A BRIDESMAIDS To Celebrate

TV’s Saturday Night Live has long been a proving ground for some of the top comedians who have often gone on to greater fame. Witness John Belushi (Animal House), Eddie Murphy (Beverly Hills Cop, Trading Places), Bill Murray (Ghostbusters, Stripes), Will Ferrell (Anchorman), and Tina Fey (30 Rock) among many. Certainly a few have failed in films like Deuce Bigelow, The Ladies Man, and MacGruber. Current female SNL player, Kristen Wiig, joins the ranks of the former with Bridesmaids, an occasionally gross, yet heartfelt tale of self worth and ultimately love. After numerous supporting roles in popular films like Adventureland and Whip It, she has made the big leap into stardom, and she co-wrote the screenplay too!

Annie (Wiig) is an insecure, single woman working a miserable job at a jewelry store and whose love life consists of impersonal sexual romps with a narcissistic playboy (Jon Hamm). Her dreams of a bakery having failed recently, she has horrible roommates and a doting mother (Jill Clayburgh) nearby. When her best friend, Lillian (Maya Rudolph) announces her engagement and asks her to be her bridesmaid, Annie prepares the female bridal party for gowns, showers, and the reception. When Lillian’s wealthy, ‘perfect’ friend, Helen (Rose Byrne), elbows her way for attention and begins to take over the wedding preparations, Annie becomes jealous and overdoes things in a display of one-upsmanship (or rather womanship). In a series of confrontational events, Annie sinks further into verbal ineptitude and embarrassment in front of her best friend. Along the way she gets pulled over by an Irish cop, Rhodes (Chris O’Dowd), who takes a fancy to her; what puzzles her is why any man would be nice to her? It all culminates at a pre-wedding reception where Annie unleashes her anger and frustration. Things get worse for her at work and her apartment, and as her world comes crashing down and she becomes an outsider to her best friend’s wedding, Annie’s fate takes a dramatic turn amid friendship and love.

Audiences have been well aware of Wiig’s physical and whimsical skills as a skit comedienne. What this film does is show an entirely different spectrum of her abilities as an actress and writer (with Annie Mumolo directed by Paul Feig). By playing a sympathetic character with flaws and yearnings and surrounding herself with a roster of talented actresses, Wiig has positioned herself as an every woman who has had life’s ups and downs, but mostly downs and creating such pathos that the payoff at the end is more satisfying. The scenes between Wiig and O’Dowd, who make a terrific couple, are genuine and really hold the story on a firm emotional footing. As one of Lillian’s friends, Melissa McCarthy (Mike & Molly) steals every scene she is in and provides the film with some of its funniest moments in support. Even Byrne shines as the manipulative, scheming friend while Ellie Kemper and Wendi McLendon-Covey round out the wedding party. As Annie’s mom, Clayburgh performs a sweet, final career note; this was her last film. Jon Hamm is only in a few scenes but is quite effective as a chauvinist jerk.

There are numerous funny moments. A toast to Lillian and her fiancé by Annie and Helen develops into dueling testimonials that become silly and outrageous. When Annie gets stopped by a policeman, she displays her talent for physical comedy in conducting a drunk test. A scene where she sits at her mom’s home alone watching a video of Castaway’s scene of Tom Hanks losing his ‘best friend’ Wilson is a hoot. On the plane when Annie mixes prescription medication and alcohol, she becomes obnoxiously and amusingly uninhibited, and there is a running gag with McCarthy who thinks her seat companion is really an air marshal. Bridesmaids a film that is honest and direct about its subject matter and its consenting adults, and it has moments that are crude such as the food poisoning scene at the wedding boutique and some sexual gymnastics between Wiig and Hamm.

The film is a bit uneven in places but when it hits the right notes especially towards the end, when a major character like Annie undergoes a transformation, it feels genuine and at times heartfelt, and we are the beneficiaries of something more than a pedestrian comedy. When her relationship with Lillian is threatened, Annie reacts in exaggerated, desperate behavior. She even has trouble accepting true intimacy from a good man because she has never been treated so nice. It’s really about Annie being able to connect in a meaningful way with another human being. In fact, Annie’s plight and desperation shares its DNA with Bridget Jones’s Diary.

With its predominantly female cast, this Judd Apatow (40 Year Old Virgin, Knocked Up) co-produced film delivers the laughs with feeling. Don’t think of this as just a ‘chick flick’ but rather an entertaining, contemporary comedy that contains just a bit more estrogen. And do stay for the closing credits if you want a bit of raunchy fun.

*** of **** stars (Add ½* for Wiig fans)

2010 OSCAR PREDICTIONS by Clint

Some of the top categories are pretty easy to predict but with the Oscars you never know for sure. I’ve seen all Best Picture nominees so the rest are guesses. (I am leaving the shorts categories alone.) Enjoy!

BEST PICTURE-The juggernaut among critics awards for The Social Network has given way to a film that tugs on one’s heart- The King’s Speech.
BEST DIRECTOR- David Fincher has paid his dues. Photo finish here with Tom Hooper hoping to ride the wave of The King’s Speech. And where the *%#! is Christopher Nolan’s name?
BEST ACTOR- Colin Firth’s time has come.
BEST ACTRESS-Natalie Portman gave a great performance in a physically demanding role of a lifetime. Sorry Annette.
BEST SUPPORTING ACTOR-Christian Bale thinned out and carried the heart of The Fighter. Geoffrey Rush has a chance.
BEST SUPPORTING ACTRESS-Melissa Leo gets recognized for her body of work and a marvelous role-if only she hadn’t taken out those self ads. Hailee Steinfeld could pull an upset.
BEST ORIGINAL SCREENPLAY-The Kings Speech
BEST ADAPTED SCREENPLAY-The Social Network
BEST ANIMATED FILM-Toy Story 3
BEST FOREIGN FILM- Biutiful
BEST FILM EDITING-The Social Network
BEST CINEMATOGRAPHY-True Grit’s Deakins finally gets his due.
BEST ART DIRECTION-Inception with Alice in Wonderland coming strong
BEST SOUND-Inception
BEST SOUND EFECTS EDITING-Inception
BEST COSTUME DESIGN-Alice in Wonderland
BEST MUSICAL SCORE-Inception but this is wide open
BEST SONG-127 Hours (although I hold out hope a Toy Story will finally win one.)
BEST VISUAL EFFECTS-Inception
BEST DOCUMENTARY-Exit Through the Gift Shop
BEST MAKEUP-The Wolf Man
The biggest tally may go to Inception with as many as 5 Oscars.

Domestic Life in THE KIDS ARE ALL RIGHT

The nuclear family takes on a different spin when both parents are same sex and the kids are the product of a male sperm donor in The Kids Are All Right. When traumatic upheaval and revelations strike such a family, the results can be amusing and also tragic. Annette Bening and Julianne Moore highlight an insightful script about domesticity turned on its head.

Nic (Bening) and Jules (Moore) are lesbian parents of two teens, Joni and Laser. One day the children research and contact their biological father, Paul (Mark Ruffalo), who agrees to meet his progeny. After an awkward first meeting, things actually go well as the new family connections are explored by the kids and their newly found father. The couple of Nic and Jules are a contrast; Nic is the physician who is totally controlling while Jules is still trying to find herself with a new business of landscaping. Laser hangs with the wrong crowd and begins to realize that he deserves better through his bond with Paul. Joni is trying to assert herself as an adult and prepares to go to college. The moms show a parental responsibility to watch over their children and want to meet the dad. When Paul hires Jules to do work on his restaurant landscape, the two connect. As Paul’s influence begins to overcome the family, Nic feels left out. But there is an attraction between Jules and Paul that leads to a torrid affair, and when Nic discovers the truth, the family is torn apart. Into this mix are two maturing children whose emotions will be tested throughout.

The roles are well acted especially by Benning as a betrayed spouse, and in particular, her scene of revelation about Jules is a marvel of expressiveness and devastating heartbreak. This culminates in a powerful moment with all the principals present at Paul’s dinner table. Moore gives solid support and shines in her heartfelt plea to her family near the end. The ensemble is well cast particularly Ruffalo whose almost bystander role is suddenly elevated to catalyst and disruptor of the family’s dynamic.

The story has a nice balance of serious tones and comedic elements born out of the situations. The themes work on several levels like ingredients of a zesty recipe: the family chemistry, the couple of Nic and Jules, the kids’ developing bond with Paul, Paul and Jules, and shake and mix well. Everyone has needs and wants, and the strongest is a need to belong to a family and the need to connect with another human being whether it be Laser and his friends, Paul and Jules, Paul and his children, and Nic and Jules. Amid the conflicts, no one escapes unscathed. There are no real heroes or villains here, only hard truths about life and relationships.

The fact that two lesbians are having the conflict over infidelity may seem novel on the surface, but it could easily have been a heterosexual couple. In fact the notion of two lesbians virtually disappears as we witness and understand this family unit with its warts and all. It could be any family when you think about it. The fact that both Benning and Moore play their respective spousal roles so convincingly is a testament to their acting skills playing off an excellent script by Stuart Blumberg and Lisa Cholodenko, who also directs. The ending rings true and shows not only how far the relationships have come, but how that foundation, despite some serious challenges, is strong enough to survive. Life moves on, and there is hope for the future.

There are not a lot of loose ends in this story although, toward the end, it would be nice to get a bit more resolution to Ruffalo’s character. The film does contains a couple of brief explicit sex scenes without which this would essentially be a PG rated film. There is little to quibble about, and the viewer gets to experience one of the more insightful domestic dramas in recent years.
*** or **** stars

A Girl’s Indomitable Spirit in WINTER’S BONE

Winter’s Bone, adapted by independent director Debra Granik and Anne Rosellini from the novel by Daniel Woodrell, is a small, low budget film with a courageous lead character. This is one of those small films that features strong performances particularly by newcomer Jennifer Lawrence.

In a rural part of the country, a teenage girl, Ree (Jennifer Lawrence), raises her family which includes her younger brother and little sister. While most girls her age are attending high school, she has to assume the role of sister and parent. Life is grueling and tough for Ree who cares for her siblings even as her mother is depressed and dysfunctional and her father, who has had scrapes with the law, is missing from a bond hearing. Unfortunately the family’s house has been put up as collateral for his bail and is in danger to be taken by the bail bondsman. Ree has to rely on the kindness and donations of food and supplies from neighbors, and when her home is about to be repossessed, her whole family is in danger of having their fragile world destroyed. Threatened with her family’s survival and determined not to lose her home, she sets out to find her father by questioning friends and family. It seems that there is a little family blood everywhere, and people might know more than they let on. Her uncle, Teardrop (John Hawkes), is a menacing, uncooperative person. She follows leads that are dead ends and wild goose chases. She is at the end of her rope and desperate. What can she do? Is her father dead or on the run? Her search leads to some really bad people who are local crime lords, and her punishment at the hands of those she thought were friends is graphic and ruthless. Her situation is nearly an impossible one for anyone much less a teenager. Then help from an unlikely source begins to shed light on the fate of her father as her family’s future hangs in the balance.

Family is all important to Ree. She is put in what seems to be a hopeless situation with no options. Undeterred, she will not let her family be broken up. She has to not only act and think like an adult, but to grow up fast and also teach her brother and sister about the basics of life including hunting and cooking. She cherishes her siblings and despite her dad’s criminal background and what it has done to the family, she clings to his clothing and belongings especially his guitar which also serves as a symbolic bond with her uncle. You ask yourself just what would you do in this situation? How would you survive? You respond to her plight by watching how she reacts to her circumstances.

The lack of a budget does not hinder the film due to its subject matter and focusing on the individual characters. This is a very linear narrative with no parallel action. Some of the dialogue which reflects the local dialects is at times hard to understand. The unknown faces lend a very authentic feel as if these people really live this life. The rural countryside is filmed as a very foreboding presence and is itself a powerful character. The film employs frequent handheld camerawork that lends an immediacy and documentary feel which work in the film’s favor. Even the film’s colors are a darker hue which adds to the somber tone.

Lawrence really impresses in one of her first starring roles on film. The story rests on her shoulders, and she is more than up to the task. John Hawkes is believable as her uncle, and what’s fascinating is his character’s development and his dramatic changes over the course of the story.

It is a kind of downer of a film as the odds are stacked against Ree, and while Winter’s Bone is not for everyone with its solemn, serious themes, for those willing to immerse themselves in an intimate, realistic tale of loyalty and survival and a young girl who bravely carries on, it is an inspiration.

*** of **** stars

TRUE GRIT and a Girl’s Mission

Joel and Ethan Coen (No Country for Old Men, Fargo) have extended their filmmaking prowess into new territory by adapting Charles Portis’ famous novel, True Grit, and their interpretation is a refreshing take on the western genre and compares favorably to the memorable John Wayne starring version of 1969. Purists who thought it would be sacrilege to remake a western classic have little to fear. Thanks to a smart script and strong acting, True Grit comes off as a very solid film with some similarities and noticeable differences from the original film.

Told in flashback by a woman’s voice, a 14 year old Mattie Ross (Hailee Steinfeld) wants to avenge the murder of her father at the hands of Tom Chaney (a grizzled Josh Brolin), and she arrives in a small town to hire Marshal Rooster Cogburn (Jeff Bridges), an aged, hard drinking veteran lawman who has done his share of killing and more. Mattie is not one to be trifled with and as another pursuer, Texas Ranger LaBoeuf (Matt Damon), realizes, not one to intimidate. Headstrong, she has grit herself. Together the trio search for Chaney and seek out a lead in another outlaw, Ned Pepper (an unrecognizable Barry Pepper). As friction mounts among the searchers, LeBoeuf strikes out on his own, and Cogburn and Mattie come upon a cabin. There, a couple of outlaws are smoked out, and this leads to Ned Pepper and his gang. Can Chaney be far behind? It all culminates in a final confrontation between Cogburn and Ned Pepper as Mattie comes face to face with her quarry and LeBoeuf reenters the scene with violent results.

Bridges (Crazy Hearts) is utterly convincing in making this version of Rooster Cogburn his own persona. He portrays him as a proud, grumpy curmudgeon who just may be a crack shot and smarter than he lets on. This takes nothing away from the over the top performance of John Wayne who won an Oscar for his rendition. You could almost see Tommy Lee Jones in this role. We gets bits and pieces of Cogburn’s past, and some of the tales make you wonder if they are utter fabrications or sheer exaggeration. Steinfeld is a marvel in her first movie role. She embodies Mattie as a take charge gal who will not be deterred and has enough smarts and spunk to strike a hard bargain with any man. Witness her amusing negotiations with a horse trader and wearing him down. Damon (Good Will Hunting) does well in a supporting role and adds more nuance than Glen Campbell’s version of LaBoeuf did in the older version. Brolin and Pepper have what amount to small but memorable screen time as the bad guys.

The dynamics of the trio are interestingly portrayed as LeBoeuf and Cogburn face off and trade barbs, while Mattie asserts herself every chance she gets. You even think there might be a hint of attraction between Mattie and LeBoeuf. The arc of LeBoeuf’s character deviates from the 1969 film significantly especially at the climax. The only negative is that his fate is left open ended and unresolved.

Much of the film is superior to the older version. There is really only one scene that would suffer in comparison to the original film, and that is the climactic charge by Cogburn against the bad guys. Bridges does well but he is not John Wayne. The scene lacks the heroic, mythic feel of Wayne. Also, when Bridges is shown in closeup carrying Mattie to safety, it seems a bit phony. But those are minor observations. A final sequence shows what happens many years afterward and serves as a melancholy postscript, and it has a final feel of a film like Unforgiven. The film could easily work without it though.

Thanks to the Coens, the authentic sounding dialogue, which is laced with humorous moments including a shooting contest between Cogburn and LeBoeuf, is peppy and sharp, a marked improvement from standard western fare. There are times when Bridges’ drawling and inflections are hard to understand but you get the gist anyway through context and body language. Technical crafts are standout especially a good musical score by Carter Burwell and beautiful cinematography by veteran Roger Deakins (A Beautiful Mind).
The Coen brothers must have been drawn to the quirky characters and the language of the novel, and while this is certainly not their best film, it is a very entertaining western with some standout performances.

*** or **** stars

The Majestic Roar of THE KING’S SPEECH

As a document of a little known history of pre-World War II England, The King’s Speech is a fascinating, heart rending dramatization of King George VI, who assumed the throne despite a debilitating speech problem at a time when his country needed him the most. Well directed by TV veteran Tom Hooper (John Adams) from a lifelong project by screenwriter David Seidler, it boasts Colin Firth’s (Bridget Jones Diary, A Single Man) best performance as the beleaguered king and award caliber support by Geoffrey Rush (Shine, Elizabeth) and Helena Bonham Carter (Alice in Wonderland, Room With a View).

In 1925, Prince Albert (Colin Firth), who is second in line to the throne, gives a speech through BBC radio at Wembley Stadium in England, and it goes poorly as he hesitates and stumbles his words much to the astonishment of the crowd. He has a stuttering problem that is revealed in the most public and humiliating way. By the 1930’s in London, Albert is subjected to a multitude of therapies and remedies that range from speaking with a mouthful of marbles to smoking! His frustration grows until he abandons any hope of solving his affliction. His wife, Elizabeth (Helena Bonham Carter), seeks out an obscure, Australian speech therapist, Lionel Logue (Geoffrey Rush), who feels confident he can cure the prince. A struggling actor himself, Logue has a playful sense of humor that does not ingratiate himself with the future King of England. It is a humbling process, but he slowly brings the prince out of his timid and isolated shell. They work on a progression of methods which includes utilizing recordings and headphones and delves into Albert’s childhood. The therapy sessions are not without setbacks but a bond develops into a strong friendship. As 1936 approaches, King George V dies, and when The Prince of Wales (Guy Pierce) abdicates the throne to be with an American divorcee, the title and responsibility fall on Prince Albert who is desperate not to be placed in this position when England needs a leader. As the clouds of war approach Europe, Prince Albert is named King George VI on December 12, 1936. With England on the brink of declaring war on Germany, and a radio broadcast to all of England and the world, George summons Logue to coach him through the most important speech of his life. With Logue at his side to guide his every word, George speaks to the nation.

Hooper does a very straightforward job without having to resort to flashy camerawork but instead lets his actors do what they do best-act! This long gestating screenplay started with Seidler as a child stutterer listening to radio broadcasts of the king, and it was not until his widow, the Queen Mother, died that he had her conditional consent to tackle the story. It does play a bit with facts but never loses sight of the core relationship of the two disparate men and how a common actor taught a prince to be king. Technical production is excellent all around from the impressive period costumes and art direction to the dramatic score and dark hued cinematography.

It is the interplay and war of wills between Firth and Rush that is the delicious center of this relationship based story. Reunited after having costarred in Shakespeare in Love, both actors are at the top of their game, and part of the fun is that despite the seriousness of the therapy, there are humorous moments to savor. Carter plays ‘less is more’ in one of her more conventional roles, and she is quite convincing as royalty. Some nice turns are made by acting royalty, Michael Gambon, Guy Pierce, Derek Jacobi, and Claire Bloom among others.

The story adds texture in the family details by revealing George V as a domineering father. The troubles of George VI are shown in intimate scenes with his children as he tries to read a story but is handicapped by his impediment. The documentary footage of Hitler’s mastery of public speaking is studied with fascination and almost envy by George. It is an ironic yet telling scene. Logue adores his own family, and his down to earth persona is in sharp contrast to George VI’s more formal yet heartfelt affections for his family. There is a good contrast made of the King’s life from that of the common man. In the scene where George VI is crowned King, he must address his court and realizes that everyone, even his own family, will now treat him differently. Life will never be the same again. When George VI makes his speech at the end, we see that he is learning to be a king.

As a piece of history, The King’s Speech is thoroughly engaging, but what makes it affecting is one man’s triumph over adversity with the support of a loving wife and the friendship of a unique therapist.

**** of **** stars

Heart and Soul of THE FIGHTER

OK, you may think, “another boxing film about a nobody who becomes somebody”, right? Don’t underestimate The Fighter as another boxing film. It has heart and good acting, but most of all, it is authentic. This film purposely avoids sentiment and going for easy, weepy moments. Rocky this is not. This pet project of producer and star Mark Wahlberg has been years in the making and the payoff here is a gallery of great performances by talented actors who do justice to their real life counterparts.

This true story centers on boxer Micky Ward (Mark Wahlberg) who struggles to be a junior welterweight champion with training by his half-brother and former fighter, Dicky Ekland (an emaciated Christian Bale). Dicky lives his dashed dreams through Micky and has his own problems with drug addiction and other criminal activities. The extended family includes a supportive father and a controlling mother, Alice (Melissa Leo). Micky’s life changes when he meets a bartender, Charlene (Amy Adams), who believes in him. When the opportunity comes to take his career to the next level and work with professional trainers and management in Las Vegas, Micky’s relationship with Dicky is jeopardized and causes a mighty rift with his family especially his ‘manager’ Alice who feels betrayed. To make matters worse, Dicky gets in trouble with the law and must serve prison. He still lives in the past, clinging to memories of boxing Sugar Ray Leonard in 1978. Micky is so torn when a seemingly winnable fight switches his intended opponent to one who is much heavier at the last minute, that he contemplates quitting altogether. Riddled with guilt, he becomes reclusive until Charlene intercedes. He begins to fight again and amasses a series of wins until he is one step away from a championship if he can overcome a challenger, Sanchez, and Dicky offers tips on how to fight him. Faced with a chance to really make something of his career, Micky must choose between his new handlers and Dicky who taught him everything he knows about boxing. It could mean a championship in the end.

The film works on different levels of relationships: Micky and Charlene, Micky and his family, but most of all the film rests on the bond between the two brothers. There is a good sense of family life and local flavor. Micky and Dicky grew up local athletes and resident celebrities of sorts in a blue collar town where everybody knows each other. When Micky and Charlene challenge Alice, there is a tumultuous change of dynamics and a tense battle of wills. The best scene and also a turning point in the story happens when Dicky confronts Charlene about her own shortcomings, and everything in a way comes full circle as each person must look within to missed opportunities and not achieving their dreams. It is an honest, pivotal moment that validates Dicky’s character who, surprisingly, still knows a thing or two about boxing. Ironically Micky and Dicky’s scenes recall Marlon Brando and Rod Steiger as brothers in On the Waterfront also about a washed up fighter.

The fight scenes are quite convincing and well edited, and when you have a well chiseled actor like Wahlberg (The Departed), a kind of modern day John Garfield, you accept him as a boxer without question. Bale (The Dark Knight) really inhabits his portrayal of a proverbial loser, and he looks the part having shed substantial weight. Was this once the boy who enchanted us in Steven Spielberg’s Empire of the Sun? Come to think of it, Spielberg has another young alumnus in Adams (Catch Me If You Can) who makes the most of her role as a bright, headstrong woman who supports Micky and butts heads with Alice and her daughters literally. Leo (Frozen River) is quite good as the proud matriarch whose influence and authority is threatened.

The film tells its story as directed by David O. Russell (Three Kings) in workman like manner. It’s almost the kind of film Clint Eastwood makes these days. The story and relationships are strong enough to easily carry the film without resorting to sentimentality. Indeed, there is a thrilling moment ringside where a shot almost follows through with Alice and Charlene hugging, but Russell cuts away to another unglamorous shot. Bravo for not taking the easy way out although there are a couple of scenes could have been extended more. It’s also nice to see the real life brothers in the end credits, and you know that the film has done their lives justice. The original screenplay and story had a lot of writers involved, and the result is a heck of a remarkable comeback story and a family that would not quit.

***1/2 of **** stars

The Agony and Ecstasy of 127 HOURS

Based on the harrowing tale of survival by Aron Ralston and adapted by Simon Beaufoy and director Danny Boyle (Slumdog Millionaire, 28 Days Later), 127 Hours challenges the viewer to share in a difficult, life changing event that most people could never contemplate. It’s quite a feat to engage and emotionally move an audience focused solely on one person in one place. For an actor to pull this off is a great testament to James Franco’s acting skills and physical prowess as well as Boyle’s ingenuity behind the camera.

In April, 2003, Aron Ralston (Franco) escapes the rat race of the city to go hiking in a remote terrain. After parking his car, he goes mountain biking and then by foot deeper into isolation. There, he comes upon two hikers, Megan and Kristi, who are a bit lost. He tells them that the earth with its rocks and mountains is always moving. How prophetic! Aron guides the women and puts them on the right track after a brief adventure in a cave and a sparkling pool of water. Later, he proceeds on his trek of solitude and, while climbing between a narrow ravine, slips, and as he falls, a large bolder tumbles and pins his arm against the wall. Trying everything possible to dislodge the rock, he finds he is hopelessly trapped with limited supplies. No one knows where he is because he was didn’t care enough to mention it to family or friends. He is a confident, even cocky explorer whose cavalier attitude changes through this ordeal. He displays some amazing resourcefulness in such moments as when he erects a mini tent to protect his head from the elements. As he waits in vain for help that is not coming, he contemplates his survival skills and evaluates his life and relationships. Life is precious, and he must do whatever he can to survive even if it means the unthinkable.

The entire film works despite the fact it centers exclusively on one actor. (The Spirit of St. Louis is another that comes to mind.) Franco accomplishes the difficult task by making us care for an arrogant, free spirit who knows no fear. The film focuses on minute details that could easily be glossed over. The simplest of acts become a tortuous struggle as when his pocket knife falls and he must retrieve it while still pinned. A drink of water from his ever shrinking supply becomes an agonizing death watch. The flashback scenes give us some background into his family life and a former girlfriend. He even fantasizes a vision of a boy, a son that he will perhaps have someday? He regrets the things left undone or unsaid and resolves to make changes in his life if he makes it out alive. The fact that we know the outcome does not at all diminish the agony we feel for him in close quarters and his determination to survive. In a way the big rock is a kind of metaphor for his life. What should be a liberating journey becomes a test of survival, and as the hours go by and one day bleeds into the next, we become a part of his limited world complete with cracks of sunlight and an occasional bird or insect. After awhile you wonder if we really see images he is seeing, or if it is nothing more than a mirage or hallucination. During his ordeal he uses his mini video camera to document his plight and to report on his situation and feelings. The camera becomes a sort of confessor for him.

Yes, the scene where he must separate himself from the rock is excruciating but never exploitive. The subsequent scenes where he makes his way back to civilization and encounters other hikers are powerfully heart wrenching yet life affirming. It packs a punch and wrings you emotionally as Franco finds salvation when all hope is seemingly lost. By film’s end we breathe a collective sigh of relief. Yet it is the cumulative effect of emotions and our shared experience with him that are truly affecting.

Boyle utilizes handheld cameras and crisp editing to keep things moving along in a methodically paced narrative. It is ironic at how the beautiful landscape is in sharp contrast to the horror that Aron must experience. The film may set a record for having the longest running time before displaying its first title card. There is a nice epilogue which alludes to his prophetic visions from before. This is not a morbid exercise in claustrophobia or grossness but rather a realistic recreation of the triumph of the human spirit against impossible odds and the bleakest of settings.

*** of **** stars

Darkness at the Soul of BLACK SWAN

Director Darren Aronofsky (The Wrestler, Requiem for a Dream) has done some offbeat films but has always elicited strong performances from his leads. Perhaps his greatest achievement is getting an Oscar worthy performance from Natalie Portman in Black Swan, a film that does an impressive job of depicting a psychological downward spiral of a competitive ballerina in the role of a lifetime.

Nina Sayers (Portman) works hard at her craft and gets the coveted starring role in Swan Lake. Doted on by her mother (Barbara Hershey in an unusual role) and pushed to extremes by her ballet director, Thomas Leroy (Vincent Cassel), she begins to feel threatened and becomes delusional and loses touch with reality. A new arrival, Lily (Mila Kunis), understudies her and becomes not only her friend and night scene companion, but also her main competitor and threat. Is she undermining her on purpose or is Nina just imagining it all? As opening night approached, the visions become even more disturbing to the point that Nina is at the brink of her sanity and the curtain opens on the most important moment of her life.

Portman projects a complex series of conflicting emotions including anxiety, jealousy, and even guilt as if she does not deserve the lead. Guided by Aronofsky, she soars as she has never done before. Not only does she perform a substantial amount of physically demanding ballet, but we see things through her eyes and feel her pains. Does she really commit the horrible acts she thinks she may have done or is it all in her warped mind? It’s not a pleasant journey. There is extremely disturbing use of mirror images that reflect Nina’s face and become Lily in the next instant in jarring and unexpected fashion. Is Nina seeing Lily or is it a reflection of her own self? A moment that shows the various pieces of wall art at her home coming alive in nightmarish figures is truly unnerving.

Kunis as Lily brings enough menace to her role. Winona Ryder has a supporting role of a retiring, vindictive ballerina, Beth MacIntyre, who ends up in the hospital. A scene where Nina worships Beth is reminiscent of Anne Baxter and Bette Davis in the dressing room scene of All About Eve. Beth is bitter and even self abusive which kind of foreshadows what awaits Nina. Cassell is effective as the ballet director whose sexism and unusual methods are suspect but never his quest for the absolute best for his production. Hershey registers as an overly concerned, controlling mom.

The film does a good job of showing the mental and physical toll that rehearsal and practice take on a performer, and to make matters worse, the angst exhibits itself seemingly on Nina’s body in distorted and grotesque manifestations. The physical mutations would probably amuse and please the likes of David Cronenberg and David Lynch. As Leroy demands more than what she shows in technique, she knows she has to give everything in her soul and more to satisfy the ballet’s demands. There is an interesting dichotomy showing two sides of a ballerina’s psyche with the repressed, uptight Nina whose frigidity is counterpointed by the free spirited and sensual Lily. Lily evens brings out her sexuality and inner yearning that seems all too real, or is it a dream? Something that is never mentioned or shown is if Nina is a virgin or ever had a real boyfriend. Then there is the duality within Nina of White and Black Swans in which the dark side must emerge if she is to fully inhabit the lead role.

Much of the film recalls other memorable films that bend reality like The Fight Club or Affliction, and Nina’s descent into madness has striking similarities to Roman Polanski’s classic Repulsion whose woman descends into psychological delusions and paranoia.

Aronofsky’s use of camera work is startling as it works in concert with Portman’s performance, and when you see the change in her eyes near the end, it is stunning. The film employs lots of handheld shots with cinematographer Matthew Libatique to visualize a subjective viewpoint for Nina. The score by Clint Mansell is well done with a touch of foreboding. Both of them are Aronofsky veterans. The final scene as Nina readies to perform the last act as she morphs into the Black Swan to complete her transformation is haunting. The final shot is unforgettable. Some viewers may be turned off by its repellent imagery but others will be astonished by a powerful depiction of madness at any price.

***1/2 of **** stars

The Phenom of THE SOCIAL NETWORK

As a chronicle of events leading to the creation of the social networking site Facebook, touching nearly every computer user in the world, The Social Network is a fascinating take on Mark Zuckerberg, a maverick, whose brilliant mind is matched by his arrogance. Directed by David Fincher (Se7en, The Fight Club) from an excellent screenplay by Aaron Sorkin (A Few Good Men, The West Wing) and based on the book, The Accidental Billionaires by Ben Mezrich, this is a fascinating study of a success story complete with intrigue and subterfuge. In this case, the incidents play on a very human level. You would think this would make an excellent made for television HBO movie, but Sorkin and Fincher have created a remarkable, cinematic vision of an inventor, albeit a troubled one.

In the fall of 2003, Mark Zuckerberg (Jesse Eisenberg) is portrayed as a computer genius at Harvard University with few social graces. What we know now as Facebook had its modest beginnings as a response to a failed relationship with a girl. Needing to vent some anger, Mark modifies a campus website and with the help of his buddy, Eduardo (Andrew Garfield), a concept is born for socializing on the internet. When web traffic to the site spikes to record numbers, people begin to take notice, and a phenomenon is born. A group of Harvard students enlist Mark to develop his site with their financial backing, but when they discover that he is working on his venture without them, they become incensed and contemplate legal action. Mark and Eduardo become popular ‘rock stars’ on campus as the new Facebook spreads like an epidemic to other college campuses like Yale, Columbia, and Stanford. Soon, the company approaches critical mass and the milestone of being able to monetize the site and turn a profit. Napster creator, Sean Parker (Justin Timberlake), reaches out to the growing network because he understands its vast potential. Mark becomes enamored and captivated by Sean’s leadership and vision and is drawn to Silicon Valley much to Eduardo’s consternation. But with Sean’s guidance comes his lavish, illicit lifestyle which has potential consequences for all. As the company expands to the whole country and becomes a global presence, it seeks more capital, and the ensuing growing pains will test friendships and lead to betrayals and litigation. By the end, everyone is suing to get a piece of the action. We’re not talking millions of dollars at stake but staggering numbers that far exceed normal comprehension.

Jesse Eisenberg (Adventureland, Zombieland) is perfectly cast as Mark Zuckerberg, a high energy geek running around a snowy campus in his shorts and flip flops and is quick to respond to his critics with venomous sarcasm. Making us fascinated with such an unsavory character is testament to his performance. Justin Timberlake is excellent as the charismatic entrepreneur Sean, who is portrayed as a narcissistic, lecherous Svengali and mentor to Mark. Andrew Garfield lends very strong support as Eduardo, Mark’s roommate.

The film’s pace is rapid and driven, not a slow spot at all. Its structure incorporates flashbacks and flash forwards in a masterful display of film editing. The story works as a kind of techie mystery especially from the point of view of a legal deposition that frames the events of the past. Every major player gets a scripted point of view Rashomon style. All through the narrative, you keep wondering if Mark knows more than he lets on. Is he naïve or is he a schemer or both? Was the betrayal of Eduardo orchestrated by Mark or was it the machinations of Sean? It is never truly clear as to Mark’s culpability. This is success, but at what price?

There’s very little to gripe about in this film. A short scene with Eduardo’s psychotic girlfriend is shocking but ultimately pointless. Were the filmmakers trying to show his poor judge of character? Also, I noticed a scene where the actors talk in the supposed cold with digital condensation coming from their mouths; so how come the extras don’t have any? A major subplot showing Eduardo’s initiation to the elite Phoenix Club never makes clear whether Mark had a hand in his acceptance.

With its fascinating subject matter, the script begs your attention and participation. Sorkin has done a marvelous job of bringing a book to life and complemented with Fincher’s acumen. The dialogue is stunning in its blatant display of Zuckerberg’s intelligence and rebellious streak. The result is a chronicle of a techie generation with not one false note and a thoroughly engrossing screenplay that has Oscar written all over it. Fincher is proving himself to be a great director when given superior material, and his branching out from thrillers to more mainstream fare has been remarkable (as in The Curious Case of Benjamin Button). One can only wonder the goodies that await movie audiences as he explores further.

**** of **** stars

Mid Atlantic Nostalgia Convention is Growing

The 2010 installment of the Mid Atlantic Nostalgia Convention in Hunt Valley, MD, showed that this convention has come a long way and expanded from its modest beginnings in Aberdeen, MD. There were seemingly more attendees and vendors. The guests were intriguing as ever.


TV’s Green Hornet star Van Williams had to bow out beforehand due to a health consideration, but there were still well known stars of TV including Roy Thinnes (cult show The Invaders), Ed Nelson (one of the busiest actors in movies and TV in the 1950’s, 60’s, and 70’s), Dawn Wells, and Mark Goddard among others.

Dawn Wells played Mary Ann in Gilligan’s Island from 1964-1967. She looked terrific and was just as spunky and energetic as her character. She noted my Shirt with The Wild Wild West and mentioned that she was a guest on that show (as was co-star Alan Hale Jr.). She also noted how her cousin was also named Clint. No surprise that her autograph line was the longest all day.

Having been a big fan of Irwin Allen’s Lost in Space, Mark Goddard (Major West) looked incredibly youthful for his age of 74. His favorite episode was “The Anti Matter Man”. He said he would hang out with series star Guy Williams at the track with their wives. He never really saw much of producer Allen who had several projects going at the time, and he marvelled at how the special effects relied on live action models rather than today's computer generated effects.

Everyone seemed to be having fun and sharing memories of their favorite TV or movie moments. This Hunt Valley hotel location was spacious and ideal for this growing event; it looks like this convention has found a home for next year.

Duvall at the Height of His Power in GET LOW

Robert Duvall is one of the best American actors of the past half century. Witness his roles in To Kill a Mockingbird, The Godfather I and II, The Great Santini, Apocalypse Now, Open Range, and a full TV resume including Lonesome Dove. In Get Low, he gives a measured, understated performance as a mysterious, old hermit who makes an unusual, life changing decision. This independent film is deceptively simple and honest. Yet it is done extremely well and leaves a deep feeling about life’s regrets.

After the brief image of a house burning down, we flash forward to a rural setting in the 1930’s to see an old home inhabited by a reclusive, elderly man, Felix Bush (Duvall), whose disheveled appearance and reputation are the stuff of rumor and legend. Are the stories about him true? Is he a killer? Haunted by visions of a woman, he decides to arrange his own funeral before his actual demise. The funeral home is run by Frank Quinn (Bill Murray) and his loyal assistant, Buddy Robinson (Lucas Black). Felix wants to invite everyone who has a story about him to tell. He sweetens the pot by offering to raffle off his vast acreage of property. He also runs into an old acquaintance, Mattie (Sissy Spacek), who has strong ties to him from way back. He later pays a visit to a preacher in another town in hopes of having him conduct the eulogy. As the plot thickens, we find that Felix is hiding a painful secret that will have the town reexamining its prejudices and assumptions about a tortured soul who is struggling for his own redemption before it’s too late.

Novice director Aaron Schneider, whose previous credits were as a cinematographer of various TV shows and movies, does a solid job with a modest budget and a lean story and script by Chris Provenzano and C. Gaby Mitchell.

It’s nice to see veteran actors like Duvall, Spacek, and Murray play older characters, wrinkles and all with enthusiasm and conviction. Duvall does a splendid job of presenting a cipher of a man whose words are sparse and direct and slowly, as the story develops, begins to open up to reveal a complex person replete with feelings of guilt. There are reasons perhaps for why he is the way he is. Duvall is destined for an Oscar nomination, and Spacek arguably deserves a nod for strong support. Bill Murray as the funeral director does a convincing job as a businessman who isn’t quite a villain or hero. He is carving a nice career niche as a dramatic character actor (aside from being a comedic superstar).

The film successfully evokes the period of depression era, small town USA. There are few items to quibble about; however, a violent break in at the funeral home doesn’t really forward the plot and is never fully explained.

There are similarities in Felix and the noble character in The Ballad of Cable Hogue. In both films, the protagonist is an aged, stubborn loner, and in the end, as his life is in its twilight, the truth sets him free. Perhaps the lesson here is that each person has a story, and some of the stories are not always evident. With Get Low, we get to see the bittersweet tale of a broken heart. Your heart will be moved too.

*** of **** stars (add ½ star for Duvall’s performance)

INCEPTION Is a Dream Come True

Director/writer Christopher Nolan has explored dark, obsessive characters in exemplary films like The Dark Knight. In his most ambitious story yet (one that took ten years to develop), he designs a thoroughly complex story with concurrent narratives (think Godfather Part II or Intolerance) where (like his earliest film, Following, and his classic, Momento,) time and reality are bent and juxtaposed. This is not light, escapist fare but a deep, convoluted story that engages the mind and heart, and few movies in recent years can be so challenging yet rewarding to its audience.

A man named Cobb (Leonardo DiCaprio) washes ashore and is taken by armed guards to an old man. From there the film begins to jump in different settings or dream states. Cobb is an expert at the art of ‘inception’, the ability to enter people’s subconscious to steal an idea or plant one. A fugitive, he longs to be reunited with his two children and is constantly plagued by recurring visions of his wife, Mal (Marion Cotillard), who becomes increasingly dangerous. A wealthy Asian businessman, Saito (Ken Watanabe), makes a proposition to Cobb: extract a piece of information from a rival businessman (Cillian Murphy), and Cobb gets to return home to his kids. Vowing this to be his last job, Cobb assembles his team of experts, Arthur (Joseph Gordon-Levitt), a newbie architect Ariadne (Ellen Page), a forger and impersonator, Earnes (Tom Hardy), and a drug chemist, Yusuf (Dileep Rao). To infiltrate Fischer’s mind, the team designs an elaborate set of dreams within dreams to effect a con game. This compounds the risks and, as Cobb finds himself being harassed by a more menacing Mal, the team encounters last minute crises that force Cobb to make a desperate choice. Can they get Fischer to reveal his secrets in time, and what of Cobb’s personal obsession?

The plot brings to mind the alternative realities of The Matrix, Dreamscape, and Altered States. Like the magicians in Nolan’s The Prestige, it is a slight of hand where much of the film’s narrative plays like stream of consciousness. It’s about a lifetime of love that’s experienced in mere flashes or an eternity, and despite the film’s intricate machinations, its simple themes are the search for validation and love. The film is also about the need of letting go and taking a leap of faith. At times you wonder if any given scene is real or a dream, and that is the conceit of the film; for some, the dream IS the reality.

The team concept is in keeping with Mission: Impossible and Oceans 11 (any version) as each member’s expertise comes into play, and the deeper the team goes into the dreams, the greater the risks. In one key sequence set in a snow mountain compound, there is an obvious homage to On Her Majesty’s Secret Service, and you wonder what wonders Nolan could work on the James Bond franchise!

This ‘dream’ cast works together very well and includes Nolan’s repertory actors, Murphy and Caine. DiCaprio (looking astonishingly like Nolan) does an excellent job as the tortured soul with a dark secret. Cotillard is hauntingly beautiful as Cobb’s wife while the younger Page is adorable as the bright architect who also serves as Cobb’s moral compass when he begins to falter and have self doubts.

The film’s technical accomplishments are outstanding, and although the special effects are terrific in depicting the mind bending scenery, the live action sets and stunt work (with Levitt doing some remarkable acrobatics) are even more impressive in depicting mixed gravity where people float or walk on walls and ceilings. In a masterful blend of film editing, the dream sequences shuttle back and forth, and time is slowed to a crawl in one instance, and given years in another. Hans Zimmer’s relentless, minimalist score is a particularly noteworthy achievement of mood and dramatic pacing.

This is not a perfect film, and (at two and one-half hours) there are moments where you think Nolan could have explored more of his subjects. A director like Steven Spielberg or Ron Howard might have emotionally milked certain scenes for all they are worth, and it is because of that, we expect a bit more connection and feelings. Like most of Nolan’s films, the brooding characters and situations are almost entirely devoid of humor or any lighthearted tone which brings to mind any number of Stanley Kubrick films. While some may find the ending a bit too neat or perhaps too open ended, it is left to the audience to decide how to interpret the meaning of the finale. Yet these are minor quibbles for grand, pure cinematic experience. Nolan has created something so special that it engages the mind. How dare he?

With Inception, Christopher Nolan is most certainly one of the best film directors. His previous masterpiece, The Dark Knight, should have been nominated for the Best Picture Oscar. Come to think of it, that very film helped change the Oscar rules to expand from five to ten nominees so that gems like Inception are not left out. It won’t be. Do take this wild ride, and you’ll find that you are obsessed with its mystery and beauty and repeating the journey again and again.

**** of **** stars

SHORE LEAVE 32 AND GALACTICA STARS

Shore Leave 32, the annual sci-fi convention weekend, in Hunt Valley, Maryland, had its usual merchandise dealers and celebrity guests including Kevin Sorbo (Hercules), Torri Higginson (Stargate: Atlantis) , Catherine Hick (Star Trek IV), Dominic Keating (Star Trek: Enterprise), Katee Sackhoff (24), and Edward James Olmos (Miami Vice). The show was a great opportunity to get personal insight into an actor’s career. I had the chance to talk to both Olmos and Sackhoff and to attend their Q&A sessions. Both were very nice, forthcoming people.

With longer, gray hair, Olmos looked older from his days on Miami Vice but no less distinguished. He was lavish in his praise for the recent Battlestar Galactica series which took a simple 1970’s concept and expanded on its human elements and important themes and garnered Emmy nominations and the Peabody Award. His costar Katee Sackhoff was a mainstay on that show as well.

The Emmy winner was asked about other work in his career including Blade Runner and Stand and Deliver for which he received a Best Actor Oscar nomination. Stand and Deliver is based on a true story of an inner city math teacher whose class took the advanced placement test and excelled to the astonishment of the country. Triumph of the Spirit was also a true story about a boxer in Auschwitz concentration camp during World War II, the only non-documentary film allowed to film on location.

When asked about who influenced him as an actor and who he rated as an admired contemporary, he chose the legendary actor Paul Muni as the most important. Meryl Streep is the one current actress he acknowledges as being so good, that she stands alone in her abilities.

Katee Sackhoff was smaller in person than I thought, with auburn brown hair and not the blonde villain, Dana Walsh, as portrayed in the final season of TV’s 24. She told of how she did not know she was the traitorous mole until later that season and subsequently knew her character would die. Her death scene, which had her shot by Keifer Sutherland as Jack Bauer, involved explosive blanks and blood squibs at close range. She said she forgot to put earplugs in her ears and could not hear for days.



She had just heard that her pilot, Boston’s Finest, was not picked up for the upcoming TV season but that she had two guest spots in Big Bang Theory. Such is the life of a working actor. She auditions all the time for roles that often go to the likes of Katherine Heigl and Claire Danes and failed to win roles in It’s Complicated and Million Dollar Baby. She would love to be on the TV show Glee and just auditioned twice for a role in Mission Impossible 4. She owns a Harley Davidson Fatboy motorcycle and plans to ride to New Orleans and follow the Easy Rider route this fall.

There was a good turnout for this event, and many fans were dressed as favorite characters from sci-fi shows. Klingons, Star Fleet officers, Cylons, Stargate soldiers, and even R2D2 made appearances. After a search for collectible film memorabilia, I was ready to switch from groupie to civilian.

TOY STORY 3 Is a Winning Number

Completing one of the greatest trilogies in movie history (joining Star Wars and Lord of the Rings), Toy Story 3 is everything one could wish for and more. These familiar toys that come alive with feelings and interplay became the cornerstone of Pixar Studios and a string of superlative animated gems. Disney should be thanking its lucky stars.

Picking up from the previous films, Andy has played with his beloved toys for years and explored imaginative adventures and thrills that are the stuff of a rich, wondrous childhood. The old gang is back with Woody (voiced by Tom Hanks), Buzz Lightyear (Tim Allen), and the others. As Andy approaches college age, it is a time of change, and the toys lament at not being played with anymore. They are destined for the attic or the trash dump… or maybe a chance to entertain kids at a day school. Lest you think the field of toys gets too crowded (Little Bo Peep and Etch a Sketch have moved on), there are some nice additions (Barbie doll gets to romance Ken), and some not so nice ones.

Sunnyside Daycare seems to be an ideal situation with children who want toys, and toys needing to be needed (a kind of schoolyard version of ‘The Island of Misfit Toys’); it appears to be a match made in heaven. There’s even a connection between Andy and a daycare staffer whose daughter, Bonnie, is beginning to play with her first toys. But a mysterious leader emerges in the form of a stuffed bear, Lotso (a charming Ned Beatty), who has a rigid pecking order or hierarchy for the toys, and that leaves our newcomers at the mercy of the youngest, most violent kids who abuse them.

As Woody finds a temporary home with Bonnie and tries to make it back to his friends, Buzz attempts to find out the truth of the daycare and is captured. From there, the film becomes an escape story as the toys struggle to flee their daycare prison. Last minute rescues are trumped by surprises and betrayal, and salvation can come from the most surprising source. Will Woody and Buzz save the day, and what will become of their toy brethren? Will the toys find happiness somewhere perhaps?

What has never failed is that the filmmakers treat their audience with intelligence and respect. It also does not depend on one seeing the past films, but it does help in order to appreciate certain references. The Pixar team led by director Lee Unkrich and screenwriter Michael Arndt (Little Miss Sunshine) should be commended for never losing sight of the story. The cast of voices including Joan Cusack, Don Rickles (priceless as Mr. Potato Head), Estelle Harris, Wallace Shawn, John Ratzenberger (who has voiced in every Pixar film), and newcomer Michael Keaton (as Ken) are terrific. They do a better job of acting and emoting than many a live actor.

The film’s first hour or so is good but not great. It is in the final scenes that the themes of loyalty and sacrifice take on a deeper meaning, and the film blossoms with pathos. The notion of abandonment and wanting to belong resonate universally. As the toys learn that they can make other children happy and feel a purpose again, Andy also learns a lesson in life: passing the torch from one child’s happiness to another. It’s about growing up and letting go while finding closure amidst a time of uncertainty and change. Imagine that-a kid’s film that is affecting to adults!

If this is the end of the precious series (with record box office grosses, I find that hard to believe), it has ended on a very high note. Do stay for the end credits as you learn a bit more about the fate of our beloved toys. As much as I would hate to see these animated friends go, I should remember that these jewels are to be shared and cherished by future generations. How’s that for life imitating art?

**** of **** stars (preceded by another winning short, Day and Night))

IRON MAN 2 The Same Man

After a spectacular start with Iron Man a couple summers ago, one would have hoped for an even better sequel, considering the fortunes of the Spiderman, X Men, and Batman franchises of late, whose sophomore efforts took their series to dizzying new heights. Not so here, although Iron Man 2 is definitely not a step down either. Consider it on par with the original film and as such, a pretty entertaining, well made Marvel Comics screen entry, and it boasts another strong performance by Robert Downey, Jr. as the hero.

Picking up where industrialist genius, Tony Stark, reveals himself to be Iron Man, the folks in Washington D.C., namely the military and Congress want the technology. He defies the Senate panel by declaring the armor as private property that has brought world peace. Stark’s competitor, Justin Hammer (Sam Rockwell) is desperate to claim the military’s approval for armored weaponry. Stark’s main girl, Pepper Potts (Gwyneth Paltrow) is trying to help him run Stark Enterprises despite Tony’s childish antics and thrill seeking. His buddy, Lt. Col. Jim Rhodes (Don Cheadle taking over for Terrence Howard), is under pressure by the military to get the Iron Man technology. A new assistant, Natalie Rushman (Scarlett Johansson), has a mysterious background. All this as Starks’ blood is beginning to get poisoned by his ebbing, artificial heart.

Enter the Russian, Ivan Vanko (Mickey Rourke), whose father was snubbed by Stark’s dad. He has developed a body armor that has electric whips, while Hammer provides him the resources to exact revenge. Stark must come to terms with the distant relationship with his late father as he desperately searches for an answer to his failing heart. As Hammer presents his new military hardware to an audience, Ivan and Tony engage in a battle royal.

What the filmmakers needed to do (and could have done a bit more) was to let Downey carry the film on his shoulders; he’s certainly earned the right to flex his acting muscles after Iron Man. Here, he shows off his flair for being a bad boy whose arrogance is matched by his tech savvy, and he is a hero confronting his inner demons and pain which are directly related to the fallout with his father. It is interesting how poppa Stark is portrayed in newsreel footage as a kind of Industrial version of Walt Disney complete with a topographic industrial plan instead of a theme park.

Downey and Paltrow have good repartee and a smooth chemistry even when they argue. The dialogue is snappy and at times funny courtesy of screenwriter Justin Theroux (Tropic Thunder) and director Jon Favreau who still knows how to convey the fantasy world of super heroes, and there are enough twists and surprises to keep things humming along.

Rourke is sufficiently menacing as Ivan, spouting Russian and a dark, defiant persona. Samuel Jackson repeats as Nick Fury, the head of S.H.I.E.L.D., a secret organization that is attempting to assemble ‘The Avengers Initiative’. Johansson is on screen too briefly but there is a nice payoff where she comes through in fine form, or should I say fighting form. As a US Senator, comedian Garry Shandling is stunt casting but proves a bit of a distraction; you just can’t take his character seriously. Marvel co-creator Stan Lee makes another brief cameo, and Favreau is amusing in a larger supporting role of Happy Hogan.

Special effects are impressive and ably serve the story. That suit of armor still wows and functions in true comic book form. There is a familiar, circular prop that appears in a crucial scene that Marvel fans will want to note! Stunt work and the fight choreography that involves Johansson’s character is fun to watch but you wish there were more.

Favreau has shown a knack for comic heroes, but he has not made the big step to improve on his franchise. Perhaps in Iron Man 3 he can break the curse that has plagued super hero franchises that fell down in their third films. By the way, do stay after the credits for an interesting clip that hints at the ever growing Marvel Universe.

*** of **** stars (add ½* for Marvel fans)

CLINT’S OSCAR PREDICTIONS for 2009

I have seen all ten Best Picture nominees and a few others. So based on what I have seen and hear, these are my predictions in this expanded best picture year. (I left short subjects alone but Wallace and Gromit are always a sure bet.) Enjoy!

BEST PICTURE-It was between Avatar and the Hurt Locker but Inglourious Basterds is strong with SAG. A new voting system could alter the results dramatically. In the end, THE HURT LOCKER has momentum.
BEST DIRECTOR-KATHRYN BIGELOW
BEST ORIGINAL SCREENPLAY-INGLOURIOUS BASTERDS unless Hurt Locker sweeps.
BEST ADAPTED SCREENPLAY-UP IN THE AIR is so good that it’s no contest.
BEST ACTOR-JEFF BRIDGES by popular demand
BEST ACTRESS-SANDRA BULLOCK over Meryl Streep unless the voters really have a change of heart.
BEST SUPPORTING ACTOR-CHRISTOPH WALTZ -no contest
BEST SUPPORTING ACTRESS-MO’NIQUE -no contest
BEST ANIMATED FILM-UP
BEST FOREIGH FILM-EL SECRETO DE SUS OJOS
BEST CINEMATOGRAPHY-THE HURT LOCKER
BEST EDITING-THE HURT LOCKER
BEST SOUND-AVATAR
BEST SOUND EDITING-AVATAR
BEST ART DIRECTION-AVATAR
BEST COSTUME-THE YOUNG VICTORIA
BEST VISUAL EFFECTS-AVATAR
BEST MAKEUP-STAR TREK
BEST SCORE-UP
BEST SONG-“THE WEARY KIND”-CRAZY HEART
BEST DOCUMENTARY FEATURE-THE COVE
Top Oscar tally –Hurt Locker and Avatar with 4 apiece

THE HURT LOCKER and the Human Essence of War

Blessed with an insightful script by journalist Mark Boal, director Kathryn Bigelow (Point Break) has finally found superior material to apply her talents, and the result is a seminal war film set in Iraq. This is not the spectacle of war in broad strokes but rather an intimate point of view. As such, it provides a very personal, visceral experience.

In the middle of the Iraq War, Sgt. J T Sanborn (Anthony Mackie) welcomes a replacement for a fallen comrade. The new soldier, Sgt. William James (Jeremy Renner), is a quirky soul whose specialty is disarming bombs. 38 days are left for Bravo Company as the group sets out to diffuse a bomb. While an automated robot might be appropriate, James insists on doing the job himself and finds a booby trap in the city streets. After a tense period and an unexpected surprise, he is successful but not before spooking Sanborn and the other soldiers nearby. His boldness and gambling has serious consequences for his comrades.

James is a loose cannon, but does he have a death wish? He has the emotional and physical scars from war, and he lives and breathes bombs to the point of keeping bomb parts as souvenirs. He is addicted to the job, and war gives his life meaning. He is the perfect war junkie. It’s a high stress existence and the only person a soldier can rely on is his fellow soldier. These men bond amid difficult life and death situations while there is barely a shot fired. This is most definitely not Audie Murphy’s kind of war.

The risks escalate when a car loaded with explosives is set afire and as James tries to disarm the device, the soldiers attract a lot of attention from the locals who may or may not be innocent observers. It becomes a precarious situation by the minute as James’ expertise is tested to the limit. We witness the risks of guerilla warfare as threats come from around any street corner.

As days melt down to hours, the tension becomes almost unbearable, and you can feel the anxiety and fear in these men. There is an arduous sequence as the group gets pinned down by deadly sniper fire amid an oppressive sun. Later, a heartbreaking scene has James attempting to defuse a bomb strapped to an innocent civilian pleading for his life. It’s a desperate task as the seconds tick away. The emotions and the impossibility of the situation make for a compelling moment.

James has a wife and son back home where he discovers some truths about himself. Finding civilian life difficult to adjust to, he realizes the one thing makes him feel alive, and that is a tour of duty.

Some notable actors like Ralph Feinnes, Guy Pierce, and Evangeline Lilly appear in what are essentially throwaway cameos. Mackie is good as a soldier whose priorities in life change dramatically through his deployment, and Brian Geraghty registers as a young soldier who cannot wait to return safely to the states. But it is Renner who excels in the difficult role of a gifted, but troubled soldier.

Bigelow has always been adept at films (Point Break, Blue Steel) with lead characters under extreme duress, and she milks each bomb sequence with measured, tightly edited cuts to agonizingly prolong and heighten the suspense. She is schooling the public with pure cinematic technique. We feel a bit detached from these men not because they are not well drawn but because the film tries to show events in a semi-documentary way especially in its generous use of handheld cameras that give the feel of news footage.

This is not a perfect film. It feels episodic at times, and perhaps that is the point: that war can be a series of moments of danger and uncertainty. Also, we never fully realize or understand what makes James tick. We know he is drawn to his job and is very good at what he does. But we never see into his psyche’s attraction to this profession beyond the adrenaline rush.

While the film may not accurately portray military tactics or protocal, it does capture the human emotions of impossibly difficult tasks amid a hostile environment. Credit the filmmakers for exploring a fascinating aspect of warfare. In terms of driving home the fear and effects of war on the common soldier, few films have ever been better.
***1/2 of **** stars
Nominated for Best Picture 2009

AVATAR and Cameron’s Magnificent Obsession

You would think that the man who redefined science fiction and action films over the past quarter century (Terminator, True Lies) and culminated with the best hat trick in movie history with Titanic garnering superlative reviews, earning the all-time box office, and winning a record 11 Oscars, would be satisfied and perhaps go on cruise control with a smaller film. But no, Cameron aims higher with a thrilling adventure that combines game changing special effects that have to be seen on the big screen in 3-D.

In the not too distant future, Jake Sully (Sam Worthington), a physically challenged soldier, volunteers for an unusual mission on a far away planet, Pandora, a beautiful yet dangerous world where the blue skinned Na’vi are a primitive, enlightened race who are at one with nature and its balance of life as epitomized by the Tree of Souls, a kind of fiber optic tree that has a consciousness. Utilizing a unique technology that enables Sully to become sentient in a genetically engineered substitute Na’vi body or avatar, he is deposited on Pandora to assimilate himself into their culture. Led by a stern, no-nonsense scientist Dr. Grace Augustine (Sigourney Weaver), Jake learns the ways of the Na’vi people especially through Neytiri (Zoe Saldana), a proud warrior (much like the heroine in Heavy Metal) whose father is the tribal leader. You just know that Jake and Neytiri are going to become closer in their relationship.

Sully’s commanding officer, Col. Miles Quaritch (Stephen Lang), expects him to gather intelligence on the Na’vi defense and capabilities in an effort to secure the valuable minerals beneath the Na’vi settlement. It seems that a mining company wants the minerals at any cost. As Sully bonds with these people and realizes that what the military plans to do, he has a change of heart and rallies all the villages to band together for a last stand and a simple battle between good and evil ensues with the Na’vi hopelessly outgunned and overly matched.

The story is simple with political overtones about preserving a green planet and the clash between science and the military. This military is an extension of the bad asses in Cameron’s Aliens. There are obvious parallels to the Iraq War with its natural oil resource. You can see elements of The Matrix with its out of body experience, and Star Wars: Return of the Jedi with its David versus Goliath setup. Any fan of old Tarzan films knows how nature is harnessed by the hero. You get the feeling that this planet’s life force is a collective much as the trees in The Lord of the Rings trilogy and that something extraordinary might happen. The avatar plot device bares loose similarities to the 1960’s TV show Outer Limits episode Chameleon. While Jake has damaged legs, he is able to revel in his new body and experiences what amounts to a rebirth. His initiation into Na’vi life is not dissimilar to the initiation rites in Dances with Wolves.

Apparently Cameron has been gestating this idea for many years, waiting for movie technology to catch up to his complicated visuals. It was worth the wait. He has always been at the forefront of state of the art effects (The Abyss, Terminator 2) so it comes as no surprise that he has single handedly elevated the creative possibilities of 3-D presentation to the mainstream. Cameron does not resort to using 3-D as a gimmick by simply throwing objects at the screen but rather organically and even shots of the planet’s jungles are fully realized settings with plant life and insects that jump out of the screen. The motion capture compliments and reflects real acting. What is remarkable is that this film is simultaneously demonstrating multiple visual effects in a seamlessly integrated presentation courtesy of Cameron’s fertile imagination.

Production values don’t get any better. James Horner composes an energetic yet tender score that evokes his own Titanic and Glory. Although the second half settles into a more conventional war film, that’s a minor complaint. There is a reference to Jake’s late brother (a subplot that does not add much to the story) who was originally slated for the mission.

Worthington and Saldana (Star Trek), in expressive motion capture, do a very solid job of emoting real feelings and making their love a tangible, believable union. Lang has an intimidating presence as the military commander and it’s nice to see his career resurgence (Public Enemies). Weaver lends strong support as the wise, impassioned scientist who will defend the Na’vis even with her life.

Make no mistake: this is a groundbreaking film in terms of technical achievement and theatrical presentation. It needs to be experienced in 3-D to get the complete experience. Do yourself a favor and immerse yourself in this landmark film.
**** of **** stars (especially the first half)
Nominated for Best Picture 2009

UP IN THE AIR Soars High

Up in the Air is a timely story about the frontline, corporate downsizers who terminate workers across the country. It’s an unpleasant job with emotional backlash, and George Clooney’s performance as a top gun terminator is exemplary. Abetted by assured direction by Jason Reitman (Juno), this is a film for our times.

Ryan Bingham (Clooney) is very good at what he does, and he has the mileage to prove it. You see, corporations hire him to fly across the country to fire their employees. So good is Bingham that he has a perfect response for every possible reaction or objection. It is an art, and he has honed his skills over the years while living an insulated life of perks and frequent flier miles without any emotional attachments or long term plans for the future. He is even distant from his family. He has his routine down and lectures as a motivational speaker. Ah, what a life.

During a layover, he meets another frequent flyer, Alex (Vera Farmiga), who, like him, jets cross country and lives on her corporate credit cards and comps. So begins their jet setting affair and multi-city rendezvous. When Ryan’s employer decides to streamline expenses, a new hired gun, Natalie (Anna Kendrick), brings big changes including cutting down travel expenses and relying more on a telemarketer setup to conduct the corporate firings. This is a direct threat to Ryan’s lifestyle and he proposes to show her the ropes and what it is like to personally fire someone. It is a sobering, learning experience for Natalie as Ryan mentors her and espouses his words of wisdom and his hands on approach compared to her more empirical, scientific methods. It becomes apparent that they have differing values and philosophies on life. When Natalie tries to do a firing, it becomes a game changing event with severe ramifications for all. She is the young, wide eyed idealist, who learns about life the hard way.

At the same time, Ryan’s sister calls about a wedding that he is reluctant to attend. While most people go home for the holidays, he feels the opposite. He grudgingly takes pictures of cardboard replicas of his sister and fiancé in his travels since they can’t afford the trips. He even uses his powers of persuasion on his sister’s fiancé who has second thoughts about marriage. It is in this moment that Ryan has an epiphany and learns about himself and what’s important in life. As Ryan begins to have feelings for Alex and sets about to make his future, he discovers some startling, harsh truths that will alter his outlook on life forever.

Based on the novel by Walter Kirn, Reitman has created a smart, engaging film whose subject of corporate firings amid an economic downturn is quite timely. It is those scenes that are fascinating as they are heartbreaking, and Clooney’s Ryan is a master at finessing verbal interplay. This film puts faces and souls on the nameless whose lives are destroyed. A scene where a fired employee (J. K. Simmons is excellent) is inspired by Ryan to try something else is masterfully written.

Clooney’s Ryan is a distant cousin of sorts to his recent standout job in Michael Clayton. Rarely has he been more charming! His character lives in airport terminals and judges his success by his independence and frequent flyer miles. When Natalie, Alex and his own family converge on his life, we see him change, and that is what makes the film so special. To see someone whose outlook on life is changed forever is a rewarding, enriching feeling. When Ryan and Alex talk about life from their experiences, it is in stark contrast to the neophyte Natalie. What is refreshing is to see how Ryan becomes genuinely affected and how in the end he does the right things to correct an injustice.

Farmiga (The Departed) registers strongly as the mysterious lover, and Kendrick (Twilight) shines as the naïve Natalie. Jason Bateman (Juno) re-ups with Reitman and scores as a corporate manager. A note of interest is that many of the fired workers are played by actual, laid off employees so that their scenes do take on a sense of immediacy and realism.

This is one of those films that makes all the best lists of the year because it’s smartly written, well acted, and leaves you with that aftertaste of time well spent.
**** of **** stars
Nominated for Best Picture 2009