Monthly Archives: November 2013

‘Philomena’: The Judi Dench Show

‘Philomena’ showcases Dame Judi Dench’s stellar acting abilities and although Steve Coogan’s screenplay stands on its own well enough to keep us intrigued, his attempts—both onscreen and on paper—at hilarity are futile.

Philomena Lee (Dench), after keeping it secret for 50 years, looks for her illegitimate son in the United States with the help of former BBC journalist, Martin Sixsmith (Coogan).

At the start of the film, we are introduced to Philomena’s background, which we soon find out is a very sad one. Young Philomena (Sophie Kennedy Clark), after getting pregnant out of marriage is forced to work in the convent and, as “punishment for her sins,” she’s given very little time to spend with her son and eventually forced to give him up. Throughout the film, the same system that forced her son from her plays a key role in her story, but it is Lee’s spiritual conviction and belief in not finding fault in their actions that should be commended.

Dench’s commitment to her character is outstanding. As the film continues to shift between flashbacks of her life, her son’s life, and the short time that they did spend together, the reasons as to why she has the right to lay the blame on the nuns multiplies exceedingly, yet Dench—in the delivery of each line—brilliantly portrays a woman ultimately determined to find out her son’s whereabouts and one who refuses to blame others for their separation however deserving. Regardless of whether or not these were the characteristics of the actual woman of which this character is based, Dench’s approach to Lee is genuine and, in this role, also manages to keep her audience in great spirits with stories, not particularly humorous, but hysterical throughout her retelling.

While Coogan’s character is primarily there to help Lee in her search, his lack of comedic timing leaves all the responsibilities in both making us laugh and driving us to tears in the hands of Dench. Most of the jokes are revealed the trailer and the remaining punch lines are lost in his otherwise very dull delivery. At one point in the film, he seems annoyed with Dench’s character when she’s telling a story and he proceeds to cut her off. It’s as if he’s only trying to be funny when he’s actually being more of an annoyance in this case. Coogan’s character, although rude and understandably so after having just been let go from BBC, isn’t the proper fit for what should be a comedic duo. His role is merely additional conflict and a potential spokesman for what the audience maybe be thinking and feeling every time there’s a new development in their search.

‘Philomena’, as a drama, is much more heartfelt in its retelling of a mother’s search for her son than it is when it’s trying to be a comedy. While the script feels a bit unfinished, Philomena’s side of the story remains solid.

Jim’s Rating: 6.75/10

‘Dallas Buyers Club’: McConaughey and Leto hold nothing back in their performances

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Dallas Buyers Club is a film that not only takes an unlikely hero and makes audiences respect him but it also stars two actors who seem to melt into their characters and give us performances (and a story) that audiences can rally behind.

After a work-related accident lands him in the hospital, Ron Woodroof (Matthew McConaughey) learns that he has AIDS. When the medicine he takes for treatment proves inefficient, he travels to Mexico where he learns about medical drugs—not approved by the FDA—that help those suffering from the virus. Smuggling the drugs back and forth from Mexico and other foreign countries, Woodroof—with help from Rayon (Jared Leto)—creates the Dallas Buyers Club to aid all of those ailing from the same disease.

For everyone who has seriously questioned (or outright doubted) McConaughey’s talents (given his romantic-comedy infested filmography), ‘Dallas Buyers Club’ will leave them in silence and in complete shock. His character, Woodroof, is a homophobic rodeo cowboy whose drug and sex addiction lead to his being diagnosed with AIDS. With his prejudices and various vices, he’s unafraid to voice his opinion, he has a strong will to live and, although it is also slightly motivated by money and being isolated by his friends—he realizes that the same people he hates will meet the same end if nothing is done. McConaughey doesn’t hold anything back in this very strong performance as a man with nothing to lose and a great deal to gain. In a few scenes where his character breaks down and, despite his character’s attributes, McConaughey demands empathy.

While McConaughey owns his role, Leto transforms into Rayon, a transgendered woman who Woodroof meets in the hospital and eventually becomes Woodroof’s business partner. Leto doesn’t just draw you in, but the actor is completely forgotten and we are simply watching a real person walk unashamed across our screen and insist, tease, and charm his way into convincing us to pay him full attention and gradually rid Woodroof of his intolerance.

The editing and structure of ‘Dallas Buyers Club’, although formulaic and familiar, works for this film. Adding to perhaps the best way to tell this story is the actual footage interwoven into scenes with our actors to remind audiences that this film is an account of a real man’s story and success with the Dallas Buyers Club. We, like Woodroof in the film, are plunged into history lessons and facts based on research concerning the disease, the FDA and their rules and regulations, the pharmaceutical industry, and AIDS patients’ struggles with acquiring effective treatment. Screenwriters Craig Borten and Melisa Wallack school audiences without taking them out of the movie completely. It is done in a very subtle way and only adds great depth to this story. On top of telling another’s story and taking away messages about the will to survive and ethics, especially concerning the medical field, it is refreshing to also take back a little bit of our history with us too.

At times, the shaky camera is a slight overkill. While it is understandable why Director Jean-Marc Vallee may have wanted to add a bit more realism to the story, this was unnecessary as the cuts to actual footage and allusions made this effect possible.

‘Dallas Buyers Club’ is a film worthy of seeing in theaters for its outstanding performances, its life lessons, its sensitivity to the victims of the subject matter, and its stirring content.

Jim’s Rating: 8.75/10

The Girl Who Caught on Fire

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Francis Lawrence kills our expectations for a less-than-brilliant experience and gives his audience something in which to fully engage ourselves. If you weren’t overly fond of ‘The Hunger Games’, you will definitely enjoy ‘Catching Fire’.

After District Twelve’s victory in the Hunger Games, the citizens of Panem have taken matters into their own hands against the Capitol. In an attempt to distract Panem back into peace, President Snow (Donald Sutherland) introduces the Quarter Quell, where special challenges are issued every 25 years. In ‘Catching Fire’, Panem has reached its 75th year of the Hunger Games and, as a result, Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson) must enter the arena once again against past victors.

The direction in the second installment of the Hunger Games franchise is heavily felt. Francis Lawrence keeps everything that happens focused towards the film’s main objective: keeping all of Panem distracted from the real issues. ‘Catching Fire’ is more action-packed with new characters (i.e., other victors and a new gamemaker, Plutarch Heavensbee, played by Phillip Seymour Hoffman), and a little more character development in our main characters (i.e., the effects of the Hunger Games on Katniss, Effie (Elizabeth Banks) becoming more susceptible to the Capitol’s treatment of people, etc.). While keeping to its dystopian nature, ‘Catching Fire’ has more laughs mainly involving new characters Beetee (Jeffrey Wright), Johanna (Jena Malone), and Wiress (Amanda Plummer) as well as Haymitch (Woody Harrelson). Nevertheless, the film isn’t without its grim and very emotional moments. After winning the previous games, Katniss and Peeta are required to travel to each district for what is known as a victory tour to pay tribute to each of the now deceased contestants, their families, and to, without question, the Capitol. The first stop is to District 11 where they speak about Rue and Thresh. As a fair warning, you may need to have your tissues close by. It’s not only in this scene where we see Katniss reveal how’s she felt ever since Rue’s death, but (as seen in the trailers), it is where we get a closer look at the state of social unrest that Panem is in. As we get closer to the actual games, the violence and unrest gets more intense than the last. It’s also this scene that catapults the parallels with our own media and our attitudes towards fame and fortune. It resonates in the speeches that are given by our District 12 victors as well as in sessions with Caesar Flickerman (Stanley Tucci). Screenwriters Simon Beaufoy and Michael Arndt subtly slip in issues regarding how certain details are spun and differences in reactions from the citizens of the Capitol and the citizens in all other districts. It plays very well into the script as well as with the very themes expressed by Suzanne Collins in the books.

As far as keeping true to the events in the book, fans will be delighted to see many things – particularly pertaining to what happens inside of the arena—onscreen. However, ‘Catching Fire’, runs into the same issue that many book-to-film adaptations do: omit scenes that might have properly (and more thoroughly) explained a few things characters say or events that happen for non-readers (i.e. District 13’s existence/non-existence, the love triangle that isn’t a love triangle, etc.). Beaufoy and Arndt, on the other hand, have crafted a very solid script with only these flaws. Lawrence’s direction is a noteworthy improvement on the franchise (destroying stereotypes usually synced with sequels) and there’s a lot more going on in ‘Catching Fire’ with a plot unafraid to tackle relevant issues, mess with our main characters’ minds if only for a little while, and feature a very damaged Katniss in an excellent performance as expected from Jennifer Lawrence. With Mockingjay, the final installment in The Hunger Games, splitting into two feature films—with the first part due in November 2014—you may want to brush up on some reading to prepare yourself for what’s to come, especially with Francis Lawrence, a director that has proven himself more than capable of giving us a proper close to this series, at the helm.

Jim’s Rating: 8/10

‘Thor: The Dark World’: The Boys are Back in Town

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Much like ‘The Avengers’, ‘Thor: The Dark World” is a lesson in how the collective rage and hatred towards one person can bring together the most extreme of opponents and make them work together to achieve the impossible…except this is with a lot more Shakespeare in the park…er, Asgard.

Enlisting his (adopted) brother’s help, Thor (Chris Hemsworth) must stop Malekith (Christopher Eccleston) from destroying the Nine Realms (including Earth) and returning the universe to darkness.

Having made two movies together, Chris Hemsworth and Tom Hiddleston make an enjoyable pair to see onscreen as Thor and Loki, respectably. Their abilities to portray these characters emit a confidence that makes for sharper dialogue, quicker comebacks, and an even deeper understanding of their relationship and their individual traits. It’s particularly with Loki with whom audiences receive much of their comedic relief and it’s also within this film that we see him unmasked. Beaming from having just caused destruction to New York City with an expendable army, he’s not only sentenced to a life inside a glass cage no longer being able to unleash his bag of tricks but also faces tragedy. As a result, we get to see a side to Loki that hadn’t been shared since ‘Thor’. Nevertheless, this humanizing moment is only temporary as it usually is with Loki and the God of Mischief appears once again (and we wouldn’t have it any other way).

Within the film are references to both ‘Thor’ and ‘The Avengers’ (or ‘Avengers Assemble’, depending on what side of the Atlantic you’re on) for the fans that have been there from the beginning. Some of what we’d been missing in ‘Thor’ is magnified here. In the beginning of the film, we get to see Thor, Sif, and the Warriors Three in battle on Vanaheim, a world that had only been mentioned, but one in which we get to explore a bit more. As some of the film focuses on protecting all nine realms, it only makes sense to invite the audience into the environments of some of those realms, especially Asgard. We’re shown how they celebrate amongst their own, their environment, their customs, and their weaponry. In ‘Thor: The Dark World’, technology only emphasizes how much science and magic are one in the same, as expressed by Thor in this film’s predecessor. Much of their technology as well as technology used by the dark elves are used heavily in many of the very neat fight scenes throughout the film.

‘Thor: The Dark World’ feels very much like an extended episode of Star Trek. It showcases some very fascinating gadgetry, excellent battle sequences, and beautiful images that could only be seen in space (thanks to Hubble telescope). Depending on which (if not all) Star Trek series that could be referenced here, it’s not a strong plot (*cough* Deep Space Nine). In knowing how these characters operate and given the set up at the start of the movie, it’s not hard to guess what may happen next. Much of the story is predictable and not focused. The subplots involving Darcy, Jane Foster, and Dr. Erik Selvig are there to fill up the running time and not to necessarily add anything to the main plot, especially Darcy (Kat Dennings). Understandably, Darcy provides the comic relief while on Earth (or Midgard in reference to the Nine Realms), but the audience has plenty of that in scenes with Loki and Thor. We are constantly forced to jump from the more central plot on Asgard to the rest of the cast on Earth. Spending more time of the script might have prevented this movie from otherwise spinning a little out of control. If kept on Thor, Loki, Malekith (and perhaps even Odin), it might have been a more impressive film. Furthermore, this film takes for granted Eccleston’s much-felt menacing presence on screen and treats him more like an afterthought rather than a plot device.

In the second week of the “holiday season” in the film industry, ‘Thor: The Dark World’ is a fun time at the cinema with our favorite Asgardian siblings, a new enemy with a very dark threat (sorry, but not sorry), more to take in as far as the other worlds the exciting fight scenes, and a final battle that cleverly makes astrophysics look like child’s play.

Jim’s Rating: 7/10

*Make sure to stay for the mid-credits AND the post-credits scene!*
**If you attend ‘Thor: The Dark World 3D’, make sure to catch the ‘Captain America: The Winter Soldier’ 5-minute sneak peak in the previews!

‘Ender’s Game’: An Apt Adaptation given its many hits and misses

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Kicking off the “movie holiday season” is yet another film in which preteens and teens are forced to become adults. Based on the novel by Orson Scott Card, Ender Wiggins (Asa Butterfield) is selected by Colonel Graff (Harrison Ford) to attend Battle School. Through several battle games and computer simulations, Ender’s ultimate task is to become a commander worthy of protecting Earth from an alien invasion.

As with many book-to-film adaptations, various things about the book—characterization, subplots, conflicts, conversations, etc.—are changed due to the interpretation of the writers and the director, the aesthetic impact, and/or how much a certain plot point or scene in the book may translate well onscreen for various audience members. Thus, filmmakers risk losing fans who are so dedicated to the novel. Nevertheless, for the most part, Gavin Hood’s ‘Ender’s Game’ covers events in the book that lay the foundation for Ender’s story: a brilliant, young mind being trained to command many and also deals with being bullied by older students and being treated in harsh manners by his instructors in the process.

‘Gravity’ isn’t the only one exquisitely capturing space. In this setting, cinematographers have the freedom to wow audiences not only with the story they are telling, but also with the one they aren’t. ‘Ender’s Game’ is a beautifully shot film showcasing all of what Ender’s world has to offer—an extraterrestrial battle school and action sequences in no-gravity zones.

Given that Ender is training in space, where one would have to get comfortable in a zero-gravity field, ‘Ender’s Game’ did not give its audiences (more specifically with the book fans) more scenes in battle school. Quite a bit of this film seems rushed; the film should’ve been extended (by about twenty to thirty minutes) to show the extent of his training. Scott’s ‘Ender’s Game’ are very detailed and provide more insight into Ender’s thoughts, feelings, command strategy, and a taste of what Ender and his squad would have to encounter when the time came to go to war. As mentioned previously, it may have made the film longer, but these moments are very crucial, especially for a story of this nature. Additionally, terminology used (i.e., “third”, in the beginning of the film) and a reoccurring theme that stems from Ender comparing and separating himself from his brother’s brutal behavior is lost on audiences. (Arguably, since there’s a political subplot dealt with in the actual novel the latter was completely overlooked in the film that would have made this repeated comment more relevant, it’s probably best that Hood omitted this). The script for ‘Ender’s Game’ might have had more substance including some of these essential plot points instead of leaving us a bit empty in the end.

Despite its negligence with some key parts in the novel, ‘Ender’s Game’ is a visually-pleasing and amusing alternative to ‘Hunger Games’ with a few interesting approaches to dealing with a grave reality.

Jim’s Rating: 6.25/10