Even though this film was better when it was called Moon and starred Sam Rockwell, the many references to a plethora of Sci Fi films and the beautiful, sweeping landscapes of a decimated Tri-State Area make Oblivion worth seeing on its own merits. It was just as good the second time around, though I did start to notice a few plot holes here and there. However, these inconsistencies are easy to forgive when caught up in the gorgeous visuals, sweeping score, and the demi-god that is Tom Cruise.
This film grew on me so much in the weeks that have passed after I saw it and has continued to grow on me all year. While on the surface it seems like another entry in the cliched thirtysomething-guys-trying-to-figure-out-their-lives-in-their-hometown genre, it really has a great depth of feeling and a tender soul beneath the toughness and cold of the setting and the characters. While a cool palette of the washed out blues and grays of seaside winter permeate the film (and often seem echoed in Chris Messina's brusque, unfulfilled character), Tom O'Brien and Rich Sommer both bring an appealing warmth and vulnerability to the screen. At its core, Fairhaven is gently haunting, tragic, and hopeful.
Kon-Tiki is pretty much a cross between Michener's South Pacific and WFB's Racing Through Paradise (with far less champagne and far fewer navigational computers). I highly recommend this movie for those who enjoy the ocean, a boundless sense of adventure, and toned, tanned, bearded Scandinavian men often not wearing very many clothes. I don't recommend this movie to those who have a fear of sharks. As expected, the cinematography is gorgeously breathtaking -- a perfect match to the awe-inspiring story.
I can't get all the powerhouse performances and killer one liners ("Don't put metal in the science oven"!) out of my head. Bradley Cooper and Christian Bale both give such open, ballsy, and highly nuanced performances. Each gesture, tic, and line delivery really resonates. Of course Amy Adams and Jennifer Lawrence aren't slouches either, and without them, the men wouldn't have the sparring partners that help make their performances stronger. The way the whole cast feeds off one another makes this film a joy to watch. It doesn't hurt that there's a killer soundtrack and that all the costumes are gorgeous and glam. Yes, the film is a bit over-the-top, but it totally works.
Everything about the film -- from the story to the aesthetics to the music -- allowed me to get lost in the world of this film for its duration. I especially loved the red/pink/orange accent color palette that infused the film with a very modern aesthetic with just a hint of warmth. The way Her depicts relationships seems more astute and realistic than most other films. Joaquin Phoenix's performance as Theodore grounds the film and gives it its heart. He embodies the character so fully that he gives the film a wonderful fluidity, allowing the viewer to move seamlessly between his material world, his present world-of-the-mind, and flash-backs to his life with Catherine. Her is simply a truly lovely film.
Give me something campy with a gloss of style, and I'm yours. James Deen and Lindsay Lohan are both fascinating to watch, and the whole film is wrapped in the sfumato of doom and detachment that pervades the work of Bret Easton Ellis. The characters' inherent tragedy lingered with me long after I had seen the film. I often end up both feeling sorry for and wondering at how Ellis' characters manage to survive while being so aimlessly unhappy. Lohan's character is a particularly interesting study in this area as she has made decisions allowing her to be upwardly mobile, yet remains miserable, trapped by her dependence on her man of the moment. The rawness of The Canyons provides a welcome counterpoint to the glossy cinema that dominates the multiplexes.
This is one of the most beautiful, lush, richly toned black and white films I've ever seen and the soundtrack is beyond perfect. The masked party scene alone is a triumph of film. Reed Diamond and Clark Gregg were the standouts for me. I also liked Alexis Denisof as Benedick -- his eyes express an incredible depth of feeling, his comic timing is spot-on, and his physical comedy is a thing of pure delight; however, I thought his performance aped a few too many things from Branagh's take on the part. Branagh's version of Much Ado is a glass of prosecco, whereas Whedon's is tequila on the rocks -- each refreshing, tart, and sharp in their own ways.
This film's beautiful sparseness invites meditation on what makes a person keep going in the face of adversity and what makes him give up. All Is Lost asks a lot of the viewer, but it is also a triumph of simplicity that rewards the viewer with a thoughtful, well constructed tone poem of a film.
Wolverine has got lots of issues, and, aside from -- or perhaps because of -- being played by Hugh Jackman, is one of the most compelling, most human characters out there in comics land. By toying with Logan's powers, this film is able to bring out even more layers in the character. One of my favorite moments is when Logan realizes he feels tired after a hard day of work; as this realization comes to him, a small flicker of satisfaction crosses his face. A lesser actor than Jackman would not have been able to infuse so much meaning into such a subtle moment. The Wolverine relies very little on greater X-Men mythology, making it perfect for both neophytes and long-time fans.
Charles Swan aims for (and hits) the low end of the spectrum, at least in the story department. The visuals are quite mesmerizing and lovely -- so much so that I would have liked to see more work from Swan Design. Sure, this film is self-conscious and full of itself (much like its protagonist), and made me feel more emotion toward a toucan than any of the actual characters, but there is just something fun and whimsical about the whole thing. I left the cinema with a smile on my face, and, sometimes, that's more than enough to ask from a film.
Bill Nighy is totally amazing and fantastic, and this film is a wonderful little showcase for his talents. Domhnal Gleeson is also totally charming, and has ginger power to boot. With these two fine actors at its core, About Time is able to convincingly shift from hilarious to heartbreaking. It hits all the right notes, the time travel element is fun, and the performances are sincere. Richard Curtis is a master of this genre, and this is definitely a film that will be making it to my DVD collection as soon as possible.
This is a solid film with serious staying power, but it is not the type of film I would normally see. While Hugh Jackman and Jake Gyllenhaal (of who I am normally not a huge fan) certainly do a great job , watching these two repeatedly lose control of situations that they seemed to have well in hand did nothing to reassure me as things got creepier and more unsettling. However, kudos to the script for keeping me riveted minute to minute and for tying even the small details together by the end of the film, despite the fact that doing so did make everything feel a little too self contained.
Joel Edgerton can do amazing things in small Australian films. Wish You Were Here is one of the better domestic thrillers that I have seen in a while. The way the story unfolds over the course of the film is well done and somewhat unexpected. The editing and the way in which relationship dynamics are stretched and explored kept me guessing for quite a while. When a film centers on two couples, I am often reminded of a stage play; Wish You Were Here has the psychological heft to hold up to such a comparison. This film got little attention and an even narrower release, but it is more than worth seeking out.
Tim's Vermeer ended up blowing my mind in ways that I never expected. First, Tim Jenison's dedication to this project and the time he devotes to it are just incredible. His Vermeer project is a truly admirable and inspiring labor of love. Second, the technique he develops is ingenious and so clever in its simplicity. Third, it was really cool for me on a personal level that David Hockney was consulted as an expert on optical techniques historically used in art. I know that I wouldn't have the patience to do what Tim did or find work-arounds for all the setbacks that he faced. My mouth was hanging open in genuine awe for much of the time I was watching this film.
As IRA movies go, this one is pretty good, with a nice sense of ambiguity and fine performances from Clive Owen and Andrea Riseborough. Shadow Dancer is a very serious film without being too heavy handed or melodramatic. Owen's performance in particular is quite memorable, especially his last scene, which is expertly done in every way. This is a small, quiet film, but more than worth two hours of your day.
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