a new Pope. With a whole bunch of people involved, there’s all the more possibility for excitement, but there’s just as much chaos and disorder in store for the film’s large cast of characters.

Hanks is a great actor who has had many terrific performances in the past, but this certainly isn’t one of them. It could be his hair, since a similar poorly chosen hairstyle seemed to decrease the acting ability of one Nicolas Cage. All kidding aside, it’s the true mark of an effortless performance when an actor whose face alone has conveyed extremely complex emotions in films like “Saving Private Ryan” and “Cast Away” looks puzzled and uncertain all the time. He could really have made the most of the role, but the finished product isn’t much to show off. His supporting cast is full of other actors who have done better work, and it would have been nice to see Stellan Skarsgard get truly angry as the head of the pope’s security or Ewan McGregor show both his softer and harsher sides as the pope’s right-hand man. The real find among the cast is Pierfrancesco Favino as one of the many inspectors working to help Langdon, who manages to put in much more than his role demands and shine among a crowded and overstuffed cast.

The film’s plot is more realistic and tempered than that of “The Da Vinci Code,” demanding far less suspension of disbelief from the viewer and shying away from fantasy elements that pervaded the first film. Despite that, the massive strength and reach of the Illuminati conspiracy Langdon fights against is more than hard to believe. The extent to which the Vatican itself has been infiltrated makes the film much less compelling and effective. The exploration of religion and science that the film begins to touch on is fascinating, but it gets caught up in fanciful twists and surprising events. It could have been a far more complex film dealing with theological and philosophical issues, but instead it’s a disappointing thriller that manages to keep its viewer on the edge of his seat but somehow still leave unsatisfied.

C

Mini-Review: State of Play

State of Play
Directed by Kevin Macdonald
Released April 17, 2009 (USA) / April 30, 2009 (Italy)

This dramatic thriller from the director of “The Last King of Scotland” is a decent, engaging mystery with a cast of talented actors giving so-so performances. There’s nothing I can find inherently wrong with it, but the feeling I left with was not one of satisfaction. Russell Crowe is an able actor whose bad-boy reputation has left reviewers and audiences touting his skills. Here he’s not putting in much effort, and it’s not terribly distracting because this isn’t a role that demands much. The same goes for Rachel McAdams and Helen Mirren, both of whom have great potential, one of whom will get a chance to show it in the future and the other who has demonstrated it clearly in the past. Ben Affleck is the real dud in this flick, trying to over-enunciate his words and overplay his emotions, and his overexertion of effort shows. The real problem with the film isn’t the mediocre adequacy of its performers or the lack of excitement in the script. From what I’ve read, the film has been touted mainly for two reasons. It’s based on a highly acclaimed 2003 BBC miniseries, which I imagine had more room to flesh out the characters and the plot in a more dramatically compelling manner. Twists that seemed irrelevant or odd were probably foreshadowed and more explained in the episodes of the miniseries, and the lack of hype or buzz probably allowed for a less famous but more skilled cast. The second major factor that earned “State of Play” good words is its function as a fitting tribute and swan song for print journalism. It may be an important movie because Crowe’s character insults the legitimacy of blogs and then proves his way of doing things is more effective, but that doesn’t make it a good movie. There was a lot of pressure on this film to be good, as a remake of a great miniseries and a death knell for the dying world of journalism. It’s an okay effort, but there’s not much that makes it stand out from other films.

C+

Mini-Review: Duplicity

Duplicity
Directed by Tony Gilroy
Released March 20, 2009 (USA) / April 10, 2009 (Italy)

This isn’t the first time Julia Roberts and Clive Owen have acted together. Their last collaboration, in Mike Nichols’ 2004 film “Closer,” garnered huge buzz and an Oscar nomination for Owen, and a surprising lack of mention of lead actress Roberts. Here, Owen once again has the flashier role, but it’s the chemistry they have together that really makes the film work. Owen and Roberts are a thoroughly entertaining duo of ex-government agents who join forces to pull off a huge score, tricking everyone in their path to steal a boatload of cash. The setup seems complicated, and it sure is. Some may be frustrated by the confusing way in which the plot is rolled out, but finding out is just part of the fun. Paul Giammati and Tom Wilkinson are superb as rival corporate CEOs whose companies are infiltrated by both Owen and Roberts. The score by James Newton Howard is appropriately bouncy and perfectly energetic. The script has terrific twists which excite and entertain without stopping. My only major objection is that the ending, while still great, feels a bit random and too tangential to the main focus of the film’s plot. Regardless, it’s a fantastic ride that’s a nice surprise among the usual crop of sub-par spring films.

B+

Mini-Review: What Just Happened

What Just Happened
Directed by Barry Levinson
Released October 17, 2008 (USA) / April 17, 2009 (Italy)

It's unlikely there's ever been a film with a title more doomed to define its outcome. The movie is a complete mystery, not regarding what will happen, but how anyone thought this movie would be a good, or rather an acceptable, production. The sense of laid-back effortlessness is devastatingly obvious. Robert DeNiro, once a great actor, walks around the set with little emotion and barely raises his voice to an audible pitch. The entire cast is one big group of friends - DeNiro and Sean Penn have starred in films together in the past, and Penn is married to Robin Wright Penn and cast Catherine Keener in his recent film "Into the Wild." It's as if this group of buddies was gathered together to sit around and talk about the movie business, and no one demanded a convincing or progressive story. Director Barry Levinson has made great large-scale films in the past, like "Bugsy," but this isn't a true effort. The synopsis of the film bills it as "Two weeks in the life of a fading Hollywood producer who's having a rough time trying to get his new picture made." That's hardly a compelling concept for a film, and it can't really get away without any legitimate progressive story. Casting both Sean Penn and Bruce Willis as themselves seems especially lazy, since the only way this movie could have been a little bit creative was if the story had been remotely original. Tragically, it's far from it, and manages to be boring and predictable. When it ends, the likely sentiment viewers will have is relief that the unneeded experience is over.

F

Mini-Review: Gomorra

Gomorra
Directed by Matteo Garrone
Released May 16, 2008 (Italy) / February 13, 2009 (USA)

I missed the theatrical release of this highly acclaimed foreign film which was controversially snubbed from this past year's Best Foreign Film Oscar lineup. I did get the chance to see it on DVD when it was screened in my Italian Cinema course in Florence. The opening scene of the film is certainly visceral and visually impressive. The cinematography in the film is incredible, and the excessive amount of graphic violence makes the film a powerful and heart-wrenching film. Putting that aside, the film's pace and many plot threads and characters is extremely confusing. The story and each of the newly introduced characters are very hard to follow. The Sicilian dialect even requires subtitles for native Italians, and I think this is one case where the foreign nature of the film probably contributed to all the positive buzz. While I do acknowledge the impressive aspects of the film, I am convinced that the tendency of critics and reviewers to put successful foreign films up on a pedestal certainly came into play here. It's still worth checking out, but make sure you're ready to follow closely along.

B

Mini-Review: The International

The International
Directed by Tom Tywker
Released February 13, 2009 (USA) / March 20, 2009 (Italy)

This dud of a thriller from the director of acclaimed films like "Run Lola Run" and "Heaven" is one of those films that should never have been made. It's hardly an intriguing premise, and gets boring and stale only moments in. You've already seen the whole movie if you've seen the trailer, and the most obnoxious thing is that the final scene is captured in the trailer. Clive Owen is inexplicably and inconsolably grumpy, leading a team of disgruntled and unenthusiastic agents trying to bring down a corrupt international bank. Naomi Watts, an actress extraordinaire, should probably cross this off on her resume as the one black spot, even worse than "Le Divorce." The only bright spots in a glum, deadbeat film are the fairly awesome Brian F. O'Byrne (Brotherhood) and the score by Reinhold Heil, Johnny Klimek, and director Tom Tywker. The failure of this film's logical progression isn't due to inconceivable plot twists, but instead because of a progression of events which doesn't stay focused, and it hardly resolves anything. The ultimate telltale sign of this disappointing film is the loud sigh of surprise when the film ends at what seems like an arbitrary moment. Skip it for sure; it's absolutely not worth it.

F

AFT Awards: Top 10 Scenes of the Year

Beware spoilers for Cloverfield, Doubt, Slumdog Millionaire, Traitor, Waltz with Bashir, Wanted, and The Wrestler.

This is a special category of the 2nd Annual AFT Film Awards, my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. These are my ten favorite scenes of the year, listed in alphabetical order by film title.

Cloverfield
That entirely elusive monster finally shows its face – only for a second, but it’s such a gloriously exciting and thrilling moment.

Cloverfield
Those dumb characters think they’re going to get out of New York alive, and board a helicopter to catch a ride out. Their helicopter doesn’t just go down – the monster swats it down and the last survivors don’t have much time left.

Doubt
All the tension that’s been building the whole time between Father Flynn and Sister Aloysius explodes as the two debate what’s really happened, and start screaming at each other. Meryl Streep and Philip Seymour Hoffman yelling at each other is a marvelous sight.

Slumdog Millionaire
Latika waits at the train station for Jamal, and he spots her, looking so perfect to him. His happiness is short-lived and interrupted by his brother and the goons as well as A.R. Rahman’s fantastic beat.

Slumdog Millionaire
Jamal’s made it to the final question, and decides to call his brother, who of course has put the phone in Latika’s getaway car. Her race to find the phone is combined via parallel editing with the heroic demise of Salim. The best part – she answers the phone and doesn’t have any idea what the answer is. That’s always been the point of this amazingly unique film, though.

Traitor
A so-so movie is made slightly exceptional in one brilliant yet highly implausible moment, as Samir reveals how he prevented two dozen suicide bombers from inflicting mass casualties across the United States – putting them all on the same bus. It doesn’t quite make sense but watching them all realize that they’ve been put together is a great victory for this otherwise disappointment-filled film.

Waltz with Bashir
Ari remembers his dream in this repeated scene accompanied by the unbelievable musical track “The Haunted Ocean,” and the animated background is incredible. The scene plays again and again because it’s just as effective the fourth of fifth time around.

Wanted
Angelina Jolie’s Fox has only just introduced herself, and James McAvoy’s Wesley is not prepared for the thrill ride he’s about to experience. He’s just standing there as the guy in the truck is about to take him out, but have no fear! Fox is able to spin the car around and get the door to open and close, timed perfectly to drag Wesley in. It’s one of the first of many fantastically exciting moments throughout the film.

Wanted
Fraternity leader Sloan’s duplicity is revealed, and all the gang is ready to just ignore it and be content with the sins they’ve committed. Not so much for Fox, who opts to kill every one of them with a single bullet. This is no normal bullet, of course, since throughout the film it’s been made clear that bullets don’t necessarily fly straight, and therefore one bullet can go around in a circle and take out every one in slow motion. Brilliant.

The Wrestler
Aging wrestler Randy the Ram needs to make some more dough, and so he gets a job at a deli counter. While his job will lead to future woes and bloody fingers, there’s one wonderful scene where he seems genuinely happy and interacts in a fun way with his customers, even calling one scrawny guy “good looking” while serving him meat. It’s a great showcase for Mickey Rourke.

AFT Awards: Best Director

This is the twenty-fourth category of the 2nd Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them.

Runners-up:
CLINT EASTWOOD, CHANGELING
GUILLAUME CANET, TELL NO ONE
MIKE LEIGH, HAPPY-GO-LUCKY
ARNAUD DESPLECHIN, A CHRISTMAS TALE
ERAN KOLIRIN, THE BAND’S VISIT

The winner:
Ari Folman (Waltz with Bashir) crafted a magnificent story from his own memories and guided his amalgam of different forms with a steady, nostalgic hand.

Other nominees:
Danny Boyle (Slumdog Millionaire) used the slums of India as his set and took a number of untalented actors under his wing to create a marvelously entertaining story. Jonathan Demme (Rachel Getting Married) managed a frightening amount of intimacy and closeness with a broken family opening itself up for a big wedding. Courtney Hunt (Frozen River) guided her small cast of actors through a difficult but fascinating story about desperate mothers struggling to make their lives work during hard times. Charlie Kaufman (Synecdoche, New York) stepped behind the camera for the first time to direct one of his own wacky screenplays and magnificently utilized a whole fake city as his stage.

AFT Awards: Best Ending

Beware spoilers for “Cloverfield,” “Iron Man,” “Wanted,” “In Bruges,” “Revolutionary Road” and “Slumdog Millionaire.”

This is the twenty-third category of the 2nd Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them.

Runner-up:
Cloverfield killed off all its characters, which was probably for the best as they were all super annoying, but didn’t resolve anything with the monster. The last bit of the videotaped footage has been analyzed to death, and I love the idea that the monster was shot into the water in the background and that the last sound heard can be played backwards to say “It’s still alive.”

The winner:
Iron Man went out on a pitch-perfect note that completely defined the character of Tony Stark. It’s a perfect way both to end a standalone project and to set itself up for a sequel, with cameras flashing and reporters wailing as Stark decides to announce that he is in fact the title superhero. I’m not counting the bonus footage after the credits, especially since I forgot to stay for it, but it’s great to see that Iron Man is going to be part of a greater Marvel movie universe, and it’s always terrific to see Samuel L. Jackson in any role, big or small.

Other nominees:
Wanted, in addition to a great scene near the end which I’ve named as one of my favorites in a forthcoming post, ended with a superb bang. Sloan’s demise is presented in the same way the movie started, with a decoy target and impossibly zigzagging bullet. The best part is Wesley’s final sarcastic remark – “what the fuck have you done lately?”

In Bruges was wonderfully creative in the way it left things open from the point of view of narrator Colin Farrell and also managed to have the villain brilliantly mirror the hero’s story in its final scenes.

Revolutionary Road was a sub-par film that wanted to send a deep message about unhappiness, and for me it was only effective in the final scene, where Kathy Bates’ character is talking to her husband about how impossible it is for them to have been so unhappy with each other, and the extremely minor character of the husband makes a powerful gesture by subtly turning down his hearing aid so that he doesn’t have to hear her, emphasizing his unhappiness.

Slumdog Millionaire went out in true Bollywood style with an awesome dance sequence set to a stellar original tune by composer A.R. Rahman.

AFT Awards: Best Opening

This is the twenty-second category of the 2nd Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them.

The winner:
Reprise wove a wonderful story with its opening hypothetical tales, fully describing the lives and intersecting paths of its characters in mere moments with a dazzlingly clever and brilliantly edited introduction..

Other nominees:
A Christmas Tale proved it really was a fairy tale with its fun and holiday-spirited opening play and musical accompaniments. Waltz with Bashir didn’t waste any time, rushing some pretty scared animated dogs at the camera. Slumdog Millionaire got right to it with exciting music and an intensely memorable title display. Tell No One started the way great thrillers do – with a serene night scene that was anything but calm and ultimately quite violent.

AFT Awards: Best Ensemble Cast

This is the twenty-first category of the 2nd Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them.

Runners-up:
A CHRISTMAS TALE
THE BAND’S VISIT
HAPPY-GO-LUCKY
MILK
IN BRUGES

The winner:
Synecdoche, New York was full of incredible actors playing each other, and I’m sure it wouldn’t have worked nearly as well without the terrific pairings of Philip Seymour Hoffman and Tom Noonan, Samantha Morton and Emily Watson, and a number of amazing supporting players.

Other nominees:
Slumdog Millionaire had, with the exception of Irrfan Khan, all actors unknown in the United States, and they worked together as well as the most seasoned, trained cast. Rachel Getting Married brought together an incredibly diverse ensemble of actors and they all felt searing in their realness. RocknRolla was made hilarious and irresistible by the unique contributions of Gerard Butler, Tom Wilkinson, Thandie Newton, Mark Strong, and every other actor involved. Reprise built relationships between young, fresh faces who make me want to see Norwegian movies every day.

AFT Awards: Best Limited Performance

This is the twentieth category of the 2nd Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them.

The winner:
Thekla Reuten (In Bruges) had a brilliant small part as the pregnant hotel head whose unwillingness to lay down got her caught in the middle of the film’s most edgy and violent characters.

Other nominees:
Peter Sarsgaard (Elegy) was perfect to play Ben Kingsley’s tortured son desperate to share his problems with the father who always neglected him. Amy Ryan (Changeling) has been doing so many diverse things lately (from “Gone Baby Gone” to “The Office”), and she’s great as a fellow psychiatric ward patient who is not prepared to put up with what the doctors do to her. Emile Hirsch (Milk) teamed with Sean Penn for the second year in a row, and showed that his interactions with people are actually quite entertaining – the look makes the part. Marie-Josée Croze (Tell No One) was the focus of her film, but was hardly in it, but for the moments she was, she was entirely refreshing and real.

AFT Awards: Best Breakthrough Performance

This is the nineteenth category of the 2nd Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them.

The winner:
Freida Pinto (Slumdog Millionaire) had an insanely big debut in the (arguably) most popular movie of the year and hopefully we’ll see a lot more of her soon.

Other nominees:
AnnaSophia Robb (Sleepwalking) was a revelation in a devastatingly poor movie, and at only fifteen years old, I hope we haven’t seen the last of her. Ayush Mahesh Khedekar (Slumdog Millionaire) was one of the youngest players in his cast, and was just as terrific as all the older ones. Summer Bishil (Towelhead) took on a lead role in a heavyweight cast and stood her own ground; I’m curious to see her play her own age in future films. Mila Kunis (Forgetting Sarah Marshall) shed all of the goofiness accumulated on “That 70s Show” and delivered a truly surprising adult performance.