Category Archives: Movie Review

Gareth Evans shows his impeccable talents as a filmmaker in ‘The Raid 2: Berandal’

Leave a reply

A546_C016_06060BDirector Gareth Evans not only brings us a better film in the sequel, but schools us all on how to shoot a proper martial arts film. ‘The Raid 2: Berandal’ is a film worth seeing based on the fight choreography alone. At the risk of sounding cliché, it is unlike anything you’ve ever experienced on screen (and more so than its predecessor).

Rama (Iko Uwais) goes undercover to develop a case against the gangs, crime families, and corrupt police officers alike connected to the tenants that occupied the very apartment he was instructed to bring down in ‘The Raid: Redemption’.

When people state that visual or special effects in a film are “out of this world”, it is usually met with apathy and sarcasm as the phrase is overused. Describing the fight choreography in this film with that phrasing, however, is completely justified.

Firstly, many of the actors and stunt people performing these bouts use choreography different from each other. Typically, we see fighters using the same choreography as their opponents. However, with ‘The Raid 2: Berandal’, this is not the case. It’s a refreshing thing to notice onscreen that not all techniques are created equal. Each person has a unique way of using their whole bodies or things surrounding them in a room. There is a scene in which one man gives his opponent his own version of “batting practice”. (Basically, this man puts “The Bear Jew” from ‘Inglorious Basterds’ to shame.) His partner-in-crime is a woman whose use of two hammers is viciously extraordinary.

Secondly, the camera in each of these fight sequences, moves in an untraditional manner. Not only are these scenes shot in many different angles, but the viewers are given enough time to process what’s going on in each move and counterattack before moving on to the next shot as opposed to relying on shaky cam and quick cuts. Another small, but considerate thing that ‘The Raid 2: Berandal’ does is that once an opponent is knocked down, there’s time allotted for them to recover before they get back up to help their fellow attackers fight their opponents. Although this small detail will most likely be overlooked, it’s a bit of a shift away from the typical fight sequences in Hollywood, featuring a more realistic take on how fighting scenes might play out naturally.

While ‘The Raid 2: Berandal’ features gratuitous violence (more than the first film), most of it has a purpose. Our hero, Rama, has a 10-min kitchen brawl with someone that could be his equal physically that also takes a slight turn for the psychological. The fighting here starts out with Rama’s opponent playing little mind games with Rama in his short counterattacks. The two men aren’t quick to start, but more divisive in how they approach each other. It’s a nod back to intelligent fighting in classic action films (i.e., Luke Skywalker and Lord Vader’s fight in ‘Empire Strikes Back’).

Besides the excellent fighting, ‘The Raid 2: Berandal’ has a very interesting story with a subplot that plays out very much like a Greek tragedy. It is a film that resonates much with ‘The Godfather’: a son wanting a higher position within his family, threats of mob wars, and back dealings among crime families and law enforcement. It’s a familiar story, but with a martial arts edge.

The acting is also very well done, especially from Iko Uwais and Arifin Putra (Rama and Uco, respectably). Uwais, specifically in scenes regarding his family, approaches the role in a very dedicated manner. Although most of his scenes call for some form of anguish, it’s a scene about his son where the audience can truly appreciate the actor’s range.

Although Uco’s character development is a little rushed (despite the film being almost 2 and a half hours), Putra, in showing the transformation in his character, gives a great performance as the foolishly ambitious, young man desperately trying to prove his worth as a leader to his father.

‘The Raid 2: Berandal’ stands firmly on its own with a strong, well-structured story and combat action sequences that films cannot yet match.

Jim’s Rating: 8.7/10

‘Captain America: The Winter Soldier’: A Marvel Film Better than ‘The Avengers’

Leave a reply

captain america the winter soldier

While it does take some of its cues from ‘The Avengers’, its script is much tighter and provides the Captain America film that fans have long awaited.

After S.H.I.E.L.D is compromised, Captain America (Chris Evans), Black Widow (Scarlett Johansson), and Sam Wilson as Falcon (Anthony Mackie) must fight against those within the organization and outside of it –i.e., the Winter Soldier (Sebastian Stan), an assassin by the Russians with a metal arm and a rival to Captain America’s strength—to prevent a greater threat to the entire world from deep inside S.H.I.E.L.D’s facilities.

Directors Anthony and Joe Russo haven’t just given us a great Captain America film but have also brought us a political thriller in the form of a blockbuster. As they—along with screenwriters Christopher Markus and Stephen McFeely—address Captain America’s adjustment to the 21st century with a few comical scenes, Captain America, in his studies and in his interactions with Nick Fury, uncovers things being done in S.H.I.E.L.D that suggest flaws in foreign policy and the differences in each of their opinions as to what freedom means. It’s themes like these that make one think, especially about our own government’s policies involving security, threats and rumors of threats, and foreign intervention. While everyone may have his or her own opinions about these issues, it’s a little dose of reality and, therefore, much appreciated. Additionally, it only adds to that of Captain America’s character and makes him more of an interesting character (on top of all of the really cool moves for a guy who’s also equipped with a Stark-made shield).

Compared to the montages in ‘Captain America: The First Avenger’ and a few shining moments in ‘The Avengers’, the action sequences involving the boy scout (at least, on the Marvel side), ‘Captain America: The Winter Soldier’ blows these out of the water. Steve Rogers/Captain America takes more of a leadership role and, as attitude reflects leadership, he doesn’t just command, but he leads by example taking down many adversaries, repeatedly having to get himself out of extreme situations, and make quick, yet vital decisions. These new responsibilities only prove more difficult with the arrival of The Winter Soldier.

As seen from the trailer, The Winter Soldier’s combat skills mask that of Captain America’s and his hope for defeating him seem shattered when, he [Winter Soldier] catches Captain America’s shield (a big deal after seeing ‘Captain America: The First Avenger’ and ‘The Avengers’). Close to halfway within the film, there’s a reveal surrounding the Winter Soldier that turns this action-packed, political thriller into a slightly psychological drama. While the bulk of his performance weighs heavily on menacing stares, yells, grunts, and the occasional lines, Stan’s role as the Winter Soldier is a surprisingly emotional one.

On top of additional action sequences under this franchise’s repertoire and some brilliant themes to take away from the film, we are introduced to Sam “Falcon” Wilson, a soldier, having spent 2 tours in Afghanistan, who is all too familiar with the hardships that come with serving one’s country, is a refreshing character. Falcon not only provides sufficient help when dealing with the corruption within S.H.I.E.L.D., but also with Captain’s shift into this “new world”. As Marvel continues to follow Captain America’s story arc beyond ‘The Avengers: Age of Ultron’, his character along with Cap’s, will be interesting to explore.

For the most part, ‘Captain America: The Winter Soldier’ slightly surpasses ‘The Avengers’ in script, characterization (mostly, however, because it’s focused on one character), and entertainment. One of the subplots involving Nick Fury takes its cue from ‘The Avengers’, which seems more like a plot scheme rather than a necessary step to take in the story. Additionally, the CGI, while much of the film wouldn’t exist without it, seems to continuously make feats even more impossible that the last. Indeed, this is to be expected in a blockbuster, but as the film progresses, the CGI becomes more ridiculous taking our focus out of the film, if only for a moment.

As S.H.I.E.L.D. is technologically advanced, the tools utilized throughout the film is impressive, but at certain points (again surrounding Nick Fury’s subplot), it gets a bit too convenient in order to help characters get out of dire situations. It’s a trope that many science fiction, action/adventure, and fantasy films are known for doing. While understandable, it’s a bit lazy and far-reaching relative to the past, countless films that have suffered the same lapse in scriptwriting.

Despite these technical flaws, ‘Captain America: The Winter Soldier’ is the proper start to this year’s blockbuster season and a great platform for this franchise. It’s a completely different film than its predecessor and a well made film worthy of a viewing in IMAX (or a few in standard screenings).

Jim’s Rating: 8.6/10

 

 

‘Noah’: A curious interpretation for your consideration

‘Noah’ is Darren Aronofsky’s interpretation of the popular Biblical story of a man in Earth’s earliest days tasked with a great purpose told in a fanciful manner packed with impressive production design, visual effects, and acting performances by Russell Crowe and Emma Watson. Unfortunately, without a strong script, ‘Noah’ doesn’t fulfill its heavy purpose.

Noah (Russell Crowe), through various visions and signs, is instructed by God (or, “the Creator”) to build an ark to protect his family and all of the animals from a storm he’s sending to destroy the Earth due to mankind’s wickedness.

As ‘Noah’ is entrusted to build this great fortress to helm all of these creatures, his faith in the Creator is tested. The world of Noah is that of a seemingly vast wasteland met with the occasional hill or mountain presenting the idea that building such a fortress would be an impossible feat. Nevertheless, the sequence that follows his initial agreement to take on this task is truly breathtaking as trees, grass, streams, and many of the resources needed for the task sprout from the ground. While we’ve gotten quite used to the idea of being surrounded by forests and trees (unless you live in a big city), the way this wildlife just appears out of nowhere is almost like seeing it for the first time. In this sense, the visual effects department for ‘Noah’ provides its audiences with a way to look at our Earth in a different light.

To add to the mundane task of sitting and waiting in the ark for the rain to stop, ‘Noah’ tells his family the story of Creation starting with a burst of light and describing each day according to the Bible. As he tells this story, the screen goes dim and immediately immerses us into this young and growing universe. Like many of the images flashing across our screen emphasizing the Earth’s beauty, we get a glimpse into how the Creator constructed everything. Cinematographer Matthew Labitque speeds up time to use as many images of wildlife, bodies of water, and animals as possible to beautifully illustrate each day as it’s described in Noah’s retelling.

Production Designer Mark Friedberg has conceptualized an impressive ark for this feature. Although we get glimpses of the vessel from the trailer, viewing it fully in the film only enhances its majesty. The production crew for ‘Noah’ is to be commended for their great efforts.

As ‘Noah’ sets the bar high this year with visual effects and cinematography, Editor Andrew Weisblum was clearly having a field day with cutting this film together. A theme that resonates throughout the film is mankind’s evil and barbaric nature. In a sequence in which one man strike’s another man with a rock, we see the same sequence repeated, but by different silhouettes representing the time period and/or countries fighting against each other. It is a well done and hard-hitting (pun unintended) wave of images showing our nature from the beginning of time.

In regard to acting performances, Russell Crowe’s and Emma Watson’s performances are powerful and reflect that of Aronofsky’s direction as well as their individual talents. We see Noah’s progression from subtle family man and gentle husband to a crazed servant as decision after decision in doing what he feels is just in God’s eyes is made. Crowe’s delivery in reflecting this shift in character is timely and effective, especially in scenes where he says very little.

If the most recent film that you’ve seen Watson in involves her attendance at a little place called Hogwarts, do not (by any means) enter ‘Noah’ with those films as the basis for her acting abilities. Her performance, especially in the climax of the film, is emotionally moving. Despite her condition, Ila sets an example of strength, and in the end, gets Noah to see something that he’s missed entirely. Given her performance here, she has a bright future in film ahead of her.

Although Aronofsky takes the basic story from the Bible, ‘Noah’ deviates quite a bit from the original story solely to add drama. However, to a certain extent—particularly with the character, Ham—this deviation backfires causing the story and, therefore, script logic altogether to fall apart. Like most young adult children, Ham doesn’t quite see eye-to-eye with a lot of Noah’s decisions, which only creates chaos. Since Tubal-Cain (Ray Winstone) was added to the story to account for this extra dose of entertainment, this move was unnecessary.

Additionally, it would have provided fewer problems at the end when his character does something even more nonsensical. ‘Noah’, while ending on a bittersweet moment, doesn’t quite conclude on a logical note. The earth having just been wiped out completely, with the exception of those who’ve inhabited the ark, presents a further problem for the state of mankind. The solution to this problem still remains as to—related to how it ends—how they’ll be able to do this very task. Again, this could have avoided had Aronofsky included additional minor detail from the original story (In ‘Genesis’, Noah’s three sons have wives. In ‘Noah’, not all are quite so lucky). Additionally, it might have also saved us some time as it is a 2 hour and 18 minute movie.

As spellbinding as the visual effects, cinematography, and some of the editing are in ‘Noah’, the story falls flat in parts towards the beginning when there seems to be a lack of direction as far as where the story is headed and towards the end leaving the experience of watching the film a bit incomplete and a little disappointing. ‘Noah’ is a film to experience for its dedication to physical presentation, but its script suffers from a lack of flow and maintenance.

 

Jim’s Rating: 6.5/10

March Madness: ‘Noah’

Producers: Darren Aronofsky, Scott Franklin (“Black Swan”, “The Wrestler”, “W.E.”), Arnon Milchan (“12 Years A Slave”, “Broken City”, “Man on Fire”, “Runaway Jury”), Mary Parent (“Pacific Rim”, “Role Models”, “You, Me and Dupree”)

Director: Darren Aronofsky (“Black Swan”, “The Wrestler”, “The Fountain”, “Requiem for a Dream”)

Screenwriters: Darren Aronofsky (“The Fountain”, “Pi”, Requiem for a Dream”), Ari Handel (“The Fountain”)

Cinematographer: Matthew Libatique (“Black Swan”, “Cowboys and Aliens”, “Iron Man 2”, “Iron Man”)

Composer: Clint Mansell (“Black Swan”, “Moon”, “Definitely, Maybe”, “Last Night”)

Cast: Russell Crowe, Jennifer Connelly, Ray Winstone, Anthony Hopkins, Emma Watson, Logan Lerman, Douglas Booth, Nick Nolte, Mark Margolis, Kevin Durand, Leo McHugh Carroll, Marton Csokas, Madison Davenport

Clip:

Noah, after receiving a message from God, shares with his family what they must do.

Interviews:

As outlined before the actual video, here are the topics of discussion from Russell Crowe about ‘Noah’:

  • Working with Darren Aronofsky and how he pitched ‘Noah’
  • Imagining the world of Noah
  • How Noah finds his purpose
  • Seeing the Ark
  • Working with Jennifer Connelly
  • Ray Winstone’s character, “Tubal Cain”, and working with him

As outlined before the actual video, here are the topics of discussion from Darren Aronofsky about ‘Noah’:

  • Why the story of Noah appealed to him
  • Why Hollywood’s interested in Biblical epics now
  • His approach to the story
  • The Noah story, the darkness in the story of Noah, and the miracles in it
  • Casting Russell Crowe as Noah, Emma Watson as Ila, Noah’s three sons, and working with Jennifer Connelly
  • Anthony Hopkins’ character, Methuselah
  • Ray Winstone (“Tubal Cain”)
  • The set that was built for the Ark
  • Shooting in Iceland
  • The satisfaction in making the movie
  • Bringing the Bible to Life
  • Visual Effects
  • Research he did to make the film
  • The decision to create the animals with visual effects

Part 1:

Part 2:

Review: ‘Noah’: A curious interpretation for your consideration

Wes Anderson offers all yet another one-of-a-kind film in ‘The Grand Budapest Hotel’

the grand budapest hotel

To say Wes Anderson is a unique storyteller is an understatement. With the most avid of Anderson admirers, it might even be an insult. Well, maybe not, but in his consistently distinct pattern of filmmaking, it’s really a given. So, before stepping into the box office to see ‘The Grand Budapest Hotel’, know that you’re guaranteed a different experience entirely.

‘The Grand Budapest Hotel’ is a story surrounding a concierge, Monsieur Gustave H (Ralph Fiennes), his involvement in a scandal, and a lobby boy, Zero (Tony Revolori), who eventually becomes his closest friend, who also helps Gustave clear his name.

The first 10 minutes immerse you into what has a very childlike feel amidst its adult themes. The color scheme, Anderson’s obsession with symmetry, and the constant dolly shots, truck shots, and toy-like animation suggest a wholesomeness to this story where there is not (note the R rating). Additionally, like most films these days, the whole process starts off with a book. In this case, however, our story begins with an actual book first by Tom Wilkinson, then F. Murray Abraham and finally Jude Law working our way from present day to 1932.

Ralph Fiennes masters his performance as Gustave H, a flamboyant and steadfast concierge to a hotel he runs very tightly. Other than being in charge of running this beloved resort, Gustave H’s tastes are both extravagant and peculiar as he pursues a painting (“Boy with Apple”) and boasts his popularity with elderly, rich women, most recently in Madame D (Tilda Swinton) to whom this painting belongs. The only time his antics are ever put under any scrutiny is by that of a new lobby boy whose been hired by one his associates, ironically unbeknownst to Gustave. From the way he moves and his tendency to act on impulse to his random bursts of romantic poetry (or frustration), Fiennes’ Gustave is a delightfully eccentric character who’s also responsible for much of the humor.

At the risk of sounding like a broken record, this film isn’t like anything you’ve seen. While not everyone’s cup of tea (or cup of joe), it is a quirky, original piece of film featuring amusing characters, playful sequences and camera work, exquisite cinematography and appearances by beloved actors guaranteed to make you enjoy your stay at ‘The Grand Budapest Hotel’.

Jim’s Rating: 8.75/10

‘Divergent’: A Film Made For Its Fans

Leave a reply

Book fans finally get a film that caters to them, unfortunately, at the risk of alienating those who haven’t read it.

After taking an aptitude test to determine which faction she will settle into for the rest of her life, Tris (Shailene Woodley) must try to avoid being discovered as a Divergent—a person regarded as dangerous to society. Jeanine (Kate Winslet), the leader of the faction, Erudite, which values knowledge and education, seeks to overthrow the government already charged by the selfless faction, Abnegation, of which Tris’ family originates.

Heroes are only as good (or entertaining) as their villains. This is particularly true of ‘Divergent’ since Jai Courtney as Eric outshines the rest of his castmates. First-in-command in training the Dauntless initiates, Eric is a sly and cold character. Although Eric and Four (Theo James), second-in-command and Tris’ love interest, share the same passion behind instilling Dauntless values, Eric has a more animalistic approach. Every moment that he’s onscreen, he’s the most interesting to watch as he takes these newcomers through increasingly brutal tasks.

‘Divergent’, based on the novel written by Veronica Roth, is, for the most part, spot on with the book and stays true to what makes Tris so distinctive in being divergent and also with how she must disguise these factors to avoid being discovered by Jeanine. Still, some of these changes made to express the storyline in a way that could be translated easily from the book to the screen make the characterization and script suffer as a result.

Events and people are put in Tris and Four’s way to face and to overcome, but their development is more of a leap than a gradual process. Woodley’s acting is okay, but not enough to give the audience a sense of her true feelings regarding her situation over the length of the film. ‘Divergent’ is ultimately about Tris discovering what she’s capable of and who she really is. However, there’s nothing in her demeanor that fully justifies her decision to go from hiding her true identity to accepting herself; this turn in character, instead, happens in an instant. Likewise, Four is a harsh, but smart leader, yet his interest in Tris seems to go from complete rejection to infatuation in two consecutive scenes. Had there been more narration, communication amongst characters, or even more scenes spent in either character’s minds, there might’ve been more concern about our protagonists succeeding in their difficult mission.

Nevertheless, the idea behind each faction and what they represent to the government is a well-conceived notion that echoes throughout the film. Additionally, the Dauntless training exercises and a few intense action scenes provide for adequate entertainment. Hopefully, with a tighter hold on the characters themselves, ‘Insurgent’ will provide its audiences with a fuller experience (and Summit Entertainment with an alternative franchise for teens to Lionsgate Entertainment’s ‘The Hunger Games’).

Jim’s Rating: 6.3/10

 

 

 

‘God’s Not Dead’: A New Look at the God vs. No God Debate

‘God’s Not Dead’ is a faith-based film that does what ‘Son of God’ doesn’t: it offers an element in its story that Christians and non-Christians can apply to real life. An atheist philosophy professor (Kevin Sorbo) challenges a Christian student (Shane Harper) to prove God’s existence.

Dismissing arguments that poke at either party’s intelligence, Josh Wheaton (Shane Harper) brings points to the surface that would require much research and aren’t solely built on speculation or hearsay. Wheaton addresses the very scientists and philosophers (i.e., Friedrich Nietzsche, Sir Isaac Newton, and Stephen Hawking) that his professor introduces to his students in the first class. Regardless whether or not certain quotes were taken out of context, the actual debate is intriguing and invites some scientific and religious questions to the table for all to take in and consider in their own personal philosophies.

While the debate remains the strongest attribute of the film, all of its other factors seem to fall by the wayside. In any debate, there aren’t villains, but merely two people or two groups trying to convince their audience of the validity behind their arguments. However, in ‘God’s Not Dead’, screenwriters Chuck Konzelman and Cory Solomon make the atheist philosophy professor not just an antagonist, but an irrational bully. At some points, Radisson even threatens Wheaton’s outside of class (which could be breaking some university policies). This decision in characterization, to be fair, may’ve been an effort to add more drama, but with there being multiple subplots, this was unnecessary. If the professor had been approachable or calm in presenting his side of the argument before the class, then the film would’ve been a bit more insightful instead of misleading (relative to characteristics of Christians and Atheists).

As for the subplots, which provide filler for a movie that would just be better suited as a short and/or documentary (hello, History Channel), most of them don’t add anything to the driving force behind the plot other than bad acting (i.e., Wheaton’s girlfriend and a woman diagnosed with cancer) and an excuse to include Newsboys, a Christian band whose current hit is a song that shares its name with the movie title. Dean Cain, a successful businessman, also has a role that’s almost be pointless until a scene—involving his mentally ill mother—towards the end gives us another look at why it seems as though bad things happen to good people. It is one of the more refreshing parts of the film as it reiterates the purpose of the film.

‘God’s Not Dead’, with the script being unbalanced, is worth a viewing for the arguments alone and brings to light some of the very questions at the very basis of the God vs. no God debate.

Jim’s Rating: 5.75/10

 

 

 

March Madness: ‘The Grand Budapest Hotel’

Producers: Wes Anderson, Jeremy Dawson (“Moonrise Kingdom”, “Fantastic Mr. Fox”), Steven M. Rales (“Breathe In”, “Seeking a Friend for the End of the World”, “Moonrise Kingdom”), Scott Rudin (“Captain Phillips”, “Inside Llewyn Davis”, “The Social Network”)

Director: Wes Anderson (“Moonrise Kingdom”, “Fantastic Mr. Fox”, “The Darjeeling Limited”, “The Royal Tenenbaums”)

Screenwriter: Wes Anderson

Cinematographer: Robert D. Yeoman (“The Heat”, “Moonrise Kingdom”, “Bridesmaid”, “The Darjeeling Limited”)

Composer: Alexandre Desplat (“Philomena”, “Zero Dark Thirty”, “Argo”)

Cast: Ralph Fiennes, F. Murray Abraham, Tony Revolori, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Saoirse Ronan, Jason Schwartzman, Lea Seydoux, Tilda Swinton, Tom Wilkinson, Owen Wilson

Clips:

Monsieur Gustave H (Ralph Fiennes) first meets his new lobby boy, Zero (Tony, Revolori).

http://www.youtube.com/watch?v=0yFPjtGQvaM

A funny clip in which, Monsieur Gustave H, upon being accused of murdering an elderly woman–a regular guest at the Grand Budapest Hotel–responds in the only way he deems fit at that time.

Interviews:

If you’ve seen the trailer, you know that this cast is incredible (well, that’s really a matter of opinion, but…it’s quite the cast whether or not you agree that they’re incredible).

The actors, themselves, discuss being around by all of these people and working on set in a very friendly work environment under Wes Anderson.

Because who wouldn’t want to tour the town with Bill Murray? (Crazy people…that’s who.)

Review: Wes Anderson offers all yet another one-of-a-kind film in ‘The Grand Budapest Hotel’

‘Her’ opens yet another possibility with technology

her

If there’s one film that makes you feel like the third wheel to a private relationship, ‘Her’ is just the film to do it.

 
Theodore (Joaquin Phoenix), a reclusive writer separated from his wife for so long, develops an intimate relationship with his new operating system, Samantha (voiced by Scarlett Johansson).
Spike Jonze, the screenwriter and director for ‘Her’, has taken a outwardly far-fetched relationship and has mirrored it to the kind of romantic relationship only so many humans are fortunate to have. Although a bit difficult to fathom, at first, Johansson and Phoenix, each with their uniquely charming approaches to their characters make us go beyond acceptance to astonishment with how well this relationship works.

 
Johansson voices the lovable operating system whose enthusiasm for finding out more about the world and investigating different feelings she experiences draws Theodore closer to her despite being just a voice. Her bubbly personality and her ability to empathize with those in the room come off in her portrayal adding joy to our leading man’s life as well as ours.

 
Phoenix, playing a loner yet to face his inner demons meets Samantha at a rather stagnant point in his life. It’s through this that we see layer after layer being broken down. In a scene where he receives heartbreaking news, Phoenix gives us yet another incredible performance as his mood swiftly shifts from worried to relieved and then to devastated. For any actor, this is a very difficult art to master and Phoenix handles it like a true performer. He also encompasses a sweetness that viewers won’t be able to ignore especially in the way he interacts with others in the film and his delivery in the scenes that reveal how good he is at his job writing passionate letters for couples to each other.

 
‘Her’ offers a look into a future where technology is more than just a means to get menial tasks done. We’re asked to imagine what it’d be like to not only rely on technology to do some of the thinking for us, but also completely give ourselves into technology. Are we really that far behind that idea? ‘Her’ is one answer to this question.

 
Lastly, if a man having an emotional relationship with his operating system wasn’t enough to make you scratch your head, ‘Her’ also examines their relationship on a physical level. (Do a double take if need be, but yes, you did just read that.) Trying to wrap one’s head around this factor may leave you dumbfounded after viewing ‘Her’, but it is in our confusion (and possible discomfort) in this moment that opens the door to this imminent possibility—two people not just sharing an emotional relationship, but also a physical relationship despite only one person having the actual means to do so. To touch on the uncomfortable factor, for just a moment, go back to that place in high school where multiple couples between classes would get together to demonstrate their affection. Did you feel uncomfortable then? If your answer is yes, it’s the same idea but magnified onto a big screen for your viewing pleasure (so to speak). The fact that it may even take you out of the film is what justifies the reality of their relationship. It’s a testament to their feelings and to Jonze’s abilities as a screenwriter.

 
Like the relationship in ‘Her’, at first glance, this film seemed unlikely to have its foot anywhere near reality. However, ‘Her’ accomplishes a feat that fully embraces originality and ambition. While buzz surrounding this film doesn’t quite place it in Best Picture status, it deserves a place in winning for Best Original Screenplay at the Oscars.

 

 

Jim’s Rating: 8.75/10

‘The Monuments Men’: For the Love of Art

monuments men

Do you think a piece of art is worth one man’s life? Director George Clooney attempts to answer this question in ‘The Monuments Men’, a war drama about a group of art historians, curators, and museum directors who must rescue countless art pieces stolen by the Nazis during World War II.

 
As ‘The Monuments Men’ presents itself as a drama with plenty of humorous moments in it, you can always count on Bill Murray to provide most of the comedic relief. As Sergeant Richard Campbell, his jabs at other soldiers and his one-liners in the most critical of situations are most appreciated. While a few roads they take are the ones less traveled by, these men fight for a different cause. Since many people may not share the same fervor for Western culture, it’s a clever way to win and maintain our attention.

 
The cinematography is one that reflects the tone of this film. As with most war films, the color scheme looks washed out, but as our “monuments men” are tasked with bringing life back to those who appreciate their existence and/or deeper significance, it makes sense that the cinematography (thanks to Phedon Papamichael) is a bit more colorful than most war films (but only slightly to maintain that war atmosphere).
Alexandre Desplat, composer for ‘The Monuments Men’ orchestrates an epic and patriotic score for listeners to enjoy. In many parts, it plays well to the humor especially when these men—well past the typical age for a soldier—must go through basic training.

 
Screenwriters George Clooney and Grant Heslov manage to keep the plot moving but the script seems to jump back and forth a lot between the characters being on separate missions. While some events remain inevitable by the nature of their mission, the story seems to be left without much conflict. Whether or not this holds true to either the novel or the true events of which this film is based, it provides less for the audience to care about regardless of feelings towards countless works of art.
Other problems that arise from the constant jumping back and forth are the lack of character development and the chances to get to know (and eventually) relate to any of the characters. It’s understood that these men feel the need to steal back their stolen art, but the question as to why we, as an audience, should care about these masterpieces is left in the air. Perhaps if ‘The Monuments Men’ had been turned into a mini-series, we would’ve been given a much larger window to get to know these characters and why they’re so passionate towards art and architecture. We would also get a deeper look into the consequences suffered had there not been anyone to take back these pieces. Additionally, considering that ‘The Monuments Men’ is only 118 minutes, spending more time on the script to include this information would’ve made for a fuller script and a more satisfying experience.

 
‘The Monuments Men’ pokes fun at itself quite a bit in this movie, which works for a while since the main premise is about men risking their lives for an aspect of human society that so many (i.e., in this film, government officials) deem unessential. The opening sequence almost makes you question whether or not you’re in for a more comical experience than you had expected. However, there are a few surreal moments in this film, so it’s not a complete ruse. Still, too many self-aware moments make less room for the actual point of the film and genuine appreciation for the mission to which the men of the Monuments, Fine Arts, and Archives program were dedicated.

 
‘The Monuments Men’ while providing some pretty fun moments and having experienced actors at the forefront to help tell its story feels like a bit of a letdown with its jumpy and disorganized script.

Jim’s Rating: 6.8/10