World War Z Takes Zombies to a New Level

Brad Pitt has gone from youthful sex symbol to versatile actor and producer. His biggest project to date is this filmic adaptation of Max (Mel’s son) Brooks’ novel, World War Z, chronicling a massive, worldwide zombie apocalypse. For a subgenre that has ranged from classic horror, (Night of the Living Dead), to science fiction, (Resident Evil), to modern updates, (Dawn of the Dead remake), and parodies, (Zombieland and Shaun of the Dead), this film represents a rare depiction of the zombie invasion as a global, mass annihilation. Previously, these films focused on a small group of survivors (TV’s The Walking Dead) with a news blackout and no idea as to the magnitude of the infection. After publicized problems with the screenplay and director Mark Forster’s (Monsters Ball, Finding Neverland) rough cut (particularly a climactic battle scene), a new ending was shot, and the result is a remarkably engaging film. 

Gerry (Brad Pitt) and his wife, Karin (Mireille Enos), ready their two daughters for school and get caught in a traffic jam in downtown Philadelphia. Suddenly all hell breaks loose and panic sets in amid an invasion of zombies who are bent on mindlessly attacking and converting humans into the undead.  As cities fall worldwide, the infection spreads exponentially with startling speed as the family flees to Newark for supplies and a lifeline from Gerry’s former UN boss, but while the family finds a brief refuge aboard a US Navy ship, Gerry is called into service to find the source of the infection or risk having his family kicked off the ship as non-essential personnel.  Tracking down random clues across the globe in such disparate locales as South Korea, Israel, and Wales, the trail for a cause and potential cure proves challenging as time runs out on humanity. 

In many ways, this film, which shares much in common with pandemic tales as Contagion, Outbreak, and The Andromeda Strain, is more a thriller than horror, and that’s not a bad thing.  Rather than relying on gross out murders and graphic blood spattered effects, this film looks at the bigger picture without sacrificing the more intimate moments of sheer terror, not an easy balance.  Don’t let that PG13 rating fool you!  Some scenes are suspenseful and agonizing as the threat of zombies is ever present. 

The film, particularly in the Newark apartment scenes and an unbearable moment of truth at a World Health Organization lab, is like one big funhouse ride where the scares are just around the corner.  Other memorable set pieces include the opening pandemonium in Philly, which is well crafted and builds to an alarming level, a walled in city of Jerusalem stunningly challenged by a growing sea of undead, and perhaps the best moment, a horrifying passenger plane flight from hell that starts innocently enough but quickly devolves into an impossible situation.

The film takes the scary notion of fast running zombies from 28 Days Later and adds even more lethal traits as in their ability to not only swarm like insects, but to hurl themselves with great ferocity at their intended victims even through car windshields.  Their victims aren’t devoured as in other films, but rather a bite turns them into more zombies almost instantaneously.  They are also real sensitive to sound as Gerry learns at the worst possible moment.

What distinguishes this film above most others is its smarts.  The script, while written by many hands, still shows an intelligent approach to a devastating crisis, and the dialogue never sounds phony.  Further, the film is like one big mystery with nature’s clues in full view waiting for Gerry to piece together a solution.  Some of the plot points are a bit open ended and push the limits of plausibility, but things move so swiftly and convincingly, that most won’t mind.    

The supporting cast is effective in brief roles with a strong turn by Daniella Kertesz as a soldier.  But this is Pitt’s show, and he is the right leading man who has the presence and charisma to carry even a zombie film. Being able to improvise and display cool under pressure, he is the ideal savior that the world needs.  Perhaps his Gerry is guilty of being too perfect, but he does it so well.

(It is amusing to note that Gerry and his family become guardians of an orphaned boy, and one wonders if Angelina Jolie was smiling at the parallels with her and Pitt’s real life, nuclear family.)

With a mega-budgeted production, the CG effects are a standout especially when creating the hoards of zombies, and there are many effective camera shots with some particularly startling, overhead views.  There is also great use of sound effects that add to the visceral chills while the brooding, pulsing music score (Marco Beltrami) complements the tension. 

A thrill ride from beginning to end, World War Z is a thoroughly entertaining, scary epic that takes the zombie lore and heightens the stakes with an impressive budget and a star turn by an actor/producer at the top of his game.   

*** ½ of **** stars (subtract ½ star for non-zombie/pandemic enthusiasts)

 

Man of Steel Sets the Stage for New Adventures

DC Comics has rivaled and preceded Marvel Comics for many decades with its roster of super heroes and is now attempting to reestablish their greatest character, Superman. Having been previously depicted in movies and television, Man of Steel is the biggest production to date.  Is it any good, and is it better than Superman Returns?  Yes and yes.  Despite a darker tone, (courtesy of the creative tandem of producer Christopher Nolan and writer David Goyer from The Dark Knight films and director Zach Snyder of Watchmen), this adventure is an entertaining action piece with a deep psychological subtext. 

The planet Krypton is dying, and scientist Jor-El (Russell Crowe) and his wife Lara launch a spacecraft to send their newborn son, Kal-El, to a promising world, Earth.  General Zod (Michael Shannon), whose attempted coup is thwarted, is banished into a wormhole.  When Krypton is destroyed, Kal-El lands on earth, and through a series of flashback vignettes, we see the school boy named Clark struggling with growing pains and the values instilled by his adoptive human parents, Jonathan and Martha Kent (Kevin Costner and Diane Lane)  who try to hide his superhuman strength and abilities.  As an adult, Clark (Henry Cavill) takes a series of jobs and remains anonymous, off the grid until odd reports begin to circulate of a mysterious man who saves lives with remarkable powers which brings reporter Lois Lane (Amy Adams) hot on his trail.  The setting shifts from the cornfields of Midwest America to Metropolis.  As General Zod reappears to claim earth for his race, the stage is set for a grand battle with the fate of the world in the hands of a true blue hero.

There are some fine moments such as the young Clark befriending a former bully and being repaid in kind.  There is the tornado scene that brings Clark’s non-use of his powers to a turning point.  Later, when the military first meet Superman and question his intentions, he responds by rescuing scores of people and is vindicated in a touching moment. 

This Superman (with more than a passing parallel with Jesus) is depicted as an emotionally vulnerable soul, and although he possesses great powers and invincibility, he does feel pain especially when meted out by his own kind.  The whole film is ultimately a moral struggle and contrast between two fathers and whether their son’s powers are meant for good or to be kept hidden no matter what the cost.  It’s also about his personal journey to find his purpose amid a normal life and search for his origins.  Can he embody the best of both worlds, and to what lengths will Superman go to save humanity? 

Cavill is quite convincing as Superman, certainly an improvement on Brandon Routh’s turn in Superman Returns.  Adams shows a thoroughly capable yet vulnerable Lane, a strong reporter and Pulitzer Prize winner to boot!  Her scenes with Superman work quite well especially in the quieter, intimate moments which one hopes will lead to much more in future installments.

The supporting cast excels.  Crowe lends gravitas to a subordinate role, and he registers every time he appears. Diane Lane is good as the compassionate Momma Kent.  (Ironically Lane starred in Hollywoodland about TV’s Superman, George Reeves).  Costner makes a strong impression as the resolute, adoptive dad who is willing to risk his life for a principal.  Laurence Fishburne is a more three-dimensional Perry White, and Christopher Meloni is effective as a hardnosed military commander.

Special visual effects have come a long way since 1978’s Superman when the slogan was, “You’ll Believe a Man Can Fly!” Some of the effects show incredibly fast motion which makes you wonder how cool it would be to realize such DC Comic characters as The Flash.  While Hans Zimmer has the appropriate, heroic musical score in place here, John Williams truly memorable theme song is a hard act to follow.

The action is not the cartoon variety; people do get hurt and some perish.  Regarding that final battle in the streets of Metropolis (previously depicted in Superman II), enough already!  We’ve seen The Avengers decimate New York City and The Transformers wreak havoc on a massive scale.  These scenes are becoming old hat (even in a post 9/11 world), and are starting to seem repetitive overkill.   Don’t get me started on the obvious product placement; when it begins to be noticeable, it becomes annoying.    

Perhaps the only disappointment here is the lack of much humor or lightheartedness. There are a couple funny moments; the film could have used a few more.  One hopes a lighter tone is in store for the next chapter. Maybe we will see Lex Luthor and Jimmy Olsen who are both missing here. You barely see Clark Kent get his gig at The Daily Planet before the credits roll.  Oh, and contrary to the Marvel films, do not bother staying through the credits in hope of a post credit tease.  The film’s greatest accomplishment is setting a strong foundation for the next Superman adventure and possibly the beginnings of a Justice League of America (emulating Marvel’s The Avengers).  Wouldn’t that be cool?

*** of **** stars (Super hero fans add ½ star)

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)