War Horse (2011)

A quick perusal of my top 100 films can tell you any number of things about me. For starters, that I have an unabashed love for all things Kurosawa. Then again, spending five minutes talking with me about movies could easily tell you that one. However, if you were to dig a little deeper. To seek out the connections and overlaps between many of the relating films, one constant should become entirely evident. I love me some good ol' fashion epics.

Throw a group of characters together, stretch their journey through life and war over two and half plus hours and low and behold, I'll be waiting at the end hands ready in applause position. So imagine my excitement when I found out that Spielberg was set to deliver such an experience. Let alone one covering one of the most oft ignored and yet still powerful wars in history, World War I.

From the sweeping landscapes of old English farm land to the mud enriched, rat infested, world of trench warfare, War Horse takes us on the kind of journey one might imagine would be found in the likes of a Disney film grown up. Joey, our titular horse, whose journey through a war with which he had nothing to do is sentimental to the highest degree, and yet at the same time strikes subtle and yet resonating chords on the true nature of war.

War Horse boasts what I might argue is some of Spielberg's finest directing moments in over half a decade. Not least of which is found in Spielberg's craft at creating a violent war film without much of the violence. In a way that would make Pulp Fiction era Tarantino proud, Spielberg creates graphic violence through carefully place camera movements. The substitution of imagery for actual bloodshed is a particularly nice decision - as evident in the riderless horses in one early battle sequence. This decision presents something I've been asking Hollywood to deliver for years - intensity without blatancy.

Of course for a generation like myself which has been born and raised on that graphical conclusion to events, these might leave some wanting. But I would like to hope that deep down one can admire the craft in coordinating and filming such scenes.

Still, where War Horse succeeds in visual poetry, it falters in a revolving cast of characters. Like many epics, War Horse deals with a wide array of characters coming and going, and as such the time for whole and complete character building is often left to the cutting room floor. Take for example Captain Nicholls and Major Stewart, played by the equally brilliant Tom Hiddleston and Benedict Cumberbatch respectively, who give off so much charisma in their short screen time that they still leave you longing for their return. Not to mention the sadly underused Eddie Marsan in the generally thankless role of Sgt. Fry towards the film's climax.

So in substitute for the revolving characters we are effectively given human bookends to Joey's journey. In this we find ourselves with Albert (Jeremy Irvine). The young, poor farm hand son of a perpetually drunken father (Peter Mullan) and fiery mother (Emily Watson). Albert provides much of the necessary scenes which help Joey build the skill set he needs to survive so many of the sequences he deals with in war. At the same time, Albert is also given a journey of his own to survive. Including a thrilling battle sequence - by far the film's most violent - as he seeks out his long embattled friend, Joey.

The rest of the cast is a wide assortment of "hey, it's um that guy" talent who deliver time and time again. But no matter what is thrown at us, there is never a doubt that this film is entirely Joey's film. For he is the heart of the matter. He is the life blood through which each character is given a reason for being. The film thrives and falls on the strength of his shoulders. Luckily for us all, he is made of stuff stronger than steel.

OVERALL SCORE: 8.00 / 10

Film Credits:
Directed By Steven Spielberg
Screenplay By Lee Hall and Richard Curtis
Novel By Michael Morpurgo

The Adventures of Tintin: The Secret of the Unicorn (2011)

If Indiana Jones and the Kingdom of the Crystal Skull as a frail and uninspiring revival of a series that lead many to question the need for throwbacks to its origin, The Adventures of Tintin: The Secret of the Unicorn is an equally worded title that hits back with a whopping "Indiana Jones style adventures will never die." And with the ever increasing quality of motion capture cinema, this style of film may just be here to stay.

Having not grown up with the Tintin stories, I went in to Spielberg's latest family-ready adventure a bit skeptical of my ability to latch on to the story. Sure, I had more than my fair share of blogging buddies ready at the shot of the pistol to sound off with any number of Tintin related facts or stories that I worried I may be overwhelmed. But Spielberg handles the transition for long time fans and newcomers with great precision. For those new on the scene, the core cast of characters are introduced. These introductions are swift, to the point, and lack an obtrusive nature films of its like often fall into.

Of course that's partially because none of these characters are particularly dynamic. Sure, they're a little rough around the edges - which goes a long way in making them believable and enjoyable - but by and large they each fall on one side or the other of a particular goal and its easy to determine which side of the fence they fall on. For a family film with great ambition this is understandable, and vintage Spielberg. After all it gives Spielberg the opportunity to explore this animated world in which he and his crew brought to life. And explore they do.

With some stunningly choreographed visual spectacles and action scenes that'll have you working a death grip on your arm rests, Tintin uses the three-dimensional world in which it operates to masterful success. In fact, I must say that remains my favorite component of the entire film. Granted that may be telling of the film's lacking in other areas, but by and large the action sequences more than make up for the other misgivings. I honestly felt like I was a kid, back at disneyworld, experiencing one of those simulation rides (e.g. the Star Wars Tours ride) all over again. They were eventful, constantly moving in a variety of directions, and full of sequences that made you want to jump up and yell "yes!" Of course you shouldn't, but that's because you're in a room filled with other people and that would be awkward.

But speaking of jumping up and yelling yes, how's about a big round of applause for the year of Andy Serkis. If they awarded a Most Valuable Actor (MVA) award at the Oscars each year, I believe you'd be hard pressed to find another candidate. Between this and Rise of the Planet of the Apes he has become living proof that even with just motion capture at your disposal, you can still act the hell out of a film.


Overall Score: 8.00/10

Credits:
Directed By: Steven Spielberg
Written By: Steven Moffat, Edgar Wright, and Joe Cornish
Comic Book Series By: Hergé

The Good, The Bad and the Ugly (1966)

Top 100 Films: #2
Overall Rating: 10/10

To try and summarize the importance of The Good, The Bad and the Ugly on the evolution of my perspective of film as more than purely an American based art form would be in vain even at my most articulate. Simply put, this film put the notion of greatness into my own zeitgeist and sent me down a path from which there was no turning back. It introduced me to foreign cinema, stylistic direction, the epic, classic movies, westerns, and was one close up draw jump from here to Kurosawa.

But no need to go there now, this post is about the mesmerizing style of Leone, catapulted by the charismatic crook Eli Wallach, ignited by the dynamic villainy of Lee Van Cleef, and launched into the stratosphere of legendary by the smooth, timeless Clint Eastwood. The Good, The Bad and the Ugly (GBU) is a film unphased by aging or the growing trends of high octane entertainment. It survives the decades because it shaped the films of each of them. As influential as a film would ever dare be, and the kind of movie you can watch over and over again and constantly get something more out of.

It is perhaps best said that GBU is a film of nonstop minor escalation and deescalation wrapped around a larger, ever escalating primary plot. With each passing turn, each down time, each move, the viewer is privy to new insights to the characters, new ways of viewing the western as Leone viewed it, and somber morality tales to interspersed throughout the lot. The backdrop of the Civil War reminds us that violence is more than the never ending bloodbath of nightmares, it is the revelation of a man's inner being. It strips away at the heart of them, and delivers unto us their true form.

Are they a sultan of greed? A swindler of life? Or perhaps a compassionate loner with eyes full of gold? Maybe they're just a lowly captain tired of the endless nothingness at costs we dare not dream to imagine. Such is the world of The Good, The Bad and the Ugly. And with that you mind find it hard to imagine, this is one hell of a fun ride.

GBU starts of slow. Three scenes, three introductions, three foundations for the entire film, with each character defined for us in their most basic sense. After all, once we know what we're dealing with, all that is left to us is the journey, right? That's where Leone gets his pay off. That's where he truly makes his mark. For Leone takes these characters to their brink of their archetypes, and in each shows us something more raw. Of course, there's no denying Tuco is Leone's caricature masterpiece. He's the full realization of the byproduct of such a world as the one Leone examines through this film's near three hour runtime.  The world of the west, put so eloquently by Tuco himself creates two kinds of people - priests or thieves, and those who opt for the inbetween pay the price.

So it is perhaps most noteworthy that while Tuco himself succumbs to the primal nature for greed, his compatriot in fate, The Man with No Name/Blondie, is a more subtle, and intriguingly complicated man. For without much thought you could easily label him as little more than another Tuco himself. He lies, steals, but above it all shows an awareness for the world in which he resides. As if he is playing his own game with those around him, the prize of which often comes out to be their life. In many respects he is a gatekeeper, a judge who acts in favor of the better man, but only when that man chooses to act so. That doesn't mean he won't drop you off at the next desert if he feels you've served your purpose. It just means that when push comes to shove, he'll always plan for the upper hand.

As a villain, Angel Eyes' iconic status rests entirely on the cold, sly snarl of Lee Van Cleef. Every bit the soldier he pretends to be, Angel Eyes is not a man of great wit or charisma, but instead relies on pure, unadulterated dedication to the task at hand. Once his direction has been set, one would need an army to deter him from his inevitable course. And for that reason, his sinister nature comes out in full. He'll torture a man as soon as friend him, and if you're not careful he'll leave you behind to save his own skin in a heartbeat.

So take those three, those lovable, cartoonish characters and wrap them into the world of Leone's one of a kind style. Just watch this movie for the way Leone uses the camera. Sure, we all know the closeups, but pay attention to what he gets out of them - especially the eyes. The amount of emotion he gets out of his main characters. The subtle facial twitches and quirks that give them a relatable life, where another director would stick for the warmth but distant medium shot. Look at the compositions of the shots, the blend of Ennio Morricone's magnanimous score, the prolific nature each camera movement takes. Each shot is setup to be a portrait of the film at large.

So developed that once you see a photo of it, the entire film begins to flash through your mind once again. You remember that music, the lines, the looks on each character's face as they match wits and guns against one another. The steadfast calm at which Blondie drew his gun. The shifty look of annoyance as Tuco tried to make heads or tails of a given situation. The way Angel Eyes laugh brought flames into those sharp, dagger eyes. It's all there, all memorable, and only gets better with time. The Good, The Bad and the Ugly may not be a movie you have to watch dozens of times to understand, but it is one that pays off no matter how many times you do.


Film Credits:
Directed By: Sergio Leone
Screenplay By: Sergio Leone, Furio Scarpelli, Agenore Incrocci, & Luciano Vincenzoni
Story By: Sergio Leone and Luciano Vincenzoni
English Version By: Mickey Knox

Rise of the Planet of the Apes (2011)

OVERALL SCORE: 8.50/10

With a tagline that sent shockwaves through the cerebral cortex of any human being who dared look upon it, and a sequence of trailers sequentially more unsatisfying than the last, Rise of the Planet of the Apes seemed to me almost t-ed up for a screeching thud into land of the easily forgotten. Yet hidden beneath the surface of all that mangled marketing phooey is a film with a distinguishable depth, compassion, and curiosity that blends summer blockbuster and character study into a compact, and engrossing two hour journey.

The evolution of Caesar from curious but gentle hearted baby chimpanzee to the intellectual leader of a new race of super Apes brings much to the table for the viewer wanting such an experience. It would have been easy for the directors to throw a simple spin 'look dumb apes, now smart apes - action ahoy' rush job in order to maintain a high intensity thrill ride of a picture, but Director Rupert Wyatt and writers Rick Jaffa and Amanda Silver knew exactly what needed to be done with this - create a world and put the viewer in it. I say it all the time, but it's perhaps the most undervalued trait a movie can give its viewer. If the team behind the picture can build that world, convince the viewer of the sincerity of the people inside it, and then carry on from there, it becomes a film viewers remember.

Though to build this world, Wyatt and company rely heavily on ol' fashion Hollywood archetypes, and seem comfortable not stretching out beyond such. Caesar is the real scene stealer for the film, and Serkis knows how to pull that off better than perhaps any other working actor. Franco's dry demeanor is put on turbo dry for this tale. Pinto is easy on the eyes but her character is given next to nothing to do, the same could be said for Brian Cox (especially the easy on the eyes part - just saying). Lithgow is always a delight, but he's unfortunately trapped in an overwritten role. The only two stars who represent the human side of the film with any memorable prowess are Tom Felton and David Oyelowo.

Felton, whose character embodies a rather generic 'bully' caretaker, shows a lot of gumption in what has to be said is basically a Draco-esque character to Caesar. Though he carries it off, and even goes head to head with Serkis in one of the film's most memorable scenes. Oyelowo is another underused character, given the good ol' fashion "I'm just in for the dough (money, not bread)!" boss, but seems to grow in terms of interest as the film progresses - culminating in a very well acted, and likely to be overlooked, final scene.

What I found most surprising about Rise of the Planet of the Apes is just how much story and development it manages to cram in an hour and forty-five minutes. The amount of non-verbal character building and molding it creates, it simply admirable - especially when you factor in the heavy summer-based requirement of action and violence to keep the audiences in check.

So, what kind of action does the film bring to the table? Well, more or less, it blends it into the plot. When I must say is such a refreshing feeling. The action works as a compliment to the story, not the navigating factor of it. Even the final battle, which we all know the film is building towards, doesn't feel forced or a simple baseline requirement. The film builds to its conclusion, not the other way around. Though with that comes a certain lack of sharp cynicism that reverberated throughout the prior installments, which I can honestly say was rather refreshing.

Film Credits:
Directed By: Rupert Wyatt
Written By: Rick Jaffa & Amanda Silver
Novel "La Planete Des Singes" By: Pierre Boulle

13 Assassins (2010)

Overall Score: 6.00/10

There is a new rule in Hollywood - "If you blow it up, they will come." No need to build anything really, that just takes time and effort. No, just find it, blow it up, and people will champion you to the bitter end. Which of course only embattle your opposition, and leaves those lovable folks (like myself) hanging in the realm of in-between.

The best way I can think of to describe the impact left upon me by 13 Assassins is this: I love it far more for what it came close to achieving than what it actually achieved. Sure, everyone by now knows how amazing of a visual spectacle the grand 45minute final action sequence is. And oh boy is it ever a spectacle. Full of just about every samurai fighting style, every sword decapitation, and way of dying one would dare think of (hell you even how kamikaze fire cows), few deny the sheer awesomeness of that sequence. But in the end, that's it really. That's the sell. A movie which clocks in at just over two hours, hinges everything on the effectiveness of that battle.

But does it really work? How much of the intensity one leaves the theater with relates to the film's overall quality? Unfortunately for me, that answer is 'only a little.'

13 Assassins opens with a 'hard sell.' No sugar coating, no fluffing, no tip toeing around - right away "that guy there is the bad guy, he's the worst guy, he's everything that is evil." Now let's move on - after all we have 13 Assassins to recruit. And so our main character, Shinzaemon (Koji Yakusho), does just that. Using contacts, pupils, and a few stowaways who happen upon them, we gain our 13 assassins. So... now what? Well, we plan, right? Sort of. The plan is quite brief, "you half nobody remembers because you've only been in this two minutes will now leave to do something important, while the rest of us will stay here and gain more screen time."

Sure, there's a couple minor action scenes along the way just to give a quick fix to the adrenaline junkies of the audience, but they're rather tame and without need. Nobody of any great importance suffers, nor does anything of great interest happen. If anything, they just serve to add plot points that will never be dealt with later on and can be quickly left by the wayside.

The rest of the film is all about the action. A scene I'll be kind and leave blank for those who want to see it and enjoy without expecting too many things. Suffice to say, it saves the film.

13 Assassins' opening hour is a drag. It's a drag on the plot, a drag on the pacing, and a drag on the viewer. Not much of any great importance occurs, while we go through the motions of a select few characters being given a base trait for us to recognize them by. The one soldier trapped by his dream of power and dedication to his master. The quiet samurai seeking one great conquest before his end. The drunken womanizer seeking redemption. Of course we have our silent super soldier who wields dual swords and just walks around looking cool. All capped off with the lovable loser, Kiga (Yusuke Iseya) who is revealed in the final moment of the film to be the most interesting character of the lot, but in order for you to know that you'd have to watch the film in reverse...

All of whom do a fine job of bringing up the inevitable comparisons to Seven Samurai. Which I think is a bit unfair. Seven Samurai built the foundation for the men on a mission genre. Movies like 13 Assassins have 60 years worth of building upon it to fall back on. Which begs the question - why didn't it? Sure 13 Assassins carries the markers of Seven Samurai, but it fails to capture the quintessential essence of the original tale - the characters. Overtly cheerful, with dark pasts to fall back upon, and a solid amount of screen time each, we are given a cause to care for them. A cause to wish them well, to want for them to succeed in their mission. 13 Assassins on the other hand calls for us to want the villain to die. A fine line I grant you, but in the over the top final battle sequence, with dramatic deaths a plenty, it takes all the emotional investment out of it. The viewer is left at arms length from the people he's supposed to be championing; their deaths are merely a countdown of numbers no longer available to defeat the evil Lord Naritsugu (Goro Inagaki).

So with that element left, the viewer is stuck. They can admire the choreography, engulf themselves in the action, but anything they feel beyond that is applied more so than delivered - in my humble opinion.

Of course, with Miike at the helm you will always have an eccentric style, dark comedic feel, and plenty of violence to fall back on. Which is why the film gets a 6 instead of a 5 of lower. I know I've spent a lot of time expressing my frustration with the film, but a good deal of that is disappointment. The farther I get from the end credits, the more I feel that a truly great film was within the reach of Miike and he missed it. Not by a mile or by an inch, but just enough to leave you wondering - what if?

Film Credits: 
Directed By: Takashi Miike
Screenplay By: Daisuke Tengan
Based on a Screenplay By: Kaneo Ikegami

Harry Potter and the Deathly Hallows Part 2 (2011)

Overall Score: 7.75/10

And so now, the journey ends. Matched in equal measure with whimpers and bangs, Harry Potter and the Deathly Hallows Part 2 concludes in a manner equal to that of the film series itself - just fine. Never reaching beyond into that upper echelon of greatness, nor being bogged down by the sorrow filled world of rubbish. They are compliments to the novels that gave birth to them, and little more. Solid compliments, don't get me wrong. They are in every phrasing exactly what fans could want. Unfortunately because of this, they often find themselves wanting.

Deathly Hallows Part 2 picks up right where Part 1 left off (I know - shocker), as Harry, Hermione, and Ron plan their next move while Voldemort comes to the realization that his greatest secret has been unveiled. The game of chess is in full motion, and now is the time for everyone to move into position before the end is truly at hand.

Perhaps the most joyous aspect - for me anyways - to return to this installment of the series was a delectably thick slice of dark humor which had faded in Part 1 of the films. A sense of light hearted cheese mixed into tragedy which was always one of my favorite ingredients of the series. So, with a sense of urgency the film glides (or jerks) us from scene to scene, working its way to the epic finale of epicness (to steal a tagline from Scott Pilgrim).

A finale which I believe fully captures the scale of Rowling's novel, but also drags in with it some of the lesser aspects of the book. That is - the deaths. So many colorful and lovable characters fall in this battle and yet, they are merely sideshow pieces. Shuffled off to the side and and only presented to us in the aftermath, which I have always found as heartbreaking as the loss of the characters themselves. In favor of a few cheap gags, and an increased battle presence of Neville (something I fully support), we lose out on those solemn farewells and are thrust into the cries "wait, they died? When? How? COME ONNNNN!" Not to mention the problematic 'wait, who was that?' in the quick cuts to show the bodies before just as quickly moving away.

However, lamenting that one part would deprive us from the overall scale of the final battle - which is quite awe inspiring. A beautiful array of neon colors flashing throughout the dark scenery just illuminates the tension and intensity of the event. With many of our favorite characters returning in a collage of background characters running, screaming, and fighting for their life. We recognize their faces, remember the scenes of theirs brought a smile to our face, and continue on to the next.

Which brings me to something I struggled with. The entire time Deathly Hallows Part 2 was playing, I couldn't shake this uncanny feeling that I'd been through this before. I did try, oh did I ever try, but no matter how hard I did, it just wouldn't fade. The memory of Matrix Revolutions. A big battle leading up to an over the top final battle with an obscure switch up of an ending, none of which really makes all that much sense. Granted, DH P2 is beyond compare a better film (in part because it has the novel accompaniment to fill in the gaps), but I couldn't help but leave both thinking the same thing - "there should have been more." More exposition, more time to say farewell to the characters, more time dove into the final battle. Forgive my greediness, but one cannot help what they want.

Of course, getting what you want and liking what you get are two entirely different things. And I did quite love what I got. The tragic tale of Snape (Alan Rickman + super makeup for the win), the lovable presence of Minerva and all the Hogwart's staff, the coming of age of our main characters, and Ralph Fiennes absorbing all the scenery with each twitch and panic. There's such an assortment of wonder and beauty to behold in this adaptation. An exuberance of cheer and loss blended with an enduring dedication to hope.

Which I believe is a testament to the unsung hero of the Harry Potter films - Steve Kloves. Kloves burst onto the writing scene with his 2000 film Wonder Boys, and has been riding high on the Potter bandwagon since. Tasked with the ungodly difficulty of bringing Rowling's vision to life, Kloves has survived the series four directors (the film for which he didn't do a screenplay was Order of the Phoenix - Yates first entry as director). Though of course a great amount of respect must go to the directors themselves. Yates, not the most talented of the bunch, found a way to please newcomers and fans alike with his darkened style. He knew his place and knew what fans wanted. The dark tones and nature of Alfonso Curaon's Prisoner of Azkaban and the character dedicated sentiment that was Mike Newell's Goblet of Fire.

It is never easy saying goodbye to something that has been with you as long as this, but like all things one must travel onward and like the characters themselves - look to the future.

Film Credits:
Directed By: David Yates
Written By: Steve Kloves
Novel By: J.K. Rowling

Super 8 (2011)

Overall Rating: 8.00/10

It happens in a flash, and it's quick, violent, intense, and completely void of practicality. Like one might find in many action-adventures, it's a declarative statement to the viewer - "this is where we set the bar for the feasibility of our action" - and if you don't buy it then, you're going to find the following two hours a very bumpy ride. In essence, it's just the way modern blockbusters go. They establish, very early on the need for you suspend your knowledge of physics, and accept that the heroes are going to get through a few over the top encounters unscathed.

J.J. Abrams knows as well as anyone, that line is a tough one to cross, and that the modern viewer will buy into more than they'd readily admit. With audiences more prone to accept first, ask questions later, Abrams grabs hold with the very first action scene in Super 8 and goes for the whole nine yards. It's a risky move, especially considering the appreciation for the remaining hour and a half depends on it, but if the viewer takes the bait and is willing to be absorbed, I can say from first hand experience it's a hell of a fun ride to go through.

Twisting and turning through every classic narrative you can think of, Super 8 flirts with realms as closely intertwined as Jurassic Park and E.T. to the opposite extreme with Romeo and Juliet romantic leanings. A young, but fluidly dynamic cast bounce their lines off one another with pin point precision, and personable timing. Homages weave in and out with everything from copy/paste sequences to 'wink wink' references for the obsessive completest geeks. Something some fans of the classic Amblin and Spielberg tales have found waning in favoritism, but I for one ate it up like a fat kid at a pie eating contest - so to speak (yes, I've just piled on a 'wink wink' while noting a film's use of 'wink wink' moments - #skill).

I've always found myself drawn to films on aliens, government intervention, and coming of age. So, diving in headstrong with the triple threat almost seems to put my critical hat at a disadvantage. I found myself loving the strong performances of young child stars Joel Courtney, Elle Fanning, Ryan Lee, Zach Mills, Riley Griffiths, and Gabriel Basso. With Courtney and Fanning being the two real standouts - granted, Riley Griffiths in an Angus-styled role as the over agitated, misunderstood overweight kid left me feeling a bit nostalgic to my years as an overweight elementary and middle schooler... and high schooler... and, you know, let's just move on.

Another standout among the cast lies in menu item #1 of the Spielberg catalog, the despondent father Kyle Chandler, whom I've been waiting to grab another strong big screen roll following his breakthrough in 2005's King Kong. Matching wits with Chandler throughout is professional supporting man, Noah Emmerich - complete with fully functional seldom-speaking black underling Richard T. Jones (don't worry Jones, you'll always have a place here). Rounding out the star laden adult cast is a personal favorite in the form of Ron Eldard - who seems to finally be recovering from the quick pedestal kick out after House of Sand and Fog - as Elle Fanning's drunken, worthless father whose tale comes with handy built-in dramatic tie-ins.

But despite all the talent involved, Abrams plays this surprisingly close to the chest. Super 8 is cool, calculating, and intentionally manipulative. With over the top exposition dialogue capped off by excessive staging, Super 8 has perhaps more than its fair share of moments that induce eye rolling from more critical audience members. Yet, at no point did any sequence feel flat to me. Bouncing off from one shot to the next, the completed product connects each dot on its own pattern. A pattern that begs to blend the unbelievable and reality without care for their contradictory stances.

All of which collide in a finale that is immeasurably over the top, ridiculous in visualization, and fails to answer a handful of the questions the film presents... and you know what? It is awesome. Yes, I said it. Sure, the finale fails to complete the chain of events that it leads up to, but it also brings a sense of conclusion. A sense that the unanswered questions will be fine just lingering there. The characters, whose growth is at the heart of the film, has reached the peak and come into fruition, and the rest is just circumstance. It might leave a few audience members wanting, but I found it a perfectly fulfilling affair.

Of course, never one to disappoint, Abrams takes one last shot at an explosive finale, before quietly fading into the blackness of space and allowing the credits to roll. It's a bit cheap, but I found my funny bone well tickled, and for that I say - Super 8 is flawed, but it has a lot of fun being so. If you're willing to buy in to the extremity of its action, you'll find a heartfelt tale of wonder and childhood trauma to grab a hold of and cherish as you leave the theater.

Film Credits:
Written and Directed By: J.J. Abrams

X-Men: First Class (2011)

Overall Rating: 8.00/10

We all like to think we are the better men. That when you take away all our perceived notions of grandeur, and strip us down to our most bare boned nature, we exceed all others. That our species is dominant, and this world is ours to do with as we like. Now, you stand face to face with the knowledge that this is a fallacy. That your species is changing, and you will be left behind. Do you rise to embrace this change? Or do you sink in fear of it? Remember, your answer to this question, does not ensure your longevity, in either way. And also remember, those of this new evolution must make their decision with respect to you as well.

Such decisions lay at the heart of X-Men: First Class, as the dawn of a new mutation in the evolution of man comes into knowledge. Through juxtapositions and timeline identifiers, X-Men: First Class establishes the initial rift between Erik Lehnsherr, aka Magneto (Michael Fassbender), and Charles Xavier, aka Professor X (James McAvoy) that would forever shape the formation and social involvement of mutants throughout history.

Providing a global awareness demonstrably lacking in previous X-Men installments enables X-Men: First Class to deal with a wide spectrum of social issues at the backdrop of its core story. We are whisked away through a wide assortment of moral conflicts, both directly and indirectly tackled by our core characters.

It is a rewarding experience, especially for those fans of the series who have found recent installments lacking. Vaughn's direction is as on the mark as ever. Not too presumptuous, or trapped in self-aware moments, Vaughn offers a film that can be appreciated by both series newcomers and seasoned veterans. Fans of the series may be quick to point out that X-Men: First Class does not strictly align its timeline and plot-points with the fellow outings, but I believe it's actually for the best.

By declaring itself as both a part and separate from the entire X-Men series, X-Men: First Class is able to create its own narrative without worry about dates/times/character locations, which it does with solid precision. While at the same time, the film benefits from the predefined characters and attributes film goers are already familiar with. Though I am happy to report that use of it is limited, and that use is awesome.

But perhaps X-Men: First Class' greatest attribute lies in its use of character. So often these superhero films get bogged down by stereotyping, they forget to offer the viewer something to walk away with. A bit of the character to take home and reflect and embrace. X-Men: First Class most certainly does not. The film dives right into the mindset of each character, with the transformation of Magneto being the most gripping of all.

Michael Fassbender has been on the outskirts of public outcry for far too long, and this film is his first proper introduction to the world. Capable of maintaining and calling upon a wide range of emotions, he wonderfully navigates the complex internal struggle facing Erik Lehnsherr. Taking Erik from the blood ridden assassin to the philosophical leader, the viewer is given one of the more intriguing character studies of the last few years - well, definitely as far as blockbusters go.

James McAvoy continues his string of solid roles, proving he has what it takes to be both a leading man and supporting player in one go - and in all likelihood lining himself up to earn an Oscar in his 50s as a distressed middle aged father. Jennifer Lawrence and Rose Byrne provide the necessary confident female perspective, helping separate X-Men from its male driven counterparts in the Marvel universe. Kevin Bacon - despite having the wrong nose for his Magneto helmet - is an all around solid villain, earning laughs and boos in equal measure. While the rest of the cast handles their roles with the craft and consistency one would expect to find more often in big budget pictures. Still, who do I have to kill to get Jason Flemyng a viable acting part? Don't even get me started on Michael Ironside...

Of course, I would be remiss if I were to claim all that X-Men: First Class offers is without flaw. Now I'm willing to pass on the moldy cheese stench reeking from two of its core opening scenes. I'm also more than happy to let it slide that it's musical score is basically a greatest hits of Hans Zimmer scores for the last few years. But I must say, at the end of the day, I really wasn't all that impressed with how the film handled all of its transitions. And when you consider just how many there are, that's a rather big hurdle to overcome. The opening third is very jerky, not always well defined, and despite a collection of solid moments, felt like a cliff-notes writer lost control of his pen and went on a writing rampage before being tamed via electrocution rods and jammed back into his cage. Once the characters start coming together, the film begins to even out, but I couldn't help shake this underwhelming feeling of forced narrative usurping character moments. Some may call this nitpicking, but I contend that in a film of this scope, even the slightest nudge against the viewer's grip can take them off course throughout. Especially when you factor in the two-plus hour run time.

Then again, if you factor in the rushed production, studio's off the wall expectations, and a spree of casting that seemed as if they wouldn't stop even after the film was made, X-Men: First Class holds up incredibly well. The acting never feels like a let down - though Bacon's pug nose did meet its match in the Magneto helmet - Vaughn's directing is steadfast, and full of life (so much so I'm sure Ang Lee rolled his eyes more than once at the mid-film montage). Even writing team Miller and Stentz (who in my opinion were the weakest part of this year's Thor) found a solid middle ground to navigate with writer-director Vaughn and his longtime writing partner Jane Goldman.

All in all, X-Men: First Class is simply a top class superhero outing. If Thor was the jumper cables needed to get the engine going, X-Men: First Class is the sportscar that it started off and left the rest in the dust.

Film Credits:
Directed By - Matthew Vaughn
Written By - Ashley Miller, Zack Stentz, Jane Goldman, and Matthew Vaughn
Story By - Sheldon Turner and Bryan Singer

His Kind of Woman: A Priceless Affair

Is it too great a pun to call His Kind of Woman, Priceless? If so, slap the cuffs on me and take me away to jail because His Kind of Woman is a film which lives and dies by the vocal wonder that is Vincent Price. A constant reminder that the greatest flaw our society will always face is that he failed to live long enough to do a GPS voice over.

When dealing with a movie of the flair of His Kind of Woman, it's important to categorize just what kind of film it is. Setup and packed with all the markings of a fly by night, run of the mill noir tale, His Kind of Woman injects a lovely dose of self-awareness, and light hearted adventure along the way. The interplay and romantic tinglings between our picture of masculinity (Mitchum) and the epitome of sex appeal (Russell), reaches a chemical overload, exploding off the screen. And it's a good thing to, because the story just isn't that great.

But His Kind of Woman has a good enough story to do what it wants to do: spin noir on its head. Vincent Price's overblown tour de force finale, matched with Mitchum's tough guy looking for answers setup, all at the background of a beautiful costal resort in South America, it's just too much to handle. In most other hands, this film would be inept, generic, or so cheesy even milk would pass. Yet, it never falters.

True to the course, and willing to take a chance, His Kind of Woman shines in the most nuanced, twilight lit light. Of course, it doesn't hurt that the film features Jim "the Thurston Howell III Mr. Magoo" Backus as a bumbling background loafer - obviously present to supply this film with the necessary street cred. Oh, this is just a joy to be had.

Every character just works. Not only on their own right, but with respect to the personas of those around them. Their conversations bounce off one other flawlessly. It's almost as if the cast was born to work together. From bit players to big stars, everyone pulls their own weight. And the film is all the better for it!

Overall Rating: 8.00/10

Mini-Review: The 36th Chamber of Shaolin (1978)

I've often said the difficulty in going back in cinema viewing is that you are conditioned through years of experience in the present. All our time watching countless movies built upon the shoulders of giants. Those who saw potential in what we see as generic. Those who created grandeur through what we would now call old. And so when going back to see a movie whose influence can neither be denied or quantified, I try my best to keep that in mind.

Luckily enough, The 36th Chamber of Shaolin needed no help from my calculating mind at all. Over the top in cheese, awesomeness, and obsessive self-idealism, The 36th Chamber of Shaolin is entertainment in its purest form. A mild moral tale mixed in with a fantastical styling, wrapped in the comfort of action, under the dark tent of vengeance. It's the kind of movie you kind of wish was dubbed just to increase its magnificence ten-fold. And yet even that wouldn't begin to compliment it.

Now, I'm not saying it's one of those movies that every human being should watch before they die. I'm just saying it's one of those movies every human being should enjoy when they do; watch it, that is. The movie brings to light some of the most mentally staggering questions in history. Questions like "just how many wise old Chinese kung fu monks does it take to train a hothead?" Answer: In and around a baker's dozen. And I take no shame in saying each one is as equally awesome as the last.

That's really the kind of movie this is. Sure, there's the generic young idealist becomes kung fu master arc that has been featured so dominantly throughout the years. But that's just a component. It's the base element, from which the movie derives such an intense sense of awareness. Not afraid to be comical, self-mocking, and confident all at the same time, it imposes an enchanting charm onto the viewer. Glazing over their worries of cliches by standing steadfast alongside them. And in doing so it creates a tale worthy of those who seek out the opportunity to view it.

OVERALL RATING: 8.50/10

Recommended By: Silver Emulsion

Thor (2011)

Overall Score: 7.00/10

Hi, and welcome to Thor Review number 9,291 in your Google Feed Reader. We here at A Life in Equinox are proud to now present our vaguely similar thoughts to what most other people are saying about the film. If you don't want to read anything negative about Thor, please cover your eyes and whack aimlessly at your mouse now.

If I could boil down Marvel's latest endeavor to just one simple concept, it would be this: self-awareness. Every movie is not just aware of its place within the context of the greater cinematic picture. It's also aware of its place within public lore. The aspects of its story that can be mocked, are. The aspects of its story that can be championed, are. And this concept succeeds because of one simple thing: Marvel knows the formula for making a successful superhero movie.

Unfortunately, one thing is lost amidst all that self-awareness... a sense of self. Each movie is so wrapped up in being ironic, self-referential, and inter-series referential that it leaves its characterizations at the door. Life defining events are simplified into one or two sentence conversations. Character backstories are summed up in single facial expressions. And the dialogue of the world you're creating... well it's just used without context, definition, or explination.

All these things are fine, if you're dealing with an audience in which one can generally expect a great deal of knowledge on the subject matter going in. However, much is the same case with Harry Potter, that's not the norm. And for those like myself who didn't grow up caring about comic books, or superheroes for that matter, much is lost in a sea of names I can't understand, people who just seem to be doing things at random, and a hammer whose Arthurian 'sword in the stone' narrative seems to deliver a limitless power source to its holder.

These are the things I find frustrating about modern cinema in general, but if I don't want to get lost in a sea of 'looky looky,' I suppose it's time I start adapting. However, don't expect me to go easily. There are certain basic components I expect from a film, and in that regard Thor reaches the finish line by the narrowest of margins.

If nothing else, I'd say it's the 'cute factor' that saves Thor. Despite its PG-13 and occasional subtle adult humor, Thor is a relatively tame affair which embraces a childlike innocence of a comic book reader. The jokes are well timed, founded on over the top characters, and packed with plenty of charismatic talent to see it through to the end. The visuals are stunning, amped up by 3D - even if it is blatantly unnecessary - and full of color and life.

Breakthrough villain, Loki (Tom Hiddleston) finds an off-kilter balance between Commodus and The Joker, making him equal parts mysterious and creative, but ultimately lacking the villainy of the aforementioned. Sure, he gets up to a bit of 'mischief,' but for the most part his efforts are conventional and ill-conceived. Sort of how one would imagine an evil David Copperfield.

Chris Hemsworth utilizes charm, intensity, and dead on comedic timing in bringing our Titular superhero to life. By playing up the camp of the role he is involved in, we are allowed to buy into the camp of the surrounding story. A style fellow actors Natalie Portman, Kat Dennings, the 'Warriors Three,' and the infallible Clark Gregg embrace in whole. Especially when you consider that the relationships built between them are founded almost entirely on non-verbal communication.

Anthony Hopkins knows how to command the screen, and is a dead ringer for Odin alongside Stellan Skarsgard, who just seems to exude fatherly experience with each vocalization. Leaving the rest in the capable, if not overtly theatrical, directing skills of Kenneth Branagh.

Thor does not reinvent the wheel, it just adds a polish, little bit of gold plating, and allows the viewer to get wrapped up in the continuous motion. And for those seeking out Thor for their viewing, that's most likely the full range of what they seek.

Film Credits:
Directed By: Kenneth Branagh
Written By: Ashley Miller,  Zack Stentz, and Don Payne
Based on the Comics By: Stan Lee, Jerry Lieber, and Jack Kirby 

Animal Kingdom (2010)

OVERALL SCORE: 8.50/10

Over the past few months I've felt a bit like a broken record, redundantly blathering on about how great all these cold, moody thrillers I've been watching are. How their elusiveness injects a frightful charm into the characters, that makes them simultaneously enticing and horrifying. Is it a testament towards an ever growing apathetic nature in myself that I find myself so drawn to them? Or could it be that simply put these characters feature predominately in some of the best works 2010 has to offer? Well, I'd like to say that it is the latter, but who really knows?

Animal Kingdom plays with fire. Many of the film's most colorful and amusing characters fail to make it past the thirty minute mark. The rest range of the dull to the manipulative and on to the downright maniacal. When these characters take to the screen you never know what you're going to get. Will they just there with no emotion, watching a sickly violent act take place? Or do they take matters into their own hand? As Animal Kingdom unfolds it becomes obvious that these actions are far less predictable than you might imagine.

Finding the right balance between gritty violence and bravura storytelling, Animal Kingdom is an audacious tale of gang violence in Australia. With crooked cops, and those just trying to make a living, going to head to head with a family of criminals, writer-director David Michod provides a fresh spin on an old tale.

With all the cunning of Vito Corleone, family matriarch Janine (Jacki Weaver) manipulates her perception of family into what she wants it to be. Her affection, well exceeding obsession, with her children lead her to make decisions that can make or break the world she has constructed for herself. Weaver handles the role like an uncut diamond, complete with unkempt beauty and jagged edges. The look she gives her characters that says 'oh, I don't mind' could easily be replaced with the thought 'I will cut you right here and now' depending on what's going on. She has a reassuringly mother vibe with the potential to be as venomous as a snake... if you get in her way.

Complete with a stare that would give children nightmare for years, eldest child Andrew (Ben Mendelsohn) is the only member of the main crime group not entirely reliant on their mother. His look is unassuming, but sadistic. And his actions speak to that very nature. "Pope" shows an utter lack of acknowledgment for the existence of others, beyond their immediate affect on him. If there was an award for unappreciated, you would be hard pressed to find a better candidate this year than Mendelsohn. From head to toe, he embodies the very sociopathic nature of his character to the point of being hard to define where the character ends and he begins.

However, all of Animal Kingdom is told through the lens of Josh (James Frencheville), nephew to the main family, and grandson to Janine. Josh is a rather unemotional character throughout much of the film. He's difficult to latch onto, and harder to understand given his penchants for silence and following. Yet, as the film progresses, he develops a more outwardly emotional attitude, and Frencheville nails every moment of it. By the time the ending comes, Josh has more than evolved into a fine character, he's become a recognizable force in the film.

At its core, Animal Kingdom is not about family. It's certainly not about how far we go for them. Animal Kingdom is simply about survival. The means to which one will go in an effort to adapt themselves to the world around them. Can you become evil to defeat evil? Will good present a path to your salvation? Why in the world is Guy Pearce playing such a bland character? Is that Luke Ford? Where's Brendan Fraser? Sorry, I regress.

What makes Animal Kingdom a movie I so greatly admire and enjoy, is that it blends so flawlessly two categories of film that often fail to co-exist. It's managed to combine the, drawling tended, moody genre with the tension of an old school slasher. Throw the two in the classic cops vs. gangs motif and you get a winner worthy of repeat viewings, and adoring praise.

Film Credits:
Written and Directed By: David Michod

Knight and Day (2010)

OVERALL SCORE: 5.00/10

Every neighborhood has that one kid. You know the one I'm talking about. He's not the brightest bulb in the bunch, is a bit sycophantic, but everyone puts up with it because he's rather amusing to be around. In the most abstract sense, that's what Knight and Day is.

Like most romantic-comedy action-adventures, Knight and Day relies heavily on the action to save it from the romance, and in turn build some comedy. The movie borrows none too shyly from the likes of True Lies and the action-comedies of the nineties. Unfortunately, it's no where near as good as many of them, and itself, aspired to be.

Director James Mangold orders up a Tom Cruise number 1 special with the infamous "happy mcSmiley face w/ sunglasses" staple performance. Cameron Diaz shows up in a hollow shell of her prior works - the ditsy, but cute business girl with no luck in love. Together they formulate the kind of chemistry that can only be rivaled by a turtle using pick-up lines on a green and brown checkered wall. There's not much there, and to be quite honestly there doesn't need to be.

Perhaps the most saddening aspect of Knight and Day is just how hard it tries to be something more than a shoot 'em up, on the run tale. It's quite apparent that writer Patrick O'Neill wanted to say more about the life of a spy and resigned himself to a cheap little side story with next to no direct impact. Much in the same way one could define the entire movie.

Peter Sarsgaard comes and goes as the 'too obvious for his own good' villain matching wits with Viola Davis (who seems more than happy to play the same character she did in Law Abiding Citizen). We even get a few brief Paul Dano sightings as an uber-cliche, absent minded genius.

In many reviews I've read, they've pointed out the movie should have stuck with the opening concept of Roy being an agent whose simply gone crazy/paranoid. To be honest, I have to agree. The film's efforts at a modern technology based plot come off hokey, even for a film lathered in cheese (a super battery? really?). There's simply not enough in the engine to go the distance. It can be oddly charming at times, even quite a bit humorous, but never to the level it needs to be for sustained interest.

In the end, Knight and Day is an amusing tale that won't bore you, though it may offend your sensibilities. The kind of film you start forgetting the second the credits begin to role. Then again, if that's all you're looking for - no harm done.

The A-Team (2010)

Overall Score: 7.00/10

I've long been a subscriber to the belief that every action film, no matter what level of realistm they aim for, gets one "give-me" action sequence. Usually these scenes involve a ludicrous leap from a tall building ending in a last minute catch by a helicopter, netting, tent rooftop for a fruit shop, or the rope you've latched around your stomach jerking tight and flinging you through a window. We accept these because, in the grand scheme of things, the plot of the film carries the blunt force of our interest. That and we always enjoy a bit of absurdity in our blockbusters. The A-Team is the kind of film that steps up to challenge those cinematic norms. Willing to ask the question at every turn - "just how much absurdity can we get away with?" The answer: surprisingly enough, quite a bit.

The A-Team's action scenes unfold through a series of Ocean's 11 style unveilings. You know the general gist of the plot at hand, but the in depth components that tie it all together are kept hidden. In the same manner its both a blessing and a curse. On one hand you find yourself absorbed in the action while it's occurring, waiting for the next play. On the other hand, the moment the action scene is finished you're questioning all the little components that fit into their grand schemes. Films such as this have found a real niche in film industry production following the success of Tropic Thunder, but recent efforts in Kick-Ass and Scott Pilgrim vs. the World to embrace over the top action have been met with mixed results (neither film broke the $50m box office barrier domestically). In fairness, both films are niche films for even more niche markets.

If it wasn't for the charming on screen persona of main cast, it could all be lost. Liam Neeson seems to have lost about five years (in the right lighting), and really embodies the cool, intelligent, comic nature of Hannibal Smith. Bradley Cooper's Faceman is merely an extension of his Hangover role, adding ladies man to the equation, and it's the kind of character he excels at. I was surprised to find Quinton "Rampage" Jackson a suitable substitute for Mr. T, even if his character gets a very glazed over subtext. Though to me, the real highlight of the film was Sharlto Copley, channeling Spike Jonze from Three Kings, as Captain H.M. Murdock. At times his character isn't given the lines to work with, but when the dialogue steps up to Copley's charisma hilarity ensues.

Weaving its plot around the desired action sequences, The A-Team serves as a prequel to the events that would come to define much of the television series. For those of us, myself included, with little to no prior knowledge of the original 1980's television show, this becomes a solid introduction. Through cliche, but well timed, freeze frames + names we're given a breakneck introduction to the colorful cast of misunderstood good guys on the run. Newcomers Jessica Biel as Faceman's ex Charisma Sosa and Patrick Wilson as CIA man Lynch (not the one from the 80's) are fine additions, but neither are asked to do much, and their character revelations can be seen coming from miles off.

The real faltering point for The A-Team lies in its misguided narrative. Often jerking you from destination to destination, the plot feels as if it's being written on the fly; like the action sequences were planned out long before the plot made it there. This clumsy experience does help keep you on your toes, but the transitional elements required to piece everything together end up having to be explained to you afterward. While this isn't bad in small quantities, it gets a bit tedious when every twenty minutes one of the characters has to ask Hannibal to fill them in on everything that just happened (and in turn filling in the audience). Director Joe Carnahan (Smoking Aces, Narc) does an outstanding job of keeping it all together. When the plot becomes obvious, he creates action sequences that keep you guessing. And of course, vice-versa.

Another, more minor, issue I had can be found in the lackluster Faceman-Sossa romance which receives tidbits of backstory and even less moments of cohesiveness. Their relationship becomes a crucial component in the development of Sossa's generic chasing government agent slowly coming to realize there's something else going on. Unfortunately, we're left to imagine the blanks filled in, and trust the writers when they tell us there was something deep and emotionally invested there. For a romantic like myself, it's a bit frustrating, but it can be allowed in favor of accelerated pacing.

Once it's all been pieced together, The A-Team becomes an enjoyable ride that you're likely to forget, but always have the option of enjoying again. It's the kind of action film that can get your blood pumping and laughter going without being overtly predictable, nor necessarily original. No ground is broken in subtext, character analysis, or plot contrivances. Instead, the film embraces them all, and comes out with a product fans of action-comedy will find a perfectly suitable way to spend two hours of their day.

Film Credits:
Directed by: Joe Carnahan
Written by: Joe Carnahan, Brian Bloom, and Skip Woods
Based on the TV series by: Frank Lupo and Stephen J. Cannell

Harry Potter and the Deathly Hallows Part 1 (2010)

HARRY POTTER AND THE DEATHLY HALLOWS PART 1

DIRECTED BY: DAVID YATES

WRITTEN BY: STEVE KLOVES

NOVEL BY: J.K. ROWLING

OVERALL SCORE: 7.50/10

With Dumbledore dead and Voldemort's horcruxes still out there, Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) go on the run from an increasingly corrupt Ministry of Magic to complete Dumbledore's final task for them.

"These are dark times, There is no denying."

The screen goes black. After a brief pause the words 'Directed By David Yates" appear in rusted gold. An audible groan permeates throughout the audience. They were there, right on the hook. Ready to go anywhere with these characters, do anything with them, the will of the filmmakers was there's to obey. Then the line snapped, the audience splashed back into the world it has always known. It was an incredible deflating moment. The audience begged for it to just go on. Alas it would not... well, not for a few more months anyways.

Harry Potter an the Deathly Hallows (Part 1) is an engrossing adventure film that takes its audience on a roller-coaster of emotion. Traveling over lands vast and wide, through lore deep and mystical, there's never any sign of stopping. A few idle moments of pause, a few minor turns, all setting up for the big drop... that never comes.

David Yates' wonderful visual prowess has never been better. He captures the world Rowling described so eloquently her novel. Kloves intertwines drama, action, and narrative progression with the greatest of ease. At least that's what I'd like to write. The truth is Kloves' writing has never been jerkier. Yates direction has never felt more pressed for time.

Don't get me wrong Yates and Kloves do a bang up job accounting for all the things they left out of the previous films, but they also struggle with a desire to maintain an authenticity to the original work. There's so much setup information to be found in those first few hundred pages of Deathly Hallows each moment in the subsequent film rattles them off as casual observations. "Oh that necklace thing we got, yeah I'm sure it's cursed. How do I know? Easy, you seem a bit grumpy."

What ends up coming to screen is what I can only describe as a Cliff Notes version of Rowling's novel. Very much a this happened, then that happened, then this happened, and so on series of events. Yates wonderful tone and shakey-cam action sequences help supplant feelings of boredom and anxiety, while Kloves' dedication to siphoning out as much consistent action and drama as possible helps keep the film rolling along, even when the plot kicks it into neutral.

In what I can only describe as a wonderful retelling, in the vein of The Secret of Kells, Yates' take on the three Peverell brothers allows him to skirt the violent and dark undertones of the story and keep the film from delving too deep into the darkness. In many respects it is an encompassing moment in terms of visual style that represents the tone of the entire film.

Radcliffe, Grint, and Watson show just how much they've grown into viable actors, navigating the minefield of emotions their character's must traverse. Meanwhile I found myself quite taken with Yates look into the horcruxes, and the effect it has on them. Their changes are subtle, almost cynical, followed by a series of outbursts. The encounter between Ron and the first, and only (in this film), horcrux they tackle really dives into the mentality of Ron, in a very, how to put this delicately, 'graphic' representation.

In the supporting realm, Tom Felton really steps up his game as Draco Malfoy. Between Half Blood Prince and this I believe a strong argument could be made for his being one of the strongest of the young recurring actors. Special mention to David O'Hara who, in addition to being awesome, put a big smile on my face with his take on Albert Runcorn. Bill Nighy and Rhys Ifans make the most of their brief appearances but there's little for the to do with major cuts to the characters. The rest of the returning cast carry with them the same strengths and weaknesses they've always had in their respective roles, so it would be redundant to go into that here.

What I enjoyed most about Yates direction is that he keeps things tight. A few establishing shots per custom, but we spend most of our time with all three of our main characters in camera, in isolated environments (one room, tent, elevator, etc.) Yates cools off on sweeping camera movements and exposition shots, making the film feel more intimate. It appears more dark because we spend more time up close with our character's emotional turmoil. Yates wraps us up in them and allows the performances to take control.

And it's really the performances that save Deathly Hallows from being too overwhelming an experience. The wonderful cast of characters created by Rowling really come to life on screen. The action is tense and exciting, but without these characters this installment would have felt more like a lecture than a journey. No matter how good that journey is.

Despite not really going anywhere, Harry Potter and the Deathly Hallows does a good job of simplifying the story thus far, creating a good starting set of questions from which the second part can pick up. It would have been nice to see more time with the supporting characters, but one can hope the second part will delve more into that realm (especially Dumbledore). However it must be noted, as I'm pretty sure every reviewer in the known world has mentioned, this is only half a story. The movie suffers exactly as you'd expect to it from that conundrum, but through great characters and visuals it manages to rise above them.


Two other random thoughts on Harry Potter and the Deathly Hallows Part 1:
1. Will Ginny ever get some solid screen time love? Kiss Harry, be on train, the end. Come on! Bonnie Wright may be a bit stale at times, but we need more to make the epilogue even worthwhile (especially since we know they've already filmed it).
2. We really need to get together and hold a convention to reinstate the Intermission! Please, if you're pushing 2.5 hours the bathroom is definitely going to call at some point.

Scott Pilgrim vs. the World (2010)

SCOTT PILGRIM VS. THE WORLD

DIRECTED BY: EDGAR WRIGHT

WRITTEN BY: MICHAEL BACALL & EDGAR WRIGHT

GRAPHIC NOVELS BY: BRYAN LEE O'MALLEY

OVERALL SCORE: 7.50/10

 After a chance encounter with his dream girl, Ramona Flowers (Mary Elizabeth Winstead), Scott Pilgrim (Michael Cera) must battle her league of evil exes, bent on preventing anyone from dating her.

  "You once were a ve-gone, but now you will begone."

I can say without any hesitation that in terms of pure entertainment value no film put a smile on my face quite as grand as Scott Pilgrim vs. The World. That being said Scott Pilgrim is a movie riddled with little flaws that prevent it from reaching that tour de force amazement that would leave me, like it has so many of its now devoted fans, in a feeling of ecstasy. First, though, let's talk about what all the movie does right.

Scott Pilgrim has a way of viewing the world that will connect with the deepest of nostalgia to those who grew up in the time of arcades and NES/SNES. In essence Scott Pilgrim is the film tailor made for those of the early video game generation. Packed with references, high rock music, subtle jibes, and a coolness that can only be described in terms of its utter geekness, there's a great element of charm that plays to Scott Pilgrim's advantage.

Edgar Wright continues his streak of stylized, but smart, homage films that highlight him as one of the more creative visual directors of his age group. At the same time, Wright knows enough about the story to maintain the exasperated pace, and still blend in the series' many unique characters. As one could expect this comes with a double edge sword. The inclusion of the entire series into one film aids the action oriented picture. There's always a fight coming up and always new style pumping life into each and every one.

Unfortunately what gets lost in this array of style are the basic foundations of any classic: story and characters. Scott Pilgrim is a bit of a self centered ass and his 'evolution' as the series progresses feels rather forced in the context of the story. There's very little reflection, a whole lot of fighting, until of course the film's climax which tries to put all its lessons into one package. Meanwhile the many supporting characters, including star players like Ramona, get lost in one to two sentence character builders then shuffle off until they're needed again.


What saves Wright and Co. is the sheer brilliance of the cast. Each cast member, perfectly selected, melds into their character with great ease. There's never a moment when you doubt a particular actor is fully enveloped in their character, which allows the audience to forgive some of the lesser elements.

If there is one thing I would have request of Wright is making the film a good ten to fifteen minutes longer. The high octane pace may be perfectly suitable for its ADD rampant fanbase, but I felt as if there was much more to be told. The characters could have received more fleshing out, and the ending could feel a bit less 'and there you go' and a bit more 'aw, beautiful!' It's not the feeling that Scott Pilgrim did anything wrong, just that it could have done it a bit better.

Still, once the credits roll, one would be hard pressed to have found any emotion on my face other than a unquestioned grin. Scott Pilgrim vs. the World exudes charm, wit, and hilarity in a way few films in 2010 have managed to capture. If for no other reason than that, it earns my seal of approval.

There's no denying the vast allure of Scott Pilgrim vs. The World. Full of fun, excitement, and action, the movie keeps things light hearted and decently developed from start to finish. At times the movie depends too much on style to hide its weaker qualities, but when something works as well as this does you find yourself willing to forgive more than you normally would.

Red (2010)

RED

DIRECTED BY: ROBERT SCHWENTKE

WRITTEN BY: JON & ERICH HOEBER

GRAPHIC NOVEL BY: WARREN ELLIS & CULLY HAMMER

OVERALL SCORE: 6.50/10

When a hit squad is sent to the house of former CIA agent Frank Moses (Bruce Willis), he teams up with former black-ops members from around the world, and his first real crush Sarah Ross (Mary-Louise Parker), to find out whose behind it all.

"Old man my ass."

Red is an entertaining action, thriller, that suffers the most common mistake of its genre: a collection of good ideas and scenes, string together by an incredibly thin plot, and overly generic characters. Leaving Red to be just another one of the films where everything plays out exactly like one would expect it to. Never leaving the viewer with a sense of suspense, or surprise. It forces itself to rely on over the top action sequences, and characters to carry the weight.

Cox, Freeman, and Parker all turn in solid performances given their archetype characters. Malkovich brings in the fun ten times over. While Mirren is able to sexy it up a bit. Leaving Karl Urban and Bruce Willis to really battle for the emotional pull of the audience. Something the two do very well considering they generally play cliches, not heartfelt characters.

Perhaps leading to the more surprising aspect of Red being its honest care for the characters. We learn a bit about their past, how their years in the CIA have torn them emotionally. The realization that the only people they know in the world they fought tooth and nail against only 10 years prior. The bond that creates between them, and the consequences of it.

It should be stated now, rather that's what it aims to do. Often hinting at it, giving each character a good moment or two to reflect, Red speeds through these scenes with the same pace as an action scene. Opting to spend most of the time on the events leading to the next fight. Occasionally bothering to tap into the Willis-Parker romantic relationship (which I feel the film really misses on from Parker's point of view).

Still, Red is one of those films that's just fun to watch. It plucks at the emotional strings, but only enough to get you invested. From there on action, and silliness, take over. Some work better than others, some relationships feel more right than others. It may not win any awards for originality, or suspense, but it earns them for being straight entertainment from start to finish.

What Red lacks in creativity and surprises it makes up for in characters and zany action sequences. It'll seldom shock, but always aims to entertain. In that respect it fulfills all the criteria necessary for a good time out with friends.

Machete (2010)

MACHETE

DIRECTED BY: ROBERT RODRIGUEZ & ETHAN MANIQUIS

WRITTEN BY: ROBERT RODRIGUEZ & ALVARO RODRIGUEZ

OVERALL SCORE: 6.00/10

After being setup to take the fall during a hired hit on racist senator Charles McLaughlin (Robert De Niro), ex-Federale Machete (Danny Trejo) enacts vengeance on those behind the scenes. Meanwhile local illegal immigrant helper Luz (Michelle Rodriguez) must work with FBI Sartana (Jessica Alba) to help deal with an impending race war.

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Much in the same vein of last year's Black Dynamite, I found myself once again drawn to a film, if for no other reason than, for its desire to satire a section of filmmaking. Returning, on some level, to Grindhouse films (though this time, much notably more tame in style), Rodriguez creates an interesting, albeit underwhelming, world for our over the top hero to perform carnage in. And Carnage is exactly what we get.

Always with a sense of comical over the top antics, Rodriguez balances message, action, and style with a hint of that old school skill that helped make him a name. It's a start in the right direction, but a foreboding of what can go wrong if he swerves too far. For, as you might well imagine, Machete works as much in its favor as it does out of it.

When it's being ironic (pretty much every time Trejo is passed as a sex symbol) Machete is fun, upbeat, and amusing. When it's dealing with the message, Machete is short winded, and only barely manages to connect the dots. When dealing with its plot Machete just lets things happen for no particular reason and hopes for the best.

The characters are fun, but most of them are cardboard and disposable coming and going into what I can only imagine are magic time delay boxes when the plot sees fit. Though I'm sure you're saying, who cares about plot!? Well, I do, and since it's my review that's where I'm going. You see, Machete, no matter what else it does builds to one particular moment. It's hinted at in the commercials, and we all know its coming... and when it does. I believe we all know the saying going out with a whimper instead of a bang?

It's not that the scene is bad, it's done in a way meant to be amusing and cheesy. Rather, it's that there's just not much to it. You'd think with the talent involved that finale would be more grand, more intense, over the top, and out there. Despite a couple of scenes (a handful ripped right from the trailer) it never reaches there. It entertains, but fizzles quickly into the realm of the forgotten. A strong showing, just not a strong impact.

Worthy of your time for its ability to, at times, be hilarious, smart, and fun just long enough for the runtime to take its course.

If you can get into Machete without expecting too much in the realm of viable plot or intricate details you'll be able to find it entertaining for most counts. Still, despite its promise, and foundation, Machete never escapes its own desire for homage, and allows cheese to get the better of itself, keeping it from rising beyond mindless entertainment. No matter how well intention a mindless action film it might be.