Contagion (6/10)

Steven Soderbergh is a busy man. He turns out films at an alarming rate and several of them are great. Solaris, Erin Brockovich, and the Ocean’s Eleven reboot come to mind. That being said, he has also delivered his fair share of mediocrity over his twenty-plus year career. Unfortunately, his most recent effort, Contagion, falls into the latter category as it fails to deliver a satisfying climax to what could have been one of the most affecting films of the year.

His name and reputation enabled him to round up a cast of enormous talent and the performances are the only outstanding quality worth noting. The ensemble did a fantastic job of portraying characters on all sides of the viral outbreak including Matt Damon as a husband grieving over his dead wife (Gwyneth Paltrow), Laurence Fishburne and Kate Winslet as CDC Operatives who are attempting to halt the spread of the disease, Marion Cotillard as a WHO Officer who is held captive by people seeking a cure, and Jude Law as a conniving blogger who does his best to spread the truth about the virus that the government seems to be covering up. There are several smaller roles played by some great actors that you’ll be surprised to see including John Hawkes, Brian Cranston, and even comedian Demetri Martin.

Outside of the superb acting, Contagion seems realistic to the point where a lot of the drama and tension is stripped and it comes off as almost documentary. I know Soderbergh typically employs this sense of realism in a lot of his work, but the premise for Contagion and the caliber of acting talent he recruited seemed to lend itself to a much more produced and dramatic feel that definitely was not present. In the end, there were no twists and it basically was just a straight forward telling of what would happen in the case of a viral outbreak. It left me wanting more and a bit disappointed because I thought it had a lot of promise. Despite its shortcomings, Contagion is worth a watch for the performances, the small cameos, and the degree in which it describes the details of viruses, the process of determining cause, and how the public and private sectors work together to develop a cure.

Warrior (7/10)

I have been an athlete my entire life and a film fanatic for not much less than that, so naturally I am drawn to films that revolve around sports. Of course, I love the classics like Rocky, Slapshot, and Caddyshack but there seems to have been a drop off in great sport-related cinema lately and to me that’s a shame. The natural drama and tension inherent to sports make it great fodder for big screen entertainment and save for a few highlights including Million Dollar Baby, Remember the Titans, and last year’s Oscar nominated The Fighter, the quality of sports films has dropped off the table. That being said, one other film comes to mind when discussing great sports flicks: The Gavin O’Connor directed Miracle which is a dramatization of the events leading up to the Miracle on Ice at the 1980 Lake Placid Olympics. This is one of my favorite sports movies of all time and I can now add O’Connor’s most recent directorial effort, Warrior, to that list.

Warrior tells the story of a family torn apart by alcohol abuse and the struggle of two brothers to reconcile their differences and move past the traumatic events of their childhood. Tom Hardy (Inception, Bronson) and Joel Edgerton (Animal Kingdom) play the roles of Tommy and Brendan Conlon pitch perfectly. Estranged from themselves and their alcoholic father, they each separately begin training to compete in the world’s largest MMA tournament unbeknownst to the other. The tension boils over as the two realize they are both in the same tournament and may have to meet face to face in order to win. Nick Nolte (The Thin Red Line, Cape Fear) also turns in a gut wrenching performance as the brother’s alcoholic father and surely deserves some consideration from the Academy.

The film as a whole is largely predictable, but the grit, raw emotion, and pure drama make this more than just a satisfying sports movie. Warrior is held together by a strong story which speaks to the notion of forgiveness, heroism, and reconciliation but the performances and the genuine spirit of the film are what really make it stand out. The Fighter did a fantastic job of understanding this, but Warrior takes it to the next level and really makes you feel the pain, suffering, and eventual triumph of its characters. I highly recommend this movie for sports fans, but also for fans of a strong family story that truly tugs at the heart strings.

The Best Movies of the 2011 Summer

It’s officially been three weeks since my last post. I’m not making excuses but I’ve been extremely busy, I haven’t seen many new movies lately, and I have been experiencing extreme technical difficulties (i.e. My computer will not even turn on — I’m currently using my brother’s until I can troubleshoot the problem with mine.) That being said, I wanted to post something, so I figured I would discuss my favorite films of the summer season as the warm weather slowly begins to fade into fall.

Midnight in Paris

Far and away one of Woody Allen’s best movies in recent memory. Owen Wilson shines as he wanders the streets of Paris in this fantastical relationship drama tinged with science fiction elements.

Super 8

The super team of Abrams and Spielberg bring the magic back to movies in this alien flick that conjures comparisons to such classics as The Goonies and E.T.  You can’t help but love and cheer for these kids as they fight to save their town from an alien invasion.

X-Men: First Class

A great new installment in the X-Men series. Set in Cold War Era 1960’s, First Class does a superb job of introducing and shaping the characters that played such huge roles in the original trilogy. McAvoy and Fassbender redefine the roles of Charles Xavier (Professor X) and Erik Lensherr (Magneto) that were so poignantly portrayed by Patrick Stewart and Sir Ian McKellen respectively.

Captain America: The First Avenger

Chris Evans nails his role as ‘Cap’ and Joe Johnston puts together a terrific stand alone feature that doubles as an extended lead-in to the upcoming ensemble movie, The Avengers, due out in Summer 2012. If you’re looking for your Summer blockbuster, this is it!

Harry Potter and the Deathly Hallows: Part II

Wow! What a way to end the highest grossing franchise of all time. The films have only gotten better as this series has gone on and this installment is no exception. If you’ve spent any amount of time reading and/or watching these stories than you owe it to yourself to see it through to the end. You will not be disappointed.

Crazy, Stupid, Love

Certainly out of my movie wheelhouse, but admittedly one of the most enjoyable films of the Summer. Steve Carell shines as a new divorce who is trained in the wooing ways by the always impressive Ryan Gosling. Be forewarned, this is NOT your typical romantic comedy and I wouldn’t have it any other way!

If you haven’t seen these flicks already, do yourself a favor and go catch some good cinema! Enjoy and please revisit this page to let me know your thoughts.

Cowboys & Aliens (4.5/10)

Over a year ago when the adaptation of Cowboys & Aliens was announced with such names attached as Jon Favreau, Brian Grazer, Daniel Craig, Harrison Ford, Ron Howard, Damon Lindelof, and even the great Steven Spielberg, I must admit I had high hopes. I even made a friendly wager with my brother that it would be a smash hit. With names like these working on a project together how could it turn out bad? I don’t know if the issue was ego or pride or just too many people working on a project resulting in a severely unfocused vision, but regardless the final product was a tremendous disappointment. That sad fact is now being reflected in critical reviews and at the box office.

While I was not a huge fan of the movie as a whole, there were some above average aspects to the film including the Alien VFX and Makeup which looked original, realistic, and very well executed. Frequent Favreau and Darren Aronovsky collaborator, Michael Libatique (The Fountain, Iron Man, Requiem for a Dream), successfully left his signature look on the film by creating a world that looked like it was taken straight out of a Sergio Leone film with some futuristic and interesting additions. The acting highlights were few and far between, but the performances that stood out include the always dashing Harrison Ford as semi-villain Woodrow Dolarhyde, Sam Rockwell (one of my favorite actors at the moment) adding some comedic relief as Doc, and the surprising Olivia Wilde (maybe I just like her eyes?) as the mysterious Ella Swenson.

Those are about the only good things I had to say for Cowboys & Aliens as the film struggles to overcome too many glaring story issues including a miserably paced first act, overtly convenient plot devices, and a general lack of universality. Why do we care about this small western town? Is the whole world getting attacked? The whole story just seems way too small and the characters too inconsequential for anyone to get heavily invested. Also, hasn’t the idea of an alien race coming to Earth to harvest our natural resources been beaten to death? That being said, the cast and crew did a sufficient job of adapting a small indie comic for the screen and they successfully took elements from both the Western and Sci-Fi genres, but ultimately the film as a whole falls flat and leaves the viewer feeling a bit cheated after investing two hours of their time (plus all the wasted anticipatory excitement). There are several other better choices at the theater, so take my advice and see something else and wait to watch Cowboys & Aliens from the comfort of your own home.

Crazy, Stupid, Love (7.5/10)

Of the ten films I have reviewed in my short career as a film critic only one or two of them have been anything close to romantic comedies (i.e. Midnight in Paris and Bridesmaids), so clearly I am not an avid Rom-Com fan. Though they may not fit the stereotypical romantic comedy mold, I thoroughly enjoyed both of those flicks, but Crazy, Stupid, Love certainly fits that mold and I loved it regardless. It is a raw, heartbreaking, and ultimately hopeful outlook on love that steps outside of Hollywood norms to present a relatively accurate portrayal of love.

This is a character piece so the people and the actors who portray them took center stage. Steve Carell did a fantastic job as Cal, an average 40 year old man who gets his world turned upside down when his wife of 25 years, played by Julianne Moore, asks for a divorce. He made a name for himself portraying goofy and typically stupid characters, but he really needs to focus on these heartfelt roles that truly let him shine. Ryan Gosling can apparently do no wrong (Seriously, someone needs to get me this guys work out plan!) as he steps outside of his comfort zone and plays Jacob, a young bachelor who takes Cal under his wing after learning of his plight. Emma Stone plays Hannah who meets Jacob and struggles with the possibility of leaving her steady boyfriend for the “hot guy at the bar.” The gorgeous up-and-coming Analeigh Tipton (The Green Hornet, Hung) plays Jessica, the babysitter who is secretly in love with Cal and to be honest I can not wait to see what she does next. The stellar cast is rounded out by Kevin Bacon as divorce catalyst David Lindhagen, Marisa Tomei as the hilarious teacher/recovering alcoholic Kate, and even a small roll from Josh Groban.

The story moves along relatively quickly and never leaves you bored. Though it is fairly straightforward there are several twists (some larger than others) that help set Crazy, Stupid, Love apart from its Rom-Com contemporaries. Overall, the directing team of Glenn Ficarra and John Requa (I Love You Philip Morris, Bad Santa) along with writer Dan Fogelman (Tangled, Cars 2) did a terrific job of creating something original, honest, and heartfelt in a genre that has become increasingly stale over the years. Crazy, Stupid, Love is at once a great escape and also a powerful reminder of the harsh realities of love and the struggles one must endure in order to see that love grow and flourish over time.

Captain America: The First Avenger (7/10)

Outside of X-Men: First Class, Joe Johnston’s Captain America had the most promise out of the myriad of comic book adaptations being released this year, and I am pleased to say that it did not disappoint. With the Iron Man movies, Thor, and finally Captain America, Marvel has done a fantastic job setting the stage for their epic superhero ensemble movie, The Avengers, which is currently shooting and due out in Summer 2012. Better than Thor though not quite as on point as Iron Man, Captain America does a sufficient job of introducing the character played pitch perfectly by Chris Evans (Fantastic Four, Scott Pilgrim vs. The World). On top of the stellar cast which included Hayley Atwell, Hugo Weaving, Stanley Tucci, Tommy Lee Jones, and Dominic Cooper, Johnston and his team excelled in mixing comedy with emotion, kept the action coming early and often, and really made me feel as if I was looking in on the 1940’s.

Save for Robert Downey Jr. as Iron Man and Hugh Jackman as Wolverine, Chris Evans as Captain America might be my new favorite Marvel superhero. Not only does he nail the titular role, but he also shines as the punitive Steve Rogers who struggles to follow his dream of fighting for his country. Stanley Tucci is endearing as a German scientist working for the US to develop a “super soldier” who takes Rogers under his wing. The always compelling Tommy Lee Jones plays the stonehearted Colonel Philips and Hugo Weaving harkens back to his villainous ways as Agent Smith in The Matrix and superbly captures the evil inherent in Red Skull. My favorite performance however was that of Dominic Cooper (An Education, The Devil’s Double) as the playboy genius father of Iron Man, Howard Stark. I can only hope that he will be able to reprise this role in another Marvel movie sometime soon.

I do not typically see movies in 3D that were converted in post as opposed to being shot in 3D to begin with, but the conversion on Captain America is pretty spot on. It doesn’t feel kitschy and is not distracting at all. In fact, despite not seeing it in 2D, it seemed as though it enhanced a good deal of the action and I would definitely recommend seeing it in three dimensions. There were very few things to complain about and although it is not perfect there are no glaring problems. They even do an awesome job of joining this WWII set world with the modern world that The Avengers is set in. Get out of the summer heat and enjoy Captain America: The First Avenger. Be sure to stay through the credits for an awesome treat from the people at Marvel!

Harry Potter and the Deathly Hallows: Part II (7.5/10)

It has been over ten years since I first picked up a Harry Potter book and became captivated by the world of witches and wizards that J.K. Rowling brought so convincingly to life. The book series has ended and now we’ve come to the final chapter of the accompanying film septuple with the release of Harry Potter and the Deathly Hallows: Part II. I thoroughly enjoyed the film, but I almost have to apologize to the filmmakers as the mountain of anticipation that I’ve built up for this moment was insurmountable. Nonetheless, director David Yates and his crew put together an epic piece of cinema that encapsulates everything I have come to love about the Harry Potter series and it serves as a fitting end to one of the greatest stories of our generation.

The last installment of the series picks up where Part I left off with Voldemort looting the grave of Dumbledore for the Elder Wand and then proceeds to deliver on the promise of more action that was sufficiently lacking from the first half. After a few short setup scenes, Harry, Ron, and Hermione continue their Horcrux hunting by breaking into Gringotts and making a triumphant return to the Snape-ruled Hogwarts. From this point on, the action is furious and unrelenting as the armies of Voldemort charge against the remaining Order members and their supporters in the Battle for Hogwarts.

While Daniel Radcliffe, Rupert Grint, and Emma Watson have fully matured into their roles, the typical acting standouts persist on stealing the show. Ralph Fiennes continues to portray one of the best on-screen villains since Darth Vader, the exquisite Helena Bonham Carter wraps up her menacing role as Bellatrix Lestrange, and Alan Rickman excels as the mysterious and heart-broken Severus Snape. Other supporting actors that stood out in the final chapter include the lovely Maggie Smith as Professor Minerva McGonagall (“I always wanted to use that spell”), Julie Walters getting some much deserved revenge as Molly Weasley (“Not my daughter you bitch!”), and the young Matthew Lewis captivating as the comeback character of the series, Neville Longbottom.

The films have only gotten progressively better from a technical point of view and Part II is no exception. Whether it’s the protective charm cast over Hogwarts, the burning of the quidditch pitch, or the epic last battle between Harry and Voldemort, the visual effects really do shine through as one of the film’s most redeeming qualities. Writer Steve Cloves did an excellent job of following Ms. Rowling’s source material but tweaked it just enough in the right places (e.g. changing locations, adding dialogue) to make an already powerful story really pop on screen.

Though there aren’t many glaring problems, my biggest complaint was that the whole thing seemed rushed and much too short for the “big finale”. At just over two hours, it did it’s best to get to as many important incidents as possible but unfortunately it grazed over too many events (i.e. deaths) that should have been featured and ultimately left me wanting more. I’m not sure how fair that assessment is considering I would have watched a five hour word-for-word adaptation if they chose to make it, but I thought the point of splitting the final book into two movies was to allow more room to address those essential plot points. Nitpicking aside, Harry Potter and the Deathly Hallows: Part II, the penultimate episode in the Harry Potter franchise, is a bittersweet yet wholly rewarding and enjoyable experience that is a must see for fans of the books and movies alike. If you’ve invested any amount of time into this story and its characters then you owe it to yourself to see it’s conclusion through to the end. Go see it and you won’t be disappointed!

Midnight in Paris (8/10)

Have you ever wondered what it would be like to meet your idols? What would they think of you? What would you ask them? As an artist, would you be willing to share and have your work critiqued by them? This was one of the big “what ifs” explored in Woody Allen’s newest effort, Midnight in Paris. I don’t know if Allen is one of my idols, but he would certainly be an interesting person to talk with and share a glass of fine red wine with back in the 70’s. Would he approve of me critiquing his work? Should art be critiqued in the first place? I’m not sure if there is a correct answer to that, but I support art as an expression of self and nobody should be able to take that away from you. Based on the notions discussed in this movie, I’m sure he would agree with me on that.

Following two relative disappointments in Whatever Works (which I actually enjoyed) and You Will Meet a Tall Dark Stranger, Allen put his strongest foot forward and produced one of my favorite movies of 2011 so far. Midnight in Paris reminded me what I liked so much about his early relationship films like Manhattan and Annie Hall, but it also added this element of fantasy that was never very prevalent in his work. Owen Wilson plays Gil, a charming, younger version of the director himself (read this awesome article on Woody Allen characters on First Showing!) and rekindles the chemistry he had with Rachel McAdams in Wedding Crashers. The two are vacationing with her parents in Paris where Gil, a Hollywood writer struggling to write his first novel, becomes infatuated with the city. Each night he wanders the streets and ends up traveling back in time where he meets some of the legendary writers and artists of the 20^th Century.

There are some great bits of acting in this film besides Wilson’s strong performance including the red-hot Tom Hiddleston (Thor, War Horse) and Alison Pill (Scott Pilgrim, Milk) as the Fitzgerald’s, a hilarious imagining of Ernest Hemingway played by Corey Stoll (Lucky Number Slevin, Salt) and the always captivating Marion Cotillard as Wilson’s time-traveling love interest. The film moves fairly quickly and despite its dialogue driven nature it never seems to stand still. Similar to his love letter to the city that never sleeps, Manhattan, Midnight in Paris depicts the French city in a beautiful light and references it’s captivating attributes almost as if it were a character in the story itself.

One of my only complaints lies in its tendency to get lost in the fantastical element and forget the present. I love the idea of traveling back to another time, but it seems to have come at the expense of the story and relationships that are, or at least should be, the backbone of the story. The film features some grim commentary on the unsatisfying side of life but also discusses the role of the artist in a very eloquent way. Kathy Bates utters the line of the movie as Gertrude Stein when she says, “The artist’s job is not to succumb to despair, but to find an antidote to the emptiness of existence.” Allen is so spot-on with this notion, but despite it’s somewhat pessimistic view the film has a very positive and hopeful resolution that left me very satisfied. Midnight in Paris is certainly one of Allen’s best from recent years and if you are a fan of his I highly recommend checking it out.

Transformers: Dark of the Moon (5.5/10)

Michael Bay has crafted a reputation for creating visually stimulating and engaging action films with flimsy storylines and even flimsier characters. Despite his apparent lack of storytelling ability and his almost blatant disregard for the craft of filmmaking, he has made quite a career out of crane shots, lens flares, and blowing things up on screen. His newest effort, Transformers: Dark of the Moon, doesn’t attempt to deviate from his tried and true formula and to be honest I am not all that upset about it. We’ve been trained to expect a certain type of film from Mr. Bay and his cinematic endeavors, and if you’re still trying to fool yourself into thinking that he’s going to offer anything other than an entertaining summer blockbuster then don’t complain when he does just that.

The opening sequence follows in the revisionist history footsteps of X-Men: First Class and features an interesting use of found footage that revolves around the Space Race and the Moon Landing. The first act is the slowest part of the movie and could have easily been cut half. Why do I care about Sam’s inability to find a job? Just because I can’t find one doesn’t mean I want the main characters in the movies I watch to endure the same plight. The only redeeming quality from this first act is the jaw dropping Chernobyl set piece, which is the setting for the film’s first bit of action. It was so eerie and really helped build the tension in the scene. The set designer deserves some recognition for this scene alone.

Megan Fox’s replacement, Rosie Huntington-Whiteley, doesn’t bring anything new to the role save for the blonde hair and the stiletto heels (don’t ask me how she runs in those things), but she fulfills her purpose and keeps the sex appeal high from the moment she appears on screen. The acting highlights mostly belong to Shia LaBeouf who has this ‘goofy-yet-handsome-leading-man-with-a-heart’ thing down to a science and his interaction with John Malkovich really shines through. Patrick Dempsey and Francis McDormand were also welcome additions to a cast that was getting increasingly stale as the series wore on, and the always on point John Turturro was as funny as ever.

To no surprise, the strongest aspects of the film are the visuals. This is where Bay and the rest of his team really shine and the 3D option really brings out the best in these shots. After the slow first half of the movie, Transformers really hits its stride once the action shifts to Chicago in the third act. The city hasn’t looked this good since The Dark Knight and I haven’t enjoyed a 3D experience this much since Avatar. Michael Bay and James Cameron are the biggest proponents of the technology, so it seems only fitting that their films are leading the 3D wave. If Hollywood can limit the usage of the technology and only apply it when it truly enhances the movie experience, then I believe there is some life for 3D after all.

Yes, this arguably unnecessary third installment in the Transformers trilogy has its fair share of downfalls including the longest first act since Avatar (took roughly sixty minutes for the main character to become involved in the primary plot line) and the most shameless sex appeal since the last Michael Bay movie, but the visual effects (especially in the last 45 minutes – the skydiving scene was dazzling!) were so captivating that I found myself thoroughly entertained and would definitely recommend this flick for anyone trying to enjoy a few mindless hours watching the most visually stunning movie of the summer.

Green Lantern (4/10)

 

Green Lantern (4/10)

I was nervous going into Green Lantern. The VFX in the trailers looked extremely campy and I was afraid they were going to distract from any potentially redeeming qualities the movie might have had. Literally the exact opposite happened. The effects were one of the strongest aspects of the movie and the other facets really brought the whole ship down including the droning and disconnected story, some of the worst bits of dialogue ever to appear in a superhero movie (“don’t you always get the girl?”), and a lifeless display of acting by Blake Lively. Not that I was expecting much from her to begin with, but that’s another discussion for another day.

The glaring issues with the story are the extremely slow pacing and a severe lack of character development and motivation. Green Lantern clocks in at just over 100 minutes and we don’t even see Hal Jordan for the first 15-20 minutes. I understand the need to provide backstory, but cut the fat and get our main character involved already! There was also a very disappointing lack of action for a superhero movie. Two fights? Really? Well, three if you count the extremely rushed “training” sequence where Hal has the shortest learning curve of any superhero in the history of superheroes (Seriously, he just gets these powers and basically masters them in 10 minutes?). The only legitimate action occurs in the last 20 minutes and the whole thing climaxes before you even realize what happened. There were several comments from the audience along the lines of “Is that really it?”

Outside of Hal, nobody else’s character is really dissected (even his backstory leaves a lot to be desired) and it leaves the subplots feeling very disjointed. I guess it’s too late now, but a note to DC writers: Please give your characters other motivation besides some kind of Daddy issue. If not for the terrific acting job by Peter Sarsgaard, Hector Hammond would have been the least interesting superhero villain in recent memory. Don’t blame Ryan Reynolds for this underachieving mess as he does the best he can with what he was given. His whimsical yet emotionally vulnerable performance does a good job of portraying the beloved DC character, but without a good set of developed supporting characters it’s tough to really get invested in Green Lantern.