The Brilliance of STAR TREK INTO DARKNESS

J. J. Abrams (Super 8, Alias, Fringe, Lost) has excelled in television and movies particularly resurrecting Star Trek by reinventing its essence for new audiences while respecting its origins.  In Star Trek Into Darkness, he expands on keys characters and continues his mastery of plot and non-stop action.  As summer entertainment, it is a class act and sends the science fiction/adventure series on a spectacular trajectory.  It is also the best Star Trek movie since The Wrath of Khan.

Captain Kirk (Chris Pine) and Dr. McCoy (Karl Urban) are pursued by a primitive tribe on an alien planet as Mr. Spock (Zachary Quinto) attempts to prevent a catastrophic volcanic explosion from within.  Their activities call into the question The Prime Directive where nothing should alter a civilization from without.  In fact, Kirk’s outrageous, rule-breaking behavior gets him in hot water with mentor, Captain Pike (Bruce Greenwood) and Starfleet.  At the same time, a horrifying explosion in London reveals the presence of a mysterious man (Benedict Cumberbatch) named John Harrison, who exhibits a remarkable intellect and physical prowess.  The cryptic Harrison is pursued to Kronos, home planet to the warrior race of Klingons and the threat of all out war.  Overseeing the mission directive is Admiral Marcus (Peter Weller) whose presence is felt in unexpected ways.  It all leads to a revelation that threatens not only the Enterprise, but Starfleet and Earth. 

As the original TV series often dealt with contemporary issues, there are strong parallels with current headlines in the form of terrorism.  In fact much of the film has a grim, dark tone as the crew must face a superior, ruthless adversary, and a couple scenes of mass destruction have a 9/11 feel.  There are a number of references to the old TV series and original Trek films as names, locales, music, and even dialogue are lifted and cleverly interjected.  Tribbles, anyone?  And you’ve got to love those retro uniforms especially Saldana’s!

Pike and Kirk have what amounts to a father-son relationship, and this is tested in a pivotal moment.  We witness this relatively new crew as it becomes more cohesive under duress, and that is part of the fun as we watch McCoy’s character and the beginnings of his amusing, trademark gripes.  There are plenty of heroics from our stars, and Scotty (Simon Pegg) and Uhura (Zoe Saldana) shine in key moments.  You only wish to see if the classic trio (Kirk, Spock, and McCoy) could mix it up more, but you do see the core beginnings of their dynamic bond.  There are strong, recurring themes of loyalty and sacrifice for the good of the majority, or in other words, “the needs of the many…”

Cumberbatch, (TVs current Sherlock Holmes) is outstanding as a powerful adversary.  Weller is particularly effective as the imposing Admiral with a hidden agenda. 

The visual effects are impressively on display when the starship Enterprise explodes into warp speed and when devastating terrorist acts decimate a major city.  The pacing is quite good, so don’t think too hard on credibility gaps.  Where does Harrison come from?  Anybody check his blood type?  Why is Starfleet headquarters virtually unguarded?  And what’s the deal on those torpedoes?

Abrams is a master showman and he knows how to engineer cliffhangers upon cliffhangers.  The film has a memorable climax that will ring déjà vu with a twist, but is nonetheless quite emotional.  It solidifies the Kirk-Spock relationship forever and could have served as one of the best endings in Trekdom, but the filmmakers chose to springboard to another exciting moment which leaves the door open for future adventures of the five year kind.  To say any more would spoil things.  A third film in this installment would be hard pressed to surpass the energy and sheer acumen he demonstrates in this sequel, but Abrams has proven he can followup a directing gig by remaining the producer with another talented director taking the reigns and still achieve spectacular results (see Mission Impossible: Ghost Protocol).  For the man who has been chosen to take over Star Wars franchise, the sky’s the limit.

***1/2 of **** (add ½* for Star Trek fans)

IRON MAN 3 Stands Alone

 Following on the heels of one of the greatest superhero films (The Avengers) ever, Iron Man 3 had the daunting task of being the first film to initiate Phase 2 of the next set of Marvel films.  Add to that the fact that third acts rarely do well in these individual film series (Spiderman 3, X-Men 3).  Directed this time by Shane Black, (former director Jon Favreau still plays bodyguard Happy Hogan), there was every reason to believe that this installment would fall short of expectations. Surprisingly, this film is pretty good and benefits from a strong plot and the usual Robert Downey Jr. performance.  By keeping the audience guessing, this action packed film not only kick starts the next set of films in the Marvel plan, but sets new expectations going forward in the series.

Tony Stark (Downey) has been traumatized by his near death experience in The Avengers with a little help from his friends and must contend with trying to find some normalcy in his life, and that includes his relationship with girlfriend Pepper Potts (Gwyneth Paltrow).  Stark recalls a past relationship with a female scientist, whose potentially revolutionary, regenerative process called Extremis is found to have explosive side effects.  At the same time, a young genius name Aldrich (Guy Pierce) proposes an idea for high tech think tank, Advanced Idea Mechanics (A.I.M.), which will later have severe implications.  Further, a terrorist named The Mandarin (Ben Kingsley) is hijacking the airwaves and threatening catastrophic events. Are these events related?  The story takes Stark out of his comfort zone and drops him in a nowhere town in Tennessee, and he is thus forced to improvise, relying upon his skills and wit to battle a formidable opponent while forging an unlikely bond with a local boy.  A deadly, convoluted plot begins to take shape which has far reaching consequences to not only Stark’s home but the world.

Downey owns this character, and he gets nice support from Paltrow in an expanded role.  Pierce makes a worthy antagonist with tricks up his sleeve so to speak, and Kingsley is a hoot playing up his mysterious role as The Mandarin.  Paul Bettany again amusingly voices Stark’s computer Jarvis.

Shane Black’s talent was notable in the screenplay for Lethal Weapon, and it shows in the dialogue especially between Stark and Pepper and his interactions with the boy.  He also was astute enough to challenge his main character by stripping him of his closest allies (no sign of S.H.I.E.L.D either) and his armor and stranding him in the middle of nowhere. 

What set Marvel characters apart from most other super hero comics was that they experienced real, personal problems, and that, combined with a real threat, formed an emotional response from the audience.  It’s nice for comic book fans to see the Marvel films incorporate the established comic book lore including A.I.M. and pushing the ante on supporting characters like Colonel Rhodes (Don Cheadle) as The Iron Patriot.  At times you feel a bit of James Bond influence and then a bit of The X-Files which is not bad thing.  

There are some clever plot twists and unexpected surprises in characters including one revelation that may upset some comic book purists.  The standout highlight is a spectacular action sequence in midair as Air Force One is attacked and its passengers are thrown out helplessly.  What’s a superhero to do?  The result is a terrific, beautifully shot maneuver that raises hairs.  Then there is that magnificent armor that Start is constantly perfecting to the point that he can remotely get suited up by sections.  Special visual effects are top of the line as witnessed in the pyrotechnic climax at a shipyard.

Not content to paint by numbers, Black and Downey have fashioned an entertaining, superior third film that is almost as good as Iron Man 1.  There’s a certain finality in the way it ends which makes one wonder how will they do another Iron Man film.  This is Downey’s last contractual Iron Man for now and it would be a shame to deny fans another go at a fascinating character especially with The Avengers 2 in the not too distant horizon. And yes, do stay through the lengthy credits for a brief but amusing scene and cameo. 

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

 

The Triumph of the Commoner in LES MISERABLES

There are musicals, and then there are musicals. This adaptation of the smash Broadway show, itself sourced from Victor Hugo’s classic novel of the post French Revolution and the suffering plight of the populace has been transformed into an impressive film which will appeal to those open to its free flowing style of song and music. Think of this type of musical as operatic narrative with hardly a spoken line of actual dialogue. For the uninitiated and fans of traditional movie musicals, this may take some getting used to. If one can embrace the format, it is a well made, emotionally moving tale of love and hope.

Spanning the years 1815-1832, in Paris, France, the years following the French Revolution have left the country divided with its common citizens in poverty and hard labor. A prisoner, Jean Valjean (Hugh Jackman), is paroled under the watchful eye of policeman, Javert (Russell Crowe). Stigmatized by his record, Valjean flees his past and makes a new life for himself as an upstanding citizen until a chance encounter exposes his identity to Javert, and the hunt is on. Meanwhile, in a related incident, a factory worker, Fantine (Anne Hathaway), has been unjustly fired and must struggle to survive and care for her young daughter, Cosette. As Fantine must resort to desperate measures and all hope begins to fade, Valjean intercedes, and while Cosette grows into a woman (Amanda Seyfried), their lives intertwine with a movement to rekindle the Revolution as a growing revolt pits commoners against French soldiers even as Javert closes in on his quarry.

Through these characters, we witness a wide range of behavior from treachery and betrayal to loyalty and unrequited love. It’s also about the secrets and the choices made especially by Valjean who comes to a series of crossroads in life. Jackman does a great job of conveying shame, guilt, desperation and anger, but those feelings give way to wanting to be a better man. His Valjean is the conscience of the film.

Hathaway owns her role as the doomed Fantine and has the chops to sing the signature song, “I Dreamed a Dream”. Her character’s descent into hell is not unlike the doomed characters in The House of Mirth or Sister Carrie. Crowe has the unsavory role of the obsessed Javert but proves an effective foil to Jackman. The folks that made TV’s The Fugitive must have modeled Inspector Gerard on Javert!

The storyline has numerous supporting characters and subplots including one involving a pair of crooked innkeepers played with villainy by Sasha Baron Cohen and Helena Bonham Carter. (What’s with these three name actors anyway?) There is also a nice musical, montage sequence that alternates and merges several different settings and characters; it is directly reminiscent of the pre-rumble sequence in West Side Story.

Production values are outstanding with the set designs realistically recreating 19th century Paris (with parallels to Dickens’ London settings) befitted with costume designs of the period. The camerawork relies heavily on handheld close-ups for realism. Of note, this is one of the few musicals that did not loop the vocals in post-production. Rather, the actors actually sing on camera, and fortunately they all acquit themselves well with these terrific songs. The effect is more akin to witnessing a live, stage production.

The end is memorable as wishes and legacies are fulfilled. When you figure the resources and talented cast directed by Tom Hooper (the King’s Speech) that brought this to the screen, it is a remarkable achievement. Because of the theatrical source material, however, just be wary of the way it’s all presented, narrative and all. “Vive la France!”

*** of ****stars

ZERO DARK THIRTY and the Ultimate Manhunt

Director Kathryn Bigelow and screenwriter Mark Boal garnered Oscars for their war film The Hurt Locker a few years ago. While planning a film on the fruitless hunt for Al Queda leader, Osama Bin Laden, the fugitive was eventually tracked down and killed after a decade. The filmmakers subsequently expanded their film, gathered from several first-hand accounts, and the result is Zero Dark Thirty, a thoroughly detailed, complex study in the greatest manhunt in recent history. It is a fascinating study in the tedious work of the behind-the-scenes faceless men and women whose intelligence gathering efforts and in some cases obsessive determination culminate in the most stunning of missions.

As audio of frantic, desperate victims of the September 11, 2001, terrorist attacks on the World Trade Center plays in the background, we flash forward a couple of years to the Middle East and a torture scene of an Arab prisoner witnessed by newly transplanted CIA operative, Maya (Jessica Chastain), whose intelligence is matched by her sharp tongue and dogged stubbornness. As part of a group of operatives sifting clues and leads to locate terrorist mastermind Osama Bin Laden, she comes into conflict with traditional, out of date methodologies. Her theory centers on a courier who could be the link to their target, but to identify, locate and follow this suspect proves confounding and fruitless over the years as other hopeful leads fail to pan out or prove deadly. More terrorist attacks occur globally and there is a greater sense of urgency when Maya stumbles upon a crucial, misplaced piece of information. A remarkable series of interviews in remote, secret locations and painstaking surveillance result in a possible hideout. The question is whether to take the chance of launching a strike mission based on imperfect, yet probable data and pl

ain, gut feelings. What follows is a minute by minute recreation of the subsequent, military mission to end all missions.

The infamous torture scenes are not so much violent as unbearable and uncomfortable. To center on these scenes misses the point of the film. While the story could have left out the bulk of these moments, they only serve to illustrate one of the means of collecting hard intelligence. The film also shows the toll these acts take on the human psyche of some of the interrogators.

Chastain’s character is quite the rebellious analyst who is unafraid to speak her mind or display emotion. What we don’t know is her background or her family or friends. This rough sketch of a character may serve this story adequately, but it denies the audience of more textured character development and audience empathy. She has a deep resolve that will keep her searching for years and endless interviews often in disguise to protect her identity as she herself becomes a target, looking for the one misstep or inadvertent mention of a name or detail. She even challenges and stands up to her superiors including the Director of the CIA (played with great effect by James Gandolfini) because of her self belief. Hers is a female operating in essentially a male dominated profession much as Jodie Foster proves herself in similar environs in Silence of the Lambs.

Bigelow excels with this intense, intricate screenplay. She is in her element during the last half hour of the film (where there is effective use of a minimal musical score and eerie, night vision camera work) as the stealth helicopters proceed to their target and she flexes her filmic muscles, which she does as well as any action director. John Milius (The Wind and the Lion) would be proud.

As a chronicle of the remarkable mosaic of intelligence work, Zero Dark Thirty is excellent. If it lacks a little heart and soul, that’s not the fault of the filmmakers so much as the source material. While it could have easily been a thorough miniseries on television, it has been distilled to a highly engaging tale of good old fashioned detective work of the highest order. When Maya reacts to the mission’s completion at the end, it is one of emotional release which the audience shares and could very well have been Bigelow’s own reaction to a job thoroughly well done.

**** of **** stars

The Power of Love in AMOUR

Most filmed love stories depict the beginnings and complications of couples searching for happiness and a future together. In rare exceptions (The Notebook) do we also see the waning days of love, and with Amour, we are witness to the end of a long union of husband and wife, whose longevity is matched by their love for one another. It is a bittersweet study in the challenges and hardships that are grim reminders that although life is finite, love transcends time. As written and directed by Michael Haneke (The Piano Teacher), the story is a realistic study of love, loyalty, and responsibility in a marriage.

Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) are a married, elderly couple who share a love of classical piano music and live in a modest apartment. One day, following a visit to a classical concert, Anne is paralyzed by a stroke, and as her body begins to fail her, she and her husband must adjust to a new way of living and the inevitability of the end. What transpires in the following days and weeks amid concerns of their daughter, Eva (Isabelle Huppert), will test an enduring love to its very limits.

Featuring two leading actors who starred in two of the more haunting, romantic films at the beginning of the French New Wave Cinema, (Riva in Hiroshima Mon Amour and Trintignant in A Man and a Woman), it is ironic that we see these veteran performers, as aged spouses. Riva makes us feel for her, and she conveys much feeling with her facial expressions particularly in her eyes or the absence of any reaction as she convincingly depicts the gradual deterioration of a human being physically and spiritually. Trintignant deserves credit for making us feel his plight as husband and caregiver. He gives Riva an equal in acting.

The contrast of their day to day routines is thrown awry by fate, and the hardship of caring for an physically impaired family member is heartbreaking. The details of hiring healthcare workers, helpful neighbors who buy groceries, acquiring a hospital bed or wheelchair, and even the simplest acts of human function are a challenge. When Anne asks to see a family photo album, we know this is a sign that this is the beginning of the end of her quality of life as she is reviewing her past and better times. There are moments you wonder how much can Georges take and to what lengths he will endure to support his wife’s well being. There are echoes of Million Dollar Baby in the incapacity of a loved one and how those closest must come to terms with life. It is a tragedy being played out before our eyes.

There is symbolism of a pigeon that repeatedly flies into the apartment; perhaps it represents a precious life that is a metaphor for Anne. Even the sounds of activity in their kitchen speak to their routine at mealtime. Indeed, most of the story takes place in their apartment. The absence of a musical score adds to its realism and immediacy.

Despite a somber tone, Amour is blessed with great performances that cap two legendary careers. Give Haneke credit for an ambiguous, bold ending with its memorable imagery; it reaffirms the power of love. The film says that this may be the end of a life but not the end of love.

*** of **** stars

The Meaning of Existence in LIFE OF PI

Yann Martel’s novel, Life of Pi, had long been considered unfilmable until Oscar-winning director, Ang Lee (Brokeback Mountain), did the impossible. He (with an adaptation by screenwriter David Magee) has made a visually stunning adventure about ultimate survival and the meaning of existence in the universe. It is a unique film experience and one that requires openness and a certain suspension of disbelief.

Pi is an impressionable young boy whose exposure to religion develops into an embracing of more than one faith much to the consternation of his father. The family owns a zoo in the French part of India and one day are forced to uproot their lives and head to Canada by cargo ship. During a powerful storm, the ship sinks and all hands are lost except Pi, orphaned and stranded in the middle of the Pacific Ocean with no help and a lifeboat filled with an unlikely manifest: wild animals including a tiger, oddly named Richard Parker. An unusual dynamic plays out as Pi struggles to stay alive in the elements and contend with the ferocious beast. As the hours turn into days and then weeks, Pi, left with only his instincts and ingenuity, is forced to improvise and utilize all his survival skills amid dwindling supplies. When hope begins to fade for rescue, some unlikely, awe inspiring events occur that mean the difference between life and death.

Lee, no stranger to computer generated effects (Hulk, Crouching Tiger Hidden Dragon), has done a major accomplishment here by adapting the challenging logistics of the source material and making it accessible and compelling to an audience. He is no doubt aided by incredible advancements in special visual effects that form a significant portion of the film and recreate unforgettable moments including the fatal storm and the sinking cargo ship, the wondrous, luminescent phenomenon at night, and the depiction of animals in the lifeboat especially the tiger, Richard Parker, who becomes a major character. Some of the imagery is remarkable in 3-D.

Suraj Sharma is quite convincing as the young Pi; it’s a one man show for a majority of the film. The story, told in a flashback, is about Pi’s ascension to manhood, and he is in essence is a citizen of the world, not having been bound to any one religion. His curiosity and spiritual journey serve to make this an allegorical tale, and it is his relationship with Richard Parker that serves as a foundation to the story. He wonders about his deadly companion and ponders the question, “Do animals have souls?” In essence, Parker is Pi’s Wilson (from Castaway) but with a soul. Pi’s interaction with the ocean is not unlike the solitary figures in The Old Man and the Sea and 127 Hours, in which mother nature can be lovely and deadly, giving and taking, a sort of protagonist and antagonist.

There are unanswered questions. What really becomes of Richard Parker? And are we to believe this fantastic tale as fact or fiction or a warped truth? Is there a more plausible explanation? Maybe that’s just the point of the story: that life is full of questions and wonder, and sometimes truth is stranger than fiction no matter how unlikely it may appear. Audiences who are willing to completely open their hearts and minds, will find a rewarding experience in this tragic yet fascinating exploration into the miracle of life. And the movie does look hauntingly beautiful.

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

The Game of Life in SILVER LININGS PLAYBOOK

Director David O. Russell (Three Kings) has taken Matthew Quick’s novel, Silver Linings Playbook, and adapted it for the screen. It is a topic near and dear to him as his own son has bipolar disorder like the lead character. By balancing dramatic situations with comedic overtones, Russell has accomplished a rare feat, an excellent drama with a superior cast that treads the fine line of humor. By making such a delicate subject accessible to the masses, he has made a really entertaining, crowd pleaser.

Pat (Bradley Cooper) suffers from bipolar disorder and, following a breakdown over a failed marriage and confinement to a psychiatric facility in Baltimore, has just been released to his parents’ care. Now back in Philadelphia and living with his parents, Dolores (Jacki Weaver), his doting mother, and Pat, Sr. (Robert DeNiro), a sports addict, Pat is determined to get his wife back despite a restraining order. He is so obsessed with getting back with his wife that he boils over on occasion with emotional outbursts which threaten to send him back to confinement. When he is not taking his meds or visiting his therapist, he runs in his neighborhood to get into shape in anticipation of repatriating with his wife, or so he thinks. One day he runs into Tiffany (Jennifer Lawrence), another troubled soul who not only has been widowed recently, but now sleeps with anyone. Their uneasy interactions lead to an unusual offer by Tiffany for him to partner with her in a dance contest in exchange for her being an intermediary and backdoor link to his wife. What follows are the revelations of emotional scars and the realities of finding happiness in the most unlikely places.

The cast is excellent, particularly the four lead actors. Lawrence portrays Tiffany as a seemingly naïve, young woman, but she turns out to be a bright, perceptive person who is not afraid to stand toe-to-toe with anyone. DeNiro has not had such a strong role in many years, and he shows just how good he still is. Even Chris Tucker, in an unusual supporting role, registers as Pat’s buddy from his psych group.

The film is about how people, who are trapped in their own patterns of behavior, are afraid or unable to reach out and take a chance in life. The depictions of mental illness are portrayed with realism. When Pat undergoes mood swings, it can manifest itself as uncontrollable rage brought on by a simple trigger. He has no filter to his reactions and responses which can be quite awkward and downright offensive. Much as Jack Nicholson’s character in As Good as It Gets laments if ‘this really is as good as it gets’, Cooper’s Pat tries to find the ‘silver lining’ in his life.

It is interesting to note that virtually every major character in the story has emotional issues in varying degrees. At one point Pat actually thinks Tiffany is crazier than he is. Pat’s father, a superstitious gambler and bookie, has his own issues with obsessive-compulsive disorder. His belief that having his son nearby to ensure the Eagles football team a victory, leads to an amusing confrontation with Tiffany.

When you have a cast that is this good, you have to look at the director, Russell, who orchestrates like a master conductor. Despite an uneven filmography in his early career, he is rapidly becoming the actors’ go-to director. His attention to minor details like the simple act of tying a tie, a quick reaction shot, or hand gesture enriches the texture of a characterization. His recent films (The Fighter) have taken noteworthy, acting ensembles and elicited superior, Oscar worthy performances amid strong storylines. Somewhere, directing legends, George Cukor (The Philadelphia Story) and William Wyler (The Best Years of Our Lives), are smiling broadly.

**** of **** stars

Revisionist History in DJANGO UNCHAINED

L’enfant terrible, Quentin Tarantino (Pulp Fiction, Reservoir Dogs, Inglorious Basterds), has specialized integrating his encyclopedic knowledge of exploitive movies into reinvented, genre films stocked with top actors and highlighted by dialogue enriched scenes. The ultimate revenge tale in the guise of a slavery drama morphed into a western, Django Unchained is a highly entertaining adventure with a heavy dose of violence.

It is the pre-Civil War South where cruel plantation owners treat slaves inhumanely, and guns rule the landscape. A former dentist, Dr Schultz (Christoph Waltz), is a bounty hunter and seeks his quarry by enlisting the aid of a slave, Django (Jamie Foxx). It seems bounty hunting is a very lucrative profession, and it facilitates Django’s freedom and a means to search for and rescue his wife, Broomhilda (Kerry Washington), from a wealthy slave owner, Calvin Candie (Leonardo DiCaprio). As Schultz and Django devise a plan to win Hildy’s freedom, Candie, who relies on the counsel of his slave-confident, Stephen (Samuel L. Jackson), begins to suspect a ruse and with time running out, it leads to an explosive, bloody end.

Although his films tend to function and be appreciated for their parts rather than the whole, there are, of course, the Tarantino trademarks. He knows how to build a scene, and part of the fun is the delicious interplay among the key characters. As in most of his films, his characters are put in situations where there is an inevitability, a destiny if you will as the tension and looming threat of violence gets unbearable at times particularly in the climactic dinner scene. He also has a couple of scenes early on which are meant to fool the audience in which things appear one way but are really a clever misdirection.

Foxx is quite the stud as the determined former slave, and DiCaprio is cast convincingly against type. Yet it is Waltz who shines here, and he makes the most of a role written for him.

As he has done in all his previous films, Tarantino has resurrected former stars and character actors in numerous supporting roles. Part of the fun is trying to recognize a face under heavy makeup. Try identifying Michael Parks, Tom Savini, Robert Carradine, Bruce Dern, Russ Tamblyn, Don Stroud, Franco Nero (star of the original titled film), Don Johnson, Dennis Christopher, or James Remar.

The film is heavily influenced by spaghetti westerns with the long stares and moody musical score. The action scenes are brutal and at times over the top; when has it not been so in a Tarantino film? One day perhaps, he should make a more intimate, gentle film to prove his versatility (like David Lynch demonstrated in The Straight Story).

At 165 minutes, the film could use a bit leaner running time, but it is good fun if you aren’t put off by the periodic, graphic violence. Tarantino may be a film geek with a nasty streak, but he definitely knows how to put together engaging, crowd pleasers, even if much of the material is cleverly recycled from older, obscure films. He has devised a crackerjack piece of entertainment, and while he says he wants to make a very limited amount of films in his career, if they continue to be as popular and well written as this and his previous work, we may have to wait a couple years or more for the next one. For his fans, it will be worth the wait.

*** of **** stars (add ½ star for Tarantino fans)

A Child’s Bond in BEASTS OF THE SOUTHERN WILD

An independent film that burst on the scene, Beasts of the Southern Wild is a harrowing depiction of life in an impoverished, deep southern community. It focuses on how an isolated town responds to a disaster and, in particular, one little girl who sees the world through a prism. A little gem of a film, it boasts superior performances by an amateur cast.

In the Bayou country (and narrated from her point of view), a rebellious, young girl named Hushpuppy (Quvenzhané Wallis), has a very personalized vision of life in her world where there is a natural order of humans and wild, prehistoric beasts who rule the land. Abandoned by her mother, her angry and sometime abusive father, Wink (Dwight Henry), is the only family who is there to care for her. When not drinking to excess, he encourages her to hone her survival skills in the wild. The two share an extremely poor existence living in rundown shacks and sharing camaraderie with other locals. As a prophesied, destructive flood uproots everyone’s lives, she must learn to survive and grow up fast. When personal tragedy strikes, she must come to terms with her family and her place in the world.

Shooting on location in the rural south has a colorful flavor and adds to the film’s realism. Using amateurs in the key roles makes the film authentic, and Wallis is the revelation here. In a role that would be challenging for a teenager, she shines, and never once do you think that this is a performance by an actor. Henry interacts wonderfully with her as the troubled father, and his was perhaps an overlooked, award worthy role.

It shows how a way of life can be changed forever when disaster strikes and how people respond to the major changes in their lives. The tight knit community has character and a closeness that transcends natural disasters and personal loss. They come together to help one another. Although Wink is stern and an alcoholic, he still teaches Hushpuppy the lessons in life and the art of survival in the wild. His rage and health problems are belied by the love for his daughter. Perhaps that’s the only way he can show her his love until the bittersweet end.

There is a surreal sequence where Hushpuppy and her friends make a trek to a distant bar where they meet a gregarious collection of seafarers, barflies and hookers. It is there she is befriended by a woman who cooks her a meal. Could this be her mother? The final scene between Hushpuppy and Wink is a touching moment of truth that distills all that has transpired before and reinforces their relationship. Despite all the hardships and conflict, there is ultimately the love of a father and daughter.

With mythical and allegorical overtones, this is a spiritual film that must be experienced to appreciate its unique take on a slice of the world as seen through the eyes of a girl whose fascination with how the universe works and her desire to leave her mark on the world is only exceeded by her love for her father and ‘family’.

*** of **** stars

LINCOLN Comes Alive

The subject of many films over the decades, Abraham Lincoln has been portrayed to great effect by such top actors as Raymond Massey, Henry Fonda, and on TV by Hal Holbrook. Steven Spielberg has assembled a great cast headed by Daniel Day-Lewis in Lincoln, a chronicle of the last weeks of his presidency and his final important accomplishment before he was assassinated. As a slice of history, it is a fascinating insight into the political challenges that went into the 13th Amendment. As a portrayal of a historic figure, it could not be any better.

In January, 1865, President Abraham Lincoln (Lewis) has been just re-elected and must contend with major issues particularly the ongoing toll of the Civil War. Amid the inequality of the ‘colored’ soldiers and a growing personal conviction that was marked by his landmark Emancipation Proclamation in 1863, Lincoln is passionate about getting the 13th Amendment (which would unequivocally free all slaves) passed in Congress. At odds with his headstrong wife, Mary Todd (Sally Field), and surrounded by a doubting cabinet and strange bedfellows, Lincoln’s challenge is to secure enough votes in Congress amid powerful opposition. With the potential of a Confederate signal for an end to the war, Lincoln must weigh the political fallout of ending a costly conflict and achieving lasting freedom for all Americans.

Lincoln is not intended as an all encompassing biography but rather a microscope into the President’s last great act of his administration, and it illustrates his sheer will and unshakable faith. It demonstrates his disarming sense of humor and philosophy, and he is depicted as an imperfect human whose relationships are depicted as often dysfunctional whether it is with his paranoid wife Mary Todd over the loss of deceased son or his rebellious older son, Robert (Joseph Gordon-Levitt).

Unwilling to compromise on his beliefs, Lincoln realizes that his legacy will be tied to this moment forever. It is revealing how the political challenges in Congress are dealt with in bold strokes or subtle, delicate wording. His battles with Congress have direct parallels with the current political climate.

Lincoln had the foresight to look ahead and anticipate his legacy and how the world will look on to this moment in history including the proposed Reconstruction of the South once hostilities ceased. The behind the scenes cajoling and arm twisting make for an interesting insight into the political process. As the momentous day for the important vote arrives, each congressman places his vote in a manner not unlike the founding fathers of 1776.

Daniel Day-Lewis has become the Paul Muni of our generation. By being selective with his roles, he has played larger than life period figures that have transcended their respective films. He inhabits this role perfectly, and the makeup work and vocal inflections are outstanding. When the war winds down and has taken an emotional toll on Lincoln, you see the President’s line worn face.

Sally Field is the perfect foil as Mary Todd, his opinionated wife. Tommy Lee Jones is a standout in an impressive cast of well known actors (including Holbrook as an influential citizen). His Thaddeus Stevens, whose support was instrumental in Congress, is an intimidating figure with an imposing demeanor. He gets some of the best lines. James Spader makes a fine, slimy operative for Seward, who is played with stern conviction by David Strathairn. Spielberg consistently gives a slave’s point of view to put things in perspective. The war and the amendment are seen through the eyes of former slaves particularly Gloria Reuben’s servant to Mrs. Lincoln.

The film is magnificently shot by Janusz Kaminski in a manner that emulates the iconic pictures of the period. You feel at times that you are witness to actual, historic events. We don’t actually see much of the Civil War battles but rather the aftermath in the bodies and limbs that are testimonials to the horror of warfare. Indeed, such themes recur in Spielberg films depicting World War I (War Horse) and World War II (Schindler’s List, Saving Private Ryan, Empire of the Sun).

There is a certain reverence and awe when you watch this film because the details are recreated vividly. Tony Kushner’s screenplay is the blueprint that enables Spielberg to add to a body of work that contains some of the best documentations of American history (Amistad). There will be future film versions on the life of this remarkable historic figure, but it is difficult to imagine a better impersonation, period.

***1/2 of **** stars (add ½* for Lewis)

 

OSCAR Predictions for 2012

OK, I have seen all nine best picture nominees and a few other titles but not all. There are very likely surprises in a couple major categories, and quite possibly one of the most imaginative Oscar telecasts ever. Enjoy!

PICTURE-Argo even though Lincoln and Zero Dark Thirty were just as good.

ACTOR-Daniel Day-Lewis as Lincoln, period.

ACTRESS-Jennifer Lawrence for Silver Linings Playbook but with Emmanuelle Riva in Amour coming on strong.

SUPPORTING ACTOR-This is a three way race: DeNiros comeback role in Silver Linings Playbook, Waltz’s outstanding job in Django Unchained, or Tommy Lee Jones in Lincoln. Jones by a hair.

SUPPORTING ACTRESS-Anne Hathaway in Les Miserables.

DIRECTOR-Steven Spielberg accepts for what should have been Ben Affleck’s award for Argo, the latter was not even nominated! Watch out for David O. Russell for directing all four actors to nominations in Silver Linings Playbook or Ang Lee for filming an unfilmable novel, Life of Pi.

ORIGINAL SCREENPLAY-Zero Dark Thirty unless Tarantino repeats for Django Unchained or more likely, Amour jumps out in front.

ADAPTED SCREENPLAY-Lincoln unless the Argo juggernaut rises.

ANIMATED FEATURE-Wreck-It Ralph

FILM EDITING-Argo

CINEMATOGRAPHY-Life of Pi, but here’s hoping Roger (0 for 10) Deakins triumphs in Skyfall.

PRODUCTION DESIGN-Anna Kerenina but two other period films, Lincoln and Les Miserables may strike.

ORIGINAL SCORE-Life of Pi

ORIGINAL SONG-Skyfall and Adele will have won every major award for her profession.

SOUND EDITING-Zero Dark Thirty although it is a wide open field.

SOUND MIXING-Les Miserables and its non looped singing.

COSTUME DESIGN-Anna Kerenina

MAKEUP & HAIRSTYLING-The Hobbit: An Unexpected Journey

VISUAL EFFECTS-Life of Pi, sorry Avengers fans.

FOREIGN LANGUAGE FILM-Amour

DOCUMENTARY FEATURE-Searching for Sugar Man

Various SHORTS-who cares?

It could be that no one film garners more than three Oscars! Could be the most double and triple Oscar winners ever!

Bond’s Triumphant Return in SKYFALL


Daniel Craig made an impressive debut as Ian Fleming’s super spy James Bond in Casino Royale, but its followup, Quantum of Solace, was a marked drop off which threatened to derail the franchise. Enter director Sam Mendes (American Beauty), a well honed script (Neal Purvis, Robert Wade, and John Logan), and a dream cast. The result is a well acted, emotionally compelling adventure thriller that takes the formula and rips it open to expose Agent 007 as we’ve never seen before. It is also one of the best films of the year and certainly one of the very best Bond films.

British secret service agent James Bond (Daniel Craig) and fellow operative Eve (Naomie Harris) are in pursuit of a killer who has stolen a hard drive containing the names of all NATO agents imbedded in terrorist groups. A fateful decision by MI6 boss M (Judi Dench) leads to Bond being put out of commission. While M is being leveraged into retirement by her supervisor (Ralph Feinnes) and Bond has lost his edge, a mysterious figure (Javier Bardem) from M’s past begins a reign of cyber terror and revenge. As agent 007 struggles with his future and his loyalties to M, he must look to his past to reconcile his biggest challenge.

There are obvious comparisons to The Dark Knight Rises with a fallen hero searching for his ‘mojo’. Most Bond films operated superficially and featured unusual characters, and with rare exceptions (On Her Majesty’s Secret Service and of course the more recent Casino Royale) did we delve into the personal side. While early incarnations of the super agent showed him nearly invincible, this Bond is a more humanized reinvention without emasculating its hero. For the first time, Craig’s Bond has a sense of humor with puns and quips (a staple of the earlier films). In fact, much of the dialogue is sharp.

By delving into the core relationships, the filmmakers have added layers and twists to a conventional formula. The main themes center on loyalty, sins of the past, and tradition clashing with the new order. There are parallels between Bond and M as relics of an age gone by and between Bond and his doppelganger as direct opposites.

This is Dench’s showcase as M. Although her allegiance to Bond was a recurring theme in the previous two films with Craig, never before has her character been shown in such depth. After seven Bond films, her M has gone from background to foreground as a primary plot point, and she does not disappoint.

There is a nice buildup to Bardem’s entrance whose psychological motives are questionable including his sexuality. This is not your father’s Bond villain. As Silva, a man with a dark past whose methods are bold and brazen, Bardem instills a decided creepiness and cunning that is refreshing. Think of Bardem’s character as the black sheep of a dysfunctional family with M in the maternal role.

A strong supporting cast includes Ben Whishaw as the new quartermaster Q, a young computer whiz who represents the new breed of spy, Bérénice Marlohe as a stunning beauty who holds the key to her dangerous employer, and Harris in a pivotal role.

With splendid global locations (Istanbal, Shanghai, and Scotland), this may be the most beautifully shot Bond film (Roger Deakins) since You Only Live Twice. Some scenes are visual standouts like a sultry shower rendezvous and a moment of hand-to-hand combat all done in shadows and silhouette.

In this age of 24, Jason Bourne, and Homeland, the stakes are much higher in depicting realistic action and techie scenes, and Skyfall holds its own with solid set pieces including a subway bombing and a tense climax with echoes of Straw Dogs. There are specific references to the Bond canon including the reappearance of a certain iconic car.

It is remarkable how current, top directors have been directly influenced or inspired by these movies. Steven Spielberg did the Indiana Jones movies as homage to Bond films and even cast former Bond, Sean Connery, as Indy’s dad! James Cameron did his take on a super spy with True Lies. Christopher Nolan filmed an entire sequence in Inception as tribute to Bond. David Fincher’s The Girl with the Dragon Tattoo has Bond style, opening credits; (Skyfall has terrific credits and a sultry, throwback theme song by Adele). Even Quentin Tarantino suggested several years ago that the Bond films needed to get gritty and basic; think the filmmakers took notice?

As J.J. Abrams’ Star Trek and Christopher Nolan’s Batman Begins showed, a classic franchise can be reinvented or updated while reaping enormous dividends. With the most touching finale to a Bond film, there are big surprises and a distinct familiarity by film’s end that sets the series for a grand run. For Bond purists, this is uncharted territory, but by ‘shaking’ up the mythology, Bond’s story has become ‘stirring’.

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

Truth Is Better Than Fiction in ARGO

Ben Affleck has been a leading man with credibility behind the camera as the Oscar-winning co-writer (with Matt Damon) of Good Will Hunting. Having shown promise as a director in Gone Baby Gone and then excelling in The Town, he has peaked in his craft with Argo, a thoroughly engaging, real life thriller grounded in historic fact and abetted by a superior screenplay (Chris Terrio from a news article).

On November 4, 1979 in revolutionary Iran, angry students storm the US embassy and take civilian and military hostages, but unknown to the public, six Americans escape to a nearby Canadian’s home where they remain stranded with no hope of rescue. Despite a myriad of standard tactics to spirit them out of Iran, every plan has a serious flaw, and each passing day heightens the probability of the Americans’ discovery, capture, and possible execution as spies. Enter Tony Mendez (Ben Affleck), an expert at ex-filtration or the liberating of valuable government assets for the CIA. His plan is a bold, imaginative conceit: a Hollywood movie crew scouting locations in Iran while sneaking the Americans out as part of the film crew. Despite the misgivings of highly skeptical State Department and CIA officials led by Jack O’Donnell (Bryan Cranston), the mission is given a ‘go’ with little hope of success. Compounding things is the fact that the Iranians are painstakingly sifting through the embassy’s hastily shredded documents. With the assistance of an Oscar winning makeup artist, John Chambers (John Goodman), and producer Lester Siegel (Alan Arkin), Mendez creates an elaborate, fake science fiction movie named Argo complete with a script and cast. Will this movie cover work and can Mendez get the six Americans to freedom in time? As a true story only recently declassified by the US government, these actual events lead to a breathtaking finish.

The authentic reenactment of the embassy takeover is expertly, vividly intercut seamlessly with real news footage. Affleck has a keen eye for detail, and he convincingly captures the chaos and paranoia that grips the trapped Americans. Good use of handheld camerawork adds to the authentic feel of this quasi-documentary narrative. It’s like an episode of TV’s Mission Impossible, and, in fact, this could easily have been a made-for-TV movie, but it works better on the big screen where it has maximum impact. There are more than passing similarities to Wag the Dog and its phony movie ruse.

The Anti-American sentiment and mistrust fosters a claustrophobic atmosphere as the six Americans are under great pressure. The film depicts the real threats and atrocities in the city streets including random executions. Not knowing who to trust, the Americans bicker amongst themselves with some expressing serious reservations about this unusual rescue premise while others are feeling despondent. Their fear is not unlike those of pursued Holocaust civilians in World War II.

Mendez, who risks his life to save these strangers, is also a father, and it is that relationship that frames his character in the film emotionally. Chambers and Siegel (a composite character) are patriots with big egos, and while their comic relief is welcome (including a running gag: an off-color play on the word Argo,) in an otherwise suspense-filled narrative, one wonders what truly motivates them?

The final airport sequence is unbearably tense as it ratchets up the threat, and such a relatively basic situation is executed to great effect. We know how the story will end yet it affects us in a visceral way. If the filmmakers take some dramatic license at the end, the film has earned the right to embellish the facts a bit further. After seeing their story, to see the images of the actors and their real life counterparts in the closing credits adds poignancy and credibility.

One can only hope that Affleck can excel to loftier heights with his next project. He is already in rarified air, and an Oscar nomination awaits. In Argo, he has fashioned a nail-biter that never ignores the humanity that binds us together, whether it be father and son, husband and wife, or a rescuer and his newly found friends.

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

Nolan’s Grand Finale in THE DARK KNIGHT RISES (or How Batman Got His Groove Back)

Director Christopher Nolan helped legitimize the comic book hero Batman, as grounded in the real world in Batman Begins and its landmark sequel, The Dark Knight. Many trilogies fail to maintain the promise of the superior sequel (Spiderman II, The Godfather Part II, and Road Warrior), but in rare cases, there have been great third acts like Toy Story 3, Lord of the Rings: Return of the King, Star Wars: Return of the Jedi, and now The Dark Knight Rises. Though it fails to surpass its predecessor, as an ambitious film with grand designs and elaborate themes, it mostly succeeds.

Several years after the events of The Dark Knight, the legacy of Harvey Dent lives on as crime has been stifled in Gotham City and the wealthy and elite hold sway. Bruce Wayne (Christian Bale) has become a hobbled recluse whose masked hero, Batman, has been hunted and banished under false pretenses. Gotham is pristine and ready for a new age, and relics like Batman and even Commissioner Gordon are not needed anymore and obsolete. A mysterious masked villain named Bane (Thomas Hardy) begins a calculated reign of terror which paralyzes the city. But what is his motive and what does this have to do with Batman? As Gordon (Gary Oldman) pleads for the return of the caped crusader and the city cries out for salvation, Batman must overcome a very powerful Bane to save the city. He is aided by his servant Alfred (Michael Caine), technical wizard Lucius (Morgan Freeman), and a young cop, John Blake (Joseph Gordon-Levitt), and bedazzled by two mysterious women, Selina (Anne Hathaway) and Miranda (Marion Cottilard). But first, Bruce Wayne must return from the abyss to confront his past and battle for Gotham City’s future.

The briskly paced 2 hour 45 minute film is always engaging with memorable moments. The opening sequence is a marvelous midair hijack right out of a Bond film. (Come to think of it, Nolan’s got the Bond thing down as in the snowy climax of Inception.) A scene where a doctor gives Wayne failing marks in his physical is amusing. The climactic action between the forces of good and evil recalls the finale to Metropolis and the face off of its protagonist and antagonist are right out of Enter the Dragon.

Nolan likes intricate puzzles; witness Momento and Inception. He takes previous storylines including the convoluted ending of The Dark Knight and serves some nice twists here. The film is a cleverly built trap, and Batman’s fall from grace is a rapid decent into the depths of hopelessness and despair. To be great again, he has to literally and figuratively climb his way back; in a sense, the fates of the masked avenger and Gotham City are linked.

The film is able to explore some interesting relationships both past and present, and duality of key characters is a recurring theme. For Wayne, Commissioner Gordon and Alfred are fatherly figures through his orphaned childhood and adult life. Selina and Miranda are women with different backgrounds and agendas. Blake, the idealistic, honest cop shares a common bond with Wayne. Even Batman, the tortured, self sacrificing hero has a counterpart in Bane, the ultimate, super terrorist, who is intelligent, cunning, and ruthless.

With so many characters, it is remarkable how Nolan and screenwriter/brother Jonathan Nolan are able to weave together storylines featuring each role prominently. In particular, the paradoxical Selina is a ‘cat burglar’ and a survivor who has to learn how to trust another person. Her interaction with Wayne always intrigues as they play out a kind of dance, and we wonder her true motives. She is a kind of outsider and observer of the events that will determine the fate of Gotham City.

The film boldly tackles major themes adding layer upon layer. It’s about past sins and morality: the great deception over Harvey Dent for the greater good presents risks and has severe consequences here. Amid complacency there is class warfare: as Bane incites the masses and bolsters his numbers, the city faces a dichotomy of the proletariat versus the bourgeoisie. The film also tests the concept of trust and faith: sometimes the ones we trust betray us while others may surprise us with their loyalty.

There are minor missteps e.g. immaculate streets when the city’s infrastructure is at a standstill. A brief moment at a cafe at film’s end reveals a bit too much of a truth when subtle reactions could have sufficed. The film’s tone is dark, angst filled with rare moments of humor. That’s not a knock on the film but don’t go expecting Avengers type of laughs. There’s also an amusing cameo in the role of President and a macabre return of a key villain.

Hans Zimmer’s minimalist pulse keeps the mood humming along. Visuals are technically outstanding with minimal use of computer generated effects, and this is where it deviates from the more colorful, super heroes of The Avengers and X Men. Here we have a hero and backdrop that is set in a believable world which heightens realism and credibility.

Brimming with ideas as it challenges us in ways most action films movies don’t, The Dark Knight Rises is a strong conclusion to the trilogy. A deeply allegorical film that demands repeated viewings to truly appreciate its intricacies, it dares to bend and reinvent the mythology of the caped crusader, and although it doesn’t quite trump The Dark Knight, which set the bar impossibly high, its vision at times carries its audience to wonderful, lofty heights.

*** ½* of **** stars

The Annual Mid Atlantic Nostalgia Convention again in Hunt Valley, MD, was a sentimental trip down memory lane as a vast array of vendors hawked their books, posters, dvd's, and toys to recall the older movies and TV shows. Several entertainment personalities showed for pictures and autographs including William Sanderson (Blade Runner and Newhart), Jay North (the original TV Dennis the Menace), Ron Ely (TV's Tarzan), and Robert Colbert (The Time Tunnel) among others. 

But the highlight was movie and TV star Shirley Jones who was Laurey in Oklahoma, a hooker in Elmer Gantry which won her an Oscar, Marian the librarian in The Music Man, and of course, the mom of the Partridge Family on TV. In fact her little co-star in Music Man and The Courtship of Eddie's Father (film) whom she still keeps in contact is Ron Howard!  Another big name attending the convention was singer/actor James Darren who was boyfriend to Gidget (film), a hero in The Guns of Navarone, a scientist in my favorite, The Time Tunnel, and a holographic singer/sage in Star Trek: Deep Space Nine.  It was a thrill to meet these icons.

Shore Leave returned to Baltimore in Hunt Valley for a weekend of science fiction media related celebration including celebrities from TV and movies. Various vendors were present with movie posters, dvds and books to name a few. Highlight was the appearance of two Star Trek TV stars-Kate Mulgrew who, as Capt. Kathryn Janeway in Voyager, was the first female lead as a captain, and LeVar Burton who played Lt. Cmdr. Geordi La Forge in Next Generation. Both shows ran seven glorious seasons at the peak of the Star Trek popularity. For Star Trek fans, this was a special moment.

THE AMAZING SPIDER-MAN Re-Tingles the Franchise

For the past decade, Marvel Comics has been churning out film versions of its iconic super heroes, but in this case, Spiderman, only a decade before, had been rendered successfully by director Sam Raimi. Well, a poor third film meant a reimagining of the franchise, and as The Hulk and Batman series have shown, studios are willing to try to reclaim a tentpole blockbuster. The risk can be a marginal failure as in Superman Returns. Not so here. With well cast leads and strong supporting roles, The Amazing Spider-Man is quite entertaining especially toward the end, and it displays emotional resonance that enhances its storyline.

Young Peter Parker (Andrew Garfield) lives with his Aunt May (Sally Field) and Uncle Ben (Martin Sheen) after his parents abandoned him as a child. Now an awkward, bullied high school student, he has a crush on cute blonde, Gwen Stacy (Emma Stone), who has an authoritarian father (Denis Leary). Upon discovering his dad’s old files, Peter seeks out his father’s former colleague, Dr. Curt Connors (Rhys Ifans), who is researching the regenerative, healing capabilities of reptiles in his lab at Oscorp. Parker snoops around the lab and gets bitten by a genetically enhanced spider, and soon he begins to develop superhuman strength, agility, reflexes, and the ability to crawl on walls as well as shoot a powerful web. His self absorption sets in motion events that will exact personal loss. Guilt stricken, he becomes a masked avenger, catching criminals much to the chagrin of the police who think he is a vigilante. Meanwhile, a desperate Connors is forced to test a serum on himself which transforms him into the Lizard who menaces the city streets and threatens to infect the entire population with the chemical. As Spiderman confronts The Lizard in a grand battle, the fate of the city including Gwen hangs in the balance.

How does this compare to the previous Spiderman? It’s nearly as good but with a different take and still retains the essential ingredients that made the former film a standout. The film always keeps the focus on the relationships between Peter and Gwen and Peter and his family. Those grounded bonds form the soul of the film and make the film a more enriching experience. There is no Mary Jane Watson or J. Jonah Jameson yet.

The filmmakers, director Marc Webb (500 Days of Summer) and screenwriters James Vanderbilt (Zodiac), Alvin Sargent (Ordinary People), and Steve Kloves (Harry Potter series) made the smart choice of starting with a younger version of Peter Parker, perfectly embodied by Garfield, whose adolescence and psychology are part of a fully realized character. Garfield and Stone make an adorable couple and display good chemistry that is endearing. Fields and Sheen are quite effective as Peter’s guardians and the screen lights up whenever they appear. Leary, proving he can do drama as well as comedy, makes the most of his role as Stacy’s dad who is a police captain in conflict over the rogue Spiderman. Marvel legend Stan “the Man” Lee has another amusing cameo.

Although bereft with open ended plot points by film’s end (likely to be resolved in future sequels), there are a couple of nice touches that lift this film above most standard comic book adaptations. In one particularly affecting scene, a construction worker rallies a team of crane operators to assist Spiderman, whose earlier courageous act now pays timely dividends. During the rousing climax, Spiderman is rescued when an unlikely savior intercedes. Even Connors’ Lizard is not your stereotypic villain and figures in a surprising and unexpected act at film’s end.

Special effects were pretty good in the older Spiderman, but they are even better here especially in the trademark web swinging between skyscrapers. If the musical score sounds like a cross between A Beautiful Mind and Aliens, it’s because James Horner does the honors on each film.

Despite the odds, what is ‘amazing’ is that lightning has struck twice for the franchise. The Amazing Spider-Man is a familiar yet refreshing take on a formula that works quite well here. And yes, stay for the end credits which reveal a teaser for the next film.

*** of **** stars (add ½ for comic hero fans)

The Testament of PROMETHEUS


It has been over thirty years since director Ridley Scott (Gladiator, Black Hawk Down) made two highly influential, game-changing science fiction films, Alien and Blade Runner. Now he revisits his earliest triumph, Alien, not as a sequel but as a kind of prequel that has threads connecting both films. An intelligent science fiction film with elements of horror, Prometheus embraces bold concepts of human origin and its creation by ‘ancient astronauts’. The film is not quite a classic, but should thoroughly satisfy purists and general moviegoers alike.

An archeological couple has pieced together remarkable clues from early human drawings revealing a stellar map that may lead to the source of mankind. The couple, Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green), join a crew and its Captain Janek (Idris Elba) on a two year mission to a mysterious planet aboard the spaceship Prometheus. Financed by the Weyland Corporation and represented by Meredith Vickers (Charlize Theron), the only non-human on board is an android named David (Michael Fassbender). Prometheus lands near some structures which, upon investigation, reveal evidence of life, but the discovery has startling implications leading to a desperate struggle for survival that threatens the earth.

The film is not without some surprises and plot twists, and without giving too much away, Scott likes to end his films with an ambiguous sense of hope. There are some unanswered questions, however, and there is one glaring injustice that gets lost amid the film’s fascinating conclusion. One pivotal, incredible scene involves a remarkable, graphic emergency surgery that strains the limits of credibility, but nevertheless holds the viewers’ agonized attention.

The story has a compelling setup and when the crew goes inside the structure, they discover a series of chambers that takes the journey closer to potential answers or deadly threat. It’s like the ultimate funhouse of terrors. It’s also a safe bet that nasty things happen when curious humans meet invasive, alien life forms.

Having to live up to its predecessor, Prometheus builds its own fascinating world and broadens storyline implications for future films. It’s not Alien, whose novelty and groundbreaking creature designs stunned audiences, but there are certainly enough connections to draw parallels between the two films. Alien is referenced in several ways including bits of dialogue, a sampling of Jerry Goldsmith’s original theme, and culminating with markedly familiar set pieces. (Ironically Alien itself was a big budget reworking of a B-movie, It the Terror from Beyond Space.)

The film does feel a bit derivative at times and borrows liberally from other science fiction classics. The early scenes where David is the only conscious crew member who wiles away his solitary existence with basketball, watching holographic dreams of the hibernating crew, and admiring Lawrence of Arabia, harken back to the Discovery crew of Stanley Kubrick’s 2001: A Space Odyssey. Some scenes are not original as they seem lifted right out of Alien vs. Predator, Leviathan and various episodes of TV’s The X Files.

Fassbender, who shines in the film, does a very convincing job imbuing his android with almost human characteristics and a potentially sinister side. Think of 2001’s disembodied computer HAL and you get the idea. Strong female leads are a staple of Scott’s films (Thelma and Louise), and Rapace is a strong female heroine whose faith is sorely tested amid personal loss and her obsessive hunt for the truth about mankind’s beginnings.

Cinematography has always been a strong point in Scott’s films, and the film’s stunning visuals display the planet’s otherworldly beauty. The production design is imaginative particularly inside the structure with its myriad of biomechanical architecture and impressive special effects. Swiss artist H. R. Giger, who designed the original Alien monster, contributes a bit of reverse engineering that fans will appreciate.

Prometheus is a thought provoking adventure that not only can stand on its own, but rises tall among most science fiction films. It’s a visually impressive epic with an ambitious agenda that doesn’t completely work, but even so, this antecedent to Alien is a worthy bookend to the series.

*** of **** stars

Whedon Assembles a Mighty AVENGERS

In the 1960s, Marvel Comics pioneered mature storylines for its super heroes, of whom many have been successfully adapted into blockbuster films (Spiderman). The Avengers were a group with individual icons like Iron Man who had already established identities contrary to The Fantastic Four and X Men. Marvel began to feature stand alone films that methodically built this core of characters, and several years later, it has culminated in The Avengers, a thoroughly entertaining adventure that never fails to engage and ‘marvel’ its intended audience. As orchestrated by versatile writer/director and comic book fan Joss Whedon (Buffy the Vampire Slayer), the results set a high standard in filmic super heroics; it’s nirvana, a comic lover’s dream come true.

The Tesseract is a cube with unknown powers and coveted by the fiendish Loki, Thor’s half brother. Kept for study by SHIELD, the elite security agency, (and once possessed by The Red Skull in Captain America: The First Avenger), the cube can open a doorway to another dimension. When Loki steals the cube to unleash a demon army and conquer the earth, the SHIELD agents are no match for his supernatural powers. What to do? Who ya gonna call?

Well, there’s nothing like ‘puttin’ the band together’ for the first time. Assembled by SHIELD director Nick Fury (Samuel Jackson) and aided by Agent Coulson (Clark Gregg), the Avengers Initiative sought to collect special operatives in the event of an insurmountable threat that was beyond human response. These Avengers comprise of six extraordinary individuals: an otherworldly warrior, Thor (Chris Hemsworth), a genetically enhanced superhuman from the past, Steve Rogers AKA Captain America (Chris Evans), a meek scientist, Dr. Bruce Banner (Mark Ruffalo) and his anger induced, gamma radiated monster, The Hulk; inventor Tony Stark, in super armor as Iron Man (Robert Downey Jr.), and two SHIELD agents, master archer Hawkeye, Clint Barton (Jeremy Renner), and top assassin Black Widow, Natasha Romanoff (Scarlett Johansson).

When Loki’s legion of soldiers descend on Manhattan, it’s ‘Avengers Assemble’ time. Drawn by remarkable circumstances and led by Captain America, it’s teamwork at its finest as The Avengers battle these nasty hordes to save the earth.

After initially bickering and fighting each other, it is fascinating to witness such disparate personalities coalesce into a fighting unit as they flow from self to selflessness. This film can stand on its own for newbies not familiar with the previous films, but it certainly does not hurt to have seen Captain America: The First Avenger, Thor, Iron Man, and The Incredible Hulk. Whedon and company neatly tie the threads of those films together with sufficient focus given to each hero’s personal life.

We learn some interesting background on Romanoff and Barton, who you think would be outmatched by their superhuman colleagues, but they more than hold their own and figure prominently in the explosive climax. Rogers, the honorable, idyllic soldier, has to adjust to a world like a modern day Rip Van Winkle. Dr. Banner keeps his anger at bay, but what will that mean for the Avengers if it can’t be controlled? Whedon also cleverly includes familiar supporting characters e.g. Stark’s assistant, Pepper (Gwyneth Paltrow), from other the films.

All the stars perform ably including Tom Hiddleston who is appropriately devious as Loki. Downey, who clearly improvised much of his dialogue, has a rousing, good time. Jackson embodies Fury as the manipulative leader who does whatever it takes to safeguard humanity.

This is the third movie version of The Hulk, and while Ruffalo does a very good job as the sensitive and haunted Banner, his alter ego beast actually behaves so unpredictably that some of his actions become comedic and the results are a riot. To say more would spoil some hilarious moments. The filmmakers got this Hulk right.

A couple things don’t quite add up like how does The Hulk decide to be a do-gooder at a critical moment? Who is the mysterious Council (resembling the Syndicate from The X Files) that SHIELD answers to, and what are their intentions? There are, however, nice touches like the Stark building in the finale and what is left of its logo as an obvious tribute to the Avengers. When the grand showdown is imminent, there is a marvelous circular shot of the Avengers that is iconic.

When the evil army attacks, one is reminded of Ghostbusters and the apocalyptic scenes of Superman II and any Transformers film. Whedon, though, never forgets to include intimate moments and details. Although each Avenger gets a heroic moment to shine, the film never loses sight of personal loss amid the spectacle. The film is also about self sacrifice, and people do perish in this film including a major character.

Despite a 143 minute running time, the film is full of subplots and well-paced action, and every bit of the enormous, effects laden budget is on the big screen. The Avengers is perhaps not the best super hero film ever made, The Dark Knight being the apex, but it is the most complete, entertaining, multi-hero film to date. The question now is what do you do for an encore, and how can anyone hope to top let alone match this achievement? It would require the abilities of a James Cameron or Peter Jackson, or maybe studio executives can plead for Whedon’s return. Let’s hope so. (Do stay for the end credits for a double dose treat.)

*** ½ of **** stars (add 1/2* for Marvel comic fans)

Greed and Love Intersect in THE RENDEZVOUS

A cinematic exercise in film noir with a touch of modern fatalism marks the promising debut of writer-director Stephen Smith’s short film, The Rendezvous.

A beautiful, married woman, Alice, opens a closet safe and extracts a special locket which contains a mysterious, glowing object of great value. Together with her lover, John, they conspire to betray her husband and to sell the locket for an astronomical sum.

At the rendezvous in a posh mansion, she comes across a special package which contains sexy, provocative lingerie and the promise of romantic adventure. But as she searches the house for John, a sudden and terrifying realization leads to a tense cat and mouse pursuit and ultimately a violent, ironic fate.

Smith wastes no time building suspense, especially in the moments as Alice, dressed in vulnerable, provocative clothing searches the house for John and hears a nostalgic, ominous song which beckons her. Polished visuals by cinematographer, Mike Panzcenko, Jr., are complemented by clever use of sound or lack of it. The musical score by Mark Koval enhances the scenes without being overstated. Production values are topnotch, and computer generated, pyrotechnic effects are effectively rendered.

The film, whose tone of betrayal echoes such noir classics as Jade and Body Heat, reflects Smith’s cinematic background including the tense editing of Alfred Hitchcock and the static, impersonal mood of Stanley Kubrick.

Anouk Dutruit shines as Alice, the femme fatale, whose sultry beauty belies her greed.  The film essentially focuses on her point of view and pulls in the audience as complicit participants to a crime ã la Hitchcock. Ken Arnold is appropriately menacing as Alice’s husband while Michael Davis registers in a brief turn as John.

Naturally at twelve minutes, the running time only allows for a bare minimum of storytelling. It actually could be considered one important sequence of a feature. One wonders what Smith can do with a larger, feature length canvas and a bigger budget. How about expanding The Rendezvous to its full concept as a more complex narrative? We could learn more about the background of its protagonists. How did Alice and John meet, and where did the ‘great whatsit’ locket come from? Is it some exotic gem, a source of unworldly power, or a mystical artifact? Its enigmatic secrets allude to Quentin Tarantino’s glowing attaché case in Pulp Fiction and even Robert Aldrich’s Kiss Me Deadly with its memorable black box. Perhaps the locket is nothing more than a MacGuffin, a Hitchcockian plot device.

The Rendezvous is a fine exercise in emotional tension that demands repeated viewings to study and appreciate Smith’s command of his craft. In a way The Rendezvous is a classic tragedy in modern trappings complete with immoral subterfuge. Consider this a nice stepping stone to bigger and more ambitious endeavors from a rising talent.

*** of **** stars

The Bloodsport of THE HUNGER GAMES

A mega-best selling trilogy by Suzanne Collins has spawned this first installment, The Hunger Games, adapted by Collins, Billy Ray, and director Gary Ross for the big screen as a satisfying adventure thriller featuring a terrific performance by budding superstar, Jennifer Lawrence. The film avoids the pitfalls of previous best-sellers turned into films that lacked a sound structure for the uninitiated readers (as in The Da Vinci Code); it works quite well for newbies. The filmmakers have kept the main storyline compelling and emotional within the framework of an action film.

 

In the not too distant future, a group of twelve districts has been punished for 74 years for a failed rebellion. Each year, they must participate in a random lottery or ‘reaping’ of their youth for a lethal competition, a fight to the death with only one winner. The games are grand, lavish events that are in essence, public executions in the guise of entertainment. There are specific rules and boundaries except when they suit the whims of the game masters. Food, weapons, and supplies are made available but not without an accompanying danger, and there are sponsors who can provide life saving assistance and support in timely ways.

In one district, Katniss (Lawrence) is a teenage girl who is good with a bow and arrow and dotes after her younger sister, Primrose, and their mother. She is close to a boy, Gale (Liam Hemsworth), who has strong feelings for her. When Primrose and a boy, Peeta (Josh Hutcherson), are chosen for reaping, it sets off a surprising series of events including a desperate sacrifice by Katniss as the chosen few must train for their lives in a competition that is televised nationwide. The contestants are feted like celebrities and are mentored by a former survivor named Haymitch (Woody Harrelson) with support from Cinnas (Lenny Kravitz effective in a brief role). When these modern day gladiators are released into the wild, loyalties are tested and survival instincts take over, and a grand spectacle is replaced by a grim fate that awaits all but one survivor.

Director Ross (Seabiscuit) knows how to tell a good story and he is aided immensely by a strong cast that melds newcomers with seasoned veterans like Harrelson, Wes Bentley, Stanley Tucci, and Donald Sutherland. Special mention goes to Elizabeth Banks as a macabre emcee. Lawrence (Winter’s Bone) shines in a physically demanding role, but she never shortchanges her ability to show feelings and angst in a convincing way. You root for her and feel her pain. Her portrayal of Katniss has a genuine decency and soul which, despite the savage nature of the games, reveals her humanity for the world to see. Might her actions and deeds register among the masses and have far reaching consequences?

This brave new world of deadly sport (that plays like a perverted version of TV’s Survivor), is authentically realized by impressive set designs and costumes which contrast two disparate worlds-a pauper class of citizens and the gaudy elite. If much of this film’s storyline sounds familiar, it draws from pop culture sources as Shirley Jackson’s short story, The Lottery, and films like The Most Dangerous Game, The Truman Show, and The Running Man. Even elements of Ray Bradbury’s Fahrenheit 451 and George Orwell’s 1984 come to mind with its oppressed societies and ever watchful video screens, and when cannon fire signals a fallen victim, it echoes moments from Capricorn One. The sacrificial humans are dubbed ‘tributes’, a contradiction of terms not unlike Orwellian propaganda and its mixed meanings e.g. “War is Peace”.

While The Hunger Games ends in a manner that could be considered a conclusion, it does leave events open to a followup. Strong, emotional ties that are formed during the games have powerful implications at home, and the outcome sets the stage for the germination of a movement. I for one am very curious what will happen next.

*** of **** stars (add ½* for Jennifer Lawrence)